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    changing teams

    Friendly art heist: Menil Collection snags CAMH curator Toby Kamps

    Steven Devadanam
    Jul 14, 2010 | 1:02 pm
    • Toby Kamps, The Menil Collection's new Curator of Modern and Contemporary Art
      Photo by Anton Henning
    • Barnaby Furnas, "John Brown," 2005 (from award-winning exhibition, "Old, WeirdAmerica")
    • Bruce Nauman, "The True Artist Helps the World by Revealing Mystic Truths(Window or Wall Sign), 1967
    • Bruce Nauman, "Self Portrait as a Fountain," 1966

    Is Houston art world incest on the rise? After an extensive search (that involved national and international candidates), The Menil Collection has named Toby Kamps, currently senior curator at the Contemporary Arts Museum Houston, as the museum's new curator of modern and contemporary art.

    Kamps is coming off of a three-and-a-half year stint at the CAMH, to which he brought national acclaim with such exhibitions as 2008's The Old, Weird America, a study of folk themes in contemporary art, winning a "Best Thematic Show Nationally" award from the U.S. chapter of the International Association of Art Critics. At the CAMH, Kamps cultivated a reputation for curating exhibition programs that travelled to other museums, accompanied by critically praised catalogues.

    The art arena's merry-go-round of curatorial posts makes for an interesting study: For example, Kamps will be replacing Franklin Sirmans, who moved to the Los Angeles County Museum of Art earlier this year. Sirmans was recruited by LACMA director Michael Govan, who previously collaborated with the curator when the two worked at New York's Dia Art Foundation — an organization founded in part by Philippa de Menil, daughter of Dominique de Menil.

    "Following Toby's expression of interest in coming to the Menil and our thorough interview process, I am most pleased that we found our ideal candidate right here in Houston," Josef Helfenstein, director of The Menil Collection, said. "He brings impressive credentials, national and international experience and a real enthusiasm to the Menil as we move forward, building upon the legacy of its founders."

    Kamps' rise as seasoned purveyor of modern and contemporary art began with his earning a bachelor's degree in German from Bowdoin College, after which he studied art history at Kunsthistorisches Institut at the Free University in Berlin, eventually returning to the U.S. to earn a master's degree from Williams College. Working at the Walker Art Center in Minneapolis, he co-edited the comprehensive catalogue raisonné of conceptual artist Bruce Nauman.

    Other accolades include serving as curator and department head at the Museum of Contemporary Art San Diego, where he led the collections committee and was active in identifying and presenting works of art for acquisition. Leaving the CAMH, a decidedly non-collecting institution, Kamps will reenter a realm of museum work where he can draw upon a potent permanent collection.

    "The Menil has been a model and inspiration to me since I first visited the museum in 1991," Kamps said. "I am tremendously excited about organizing exhibitions in the Menil's beautiful spaces and working with — and building — its extraordinary collection. The institution's emphasis on spirituality, diversity and social justice resonates with my own interests, and its amazing holdings provide a unique and thrilling context for aesthetic and life-engaged thinking."

    Once Kamps assumes his post, we can expect future exhibitions with a broad range of modern-and-contemporary subjects, including major surveys of internationally known artists, provocative thematic shows, and intimate project-style endeavors — geared to engage general and academic audiences alike. To date, Kamps' projects have been characteristic simply for their breadth of media, spotlighting painting, sculpture, photography, installation and sound.

    "We look forward to Toby's arrival," Helfenstein said. "At the Menil, he will continue to expand his range as a curator with eye-opening exhibitions, scholarly publications and exciting programs."

    unspecified
    news/entertainment

    welcome home, wes

    Wes Anderson's Houston homecoming supports historic theater restoration

    Craig D. Lindsey
    Jul 20, 2026 | 12:30 pm
    Wes Anderson's Houston homecoming supports historic theater restoration

    A fancy, eccentric-looking crowd showed up for the Wes Anderson Homecoming Soirée, held on Friday, July 17, at the Hobby Center for the Performing Arts’s Zilkha Hall.

    Fans of the Houston-born, Oscar-winning auteur paid hundreds of dollars to attend this benefit event. Guys dressed up like characters from The Royal Tenenbaums. Others wore red skull caps and low-top Adidas, like the characters from The Life Aquatic with Steve Zissou. Some people working the event even wore “Lobby Boy” hats, looking like the bellboy character from The Grand Budapest Hotel.

    The people gathered for two reasons: 1) to get a chance to see Anderson in person; and 2) to raise money to renovate and restore the Garden Oaks Theater, a project spearheaded by local nonprofit Arthouse Houston. Top-tier “Founders Experience” ticketholders got a chance to meet Anderson onstage for pics. The St. John's School alum also received a proclamation from Mayor John Whitmire declaring it “Wes Anderson Day.”

    After that, he and actor/fellow SJS alum Michael Maggart (who has appeared in several Anderson films) held a half-hour discussion where they reminisced about making Rushmore here in Houston, Anderson’s days working at the Bookstop on W. Alabama (now a Trader Joe’s), and how he and frequent collaborator Owen Wilson used to sneak into the River Oaks Theatre. (It involved pretending to lose a pair of glasses.)

    Of course, the conversation shifted to Anderson coming back home to support the Garden Oaks project. “I always say you can't build an old building,” Anderson said. “First of all, I mean, a beautiful old place has history, and has people's experiences tied into it, and it has stories involved in it. And I think an old cinema — these things are kind of endangered all over the world, and it's not just an architectural thing. It's not even just a community thing. It's a sort of delivery system for something that’s, to me, deeply important to our country.

    “It’s one thing we can access these things on all these devices,” he continued. “It's a different thing when you go to a place that's designed to help you share the experience of a movie together. It's such a powerful art form. And, anyway, for me, it's worth making a bit of an effort to try to save a place like the Garden Oaks.”

    After the convo, he introduced the quintet of films he curated for the event. (Unfortunately the DCP file for his 2007 short Hotel Chevalier had some technical difficulties and was cut short.) “We wanted to do a screening here, and I don't have a new movie to show,” he said. “I don't have something hot off the presses. So, I thought I'd put together a little something that just was different from what anybody else will see. So it's a sort of mixture… This is just for Texas, this little collection.”

    He eventually left the stage, leaving Arthouse Houston co-founder/director Maureen McNamara and Houston Public Media host Ernie Manouse to auction off perks & gifts and encourage the audience in helping revive another legendary, local movie palace. Among other items, attendees bid for treasures such as a special John Waters backstage VIP experience at his upcoming Christmas Show, dinner with John Cameron Mitchell, and a rare set of photo portraits of a young Anderson and friends, circa Bottle Rocket. Others paid $5,000 for select seats in the future theater and $5,000 to restore one foot of the venue's neon sign.

    Wes Anderson homecoming soiree

    Photo by Alan Nguyen

    Mayor John Whitmire declared Friday as Wes Anderson day in the director's honor.

    So far, the effort has raised approximately $1.3 million of the $4 million required to begin the renovation project. The organization needs to raise $4 million by July 30 for the project to move forward. Those interested in securing naming rights will find more information here.

    “River Oaks has 245 seats,” McNamara informed the crowd. “The Garden has over 700, and that is a place that we don't have in Houston. We have a need for that, for premieres, for performances in your life, for music, for a dynamic learning & exhibition space… So, we're building new on the shoulders of our history. I hope you guys will join us, and we need people to join us in a big way today.”

    wes andersongarden oaksrushmorehoustonfundraisers
    news/entertainment

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