City of Houston grants $100,000 to 10 innovative arts organizations

civic support

Here are what Houston art projects will be created with these grants. Photo by Morris Malakoff

Ten Houston individuals and nonprofits are beneficiaries of grants totaling $100,000 for efforts to furthers cultural tourism and resilience throughout the City of Houston.

The Mayor’s Office of Cultural Affairs (MOCA) awarded the funds through the Initiative, a competitive grant program administered by Houston Arts Alliance (HAA) and funded by a portion of the city’s Hotel Occupancy Tax.

The application period is open three times annually and grant funding falls into three categories: Art + Neighborhood Cultural Destinations, Art + Disaster Resilience Awareness, and Art + Conference Tourism.

Here is a look at the winners and the projects that will be created with these grants.

Art + Conference Tourism

Contemporary Arts Museum Houston
This week, from September 16-19, the museum, in partnership with Houston Freedmen’s Town Conservancy (HFTC) and artist Theaster Gates, hosts Houston’s edition of the renowned Black Artists Retreat (B.A.R). The initiative explores the concept of “Black Land Ownership and Space: Black Stabilization and Determination." The four-day event brings together speakers, panelists, and experts from Houston and across the country to elevate and inspire the brain trust in local Black and BIPOC artists, creatives, and intellectuals. Programming occurs in Houston Freedmen’s Town, POST Houston, and CAMH.

One Sample Cultural Foundation
The organization will use its grant to produce the Ethnography of Afro-Venezuelan Music, a multidisciplinary educational conference that includes videos, music, and dance that exploring the syncretism of African culture and European religious practices in Venezuela through music. This free event will take place twice — at the Institute of Hispanic Culture of Houston on October 10 and at Teatro Bilingüe de Houston on April 13, 2025. The project aims to strengthen ties between the African American and Venezuelan communities and promote a dynamic cultural exchange.

SoulSista Art Foundation
The organization hosts a conference highlighting Houston’s contributions to the new music business at Houston Warehouse Studio on November 11. Free and open to the general public, it will include performances from selected poets and Afrobeats artists who have been recognized over the years in Houston, along with a DJ and food trucks. Donations will be accepted.

Art + Neighborhood Cultural Destinations

DaCamera
The music organization will use its grant for a series of jazz concerts at the historic El Dorado Ballroom in Third Ward. DaCamera at The Eldorado: Rising Jazz Stars features up-and-coming jazz artists from around the country, providing a new opportunity for Houstonians to experience the next generation of outstanding jazz talent. Concerts begin in October and run through May 2025. All performances will be pay-what-you-can.

Dance Afrikana
A curated exhibition, digital dance archive, and a book are planned as part of the organization's Black Dance in Texas multidisciplinary project. Documenting the rich history of Black dance in the state, this project is an extension of the research project by Dance Afrikana’s founder and Scholar-in-Residence for Rice University’s CERCL Program at the African American History Research Center Gregory Campus.

Norma Jo Thomas
The composer's original musical, Carol of the Bells, will have its world premiere on December 14 at the C. Lee Turner Performing Arts Center on the campus of Lone Star College. The holiday offering is part of Thomas' ongoing tradition to bring cultural programming to the community, and is part of an Acres Homes community collaboration.

The Pilot Dance Project

Celebrated Houston-based choreographer Cynthia Garcia presents Loteria, which brings to life the characters of the traditional Mexican board game. In an urban landscape of constant gentrification, often cultural signifiers, customs, and traditions are left behind to show the legacies of cultural communities. The work will be performed at two major cultural events in gentrified neighborhoods that have histories as Mexican and Mexican American neighborhoods, MECA’s Day of the Dead Festival in October and the MD Anderson YMCA’s annual posada in Near Northside in December.

University of Houston Foundation
Seven-time Grammy Award-winner Terence Blanchard will engage communities from Third Ward and downtown Houston in a series of events. In addition to performing a concert, the jazz legend will collaborate with University of Houston and University of Houston-Downtown students. Performance will take place November 7, 8, and 10 at the Wortham Theater Center or at the University of Houston Moores School of Music. A fireside chat and workshop are also part of the visit.

