PATRON's 2021 August | September Issue

P AUG/SEPT 2021

ART & DESIGN ISSUE

ART & DESIGN ISSUE

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Patron Spread: August / September 2021

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Freeman Sotheby’s RHODES , Compass

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SUSAN BALDWIN , Allie Beth Allman and Assoc.

FAISAL HALUM , Briggs Freeman Sotheby’s

EMILY RAY-PORTER , Dave Perry-Miller Real Estate

DORIS JACOBS , Allie Beth Allman and Assoc.

SUSAN MARCUS , Briggs Freeman Sotheby’s

MICHELLE WOOD , Compass

AMY DET WILER , Compass

JOAN ELEA ZER , Briggs Freeman Sotheby’s

EMILY PRICE CARRIGAN , Emily Price Carrigan Properties

BACK ROW: CHAD BARRET T, Allie Beth Allman and Assoc.

RALPH RANDALL , Briggs Freeman Sotheby’s

KYLE CREWS , Allie Beth Allman and Assoc.

STEWART LEE , Dave Perry-Miller Real Estate

PENNY RIVENBARK PAT TON , Ebby Halliday Realtors

MADELINE JOBST, Briggs

FRANK PURCELL , Allie Beth Allman and

BECKY FREY, Compass

JONATHAN ROSEN , Compass

ERIN MATHEWS , Allie Beth Allman and Assoc.

MARK CAIN , Compass

BURTON

TOM HUGHES , Compass

RYAN STREIFF, Dave Perry-Miller Real Estate

EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

August / September 2021

TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com Instagram terri_provencal and patronmag

Interior designer Mil Bodron and art advisor Michael Thomas personify combined perfection in the best of ways. Working in unison for many years, every detail is looked after for their cultivated clientele. Our cover home, owned

by Kim and Jeff Chapman, is no exception, with its beautifully appointed contemporary furnishings in serene symbiosis with Nancy Rubins’ Drawing, a large-scale graphite work on rag paper that interacts with the natural light, reflecting shades of outdoor green and the colors of sunset. The arresting outdoor sculpture by Alicja Kwade adds dimension. Nancy Cohen Israel takes us inside in Right Angles.

Next, we discover the award-winning residential architecture of Bernbaum/ Magadini Architects, helmed by Bruce Bernbaum and Tricy Magadini. In Situ offers a stunning recap of some of their most interesting work.

The arts regeneration season is here, teeming with the performing arts performing (at last!) and major exhibitions mounting at our area museums alongside focused shows awaiting discovery, like the assemblage work and the artist’s preliminary sketchbooks to be featured in Betye Saar: Call and Response, coming to the Nasher Sculpture Center from LACMA and featured in Furthermore. Now’s your chance to catch up on last year’s closures and then some.

A longtime admirer of Sean Scully’s work, the opportunity to meet him through an extended FaceTime call was this summer’s highlight for me. He’s amiable and generous of spirit, and his work extends well beyond the beguiling geometries he’s known for. There’s a story unfolding behind each, and he loves to share these histories. The Irish-born, London-raised American artist’s contributions to abstraction are immeasurable. The Modern Art Museum of Fort Worth presents examples of the breadth of his work over the course of five decades in Sean Scully: The Shape of Ideas, a sweeping retrospective organized by the Philadelphia Museum of Art. In Fired Up we meet Mexico City–born Bosco Sodi. Anna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art, interviews the artist, who is currently based in New York and Oaxaca, regarding his show La fuerza del destino, opening September 14 and featuring 30 spherical clay sculptures, scars and all.

Fair Trade brings the research-based practice of Emma Stibbon to the fore; see her work at BASTIAN during the Dallas Art Fair this fall. TWO x TWO for AIDS and Art returns this October. With enthusiasm, Dr. Agustín Arteaga, DMA’s Eugene McDermott Director, and Kevin Robert Frost, amfAR’s chief executive officer, share the years-long impact of the fundraiser in Artful Activism. Kelly Cornell catches up with Los Angeles painter Andy Woll, whose work is on view in Double Vision, presented by Night Gallery at Park House. And Tonic for the Times takes in 30 Americans, a touring exhibition from the Rubell Museum featuring the work and distinct voices of prominent Black artists like Kara Walker, Kehinde Wiley, Jean-Michel Basquiat, and Carrie Mae Weems. Steve Carter highlights.

In Space, Building Momentum highlights Mary Anne Smiley Design + Build, and we meet the founders of Ever Atelier, a textile, wallcovering, and art studio from the combined minds of Sarah English and Ashley Leftwich.

In keeping with our design coverage, Haute Seat, photographed by Luis Martinez with creative direction by Elaine Raffel, shares the divinest of chairs.

Coming back from the hinterlands of isolation, fall’s stylish looks shown here will get you back in fête shape. See you soon.

– Terri Provencal

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Dallas Decorative Design Center, 1617 Hi Line Drive, Suite 415, Dallas, TX 75207 Dallas 11639 Emerald Street, Suite 100, Dallas, TX 75229 Austin 1000 E 50th St, Suite B, Austin, TX 78751 Houston 4006 Richmond Avenue, Houston, TX 77027

CONTENTS 1

FEATURES 56 RIGHT ANGLES Mil Bodron and Michael E. Thomas work in concert to create balance and symmetry to a home and art collection. By Nancy Cohen Israel 58 IN SITU Thoughtfully designed homes by Bernbaum/Magadini Architects harmonize with the surrounding lot through artful architecture.

By Peggy Levinson 64 THE SINCERE GEOMETRY OF SEAN SCULLY Sean Scully’s significant contributions to abstraction are shared through The Shape of Ideas at The Modern.

By Terri Provencal 72 FIRED UP Bosco Sodi: La fuerza del destino at the Dallas Museum of Art reveals the artist’s interest in the spiritual and emotive capacity of clay.

By Anna Katherine Brodbeck

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78 HAUTE SEAT Coveted chairs offer the perfect perch for fashion-philes.

Photography by Luis Martinez; Creative Direction by Elaine Raffel

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On the cover: Nancy Rubins (American, b. 1952), Drawing, 2010–2018, graphite pencil on rag paper; On center table: Liz Glynn (American, b. 1981), Untitled (Tumbleweed XVI), 2018, cast stainless steel; Sculpt 513 sectional sofa, David Weeks Studio, New York in Brunswick from Holland & Sherry, Dallas; custom, hand-knotted Mohair rug, The Rug Company, Dallas; Moving Mountains Design Studio Puffer chairs, Colony, New York; Platner lounge chair Knoll, Dallas; Minotti Raymond coffee tables, Smink, Dallas; Colouring Table, concrete and aluminum, OS AND OOS, Netherlands; Casa Casati Mirage 50 side table, BeDesign, Houston; painting detail, Ivan Morley (American, b. 1966), Fandango, 2019, thread and ink on canvas.

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CONTENTS 2

DEPARTMENTS 06 Editor’s Note 12 Contributors 22 Noted Top arts and culture chatter. By Kit Freeman Fair Trade 36 ARTIST AS WITNESS Emma Stibbon’s location-based research documents transforming environments.

Interview by Ross Thomas Openings 38 TONIC FOR THE TIMES Timely and timeless, 30 Americans, at the Arlington Museum of Art, features the work of 30 Black artists from the Rubell Museum.

By Steve Carter

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Contemporaries 42 ARTFUL ACTIVISM TWO x TWO for AIDS and Art funds contemporary acquisitions and exhibitions at the Dallas Museum of Art and critical AIDS research through amfAR. Interviews by Terri Provencal 44 HORSE OF A DIFFERENT COLOR Night Gallery presents Andy Woll’s Double Portrait, an exhibition of new paintings at Park House.

By Kelly Cornell Space 46 BUILDING MOMENTUM Venerated interior designer Mary Anne Smiley adds Build to her firm.

By Peggy Levinson 48 EVER MORE When a wallcovering, textile, and art studio combine, the result is anything but ordinary.

By Terri Provencal

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There 94 CAMERAS COVERING CULTURAL EVENTS Furthermore 96 CALL AND RESPONSE The working process of the Los Angeles artist Betye Saar is revealed at Nasher Sculpture Center.

By Chris Byrne

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CONTRIBUTORS

ANNA KATHERINE BRODBECK is the Dallas Museum of Art’s Hoffman Family Senior Curator of Contemporary Art. Previously, at Carnegie Museum of Art, she was associate curator for a retrospective of Brazilian artist Hélio Oiticica co-organized with the Art Institute of Chicago and the Whitney Museum.

Her PhD from the Institute of Fine Arts, New York University in studies of modern/ contemporary art focused on Latin America. In Fired Up she interviewed Mexico City–born Bosco Sodi.

KELLY CORNELL is the director of the Dallas Art Fair, joining shortly after graduating with a BFA from SMU in 2012. After assisting with the fair in all capacities, she earned the role of director in 2016. Kelly oversees relationships and operations for the fair, which has grown under her leadership to an internationally recognized event. For Patron she interviewed LA artist Andy Woll, whose Double Image is on view at Park House.

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CHRIS BYRNE is the author of The Original Print (Guild Publishing) and the graphic novel The Magician (Marquand Books), included in the Rare Book & Manuscript Library, Columbia University; Rare Book/Special Collections Division, Library of Congress; Ryerson and Burnham Archives, The Art Institute of Chicago; Thomas J. Watson Library; and The Metropolitan Museum of Art. He is co-authoring the “Best Of” Frank Johnson’s comics for Fantagraphics with Keith Mayerson and is the former chair of the American Visionary Art Museum.

PEGGY LEVINSON loves all things design and architecture, which makes her especially fitting to profile interior design projects and the art of architecture. In this issue she investigates the work of Mary Anne Smiley, who recently added “Build” to her firm’s name, and Bruce Bernbaum and Patricia Magadini, whose architectural work demonstrates artful expression and attention to detail.

STEVE CARTER recently spent quality time at the Arlington Museum of Art, poring over its summer exhibition, 30 Americans before interviewing AMA executive director Chris Hightower and board member Veronica SpencerAustin. The exhibit, 50-plus works by 30 emerging and established Black artists, is an unqualified winner.

“It’s a pretty amazing show,” Carter says.

“Diverse, challenging, sometimes disquieting, and incredibly relevant.

Put this on your calendar.”

LUIS MARTINEZ is a Kim Dawson model/actor discovery from San Antonio, now based in Dallas, who is equally adept as a fashion/beauty photographer and videographer. In Haute Seat, Luis captured the design theme of the issue, highlighting six chairs representing premium brands within Dallas Design District showrooms. Coupled with fashion, the photo spread offers the best seat in the house.

LAUREN CHRISTENSEN has over two decades of experience in advertising and marketing. As a principal with L+S Creative Group, she consults with a wide variety of nonprofit organizations and businesses in many sectors, including retail, real estate, and hospitality. Lauren is a Dallas native and a graduate of SMU with a BA in advertising. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

NANCY COHEN ISRAEL is Dallas-based writer, art historian, and educator at the Meadows Museum.

Always impressed with the abundance of beautiful local private collections, Nancy enjoyed writing about the home of Kim and Jeff Chapman for the current issue. As a regular contributor to Patron, she eagerly looks forward to September and the arrival of an exciting, new, and in-person arts season.

ELAINE RAFFEL blames her obsession with designer fashion, opulent jewels, and design on her years as creative head for the crème de la crème of retail: Neiman Marcus, Bergdorf Goodman, and Stanley Korshak. A regular contributor to Patron, in Haute Seat, fall fashion meets high design through her creative direction and styling and collaborative work with photographer Luis Martinez.

JOHN SMITH flexes his degree in architecture to photograph homes of distinction by the best in the trade. In Right Angles, John captured the home and art collection of Kim and Jeff Chapman designed by Mil Bodron with art advisory by Michael E. Thomas, who seamlessly contribute to each other’s passion for sophisticated design in concert with fine art to bring about artistic splendor.

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER Anthony Falcon EDITORIAL ASSISTANT/PUBLISHING COORDINATOR Kit Freeman COPY EDITOR Sophia Dembling PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Anna Katherine Brodbeck Chris Byrne Steve Carter Kelly Cornell Nancy Cohen Israel Peggy Levinson CONTRIBUTING PHOTOGRAPHERS Holger Obenhaus Karen Almond Tamytha Cameron Andre Pascual Danny Piassick Kim Leeson John Smith Joan Marcus Makota Takemura Luis Martinez Laterras Whitfield Dana McCurdy STYLISTS/ASSISTANTS Elaine Raffel LB Rosser Akila Whitaker ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS amazon.com/patronmagazine One year $36/6 issues, two years $48/12 issues For international subscriptions add $15 for postage For subscription inquiries email info@patronmagazine.com SOCIAL @patronmag

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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2021, Patron.

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PAINTING | DRAWING | PRINTS | PASTELS

SEAN SCULLY T H E S H A PE OF I DE AS

Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 www.themodern.org

Through October 10 Sean Scully: The Shape of Ideas was organized by the Philadelphia Museum of Art. Pictured: Landline Pink, 2013 (detail). Oil on linen. 47 x 42 inches. Collection of the Artist.

Image courtesy of the artist. Photographer: Cristoph Knoch. © Sean Scully

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Benefiting THE DALLAS MUSEUM OF ART amfAR, THE FOUNDATION FOR AIDS RESEARCH SATURDAY, OCTOBER 23, 2021

TWO x TWO for AIDS and Art 2021

THE RACHOFSKY HOUSE DALLAS, TEXAS 2021 Honored Artist YOSHITOMO NARA TWO x TWO Hosts CINDY and HOWARD RACHOFSKY LISA and JOHN RUNYON Presenting Sponsor

On Saturday, October 23rd, amfAR, The Foundation for AIDS Research and the Dallas Museum of Art will present the 22nd annual TWO x TWO for AIDS and Art gala at The Rachofsky House in Dallas. Thanks to your phenomenal support, this annual benefit dinner and art auction has raised over $93 million in support of amfAR’s AIDS research initiatives and the DMA’s contemporary art acquisition program.

NANCY C. ROGERS amfAR Co-Chairs of the Board T. RYAN GREENAWALT KEVIN MCCLATCHY

For more information about Yoshitomo Nara or TWO x TWO 2021, please visit twoxtwo.org.

DMA Eugene McDermott Director AGUSTÍN ARTEAGA TWO x TWO Director MELISSA IRELAND

image copyright Yoshitomo Nara courtesy Blum & Poe and Pace Gallery

THANK YOU TO OUR 2021 CORPORATE PARTNERS ActivePure Technologies ART 2 Catering Bank of America Private Bank Belvedere Cadillac Chubb Personal Insurance Displays Fine Art Services Dominion Harbor DROESE PR Eataly Dallas Gold Crown Valet Headington Companies IMA|Waldman Kessaku Sushi & Sake Lounge Moët Hennessy USA Monarch Neiman Marcus Park House Patron Magazine Regiis Ova Caviar RH Rosewood Mansion on Turtle Creek Sotheby’s Tequila Casa Dragones The Cultured Cup The Joule Hotel Todd Events Unified Fine Arts Whitewall Magazine

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Canvas & Silk

HISTORIC FASHION FROM MADRID’S MUSEO DEL TRAJE September 19, 2021 – January 9, 2022

MEADOWS MUSEUM • SMU meadowsmuseumdallas.org

This exhibition has been organized by the Meadows Museum, SMU, Dallas, and the Museo del Traje, Centro de Investigación del Patrimonio Etnológico, Madrid, Spain, and is funded by a generous gift from The Meadows Foundation.

Left: Ignacio Zuloaga y Zabaleta (Spanish, 1870–1945), The Bullfighter “El Segovianito,” 1912 (detail). Oil on canvas. 78 3/4 x 42 3/4 in. (200 x 108.6 cm). Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.71.08. Photo by Kevin Todora. Right: Traje de luces (Bullfighter’s Costume), 1876–1900 (detail). Silk, linen, cotton, and silver metal. Museo del Traje, Madrid. ©Museo del Traje Centro de Investigación del Patrimonio Etnológico, Madrid, Spain; chaquetilla CE005407–09. Photo by Jesús Madriñán.

