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    West Coast art via East Coast collectors

    The Eagle (collection) has landed in Houston: MFAH secures another arts coup

    Steven Devadanam
    Jul 26, 2010 | 1:25 pm
    • Torque Vessel, 1986. John Mason, American, born 1927. Stoneware. The Leatrice S.and Melvin B. Eagle Collection; gift of Leatrice and Melvin Eagle
      © John Mason
    • Lectern, 1975. Wendell Castle, American, born 1932. Oak. The Leatrice S. andMelvin B. Eagle Collection; gift of Leatrice and Melvin Eagle
      © Wendell Castle

    Design devotees will soon be able to feast on a fresh collection of decorative art arriving at the Museum of Fine Arts, Houston. Anticipate a crash course in California ceramics with the arrival of this West Coast-centric collection, which will offer selections by previously unrepresented artists in the museum collection.

    The more than 160 works dating from the 1940s have been acquired through gift and purchase from Potomac, Md.-based collectors Leatrice and Melvin Eagle. The couple, who began assembling the works in the 1960s, may be unfamiliar names to Houston audiences, but attests MFAH director Peter C. Marzio, "Lee and Mel Eagle have been strong advocates of decorative arts and craft for decades and have been generously giving artwork to the museum for the past three years, now culminating with their gift of the collection itself."

    Marzio adds, "Their collection is notable for its high level of quality, progressive aesthetic, and focus on the leading practitioners in the field. The museum and its trustees are grateful for this big-hearted gift that will further our ability to provide a comprehensive look at contemporary craft."

    The represented artists revolutionized the design arena by advocating a sculptural and abstract aesthetic rather than the functional forms that had previously dominated the field.

    "The addition of the Eagle Collection builds on the existing strength of the MFAH's ceramics holdings and fills some important gaps, including our holdings of works by seminal West Coast American artists and pioneering British potters of the 1940s to 1960s," says Cindi Strauss, MFAH curator of modern and contemporary decorative arts and design. "In addition, the Eagle's fiber art, studio furniture, jewelry, and other media make this a truly comprehensive collection and one which will have a great impact on future MFAH installations and special exhibitions."

    The Eagle Collection includes extensive holdings of first generation California ceramists such as Robert Arneson, Viola Frey, David Gilhooly, John Mason, Ron Nagle, Ken Price and Peter Voulkos.. Represented artists that later picked up their mantle and further cemented California's reputation as an innovator in the field include Ralph Bacerra and Adrian Saxe.

    What's more, the funk and assemblage works of West Coast ceramists will add new depth to the museum's collection, as the institution previously had only a small group of objects that address this distinguished period in American post-war art. While the collection is primarily American in scope, artists from Western Europe, Japan and Latin America are also thrown into the mix.

    Works in other media substantiate the craft items, including furniture by Wendell Castle and Sam Maloof, two of the most renowned American studio craft furniture-makers. Expect to see major wall-hangings by Colombian artist Olga de Amaral and American fiber artists John Garrett, John McQueen and Cynthia Schira. Heavyweights in the represented jewelry and metalwork arena include Albert Paley, Robert Ebendorf, William Harper, Joyce Scott and Earl Pardon.

    Master minimalist and stylistic shape-shifter Frank Stella will also come to the fore amid the collection's works on paper.

    All together, the collection offers a perspective on the work of pioneering American artists of the mid-to-late 20th century.

    These are precious items that have been spotlighted at retrospective and themed exhibitions throughout the United States, and they are now finding a permanent museum home in Houston. The Wendell Castle "Lectern" is already on view in the American galleries, and a grand exhibition of the collection is slated for late 2013.

    Combined with the MFAH's sizable Garth Clark and Mark Del Vecchio Collection of design objects, blossoming Houston Center for Contemporary Craft, emergence of award-winning furniture designer Michael Garman and a nascent program in industrial design at the University of Houston, the Eagle Collection should substantiate Houston's reputation as a preeminent axis for exhibiting and producing influential contemporary design.

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    lizzo concert review

    Lizzo makes Houston feel 'Good as Hell' at sold-out Rodeo concert

    Craig Hlavaty
    Mar 7, 2026 | 12:24 am
    Lizzo RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Lizzo entered the rodeo in a tricked out SLAB.

    Much like Mayor of Trill Town Bun B’s past rodeo shows, Lizzo’s sold-out Friday night show, closing out Black Heritage Day, was a rapturous celebration of Houston pride with a live jukebox.

