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ELLIOTT HUNDLEY, VAULT, 2016. © ELLIOTT HUNDLEY, COURTESY OF REGEN PROJECTS, LOS ANGELES.
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ELLIOTT HUNDLEY, VAULT, 2016. © ELLIOTT HUNDLEY, COURTESY OF REGEN PROJECTS, LOS ANGELES.
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THE SPRING SEASON | 2020 CONSIGN NOW Asian Art | March 17 Photographs | April 4 Design | April 13 Prints & Multiples | April 14 Fine Silver & Objects of Vertu | April 20 Fine Furniture & Decorative Arts | April 23 Illustration Art | April 24 American Art | May 1 Texas Art | May 2 Modern & Contemporary Art | May 21 Ethnographic Art | May 29 European Art | June 5 Jeff Koons (b. 1954)
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Sold for: $38,750 | Prints & Multiples, October 2019 Inquiries: Frank Hettig, Director Modern & Contemporary Art 214.409.1157 FrankH@HA.com
Photographs | Monthly | Third Wednesdays Jewelry | Weekly | Tuesdays Prints & Multiples | Weekly | Wednesdays
Visit HA.com/Auctions for a Complete Calendar of our 40+ Categories Including Fine Jewelry, Luxury Accessories, and Timepieces Inquiries: 214.409.1444 | Art@HA.com 1518 Slocum Street, Dallas TX 75207 DALLAS | NEW YORK | BEVERLY HILLS | SAN FRANCISCO | CHICAGO | PALM BEACH LONDON | PARIS | GENEVA | AMSTERDAM | HONG KONG
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EDITOR’S NOTE
Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak
December 2019 / January 2020
TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com Instagram terri_provencal and patronmag
A November press preview of Dallas Museum of Art’s speechless: different by design left me thinking about the varied ways we communicate. I departed for Madrid the following day with zero Spanish in my arsenal, and the exhibition’s reminder that all art is sensory made me think about opera as one of the great examples. The Dallas Opera’s general director and CEO Ian Derrer was on this trip, as was Dr. Mark Roglán, the Linda P. and William A. Custard Director of Meadows Museum, both there to sign an unprecedented cultural cooperative agreement with our host Ignacio García-Belenguer, Teatro Real’s director. Spurred by Janet Kafka, honorary consul of Spain, we will share much more about this international visual and performing arts partnership in our February issue. On the cover, Dallas Symphony’s Music Director Designate Fabio Luisi foreshows this year’s performing arts issue. He joins Derrer as one of nine powerhouses shaping the plentiful offerings onstage. Also included in this group is the late Katherine Owens, the founding artistic director of Undermain Theatre. In Peak Performance, Lee Cullum describes her as an “intricately gifted” artist who presented “searing powers of interpretation.” Others featured in the Dallas Arts District include Charles Santos, Kevin Moriarty, and Jeff Woodward, all known for staging great performances and maintaining viability. At this time of year, we look to music to elevate the senses in unexpected settings when we gather with loved ones. In Muse in the Museum, Steve Carter details five area institutions from Dallas to Fort Worth offering musical performances surrounded by art holdings within architecturally significant buildings. From the brave Soundings: New Music at the Nasher series, to Cocktails at the Carter amid the refreshed galleries of the Amon Carter Museum of American Art, there is something new to try, not only this season, but year round. Separately, Steve tells of Brave Combo’s 40th anniversary and what keeps this Denton-based, Grammy-winning musical group thriving. With photographs by John Smith and words by Elaine Raffel, Awesome Kingdom brings readers to a home on Possum Kingdom Lake designed by Emily Summers, Aspen-based Travis Terry, and an art collecting couple. The home’s largesse vaunts arresting views that embrace the cliffs with a 60-foot drop to the lake. We were thrilled to make the trip to discover the natural terrain of this water-rich area, infusing the lives of the homeowners’ second residence. Timed with the opening of HALL Arts Hotel, we return to KPMG Plaza, the first stage of the HALL development, to bring readers Feast Your Eyes. There we were reminded of the upcoming unveiling of the eponymous residences slated for 2020. Within the residential model, designed too by Emily Summers, Elaine Raffel, Kristen Richter-Krieger, and photographer Chris Plavidal captured the true essence of fine jewelry from the area’s most esteemed shops along with a nobility-worthy necklace from Heritage Auctions. They also played with Chef Peter Barlow of Fauna, who dazzled with the prowess one would expect from a tasting room within Stephen Pyles Flora Street Cafe. To that end, we welcome HALL Arts Hotel to the Dallas Arts District, a perfect place to perch to enjoy the culturally rich performing arts season. In every hotel room you will find Through The Lens, a pictorial love letter to the district culled from area photographers and Patron Magazine. We are proud to be in such fine company. Enjoy the year’s end and the first blush of 2020. See you next year! – Terri Provencal
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CONTENTS 1
FEATURES 54 PEAK PERFORMANCE The Dallas performing arts scene is made richer by nine forces of nature who approach their unique challenges with passion. By Lee Cullum 62 THE MUSE IN THE MUSEUM Five area visual arts institutions feature music performance in their programming. Stop, look, and listen. By Steve Carter 66 AWESOME KINGDOM A couple’s beautifully designed lakefront retreat embraces natural beauty. By Elaine Raffel 74 FEAST YOUR EYES Jewelry gets the royal treatment at HALL Arts and Fauna, within Stephan Pyles Flora Street Cafe. Photography by Chris Plavidal; creative direction by Elaine Raffel; styling by Kristen Richter-Krieger
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On the cover: Music Director Designate Fabio Luisi leads the Dallas Symphony Orchestra in Strauss’ An Alpine Symphony in September 2019. Photograph by Sylvia Elzafon.
CONTENTS 2
DEPARTMENTS 10 Editor’s Note 16 Contributors 22 Noted Top arts and culture chatter. By Anthony Falcon Fair Trade 38 DOWN BY THE RIVER Two unorthodox galleries on the Hudson find their way to Dallas next April. Contemporaries 40 TWENTY-TWENTY VISION Talley Dunn Gallery marks its 20th year with a yearlong homage to exquisite art. By Patricia Mora 44 MODERN CONGREGATION In homage to Texas Regionalist architects Howard Meyer and Max Sandfield, Gary Cunningham thoughtfully augments Temple Emanu-El. By Nancy Cohen Israel
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Studio 48 A TANGLE OF EAGLES FALLING HOMEWARD Francisco Moreno straddles two countries with an eye towards the future. By Brandon Kennedy Space 50 IN WITH THE NEW Jean de Merry expands its atelier offerings in a recently relocated showroom in the Dallas Design Center. By Peggy Levinson Performance 52 FORTY YEARS BRAVE Over 40 years, Denton’s Grammy-winning Brave Combo has evolved from “nuclear polka” to a world of music. By Steve Carter 48
Books 82 SPEAKING VOLUMES Five books on every art enthusiast’s holiday list. By Terri Provencal There 84 CAMERAS COVERING CULTURAL EVENTS Furthermore 88 RESTLESS RENEGADES Gilbert & George’s photo collages tackle taboos in a unique installation at Park House. By Chris Byrne
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CONTRIBUTORS
STEVE CARTER turns his attention to music for this performing arts issue. First, Carter takes a look at five Dallas and Fort Worth museums and explores their occasional, sometimes overlooked, live music offerings in The Muse in the Museum. He also profiles Brave Combo, a groundbreaking world music ensemble that’s celebrating its 40th year in 40 Years Brave. “Full disclosure: I did play bass with this fascinating band for five years,” he reveals. “Fun gig, but a tough one.”
CHRIS BYRNE is the author of the graphic novel The Magician (Marquand Books, 2013) as well as The Original Print (Guild Publishing, 2002). He is cochair of Art21’s Contemporary Council and serves on the board of directors of Institute 193, Museum of Contemporary Art Detroit, and the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught. He is the cofounder of the Dallas Art Fair and was formerly chairman of the American Visionary Art Museum.
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LAUREN CHRISTENSEN has more than two decades of experience in advertising and marketing. She consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Christensen the perfect choice to art direct Patron.
NANCY COHEN ISRAEL is a Dallas-based art historian, writer, and lecturer. In addition to being a regular contributor to Patron, Nancy’s work has appeared nationally. For this issue, she was delighted to write about the formidable art and architecture program at Temple Emanu-El in Modern Congregation. As a longtime member of this community, she served on the building and design committee and the art committee, which were tasked with expanding this architecturally significant building.
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LEE CULLUM is a journalist with a vocation for public policy plus business and an avocation for the performing arts. In writing about the powerhouses now keeping the arts soaring, she says, “It’s as if the work of 50 years were suddenly bearing fantastic fruit. The best part about covering performers is going to their shows, from Fabio Luisi’s debut as the DSO’s music director designate, to Ann, the story of Governor Richards at the Dallas Theater Center, to The Magic Flute and The Golden Cockerel at The Dallas Opera.”
MEGAN GELLNER is a photographer with a background in illustration and graphic design. She has a BFA in Studio Art from the University of North Texas where she works as a photographer and videographer. Environmental and traditional portraiture is her passion, and she loves the opportunity to photograph so many diverse personalities, including Ian Derrer, Charles Santos, and the artists featured in Studio. For this issue, she visited Francisco Moreno wrapping up his final month in Dallas.
BRANDON KENNEDY is the Director of Exhibitor Relations for the Dallas Art Fair, working with international galleries and assisting with programming for the April event. He recently curated FREE DICK HIGGINS at 214 Projects, exploring the Fluxus figure and Something Else Press. In a Tangle of Eagles Falling Homeward, he says farewell to painter Francisco Moreno, represented by Erin Cluley Gallery, who will depart Dallas for an artist’s residency with Cassina Projects in Milan this month, before moving to Mexico City.
PEGGY LEVINSON shares news of the latest trends in design for Patron with her expertise as a former showroom owner and knowledge in the field. In Space, she highlights and interviews Jean de Merry, on his recently relocated showroom in the Dallas Design Center, which upholds the craft of age-old French techniques to produce furnishings reminiscent of a bygone era. The showroom features fine art as well, including the work of Dallas artist Cobie Russell.
CHRIS PLAVIDAL is a photographer living in Fort Worth whose uncanny eye for the different, as well as the details, captured both jewelry and epicure in this issue’s Feast Your Eyes. “I love what I do. Sometimes it hardly seems like work. You never know when something inspiring will reveal itself. Sometimes it’s a song, or the accidental play of light and shadows down a wall, or even the random chaotic sounds of a city. Very often, though, you have to seek it out.”
PATRICIA MORA provides work for Fortune 500 companies and writes extensively about arts and culture in diverse venues and a variety of magazines and newspapers. She also has had the privilege of being published by the International Association of Art Critics. In this issue, Patricia apprises readers of the goings on at Talley Dunn Gallery during preparation for a yearlong exhibition schedule of groundbreaking artists for the upcoming 20th anniversary of the fine-art space in Twenty-Twenty Vision.
JOHN SMITH gets to flex his degree in architecture as an ongoing Patron home design contributor and Dallas-based photographer. He brings out the artistic side of architecture in his pictures and is renowned in the region for his work with architects, designers, and artists. In Modern Congregation, John captured the nuanced architecture of Temple Emanu-El designed by Howard Meier and Max Senfield, and the expansion overseen by Gary Cunningham. Next, he escaped to Possum Kingdom to photograph a stunning lakehouse. ELAINE RAFFEL blames her obsession with designer fashion, opulent jewels, and design on her years as creative head for the crème de la crème of retail: Neiman Marcus, Bergdorf Goodman, and Stanley Korshak. In Feast Your Eyes, Elaine teamed up with Chris Plavidal and Kristen RichterKrieger to photograph exquisite jewels, shot on location in the HALL Arts residences and Fauna (inside Stephan Pyles Flora Street Cafe). Then she escaped to Possum Kingdom to highlight the design, art, and architecture within an idyllic lake house.
Be Our Guest Discover a contemporary hotel experience in the Dallas Arts District – sincerely inviting, generous in spirit and warmly authentic. Whether traveling for business or leisure or celebrating a special occasion or holiday party, our luxury is without pretense, our offerings are fresh and imaginative and our care is attentive. NOW OPEN
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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sophia Dembling PROOFREADERS Mary Jacobs Kim Pierce PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Chris Byrne Steve Carter Nancy Cohen Israel Lee Cullum Brandon Kennedy Peggy Levinson Patricia Mora Elaine Raffel CONTRIBUTING PHOTOGRAPHERS Kristina Bowman Bruno Sylvia Elzafon Ryan Emberley Megan Gellner Chris Plavidal John Smith STYLISTS/HAIR & MAKEUP Peter Barlow Kristen Richter-Krieger Elaine Raffel ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS patronmagazine.com One year $36/6 issues, two years $48/12 issues For international subscriptions add $12 for postage SOCIAL @patronmag 1019 Dragon Street | Design District
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Proudly Salutes The 2020 Recipients
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Join us as the North Texas arts community gathers to celebrate the outstanding volunteer leadership and contributions of Matrice Ellis-Kirk and Mike Rawlings. To purchase tickets, please call 214.520.3930 or visit taca-arts.org/silvercup
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01 AFRICAN AMERICAN MUSEUM The Kinsey African American Art & History Collection, a pivotal exhibition that celebrates the achievements and contributions of black Americans from 1595 to present, remains on view through Mar. 1. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Set in Motion: Camille Utterback and Art That Moves pairs the artist’s new media interactive installation with a century of art depicting motion from the Carter’s collection, through Dec. 8. Gordon Parks: The New Tide, Early Work 1940–1950 explores the early years of Parks’ career as an influential photographer who captured the essence of the Civil Rights movement and broke barriers for African Americans, through Dec. 29. Puente Nuevo by Justin Favela features an immersive installation, through Jun. 30. Seven and Seven Flower, an otherworldly sculpture by James Surls, is a portrait of family, land, and self, on view through Jul. 31. Image: Luchita Hurtado (b. 1920), Untitled, 1970, lithograph, Amon Carter Museum of American Art, Fort Worth, Texas. © Luchita Hurtado. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART Hands and Earth: Contemporary Japanese Ceramics, showcasing a range of shapes, glazes, and surface treatments, ref lects a duality of character, blending ingenuity with a dynamic relationship and deep respect for tradition; closing Jan. 5. Future Retrospective: Master ShenLong remains on view through Aug. 23. crowmuseum.org 04 DALLAS CONTEMPORARY My Life as a Man emphasizes John Currin’s provocative depictions of his own gender, examining a range of masculine identities over the course of his career. Alicja Kwade’s new body of work is on view in Moving in Glances. In Polite English One Disagrees by First Agreeing presents the first solo museum exhibition by Brooklynbased artist Jessica Vaughn. All three exhibitions are on view through Dec. 22. Opening concurrently on Jan. 12., DC presents Joël Andrianomearisoa’s Serenade Is Not Dead and Jose Dávila’s FriendsWithYou through Mar. 15. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM On view through the end of 2019, Stories of Survival: Object. Image. Memory displays personal items brought to America by survivors of the Holocaust and other genocides. The objects are as ordinary as a child’s doll and as symbolic as a wedding announcement—saved by 22
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THE LATEST CULTURAL NEWS COVERING ALL ASPECTS OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW PERFORMANCES, GALLERY OPENINGS, AND MORE.
