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    Saturday & Sunday

    Going to the Houston Fine Art Fair? Here are some highlights

    Tyler Rudick
    Sep 17, 2011 | 6:00 am
    • Sarah Frost, QWERTY East, 2010, keys from discarded computer keyboards, courtesyof William Shearburn Gallery.
      Photo by Tyler Rudick
    • Hans Hofmann, Serenity, oil on canvas, courtesy Hollis Taggart Galleries.
    • Adams Carvalh, of the series Faceless, 2010, oli on canvas, courtesy of OscarCruz Galaria.
    • Isca Greenfield-Sanders, Old Faithful, 2010. Mixed media and oil on canvasdiptych, courtesy Haunch of Venison.
    • Donald Sultan, Aqua Lantern Flowers, 2010, enamel, tar, and spackle on tile overmasonite, courtesy of Meredith Long & Company.
      Photo by Tom Dubrock
    • Anish Kapoor, Untitled, 2010, metal, courtesy of Bentley Gallery.
      Photo by Tyler Rudick
    • Lina Kim, Untitled, 2011, courtesy of Oscar Cruz Galeria.
      Photo by Tyler Rudick

    There's a lot to experience at the inaugural Houston Fine Art Fair as CultureMap found out when we toured the show floor with director Fran Kaufman. Here are some highlights:

    A renowned curator of emerging and mid-career artists, Kaufman started us at a captivating piece from American artist Sarah Frost entitled QWERTY East, an installation of disassembled computer keyboard letters spread across a full wall of the William Shearburn Gallery.

    “It almost has the impression of a Byzantine mosaic,” Kaufman said as we moved into the gallery booth to view Soft Target #2, a large circular wall hanging constructed from the stripes of American flags. The piece’s artist, Joseph Havel, who also heads the Museum of Fine Art, Houston’s Glassell School of Art, was integral in bringing the fair to Houston along with the late Peter Marzio, the museum’s former director.

    Along with the legendary Riva Yares Gallery, Shearburn also maintains a large display of Color-field paintings from Kenneth Nolan and Abstract Expressionist works by Robert Motherwell.

     

      “Houston collectors have a strong interest in contemporary art and we’d like to expose some of our younger artists,” Robert Goff said, pointing to a piece by Joanna Vasconcelos entitled Milady, which features a ceramic snake wrapped in multi-colored crochet.

      Bolstering Kaufman’s curatorial focus on Latin American art for the HFAF, Miami’s Sammer Gallery offers work from South America’s historic mid-century Geometric Abstraction movement. Paintings and drawings from Uraguyan modern master Joaquín Torres-García cover the front wall of the booth. Meanwhile, projected onto the wall is a 1949 short film by Argentine abstract painter Ana Sacerdote. Each of the film’s 2,880 frames was hand-painted by the artist herself onto 16mm stock.

    On the verge of Stendhal Syndrome, we were ushered into the VIP area, which, coincidentally, appears to be a high-end art show in itself. Hanging on the walls are works by Abstract Expressionist Hans Hoffmann and one of art’s rising stars, Argentine artist Jose Luis Landet.

    Kaufman’s tour continued with a stop at São Paulo’s Oscar Cruz Galería for a look at international contemporary art. A minimal design offering only the artist’s name in pencil under each work, the featured faceless portraits by Portuguese artist Adams Carvalho, a delicate triptych by Brazilian artist Lina Kim, and bold abstractions from British painter Michael Stubbs.

    Stepping into the New York and London-based Haunch of Venison, gallery director Robert Goff focused our attention on artists like Ahmed Alsoudani and Isca Greenfield-Sanders, who had two large paintings on display.

    “Houston collectors have a strong interest in contemporary art and we’d like to expose some of our younger artists,” Goff said, pointing to a piece by Joanna Vasconcelos entitled Milady, which features a ceramic snake wrapped in multi-colored crochet.

    At the Bentley Gallery, a 3-foot concave metal disc reflected upside-down images of patrons passing by, an untitled Anish Kapoor piece from 2009. Echoing a sentiment heard from many other galleries at the fair, owner Barbara Bentley said the gallery tailored selections specifically for Houston.

    “We contacted several of our artists to make new work especially for this weekend’s show,” she said. “In fact, a painting is still drying in our back office.”

