HOW DID YOUR team form? After ten years as a realtor for a top firm in Houston, Kim Perdomo established a boutique brokerage in 2011. The team grew organically and joined forces with Compass in 2019.
What is the relationship within the team? We have a very special relationship as a team. A lot of us have been friends for many years prior to working together in real estate. With that brings a camaraderie and loyalty to one another that is truly remarkable. We all work together to help everyone succeed, and that is a huge benefit to our clients.
What makes you unique? Our Brand Promise:
Maintaining Lifelong Relationships With Our Clients
Helping Our Clients Make the Right Move
How do you bring this promise to life? We specialize in presenting our listings to the market to achieve the best results. Our personalized, hands-on service includes coordinating staging services, repairs, inspections and through distinctive marketing we attract the largest group of buyers. A few metrics we use to define best results include sales price, contract terms offered, days on market and list price to sales price ratios. Since we are with our clients throughout the entire process, our business relationships typically evolve into true friendships. We have done this successfully in a seller’s market and buyer’s market. As a team, we have 140 years of experience. We have seen it all.
What’s the secret to your success? Integrity. Doing what we say we are going to do and putting our clients’ needs above ours.
What’s next for the end of the year and 2023? We just returned from our top producer awards trip in Alys Beach, Fla., and we are beginning to set goals and prioritize on how we can continue to raise the bar as individuals and as a team. We are currently working with clients to help them evaluate their real estate needs and monitoring the luxury market while communicating exclusive listing opportunities to our buyer clients and fellow agents. Our team expertise and the Compass advantage provides the ultimate results for our clients.
AFTER A TWO-YEAR hiatus, the Best Cellars wine dinner, benefiting the Martell Foundation, returned to the Hotel ZaZa in the Museum District.
Nearly 200 guests raised a glass (or several) to cancer research, and also enjoyed a delicious meal prepared by some of the city's finest chefs. Chef Chairman Mark Cox rounded up talent including BCN's Luis Roger, Le Jardinier's Alain Verzeroli and Felipe Botero, and Musaafer's Mayank Istwal to create plates that paired beautifully with rare fine wines from the cellars of local collectors.
The event, chaired by Franelle Rogers, included an exciting live auction as well as an afterparty with a performance by Texas-country singer-songwriter George Birge.
Tracy and Valerie Dieterich
Amalia and Brian Stanton
T.J. and Margaret Farnsworth
Anthony Zogheib and LeTricia Wilbanks
Cathy and David Herr
Mark Cox, Franelle Rogers and Robert Sakowitz
Chef Alain Verzeroli and Franelle Rogers
Lesha Elsenbrook, Caroline Kenney and Denise Monteleone
Dean Putterman, John Obsta and Ed Finger
Kimberly and James Bell
Fady Armanious and Bill Baldwin
Julia Gonzalez and Thor Egeli
Jim and Jane Brann and Laura and Jerry Kent
Jan and Robin Lindley
Jill and Christian Varas
Tabled So Curators Could Add ‘Perspectives’ Following George Floyd's Murder, this Poignant Show Is Up at MFAH
FOR THE AMERICAN artist Philip Guston, born Phillip Goldstein in 1913 to Jewish parents who fled the pogroms in the Ukraine for the relative safety of Canada and later settled in Los Angeles, abstraction was one of many visual languages he pulled from over the course of a lifetime of creating his intensely autobiographical, and often socially conscious art. That lifetime of work is beautifully presented in Philip Guston Now, which opened Sunday at Museum of Fine Arts, Houston, and is on view through Jan. 15, 2023. It’s the first retrospective of Guston’s work in more than 20 years.
As MFAH curator of modern and contemporary art Alison de Lima Greene explained at the show’s press preview, Philip Guston Now doesn’t have the feel of a historical show. Instead, it speaks very much to our current moment in time. As personal as many of Guston’s paintings are — with figures and iconography representing his beloved wife, the painter and poet Musa McKim — his formative experiences growing up as a Jew in Los Angeles, then a haven for the Ku Klux Klan, strongly influenced the subject matter and content he explored as a primarily self-taught artist.
Let’s back up a bit to June 2020, the year Philip Guston Now was originally scheduled to open at Washington, DC’s National Gallery of Art. After an initial delay due to the Covid-19 pandemic, as protests sparked by police brutality and the murder of George Floyd spread across the country, the four museums scheduled to show Philip Guston Now decided to postpone the exhibit in order to figure out, according to a press statement, how to include “additional perspectives and voices” so “the powerful message of social and racial justice that is at the center of Philip Guston’s work can be more clearly interpreted.”
Guston’s paintings of hooded, buffoonish Klansmen seemed to be the “trigger” here, along with the assumption that your typical museum-goer would be too dense to unpack the complexity underlying the art. Although the museums initially named 2024 as their target date, the exhibit opened at the Museum of Fine Arts, Boston on May 1, 2022.
'Mother and Child,' 1930, © Estate of Philip Guston, courtesy Hauser & Wirth
The Ladder, 1978, © Estate of Philip Guston, courtesy Hauser & Wirth
'Painting, Smoking, Eating,' 1973, © Estate of Philip Guston, courtesy Hauser & Wirth
It’s been worth the wait. Philip Guston Now introduces the viewer to Guston’s art chronologically, from his earliest paintings, such as the gorgeous “Mother and Child” from 1930, which is clearly inspired by both Michelangelo and the surreal, shadow-filled work of Giorgio de Chirico, to “The Ladder,” a comical, but heart-wrenching, painting completed in 1978. This one features a pair of elongated, blood-red legs with twisted soles for feet attempting to climb a ladder over a oceanic blue wall, where an arc-like shape, possibly representing Guston’s wife, awaits like a setting sun.
Given the seriousness of his subject matter, it may be surprising to discover Guston, unlike many of his contemporaries (think Mark Rothko), was blessed with a good sense of humor. Artists will immediately recognize themselves in “Painting, Smoking, Eating,” a self-portrait in which Guston, flat on his back and a plate of French fries resting on his chest, is happily smoking a cigarette as the piled-up clutter of his studio threatens to topple over and squish him.
It is possible the aforementioned delays, due to the pandemic and institutional hang-wringing regarding the imagery Guston used to confront our country’s still-virulent scourge of racism and anti-Semitism, gave the organizers and curators of Philip Guston Now time to create a stronger, deeper experience for those new to the man and his art. After taking in the last room of the exhibit, you will likely feel compelled to double back and revisit every painting and each chapter in the life of a remarkable American artist.
- MFAH Unveils New Displays for European Arts — Including Several ... ›
- Iconic 'Sugar Shack' Painting on View at MFAH Through the End of ... ›
- From Obama to Optical Illusions: Ambitious Spring Season Awaits at ... ›
- Sprawling New MFAH Show Illustrates the History of Transatlantic ... ›