PATRON's February/March Issue

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Teatro Real Cultural Exchange Secundino Hernández

Michael Rakowitz Dallas Art Fair: Collectors Preview And TACA’s Silver Cup goes to...

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

February / March 2020

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

A cross-cultural exchange between The Meadows Museum, The Dallas Opera, and Madrid’s Teatro Real has drawn much attention of late. In November, we were in Madrid to witness the official signing of the agreement that shares their arts affluence through delegations, performance, and loans.

We will host Teatro Real’s patrons in March. Read our firsthand account of the signing in By Way of Spain.

On the cover, artist Secundino Hernández portends another Madridbased partnership between, again, the Meadows Museum and this time Fundación ARCO, the guiding force behind the contemporary fair ARCOmadrid. MAS: Meadows/ARCO Artist Spotlight is a six-year initiative that will exhibit the work of one contemporary artist from Spain on a biennial basis, the first in 2021. The museum offers a prelude with Untitled, 2019 by Hernández, on view through April. Visiting his massive studio, it’s easy to see why his work was chosen. Meadows curator Amanda Dotseth says, “He is constantly experimenting with new materials, techniques, subject matter, and forms of abstraction, never resting on one even successful type of work.”

The Dallas Art Fair collector preview story is an annual feature designed to get to know our local collectors and raise exhibitor awareness. This year we discovered three exceptional aficionados. Claire Dewar, Steven Riskey, and Deborah Scott don’t seem to share a single artist in their collections.

Refreshingly diverse choices lined their walls, tables, and floors (a Tony Matelli weed sprouted from a corner in Steven’s home), acquired from both local and international gallerists exhibiting at the fair. Read about the artists they have their eye on for the April fair in Independent Study.

It’s a hard act to follow Doris Salcedo, Pierre Huyghe, Theaster Gates, and Isa Genzken as the first four Nasher Prize Laureates, and yet the Nasher Sculpture Center has done it again with the selection of Michael Rakowitz.

Like Gates, Rakowitz is based in Chicago, and his reimagining of sculpture often takes the form of social practice. As an American artist, he mines his Iraqi-Jewish heritage to address cultural identity, displacement, and collective trauma. Arthur Peña visits with the laureate in Active Mourning.

TACA’s Silver Cup Awards Luncheon is right around the corner, and Patron is the proud media sponsor again this year. Lee Cullum, the alwaysimpressive emcee, took the opportunity to visit with honorees Matrice EllisKirk and former mayor Mike Rawlings. Their homes proved their arts chops.

Both open their homes in the name of the arts, and both have beautiful works in their collections—including a mixed-media portrait by Janel Jefferson in hers, and his daughter Michelle Rawlings’ figurative work in his. Speaking of TACA, Steve Carter finds an amped-up Terry Loftis, the new Carlson president and executive director, at his alma mater, Booker T. Washington High School for the Performing and Visual Arts, in Coming Home.

We take a final look at the recently sold O’Neil Ford home that belonged to the great arts patrons Nancy and Tim Hanley. Though they were both from elsewhere, their ties to Texas were strongly rooted, and it shows in the work they collected from so many of our own great artists.

In our departments, Chris Byrne meets Laurie Ann Farrell, who curated Joël Andrianomearisoa: serenade is not dead, her first show as senior curator of Dallas Contemporary. And Brandon Kennedy investigates the broad practice of conceptual artist Jesse Morgan Barnett, aka jmb_2020.

And because March is a favorite time of year here—not too warm, azaleas blooming—we always look forward to our early spring fashion forecast. In Artful Accommodations, Elaine Raffel and fine art photographer Thom Jackson checked in at HALL Arts Hotel and took advantage of the beautifully installed collection curated by Virginia Shore.

Here’s to warm (but not too warm) Texas weather with skies in the perfect shade of classic blue, Pantone’s color of year, to greet our international guests.

– Terri Provencal

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CONTENTS 1

FEATURES 50 BY WAY OF SPAIN A transatlantic agreement between Teatro Real, The Dallas Opera, and the Meadows Museum brings shared arts and culture to Dallas and Madrid. By Terri Provencal 58 ACTIVE MOURNING Michael Rakowitz receives the Nasher Prize for his sculpture practice rooted in cultural identity and displacement. By Arthur Peña 64 INDEPENDENT STUDY Three area patrons share their collections and personal approaches to navigating the Dallas Art Fair.

By Nancy Cohen Israel and Terri Provencal 72 EXCELLING FOR THE ARTS TACA illuminates the achievements of Matrice Ellis-Kirk and Mike Rawlings as this year’s Silver Cup honorees. By Lee Cullum

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76 THE HOUSE THAT TEXAS BUILT Nancy and Tim Hanley’s former home was a love letter to the Lone Star State. By Peggy Levinson 84 ARTFUL ACCOMMODATIONS A curated art collection by Virginia Shore for HALL Arts Hotel comes to life with spring fashion looks and contemporary grandeur.

Photography by Thom Jackson; creative direction and styling

by Elaine Raffel

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On the cover: Artist Secundino Hernández in his Madrid, Spain studio.

Photograph by Alejandro García.

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CONTENTS 2

DEPARTMENTS 6 Editor’s Note 12 Contributors 24 Noted Top arts and culture chatter. By Anthony Falcon Fair Trade 40 CONCEPTUAL CONSORTS Partners in life and art, Anna Meliksetian and Michael Briggs will bring works by conceptual artists Bas Jan Ader and Cody Trepte to the Dallas Art Fair. By Andrea Karnes Contemporaries 42 AT THE THRESHOLD OF CONTEMPORARY SPAIN A painting by Madrid’s Secundino Hernández kicks off a partnership between the Meadows Museum and Fundación ARCO. By Terri Provencal

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46 AN ARTIST & CURATOR FOR THE 21ST CENTURY Joël Andrianomearisoa: Serenade is Not Dead marks Laurie Ann Farrell’s curatorial debut at Dallas Contemporary. By Chris Byrne Studio 48 JMB_2020: A CASE OF MILD PROVOCATION AND SUSTAINED MEMORY LOSS The liminal spaces and objects of Jesse Morgan Barnett.

By Brandon Kennedy There 92 CAMERAS COVERING CULTURAL EVENTS Furthermore 96 COMING HOME TACA’s Executive Director Terry Loftis pictures big things for the Dallas arts funder. By Steve Carter

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H E L L E S S Y

H O U S T O N

D A L L A S T O O T S I E S . C O M

A T L A N T A

John Sutton Photography

CONTRIBUTORS

STEVE CARTER Steve Carter, a freelance writer who profiles the new TACA executive director in this issue, declares, “Passionate—that would be the oneword bio of Terry Loftis.” Carter spent the better part of an hour interviewing Loftis and came away with the conviction that TACA is in very good hands indeed.

“Terry’s enthusiasm was absolutely palpable, and more than a bit contagious,” Carter continues.

“A new decade, a new leader, and new visions.”

CHRIS BYRNE is the author of the graphic novel The Magician (Marquand Books, 2013) and The Original Print (Guild Publishing, 2002).

He is cochair of Art21’s Contemporary Council and serves on the board of directors of Institute 193, the 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 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. As do many Dallasites, she eagerly looks forward to spring and the arrival of news about the Dallas Art Fair. For the current issue, she enjoyed visiting with local collectors Claire Dewar and Steven Riskey and seeing what treasures they have acquired from past fairs, as well as learning about what artwork they look forward to seeing in this year’s edition.

PATRONMAGAZINE.COM

LEE CULLUM is a Dallas journalist whose time is committed mainly to hosting the interview program CEO on KERA-TV. The arts are another great love of hers, so she was especially thrilled to write about Mike Rawlings and Matrice Ellis-Kirk, both of whom excel in the business and cultural life of Dallas, as well as in politics, another area of professional interest for Lee. Long impressed by EllisKirk and Rawlings, she marveled nonetheless at their depth and range.

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 is an occasional artist, avid book collector, and peripatetic curator who writes about local artists for Patron. In jmb_2020: a case of mild provocation and sustained memory loss: the liminal spaces and objects of Jesse Morgan Barnett, Brandon highlights the diverse practice of the Fort Worth-based artist.

ALEJANDRO GARCÍA is cofounder of ThisProjectWorks creative boutique in Spain and has a passion for new challenges. He works in different areas of graphics, art direction, and photography. Over more than 20 years, he has developed projects for significant museums and cultural institutions, fashion brands, beauty, health care, retail, and other industries. For Patron, Alejandro toured his hometown of Madrid to capture the contemporary art movement of the Spanish capital.

PEGGY LEVINSON shares news of the latest trends and all periods of design with Patron, engaging her expertise and knowledge in the field as a former showroom owner. In The House That Texas Built she highlights the nuances and details of a lovingly cared for residence designed by O’Neil Ford that for many years brimmed with an outstanding collection of works by Lone Star State artists, acquired by former homeowners Nancy and Tim Hanley.

THOM JACKSON is a Dallas fine art photographer represented by Craighead Green Gallery in Dallas and On Center Gallery in Provincetown, MA. His work is a result of trial and error, creativity, desire, weather, and light, all manipulated into a moment that a second before seemed unattainable.

It is through this thoughtful method that Artful Accommodations beautifully unfolded on location at HALL Arts Hotel.

JOHN SMITH flexes his degree in architecture as an ongoing Patron contributor and Dallas photographer.

He is renowned in the region for his work with architects, designers, and artists, frequently tapped to showcase their vision and projects through photographs. This issue found John busy photographing an O’Neil Ford home, TACA Silver Cup honorees MatriceEllis Kirk and Mike Rawlings, TACA’s new director, Terry Loftis, and three art collectors in their homes.

ARTHUR PEÑA is a Bronx-based artist and writer. He is the founder/director of national curatorial project One Night Only, which has presented ephemeral solo celebrations with Jay Stuckey, Nicole Eisenman, and progressive industrial musicians Street Sects, and is a public relations consultant for Independent Art Fair. His work has been nationally exhibited, including solo presentations at Dallas Contemporary, EXPO Chicago, and Couples Counseling in Queens, NY.

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 Artful Accommodations Elaine teamed up with fine art photographer Thom Jackson and hair and makeup maestro Michael Thomas to bring high fashion spring looks to life among the outstanding artworks, curated by Virginia Shore, displayed at HALL Arts Hotel.

PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sophia Dembling PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Chris Byrne Steve Carter Nancy Cohen Israel Lee Cullum Andrea Karnes Brandon Kennedy Peggy Levinson Arthur Peña CONTRIBUTING PHOTOGRAPHERS Karen Almond Tamytha Cameron Javier del Real Alejandro García Megan Gellner Thom Jackson Brad Linton Quin Mathews William Neal Tiffany Sage John Smith Kevin Todora STYLISTS/HAIR & MAKEUP Michael Thomas Elaine Raffel Meagan Roane 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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A Distinguished Guest: Secundino Hernández On view at the Meadows Museum through April 26, Untitled (2019)

by Madrid native Secundino Hernández. Meet the artist at these upcoming programs: Thursday, March 5 , 6 pm LECTURE – Apuntes: Themes and Variations Friday, March 6 , 12:15 pm GALLERY TALK

Visit meadowsmuseumdallas.org for more information.

Photo credit Kevin Todora (ABOVE) and Alejandro García (LEFT). Also pictured above, Juan Muñoz’s Seated Figure Looking Backwards (1996).

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01 AFRICAN AMERICAN MUSEUM The Kinsey African American Art & History Collection, which celebrates the achievements and contributions of black Americans from 1595 to present, remains on view through Mar. 1, 2020. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Tracing the Past closes Mar. 8. Eliot Porter’s Birds highlights the artist’s career-long focus on photographing birds, showcasing more than thirty photographs and archival objects alongside excerpts from the artist’s extensive writings about his activities, through May 10. Puente Nuevo by Justin Favela is an immersive installation created exclusively for the Carter, through Jun. 30. James Surls’ otherworldly sculpture Seven and Seven Flower remains on view through Jul. 31.

Looking In: Photography from the Outside examines the way artists have photographed groups, through May. 10. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART Kicking off the Texas Asian Women Artists Series is the exhibition Beili Liu: One and Another featuring two monumental works from Austin-based artist and UT-Austin art professor Beili Liu, through Aug. 16. Future Retrospective: Master Shen-Long will remain on view through Aug. 23. Image: Installation view of Each and Every by Beili Liu. Photograph courtesy of Beili Liu Studio. crowmuseum.org 04 DALLAS CONTEMPORARY The Dallas Contemporary showcases FriendsWithYou: The Dance; Jose Dávila: Directional Energies; Joël Andrianomearisoa: Serenade is Not Dead; and Yelena Yemchuk: Mabel, Betty & Bette through Mar. 15. Image: FriendsWithYou, Super Moon, 2016. Seoul, Korea. Courtesy of the artists. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM The Fight for Civil Rights in the South combines two prestigious photography exhibitions covering the African American struggle for civil rights and social equality in the 1960s. Selma to Montgomery: Photographs by Spider Martin and Courage Under Fire: The 1961 Burning of the Freedom Riders Bus will be on view Feb. 19–Jun. 30. dhhrm.org 06 DALLAS MUSEUM OF ART Violence and Defiance features prints by rebel-artists known as the Expressionists, who reacted to the atrocities of World War I, through Mar. 8. Focus On: Alex Katz presents themes that characterize Katz’s work: portraits, landscapes, cutouts, and party 24

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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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scenes, through Mar. 22. Focus On: Ragnar Kjartansson features The Visitors, an immersive video installation on nine screens depicting Visitors eight individual musicians singing the same lyric, through Mar. 22.

Explore speechless: different by design, an exhibition of multisensory, interactive, and immersive experiences through Mar. 22. Not Visible to the Naked Eye: Inside a Senufo Helmet Mask continues through Mar. 21. Brazilian artist Sandra Cinto’s Landscape of a Lifetime, a sitespecific commissioned mural, remains on view through Jul. 5. Flores Mexicanas: Women in Modern Mexican Art surveys representations of women in Mexican Modernism from Feb. 15–Sep. 20. My|gration, highlighting the contributions of artists who immigrated to the US, illuminates the ways cross-cultural connections inform artistic production, Feb. 1–Jan. 3, 2021. On view Feb. 23–Oct. 11, Frans Hals: Detecting a Decade showcases two portraits of the same sitter over a ten-year span. For a Dreamer of Houses presents contemporary artworks that evoke personal spaces Mar. 15–Jan. 31, 2021. Image: Alex Da Corte, Rubber Pencil Devil, 2018, glass, aluminum, vinyl, velvet, neon, Plexiglas, folding chairs, monitors, high-res digital video, color, sound. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2019. Photograph by Tom Little. Courtesy of the artist and Karma, New York. dma.org 07 GEOMETRIC MADI MUSEUM Dallas Geometric Artists from the 1960s features the works of Roger Winter with Rogalla and other artists, through Apr. 26.

