Best Of Modern In Dallas - edition.08 August 2021

e.8 ‘21

// oaxaca interests - 707 townhomes photo: robert tsai.

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THE NEW WEST

by Kendall Morgan

// all photo credits: robert tsai.

Developer Brent Jackson brings an artful approach to new residences in West Dallas.

Dallas developers may get a bit of a bad rep for their tendency to lean on cookie-cutter architecture. Still, for every Soviet-era box of apartments thrown up seemingly overnight, there’s a thoughtful developer like Brent Jackson. Influenced by everything from the art world to Marfa minimalism, he is transforming an industrial area near the Belmont Hotel into one of the best destinations for single-family homes in the city.

The founder of Oaxaca Interests, Jackson came to the real estate industry through a roundabout path. Raised in the Park Cities by parents who instilled “a love for exploration” in his childhood, the St. Mark’s School graduate headed to the University of Texas at Austin to study art.

While training as a painter, he earned a bachelor’s degree, but the industry’s uncertainty led him down a more traditional path.

“I did consider getting my MFA, but one of my professors

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I dearly loved didn’t get tenure, so as a result, I got sort of down about the prospect. I just tried to find a way to make a living, and at the time, real estate was pretty hot back in Dallas.”

Jackson ultimately earned his Master’s in business administration on the weekends while working at Swearingen Realty Group. Initially hired for a commission-only gig, he turned cold calls into a vice president title. Adept at negotiating land acquisition and long-term leases, a fortuitous connection with a fellow St. Mark’s graduate led him

to the next phase of his career.

“I was living in Kessler Park at the time and was working for Phil Montgomery (of real estate development P. O’B. Montgomery & Co.). He was a true Renaissance man who was on the boards of Texas Parks and Wildlife and the North Texas Tollway Association. Here was a man trying to help transportation, but he was also mindful of the ecology. He was really good at listening to the land.”

Jackson worked with Montgomery on the redistribution of

// interiors: kathryn nelson interior design

73 Albertson’s groceries in Texas and New Mexico.

Deciding it was time for the food desert of the nearby West Dallas to have its own organic grocer, Jackson purchased land in what ultimately became the Sylvan Thirty development, and Oaxaca Interests was founded in 2007. Although he originally planned to focus his company strictly on grocery and retail components, the neighborhood’s potential motivated the developer to expand his concept into single-family dwellings.

“(At the time) West Dallas was not too dissimilar from a lot of urban core markets throughout the southern U.S. where you have functionally obsolete industrial buildings that are being repurposed or torn down for multi-family dwellings. That was not happening yet, but you could see it was coming.”

Jackson already had a passion for what might be called “Texan modernism” after a 2001 road trip to Austin. The only hotel that would take his oversized traveling compan-

Get inspired.

// interiors: kathryn nelson interior design

ion—a bull mastiff named Bogie—was the boutique Hotel San Jose on South Congress. Enchanted by its minimalist vibe and bucolic central courtyard, the developer filed the architects’ names away for future reference. By the time he was ready to create Haciendas, there was no doubt he had to hire the San Antonio-based firm of Lake/Flato to craft his homes.

“From a design standpoint, the cultures I reference are Mexican culture, Texan culture, and Japanese culture.

You think of those three working together, and you have this harmony of colorful, bold and structured elements respectfully. I wanted an architect who got it, so I cold- called David Lake and asked if he could fly up on Southwest to San Antonio to meet with me, and the rest is history.”

The Haciendas’ decomposed granite exteriors and outdoor green space by Hocker Design Group made the development a success; phase one and two of the $550,000 to $650,000 buildings have already sold out. Phase three

// project: haciendas

// project: 707 townhomes

// interiors: kathryn nelson interior design

is currently in contract mode, but Jackson is just as excited about a different project on the docket—his new 707 Townhomes, also in West Dallas.

If the droves of Californians currently relocating to our state might feel comfortable in a Hacienda, 707’s dwellings will feel familiar to transplanted East Coasters. This time crafted by Dallas architects Far + Dang, 707’s soaring loft units are just a stroll from Sylvan Thirty.

// kpmg // centrum observatory – photo: mesa

“(The two developments) are in the same neighborhood, but they’re very different pockets,” Jackson says. “707 is more of an industrial district for a dual household income or single first-time homeowner who wants to invest in an area but also live close to where the action is within walking distance.”