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local survivors from genocides around the world, including Armenia, Bosnia, Cambodia, Iraq, Rwanda, South Sudan, and Syria. 06 DALLAS MUSEUM OF ART In Concentrations 62, Wanda Koop debuts eight new works from her Dreamline series, accompanied by two dozen preparatory paintings, through Feb. 2. Violence and Defiance features prints by a generation of rebel artists known as the Expressionists, who reacted to World War I, through Mar. 8. Focus On: Alex Katz presents key themes that characterize Katz’s work, through Mar. 22. The Visitors, as part of Focus On: Ragnar Kjartansson, is an immersive video installation on nine screens depicting eight musicians singing the same lyric, through Mar. 22. speechless: different by design, an exhibit of multisensory, interactive, and immersive experiences for people of all abilities, is on view through Mar. 22. The DMA’s Conservation and Arts of Africa departments, in collaboration with UT Southwestern Medical Center, presents CT scans in Not Visible to the Naked Eye: Inside a Senufo Helmet Mask through Mar. 21. Sandra Cinto’s site-specific commission mural, Landscape of a Lifetime, remains on view through Jul. 5. Image: Wanda Koop, River, 2019, acrylic on canvas © Wanda Koop, courtesy of the artist. dma.org 07 GEOMETRIC MADI MUSEUM The Art of Orna Feinstein and McKay Otto continues through Jan. 26. Roger Winter with Rogalla and other artists from the 1960s displays Jan. 31 through Apr. 26. geometricmadimuseum.org 08 GEORGE W. BUSH PRESIDENTIAL CENTER Brian Kilmeade brings Texas history to life for an evening to discuss his latest book, Sam Houston and the Alamo Avengers: The Texas Victory That Changed American History on Jan. 22. A moderated conversation will reveal the hidden aspects of Sam Houston, the first and third president of the Republic of Texas. bushcenter.org 09 KIMBELL ART MUSEUM Renoir: The Body, The Senses marks the first major exploration of the artist’s unceasing interest in the human form, and reconsiders Renoir as a constantly evolving artist whose style moved from Realism into luminous Impressionism, culminating in the modern classicism of his last decades. Renoir: The Body, The Senses will continue through Jan. 26. Image: Pierre-Auguste Renoir, Bather, oil on canvas, c.1892– 93. Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo. kimbellart.org
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10 LATINO ARTS PROJECT Latino Arts Project is a nonprofit pop-up museum, founded by Jorge Baldor with Executive Director Carlos Gonzalez-Jaime, designed to foster a greater understanding of Latino art, history, and culture through exhibitions and community programs. Metaphysical Orozco, is slated for Jan. 2020. latinoartsproject.org 11 LATINO CULTURAL CENTER The next installment of Cine de Oro will feature La Cucaracha on Jan. 15. lcc.dallasculture.org 12 THE MAC Artists of the Cedars Union continues through Dec. 22. On the Surface includes works by Rabea Balling, Saba Besier, Sara Cardona, Sophia Longoria, Lovie Olivia, and Preetika Rajgariah. Curated by Consuelo Gutierrez, the exhibit highlights artistic process and material, creates sections of a cultural map of identities and spaces, and reassembles moments and memories. On view Jan. 18 through Mar. with an opening reception Jan. 18. the-mac.org 13 MEADOWS MUSEUM El Greco, Goya, and a Taste for Spain: Highlights from The Bowes Museum features artists such as Juan de Borgoña, El Greco, and Francisco de Goya, with paintings on panel and canvas ranging from the early 16th to late 18th centuries, through Jan. 12. Sorolla in the Studio: An Exceptional Loan from an Important Spanish Collection investigates Joaquín Sorolla y Bastida’s creative and working process between 1902 and 1906, through Jan. 12. On display Nov. 19 through Apr. 26 Untitled, 2019 by Madrid native Secundino Hernández (b. 1975) captures Hernández’s exuberant style, which mixes hard-edged lines with vibrant washes of color inspired by old and modern masters from his native country. Image: Secundino Hernández, Untitled, 2019, RB glue, chalk, calcium carbonate, titanium white pigment, and dye on linen, 112.62 x 157.50 in. © Secundino Hernández, courtesy of the artist and Victoria Miro, London/Venice. meadowsmuseumdallas.org 14 MODERN ART MUSEUM OF FORT WORTH Robyn O’Neil: WE, THE MASSES explores the artist’s career from 2000 to the present through multipaneled drawings, signature works of graphite on paper, collages, and the animated film WE, THE MASSES, 2011, through Feb. 2. Focus: Martine Gutierrez exhibits Gutierrez’s photographs and videos, which explore gender, race, class, and sexuality, as well as conventional ideals of beauty and identity as a social construct, through Jan 12. Ruckus Rodeo, 1975–76, by the New York–based artist Red Grooms, will coincide with the 2020 Southwestern Exposition and Livestock Show Jan. 17–Mar. 15. From Jan. 24–Mar. 15, Focus: Hrair Sarkissian will 24
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debut the artist’s first solo exhibition in the US. Image: Martine Gutierrez Body En Thrall, p114-15 from Indigenous Woman, 2018, C-print mounted on sintra, 71.75 x 107.75 in. Courtesy of the artist and RYAN LEE Gallery, NY. themodern.org 15 MUSEUM OF BIBLICAL ART The MBA offers eleven galleries, The National Center for Jewish Art, Museum of Holocaust Art, European Art Treasury, an onsite Art Conservation Lab, Via Dolorosa Sculpture Garden, and other major pilgrimage attractions. The museum offers myriad programs, field trips, and events for art appreciators of all ages and beliefs. biblicalarts.org 16 NASHER SCULPTURE CENTER Elmgreen & Dragset: Sculptures marks the Scandinavian duo’s first major museum presentation in the US, through Jan. 5. Working together since the mid-1990s, Michael Elmgreen and Ingar Dragset re-interpret familiar designs and spatial structures with criticality and subversive wit. Sightings: Anne Le Troter continues through Feb. 2. Barry X Ball: Remaking Sculpture, on view Jan. 25 through April 19, will be the first US survey to explore more than 20 years of the highly technical but classically inspired work of the New York artist. Image: Barry X Ball, Madame X, 2013–2019, translucent “wounded” Mexican onyx, sculpture: 11.5 x 7.37 x 9 in. Pedestal: white Vietnamese marble, chrome-plated steel and aluminum, stainless steel, 52.37 x 33.06 x 33.06 in. After Medardo Rosso (1858– 1928), Madame X, 1896, Ca’ Pesaro Galleria Internazionale d’Arte Moderna, Venezia. Courtesy of the artist and Fergus McCaffrey– New York, Tokyo, St. Barth. © Barry X Ball. Photograph courtesy Barry X Ball Studio. nashersculpturecenter.org 17 PEROT MUSEUM Origins: Fossils from the Cradle of Humankind invites guests to explore the fossils of Australopithecus sediba and Homo naledi—two recently discovered species of ancient human relatives. Created in partnership with the University of the Witwatersrand in South Africa and the National Geographic Society, the exhibition explores the discovery of these fossils, which have never been displayed outside of South Africa, through Mar. 22. perotmuseum.org. 18 TYLER MUSEUM OF ART Bold Lines: Works by Joseph Glasco features pieces from the permanent collection as well as works drawn from public and private collections, through Feb. 16. Opening Dec. 15, That Day: Pictures in the American West highlights Laura Wilson’s fascination with the diversity found among the people and places of Texas and beyond that capture the grittiness of the American West. That Day continues through Mar. 15. tylermuseum.org
THE PERFECT HOLIDAY GIFT
“So beautiful and so moving!” —Vikki Carr, Grammy Award-winning singer
“This is the best I have ever seen. It was so uplifting. It spoke to everything that is good in this world.”
“When you enjoy such a beautiful show, you go home with a renewed spirit and a wonderful feeling.”
—Glen Duncan, Grammy Award-winning musician
—Dr. Kay Hartwig, professor of music & musician
“The spirit of hope, beauty and the blessing is a fabulous gift to us. I want to go again! I have to bring friends. I have to bring as many people as I can.” —Sine McKenna, award-winning singer
Dec 28 – Jan 26
SHEN YUN is pushing the boundaries of performing arts. Ancient art forms meet innovative multimedia, all-original music, and masterful artistry. Diverse ethnic and folk traditions are beautifully evoked through dance alongside stirring legends and stories of ancient China. With its very own, unique orchestra, Shen Yun makes for an experience you won’t find anywhere else. Be prepared to traverse time and space and be mesmerized by the action, beauty, and humor of five millennia.
Winspear Opera House Bass Performance Hall Eisemann Center
ShenYun.com/DFW 888-974-3698
NOTED: PERFORMING ARTS
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01 AMPHIBIAN The Way North tells the story of a Sudanese refugee on a journey north and a former officer faced with the decision to do what is lawful, Dec. 7–8. Shakespeare’s most romantic comedy, A Midsummer Night’s Dream, will be broadcast live from the Bridge Theatre in London Dec. 11–14. Texas-born comedian M.K. Paulsen will perform Dec. 12–14. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Oscar winner Spike Lee will visit Dallas as part of the hearhere Series on Dec. 14. Rudolph the Red-Nosed Reindeer soars on Dec. 15. Once on This Island tells the tale of Ti Moune, a fearless peasant girl in search of her place in the world, Dec. 17–22. The Color Purple reveals a young woman’s poignant journey to love in the American South, Jan. 7–15. In the Elevator Series’ Slide By, Jan. 16–26, it’s the week after the Columbine shootings and Chad Squier is subbing at his former high school amidst threats of a copycat attack. In An Evening with C.S. Lewis, David Payne plays a 1963 C.S. Lewis, Jan. 16–19. Watch Catboy, Owlette, Gekko, and their new friend PJ Robot try to save the day from sneaky villains in PJ Masks Live! on Jan. 20. Captain Scott Kelly’s epic Year In Space solidified his status as one of the greatest pioneers; see him live on Jan. 23. Magic Tree House takes the stage Jan. 30–31. Image: Hailey Kilgore as Ti Moune in the Broadway production of Once on This Island. Photograph by Joan Marcus, 2017. attpac.org 03 BASS PERFORMANCE HALL Experience the new production of Miss Saigon, Dec. 3–8. Celebrate the holidays on Dec. 4 with the Bruce Robison and Kelly Willis Holiday Shindig. Get jazzed with UNT’s One O’Clock Lab Band on Dec. 6. Michael Martin Murphey returns for Cowboy Christmas on Dec. 16, and Robert Earl Keen returns with Countdown to Christmas on Dec. 30. The Color Purple comes to Bass Hall for one night on Jan. 5. Chinese history comes alive on stage in Shen Yun, Dec. 6–7. Hello Dolly!, part of the Broadway at the Bass series, takes the stage Jan. 14–19. Wild Kratts Live 2.0 makes learning about critters fun on Jan. 20. basshall.com 04 CASA MAÑANA Jack and his friends are banished from the kingdom by his evil uncle, who wants to destroy the world with a new ice age. From Dec. 21–23, follow Jack Frost as he attempts to right the wrongs of his uncle. With the help of his new friends and an advanced, top-secret computer, Oliver builds Frank-N-Friend, the fastest, strongest, and best protector a kid could want. Jan. 31–Feb. 16. casamanana.org
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05 CHAMBER MUSIC INTERNATIONAL On Dec. 6, join Chamber Music International for Mozart followed by a dark journey through nineteenth century Russia. Next, experience a night of jazz with violinist and composer Scott Tixier and his New York band, Jan. 24. chambermusicinternational.org 06 DALLAS BLACK DANCE THEATRE Enjoy the talent of DBDT and DBDT: Encore! dancers in Black on Black in an intimate studio setting. Dancers from both companies collaborate on choreographing, producing, and performing new works. Dec. 6–7. dbdt.com 07 DALLAS CHILDREN’S THEATER The Very Hungry Caterpillar continues his search for food through Dec. 29. Little Women: The Musical is a festive adaptation of Louisa May Alcott’s novel set against the backdrop of the American Civil War and features adventure, heartbreak, and enduring hope, Dec. 7–22. Nostalgia will sweep the theater with School House Rock! Jan. 25–Feb. 23, featuring classics such as Conjunction Junction. dct.org 08 THE DALLAS OPERA The Titus Art Song Recital Series presents a variety of songs from master composers, spirituals, zarzuela, and more from Angel Blue on Jan. 26. dallasopera.org 09 DALLAS SUMMER MUSICALS Dear Evan Hansen continues through Dec. 8. The Blue Man Group Speechless Tour will feature new and original compositions, acts, and instruments Jan. 15–19. Image: Andrew Barth Feldman and the cast of Dear Evan Hansen on Broadway. Photograph by Matt Murphy. dallassummermusicals.org 10 DALLAS SYMPHONY ORCHESTRA The Children’s Chorus of Greater Dallas and the Dallas Symphony Chorus perform Christmas Pops on Dec. 6–15, with a one-hour concert on Dec. 7. Rocky Mountain Christmas pays tribute to John Denver on Dec. 9. Mariachi Los Camperos performs Mexican and Latin-inspired Christmas songs in Fiesta Navidad! on Dec. 17. The DSO brass and percussion sections and the Lay Family Concert Organ shine in Organ & Brass Christmas on Dec. 19. Broadway stars Megan Hilty and Cheyenne Jackson perform Christmas classics with the DSO Dec. 20–22. Join the DSO on Dec. 31 for New Year's Eve: Meyerson 'till Midnight. Fabio Luisi conducts Scheherazade and Julia Wolfe’s Fountain of Youth Jan. 9–12. Gil Shaham performs Dvořák’s Violin Concerto, with its tapestry of Bohemian folk melodies and dances, Jan. 16–18. Bernadette Peters joins the DSO Jan. 24–26. Fabio Luisi conducts Salome Jan. 31–Feb. 2. The Dallas Symphony Orchestra in concert. Photograph by Sylvia Elzafon. mydso.com
NOTED: PERFORMING ARTS
19 11 DALLAS THEATER CENTER DTC’s reimagined classic Dickens tale of joy, redemption, and the spirit of Christmas, A Christmas Carol, continues through Dec. 29. dallastheatercenter.org 12 EISEMANN CENTER Miracle on 34th Street returns Dec. 1. The Chamberlain Ballet performs The Nutcracker Dec. 1. Vocal Majority Chorus performs The VM Polar Express Dec. 5–8. Royale Ballet presents The Nutcracker, Dec. 7–8, followed by the Dallas Repertoire Ballet and students from the Academy of Dance Arts, Dec. 13–15. Keyboard Conversations with Jeffrey Siegel presents Music from the Cold Far North Dec. 16. Riders in the Sky with the Quebe Sisters perform Christmas the Cowboy Way on Dec. 17. Pegasus Theatre presents The Color of Death! Dec. 29–Jan. 19. Shen Yun returns Jan. 11–12. The Oak Ridge Boys will perform Jan. 15. Mandy Patinkin In Concert: Diaries includes Adam Ben-David on piano on Jan. 17. Todd Mosby and the New Horizons Ensemble blend acoustic instrumental with classics, Jan. 23. Lone Star Wind Orchestra performs Jan. 26. Andreas Kern and Paul Cibis will go head-tohead onstage in Piano Battle, Jan. 31. eisemanncenter.com 13 KITCHEN DOG THEATER In Queen of Basel, Art Basel Miami’s weeklong party, real estate heiress Julie reigns over the festivities her mogul father is throwing at his South Beach hotel. This explosive elixir of power, class, and race within the Latinx community is a contemporary take on Strindberg’s Miss Julie by rising voice Hilary Bettis, through Dec. 15. In Alabaster, a photographer sets out to explore the topography of “scars” and lands in the mysterious realm of an undiscovered folk artist hiding away in North Alabama, Feb. 13–Mar. 8. kitchendogtheater.org 14 LYRIC STAGE Abyssinia, by Ted Kociolek and James Racheff, is based on the novel Marked by Fire by Joyce Carol Thomas. Feb. 14–16. lyricstage.org 15 MAJESTIC THEATRE A Peter White Christmas with Euge Groove, Vincent Ingala, and Lindsey Webster comes to town Dec. 1. Tyler Henry, “The Hollywood Medium,” will showcase his unique gift Dec. 6. Polyphonic Spree brings its holiday show to the Majestic on Dec. 14. The Elf on the Shelf: A Christmas Musical takes the stage Dec. 29. Kathleen Madigan: 8 O’Clock Happy Hour Tour stops in Jan. 18. Mandolin Orange’s music will exude positive vibes on Jan. 22. Combining science education with fun and adventure, Wild Kratts Live 2.0 features the Kratts brothers on Jan. 25. Tim & Eric 28
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TTS1900-191030 MOMIX-Delfos_PatronMagazine_4x11_v2.pdf
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MOMIX DECEMBER 13 WINSPEAR OPERA HOUSE
“Sheer Magic!”
