modciti.dallas ed.15 march 22

e.15 ‘22

bo / / rnasammakluc, ko fy rmen,201cou 6 ret sydallascontemporary

LIGHTS

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// hok - trammell crow center - image: michael robinson photography

// laman residence photo: dror baldinger, aia architectural photography, mark menjivar photographer

BEN CRAWFORD

PRESIDENT AIA DALLAS

by Betsy Lewis

// groveland house - craig kuhner architectural photography // ben crawford | president aia dallas

As a high school student in Atlanta, Ben Crawford knew he was equally inclined toward art and math. He never imagined that he would one day rise to prominence in Texas architecture as both the design principal for HOK’s Dallas practice and the president of AIA Dallas, the sixth largest chapter of The American Institute of Architects.

Considering potential college majors and eventual professions, the teenaged Crawford noticed architecture’s primacy on the Venn diagram of his personal interests and

aptitudes: a little bit of math, a little bit of social talking, a little bit of art. He considers himself fortunate to have attended a college preparatory school, which informed what he wanted in a university: private, small, and intimate, with an undergraduate program in architecture. After briefly considering the Northeast, he decided four years of cold weather could not compete with Rice University and Houston. “But to be frank, I don’t know that I really leaned into architecture until I was already practicing. I was pretty good at it, but when I built something, the first time I had

// aldwick residence - charles davis smith faia architectural photography // trammell crow center - image: michael robinson photogråaphy

something that I had sketched and conceived that got built — that was when I fell in love with architecture.”

He started with HOK about 15 years ago, working in Houston. “They created this opportunity for me in Dallas to grow as a leader and help bolster our studio here,” says Crawford of the move that largely determined his future in the industry.

That leadership acceleration now benefits the larger

design community by way of Crawford’s current position as president of AIA Dallas. “A lot of what AIA exists to do is advocate for the transformative power of architecture and the ability of our clients to help the public solve problems,” he explains. “I’m fortunate enough to help carry that message.

A lot of that role is to be representative of the community of architects, work with committees, work with our chapter leadership to set goals for the year, and support the organization with my time and energy.”

// trammell crow center - image: michael robinson photography

// cobalt homes | nimmo architecture

// 16 vanguard way photo: thad reeves aia // trammell crow center - image: michael robinson photography

One of those goals is inclusion, he says. “From the standpoint of being president of our chapter, I see the range of opportunities our members are trying to create — for ALL people. At HOK, we have focused in the last five years on partnering with universities. For instance, we have a scholarship we sponsor with Prairie View A&M, which is our closest HBCU (historically Black college or university) with an architectural component. A lot of our other offices

do the same. Firms can provide windows of opportunity for young people to get engaged in the profession when they’re thinking about their career path, like I was as a kid. I would have loved to have had the opportunity to have architects reach out to me instead of my taking an aptitude test.”

Crawford has a specific vision of effective mentoring.

// cobalt homes | nimmo architecture // trammell crow center - image: michael robinson photography

bley sleeping craig kuhner architectural photography ////cobalt homes | house nimmo-architecture

// architect bentley tibbs photo: charles davis smith faia

Tour Museum Tower’s “Garden in the Sky” with owner, Kathy Nelson

// ooswouder residence - dror baldinger, aia architectural photography

// trammell crow center - image: michael robinson photography

He prioritizes guidance on resume preparation, portfolio building, and interviewing among the ways professionals can help prepare students for the workforce, adding, “I think that we can do a better job as a profession at broadening the net of places that we look for talent. That’s probably one of the biggest issues — the awareness that

a lot of these HBCUs and other universities are producing tremendous talent — women, people of all races — and ultimately, the talent pool should be grown. That’s what the profession can do. What we’re focused on as a chapter is helping our members do that.”

// aia dallas + adex

// 17 vanguard way - charles davis smith faia architectural photography // aia dallas + adex

When asked what personal advice he might give to high school students, or perhaps his younger self, Crawford encourages exploring cities. “When you’re in school it’s important to study broadly, to show a deep interest in the profession — study architects, study buildings. Take it upon yourself to self-guide if you need to. The second important thing, particularly in the academic environment, is to seek mentorship while you’re in school, because as soon as you get out, that’s one of the biggest things —

and sometimes the hardest thing — to find. More senior professionals or seasoned professionals can help provide you support. They can be sources of opportunities. They can be sources of guidance in terms of how you might shape your career path. Work hard. Be diligent. Do the things that you’re asked to do and more if you can…. But mentorship is the big one for me for that’s what the most successful architects get is talented people who help them realize their own abilities.”