Geometricmadimuseum.org 08 GEORGE W. BUSH PRESIDENTIAL CENTER Mark your calendars for the Bush Presidential Center’s annual Forum on Leadership on Apr. 16 featuring Nikki Haley and Wendy Kopp. bushcenter.org 09 KIMBELL ART MUSEUM Flesh and Blood will feature nearly 40 masterpieces from the Museo di Capodimonte in Naples, one of the most important collections in Italy. The show will draw from the best of both the Renaissance and Baroque holdings of the museum, starting with the famous portrait of the elegant beauty Antea by Parmigianino and the ravishing Danaë, painted by Titian for the pope’s grandson, Cardinal Alessandro Farnese. Annibale Carracci’s Pietà and Guido Reni’s Atalanta and Hippomenes will face off against Ribera’s Drunken Silenus and Giovanni Battista Caracciolo’s Virgin of the Purgatory in a contest of northern-Italian classicism versus Neapolitan Caravaggism. Flesh

MARK BRADFORD END PAPERS March 8–August 9 20 minutes from any bus stop, 2002 (detail). Mixed media on canvas. 72 × 84 inches. Judi and Howard Sadowsky and Family. © Mark Bradford. Photo: Charles White. Lead exhibition support for Mark Bradford: End Papers is generously provided by the Texas Commission on the Arts. Major support is provided by Hauser & Wirth and the Fort Worth Tourism Public Improvement District, with additional support from Suzanne MacFayden.

FOCUS: Hrair Sarkissian January 24–March 15

Final Flight, 2019 (detail). Mixed media. Each skull 10 ¼ x 2 3/8 x 2 inches.

Partially commissioned by the Sharjah Art Foundation. © Hrair Sarkissian.

Courtesy of the Artist 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

Follow the Modern

NOTED: VISUAL ARTS

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and Blood: Masterpieces from the Capodimonte Museum will be on view Mar. 1–Jun. 14. kimbellart.org 10 LATINO ARTS PROJECT Metaphysical Orozco is an immersive experience that offers the possibility of proposing a new understanding of the first murals by José Clemente Orozco—one of the three main protagonists of the Mexican muralism movement. Metaphysical Orozco will be on view Feb. 1–Apr. 30. latinoartsproject.org 11 LATINO CULTURAL CENTER Cine de Oro will feature Aventurera on Feb. 19 and El Gendarme Desconocido on Mar. 18. A world-premiere original commission, Cement City by Bernardo Daher is the untold story of a community that was constructed in Dallas. Based on interviews, research, and drone footage, the West Dallas neighborhood once known as Cemento Grande comes to life Mar. 26–Apr. 11. lcc.dallasculture.org 12 THE MAC On the Surface is a group exhibition that serves as a cultural exchange between Dallas and Houston, presenting a human landscape to be surveyed and processed in hopes of fostering a deeper understanding of the human condition, through Mar. 8. Finding Our Way will present a photographic installation designed to serve as the catalyst for conversations on women’s issues in Texas, and as a medium of self-expression, on view Mar. 21–May 10. the-mac.org 13 MEADOWS MUSEUM MAS: Meadows/ARCO Artist Spotlight prelude features Untitled 2019 by Madrid-based contemporary painter Secundino Hernández, through Apr. 26. The Meadows Museum and The National Gallery of Art present the first major US exhibition dedicated to Spanish sculptor Alonso Berruguete. Over the course of his career, which included a period in Italy under the influence of Michelangelo, Berruguete emerged as 16th-century Spain’s most innovative artist. The exhibition demonstrates the breadth of Berruguete’s practice, displaying six drawings, three paintings, and twenty-four sculptures, including almost two dozen of the best examples from the retablo for the church of San Benito in Valladolid, which is widely considered the artist’s magnum opus. Alonso Berruguete: First Sculptor of Renaissance Spain will be on view Mar. 29–Jul. 26.

Image: Alonso Berruguete (Spanish, c. 1488–1561), The Sacrifice of Isaac (detail), 1526–1533, polychromed wood with gilding. Museo Nacional de Escultura, Valladolid. Image © Museo Nacional de Escultura, Valladolid (Spain). Photograph by Javier Muñoz and Paz Pastor. meadowsmuseumdallas.org 26

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14 MODERN ART MUSEUM OF FORT WORTH Ruckus Rodeo, 1975–76, by the New York-based artist Red Grooms, continues through Mar. 15. Through Mar. 15, Focus: Hrair Sarkissian debuts the artist’s first solo exhibition in the US and features three major works that explore how violence can be made invisible, histories of erasure and restitution, and the sediments of conflict.

Mark Bradford: End Papers, curated by Michael Auping, former chief curator at the Modern, focuses on the key material and fundamental motif the artist employed early in his career and has returned to periodically, on view Mar. 8–Aug. 9. FOCUS: Marina Adams explores the artist's decade-long investigation of color and form, Mar. 27–May 24. Image: Mark Bradford, Juice, 2003, mixed media on canvas, 72 x 84 in. Private collection. © Mark Bradford.

Photograph by Charles White. themodern.org 15 MUSEUM OF BIBLICAL ART The museum boasts eleven galleries, The National Center for Jewish Art, Museum of Holocaust Art, European Art Treasury, an on-site Art Conservation Lab, Via Dolorosa Sculpture Garden, and other major pilgrimage attractions. biblicalarts.org 16 NASHER SCULPTURE CENTER Sightings: Anne Le Troter ends Feb. 2. Since 1997, Barry X Ball has adapted innovative technologies and traditional techniques to make carefully honed sculptures in semiprecious stones―rarely used due to their difficulty to carve and lack of consistency― that push the physical and conceptual boundaries of sculpture.

Barry X Ball: Remaking Sculpture will be on view through Apr. 19.

Image: Barry X Ball, Pietà, 2011–2018, Translucent white Iranian onyx, stainless steel, ABS plastic, 120.375 x 59.5 x 59.5 in. Private collection © Barry X Ball. Photograph courtesy of Barry X Ball Studio. nashersculpturecenter.org 17 PEROT MUSEUM Origins: Fossils from the Cradle of Humankind invites visitors to view the actual fossils of Australopithecus sediba and Homo naledi—two recently discovered species of ancient human relatives that are shaping our understanding of the origins of humanity. Created in partnership with the University of the Witwatersrand in South Africa and the National Geographic Society, the exhibition explores the dramatic discovery of these fossils, which have never been displayed outside of South Africa. On view through Mar. 22. perotmuseum.org.

18 TYLER MUSEUM OF ART That Day: Pictures In The American West, which highlights Laura Wilson’s fascination with the diversity found among the people and places of Texas and beyond, continues through Mar. 15. tylermuseum.org

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20 03 01 AMPHIBIAN In the true story of Hans & Sophie, the Scholl siblings build an underground resistance in Nazi Germany, Feb. 7–Mar. 1. National Theatre Live in partnership with the Modern Art Museum of Fort Worth will present Hansard, set against the political landscape of 1980s Thatcher Britain, Mar. 18–21. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER American Baroque Opera Company in partnership with Ballet Dallas will present The Elements, combining baroque music with modern ballet, Feb. 13–15. Verdigris Ensemble world premieres stories of the Dust Bowl Feb. 27–29. Italian pop-opera trio Il Volo performs on Feb. 27. NPR’s Wait, Wait…Don’t Tell Me! star Paula Poundstone performs Feb. 29. Lightwire Theater’s The Ugly Duckling blends puppetry, technology, and dance on Mar. 1. Playwrights in the Newsroom is an immersive theatrical experience by two playwrights who shadowed journalists at The Dallas Morning News, Mar. 5–15.

One Night of Queen with Gary Mullen & the Works performs Mar. 6.

Grammy and Latin Grammy Award-winning singer Lila Downs takes the stage Mar. 7. Image: Verdigris, The Dust Bowl. Photograph

by Richard Hill. attpac.org 03 BASS PERFORMANCE HALL The Sponge Bob Musical brings the laughs Feb. 20–23. University Christian Church premieres The Tyger & The Lamb by composer Ola Gjeilo in Alive at the Bass on Mar. 17. Beautiful: The Carole King Musical mounts Mar. 20–22. Image: The national touring company of The SpongeBob Musical. Photograph by Jeremy Daniel. basshall.com 04 CASA MAÑANA With the help of friends and an advanced, top-secret computer, Oliver builds Frank-N-Friend, through Feb. 16. Tuna Does Vegas reunites the characters from the “third smallest town in Texas” as they take a rambling romp in Sin City, Feb. 29–Mar. 8. Matilda: The Musical comes to Casa Mañana Mar. 20–Apr. 5. casamanana.org 05 CHAMBER MUSIC INTERNATIONAL Five prize-winning virtuosi from different countries take the stage on Feb. 15. Three popular Korean artists of today join CMI in the works of Beethoven, Kodaly, and Smetana’s Piano Trio at Moody Performance Hall on Mar. 7. chambermusicinternational.org 06 DALLAS BLACK DANCE THEATRE In the Cultural Awareness series, dancers move to the music of Aretha Franklin, Nina Simone, Patti LaBelle, and Duke Ellington.

Additionally, Alvin Ailey American Dance Theater dancer and choreographer Hope Boykin creates a world premiere that weaves 28

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together her spoken word and movements, Feb. 14–16. DBDT: Encore! presents favorites from the 43rd season in the Dancing Beyond Borders series. DBDT will perform at the W.E. Scott Theatre in Fort Worth Mar. 14, and DBDT: Encore! is onstage at Eisemann Center on Mar. 28. Image: Dallas Black Dance Theatre dancers Lailah LaRose and Charles Michael Patterson. Photograph

by Brian Guilliaux. dbdt.com 07 DALLAS CHILDREN’S THEATER Nostalgia sweeps the theater with School House Rock!, through Feb. 23. In Andi Boi, Andi is a transgender teen entering his first day of school identifying as male. Inspired by one teen’s journey, Andi Boi uses wit, heart, and warmth to help audiences embrace differences, Feb. 7–16. Last Stop on Market Street follows C.J. as he learns to view the world with more than his ears and eyes, Mar. 25–Apr. 5. dct.org 08 THE DALLAS OPERA Don Carlo, Mar. 20–28, tells the saga of France’s princess Elizabeth, who is forced to marry Phillip, King of Spain and forsake her beloved Don Carlo—the firebrand who turns out to be her husband’s son. Intertwine the Grand Inquisitor and the king’s duplicitous mistress, and an explosive amalgam of sex, politics, and religion ensues. Doctor Miracle will have a one night showing on Mar. 21. dallasopera.org 09 DALLAS SUMMER MUSICALS A band brings a town to life In the Band’s Visit, Feb. 18–23.

Come From Away takes you into the heart of the remarkable true story of seven thousand stranded airline passengers on 9/11 and the town in Newfoundland that welcomed them, Mar. 10–22. dallassummermusicals.org 10 DALLAS SYMPHONY ORCHESTRA Fabio Luisi conducts Salome through Feb. 2. Sarah Jaffe performs with her band, special guests, and Dallas Symphony musicians Feb. 3. Ruth Reinhardt conducts Tchaikovsky’s Romeo and Juliet Feb. 13– 16. For the DSO Musicians Chamber Series, Angela Fuller Heyde and David Heyde curate works by Brahms and Debussy on Feb. 18.

The Indigo Girls perform with the DSO Feb. 21–23. Tchaikovsky and Jongen’s music will fill the air Feb. 27–Mar. 1. Gemma New conducts Rachmaninoff’s Symphonic Dances Mar. 6–8. Chris Botti performs with the DSO Mar. 13–15. Listen to Mozart’s Jupiter Symphony Mar. 19–22. Pinchas Zukerman returns to lead the DSO in an all-Dvořák program Mar. 26–28. Thomas Ospital performs as part of the Opus 100 Organ Series on Mar. 29. mydso.com 11 DALLAS THEATER CENTER The timeless classic confronts modern themes as the March sisters

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try to reconcile their identities within society’s demands. Little Women, Feb 7–Mar. 1. American Mariachi is a heartwarming comedy about family, progress, and the freedom to dream big, Mar. 14– Apr. 5. dallastheatercenter.org 12 EISEMANN CENTER Blue Candlelight Music Series presents Cliburn Gold Medalists Vadym Kholodenko and Alexander Kobrin on Feb. 4. Full Circle Dance presents The Premiere on Feb. 8. Brasil Guitar Duo performs Feb. 11. Renée Taylor takes the stage for My Life on a Diet Feb. 14–16. Shana Tucker performs Feb. 21. C.S. Lewis’ The Great Divorce is onstage Feb. 26–Mar. 1. Direct from Las Vegas–The Rat Pack brings back the 1960s on Mar. 8. Classical guitarist David Russell comes to town Mar. 10. The Choir of Man performs Mar. 14. Songwriter Steve Dorff performs Mar. 20. Eisemann Center Presents: Asleep at the Wheel on Mar. 28. Lynda Carter debuts THIS LIFE My Music, My Story on Mar. 29. eisemanncenter.com 13 FORT WORTH SYMPHONY ORCHESTRA Miguel Harth-Bedoya celebrates the legacy of Beethoven in A Very Special Gala Concert with Midori & Beethoven 5 on Feb. 8. Guest conductor Robert Trevino leads a program of works by Wagner, Bartok, and Rachmaninoff Feb. 28–Mar. 1. Oh, What a Night! brings Broadway hits Mar. 6–8. NASA images imbue Journey to Space on Mar. 7. Guest conductor Carlos Izcaray leads the orchestra in Dukas’ The Sorcerer’s Apprentice and Shostakovich’s melancholy Symphony No. 10 Mar. 13–14. Guest conductor Henrik Nánási leads the FWSO in Tchaikovsky 5 on Mar. 27. fwsymphony.org 14 KITCHEN DOG THEATER A photographer explores the topography of “scars” and lands in the mysterious realm of a folk artist hiding away on a small farm in North Alabama. Alabaster explores the meaning of art and the struggle of the lost and tortured souls that seek to create it. Feb. 13–Mar. 8. kitchendogtheater.org 15 LYRIC STAGE In Abyssinia, by Ted Kociolek and James Racheff, based on the novel Marked by Fire by Joyce Carol Thomas, Abby finds her voice again, Feb. 14–16. lyricstage.org 16 MAJESTIC THEATRE The Acting Studio presents The Lion King on Feb. 8. Walk Off the Earth: Here We Go! Tour stops in Feb. 18. The World Famous Glenn Miller Orchestra brings classics on Feb. 23. Ben Rector: The “Old Friends” Acoustic Tour with Cody Fry performs on Mar. 13. The Office!