NOTED 07

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01 AFRICAN AMERICAN MUSEUM Men of Change: Power. Triumph. Truth continues through Sep. 12. Men of Change highlights revolutionary men—including Muhammad Ali, James Baldwin, Ta-Nehisi Coates, W.E.B. Du Bois and Kendrick Lamar—whose journeys have altered the history and culture of the country. Participating artists include Nina Chanel Abney, Derrick Adams, Robert Pruitt, Tariku Shiferaw and Devan Shimoyama. Becoming, featuring artist Valerie Gillespie, is on view through Sep. 25. Image: Robert Pruitt (b. 1975), (Ta-Nehisi Coates) Monumental, 2018. Courtesy of the artist and Koplin Del Rio, Seattle.

Photograph by Adam Reich. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART The Amon Carter mounts three exhibitions that span time and the globe this fall. Mount Superior, which features the watercolor landscape artist Thomas Moran, opens Aug. 28 and continues through Dec. 12. Anila Quayyum Agha: A Beautiful Despair, which opens Sep. 25, is an immersive contemporary exhibition that displays the work of multidisciplinary artist Anila Quayyum Agha.

Imagined Realism: Scott and Stuart Gentling opens concurrently. Both exhibitions continue through Jan.. 9, 2022. Image: Anila Quayyum Agha (b. 1965), Black Tinted Flower, 2020, mixed media on paper (paper cutout, pastels, encaustic, silver embroidery). Image courtesy of the artist and Talley Dunn Gallery. cartermuseum.org 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM Iron Men: The Artistry of Iron in Samurai Armor remains on view until further notice. The exhibition explores and acknowledges the vital role of iron in Japanese warrior technology and culture from the 4th century to the end of the samurai era in the 19th century. ironmensamurai.com 04 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS Divine Spark: Kana Harada remains on view through Sep. 5 and features new works created during the global pandemic that embody the artist’s wishes for a peaceful and bright future for all. Harada expresses the light that can be found in the dark and continues to push sculpture, foam, and acrylic and watercolor painting to new heights in her practice. Image: Kana Harada, Home Sweet Home, 2020, lampshade paper and mixed media. 13 x 14.25 x 14.25 in. Courtesy of the artist. Photograph by Makoto Takemura. crowmuseum.org 22

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THE LATEST CULTURAL NEWS COVERING ALL ASPECTS OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW PERFORMANCES, GALLERY OPENINGS, AND MORE.

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05 DALLAS CONTEMPORARY Dallas Contemporary’s fall season is chock-full, with four major solo presentations: Peter Halley, Cell Grids; Ilya and Emilia Kabakov, Paintings about Painting; and Renata Morales’ self-titled show are all curated by Peter Doroshenko. Shilpa Gupta For, In Your Tongue, I Cannot Fit: 100 Jailed Poets is organized by assistant curator Emily Edwards. All four exhibitions, opening Sep. 25, are comprised of multiple mediums and continue through Feb. 13, 2022. Image: Ilya and Emilia kabakov, the six paintings about the temporary loss of eyesight archive number 814 (they are painting the boat), 2015, oil on canvas.

Courtesy of the artists and Dallas Contemporary. dallascontemporary.org 06 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM The Book Smugglers remains on view through the new year. The exhibition captures history through artifacts and reproductions, including paintings, drawings, photographs, and poetry. The Color of Memory: Art by Two Daughters of the Holocaust also remains on view as part of the museum’s special exhibitions series. dhhrm.org 07 DALLAS MUSEUM OF ART The DMA will present five exhibitions for the fall season: Focus On: Henry Ossawa Tanner is currently on view; Slip Zone: A New Look in Postwar Abstraction in the Americas and East Asia opens Sep. 14 and continues through Jul. 10, 2022, along with Bosco Sodi: La fuerza del destino. Point, Line, Plane: The William B. Jordan and Robert Dean Brownlee Bequest mounts Sep. 26 and continues through Jan. 9, 2022, as does Naudline Pierre: What Could has not Yet Appeared, which is on view through May 15, 2022. A recently acquired painting, Sam F.

by Jean-Michel Basquiat, remains on view in the main concourse through Feb. 22, 2022. Image: Jean-Michel Basquiat, Sam F, 1985, oil on door. Dallas Museum of Art, gift of Samuel N. and Helga A. Feldman, 2019. © Estate of Jean-Michel Basquiat, licensed by Artestar, New York. dma.org 08 GEOMETRIC MADI MUSEUM On view at the MADI Museum is the sixth biennial group exhibition comprising 32 works by various artists. This is the first museum to focus on MADI art, which is always non-representational, hardedged and comes out of the frame. geometricmadimuseum.org 09 KIMBELL MUSEUM Buddha, Shiva, Lotus, Dragon: The Mr. and Mrs. John D. Rockefeller 3rd

NEW ON VIEW Sam F Jean-Michel Basquiat Come see the first work of art by Jean-Michel Basquiat to enter the Dallas Museum of Art’s collection.

See it FREE through February 2022!

(Included with free general admission)

Visit dma.org for tickets and more.

Sam F is organized by the Dallas Museum of Art. The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the National Endowment for the Arts, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

LOCAL SUPPORT

Jean-Michel Basquiat, Sam F, 1985, oil on door, Dallas Museum of Art, gift of Samuel N. and Helga A. Feldman, 2019.31, © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

NOTED: GALLERIES

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Collection at Asia Society is on view through Sep. 5. This exhibition presents the extraordinary range of sculptures, bronzes, ceramics, and metalwork that John D. Rockefeller 3rd (1906–1978) and his wife, Blanchette Hooker Rockefeller (1909–1992), thoughtfully assembled between the 1940s and the 1970s. Kimbell offers its first-ever virtual tour and showcases a selection of African, Ancient American, Asian, and European paintings and sculptures installed together in the iconic Louis I. Kahn Building. kimbellart.org 10 LATINO CULTURAL CENTER Por Maricon remains on view through Aug. 28. The exhibition examines the violence of strict gender roles and the impacts of masculinity. On Sep. 16, Nuestro Oak Cliff will open and remain on view through Oct. The exhibition, an ode to the neighborhood of Oak Cliff, illustrates the city’s transition throughout history. lcc.dallasculture.org 11 THE MAC The MAC’s annual membership exhibition, Together, is on view through Sep. 4. From Sep. 11 through Oct. 16, The MAC will show the Cedars Union cohort exhibition. the-mac.org 12 MEADOWS MUSEUM Meadows Museum continues to provide a host of online and digital seminars as well as social events. The museum will present two exhibitions opening Sep. 19: Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje which will for the first time pair works in the Meadows collection with representative examples of the historic dress depicted to shed new light on the relationship between representation and reality, between image and artifact; and Image & Identity: Mexican Fashion in the Modern Period. Curated by the museum’s Center for Spain in America (CSA) Curatorial Fellow Akemi Luisa Herráez Vossbrink. Both remain on view through Jan. 9, 2022. meadowsmuseumdallas.org 13 MODERN ART MUSEUM OF FORT WORTH The monumental survey Sean Scully: The Shape of Ideas continues through Oct. 11. Opening Sep. 5, Flora and Bust, both 2017, join the Modern’s permanent collection. The works, made by Teresa Hubbard and Alexander Birchler, weave feminism and history together with a bust and a video installation. Flora is based on Hubbard/Birchler’s discoveries about the unknown American artist Flora Mayo, with whom the Swiss sculptor Alberto Giacometti had a love affair in Paris in the 1920s. Bust is inspired by a photograph of Mayo and Giacometti flanking a portrait bust she made of him. The work expands the formal and conceptual layers of Hubbard/Birchler’s storytelling. Flora and Bust remain on view through Jan. 2, 2022.

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04 themodern.org 14 MUSEUM OF BIBLICAL ART Line Upon Line: Jorge Cocco’s Sacrocubist Images of Christ remains of view along with Simon Waranch: From Earth to Light, which investigates the young artist’s exploration in glass sculpture. biblicalarts.org 15 NASHER SCULPTURE CENTER The Nasher will host a traveling exhibition from the Los Angeles County Museum of Art (LACMA), Betye Saar: Call and Response.

The exhibition, which opens Sep. 25 and will remain on view through Jan. 2, 2022, explores the relationship between Saar’s sketchbooks and her finished works. The exhibition spans the artist’s career and questions gender, spirituality, and race. Nasher Mixtape is also on view through Sep. 26. nashersculpturecenter.org 15 NATIONAL COWGIRL MUSEUM Twelve Mighty Orphans–Behind the Scenes: Laura Wilson, featuring photography and props from the new film by Sony Pictures Classic, remains on view through Aug. 8 in the Anne W. Marion Gallery.

Wilson’s son Luke Wilson starts in the film. cowgirl.net 16 PEROT MUSEUM OF NATURE AND SCIENCE On view in the Lyda Hill Gems and Minerals Hall, Nature’s Art and Beauty: The Minerals of China, through Sep. 6. Witness the abundant mineral resources of China in this special exhibition featuring over 70 specimens from various geographical regions of the country. The Science of Guinness World Records is also on view through Sep. 6. Thursdays on Tap, the adults-only event where grownups get exclusive access to the museum and can dine from local food trucks, continues through Oct. perotmuseum.org.

17 SIXTH FLOOR MUSEUM The Sixth Floor Museum’s John F. Kennedy and the Memory of a Nation examines the life, legacy, and assassination of JFK within the events of November 22, 1963, and their aftermath. The multimedia experience advocates for cross-generational dialogue to foster interest and understanding in a historical context. jfk.org 18 TYLER MUSEUM OF ART From First And Last Lines, To The River Ouse: Works By Linda Ridgway is on view until Aug. 29. The exhibition features recent works by Linda Ridgway–with a lot of work done throughout the course of the pandemic–alongside select pieces from her career. Image: Linda Ridgway. Photograph courtesy of Tyler Museum. tylermuseum.org

2 5 T H

A N N I V E R S A R Y

David Dike Fine Art

FALL TEXAS ART AUCTION DAVID DIKE FINE ART WILL HOST THE 25TH ANNIVERSARY

Texas Art Auction on Saturday, October 30. The sale will be Ben L. Culwell, (Am. 1918-1992), Job II, No. 62-2, oil and mixed media on masonite 34 x 48 ¼, signed on all four corners: BLC, estimate: $30,000 - $40,000

a live auction and will feature over 400 lots of early Texas Art ranging from traditional to contemporary works. Highlights include works by Ben Culwell, Everett Spruce, Dorothy Hood, Frank Reaugh and Jose Arpa.

You may preview anytime between October 11 through October 29, Monday – Friday, at Wildman Art Framing located in the Design District at 1715 Market Center Blvd., Dallas, TX 75207.

This exciting sale will be hosted live by auctioneer, Louis Murad TXS 13362. There will be In-Person Bidding, Live

Edmund Daniel Kinzinger, (Am. 1888-1963), Beach Ball, 1934, oil on canvas 26 x 39, signed lower right: EDK 34, estimate: $15,000 - $20,000

On-line Bidding, Phone and Absentee Bidding. Visit our website for details or call us.

AUCTION DATE: Saturday, October 30th

Bidding to begin at 10:30 AM, CST

PREVIEW: October 11 – October 29 AUCTION AND PREVIEW LOCATION:

Wildman Art Framing, 1715 Market Center Blvd, Dallas, TX 75207 Live In-Person Bidding, Live On-Line Bidding, Phone and Absentee www.daviddike.com AUCTIONEER: Louis Murad – TXS 13362

Everett Spruce, (Am. 1908-2002), The Lost Boat, 1943, oil on masonite 29 1/2 x 35 1/2, signed lower left: E. Spruce, estimate: $40,000 - $60,000

DAVID DIKE FINE ART

•

2613 FAIRMOUNT ST, DALLAS, TX 75201

•

214-720-4044

•

WWW.DAVIDDIKE.COM

•

INFO@DAVIDDIKE.COM

NOTED: PERFORMING ARTS

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01 AMPHIBIAN STAGE PRODUCTIONS Odes for a World in Search of Joy is currently streaming, as is This is My Story. Cyrano, a masterly new adaptation of Cyrano de Bergerac, screens Aug. 25 and 28. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Inspired by the experimental nature of the Elevator Project, The Great 30, titled for its 30 movements, presented by Bombshell Dance Project, embraces the entirety of the AT&T Performing Arts Center campus, Aug. 12–15. A Lily Among Thorns, presented by Das Blümelein Project, takes place Sep. 2–4. Verdigris Ensemble’s National Anthems is onstage at the Winspear Sep. 9–11, followed by kadAcit–Once Upon a Time, Sep 10–11, performed by Tejas Dance in Strauss Square. Bridges: Sisters of Salem, presented by Flexible Grey Theatre Company, mounts Sep. 16–18. Image: Tejas Dance presents kadAcit–Once Upon A Time. Photograph by Kim Leeson. attpac.org 03 BASS PERFORMANCE HALL Jubilee Theatre, in partnership with Performing Arts Fort Worth, proudly presents Southern Boys: Sons of Sharecroppers, written by Kathy D. Harrison. It comes to Bass Performance Hall for live, in-person performances Jul. 29–Aug. 15, with streaming shows continuing through Aug. 29. Final Fantasy IV Remake, presented by Fort Worth Symphony Orchestra, will be performed Aug. 27–28. Also presented

by FWSO is Bugs Bunny at the Symphony 30th anniversary edition by Warner Bros. Sep. 3–5, followed by Pulling Back the Curtain: Sibelius, Dvorak, and Brian Raphael Nabors Sep. 17–19. basshall.com 04 CASA MANANA The 2021 Apprentice Program’s hard work will culminate in a stage production of Bonnie & Clyde, the notorious story of two bank robber lovers. Directed by Jeremy Dumont, performances take place Aug. 6–8. Enjoy a night of soul in the Reid Cabaret Theatre with You Send Me–Sam Cooke Sep. 14–15. casamanana.org 05 DALLAS BLACK DANCE THEATRE Forty Years Forward: A Retrospective of Dallas Black Dance Theater, a touring exhibition, can be seen across the city of Dallas through Sep. 30. dbdt.com 06 DALLAS CHILDREN’S THEATER Written and directed by Bruce R. Coleman, Andi Boi, presented

by Teen Scene Players, is available online for streaming. The Raven Society, a play on the poem by Edgar Allen Poe, is also available online. dct.org 07 THE DALLAS OPERA Mainstage performances will resume in early 2022. dallasopera.org 26

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10 08 DALLAS SUMMER MUSICALS Broadway sensation Wicked will be on the stage at the Music Hall at Fair Park Aug. 3–Sep. 5. Image: Allison Bailey and Talia Suskauer in the North American Tour of Wicked. Photograph by Joan Marcus. dallassummermusicals.org 09 DALLAS SYMPHONY ORCHESTRA The Summer Wine Down Celebrity Chefs Dinner brings a fantastic feast Aug. 27. The Symphony of Flavors Grand Tasting will be the following day at noon. Sep. 3–5, bring toda la familia to the awardwinning Coco–Live In Concert. Aida Cuevas: Queen of Mariachi will be performed the second weekend of the month, Sep. 10–12, with Jeff Tyzik conducting. Copland & Brahms, conducted by Fabio Luisi and inspired by the poems of Walt Whitman, is Sep. 16–19. Luisi will also conduct Aus Italien Sep. 23 and 26. On Sep. 25, the DSO Gala returns with Fabio Luisi conducting Richard Strauss’ Don Juan alongside guest violinist Anne-Sophie Mutter, who will perform new work composed for her by John Williams. mydso.com 10 DALLAS THEATER CENTER DTC paired up with SMU Meadows School of the Arts, Ignite/ Arts Dallas, and the AT&T Performing Arts Center to produce a filmed version of the original theatrical production A Little Less Lonely. Performed by 60 Dallas community participants, the filmed production will be released Aug. 10. Public Works Dallas: As You Like It, in collaboration with SMU Meadows and AT&T Performing Arts Center, is onstage at Wyly Theatre, August 16–18, 2019. Tiny Beautiful Things, based on the book Tiny Beautiful Things: Advice on Love and Life from Dear Sugar by Cheryl Strayed, will premiere Sep. 8– Oct. 16. Cake Ladies will also open Sep. 8 and is written specifically to welcome audience members back into the theater. Image: As You Like It cast. Photograph by Karen Almond. dallastheatercenter.org 11 DALLAS WIND SYMPHONY The Dallas Wind Symphony will begin its fall season in Oct. Until then, the curtains remain closed. dallaswinds.org 12 EISEMANN CENTER Middletown will run Aug. 18–Sep. 5. The King Lives, starring Kraig Parker with the Royal Tribute Band, will be on stage Aug 28. Shen Yu 2021 will be in Dallas Sep. 4 and 5. eisemanncenter.com 13 KITCHEN DOG THEATER The Kitchen Dog Theater will remain dark until later this year. kitchendogtheater.org 14 MAJESTIC THEATRE The Majestic Theater will reopen its doors with Bely y Beto on Sep.