Art + Resilience Awareness

Group Acorde
The organization's Batimento Cardiaco is a new work that depicts Houstonians' mental health before, during, and after a natural disaster occurs. It will premiere at the MATCH October 3 and 4, and feature musicians, two contemporary dance choreographers, and a visual artist who've collaborated on this important work. Sets and costumes are made of recyclable materials. A discussion will follow the performance. Rehearsals streamed on Group Acorde's social media will give audiences a look at the work as it develops.

Lance Flowers
The artists solo exhibit, Take Me As I Am, takes place simultaneously at the Hogan Brown Gallery in Third Ward and Yale University’s Institute for Sacred Music. It's a collection of new 2D works, videography, music, and photography pieces highlighting Third Ward and its community, and all the materials used will be gathered from the Third Ward. It's curated by gallery director Robert Hodge. The Yale portion of this show has received its own funding.

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This article originally ran on CultureMap.

Some of the works will adorn the new Sunnyside Multi-Service and Health Center. Rendering courtesy of the City of Houston

City of Houston calls local and Texas artists for $3 million public project

call for artists

Houstonians love their public art, and the City of Houston is banking on that love and civic pride with a hefty new call to local artists. The Mayor's Office of Cultural Affairs (MOCA) has announced new opportunities for artists and artist groups to have their artwork pegged for the City's Art Collection.

MOCA's call boasts more than $3 million in artist opportunities, in effort to help those affected by the economic downturn of COVID-19. The new series of projects will adorn Houston's airports and the new Sunnyside Multi-Service and Health Center. Some 100 opportunities open to Houston and Texas artists in the calls for qualifications, according to a press release.

These new works promise to have a large audience; nearly 60 million passengers passed through the Houston Airport System in 2019. The Houston Arts Alliance is managing the selection process. Selected artists must sign a contract with Houston Arts Alliance for the commission, according to MOCA. Funding for the project comes courtesy of the City of Houston Civic Art Program.

"This is a difficult time for all people, including artists – many of which are either self-employed or small business owners," Houston Airports curator of public art, Alton DuLaney, said in a statement. "It's unfortunate that many galleries are closed, and many artists are out of work. We hope this will be a lifeline for some of them. We are honored to be in a position to lift-up our Texas artists in this way while enriching Houston Airports' public art collection."

The pre-application workshops and submission deadlines for each opportunity are as follows:

Sunnyside Multi-Service and Health Center
RFQ submission deadline: Monday, July 27
Artist Info Session: Thursday, July 16

Houston Airports Portable Works
RF deadline: Monday, August 3
Artist Info Session #1: Saturday, July 11
Artist Info Session #2: Thursday, July 16

Houston Airports New Commissions
RFQ deadline: Monday, August 10
Artist Info Session #1: Saturday, July 11
Artist Info Session #2: Thursday, July 16

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Baylor College of Medicine launches VC fund to invest in biotech startups

fresh funding

Houston’s Baylor College of Medicine just unveiled a new venture capital fund that backs early-stage biotech startups—and it’s already made its first investment.

BCM Legacy Fund I, funded by philanthropies, invested an undisclosed amount in Houston biotech startup Nemea Therapeutics. Nemea, a spinout of the Baylor College of Medicine and Germany’s Lead Discovery Center, is developing an oral drug to treat metastatic triple-negative breast cancer that no longer responds to currently available therapies.

This type of aggressive cancer spreads from the breast to other areas of the body, such as the bones, liver, lungs or brain. Roughly 38,000 to 57,000 Americans are diagnosed each year with metastatic triple-negative breast cancer. One study showed about half of patients survive past the one-year mark following diagnosis and about one-third survive two years.

“Baylor College of Medicine’s laboratories produce discoveries with the potential to change patients’ lives, and too many of them stall where academic funding ends and private investment has not yet begun,” Dr. Jakub Tolar, president, CEO and executive dean of the Baylor College of Medicine, said in a press release. “The BCM Legacy Fund fills that gap, giving our scientists a path to advance their discoveries to patients.”

The National Institutes of Health awards more than $36 billion per year for biomedical research in the U.S., Baylor said. But some biomedical discoveries “never leave the starting line because they don’t yet fit the economics of venture capital,” the college said.

“The forefront of a new model”

The BCM Legacy Fund aggregates philanthropic capital from private foundations and donor-advised funds. It then invests in startups so they can move beyond that starting line and into later-stage investment rounds. The Greater Houston Community Foundation is the fund’s philanthropic partner.