Paper Dress, photo by Todd Burnsed
09 will take the stage Jan. 30. majestic.dallasculture.org 16 TACA Save Mar. 10 for the 2020 TACA Silver Cup Award Luncheon. taca-arts.org
18 THEATRE THREE NOISES OFF provides a sneak peek onstage and backstage of an amateur traveling theater production through Dec. 22. theatre3dallas.com 19 TITAS/DANCE UNBOUND On Dec. 13, innovation meets ingenuity meets creativity in Viva MOMIX. Artistic director Moses Pendleton and the dancers create a singular artistic performance. Founded in 1992 in Mexico City by Mexican choreographers/dancers Claudia Lavista and Victor Manuel Ruiz, Delfos Danza Contemporánea is Mexico’s premiere contemporary dance company set to take the stage at the Winspear on Jan. 31. Image: VIVA MOMIX performance of Botanica. Photograph by Charles Paul Azzopardi. titas.org 20 TURTLE CREEK CHORALE The chorale’s signature holiday tradition, 40 Years of Fa La La, will run Dec. 13–15 at Moody Performance Hall. turtlecreekchorale.com
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Delfos, photo by Ricardo Urquijo
17 TEXAS BALLET THEATER The Nutcracker continues onstage at Winspear Opera House through Dec. 8, then moves to Bass Performance Hall from Dec. 13–29. The Nutty Nutcracker combines pop culture with classical ballet; join Clara on her Christmas adventure, Dec. 20, at Bass Performance Hall. texasballettheater.org
“Avant-Garde”
21 UNDERMAIN THEATRE Katherine Owens: A Retrospective celebrates the life of the founding artistic director of Undermain Theatre. Curated by painter Mary Vernon, the exhibition draws from the Katherine Owens archive, which is overseen by Bruce DuBose, and will evolve and change throughout the season as new pieces are rotated in. The exhibition will be open for viewing at all Undermain performances through May. undermain.org 22 WATERTOWER THEATRE In Cirque Holidays, WaterTower Theatre and Lone Star Circus celebrate the diversity of holidays around the world through a collaboration of theater and circus, Dec. 5–22. watertowertheatre.org
214.88 0.0202 • AT TPAC .ORG/TITAS DECEMBER 2019/JANUARY 2020
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NOTED: GALLERIES
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01 12.26 Cary Leibowitz: The Queen Esther Rodeo, continues at Gallery 12.26 through Jan. 4. Next, the gallery will host Molly Larkey from Jan. 11–Feb. 15. Gallery1226.com
in 1961, which led to a teaching career at the university. Heri Bert Bartscht 100 Years Years, through Feb Feb. 29, includes wood, stone, clay and bronze works from the university’s permanent collection and private collections. udallas.edu/gallery
02 214 PROJECTS 214 Projects is an exhibition and project space founded by the Dallas Art Fair in River Bend. This additional venue allows Dallas Art Fair exhibitors to present more ambitious gallery installations and special projects on a year-round basis. 214projects.com
09 BIVINS GALLERY An exhibition of new photographic artwork and sculptures by Belgian artist Jonas Leriche blurs the boundaries between fantasy and reality and immerses the viewer in a fiction that at first glance appears better than reality. Jonas Leriche is on view through Jan. bivinsgallery.com
03 500X GALLERY Opening Dec. 7, two solo shows will be presented in the downstairs galleries by 500X Members Kerry Butcher and Caroline Hatfield on view through Jan. 5. Queer Me Now: The Queer Body and Gaze, featuring work by artists Joshua Bryant, Jer’Lisa Devezin, Gem You, Steven Hector Gonzalez, and Christian Roman will run concurrently, Dec. 7–Jan. 5. 500x.org 04 ALAN BARNES FINE ART The gallery belongs to a family of British art dealers, conservators, and restorers whose roots reach back to London during the reign of King George III. They will host The Grand Tour for Matthew Alexander in spring 2020. alanbarnesfineart.com 05 AND NOW A multimedia exhibition of the work of genre-defying artist Covey Gong will continue at And Now through Dec. 28. Next, the gallery will host Paul Winker from Jan. 11–Feb. 20. andnow.biz 06 ARTSPACE111 Jon Flaming shows paintings and sculptures selected from several series highlighting long-standing Texas legends and icons, focusing on the modern cowboy, Texas barbecue, music, and dance halls. Dec. 5–Feb. 8. artspace111.com 07 BARRY WHISTLER GALLERY An exhibition for John-Paul Philippe and Peter Ligon mounts Dec. 7–Jan. 11. John-Paul Philippe will present a 40-foot wall mural accompanied by large and small canvases. Dallas artist Peter Ligon’s New Paintings will present a small grouping of his iconic plein air paintings. Ligon continues to build on his vocabulary of historical and contemporary architectural forms. barrywhistlergallery.com 08 BEATRICE M. HAGGERTY GALLERY After World War II, Heri Bert Bartscht (1919-1996), made his home in Dallas and became a renowned sculptor in the Southwest. He established the sculpture program at the University of Dallas 30
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10 BLUE PRINT GALLERY The gallery displays established, midcareer, and emerging Texas artists and features contemporary paintings and works on paper, fine-art photography, and sculpture. blueprint-gallery.com 11 CADD CADD Happy Hour and Holiday Party will take place Dec. 4 at Holly Johnson Gallery and Cris Worley Fine Arts. Additionally, CADD will hold a bus tour on Dec. 6 and Jan. 25. caddallas.org 12 CARNEAL SIMMONS CONTEMPORARY ART Carneal Simmons seeks to advance artistic excellence through the development of art programming, curation, and placement of art. carnealsimmons.com 13 CHRISTOPHER MARTIN GALLERY The eponymous gallery presents the reverse-glass paintings and limited-edition works of Aspen-based, American artist Christopher H. Martin along with the work of sculptors Jim Keller, Brandon Reese, Michael Sirvet, and Gregory Price. The gallery recently expanded its space and will showcase new gallery artists through Jan. christophermartingallery.com 14 CONDUIT GALLERY Anthony Sonnenberg’s latest body of work posits: Will we surrender to the dark times or will we rise up and move forward? Photographer Jeff Baker turns his attention to abstract moments in his homestead of New York City. In the Project Room, Lydia Ricci will display small sculptures based on objects from her past. All three shows run Dec. 7–Jan. 11. On Jan. 11, a solo show for Matt Clark will display his sewn paintings and collaborative drawings he worked on with artists in Oaxaca alongside a solo show of works on paper by Susan Barnett. Image: Anthony Sonnenberg, Pink Chandelier with Birds and Clowns, 2019, porcelain over stoneware, found ceramic tchotchkes, glaze, overglaze, brass and steel, 34 x 30 x 30 in. conduitgallery.com
THE RESIDENT EXPERT
4241 Lorraine Avenue Highland Park | $8,695,000
31 15 CRAIGHEAD GREEN GALLERY Exhibitions featuring Heather Gorham, Win Wallace, and Marla Ziegler will be on view through Jan. 4. Next, from Jan. 11–Feb. 8, the gallery will host Rich Bowman, Jon Krawczyk and Kristjana S. Williams. Image: Heather Gorham, A Cure for Gravity, 2019, acrylic on panel, 36 x 36 in. craigheadgreen.com 16 CRIS WORLEY FINE ARTS The late James Watral’s Vessels, Elements and Drawings and Charlotte Smith’s Shades of Pale continue through Dec. 28. Trey Egan’s Sense Impression will feature lush abstract oil paintings that translate the rhythms of contemporary electronic music into rich channels of color, running Jan. 4–Feb. 8. Image: Trey Egan, One Time Mind (detail), 2019, oil on canvas, 36 x 24 in. crisworley.com
3868 Potomac Avenue Highland Park | $5,750,000
17 CYDONIA In Dorotabo, through Jan. 26, Elise Eeraerts’ new body of work serves as a timely and conceptually taut commentary of the Anthropocene era and the effects of the current ecological crisis. Based on her research in Japan, Dorotabo reflects on how humanity is inextricably tied to nature. cydoniagallery.com 18 DADA The Dallas Art Dealers Association is an affiliation of established, independent gallery owners and nonprofit art organizations. dallasartdealers.org 19 DAVID DIKE FINE ART The gallery specializes in late 19th and 20th century American and European paintings with an emphasis on the Texas regionalists and Texas landscape painters. daviddike.com 20 ERIN CLULEY GALLERY In Anna Membrino’s Ground Swell, light pours into the paintings, breathing life into bare landscapes devoid of figures or structures. In That Bizarre, Quaintly Futuristic Century, the Twentieth, Will Murchison makes paintings layered with collage that imbue formal abstraction with narrative meaning through found images taken from midcentury lifestyle magazines removed from their original context, cut into stylized shapes, and then arranged into tangled compositions. Murchison’s and Membrino’s shows continue through Jan. 4. Image: Anna Membrino, Sink, 2019, acrylic and oil on canvas, 73 x 96 in. erincluley.com
4421 Bluffview Boulevard Bluffview | $3,195,000
ERIN MATHEWS 214.520.8300 ERIN@ERINHOME.COM ERINHOME.COM
DECEMBER 2019/JANUARY 2020
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NOTED: GALLERIES
Kittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 75244 972.239.7957 n www.kittrellriffkind.com
25 21 EX OVO Next Exit, featuring the work of Trey Burns, Harris Chowdhary, Finn Jubak, and Jonathan Molina-Garcia, is on view through Dec. 7. Next, the gallery will show an exhibition of work by the New York-based painter Michael Uttaro, opening on Jan. 18 and continuing through Feb. 20. exovoprojects.com
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22 FORT WORKS ART Existing somewhere between a gallery and a cultural center, Fort Works Art strives to continually evolve into its own entity, free from the traditional labels of the art world. fortworksart.com
MARGOT GOTOFF
23 FWADA Fort Worth Art Dealers Association (FWADA) organizes, funds, and hosts exhibitions of noteworthy art. fwada.com 24 GALERIE FRANK ELBAZ Mungo Thomson’s Background Extinction remains on view through Feb. 28. Thomson’s work addresses everyday cultural and material production through a lens of deep time and cosmic scale. In this exhibition, he presents new Wall Calendar lightboxes and selections from his series The Windham-Hill Works. galeriefrankelbaz.com 25 GALLERI URBANE Solo exhibitions by Dennis Koch and Arden Bendler Browning continue through Dec. 28. The annual Gift Edit will take place in the showroom through the month of Dec. The gallery will host solo shows by Heath West and Benjamin Terry from Jan.11–Feb. 15. Image: Arden Bendler Browning, VR Painting 10, 2019, Flashe and acrylic on shaped panel, 56 x 70 in. galleriurbane.com 26 GINGER FOX GALLERY Ginger Fox Gallery features paintings by Ginger Fox and select emerging and midcareer artists. Currently, the gallery collection focuses on works by Ginger Fox. gingerfox.myshopify.com
Dallas’ finest collection of contemporary art glass from over 350 artists. 32
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27 THE GOSS-MICHAEL FOUNDATION Paintings created by artist Ryan Hewett specifically for G-MF display through Jan. 11 and highlight the artist’s increasing emphasis on form and order in his compositions, in stark contrast to the loose, gestural style of his earlier work, and draws on the artist’s fascination with portraiture alongside a developing interest and representation of f igurat ive anatomy through dist inct ive shapes and concentric circles. g-mf.org
“Passing Through I" 36x36
PAUL WALDEN www.swgallery.com
“Phoenix Rising II" 41x36
4500 Sigma Rd. Dallas, TX 75244 9) 960.8935 GALLERY 16,000 Sq. Ft. of Fine Art from Modern to Realism
SOUTH WEST
NOTED: GALLERIES
GINGERFOXGALLERY Oak Lawn Ave | Dallas Design District
16 28 HOLLY JOHNSON GALLERY Through Dec. 21, William Steiger’s Inventor speaks to the artist’s ongoing fascination with bridges, towers, transportation, and machines. Painting architecture as a geometric representation and then pushing towards abstraction, Tommy Fitzpatrick allows viewers to see the world from his perspective. He now creates his subject matter by piecing it together from found materials, then painting from sculptures he created. Superflux exhibits Fitzpatrick’s work, through Jan. 25. Image: William Steiger, Aerial Tramway, 2019, collage of found and cut paper, gouache, glue, 29.25 x 24.25 in. hollyjohnsongallery.com 29 KIRK HOPPER FINE ART Lily Hanson’s exhibition Before I Forget will display her sculptural work, including framed collages and sculptures made of found and used constructed materials, carved plaster, and fabric. Hanson maintains a strong interest in simple techniques of construction, the beauty and meditative effect of handmade objects, and the sculptural object regarding the idea of function, emotional attitude, and dream imagery. Through Jan. 11. kirkhopperfineart.com 30 KITTRELL/RIFFKIND ART GLASS Ornament Extravaganza! celebrates shape, color, and the holiday season through Dec. 31. The gallery additionally features an ever-changing selection of outstanding and innovative work by over 300 contemporary glass artists. kittrellriffkind.com 31 LAURA RATHE FINE ART Meredith Pardue’s dynamic, large-scale compositions featuring colorful abstract forms derived from nature remain on view through Jan. 4. Next, the gallery will host Zhuang Hong Yi from Jan. 11–Feb. 8. Image: Zhuang Hong Yi, B19-A072, mixed media on rice paper, 44 x 36 in. laurarathe.com
CONTEMPORARY ART BY APPOINTMENT
214-801-3211 | GINGERFOXGALLERY.COM 34
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32 MARTIN LAWRENCE GALLERIES Specializing in original paintings, sculpture, and limitededition graphics, the gallery is distinguished by works of art by Erté, Marc Chagall, Robert Deyber, François Fressinier, Keith Haring, Liudmila Kondakova, René Lalonde, Felix Mas, Takashi Murakami, Pablo Picasso, Andy Warhol and many others. martinlawrence.com 33 MARY TOMÁS GALLERY Impulse–A Group Exhibition features a curated selection from gallery artists. The exhibition explores the impetus
SAMUEL LYNNE GALLERIES PRESENTS
33 and stimulating forces that drive each artist to create contemporary works in a variety of styles and techniques. The exhibition is on view through Jan. Image: Alexis Serio, Honeysuckle Bloom, 2019, oil on canvas, 45 x 70 in. marytomasgallery.com
MR. BRAINWASH
34 MERCADO369 The work of Latin American artists are well represented in this Oak Cliff jewel. Nine galleries offer sculpture, jewelry, textiles, and home décor from Mexico to Argentina. mercado369.com 35 PHOTOGRAPHS DO NOT BEND PDNB gallery’s director and Vietnam War veteran Burt Finger organized Where have all the flowers gone, through Feb. 8, dealing with the subject of war. Many photojournalists are included in the exhibition, including LIFE photographer Larry Burrows, who died in Vietnam. pdnbgallery.com 36 THE PUBLIC TRUST Through Jan. 11, Good Sports is a group show examining the intersection of art and sport by artists who incorporate imagery drawn from the visual vernacular of sport. The exhibition features works by John Baldessari, Kyle Confehr, Andrew Kuo, Raymond Pettibon, Anthony Rianda, Ed Ruscha, Jason Salavon, Shelter Serra, Clay Stinnett, Joshua Vides and Wendy White among others. A hardcover catalogue will be published by Archon Projects in 2020. trustthepublic.com 37 THE READING ROOM Eddie Leon Returns, narrative work by Ray Madison (aka Fort Worth artists Linda and Ed Blackburn) will be on view through Dec. 7. The exhibition will include paintings, drawings, and video, and is guest curated by Caleb Bell. thereadingroom-dallas.blogspot.com 38 RO2 ART Located in The Cedars neighborhood of Dallas, Ro2 represents a diverse group of emerging, midcareer, and established contemporary artists. Through Dec., the gallery will present a group show of new and giftable works by gallery artists. Through Jan., solo shows by James Zamora and Adam Palmer will be on view. ro2art.com
SAMUEL LYNNE GALLERIES
39 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and research. roughtongalleries.com
DALLAS
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CHICAGO
WWW.SAMUELLYNNE.COM | 214.965.9027
DECEMBER 2019/JANUARY 2020
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NOTED: GALLERIES
49 40 SAMUEL LYNNE GALLERIES SLG’s exhibition of David Yarrow’s work will remain on view through Feb. 2. Yarrow’s photographic work often depicts nature in a raw black-and-white format. samuellynne.com 41 SEAN HORTON (PRESENTS) Occupying a Mission Revival storefront in Oak Cliff, Sean Horton (Presents) focuses on bringing the work of nationally and internationally established artists, as well as emerging figures, to North Texas audiences. seanhortonpresents.com 42 SITE131 Structured, through Dec. 14, introduces Danish artist Anne Damgaard’s first show in the US. The exhibition runs alongside Hungarian artist Zsofia Schweger’s paintings of interiors, which reflect home, belonging, and the emigrant experience; Cristina Velásquez’s folded-image collages, which recognize quiet repetition; and Richard Tuschman’s digitally contrived photographs of reinvented well-known paintings. From Jan. 11–Apr. 3, Chinese artist Wu Jian’an’s eight-foot work Mask-Wisteria Yellow, made of unexpected materials—buffalo hide, baking varnish, and acrylic paint—will be on view. site131.com 43 SMINK SMINK is a design showroom and fine-art gallery open to the public and represents artists such as Diane McGregor, Gary Faye, Dara Mark, Robert Szot, and Zachariah Rieke. sminkinc.com 44 SOUTHWEST GALLERY Clinton Broyles’ one man show will be on view Dec. 7–31. Clinton is able to intertwine poetic light with painstaking detail to weave an eloquent unspoken story in seemingly simple compositions. swgallery.com 45 TALLEY DUNN GALLERY The exhibition featuring new paintings and photographs by Xiaoze Xie will close on Dec. 14. Next, the gallery will hold two solo exhibitions for Sarah Williams and Nida Bangash from Jan. 11–Feb. 15. talleydunn.com 46 VALLEY HOUSE GALLERY The solo show for Gail Norfleet titled Made in Layers will be on display through Dec. 7. On Dec. 14, Valley House mounts Chaco Terada ’s Listening in the Silence on view through Jan. 25. valleyhouse.com 36
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28 47 WAAS GALLERY WA AS is an oasis for women to explore, examine, and expand their lives no matter the path they are on. Established by and for women, WAAS celebrates art and wellness through a diverse curriculum of talks, wellness classes, events, and exhibitions. waasgallery.com. 48 WEBB GALLERY The gallery looks to thread together the common aesthetics of art, antiques, people, places, music, literature, and objects. On Dec. 8, Webb will hold a trunk show of jewelry with Margaret Sullivan. In Feb., the gallery will host a solo show of new work by Max Kuhn. webbartgallery.com 49 WILLIAM CAMPBELL CONTEMPORARY ART Through Jan. 18, an exhibition for Otis Jones’ new work continues his ongoing exploration of abstraction, as he attempts to express an art object’s essence through materials, process, and their resulting visual, physical, and spiritual coalescence. Image: Otis Jones, Aqua Circle 2, 2019, acrylic on linen on wood, 52 x 51.50 x 5.25 in. williamcampbellcontemporaryart.com AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY Dallas Auction Gallery, founded in 2002, auctions fine art, contemporary art, Western art, decorative arts, sculpture, porcelains, art glass, antique silver, clocks, Asian art and antiquities, fine estate jewelry, French, continental and American antique furniture, and more. dallasauctiongallery.com 02 HERITAGE AUCTIONS HA begins their winter auctions with the Contemporary Modern & Contemporary Art Monthly Online Auction on Dec. 3. Next the auction house will host Ethnographic Art American Indian, Pre-Columbian and Tribal Art Auction and the European Art Signature Sale European Art Auction on Dec. 6; a Jewelry Auction on Dec. 8; the Beautiful Losers Collection Urban Art Monthly Online Auction on Dec. 10; the Fine & Decorative Arts Monthly Online Auction on Dec. 12; Animation Art Signature Auction on Dec. 13–15. On Jan 9, HA will present the Fine & Decorative Arts Monthly Online Auction and The Edgar Rice Burroughs Collection from the Comics Signature Auction. ha.com
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A CATALOG HAS BEEN PUBLISHED ON THE OCCASION OF THE EXHIBITION WITH AN ESSAY BY CURATOR AND HISTORIAN LILIA KUDELIA
150 MANUFACTURING STREET, SUITE 21 0 DALLAS, USA ERINCLULEY.COM Image: Good Night, 2019, Acrylic and oil on canvas, 72 x 54 inches.