Crawford experienced an epiphany of sorts as a young architect moving to New York for his first big job with I.M. Pei’s firm. While driving up from Atlanta the summer after graduating from Rice, Crawford and his father stopped in Washington D.C. to see the National Gallery’s dramatic Pei-designed expansion, the East Building. “It was beautiful and I fell in love with the precision,” reflects Crawford. “There was a cornerstone, an interior plaque on the inside, carved in stone with the names of the (architectural) team, but one name was smudged — it was I.M. Pei’s name. I realized that people coming into the building were touching his name where it was engraved! You could see the hands, and it told me everything about the power of architecture. As a young person, that helped open my eyes about the power of what we do and what we can achieve.” aiadallas

// image: courtesy ben crawford

a contemporary vision

by Kendall Morgan

// natalie wadlington, digging in the rain, 2021 oil on canvas 2 4 x2 4 inches, image courtesy of the artist and library street collective

// carolina alvarez-mathies mage i by roger gallegos. courtesy of dallas contemporary

Carolina Alvarez-Mathies takes the helm as Dallas Contemporary’s new executive director this spring.

Of all the museums in the city, the Dallas Contemporary is perhaps the one most willing to take chances. Under the stewardship of executive director Peter Doroshenko,

they’ve been known as much for splashy fashionfocused retrospectives from Jeremy Scott as they are for showcasing thought-provoking work such as the current immersive installation “For, In Your Tongue, I Cannot Fit,”

by Mumbai artist Shilpa Gupta. In other words, lay a foundation of challenging exhibitions, add on a lay-

// borna sammak, not yet titled (couch) 2018

er of pop culture glam and mix to taste—there will be something on the menu for every Dallasite.

Which makes the appointment of Carolina Alvarez-Mathies a visionary one for the Contemporary’s next iteration.

Because Alvarez-Mathies doesn’t come from a curatorial background—she got her start in fashion public relations before segueing into the art world—her focus will be on how connectivity can help strengthen the institutions of the 21st century.

“I’m really glad I started in fashion and then transitioned into art because it taught me a lot about how to cross industries and collaborate,” she explains. “I think when it comes to creative partnerships, we’re seeing more and more fashion houses collaborate with institutions. There is that big understanding that we need to cross-pollinate with other industries to keep expanding the network of visitors we have.”

“I consider that as one of my biggest achievements since joining—maintaining a healthy museum,” says Alvarez-Mathies. “I joined DC in late December, which was only three months before we had to close the museum for ten months. I had to hand it to my team—we initiated a robust digital program and kept the museum active through online engagement. The passion that the team had helped us stay resilient.”

// joseph havel, birdhouse 1, 2020 bronze 78x15x14” courtesy of the artist

Alvarez-Mathies did just that from the moment she landed at the Contemporary as deputy director in late 2019. From the start, she merged the museum’s communication and development departments. But, when the challenge of Covid-19 arose, she needed to add an accelerant to her plans. As the museum is free and relies wholly on donations and membership to survive, it was necessary to immediately discover new avenues to programming and revenue.

// joseph havel, photo aug 19, 5 47 46 am courtesy of the artist

As Alvarez-Mathies leveled up the Contemporary’s digital presence, she added a robust edge to its online retail sector. The museum’s website now offers limited edition prints, books, catalogs, and art objects for sale, along with more unexpected items such as ceramic plates by Francesco Clemente and a woven blanket from local designer Charles Smith II. For Alvarez-Mathies, this

mix of art and commerce is a natural one. Growing up in El Salvador, she came from a long line of entrepreneurs on both sides of her family.

“It inspired this drive and curiosity in me that made me want to do something in the creative field. On my mother’s side of the family, there was always this big emphasis on

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art and collecting, and I have always had this passion for culture and creative endeavors. My first artistic memory was attending the opera with my grandparents at four years old.”

// joseph havel, pessimist, 2021 cardboard and oil stick on wood 120 x 90 x 7 in, courtesy of the artist

Deciding to pursue a degree in business with a fashion focus, she landed on Texas Christian University, where many family members had attended in the past. Interning during the summers with bridal designer Angel Sanchez, Alvarez-Mathies was offered the job of his press director upon graduation.

Suddenly, she was learning everything from casting to building VIP relationships in her new role. After a stint as PR and marketing manager at Roller Rabbit, she segued into the art world, working as head of communications at New York’s El Museo del Barrio and as director of external affairs at Creative Time before she ultimately returned to Texas to join the Contemporary. The enthusiasm and support she

// joseph havel, photo nov 06, 9 13 21 am courtesy of the artist

discovered in Dallas audiences surprised her, reaffirming the adage that “everything is bigger in Texas.”