FA B I O L U I S I | M U S I C D I R E C T O R

On Sale Now! dallassymphony.org

17 24, and on Sep. 28 with Friends! The Musical Parody. majestic.dallasculture.org

Fabio Luisi Opens the Classical Season September 16-19, 2021

15 TACA TACA (The Arts Community Alliance) will host a TACA Resiliency Workshop that focuses on goal setting and stronger relationships. “The Comeback Collection” workshop series is hosted by TACA and facilitated by TRG Arts. The workshop will talk through ways of de-siloing departments in the arts community. TACA is also participating on North Texas Giving Day on Sep. 23. taca-arts.org 16 TEXAS BALLET THEATER Texas Ballet Theater will begin its fall season with The Nutcracker later this year. texasballettheater.org 17 TITAS TITAS/DANCE UNBOUND’S 2021:22 Determined/ Grateful season opens with Alice by MOMIX live onstage Sep. 17–18 at the Winspear Opera House. Image: MOMIX, Alice.

Courtesy of TITAS/Dance Unbound. titas.org

A Gala Evening with Anne-Sophie Mutter September 25, 2021

Chris Botti in Concert

with the Dallas Symphony Orchestra

October 8-10, 2021

Dallas Symphony Christmas Pops Returns

18 TURTLE CREEK CHORALE Songs of Strength and Survival, an ensemble showcase, reminds the audience of the importance of music and the intimacy chorale music can carry. The showcase will take place at Cathedral of Hope Aug. 29. turtlecreekchorale.com 19 UNDERMAIN THEATRE Stronger than Arms (live and streaming) by Danielle Georgiou and Justin Locklear will have its opening night Sep. 18. The new adaptation of Aeschylus’ Ancient Greek tragedy Seven Against Thebes explores the mixtures of family, fear, and strength. undermain.org 20 UPTOWN PLAYERS Uptown Players is proud to present the hilarious musical When Pigs Fly! Jul. 9–25. Winner of three Tony Awards, including Best Musical and Best Original Score, and a finalist for the 2014 Pulitzer Prize for Drama, Fun Home, a play based on Alison Bechdel’s graphic novel, will be on stage Aug. 20–29. A Very Sordid Wedding will run Sep. 24–Oct. 3. uptownplayers.org 21 WATERTOWER THEATRE “Finding Your Space” Masterclass ends Aug. 2. Lorraine Hansberry’s Tony Award-winning drama A Raisin in the Sun will be performed live and online Sep. 1–2. The show is directed by Natalie King. watertowertheatre.org

December 3-5 & 9-12, 2021

An Evening with Renee Elise Goldsberry March 11-13, 2022

Large scale works with full orchestra, the triumphant return of the DSO chorus, international award-winning guest artists, movies-in-concert, and our unique selection of one-of-a-kind concerts are waiting for you at the Meyerson. Join us this season for the very best in Classical, Jazz, Broadway, Film and Holiday music – we can’t wait to see you!

POPS SERIES PRESENTED BY

The DSO is supported in part by funds from the Office of Arts and Culture, City of Dallas.

AUGUST / SEPTEMBER 2021

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NOTED: GALLERIES

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01 12.26 12.26 is a contemporary art gallery that focuses on emerging and mid-career artists. On Sep. 11, the gallery will open Amy’s World, a solo show for Los Angeles–based artist Amy Bessone, continuing through Oct. 30. gallery1226.com 02 500X Anything is fair game when it comes to Hot and Sweaty, an annual non-curated open show. The exhibition opens Aug. 28 and will be on view through Sep. 18. Sep. 15 brings Expo 2021, continuing through Oct. 16. 500x.org 03 ALAN BARNES FINE ART Alan Barnes Fine Art belongs to a group of British fine art collectors, dealers, conservators, and researchers. The gallery aspires to bring European art to Dallas-based collectors. alanbarnesfineart.com 04 AND NOW Recently relocated, the gallery represents artists of note, including Phillip John Velasco Gabriel, David Flaugher, Oshay Green, Leslie Martinez, Eli Ping, Michelle Rawlings, Maximilian Schubert. andnow.biz 05 ARTSPACEIII The 8th Annual Texas Juried Exhibition is on view through Aug. 28, curated by Caleb Bell from the Tyler Museum of Art. He has chosen 46 works for this year’s exhibition and created a Spotify playlist designed around the works. Work by Jules Buck Jones will be on view Sep. 11 through Oct. 23. artspace111.com 06 BARRY WHISTLER GALLERY Barry Whistler Gallery presents Terrell James, Painting From Here, Sep. 18–Oct. 30. The exhibition will consist of large-format paintings spanning the last decade. barrywhistlergallery.com 07 BIVINS GALLERY Through Sep. 1, Moody’s Celebrations in Color is on view at Bivins Gallery. Harry Moody’s abstract paintings explore the natural form as well as color and visual perception. He draws inspiration from German professors of art whose work came about in the ’70s and ’80s. Image: Harry Moody, Abstract (Green), 2019, 60 x 48 in. bivinsgallery.com 08 BLIND ALLEY GALLERY An exhibition by artist and author Yafei Li, Geomegalomechannibalism, remains on view through Sep. 3. blindalleyprojects.com 28

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07 09 CADD/CADD SPACE CADD SPACE @ SieMatic presents Back to the garden, a group exhibition recognizing the pandemic’s bearing on art practices.

Curated by Terri Provencal, editor-in-chief of Patron, the show includes artists represented by CADD member galleries, through Aug. caddallas.org.

10 CHRISTOPHER MARTIN GALLERY Celebrating 26 years, the gallery presents the reverse-glass paintings of American artist Christopher Martin; the Rodeo series of Dallasbased photographer Steve Wrubel; the color-field paintings of New York–based painter Jeff Muhs; the acclaimed work of Dutch image maker Isabelle Van Zeijl; the acrylic constructions of Dallas artist Jean Paul Khabbaz; the large-format paintings of Dallasbased painter Tom Hoitsma; the abstract work of California-based painter Chris Hayman; and the organic paintings of Atlanta artist Liz Barber; as well as the work of rotating artists in the recently expanded gallery. christophermartingallery.com 11 CONDUIT GALLERY Conduit Gallery will host three artists for its fall season: Billy Hassell and Soomin Jung and, in the Project Room, Kevin McNamee-Tweed. Their work is on view Aug. 28–Oct. 3. Image: Soomin Jung, Untitled, 2021, graphite and color pencil on paper, 36 x 36. conduitgallery.com 12 CRAIGHEAD GREEN New Texas Talent XXVIII remains on view through Aug. 21, Opening Aug. 28, exhibitions for Thom Jackson, Jay Maggio, and Toni Swarthout will be on view in the gallery through Oct 2. craigheadgreen.com 13 CRIS WORLEY FINE ARTS Anna Elise Johnson, Earthworks–West Texas, and Steven Charles, Clearing in the Forest continue through Aug. 14. Aug. 28–Oct. 3, Cris Worley Fine Arts presents a solo show for Fort Worth–based artist Timothy Harding. The artist’s works are vibrant in color and made of multiple layers of patterns on canvas that are then manipulated and stapled to their frames. Image: Timothy Harding, Adjustment II, 2020, acrylic on canvas, 48 x 36 in. crisworley.com 14 DADA The Dallas Art Dealers Association is an affiliation of established independent gallery owners and nonprofit art organizations. dallasartdealers.org

16 15 DALLAS ART FAIR PROJECTS Dallas Art Fair will continue events later this year.

16 DAVID DIKE FINE ART Save the date for David Dike Fine Art's 25th Texas Art Auction on Oct. 30, beginning at 10:30 a.m. with preview days Oct. 11– 29, both at Wildman Art Framing. The live auction will feature over 400 lots of early Texas art. Highlights include works by Ben Culwell, Everett Spruce, Dorothy Hood, Frank Reaugh, and Jose Arpa. This fall sale will be hosted live by auctioneer Louis Murad of Murad Auctioneers and include in-person bidding, live online bidding, and phone and absentee bidding.

Image: Everett Spruce (Am. 1908–2002), The Lost Boat, 1943 oil on masonite 29.5 x 35.5 in., signed lower left: E. Spruce, estimate $40,000–$60,000. daviddike.com 17 ERIN CLULEY GALLERY Through August 21, Summer 2021 features work by Kalee Appleton, Sara Cardona, Gary Goldberg, Ryan Goolsby, Riley Holloway, Robert Horvath, Hidenori Ishii, Marilyn Jolly, Rachel Livedalen, Catherine MacMahon, Nic Mathis, Anna Membrino, Jackie Milad, Will Murchison, Nic Nicosia, Madelyn Sneed-Grays, Kevin Todora, René Treviño, and Zeke Williams. Margaret Evangeline, Yellow Rooms Make Her Cry opens Aug. 28. And at Cluley Projects, work by Antonio Turok and Ivonne Acero will be on view Aug. 27–Sep. 25. Image: Will Murchison, One of Many. Photograph by Kevin Todora.

Courtesy of Will Murchison and Erin Cluley Gallery. erincluley.com 18 EX OVO Ex ovo is a contemporary art exhibition space and features artists’ books in the newly named Tin District. Located on Fabrication Street, the gallery looks to present and feature local emerging Texas-based artists. exovoprojects.com 19 FWADA FWADA will host Fall Gallery Night on Sep. 11. Fort Worth Art Dealers Association funds and hosts exhibitions of noteworthy art. fwada.com

THE RESIDENT EXPERT

214.520.8300

ERINHOME.COM

ERIN@ERINHOME.COM

20 GALLERI URBANE Galleri Urbane will participate in the Intersect Aspen art fair Aug. 1–5, with works by József Csató, Benjamin Terry, Sam Mack, and Anna Kunz. Through Aug. 14, Ripe: 9th Annual Summer Group Show will be on view. In Sep. a solo show for

AUGUST / SEPTEMBER 2021

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NOTED: GALLERIES K ittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 75244 n 972.239.7957

DAN ALEXANDER “Violet Blastomusa”

17 Michael Berman will be on view in Gallery One, and in Gallery Two, a solo show for Jeffrey Cortland Jones will also mount. galleriurbane.com 21 HOLLY JOHNSON GALLERY Holly Johnson Gallery welcomes Misty Keasler and her exhibition of works, Sancturary Dispatches, from Aug. 28–Nov. 13. The reflective images in the exhibition are a poignant recollection of grief, longing, solitude, and family. A reception for the artist will be held on Aug. 28. Image: Misty Keasler, Quiet Moment, 2020, archival digital print, 30 x 30 in. hollyjohnsongallery.com 22 KIRK HOPPER FINE ART On view through Sep. 4 is a group exhibition featuring artists Alejandro Diaz, Sergio Garcia, Dan Lam, Floyd Newsum, Don Redman, Wes Sherman, Noriko Shinohara, Erin Stafford, Emmi Whitehorse, and Ann Wood. Opening Sep. 11, a collector’s exhibition for Alexandre Hogue will be on view. kirkhopperfineart.com 23 KITTRELL RIFFKIND ART GLASS GALLERY Celebrating its 31st anniversary, Kittrell Riffkind presents One of a Kind on Sep. 25. The exhibit consists of special work created for the show by over 50 of the gallery’s favorite artists from over the years. The exhibit will continue through the end of the month of Oct. kittrellriffkind.com 24 KRISTY STUBBS GALLERY Scott Caroll: Wall Sculpture is on view through Aug. 20. In his work, Scott Carroll aims to juxtapose a careful balance of powerful, symmetrical compositions with the open space that surrounds the art, such as a gallery space. stubbsgallery.com 25 LAURA RATHE FINE ART Laura Rathe Fine Art presents a solo exhibition, Hunt Slonem, opening Aug. 28 with an artist recedption. The New York– based artist is an American painter, sculptor, and printmaker well-known for his Neo-Expressionist works featuring butterflies, bunnies, and birds. laurarathe.com

Offering Dallas’ finest selection of art glass!

kittrellriffkind.com 30

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26 LILIANA BLOCH GALLERY Liliana Bloch Gallery will present two exhibitions to round out their fall season: artist Alicia Henry will exhibit Sep. 4– Oct. 2 and a show for Ann Glazer opens Sep. 9. Image: Nomin

Think

Art

SOUTHWEST GALLERY 4500 Sigma Rd. Dallas 972.960.8935

W W W. S W G A L L E R Y. C O M

Fine Ar t  Sculpture Custom Framing  Ar t Glass

NOTED: GALLERIES

11 Bold Pupa, 2019, hand-made woven masks, cotton, plastic, paper, sizes variable. lilianablochgallery.com 27 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries offers paintings, sculpture, and limited-edition graphics from artists of note from the 20th and 21st centuries. This fall the gallery will resume in-person art openings for contemporary artists like Robert Deyber, Liudmila Kondakova, Kerry Hallam, and others. martinlawrence.com 28 OLIVIER FRANÇOIS GALERIE Francisco Moreno, Demons continues through Aug. River Shell, Something Beautiful mounts in Sep. at this ivy-covered gallery founded by Kevin Rubèn Jacobs in Expo Park. ofg.xxx 29 P.A.O. PROJECTS New to the Dallas art scene, P.A.O. Projects will end its summer season with the gallery’s second show, featuring abstract works by emerging Japanese artist Joji Nakamura through Aug. 28. This fall, the gallery will present the surreal world of Amsterdam-based Japanese artist Hiroaki Onuma from Sep. 18–Oct. 30. paoprojects.com 30 POLLOCK GALLERY SMU Pollock Gallery will begin its fall with the exhibition The Arts of Oppression, which centers on the unheard voices behind the walls of the justice system. The show will run Sep. 4–Oct. 30. smu.edu/Meadows/AreasOfStudy/Art/PollockGallery 31 PHOTOGRAPHS DO NOT BEND PDNB presents Jeanine Michna-Bales and the exhibition Standing Together: Photographs of Inez Milholland’s Final Campaign for Woman’s Suffrage Aug. 28–Nov. 13. The artist reception and book signing will take place opening day. pdnbgallery.com 32 RO2 ART At Ro2, visitors can view the exhibition Epherma(lity), which features the works of Tad Greenwald and Eli Ruhala. The exhibition will run Aug. 7–Sep. 4. Ray-Mel Cornelius, Atmospheres, will be on view Sep. 11–Oct. 9. Ro2 Art’s website offers updated exhibit information for The Cedars and downtown gallery location. ro2art.com 33 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings. roughtongalleries.com 32

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34 SAMUEL LYNNE GALLERIES Tyler Shields remains on view at the main gallery location and at Thomas Dallas hotel downtown. samuellynne.com 35 SITE131 Site131 presents Fresh Faces from the Rachofsky Collection, a collective exhibition that includes almost 30 works from 2006 and onward. The show will be on view Sep. 18–Dec. 18. site131.com 36 SMINK New Work by Robert Szot opens Sep. 10 through Oct. 22.

With this collection of new work, the California-based artist pushes depth of field with his vibrant mixed-media work. These abstract exercises are yet another example of Szot’s mastery of his process, without compromising an artistic sense of adventure. sminkinc.com 37 SOUTHWEST GALLERY Southwest Gallery will celebrate its Annual Summer Art Festival Aug. 14–15, with artists from the roster creating work on-site both days. swgallery.com 38 SWEETPASS SCULPTURE PARK For two weekends, Aug. 14–15 and Aug. 21–22, Sweet Pass will host a temporary puerta cerrada, a closed-door restaurant. Open in the evening on Saturday and on Sunday for breakfast, a clay tandoor and traditional smoker will be used. Opening Sep. 18 is Nearly Natural, curated by Nathaniel Hitchcock. The exhibit includes works by Andreas Angelidakis, Gabriel Cohen, Julien Creuzet, Ricardo Morales-Hernández, and Letha Wilson. The Sweet Pass Inaugural Fall Benefit, Sep. 25, will raise funds for the 2022 Park Programming and Alternative Sculpture School exhibition. sweetpasssculpture.com 39 TALLEY DUNN GALLERY Ori Gersht, Evaporation continues online through Aug. 28. Talley Dunn Gallery Equity in the Arts Fellowship Exhibition: Jer’Lisa Devezin, Nitashia Johnson, and Kevin Owens is on view through Aug. Image: Kevin Owens, Stock, 2021, charcoal and acrylic on panel, 16 x 20 in. talleydunn.com 40 THE POWER STATION Organized by Swim Club (SooMi Han and Gregory Ruppe), Factory Settings remains on view through Aug. 21. Paulo Pjota will mount a solo show this fall. powerstationdallas.com

Saturday, August 28th, 2021 Opening Reception 5-8pm

On View through October 2nd, 2021

Dallas Design District 1130 Dragon St, Dallas, TX 75207 laurarathe.com

AUGUST / SEPTEMBER 2021

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NOTED: GALLERIES PATRON presents the 4th Annual

CURATED at Decorative Center Dallas.