As art spaces such as Erin Cluley Projects, the Tin District and Ex Ovo are neighbors of sorts, it comes as no

surprise that the local artistic community has deeply inspired 707. Each of the chic three-story homes will have an original artist line drawing created in the entryway. Residents and tourists alike can enjoy a street-facing mural from artist Michael McPheeters.

While networking with area gallerists, Jackson had another light bulb moment—a rotating outdoor sculpture garden co-curated by Sweet Pass Sculpture Park and 707’s HOA organization. Each year, they will select a new artist to create a site-specific artwork on the grounds of the townhomes. Debuting in September is a piece from Dallas-based Nival Parajuli, whose work highlights the phenomenon of migration, acculturation, and rituals.

This blend of craft and commerce may seem unique to Oaxaca, but for Jackson, it’s as natural as his passion for art coexisting with his acumen for business. // brent jackson courtesy of oaxaca interests

“My developments are basically paintings, and that’s how I look at them,” he says. “Yes, I’m a businessman, and I do things in effort for financial gains, but I also want that to be equally balanced in community interest and world-class design. We have a mantra as a company that I have personally: ‘ listen to the land.’ When you combine those things, you’ll start to see the genesis of our projects, and hopefully, that resonates with not only observers but future clients and the community.”

707townhomes.com oaxacallc.com

by Kendall Morgan

Brothers in Art

// girl holding orange calcite, 2020 acrylic on panel 14 x 11 inches

// the allegory of weed gummy and alcohol induced anxiety, 2021 acrylic on canvas 52 1/4 x 76 1/2 inches

Gallerist Kevin Rubén Jacobs and artist Francisco Moreno keep the creative flame alive in Dallas.

Although our city’s high-end galas and splashy museum shows may get the lion’s share of media coverage, it is the ambitious, scrappy, creative class that is the foundation on which the local art scene lives and thrives.

This is why alternative spaces are such a valuable re-

source—for example, the gallery formerly known as Oliver Francis. Opened in 2011 by then-college student Kevin Rubén Jacobs on industrial South Peak Street, the space blended highfalutin programming (its name was inspired by artists Oliver Rafferty and Francis Upritchard) with a punk rock, DIY ethos.

Friends with Francisco Moreno since they were undergrads in the painting program at the University of Texas

// pprubenz, 2020 acrylic on canvas 14 x 11 inches

August 28 - November 13, 2021

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150 MANUFACTURING STREET, STE. 203, DALLAS, TX 75207 | 214.969.1852 | WWW.PDNBGALLERY.COM

Image: Ready for Battle, 2019

Artist Gallery Talk: Saturday, September 18, 2021 at 2 PM

// seven days in america

Arlington, the artist was a natural choice for the debut of Oliver Francis. Entitled “Seven Days in America,” Moreno’s murals covered the gallery walls, an eye-popping but ultimately unpurchaseable body of work inspired by José Clemente Orozco.

“I was in Rhode Island at grad school (at the Rhode Island School of Design), and my advisor told me to see this mural at Dartmouth called ‘The Epic of American Civilization.’

When Kevin showed me his studio, I said, ‘Hey man, I

can do a show here.’ To be honest, I was 24, and I didn’t understand how the art world worked. I just knew what I liked to do, and I wanted to explore ideas.”

While also working day jobs at Goss-Michael Foundation (Jacobs) and the Rachofsky Collection (Moreno), they kept up their passion projects. Jacobs ultimately rebranded Oliver Francis to ofg.xxx before turning the space into a power lifting gym. Meanwhile, Moreno mounted ambitious one-of projects like the 2015 Soluna performance

// washington crossing the delaware project acrylic on panel, oil enamel on 1975 datsun 280 144” x 288” x 60” and 47” x 155” x 64.5” image: kevin todora

piece “Washington Crossing the Delaware Project,” featuring a “dazzle camouflage” mural inspired by Emanuel Gottlieb Leutze accompanied by a painted muscle car doing donuts in a Dallas warehouse.

Because their ambitions were going in different directions, Jacobs headed to Berlin, where he mounted the two-location gallery Pushkin & Gogol (since morphed into a thriving art handling/installation company). Meanwhile, Moreno got repped by Erin Cluley, who helped the Dallas Museum of Art acquire his “Chapel” installation.

Yet, there was a chapter of their shared story to be written. After a period of separation, upon Jacob’s return to Texas, the duo got close again. They even got matching demon tattoos designed by Moreno to solidify their bond.

So, when it was time for Jacobs to find a new living space, the stars aligned to bring back the collaboration that began their careers in the first place.