A Musical Parody brings the series to the stage Mar. 14. In Girls Gotta Eat, Ashley, Rayna, and special guests will answer questions about 30

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sex, dating, and relationships, Mar. 27. majestic.dallasculture.org 17 TACA On Mar. 10, the 2020 TACA Silver Cup Award Luncheon will honor Matrice Ellis-Kirk and Mike Rawlings for their outstanding volunteer leadership and contributions to the arts. taca-arts.org 18 TEXAS BALLET THEATER See Crash, an abstract ballet inspired by the challenges of modern life, Feb. 14–16, and Firebird’s fiercely choreographed tale of good and evil. Journey through three shows in one night: Image features bright lights and gold hues to capture the tragic beauty of Marilyn Monroe; Imbue is modern and minimalistic; Bartok offers playful motifs and moody backdrops, all Mar. 27–29. texasballettheater.org 19 THEATRE THREE Funny, You Don’t Act Like a Negro explores the biases we pass on to our children and how the simple act of talking to one another is being subverted by social media. Feb. 20–Mar. 15. theatre3dallas.com 20 TITAS/DANCE UNBOUND Malandain Ballet Biarritz returns to Dallas Feb. 7–8 with Cinderella.

Contemporary dance leader Willy TSAO, and cofounder LI Hanzhong of BeijingDance/LDTX, China’s first officially registered private contemporary dance company, make a Texas debut with ARC, choreographed by Mongolian resident artist Adiya, Feb. 28– 29. Alvin Ailey American Dance Theater comes to Dallas Mar. 13– 14. Image: Alvin Ailey's Samantha Figgins and Chalvar Monteiro.

Photograph by Andrew Eccles. titas.org 21 TURTLE CREEK CHORALE The regional premiere of Unbreakable, a choral musical from Tony Award-winning composer Andrew Lippa, gives a voice to LGBTQ+ Americans whose contributions to their country have gone unrecognized, Mar. 27–29. turtlecreekchorale.com 22 UNDERMAIN THEATRE Madame Bovary tells the tragic yet scintillating story of a woman who longed for a life she could never fully achieve, Feb. 12–Mar. 8. Katherine Owens: A Retrospective celebrates the life of the founding artistic director of Undermain Theatre. The exhibition, curated by painter Mary Vernon, from the Katherine Owens archive overseen

by Bruce DuBose, will evolve throughout the season and is open for viewing at all performances through May. undermain.org 23 WATERTOWER THEATRE Harvey follows a socialite, his sister, and a six-foot invisible rabbit, and various mental evaluations Feb. 6–23. watertowertheatre.org

NOTED: GALLERIES

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01 12.26 The gallery hosts Molly Larkey’s Utterance through Feb. 15. Next, 12.26 will host Jackie Feng, Emily Furr, and Max Maslansky from Feb. 22–Apr. 4. Image: Marjorie Norman Schwarz, Untitled (agatha), 2020, water soluble oil on canvas, 36 x 20 in. gallery1226.com 02 214 PROJECTS 214 Projects is an exhibition and project space located at River Bend, adjacent to the Dallas Art Fair offices. This additional venue allows Dallas Art Fair exhibitors to present ambitious gallery installations and special projects on a year-round basis. 214projects.com 03 500X GALLERY Texas’ oldest run artist cooperative. This year’s 500x College Expo 2020 jurors are Tamara Johnson and Trey Burns, directors of Sweet Pass Sculpture Park. The annual exhibition highlighting the work of college students will run Feb. 8–Mar. 1. 500x.org 04 ALAN BARNES FINE ART ABFA belongs to a family of British art dealers, conservators, and restorers whose roots reach back to London during the reign of King George III. The gallery will host an exhibition for Matthew Alexander titled The Grand Tour from Mar. 26–Apr. 24. alanbarnesfineart.com 05 AND NOW Located in the River Bend development, the gallery hosts Paul Winker’s VII through Feb. 20. The Dallas-based artist’s work is influenced by his experience producing street-art stencils. Next, AND NOW will present the work of Austin’s Isabel Legate, Feb. 22–Mar. 28. andnow.biz 06 ARTSPACE111 Jon Flaming’s exhibition emphasizing the modern cowboy, Texas BBQ, music, and dance halls ends Feb. 8. Studio111: Collective Inspiration will feature artists who have had studio space since 1980, including Daniel Blagg, Dennis Blagg, Doug Blagg, Woodrow Blagg, Cindi Holt, Nancy Lamb, Al Souza, Bill Haveron, Susan Harrington, John Hartley, Jim Malone, Carol Benson, Matt Clark, Leslie Lanzotti, Joachim Kersten, and Jo-Ann Mulroy. Alongside current work by each artist, the show will dive into the artists’ archives of memorabilia, photography, and stories from the studio days. Feb. 20–Mar. 21. artspace111.com 07 BARRY WHISTLER GALLERY Jay Shinn’s Drawings and Stephen Mueller’s Paintings exhibit through Apr. 4. Image: Jay Shinn, Dyad #10, 2019, colored pencil on paper, 30.5 x 30 in. barrywhistlergallery.com 32

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08 BEATRICE M. HAGGERTY GALLERY Heri Bert Bartscht 100 Years, through Feb. 29, displays wood, stone, clay, and bronze works from the university’s collection as well as private collections. In March, Galen Cheney and Andrea Myers present Pieced and Painted featuring multilayered constructions to explore two-and three-dimensional space. Image: Andrea Myers, Rainbow Rise, 2019, machine sewn fabric collage, 60 x 60 in. udallas.edu/gallery 09 BLUE PRINT GALLERY Blue Print dedicates its gallery to midcareer and emerging Texas artists featuring artwork in varied mediums. blueprint-gallery.com 10 BIVINS GALLERY Bivins Gallery presents works by David Drebin in an exhibit titled Love + Lights, which features photographs, lightboxes, neon installations, sculptures, and etchings on glass that reveal the artist’s voyeuristic and psychological viewpoints, through Mar. 29. bivinsgallery.com 11 CADD CADD Happy Hours will take place Feb. 5 at Conduit Gallery and at Ro2 Art on Mar. 7. CADD FUND, on Mar. 29 at the Texas Theater, is a fun, fast-paced evening of sharing innovative ideas about potential artistic projects that need the support of the DFW arts community. caddallas.org 12 CHRISTOPHER MARTIN GALLERY Christopher Martin Gallery presents the reverse-glass paintings and limited-edition works of Aspen-based American artist Christopher H. Martin in addition to the work of midcareer American sculptors Jim Keller, Brandon Reese, Michael Sirvet, and Gregory Price. From Feb. 8–Mar. 8, Amber Goldhammer will exhibit her abstracts and near-abstracts in the newly expanded gallery. christophermartingallery.com 13 CONDUIT GALLERY Two solo show continue through Feb. 22: Matt Clark’s sewn paintings and collaborative drawings he worked on last summer with artists in Oaxaca, and a slow show of works on paper with Dallas based artist Susan Barnett. Last year, Maja Ruznic’s Azmira’s Daughters was purchased by the Dallas Museum of Art; from Feb. 29–Apr. 4, Ruznic will show a series of works in My Noiseless Entourage. James Sullivan’s Unfinished Business 1 and Kendall Glover’s Variant will also be displayed. Image: Kendall Glover, Trio 1 Variant 2, collage, 25 x 38 in. conduitgallery.com

08 14 CRAIGHEAD GREEN GALLERY Exhibitions for R ich Bowman, Jon Krawczyk, and Kristjana Williams end Feb. 8. Next, Kendall Stallings, New Works; Carole Pierce, Vast; and Kelsey Irvin, Indian Summer will show Feb. 15–Mar. 21. Works by Abhidnya Ghuge, Anders Moseholm, and Damian Suarez will be on display Mar. 28–May 2. Image: Wu Jian’an, Mask, Wisteria Yellow, 2018, buffalo hide, baking varnish, acrylic, 94.5 x 80.75 x 4 in. craigheadgreen.com 15 CRIS WORLEY FINE ARTS Trey Egan’s fourth solo exhibition with Cris Worley, Sense Impression, features his lush abstract oil paintings through Feb. 8. Robert Sagerman’s Permutations as Refinement will feature his dense, impasto paintings that evolve from thousands of meticulously made strokes with a palette knife, Feb. 15–Mar. 21. Image: Robert Sagerman, Title Forthcoming (detail), 2020, oil on canvas, 36 x 60 in. crisworley.com 16 CYDONIA Cydonia Gallery is a contemporary art gallery committed to cooperating with artists whose practices reflect conceptual research. cydoniagallery.com 17 DADA The Dallas Art Dealers Association is an affiliation of independent gallery owners and nonprofit art organizations. dallasartdealers.org

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18 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

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20 EX OVO New York-based painter Michael Uttaro’s En Route displays through Feb. 22. Next, the gallery will host the SMU MFA Qualifying Exhibition featuring Nathalie Alfonso, Elizabeth Betzen, Ciara Elle Bryant, Leah Flook, Brandon McGahey, and Tino Ward, Feb. 29–Mar. 8. exovoprojects.com

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19 ERIN CLULEY GALLERY Marilyn Jolly’s Weather Report, exploring her personal relationship with time, which evolved from day-to-day tasks into a lifetime of routine, will continue through Feb. 15.

Next, the gallery will show a series of work focused on selfportraiture from Feb. 22–Mar. 28. erincluley.com

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NOTED: GALLERIES

Kittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 75244 972.239.7957 n www.kittrellriffkind.com

27 21 FORT WORKS ARTS Existing somewhere between a gallery, a cultural center, and a museum, FWA strives to continually evolve into its own entity, free from the traditional labels of the art world. fortworksart.com 22 FWADA Fort Worth Art Dealers Association (FWADA) organizes, funds, and hosts exhibitions of noteworthy art. fwada.com 23 GALERIE FRANK ELBAZ Mungo Thomson’s Background Extinction remains on view through Feb. 28. Addressing 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 24 GALLERI URBANE Heath West: Utopia and Rachel Hellmann: Cross Fold continue through Feb. 15. Loring Taoka returns with Oh Well, shifting his focus to paintings on panel while still exploring the act of perception. In Rachel Grobstein’s Ghost Stories, miniature sculpture and painted cut paper reference roadside memorials that offer a powerful language of commemoration, grief, and celebration. Both run Feb. 22– Mar. 28. Image: Loring Taoka, (untitled - two blurry rectangles), 2019, acrylic on panel, 24 x 24 in. galleriurbane.com 25 GINGER FOX GALLERY Ginger Fox Gallery features paintings by its namesake and select emerging and midcareer artists. gingerfox.myshopify.com 26 THE GOSS-MICHAEL FOUNDATION The Goss-Michael Foundation supports an artist-inresidence program, is actively involved in many charitable causes and events, and exhibits select international artists on a rotating basis. g-mf.org

“Fins, Whales, & Octopus Tales” February

Robert Mickelsen “Clown Triggerfish Cups”

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27 HOLLY JOHNSON GALLERY Federal Triangle, an exhibition of recent photographs shot in and around Washington, DC by Austin-based artist Mike Osborne, marks Osborne’s sixth solo show at the gallery.

The exhibit continues through March 14. Image: Anna Bogatin Ott, Sea Wanderings, 2016, acrylic on canvas, 84 x 96 in. hollyjohnsongallery.com

"Fall Is Coming" 30x40

JUN HAO

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SOUTH WEST

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4500 Sigma Rd. Dallas 972) 960.8935

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16,000 Sq. Ft. of Fine Art from Modern to Realism

NOTED: GALLERIES

07 28 KIRK HOPPER FINE ART Earth & Sky, the installation of major new works by Emmi Whitehorse and Don Redman, aims to lift us out of our dulling complacencies, through Mar. 21. kirkhopperfineart.com 29 KITTRELL/RIFFKIND ART GLASS Kittrell/Riffkind, located within Southwest Gallery, dedicates its North Dallas gallery to the presentation of art glass. Fins, Whales & Octopus Tales, a group show featuring imagery from the seas, Feb. 1–Mar. 1. kittrellriffkind.com 30 LAURA RATHE FINE ART The gallery will host Zhuang Hong Yi through Feb. 8.

Marking the gallery’s 7th anniversary, a group exhibition featuring new works from distinguished gallery artists such as Stallman, Lucrecia Waggoner, Carly Allen-Martin, James Verbicky, Max Steven Grossman, and others mounts Feb. 15–Mar. 21. Image: Stallman, What’s the Scoop 1 & 2, sculpted canvas and acrylic, 48 x 60 in. laurarathe.com 31 MARTIN LAWRENCE GALLERIES Established in 1975, MLG specializes in original paintings, sculpture, and limited-edition graphics works by Erté, Marc Chagall, Robert Deyber, François Fressinier, Kerry Hallam, Frederick Hart, Keith Haring, Liudmila Kondakova, René Lalonde, Takashi Murakami, Pablo Picasso, Andy Warhol, and many others. martinlawrence.com

Saturday, February 15, 2020 Opening Reception, 5-8PM

Artists in Attendance Exhibition on display through March 21, 2020

1130 Dragon St. Dallas, TX 75207 214.761.2000 LauraRathe.com

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32 MARY TOMÁS GALLERY Opening Feb. 15, and exhibiting concurrently, are three featured artists: Megan Ping, Masri, and Blair VaughnGruler. Megan Ping’s Don’t Tap Out explores the undertones of eroticism, fantasy, and sexuality within the professional wrestling culture. Compulsion investigates the work of Masri and Blair Vaughn-Gruler. All three artists display through Mar. 21. marytomasgallery.com 33 MERCADO369 Latin American artists are well represented in this Oak Cliff jewel. Nine galleries offer sculpture, jewelry, textiles, and home décor hailing from Mexico to Argentina. On Feb. 6, Mercado369 celebrates Afro-Mexican culture at the Meyerson Symphony Center. mercado369.com 34 PHOTOGRAPHS DO NOT BEND PDNB Gallery’s director and Vietnam War veteran Burt

JD MILLER

FEBRUARY 14 TH , 6-9 PM

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Finger organized a group exhibition dealing with the subject of war. Many photojournalists are included in the exhibition, including LIFE photographer Larry Burrows, who died in Vietnam. Signs of the Times, a group exhibition of various signs, including both street advertising and sociopolitical signage throughout the past century, will be on view Feb. 15–May 2. pdnbgallery.com 35 THE PUBLIC TRUST David Jeremiah: Things Done Changed will be on view Feb. 1–Mar. 7. Jeremiah’s work looks at issues of race, police brutality, the prison-industrial complex, and pop culture from an unapologetic viewpoint of a black man who refuses to be a victim. His work is rooted in conceptualism and Afro-futurism and introduces a new concept of radical nonviolence. trustthepublic.com

Come be a part of this annual Valentine’s Day event, to see JD Miller create a masterpiece right before your eyes!

BRANDON BOYD

36 THE READING ROOM The Reading Room is project space which, through occasional readings, performances, and installations, explores the many ways in which text and image interact. thereadingroom-dallas.blogspot.com

MARCH 28 TH , 5-8 PM

37 RO2 ART Ro2 Art, a contemporary fine art gallery located in The Cedars neighborhood, represents a diverse group of emerging, midcareer, and established contemporary artists.