“The level of patronage is incredibly committed, it’s unparalleled to anything I’ve encountered in the past.

Texas institutions across the board are something I’m always astounded by. (Texans) are extremely civicminded from sports to cultural institutions—they ensure every institution has a lasting legacy.”

And the mélange of art, fashion, and design she mastered in New York works just as well in Dallas. Alvarez-Mathies roped in the venerable retailer Saks Fifth Avenue and local florist Nolan Kiser of Bottega de Flores (who crafted arrangements inspired by the artworks) to participate in last fall’s exhibits. This mix of established and new, indie and traditional, is a good harbinger for Alvarez-Mathies’ vision, which includes plenty of opportunities for the city’s young creative class to engage and contribute to the museum.

“One of the things we’d love to explore is how increase collaborations with Dallas makers. We recently had a book fair that brought in over 500 people to Dallas Contemporary and hosted around 18 different zine makers—it was this really fun and engaging day.”

What won’t change under her aegis is the world-class programming of the institution. As Alvarez-Mathies takes on her new role officially in May, she will lean heavily on many of the star curators the Contemporary has used in the past, adding more young and up-and-coming voices and established curators from around the world to the mix.

“My predecessor Peter has put Dallas Contemporary on the map over the last eleven years, and I’m looking forward to building on his vision with my own energy and youthful approach. We are a non-collecting

// joseph havel, high rise, 2020 bronze 109x25x29 courtesy of the artist

institution, and with that we have the ability to bring in innovative programming from a local to a global perspective.

“I have a beautiful vision of Dallas Contemporary as a welcoming place. It’s not enough that we’re free admission—there’s a big difference between being free and being welcoming. I want for the museum to be a meeting point where everyone feels they have a place in Dallas that supports them and provides inspiration and dialogue through art.” // borna sammak, powermad dude, 2015, television, rubber, drywall mounts, extension cords, power strip, video courtesy of the artist, jtt, new york, and sadie coles hq, london

The Dallas Contemporary will unveil four new exhibitions opening April 16: “Parrot Architecture” from Houston sculptor Joseph Havel; “Coming from the Earth” from self-taught Houston artist Lonnie Holley; “America, Nice Place” from New York-based sculptor Borna Sammak; and “Places that Grow,” the debut of Texan figurative artist Natalie Wadlington.

Dallas Contemporary

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FINE AFFAIR

// louis stern fine arts. doug ohlson (1936-2010) marker/the deep, 1986 acrylic on canvas 60x60 inches; 152.4x152.4 centimeters

by Kendall Morgan

// galeria curro, alejandro almanza pereda, the suit makes the man (l.i.), 2022 concrete and rebar jacket: 84 x 56.5 x 11cm pants: 75.5 x 45 x 11cm unique piece

Dallas Art Fair returns for the first full-scale event in three years.

Though the last few years have been challenging ones for local institutions and galleries, the light at the end of the tunnel is the influx of new residents in the city.

Where there are new residents, there are houses with vast walls waiting to be filled. And so, Dallas Art Month (and its highlight, the Art Fair) remerges in its full scope for the first time since 2019. Things may change, but art lives on.

Held April 21-24 at Fashion Industry Gallery, the weekend will showcase the work of 85 galleries (as opposed to last fall’s more curated 58 reduced gallery event).

And, this go-’round, the Fair will feature a heavy presence from Mexico City spaces to liven things up for 2022.

Says director Kelly Cornell, “We’ve got a lot more Mexican galleries coming this year—Curro, Proyecto H, Galería Mascota. The relationship is so natural between Mexico and Texas, but we’re excited that this is the first

// 12.26, keer tanchak rabbit, 2021 oil on aluminum 131/2 x 111/2 in

// drexel galeria, adrian guerrero construccion del morar v, 2022 acrylic 63 x 55in

year we’ve seen high interest. We’re also bringing in Studio IMA, which is more design oriented. We’re seeing more design objects coming through the Fair, and a lot of Mexican designers are going to be showing with these Mexican galleries, so that’s going to be interesting to see.”

Visitors will work through a work of art to enter the space, as Dutch abstract painter Jan van der Ploeg will adorn FIG’s entrance with site-specific graphic work.

But first, to kick things off, the Fair is making things a

// hales gallery, kay walking stick. shoshone country, 2019 oil on panel in two (2) parts 80x161.9cm (31 1/2 x 63 3/4in)

little more egalitarian with a free-for-all Design District Art Night Wednesday, April 20, from 6 to 8pm at River Bend. With food and festivities, visitors can explore 12.26, Peter Augustus, Cris Worley Fine Art, Conduit Gallery, Dallas Contemporary, Erin Cluley Gallery, Galleri Urbane, the Green Art Family Foundation, Holly Johnson, PDB, Site 131, and the new outpost of the New York space Keijsers Koning. In addition, the Karpidas Collection will have rare open hours starting at 5pm.