    The best rodeo shows are when no one sits down, even if their boots make their dogs holler, and when the show ends, everyone spills out of the stadium barefoot, or the menfolk carry the heels. No other city would allow you to eat chicken fried lobster, drink award-winning wine by the bottle, watch teenagers wrestle calves for cash, see kindergartens hold on to a sheep with a death grip, and stomp your Ariats to “Still Tippin’” with 70,000 other people within the span of six hours.

    Along with Go Tejano Day, Black Heritage Day (which became a part of the RodeoHouston DNA in 1993) showcases the diversity found on the concrete and the hay off Kirby Drive every year. It’s a whole day of celebration on the grounds, including field trips, art installations, traveling museum exhibits, and an unofficial HBCU reunion event. As cowpokes in cowboy hats battled various beasts before the show, the big screen highlighted roving bands of women dressed in their finest rodeo attire. The sidewalks around NRG Stadium were a Friday night fashion show. Friday was also the kickoff of spring break for most Houston-area school districts, meaning the grounds will be insanely busy over the next week.

    Proud Alief Elsik High School alum and University of Houston product Lizzo was supposed to have made her triumphant hometown rodeo debut back in 2020, but Covid-19 scuttled the second half of that season, including her appearance. Just a few weeks ago, she gushed on Late Night with Seth Meyers about how important the show would be to her, mentioning seeing John Mayer and Beyoncé during her teen years in town.

    At 9:15 pm, just next door to the 8th Wonder of the World the “9th Wonder of the World” — Texas Southern University’s Ocean of Soul Marching Band — made its way onto the show floor to massive applause as a hype video of Houston landmarks played on the show screens. If RodeoHouston needs a house band — founded in 1969 — this is it. In fact, it should be legally mandated that they appear every year.

    Before Lizzo even appeared, the show felt like a Super Bowl halftime show, with three SLABs driving out into the dirt, with the woman herself kicking off “About Damn Time” from the back seat of a fourth SLAB, clad in a black leather studded duster, surrounded by TSU dancers. This is the kind of big-budget spectacle that the rodeo salivates for. Backed by a mostly-female band onstage, the Ocean of Soul provided a constant brassy, bassy undercurrent.


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    “This is the city that raised me,” Lizzo said, taking in the 69,362 souls in her midst.

    She was met with a hurricane-force wall of screams as she launched into “Cuz I Love You,” ditching her black leather duster for a white tank top.

    Houston’s own gospel pop quartet The Walls Group appeared just then for the Black National Anthem, “Lift Every Voice And Sing.” Lizzo and the Walls siblings then wove “Special” into “Total Praise.” We’d all buy a Lizzo gospel album, and you know it.

    Her collaboration with Cardi B “Rumors” — flaunting rodeo lyrical standards — gave way to her own rendition 4 Non Blondes’ “What’s Up,” giving Linda Perry’s grunge pop classic a torch song glow-up.

    Lizzo got back into her custom SLAB for her own “Yitty On Yo Tittys” from last summer’s My Face Hurts From Smiling album, complete with a human-sized dancing Labubu. The Ocean of Soul got its own interlude while keen eyes could see Lizzo side stage, tuning up her famous flute with a familiar line.

    Wait, is that? Yes, by God, that’s Houston’s national anthem.

    Soon Slim Thug, Mike Jones, and Paul Wall sauntered out for “Still Tippin’” as city pride began to sweat from the stadium walls, all while the Ocean of Soul kept strutting along. The professor emeritus’ of Houston's 2000s rap explosion, you look up from your phone and realize all these Houston rap standards are all over 20 years old now. Paul is a silver fox, Slim is a real estate magnate, and even people in Japan know Jones’ personal phone number.

    “At the end of the day, I just want Houston to feel good as hell,” Lizzo said, tapping directly into “Good As Hell.” Was that a pregnant lady in a cowboy hat dancing on the big screen? How much more Houston can a fetus be?

    The only truly Houston things left to do tonight were to sweat through your Wranglers in the parking lot, gaze at the Astrodome, sit in standstill traffic, and join the drive-thru parade at the closest Whataburger.

    Setlist

    With Texas Southern University’s Ocean Of Soul

    About Damn Time
    Juice
    2 Be Loved (Am I Ready)
    Soulmate
    Cuz I Love You

    With The Walls Group

    Lift Every Voice And Sing
    Special > Total Praise
    Rumors > What’s Up

    Tempo > Wobble
    Boys (with Ocean Of Soul)
    Mo City Don (Z-Ro Cover)
    Yitty On Yo Tittys
    Screwed (with Ocean Of Soul)
    Still Tippin’ (with Slim Thug, Mike Jones, and Paul Wall)
    Truth Hurts
    Good As Hell (with Ocean Of Soul)

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