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41 VALLEY HOUSE GALLERY Through Aug. 21, Deborah Ballard: Can You Hear Me and Sean Cairns: Handler remains on view. Opening Aug. 28, exhibitions

by Lloyd Brown and Amy Werntz will remain on view through Oct. 2. valleyhouse.com 42 WAAS GALLERY WAAS Gallery is celebrating ten years in Sep. and will have an Oct. exhibition to kick off its fall season. waasgallery.com 43 WEBB GALLERY Mr. Splitfoot & The Ghost Notes remains on view through Sep. 5. webbartgallery.com

A tour of design showrooms amplified by art from local galleries and artists.

Showrooms: Abitare18 Eggersmann McGannon Ornare Porcelanosa SieMatic Dallas with Cosentino & Sub-Zero Thursday, September 9, 2021 5:30–8 P.M. RSVP: info@patronmagazine.com Photographs courtesy of the Metropolitan Museum of Art Open Access Program. In clockwise order: Wilhelm Trübner (German, Heidelberg 1851–1917 Karlsruhe), Rose Hedge, ca. 1909, 30 x 24.25 in., oil on canvas, Reisinger Fund, 1916; Gustav Klimt, Mäda Primavesi (1903–2000), 1912–13, oil on canvas, 59 x 43.5 in., Gift of André and Clara Mertens, in memory of her mother, Jenny Pulitzer Steiner, 1964; Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise), Roses, 1890, oil on canvas, 36 x 29 in., The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1993, Bequest of Walter H. Annenberg, 2002; Arkhip Ivanovich Kuindzhi (Russian, Mariupol 1842–1910 St. Petersburg), Red Sunset on the Dnieper, 1905–8, oil on canvas, 53 x 74 in., Rogers Fund, 1974; Vincent van Gogh (Dutch, Zundert 1853–1890 Auvers-sur-Oise), Women Picking Olives, 1889, oil on canvas, 28 x 36 in., The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1995, Bequest of Walter H. Annenberg, 2002.

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44 WILLIAM CAMPBELL CONTEMPORARY William Campbell Contemporary looks forward to reopening with its Fall Gallery Night exhibition on Sep. 11 with new work

by Benito Huerta. The gallery has signed a second lease on Foch St. in Fort Worth, which will also open in Sep. williamcampbellcontemporaryart.com AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY The Dallas Auction Gallery will host the Fine & Decorative Art Auction on Sep. 8. dallasauctiongallery.com 02 HERITAGE AUCTIONS August begins with the Urban Art Showcase Auction on Aug. 4. On Aug. 10, The Estate of Phyllis McGuire Signature Auction mounts. Depth of Field: Photographs takes place Aug. 11, followed by the Fine & Decorative Arts Showcase Auction Aug. 12. Aug. 18 brings the Prints & Multiples Showcase Auction. On Aug. 24, In Focus: OBEY Showcase Auction and In Focus: The Works of Salvador Dali mount. Sep. 1, the Urban Art Showcase Auction goes under the gavel. Depth of Field: Photographs will return Sep. 8. Fine & Decorative Arts Showcase Auction is on Sep. 9. On Sep. 15, Prints & Multiples Showcase Auction, featuring Donald Judd and Yoshitomo Nara, takes place. Sep. 16 brings the Modern and Contemporary Art Showcase Auction. Sep. 22, Asian Art Showcase Auction. On Sep. 28, the In Depth: Photographs Showcase Auction will take place, featuring 19th century works. And the month will end with a Design Signature Auction on Sep. 30. ha.com

NOV 11 — 14 2021 w w w. d a l l a s a rt f a i r. c o m

FAIR TRADE

Clockwise from top left: Emma Stibbon RA, Mojave Desert Night, 2021, intaglio, 25.19 x 38.18 in., edition of 35. Courtesy of the artist and BASTIAN; Emma Stibbon RA, Steam Vents, 2017, inscribed recto lower right corner in pencil: Emma Stibbon, verso lower right corner in pencil, Emma Stibbon 2017, black ink, volcanic ash, and carbon on paper, 83 x 36.2 in. Courtesy of the artist and BASTIAN; Emma Stibbon RA. Courtesy of the artist and BASTIAN.

ARTIST AS WITNESS

Emma Stibbon’s location-based research documents transforming environments.

D

INTERVIEW BY ROSS THOMAS

allas Art Fair exhibitor Galerie BASTIAN in Berlin will bring the work of Bristol-based Emma Stibbon to the fall installment of the Dallas Art Fair, November 11–14. Stibbon works primarily in drawing and print on paper through location-based research. Rendering environments that are transforming due to human activity, she often works alongside geologists and scientistS. Ross Thomas (RT): Could you start by telling us a little bit about your practice?

Emma Stibbon (ES): My work is deeply rooted in landscape, and I’ve long been preoccupied with how to respond to some of the critical issues we are facing today. In particular, I’m interested in depicting places that are undergoing dynamic change or flux. As an artist, I feel committed to representing the impact of these changes, be they natural or by human activity. My impulse is to draw, in an effort to act as a witness.

RT: Please walk us through your process from traveling to an isolated region to completing a final drawing or print.

ES: My work usually comes out of curiosity about a particular place or phenomenon. From that initial interest I often seek out expertise 36

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from scientists, such as a glaciologist or volcanologist, depending on the project. Their knowledge really gives me an insight into what I am looking at. Once on location I start by walking, drawing from observation in my sketchbook, and using my digital camera. Back in the studio I review my fieldwork. Planning out a large-scale studio drawing will often involve a transformative process of montaging photocopies and experimenting with drawing media and earth materials found on site. My sketchbook drawings are an important visual and emotional reference—this underpins my studio work. My practice emerges from this alchemy of being “out there” to the rather solitary activity of being in the studio.

RT: Travel seems central to your work.

ES: I’m very fortunate to have seen some of the most remote regions on the planet—certainly seeing Antarctica was an experience that fundamentally changed my outlook. Work can be from my local surroundings where I live in the UK, to glaciers, ice sheets, forests, and volcanoes. That sense of being a witness to something, particularly in a time when many places are changing rapidly, is profound. However I am also acutely aware that my own travels are contributing to this situation and am trying hard to address this.

RT: How did your practice shift during the pandemic?

ES: I had space to experiment with approaches and media in the studio. It also allowed me to revisit the material I gathered from a residency in Death Valley in 2019. Traveling in that region I was amazed at the vast and open horizons of Utah, Arizona, and Southern California.

RT: Mojave Desert Night was made in lockdown. When did you travel to the Mojave Desert?

ES: The extreme and varied desert terrain of the Mojave Desert inspired me to make a series of prints, including Mojave Desert Night.

I was astonished by the constellation of stars that punctuated the indigo-blue night sky, untouched by the effects of light pollution.

The silhouette of the cacti loomed out of the desert like strange beasts.

RT: What do you seek to convey?

ES: My interest in representing these places stems partly from their extraordinary wonder and beauty, but I also want to pay homage to the fact that many of them are undergoing dramatic change in my lifetime. Not may people have the opportunity to see where these planet-changing events are happening. I want to communicate this in some way through my work. Of course, my approach is from the observed, outside world, but I also want it to reach a psychological state, an emotional equivalent to that experience of being there.

RT: Tell us about the sense of fragility in your works and why print and drawing are your mediums of choice.

ES: Drawing is central to my way of working, whether that is through direct autographic mark making or working in print. I think it is a language that allows me to explore and communicate my ideas and experiences about the world. When I’m drawing I find it is a space I enter into, like going through a portal. I love the tactile surface of the media and the impression of the mark or imprint on paper. I see printmaking as an extension of drawing; I enjoy the different effects that a print process can offer. The graphic drama of woodcut or the wiry line of an etching—it’s highly addictive!

RT: Why is drawing so important?

ES: Drawing is a language that is shared and understood across different disciplines and cultures. It is something we all do, even before we can speak in childhood. Perhaps there is a frailty to the human touch of drawing that connects us, a directness of drawing that speaks in ways that hard science can’t? I believe drawing through looking really helps one’s comprehension. By scrutinizing something and trying to record it, your eye somehow embeds an image onto your brain. I have enormous recall when I review a drawing made in the field; I can remember the time of day and the weather, even how I was feeling.

RT: Tell us about your residency in Hawaii and Trees, Steam Vents.

ES: In 2016 I had the opportunity to stay on the rim of Kilauea, on Big Island, Hawai‘i, one of the world’s most active volcanoes.

Witnessing the power of such elemental forces inspired me to make the large ink drawing Trees, Steam Vents. I was struck how steam and volcanic gases literally rise up from cracks in the ground.

I wanted to make a drawing on a long vertical format that would suggest the light filtering through the trees, gas, and steam.

RT: If you could go anywhere, where would you most like to focus your next body of work?

ES: I am thinking of the precarious future of polar ice sheets and glaciers and the effect ice melt is having on our global environment through sea-level rise. I would like to undertake periods of polar fieldwork and place this alongside observations of the local shores of southern England that are being altered by sea-level rise. I want to draw attention to how these seemingly remote events are critically connected. P

Opens

SEPTEMBER 25

CARTERMUSEUM.ORG/ IMAGINEDREALISM #GENTLINGART STUART GENTLING (1942–2006), [Landscape with pond and barn] (detail), ca. 1979, graphite, opaque and transparent watercolor on paper, Collection of Lee Lupton Tennison, © Amon Carter Museum of American Art

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TONIC FOR THE TIMES

Timely and timeless, 30 Americans, at the Arlington Museum of Art, features the work of 30 Black artists from the Rubell Museum.

BY STEVE CARTER

Clockwise from top left: Robert Colescott, The Sphinx Speaks, 1993, acrylic on canvas, 84 x 72 in.; Gary Simmons, Duck, Duck, Noose, 1992, wood, cloth, metal, and hemp, dimensions variable; Shinique Smith, Menagerie, 2007, mixed media on canvas, 72 x 48 in.; Barkley L. Hendricks, Noir, 1978, oil and acrylic on canvas, 72 x 48 in.; Kehinde Wiley, Triple Portrait of Charles I, 2007, oil and enamel on canvas. triptych, overall 82 x 135 in.; each: 82 x 45 in. All images courtesy of the artists and the Rubell Family Collection, Miami.

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OPENINGS

W

ith the 24-hour news cycle and the world itself nearly spinning off their respective axes on a daily basis, you could imagine that an art exhibition first mounted nearly 13 years ago just might be quaintly out of step with the times. Think again.

30 Americans, which opened at the Arlington Museum of Art on May 29 and runs through September 5, features 50-plus works from 30 Black artists, and the show’s timeliness is uncanny. In our era of racial protests, increased recognition of systemic racism, the currency of critical race theory, to name only a few signposts, this celebration of Black artistic expression is a tonic for the times—exhibition as zeitgeist. The diverse roster of artists is extraordinary, with Jean-Michel Basquiat, Kara Walker, Kehinde Wiley, Carrie Mae Weems, Barkley L. Hendricks, Mickalene Thomas, Mark Bradford, Hank Willis Thomas, Henry Taylor, and Rozeal among them. And the variety of media is diverse as well, with painting, photography, installation, sculpture, mixed-media, and video all represented. 30 Americans originated at Miami’s Rubell Family Collection (now Rubell Museum) in December 2008, and all of the pieces are from Don and Mera Rubell’s permanent collection.

The dates of these works range from 1975 up through 2010, reflecting realities of Black life in America from antebellum times seemingly all the way through to tomorrow’s headlines. 30 Americans hit the road in early 2011, and Arlington is its nineteenth venue.

Chris Hightower, the Arlington Museum of Art’s executive director and board president, says the museum began discussing hosting the show back in early 2020. They’d previously brought the Rubell’s Keith Haring: Against All Odds to the AMA in the summer of 2019; it proved to be one of their most successful shows, and a great, ongoing rapport with the Rubell was forged. “We opened 30 Americans right around the oneyear anniversary of the George Floyd murder,” Hightower says, “and everything that’s happened in the past year is still raw. We’d decided on this piece in February, before George Floyd, so we were already feeling this—and not because the show had been on the road, but because we felt like it was an important exhibit. The timeliness of it is just perfect.”

Longtime board member Veronica Spencer-Austin enthuses, “I’m just so proud that this work is here, and it’s a real coup for the Arlington Museum of Art…it’s extraordinary. It’s timely, but I look at it and I see it as timeless. Timeless yet relevant at the same time, which makes it so compelling.”

Above: Noah Davis, The Goat from Grayson, 2008, oil on canvas, 60 x 62 in. Courtesy of the artist and the Rubell Family Collection, Miami. Below: Nick Cave, Soundsuit, 2006, fabric, sequins, fiberglass, and metal, 100 x 26 x 13 in. Courtesy of the artist and the Rubell Family Collection, Miami.

Nina Chanel Abney, Khaaliqua & Jeff, 2007, acrylic on canvas, 61 x 63.75 RH Dallas Street.

Courtesy of RH. Miami. in. rooftop Courtesyterrace of the overlooks artist and Knox the Rubell Family Collection,

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OPENINGS Although it maxes the physical limitations of the AMA’s three levels of galleries, the exhibit feels inviting to the point of immersion, and visitors should be prepared to luxuriate in its riches—it’s not a rush-through sprint of a show. Each room establishes its own character, from colorful cacophonies, to the quietly reverential, all the way to the harrowing death knell echoes of Gary Simmons’ Klan/lynching installation, Duck, Duck, Noose, (1992), which consumes the black-clad Rooftop Gallery. It’s haunting.

Hightower acknowledges that the biggest challenge in mounting 30 Americans was just making it work within the space. “We had to put it together so that there’s some sense of story and thematic purpose.

There already is because of race and gender, identity, sexual identity, the intersectionality of all those things,” he says. “But when you start putting them in rooms, the rooms also have to make sense.”

Spencer-Austin notes, “The art, the collection, meets you where you are, right? So for me there are a lot of themes that resonate. I see hope, and I see celebration, and I see legacy, and I see magistery, and I see witness. And of course, my experience is going to be different from someone else’s because I bring to it my life experiences, my perceptions, my expectations.”

Highlights of the first floor Main Gallery include Basquiat’s Untitled (Self-portrait), (1982-1983), Kara Walker’s immense, silhouetted installation Camptown Ladies, (1998), two historically based photographic groupings

by Carrie Mae Weems, (1995-1996), and three of Nick Cave’s iconic, shamanic Soundsuit sculptures, (2006, 2008, 2008). The Mezzanine Galleries hosts late, influential portraitist Barkley L. Hendricks’ oil/ acrylic paintings Noir, (1978) and Fast Eddie Jive Niggah, (1975), two of the earliest pieces in the show. Elsewhere on the floor, an oil/enamel triptych by Obama portraitist Kehinde Wiley, Triple Portrait of Charles I, (2007), fairly rattles the room. “It’s so powerful and so vibrant,” SpencerAustin says of the work. “I really appreciate his aesthetic, his signature juxtaposition of those naturalistic settings with those powerful figures.

I’m mesmerized by the piece. I keep coming back to it.”

Asked if he has a favorite work, Hightower is somewhat circumspect.

“It’s kind of a ‘yearbook question’ for me, you know?” he says with a laugh. “The ‘most powerful,’ the ‘most popular,’ ‘most likely to succeed’—some of them I love that they’re hard hitting, others I love because they’re joyous, joyful, and have hope to them. There’s some that I love the texture and the media, and there’s some that I love just the basic message of—it’s really hard for me to pinpoint a ‘best of the best.’”