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FAIR TRADE
DOWN BY THE RIVER
Two unorthodox galleries on the Hudson find their way to Dallas next April.
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ith less than 20 miles between them, Mother Gallery and JDJ|The Ice House have set up new alternatives to the traditional art model in the Hudson Valley, just a short day trip from New York City. Paola Oxoa (Mother Gallery) and Jayne Drost Johnson ( JDJ|The Ice House) discuss what lies ahead for their exciting new ventures and their participation in the 12th edition of the Dallas Art Fair. Paola Oxoa (Mother Gallery): What ultimately brought you to open JDJ, both in terms of the function of the space and not being based in New York City? Jayne Drost Johnson (JDJ|The Ice House): I’ve had a variety of experiences working in the art world in New York for over 15 years. Having spent the last decade as a director for emerging, midcareer, and established galleries, I started to feel that I craved something more. I opened JDJ in December 2018 with three key points at the top of my mind: to think outside the box, literally, about what a gallery looks like, and what the gallery-going experience can be; to put women artists at front and center in my gallery program; to develop a more holistic structure for my life, where my personal and professional lives can be more in harmony with one another. JDJ: What are some of the main draws in the Hudson Valley that you find conducive to the overall art culture in the Hudson Valley today? PO: The Hudson Valley has been attracting artists for a very long time, starting with America’s first art movement, The Hudson River School, and expanding today, with many artists living here, and world-class institutions like Dia:Beacon, Storm King, private collections such as Magazzino opening up to the public, New York City galleries opening project spaces like Parts and Labor in Beacon, and Jack Shainman’s The School in Kinderhook attracting many art tourists, professionals, and collectors. But it’s a new scene here for the art gallery still—with a lot of potential. PO: Tell us a little more about your eccentric space that JDJ is housed in, The Ice House. JDJ: I was lucky enough to find an incredible property in Garrison, New York, about an hour north of New York City. I have two buildings on the property, which were once the servants’ quarters and agricultural compound for a large estate on the Hudson
R iver, directly across the street. The buildings were built in the early 1900s and renovated in the 1970s by Edward Knowles, a prominent architect and, coincidentally, the father of artist Christopher Knowles. The architecture is a strange and wonderful mix of modernism and antique farmhouse. Each building has a unique architecture that artists love to work with, and both have a feeling of warmth to them—a comingling of exhibition and domestic space that mirrors my approach to the gallery. JDJ: How does Mother Gallery’s space function both in terms of artists exhibited and with the community at large? PO: Mother Gallery Inc. is an artist-owned and -operated exhibition space in Beacon, New York. The gallery was conceived to foster community and open dialogue amongst all people in the Hudson Valley and beyond, with the hope to inspire and build abundance for those involved. We exhibit and promote the work of established and/or unknown artists with exceptional vision and a rigorous commitment to their practice. The relationship with my artists often feels like a peer-to-peer relationship; it’s a strict balance of professionalism and intimacy. PO: Which artists will you be bringing to your inaugural booth at the Dallas Art Fair? JDJ: I’m incredibly excited to be participating in the Dallas Art Fair for the first time. I will be exhibiting three artists: Athena LaTocha, Zoe Avery Nelson, and Susan Weil. They all incorporate a strong sense of their respective identities and movement of the human figure within their work, to very different ends, even with six decades separating the three artists. JDJ: And what are you looking forward to sharing with the Dallas audience? PO: Mother Gallery is thrilled to join the fair in 2020 because of the great company we will be in, its intimate size, and because the growing city is home to top art collections and collectors. Mother will be bringing the work of two young artists who live in the Hudson Valley, Caitlin MacQueen and Daniel Giordano, and a well-established, but almost unknown American artist who lives in Vermont, Marcy Hermansader. In their own ways, they are all invested in shifting narratives of self in gender roles and in relation to the natural world. P
Clockwise: JDJ | The Ice House, Garrison, NY, 2019, photograph by Kyle Knodell; Zoe Avery Nelson, un(bound), 2018, oil on canvas, 48 x 42 in., courtesy of JDJ; Marcy Hermansader, Seveso, 1981, mixed media on paper, 30 x 44 in., courtesy of Mother Gallery; Daniel Giordano, Talent I (Titanic), 2019, steel, clay, brick, limestone, wood, iron ore, cable ties, dental floss, strawberry Nesquick powder, glitter, epoxy, fibered aluminum coating, 35 x 24 x 26 in., courtesy Mother Gallery.
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Gallerist Talley Dunn in her eponymous gallery seated before David Bates, Night Flowers II, 2016, oil on canvas, 72 x 48 in. Photograph by Summer Spooner.
TWENTYTWENTY VISION
Talley Dunn Gallery marks its 20th year with a yearlong homage to exquisite art. BY PATRICIA MORA
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f the maxim that a theory of things is a theory of the psychological is true, Talley Dunn Gallery offers immediate insight into the woman behind the guiding force of what can easily be termed an exhilarating center of Dallas’ art scene. The space reliably offers ambitious and captivating shows in an elegant space devoid of excess showbiz or sheen, and it does so with a seeming effortlessness that’s deceptive. Ms. Dunn is intensely private (“I like to keep the focus on my artists, not on me.”) Thus, on the eve of her gallery’s 20th anniversary, it was interesting to meet her there one afternoon and learn more about her. Dunn took time to share ideas that have shaped her and the space she curates with intelligence and a finely honed international sensibility. The conversation was instructive, and the first thing to know is that her gallery—which operates as a solace-inducing retreat when you’re ready to bolt from the urban fray—didn’t come into being without incredible acuity and “a willingness to risk everything for important issues.” She adds, “On three occasions I put all my chips, every cent I had, on one number and gambled. All of it.” She cupped her hands and gestured as if she were pushing heaping chips toward a croupier. I hope I will be forgiven for articulating the obvious in observing that this was uttered by an attractive scholarly type who would fit in nicely at boarding schools in Switzerland. She has thick dark hair and trendy glasses that thoroughly sync up with her education at Hockaday and Smith College. For ambient pizzazz, her mother owned an Arabian horse farm. “My family was very entrepreneurial,” she explains. Her grandparents were involved in the oil and gas business, and she quips that “Grandfather would never have driven a Cadillac into the oil fields. He knew that would have sent the
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wrong signal because the idea is to work with people.” This is an ethos Dunn carried into her own professional life, and she cultivates long relationships with artists and colleagues. At one point she considered a career in investment banking and, consequently, immediately spotted gaping holes in the financial excesses at Gerald Peters Gallery, a place at which she worked as a freshly minted college grad. Dunn quickly rose in the ranks and became director there, all the while bringing in top-tier talent that included some artists she still represents, including Vernon Fisher, Julie Bozzi, and Matthew Sontheimer. Dunn’s background at Smith inspired her to seek out the (still neglected) work of female artists, and she remains ardently committed to maintaining a diverse roster of talent with regard to both ethnicity and gender. While this is laudable now, it was nearly earth-shattering when she began her career and, in large part, it stemmed from her education at Smith, a college that teaches students to have an abiding commitment to inclusiveness. Dunn is adamant about the space that launched in 1999 as Dunn and Brown Contemporary (with then co-owner Lisa Brown). “I love this place. I love what I do, but it requires tremendous work.” She then addresses an issue that became public recently: She was diagnosed with multiple sclerosis years ago. While it’s a disease known for debilitating fatigue, Dunn shows no signs of succumbing to it by giving up a furious pace of new shows and discovering new artists. She becomes animated when people enter the gallery. One collector speaks of art he has hanging in a current show at the Pompidou just as another gentleman strolls in who, coincidentally, is about
CONTEMPORARIES to leave for Paris. He helps curate private collections but prefers anonymity because he “already has too many clients.” Still another collector has just departed with a sheaf of paper and a stack of books; he is contemplating the purchase of a contemporary triptych. At each juncture, Dunn is both focused and animated. She fully apprehends all of it: the fun, the finance, and the dogged determination it takes to keep the touchstone of Dallas galleries running at a breakneck pace. It may all look easy, but, again, that’s hardly the case. She notes, “This space was started with no financial backing. None. I hung the shows myself. I stuffed envelopes at home, everything.” She shakes her head before pausing in a short reverie. The gallery at that point, it should be noted, occupied only the front portion of the main building in use today. Dunn laughs. “But six hundred people came to the first opening!” This clearly delights her—and rightly so. All of this is meant to serve as background for this North Texas art space distinguished by an Art Dealers Association of America (ADAA) designation. Thus, the coming yearlong celebration promises vertiginous heights. Here’s what to expect: The year will begin with a show of Nida Bangash’s work. Born in Iran and reared in Pakistan, Bangash keeps things fascinating via literary allusions, a nod to Mughal miniature painting, and textile patterns. Also, Ursula von Rydingsvard’s work will be seen in the coming year; she inflects new meaning into the idiom “Go big or go home.” Working in Brooklyn, von Rydingsvard creates mammoth sculptures from cedar planks hewn by chainsaw, heroic deployment of big and small machinery of every sort, and the magic of the bronze casting process. Dunn is enthusiastic: “Working with Ursula is a true career high for me. I recently had the pleasure of placing one of her major sculptures at the UTSW Medical Center.” (This, it should be noted, was accomplished through the generosity of Nobel Laureate Dr. Joseph Goldstein.) “My connection with Ursula was immediate, and I knew that I wanted to work with her more. I’m in awe of her magnificent work—and delighted to announce an exhibition of her sculpture and drawings in the coming months.” Yet another superstar in Dunn’s pantheon of global artists is Ori Gersht, an Israeli artist who lives in London and exhibits internationally. She notes, “Just a few years ago, I was introduced to Ori by a New York-based colleague who knew us both and thought we would work well together. Ori has an unusual combination of intensity and sensitivity in approaching his practice that keeps me fully engaged and challenged.” Gersht’s stunning imagery and complex narratives also have wide appeal for viewers, and his work will be returning to the gallery in the coming year, albeit in a new and revolutionary guise. Dunn makes it abundantly clear that choosing to speak about specific artists is an impossible task. “I have a special and unique bond with them all.” She continues, “I believe so strongly in each artist and the important work they’re making. While the gallery reflects my own interests and beliefs, it continues to evolve and be refined by all of the artists we represent.” She remains committed to “showing important works of art in a variety of media by a diverse group of men and women.” Moving forward, however, hardly denotes any dismissal of the past. “Joe Havel was in touch before I even had my own space,” Dunn shares. “Even though we had never met, he reached out to me and said he wanted to be a part of what I might be doing. Joe gave me such a strong endorsement from the very beginning, and he’s always pushing his work in new, exciting directions, and exhibits an avid willingness to participate in all of our endeavors.” Likewise, she is enthusiastic about her work with artist Linda Ridgway. “I first met Linda when I was in my early twenties, and my first question to her was, ‘Share your five-year goals with me,’” she says. “With museum
An exhibition for Nida Bangash (pictured) will mount in January at Talley Dunn Gallery. Photograph courtesy of the artist and Talley Dunn Gallery.
Ori Gersht, Ever Time 11, 2019, archival pigment print, courtesy Talley Dunn Gallery.
Sculptures by Joel Shapiro, untitled, 2018, bronze (and Ursula Von Rydingsvard, Dumna), were gifted to UT Southwestern by Nobel Laureate Dr. Joseph L. Goldstein, Chairman of the Department of Molecular Genetics. Photograph courtesy of UT Southwestern and Talley Dunn Gallery.
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CONTEMPORARIES
Installation view: Joseph Havel, How To Draw a Circle 4, 2015, a set of 12 drawings with graphite, oil stick, and oil paint on paper, 105 x 108 in. installed. Left: Joseph Havel, Black Moon 2, 2014—2016, bronze with patina, 26.50 x 28 x 32.50 in. Right: Joseph Havel, Tattered Moon, 2014-2016, bronze with patina, 40.50 x 41 x 42.75 in.
acquisitions and exhibitions, we started our nearly thirty-year relationship dreaming about how things might evolve. Linda represents the very best of an exceptional person, artist, and innovator.” I suspect Dunn’s approach to dealing with people comes down to an old-fashioned bit of decorum called “respect.” One of the city’s foremost art collectors, Nancy Nasher, enthusiastically agrees, “I can’t speak about Talley without mentioning that she is a genuine pleasure to know. She’s incredibly warm, engaging, and welcoming. Talley has a true passion for art and artists, and it is this passion that has led to her immense success.” She adds, “Talley has dedicated her career to the arts in Dallas, and the city’s art scene has certainly been made more significant and vibrant by her presence in it.” This comes from someone who was reared surrounded by some of the most stunning art on the planet. Nasher now works closely with Dunn, who helped facilitate installations by artists Natasha Bowdoin and Leonardo Drew at NorthPark Center, which Nasher co-owns with her husband, David Haemisegger. While the center is a mecca for shopping at every price point, it’s also known for a world-class art collection that the public can enjoy while en route to a restaurant, trendy store, or luxury shop. Not unlike Smith College, the emphasis is on inclusiveness. It seems likely that more public installations will be done under the aegis of Dunn’s watchful eye. However, Dunn will also continue to run her eponymous gallery with the educated and instinctive flair that has characterized her entire career. The coming year will punctuate a stellar trajectory with a hint of the marvels that will unfurl in coming decades. So. It must be observed: Who among us doesn’t love a fabulous second act? P Ursula Von Rydingsvard in her Brooklyn studio. Photograph by E. Frossard.