James Zamora’s Solo and Adam Palmer’s M ALLLL PRETZELZ PT.2 will be on view through Feb. 15, and Amy Jones Jenkins’ Karma will continue through Feb. 17. The gallery will feature Erica Stephens from Feb. 22– Mar. 21. The work of Bumin Kim will be in the gallery Mar. 28–Apr. 25. ro2art.com 38 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and research. roughtongalleries.com 39 SAMUEL LYNNE GALLERIES David Yarrow’s retrospective closes on Feb. 2. Samuel Lynne presents their unique annual Valentine’s Day special event Feb. 14 with a live painting performance by Reflectionist artist JD Miller. Incubus front man Brandon Boyd will feature his newest artworks combining ink, watercolor, and acrylic in works on paper and canvas, with a mix of portraiture and abstraction Mar. 28 through Apr. samuellynne.com

SAMUEL LYNNE GALLERIES DALLAS

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CHICAGO

WWW.SAMUELLYNNE.COM | 214.965.9027

FEBRUARY/MARCH 2020

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NOTED: GALLERIES

13 40 SITE131 Through Apr. 3, view Chinese artist Wu Jian’an’s shocking eight-foot work Mask-Wisteria Yellow, made of unexpected materials: buffalo hide, baking varnish, and acrylic paint.

Matched with companion artists, the exhibition startles and surprises. site131.com 41 SMINK SMINK, a design showroom and fine art gallery open to the public, represents artists such as Diane McGregor, Gary Faye, Dara Mark, Robert Szot, and Zachariah Rieke. sminkinc.com

Dyad #16, 2020, Colored pencil on paper, 40 x 26 in.

JAY SHINN JAY SHINN / DRAWINGS FEBRUARY 29 – APRIL 4 OPENING RECEPTION: SATURDAY, FEBRUARY 29th, 6-8pm

42 SMU POLLOCK GALLERY Form Follows Color, which explores the union of painting and ceramics, runs through Feb. 29. Riso Bar, an interactive show dedicated to the creativity of risograph printing technology, continues through Dec. 15. smu.edu/meadows/pollockgallery 43 SOUTHWEST GALLERY Paul Walden and Mark Whitmarsh each feature ten new works as they bring together creativity, color, and abstraction to the Transitional Abstracts exhibition Feb. 11– Mar. 1. Next, Jun Hao will fill the gallery with landscapes, Mar. 14–Apr. 30. swgallery.com 44 TALLEY DUNN GALLERY Two solo exhibitions continue through Feb. 15. Sarah Williams paints softly luminous scenes of seemingly empty homes and deserted neighborhood streets in rural Midwestern towns. Utilizing intricate patterns and precise details, Nida Bangash’s works weave in personal identity and experience to investigate the complexities of immigration, colonialism, culture, and race. Opening on Mar. 7 are solo shows for Francesca Fuchs and Butt Johnson, on view through Apr. 19. talleydunn.com 45 VALLEY HOUSE GALLERY From Feb. 1–Mar. 7, the gallery will show Lilian GarciaRoig’s Cumulative Nature: WaterCOLORS. From Mar. 15– Apr. 25 the work of Henry Finkelstein will be on display. valleyhouse.com

315 Cole Street Suite 120 Dallas, TX 75207 | 214.939.0242

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46 WAAS GALLERY WAAS (We Are All Stars) is an oasis for women to explore, examine, and expand their lives, no matter the

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W H O K N OWS WHAT

path they are on. On view through Mar., Release Your Voice is an exhibition of women in contemporary art stirring an honest conversation of what they want: equal pay and representation. waasgallery.com.

MARK DION WILL BRING BACK ?

47 WEBB GALLERY Webb Gallery strives to preserve the human spirit though art and design. The gallery looks to thread together the common aesthetics of art, antiques, people, places, music, literature, and objects. Webb hosts a solo show of new work by Max Kuhn titled Vanishing Point through Mar. 28. webbartgallery.com

Mark Dion is making an epic journey through Texas: traveling thousands of miles, meeting dozens of guides, and sending back

48 WILLIAM CAMPBELL CONTEMPORARY ART An integral part of the Fort Worth art scene, William Campbell celebrated its 44th year in November. The venerated contemporary art dealer will host a group show of rostered artists Feb. thru Mar. featuring Otis Jones, Billy Hassell, J.T. Grant, and many others of note. williamcampbellcontemporaryart.com

hundreds of items to form a sculptural travelogue chronicling his adventures.

AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY Dallas Auction Gallery’s Fine & Decorative Art Auction will take place Feb. 26. dallasauctiongallery.com 02 HERITAGE AUCTIONS Slated auctions include Winter Luxury Accessories Auction on Feb. 9; Erte and Costume Design Online Auction on Feb. 12; Fine & Decorative Arts Monthly Online Auction on Feb. 13; Urban Art and Collectables Auction on Feb. 16; the Design, Including Paul Rudolph’s Walker Guest House Replica Signature Auction on Feb. 25; the Fine & Decorative Art Auction on Mar. 12; Art of the West Signature Auction on Mar. 13; the Asian Art Signature Auction on Mar. 17; the Contemporary Asian Art Monthly Online Auction on Mar. 19; and the Urban Art Signature Auction on Mar. 24. ha.com 03 CHINESE NEW YEAR FESTIVAL The Crow Museum of Asian Art of The University of Texas at Dallas will present the 21st annual Chinese New Year Festival on Feb. 1 at NorthPark Center. The signature event will feature dragon and lion dances, music and martialarts demos, art-making and calligraphy, specialty booths, wellness activities, colorful entertainment and cultural performances, NorthPark retailer specials and giveaways throughout the center, and more. northparkcenter.com

cartermuseum.org/markdion

| @theamoncarter

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From left: Bas Jan Ader, Study for Farewell to faraway friends, 1971, color vintage print 3.5 x 3.5 in. (image size), unique © The Estate of Bas Jan Ader / Mary Sue Ader Andersen, 2019 / The Artist Rights Society (ARS), New York. Courtesy of Meliksetian | Briggs, Los Angeles; Cody Trepte, By Any Possibility, 2019, installation view at Meliksetian | Briggs, Los Angeles. Courtesy of Meliksetian | Briggs, Los Angeles. Photograph by Michael Underwood.

CONCEPTUAL CONSORTS Partners in life and art, Anna Meliksetian and Michael Briggs will bring works by Bas Jan Ader and Cody Trepte to the Dallas Art Fair.

INTERVIEW BY ANDREA KARNES

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nna Meliksetian and Michael Briggs met over art— Briggs working at a Los Angeles gallery; Meliksetian cultivating her emerging gallery. In 2012, a year after they were married, they established their own gallery, Meliksetian Briggs.

Andrea Karnes, the Modern Art Museum of Fort Worth’s senior curator, visits with the venerated dealers.

Andrea Karnes (AK): How did you come together as founders/partners? Did you have similar backgrounds?

Michael Briggs (MB): We met at Bergamot Station, an art center in Los Angeles, where we both worked. I started my career in London in 1999 working at White Cube after I got my master’s degree, and moved to Los Angeles in 2008. I worked as the director of Patrick Painter Gallery, and at the time we worked with many key Los Angeles artists, like Mike Kelley, Jim Shaw, and Larry Johnson, as well as influential Europeans like Albert Oehlen and Glenn Brown—so it was a very good introduction to the LA art world.

Anna Meliksetian (AM): My father owned an art-and-antique gallery in Beverly Hills, and I literally grew up in the business, working at my dad’s gallery after school, starting when I was nine years old.

After I finished my graduate studies in art history, I worked in a variety of roles, including at an auction house, as an art critic, and as a professor of art history before opening my own gallery in 2009.

Michael and I curated our first show together at my gallery in 2010, which included seminal Los Angeles artists like Shaw and Llyn Foulkes along with a number of younger emerging artists.

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AK: Your gallery has an impressive roster of artists who work within conceptualism but are widely varied in terms of practices and mediums of choice. What are some of the overarching ideological interests among these artists that align them with each other?

MB: The program is rooted in conceptualism and specifically a number of artists who came out of the California scene starting in the 1970s, in combination with some European approaches.

Bas Jan Ader, an early practitioner of very idea-driven work, is a cornerstone of the gallery. As well, John Miller and Meg Cranston are two important artists in the program who came out of the very conceptually focused and influential California Institute of the Arts environment in the ’70s and ’80s. Cody Trepte, who we are showing at the Dallas Art Fair, is a more recent graduate of that program, finishing in 2010.

AM: We complement this approach with works by European artists—for instance, British artists that came out of the Young British Artists movement of the 1990s, itself rooted in a new generation’s conception of conceptual ideas—like Angus Fairhurst and Mustafa Hulusi, who could technically be considered postYBA but had a similar approach to art making. Also Germans like Johannes Wohnseifer, who combines elements of pop, minimal, and conceptual approaches.

AK: What are some gallery exhibitions that you consider defining for Meliksetian Briggs?

AM: Some very important exhibitions in the gallery included a 2019 exhibition of Bas Jan Ader’s works, which was incredibly well received, reviewed in numerous major publications like Artforum

FAIR TRADE

and the Los Angeles Times, and visited by a wide audience. Our 2014 show of the artist’s work, curated by Spanish curator Pedro de Llano, curator of the artist’s Spanish retrospective, was very important as well.

We exhibited a previously unseen group of Jack Goldstein text works for the first time ever in 2017, and a ‘lost’ group of paintings from the 1980s by John Miller in 2014, many of which have since been exhibited in major museum shows. Both artists are key influences on many of the artists we work with. Todd Gray’s exhibition Portraits renewed interest in his work—two works were acquired by museums and one of the works was included in the 2019 Whitney Biennial. John Miller and Viennese artist Richard Hoeck’s collaborative installation Mannequin Death in 2017 was a key show. The work was subsequently featured in the 2018 Sao Paolo Biennial, and the video was recently acquired by the Metropolitan Museum of Art in New York. We were very proud to do a mini retrospective of Angus Fairhurst’s painting, photo, and video works in 2016, as Angus was a friend of Michael’s who, sadly, took his own life in 2008.

AK: You are bringing the works of Bas Jan Ader and Cody Trepte to the Dallas Art Fair. Ader was included in the exhibition Disappearing, which the Modern Art Museum of Fort Worth hosted in the spring of 2019, and Trepte is a Texan, so there is a Texas connection for both. What are some other relationships between the two that make them a good pair for your booth?

MB: Neither Trepte nor Ader sacrifice aesthetics in pursuit of conceptual rigor. On the contrary, they make art that is philosophically compelling yet poetic and beautiful. Connections between the two artists include the use of language in their work, the medium of photography, repetition, and the serial image. Both artists were deeply influenced by 20th-century philosophy, specifically concepts of predetermination, and philosophers like Camus in Ader’s case and Wittgenstein in the case of Trepte.

AK: Could you name a couple of key points you would give to fairgoers about Ader and Trepte?

MB: While always incredibly influential with art-world insiders—critics, curators, museums, collectors, and other artists—Ader’s work has been gaining a broader audience in recent years. Despite being nearly 50 years old, the work remains incredibly relevant to many collectors, and unlike some conceptual art, the beauty and lyricism of the work really move people on a personal level rather than simply an intellectual one.

The Dallas Art Fair will be a great opportunity to acquire rare, vintage, and important works from a limited and shrinking oeuvre.

After a highly successful solo show at the gallery this past autumn, where we placed many of Trepte’s works in exceptional collections, the Dallas Art Fair will also be a great opportunity to experience and acquire his works in the early stages of a very promising career. P

ABOUT THE INTERVIEWER:

Modern Art Museum of Fort Worth senior curator Andrea Karnes was instrumental in facilitating the exhibition, Disappearing California, which included works

by Dutch artist Bas Jan Ader, who vanished crossing the Atlantic in his sailboat. Karnes organized and curated Laurie Simmons Big Camera/Little Camera; K AWS: WHERE THE END STARTS; and Kehinde Wiley: A New Republic.

Above left: Cody Trepte, Remainder, 2015, installation view at Meliksetian| Briggs, Los Angeles. Courtesy of Meliksetian | Briggs, Los Angeles. Photograph

by Evan Bedford. Above right: Bas Jan Ader, Nightfall, 1971, still from blackand-white 16mm film, silent, duration, 4' 16", Edition of 3. © The Estate of Bas Jan Ader / Mary Sue Ader Andersen, 2019 / The Artist Rights Society (ARS), New York. Courtesy of Meliksetian | Briggs, Los Angeles.

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Secundino Hernández in his Madrid studio.

At the threshold of contemporary Spain A painting by Madrid’s Secundino Hernández kicks off a partnership between the Meadows Museum and Fundación ARCO.

BY TERRI PROVENCAL PHOTOGRAPHY BY ALEJANDRO GARCÍA

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f you’re traveling to Madrid, Secundino Hernández’s studio won’t be easy to find, but finding it is worth the trip. Last February, Linda Perryman Evans, president and CEO of The Meadows Foundation, which “vigorously supports” the Meadows Museum, traveled to Madrid to receive the prestigious “A” Award For Collecting given to collectors and institutions by Fundación ARCO. It’s widely known the Meadows Museum houses one of most complete collections outside of Spain of Spanish art from the 10th to the 21st century.

A delegation of 12 traveled to celebrate the award with Evans, led

by Mark Roglán, the Linda P. and William A. Custard Director of the Meadows Museum, and Janet Kafka, the honorary consul of Spain.

The group stayed for a week to visit galleries and artist studios, including Madrid’s prestigious art dealers Max Estrella and Galería Elvira González. Among the delegation, Jenny Mullen, a Dallas collector, patron of the arts, and, in this case, connector, encouraged a studio visit to meet the artist Secundino Hernández. Discovering his work several years ago, she had been following his trajectory.

When she first viewed one of his large-scale works in person at Victoria Miro during a London fair, she says, “The painting took our breath away. Everyone was really stunned; it was one of the magical 42

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moments.” Adding, “He has a language he’s developing that’s all its own within the framework of abstraction and figuration.”

Fundación ARCO was formed in 1987 following the 1982 establishment of ARCOmadrid, a large contemporary art fair that receives 100,000 visitors annually. The foundation was developed to build a collection acquired through each edition of the fair. Director Maribel López Zambrana says the collection now has more than 300 pieces. Moreover, she says, “The foundation promotes the collecting of contemporary art through a digital platform and free walks to galleries. During last year’s ARCO we organized 300 visits to galleries—the fair is a cultural institution in Madrid and Spanish society.”