Hightower says 30 Americans is doing brisk box office for the AMA, and it seems destined to join the ranks of the museum’s most successful exhibits. Repeat visitors have been numerous, and more than usual they’re bringing friends along with them, not just recommending that their friends attend. Hightower hints that future collaborations with the Rubell could be in the offing. “They consider us a sister museum at this point,” he says. “We’ve really clicked, with shared values and the same vision, and so it’s just worked.”

Spencer-Austin has the last word, a takeaway elevator pitch on why you don’t want to miss this one: “It’s the work—it’s timeless and relevant, and it’s the scope of it, in terms of the media and the different experiences. And the experience of it, in this intimate space, is very special and unique. So I say come on over, around, up, down, but come experience it for yourself. See the impact that it has on you individually.”

P Mark Bradford, Whore in the Church House, 2006, mixed media collage on canvas 103 x 142 in.; Jean-Michel Basquiat, Untitled (Self-portrait), 1982-1983, oil on wood 20 x 20 in.; framed 22.5 x 22.5 in.; Carrie Mae Weems, You Became Mammie, Mama, Mother, & Then, Yes, Confident-Ha/Descending the Throne (from From Here I Saw What Happened and I Cried), 1995-1996, two chromogenic prints with sandblasted text on glass, ed. 6/10, glazed, each 26.5 x 22.75 in.; Kara Walker, Camptown Ladies, 1998, paper, 8 x 55 ft. All images courtesy of the artists and the Rubell Family Collection, Miami.

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the fresh smell of a new hardcover book sunny corner in the den chocolate lab at your feet (of course) inner happy dance

McGannon Showrooms

Furnish your favorite moments.

Design District 1617 Hi Line Drive #700 Dallas, TX 75207 214-748-1828 | mcgs.com

ARTFUL ACTIVISM

TWO x TWO for AIDS and Art funds the Dallas Museum of Art’s major contemporary acquisitions and exhibitions and critical AIDS research through amfAR. INTERVIEW BY TERRI PROVENCAL

Kevin Robert Frost, CEO amfAR, Alex Katz, 2019 TWO x TWO Artist Honoree, and Howard Rachofsky, co-host, co-founder TWO x TWO. Photograph courtesy of Getty Images.

O

ver 275 major contemporary works of art have been added to the Dallas Museum of Art’s permanent collection with TWO x TWO for AIDS and Art proceeds donated to the contemporary art acquisition program and exhibitions. It’s also the DMA’s largest fundraiser. Companion beneficiary amfAR (Foundation for AIDS Research) welcomes TWO x TWO funds for their mission: Making AIDS History. Patron caught up with Dr. Agustín Arteaga, DMA’s Eugene McDermott Director and Kevin Robert Frost, amfAR’s chief executive officer.

Terri Provencal (TP): The Dallas Museum of Art has added voluminous contemporary acquisitions through TWO x TWO proceeds over the years. How have these works augmented specific collections?

Dr. Agustín Arteaga (AA): TWO x TWO is currently the largest source of support for acquisitions of contemporary art at the DMA, and there is a separate fund for wearable art that brings amazing works of jewelry into the decorative arts collection, which has also benefitted with design objects. TWO x TWO reflects the desire of the museum, and the dedicated collectors who have helped build our collections through major gifts, to tell a global story of artistic production. This is also reflected in the great variety of exhibitions TWO x TWO has supported to make our programs relevant to our diverse constituents through an increased focus, since my tenure as director, on works by women artists and artists of color.

TP: This year’s artist honoree is the world-renowned Yoshitomo Nara. How

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Jonas Wood, 2017 TWO x TWO Artist Honoree with Dr. Agustín Arteaga, Dallas Museum of Art's Eugene McDermott Director. Photograph by Tamytha Cameron.

would you describe the artist and his practice and why his work is so pivotal?

AA: Nara’s work is beloved by international audiences for its playful, yet haunting, depiction of youthful innocence and rebellion. We are so grateful to have two major works by Nara represented in the bequest to the museum that are indicative of Nara’s iconic distillation of kawaii culture into his distinctive punk-infused, melancholic style. We are lucky to have a wide range and depth of Japanese art in the collection that showcases the many concerns of artists from the region, from the pared-down aesthetics of Mono-ha artists like Nobuo Sekine, to the cerebral conceptualism of Jiro Takamatsu, to the pop-infused nostalgia of Shinro Ohtake.

Though Nara is a more contemporary artist, he grew up in postwar Japan and also experienced the nation’s reconstruction and rapid economic recovery. Though Nara clearly draws from manga and anime imagery to create innocent, childlike figures, their innocence also has an element of violence and horror that reflects the uncertainty and cynicism of postwar Japanese culture. The cute, cartoon-like figures of Nara and many other Japanese artists, like Murakami, also have been read as reflecting the loss of Japanese masculinity in the postwar period that has transformed/effeminized Japanese society. Murakami has also written about this in his own manifesto.

TP: We are looking forward to the DMA’s exciting exhibitions opening this fall.

Will you tell us about these shows?

AA: Our fall program, which is also supported by TWO x TWO, showcases the power of art to reach across time and space to tell

as

meaningful stories for our audiences in the here and now. Slip Zone explores the development of postwar abstraction in the Americas and East Asia, and how artists from those disparate regions engaged in dialogue to revolutionize artistic production through experimentation with new media and techniques. We are able, through the strength of our collection and local loans, to present such provocative and illuminating comparisons between artists in the US, East Asia, and Latin America (a few examples are Jackson Pollock and David Alfaro Siqueiros; Kazuo Shiraga and the American, Senga Nengudi; and Brazilian Lygia Clark and the Japanese Gutai artists). This is a great example of how we can both broaden and deepen the canonic story of the time to include lesser-known artists from the US and around the globe who have been excluded from museum shows based on their gender, race, or nationality.

Bosco Sodi forms the perfect complement to Slip Zone, as the Mexican contemporary artist is inspired by Japanese traditions like wabi-sabi and movements of international abstraction like Arte Povera and the Gutai. Sodi will activate our sculpture garden with a series of 30 terra-cotta cuboids and spheres that are made in rustic kilns in his Oaxaca art space on a massive scale. These works have imperfect surfaces, showing the influence of the elements, time, and chance, but are all the more beautiful for them. They will line the garden like breadcrumbs, encouraging contemplation in nature, which was so important to artists like those of the Gutai whose work will be inside the adjacent galleries.

Naudline Pierre is an emerging artist based in New York, and truly one to watch. We are fortunate to host her first museum solo show with a series of ten paintings that depict her avatar protected by angel and guardian figures depicted in vibrant hues. Pierre, who grew up in a religious household with Haitian roots, brilliantly reenvisions old master paintings that so often showcased religious imagery; one of Pierre’s works will be hung in our European galleries to reinforce this connection and bring these historical works to new life by creating a utopian space for Black femmes in a narrative that traditionally excludes them.

All these exhibitions and acquisitions are the result of having the extraordinary support of TWO x TWO and extraordinary curators. The Contemporary team is led by (Anna) Katherine Brodbeck, the Hoffman Family Senior Curator a Latin American specialist who has brought to the DMA Vivian Li, Lupe Murchison, Curator of Contemporary Art and specialist on Asian Art, and Vivian Crockett, The Nancy and Tim Hanley Assistant Curator of Contemporary Art, whose expertise is on African American Artists and African Diaspora.

TP: As amfAR is a research-based organization, what areas has TWO x TWO funding impacted?

Kevin Robert Frost (KRF): The extraordinary thing about TWO x TWO is that it has allowed us to be incredibly innovative in our research and has allowed us to focus on what has become the central focus of our work these days: finding a cure. We started focusing on a cure about 12 or 13 years ago, and as you know, the TWO x TWO event has grown year after year under Cindy and Howard’s [Rachofsky’s] guidance. TWO x TWO has allowed us to fund research teams that are doing some of the most interesting and vital work of any organization. I associate the support directly with our ability to fund our research, to look for a cure for the 40 million people living with the disease. I think people in Dallas can be enormously proud of the supporters of TWO x TWO. I do genuinely believe we are going to be able to cure HIV/AIDS in the next ten years. In our lifetime, we are going to have a cure for this

disease. And when that happens, a big part of that success is going to be attributed to the people of Dallas, who supported this event.

TP: That’s absolutely wonderful to hear. What are your impressions of Dallas and how have they changed through the years?

KRF: This might actually surprise you a little bit, but I lived in Dallas.

I went to college in Austin—the University of Texas. I spent most of my formative years in Texas. After I graduated, I moved to Dallas and lived there for about three years until I moved to New York.

I moved to New York on Valentine’s Day of 1990. So I’ve actually had the pleasure of watching Dallas change over the course of 31 years. But this is sort of an outsider’s perspective—this is me looking at Dallas from afar for the last 30 years. And the first thing that I remember that put Dallas on the cultural map, in my mind, was the arrival of the Morton H. Meyerson Symphony Center (joining the DMA), designed by I. M. Pei. I saw a number of concerts there over the years. In fact, Paul Simon did a benefit there for amfAR, back before TWO x TWO. I remember it was a spectacular concert hall when it opened, and I was so jealous that the Dallas Symphony was there. When I lived in Dallas, I sang in the chorus of The Dallas Opera.

I graduated with a degree in music from the University of Texas and became a member of The Dallas Opera chorus. The maestro at the time, Nicola Rescigno, brought Maria Callus to Dallas—and the theater was in Fair Park! So, the Meyerson comes onto the scene, and suddenly Dallas is this cultural up-and-comer.

Then, after I move away, I watch—with a tremendous amount of jealousy—the Winspear Opera House opens, the Wyly Theatre opens…you get this Rem Koolhaas building, and suddenly it’s not just an architectural magnet, it is also an arts magnet. And TWO x TWO comes onto the scene just as Dallas is about to bloom as this cultural center. I want to say, knowing Howard and Cindy, you can’t contribute the growth entirely to luck because they’re way too smart for it to be just luck. The timing was brilliant. Dallas emerged as this extraordinary cultural center and now, frankly, as I think about places I want to live when I retire and leave New York, Dallas is way up the list.

I’ve met extraordinary people through TWO x TWO over the years. People like Jennifer and John Eagle, Marguerite Hoffman and Deedie Rose, and so many others.

TP: What are you most looking forward to when TWO x TWO returns in October?

AA: After a year without TWO x TWO, I am looking forward to reconvening with local friends from all over who make this event the most joyful party! Guests and artists bring such an extraordinary energy, which reflects the feeling of our time. It’s a wonderful opportunity to learn about what is going in the art world and about each other. I also love the moment when the musical spectacle is revealed—Cindy [Rachofsky] always makes it the best kept secret, and it is always just fabulous!

KRF: It goes back to what you were saying about this great city being built by great people. It’s reconnecting. The last year and a half has been so hard for everybody for a host of reasons, but being able to get back and connect with people in a very personal way is so, so important. Coming to Dallas and seeing these folks for so many years and to not be able to be with them, to not be able to share time with them—it’s been really hard. I can’t wait to see Jennifer and John Eagle. I love the Eagles more than I can tell you. I can’t wait see Nancy Rogers and Michael Young and so many people who’ve come to mean so much to me and my organization over the years. I’ll be honest with you: I’m going to show up in Dallas like a basket case.

I’ve missed them so much. P

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Horse of a Different Color Night Gallery presents Andy Woll’s Double Portrait, an exhibition of new paintings at Park House.

INTERVIEW BY KELLY CORNELL PHOTOGRAPHY BY DANA MCCURDY

IMAGE CAPTIONS

Andy Woll, Arno, 2021, oil on linen, 72 x 88 in. Courtesy of the artist and Night Gallery, Los Angeles.

N

ight Gallery, an ongoing Dallas Art Fair exhibitor, has brought the work of Andy Woll to Park House through October 1 for his show Double Vision. Woll, a native of Los Angeles, is known for thickly applying oil paint to create gestural paintings. Within the private club’s rotating-exhibition corridor, members and guests are treated to his deceivingly simple compositions and repeated subjects, such as horses and Mount Wilson from his hometown. However Woll’s work is loaded with intent through masterful explorations of color and form, which clearly demonstrate the artist’s passion for his medium of paint.

In addition, passages from historic works of art may be hidden within the paintings, along with other illusions.

Kelly Cornell (KC): Will you tell me a little bit more about your life? You studied to be an artist, what was your path to becoming a full-time artist?

Andy Woll (AW): I am the son of an architect and a playwright, raised in Los Angeles’ Venice Beach in the ’80s and ’90s. The area was known for the Light and Space movement, Frank Gehry, Vija Celmins. I would go to the beach just south of the Ocean Park of

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The artist stands in front of his vibrant work. Photograph by Spencer Lowell.

Courtesy of the artist and Night Gallery, Los Angeles.

CONTEMPORARIES Diebenkorn’s series. So it started early. I drew every bird out of the Birds of North America book, I won a copy of Tom Sawyer by winning a Bookmark contest at my elementary school, and I could sell bootleg drawings of Ninja Turtles. I went to Venice High School on Venice Boulevard and Walgrove Avenue, which had a caged sculpture of Myrna Loy. They had to build a cage around her because the statue was often vandalized. I studied painting at Otis, got really lucky with teachers Larry Johnson, Meg Cranston, Scott Grieger, and other students. I moved to Germany, survived a difficult and unexpected grief that stopped me working. Back in Los Angeles I got a job in a bronze foundry and started working again. Studio in Chinatown, did studio visits instead of grad school, met Davida (Nemeroff) and Night Gallery. Now I have a bigger studio.

KC: Your exhibition, Double Portrait, at Park House is all recent work.

Was it made during lockdown? How did the past year impact your practice?

AW: I think Duncan is pre-pandemic; everything else was made during lockdown, yes. I work alone in the studio, so practically very little changed for my workday. It was a little more difficult to get some of my supplies, but really not bad. Emotionally and mentally the fear had an impact definitely. Not entirely negative—bad times can be good for art.

KC: How do you choose your subject matter and set parameters for yourself?

AW: The subjects are layered. There’s the really obvious one you immediately identify, like the mountain, and that is kind of like a form I am intimately familiar with. Then there are these sort of secondary hidden subjects: illustrated science fiction covers, wildfire photography, Las Meninas. These are more or less visible, depending on the painting and your familiarity with the subject, but they guide the changes and distortions you see across the groups, like the mountains from 2015 versus the mountains in the show at Park House.

KC: Oftentimes you paint from your own paintings, further abstracting the image each time. How did this part of your practice come to be?

AW: The repetition has been there as long as I can remember, even in the very earliest bird drawings. I think there’s an existential hope that meaning will be found in repetition, but the repetition is just as likely to be compulsive behavior. I try to make it a strength of my work because it is so much a part of me. I’m not sure about it furthering the abstraction. It can also further the representation, like a word can either gain meaning or lose meaning through use.

KC: Your paintings are often referred to as abstraction and representation.

Andy Woll, Mt. Wilson III, 2020, oil and acrylic on paper, each panel 22.75 x 16.75 in.

Courtesy of the artist and Night Gallery, Los Angeles.

How do you see these paintings?

AW: How I see the paintings is very difficult to describe. They are mine, and sometimes I’m not sure I can see them at all.

However, I will try to answer this way: A work of art can be totally abstract (to me this seems obvious), and then a work of art can never be totally representational (this also seems obvious, what would that even mean?). So, every work of art is somewhere in the realm of abstraction. How abstract are my paintings? I’d say not totally.

KC: What would you say your biggest challenge is at the moment?

AW: My biggest challenge is explaining the work, describing the visible. There’s a speech in Waiting for Godot where Pozzo explains ‘‘the twilight” to Vladimir and Estragon, and the whole explanation kind of falls comically short and goes way beyond at the same time. P

Andy Woll, Duncan, 2021, oil on linen, 18 x 26 in.

Courtesy of the artist and Night Gallery, Los Angeles.

Andy Woll, Leopold, 2021, oil on linen, 11 x 14 in.

Courtesy of the artist and Night Gallery, Los Angeles.

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Contemporary custom steel wave-design dining table and angled chairs float on a polished concrete floor. Photograph courtesy of Mary Anne Smiley.

BUILDING MOMENTUM

Venerated interior designer Mary Anne Smiley adds build to her firm.

BY PEGGY LEVINSON

The challenging round kitchen shows off Mary Anne Smiley’s design prowess. Photograph courtesy of Mary Anne Smiley.

