PATRON's August | September Design Issue

INTERNATIONAL STYLE

Combine Talents PLUS

Cliff Welch & Robyn Menter

Jammie Holmes at The Modern Leonardo Drew at The Carter

FEATURING: HUMA BHABHA JONATHAN BOROFSKY ANTHONY CARO TONY CRAGG MICHAEL CRAIG-MARTIN MARK DI SUVERO JIM DINE LEONARDO DREW BARRY FLANAGAN TOM FRIEDMAN LIAM GILLICK ANTONY GORMLEY KATHARINA GROSSE SIOBH Á N HAPASKA THOMAS HOUSEAGO KAWS ALAIN KIRILI HENRY MOORE IVÁ N NAVARRO PAMELA NELSON AND ROBERT A. WILSON MIMMO PALADINO JOEL SHAPIRO FRANK STELLA LEO VILLAREAL HE XIANGYU

Great spaces begin with architecture. Bernbaum/Magadini Architects, Dallas’s premier architecture firm, matches innovation with detail.

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CREATING PERSONAL SANCTUARIES

40 YEARS OF REDEFINING OUTDOOR SPACES

EDITOR’S NOTE

August / September 2023

Fall is a funny thing here in Texas. In the Midwest, where I grew up, the weather cooled quickly, and light sweaters and jackets came out for the new school year. After 27 years living here, one can only remain hopeful … but we can always look forward to the season’s fall arts flurry regardless of temperature. Exhibitions are opening, performers are onstage, and the design community comes out in force. Our Art & Design Issue is in homage to the amplified activity emphasizing both.

On the cover, Dave Shafer’s resplendent photo depicts an ostensibly floating dining room. Out of the Twister shares this breathtaking home designed by architect Cliff Welch together with interior designer Robyn Menter after the previous residence was destroyed in the tornado of 2019. Nancy Cohen Israel take us on a tour.

Two pivotal exhibitions have mounted in Fort Worth museums. In Jammie Holmes Tells the Story of The South, Alysia Nicole Harris portrays how this Thibodeaux-born, Dallas-based artist was plucked for his first solo museum show, on view at the Modern Art Museum of Fort Worth, after only six years of creating work in earnest. And in Leonardo Drew Becomes The Weather, Darryl Ratcliff visits with the Brooklyn-based artist who recently installed his sitespecific Number 235T at the Amon Carter Museum of American Art , comprised of “planets” surrounded by hundreds of smaller works that draw our attention to the interconnected nature of existence.

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

Marching back through art history, we survey Joaquín Sorolla’s (1863–1923) paintings drawn from private American collections in Joyous Moments of Leisure This Meadows Museum exhibition marks the centenary of the Valencian-born painter’s death with flourish in Spanish Light: Sorolla in American Collections, curated by his great-granddaughter Blanca Pons-Sorolla.

These pages, too, remember Janet Sobel (1893–1968). In an interview with Chris Byrne, Peter Doroshenko discusses Wartime, the drawing show he curated for the Ukrainian-born abstract expressionist on view at The Ukrainian Museum in New York. Garnering newfound attention and critical praise, Janet Sobel: All-Over, highlighting her abstract paintings, will open at The Menil Collection in February.

In Continental Drift, we take a look at what’s yet to come in If You Look Hard Enough, You Can See Our Future, on extended view at the African American Museum. Eve Hill-Agnus investigates the South African contemporary art culled by curator Laurie Ann Ferrell from Nando restaurant group’s holdings.

On the design front, we caught up with the Smink sisters, founders of their iconic modern showroom since 1989, and feted interior designers Chad Dorsey and Laura Lee Clark Falconer, who each have their own showroom. Next, we check out the new Hickory Chair showroom on Edison Street, which brims with a comely collection from Ray Booth. And as further evidence that art and design are simpatico, Charlie Adamski Caulkins takes us through Sotheby’s exhibition on view at Park House, where we discover the work of 21st-century artists who investigate space in their work. While some of these giants have passed away—John Baldessari, Tom Wesselmann—Alex Israel and Dario Escobar, actively creating, are able to witness firsthand the innovative methods of the publishing house Mixografia, which adds a three-dimensional quality to these prints.

We cap off our features and celebration of achievements in design with a staycation at the new JW Marriott Dallas Arts District. The consummate, highservice staff allowed us to bring in a crew and gave Patron full access prior to opening to the public. A team led by photographer Dixie Dixon and creative director Elaine Raffel previewed the hotel with garment bags and suitcases filled to the brim with fall designer looks.

We’ve come to issue’s end, but we’ll be back in October with the 12th Anniversary Issue. See you this fall, with or without the sweater.

– Terri Provencal

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

FEATURES

58 OUT OF THE TWISTER

Cliff Welch rebuilds a couple’s post-tornado home with interiors by Robyn Menter.

By Nancy Cohen Israel

66 JAMMIE HOLMES TELLS THE STORY OF THE SOUTH

The Modern’s Make the Revolution Irresistible marks the first solo museum exhibition for the Thibodeaux-born, Dallas-based artist.

By Alysia Nicole Harris

72 JOYOUS MOMENTS OF LEISURE

Drawn from private American collections, Joaquín Sorolla’s luminous work dazzles at the Meadows Museum.

By Nancy Cohen Israel

78 LEONARDO DREW BECOMES THE WEATHER

Catch the New York–based artist’s epic installation Number 235T on view at the Carter.

By Darryl Ratcliff

84 SUITE DREAMS IN THE ARTS

Get ready for a stylish staycation at the new JW Marriott Dallas Arts District.

Photographs by Dixie Dixon; Creative direction and styling by Elaine Raffel

On the cover: Cliff Welch and Robyn Menter worked in concert to create a new home embodying the guiding principles of International Style while exemplifying sustainability and timeless design. Photograph by Dave Schafer.

78

DEPARTMENTS

10 Editor’s Note

16 Contributors

26 Noted

Contemporaries

42 CONTINENTAL DRIFT

The African American Museum offers a South African show with a gorgeous installation and inherent resonance.

By Eve Hill-Angus

46 CREATION IN THE CROSSFIRE

The Ukrainian Museum, New York, ignites the rediscovery of Janet Sobel’s work during World War II.

Interview by Chris Byrne

Space

48 REFINED DESIGN SISTERS

Autumn, Jennifer, and Dawn Smink make modern furnishings accessible.

By Elaine Raffel

50 DESIGNING A SHOWROOM

Chad Dorsey and Laura Lee Clark Falconer each create designerfrequented showrooms.

By Peggy Levinson

52 GRACEFUL FURNISHINGS NURTURED

Ray Booth x Hickory Chair presents a sequel collection to the Dallas showroom.

By Elaine Raffel

Volumes

54 KEEPERS OF THE LITERARY TEXAN

This fall, University of Texas Press will release Pastures of the Empty Page: Fellow Writers on the Life and Legacy of Larry McMurtry, edited by George Getschow.

By Lucia Arbery Simek

There

92 CAMERAS COVERING CULTURAL EVENTS

Furthermore

96 MANIPULATING SPACE

In partnership with Mixografia, Sotheby’s California Dreaming showcases artists of the 21st century through innovative prints.

By Charlie Adamski Caulkins

CONTRIBUTORS

EVE HILL-AGNUS

is a writer, editor, and translator with roots in France and California. She has been a teacher of literature and journalism; an awardwinning dining critic who also covers art and dance; and a freelance writer/editor of nonfiction, fiction, and poetry. Her recent joy has been translation, whether the translation of one language to another or of art into words.

In Continental Drift, she examined If You Look Hard Enough, You Can See Our Future at the African American Museum.

CHRIS BYRNE

authored the graphic novel The Magician (Marquand Books, 2013), included in the Library of Congress. He is the coeditor of Frank Johnson, Pioneer of American Comics Vol.

1: Wally ’s Gang Early Years (1928-1949) and The Bowser Boys (19461950), published by Fantagraphics in 2023. Byrne chaired AVAM, the national museum for visionary art. He founded the Elaine de Kooning House in East Hampton, listed on the National Register of Historic Places and also an affiliate member of the National Trust’s Historic Artists’ Homes and Studios.

DIXIE DIXON

is renowned as a fashion, lifestyle, and commercial photographer and film director based in Dallas. As a Nikon Ambassador, she travels worldwide, working with brands ranging from Disney to Virgin to People and has spent the last decade bringing creative visions to life.

In Suite Dreams in the Dallas Arts District, Dixie previewed the new JW Marriott Dallas Arts District prior to the grand opening, combining the hotel’s stunning design with a suitcase full of fashion.

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 a Dallas-based writer, art historian, and educator. For the current issue, she revisited the ebullient work of Joaquín Sorolla, which she last covered in 2013. This fall she looks forward to lecturing about his American collectors for the Martín Lecture Series in the Humanities at the Meadows Museum. It was also a pleasure for her to write about Cliff Welch, Robyn Menter, and the home they spectacularly rebuilt for clients impacted by the 2019 tornado in Out of the Twister.

ELAINE RAFFEL

ALYSIA NICOLE

HARRIS

attended the University of Pennsylvania, where she experienced her first success as a writer and performer. She was featured in the HBO documentary Brave New Voices with her piece That Girl She received her MFA in poetry from NYU in 2014, and her PhD in linguistics from Yale University in 2019. She is a Cave Canem fellow, winner of the 2014 and 2015 Stephen Dunn Poetry Prize, Pushcart nominee, and a founding member of the poetry collective The Strivers Row.

DAVE SCHAFER

DARRYL RATCLIFF

is an artist and poet with a writing and curatorial practice whose work engages communities and mobilizes social issues. He builds collaborative, durational cultural projects that promote civic engagement and increase community health. As a Yerba Buena Center for the Arts 10 fellow, he addresses climate change and racial equity. He also founded Gossypion Investments. For Patron, he checked in with Leonardo Drew at the Amon Carter for a preview of his sitespecific installation.

PEGGY LEVINSON

brings her years in the design industry to Space. Her experience as a former showroom owner made her ideal to interview two of the region’s best interior designers about their showrooms. In Designing A Showroom, Peggy caught up with Chad Dorsey about his thriving bespoke fireplace mantle business, Strike by Chad Dorsey, and with Laura Lee Clark regarding her eponymous showroom that keeps the design trade returning.

is a Dallas-based creative director and stylist. Her fashion prowess and years as a creative working for Stanley Korshak, Neiman Marcus, and Mary Kay bring an elevated edge to Patron. Elaine, working in concert with photographer Dixie Dixon, gathered seasonal looks from fine fashion brands to create the ultimate staycation at the JW Marriott Dallas Arts District in Suite Dreams. Elaine also visited with the Smink sisters and checked out the new Hickory Chair showroom in Space.

is a Texas-based location photographer chasing stories and light all over Texas. For over two decades, Dave has captured editorial, fine art, and commercial commissions. He has received Communication Arts’ Photography Award of Excellence five times, and the International Regional Magazine Association named him Photographer of the Year. For the cover, and in these pages, he photographed a Dallas home with architecture by Cliff Welch and interiors by Robyn Menter in Out of the Twister.

LUCIA ARBERY SIMEK

is an artist, writer, and curator who currently serves as deputy director at Dallas Contemporary. She exhibits her artwork internationally, and is published widely on contemporary art. As a curator, she has mounted exhibitions at the DMA and The Reading Room, and curated a collection for the Adolphus Hotel, where she organized a series of public talks. Deep Vellum Publishing will release a book of her essays about midcentury artists Forrest Bess, Myron Stout, and Alberto Burri.

September 10, 2023 to January 28, 2024

As a queer artist, Abraham Ángel (1905–1924) found belonging in Mexico City’s dynamic artistic scene alongside the leading cultural figures of the period. Between Wonder and Seduction , the first survey of Ángel’s work in 35 years, considers the life, painting, and legacy of this legendary artist, who produced just 24 paintings before his death at age 19.

(detail), 1923. Abraham Ángel. Oil on cardboard. Museo Nacional de Arte. INBAL / Secretaría de Cultura, Mexico City.

Abraham Ángel: Between Wonder and Seduction is organized by the Dallas Museum of Art in association with the Museo de Arte Moderno. INBAL/Secretaría de Cultura, Mexico City. 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.

ORGANIZED BY

1019 Dragon Street | Design District | sminkinc.com

PUBLISHER | EDITOR-IN-CHIEF

Terri Provencal terri@patronmagazine.com

ART DIRECTION

Lauren Christensen

DIGITAL MANAGER/PUBLISHING COORDINATOR

Anthony Falcon

COPY EDITOR

Sophia Dembling

PRODUCTION

Michele Rodriguez

CONTRIBUTING WRITERS

Charlie Adamski Caulkins

Lucia Arbery Simek

Chris Byrne

Nancy Cohen Israel

Eve Hill-Agnus

Peggy Levinson

Alysia Nicole Harris

Elaine Raffel

Darryl Ratcliff

CONTRIBUTING PHOTOGRAPHERS

James Baker Hall

Sharen Bradford

Bruno

Tamytha Cameron

Celeste Cass

G. Chandler Cearley

Luis Corzo

Dixie Dixon Exploredinary

Stephen Karlisch

Joan Marcus

Chadwick Redmon

Dave Shafer

Kevin Todora

CONTRIBUTING STYLISTS / ASSISTANTS

Natalie Beavers

Eric Jang

Elaine Raffel

Michael Reyes

Susie Jaspers

ADVERTISING info@patronmagazine.com or by calling (214) 642-1124

PATRONMAGAZINE.COM

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SAVOR SUMMER AT ELLIE’S

Cheers to delicious, Napa-inspired dishes at Ellie’s, curated by Executive Chef, Anthony Hsia. Located within HALL Arts Hotel, in the heart of the Dallas Arts District, our showstopping dining experience will leave you ready for an encore. 1717 LEONARD STREET, DALLAS, TEXAS 75201 | 972.629.0924 | ELLIESDALLAS.COM

Photography by Studio Love List

FABIO LUISI

Don’t miss the Dallas Symphony Orchestra’s GRAMMY® Award-winning Music Director, Fabio Luisi, at the Morton H. Meyerson Symphony Center.