“It’s exciting to be on the forefront of a new model for philanthropic capital,” said Houston entrepreneur and investor Burton Hanson, managing partner of the fund.

“Not only do we hope to solve a real problem by advancing these therapies to the patients who need them most, but we also hope this model will inspire others in the city and beyond toward philanthropic creativity and a posture of ‘I sacrifice; we win.’”

The fund expects to invest in about 15 early-stage startups over a five-year span. Baylor declined to divulge the amount of money in the fund and the size of the investment in Nemea.

Nemea’s “world-class chemistry”

Hanson oversees the Baylor fund alongside Chicago investor Steve Lehmann, who led the University of Chicago’s Innovation Fund.

Lehmann said Nemea, the fund’s first portfolio company, “has world-class chemistry, Baylor biology, and patients with no good options. Our job is to fund the experiments that carry it to the next handoff, so that industry and later-stage investors can take it from there.”

Based at Houston’s massive Texas Medical Center, Nemea plans to start clinical trials next year in collaboration with Baylor’s Lester and Sue Smith Breast Center.

Nemea previously received $9 million from the Lead Discovery Center and a $1.6 million grant from Baylor. Last year, the startup said it was seeking $25 million to $30 million in seed and Series A funding.

Debra McCoy of Houston, a former managing director at BlackRock and former partner at Bain & Co., and Paul Thomas, co-founder and CEO of Spring-based benefits manager Luscinia Health, sit on the Baylor fund’s governing board. Dr. Paul Klotman, former president, CEO and executive dean of Baylor, is a senior strategic adviser.

How does the fund find investment targets?

The Baylor Legacy Fund relies on two tools to help unearth early-stage biotech startups:

  • High-resolution “innovation maps” of research institutions. These maps surface hidden clusters of innovation, identify rising-star researchers and tie pockets of “innovation supply” at Baylor to areas of “innovation demand” in biotech.
  • AI-enhanced due diligence. AI agents assist with due diligence of early-stage biotech startups. The fund says the platform “distills the frameworks we’ve developed over a decade of teaching and investing into a flexible … diligence environment.”

MD Anderson unveils $3.4B expansion with two new Houston cancer care facilities

major expansion

The cutting edge of cancer-fighting technology and science is getting even sharper after MD Anderson announced last week that it will open two new facilities in the Texas Medical Center within the next five years. Inspiration Tower and Prism will expand MD Anderson’s annual patient load in the TMC to 250,000 annually and will incorporate a variety of new techniques.

The $3.4 billion project will add 2 million square feet to MD Anderson's TMC footprint, bringing its total campus size to 22 million square feet by 2032. Located at the corner of Fannin Street and Holcombe Boulevard, the cancer center says the two new facilities will serve as its new "front door" to the TMC.

“Every detail of these buildings, from the technology to the treatment rooms, was designed around our patients who will receive their care in them and our employees who will work in them. The facilities will serve as a physical representation of hope for the patients and their families who will walk through the doors,” Dr. Jeffrey E. Lee, president ad interim of UT MD Anderson, said in a news release. “Inspiration Tower and Prism are the future of cancer care, and we are grateful for the longstanding support and guidance we’ve received from the UT System Board of Regents to bring these projects to life. These facilities are part of the most impactful capital expansion in UT MD Anderson’s history.”

Prism is especially exciting as it will represent fully half of the linear accelerator treatment in the TMC. Linear accelerator is a radiation treatment that uses magnetically charged fields to deliver targeted external radiation therapy, like shooting cancer with a rail gun. The treatment is safer and has fewer side effects than older radiation treatments.

In addition, Prism will contain 12 MRI machines, four CT scanners, two PET-CT units, 18 radiation vaults and seven radiation simulators. Patient comfort has also been put at a premium with multiple gardens and roof overlooks.

“Every patient we treat deserves an environment that reflects the excellence of the care they receive at UT MD Anderson,” Chris McKee, executive vice president and chief strategy officer at UT MD Anderson, added in the release. “Our new facilities will be innovative, agile, adaptable and beautiful, and they will allow us to care for more patients, more effectively – in an environment that enhances healing and well-being. We are building for our future and for every patient who will be counting on us.”

Prism is slated to open in 2030.

Inspiration Tower will have 25 floors of surgical, diagnostic, and treatment services. At 1.4 million square feet, it’s currently expected to be the largest cancer-specific treatment facility in the United States. The tower will be divided into units for specific types of cancer, making it easy to integrate the advancing research being done all over Houston.