RSVP@dallasartfair.com.

The same night, The Power Station unveils Hadi Fallahpisheh’s “Young and Clueless,” from 6 to 9pm. The

Crow Museum will host a chat with Houston dream maker Joo Young Choi from 6 to 8pm for members, making it a rather frenetic beginning to an already jampacked weekend.

On Thursday, the traditional ticketholder soiree at FIG runs from 4 to 8pm, with a performance entitled “Where There are Mountains to Move” at 4pm from transdisciplinary artist Xavier Edward Carter. Known for his controversial nude reenactment of the myth of Sisyphus at Miami’s Satellite Art Show in 2021, Beck will continue to move the proverbial mountain up the hill in Henry C. Beck Jr. Park.

// keijsers koning, kaloki nyamai, untitled (yellow bather), 2021 acrylic and mixed media on canvas stitched 79 x 79 inches / 200 x 200cm

// jdj, heather guertin, tulip, 2022 oil on canvas 36 x 30 inches

Friday features Fair open hours and time to view the collection at the Rachovsky’s The Warehouse from 9am to 5pm. A cocktail reception and book signing for minimalist artist Josh Sperling will be held at the Joule Hotel that evening at 5pm. Visitors can pop by and see the brightest of Dallas in The Cedars Union at an open studio reception. The arts and technology organization Aurora caps things off at 8pm at Pegasus Plaza with a video and live music night, including work from Camel Collective, Sky Hopinka, Jeff Gibbons, and pieces from Ukrainian artists.

// susan inglett gallery, beverly semmes shinnecock pot #4, 2001 terracotta and paint 23 x 17in.dia.(bs0332) courtesy of susan inglett gallery, ny

And, finally, everyone’s favorite surreal gala—The Eye Ball—is back for party pass holders to close things out on Saturday at 7:30pm. Benefiting the Dallas Art Fair Foundation’s museum and student education initiative, the party is always a feast for the senses. Its irreverent themes have ranged in the past from a go-go ‘80s extravaganza to a Day of the Dead fiesta, so celebrants will have a well-needed excuse to get dressed up once again.

Dallas Art Fair

// purse building at 601 elm street

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Preservation Dallas

Achievements Awards by aH rdy aH berman

// continental gin building at 3309 elm street

In the 1970’s Dallas seemed intent on erasing its history.

Historic buildings were imploded on a regular basis and historic homes fell prey to the wrecking ball at an alarming rate. A small group of residents banded together to save the historic homes on Swiss Avenue that were in danger of demolition. The group called the Historic Preservation League (later to become Preservation Dallas) managed to cajole the City Council to adopt the Dallas Preservation Ordinance which was instrumental in saving and preserving many Dallas landmarks.

Today, fifty years later Preservation Dallas celebrates its anniversary with the presentation of the Preservation Achievement Awards. The award, now in it’s 23 year honors individuals, businesses, and organizations for their outstanding work to preserve Dallas’ historic places.

“Quite an accomplishment for a small scrappy organization born from the efforts to save Swiss Avenue in the 1970s”, said David Preziosi, executive director of the organization.

“We have come a long way since then and have raised

// music hall at fair park

the awareness of the importance of historic preservation to Dallas through our many innovative programs, events, and our advocacy work.”

The awards themselves are being held at a historic location on May 19, the ballroom of The National in downtown Dallas.

“The 1965 building is an incredible piece of New Formalist architecture with a sleek design by George Dahl and Thomas Stanley. The 52-story former First National Bank building sat vacant for nearly a decade with several developers attempting to make the massive project work”, said Preziosi.

“Thankfully Todd Interests was able to make it work and they sure did, with the largest preservation tax credit project in the state of Texas! The renovation of the building won a Preservation Achievement Award from Preservation Dallas in 2021.”

This year’s awards honor nine projects with everything from a caboose to a cotton gin building spanning from circa 1860 to 1936. These projects represent the best of local preservation work and recognize the owners incredible efforts to save these great historic places for the future.

CADDALLAS.ORG 2022 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 Valley House Gallery & Sculpture Garden

// gibson grant cabin in flower mound

This year’s winners are as follows:

keep an eye on the cargo and passengers from behind.

The Continental Gin Building in Deep Elum. The construction of the original Continental Gin Building was a spark that ignited the earliest boom in Deep Elum.Housing what was once the largest manufacturer of Cotton Gins in the country the building has been reimagined as an experiential office, retail, and neighborhood destination.