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SPACE

Left: An interesting labradorite slab used for the custom dining table enhances the room. Photograph

by Holger Obenaus. Below: Windows and doors by Finesstra. Photograph by VistaBee

North Dallas residence designed by Mary Anne Smiley Design + Build. Photograph by Holger Obenaus.

L

ast fall, in the middle of the pandemic, Mary Anne Smiley had no thoughts of starting a new business. Her thirty-year-old design company—known for her use of pure color, original fine art, and pearl finishes—was quite busy with 10 ongoing projects.

Smiley and her senior designer, Dani Burbidge, were running among design sessions with old and new clients, to installations to check on construction. But a series of dissatisfying experiences with different contractors had her quite frustrated. “The client hires us to make their home just as they want it. If the contractor or furniture builder doesn’t execute and the client is unhappy, we take all the steps to rectify the situation. Not only is it time consuming, but it’s very expensive for us,” Smiley states.

At the same time, her friend Lisa Doolittle was laid off from her position with an elevated custom homebuilder. She offered herself as an extra hand during the holidays, and quickly proved to be an expert in all the technical building steps; she was results-oriented and focused on clients’ satisfaction. Not only that, but she also had a loyal following of some of the most talented subcontractors in town. This turned out

to be serendipitous timing, and Mary Anne Smiley Design + Build was born in January. This new service has also allowed the firm to begin developing custom homes at Lake Athens. “We have procured two of the last lots sold on Lake Athens to custom build two new homes. Lake Athens is one of the most sought-after locations for getaway lake homes because of its pristine beauty, spring fed lake and beautiful surroundings of pines and hardwood trees and it’s proximity to Dallas—a mere hour and fifteen minutes away,” enthuses Smiley.

In addition to her design work, Smiley is proficient in AutoCAD–the design software that architects, engineers, and construction professionals rely on to create precise 2D and 3D drawings. So the design process for her Design + Build clients is fast, streamlined, and participatory. In a remodel project, an AutoCAD drawing uses the existing structure’s floor plan and clearly shows the desired changes along with the art and furniture placement and lighting plan. A client can say, “I want two chairs there instead of one,” and the drawing can be amended to allow for it easily, before construction begins. Now the expanded team is happily working on 25 projects instead of 10. P

AUGUST / SEPTEMBER 2021

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SPACE

EVER MORE

When a wallcovering, textile, and art studio combine, the result is anything but ordinary.

BY TERRI PROVENCAL

S

From top: Custom Ever Atelier X installation at Erin Cluley Gallery; Ashley Leftwich and Sarah English; Ever Atelier's nostalgic and contemporary wallcovering Rose Mary Rose. All photographs courtesy of Ever Atelier.

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arah English and Ashley Leftwich are neighbors, though at first they didn’t know it. As children often do, their young sons, who attend the same elementary school, connected the two at a kindergarten roundup. Turns out, much like the boys, who were playing together at the time, the mothers had a lot in common: They attended the same high school, just a year apart; went to the University of North Texas; and both had a passion for art and design, with a degree in each between them.

However they had never met until that first friendly encounter, which in time resulted in the formation of a wallcovering, textile, and art studio known as Ever Atelier in honor of the first two and last two letters of their children’s names: Evan and Greer. “Ever is an open word,” English says.

“We like how you can play with the word.”

Much like great friends hope to be, “forevermore” is their constant inspiration. English has a background in fine art, corporate fashion retail, and as a surface designer. Leftwich comes from the textile and interior design industry. In a marriage of similarly aligned careers, every wallcovering is collaboration at work. The duo created a feature wall at Erin Cluley Gallery during her signature El Mercado. For that, a custom X pattern synthesized to bring out one another’s personalities. “We are story telling. What’s our story here?” Leftwich avers. “Story, nostalgia—it’s all very important to us. We approach our creative process with each pattern.

It’s a process that evolves.”

The creative process varies for each wallpaper design; inspirational imagery is brought cohesively together into a desired design and feeling fulfilled. “For some we use photo-realism, others are hand-drawn or painted and then everything gets uploaded to the computer. We say again and again that this is art for your walls, but we approach the process as an art piece through experimentation,” says English, the artist in the partnership. The printing process to create the papers’ beautiful hand is just as discriminating, “We went through five different printers before we found the right one.” Leftwich says.

Their best-selling pattern is Rose Mary Rose in multiple colorways, such as our favorite, Shirley Sunshine. Showy blooms in teal, pink, and white intertwine, with touches of black and gold metallic floral interspersed, making this a dive-into pattern. This is not your grandmother’s floral wallpaper. For the creation process of this impactful pattern the designers asked themselves, “How could we create a floral that was an Ever floral?”

While they may swim against some mainstream design movements, such as minimalism and urbanism, for their second collection English says, “It was important for us to showcase a range. Patterns are more abstract, less dense, less line work, like the Moda and Aries patterns. We are really proud that the designs are authentically ours.”

Ever wish an idea in your head could be translated into a design all your own? The Ever team has that covered too; creative minds are welcome. “We also do a lot of custom work with interior designers. They come to us with ideas they can’t find for their client. We enjoy that collaboration process,” Leftwich affirms. But should art be installed over Ever Atelier papers? “We love it! It’s another juxtaposition, another collaboration,” English enthuses.

As for additional product lines—the future is bright for the artisanal, bespoke studio. “We are starting to launch textiles,” says Leftwich, who’s drawn to “textiles and substrates and anything fibrous. I always sewed with my mom when I was young and have vast experience with textile manufacturers.” P

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RIGHT ANGLES

Mil Bodron and Michael E. Thomas work in concert to create balance and symmetry to a home and art collection.

BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JOHN SMITH

This page: Robert Mapplethorpe (American, 1946-1989), Rose, 1989, silver gelatin print; staircase landing left to right: Ricky Swallow (Australian, b. 1974), Untitled, 2013, marker on paper; Ricky Swallow (Australian, b. 1974), Reversed Pitcher 1, 2013, patinated bronze. Opposite: Nancy Rubins (American, b. 1952), Drawing, 2010–2018, graphite pencil on rag paper; On center table: Liz Glynn (American, b. 1981), Untitled (Tumbleweed XVI), 2018, cast stainless steel; Sculpt 513 sectional sofa, David Weeks Studio, New York in Brunswick from Holland & Sherry, Dallas; custom, hand-knotted Mohair rug, The Rug Company, Dallas; Moving Mountains Design Studio Puffer chairs, Colony, New York; Platner lounge chair Knoll, Dallas; Minotti Raymond coffee tables, Smink, Dallas; Colouring Table, concrete and aluminum, OS AND OOS, Netherlands; Casa Casati Mirage 50 side table, BeDesign, Houston; painting detail, Ivan Morley (American, b. 1966), Fandango, 2019, thread and ink on canvas.

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Left: Lapalma sofa, Scott + Cooner, Dallas; Diana B ClassiCon bar table, M2L, New York; Mark Manders (Dutch, b. 1968), Dry Clay Head, 2017, painted bronze, wood, stainless steel, newspaper, glass; East hallway drawing: Claudio Parmiggiani (Italian, b. 1943), Untitled, 2019, smoke and soot on board.

Above: Ivan Morley (American, b. 1966), Fandango, 2019, thread and ink on canvas.

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rom the Gallotti&Radici dining room table, Tomás Saraceno’s glass orbs glow, drawing light deep into their crevices while simultaneously reflecting the serenity around them. Saraceno’s work, as much of the art in the home of Kim and Jeff Chapman, changes with the light around it. On a nearby Pallucco buffet, an iconic geometric sculpture from Peter Alexander complements Saraceno’s work. The pink wedge adds a splash of color to the room. Anchoring the space is transmutation by New York–based artist Hugo McCloud, whose muscular works combine industrial design with traditional painting techniques. The contrast between angularity and spherical objects is a microcosm of the conversation between the art and furnishings throughout the house.

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The home is a dream come true for the couple. It is a second marriage for both; they came together through the shared grief of each losing a spouse to cancer. Jeff credits Kim’s vision for their home’s aesthetic.

She worked with Mil Bodron of Bodron/Fruit to bring it fruition. What began conceptually as a small renovation project became a full remodel.

“We rethought the interior to the point we could. We added and expanded the primary bath and redid the interior furnishings,” Bodron explains.

Working with Kim, he created a cool, monochromatic palette dappled with teal. With Steven Byrd of byrdwaters DESIGN, all of the interior lighting was also replaced, with consideration given to art placement.

The Chapmans are aided in their art collecting by art advisor Michael Thomas, who came to this project on Bodron’s recommendation. Thomas

Sarah Morris (British, b. 1967), Spiderweb, 2021, household gloss paint on canvas; Mia armchairs and ottomans, MDF Italia, Italy; Lim 3.0 desk, MDF Italia, Italy; Cassina Cab 413 desk chair in gray leather Scott + Cooner, Dallas; Casa Casati Sasso side table, BeDesign, Houston; mohair rug, Carol Piper Rugs, Dallas.

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and Bodron have worked together regularly through the years. The Chapmans are part of Thomas’s small, carefully selected clientele. “When I go to work for you, it is for the rest of your life,” he says.

While Bodron and Thomas work in tandem, they stress that their work is conceived separately. “By the time Michael is involved, typically I’ve laid out the house. I start with the furniture plan to solve space composition for how the client lives in it and wants to move around it.

I solved this one geometrically because of all the viewpoints,” Bodron describes, adding, “The art isn’t supposed to match my design and the design isn’t supposed to match the art. Though we are all in agreement of where art should go.”

Through conversations with his clients, Thomas acquires work based on their preferences. He has his own criteria too, however. “Everything is bought because of the quality of the artist or the vision of the artist,” he explains. He also takes a thoughtful approach to each collection. In this case, he worked with the couple for about a year before making the first acquisition. Thomas’s quest for quality is evident through his selections.

In a living room sitting area, for example, a Nancy Rubins monumental graphite drawing on rag paper visually envelopes the space. It is one of only 19 that she has created. It may be familiar to visitors to the Nasher Sculpture Center, where Rubins’ work was included in the exhibition Paper into Sculpture. In addition to its powerful aesthetic, its asymmetry balances the geometry found in the furnishings in this room.

Sited in the center of the home, the angular lines of the David Weeks Studio sofa are softened by the round Moving Mountains Puffer chairs

Above: Hugo McCloud (American, b. 1980), transmutation, 2018, patina, solder, mixed media on bronze sheet; On Pallucco Next Basic 4 doors console, Lepere, New York: Peter Alexander (American, b. 1939), 5/14/19 Fusion Red Wedge (Pink), 2019, urethane; On Gallotti&Radice Eyl satin white glass dining table, M2L New York (left, center, right): Tomás Saraceno (Argentinian, b. 1973), Aeolus 4.2, 2018; Aeolus 18.21, 2018, Aeolus 0.52, 2018. All mirrored hand-blown glass, metal structure; Cassina Hola 367 dining chairs, Scott + Cooner, Dallas. Below: S Table, matte white Cristalplant, MDF Italia, Italy; COR Jalis dining chairs, Manifesto, Chicago; Bertoia Barstools, Knoll, Dallas; DCW Editions, Paris, Here Comes the Sun pendant light, Made In Design, England; Andrea Rosenberg (American, b. 1948), Untitled 44.18 (detail), 2018, mixed media on paper.

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Drawings left to right: Andrea Rosenberg (American, b. 1948), Untitled 44.18, 2018, mixed media on paper; Andrea Rosenberg (American, b. 1948), Untitled 46.18, 2018, mixed media on paper; Cosy Sofa, MDF Italia, Italy; Cosy Low Table, MDF Italia, Italy; Linteloo Terrace coffee table, Smink, Dallas; Rug, Stark Carpet, Dallas.

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Sitting area: Liliane Tomasko (Swiss, b. 1967), Cypher, 2018, oil on linen; Linda Ridgway (American, b. 1947), Without a Cloud, 2003, bronze; Vitra Grand Repos Wing Lounge Chair and Ottoman, Scott + Cooner, Dallas; Moroso Tender chaise, Scott + Cooner, Dallas, Saarinen Coffee Table, Knoll, Dallas. Above the bed: Sam Reveles (American, b. 1958), Drawing from Poulaphouca #5, 2018, gouache and pencil on paper; Minotti Andersen king bed, Smink, Dallas; Minotti Lou nightstand, Smink, Dallas; Tobias Grau Five lamp, Scott + Cooner, Dallas. Lower right: Elliott Hundley (American, b. 1975), Endgames, 2019, paper, pins, plastic, encaustic, foam, and linen on panel; On right: Markus Amm (German, b. 1967), Untitled, 2019, oil on gesso board. Opposite, anchoring the outdoors: Alicja Kwade (Polish, b. 1979), MatterMotion, 2019, powder-coated steel, granite.

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and circular Minotti coffee tables. From this room, there are clear sight lines to the redesigned front door as well as to the backyard.

Echoing the geometry of the living room furnishings, Alicja Kwade’s sculpture MatterMotion dominates the backyard. It balances darkmetal angles with light-colored stone spheres, one of which appears to languidly slump over its metal frame. “Alicja Kwade is one of the most contemporary and progressive of young female sculptors alive today,” Thomas states. When Thomas met the Polish-born, Berlinbased artist, she was preparing for her first New York exhibitions, in which this work was included. Kwade’s work has also been featured at the Dallas Contemporary. Mary Ellen Cowen of MESA Design Group redesigned the home’s landscape program, including a regrading of the backyard to accommodate Kwade’s massive work.

One of the few figurative works in the collection is a bronze sculpture by the Dutch artist Mark Manders, which stands sentinel at the entry to the library. Bodron re-envisioned the room to be a cozy space for reading or watching television. The horizontal symmetry of its furnishings—MDF Italia desk, armchairs, and ottomans—is contrasted with the strong diagonals rendered in Spiderweb, a painting

by Sarah Morris. “It is a new series based on spider webs. This is the second painting in the series,” Thomas says.

Thomas stresses that with the exception of Robert Mapplethorpe and Peter Alexander, who recently passed away, the collection is comprised of artists who are still living. Thomas has also created

a collection that incorporates a variety of media. In his work, for example, Ivan Morley uses a sewing machine to create tactile imagery realized in thread. Thomas also acquired one of Elliot Hundley’s mesmerizing collages for the couple. His global perspective also brought into the collection works of color-field painters such as Liliane Tomasko and Markus Amm. About one-third of the artists in the collection are from Texas.

This includes Andrea Rosenberg, whose four drawings span from her early career to more recent work. Drawing from Poulaphouca #5, a gouache and pencil work on paper by Sam Reveles, enjoys pride of place in the primary bedroom. Houston-based Joseph Havel is perhaps best known for his large-scale sculpture. For the Chapmans, Thomas acquired a suite of works on paper from Havel’s Bedsheet series. Texas sculpture is well represented with one of Linda Ridgway’s delicate works. “It’s very important to me that it have a strong Texas contingency to it,” Thomas states.

Being surrounded by art has been a continuous thread for the couple. “I proposed to Kim in an art museum,” Jeff confides. They are enjoying the adventure of growing their collection with Thomas.

For his part, Thomas concludes, “If you are willing to let it, the art will change your life. It has significantly changed both of their lives. It is the most I can hope for at this very young stage of their collecting.” P

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The clean lines of this home are enhanced by natural light.

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Modern, colorful furniture complements the monumental windows in Surrey Circle.

Thoughtfully constructed spaces with a dark palette and wood create an artful sense of harmony in the home.

In Situ

Thoughtfully designed homes by Bernbaum/Magadini Architects harmonize with the surrounding lot through artful architecture.

BY PEGGY LEVINSON AUGUST / SEPTEMBER 2021

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Principal Tricy Magadini in her eclectically elegant home.

Principal Bruce Bernbaum in his modern kitchen with updated appliances.

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eflecting on the last year in isolation at home, we find ourselves examining our living spaces—how we live and how that has changed. Our collective emphasis on quality versus quantity has forged new patterns of buying and seeking the finest resources available. With that in mind, we caught up with the award-winning principals of local architectural and design firm Bernbaum/Magadini Architects, who have a superb reputation for bringing art to architecture naturally.

Bruce Bernbaum and Patricia Magadini met at the University of Arizona College of Architecture in Tucson and combined their outsized talents into one; he approaches architecture from a structural point of view, and she takes a more strategic design approach. The result is classic modern design that benefits from the surrounding landscape and natural light.