Comprised mostly of galleries from Spain, along with an emphasis on Latin America, ARCO’s remaining exhibitors are mostly from Central Europe: Germany, France, Italy. “There are over 200 galleries in the General Programme, and some curated sections like Dialogue, a special section that alternates each year,” Zambrana explains. “There are only a few US galleries.” Which is just one of the reasons the six-year partnership MAS: Meadows/ ARCO Artist Spotlight was developed between the Meadows Museum and Fundación ARCO—to introduce the work of Spain’s

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Meadows Museum director Mark Roglán with Fundación ARCO director Maribel López Zambrana in Madrid.

Above: As a prelude to MAS, Secundino Hernández's Untitled, 2019, is on display at the Meadows Museum through April.

Left: Studio view featuring a “palette painting” detail.

great contemporary artists to North Texans.

In this new biennial MAS program, the Meadows will give one emerging or midcareer Spanish artist an opportunity to exhibit at the museum. Selected by ARCO’s nominating committee (a mix of the foundation, two collectors, and two directors of the art institutions), there is no media limitation. “Video, performances, installations, are all welcome,” Roglán says. A Dallas-based scholarly selection committee will choose one artist from among the four finalists presented by ARCO. Surrounding the approximately four-month exhibition and as part of the series, the Spanish artist will travel to Dallas to participate in public programming, envisioned to further engage audiences with the artist’s practice. “These artists have to be open to the possibility of being present. They have to be able to face the challenge,” says Zambrana. The partnership is designed to provide chosen artists with an opportunity to enhance their visibility among US audiences. Among the delegation, Stacey McCord, board member and cofounder of the task force SMART (Spanish Modern Art), will work together with Mullen to bring the best current Spanish artists to the Meadows and develop opportunities for the artist to build networks of support, interest, and appreciation.

The first artist’s installation under the MAS program will open at the Meadows in January 2021. As a prelude to MAS, and arising from that studio visit last year, Hernández’s Untitled, 2019 is currently on view at the Meadows. The artist rarely titles his work. “I always assume that the painting must be strong enough to be independent and not have to talk so much about them,” Hernández explains. As an important part of the initiative, an artist talk is scheduled for March 5, along with a series of programs.

Meadows curator Amanda Dotseth, known for her exceptional scholarship on Spanish art, describes Hernández as “a rigorous and dedicated practitioner, dedicated not only to the conception of his work, but the process of making as well. He has a connection with his chosen materials that is refreshing in a world that often focuses more on the conceptual.” And while Hernández is a contemporary artist, she says, “His work and the method of its production is firmly grounded in the long tradition of artistic practice in Spain, and Europe more broadly. He grew up in Madrid knowing that city’s great art collections, and naturally one can certainly spot affinities between his work and the Old Masters. . . in his blurring of the distinction between figuration and abstraction, his extensive working and reworking of both support and medium, and the energy

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The artist gives a tour of his studio.

of his brushstroke. El Greco, perhaps, particularly comes to mind, but so, too, do modern Spanish masters like Saura and Tàpies.”

Appropriately, alongside Untitled, works by Antonio Saura, Antoni Tàpies, and Miquel Barceó hang in the gallery—“all Spanish artists from the 20th century working in various modes or levels of abstractions in innovative ways that complement Secundino’s work,” Dotseth explains. Culled from the Meadows collection from the second half of the 20th century, “these highlights contextualize Secundino’s work within the canonical collection. There’s also a wonderful sculpture by Muñoz that adds a more human element in the gallery,” Dotseth adds.

Resisting characterization, Hernández’s evolved painting practice is expressed within a four-story, 12,000-square-foot studio where he investigates gesture and form. “He is constantly making, unmaking, and remaking his works. . . literally cutting them, sewing them, painting, power washing, repainting, scratching. Although grounded in the Spanish tradition, his process supports his constant innovation. He is constantly experimenting with new materials, techniques, subject matter, and forms of abstraction, never resting on one even successful type of work,” says Dotseth.

A November studio visit proved this. After consolidating his practice into one studio—the artist lived and worked in Berlin as well—distinct bodies of work demonstrate his painting prowess. “I like this conversation between different bodies of work,” he says, gesturing to one of the “palette” paintings and then another, referred to as a “wash” work. The painting at the Meadows he describes thus: “The spirit of these works is to use all the leftovers as a physical material, stitching the geometrical shapes into the surface. This is after three to four years of evolution.”

“Every time I go to his studio, I feel like I see something completely different,” Dotseth confirms. “This constant commitment to innovation reinforces Secundino’s ability to reinvent and disrupt previous procedures or beliefs in a way that makes his work relevant and appealing in today’s ever-changing art world.”

The Meadows Museum will greatly expand its contemporary program through this initiative. “The range of contemporary artists working in Spain is enormous.

For us, it’s hard to find an institution that has a better pulse on contemporary art today in Spain than ARCO, and it’s hard to find an institution like the Meadows that specializes in Spanish art in the US,” Roglán says. “And contemporary Spanish art is part of our origins—Joan Miró inscribed a painting in our collection to Algur H. Meadows.” P

Top floor studio view.

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AN ARTIST & CURATOR FOR THE 21ST CENTURY Joël Andrianomearisoa: Serenade is Not Dead marks Laurie Ann Farrell’s curatorial debut at Dallas Contemporary.

BY CHRIS BYRNE

Above: Laurie Ann Farrell is the senior curator at Dallas Contemporary. Photograph

by Chia Chong. Far left: Joël Andrianomearisoa. Photograph

by Christian Senna. Left: Joël Andrianomearisoa, Serenade is Not Dead, installation view.

Photograph by Kevin Todora.

Courtesy of the artist and Sabrina Amrani Madrid.

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rior to arriving in Dallas, Laurie Ann Farrell was the head of modern and contemporary art and the curator of contemporary art at the Detroit Institute of Arts. Before that she oversaw the galleries at the Savannah College of Art and Design (SCAD) in Georgia, which also included the exhibition spaces in Atlanta, southern France, and Hong Kong. As the new senior curator of Dallas Contemporary, Farrell discusses her first exhibition and the highlights from her emerging curatorial career.

Chris Byrne (CB): Joël Andrianomearisoa’s Serenade is Not Dead opened this past month at Dallas Contemporary. The show marks the artist’s first museum exhibition in the US as well as your curatorial debut at the institution— how did all this come about?

Laurie Ann Farrell (LAF): I first discovered Joël’s work in the 1997 issue of Revue Noire, dedicated to Madagascar. His career was in the nascent days at this point, but you could see that something very special was developing.

In 2014, I was completely spellbound by his Sentimental Negotiations installation of pocket mirrors in the Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists at the Museum für Moderne Kunst in Frankfurt am Main. I subsequently brought the Divine Comedy exhibition to the SCAD in Savannah, and this afforded the amazing opportunity to spend more time with Joël and

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garner a greater understanding of his artistic practice.

When I arrived at Dallas Contemporary, I wanted to revisit Joël’s work, as I believe he exemplifies the artist of the 21st century by working across a diverse range of media and methods to express his creative vision. I knew our viewers would connect with the artist’s visual explorations of love and longing or “territories of desire” through abstraction, his references to the figure, conceptual appropriation, and photography. This show was the first in a series of forthcoming solo exhibitions featuring contemporary artists from Africa and the Diaspora.

CB: What would you consider to be the curatorial highlights or noteworthy programming initiatives at SCAD? LAF: Overseeing the exhibition program at SCAD’s international locations really allowed me to explore a broad range of artists and designers. One of the many once-in-a-lifetime experiences was working on the 85,000-square-foot expansion of the SCAD Museum, which opened in 2011.

Another major highlight includes bringing Carrie Mae Weems in as a distinguished visiting faculty member in 2008 to teach a multidisciplinary course geared towards producing a film and related series of photographs. The film, Constructing History: A Requiem to Mark the Moment, was a cinematic recreation of significant civil rights moments from 1968 bookended by images of the 2008 Democratic

CONTEMPORARIES

Joël Andrianomearisoa, VESTIGES, installation, flowers, 2018–2020. Photograph by Kevin Todora. Courtesy of the artist and Sabrina Amrani Madrid.

presidential contenders President Barack Obama and Hillary Rodham Clinton. Students who participated in making props and costumes also acted in the film. It was incredibly rewarding to hear students say that working with Carrie Mae Weems had changed their lives and redefined for them what it means to be an artist.

I also worked closely with André Leon Talley, a former SCAD trustee, on numerous fashion exhibitions. The most ambitious show we realized together was the Little Black Dress exhibition that opened at the SCAD Museum in Savannah and later traveled to Paris. I really loved working with Talley, as he’s a fashion connoisseur with an indexical knowledge of fashion history.

Another unexpected career highlight includes collaborating with André Benjamin, aka André 3000, on a film and exhibition of bespoke jumpsuits he designed for the 2014 Outkast reunion tour. We opened the I Feel Ya show in Miami and then brought it to Savannah.

CB: You were at the Detroit Institute of Arts. I currently serve on the board of directors at the Museum of Contemporary Art Detroit, cofounded by Julie Reyes Taubman. The network of museums in the Detroit area offers an incredible range and includes MOCAD, the Broad Art Museum at Michigan State University in East Lansing, Cranbrook Art Museum in Bloomfield Hills, the University

of Michigan Museum of Art in Ann Arbor, as well as the DIA. I’m wondering if you feel any similarities exist within these museum structures and the new context of Dallas and Fort Worth.

LAF: In the short period of time that I’ve been working in Dallas, the thing that really stands out is the curatorial collegiality across the DFW-area museums. For example, a group of women curators from museums in Dallas and Fort Worth gather for dinner about every six to eight weeks. These amazing colleagues also show up at each other’s openings and offer a great deal of genuine support. To have such a tight-knit community of curators is fairly rare and incredibly special.

CB: And you’re currently in London working with Vivienne Westwood on a major exhibition that will open on March 28, the evening of Dallas Contemporary’s annual gala....

LAF: Yes—this timely exhibition focuses on Vivienne Westwood’s fusion of fashion and art through the lens of her environmental activism. The exhibition will showcase fashion, graphics, photography, film, and other ephemera illustrating Westwood’s environmental campaigns such as Save the Rainforest, Save the Arctic, and her Ethical Fashion Initiative in Kenya. P

Now Available On:

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ANDY HANSON Photographs

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STUDIO

jmb_2020: a case of mild provocation and sustained memory loss The liminal spaces and objects of Jesse Morgan Barnett.

BY BRANDON KENNEDY PHOTOGRAPHY BY MEGAN GELNER

The artist at home surrounded by various components of his artworks, including the faux pet pairing of 1/2 House, 2/2 Dogs.

re: with (y)our insatiable appetite/instant consumption of images via web/apps, from the kitchen. A sound buffer, oxygen barrier, and flora defense, (y)our capacity for nostalgia is greatly diminished–paraphrased from Virginie which jmb_2020 quickly points to in admission of the strategy at hand.

Despentes’ Vernon Subutex I get online to refresh my mind’s recollection of the last project handful of days after the new year, on a sunny Sunday of Jesse’s: a subtle takeover of the abode of collector Charles Dee afternoon outside a repurposed industrial loft building Mitchell—his second time to do so and the fifth anniversary of the in the Medical District of Fort Worth, my sidewalk first time. I don’t know the title, and a left-justified splintered text greeting meets an exhaled puff and wave/head nod block explodes work and show titles into the breezy right. I text my inquiry as to the title. jmb_2020: “I WOULD KNOW YOU WERE acknowledgement from the artist Jesse Morgan Barnett.

Second floor: Shoes are removed in turn just inside the door. SERIOUS” Me: “!!” It’s there, top left.

Objects, interrogations, and relationships unfold into another’s Previously opened chilled red is given a second thought in favor of a few fingers of Scotch. A white-plastic colander full of washed personal space in the temporal envelope of an opening, with the installation shifting slightly for a closing reception. As you enter: blackberries, a plate of mini croissants.

There is an overabundance of diverse and well-cared for potted a workable gargoyle lifted from Notre Dame rests on its elbows, plants grouped around the sitting area, near the ledge by east-facing head in hands, with a simple base on a makeshift table pedestal in windows and forming a virtual wall that separates the living area the yard. Then, seen from inside: a small dog rendered in plastic

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Jesse Morgan Barnett, OH CHRISTMAS TREE TONY BENNETT VERSION, 2019, rug, acrylic.

boxwood with a litany of moments between 6:46 and 7:46 are slowly crossed out on the kitchen window stands in the gravel across from a circular mirror with baloney face holes jigsawed in MDF, a noseto-glass poodle reflected in symmetry just behind. Outside again, a mannequin leg with stocking bobs in a garden water feature with its associate caught in an Instagram-able pose nearby. The chlorine filter takes refuge under a straw hat; arms may appear up in a crepe myrtle.

Elsewhere, there are images of the artist as toddler with corncob and his young mother with fried chicken as a cutout under the staircase. On the second floor, the contents of the guest bedroom’s low bookcase have been adjourned to the bed, covered with plastic, and topped by a houseplant. A small, minimal painting of washy quasi-organic forms lies face-up upon the shelf. A restaurant heat lamp houses a photo transparency of a cluster of green bananas.

In the hallway, the artist engages in language/form mapping on a large white panel to the left: a sentence diagramming of Sylvia Plath’s “A Birthday Present” sans words, only structure (a collaboration with editor Leslie Murrell). It breaks forth like a study of the growth of future tree branches and twigs, alleviating the dark, pleading inquiry of the formidable poet. A rug runner stained with painted pet puddles are wet with water. Commissioned paintings by Marjorie and Ludwig Schwarz of Auguste Deter, the first person to be diagnosed with Alzheimer’s, hang in different rooms. A beveledglass cabinet encased in a clipped off-white faux-fur sleeve “THE WOODLIKE” bookended before the collector’s bedroom. A pencil line and caption marking the height of the artist’s son as an adult on a horse rests near the ceiling.

Back in Morgan Barnett’s loft, remnants of works in the exhibition are dismembered and strewn about, opening up new conversations and lines of questioning. I find myself pointing, asking and wondering more than usual about what could be misperceived as art (part or parcel), residue, or simply isolated elements of an everyday life of continuous inquiry.

“My practice is almost always connected to photography and my personal history that points rather than touches,” says Jesse Morgan Barnett ( JMB). “I project a kind of agnosticism onto something, where it’s hard to validate scientific progress, knowing what we do not know.” As the artist moves through his space, he trips over two oversized red and blue plastic jewels (rupee props from Breath of the Wild video game) that are utility taped to the floor, and he declares his fondness for exploring the open world interface of such ventures with his son. Two lifelike silicone rubber forearms with hands sit atop two side-by-side humidifiers. Written in a wispy, invented hair font, the text on both appendages, I’m told, reads: “Made in China 2025.” I carry one to the table where we’ve been talking to give it a closer inspection, absurdly turning it between my hands, questioning its future copyright.