The main line of the railroad ran from Fort Worth through to Texline, where it connected with the rails of parent company Colorado and Southern Railway and then on to Denver.

The Gibson-Grant Historic Log House in Flower Mound.

The house was likely built by settlers who came to Texas as part of the Peters Colony, the earliest settlement in Denton County.

Fort Worth & Denver Caboose No. 93, circa 1914. This historic railcar used to shelter crew at the end of the train so they could help with the track’s switches, as well as

The house was remodeled many times, covering the original logs abut has since been restored to its earlier state and is preserved by the city of Flower Mound.

// highland park presbyterian church at 3821 university boulevard // rock, paper, scissors, shoot! - hdr architecture photo: charles davis smith photographer

// photo: shoot2sell

“fine mid century and modern design” New York 200 Lexington #1059 New York, NY 10016

Dallas 1216 N.Riverfront Blvd Dallas,TX75207

circa20c.com

// fw & d caboose at irving heritage park

Highland Park Presbyterian Church. The gothic style church building designed by architect Mark Lemmon (1889–1975) and erected in 1928. It serves as the home to the the Highland Park Presbyterian congregation and is a notable landmark in the Park Cities area of Dallas.

The Magdalen House on Gaston Avenue. A historic home built in 1910 has been restored and expanded to serve as home for the Magdalen House organization.

This mission of the organization is help women achieve sobriety and sustain recovery from alcoholism at no cost and based on 12-Step spiritual principles.

The Music Hall at Fair Park. The Spanish Baroque style building was built in 1925 to replace the aging Auditorium which now is the Women’s Museum building at Fair Park. It was updated in 1972 and 1999 but retains its historic character.

The Music Hall is on the National Register of historic places and serves as the home for the Dallas Summer Musicals.

The Purse Building on Elm Street. This 6-story Chicago Italianate style building was the first in Dallas to have an ornamental iron facade.

// magdalen house at 4513 gaston avenue

Restored to its former glory, exposing century-old pine wood floors, original brick walls, and floor-to-ceiling windows.

The renovation has introduced cutting-edge features, tailored to today’s business environment.

The Struck House in West Dallas. Built in 1884 by pub owner Heinrich Struck, became a gathering place for locals and because of its lovely hillside location.

A.J. and Michaella Ramler bought the historic house and renovated it and now planning to live there..

5028 Milam Street. Built in 1936 this house has been lovingly restored and maintains the character of its origins.

In addition, Preservation Dallas will give special recognition awards for contributions to preservation. This year’s recipients include: • Remembering Black Dallas, Inc. will receive the Dorothy Savage Award • Brown Mountain Art & Antique Restoration will receive the Craftsmanship Award

• Sparkman/Hillcrest Mausoleum & Memorial Park will receive the Stewardship Award • Connie Harris will receive the Spirit of Preservation Award • Hall of State will receive the Gail Thoma Paterson Award • Jack Drake will receive a Preservation Education Award • Alan Govenar’s “Give the World a Smile Each Day” documentary will receive a Preservation Education Award • Legacies Journal will receive a Preservation Education Award // struck house at 1923 north edgefield avenue

• Jim Foster/Pioneers of Dallas Facebook will receive a Preservation Education Award For more information on the 2022 Preservation Achievement Awards visit preservationdallas.org.

// 5028 milam street

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your modern

calendar

Modern events and activities make for fun around the Metroplex.

SHANE COEN Dallas Architecture Forum

WALKING TOURS Discover the Arts District + Fair Park Tram Tour Ad Ex

PRESERVATION DALLAS ACHIEVEMENT AWARDS - MAY 19 Preservation Dallas

VISUALIZING IDEAS OF EMANCIPATION 160 YEARS IN THE MAKING Amon Carter Museum of American Art

HARRY BERTOIA Nasher Sculpture Center

GUADALUPE ROSALES Dallas Museum Of Art

JOOYOUNG CHOI Crow Museum Of Asian Art

JILL MAGID The Modern Art Museum

modern

art galleries

Modern art, exhibits, around the Metroplex.

MICHAEL O’KEEFE Valley House Gallery

JILL MOSER Holly Johnson Gallery

SEDRICK HUCKABY Talley Dunn Gallery

JOHN-PAUL PHILIPPE + DAN RIZZIE Barry Whistler Gallery

ANGEL CABRALES The MAC

JOSE VILLALOBOS Liliana Bloch Gallery

RITUALS / BODIES / VESSELS Plush Gallery

BROOKS OLIVER + JOSHUA DODSON + TJ GRIFFIN RO2Art

THE BAUHAUS IN TEXAS PDNB Gallery