SEP 28 & OCT 1

Copland and Liszt

OCT 12–15

Brahms Piano Concerto No. 2

FEB 22–25

Saint-Saëns Organ Symphony

MAR 1–3

The Book with Seven Seals

MAR 28–30

Mahler Symphony No. 5

APR 4–6

Brahms Requiem

MAY 1 & 4

Ring Cycle: Das Rheingold

MAY 2 & 5

Ring Cycle: Die Walküre

SPANISH LIGHT SOROLLA in AMERICAN COLLECTIONS

September 17, 2023–January 7, 2024

Joaquín Sorolla y Bastida (1863–1923), Spain’s “painter of light,” is recognized in a centennial exhibition comprised of 25 compelling and rarely seen paintings from private collections in the United States, many of which will be on view in a public museum for the first time. The exhibition is one of approximately 30 worldwide celebrating what Spain’s Ministry of Culture has deemed the “Year of Sorolla,” and one of only two in the U.S.

meadowsmuseumdallas.org

This exhibition has been organized by the Meadows Museum and is funded by a generous gift from The Meadows Foundation. Joaquín Sorolla y Bastida (Spanish, 1863–1923), Beach of Valencia (Boats) (Barcas. Playa de Valencia), 1908 (detail). Oil on canvas, 18 7/8 x 23 1/4 in. (48 x 59 cm).

Collection of Debbie Turner. Photo: Personal Archive, Blanca Pons-Sorolla, Madrid.

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NOTED

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

01 AFRICAN AMERICAN MUSEUM

Discover the hidden gems of South African art in If You Look Hard Enough, You Can See Our Future. Curated from the vast archive of the restaurant group Nando’s, one of the world’s largest collectors of contemporary South African art , this is the exhibition’s global debut. Open to the public and free of charge, the exhibition brings together nearly 90 pieces from over 60 artists through Oct. 22. Image: Portia Zvavahera, In the Wings, 2014, oil-based printing ink and oil bar on canvas. Courtesy of Stevenson and David Zwirner. aamdallas.org

02 AMON CARTER MUSEUM OF AMERICAN ART

Avedon’s West remains on view through Oct. 1. Elizabeth Turk’s The Tipping Point: Echoes of Extinction marks the third installation in the Amon Carter’s outdoor sculpture program, through May 1, 2024. Arthur Dove: Miniature Laboratories examines work from the last years of Dove’s life (1940–46), through Aug. 27. Through Jun. 30, 2024, Leonardo Drew’s new site-specific commission features “planets” as central sculptural pieces surrounded by hundreds of smaller objects, emphasizing their interconnectedness. World Outside: Louise Nevelson at Midcentury illuminates Nevelson’s multidimensional mastery of form and dialogue with postwar America and features over 50 defining artworks. Concurrently, Come to Colorado, drawn from the Carter’s Fred and Jo Mazzulla Collection, showcases 19th-century photographs that document settlement by white Americans. Both mount Aug-27–Jan. 7. Trespassers: James Prosek and the Texas Prairie will feature a large-scale silhouette painting; watercolor portraits of plants; and trompe l’oeil clay and bronze sculptures of wildflowers, Sep. 16–Jan. 28. Image: Louise Nevelson, Royal Tide I, 1960, painted wood. Peter and Beverly Lipman, photograph courtesy Storm King Art Center by Jerry L. Thompson, © 2022. Estate of Louise Nevelson / Artists Rights Society (ARS), New York. cartermuseum.org

03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS

Through April 14, 2024, a landmark exhibition based on the collection of Jeffrey Montgomery, Japan, Form & Function: The Montgomery Collection features over 240 works subdivided into themes and categories throughout the galleries. crowmuseum.org

04 DALLAS CONTEMPORARY

Through Dec. 21, Cerámica Suro: a story of collaboration, production, and collecting in the contemporary arts is the first comprehensive American presentation of the studio’s influence on contemporary art vis-àvis the collection amassed by José Noé Suro and his wife Marcela.

Selections from the collection are curated by executive director and chief curator of Guadalajara’s Zapopan art museum (MAZ), Viviana Kuri Through Aug 27, Eduardo Sarabia’s this must be the place sees his multidisciplinary practice expressed in the setting of a home. Image: Eduardo Sarabia: This Must Be the Place installation view. dallascontemporary.org

05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM

Through Dec. 31, Black Citizenship in the Age of Jim Crow explores the struggle for full citizenship and racial equality that unfolded in the 50 years after the Civil War. Through a collection of art, artifacts, photographs, and multimedia presentations, the exhibit guides spectators on a journey that commences with the Civil War and culminates at the end of World War I, illuminating the courageous advocacy efforts of African Americans. dhhrm.org

06

DALLAS MUSEUM OF ART

Through Nov. 5, Concentrations 64: Ja’Tovia Gary, I KNOW IT WAS THE BLOOD brings together five artworks and related ephemera created by the Dallas-native filmmaker and visual artist This multimedia installation is an evocative memoir that celebrates the power of ancestral knowledge. Picasso’s Muses: Between Inspiration and Obsession celebrates the muses in the artist’s oeuvre, though Jan. 7, 2024. On Aug. 4, Tiffany Chung: Rise Into the Atmosphere marks the sixth iteration of the museum’s Concourse mural series. On view Sep. 10 –Jan. 28, 2024, Abraham Ángel: Between Wonder and Seduction brings together a near-complete collection of the artist’s known surviving pieces. Ángel cultivated a distinctive style that encapsulated the rapid societal and cultural transitions in Mexico during the early 20th century. From Sep. 24 to Aug. 3, 2024, Backs in Fashion: Mangbetu Women’s Egbe delves into the artistry of the egbe, a back apron garment fashioned by upper-class Mangbetu women. Image: Poetic Landscapes Remembered, 2023. Tiffany Chung. Printed vinyl, 53 x 84 in. © Tiffany Chung. Courtesy of the artist. dma.org

07 GEORGE W. BUSH

PRESIDENTAL

LIBRARY AND MUSEUM

Freedom Matters, a special exhibition, on view through Dec. 31, uses rare artifacts and historical documents, interactive activities, and personal perspectives to examine the concept of freedom: where it comes from, what it means, what free societies look like, and the role of the individual in protecting and spreading freedom around the world. georgewbushlibrary.gov

NOTED: VISUAL ARTS

08 KIMBELL ART MUSEUM

Lives of the Gods: Divinity in Maya Art depicts episodes in the life cycle of the gods, from the moment of their birth to resplendent transformations as blossoming flowers or fearsome creatures of the night. Created by masters of the Classic period (A.D. 250–900) in the spectacular royal cities in the tropical forests of what are now Guatemala, Honduras, and Mexico, these landmark works evoke a world in which the divine, human, and natural realms are interrelated and intertwined, through Sep 3. Image: Pendant, Maya, Belize, Honduras, Guatemala, or Mexico Late Classic period, 600–700 BC, jadeite with pigment, 3 x 1.5 in. The Metropolitan Museum of Art, New York, Gift of Steven Kossak, The Kronos Collections, 2015. kimbellart.org

09 LATINO CULTURAL CENTER

Through Aug. 18, MaricónX celebrates the LGBTQ+ community through diverse expressions of love, identity, and social commentary. lcc.dallasculture.org

10 THE MAC

The Membership Show continues through Sep. 16. the-mac.org

11

MEADOWS MUSEUM

Marking the centenary of acclaimed Spanish painter Joaquín Sorolla y Bastida’s death, 2023 has been declared the “Year of Sorolla” by the Spanish government. The Meadows Museum will present Spanish Light: Sorolla in American Collections, Sep. 17–Jan. 7. Curated by the artist’s great-granddaughter and renowned scholar, Blanca Pons-Sorolla, the exhibition will spotlight 25 Sorolla paintings from private American collections, many unveiled to the public for the first time. Visitors will be drawn into Sorolla’s radiant world through his favorite subjects, and the accompanying catalogue will provide fresh insights into Sorolla’s legacy. meadowsmuseumdallas.org

12 MODERN ART MUSEUM OF FORT WORTH

Robert Motherwell: Pure Painting , organized by guest curator Susan Davidson, continues through Sep. 17. Jammie Holmes’ first solo museum exhibition, Make the Revolution Irresistible, curated by María Elena Ortiz, delves into the visual and conceptual significance of the Black figure. Holmes’ powerful paintings challenging stereotypes and exploring themes such as masculinity, mourning, childhood, and race create a stirring dialogue on contemporary social and political conditions. The exhibition will showcase some 15 paintings that span Holmes’ career, from early works referencing his Southern upbringing to recent compositions that honor veterans and the 1960s Civil Rights movement, Aug. 11–Nov. 26. Image: Robert Motherwell, The Garden Window, 1969/1990, acrylic

and charcoal on canvas, 60.25 x 40.12 in. Collection of the Modern Art Museum of Fort Worth. Museum purchase, the Friends of Art Endowment Fund. themodern.org

13

MUSEUM OF BIBLICAL ART

Ancient Tribal Maps of the Holy Land, on view in collaboration with UNT’s Jewish Studies Program, displays original maps, including the Adrichem series by Christiaan van Adrichem (1593) and the Fuller maps by Thomas Fuller (1650). biblicalarts.org

14

NASHER SCULPTURE CENTER

Mark di Suvero: Steel Like Paper reveals the artist’s intimate studio practice that yields the power of his monumental vision, through Aug. 27. Thaddeus Mosley takes felled trees near his home in Pittsburgh and transforms them into inventive abstract forms to create large sculptures, five of which are presented in Forest, through Aug. 20. Groundswell: Women of Land Art, curated by Dr. Leigh A. Arnold, redefines the narrative of land art history, spotlighting the integral contribution of women artists who innovatively employed natural materials like earth, wind, fire, and more to create striking art beyond traditional gallery confines in the 1960s. Showcasing 12 artists renowned for their engagement with land art— including Lita Albuquerque, Alice Aycock, Beverly Buchanan, and others— the exhibition illuminates the themes and artworks that form the backbone of land art history, Sep. 23–Jan. 7. Image: Thaddeus Mosley: Forest (installation view) at Nasher Sculpture Center. Photograph by Kevin Todora. nashersculpturecenter.org

15 PEROT MUSEUM

Discover The Science Behind Pixar, and explore the artistry, science, and technology behind beloved animated films and their characters through Sep. 4. Immerse yourself in the filmmaking process in the exhibition’s eight sections featuring interactive elements: participate in hands-on activities, listen to firsthand accounts from the studio’s production teams, and come face-to-face with recreations of your favorite Pixar film characters. perotmuseum.org

16 SIXTH FLOOR MUSEUM

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. jfk.org

17 TYLER MUSEUM OF ART

Observations: Works by Melissa W. Miller examines natural as well as human-induced environmental events through Aug. 6. Tyler Collects: Texas Art 1920-1970 continues through Sep. 17. tylermuseum.org

We have purposefully cultivated a high-caliber team who’s skill and artistry elevates our craft as a builder. Equally important is building genuine client relationships and striving to deliver an exceptional experience for each client. We put our craftsmanship into everything we do.

Design by Studio Steidley

01 AMPHIBIAN

In Miss Molly, childhood best friends Matthias and Aloysius must pass the ultimate test to procure a wife: a mother’s intuition , through Aug. 13. As part of the National Theatre Live series, Amphibian will host a screening of Best of Enemies on Aug. 23 and 26. From Sep. 7–9, Gabe Mollica performs Deductible for his StandUp Comic Residency. amphibianstage.com

02 AT&T PERFORMING ARTS CENTER

See One Night of Queen on Aug. 6 . A stage adaptation of Lewis’ The Screwtape Letters follows a senior tempter in hell as he schemes to capture the soul of an unsuspecting human on earth and reveals spiritual warfare in vivid, humorous, and powerful ways, Aug. 23–27. On Aug. 25, TigerBelly brings a no-holds-barred arena for half-truths, social no-nos, and animal behavior featuring comedian Bobby Lee and his best friend Khalyla. The Australian Pink Floyd Show: The Dark Side of the Moon 50th anniversary tour shines on Aug. 26. AT&T Performing Arts Center and Loud and Live present Gilberto Santa Rosa on Sep. 7. Swing into Spider-Man: Into the SpiderVerse Live in Concert on Sep. 13. On Sep. 15, The Sixties Show from NYC features former band members of The Who, Bob Dylan, and NBC TV’s Saturday Night Live band. Join Greg and Dana Newkirk for an interactive presentation that will leave you on the edge of your seat in Haunted Objects Live! This year marks the 20th anniversary of Switchfoot’s seminal album The Beautiful Letdown Catch them live on Sep. 21. Sep. 23 sees the 2nd Annual Latinidad Festival in Annette Strauss Square. Comedian Brad Upton brings the laughs for everyone on Sep. 30. attpac.org

03 BASS PERFORMANCE HALL

Frozen returns to Fort Worth Aug. 10–20, carrying chills and goosebumps along with family fun. Jagged Little Pill will remind you what it feels like to be human Sep. 15–17. Aaron Sorkin’s adaptation of Harper Lee’s Pulitzer Prize-winning masterwork To Kill a Mockingbird will highlight Bass Hall Sep. 26–Oct. 1. Image: Jagged Little Pill . Photograph courtesy of Matthew Murphy, Evan Zimmerman for MurphyMade, 2022. basshall.com

04 BROADWAY DALLAS

The Book of Mormon, an outrageous and hilarious musical comedy, follows the adventures of a mismatched pair of missionaries sent halfway around the world to spread the Good Word, Aug. 1–6.