“I was moving out of my dingy apartment in Old East Dallas and looking for a new space, and Francisco overheard someone talking about an available studio,” Jacobs recalls. “When I heard it used to be the Reading Room, I

// michael kenna, fifth avenue, new york, new york, USA, 2006 // chapel, 2016-2018 image: kevin todora

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New York 200 Lexington #1059 New York, NY 10016

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// chapel, 2016-2018 image: wade griffith

was sad (that is closed). But I also loved that space, so I ended up taking the lease.”

Giving the name a French twist for its second incarnation, Jacobs unveiled Oliver Francoise Galerie earlier this summer in the enchanting ivy-covered building on Parry Avenue in Fair Park. And, of course, there was no question that his first show had to be by Francisco Moreno, and it had to be all about demons.

“I told him I wasn’t going to show anything that didn’t have a demon in it,” laughs Jacobs. “It was a serious joke. He had been making these demons over the past few years and evolving these characters, starting with this (six-byfour-foot) allegory painting—his most ambitious painting to date. At the time, it was during the Trump presidency, and there was a lot of vilification of minorities. We talked // paolo roversi - audrey, paris 1996 about several different routes he could take with this work and how it relates to being a Latinx or Latino person and using symbolic historical imagery to dissect that.”

// installation view

Inspired by everything from Pieter Bruegel the Elder, Holbein the Elder, Raphael, and Paolo Uccello, Moreno’s subjects also had a more personal representation.

“There were a lot of things in my life I was not happy about, and they were manifesting in the demons,” he says. “Then I began to think about symbols and stories and the way we interpret our problems in life. Over time in the history

of art, we’ve used these things to communicate ideas and our struggles and fears and shadow selves. Maybe it’s the luxury of being an artist. I get to be in my head all the time, and I found there’s a lot of self-work I had to do.”

Moreno emerged from his studio with five works of varying sizes. The menacing yet adorable creatures portrayed serve as an allegory of his former struggles. By literally ex-

// three amigos, 2019 acrylic on panel 9 x 12 inches

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// installation view

orcising his demons on the canvas, he not only came out the other side a happier person, but he also provided the ideal launch for his friend’s ambitious slate of programming.

Next up, Jacobs is premiering work by local multi-media artist River Shell, followed by shows from Iranian artist Morehshin Allahyari. Because he’s approaching his role as a gallery owner from an older and wiser standpoint, selling the work is perhaps more critical than in the days of OFG 1.0.But don’t expect him to sell out any time soon.

“Running an art business is where I didn’t know what I was doing, but I felt compelled to do something,” he recalls. “But in general, I’m not really interested in being a full-fledged capitalist or being into profit for profit’s sake.

I just want to keep doing interesting things, and I want to establish a program that’s respected and challenging, and representative of the work. I want there to be an investigation or some sort of unsettling feeling (in my shows)—to me, that’s a valuable experience.”

As he grows his oeuvre, Moreno shares a similar philosophy.

“I’ve always had a ‘Field of Dreams’ mentality— if you build it, they will come, and I think Kevin has a similar experience. I think it’s because we came out (in the art world) from this totally philosophical perspective. He has a philosophy degree, and I was obsessed with painting.

Working with Kevin now, it almost feels like an academic space. Of course, things are for sale, but it feels more like a museum show than what a commercial gallery (would do). I’m driven to push those boundaries, and I think he has a similar feeling.”

“Francisco Moreno: Demons” is on view through Sept. 4, Saturdays from 1 to 4 p.m. and by appointment, 3715 Parry Ave., Dallas. for more information, visit ofg.xxx.

// portrait of an artist, 2019 acrylic on panel 12 x 9 inches

MODERN SPACES

5006 Shadywood Lane // $6,400,000 FAISAL HALUM c: 214.240.2575 fhalum@briggsfreeman.com

312 Mathey Court // $574,000 JEFF MITCHELL c. 214.478.8009 jeffrey.mitchell@compass.com

2011 Cedar Springs Rd #606 // $2,980,000 DAVID GRIFFIN c. 214.458.7663 davidg@davidgriffin.com

3713 Commerce St // $500,000 LORI ERICSSON c: 214.235.3452 lericsson@davidgriffin.com

CANSTRUCTION CREATIVITY

by J. Bowden

// charcander dlr group photo: charles davis smith photographer

Andy Warhol’s first collection of paintings debuted at the Ferus gallery in 1962, and the art world and the general public found themselves in rare agreement that the show was a joke. Each canvas depicted, of all things, Campbell’s soup cans. Why? Why depict something any person could see on a trip to the grocery store? Warhol had grown up, like so many post-war Americans, with Campbell’s as a lunchtime staple. Whether it was tomato, chicken noodle, or pepper pot it was a reliable and welcome source of nourishment- if not made by hand, at least served with love and concern.