Soon after, as I’m putting my shoes on and about to depart, Morgan Barnett hands me a large white hardcover monograph of the work of German photographer Thomas Ruff with a CNC-format matching hole centered and cut all the way through. I look at it and see a framed image of one of Ruff’s straightforward portraits with a void emptying out the man’s features. I open the book and flip through its oddly uniform excised pages while noticing that most pertinent visual information is now lost as I feel my fingers slowly gripping the holes on both sides like a secondary spine. P

From left: Michelle Rawlings, Auguste Deter (MR), 2015, oil on canvas; Marjorie Schwarz, Auguste Deter (MS), 2015, water soluble oil on canvas.

Jesse Morgan Barnett, GOOD MOVES September 6—October 5, 2019 (lost submission), 2019, faux stone, ink.

From left: Jesse Morgan Barnett, BORGEN WOLFE HALF LAUREL, 2019, vinyl; Jesse Morgan Barnett, KING, A STREET STORY, 2020, xerographic transfer on wood.

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Teatro Real is situated on the Plaza de Oriente in Madrid, Spain. Photograph by fotovoyager.

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BY WAY OF SPAIN

A transatlantic agreement between Teatro Real, The Dallas Opera, and the Meadows Museum brings shared arts and culture to Dallas and Madrid.

BY TERRI PROVENCAL

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paniards are like Texans—always welcoming, ready to extend a hand and a little elbow grease to bolster the mission of the arts. From this perspective, a transatlantic agreement among The Dallas Opera, Teatro Real (Madrid’s royal opera house), and the Meadows Museum is entirely plausible.

Honorary Consul of Spain Janet Kafka knows this better than anyone. “I studied at the Universidad Complutense de Madrid. I went there to pursue my love of the Spanish language and ended up falling in love with Spain and its culture.” She’s dedicated much of her consular work to raising awareness of these shared sentiments and the rich cultural playgrounds these two international cities offer. “I took a course at the Prado Museum to learn about Spanish art and a course on the architecture of Spain. I traveled extensively throughout Spain and discovered the indigenous food and wines of the country, the regional diversity of its people, and was exposed to the music and dance native to each region.”

Involved with Spain throughout her entire career, Kafka became a catalyst for a unique initiative among the three acclaimed institutions. “On one of my trips to Spain, I learned that the Teatro Real was preparing to celebrate its 200th anniversary, and one of their top priorities was to develop international exchanges in celebration of this significant birthday. Knowing that The Dallas Opera is one of our great Dallas cultural treasures, I thought ‘Why not propose an initiative with The Dallas Opera?’”

Always seeking “common institutional objectives that, by bringing the parties together, can bring Dallas a little closer to Spain,” Kafka works closely in her role as Honorary Consul and as an advisory council member of the Meadows Museum alongside the museum’s director, Mark Roglán. “Mark expressed interest in joining this initiative as the visual arts partner. The Dallas Opera director, Ian Derrer, and the Teatro Real director, Ignacio García Belenguer, agreed that a tripartite agreement was of great interest.”

The Teatro Real theater. Photograph © Javier del Real.

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To Roglán this made sense for the Meadows Museum, suggesting, “Fine art and opera are made of the same creative fabric. Spanish artists such as Zuloaga, Picasso, Dalí, and Miró, have collaborated with opera houses in designing sets, costumes, and posters.

Moreover, many major composers, such as Falla, Granados, and Albéniz, shared close friendships with artists throughout their careers.”

And so it was that last November, a delegation from Dallas arrived in Madrid to witness the signing of a cross-cultural and social exchange agreement among the Teatro Real, The Dallas Opera, and the Meadows Museum, building an unprecedented new framework connecting the three organizations.

Teatro Real’s CEO/general director Ignacio García Belenguer could easily be an honorary Texan. Handsome and entirely engaged, he could almost be mistaken for Ian Derrer, our own general director of The Dallas Opera. It’s clear that Belenguer loves his opera house, as Derrer does his. “Teatro Real is well known for the high quality of its artistic production, which has made it a benchmark for other national and international opera houses, and for its high level of creativity and cultural outreach,” Belenguer says. “Our objective is to reach the greatest number of people, especially young people and children, and through our social programs we strive for music to serve as a key to the integration of less advantaged groups into the fold.” As well, he adds, “We have become the venue for international discussion forums, among other activities.”

As to The Dallas Opera, Derrer agrees. “To me, this initiative represents a broadening of possibilities—not only for our stages and galleries, but for linking the visual arts with the performing arts for audiences and patrons alike. It deepens our interactions with each institution, particularly for the curious learner in us all.”

While hosting the Dallas group, Belenguer opened the belly of Teatro Real—its first stone laid on April 23, 1818, following

Acclaimed Mexican tenor Javier Camarena, accompanied by pianist Angel Rodríguez, performed at Teatro Real’s gala. Photograph © Javier del Real.

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King Ferdinand VII’s royal decree. That evening, the group was treated to Gaetano Donizetti’s comic opera L’elisir d’amore (The Elixir of Love) in a version created by Damiano Michieletto, which finds bawdy vacationers on the beach sipping an “energy drink” peddled by Dulcamara. The opera house is known for both its classical and contemporary lyrical repertory.

“In November of 1850, the theater was opened with a performance of La favorita by Gaetano Donizetti,” Derrer recounts. “In the ensuing years, the Real became a major European theater, where the best singers of the day came to perform, including the famous diva Adelina Patti. There have been closings and renovations to the theater itself, but since reopening in 1997, it has premiered several notable operas, including The Perfect American by Philip Glass [2013], and Brokeback Mountain by Charles Wuorinen [2014].”

A gala dinner the following night emphasized the classics with Mexican operatic tenor and Mozart and bel canto specialist Javier Camarena alongside his pianist Angel Rodríguez. Camarena was immediately animated with his audience and, at final count, six encores ensued. An enthusiastic Derrer says, “Speaking of best singers of the day…it was a captivating performance. An intimate recital with piano accompaniment that actually packed the wallop of a full-blown orchestral experience. Javier is the most earnest of performers, with a voice of heart-wrenching Clockwise from top left: Teatro Real. Ignacio García Belenger, general director of Teatro Real; Mark Roglán, director of the Meadows Museum; Ian Derrer, CEO and director of The Dallas Opera. Photograph by Alejandro García. Honorary Consul of Spain Janet Kafka at the Treasures from the House of Alba gala at the Meadows Museum. Photograph by Tamytha Cameron. Museo Sorolla interior.

Photograph by Terri Provencal.

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beauty and show-stopping high notes.”

Roughly the same geographical size as Texas, though it could be safely tucked inside the borders of the Lone Star State, Spain is deeply rooted in the arts. And because Spaniards are much like our own denizens, ready to show off the riches of the region, the hosts arranged visits to Madrid’s plentiful museums; private collections, including the Masaveu Collection, which has loaned works to the Meadows; and Teatro Real’s neighbor and collaborator, the Reina Sofía School of Music.

Says the music school’s CEO Julia Sánchez Abeal, “We have a very close relationship with the Teatro Real; our facilities are next to each other, and this closeness is not just physical. Our students, alumni, and faculty constantly attend their performances and rehearsals. Their production director, as well as some of the singers that perform on their stage, come every year to give master classes to our students. We also feel very proud to see many of our alumni—close to one quarter— as members of their in-residence symphony orchestra.”

Other Dallas delegation treats included a guided tour of Museo Sorolla led by Blanca Pons-Sorolla, great granddaughter of the master painter Joaquín Sorolla y Bastida (Valencia, 1863– Cercedilla, 1923). With the original atmosphere of the home and studio intact, it is one of the most complete and best artistconserved houses here in Europe. A garden also designed by the Spanish master is painstakingly preserved. Pons-Sorolla is a scholar on her great-grandfather’s work, and in 2014 she guest curated Sorolla and America at the Meadows Museum and wrote the publication of the same name. She is a frequent face at and guest of the Meadows,

Joaquín Achúcarro at the Festival de Torroella, August 2017.

Courtesy of the Joaquín Achúcarro Foundation.

Reina Sofía School of Music Sony Auditorium. Photograph courtesy of Reina Sofía School of Music.

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Spanish influences ignite two dancers in Carmen on The Dallas Opera stage. Photograph by Karen Almond.

The Dallas Opera’s production of Carmen, set in Seville, Spain. Photograph by Karen Almond.

Diego Rodriguez de Silva y Velázquez (1599–1660), Portrait of King Philip IV, c. 1623–24. Oil on canvas, 24.37 x 19.25 in.

Meadows Museum, SMU, Dallas. Algur H. Meadows Collection.

Photograph by Michael Bodycomb.

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where she was first introduced to Janet Kafka, who shares the same birthday and refers to Blanca as her “Spanish sister.”

As a setting for grand opera, Spain is no stranger to The Dallas Opera stage. Most recently The Dallas Opera produced a grittyyet-atmospheric staging of the immortal Carmen, set in Seville. The Dallas Opera’s March performance of Don Carlo will serve to usher in the new partnership and bring a Teatro Real delegation to Dallas.

On March 29, Alonso Berruguete: First Sculptor of Renaissance Spain will open at the Meadows. The exhibition will include sculptures, drawings, prints, and paintings created by Berruguete as well as by his contemporaries. An enthusiastic Roglán explains, “All of these works were produced during the first half of the 16th century, the same century in which Verdi’s opera Don Carlo is set. Named court painter to Charles V [the real-life Don Carlo’s grandfather], Berruguete was intimately connected with the Habsburg royal family, which included Charles’ son Philip II, one of the main characters in the opera. Beyond the historical connections between this artist and Don Carlo, one thing that will stand out for visitors to this exhibition is DRAMA!” Meadows Museum curator Amanda W. Dotseth will deliver The Dallas Opera’s Joy and Ronald Mankoff Pre-Opera Talks during the run of Don Carlo. The free, 30-minute preshow lectures for ticket holders will provide context for the performances, with a particular focus on the Habsburg court in Spain during the 16th century. “The Dallas Opera Guild’s Insights panel discussion on Verdi’s Don Carlo will be conducted at the Meadows Museum. I will be one of the panelists, along with Dr. Amanda Dotseth, in a conversation moderated by Meadows Museum Director Mark Roglán,” says Derrer.

While the international visitors are here, Derrer says other crossover highlights include, “a special patron evening that includes access to the final performance of Verdi’s masterpiece; a brief opera sampler in the Gene and Jerry Jones Great Hall at the Meadows during the Berruguete exhibition opening; and the Joy and Ronald Mankoff Pre-Opera Talk prior to the Winspear Opera House performance.” He adds “You will see additional evidence of this energetic collaboration from the moment you step into the opera house lobby for Don Carlo—and certainly once you enter the audience chamber.” Works from the Meadows collection will be incorporated into the production.

Belenguer is most enthused to bring his delegation to Dallas.

“This trip will be very enriching for those patrons who decide to join us. We expect a good response from our donors, not only Spanish, but also international, from all over the world, who have been collaborating with the Teatro Real for almost a decade. In particular, the delegation will include members of our International Council, chaired by Helena Revoredo and comprised of important philanthropists and lovers of opera. Guests will include citizens of the US, Latin America, and Europe.” He adds that he’s particularly looking forward to a concert by internationally renowned Spanish pianist Joaquín Achúcarro in Southern Methodist University’s Caruth Auditorium.

Spurring the landmark international alliance, Kafka concludes, “The most joyful part of working on this agreement has been experiencing the spirit of cooperation and out-of-the-box thinking among the three directors. Ian, Mark, and Ignacio are all creative thinkers who believe that all things are possible and have a tremendous can-do spirit.” P

Alonso Berruguete: First Sculptor of Renaissance Spain installation view.

Photograph courtesy of the National Gallery of Art.

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ACTIVE MOURNING

Michael Rakowitz receives the Nasher Prize for his sculpture practice rooted in cultural identity, loss, and displacement.

BY ARTHUR PEÑA

2020 Nasher Prize Laureate Michael Rakowitz cooking in his studio in Chicago. Courtesy of Quin Mathews Films.

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M

ichael Rakowitz is the fifth artist to receive the Nasher Prize, an international award recognizing artists who have advanced, challenged, and contributed to the field of sculpture. Along with being named the 2020 Laureate, the Chicago-based artist will receive $100,000. For over twenty years Rakowitz’s socially engaged works and acute sensitivity to material have addressed issues of cultural identity, inherited patrimony, and collective trauma. As an American descendent of the Iraqi Jewish diaspora whose family fled Iraq under the threat of violence, his projects and research focus on the emotional and psychological impact of such generational displacement.

Rakowitz’s earliest ongoing work paraSITE, which had its first iteration in 1997, is temporary inflatable shelters produced for and in collaboration with homeless individuals. Utilizing materials that cost no more than five dollars, these shelters are attached to a building’s exterior venting system, providing heat to the structure while calling attention to issues surrounding homeless populations.

Both Enemy Kitchen (2003) and Radio Silence (2017) continue using familial heritage and participatory engagement as powerful tools for unity across cultural divides due to ongoing war. These projects tap into the intimate nature of how we maintain history in our daily life, and how the act of sharing can bring people together, providing a space for healing.

His largest project, The invisible enemy should not exist (2007), continues to “reappear” antiquities from the National Museum of Iraq, Baghdad that were looted or destroyed following the 2003 US invasion of Iraq. Springing forth from his 2006 storefront project, RETURN, The invisible enemy should not exist seeks to preserve displaced histories while mourning the loss of cultural artifacts and, most importantly, lives lost.

Arthur Peña (AP): What do you foresee as a lasting impact of Nasher Prize on your practice?

Michael Rakowitz (MR): I’ve been lucky to work alongside the young artists that I do here in Chicago at the studio. I care deeply about them as artists and as people, and this support allows us to continue working, and to get other people work. In this imperfect system that we’re all in, one needs a job. It also gives me the opportunity to do things like support the different communities and nonprofit organizations I’ve worked closely with on various projects. Along with a prize of this magnitude comes a lot of potential.

AP: Previous laureates are, as a whole, tearing down as much as they are building up our understanding of what defines sculpture. How do you see your practice within this historical canon?

MR: I paid very close attention to the history of sculpture when I was in art school. One of the things that was transformative and an important final key in my own process was learning about John Cage, Allan Kaprow, Joseph Beuys, and Gordon Matta-Clark. I began to consider moving from more traditional techniques to working more with concepts. The most exciting moments in the canon is when I started to see the work of people reacting directly to a space. Sometimes that was through architecture. For me, that grounded things.

AP: You are partaking in an ecosystem that could be seen as exclusive: the art world, institutions, academia. How do you see yourself fitting in with what your project is, which is rooted in the daily emotional states of being a human, but, above all, the inclusion of overlooked communities and narratives?

MR: The way that I became very interested in working with people comes from my interest in working site specifically. It felt like it allowed for the conversations to be happening in places like cities, which are defined by different social groups. The art community is

Michael Rakowitz, The invisible enemy should not exist (Recovered, Missing, Stolen Series), 2007, Middle Eastern packaging and newspapers, glue, variable dimensions. Installation view at Lombard-Freid Projects, New York, NY. Courtesy the artist and Lombard Freid Gallery

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Michael Rakowitz, Enemy Kitchen, 2003–ongoing. Photograph courtesy of the Smart Museum of Art.

