With workers now punching holes in the facade where the Bank of America Center wraps the dead Western Union building it swallowed in 1983, city planner David Welch asks the question: “Will we be able to see the hidden building during construction?” It should be hard to miss; according to one Swamplot reader: “It is completely intact, tar and gravel roof included.” Size-wise, it takes up nearly a quarter of the B of A building’s ground floor, its northeast corner wrapped by the skyscraper’s own at Lousiana and Capitol streets — where the new openings are taking shape now. But its emergence may be brief: Once the planned new restaurant and cafe get situated inside it, the structure’s time-capsule mystique will be gone. And after new interior entrances open its innards to the tower’s own central lobby corridor, the telegram building will be completely metabolized. [David Welch; previously on Swamplot] Photo: David Welch … Read More
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Call me, movie studios. I could write this script in 3 hours.
One in 5 Apartments Damaged During Harvey Are Still Not Restored, According to ApartmentData.com [HBJ ($)] Houston Home of TLC’s ‘Little Couple’ Under Contract To Sell After Multiple Price Cuts [HBJ; previously on Swamplot] There’s ‘Incredible’ Interest in Coca-Cola Southwest Beverages’ West University Place Property [HBJ ($)] $50M H-E-B-Anchored Mixed-Use Development Planned for Kingwood [Realty News Report] Harris County Commissioners Formally Approve 237-Item Project List for Flood Control Bond [Houston Public Media; previously on Swamplot] Houston Livestock Show and Rodeo in ‘Early Stages’ of Planning Plan for Former AstroWorld Land [HBJ] Photo of Carruth Pedestrian Bridge: Marc Longoria via Swamplot Flickr Pool … Read More
The Bartender’s Guide
From the cover to the recipes, this book is suuuuper dated.
This is a little paperback with yellowed pages and tiny font. The cover has a very 70’s vibe. It does have a pretty convenient glossary, pictured below, but that’s about all it has going for it 46 years later. It was a fine selection for a public library in the 1970s, but we can do better than this now.
Also, do/did people really drink cocktails with raw eggs in them? There’s a recipe in the second picture below that has rum, port, an egg, and a teaspoon of sugar. They should name it the Salmonella Special.
The list of players who played for the Eagles and in Major League Rugby last year and have now made the move overseas is growing. Paul Mullen is the latest player having signed a four month deal with the Newcastle Falcons. He joins Paul Lasike, Bryce Campbell, and Ben Landry in having made the move to England. Mullen played for the Eagles in the summer and for the Houston SaberCats last season. He was raised in Ireland and played for Munster at the U-20 level.
In a press release from the Falcons Mullen said: "I am delighted to be joining Newcastle and am looking forward to developing my game further alongside a great squad." Falcons director of rugby Dean Richards said in the same release: "Paul has broken through to the full international scene in quite a big way over the past few months, and been part of a rapidly-improving American Eagles side. His presence will further bolster our front-row resources going into the new Gallagher Premiership season as we look to improve yet again on what was our best league finish for 20 years."
Forty homes total have now been elevated in Meyerland and 57 are currently on the way up, reports Nancy Sarnoff. Their boosters are seeking the same degree of flood protection enjoyed by the 29 percent of Meyerland homeowners whose houses have never flooded in the past. A few elevations have been paid for by the City of Houston; others were self-funded. [Houston Chronicle ($); previously on Swamplot] Photo of 4718 N. Braeswood Blvd.: Christine Gerbode … Read More
“I always liked to go to that site with the dog in the winter; not sure why, but because of the slope, mixed with the cold air, it made me feel that I was not in Houston. It was not a well known location unless you lived in the neighborhood, though I did not. Others also played with their dogs there. Another cool hidden spot bites the dust.” [Montrose Resident, commenting on Alexan Memorial Apartments Are Heading to Rice Military] Illustration: Lulu … Read More
12418 Overcup Dr. [HAR] … Read More
Tucked in between Hwy. 146 and FM 2610 about 20 miles northeast of Cleveland, there’s this little enclave of streets whose names read like a collection of 1950s country catalogues. With the exception of Hillbilly Heaven Rd., all roughly 40 rights of way within the 620-acre subdivision called Wild Country Lake Estates take their names from American country musicians and entertainers like Tex Ritter, Ray Price, and Minnie Pearl. And they’re nothing new — each street got its name when the subdivision was carved out of the land in the late ’70s. The tax map of its west side shows their official platting in county records: Here it is in full: More property lines to the east, on the other side of the neighborhood’s central lake: And with a little less zoom: Welcome! [Wild Country Lake Estates] Photo and maps: Wild Country Lake Estates … Read More
“The artist will not teach us to see with his picture but with his finger,” wrote Argentine artist Alberto Greco in 1962. “He will teach us to see again what is happening in the streets.” Three years later, in Barcelona, Spain, Greco chose to perform a final gesture, writing “This is my best work,” on a wall as he floated into the mystery, his life intentionally ended by barbituates at age 34.
