The Rice Thresher (Houston, Tex.), Vol. 70, No. 23, Ed. 1 Friday, March 11, 1983 Page: 13 of 24
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Events
Houston Arts Festival promises a complete program
For the next two weeks, March
19 through 27, the Houston Arts
Council will pull together diverse
bits of artristry into an intensive
citywide festival, "a celebration of
the city and the arts." Year round,
Houston seems a dense tangle of
"must see" art events. Much is
available; so much, it's easy to pass
it all by. But there's a convenient
knot of activity these days, and it's
more or less impossible to miss.
Every major art-related
institution in town has scheduled
all over the world are now in town
to show their works, talk to
anyone, and suggest new Houston
pieces. 908 Wood Street Building,
off San Jacinto, will house a
number of exhibits, though most
of this year's show will
"participate" with their site,
becoming location pieces.
It's a heavily Modernist group of
works, characterized by
untraditional instillations:
Travelon Gamelon, by Richard
Lerman is a performance work for
HOUSTON FESTIVAL DOWNTOWN SITE MAP
| Shaded areas indicate
' locations of Festival
activities in downtown
parks
Park your c
n the
□ □
MAIN
□ □
tEOQZDD
r Outdoor stage k«i-
i tions are indicated b\
star. Noontime con-
certs only on date
shown.
><round jjarages, $2 all
day on weekends
Access on Capitol and
Rusk Stieets
special events reflecting the energy
of the Houston Festival's
celebration. Corporate support
and city council financing have,
likewise, carefully packed the next
two weeks' activities together,
allowing lots of space for playing,
eating and buying in between. And
while some of the most rewarding
times tend to happen on the spot,
here are a few of the officially
scheduled events: all free.
The "Fine Arts," will be found
on the banks of the Buffalo Bayou,
near Allen Parkway .There, the
Bayou Show will be one of the
most important art happenings in
Houston in quite a while. Twenty-
one carefully selected artists from
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about everything. Open this and
next weekend from 10:30 a.m. and
weekdays in between until 3 in the
afternoon, the fair is display,
creation, bartering, food, and
drink. One block south, you'll find
the Gypsy Market (bordered by
Lximar, Bagbyand Dallas). This is
a freer, open-entry market,
especially tailored for Houstonian
shopping. "Performing arts,"
you can catch at a number of area
theatres which will be running
special productions for the
Festival's two weeks. But for the
outdoor purist, a number of
concerts, scenes, and dances have
been scheduled for stages in Sam
Houston Park, Tranquility Park
and the City Hall plaza. Also, the
Rice Media Center will once again
Music
host the annual TEXPO Festival, a
collection of Texas film and video
works, collected here for premiere
and discussion. Full schedules can
be found at the Media Center now.
Festival sponsored events don't
end here though. The Houston
Festival Fringe will present a
number of major projects, all
tuned to celebrating Houston's
arts. There is Jeff Mcltissack's
elaborate art work, The Orange
Show, a carnival in worship of the
Orange. This gem is tucked far
away on Munger Street; call 552-
1767 for d i re c t i o n s . Th e
Spacej Dance/ Theatre, 715
Franklin, will perform the
theatrical performance art of
Farrell Dyde. And the Rice
Players will present their final
production of this season. Bodies,
March 21-26 as a special addition
to the Houston Festival Fringe.
Student director M. Christopher
Boyer leads a Ricecast in this tense
psychological drama by James
Saunders. These and many more
works carry the Festival's art
throughout the city.
Houston has distinguished itself
in years past for this totally unique
Spring focus on artistic fun. The
Houston Festival proves again this
year that the city is fully and
energetically a place of urgent,
exciting living, with artistry
everywhere. For further
information on anv activities, call
521-0993.
- Harry Harcourt Hade
Electronics at Hamman surprises
thirty-five "amplified bicycles."
Jon Peterson's Bum Shelters will
bring the New York and L. A.
slums to the Houstonian bum's
special demands; Peterson
rennovates the fiberglass shelters
for our city, making them all glass.
Many other works, some
slightly more 'museum fare," will
be featured. Some important
artists and their highly unique
work can be seen and should not be
missed. "Crafts,'-' meanwhile,
will surely be some of the most
popular shows of the Festival this
year. Located downtown in the
Sam. Houston Park, the "Crafts
and Arts Fair" will offer a carefully
screened arrangement of just
February 19. Electronic music.
Hamman Hall (Thresher 2/18).
Ah ha. Just the thing for an
aging stereo fanatic with a
penchant for Varese and good
channel separation. Since it's on a
Saturday night, there shouldn't be
too much of a problem getting the
"good sound." — musings of a
deluded writer.
Culture shock, indeed. The first
surprise in store for me was when I
walked through the door and
found Hamman Hall full of people
on a Saturday night, and the
second was that the full house
wasn't subjected to two hours of
channel separation and white
noise. What I did find was a well-
rounded progra m showing the uses
of electronics in music.
Le it Mirrors by Jack
Waldenmeier opened the program.
The music itself is for two string
basses plus electronics. Say what?
So what? Add Linda Phenix and
Timothy Wilson doing a dance
interpretation of the music and the
situation changes — it is now a
two-level performance and the
work takes on a new life/vibrancy
that it may not have had otherwise.
The Church of Anthrax by
Terry Riley (later in the program)
is in a similar vein. It has a
chameleon-like quality. The
performance changes with the
players. The piece was played by
the local band I'llbeonthefone-
toyou, but the work is not
specifically orchestrated; bring in
another band and you have a
different composition.
Faculty compositions sur-
rounded intermission and were
linked by contrasts as well as
similarities. Stations for Solo
Percussion and Stereo Tape by
Arthur Gottschalk (who also
directed the concert) was a true
duet because the individual parts
were interdependent. This work
was my own favorite and
many elements of theatre as music
and was quite satisfying when the
parts finally did come together.
Selections by Gryc and
Melendes/Levrette for tape alone
rounded out the program. Any
surface criticism and praise aside,
the thing that "stayed with me" was
the direction and shape of the
concert. Electronic music has
grown up quite a bit from the days
of white noise and Switched-on
Bach. While there were
compositions for electronics alone,
none were electronics for its
The power behind the music
contained some topnotch playing
by Germaine Petry, a Shepherd
School student.
If Scenes can be described as
tape and performer, Scene for
Piano and Tape by Tom Johnson
(with help from Ellsworth
Milburn) can be described as tape
versus performer. The work has as
own sake
Two final
notes: this was not
electronics for the common man,
and the third developmental stage
of electronic music (as an art of its
own) has not yet arrived, although
concerts such as Culture Shock are
bringing it closer.
- John Krueeer
4/20
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on an
outstanding
season so far.
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The Rice Thresher, March 11. 1983, page S3
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Cooper, Jeanne. The Rice Thresher (Houston, Tex.), Vol. 70, No. 23, Ed. 1 Friday, March 11, 1983, newspaper, March 11, 1983; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245525/m1/13/?rotate=270: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Rice University Woodson Research Center.