Image: Sean Casey Flanagan and company in The Book of Mormon North American tour. Photograph by Julieta Cervantes. broadwaydallas.org

05 CASA MAÑANA

Aug. 4–6, A Man of No Importance, a tender story of family, friendship, and acceptance set in 1964 Dublin, follows Alfie

Byrne, a bus driver who battles bigotry and shame for his secret love, shared only with his imaginary friend, Oscar Wilde. Jersey Boys follows the fascinating evolution of four blue-collar kids who became one of the greatest successes in pop-music history, Sep. 9–17. casamanana.org

06 DALLAS BLACK DANCE THEATRE

Dallas Black Dance Theatre is gearing up for their new season of outstanding performances later this fall. dbdt.com

07 DALLAS CHILDREN’S THEATER

Mufaro’s Beautiful Daughters kicks off DCT’s 40th season. The story centers on Mufaro and his two distinctively beautiful daughters: temperamental and selfish Manyara, and kind-hearted Nyasha. When the king starts searching for a worthy bride, Mufaro sends both his daughters. Sep. 24–Oct. 14. dct.org

08 THE DALLAS OPERA

TDO’s 2023/2024 season opens with Tosca on Oct. 13. dallasopera.org

09 DALLAS SYMPHONY ORCHESTRA

Los Lobos celebrates their 50th anniversary with a special Disconnected on Aug. 11. Enjoy a multicourse dinner prepared by Dallas’ top chefs and paired with unique wine varietals at the Summer Wine Down Dinner on Aug. 25. Next, the Symphony of Flavors Grand Tasting features delicious bites from over 15 of our finest restaurants and 40-some bevvies from around the world on Aug. 26. A tasty Bubbles Brunch Bites rounds out the weekend of the DSO Wine and Food Festival on Aug. 27. Experience Amadeus on the big screen while Mozart’s most celebrated works are performed live in sync by the Dallas Symphony Orchestra and Chorus, Sep. 1–3. Time travel through the dark cabarets and speakeasies of New York, Paris, Berlin, London, and Atlantic City, reliving the 1920s in all its decadence— Prohibition takes you on a journey through the era, Sep. 8–10. On Sep. 11, Vocal Majority produces a concert remembering this tragic day in America’s history. Lila Downs commands the stage Sep. 15–16. DSO music director Fabio Luisi makes his first appearance this season in the Pops Series presented by Capital One. The evening opens with classic Gershwin, followed by selections from the Great American Songbook, Sep. 22–24. Copland’s Concerto swings in the hands of New York Philharmonic’s brilliant principal clarinet, Anthony McGill, while the DSO and DSO Chorus, led by Fabio Luisi, enthrall with a quintessential romantic subject: the battle for the soul of Faust, Sep. 28. Finally, the Symphony Gala will take place on Sep. 30. mydso.com

10 DALLAS THEATER CENTER

In the cult favorite, The Rocky Horror Show, sweethearts Brad and Janet find themselves in the eerie mansion of Dr. Frank-N-Furter

WRUBEL

YSABEL LEMAY

CHARLIE BLUETT JEFF MUHS

after getting a flat tire during a storm. This deliberately kitschy rock ‘n’ roll sci-fi gothic musical invites audience participation, including sassy comments, flying toilet paper, and more, making it a perfect adult-friendly celebration for the Halloween season, Sep. 23–Oct. 29. dallastheatercenter.org

11 EISEMANN CENTER

See Sixtiesmania perform A Journey Through the Sixties on Aug. 19. The Texas Gospel Music Festival takes the stage Sep. 1–3. Kraig Parker returns with his world-class tribute to Elvis Presley on Sep. 9. In Late Nite Catechism, a benevolent instructor rewards “students” with nifty prizes Sep. 16–17. Love, loss, and creation merge in unexpected ways as Manual Cinema presents its thrilling version of Frankenstein. The Chicago-based performance collective will combine shadow puppetry, cinematic techniques, sound effects, and live music in a haunting show on Sep. 23. On Sep. 29, Mariachi Herencia de México extends their North American tour, Herederos Experience a magical night in Palestine with the superstar Dr. Dalal Abu Amneh for Heart of Palestine on Sep. 30. eisemanncenter.com

12 FORT WORTH

SYMPHONY ORCHESTRA

Stars of the Symphony takes the stage on Aug. 26. Hotel California: A Salute to the Eagles is the only show to have ever received official authorization to perform the Eagles’ catalog. See the certified rock stars on Sep. 1–3. Cliburn Competition’s Gold Medalist: Schumann and Brahms perform Sep. 8–10. FLY Dance Company: Breakin’ Classical bends the meaning of classical on Sep. 23. fwsymphony.org

13 LYRIC STAGE

Lyric Stage opens its 30th Season with Rodgers and Hammerstein’s Cinderella Aug. 24–27. There’s a new tenant at Armadillo Acres wreaking havoc all over Florida’s most exclusive trailer park. When Pippi, the stripper on the run, comes between the Dr. Phil–loving, agoraphobic Jeannie and her tollbooth- collector husband, the storms begin to brew. The Great American Trailer Park Musical breaks in the new stage in the Design District, Sep. 8 –Oct. 7. lyricstage.org

14 MAJESTIC THEATRE

Darren Knight: Southern Momma & Friends Comedy Tour features comedians Red Squirrel and Gary Cargal hosted by Robin Phoenix on Aug. 11. Charlie Robison takes the stage on Aug. 18. Immerse yourself in the world of paranormal investigation with the “ghoul boys” during a special screening of an unseen episode of Ghost Files followed by an exclusive Q&A session, providing an opportunity to interact with the hosts, Ryan Bergara and Shane Madej, on Aug. 19. Yngwie Malmsteen performs on Aug. 31. Spend An Evening with Kevin Von Erich Stories from the Top Rope on Sep. 1. The Bald Brothers Tour featuring Tony Baker and KevOnStage stops at the Majestic on Sep. 3. Anthony Jeselnik brings the laughs on Sep. 8. Tap into your emotions with City and Colour on Sep. 12. Comedian Hannah Berner brings the belly laughs on Sep. 16. Comedy legend Marlon

Wayans will treat you to a memorable night on Sep. 17. Spend An Evening with Ann Wilson and Tripsitter on Sep. 24. Join the cast of The Sandlot on Sep. 27 and watch the 30th anniversary film that found its way into so many baseball fans’ hearts. Girls Gotta Eat: Snack City Tour closes out the month on Sep. 29. majestic.dallasculture.org

15 TACA

TACA—The Arts Community Alliance—supports excellence and impact in the arts through grant-making, capacity building, and thought leadership. TACA envisions an innovative, inclusive, sustainable cultural sector, recognized for its essential contribution to a vibrant, prosperous community. taca-arts.org

16 TEXAS BALLET THEATER

Enter the terrifying domain of the legendary vampire whose insatiable bloodlust wreaks horror and destruction on his unwitting victims. Dracula stalks the stage Sep. 15–17 and Oct. 6–8. Image: Alexandra F. Light and Carl Coomer in Dracula . Photograph by Steven Visneau. texasballettheater.org

17

THEATRE THREE

An elderly Caucasian couple relocates to the city seeking proximity to their granddaughter but inadvertently ends up in a predominantly gay neighborhood. Big, Scary Animals humorously probes issues of race, sexuality, gun control, and sports, offering a generational perspective on the complexities of raising a child irrespective of identity or location. Sep. 1–25. theatre3dallas.com

18 TITAS/DANCE UNBOUND

The season commences with a fantastical journey through the looking glass as MOMIX revisits Dallas with their mesmerizing rendition of Alice . TITAS is thrilled to present again this extraordinary and spectacular production, the grand kickoff to the 2023/24 season, Sep. 22–23 Image: MOMIX’s Alice. Photograph by Sharen Bradford. titas.org

19 TURTLE CREEK CHORALE

TCC initiated an inspiring movement to spotlight mental health, shame, and self-esteem through their concert series, You Are Light. Continuing this legacy, this season brings Sing for Our Lives, a collaborative event with the Dallas Symphony Orchestra at the Meyerson Symphony Center, Sep. 19. turtlecreekchorale.com

20 UNDERMAIN THEATRE

Bondage takes place pre-Emancipation on a small island in the South. With the onset of puberty, Zuri must use her wits to outsmart the twisted desires of a drunken master and a sadistic mistress on a haunted plantation. Hierarchies of race and gender collide in this Afro - Surreal tale of an enslaved girl who dares to follow her own instincts toward liberation. Sep. 28–Oct. 15. undermain.org

01 12.26

Everyday Magic, Everyday Music , an exhibition featuring new paintings by Sean Cairns and Joel Murray, continues through Aug. 5. Using their unique artistic language, both artists create a magical symphony of imagery, narrating the transcendent beauty and enigmatic mysteries of life. Next, new works by Masamitsu Shigeta and Lee Maxey will be featured in In Case of Fire, opening Sep. 9. Image: Joel Murray, Untitled, 2023, oil on canvas, 36.25 x 27.25 in. gallery1226.com

02 500X GALLERY

500X provides one of the best exhibition spaces to up- and- coming artists in the city of Dallas. 500x.org

03 ALAN BARNES FINE ART

Alan Barnes Fine Art specializes in 19th- and 20th- century American and European art from old masters to impressionist paintings, drawings, and watercolors. alanbarnesfineart.com

04 AND NOW

A group show with Ben Horns, Kathryn Kerr, and Leslie Martinez continues through Aug. 5. Next, a solo show of work by Michelle Rawlings will be on view from Aug. 26–Oct. 21. andnow.biz

05 ARTSPACE111

Artspace111 10th Annual Texas Juried Exhibition remains on view through Aug. 26. artspace111.com

06 BARRY WHISTLER GALLERY

John Wilcox: Phoenix and Luke Harnden: At Sea! remain on view through Sep. 16. Image: John Wilcox, Untitled: Paradise, 1989, acrylic on canvas, 96 x 96 in. barrywhistlergallery.com

07 BEATRICE M. HAGGERTY GALLERY

Co-curated by Christine Adame and Lari Gibbons, Duets pairs artists from various backgrounds, generations, and artistic mediums, featuring the work of Christine Adame and Sedrick Huckaby; Letitia Huckaby and Dornith Doherty; Donny Nie and Lari Gibbons; and Karla Ramirez-Santin and Giovanni Valderas, Sep. 15–Oct. 25. udallas.edu/gallery

08 CADD

CADD presents #SaturdayIsGalleryDay, the original CADDsponsored event , on Sep. 23. The day will be filled with an art- hopping tour as each member gallery hosts time-slotted events lasting about 30 minutes. Follow CADD’s hashtags #Saturdayisgalleryday and #artinDallas through various social media platforms to be informed about CADD’s newest cultural events and schedule. caddallas.org

PATRON presents the 6th Annual at

C U R A T E D

Decorative Center Dallas

Thursday, September 7th

Featuring: Ornare, Poggenpohl, Eggersmann and a host of artwork from Dallas galleries and artists.

RSVP Today for Event Details

info@patronmagazine.com

09

CHRISTOPHER MARTIN GALLERY

The gallery presents the reverse-glass paintings of Christopher Martin; the Rodeo series of photographer Steve Wrubel; the color-field paintings of Jeff Muhs; Dutch image maker Isabelle van Zeijl; the acrylic constructions of Jean-Paul Khabbaz; California-based painter Chris Hayman; the organic paintings of Liz Barber, and rotating artists. christophermartingallery.com

10 CONDUIT GALLERY

Through Aug. 12, Dan Phillips highlights the Project Room; Michael Frank Blair shows paintings from 2011 to 2021; and Stephen Lapthisophon presents works on paper and paintings that span the 20 years he has been an artist and educator in Dallas. From Aug. 26–Sep. 23, explore Reinhard Ziegler’s The Gardener of Peace through vintage slate drawings, photography, a video that dissects the essence of the Gardener of Peace Prayer, and an accompanying catalog. Rosalyn Bodycomb’s Pixilated draws on concepts from block universe theory through pixelation. Delve into the work of Nancy Newberry in the Project Room. Image: Rosalyn Bodycomb, Rain IV, 2023, oil on panel, 35 x 25 in. conduitgallery.com

11 CRAIGHEAD GREEN GALLERY

Now in its 30th year, New Texas Talent XXX is juried by Scott Simons During his tenure as gallery director, Simons conceived and launched the first New Texas Talent The exhibition remains on view through Aug. 19. New work by Carolyn Brown, Jay Maggio, and Simon Waranch show Aug. 26–Sep. 30. craigheadgreen.com

12 CRIS WORLEY FINE ARTS

Group Show: Summer Highlights and Focus: Paul Manes highlight the gallery through Aug. 12. A two-person exhibition featuring new work by Dallas-based Paul Winker and Amsterdam native Jan Van Der Ploeg will open Aug. 26. Image: Jan van der Ploeg, PAINTING No.22-20, Untitled, 2022, acrylic on canvas, 11.4 x 12.6 in. crisworley.com

August 27, 2023–January 7, 2024

Louise

13

CVAD, UNT COLLEGE OF ART AND DESIGN GALLERIES

Cey Adams’ career as a visionary artist, cultural pioneer, and innovative designer is examined in an exhibit organized by the Boston University Art Galleries. Adams’ grasp of the power of images, media, and advertising prepared him to give visual life to a new movement called hip-hop; Aug. 22–Dec. 15. Image: Cey Adams with Black Flag. Photograph by Janette Beckman. cvad.unt.edu

Nevelson (1899–1988), Lunar Landscape (detail), 1959–60, painted wood, Amon Carter Museum of American Art, Fort Worth, Texas, Purchase with funds from the Ruth Carter Stevenson Acquisitions Endowment, 1999.3.A-J

The World Outside: Louise Nevelson at Midcentury is organized by the Amon Carter Museum of American Art. Generous support for the project comes from The Kaleta A. Doolin Foundation and the National Endowment for the Arts. The Carter’s presentation of The World Outside: Louise Nevelson at Midcentury is supported by the Alice L. Walton Foundation Temporary Exhibitions Endowment.