    Houston galleries presented major artists as well, with Meredith Long & Company representing Donald Sultan, who received the HFAF Lifetime Achievement Award Thursday night. Gallerist Barbara Davis is showcasing internationally-recognized artist Donald Lipski, who was interviewed on-stage in a special public event this afternoon.

    As our tour ended and preview gala started, CultureMap spoke with early arrival Ben Murphey, an art car designer whose new project “Purple Haze” incorporates images of both Jimi Hendrix and president Rutherford B. Hayes.

    “I’m just here as part of the social infantry tonight,” said Murphey, one of the many curious attendees happy to just soaking in the scene at one of the year’s top art happenings. “It’s great to see an event like this inviting people out to the edge of what they normally see everyday. I’m already looking forward to the next one.”

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    Movie Review

    'I Know What You Did Last Summer' reboot lacks energy or thrills

    Alex Bentley
    Jul 17, 2025 | 2:00 pm
    Sarah Pidgeon, Madelyn Cline and Chase Sui Wonders in I Know What You Did Last Summer
    Photo by Brook Rushton
    Sarah Pidgeon, Madelyn Cline and Chase Sui Wonders in I Know What You Did Last Summer.

    When the original I Know What You Did Last Summer came out in 1997, it was riding the coattails of Scream, which came out in 1996. Like that film, it featured hot young actors of the time, albeit with a story that was much more standard than the inventive Scream. Still, it made enough of an impact for some studio executive to think it was worth reviving nearly 30 years later with its own legacy-quel.

    In the new I Know What You Did Last Summer, a group of five high school friends — Danica (Madelyn Cline), Ava (Chase Sui Wonders), Milo (Jonah Hauer-King), Teddy (Tyriq Withers), and Stevie (Sarah Pidgeon) — have reunited at the engagement party for Danica and Teddy on the 4th of July. While on an impromptu trip to watch fireworks on a twisty road in the nearby hills, Teddy goofs off in the middle of the road, causing a truck to swerve and drive off the cliff.

    A year later, having sworn to each other to not speak of the accident to anybody, they start getting stalked by a mysterious person in a fisherman’s slicker carrying a hook. With Teddy’s rich father, Grant (Billy Campbell), actively trying to cover up what his son did (as well as the fallout), it’s up to the group to figure out who is coming after them and how to stop that person.

    Written and directed by Jennifer Kaytin Robinson, and co-written by Sam Lansky, the film doesn’t try to reinvent the wheel; in fact, it barely builds something that can roll. It might just be the laziest and most incompetent attempt to capitalize on an existing piece of intellectual property. There is almost zero effort put into establishing a connection between the members of the friend group, making them feel like strangers for the entire film.

    It doesn’t help that the young male actors in the film — which grows to include Wyatt (Joshua Orpin), a new fiance for Danica — serve no purpose other than to be generically good-looking. The most impactful of the men in the film is the returning Freddie Prinze, Jr., who — along with Jennifer Love Hewitt — has his old character from the first two films shoehorned into the new story. The filmmakers undercut any good feelings from their return by giving them hardly anything to do and then having Hewitt deliver the line, “Nostalgia is overrated.”

    The film as a whole never has a sense of momentum. The inciting incident is so tame — they even attempt to save the driver before the truck goes off the cliff — that the guilt they feel and the anger of the person going after them doesn’t feel warranted. Once the attacks start, it is shocking at how low-energy the sequences are, providing no sense of suspense or thrills. The filmmakers resort to the lamest of horror movie tropes, turning the film into a paint-by-numbers affair.

    Cline (one of the stars of Netflix’s Outer Banks) and Wonders (The Studio on Apple TV+, Bodies Bodies Bodies) are the clear stars of the film, but their characters are made into inert scream queens, negating any acting talent they possess. Hauer-King, Withers, and Pidgeon don’t bring anything interesting to their characters, existing merely to have someone else for the killer to go after.

    Even the worst films can have some kind of redeeming value if you look hard enough, but the only thing I Know What You Did Last Summer has to offer is that it becomes so comically bad by the end that you can’t help but laugh at its ineptitude. Both fans of the original and fans of horror movies in general will feel cheated by the experience.

    ---

    I Know What You Did Last Summer opens in theaters on July 18.

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