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hear place
NOW ON VIEW Presented by speechless: different by design is co-organized by the Dallas Museum of Art and the High Museum of Art, Atlanta. Yuri Suzuki, Sound of the Earth Chapter 2, 2019. Photo by John Smith.
TICKETS AND MORE AT DMA .ORG
The Stern Chapel, designed by Cunningham Architects, faces the Nasher-Haemisegger Atrium. The tapestry on the solid travertine ark doors was created from Mylar balloons collected along the beach by New York artist Suzanne Tick; The Ner Tamid, eternal light, was created by Linda Ridgway in collaboration with Jim Cinquemani.
MODERN CONGREGATION In Homage to Texas Regionalist Architects Howard Meyer and Max Sandfield, Gary Cunningham Thoughtfully Augments Temple Emanu-El. BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JOHN SMITH
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his year marks the centennial of the Bauhaus school. During its 14-year existence in Germany, it democratized art, architecture, and design. While its life span was cut short by the forces of the ascendant Nazi Party, it created a diaspora of faculty and students who left Germany carrying with them the seeds of this movement, which ultimately took root around the world, including in Dallas. When Temple Emanu-El relocated from South Dallas to its current site in 1957, there was a conscious decision that the new building reflect the modern ideas of its congregation. While internationally renowned architects such as Eero Saarinen and Eric Mendelsohn were initially considered, the decision ultimately swiveled to local architects Howard Meyer and Max Sandfield. As Temple Emanu-El
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members, they knew the needs of the community firsthand. They also had broad experience with contemporary architectural trends. From the beginning, the inclusion of art was embedded in the building’s DNA. The architects tapped Hungarian-born artist and art theorist György Kepes to serve as the art coordinator. Kepes’ aesthetic was formed in part through his connection to Hungarian compatriot and former Bauhaus professor László Moholy-Nagy. Together, Meyer, Sandfield, and Kepes combined regionalism with Bauhaus ideas to construct a Modernist masterpiece. The result, says Jon Rollins, a principal at GFF Architects, “is straightforward, unabashedly modern Texas regionalist architecture.” Temple member Rollins played an active role on the committees that brought the newest addition to fruition.
CONTEMPORARIES Here and below: Exterior photographs of Temple Emanu-El
Kepes was tasked with creating visual harmony, particularly in Olan Sanctuary, the primary worship space. “Kepes was interested in how material forms can make people comfortable in their environments,” says Charissa Terranova, architectural historian and associate professor of visual and performing Arts at the Edith O’Donnell Institute of Art History at the University of Texas at Dallas. For example, on the main wall of the space, Kepes conceived a mosaic that interacts with the facing pendant lighting to transform an otherwise imposing brick wall into a shimmering tableau. According to Terranova, “He has, from Moholy-Nagy, this interest in taking on electricity and light.” Kepes’ mosaic was realized by Octavio Medellín and Charles Williams. Medellín crafted the gold, silver, turquoise, and green tesserae that he and Williams then installed, piece by glass piece. The lightness of the mosaic provides an ethereal foil to what is perhaps the crown jewel of the space. Anni Albers designed and fabricated the ark panels that serve as the focal point of the historic building and the fulcrum around which the art program in the new chapel was conceived. For this project, the Bauhaus-trained Albers designed geometric fields of color, woven in glistening Lurex fabric, that create their own visual dazzle. Rather than a curtain, as originally conceived by Kepes, Albers chose instead to mount the material on eight staggered panels. At 20 feet high, its strong physicality weaves together the palette of the color-block stained-glass windows and the mosaic. When the building opened in 1959, it did so to great acclaim, even earning a photo spread in Life magazine. With the needs of the community continuously changing, however, the new century called for new kinds of spaces. Gary Cunningham of Cunningham Architects was selected to design the building’s next chapter. Cunningham and his team meticulously thought through every design decision. In some cases, they even combed through Howard Meyer’s archive at the University of Texas at Austin in search of any clues that led them back to the original intent of the building. Architecturally, they played off of the original structure rather than trying to replicate it. “It was a joy to tap into that aesthetic and restraint, with this wonderful system to tie into,“ Cunningham admits. While the project included the renovation of existing spaces, it also called for a new, adjoining worship space. Stern Chapel, named in honor of its senior clergy, Rabbi David Stern, moves the needle forward in many ways. According to Cunningham, “In Stern, everyone is on equal footing. They can see each other’s faces.” Through conversations with Rabbi Stern, Cunningham saw the need for “humanity connecting with humanity. The whole site flow is about pushing everyone together, and then the sacred space moves them together.” This space is punctuated by a glass wall overlooking a grove of mature trees in the Nasher-Haemisegger Atrium. As with the original building, art was considered an essential design element. “The integration of art and architecture in the 1959 building was fundamental to how the original construction was conceived. It was important to everyone involved to integrate art and architecture in how this one was built,” offers Rollins. The art committee was tasked with creating a cohesive whole that paid homage to the original building while feeling relevant today. Working in tandem with the architectural team, the committee engaged New York-based artist Suzanne Tick to weave the panels for the travertine ark that Cunningham designed for the space. According to Rollins, “We all knew that there had to be a commission for the textile. Albers was the signature of Olan Sanctuary. We gave Suzanne Tick a lot of latitude. She came up with the spectrum of
DECEMBER 2019/JANUARY 2020
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MORE THAN A FRESH COAT OF PAINT.
You’re in for a surprise. After an exciting
Top: The Olan Sanctuary, designed in 1957 by Howard Meyer and Max Sandfield with art coordinator György Kepes, features a tapestry designed by textile artist Anni Albers. Bottom: The stained glass windows, designed by György Kepes, grow more vivid in hue as they progress toward the bimah
renovation, we’re transforming the way you can experience American art, with reimagined galleries, expanded exhibition spaces, and new events. Always free. Always inspiring. Discover the new Carter. CARTERMUSEUM.ORG #CARTERART @THEAMONCARTER Joseph Stella (1877–1946) Futurist Composition, 1914, pastel over graphite on paper, purchase with funds provided by the Council of the Amon Carter Museum of American Art
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graduated color. When she explained her use of recycled material and the idea of transformation, it sealed the deal.” The recycled materials in this case were mylar balloons that Tick found near her home on Fire Island. After she washed, peeled and cut the balloons in half, she wove them in such a way that they reflect and radiate light. For Tick, “Weaving holds everything together, materials and life, successes and failures.” An inveterate recycler, her message also resonated with Cunningham. “Her solution and her need to focus on sustainability was important,” Cunningham says, adding, “We ended up with something so original and of its time.” In addition, local artists Linda Ridgway and Jim Cinquemani created commissioned works that serve as other focal points within the space. Though the project took nearly a decade to complete, Cunningham says, “So many things clicked in the end. It feels relaxed and calm.” He concludes, “This project has always been worth it.” P
interior design + art maryannesmiley.com 214-522-0705
Photography by Dan Piassick Christopher Martin “Sonora”, Acrylic on Acrylic, 192 x 60
Francisco Moreno with his paintings Artist's Hand, 2018, charcoal and acrylic on panel, 84 x 47.5 in.; Artist's Studio, 2018, charcoal and acrylic on panel, 84 x 47.5 in.; SLATE: Hard Edge Triangle Painting No. 6, 2016, golden acrylic on custom panel, 48 x 36 in.; Green Dragon, 2019, oil pastel on panel, 16.75 x 12 in.
A TANGLE OF EAGLES FALLING HOMEWARD
Francisco Moreno Straddles Two Countries with An Eye Towards the Future. BY BRANDON KENNEDY PHOTOGRAPHY BY MEGAN GELLNER
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n a Friday evening in mid-October, artist Francisco Moreno greeted friends, artists, and collectors at his Dallas Design District studio with a generous selection of artwork from the past few years. He was saying goodbye to the beautiful open working space he had been invited to share with his friend and former colleague Thomas Feulmer, in which Moreno was presently the sole inhabitant. They previously worked together at The Warehouse (which houses much of The Rachofsky Collection), where Moreno had been a gallery teacher (2012–15) and Feulmer continues as director of education. As you passed through the front vestibule, a grouping of page-sized white 48
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Francisco Moreno, Bald Eagle Brawl, 2019, mixed media on panel, 84 x 47.5 in.
STUDIO panels depicted conglomerations of colored-ink expanded doodles, connecting Old Master subjects with the mundane in outlined, shaded drawings, as striped crosswalks grow out of woven textiles and the steps of Aztec pyramids. Within this combination of high and low, inspiration and play nail down the crux of Moreno’s artistic pursuit. In the artist’s words: “how to negotiate the power of an immediate mark with a resolved painting (or artwork).” Entering the main studio space, you were greeted by Bald Eagle Brawl (2019), a vertical panel of flat cerulean blue enmeshed with ten bald eagles in midflight, with their claws, wings, and open beaks all angling for a piece of one another. You’re only grounded by a cliff in the bottom right quadrant, which pulls everything slowly back to the Kimbell’s early easel painting of Michelangelo’s, The Torment of Saint Anthony—minus the holy man being held aloft and with raptors replacing demons. One of Moreno’s most recent completed works, the inspiration of the Old Master is easy to sense, but the subject has mostly freed itself of the influence, pushing the artist towards his own domain of inquiry. Moreno has long mined the annals of art history and pop culture for subject matter and inspiration, whether a direct lift, stylistic nod, or influenced color scheme. Even this particular work by Michelangelo has been referenced before, in his exhibition From the Area at the Latino Cultural Center in 2015, and other works pull from other notable masters such as Vigée Le Brun and Delacroix. Similarly, the flat, bright blue of the background of Bald Eagle Brawl was somewhat inspired by a trip that Moreno and Feulmer took to the Sistine Chapel almost a year ago, Moreno seeking out the sky peeking through clusters of biblical notables. There’s a curious resetting between the formal and referential concerns in Moreno’s disparate bodies of work, and he recognizes this clearly, stating that his “graphic work is a relief from the historical narratives.” In 2015, Moreno’s The WCD Project (Washington Crossing the Delaware), for the inaugural SOLUNA, borrowed from
the title of an 1851 painting by German-American artist Emanuel Leutze. For the project, Moreno and his brother Pablo outfitted a souped-up 1975 Datsun 280Z—which the artist customized with a dazzle camo monochromatic paint job—complete with mural-sized referential backdrop and screeching donuts at the performance on a rainy night at a warehouse space in Trinity Groves. Machismo, car culture, and an American surprise attack painted by a GermanAmerican artist collided while Moreno was wrestling with his own dual cultural heritage via a one-time grand, performative gesture culminating in smoke and burnt rubber. A week or so after the open studio, Francisco and I sat down to discuss the work that surrounded us in his soon-to-be former studio, and his plans to leave Dallas in the coming year. I asked him if he had anything he was thinking about project-wise currently, and he confided that he keeps having “visions of a worktable with a demon floating above it.” Supernatural harbingers aside, the RISD grad also travels to Milan this November and December for a residency at Dallas Art Fair exhibitor Cassina Projects, where he will no doubt mine the city’s rich artistic and cultural legacy and make it his own. Early next year, Moreno leaves Dallas again for his hometown of Mexico City, which he and his family originally left for Texas in 1992. And on the heels of having his epic 2018 project The Chapel acquired by the Dallas Museum of Art this past year (originally exhibited at Erin Cluley Gallery), the indefatigable artist has every reason to greet this possibility with a newfound enthusiasm and a sense of overwhelming promise. And while we’re left here in Dallas with one less talented young artist, we can, at the very least, be extremely grateful that his two-year immersive sanctuary environment will live on in our city’s encyclopedic museum (and is soon to be put on display!) as a testament to both his expansive vision and our hunger for a local evolution of artistic forms, both inspired by history and ultimately freed from its expectations. P
Left: Studio view with Francisco Moreno’s Feathered Egg, 2019, PLA and steel, 19 x 16 x 16 in., in the foreground. Right: Francisco Moreno, SLATE: Unicorn Painting No. 1 (Michael Mazurek - Sorrel Lovely Legs), 2015, oil and golden acrylic on linen stretched over custom, panel, 48 x 36 in. and Unicorn Hunt, 2019, mixed media on panel, 84 x 47.5 in.; the artist carries Unicorn Head on Charger, 2019, mixed media on canvas, 27 x 38 in.; Leaf, 2019, mixed media on panel, 9 x 12 in.
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Alexander Lamont Étoile Lemur wall panel in Argento.
SPACE
Cobie Russell, Kairos, Genesis #2, 2019, polymer emulsion, graphite, and pastel pigment on canvas, 50 x 42 in.
Jean de Merry Ramo convex mirror with hand-forged metal rods, antique yellow gold-traces rock crystal, and clear crystal cabochons.
Dylan Farrell Abra wall sconce.
IN WITH THE NEW Jean de Merry expands its atelier offerings in a recently relocated showroom in the Dallas Design Center. BY PEGGY LEVINSON
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ean de Merry, the French, deco-inspired, artisanal line, has moved from their sexy, luxurious space on Hi Line Drive to a new showroom in the Dallas Design Center—no less luxurious, but with lots of natural light, and grander, with 20foot ceilings and a center staircase that leads to space for textiles and rugs. Founder Jean de Merry shared his views on the new showroom and what’s to come. Cofounders Jean de Merry and Christian Darnaud-Maroselli in their Los Angeles home.
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Peggy Levinson (PL): Your new showroom is as stunning as the previous one. Are you pleased with the move?
Jean de Merry (JDM): We love being in the Dallas Design Center and next to Holly Hunt, who actually discovered us seventeen years ago. A mutual friend introduced us, and after seeing our quality and innovation, she started representing us in her showrooms in the United States. We are still quite friendly and have representation in several of her showrooms. So we are quite happy to be exactly where we need to be, with our similar clientele. PL: How is the new showroom different? JDM: The space has a lot more energy, for the same square footage. The other space was still a warehouse, although quite elegant, but this showroom showcases our products better. We also liked the mezzanine for the fabric and rugs, making it like a second store. PL: Tell us about the new lines you are carrying. How do they complement your existing lines? JDM: We created the “Jean de Merry Umbrella” a few years ago to give artisans and designers that demonstrate the high quality and craftsmanship of our atelier the possibility to show their work in our environment. Cobie Russell is a Dallas artist whose sensitivity matches our look. Her paintings and drawings reflect shadow and light and move between abstract and structure. Another new line for us is Alexander Lamont. His furniture and accessories are inspired by the decorative arts of Europe and Japan during the early twentieth century and reflect an aesthetic taste refined by a life lived between East and West. His wall-covering collection of straw marquetry is especially remarkable, with a very strong three-dimensional quality. We are adding new artists that create a luxurious environment but are still fresh and inviting. We do not want a museum; we want a lifestyle. PL: What made you decide to get into the textile business? JDM: We started few years ago, but unfortunately the Italian mills that were working for us closed down because of the recession. We kept a few fabrics for our pieces, and this year decided to introduce a JDM textile collection. We are already overwhelmed with the results. To mention just a few: Juin Ho has colorful textures for indoor and outdoor use; Maple Jude is a print collection with a fresh, West Coast vibe; and the steel fabrics reflect the architectural beauty of buildings. PL: What’s next? JDM: Our textile showroom will be fully open on the mezzanine shortly. And we are always looking for new artists—Texas has so many wonderful, talented artists. P
4152 Cole Avenue Suite 103 Dallas, Texas 75204 214.252.9604 Jean de Merry Ceara armchair with bronze inlay arms and legs.