K ittrell/Riffkind Art Glass Gallery

14 DAISHA BOARD GALLERY

The gallery is reopening in a new 7,000-square-foot space in the Tin District with Lyte as a Rock: Hip Hop 50 : The Intersection of Art, Culture, Technology and Community, Aug. 19–Sep. 23. Who is God. Recollecting Earth’s Creation Story will be on view at DBG at The Joule from Aug. 5–Sep. 16. daishaboardgallery.com

15 DAVID DIKE

FINE ART

The gallery specializes in late 19th- and 20th- century American and European paintings with an emphasis on the Texas regionalists, Texas landscape, and midcentury modern painters. Save the date for the 27th Annual Texas Art Auction, Oct. 21. daviddike.com

16 ERIN CLULEY GALLERY

Erin Cluley’s Summer 2023 group show continues through Aug. 16. Looking Back , an exhibition in Cluley Projects, will also remain of view through Aug. 16. Madeline Sneed-Grays’ solo show Black Joy opens Aug. 26 and continues through Sep. 30. erincluley.com

17 FERRARI FINE ART

GALLERY

Founded by artists and owners Debra and James Ferrari, the gallery represents a select group of established and emerging artists focused on painting, photography, metal, and ceramic sculptures. ferrarigallery.net

18 GALLERI URBANE

Arden Bendler Browning and Paho Mann highlight the gallery through Aug. 19. From Aug. 26–Sep. 30, immerse yourself in the innovative world of Jessica Drenk. Known for her powerful transformations of commonplace items like junk mail, books, pencils, and PVC pipes, Drenk presents a solo exhibition in Gallery One, showcasing never-before-seen methods and materials. Image: Jessica Drenk, Aggregate 5, 2023, junk mail, nails, and glue, 72 x 72 in. Courtesy of Galleri Urbane. galleriurbane.com

19

GREEN FAMILY ART FOUNDATION

Full and Pure: Body, Materiality, Gender, curated by Mara Hassan , presents a contemporary art survey exploring the malleability of selfhood, with a central focus on the mutability of gendered corporeality and aesthetic forms. Works by 20th-century artists such as Manuel Neri, Hugh Steers, Joan Semmel, and Ida Applebroog are culled from the Green Family Art Foundation’s collection and situated in dialogue with artists working today; through Sep. 24. greenfamilyartfoundation.org

20

HOLLY JOHNSON

Michael Young: Works on Paper, an exhibition by the Austin-based

Susan Gott

May 7–September 3

artist , mounts Aug 26–Nov. 11. Young’s artistic oeuvre spans over 35 years, boasting an array of abstract geometric paintings, drawings, and installations. He meticulously constructs his works using methods inspired by geology, scientific documentation, and architectural production. hollyjohnsongallery.com

21 J. PEELER HOWELL FINE ART

Unveiled 2.0 continues through Sep. 2 and features four artists new to exhibiting in Texas: Tom Judd, Holly Miller, Tom Bolles, and Lori Skantzos. jphfineart.com

22 KEIJSERS KONING

A show for Beya Gille Gacha opens Aug. 26. keijserskoning.com

23 KIRK HOPPER FINE ART

Carlos Donjuan will display his creations through Aug. 12. Next, the gallery will host an exhibition of work by Roger Winter from Aug. 26–Sep. 30. kirkhopperfineart.com

24 KITTRELL/RIFFKIND ART GLASS

The Annual Summer Art Festival features artist demonstrations, jewelry trunk shows, live music, food, and fun on Aug. 19–20. kittrellriffkind.com

25 LAURA RATHE FINE ART

LRFA’s summer group show, Art of Paper, ends Aug. 16. Order in the Wind, Aug. 26–Sep. 30, explores the dynamic relationship between chaos and harmony, inviting viewers to delve into a world of colors, intricate textures, and captivating compositions. laurarathe.com

26 LILIANA BLOCH GALLERY

Myra Barraza’s El Dorado reexamines the story of El Dorado with a postcolonial lens through Aug. 19. Showing congruently, Michael Corris and Tino Ward: “Move along, there’s nothing to see here” A Thought Experiment, Illustrated sees nine red monochromes accompanied by nine panels of text that display a transcription of a Q&A between the artists and the AI program, CHATGPT-4. From Sep. 2 –Nov. 8, Kathy Lovas: Indexicality, The Archive, and The Frame, A Retrospective Installation mounts. lilianablochgallery.com

27 LONE GALLERY

Pure Land: Paradise of Forms & Color, an exhibition of artwork by Kyle Steed, along with selected work from Michael Van, Danny

The exhibition is organized by The Metropolitan Museum of Art and the Kimbell Art Museum. It is supported in part by the William and Catherine Bryce Memorial Fund, the Texas Commission on the Arts, and the Fort Worth Tourism Public Improvement District. Promotional support provided by

28 MARTIN LAWRENCE GALLERIES

Specializing in original paintings, sculpture, and limited-edition graphics, the gallery is distinguished by works of art by Erté, Marc Chagall, Keith Haring, and many other artists. martinlawrence.com

29 MARKOWICZ FINE ART

Markowicz Fine Art showcases the work of international artists, including Italian artist Annalù, Colombian artist Santiago Montoya, French artist J. Leo, alongside American artists. An event with RISK, a West Coast pioneer of the graffiti movement and fine artist, is slated for Sep. 29–30. markowiczfineart.com

30 MELIKSETIAN | BRIGGS

Meliksetian | Briggs’ solo exhibition for David-Jeremiah continues through Aug. 5. The gallery will take a summer break and return with Alex Heilbron: Apophenic opening Sep. 9 that will close out the month of September. Image: Alex Heilbron, Untitled, 2023, acrylic on canvas, 72 x 54 in. meliksetianbriggs.com

31 PENCIL ON PAPER

Adrienne Brown-David: Taken Aback by My Own Beauty: Identity as Rebellion continues through Aug. 26. Next, Desireé Vaniecia: A Memorial for my Innocence because I was Not Allowed to Bury It will be on view Sep. 9–Oct. 28. pencilonpapergallery.com

32 PETER AUGUSTUS

After summer break, the gallery will return to regular programming in September with an exhibition of work by Hong Kong artist Tobe Kan peteraugustusgallery.com

33 PHOTOGRAPHS DO NOT BEND

Through Aug. 12 , Nancy Baron’s The Good Life highlights the gallery, exhibiting Palm Springs, California, as it continues to stay frozen in time. Group exhibition Aug. 26–Sep. 30. Additionally, Elyse Hradecky’s Negative Space will be on display from Sep. 9–Oct. 28. pdnbgallery.com

34 RO2 ART

Bumin Kim and Laura Lawson will show concurrently Sep. 9–30. ro2art.com

Rose, and Joe Kraft highlight Lone Gallery through Aug. 26. lonegallery.com

Fill your day with ART!

DGFA Art Day

September 23rd

Noon - 6:00 p.m.

Free and Open To The Public

Visit the DGFA Member Galleries and view their latest collections of art, meet artists and gallery owners, enjoy conversation and rack up some raffle tickets to win art and other fun merch. Raffle tickets will be used at the DGFA AFTER PARTY.

DGFA AFTER PARTY

September 23rd 6:00 - 9:00 pm at Daisha Board Gallery | Tin District

2720 Bataan St, Dallas, TX 75212

dallasgfa.org | @dgfa_official

NOTED: GALLERIES

35 SAMUEL LYNNE GALLERIES

Artist Tyler Shields unveils his 2023 exhibition on Sep. 22 from 6-9 p.m. at Samuel Lynne Galleries at The Thompson Hotel and concurrently at Samuel Lynne Galleries in the Design District. The exhibition remains on view through Dec. samuellynne.com

36 SITE131

Site131 will return from summer break with an exhibition on Sep. 9. site131.com

37 SMINK

A showcase of fine design and furniture, SMINK is a purveyor of quality products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com

38 SOUTHWEST GALLERY

For over 50 years, the gallery has exhibited hundreds of artists who work in a broad range of styles, all displayed in their 16,000 -square -foot showroom. The Art of Dr. Seuss: Twenty-Five Years through the Wrong End of the Telescope opens Sep. 30. The exhibition highlights a special selection of the most highly sought-after works from the art of Dr. Seuss collection. swgallery.com

39 SWEET PASS SCULPTURE PARK

A solo fall project by Ryan Hawk will be on view Sep. 9–Nov. 18. Hawk explores alternate corporealities and forms of embodiments. sweetpasssculpturepark.com

40 TALLEY DUNN GALLERY

Eva Lundsager: Seeing Changing highlights the gallery Aug. 26–Oct. 9. Leonardo Drew showcases new work from Sep. 9–Dec.

9.Image: Eva Lundsager, Invitation 28, 2018, sumi ink and watercolor on paper, 24 x 18 in. talleydunn.com

41 VALLEY HOUSE GALLERY

Earth and Sky, Texas landscape paintings by Jack Barnett, will remain on view through Aug. 12, as will Small Sculptures: Fit for the Table, a group exhibition including sculptures by 20 artists including Henry Moore, Allan Houser, George Tobolowsky, Jen Rose, Deborah Ballard, and Michael O’Keefe. Next, David Collins: Beyond These Days, will be on view Aug. 19–Sep. 23.

Image: Henry Moore, Reclining Mother and Child I, 1979, edition 5/9, bronze, 3.125 x 8 x 4 in. valleyhouse.com

42 VARIOUS SMALL FIRES

Through Sep. 2, Spectral Echoes sees Mark Yang’s first presentation in Texas. The Seoul-born, New York–based artist expands on previous works while embracing a fresh approach to a formal investigation of the body’s sculptural forms. vsf.la

43 WEBB GALLERY

Waxahachie Webb Gallery will host an exhibition for Carl Block opening Sep. 17 and continuing through Oct. 3. webbartgallery.com

44 WILLIAM CAMPBELL GALLERY

Howard Sherman’s solo show remains on view at Foch St. through Aug. 5. Summer Mix, a group exhibition of gallery artists, closes Sep. 1. For the first time, WCG will host four solo exhibitions that highlight female artists. At the Byers location Gigi Mills’ first exhibition at the gallery will be on view Sep. 9–Nov. 11 along with work by Patty Sutherland. At the Foch St. location, Julie Lazarus will show alongside work by Maxine Helfman, Sep. 9–Oct. 21. williamcampbellcontemporaryart.com

AUCTIONS AND EVENTS

01

HERITAGE AUCTIONS

HA has an extended catalog of auctions for the summer and fall; here are some highlights: Urban Art Showcase Auction on Aug. 2, Harvey Kurtzman & The Art of Humbug Comic Art Showcase Auction on Aug. 3, Fine & Decorative Arts Showcase Auction on Aug. 10, Alberto Vargas Showcase Auction on Aug. 17, the In Focus: Dali Showcase Auction on Sep. 5, the Superflat Dreams: Contemporary Japanese Art Showcase Auction on Sep. 12, Fall Fine Jewelry Signature Auction on Sep. 28. ha.com

02 DALLAS GALLERIES FOR ADVOCACY

Free and open to the public, DGFA Art Day will take place on Sep. 23, noon to 6 p.m., featuring openings and activities at member galleries. The DGFA After Party at Double D’s continues the celebration from 6 to 9 p.m. dallasgfa.org

03 LONE STAR ART AUCTION

The Lone Star Art Auction specializes in the best American, Western, wildlife, sporting, and Texas fine art of the 19th–21st centuries. Presented by the Great American West and Phil Berkebile, Jr., the Lone Star Art Auction will be held Oct. 28. lsartauction.com

Continental Drift

The African American Museum offers a selection of contemporary South African Art with a gorgeous installation and inherent resonance.

BY EVE HILL-AGNUS PHOTOGRAPHS BY KEVIN TODORA

The poised, photographic self-portrait by Zanele Muholi that opens the portraiture section of If You Look Hard Enough, You Can See Our Future at the African American Museum could be enough. Muholi’s black-and-white technique picks up the light and velvety shadows of skin lying under diaper-pin regalia in a three-quarter profile in which the nonbinary, queer artist fixes their gaze in the distance with quiet power. It could be enough to convince you of the urgent and self-questioning, multivalent and eloquent vibrancy of South African art. The exhibition titled after Stephen Hobbs’ aquatint, and subtitled Selections of Contemporary South African Art from the Nando’s Art Collection, includes 55 artists and five dozen works, including those by a handful of artists from the Democratic Republic of Congo, Mozambique, and Zimbabwe who have settled in the artistic communities of Cape Town or Johannesburg.

What they elucidate is the contemporary South African artistic

landscape 30 years after the end of apartheid, but also 30 years after a cultural embargo that starved South Africa of international shows and deprived the rest of the world of glimpses of what was simmering in real time, what those within the art community knew was happening.

The late Dick Enthoven (who passed away last year), a South African businessman who decided to display original artwork in his successful Nando’s restaurants, was a connoisseur who collected throughout the mid-20th century and into the 21st century. He was as invested in South African artists as in the anti-apartheid movement.

The show, perfectly paced and hung, is quite extraordinary and rare, a yoking of established artists and newer talent, such that the viewing yields rich discoveries. Those who admire William Kentridge will see Kentridge, but two unusual works—a linoleum cut and a deftly conceived three-dimensional piece. Those who

viewed the dreamlike work of Portia Zvavahera (Zimbabweanborn but practicing in South Africa) at the Venice Biennale last year will find her, but in small format. Now globally renowned, such artists are shown in their context.