Tricy Magadini’s love of art was fostered by her artist mother with a larger-than-life personality; her brother and daughter are also artists.

Magadini’s midcentury home is a testament to that flair, with multiple art pieces by family members as well as other collected paintings. Her husband’s august guitar collection is on display too, reflecting the owner’s unique personality. Magadini’s father was a structural engineer and worked on several projects at Frank Lloyd Wright’s famed design laboratory, Taliesin West in Scottsdale. “All our family friends were architects that lived in cool midcentury modern houses (before they were known as such).” Becoming an architect was a natural choice.

Magadini was directly influenced by the undeniable presence of Wright in Arizona—how the placement of windows and shade in the unrelenting Arizona sun takes advantage of the undulating desert 60

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In concert with the stunning architecture, the Donna Strain Interiors–designed dining room offers a sleek yet lively feel.

Top: Daring and contemporary architecture harmonizes with swoonworthy chairs and a dramatic dining area surrounded by outdoor serenity.

Bottom left: This home’s magnificent hallways and walls call for artwork.

Paired with wood and built-in shelves, the new home is perfect for an art collector. Bottom right: Nature is just outside this urban retreat, with a waterfall just outside the window.

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An ample number of large windows creates a welcoming yet vast feel to this home.

A waterfall cascades beneath the second floor, which overlooks the pool.

landscape, creating structures that harmonize with the lot around them. She sees architecture as problem solving, applying the build and design process to each particular situation. “Frank Lloyd Wright was a short man, so he designed structures that were low to the ground,” she says. Wright’s Taliesin West is deeply connected to the desert from which it was built. Wright was also fascinated with the repetition of geometric shapes and the precision with which each surface lines up.

“All details matter—especially in modern architecture, where each detail is significant. Everything is about scale and proportion in relation to the property. We design from the inside out,” she adds.

“Growing up in the harsh light of Arizona makes you work in tandem with your environment. Natural light is an integral part of our design process—how the house sits on the lot, windows and shade, outdoor living spaces.” An important aspect of a Bernbaum/Magadini home is embracing the lot—not just a backyard living area, but furnished side courtyards and even a front yard “room.” The isolation of the past year has brought everyone outside, that and has become integral to our wellbeing. The sanctuary of the home has expanded to include outdoor patios and courtyards.

A Bernbaum/Magadini project is designed for the customer, with their desired outcome solidly in the forefront of the design process.

They don’t have a standard ego-driven “signature” look that dictates how the house should be built, but the topography of the lot and the movement of sunlight are vital. It’s all in customer service—listening carefully throughout the process and building the best possible house that can be produced, with the homeowner’s desires and preferences guided by the architects’ ideas and expertise.

Bruce Bernbaum’s home was destroyed by the October 2019 tornado, so he had to rebuild on the same lot in much the same midcentury style while adding all the living components that have become more

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essential: Bernbaum 2.0. For example, there is an unobtrusive package drop on his front porch. A walk-in pantry and extra storage space in the kitchen eliminate clutter. Entry “mudrooms” have become highly considered designed spaces, providing a stylish spot to wash up and even remove outer garments. The open space kitchen/living area is still the floor plan of choice, but smaller niches allowing for alone time are welcome now. Thoughtful architecture creates privacy in open spaces. A catering kitchen or butler’s pantry is especially appreciated when meals are prepped and cooked in-house. Newfound prowess preparing sourdough starter requires places where supplies and ingredients for baking can be hidden away.

When kids moved back in during lockdown, people began to utilize their whole house out of pure necessity. All previously spare rooms were occupied. Clients requested designated craft spaces in order to be able to leave out the mess and disarray of such pandemic-acquired hobbies as scrapbooking, painting, and collecting. “We have clients telling us now that they are actually using their entire homes and side patios as intended—not just as spaces to be seen and admired,” says Bernbaum.

The genius of Bernbaum/Magadini is creating livable spaces using an artist’s hand. Smooth surfaces along with rough-hewn finishes all in a neutral palette create interest and depth as well as symbiotic adaptation to the nature around. Innovative use of materials can become a brilliant element of surprise. “Since the fireplace in the living room is a major focal point in my house, it needed to be something special. I found a stamped Japanese tile, INAX Homura, that has beautiful detail and color. The tile adds wonderful texture to the surround,” says Bernbaum.

The Bernbaum/Magadini house is characterized by natural materials and ample use of glass to make the structure meld with its surrounding lot. Outdoor seating spaces become inviting, fully furnished living rooms to entertain and enjoy. Say hello to your neighbors. P

Innovative designs allow for both privacy and light.

The rear of the home carries an outside/inside relationship that allows a full view of the backyard.

Meticulously situated in the midst of nature’s vistas and fauna, contemporary design imbued with a clear façade brings brilliant light into a Texas home.

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THE SINCERE GEOMETRY OF SEAN SCULLY SEAN SCULLY’S SIGNIFICANT CONTRIBUTIONS TO ABSTRACTION ARE SHARED THROUGH THE SHAPE OF IDEAS AT THE MODERN.

BY TERRI PROVENCAL

Sean Scully,64 The Fall,PATRONMAGAZINE.COM 1983, oil on canvas, 9 ft. 8 in. x 8 ft, 62 in. x 7.5 in. Philadelphia Museum of Art: Gift of Jeffrey H. Loria, 2017.

Sean Scully portrait taken in Mooseurach, October 2020. Photograph by Liliane Tomasko.

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Sean Scully, Pale Fire, 1988, oil on canvas, 96 x 146.5 x 5.5 in. Collection of the Modern Art Museum of Fort Worth, museum purchase, Sid W. Richardson Foundation Endowment Fund.

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t home in New York, from a brocade sofa in his “TV room,” Sean Scully answers a FaceTime call.

After chatting about the sofa, a showroom model he had reupholstered, he points out a James Castle pastel with a bird feather he bought for his wife and his “kid’s theater costume room” nearby. We meet his son later in the conversation as well as his trampoline-engaged dog, a potcake adopted from the Bahamas with a beautiful fan-like tail.

The family home was built around 1986 for Bill Murray he says, on top of an old farmhouse; the original chimney remains, as do the door handles, which he describes as schoolhouse style. Twice nominated for Britain’s esteemed Turner Prize and declared a member of the Royal Academy of Arts in London in 2013, the Irishborn, South London–raised artist is immediately disarming.

He has a busy exhibition schedule this year, including a wellreceived show in Budapest and Entre ciel et terre at Thaddaeus Ropac Paris Marais (which ended in late July, after our interview). Founded in 1983, Ropac’s footprint includes this outpost and a second one in Paris, as well as galleries in London, two in Salzburg, and a Seoul satellite scheduled to open in October. “You know I’ve never shown with what I would call the uber galleries; I’m quite known for this,” Scully shares. About the charming people who run Kerlin Gallery in Dublin he says, “Love those guys—so intelligent, so knowledgeable, and they’ve got in-teg-rit-y,” he says slowly pronouncing each syllable.

“I’ve also got a small gallery I work with in Berlin I’m very fond of.”

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Sean Scully, Heart of Darkness, 1982, oil on canvas, 8 x 12 ft. The Art Institute of Chicago, Gift of Society for Contemporary Art.

Sean Scully, Swan Island, 1982, oil on linen, 48 x 38.62 in. Collection of Andrea and Guillaume Cuvelier

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He has a second home in Bavaria for which he would soon be leaving for the summer with his wife, the artist Liliane Tomasko, and son.

During this catch-up year, the monumental Sean Scully: The Shape of Ideas is in the artist’s lineup. On view at the Modern Art Museum in Fort Worth through October 10, 2021, the sweeping retrospective spans five decades, unpacking Scully’s significant and continuing contribution to abstraction. The show was eight years in the making and scheduled to open in May 2020 at the Philadelphia Museum of Art before traveling to Fort Worth but was abruptly disrupted by the pandemic at a time when most things faltered. Timothy F. Rub, the George D. Widener director and CEO of the Philadelphia Museum of Art, who organized the show and authored the corresponding catalog, writes, “We agreed that it would be fitting to present it in 2020, on the occasion of his seventy-fifth birthday, but this plan, almost fully realized, was disrupted by the COVID-19 pandemic.”

The exhibition title is a nod to another great Irishman, the poet Samuel Beckett. “Beckett and I, of course, have a lot in common,” Scully says. “We both have this devilish kind of humor. When I saw Waiting for Godot I was in Newcastle, 19 at the time, and I didn’t grow up educated, you know. I had to educate myself on the run. I saw this

Sean Scully, 68 Backs andPATRONMAGAZINE.COM Fronts, 1981, oil on linen and canvas, 8 x 20 ft. Collection of the artist.

play and I thought I’d gone to heaven. It was so true; it corresponded perfectly with my own world view.”

He continues, “I knew I wanted to be an artist more than life itself. I had to be an artist. I was turned down by every bloody art school (where subsequently they asked me to teach). And then an art school in Croydon accepted me. My dedication was so extraordinary.

I was unstoppable.” Incidentally, Scully has honorary degrees from several prestigious universities today.

The Frank Knox Memorial Fellowship brought him to Harvard University in 1972—his first time in the US. “I was very lucky that I went to Harvard first. I got $2,400 a year to live on. It was enough to kind of get going. Then I house-sat a mansion for six months, so I had no rent to pay. And I continued to house-sit, and then these people would buy my paintings. What’s very important was that it wasn’t New York. I wasn’t prepared for New York at age 26. I psychologically could not have dealt with it,” he shares. “I thought abstract art was kind of inaccessible—that is what bothered me. I trained as a figurative artist.” Today his figurative work is deeply personal. His son, Oisin, with his gorgeous curly hair, is often his muse.

“I knew I wanted to be an artist more than life itself. I had to be an artist.”

–Sean Scully

Sean Scully, Untitled (Window), 2017, oil and spray paint on aluminum, 40 x 35 in. Collection of the artist. This is also the cover of the exhibition catalog, Sean Scully: The Shape of Ideas.

Sean Scully, Mexico Azul 12.83, 1983, watercolor and pencil on paper, 9 x 12 in., framed: 12.75 x 15.25 x 1.62 in. Collection of the artist.

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Sean Scully, Landline North Blue, 2014, oil on aluminum 7 ft. 1 in. x 6 ft. 3 in.

Forman Family Collection.

Ultimately, he did move to New York, in 1975. “New York then was like Rome. It was the center of the world. People thought that Minimalism would never fall, and it was practiced by white guys— very few females. I thought to myself ‘this can’t go on,’ and I made all these paintings where I roughed it up. The reaction against me was pretty powerful. I introduced color, and most of all, a collision-based mismatched geometry. And people were so mad about it because the paint work was expressive and very physical.”

Eschewing the expected Minimalism of the day he describes, “I brought back emotion and disorder—and collision—into abstract painting. I said it was metaphorical and humanistic, and when I said this, people wanted to lynch me,” he laughs. “It wasn’t that I was just an immigrant—I wasn’t fitting in.”

The turning point for the artist came when, “The Anderson Collection in Stanford started to buy my work, then Don and Doris Fisher. [The Fishers founded the Gap in San Francisco.] Then (in 1988) this woman arrived in my studio who really talked like a lady.

She was from Fort Worth. She had a mind like a razor and she saw this painting called Pale Fire, named after the unreadable book by Vladimir Nabokov, but I admired the effort. The painting’s got this inset in it that’s all wrong, and she said, ‘I will buy that.’ And she asked if I had a paper work for it, and I showed her a pastel, and she said ‘I’ll take that too.’” This was Marla Price, the Modern Art Museum of Fort Worth’s director. “I’ve never had such a decisive visit from anyone, and it belies the way you think of her because she is small and refined. She made my position in America, really. And Arthur Danto, and more recently Deborah Sullivan.”

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Sean Scully, Landline Pink, 2013, oil on linen, 47 x 42 in. Collection of the artist

Price first discovered the artist’s work in 1984 at the exhibit An International Survey of Recent Paintings and Sculpture at the Museum of Modern Art, New York. “His painting Tiger (1983) nearly stole the show,” she writes in the preface of The Shape of Ideas catalog.

Relationship spurred, in 1993 the Modern exhibited the Catherine Paintings (after his then-wife Catherine Lee, a Texas-born artist), which he later donated to the museum. Scully asked Price to write the catalog raisonné of his paintings following the Modern’s exhibition of the Wall of Light series presented by the Phillips Collection in 2006. “Sean Scully is one of the most important artists in our collection,” Price shares during an exhibition preview. “This is the third exhibition that we have hosted at the Modern (the second in this building), but this is the first complete retrospective.”

There are 49 paintings and 42 works on paper on view in the Modern exhibition. Timothy Rub writes that the exhibition, “favors breadth to ensure the full scope of his achievement is represented.”

Exhibition co-curator Amanda Sroka, assistant curator of contemporary art at the Philadelphia Museum of Art, says of the catalog, “Timothy’s essay marries Sean’s own biography to the narrative that comes through in his work. And you start to see how so much of where Sean was and what he was being influenced by in his life circumstance affected the various ways in which these motifs and his relationship to abstraction really came to be. And so certainly the spiritual dimension or the emotional aspect of the work comes out when you also start to understand the interrelationship between biography and the production. Timothy and Sean have a longstanding relationship, and we knew we wanted to include the

formative works in his career and the development of his practice.

Those were the cues we tried to take in putting the show together.”

The Shape of Ideas opens with The Fall, 1983, in the spot where Andy Warhol’s dramatic self-portrait is typically installed as if the museum’s sentry. Naturally, the Modern’s Pale Fire (1988) is among the paintings on view, and the seminal work Back and Fronts (1981) as well as work from the artist’s distinguished ongoing series Wall of Light. Says Sroka, “I think Backs and Fronts is representative of a moment in Sean’s practice when he really made a name for himself in the United States. It first premiered at MoMa PS1 in 1982 in the Critical Perspectives: Curators and Artists series. Joseph Masheck was the curator at the time.”

Scully recalls, “When I made it, it was really stressful in a way because I didn’t know what the f*** I was doing. I had no money, and I was making this 20-foot painting. And PS1 was just about the grooviest place on Earth. My painting was seen, of course, by everybody.”

“You can’t deny its presence when you see it. For us it was absolutely pivotal to be included in a retrospective of Sean’s work,” says Sroka.

The Wall of Light series was the subject of a 2006 exhibition at the Modern, curated by Michael Auping, and stems from watercolors Scully made from his travels to the Yucatán in 1983–1984. Auping describes the series in the catalog as a “true tipping point, in the sense that we could say that the artist’s career can now be divided

into pre-Wall of Light and after.”

Sroka affirms, “The Wall of Light is the most significant series in Sean’s body of work. He starts to hint at it in Mexico in 1984, and he returns to it more significantly in the 1990s. It’s a testament to how these motifs in Sean’s work really take the time to grow and develop even while he’s working on other bodies of work. It’s a continual return, and with the Wall of Light, a very big part of what makes this relationship between darkness and light. It’s a literal relationship with that. How can a wall either keep things contained or closed in? Whereas a light is penetrating and porous and allencompassing, so it’s a contradiction. We ourselves as humans are walking contradictions.”

The revered art critic Arthur Danto writes, “Scully is far from a formalist artist, and expects his work to transmit metaphors of the widest human relevance.”

“My paintings have always been about geography,” says Scully about the impetus behind Wall of Light. Asked if these relate to childhood through darkness and light he says, “My childhood was traumatic. My parents were completely insane. I went to school in a very rough school—boy, it was very rough. The first school I went to was a convent school, a Catholic school. I became a fighter at my next school. I loved the convent school, but my mother got me kicked out.

Then they put me in this state school, and I learned to fight. Irish people are very exuberant but extremely melancholy. We were poor as church mice. And that’s what put the artist in me.” P

Sean Scully, Precious, 1981, oil on canvas, 7 ft. x 63.37 in. Collection of the artist.

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FIRED UP BOSCO SODI: LA FUERZA DEL DESTINO AT THE DALLAS MUSEUM OF ART REVEALS THE ARTIST’S INTEREST IN THE SPIRITUAL AND EMOTIVE CAPACITY OF CLAY.

BY ANNA KATHERINE BRODBECK

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Bosco Sodi at Casa Wabi Studio.

Photograph by Sergio Lopez.

Courtesy Studio Bosco Sodi.

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Bosco Sodi, clay sphere installation at Casa Wabi Studio. Photograph by Sergio Lopez.