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FORTY YEARS BRAVE Over 40 years, Denton’s Grammy-winning Brave Combo has evolved from “nuclear polka” to a world of music. BY STEVE CARTER
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or Denton musician/artist Carl Finch, 1979 was a breaking point. For him, radio-raised on the British Invasion, 1979’s rock radio was intolerable. Little River Band, Styx, Toto, Kenny Rogers, and Dr. Hook ruled the airwaves, even as nascent new wave artists began to nip at their heels and the charts. So, armed with his background of playing in garage bands in his native Texarkana, two art degrees from North Texas State University (now University of North Texas), an incipient passion for polkas, and a restless imagination of “what-ifs,” Finch pondered musical retaliation. Having created art installations involving hours of genrejumping taped music and headphoned listeners, it dawned on him: “What if I had a band that jumped from thing to thing using polka as the catalyst?” he recalls. The seeds of Brave Combo were sown. Finch (guitar, electric piano, vocals) enlisted a ragged band of questing collaborators, none of whom fit the NTSU jazz department stereotype: Tim Walsh on reeds, bassist Lyle Atkinson, and thenDave “Tito” Cameron, now Lisa Cameron, on drums. By late April of ’79, Brave Combo was gigging away—befuddling, amusing, and converting listeners and dancers to their punked-up “nuclear polka,” a Finch-christened branding that follows the band to this day. “Tim, Lyle, Tito and I were pretty devoted to the cause, and I think
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we saw it as a cause,” Finch says. Ever the iconoclast, he continues, “But that wasn’t as interesting to me as how would the audience respond if they could shed their clothing of ‘it has to be this or I’m not going to listen to it.’” To test the waters, that earliest iteration of the band toured Texas mental institutions, seeking honest responses from unjaundiced listeners. The verdict? Brave Combo worked. And so they did. Constantly. By 1983 the band personnel began to evolve; another sax player was needed, and bassist Lyle Atkinson drove to Austin on a headhunting mission. He’d heard tell of multi-instrumentalist (saxes, clarinet, flute, pennywhistle, harmonica, etc.) Jeffrey Barnes and decided to make a house call. “When Lyle came to Austin to visit me, he asked what I’d been listening to,” Barnes remembers, “and I pointed to the records on top of my piano—turn-of-the-century cornet favorites, lots of salsa, African music, world music, Brazilian stuff, classical music, jazz, Captain Beefheart, and records by Brave Combo. And Lyle said, ‘okay, you’re weird enough for us.’” Before long, Barnes had signed on and moved to Denton. Another significant personnel shift was the late-1984 arrival of bravura bassist and vocalist Bubba Hernandez, replacing the departing Atkinson. The San Antonio native had moved to Denton
PERFORMANCE for NTSU jazz-performance studies, and he joined forces with a ferociously revitalized, lean, mean Combo: drummer Mitch Marine had replaced Cameron, and Tim Walsh had moved on as well. Again a quartet—Finch, Barnes, Marine, and Hernandez—the chapter two lineup, considered by many pundits the “classic” Combo, spelled expansiveness. While the band’s eclectic ethos had always flirted with exotic styles, grooves, and rhythms, this Brave Combo grew wings, and a worldwide wealth of influences fell into the band’s musical Cuisinart: salsa, cumbia, zydeco, cha-cha, merengue, swing, mambo, guaguancó, bossa nova, and all ethnic variations and definitions of polka. And that’s the short list. “The original lineup of the band bears almost no resemblance to almost anything that came after it,” Finch acknowledges. By now, 2019, he estimates that the band has survived—and thrived—through at least 10 lineups, with himself, the concept, and this governing dictum the only constants: “Brave Combo’s thing is ‘everything is sacred and nothing is sacred, but you’ve gotta have both.’” The group’s current lineup is trumpeter Danny O’Brien, drummer Alan Emert, original bassist Lyle Atkinson, no-longer-member-but-frequent-special-guest Jeffrey Barnes on everywhichthing, and guitarist/keyboardist/singer Finch, who added accordion to his arsenal many years back. Highlights of Brave Combo’s 40-year career include its two Grammy wins for best polka album, (they’ve been nominated a total of seven times); being animated on The Simpsons; recording with Tiny Tim; playing David Byrne’s wedding reception; being featured in Byrne’s 1986 film True Stories; being covered by Bob Dylan on his Christmas album; endless touring across the US, with occasional junkets into Europe and Japan; gigs at Lincoln Center; marching in Macy’s Thanksgiving Day Parade; praise from rock journalism’s patron saint Lester Bangs; their music featured in many movies and television shows; more than 30 albums; and on and on. But one key achievement that’s often overlooked is that Brave Combo has done the undoable: they’ve made polkas cool to the hipsters while at the same time, even as polka renegades, been embraced by the traditional polka community. Finch was inducted into the International Polka Association Hall of Fame in 2016; it’s the Valhalla of the polka world. And Brave Combo abides. Finch adds, “From the first time I thought of it, I knew people would like it, and they did. And they never stopped.” P
This page, left to right: Denton-based Brave Combo quintet featuring Danny O'Brien, Lyle Atkinson, Robert Hokamp, Carl Finch, and Alan Emert. Photograph by Jane Finch. Opposite: Brave Combo performs live with bandmembers Carl Finch, Alan Emert, Danny O'Brien, Lyle Atkinson, and Jeffrey Barnes. Photograph by Alan Gunn.
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Music Director Designate Fabio Luisi of the Dallas Symphony. Photograph by Per Morten Abrahamsen.
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PEAK PERFORMANCE
The Dallas performing arts scene is made richer by nine forces of nature who approach their unique challenges with passion. BY LEE CULLUM
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hus spoke Fabio the Fabulous: “Art is many things. It’s a message. Art makes us think, reflect on ourselves. It’s a mirror where we can see ourselves. Also, beauty is contingent to the message we want to send, but the message alone is not enough.” It’s clear that Fabio Luisi, new music director of the Dallas Symphony Orchestra, is a maestro with a mind both strong and subtle—an intellectual really—who sees music and all the arts as essential to understanding our world and ourselves. “I like theater,” he said. “Theater itself and music theater…in their plots, in their problems [we explore] how can we think about our own problems. [They are] concentrated in the piece. That is the message.” The message, then, is the mirror, the prism through which, for “thousands of years,” he continued, humankind has grappled with “love, passion, power, money.” “New work,” he insisted, “is important to express our own time…to describe those passions.” Otherwise, he asked, “How do we find solutions?” Fabio Luisi could find no solution last summer to a conflict with the new management of the Maggio Musicale Festival in Florence. So he abruptly resigned as music director. The trouble was not Matteo Salvini, bad boy at the time of Italian politics. It was “meddling” by local politicians. “If you have been hired for a job,” Luisi asserted, “I have to do my job.… I have the right to decide by myself.…Politicians don’t have cognitive [grasp of what we are doing]. They want to change agendas, decisions, plans. I am a fighter, but I only fight if I can win.” As for critics, he wins more often than not, with rapturous reviews of his work on the podium. Even so, he is “very skeptical,” he explained. “It always depends on preparation. Does [the critic] know what he or she is talking about? To say it was good or bad is not enough. They must understand what we have done and why. [Then] they can be a partner to an artist. They can illuminate what
we cannot see.” As for stage directors, so prominent now in opera, where Luisi is equally a master, he noted that everything must be “tightly connected,” and sometimes it is necessary to point out that “the action is not consistent with the music we are playing.” Ever tactful, he nonetheless speaks clearly when a stage director, in a great wave of ill-thought-out enthusiasm, veers off track. When Fabio Luisi conducts, he is operating from a base of many meanings, deeply informed by the literature of the world. Currently he is rereading The Count of Monte Cristo by Alexandre Dumas, and thus refreshing his French. Also on his night table or in his luggage are works by two other novelists, one Japanese (he loves Japan—“the food, people, spirit”), the other Swiss—unusual since he prefers nonfiction, especially history. His latest on that front is a book of interviews with a German soldier during World War II. When it comes to golf, Luisi hasn’t had much time to play lately—“a tragedy” he lamented since he is trying to catch up with the game after a long hiatus. In creating perfume, his other respite from a hectic life in motion, he leans toward scents that are “dark… not floral, fresh but bitter and woody.” So Fabio Luisi is more complex than the clarity and radiance of his music might suggest. Luckily his multifaceted single-mindedness is matched by the concentrated energy of Kim Noltemy, president of the Dallas Symphony, who early set a course of action for herself and day by day is achieving it. This includes a triumph at City Hall, where the council cheerfully relinquished to her management of the Meyerson, which means she now can fix the leaky roof, update the entrance with glass blinged up in shades of blue, replace the carpet—musicians got to select it themselves—and (praise to the celestial guardians of concertgoers) enliven the dining there. So if music be the food of love, as surely it is, play on at Luisi and Noltemy’s Meyerson.
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Dallas Theater Center’s Artistic Director Kevin Moriarty and Executive Director Jeff Woodward at the Wyly Theater. Courtesy of Dallas Theater Center.
It has not been so easy for Kevin Moriarty, artistic director of the Dallas Theater Center, who had to wage a Battle of Agincourt to win the right from City Hall to preside over the refurbishing of the Kalita Humphries Theater near Turtle Creek. His happy few carried the day, finally, and he is now at work, proving to his critics that he can indeed pay proper homage to the original architect, Frank Lloyd Wright, while breathing new life into this dilapidated grande dame of Dallas drama. So consumed is Moriarty with the project, daunting even for a theatrical presence as commanding as his, he is giving up all directing assignments for the duration—16 months—except for The Supreme Leader, a world premiere about Kim Jong-Un of North Korea as the young scion of a cutthroat political family awaiting his destiny at a boarding school in Switzerland. Other than this, every moment will be devoted to raising $500,000 to fund the project and creating a master plan for the Kalita and the parkland around it. Working with board chair Jennifer Altabef, Hillwood Urban, and GFF Architects, Moriarty must come up with an inventory of spaces currently on the property; a comprehensive list of needs for DTC and other groups who will use the existing Kalita and two new black box theaters; a restaurant; and a pathway to the Katy Trail, absurdly out-of-sight nearby but well known to Moriarty, a marathon runner who trains there four times a week. All this and more must be loaded into a “Request for Proposals” by the end of this year. Next will come prospective
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architects to be passed on to a steering committee named by the city for both passion and sobriety, both necessary for so emotional an undertaking, and that assemblage will choose a firm which must deliver a master plan to the City Council by January 2021. It’s exhausting to contemplate, much less accomplish, but the astonishing thing about Kevin Moriarty is the firm grip he’s developed on the game called real estate. It all comes from the same well of creativity, he tells me, adding how wonderful it is that the Dallas Arts District, home of DTC’s Wyly Theater, soon will be built out, a dream completed. Next, he predicts, must come Ross Avenue. No one will have more ideas to offer on that front than Kevin Moriarty. Meanwhile Jeff Woodward, managing director of the Dallas Theater Center, is plugging away, saving $75,000 a year on printed programs by doing them digitally instead. Audiences are not growing, he says, even though more people are moving to the area. He looks to cultural tourism to fill the gap and hopes for a joint marketing fund among all the arts groups in the district, to pull from afar and fill the halls as well as the HALL Arts Hotel built by Craig Hall. With A Christmas Carol coming up, always a blockbuster for DTC, and Little Women in February, adapted with bracing wit by Kate Hamill, Woodward looks ahead to a new year that’s delightful, delicious, de-lovely, as Cole Porter promised, also demanding, and, to cite Rilke, full of things that never were.
The Dallas Opera’s Ian Derrer has no trouble with facilities. His glorious Winspear Opera House is marking its tenth anniversary, so he is riding high, showing off the sets for two productions being assembled simultaneously on stage as we watch from the middle of the hall. A boat for the genies, known as spirit-guides, is hanging far overhead, prepared for The Magic Flute, while on the ground, three or four enormous coiling crescents, jagged on the edges, the color of chrome, rise several feet above the pit, covered now but not for long. Monstrous, with the promise of mad adventure, they all but collide at one point with a giant black metal triangle whose uses revealed themselves in The Golden Cockerel, Derrer’s second production of the season. He is a changed person since arriving in Dallas to run the company a year and a half ago. There is something added—a new confidence, a new authority, as well as a new marriage, to Daniel James, who manages media, orchestra, and chorus for the Houston Grand Opera. Whatever the convergence of propitious circumstances, Ian Derrer stepped into a stormy situation and steadied the boat through discipline, sound judgment, and consistent good humor. Now he can afford to think ahead and feel excited about the future of the Dallas Opera, even though, as he cautions, “Opera is so complex. You can’t change quickly [or turn] the ship
suddenly” or you will throw everything off course. “You have to get everybody to show up at the same place at the same time.” That includes the audience, and Derrer thought carefully about this last summer, when he was watching opera in Salzburg, Austria, and East Sussex in England, where Glyndebourne greets its guests with lavish picnics on a lawn that’s effortlessly green and lush with wildflowers while sheep graze across a ha-ha in the distance. Why do people flock to these venues and even put on obligatory black tie to be there? Because, he answers, they are “beautiful destinations.” They’re like a “a cruise ship” with an audience that appears irresistibly at the appointed hour. Dallas can do the same, he observes, echoing Jeff Woodward, given the elegance of the Arts District. Certainly Ian Derrer is playing his part at the Winspear, offering blazing stars Jamie Barton in a staged concert of Don Carlo, Pretty Yende and Lawrence Brownlee in Barber of Seville later on in the spring, and, in between, Patricia Racette in La Voix Humaine, an opera-tres-noir struggle between a distraught, discarded heroine and the telephone through which she rants, when she can get through, at the man who done her wrong. Double-billed with Stravinsky’s Pulcinella, performed by the Dallas Black Dance Theater, Voix Humaine will make this startling sensation of 100 years ago seem as friendly as Singin’ in the Rain.
The Dallas Opera’s General Director and CEO Ian Derrer at the Winspear Opera House appears before The Golden Cockerel set designed by Gary McCann. Photograph by Megan Gellner.
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Seth Knopp, Artistic Director of Soundings: New Music at the Nasher.
But that movie was in 1952. For the music of today—or yesterday, brought drastically up-to-date—you can’t improve on Soundings, now in its tenth year at the Nasher, curated by Seth Knopp, artistic director of Yellow Barn in Vermont. An autumn offering was Songs of Refuge and Resistance performed by the Westerlies, a brass quartet from Seattle, backing the ethereal though earthy voice of Theo Bleckmann. Coming up December 4 is Carolin Widmann, pacing a solo violin from the Medieval world of Hildegard von Bingen to the Enlightenment of Bach. It all seems made to dispel the miasma of our own time, since everything flows from the taste and talent of pianist Knopp, who is also on the faculty of the Peabody Institute at Johns Hopkins University in Baltimore. Knopp speaks with the sensibility of a poet, describing music as meant “to take us out of ourselves.” “The spirit,” he adds, “needs to feel free.” To illustrate his point, he pulls out “a beautiful book” called Music and the Line of Most Resistance. It deals with “the universal
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and the particular in everyday life.” Knopp came across it while cleaning out his house in Baltimore, now sold as part of a move to Vermont. Why? Because he has married Catherine Stephan, executive director of Yellow Barn. The packing and pitching have forced him to consider, he says, “What do I care about? What will my children care about from me?” At one time both his sons were dancers for the American Ballet Theater. One is now living in Baltimore, the other is a student at Syracuse University. In your children, he muses, “you see a distillation of yourself.” As for music, he points out, it is a matter of “memory… experience, backward and forward, piling one thing on top of another. Bach does this for us. [He is] horizontal and vertical,” digging deeply into the past, stretching the current moment straight ahead, into whatever eternity there can be. What we want, explains Knopp, “is to be transported.”
Transported you are at TITAS/Dance Unbound, the cornucopia of companies delivered by Charles Santos, this season from Canada, France, Mexico, South Korea, and China as well as the US, represented above all by Alvin Ailey in March. “A branded season,” Santos proclaims, “has to stand for something, and TITAS stands for innovation.” It is one of only five or six exclusively dance presenters in the country. Moreover, Santos “won’t,” he promises, “present a work I haven’t seen.” He travels a lot, to countries and festivals. Always he is welcomed by dancers who hope he will bring their company to Dallas. Among his major finds is BeijingDance/LDTX— which stands for “Lei Dong Tian Xia” or “Thunder Rumbles the Universe.” Few can steal the thunder of Santos in his quest for “cultural collaboration—local, national, international—that can
have life.” When it comes to Dallas, Santos is adamant that “we can’t just say we’re an international arts city. The work makes you famous.” But the work needs an audience, and Santos is trying hard to lure parents of young children at dance studios to the real thing at the Winspear. To preserve opportunities for lesser-known companies, he is no longer offering flex subscriptions where patrons can choose three performances. Invariably they take the ones they recognize, leaving new groups to survive with no support. Now TITAS has single-ticket sales or full subscriptions, where audiences are introduced to work they haven’t seen before. Santos is devoting himself to what Robert Hughes called “the shock of the new.” He’s not afraid of an original life. His audiences should not be either.