Curator Laurie Ann Farrell has devised a stunning installation— gorgeous under the museum galleries’ 56-foot-long barrel vaults. The visual effect of a salon hanging, specifically, creates a dense weave, establishing a textural lushness and aesthetic unity among the disparate oeuvres. Farrell has neatly divided the show into the categories of portraiture, landscape, and abstraction. Thematically, “the exhibition raises many issues, ranging from dispossession to the foregrounding of self and a claiming of identity,” says Sue Williamson, whose 12-photograph work lays bare the seismic fractures and social and economic violences of displacement and race-based land dispossession. (In this case by following a family in the residential District Six of Cape Town.)

Discordant echoes arise for the American viewer, a sense of shared preoccupations clustered around the painful nodes of systemic racism and identity denial. The ubiquitous brutality of the apartheid-era’s white supremacist government is as present an undercurrent as the burning orange sun.

It is impossible, for example, to witness Vivien Kohler’s enveloping Pietà, in which two Black figures take on the familiar, canonical posture of intolerable, ineffable grief, and not find oneself mourning. But by the same token, Tamlin Blake’s Tied by Time is a newspaper tapestry so large, nuanced, and ephemeral it seems to defy imagination. Materiality beckons the viewer closer, whether Mbongeni Buthelezi’s melted-plastic painting, Anastasia Pather’s fingerpainted abstraction, or Willie Bester’s canvas that incorporates reclaimed and found materials—a guitar, bullet casings—into its thick surface. Moments of ethereal beauty, like Penny Siopis’s veil-like painting, are held in harmony with moments

Zanele Muholi, Mini Mbatha, Glebelands, Durban, Jan. 2010 (from the Beulahs series) 2010, C-print.

when tactility becomes an eruptive presence. It is, ultimately, a show with beautiful pacing, rhythm, and resonance.

Part of the show’s strength is this effect of taut and sustained pulling in. Neither its beaches nor its cityscapes—nor, pointedly, its struggles—feel far away. The viewer is implicated. As the “our” in the title suggests, “We’re in this together,” Farrell says.

Pather suggests in a Zoom conversation spanning continents that such a show, with such a curator, can be seen as the “start [of] a new conversation about what the South African aesthetic could be if it was looked at from afar.” Such a conversation must unite, as the show deliberately does, the resistance artists of apartheid and the post-apartheid generation, whose concerns are different but equally engaged. And even without knowing that these works were drawn from 25,000—which they were—one senses that this is the piercing reflections off sea spray, and underneath, the ocean is vast.

“My hope is that people will see new things that inspire them; that when people leave the show, they’ve seen things they’ll think about,” Farrell says. P

Stephen Hobbs, If You Look Hard Enough, 2014, Letraset, aquatint, and drypoint. Courtesy of the artist and David Krut Projects; Above, middle: Installation views of the world premiere of If You Look Hard Enough, You Can See Our Future at the African American Museum.

Creation in the Crossfire

The Ukrainian Museum, New York, ignites the rediscovery of Janet Sobel’s work during World War II.

INTERVIEW BY CHRIS BYRNE

An exhibition at The Ukrainian Museum in New York acknowledges Janet Sobel’s contribution to drip painting before Jackson Pollock during the Second World War. However, Janet Sobel: Wartime e mphasizes her most prominent period as an artist in the ’40s through 48 drawings and works on board.

Chris Byrne discusses the Ukrainian American artist’s concerns about the safety of her family and her period of prolific creation and acclaim with the museum director and exhibition curator Peter Doroshenko (formerly of Dallas Contemporary).

Chris Byrne (CB): Janet Sobel: Wartime is extraordinary, and it’s the first museum exhibition dedicated to the artist’s early work—how did the show come about?

Peter Doroshenko (PD): I first saw Janet Sobel’s work during a visit to the Museum of Modern Art’s library after I moved from Kyiv, Ukraine, back to the United States. I was surprised that she was Ukrainian American and a key artist during the Abstract Expressionist movement in New York. Yet it was hard to see actual works by Sobel outside of the Outsider Art Fair in New York, or in major museums across the country. I slowly gathered information along the way and after moving to New York last

Top: Janet Sobel, Untitled, c. 1942, gouache on paper. Private collection of Gary Snyder. Photograph by G. Chandler Cearley. Bottom: Janet Sobel, Untitled, c. 1942, gouache on paper. Private collection of Gary Snyder.

Photograph by G. Chandler Cearley.

year and beginning my new post as the director of The Ukrainian Museum, I started to organize a solo exhibition of her work. The exhibition focuses on her early work before and after World War II and makes certain parallels to the current war in Ukraine.

CB: As noted in the accompanying exhibition catalogue, very little has been written or documented about Sobel’s life and work over the past 70 years.

PD: Sadly, there is very little written material about Sobel during her lifetime. Organizing the exhibition catalogue for Rodovid Press was both a challenge and learning experience for art historian Aliza Lozhkina, who wrote a significant text, and for my conceptualizing forward. Much of what we know about Sobel is oral history that her son, Sol Sobel, passed along to a few people over the years. She also did not speak or write much about her art making, which is a bit astonishing. She had exhibitions in the 1940s and 1950s at major galleries in New York, yet no significant catalogues or publications.

CB: In 1945, Sobel’s paintings were included in Peggy Guggenheim’s Art of This Century’s group show The Women; the following year, the gallery hosted a solo exhibition of her work.

PD: Yes, Janet Sobel was a major art world figure during the 1940s and 1950s. She knew Peggy Guggenheim, artist Max Ernst, and writer André Breton, along with philosopher John Dewey, and gallerist Sidney Janis. Sobel became well networked in New York with some of the most visible and active avant-garde members.

CB: Her paintings were also included in the 9th Street Art Exhibition in 1951, the debut of Abstract Expressionism in America...

PD: It is documented that Sobel attended the exhibition opening with her son, Sol. She was only one of five women artists in the first and seminal 9th Street Art Exhibition Other artists included Helen Frankenthaler, Joan Mitchell, Elaine de Kooning, and Lee Krasner. The exhibition contained works by Franz Kline, Ad Reinhardt, Davis Smith, Milton Resnick, Robert Motherwell, and Barnett Newman among others.

CB: To date, curators and institutions seem to have focused on different aspects of her work—in 2005, art historian Gail Levin published the essay “Janet Sobel: Primitivist, Surrealist, and Abstract Expressionist.”

PD: Most critics and art world afficionados focus on Sobel’s later Abstract Expressionist works and how Jackson Pollock appropriated her drip painting style for his own. Much has been written on this topic over the last two years. Yet Sobel started as a self-taught primitivist artist and later morphed to a more surrealist way of working. Her drip paintings came last.

CB: Yes—and as well as the drip technique associated with Pollock’s mature

work, Sobel has also been rightly credited with pioneering all-over painting...

PD: She always pushed and morphed her work during the 1940s. In 1947, Sobel began to drip paint onto paper, board, and canvas. At times the final works were very dense with paint; later the competed works became lighter in paint application and color choices.

CB: Following The Ukrainian Museum’s survey, the Menil will open Janet Sobel: All-Over in February 2024.

PD: Natalie Dupêcher, the associate curator of modern art, is organizing an exhibition of later works by Sobel. Natalie recently visited the Sobel exhibition at The Ukrainian Museum in New York, and the upcoming Menil exhibition sounds like an important project. I look forward to visiting Houston to see the exhibition. P

Left: Janet Sobel: Wartime installation view at The Ukrainian Museum, New York. Photograph by Luis Corzo.

Above: Top, right: Janet Sobel, Untitled, c. 1941, gouache on paper. Private collection of Gary Snyder. Photograph by G. Chandler Cearley.

REFINED DESIGN SISTERS

Autumn, Jennifer, and Dawn Smink make modern furnishings accessible.

BY ELAINE RAFFEL

When Autumn and Jennifer Smink speak about their eponymous Design District showroom, SMINK Inc., their passion is evident, and it’s clear they love what they do. For more than three decades, the supremely stylish sisters have been making modern design accessible to all. “The overall idea was to bring this product to Main Street America,” says Jennifer. “We always knew we would be selling to both the trade and the public. Our goal was to open people up to design.”

“If you have passion, if you wake up every morning excited about what you get to do, that’s what you need to succeed in this industry,” adds Autumn. “Jennifer and I will talk about business any time of the day.” Autumn’s background is in interior design; Jennifer’s in architecture; and Dawn handles human resources and operations. “Playing on each other’s strengths has definitely worked for us. We all bring something different to the table,” Autumn continues.

The first SMINK opened in 1989, a 3,500-square-foot shop on Mockingbird Lane across from SMU featuring an unprecedented mix of Italian furniture, gifts, and local art. Dallas was intrigued. “I think people were ready for it. The general public was like, ‘Wow, we wondered what had happened to modern,’” Autumn describes. Ten years later they moved to a larger space in Inwood Village.

In 2008, the sisters were looking to buy a property—until the banking industry imploded. Instead, they decided to rent in the burgeoning Dallas Design District. The 11,000-square-foot location clicked. “When it became available, we made the decision to purchase the space,” says Jennifer.

As the business has evolved, so has the roster of manufacturers and designers. Mainstays include Minotti, Porro, Finn Juhl, and Arflex. “All very classic lines, timeless yet evolving with the present-day designs in the industry,” enthuses Autumn. “You can spot Rodolfo Dordoni’s designs a million miles away! The sense of proportion and balance are unmatched by any other designers in the industry.” Of equal prestige she says is “Finn Juhl—the godfather of modern, with his first design introduced in 1940: the Pelican chair.” Always looking to add to the mix she says her current favorite is “Inoda+Sveje [Kyoko Inoda and Nils Sveje], who take their inspiration from their two different yet minimalist environments of design and create simple, elegant pieces.”

As to the overall quality of their brands, she says, “It doesn’t have to be expensive. There are beautiful, handcrafted things that are just stunning.” Fine art is integral to their vision as well. “It’s the same muse for the artist as it is for the designer.” The showroom’s current lineup includes works from Dara Mark, Gary Faye, Robert Szot, Zachariah Rieke, Richard Hogan, and Paula Roland.

A high percentage of their clientele are regulars. After furnishing first homes, they’ve done second homes, and even third homes. With success so evident, expansion plans are in the works. “The new space will be a little different, a little more polished,” reveals Jennifer.

Beyond the showroom, the Sminks are very involved in the architecture and design community. They are huge supporters of The Dallas Architecture Forum. “They bring great value in the education and information of architectural design and its technologies,” says Autumn.

As for the long-term, Autumn says, “One of the highest compliments we ever got from our European vendors was that we took the Italian look and adapted it to our own vernacular. Our whole premise was to bring design to the community. We hope we’re always still doing that.” P

From above: The Roger seating system designed by Rodolfo Dordoni; Sendai, named after the Japanese city of trees, presents a line of furnishings consisting of a wellproportioned sofa and armchairs for dining and lounging; Torii Nest Outdoor Paolina seating from Minotti.

DESIGNING A SHOWROOM

BY PEGGY LEVINSON PHOTOGRAPHS BY STEPHEN KARLISCH

Chad Dorsey had a design dilemma. He was working on a renovation in Highland Park. It was a grand room, but with a fireplace that was seriously off center, and the room couldn’t work around it. The idea of an asymmetrical fireplace was born with the design of Malibu. Graceful, curved marble on only one side creates the appearance of the fireplace centered in the room as a focal point. Other fireplace designs followed, and soon Strike by Chad Dorsey was born. An array of styles that fit seamlessly with any architecture are constructed from some 13 different marbles, cantera stone, and limestone and combine polished, sandblasted, and honed finishes. Strike has representatives and sells all over the country. “The fireplace surround is an integral part of the space—it withstands the test of time and must go along with any subsequent remodels and redos,” says Dorsey.

Dorsey started his career in 2005 with More Design + Build, erecting homes from the ground up. He found that more and more of his clients then wanted him to choose furniture and fabric and design the interior of the home. So gradually Chad Dorsey Design became the biggest part of his work. Because of his architectural acumen, his projects always fully integrate the furniture, accessories, and lighting with the architecture of the house, whether classic or modern. He builds much of his furniture using local artisans and includes his clients’ antiques and works of art in his designs. His interiors are personal and playful and reflect the client’s own personality and lifestyle.

Chad Dorsey and Laura Lee Clark Falconer each create designer-frequented showrooms.

Chad Dorsey with Strike’s stunning asymmetrical Malibu bespoke fireplace.

Above: The Sausalito by Strike is available in a variety of luxury stone finishes and custom-scaled. Left: Strike by Chad Dorsey Design Sea Ranch in marble.

Laura Lee Clark Falconer has been a highly sought and recognized designer for more than 30 years. Fifteen years ago, wait time for high-end custom furniture was four to six months. Understandably, many clients just weren’t willing to wait that long. Clark Falconer was inspired to open her eponymous showroom by one of her best clients who said, “If there were a showroom that sold everything off the floor, I’d pay double for it.” The need was great and the success greater. Her to-the-trade showroom was an instant hit.

Most of her sources come from her travels and relationships with artists and antiques dealers. “Because of our relationships we are frequently approached by new lines. Of course, it is important to decide who is really a right fit for our brand.” As to the showroom’s appearance, she adds, “I want our look to be timeless but current, as we are always trying to be out in front of what designers are looking for,” she says. A perfect example is her collection of original Hermès scarves made into pillows. Old and new at the same time, they add to any décor.

In 2008, most high-end showrooms in the Design District featured floor samples in neutral colors of beige and gray. Laura Lee Clark opened with lots of color and style and brought in new design sources that had not been seen in the Dallas market. She was the first Dallas representative for Julian Chichester of London, who has exciting designs with unexpected finishes, like a four-poster bed wrapped in leather. Also, because floor samples are changing daily or weekly, the showroom always appears fresh and new.