Michael Rakowitz, paraSITE homeless shelter, 1997, Polyethylene, 42 x 36 x 11 in. Museum of Modern Art, New York. Gift of Michael Rakowitz and Lombard-Freid Projects. Photograph courtesy of the artist.

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Michael Rakowitz, RETURN, 2006, Storefront at 529 Atlantic Avenue, Brooklyn.

Produced by Creative Time. Photograph courtesy of the artist.

just one of them.

What I was more interested in was figuring out ways to work that allowed for the descriptive aspect of a project to become a pressure that gets exerted on the work so, maybe, something would happen that I couldn’t anticipate or think about on my own in the studio.

I think paraSITE, the shelters that I designed for homeless people, became an important moment in all of that—an umbrella for other projects I’ve done where these conversations about certain needs of cities and people ended up sculpting the work.

AP: I’m very interested in the grand narrative that comes out of you directly working with people and listening to stories while helping access and mine these very human moments. Some are about tragedy, others about catharsis. What have you come to understand about humanity as a whole from your work and research?

MR: It’s clear to me that we’re losing spaces where people slow down and listen. Spaces where people feel like they’re actually heard. I don’t think I could’ve done the project Radio Silence in Philadelphia, with Iraqi refugees and the American veterans community, or the project A Color Removed in Cleveland, with the family of Tamir Rice, without taking it slow.

I really appreciate those moments as some of the most rewarding work that I’ve done, where I feel like I get to be a part of a living facet. The work becomes ongoing, and I don’t know, really, when it ends or if it ends. The opportunity to go slow means that it is an ongoing process. That’s why a lot of my projects don’t have an end date; they’re focused on things that unfortunately don’t go away. The problems that they’re grappling with, like trauma, are never going to disappear. Their refusal to disappear means that we have to actually get with it. That there can’t be the politeness of resolution.

The positive is that there are more people who are artists than we thought. I look forward to a time when the term “artist” might disappear—not because art disappeared, but because this idea of who practices it shifts. I’ve found the creative act, and the knack for it, really lives on in people who have had very different training.

These projects are relational, whether you call it participation or involvement. All of those experiences that I’ve had have shown me that people are very capable of thinking in this artistic way, and once they’re given permission to, it’s a liberating and affirming moment.

AP: A project like Enemy Kitchen really speaks to these ideas where you have shared moments. As the provider of that space, you’re an ambassador for the potential of friendship, which comes with a certain amount of responsibility.

It takes a charming person to try to navigate those situations, and I think at the core of that charm is a strong sense of compassion. How do you negotiate your role between the public and the limits of your own empathy?

MR: It’s good to be able to retreat after engaging in that way, whether it’s a night alone after a long day or taking time off to recalibrate and figure out a next step. I also have to say that I get a lot of joy from the process—being able to engage with people in the manner where we are all in that space of empathy. That is the space of the dinner table.

That is the space of the collective commons, or a place where people are working together or singing together. That opportunity for people to transmit to one another, and to receive from one another, is something I feel protective of. I think it might come from what happens when any family has to move from one place to another, not necessarily by choice.

I think that my mother’s family had a big influence on my upbringing. We grew up in the house that my grandfather settled in when they left Iraq because it was becoming impossible for them to live there. There was a steadfastness of not interrupting that transmission of culture from one generation to another. My mother and her siblings grew up with my grandparents continuing to host parties with Arabic and Iraqi music. I grew up in a house where I understood my grandparents to be the first installation artist that I ever met because everything that was on the walls or on the floors was from Iraq. Everything that was coming out of the kitchen definitely was from Iraq.

Within the last five years there’s been this influx of refugees who have fled ISIS. These stories are unfortunately very familiar to me. Materials and people get displaced, but there are still ways of appreciating those cultures and the ways in which they survived.

This work is not so hard for me to perform because it doesn’t feel as though it’s theatrical. My family has always been interested in hosting, and through that we were still able to engage in certain things, like the alchemy of making a recipe. What you do is make that thing in the space, in the kitchen, which is next to the living

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Michael Rakowitz, The invisible enemy should not exist (Lamassu), 2018, installation view, Trafalgar Square, London, 2018, Middle Eastern food packaging, newspapers, glue, labels, sound, drawings.

Photograph courtesy of the artist.

room, so that living can continue.

AP: In part, all of this is in response to the atrocities of war. Does forgiveness have a role in what you do?

MR: In terms of any of the projects that are engagements between American combat veterans and Iraqis, I feel forgiveness is not the hardest thing. What I found is that space of forgiveness is really better called the space of accountability and healing.

Sometimes it’s better to create the conditions where something like reconciliation can happen.

If you can set the tone, mood, and environment, people feel they’re given a space where they can say that they want to be accountable and are allowed to create that process for themselves. A lot of the activist groups I’ve worked with have taught me what it means for something to continue as a process and to not just be a means to an end from which we just move on. We know that certain problems continue to reverberate throughout history, generationally, and will continue to do so. The process would become more important than that because it allows for it to continue to be discussed.

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AP: Your project Radio Silence is about storytelling, listening, and collapsing experiences to reveal the common place that they occupy. The live performance and accompanying podcast created in collaboration with Philadelphia based Warrior Writers and inspired by famed Iraqi broadcaster Bahjat Abdulwahed captures you mediating people’s stories in front of a live audience. It’s one of my favorite projects.

MR: Radio had always been very interesting to me growing up because it was always on. Radio in and of itself always had a mediator, negotiator, a host. I find the medium rich and exciting and always wanted to do something with it. I thought radio was successful because that’s a space where everybody had a different image of what was going on, but we were all bound together by hearing the story.

Radio Silence was an opportunity to work with Bahjat, who embodied the cultural heritage and the learned memory of Iraq. He was living in Philadelphia, so we met and became close. That was another project that went slow, and for tragic reasons. If you listen to the show you know that Bahjat became very ill. We extended that

project as we helped take care of him and his family. It was a project he was the center of. I demanded that we just not proceed until he got better. Unfortunately, he didn’t get better.

After he passed away, we mourned, and there was this organic process where the people who Bahjat engaged with wanted to continue and hold the space that he would’ve held so people could keep his stories and his memories alive. It was a very beautiful process. It was heartwrenching. It was also incredibly real. I don’t know how else to put it.

AP: It became a beautiful living memoriam, and through that project you had to be open to unforeseen circumstances. With The invisible enemy should not exist, you’re building a case, presenting evidence, and looking for accountability while also filling in the historical gaps as best you can. I would think that your research and the ever-evolving narrative of ISIS and regional conflict presents endless options as to what form the work will take and what issues will be addressed.

MR: The looting of the museum occurred in 2003, and more than three years afterwards I realized that there was something to do about those disappearing objects. I was very conscious that this was the first moment that a sense of pathos was present and allowed for grieving. Your stance on the war didn’t matter; this was a catastrophe and loss not just for the Iraqi people, but all humanity. It made me angry when the collective outrage about the loss of artifacts didn’t turn into collective outrage about lost lives. How to articulate that was not clear to me. How does one give it a form that allows for the human cost of the war to be alive and in it?

It was through my project Return that I received my answer on how The invisible enemy should not exist would take shape. I had bought a can of Iraqi dates from a store that stated it was a product of Lebanon, but I later found out from the owner that it was actually

from Iraq. I learned that the dates are processed in Baghdad, then driven over the border to Syria, eventually landing in Lebanon.

With this in mind, I reopened my grandfather’s business in Brooklyn to import Iraqi dates into the US for the first time in decades. However, even after sanctions were lifted, anything that said product of Iraq would undergo intensive search by the Department of Homeland Security and customs, which would then charge this to the importer, which caused many issues for us. While we waited in this empty store for products that would most likely never arrive, it made me think about the empty museums.

The few items that did make it to the store came in these incredibly beautiful wrappers. I thought about these artifacts coming back as ghosts and the museum coming back itself as a ghost, along with the provenance that made those artifacts so valuable in the first place. I thought about how the products in the store can’t tell you where they’re actually from, so the labels for these products became the perfect material for these “reappearances” to wear. This is the skin of the very thing that allows for these communities to continue to thrive, not just literally survive, and the fragile material spoke about the people who have gone missing alongside these artifacts.

In terms of the stories and information that are embedded in the destroyed objects, I’ve been in conversation with archeologists from all over the world. I can better understand how what began as a colonial expedition has now turned into something where there are mutual relationships between Iraqi and Western archeologists.

I have a certain amount of optimism that decolonization will yield some very generative results in the coming years. I have a lot of hope when it comes to some of the people who are operating in the field to really push forward this idea of what institutional accountability really means. P

Michael Rakowitz, May the Arrogant Not Prevail, 2010, found Arabic packaging and newspapers, glue, cardboard, and wood, 235.25 x 194.25 x 37.5 in. Collection Museum of Contemporary Art Chicago, gift of Marshall Field’s by exchange. Photograph courtesy of the artist and Rhona Hoffman Gallery. On right: Michael Rakowitz, May the Arrogant Not Prevail (detail), 2010.

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INDEPENDENT STUDY Three area patrons share their collections and personal approaches to navigating the Dallas Art Fair.

BY NANCY COHEN ISRAEL AND TERRI PROVENCAL PHOTOGRAPHY BY JOHN SMITH

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This page, clockwise from top left: Theodora Allen, Cosmic Garden VII, 2018, 67 x 51 in. Courtesy of the artist and 12.26, Dallas; Chul-Hyun Ahn, Three Circles, LED lights, mirrors, hardware, 44 x 44 in. Courtesy of the artist, C. Grimaldis Gallery, and Erin Cluley Gallery; Anya Kieler, Mademoiselle, 2019, paint, linen, fabric, foam, aqua, resin, wood, and Plexiglas, 40.25 x 30.5 x 8 in. Courtesy of the artist and Rachel Uffner Gallery, New York; David Benjamin Sherry, Grand Plateau, Grand Staircase-Escalante National Monument, Utah, 2017, chromogenic print, framed dimensions 73 x 90.75 x 2 in., image 71 x 88.75 in., edition 1 of 3, 2 APS. Courtesy of the artist, Morรกn Morรกn, and Salon 94. Opposite, clockwise from top left: Georg Karl Pfahler, Drei-R-Tex,1966, acrylic on canvas, 33.5 x 39.37 in. Courtesy of the Georg Karl Pfahler Estate and Nino Mier Gallery, West Hollywood, CA; Maja Ruznic, Inheritance II, 2019, oil on canvas, 60 x 49 in. Courtesy of the artist and Conduit Gallery, Dallas.; Rannva Kunoy, Per Capita, 2019, Pigment and Acrylic on Linen, 82 5/8h x 66 1/8w in.; Merlin James, Bridge, 1998, acrylic and mixed media, 17.7 x 25.2 in. Courtesy of the artist and Kerlin Gallery, Dublin.

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Image Clairecaption.

Dewar in her home. Behind: Maja Ruznic, Rug Scrubbers, 2019, oil on canvas, 81 x 62 in., Conduit Gallery, Dallas.

Right: Seth Cameron, No 27, 2018, watercolor on cold press watercolor paper, 31 x 15.2 in., Nathalie Karg Gallery, New York.

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THINK GLOBALLY, ACT LOCALLY

Collector Claire Dewar finds inspiration close to home.

C

ollecting comes naturally to Claire Dewar. She grew up surrounded by art in her family home as well as at her grandparents’ house. While still in her 20s, she began her own collection, starting with a work

by Ted Larsen that she discovered on a trip to Santa Fe; she confesses that she went to see it several times before finally deciding to bring it home. Soon after, she found herself drawn to another medium. “I began with photography. I was often intrigued by the narrative, as if there was a short story to tell,” she explains.

She was especially taken by the work of Shirin Neshat, whose exhibition at the Dallas Museum of Art in 2000 inspired her to acquire one of Neshat’s photographs. In the two decades since, Dewar’s collection has grown exponentially and now tilts mostly towards paintings.

Dewar acquires work from a multitude of sources, from auction houses to nationally and internationally renowned galleries. Having the Dallas Art Fair in her hometown, however, makes it easier for her to shop locally while thinking globally. Over the course of the fair’s existence, she has added over a dozen Dallas Art Fair-acquired works to her collection. They span the geographic, gender, and material gamut and include works by Seth Cameron, Tomo Campbell, Steve Dennie, Josh Faught, Nick Goss, Jay Heikes, Merlin James, Maja Ruznic, Rebecca Salter, Maximilian Schubert, Claire Sherman, Howard Tangye, Summer Wheat, and Matthew Wong.

Dewar navigates the fair collaboratively with Cesar Fuentes, her art advisor of 20 years. “He likes to get to the fair early and will give suggestions. But I stop in each gallery personally,” she explains, adding that she remains vigilant for work that is “originally expressed and well-crafted.” Multiple visits throughout the weekend help her focus on work that fully captures her attention.

Return trips also allow her to remain in touch with the myriad gallerists with whom she has become friendly. She says, “I love to meet the dealers who come in from out of town, and to meet fellow

collectors. I also enjoy the socialization that the Dallas Art Fair provides.” When asked which galleries she looks most forward to visiting at the fair, Dewar enthuses, “Oh, I don’t want to miss any! I love seeing each one.”

Dewar has a special connection to each piece in her art-filled homes in Dallas and Aspen. She is especially delighted, though, to have acquired a work by Matthew Wong from the New York-based gallery, Karma. “I feel grateful that I was able to buy something before he died.” she says of the recently deceased 35-year old artist.

On the international art market, Michael Raedecker and Chris Ofili are among the artists whose work she ultimately hopes to add to her collection. “I have tried to acquire Raedecker’s work twice at auction but haven’t won the bidding,” she shares. An Ofili exhibition at the Aspen Art Museum a few years ago drew her to this British painter’s work.

Despite her global connections, however, Dewar also supports the local art community. One of her favorite art fair acquisitions, from Conduit Gallery, is an ethereal painting by the Bosnianborn, California-based artist, Maja Ruznic; Conduit will open an exhibition of her work this month. Ruznic’s painting is one of several works in the collection that come from this Design District stalwart.

In addition to Ruznic’s work, Dewar also acquired a pair of Sarah Ball’s diminutive portraits from the gallery. And Ted Larsen, whom Dewar first acquired, is another artist currently represented by Conduit. In addition to being drawn to this well-established space, Dewar also welcomes the arrival of Gallery 12.26. “I just love the Fagadau sisters,” she says of owners Hannah and Hilary Fagadau.