Charles Santos, Executive Director/Artistic Director TITAS. Photograph by Megan Gellner.
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Gretchen Elizabeth Smith, M.F.A., Ph.D. Chair, Division of Theatre/Head of Theatre Studies and Associate Professor of Meadows School of the Arts, Southern Methodist University. Photograph by Camilla Martinez.
Thanks to Gretchen Smith, Chair of Theater, SMU’s Meadows School of the Arts has its faculty and students everywhere in North Texas as directors, actors, designers— you name it, they do it, and with high professionalism. She operates on ground carefully tilled years ago by Jack Clay, founder of the Professional Actors Training Program at SMU, who used to say, “You must intend to do good work.” Clay died this year in Seattle, at 92, but the good work he started goes on, and Smith is advancing it in a season unusually compelling for any dramatic enterprise, much less a college campus. But this is no ordinary program. The people at Meadows have come to play, no matter what they do. The fall began at the Greer Garson Theater with Diary of Anne Frank, a new version, says Smith, “less idealized, more real.” Next came we, the invisibles, a docudrama by Susan Soon He Stanton based on Dominique Strauss-Kahn, head of the International Monetary Fund who, on his way to becoming president of France, was charged with attacking a cleaning woman in his New York hotel room. The audacity of staging continues this December with Machinal. First produced in 1928, it loosely interprets a true story of the first woman to die in a New York electric chair, for murder. She has killed her husband for reasons hardly difficult to understand. He had it coming. This is a rehearsal project, Smith explains, designed for the junior acting class. This play was done in London two years ago, and it’s as relevant today as it ever was, also well worth the effort poured into it at SMU. Smith herself will direct New Visions, New Voices next spring. These are staged readings by student playwrights, drawn from the
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Dean John W. Richmond at the College of Music, University of North Texas. Courtesy of the University of North Texas.
class she teaches. In other years, history of theater also has been a specialty of hers, and like Seth Knopp, she believes that great art— in her case theater— “changes you at the cellular level, and makes the transformation happen.” While Smith holds forth at SMU, Dean John Richmond guides the College of Music at the University of North Texas to loftier heights than ever. It has long been one of the most admired in the country, producing 1,100 concerts a year, training 1,630 music majors, and turning out international stars such as Patricia Racette, soon to appear at the Dallas Opera. In addition, the College of Music is famous for its One O’Clock, Two O’Clock, Three O’Clock—all the way to Eight O’Clock—Lab Bands. There is Latin jazz, percussion, string quartets, wind symphony and ensemble, Mariachi, marching and brass bands, West African plus steel drumming, opera, and countless choirs. Have I left anything out? No doubt the answer is yes, and yes again. In seven buildings Dean Richmond prepares aspiring students for a life performing, teaching, composing, arranging, managing, recording, and serving music in all its manifestations. The number one employer of musicians, some might be surprised to hear, is the US Department of Defense, which deploys military bands all over the world. Like Kim Noltemy and Kevin Moriarty, Dean Richmond is
caught up in facilities rejuvenation. That means the overhaul of auditorium and courtyard with big HD screens, high-powered acoustics, wraparound speakers, and sound that surrounds. To be at the UNT College of Music is to be at a vital center of action, where nothing means more than making the world more beautiful, more humane, more conducive to a sane life with, as Virginia Woolf once wrote, “many interests and much substance.” Norman Brinker, founder of successful eateries, used to say that the most important person in a restaurant is the greeter, the one who makes you feel welcome. Similarly, Katherine Owens made everyone who arrived at the Undermain Theater, where she was founding artistic director, feel that she was thrilled beyond words that they were there. And she was. Katherine was brilliant, theatrical, and intricately gifted. She had heart as well as searing powers of interpretation. She avoided the easy ways in or out and took on tough assignments as if they were the breath of life to her. She directed the finest Three Sisters I have ever seen, and that’s because she kept it constantly in motion, gentle but consistent, never allowing the languid momentum to stall or turn static, which can happen with Chekhov. Katherine Owens never stalled either, not at the end, not ever. She left us much too soon, but with a theater, where we will be looking always for her. P
Katherine Owens, Founding Artistic Director of Undermain Theatre, was also a director and artist. Courtesy of Bruce Dubose and Undermain Theatre.
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THE MUSE IN THE MUSEUM
Five area visual arts institutions feature music performance in their programming. Stop, look, and listen. BY STEVE CARTER
DALLAS MUSEUM OF ART
Left: Janelle Lutz and pianist Adam Wright at Late Night; Right: Jazz in the Atrium at the Dallas Museum of Art. Photographs courtesy of the Dallas Museum of Art.
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allas and Fort Worth are both renowned for their worldclass art museums, which attract countless visitors annually to view both their permanent collections and their major exhibitions. But a sometimes-overlooked aspect of those institutions is their devotion to the performing arts as well, and music especially. For this performing arts issue, Patron explores the wealth of the audible that goes hand-in-hand with the visual at several of DFW’s finest. Fort Worth’s venerable Amon Carter Museum of American Art is thriving anew with its recently completed yearlong renovation. Happily, the mid-September timing of its grand reopening coincided with the museum’s most visible music performance event, its annual Party on the Porch. Madeleine Fitzgerald, manager of public programs, explains, “We think of it as inviting all our neighbors to our front yard. It’s a great way to incorporate the music outside with the fun artmaking activities inside; it’s a September kickoff to the year.” Another of the museum’s musical opportunities is its evening Cocktails at the Carter series, which in 2020 will be taking place the last Thursday in April and the first two Thursdays in May. Typically
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featuring local jazz or Americana groups, the party is on the Carter’s front patio. The newest of Amon Carter’s musical moments is Art Mashup, happening on the fourth Sunday of the month, September through November, immersively museum-wide. Involving dance, music, film, and more, Art Mashup is themed around an exhibition or collection. Fitzgerald adds, “These are all fun ways that we can tie our 2D and 3D artworks to more experiential artforms, like music.” Back in the Dallas Arts District, the Nasher Sculpture Center boasts its critically acclaimed contemporary music series, Soundings: New Music at the Nasher. The four-event series is currently enjoying its tenth season, and three of those events are upcoming: Carolin Widmann: Works for Solo Violin (December 4, 2019); composer, saxophonist, Qigong practitioner, and musician-in-residence Travis Laplante (February 20, 21 22, 2020); and The Other Mozart with actress Sylvia Milo (May 1, 2020). The curatorial brilliance of Soundings’ artistic director Seth Knopp is key to the series’ success, and his adventurous, ambitious programming is a consistent delight. On the less cerebral side of the musical spectrum, the Nasher’s ‘til Midnight at the Nasher series has been doing land-office business for 11 years. Always family friendly, it features live concerts outdoors
NASHER SCULPTURE CENTER
Left: Soundings artistic director Seth Knopp at Nasher Sculpture Center. Photograph by Bret Redman. Right: Carolin Widmann will perform in Soundings. Courtesy of Nasher Sculpture Center.
AMON CARTER MUSEUM OF AMERICAN ART
Left: Band of Heathens performs at Party on the Porch at the Amon Carter Museum of American Art. Right: Charley Crockett at Party on the Porch. Photographs courtesy of Amon Carter Museum of American Art.
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Left: The Modern Art Museum of Fort Worth at twilight. Photograph by David Woo. Right: Photo Golden Dawn Arkestra. Photograph by Brooks Burris. Courtesy of Fortress Presents and the Modern Art Museum of Fort Worth.
MODERN ART MUSEUM OF FORT WORTH
in the sculpture garden, (dancing encouraged), films, museum tours, and other activities. “Our audiences love it because it’s such a beautiful space to go to a free concert, there’s always really good food, and the energy is really good,” says Lucia Simek, manager of communications and international programs. “There’s a wonderful visitor-experience staff that’s so engaged and active with everyone who comes through the door.” Internationally known for its stunning collection of more than 350 masterpieces and the signature architecture of Louis Kahn and Renzo Piano, Fort Worth’s Kimbell Art Museum also offers a rich program of musical performances. And while music’s been a part of the Kimbell’s DNA for decades, the opening of the Piano Pavilion in 2013 heralded a new era with its acoustically conscious auditorium that seats nearly 300. “When the Piano building was built, we wanted the auditorium to have great acoustics for music,” says museum director Dr. Eric Lee. “An auditorium that size was sorely needed in Fort Worth, for more intimate musical performances. It’s a very live space for music.”
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In addition to the museum’s monthly Art After Hours, (catch Ginny Mac’s holiday-themed evening December 14), regular Friday night jazz with the Tom Reynolds Trio in the Kahn building, live music with the Kimbell Social Club series (Izzy Jeffery, Gollay, and others have been featured on select Friday evenings), performances in the galleries, and more, the Kimbell also hosts several partners. Look and listen for the Cliburn at the Kimbell series in the Piano auditorium, as well as operatic and chamber music concerts. If you’ve ever attended a Dallas Museum of Art Late Night event, you’ve probably attended more than one—they’re addictive. Late Night take place on the third Friday of every month but December, and music performance is central; the series has been a standout for 16 years. “Late Nights was geared as an active program for maybe first-time visitors who weren’t familiar with us,” says Stacey Lizotte, who directs adult programs for the DMA. “We really wanted to showcase a variety of different programming, so we do not only music performances but also tours, films, and art activities.” Late Night are always theme-based, and January’s edition will
reflect the Roaring Twenties. The DMA’s Horchow Auditorium is the home of the Hallam Family Concerts, a free series of performances by the Fine Arts Chamber Players. Concerts are scheduled on Saturday afternoons October through May: On January 25, catch Tales of the Macabre, an Edgar Allan Poe-inspired celebration with Schubert’s Death and the Maiden, music for harp and string quartet, and more. Another long-cherished performance partner is Dallas Black Dance Theatre, and the DMA has occasionally commissioned works by DBDT reflecting artists in the collection. Heading west again, the Modern Art Museum of Fort Worth breathes music, from its own First Fridays at the Modern and Sounds Modern series, to hosting longtime partners Cliburn at the Modern and Chamber Music Society of Fort Worth in its auditorium, to Modern Music, a music festival co-presented with Fortress Fest. First Fridays at the Modern is a perennial; the museum is open until 8:00 p.m., Café Modern offers hors d’oeuvres and dinner, and the sounds of a jazz trio or great American songbook classics enhance the happy hour vibe. Sounds Modern is devoted to contemporary music, particularly as it relates to an exhibition at the museum; it’s been a Modern highlight for 12 years now. Directed by UNT flutist and “modern music guru” Elizabeth McNutt, the series attracts loyal devotees with its predictable unpredictability. “Elizabeth has a great eye and she totally understands the art we’re showing,” enthuses Tina Gorski, who manages film and performing arts programs. “When she selects the music for her program it really gives the exhibition a whole new dimension. It’s a wonderful partnership.…” Go, look, and listen. P
KIMBELL ART MUSEUM
Top: Ginny Mac performs at the Kimbell Art Museum. Below: The Kimbell Art Museum schedules ongoing musical performances in the Piano Pavilion Lobby. Photographs by Robert LaPrelle.
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66 PXEPATRONMAGAZINE.COM McClain Wiesand table base with smoked grey glass top; Pagani chandeliers, Allan Knight & Associates; lounge chairs from Bright Group, 8 in. rift-cut white oak flooring.
AWESOME KINGDOM
A couple's beautifully designed lakefront retreat embraces natural beauty. BY ELAINE RAFFEL PHOTOGRAPHY BY JOHN SMITH
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ossum Kingdom is known for its wildlife, cliffs, natural terrain, and breathtaking sunsets. But for one Dallas couple, it became so much more: the ideal locale for their utopian lake house; a home that would showcase the natural environs of the region, with panoramic windows and expansive spaces for art. After finding the perfect lot—a vast, four-acre property with miles of unobstructed views, plus a 60-foot drop to the water—they started planning. “Unlike the rustic vibe of most homes in the area, we wanted something that would read more contemporary,” say the homeowners. The next step was finding an architect who understood their vision and could make it come to life. After several unsuccessful encounters, they met Aspen-based Travis Terry, known for his innovative approach to fresh mountain contemporary style. “Other architects had been trying to force them into a box with something that had already been done,” he says. “As soon as we started talking, I got a crystal-clear image of what they were looking for. Something
wonderful and grand, but not imposing; a home with great spaces and views that took the beauty of the surroundings and pulled it right on in.” It took just 72 hours for Terry to return with plans his client called absolute perfection—unique and honest, but also timeless and very chic. “It was a magical experience working so closely with the homeowners and seeing something morph and grow with strokes of a pencil. You don’t have many opportunities like that,” he says. With construction underway, the owners commissioned Emily Summers to do the home’s massive interiors. Again, the process was highly collaborative. “Our goal was to combine comfort and practicality with a high level of sophistication,” says the acclaimed Dallas designer. The house is filled with noteworthy furnishings at every turn: Ralph Pucci International sculptural chairs, bronze Donghia side tables, and a Stark rug in the great room; Mattaliano custom lounge chairs in the master bedroom; and Holly Hunt sofa
A panoramic view of the waterfront home on Possum Kingdom Lake.
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Pagani chandelier; Interior Crafts sofa upholstered in Lee Jofa fabric; custom-bleached mahogany-and-bronze coffee tables by ESDA; Donghia side tables; Clate Grunden table lamps, Rune NYC. Picasso ceramics dot the home.
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in the lakeside seating area. The home has soaring 36-foot-high ceilings, and Summers skillfully selected pieces perfectly scaled for each space. In the bar, she extended fabric up the wall behind a rolled-back custom sofa; in the main living area, a tall marble fireplace, exposed beams, and series of rectangular Pagani lighting fixtures work together to achieve visual balance. An abundance of wall space throughout the house provides ample options for showcasing the homeowners’ diverse, multifaceted art collection. Among the standout pieces: Redactor, a Ryan Wallace multimedia, and stylized abstracts from Frank Stella and Nancy Lorenz (all purchased at the Dallas Art Fair). Also on display, a porcelain and 22k gold-leaf branch by local artist Lucrecia Waggoner from Laura Rathe Fine Art. The unifying factor? “I wanted all the art to have a serene, calming effect,” says the homeowner. Another key objective was to optimize the swoon-worthy, majestic lake views, available from every room. Sliding glass doors open up to spacious patios throughout the house, allowing natural light to accentuate the scale and proportion of each area. A veranda off the main dining is a favorite spot for pre- and post-
The bar area features rift-cut cerused white oak walls, Donghia Lana club chairs upholstered in Chivasso Giant, 8 in. rift-cut white oak flooring.
Ryan Wallace, Redactor 2014 XXVI, 2014, enamel, acrylic, vinyl, aluminum, rubber, canvas, tape, paper, automotive tint on canvas, 72 x 60 in.; Holly Hunt Hadley Hall sofa upholstered in Great Plains Estate Linen fabric; custom designed ottomans by ESDA upholstered in Classic Cloth Feldspar fabric with Joan Cecil custom embroidery base.
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Fresno framed sconce, Visual Comfort; Gregory Wayne Miller ceramic installation; Pryor console, Caste Design; Lucrecia Waggoner porcelain installation.
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Clockwise from top left: BassamFellows CB-50 lounge chairs upholstered in Holly Hunt leather, custom sofa by ESDA upholstered in Colefax & Fowler fabric; assorted paintings and collectables line the shelves; Tuell & Reynolds bronze chandelier with natural agate stones; Studio Roeper Divided Lands table with zinc top and smoke elm finish surrounds; Molteni & C Who chair, Smink; 8 in.rift-cut white oak floors; suite of six framed works by Kim Myong Nam; Mattaliano Carte lounge chair and ottoman upholstered in Perennials Nit Witty fabric; Lolah outdoor lounge chair, JANUS et Cie; Tibetan rug, Truett Fine Carpets and Rugs.