Clark Falconer has found great sources for original art curated with her discerning eye, including many local artists. Fort Worth artist Heather Essian creates original art on canvas, fabric, and wallpaper. Megan Adams Brooks creates beautiful artwork as well as fabrics and wallcovering. In addition, venerable gallery owner Barry Whistler has consigned art to the showroom, which is another reason this is a must-see shop in the Dallas Design District. P

This page, clockwise from top left: Niermann Weeks console, chair sconces, and light fixture; vintage garden stool; abstract painting by Terrell James through Barry Whistler Gallery. Laura Lee Clark Falconer with Michele Varian pillows and rug from Arsin Rug Gallery. R&Y Augousti credenza and lamps, Julian Chichester desk and pendent, vintage chairs.

Graceful Furnishings Nurtured

Ray Booth x Hickory Chair presents a sequel collection to the Dallas showroom.

BY ELAINE RAFFEL

Since opening its doors to the trade 17 years ago, the Hickory Chair showroom in Dallas has been a go-to for luxuriously livable furnishings. And now, with the opening of its new 11,000-square-foot Design District showroom, there’s even more to choose from. Showroom manager Roger Koen has been there for the duration. “We were among the first to feature partnerships with interior designers.”

Case in point: Ray Booth x Hickory Chair. The muchanticipated sequel will ship in September. “I really wanted to push myself to balance the more masculine, architectural forms from the first collection with something softer,” Booth said. “My point of view is now a little more gentle, graceful, and nurturing. I want to embrace furnishings that have a softer side, with more rounded edges and shapes.”

According to Hickory Chair vice president of marketing Laura Holland, the partnership brings Booth’s vision to life. “To create this luxurious new collection, we are exploring new materials, creating dynamic new finishes, and developing exciting new forms. We are thrilled by how it adds a new dimension to Hickory Chair’s exclusive position as a style leader while complementing our existing collections and products.”

Among the new items: the Clipse dining table, a fresh silhouette realized with mixed materials. Two 24-inch leaves extend the American walnut veneered top to 144 inches. Highbacked Aldrick dining chairs offer thoughtful padded arms

complemented by hand-finished browned steel legs. “The slim profile is deceivingly comfortable. They’re an elegant option for a dining room or wherever you need an accentuated chair,” said Holland.

The curved Questa Sofa, another standout, is designed to sit “sculpturally and beautifully in a room,” she added. An integrated lumbar in the seat back provides unparalleled comfort; unique textiles and tapered, exposed legs allow for customization. Other new pieces include a side table with hidden storage, an upholstered bed, and the Cask swivel chair for two. “I am interested in a quietness in upholstery that stands in strength yet is also calming and welcoming,” said Booth.

The multi-vendor showroom also features collections by EJ Victor, Highland House, Stickley, Hable, Suzanne Kasler, and David Phoenix, among others. Wallcoverings comprise another important category. “We started with naturals, but contemporary and artistic prints have really exploded,” said Koen. Lines include Thibaut, York, Wallquest, Seabrook, and Vahallan.

Now in its 111th year, Hickory Chair was founded on a simple premise: Furniture made to order and made to last. “We use the finest materials and proudly make nearly 90 percent in our North Carolina workroom,” said Holland. “Our focus is on perfect proportion, scale, and always comfort. When pieces are lovingly made to be an heirloom for the future, it allows people to collect and mix our various products.” P

Hickory Chair x Ray Booth Adele writing desk.

The curved Questa sofa is part of the Ray Booth x Hickory Chair sequel collection, pictured with the Peg Chair, Denis sofa, Brace drink table, Tilda side table, Campaign cocktail table, Ferris skirted swivel chair, Trebel side table.

KEEPERS OF THE LITERARY TEXAN

This fall, University of Texas Press will release Pastures of the Empty Page: Fellow Writers on the Life and Legacy of Larry McMurtry, edited by George Getschow.

BY LUCIA ARBERY SIMEK

In writer Larry McMurtry’s semi-autobiographical coming-of-age story, The Last Picture Show, the teenage protagonist Sonny, on the cusp of adulthood, finally gets an education. In the mid-1950s in a fictional place called Thalia, based on McMurtry’s hometown of Archer City, Texas, Sonny learns everything by dint of his freefall into a few spectacular missteps, fueled both by his hungry libido and a remarkably gentle heart, the latter being a rarity of some distinction in rough-and-tumble Thalia, especially in the eyes of the town’s women. The nature of his heart—its ability to at once observe and imagine the condition of others and then carry those heavy observations with him— often makes Sonny low, depressed, in need of somewhere to offload the burden of his perception. His “teachers”—two lovers, each old enough to be his mother; a diner waitress; a pool hall owner; a nonverbal friend, and the town’s most avid moviegoer—all understand his sensitivity and by turns offer him companionship as a reprieve from the weight of it.

Also a witness to Sonny, the reader of the book gets to load bear for him, too. It’s a way, really, for McMurtry to give us a version of his own story to hold because it’s got nowhere else to go.

Larry McMurtry certainly didn’t invent this literary load shift, but throughout his over-60-year career in letters, at a time when the old traditions of ranching and roping were dying away, the stories and essays he wrote about the particulars of Texas’ physical and cultural landscape

Larry McMurtry as a boy on his family’s ranch, sitting on his first pony. Photograph courtesy of Sue McMurtry Deen. Published with permission from the University of Texas Press.

George Getschow at Royal Theater for a tribute to Larry McMurtry. Published with permission from the University of Texas Press.

Pastures of the Empty Page: Fellow Writers on the Life and Legacy of Larry McMurtry. Published with permission from the University of Texas Press.

VOLUMES

were new, capturing the nuanced spirit of the place and its people hidden beneath the thick surface of its Wild West mythologies.

For many readers, McMurtry also proffered from-the-hip lessons on the craft of writing and looking—paying attention, like Sonny—and many crossing paths with him personally, professionally, or imaginatively were profoundly influenced in their lives and work.

Over 35 of those writers’ voices are gathered in a forthcoming collection of reflections on McMurtry’s life called Pastures of the Empty Page: Fellow Writers on the Life and Legacy of Larry McMurtry, due out from University of Texas Press this September. The collection is edited by veteran journalist and professor at University of North Texas’ Mayborn School of Journalism, George Getschow, who was also a friend of McMurtry.

“When Larry died in 2021, there was no funeral. No memorial service,” says Getschow. “No opportunity to commemorate and celebrate the epic life of Texas’ literary titan.” So Getschow called upon a dozen mainly Texan writers to pen essays on the mark McMurtry left. Those essays were then read at the Royal Theater in Archer City, the theater upon which The Last Picture Show was modeled, to a crowd of hundreds. That day of eulogizing McMurtry became the basis for the published collection, which includes the likes of longtime Texas Monthly writer Skip Hollandsworth, Dallas Morning News reporter Dianne Solis, writer and book collector Brandon Kennedy, Texan historian Stephen Harrigan, British novelist and essayist Geoff Dyer, and Pulitzer Prize–winning author Lawrence Wright, among many others, including a cadre of beloved women confidants and collaborators, most notably his

writing partner Diana Ossana, with whom McMurtry shared the Oscar for best adapted screenplay for Brokeback Mountain in 2006.

Broken into eight sections that consider the many modes of McMurtry’s influence—from keeper of Texan history, to his obsession with book collecting and the friends it gathered, to his acerbic but resonant role in the student writers workshop Getschow initiated in Archer City in 2005— Pastures of the Empty Page is arranged in a way that meticulously tracks McMurtry’s life. That life straddled two epochs: the dying of the old West and the birth of suburbia, and so Getschow has selected writers that consider first McMurtry’s roots on a multigenerational North Texas ranch called Idiot Ridge, where he swore off his ancestral past as a cowboy and chose his future as a writer; through his nomadic status as a novelist, father, professor, book dealer, essayist, critic, and screenwriter; to the last years of his life, when he began selling off his outsized book collection—some half a million books—from his multi-sited used bookstore, Booked Up, in Archer City.

Though McMurtry’s disposition was notoriously gruff, many of the writers in the collection attest to his generous encouragement of their work, always championing stories that had conviction and urgency. The greatest encouragement he gave to many writers, though, was the simple subject of so many of his books: the people and places of Texas. In Pastures of the Empty Page, Getschow defines how each writer, by various avenues, was dealt an education in storytelling by McMurtry, the sensitive but formidable master of chronicling this region’s built and behavioral vernaculars.

As tribute to that inheritance, the contributors to Pastures of the Empty Page are dedicating royalties from the sale of the book to a nonprofit foundation called the Archer City Writers Workshop: A Living Legacy to Larry McMurtry, an annual convening of writers looking to McMurtry’s work for inspiration and instruction.

“Our hope,” says Getschow, “is that proceeds from the sale of the collection will help create and support a monument to Larry’s storytelling legacy—a permanent writing center in Archer City to serve countless students and professional writers who have flocked to Larry’s hometown over the last two decades hoping to channel Larry as their muse.” P

Larry McMurtry in front of The Bookman, the first bookstore he managed in Houston. Photograph courtesy of Mike Evans. Photograph by James Baker Hall. Published with permission from the University of Texas Press

Larry McMurtry coaching writers at Booked Up. Kathy Floyd, workshop administrator, standing. Seated from left to right: Bill Marvel, George Getschow, and Larry McMurtry. Courtesy of the Archer City Writers Workshop. Published with permission from the University of Texas Press.

David Dike Fine Art 27th Annual Texas Art Auction

Saturday,

Saturday, October 21st, 2023, will mark the highly anticipated 27th Annual David Dike Fine Art Texas Art Auction

The Fall Auction will feature Texas art spanning from the 19th century to contemporary. We are excited to host the auction live, with an in-house audience, along with traditional phone, absentee, and online bidding options. Highlights in this sale include a 1936 painting by important Dallas Nine Artist Charles Bowling, a significant work by Frank Reaugh, a rare Texas painting by Karl Hermann Lungkwitz, and works by Texas Impressionists Julian Onderdonk and Jose Arpa.

OUT OF THE TWISTER

BY NANCY COHEN

ISRAEL PHOTOGRAPHY BY DAVE SHAFER

CLIFF WELCH REBUILDS A COUPLE’S POST-TORNADO HOME WITH INTERIORS BY ROBYN MENTER.

When an EF-4 tornado tore through North Dallas in October 2019, its destruction scarred the landscape as well as the psyches of those affected by it. Over the past few years, as whole neighborhoods are being rebuilt, the conundrum is whether to recreate what was there or completely shift course. With a blank slate, what would you do?

One couple, for whom this was not hypothetical, turned to architect Cliff Welch to help them rebuild. Welch has a longstanding working relationship with the clients’ interior designer, Robyn Menter of Robyn Menter Design Associates. The homeowners’ preference for something warm but modern aligned with Welch and Menter’s aesthetic, making the pair ideal for the project. Welch and his team brought fresh ideas to the project, including reorienting the house. With glass walls surrounding it on three sides, the pool courtyard became the focal point of the home. From inside, the view offers an evolving kaleidoscope through different times of the day and seasons of the year. Its dynamic beauty dissipated the homeowners’ initial, and understandable, concern about being enveloped in glass. It also realizes Welch’s vision of organically connecting the outdoors with the indoors.

For Welch, the swimming pool and reflecting pool also

Embodying the guiding principles of the International Style while exemplifying sustainability and timeless design, the retained exterior pallet includes split-faced Coldspring granite laid in a linear coursing that grounds the home and provides weight and permanence. The custom-fabricated louvered screen composed of aluminum airfoils provides subtle texture against the porcelain panel, glass, stone, and steel, as well as light control and privacy.

The Bulthaup kitchen with walnut cabinetry and adjoining wine room exemplify precision and combine culinary functionality with elegant wine storage. Eric Zener’s Slicing Through It All, 2011, hangs above the Caesarstone breakfast table with benches by Draenert in Houlès fabric.

At the entrance, walnut doors and a walnut-and-steel louvered screen are complemented by an aluminummounted C-print by Ori Gersht, Blow Up: Untitled 2, 2007.

provide surfaces upon which light can play, creating a shifting panorama against the Florim porcelain facade. By giving the structure a lift, the architecture appears to float on the surface of the swimming pool. The landscaping and architecture interplay, giving the home what Welch refers to as a kinetic energy. That the landscaping became an active part of the design was intentional. With landscape architect John Armstrong of Armstrong Berger serving as an essential part of the design team, Welch notes, “The landscape, architecture, and interiors are all seamlessly integrated.”

The exterior facade, with its nod to International Style, is welcoming to the street while still maintaining a sense of privacy. Its angular lines are balanced by the roundness of Gino Miles’ sculpture, Aura . A sunscreen softens the upper story windows from the exterior. The harmonious balance of glass, wood, stone, and porcelain on the exterior carry through into the interior, which emanates a feeling of warmth as patterned light casts dramatic shadows throughout the day.

Vertical louvered screens of walnut and steel are used effectively throughout the home. “In different areas they can create a sense of space, provide a background for art, provide privacy, and manage light, sunlight, and glare,” describes Welch. “The natural wood balances the materials of steel and glass, both visually and acoustically,” he adds.

It was important to Welch that the home be used and enjoyed

on a daily basis. To accomplish this, he says, “We opened the main room and walkway so that the homeowners could look up and see art.” In addition to infusing the space with light, this open walkway also affords views of the work installed on the second floor by artists such as Edward Burtynsky, Vik Muniz, and Jon Sonsini.