Greco’s last piece of art was clearly the most radical statement one could make in response to political, social, and cultural repression, but artists throughout Latin America engaged in revolutionary DIY art as their own particular expressions of the conceptual art-think zooming around the continents in the kaleido-cray-scape of the 1960s. From the Page to the Street: Latin American Conceptualism, at UT Austin’s Blanton Museum of Art, presents a survey of mail art, photography, video, artists’ books and periodicals, concrete poetics, and ideas for art actions, created from the early ‘60s to the 1980s. While the work is more politically overt than the more “formal innovation” of conceptualists elsewhere, Blanton curator Julia Detchon notes that the Blanton show aims “to track a history of radical experimentation happening at the object level. The art is conceptual insofar as it redefines the relationship between artist and viewer from a didactic one to a collaborative one.” And Latin American artists, so many of whom were responding to the dire circumstances of living under dictatorial regimes, nonetheless shared those characteristics with their North American and European peers.
Alberto Greco, Alberto se inventó a Greco [Alberto Discovers Greco], between 1963 and 1965. Ink on ivory paper 12 1/2 x 13 5/16 in. Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1974
Edgardo Antonio Vigo, Poema matemático [Mathematical Poem], 1968. Rubber stamp with letterpress on green cardstock, 9 5/16 in x 4 13/16 in. Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 1995
Regina Silveira, Enigma 3, 1983 (detail). Postcard. 4 15/16 x 6 5/16 in. Blanton Museum of Art, The University of Texas at Austin, Gift of Jacqueline Barnitz, 2017
Brazilian conceptualist Regina Silveira (b. 1939) is represented by four postcard photomontages, Enigma 1 through Enigma 4, depicting shadows laid across items: a saw shadow over luggage, hammer over typewriter, comb over a cooking pot, and a fork shadow over a dial phone. “I have always been interested in the mental and temporal relationship that shadows stain with their present or absent references,” the artist explains. “In short, this is a vast field for poetic operations… .” As Detchon notes, the “incongruous pairings are alternately menacing and harmless.”
Alfredo Portillos, Caja con jabones para distintas clases sociales [Box with bars of soap for different social classes], 1974. Artist’s wooden box with leather hinges, two bars of soap in tissue and newspaper, two photographs. 2 x 10 1/4 x 3 11/16 in. Blanton Museum of Art, The University of Texas at Austin
Cildo Meireles, Zero cruzeiro, 1974-1978. Photo lithograph. 2 13/16 x 6 1/8 in. Blanton Museum of Art, The University of Texas at Austin, Gift of Paulo Figueiredo, 1982
Anna Bella Geiger, O pão nosso de cada dia [Our Daily Bread], 1978. Brown paper bag containing series of six black and white postcards. 16 15/16 x 5 1/2 in. Blanton Museum of Art, The University of Texas at Austin, Gift of Shifra M. Goldman, 1999
León Ferrari, Bairro, 1980 Heliographic print. 43 x 97 9/16 in. Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2007
Persuaded by his artist father not to follow such an uncertain career path, Buenos Aires native León Ferrari (1920-2013) trained as an engineer. Life under a junta, however, radicalized Ferrari and inspired him to resort to making art. With fellow Argentine Vigo he shared a sad kinship; after Ferrari was exiled to Brazil, his dissident son Ariel “disappeared.” In 2004, the artist famously pissed off the Archbishop of Buenos Aires, who later became the current Pope. His piece at the Blanton, Bairro [Neighborhood], is a large heliograph that deploys Letraset icons with rubber stamps and drawn material. For one of Ferrari’s “editions of infinity” that he mailed to friends, the depicted ‘hood is one of topsy-turvy, chaotic order and contradictions befitting the modern scene.
Leandro Katz, El Castillo (Chichén Itzá), 1985. Gelatin silver print. 20 x 16 in. Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Charina Endowment Fund, 2017
Three gelatin silver photographic prints from The Catherwood Series by Argentine Leandro Katz (b. 1938) offer a wry commentary on the colonial consumption of Mexican antiquity by the famous “American Traveler” John L. Stephens and an English artist-architect-explorer named Frederick Catherwood. The pair “discovered” the ruins of “lost” Mayan cities in the 19th century, and their 1841 book, Incidents of Travel in Central America, Chiapas, and Yucatan, is often regarded as a “watershed” achievement in Maya studies. For his 1980s-90s in-their-footsteps performance, Katz visited sites that Catherwood documented by drawing with the aid of a camera lucida. Holding a copy of Incidents out before him, open to the specific page with Catherwood’s drawing of the archeological site being visited, Katz “rediscovered” the preserved ruins. Shown here, The Castle, Chichén Itzá [El Castillo, Chichén Itzá] contrasts the site in its unexcavated state with its more recent trekker-ready dynamism. Adding a touch of levity, Katz’ camera also captures his thumb and finger holding the open Incidents.
