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    Final week at Hiram Butler

    Projections: Artist Will Henry decodes the myths and realities of the21st-century American West

    Tyler Rudick
    Oct 31, 2012 | 4:42 pm
    • Will Henry, Southwestern Painting, 2011, oil on canvas, 50 by 60 inches
      Photo courtesy of Hiram Butler Gallery
    • Will Henry, Giant, 2011, oil on canvas, 30 by 72 inches
      Photo courtesy of Hiram Butler Gallery
    • Will Henry, Painting For Budd Hopkins, 2012, oil on canvas, 60 x 48 inches
    • Will Henry, Props, 2011, gouache on paper, 11 by 44 inches
      Photo courtesy of Hiram Butler Gallery
    • Will Henry, The Man Who Fell to Earth, gouache on paper, 12 by 32 inches
      Photo courtesy of Hiram Butler Gallery
    • Will Henry, Studio View, 2012, oil on linen, 11 by 10 inches
      Photo courtesy of Hiram Butler Gallery

    Since the first hunter-gatherers made their way across the Bering Straight land bridge, humans have sought to make their mark on the American West.

    From the cliff dwellings and petroglyphs of the Four Corners to the paintings of Georgia O'Keefe and the lightning rods of Walter De Maria, the Southwest is dotted with artistic attempts to make sense of that barren topography of desert rock and tumble weed.

    "I'm interested in how the western landscape has changed and how art is playing a role in that," Henry explained. "For better or worse, artists have definitely been a part of that change."

    Which brings us to Will Henry, whose landscapes paintings at the Hiram Butler Gallery continue to examine the myths and realities of the West as it exists in the contemporary imagination. In a recent interview with CultureMap, the Houston-based artist discussed Hollywood's love affair with the West and the art world's endless fascination with desert outposts like Donald Judd's Chinati Foundation.

    "I'm interested in how the western landscape has changed and how art is playing a role in that," he explained. "For better or worse, artists have definitely been a part of that change."

    In Giant — a long canvas named after the 1956 Liz Taylor-James Dean classic famously filmed in Marfa — a "Hollywood"-style sign perched on the horizon spells out J-U-D-D. Another piece titled Props, portrays the same Judd letters on a mountain top with Klieg lights shining in the distance and a stage set in the foreground.

    "While, in a sense, these are all landscape paintings, the actual landscapes themselves are more like a backdrops for a narrative," Henry said, noting that the terrain itself has been painted from memory. The narratives range from personally-significant themes to broader commentary on the history of American art.

    Growing up as a teenaged skateboarder in the small town of Thrall, Texas (pop. 712), the artist joked that he is quite adept at imagining himself in other places. His pieces at Hiram Butler show a West that exists entirely in the mind . . . albeit, one flooded with 20th-century cultural references.

    With Painting for Budd Hopkins — dedicated to the Abstract Expressionist who became a pioneering alien-abduction expert — Henry fuses art history with Steven Spielberg's Close Encounters of the Third Kind, portraying the legendary Devil's Tower rock formation at dusk with a mysterious triangular spacecraft flying just above.

    Will Henry: New Works runs through Saturday at the Hiram Butler Gallery. Click here for hours and details.

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    news/entertainment

    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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