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Mabel Hutchinson 1968 vintage wood doors purchased at Los Angeles Modern Auctions (LAMA); Thayer Coggin Cool Clip sofa and ottoman; Lario swivel chairs by Pierantonio Bonacina, Scott + Cooner; Steven Hall for Horm pool table light, plywood ceiling fixture with laser incisions, Scott + Cooner; hair-on-hide rug, Truett Fine Carpets and Rugs; Shetland grey limestone flooring.
dinner cocktails and conversation. Inside, it’s common for guests to congregate at the Studio Roeper Divided Lands etched metallic zinc table and Molteni & C dark oak chairs. Directly adjacent, the soothing, neutral-palette library is a quiet respite for reading, relaxing or, in the case of the homeowner, contemplating her next creative project. Art- and ceramic-filled shelves feature a Gabriel Godard abstract (acquired at Heritage Auctions), Pablo Picasso, Matthew Solomon, and Hermès ceramics. Leading down the stairs, a ceramic installation by the late Dallas-based artist Gregory Wayne Miller provides a visual liaison between the upper and lower levels. Directly underneath, a walnut Caste console makes a handsome anchor. In addition to four guest suites, the downstairs living area sports a game room and theater connected by a pair of Mabel Hutchinson 1968 vintage, ingrained mosaic sculptural wood doors sourced at Los Angeles Modern Auctions (originally on display at the Pasadena Museum of California Art). Other highlights include a bespoke Hamilton billiards table, a Thayer Coggin circular sofa, and a Kuele hammered-crystal light fixture. A private sand beach provides easy access to the lake; the property also features an outdoor pool, spa, and cabana. Landscaping honors the area’s natural terrain—an effusive mix of cacti, yuccas, and native grasses. The homeowners credit the hands-on synergy of the team for ultimately creating their idyllic waterfront retreat. “Being out here instantly transports you back to a time of absolute quiet. You never get tired of the majestic views or the sound of the water lapping against the shore.” P
Frank Stella, A Squeeze of the Hand, silkscreen, lithography and linoleum 72 block withPATRONMAGAZINE.COM hand-coloring and collage, 73 x 54.50 in.
An infinity pool offers panoramic views.
The home boasts a private beach with landscape that honors the area’s natural terrain—an effusive mix of cacti, yuccas, and native grasses.
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FEAST YOUR EYES PHOTOGRAPHY BY CHRIS PLAVIDAL, SISTERBROTHER MGMT CREATIVE DIRECTION BY ELAINE RAFFEL STYLED BY KRISTEN RICHTER-KRIEGER, SEAMINX EDIBLES BY CHEF PETER BARLOW
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n anticipation of this month’s opening of HALL Arts Hotel, and the soon to open residences scheduled for 2020, this season’s high jewelry was photographed inside the residential model designed by Emily Summers. The jewels compete for dazzle with delectables by Chef Peter Barlow of Fauna, within Stephan Pyles Flora Street Cafe, the first restaurant in the HALL Arts development.
Kary Brittingham baroque pearl necklaces, Elizabeth W Boutique, Shops at Highland Park; Nan Fusco bryozoan and coral beads, pave leaf, pave diamond rondelle stretch bracelet, Rich Hippie, Inwood Village; pave diamonds and rose over sterling silver bracelet, Rich Hippie, Inwood Village; Davide Balliano, Untitled, 2016, plaster and gesso painting, HALL Collection; floral design, Grange Hall; Apilco Reglisse china and charcoal linen napkins, Williams Sonoma, NorthPark Center; linen napkins Linen Boutique, The Pavilion on Lovers Lane; wine glasses, Crate & Barrel, Knox Henderson; black textured vases by Baker Interiors Group, Dallas Design Center; Simon Waranch reticello glass vessels at simonwaranch.com. Photographed on location at HALL Group Offices, KPMG Plaza.
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Estate multicolor sapphire, ruby, diamond, approximately 40.80ctw white gold necklace from Heritage Auctions, December 8, 2019, Timepieces & Luxury Accessories Auction at ha.com.
David Koma ruched asymmetric dress, Tootsies, Plaza at Preston Center; Lynn Ban earrings, Grange Hall; Jimmy Choo pumps, Nordstrom, NorthPark Center.
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Lydia Courteille spider ring, 18k black gold, black diamond, orange sapphire, tsavorite, opal; butterfly brooch, 18k, rainbow chrysocolla, yellow beryl, garnet, fire opal, sapphire, tsavorite; spider brooch, 18k, sapphire, Tsavorite, green moonstone; rose ring, 18k, jade, ruby, pink sapphire, amethyst, diamond, Grange Hall; Anthony Sonnenberg candelabra, Napoleon Crossing the Alps, 2019, porcelain over stoneware and found porcelain tchotchkes and glaze, 13.5 x 8.5 in., Conduit Gallery, Dallas Design District.
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Wendy Yue tanzanite and black diamond flower bracelet and blue flower double ring, Stanley Korshak, Crescent Court.
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Top: Vhernier velvet blue titanium necklace featuring approximately 2,343 white pave diamonds, Eiseman Jewels, NorthPark Center. Below: Harry Winston Premier Lotus Automatic 31mm timepiece featuring diamond bezel set in 18k white gold; sparkling cluster ring featuring sapphire, aquamarine, and diamonds set in platinum; cluster pendant featuring sapphire and diamonds set in platinum; River ring featuring sapphire and diamonds set in platinum; cluster earrings featuring sapphire and diamonds set in platinum. All at Harry Winston, Highland Park Village.
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de Boulle High Jewelry Collection sapphire dangle earrings with four pear-shape purple sapphires dripping from three rows of diamonds, de Boulle, Highland Park; glassware, Crate & Barrel, Knox Henderson; Davide Balliano, Untitled, 2016, plaster and gesso painting, HALL Collection.
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Top: Jacquie Aiche diamond, rainbow moonstone, and opal kite inlay yellow gold necklace; opal sunrise rainbow moonstone crystal necklace; Irene Neuwirth 29.52k carved chalcedony opal flower necklace, all at Ylang 23, Plaza at Preston Center. Samplings from the tasting menu at Fauna. Photographed at Fauna at Stephan Pyles Flora Street Cafe. Bottom: Lydia Courteille spiderweb ring, 18k gold, diamonds, green garnet, sapphire, enamel; crystal ring, 18k gold, diamond, crystal, Grange Hall. Samplings from the tasting menu at Fauna. Photographed at Fauna at Stephan Pyles Flora Street Cafe.
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Vhernier 18k white gold Freccia necklace with eight triangular grey rock crystals, one white pave diamond triangle, and ten pink gold triangles, Eiseman Jewels, NorthPark Center; white tray, Linen Boutique, The Pavilion on Lovers Lane. Chef Peter Barlow’s adventurous cuisine. Photographed at Fauna at Stephan Pyles Flora Street Cafe.
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BOOKS
SPEAKING VOLUMES
Five books on every art enthusiast’s holiday list. BY TERRI PROVENCAL
ARTISTS’ LETTERS
Celebrating handwritten missives, Artists’ Letters curates a treasure chest of letters scribed by renowned artists throughout history, offering readers a glimpse into the lives of these magnificent creatives. Dotted with glorious sketches and drawings, the 7 x 9.5-inch volume includes writings and musings on love, travel, and the creative process. Discover the mutual admiration shared by Claude Monet and Berthe Morisot, evidenced by their correspondence, while Picasso’s notes to Jean Cocteau illustrate their kinship. Reproduced with each transcript and some contextual information alongside, this collection of prized written correspondence compiled by Michael Bird recalls a lost art in the digital age. Find it at barnes&noble.com
CULT ARTISTS
Ana Finel Honigman’s Cult Artists highlights 50 freethinking art world heavyweights. Illustrated by Kristelle Rodeia, this pint-sized book explores why these iconoclasts, from Balthus to Frida Kahlo to Kara Walker to Nan Goldin, developed a cult following, whether they be genre-defining, divisive, challenge societal concerns, or underrated until it was the fashion. This collection of brief biographies is a great primer and one of those books that art lovers will return to again and again. A bargain at under 15 bucks at amazon.com
THROUGH THE LENS
Timed with the opening of the HALL Arts Hotel, and placed in each hotel room, Through the Lens is a love letter to the Dallas Arts District gathered from the images of 50-some Dallas photographers. Culled from photographers of all levels of experience, the jury—Howard Rachofsky, Dr. Agustín Arteaga, Jeremy Strick, former Mayor Mike Rawlings, Sam Holland, Patricia Meadows, and Virginia Shore—chose from over 1,000 entries. To purchase visit dallasartsdistrict.org
WILLIAM SHAKESPEARE X CHRIS OFILI: OTHELLO
In William Shakespeare x Chris Ofili: Othello, the British Turner Prize-winning artist, who merges figuration with abstraction, reissued Shakespeare’s tale of race, revenge, murder, and lost love with twelve etchings produced to illustrate one of the Bard’s most poignant and contemporary plays. For example, rendering Othello with tears in his eyes beneath plights he must face visualized in his forehead, each drawing forces the reader to consider the injustices that still plague the world today. Find it at davidzwirnerbooks.com
A MODERN HOLIDAY
Modern Art Museum of Fort Worth: Collection Highlights showcases 220 artworks plucked from the museum’s holdings in painting, sculpture, works on paper, photography, installation, film, and video from 1940–2018. Organized by the museum’s associate curator Lee Hallman, 150 artists are represented, from modern masters Francis Bacon, Agnes Martin, Andy Warhol, and many more, to today’s vaunted artists, such as Njideka Akunyili Crosby, Mark Bradford, David Hockney, Jenny Holzer, Anselm Kiefer, Martin Puryear, Gerhard Richter, Sean Scully, Kehinde Wiley, KAWS, and Takashi Murakami. Works by contemporary Texas-based artists are also surveyed, from the Fort Worth Circle of the 1930s and 1940s to living artists David Bates, Julie Bozzi, Vernon Fisher, and Hubbard /Birchler. Available at shop.themodern.org P Top to bottom: Artists' Letters Leonardo da Vinci to David Hockney by Michael Bird, White Lion Publishing; Cult Artists: 50 Cutting-Edge Creatives You Need to Know by Ana Finel Honigman with illustrations by Kristelle Rodeia, White Lion Publishing; William Shakespeare x Chris Ofili: Othello from David Zwirner Books; Through the Lens Dallas Arts District; Modern Art Museum of Fort Worth: Collection Highlights published by the Modern Art Museum of Fort Worth.
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TWO x TWO FIRST LOOK PRESENTED BY HEADINGTON COMPANIES AND FORTY FIVE TEN AT THE RACHOFSKY HOUSE PHOTOGRAPHY BY BRUNO
David Liu, Rae Liu, and Michael Fountas
Allison V. Smith, Barry Whistler
Heather Alexander, Rob Dailey
Kristen Cole, Tim Headington
AgustÃn Arteaga, Melissa Ireland, Drew Ireland, and Carlos Gonzalez-Jaime
Hilary Fagadau, Hannah Fagadau
Howard and Cindy Rachofsky
Lisa and John Runyon
Jeny Bania
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THERE TWO x TWO AIDS AND ART GALA BENEFITING amfAR AND DALLAS MUSEUM OF ART AT THE RACHOFSKY HOUSE PHOTOGRAPHY BY RYAN EMBERLEY
Howard xx Rachofsky, Meghan Looney, Melissa Meeks Ireland, Cindy Rachofsky, Lisa Runyon, John Runyon
Anna Katherine Brodbeck
Lara Beth Seager, Charlotte Jones
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Marguerite Hoffman, Sharon Young
Kevin Frost, Alex Katz
Libby Ornani
Joe Cole, Kristen Cole
Nancy Rogers, Hamish Bowles
Jessica and Dirk Nowitzki
Quinn Tivey, Lauren Leto
Nish de Gruiter
Melissa Ison, Todd Fiscus, Patricia Quirino
Oliver Barker
Maurice Marciano, Casey Kaplan, Cindy Rachofsky
Geoffroy van Raemdonck, Alvise Orsini
Derek Fordjour
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THERE THERE THE 2019 THEDALLAS DALLAS DALLAS OPERA OPERA SYMPHONY FIRST FIRSTSIGHT SIGHT ORCHESTRA FIRST FIRSTNIGHT NIGHT GALA ATATWINSPEAR WINSPEAROPERA OPERAHOUSE HOUSE PHOTOGRAPHY PHOTOGRAPHY BY BY BFA BFA PHOTOGRAPHY PHOTOGRAPHY AT MEYERSON SYMPHONY CENTER PHOTOGRAPHY BY KRISTINA BOWMAN
KimKim Hext Hext Kim Noltemy
Barb Barb andand Andy Andy Meyer Meyer Christian Reif
Diane Diane and and Hal Hal Brierley Brierley Allan and Lynn Mcbee
Ellen andand DonDon Winspear, Winspear, KimKim Hext, Hext, Nancy Nancy Nasher Nasher Joshua Bell Ellen
Richard Richard Joyner Joyner Key and Katherine Coker
Sherwood Sherwood Wagner Wagner andand Marianna Marianna Devereaux Devereaux Kathryn and Craig Hall
YOUR LIFE, IN STYLE.
y y r r a a v v o o B B e e m m aaddaa
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SAM SALADINO / 214-212-O3O3 / ssaladino@briggsfreeman.com
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Robyn O’Neil: WE, THE MASSES Through February 9 Support for the presentation of Robyn O’Neil: WE, THE MASSES is generously provided by the Kleinheinz Family Endowment for the Arts and Education, with additional support from the Susan Inglett Gallery and the Talley Dunn Gallery. Pictured: Robyn O’Neil, An Unkindness, 2019. Graphite, colored pencil, and acrylic on paper. Left and right sheets, 72 x 38 1/16 inches; center sheet, 72 x 72 inches. Photo: Heather Rasmussen, Los Angeles. Courtesy of the Artist and Susan Inglett Gallery, NYC
FOCUS: Martine Gutierrez Through January 12
Pictured: Martine Gutierrez, Body En Thrall, p122–123 from Indigenous Woman, 2018. © Martine Gutierrez; Courtesy of the Artist and RYAN LEE Gallery, New York The 2019–2020 FOCUS exhibition series is sponsored in part by Bonhams: Auctioneers for the 21st Century.
Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215
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Follow the Modern
11/13/19 9:02 AM
FURTHERMORE
RESTLESS RENEGADES
Gilbert & George’s photo collages tackle taboos in a unique installation at Park House. BY CHRIS BYRNE PHOTOGRAPHY BY MEGAN GELLNER
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ark House in Highland Park Village is a wonderful venue in which to peruse a number of Gilbert & George pieces, all dating from around a decade ago but just as fresh and relevant today. The works on view are E II Bear (2009), Fantasy Island (2009), Flag at 10 (2009), Numbers 8 & 139 (2009), Tarts (2009), Taxi & Bus (2009), Church (2011), Playboy (2011), and Sex Beast (2011). One half century ago, in the same Swinging London where The Beatles were assembling Abbey Road, two art students were building a legacy more nostalgic yet more radical than that seminal pop music LP. Gilbert Prousch was born in northern Italy and studied in Austria and Germany before arriving in the United Kingdom. George Passmore was a native of Plymouth, Devon who had passed through Dartington and Oxford. They both randomly wound up at St. Martin’s School of Art and met in the autumn of 1967, after which they were inseparable to this day. Declaring themselves “sculptures” the duo forged a singular aesthetic, almost always appearing in public together in nearly
matching suits. Hoping to escape the confines of the insular art world, they declared their mission to be “ART FOR ALL” and found endless inspiration in their adopted East End neighborhood. Gilbert & George first got their soft-shoed feet in the door by pantomiming in metallic face paint and canes to an old discovered record entitled Underneath The Arches, about hoboes making the best of their lot by bedding down where they may. By the early 1970s the pair was assembling postcards and other printed matter in grids that subverted the minimalist ethos of the era. In the 1980s arrived compositions comprised of luridly tinted black-framed photographs assembled into wall-hoarding wholes with blunt titles emblazoned at the bottom. The effect recalled Britain’s history of stained glass. Among their avid collectors was another Little Englander reaching for the stars, the late David Bowie. Gilbert & George’s work is also included the collections of The Art Institute of Chicago, Chicago; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; and the Tate Gallery, London. P
Installation views, from left: Gilbert & George, Fantasy Island, 2009 mixed media, 48.43 x 34.65 in. Gilbert & George, War, 2011, mixed media, 59.45 x 50 in.
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ELLIOTT HUNDLEY, VAULT, 2016. © ELLIOTT HUNDLEY, COURTESY OF REGEN PROJECTS, LOS ANGELES.
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4012 MIRAMAR AVENUE | HIGHLAND PARK Offered for $3,950,000
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NEIMAN MARCUS
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PATRON DEC 2019/JAN 2020
THE PERFORMING ARTS ISSUE
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Dallas Symphony’s Fabulous Fabio Luisi
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