74 Bosco Courtesy Studio Sodi.

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Bosco Sodi, clay sphere installation at Casa Wabi Studio. Photograph by Sergio Lopez.

Courtesy Studio Bosco Sodi.

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nna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art, caught up with Bosco Sodi, who has a sitespecific installation, Bosco Sodi: La Fuerza del Destino, opening at the DMA on September 14, 2021, and whose work will be featured in the TWO x TWO for AIDS and Art charity auction on October 23, 2021. Sodi’s work, which explores the beauty of materiality and its interaction with time and nature, will be shown in the museum’s sculpture garden concurrently with Slip Zone: Postwar Abstraction in the Americas and East Asia, which tracks the transnational development of abstract movements after WWII that dialogue with Sodi’s practice. Sodi works between Mexico and Brooklyn, New York and has operated Casa Wabi, an art center and residency in Oaxaca, Mexico, since 2014.

Anna Katherine Brodbeck (AKB): It’s so great to have the opportunity to interview you today in advance of your upcoming exhibition, Bosco Sodi: La fuerza del destino, opening at the DMA in September, as well as your generous participation in the TWO x TWO for AIDS and Art fundraiser in October. I wanted to start with your upcoming DMA installation, and I was hoping you’d tell us a little bit about the Perfect Bodies series, which is a series of terra-cotta cuboids and spheres that will be shown in our sculpture garden but have had past lives in prior contexts, which we’ll return to. Perhaps you could start with the material process of making these works, which I know is so important to the experience of the final product. Could you just talk a little bit about how the works are physically made?

Bosco Sodi (BS): I had been working with clay for a long time, but when we did the first round of artists at the residency Casa Wabi, Corban Walker—a very good friend and among the first round of

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residents—told me, “You should go to Agua Zarca. That is where they did the bricks with clay. Bring your kids to do some clay because it’s so beautiful, and it’s fun.”

And so I went, and they were doing these kind of figures, and I was just watching. And then I began to do a cube, just for fun. I was thinking, “Well, clay is such an abstract material, and just to make a cube, which is a completely human form in a way, a much more intellectual form.” But when I was doing it, the cubes were much larger. And the guy there, Abel, the craftsman that does the bricks, told me, “No. Don’t do this because it’s impossible that it will survive. It will dry, and it will crack.” I asked why. He said, “Because of the drying process, it’s too much clay.” So I told him, “Well, why don’t we try to do a bigger one?”

I hired him for a month in my studio, and we began to work with clay in order to do these geometrical forms—that are also very imperfect because they’re made by hand. And we began to experiment and challenge the material. And we failed a lot at the beginning. My work, it’s a lot about process and about learning and failure.

And then–I fell in love with clay. For two reasons: I began to study it, and it has been a companion with humans since the very beginning of our evolution—some of the first primogenial materials that have been used by humans. And it’s a beautiful material because

it involves the four elements in order to be created. So we began to do these cuboids and spheres, but we were failing. They were breaking.

Then one day in the morning (because one of the things I love the most is to wake up in the morning after we’ve fired for 16 hours), the first thing is I do is go to open the kiln. I mean, you have to take them out brick by brick—they’re very hot so you burn yourself.

And I opened the kiln and for the first time there were these two clay cubes in perfect shape. I went running back to wake up all my family and friends and say, “Listen, we were successful.” Because I was not expecting to be successful.

That was the way we began to work with these materials. Clay has a special energy. I think it’s something that we humans connect with very well from very deep inside.

AKB: I was also interested in unpacking some of the references that you make to past traditions of societies that have historically used clay. I wonder if you could just start with the fact that you’re making these in Southern Mexico and there’s a very long history of terra-cotta sculpture in ancient American civilizations.

And us being an encyclopedic museum at the DMA, with an ancient American collection, I was wondering if you could talk a little bit about the significance of you, of making these in Mexico, and any particular traditions you were attracted to from the area.

BS: Mexico is a country of clay in a way. I think there are very few

Bosco Sodi, clay sphere installation at Casa Wabi Studio.

Photograph by Sergio Lopez. Courtesy Studio Bosco Sodi.

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Bosco Sodi, Alegoría #1, 2019, mixed media on canvas, 70.88 in. diameter. Courtesy of Studio Bosco Sodi, Kasmin, New York; and Axel Vervoordt Gallery, Wijnegem. TWO x TWO for AIDS and Art 2021.

countries of clay. You have Japan, maybe Korea. The ancient Greeks.

The ancient Romans. But there are not so many. And then you have Oaxaca—that is like the place of clay in Mexico. And I think the connection in Mexico with clay, it’s very deep.

Near Casa Wabi many people make clay for bricks. It was very romantic to use the same clay. And we burned them in a rustic kiln, always to have a different outcome. For me, that’s very important. If you put those objects in an industrial clay kiln, they will always look the same. They will look like bricks, perfect bricks. But what I love about a rustic kiln is that you fire with different kinds of wood for different times. It depends on the humidity of the day.

The other day I was doing these six spheres for a show I have in London with the Johann König gallery. We did everything perfectly.

But the day before, it rained a lot, and parts of the spheres were gone when we opened the kiln.

My guy that was firing there told me, “Well, what should we do?

Let’s burn them again.” But no, they were beautiful. I love this kind of accident, of unpredictability. That makes them unique.

Because they are solid, the energy of the object becomes very strong. I still believe in the energy of the object by themselves. You want to touch them; you think that maybe you’re going to transform yourself.

AKB: I know you’ve mentioned in the past that you’ve very attracted to the wabisabi technique in Japan, and we also have a great interest in Japanese art at the museum. Some of these traditions are real reverence for forms that are kind of imperfect. Your installation will be opening at the same time as an exhibition, Slip Zone, that has a lot of work of postwar Japanese art. Could talk a little bit about how you first encountered Japanese art and what attracted you to it?

BS: When I was 12 years old, I began to read a lot about the Dalai Lama first. And then one day I found a book about wabi-sabi and I began to read it. And I found that I was already applying some of the concepts of wabi-sabi. Not in my art, because at that time I was very

young, but in my way of keeping things, of keeping things even when they were broken. I really feel that kind of energy. And so I began to study wabi-sabi much more.

I think it’s what can keep us connected to nature, and to the atemporality of life, that we are just here for a moment. So I try to always embrace the accident, learn from the accident, accept it, involve it in the process, and take control of the accident in order to make it part of my process.

AKB: We are so honored to have your participation in this year’s TWO X TWO for AIDS and Art charity fundraiser, which benefits the contemporary acquisition and exhibition program at the DMA and amfAR’s AIDS research efforts. Could you tell us about the work you are contributing to the auction?

BS: Those are paintings that I did with the blackest black. One time I asked my gallerist for Japan—I work with the same gallery as Anish Kapoor in Japan, SCAI The Bathhouse—if he could talk to Anish Kapoor to give me some pigments to make a painting. He respectfully refused.

So then for my birthday, my oldest son gave me as a present: 500 grams of the blackest black. I did this small painting, and I was amazed how there was no reflection of light. It’s almost 99.99 percent absorption. It was very interesting because when I hung it, I saw a hole in the wall, but then when you get closer you see this amazing texture. And I decided to do the first four paintings—I did them with white under and then a layer of the black. So you first see this kind of non-reflection, but then finally these cracks come out. I saved these four paintings for myself. And when I thought about my donation [Alegoría #1, 2019], I thought about this painting because I wanted to donate something powerful and strong. It’s the blackest black, more than any color black. It’s about this kind of emptiness of light but at the same time this kind of texture. It’s a very beautiful painting. Very unique. P

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30A Coastal Living

The gorgeous communities along the Emerald Coast offer second-home opportunities and great vacations for beach lovers.

Photograph courtesy of Visit South Walton, Florida.

ARTIST OF THE YEAR

CHANDLER WILLIAMS SOUTH WALTON PHOTOGRAPHER Chandler Williams of Modus Photography has built a career capturing the essence of South Walton, Florida — exploring the details that make it so unique. Having grown up in Walton County, he has a true insider’s familiarity with the 16 beach neighborhoods.

While Williams loves the vibrant communities, his true muse is the natural beauty surrounding them. Drawn to the pristine local landscapes, from sugar-white sand beaches to rare coastal dune lakes, he sees his photographs as an extension of this extraordinary landscape. Each image connects the viewer with their personal South Walton experience, no matter where they are.

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he beaches of coastal Florida, more commonly known as 30A, are iconoclasts of luxury and ease.

Visually astounding, the white roofs of Alys Beach glimmer against the blue waves and sunrays.

Made to reflect the heat, the snowy-colored town is all lines and angles, bringing forth a positive mindset with its stark commitment to relaxation for everyone. Nestled in the heart of 30A, Alys Beach brings simplicity to the forefront, offering lazy sunny days or seclusion during an afternoon rain shower. Here visitors prioritize the simple pleasures of life. Stunning during the day and at night, the monochromatic city is a quiet haven from bustling city life. Miles away from the ordinary, Alys Beach is both accessible and magical.

Dune Allen - South Walton, Florida. Photograph courtesy of Visit South Walton, Florida

BY KIT FREEMAN

Aerial photograph of South Walton. Courtesy of Visit South Walton, Florida.

Photograph courtesy of Visit South Walton, Florida.

A slice of paradise nearby, tropical Rosemary Beach is a green and floral highlight of 30A, where you can visit local shops and eateries as well as enjoy the outdoors. Rosemary Beach is family friendly or a romantic getaway, with beachfront restaurants, quiet homes, and calm waters.

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The small close-knit community emphasizes intimacy and walking, bringing together families to enjoy the respite of an uncomplicated time with a slower pace. As influential as Versailles, the resort community is an astounding feat of culture and design. With narrow streets and transportation only by foot, the beach town is a jumble of theaters, schools, boutiques, and even a bookstore. The warmth of the community almost makes the beach secondary, although it is only a few feet away from picture-perfect homes.

Scenic and lively throughout the entire coast, 30A promises an experience for every visitor. For the art lover, Justin Gaffrey Gallery, 2021 winner of best gallery in South Walton, is a contemporary gallery that highlights local and regional artists.

For an evening of dance, the 30A Ballet, based in Inlet Beach, features year-round stage performances that highlight the beautiful traditions of ballet and grace. The coastal community is also pedestrian friendly, with nature reserves throughout the beaches, making it ideal for bikers, hikers, and runners.

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Alys Beach Courtyard. Photograph courtesy of Visit South Walton, Florida.

Photograph courtesy of Visit South Walton, Florida.

Nature Trail. Courtesy of Alys Beach, Florida. Photograph by Jake Dillard.

Grayton Beach State Park, between Panama City and Pensacola, boasts both a Gulf beach and a freshwater lake active with wildlife, considerable sand dunes, and meandering trails.

The park invigorates the senses through manifold offerings, including canoeing, kayaking, and fishing, both fresh and saltwater. Featuring pine flatwoods and scrubs, Grayton Beach has a bike path as well as miles of trails for every level.

The beaches along the Emerald Coast of Florida flourish with culture and life, offering restaurant and arts experiences for the top vacationer. Elegant and casual eats line the beaches to satisfy any craving visitors might have while soaking up the sun of the beach communities. Café Thirty-A offers an upscale experience with unique dining options along with a cocktail menu; for a taste of the South, Great Southern Café in Santa Rosa offers Southern specialties with a modern twist.

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Grayton Beach. Photograph courtesy of Visit South Walton, Florida

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THERE KESSLER WEST LAUNCH PARTY WITH EKLUND|GOMES, DOUGLAS ELLIMAN, AND GROUND FLOOR DEVELOPMENT ALONG WITH PATRON, SIMON WARANCH, ASTON MARTIN, ROXOR & SCOTT + COONER PHOTOGRAPHY BY ANDRE PASCUAL, HAPPY MEDIUM

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Guests enjoying the epic view of Dallas

Barry Waranch, Simon Waranch, Ellery Hatopp

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Brandon Bolin, Withers Bolin, Lawson Turner Bolin IV

Kenneth Craighead, Craighead Green Gallery

Glass installation

by Simon Waranch

PATRON MAGAZINE 2021 ART INFLUENCERS AT CATBIRD WITH CASA DRAGONES AT THOMPSON DALLAS PHOTOGRAPHY BY LATERRAS WHITFIELD

Kelly Cornell, Sarah Blagden

Alan-Patrick Sahliyeh, Kelley Banno Sahliyeh

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FURTHERMORE

CALL AND RESPONSE The working process of the Los Angeles artist Betye Saar is revealed at Nasher Sculpture Center.

BY CHRIS BYRNE

O

pening September 25, Betye Saar: Call and Response at the Nasher Sculpture Center examines the preparatory sketchbooks the artist made throughout her career in relationship to corresponding sculpture. “The sketch is to remind me how [a piece] is going to look when I get it put together,” Saar has said. The show was originated by the Los Angeles County Museum of Art (LACMA) and curated by senior curator of modern art Carol Eliel. A Black woman who grew up in the ’60s in Los Angeles, race, gender, and spirituality play a distinct role in Saar’s oeuvre. Saar’s work is part of the assemblage tradition of Southern California and comprised of symbols and found objects from her travels across the globe—Africa, Mexico, Asia, the Caribbean, and Europe—as well as her LA neighborhood Dr. Leigh Arnold, the associate curator of the Nasher Sculpture Center, sheds light on Saar’s practice.

Chris Byrne (CB): It’s exciting that the Nasher Sculpture Center will be hosting Betye Saar’s career-spanning exhibition Call and Response. How did the show come about?

Leigh Arnold (LA): Betye Saar is an artist that many of us at the Nasher have been interested in for some time. When LACMA shared their exhibition prospectus with the curatorial team here, it was a no-brainer.

CB: I understand you worked with Carol Eliel, the senior curator of modern art at LACMA? LA: When the Nasher came on board as a venue for the touring exhibition, Carol Eliel became my primary contact in understanding the work, the thesis of the exhibition, and also how to develop a layout in the Nasher galleries that would meet with Saar’s approval.

Sadly, the COVID-19 pandemic hit at just the moment I was scheduled to visit Los Angeles, meet with Eliel, and see Call and Response in person. I had to cancel my trip, and we have worked together virtually ever since.

CB: It’s great that the installation will include the artist’s sketchbooks— beginning in the late 1960s—with her fully realized assemblages.

LA: The sketchbooks illuminate how Saar’s ideas for objects shift and take shape, as well as the different contexts that surround them at any given moment in her life.

CB: And personal items/found objects were often referenced in the artist’s preparatory drawings and collages? Can you describe her methodolog y?

LA: Saar typically starts an artwork with an object, typically sourced during one of her frequent visits to area flea markets and secondhand shops. Sometimes the object will provoke an immediate idea for an artwork, while in other instances, Saar may hold on to that object for weeks, or even years, before incorporating it somehow into a sculptural assemblage.

CB: Also, specific images (i.e. eyes, hands, and hearts) seem to be reinterpreted in every medium throughout her career.

LA: Saar has a visual vocabulary that she returns to frequently— eyes, hands, and hearts, as you mention, but also celestial bodies and astrological references. These leitmotifs reflect her interest in mysticism and the occult as well as different cultures and spiritualities.

While Saar attaches her own meanings to the images—for example, hands symbolize fortune for her—she recognizes their meanings as symbols change depending on the context, location, or culture.

Betye Saar: Call and Response will be on view at the Nasher through January 2, 2022. P

Betye Saar, Sketchbook, 2009–2010, 5.5 x 4 in. Collection of Betye Saar. Courtesy of the artist and Roberts Projects, Los Angeles, © Betye Saar, photograph © Museum Associates/LACMA; Betye Saar, The Edge of Ethics, 2010, mixed-media assemblage, 10.5 x 9.25 x 5.5 in. Courtesy of the artist and Roberts Projects, Los Angeles, © Betye Saar, photograph © Museum Associates/LACMA; Betye Saar, Sketchbook, 1998, 6 x 3.25 in. Collection of Betye Saar. Courtesy of the artist and Roberts Projects, Los Angeles, © Betye Saar, photograph © Museum Associates/LACMA; Betye Saar, A Loss of Innocence, 1998, mixed-media installation, 50 x 12 x 12 in. Courtesy of the artist and Roberts Projects, Los Angeles, © Betye Saar, photograph courtesy Scottsdale Museum of Contemporary Art, Scottsdale, AZ, by Tim Lanterman.

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