Sent to the United States by her parents after the Cuban Revolution, the work of Ana Mendieta (1948-1985) has often been overshadowed by the terribly sad and tragic story of her death. For the past decade or so, however, more attention has been paid to her powerful, elemental — and often lyrical — gestures, actions, and images of her body and earth art. Even sectors of the artworld that just can’t help themselves from blathering about the evolving dollar value of Mendieta’s “mesmerizing” pieces note that a “cult” now swirls around her memory and work.
Ana Mendieta, Itiba Cahubaba II [Old Mother Blood],1981/1983. Photo-etching on chine collé. From the Rupestrian Sculptures Series.
Art movements, of course, are never tidy chronologies that we can wrap up and rest easy about, secure that we’ve nailed down every aspect. They’re messy and a little bit hysterical, and they’re supposed to be that way. From the Page to the Street serves as a brilliant reminder.
At the Blanton Museum of Art, Austin through Aug. 26, 2018.
MW Cleaners’ bowtie logo is now going out of style on the corner of Shepherd and Colquitt St. as the franchise dresses down all of its 36 black-tie-branded locations in Houston and redecorates them under the Tide detergent logo. At the Montrose shop, the tall sign pictured behind the dumpster in the photo at top looking south is just about all that’s left of the cleaners’ old look. New lettering and logoing at 3425 Shepherd has already taken the place of the old (pictured above), and under the angled porte-cochère, fresh window decals mark the transformation as well: Although MW’s only brick-and-mortar locations are in Houston, the rising tide of Tide redos is also planned for its Austin delivery service. MW Cleaners Is Joining The Tide Dry Cleaners System [MW Cleaners] Photos: Margo (new); MW Cleaners (old) … Read More
This is one of those science/health titles all about food. The illustrations are typical 1950s but just weird enough to have me looking twice. Check out the illustration of the woman with a goiter. I also like the “unusual” foods to try. I guess yogurt wasn’t mainstream in the late 1950s. Oh look, there is some kale, so maybe this book is more relevant than I thought.
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There is no greater proof that the Universe hates us, than that a bug named after Texas can cause beef allergies.
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I hereby release Taco Bell to use this as an ad campaign.
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'I would like to leave my millions to my children. I would like to, but I don't have any. Because of the drugs.'
More than $100,000 worth of liens have now been placed on the stalled Victoria Condos at 829 Yale St. by contractors that worked on the 40-unit midrise. It’s one of the remaining Fisher Homes properties that the Harris County court system hasn’t yet liquidated as part of its ongoing efforts to pay back the developer’s creditors — including some who’ve sued it for failing to pay their invoices on developments such as the Yale condos. A rendering put out around the time sales began at the beginning of June 2016 shows what they would look like if they had people in them now: After work on the 7 stories stopped last year, the Harris County judiciary took custody of a chunk of Fisher Homes’s portfolio in order to help pay a $69,489 judgement issued against the developer’s holding company Kavac LLC in court. In February, the court okayed closings on nearly 40 Kavac properties, including the once-bemoned condo midrise at 2802 Morrison St. near Woodland Park and townhome clusters like the Fisher Estates at Oak Forest (off 34th St.) and Waterhill Homes on Navigation (east of Lockwood), among other developed and undeveloped tracts. More sell-offs could be next: just last month, a county judge appointed an additional receiver — an official who takes over business assets when their owner’s having trouble meeting its financial obligations — to handle payouts in a separate court case against Kavac for failing to cough up just $9,584 for petroleum products it bought in 2016. The plaintiff in that case, O’Rourke Petroleum, is seeking to recover that money, plus the attorney fees it’s incurred since lawyering up against Kavac in December 2016. Nine other cases filed against Kavac over floating invoices have now been closed in county court, as well as many more in district court. Still open: litigation against the developer for tax delinquency, a few more instances of nonpayment, a lawsuit alleging that it knowingly used shoddy construction practices that costed buyers money on repairs, and one complaining it just never built the house a customer contracted it for in the first place. Previously on Swamplot: Fisher Homes’s Yale St. Condo Midrise Passes Mid-Rise; Victoria Condos Now Rising from That Big Hole by Fisher Homes’ Heights Mansion Office Your Chance to Nab Space in Fisher Homes’s 3 Story Home Office in the Heights; A Heights-Area Homebuilder’s New Home Office on Yale St.; Dogging the Morrison Heights Midrise with Doggerel; Studemont Condo Building Wants To Squeeze in Just North of Washington Ave Photos: Swamplox inbox. Rendering: HAR … Read More
4710 Tain Dr. [HAR] … Read More
music by Aaron Dilloway
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The best reason not to believe in the 'supernatural' is that nobody from Texas is harvesting it and putting it in a pipeline.