mod.artists gallery

carol ordemann | blending in, on watercolor paper-mixed media 18 x 18 in

// kong crushes hunger - stantec photo: charles davis smith photographer

It’s hard to see virtue in the humble and familiar, but it only takes a little imagination. E.G. Hamilton understood that when he was designing NorthPark Center. He worked closely with Ray and Patsy Nasher on each aspect of the design, and though the budget was limited to brick and concrete Hamilton made the most of it by giving the building a series of unique spaces and levels rather than a streamlined corridor. The result is an intimate, serene space that doesn’t overwhelm and doesn’t repeat, as well

as an elegant environment for the Nasher’s art collection, and an annual design competition.

Canstruction brings together teams from A/E/C firms, that’s architectural, engineering, and construction, and challenges each to create a structure out of canned food.

The designs typically dictate which kinds of canned food,

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// monopoly // dallas arts mandistrict - bge inc walking photo: tours charles davis smith photographer

the colors of the labels naturally being vitally important to creating the look, are used, but their ultimate purpose is the same. Each structure, once a winner has been selected, is dismantled and donated to the North Texas Food Bank. Over one million cans have been donated since

Canstruction began. One dollar donations are also taken to place a vote for which design takes home the best in show.

Ask any team, it’s nice to win, but it’s also nice to know that no matter what the outcome of the votes that

// rock, paper, scissors, shoot! - hdr architecture photo: charles davis smith photographer

// kong crushes hunger - stantec photo: charles davis smith photographer

// “rock’em sock’em hunger” - muckleroy & falls photos: charles davis smith photographer

everything, from, in this year’s case, each Infinity Stone to Batman’s ears will go to someone in need. Every year gives us something different from Canstruction, this year superheroes are making a strong showing, and in the end every year makes a difference to people in need. This year’s entries are on display until September 12 at NorthPark Center, along with a Warhol or two. make a donation: nftb.org/canstruction

// chessboard - brown reynolds watford architects photos: charles davis smith photographer

CADDALLAS.ORG 2020 MEMBERS 500X Gallery Carneal Simmons Contemporary Art Conduit Gallery Craighead Green Gallery Cris Worley Fine Arts Erin Cluley Gallery Galleri Urbane Marfa+Dallas Holly Johnson Gallery Kirk Hopper Fine Art PDNB Gallery RO2 Art Talley Dunn Gallery Valley House Gallery & Sculpture Garden

modern

cravings // torii sofa, the metal structure of the legs of the seats and tables is nendo’s nod to the image of the “torii,” the entrance gate to shinto shrines. in Japan available. smink

// pisa tables, these functional yet highly expressive sculptural tables by rick lee. available. thayer coggin

// wave bowl, inspired by the movement of waves in the ocean, designed by alvaro uribe. available. nambe

your modern

calendar

Modern events and activities make for fun around the Metroplex.

WALKING TOURS Discover the Arts District + Explore the Main Street District Ad Ex

CANSTRUCTION North Texas Food Bank at NorthPark Center

TOGETHER The MACt

THE BOOK SMUGGLERS Dallas Holocaust and Human Rights Museum

NASHER PUBLIC - LINDA RIDGEWAY Nasher Sculpture Center

JEAN-MICHEL BASQUIAT: “SAM F” Dallas Museum Of Art

SEAN SCULLY Modern Art Museum of Fort Worth

KANA HARADA Crow Collection

modern

art galleries

Modern art, exhibits, around the Metroplex.

ALEXANDRE HOGUE Kirk Hopper Fine Art

JEANINE MICHNA-BALES PDNB Gallery

LLOYD BROWN + AMY WERNTZ Valley House Gallery

HOT DAMN Conduit Gallery

MISTY KEASLER + IN SEQUENCE Holly Johnson Gallery

MICHAEL BERMAN + JEFFREY CORTLAND JONES Galleri Urbane

BILLY HASSELL + SOOMIN JUNG + KEVIN MCNAMEE-TWEED Conduit Gallery

TIMOTHY HARDING Cris Worley Fine Arts

VERNON FISHER Talley Dunn Gallery