Working together, Welch and Menter have succeeded in designing a comfortable, livable environment. While the Bulthaup kitchen features crisp, clean lines, it also provides plenty of room for casual gathering. Similarly, the living room, with its classic de Sede sofa, is a welcoming space reflective of the homeowners. “The blue sofa is a part of their personality. It adds warmth and anchors the space,” explains Menter. The blue extends into the work of Leonardo Drew on the wall behind. The sofa’s organic shape is echoed in a sculpture by James Surls on an adjoining table ringed by Vladimir Kagan–designed chairs. A wall niche that serves as a visual axis point holds beaded works by Marigold Weavers as well as by William Kentridge. They are balanced by the symmetry and vibrancy of paintings by Xiaoze Xie and Charles Arnoldi.

The duo meticulously planned for the couple’s art collection, which, for the most part, they collect on their own. As Welch notes, “They enjoy everything they have, and they have a great eye.” When they first saw Alice Aycock’s work at Marlborough

Beneath the Douglas fir ceiling, walnut millwork extends through the handsome wine room equipped with two Eames lounge chairs by Herman Miller for conversation.

An archival pigment print by Vik Muniz, Surfaces: Woman in a Chemise in an Armchair after Pablo Picasso, 2021, hangs in the east hallway of the second story. Below, Charles Arnoldi’s Strike, 2010, acrylic on assembled canvas, is installed across from the de Sede sofa in Knoll upholstery.

In the foreground hangs Mel Bochner, Head Honcho, 2011, monoprint in two parts with collage and embossment on hand-dyed Twinrocker handmade paper. Tolla Inbar’s bronze sculpture Aspiration (Large), 2004, hangs adjacent to the staircase.

A custom-designed Rodolph-upholstered bed by Robyn Menter Design Associates (RMDA) features integrated sconces by Contardi, bedding by Peacock Alley, and a Stark rug beneath.

In the adjoining offices, RMDA designed the built-in desk with a desk insert featuring Spinneybeck leather in ivory; the desk chair is by de Sede and the desk lamp is by Louis Poulsen. Gian Paolo Barbieri, Audrey Hepburn, Vogue Italia, Roma, 1969, hangs above. Takeshi Haguri, Statue of Monmon Rikishi – A , 2019, stands in the corner.

A painting by Patrick Wilson hangs to the side of a RMDA custom-designed panel wall and linear fireplace.

Gallery in New York, for example, they were immediately drawn to it. But Twister in the title of many of these sculptures felt inauspicious. Instead, they commissioned her to do a work for the reflecting pool that she titled Maelstrom for Infinity Pool, referencing turbulence on water rather than in the air. The art and architecture are effortlessly complementary. The entry hall is animated by Ori Gersht’s photograph of shattering flowers. In the glass-enclosed dining room facing the front yard, Steve Mills’ Art Everywhere brings a buoyancy to the otherwise straight lines of the room. That energy is echoed in David Bates’ Storm Tide. Eric Zener’s colorful Slicing Through

It All brings momentum to the wall above the breakfast table in the kitchen.

The couple first saw the life-sized sculpture by the Japanese artist Takeshi Haguri at Art Basel Miami, leading to the commission of Statue of Monmon Rikishi-A The camphorwood sentinel anchors the office against the backdrop of the lush Japanese garden behind him. Works by artists such as Patrick Hughes, Cayce Zavaglia, and Liu Bolin offer surprising details when viewed closely. Others, including a monoprint by Mel Bochner and a hanging bronze sculpture by Tolla Inbar, miraculously survived the storm, as did Li

The backyard, with the reflecting pool as a focal point and the extensive overhang, radiates the design intention to both protect the exterior facade and create a pleasant gathering space. Swivel chairs by Sutherland with Perennials fabric surround the Starfire Direct copper firepit.

Hongbo’s Bust of David.

Throughout the home, the architecture includes unexpected details. Since the homeowners enjoy large family gatherings, they needed a dining room that could accommodate a crowd. Rather than creating a cavernous space that might only be used a few times a year, the team designed a moveable louvered screen on tracks. Pushed back, the room combines with a sitting area, expanding it by several feet. In the adjoining wine cellar, visitors may literally and figuratively cool their heels watching a video installation by Gregory Scott. “This house has a personality, and it’s not my personality or the architect’s;

it’s theirs,” states Menter.

Stephen Hardy of Hardy Construction completed the team of Welch, Menter, and Armstrong. Even at the conclusion of such a big project, the homeowner still enthuses, “We had the best team ever.” Those behind it are also pleased. As Menter adds, “The most rewarding thing is that any time I see [the homeowner] they say, ‘I just love my house.’”

Welch takes the long view, stating, “We hope that our projects can be there for generations. It’s nice to see these things last.” The care and thoughtfulness poured into this home are sure to make it a timeless classic. P

A reflecting pool serves as a backdrop to a commissioned sculpture by noted New York artist Alice Aycock.

Tells the Story of the South

THE MODERN’S MAKE THE REVOLUTION IRRESISTIBLE MARKS THE FIRST SOLO MUSEUM EXHIBITION FOR THE THIBODEAUX-BORN, DALLAS-BASED ARTIST.

BY ALYSIA NICOLE HARRIS

Jammie Holmes

Make the Revolution Irresistible, the first solo museum exhibition for Dallas-based artist Jammie Holmes, presents large-scale paintings featuring intimately poetic recollections of homeplace and history. Space and time are raw materials, but home is what happens when an individual builds an identifying relationship with a particular place and its people. Within Holmes’ history-sized paintings, the artist introduces a personal codex of cultural symbols: sparrows, digital clocks, RIP T-shirts, church fans, and box fans that serve to identify, document, and monumentalize Black life in the rural South.

“I’m telling the story of the South,” said 39-year-old Holmes during a studio visit as he worked on a life-sized installation of a one-room country chapel for the exhibition’s August 10 opening at the Modern Art Museum of Fort Worth. “I like to put myself as a stand-in to symbolize home, [so] people that know me from Dallas to Thibodeaux—they could feel like they are included.”

This page: Jammie Holmes; Opposite: Jammie Holmes, Lefty, 2023, acrylic, glitter, and oil pastel on canvas, 90 × 119 in. © Jammie Holmes. Photograph by Chad Redmon. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.

Utilizing auto-portraiture as a kind of visual metonym for his hometown of Thibodeaux, Louisiana, Holmes succeeds in the creation of deeply subjective and deeply Southern compositions. The self-taught painter left still-segregated Thibodeaux and moved to Dallas seven years ago, hoping to find more for himself and his two young sons, Myles and Kingston. “Some people, it just goes over their head. They don’t really get how deep South I was, to where I never heard the term ‘art museum’ in my life. I heard of a museum, but I thought a museum was dinosaurs, coins, f***ing slavery, stuff like that…but I didn’t know there was a specific place for paintings,” admitted Holmes.

Presciently, a 2017 trip to the Modern launched Holmes into painting. “I feel like it was destiny for me to do my first solo exhibition at the first museum I walked into. [ Make the Revolution Irresistible] is my welcoming packet.”

Curator María Elena Ortiz, who helped organize the exhibition, feels that a museum show for the artist has been long overdue given his prolific production and commercial success. “He has all the checkmarks: He has solid work; he’s heavily collected by reputable collections, and not only in the US, but also in the Middle East, Asia,

and Europe; he’s also showing a lot and has a New York gallery—all the things that artists die to have.”

Ortiz believes it’s a museum’s responsibility to make images like Holmes’ accessible to the larger world. “Museums can really step in to make [these images]— not cultural heritage in the old way—but part of our moment, part of the cultural production. People also need to understand that these images are part of our culture,” she stated.

Recently, images of Black figuration have proliferated, with increased visibility of artists like Kehinde Wiley and Amy Sherald working within Black portraiture. However, the somber beauty of Holmes’ Black Southern tableaux is distinctive, complicated by graphic gestures that create portals of psychic and temporal disruption within the canvas. Endurance, 2020, features the artist cutting a friend’s hair back home in Thibodeaux. Small loose strokes of white paint pock the foreground outside what appears to be a trailer-style home. Chicken scratch calculations of money—bills or expenses— appear toward the lower left corner, letting us know that the scene is a composite of memories, thoughts, and emotions. Initially, the painting suggests we are outside the house, but the

Jammie Holmes, Zebra in the Room, 2023, acrylic, glitter, and oil pastel on canvas, 90 x 220 in. © Jammie Holmes. Photograph by Chad Redmon. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.

Jammie Holmes, Fred Hampton, 2022, acrylic, glitter, gold leaf, and molding paste on canvas, 90 x 90 in. The Dr. Gregory Shannon Family Collection, Houston. © Jammie Holmes. Photograph by Chad Redmon. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.

Jammie Holmes, Living in the Shadows, 2021, acrylic and oil pastel on canvas, 89.63 x 78.37 in. Private Collection. © Jammie Holmes. Photograph by Chad Redmon. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.

Jammie Holmes, Endurance, 2020, acrylic and oil pastel on canvas, 66 x 40 in. Collection of Kenneth Caruso. © Jammie Holmes. Photograph by Emery Davis. Courtesy of the artist and Library Street Collective, Detroit.

outlet box, the checkered kitchen floor, and the rough sketch of a houseplant and tiny window suggest the scene takes place inside. By jumbling the picture plane, Holmes creates a dreamlike streamof-consciousness aesthetic and conveys the liminal precarity and out-of-placeness that Black Southerners often feel, even at home.

In self-described personal works like BOX FAN HEROES, 2019, or Property Tax, 2020, the expressive gestures link Holmes to Black neo-expressionists like Basquiat and contemporary devotional portrait artist Genesis Tramaine. Devoid of the frenetic and sardonic impulses of Basquiat and less abstract than the ecstatic visions of Tramaine, a breezy swath of color or element of marginalia within Holmes’ lifescapes suffuse his work with an emotive power that releases the hidden poetics at the core of everyday life in the Black South.

Each of these artists developed their sui generis approach to painting from practices of sketching, graffiti tagging, comic illustration, or doodling. But one must be careful when assuming any influences on Holmes’ work. “It’s harder to analyze him in the traditional way of looking at specific [artistic] references because he’s learning about references as we go,” said Ortiz.

Viewers will witness Holmes’ evolving relationship with the canvas as they study the 15 works selected for the show. Graphic gestures are more dominant in earlier works. The canvas still operates like a sketchpad where perspective, portraiture, notes, loose drawings, and other marginalia are collapsed on the two-

dimensional surface. However, we see the restraint of the graphic idiom in recent works from this year, like Lefty, 2023. In Zebra in the Room, 2023, this element completely disappears in favor of an intricate depiction of a surrealist scene.

The scale of the works alone makes clear these paintings of home are also paintings of history. “If you go to the National Gallery and walk to the Portrait Gallery, those are huge portraits. You want [viewers] to really home in on the monumentality of the people that are being depicted. And I think that he’s building on that trope to honor and highlight how the stories that he portrays require the same type of space as others have in the past,” said Ortiz.

The exhibition’s title is a partial quote from author and activist Toni Cade Bambara, who said, “The role of the artist is to make the revolution irresistible.” This choice reveals how Holmes uses art both as a means of subjective expression and contemplation and historical intervention. His paintings represent, remember, and remind. And even when images like Fred Hampton, 2022, include subversive statements about political and cultural allegiance, they still lovingly function as odes.

“I just felt like 300 years from now, this would be hieroglyphics,” said Holmes. “So that’s why I’ve tried to give roses to the people that needs to [receive them]—like Fred Hampton over there, Obama, and Martin Luther King. It’s important that I give roses to these people before we—I don’t want people to forget about them.” P

Jammie Holmes, BOX FAN HEROES, 2019, acrylic and oil pastel on canvas, 60 x 48 in. Collection of Gretchen and Jon Klein. © Jammie Holmes. Photograph by Chad Redmon. Courtesy of the artist and Library Street Collective, Detroit.

Jammie Holmes, Property Tax, 2020, acrylic and oil pastel on canvas, 46 x 36 in. Collection of Suzanne McFayden. © Jammie Holmes. Photograph by Chad Redmon. Courtesy of the artist and Library Street Collective, Detroit.

Joyous Moments of Leisure

DRAWN FROM PRIVATE AMERICAN COLLECTIONS, JOAQUÍN SOROLLA’S LUMINOUS WORK DAZZLES AT THE MEADOWS MUSEUM.

BY NANCY COHEN ISRAEL

Sun-drenched landscapes, glistening seascapes, and tender portraits are the hallmark of the Spanish painter Joaquín Sorolla y Bastida. Working in the 19th and early 20th centuries, Sorolla remains one of Spain’s most beloved artists. Honoring the centennial of his death, the Spanish Ministry of Culture and Sport has proclaimed this year’s commemorations as an Event of Exceptional Public Interest. It is being marked with exhibitions across Sorolla’s homeland.

In Dallas, Spanish Light: Sorolla in American Collections opens this fall at the Meadows Museum. In the exhibition’s only venue, it brings together approximately two dozen works, most of which are on loan from private collections. Coming a decade after the museum’s blockbuster Sorolla and America , this smaller exhibition includes work that is rarely, if ever, seen publicly.

Joaquín Sorolla y Bastida (Spanish, 1863–1923), Beach of Valencia (Playa de Valencia), 1908, oil on canvas, 26 x 37.75 in. Collection of Cristina H. Noble. Photograph personal archive, Blanca Pons-Sorolla, Madrid.

As a premier outpost for Spanish art and culture in the United States, it is apt that the Meadows is part of this centennial celebration. In recognition of its dedication to cross-cultural understanding, the museum was recently honored in Madrid with the prestigious Bernardo de Gálvez Award, bestowed by the Fundación Consejo España - EE.UU.

In that spirit of cooperation, Madrid-based Blanca Pons-Sorolla, the artist’s great-granddaughter, has served as the curator for both exhibitions. “I hope that this small and select exhibition of works by Sorolla from North American private collections...serves to pay homage to the artist in the United States on the occasion of the centennial anniversary of his death, and also to our dear Mark Roglán, who charged me with curating this exhibition,” she states.

