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    Box 13 breaks out

    Art trifecta: 2011 Texas Biennial expands from Austin to Houston and San Antonio

    Steven Devadanam
    Dec 19, 2010 | 9:54 pm

    Successful art biennials — Venice, São Paulo — limit themselves to one metropolis for exhibiting a competitive survey of contemporary art. But to curate an overview of current art in a state as big as Texas, it was only a matter of time before the Texas Biennial would take on three cities.

    Originated in Austin by arts non-profit Big Medium and previously limited to venues in the capital, the biennial, curated this year by New York-based art historian and art lawyer Virginia Rutledge, is being ushered into Houston via the East End's intrepid artist-run space, Box 13. Now in its fourth edition, the biennial is slated for April 9 to May 14, 2011.

    "Virginia and Shea Little approached Lawndale and many local spaces," says Dennis Nance, who serves on the biennial's advisory committee and board at Box 13 in addition to directing exhibitions and programming at Lawndale Art Center. He adds,

    We had an opening in the schedule at Box 13, so we said, 'Yes, please, use this space!' Accommodating that on such short notice is part of the joy of operating a small venue. We knew the quality of work shown would be similar to what we show normally. And it's a great chance to have part of the biennial take place in Houston."

    Rutledge selected the 50 artists to be exhibited in the biennial from a pool of almost 800 who replied to the open call. Among the Houston artists who made the cut are Hillerbrand + Magsamen, Hana Hillerova, Marcelyn McNeil, Rahul Mitra, Kia Neill, Shane Tolbert and H. David Waddell. Biennial vets from 2009 Catherine Colangelo and Kathryn Kelly will also be making a reappearance.

    Still, Nance believes the selection emphasizes emerging talent, stating, "It's not so much a trophy biennial."

    The exhibited artists work in all varieties of media, from painting to video and drawing to performance art, allowing an entirely independent survey of what's happening now in Texas contemporary art.

    "Texas is one of the few states that can truly support a Biennial, based on the work and energy not only of artists but of all the others — curators, critics, gallerists, collectors — who contribute to this vibrant arts culture," Rutledge said in a statement. The biennial's expansion to Box 13 (as well as San Antonio's Blue Star Contemporary Art Center) speaks to the "vitality of arts infrastructure in Texas," she added.

    Will next year's biennial shed light on whether Texas has a specific voice in contemporary art?

    "I think what we'll see is the various sub-communities that Texas has," says Nance. In a state so large, it's no surprise that pluralism reigns king. "There are a few specific programs artists are coming through," he adds. "For example, there's a group of photographers that's based in Austin and led by Texas State University professors Ben Ruggiero and Barry Stone, who all work in a similar aesthetic."

    A slew of 11 other Houston institutions, including the Art Car Museum, the Glassell's CORE Program, Museum of Printing History and the Station Museum of Contemporary Art, will be exhibiting independently-curated exhibitions and programs related to the biennial.

    Houston-based art heavyweights figure largely on the biennial's advisory committee, which includes Rice University Art Gallery director Kimberly Davenport, artist and Glassell School director Joseph Havel, Toby Kamps, curator of contemporary art at Menil Collection, Claudia Schmuckli, director and chief curator of Blaffer Art Museum and Wendy Watriss, artistic director and co-founder of FotoFest Houston.

    It's yet to be revealed exactly what Rutledge has planned for the experimental exhibition space at Box 13. "I think she's going to break the 50 artists down into multiple group shows," says Nance. "It could be as few as five artists shown here. Either way, I think it's exciting for Box 13 to get a little bit of state recognition."

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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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