Cite 12, guest edited by Bruce C. Webb, considers a range of questions that explore the intellectual basis for the arts in Houston. Feature article, "The Arts in Houston," introduces the theme:
"As part of Cite's survey of the intellectual basis for the arts in Houston, we asked six prominent artists and critics to reflect upon the common ground which the city provides in the thinking of architects, visual/environmental/performing artists, and writers. Recently, attention has been focused upon both Houston's role in the national art scene with The Museum of Fine Arts's "Fresh Paint" exhibition, and its position as either a center of, or an anathema to, 'Texas writing," if such a thing even exists. A.C. Greene's article 'The Texas Literati: Whose Home Is This Range, Anyhow?" in the New York Times Book Review (15 September 1985) suggested that a full-scale battle was raging between Houston's (reputedly) effete, academic, urban-oriented writers and the grass-roots word-punchers of the Texas frontier myth from the rest of the state (mainly Austin). Cite decided to fan the flames with its own survey of opinions on what drives Houston's culture, inspires its artists, gives roots to its artistic production, and a regional distinction to its buildings. Among the questions which these diverse opinions address are the following.
Are there recognizable "schools" present in the culture of this city, either in the sense of a coherent regional outlook, a group or set of groups which meet regularly and share ideals and theories, or an academically based avante-garde "compound" with connections to national or international movements?
How does the character of Houston's environment, business outlook, or attitude toward public and private life affect the arts, artists, production of significant works of art, and consumption of those works?
Are any real "regional" factors present or consequential?
Has Houston indeed become an international or national cultural center with substantial influence outside its boundaries or the state of Texas?
How do the universities and the academic community influence the arts? Is the connection between the ivory tower and the urban village strong and vital enough? What kinds of forums for exchange of ideas are open to members of the artistic community in this city (in each discipline)? Should there be more?
What are the mechanisms and organs of criticism and intellectual reflection available to both the public and the artist in Houston? Are they strong enough and in sufficient number to make a difference?
What, finally, are the most important elements which make Houston architecture, painting, photography, performance, fiction, poetry and journalism distinctive, which gives these arts a claim to national or international attention?
V. Nia Dorian-Bechnel; Stephen Fox; John Heile; Mark Hewitt; John Kaliski; Ben Nicholson; Laura Nicholson; Jan O'Brien; Jeffrey Kari Ochsner; Malcolm Quamrill; Paul Schieffer; William Taylor; Drexel Turner; Bruce C. Webb; and Peter Wood.