Like Prism, Inspiration Tower is specifically designed to offer comfort and reassurance, with more garden space, terraces, and beautiful scenery to ease patient distress. It is expected to open in 2032.

Tesla will pull the plug on Cybertruck production at Texas factory in 2027

Tesla Talk

Tesla’s Cybertruck, the hulking, stainless-steel pickup that inspired devotion and derision with its science-fiction looks, will cease production next year.

CEO Elon Musk announced the model’s demise Friday, November 6, with a curt post on X, his social media site, simply noting production of the vehicle “will be winding down” around the middle of 2027 at its facility outside Austin, Texas. Musk said the move was to allow increased production of its Cybercab robotaxi.

For the Cybertruck, a pet project of Musk who insisted it was Tesla’s best product, it marks an unceremonious end to one of the auto industry’s most ballyhooed debuts.

“Few vehicles in history have generated as much attention,” said Armen Hareyan, whose Torque News site covers autos. “The Cybertruck became a cultural symbol – loved, mocked and impossible to ignore.”

The Cybertruck rolled onto the scene in a dramatic unveiling in 2019, when a Tesla designer hurled a metal ball at the vehicle to demonstrate its supposedly unbreakable glass, only to see it shatter. He repeated the stunt on another window of the truck only to shatter that one, too.

Even as some critics scoffed, Musk was steadfast.

“I just wanted to make a futuristic battle tank — something that looks like it could come out of ‘Blade Runner’ or ‘Aliens’ or something like that but was also highly functional,” he told Automotive News. He called it “a better sports car than a Porsche 911” and “a better truck than an F-150.”

It struck some as the perfect vehicular reflection of the brash, convention-busting Musk.

“A really controversial vehicle unveiled by a controversial individual into a market where none of the electric trucks have been able to really capture demand,” said Spencer Penn, a former Tesla executive who left the company before the Cybertruck’s launch and now heads software developer LightSource.

Penn remembered watching the unveiling and feeling initially revolted by the sight of the Cybertruck, calling its appearance “madness.” But the more he looked at it, the more his opinion changed. He signed up for a pre-sale reservation, though ended up not getting a Cybertruck when Musk’s promises of a price tag under $40,000 went unmet and the first trucks sold for double or more. Penn called the Cybertruck part of Tesla’s adventurous spirit that drives innovation.

“Some of these bets work and some of these bets don’t,” he said.

While the decision to end Cybertruck production may be driven by sales realities, it's also a reflection of Tesla’s shift to autonomous vehicles, on which Musk is betting the company’s future.

Musk once forecast he’d make 250,000 Cybertrucks a year. Kelley Blue Book estimated Tesla sold just 20,237 of the vehicles last year, down about half from the year prior. Sales through the end of September this year were down another 28%, according to Kelley Blue Book.

If the imposing, sharp-angled, dystopian appearance of the Cybertruck weren’t enough to turn many potential buyers away, Musk did so himself by allying with a panoply of right-wing figures, most notably U.S. President Donald Trump. He alienated some customers as his image morphed from eccentric innovator to polarizing force trading his billions for political influence.

Once-passionate Tesla drivers rushed to sell off their cars, or slapped stickers on the bumper declaring, “I bought this before Elon went crazy.” Organizers staged demonstrations outside Tesla showrooms and urged investors to dump shares of the company’s stock. Anger spilled into violence, with Molotov cocktails hurled at Tesla vehicles, charging stations set ablaze, and dealerships covered in graffiti.

Lovers of the Cybertruck became targets, too, subjected to shouts of “Nazi!” and extended middle fingers.

Ross Blankenship is one of them. When he first laid eyes on the Cybertruck, he felt transported to a world from his childhood, when he would play “Halo,” the sci-fi video game. He had to have it.

“I had that sort of child in me wanting to be part of something cool that would change the future of automotive,” Blankenship said in a call from his Cybertruck as he drove through Sunnyside, Colorado. Even as Blankenship found he agreed with Musk on politics, he hated seeing a vehicle he loved turned into a political symbol. “I never bought it for any other reason than the fascination with the future technology of trucks … so that was a little heartbreaking.”

He would buy another Cybertruck again in a heartbeat, calling its end “a sad moment.”

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