Born in Valencia in 1863, Sorolla showed an early aptitude for drawing and painting. As a teenager, he started attracting attention and acquiring awards for his work. He made his first trip to Madrid and the Prado Museum at the age of 18. Here he first encountered the work of the 17th-century painter Diego Velázquez. Its influence would remain with him for life.

Above: Joaquín Sorolla y Bastida (Spanish, 1863–1923), Boats, Beach of Valencia (Barcas, Playa de Valencia), 1908, oil on canvas, 18.87 x 23.25 in. Collection of Debbie Turner. Photograph personal archive, Blanca Pons-Sorolla, Madrid. Right: Attributed to Arthur Byne, Sorolla painting in the garden of his house, c. 1920. Madrid, Museo Sorolla.

Joaquín Sorolla y Bastida (Spanish, 1863–1923), Pines of Galicia (Pinos de Galicia), 1900, oil on canvas, 34.62 x 23.62 in. Collection of Debbie Turner. Photograph by Phillipp Rittermann.

Sorolla made his American debut in 1893 at the World’s Columbian Exhibition in Chicago. His painting Another Marguerite! earned the sole medal awarded during this event. Now in the Mildred Lane Kemper Art Museum at Washington University in St. Louis, it has remained in this country ever since.

In 1900 he firmly established an international reputation when his work earned the grand prize at the Exposition Universelle in Paris. Exhibitions throughout Germany in 1907, and one in London in 1908, cemented his position as a leading contemporary artist. Among the visitors to the London exhibition was the American scholar Archer M. Huntington, whose deep interest in Hispanic studies led to his founding of The Hispanic Society of America (now The Hispanic Museum & Library) in New York City in 1904. After seeing Sorolla’s work, he invited the artist to have an exhibition at this new museum. It was an enormous success, subsequently traveling to Buffalo and Boston, where it was equally popular. Exhibitions in the

Midwest two years later spread his renown into the heartland.

According to Pons-Sorolla, “Without a doubt, the United States was Sorolla’s most important market. Specifically, in 1909 he sold 195 works between New York, Buffalo, and Boston (the Hispanic Society acquired 26) and made 20 portraits, including that of President Taft. In 1911, in Chicago and St. Louis, he also sold numerous works and again painted many portraits. Many paintings were acquired by large American museums and by numerous private collectors.” Many of the works in Spanish Light were acquired from these exhibitions. And while most of them subsequently changed hands, about a quarter of them have remained with the descendants of their original owners.

Aside from his appeal with collectors, Sorolla also befriended prominent artists such as William Merritt Chase and John Singer Sargent, whose styles were compatible with his own. According to Pons-Sorolla, “I believe that Sorolla’s painting were appreciated in the United States because his idols, such as Chase and Sargent,

Joaquín Sorolla y Bastida (Spanish, 1863–1923), The Cypress of the Sultana, Generalife (El ciprés de la Sultana. Generalife), 1909, oil on canvas, 41.75 x 32.25 in. Anonymous loan. Photograph personal archive, Blanca PonsSorolla, Madrid.

were spiritual disciples of Velázquez, as was Sorolla.” She adds that the joie de vivre captured in his work further appealed to American audiences.

In spite of this, successive waves of disruption in the early 20th century, from the advent of modernism to the horrors of World War I and the eventual stock market crash of 1929, shifted tastes away from images of carefree days spent on sun-splashed beaches. While Sorolla’s work remained beloved in Spain, its popularity declined elsewhere. During this time, American collectors’ earlier acquisitions began reentering the market, with many going into public and private collections in Spain.

Sorolla’s revival stateside began in 1989 when The Painter: Joaquín Sorolla y Bastida opened in New York before traveling to other American cities. Subsequent exhibitions here and abroad led to a new appreciation for the artist’s work. In fact, over the past 20 years, a fair amount of the work that changed hands from American into European collections ended up being reacquired by Americans.

According to Dr. Amanda Dotseth, the Meadows Museum’s Linda P. and William A. Custard Director, “Among the collectors represented

in the exhibition, many only started collecting Sorolla recently and now own multiple [works] by the artist.”

The exhibition also includes works from the museum’s permanent collection, including View of Las Pedrizas from El Pardo (1907). Originally sold in the London exhibition in 1908, it was acquired in 1965 by Algur Meadows. In the past 20 years, several more of his works have entered the collection. Joining them is Female Nude, which is on long-term loan from a private collection. With its nod to Velázquez’s The Toilet of Venus (“The Rokeby Venus”), it depicts Sorolla’s wife and muse, Clotilde.

Spain’s turbulent decades following Sorolla’s death clouded his gentler era. But as Dotseth explains, “A bit like his popularity during his lifetime, Sorolla’s appeal has to do with the fact that he represents a vision of Spain that is absolutely contrary to the dark, religious country many saw it as in the modern period. His work is filled with light and often represents joyous moments of leisure.” With thanks to lenders across this country, the captivating beauty of Sorolla’s luminous canvases offer us a glimpse of ultimate contentment. P

Joaquín Sorolla y Bastida (Spanish, 1863–1923), Beach of Valencia (Playa de Valencia), 1908, oil on canvas, 26.37 x 38.25 in. Collection of Cristina H. Noble. Photograph personal archive, Blanca Pons-Sorolla, Madrid.

Above: Joaquín Sorolla y Bastida (Spanish, 1863–1923), Children on the Beach: Study for “Summer” (Valencia, dos niños en una playa), 1904, oil on canvas, 29.75 x 41.50 in. Guggenheim Partners Art Holdings, LLC. Photograph personal archive, Blanca Pons-Sorolla, Madrid. Below: Joaquín Sorolla y Bastida (Spanish, 1863–1923), Beach of Valencia (Playa de Valencia), 1904, oil on canvas, 24.50 x 26 in. Collection of Karen W. Davidson. Photograph personal archive, Blanca Pons-Sorolla, Madrid.

LEONARDO DREW

Leonardo Drew (b. 1961), Number 235T (detail), 2023, mixed media, courtesy of the Amon Carter Museum of American Art, Fort Worth, Texas, © Leonardo Drew

Becomes the Weather

CATCH THE NEW YORK–BASED ARTIST’S EPIC INSTALLATION

NUMBER 235T ON VIEW AT THE CARTER.

BY DARRYL RATCLIFF

Looking at Leonardo Drew’s massive new installation Number 235T, at the Amon Carter Museum in Fort Worth, is like watching a symphony; it is hard to focus on every part at once, but the composition, which marches alongside the walls like sheet music, creates an irresistible rhythm that engages the viewer at all angles. The installation feels like hundreds of individual artworks assembled together to become a new whole.

There is an order to what Drew is doing. Although the individual parts of the installation may feel like jazz, everything is manipulated by Drew’s hand. If an object looks old, rusted, burned, burnished, found—that was all done in the studio. If a particular piece makes one think of childhood, or Katrina, or San Antonio—that too is intentional. Drew is interested in nature, in cycles of generation and

regeneration, but through skillful manipulation he has harnessed those systems into the control of a singular artist. “I needed to be the weather,” Drew says.

This mythology—the artist becoming a force of nature—is palpable in the installation. Standing inside Drew’s installation feels like being in a spaceship made of hieroglyphics and capable of time travel. It is as if the artist has caught lightning again and again and presented it like a small offering to you. At any moment the installation could fall apart, but it never does. Every deviation makes the whole stronger, every new material, new technique, builds and reaches, until you are surrounded by Drew’s visual jazz.

Yet in spite of the epic scale of Drew’s vision, he also seems deeply concerned about human labor. In one larger section of the

Leonardo Drew. Courtesy of Amon Carter Museum of American Art, Fort Worth, Texas.

Above and right: Leonardo Drew (b. 1961), Number 235T (detail), 2023, mixed media, courtesy of the Amon Carter Museum of American Art, Fort Worth, Texas, © Leonardo Drew

All images here and opposite: Leonardo Drew (b. 1961), Number 235T (detail), 2023, mixed media, courtesy of the Amon Carter Museum of American Art, Fort Worth, Texas, © Leonardo Drew

installation is an undulating shape like ribbon, with thousands of wooden spikes driven into it, one by one by hand. This is next to a spool of cotton muslin fabric with spiral geometric shapes woven into it, which then morphs into a less-structural installation of the same muslin. Drew declares that “a Black person working in cotton is inherently political,” but leaves it to the viewer to figure out its politics. There is a commitment to personal labor and craftsmanship, but under the context of freedom and in the guise of an artist.

In fact, this may also explain Drew’s commitment to abstraction, even though it was his love for comic books that drew him into the arts to begin with. “Abstraction is an endless possibility,” Drew says. He is concerned with building its language through his own practice and hopes that artists who consider his work use it as a way to expand abstraction further. And it almost doesn’t seem fair, the range that Drew has when it comes to abstraction. For example, there are grid-like colored assemblage paintings; nods to color field

paintings; dark, moody, elegiac abstract expressionism; colorful mosaics that evoke both Mark Bradford and Anselm Kiefer; minimalist encaustics—and all of that is before one even considers the sculptural abstraction Drew is most known for.

The Amon Carter installation is the first in what Drew sees as a three-part exploration of his current practice . Part two of the series is his installation Number 360 in the chapel at Yorkshire Sculpture Park in the UK, which is tonally darker and slightly less ordered than the Carter installation. He will cap off the series with a solo exhibition opening September 6 at Talley Dunn Gallery in Dallas that he previews as a “pixel explosion monstrosity.”

Drew’s Number 253T warrants multiple trips and significant time to contemplate the installation. One always picks up on something new, a breathtaking detail initially overlooked. It is generous, expansive, and sublime. It can transport and nourish you. It is the weather. P

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MANIPULATING SPACE

artists of the 21st century through innovative prints.

BY CHARLIE ADAMSKI CAULKINS

Organized by Sotheby’s, the current exhibition at Park House, California Dreaming , is a feast of bold graphic imagery by a group of famed multidisciplinary artists of the 21st century. Perhaps more importantly, it is also a representation of these artists’ perspective on space in their practice. Close inspection of each work leads to moments of discovery as the compositions depart from traditional two-dimensional works on paper.

The artists featured in California Dreaming have a special approach to how they treat spatial concepts in their work. As seen in this exhibition, the various paper constructions each created in partnership with the innovative methods of the publishing house Mixografia, possess a three-dimensional quality. To fully realize this, these works must be seen in person; the exhibition runs through the end of September, and the works are available for purchase.

Ed Ruscha is a master at recognizing the underlying graphic nature of language and landscape. In the Petro Plots series, viewers find themselves at a bird’s-eye vantage, looking upon topographical perspectives of Los Angeles landscapes. The eye moves between the geographical texture of the paper and the defined lines of the roadways, reducing the larger-than-life to its purest graphic elements.

In John Baldessari’s Eight Colorful Inside Jobs, the primary-colored elements of the composition whimsically jut into the viewer’s space, encouraging closer inspection. Each work states the color it represents, but perhaps it is really the unexpected three-dimensional composition that should be the viewer’s focus. In Stonehenge and Blah, the artist’s reoccurring practice of placing colorful fields over photographic imagery encourages the viewer to consider what is happening around and behind the colorful, encouraging exploration of the space beyond the obvious.

Guatemalan artist Darío Escobar reimagines a familiar, everyday three-dimensional object and reduces it to a repetition of form, reinterpreting a spherical ball to a honeycomb like a rippling grid,

only recognizable by its iconic coloring and texture.

Tom Wesselmann eliminates perspective in his compositions. Through flattened picture planes and layered graphic imagery of everyday scenes, and objects, he successfully creates bold and punchy works of art. The nude is a common theme throughout his practice, from early ’60s compositions to the most recent. In Sunset Nude with Yellow Tulips, we see the elimination of space between elements in action: an abstracted reclining nude is flattened up against the picture plane but still possesses her alluring curves. Lemons dangle over the edge of the windowsill, and the sunset, although presented on equal footing with all other elements, brings graphic depth to the composition. Through his collaboration with Mixografia, Wesselmann introduces a subtle three-dimensionality between each layer but still stays true to his signature visual language and treatment of space.

Alex Israel, the youngest artist in the show, is obsessed with notions of Hollywood and celebrity. He skillfully plays with cinematic themes—specifically, the notion of blurring the lines between illusion and reality. In Desperado we see just that. In a series named after the 1970s hit by the Eagles, a 1950s bubble-gum pink Corvette convertible is perched atop the edge of a cliff, a tall, electric-green saguaro cactus cements the notion that this is a desert landscape, and a stunning California sunset fills the remainder of the sheet, as far as the eye can see. Through these few elements, Israel conjures a dreamlike cinematic space that evokes notions of the American West, the American Dream, and old Hollywood. For Desperado, Israel combines digital printing with Mixografia’s unique papermaking technique— an innovation for the publisher.

Through collaboration with Mixografia’s innovative printmaking processes, each of these artists has successfully pushed the boundaries of their practice in their own unique way, resulting in further exploration of their perspectives on art, design, and the world they live in.

In partnership with Mixografia, Sotheby’s California Dreaming showcases

“When you’re looking at two things, don’t look at them, look between them… The space between two things, that’s very important.”–John Baldessari

Alex Israel, Desperado, 2021, Mixografía print on handmade paper, edition of 20, 11/20, 22.5 x 40 x 1 in.; Ed Ruscha, Petro Plots: Pacific Coast Highway/ Sunset Boulevard, 2001, Mixografía print on handmade paper, edition of 75, 74/75, 28 x 39 in.; John Baldessari, Eight Colorful Inside Jobs: Purple, 2017, Mixografía print on handmade paper, edition of 50, 13/50, 22.125 x 17.5 in.; Tom Wesselmann, Sunset Nude with Yellow Tulips, 2004-06, Mixografía print on handmade paper, edition of 75, 13/75, 36.50 x 41 in.; All courtesy of Sotheby’s.

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