Dewar continues to be inspired by many in the local contemporary-art ecosystem. Specifically, she credits Howard Rachofsky for opening the door to those interested in starting their own collections and cites his generosity of spirit in educating younger collectors. As a result, she says, “There are a lot of people in town now who are interested in buying contemporary art.” The Dallas Art Fair provides the ideal venue for them to start. P

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Steven Riskey in his home. Behind the bar: Nicolas Party, Front with a Red Hat, 2017, soft pastel on canvas, (framed) 59 x 39 in., Karma Gallery, New York.

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FLIGHTS OF FANCY

Humor inspires collection of Steven Riskey and Bart Fassino.

Art is fluid, it’s unbound, it’s undefinable,” states Steven Riskey. For him, this is also what makes it exciting. Riskey acknowledges that he spends his workdays “making sense of the chaotic world of data.” Immersion in the art world offers a welcome antidote. “One of things I love about the art world,” he continues, “is that it is so different from my day-to-day world. The people in it have such a different life journey.”

With his partner, Bart Fassino, Riskey is enjoying the voyage of discovery. It began relatively recently, when Riskey’s friend and fellow collector Molly Bruder introduced him to her sister, art advisor Anne Bruder. At first Riskey echoed the sentiments of many newcomers to the art world, saying, “I was intimidated by it—although intrigued.” With Bruder’s guidance and at her invitation, the couple went to New York, where they visited a handful of galleries. “When I got to New York, I quickly became a zealot,” Riskey confesses, adding, “I realized that the world of art was much richer, more profound, and much weightier than I ever imagined.”

Since then, the couple have become Dallas Art Fair regulars.

Like most collectors, they make several visits to the fair. First they go on their own. “We like the unbiased and unfiltered views,” Riskey says. On this first run, they generally make a list of what they like, going into it with no quota to meet or specific wall to fill. Then they discuss their list with Bruder. “She’s a little bit of a gut check,” Riskey explains. They particularly appreciate the opportunity to discover young, emerging artists. The imprimatur of the Dallas Art Fair also gives them the confidence that they are buying work within the mainstream of contemporary art trends.

Katherine Bradford, Nick Goss, Marc Horowitz, Tony Matelli, and Nicolas Party are among the artists whose work they have acquired over the past few years of attending the fair. The joy they derive from their collection is matched by the humor engendered in much of the work. For example, says Riskey, “We love when people walk into our home who have never seen a Tony Matelli bronze

‘weed’ and we witness that look on their face when they are trying to decide whether or not to tell us that a plant is growing out of the baseboard in the hallway.” In the kitchen, works by Chris Martin and Holly Coulis featuring, respectively, toast and hot dogs, add to the levity found within the collection.

In addition to humor, the couple appreciates art with a slight edge. “I also love people’s reaction to our Cary Leibowitz painting, which reads, ‘I hate you…I hate me more.’ They don’t know whether to laugh or cry,” says Riskey.

Figurative painting is another thread that weaves through much of their collection. For example, Nicolas Party’s dapper, shirtless portrait bust, acquired from Karma at a previous Dallas Art Fair, watches over the couple’s great room, where it serves as a conversation piece. It faces off with a newly acquired, multifigured painting by André Butzer from last year’s TWO x TWO for AIDS and Art. At this year’s Dallas Art Fair, they are looking forward to seeing the offerings from New York-based galleries; CANADA, the artistrun cooperative; and Rachel Uffner Gallery. From CANADA, they anticipate seeing the work of Katherine Bernhardt, an artist they have been following for quite some time.

Closer to home, they are keenly watching the career of Jeff Elrod. “Elrod’s paintings are a big acquisition, so we are just waiting for the right time,” explains Riskey. Though a local artist, Elrod is represented by London-based Simon Lee Gallery, which is returning to this year’s fair.

Over the course of the week surrounding the fair, the couple enjoys visiting with gallerists from out-of-town, many of whom have become friends. They especially look forward to the evenings and the one-on-one time with exhibitors over relaxed dinners.

During the days, however, they thrive on the palpable energy that the Dallas Art Fair brings to the city. Riskey offers an apt analogy, saying, “It’s like Christmas is for kids. You don’t know what you’ll get, but you know it will be awesome.” P

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Deborah Scott seated in the Whisper Raum by Studiofox. Right: Jim Hodges, nothing named 7, 2012, charcoal and Japanese silver leaf with Beva on paper, Baldwin Gallery, Aspen. Below: Kristin McIver's Love Piece and James Clar’s I LOVE, I WANT, I NEED, a light-based work from Jane Lombard Gallery.

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ART PARKED

Deborah and John Scott acquire art intuitively, broadening their collection with color and conversation.

Minutes before the new decade unfolded at Park House, condensation swaddled bottles of Dom Pérignon and Cristal, chilled at-the-ready to celebrate the arrival of 2020. Deborah Scott, one of the private club’s founders, no doubt styled in a beachy jumpsuit (her signature look), was in Cabo with her husband, John, also a founder, ringing in the New Year. The private club was in good hands, however, since the likeminded partners and cofounders Megan and Brady Wood—he’s a restaurant and entertainment maestro—hired the best talent to keep clubgoers happy.

The quartet’s ardor for art shows, as the club is gorgeously articulated; the place is known as much for its curated walls as for delicious cocktails. A native of New Zealand, living in Dallas a dozen years or so, Deborah’s own first significant art acquisition, purchased at auction, was Andy Warhol’s Life Savers, its tagline Please do not lick this page! Deborah says with a laugh, “I’m a big consumer of Life Savers.”

She’s always been drawn to vibrant works of art, like the bejeweled work of Mickalene Thomas she spied at an early TWO x TWO for AIDS and Art auction—sold, but on her wish list ever since. She also loves the work of Dallas Contemporaryexhibited Ian Davenport. “I have just the perfect wall for one of his massive dripped paint works that flow onto the floor,” she says. Ross Bleckner, exhibited at Dallas Contemporary in 2017, also makes her list, as does Tony Oursler, whose camo piece, on loan from friends at Aspen’s Baldwin Gallery, hangs in the entry lobby of Park House. “The blinking, moving eye surprises arriving guests every time! Someone told me years ago that we seem to like round shapes or orbs, which was actually a very good observation.”

As a collection through line, the Scotts tend to acquire large, colorful pieces. “We recently moved back to Dallas after four years living in London. Before we left London, John gave me a large silkscreen by the British-American Russell Young of a very young Kate Moss, titled Superstar. It felt like we were bringing a piece of England back with us.”

A vaunted CEO in the hospitality and leisure industry, “John tends to lean towards more intricate works, such as the Eric Fischl mixed-media piece we recently acquired after his solo show at the Dallas Contemporary. As our kids have gotten older, our collection has taken on a bit more of an edge,” Deborah explains—

which is one of the reasons the couple loves the Dallas Art Fair.

Through the fair, the Scotts purchased Marilyn Minter’s Lips with Jewels print and Kristin McIver’s I LOVE, I WANT, I NEED, a light-based work from Jane Lombard Gallery. And, from ongoing fair exhibitor Josh Lilley Gallery, “We also purchased an amazing Brian Bress video work for Park House that is very entertaining to watch.”

Last year, Park House members received a tour of Dallas Art Fair, which, Deborah says, “was a great introduction to collecting and bringing the fair to life. When we opened Park House in December 2018, our art programming was very important to us.

We were influenced a lot by the other private clubs in London, especially The Arts Club, which has a strong art program, so it has been great to partner with the Dallas Art Fair year-round on programming and events.”

Looking forward to the April edition, she says, “The Dallas Art Fair is so much more manageable than other fairs in London or Miami.” While she loves to wander through the great list of galleries, Salon 94 will be a destination this year. “We purchased our Marilyn Minter Shoe from Jeanne’s [Greenberg Rohatyn] booth at Frieze London a few years back,” Deborah recalls. “We are also excited to see what new pieces Erin Cluley will be showing from the Korean artist Chul-Hyun Ahn, who works primarily with light.” The couple is also drawn to London-based galleries, such as Marlborough Gallery, which has a space in New York as well.

When considering the strong contemporary works available at the fair, Deborah says, “It is important that we both want to live with the artwork. I probably influence John with what I really like and then wear him down until he thinks he likes it also!”

Though they do not use an art advisor, they worked with friends Lisa and John Runyon of Runyon Arts to curate Park House. For their personal collection, they acquired a metallic work by Jim Hodges, “on the recommendation of John Runyon while he was out mountain biking in Aspen with my husband.” The piece hangs near the Whisper Raum.

Yet another conversation piece within the Scotts’ collection— part sculpture, part trysting place, and a room within a room—the Whisper Raum is the creation of architect and design firm Stonefox.

Seated here, Deborah says, “Dallas puts on an impressive week of events for visiting Dallas Art Fair gallerists and art enthusiasts that definitely show our city off to visitors.” P

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Dallas business and community leader and AT&T Performing Arts Center Board Chair Matrice Ellis-Kirk with with Janel Jefferson’s mixed-media Prudence.

EXCELLING FOR THE ARTS

TACA illuminates the achievements of Matrice Ellis-Kirk and Mike Rawlings as this year’s Silver Cup honorees.

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alk about a pair of powerhouses. That’s what TACA, The Arts Community Alliance, has this year in its winners of the Silver Cup Award. One is a natural extrovert, more of a philosopher king than I had imagined; the other a driven, get-it-done introvert, more firmly grounded than her elegant glamour would suggest.

Both know well the excitement and vicissitudes of city hall. Both habitually succeed at whatever they pursue. Both operate from a moral base without making a point of it. Essential decency is what they expect of themselves and of those around them. Woe to any who disappoint, which not many dare to do. Matrice Ellis-Kirk and Mike Rawlings are leaders not only by dint of excellence, but also because other people covet their approval.

The working world of Matrice Ellis-Kirk is designed to disarm.

Walking into the conference room of RSR Partners on Turtle Creek, where she runs the Dallas office, the first thing I notice, on a credenza against the wall, is a cluster of graceful glass canisters full of candy. More sweets are on the big table where we talk. Matrice has a powerful presence, but this she obscures with charm and Kit Kat bars. They “help with interviews,” she explains. “It brings back their youth. They open up.” She does this all day—helping clients find board members and CEOs in New York, Chicago, Los Angeles, and Philadelphia more often than in Dallas where, she says, she still is “known as Ron’s wife.”

That goes back to the tenure of Ron Kirk as mayor. To avoid a conflict of interest, Matrice had to leave a rewarding position with Apex Securities doing what she had wanted to do from the age of eight: investment banking, which came to seem more appealing to her than architecture or nursing. Was it hard to give up a job she loved to accommodate the ambitions of her husband? “I can adapt,” she explains, remembering an admonition from her grandmother: “You must learn to navigate ambiguity.” Navigate she did, shifting profitably and productively to the search business, with important roles in three firms of the top tier.

Matrice learned a lot from her grandmother and greatgrandmother, with whom she grew up in Cleveland. Her mom tried to move the family of two boys and two girls to Detroit, but one of those daughters, Matrice, rebelled against the Motor City and called her grandmother to come get her. This meant a return to Cleveland, where her grandmother ran a dry cleaning business while her greatgrandmother cooked and cleaned. Matrice describes them as “… not educated. Both grew up in West Virginia, were married before they were 14, but they believed education was freedom…. They didn’t have it, but they made sure we did.”

They made sure Matrice applied for A Better Chance, a program for inner-city students that places them in high-quality schools— for her, in Williamstown, MA—with a supervised boarding house nearby. (Another graduate of ABC is former Massachusetts Governor Deval Patrick, now a candidate for president.) From there she went to the University of Pennsylvania, majoring in economics.

After a brief stint in New York City, she fled to Dallas, no more taken

with the Big Apple than she had been with Detroit. One thing to know about Matrice Ellis-Kirk: she does not tolerate circumstances toxic to her. She has, she admits, plenty of “get up and go.”

She got up and got herself to MBank, in the “best of times,” before the crash in oil and gas and real estate made wrecks of many Texas banks, plunging them into ruinous colonization. As usual, Matrice Ellis-Kirk landed safely, at DART, where she built an econometric model of the new system for its office of management and budget, taking into account interest rate assumptions and other vexing variables that could have thrown all the trains off track. But it didn’t. Her model “stayed pretty accurate for a long time,” she notes with justifiable pride, you could say, but pride is something she rarely shows. It’s as if she has been inoculated against the seven deadly sins—greed, lust, envy, gluttony, wrath, and sloth along with pride—and, for all her good fortune, she is too realistic not to heed and respect them as sins.

When Ron Kirk moved on from the mayor’s office to become US Trade Representative for President Barack Obama, Matrice did not move with him to Washington, DC. She stayed in Dallas to look after their daughter Catherine, still at Booker T. Washington High School for the Performing and Visual Arts, and continued her work in executive search, advising companies on business strategy as well as strategic hires—“a big responsibility,” she points out—and interviewing prospective students for her alma mater, the University of Pennsylvania.

Catherine Ellis Kirk went on to New York University and a career in dancing with Kyle Abraham’s Company, A.I.M (Abraham.

In. Motion). She lives in Brooklyn, admirably cultivating a zerowaste life, free of plastic, paper, and the rest. Her older sister, Alex, a graduate of Columbia, then Fordham Law School, has an apartment in East Harlem and is looking for a job. Their mother, having overcome her early aversion to New York, visits often when seeing clients in the city. The girls return home too, of course, to gather around the family table, a Chippendale Matrice found at an antique shop on Knox/Henderson many years ago. And why wouldn’t they return, for their mother somehow manages to find time for her love of cooking.

Other avenues, however, have long since claimed the energies of Matrice Ellis-Kirk. Having chaired the advisory board of Booker T., where she put some structure into strategy, of course, she now serves there on the President’s Council as well as on the board of TITAS/Dance Unbound. Once a trustee of the Dallas Symphony and Dallas Museum of Art, she currently leads the governance of AT&T Performing Arts Center (ATTPAC), which has suspended its bylaws to persuade her to stay for another term beyond the usual two. At least it will be less stressful than other years on that board, which for her number about 15. After grueling work to pay off a staggering debt with help from two banks, Mike Rawlings and city hall, plus private donors, ATTPAC can look ahead to blissful solvency, with plenty of Kit Kat bars from the current and continuing chair.

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Arts champion former Dallas Mayor Mike Rawlings with a work by his daughter Michelle Rawlings (left) and Robert Motherwell (right).

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Mayor Mike Rawlings is admired for many things, but principal among them is this: he has heart. Obviously able, having run both Tracy Locke ad agency and Pizza Hut, he also has shown, over and over in public office, a depth of feeling not always evident in the world of business, much less politics. It came to the fore during the Ebola crisis, when the first person to die in the US of this dread disease died in Dallas, at Presbyterian Hospital. (There was one other, in Omaha.) And his heart showed again after the summer shooting of five police officers in downtown Dallas. In both cases the mayor’s calm but passionate command during a desperate situation was indispensable, just as it was in the wave of mass murder that swept through American schools, leaving in its wake dead children who might as well live in Syria. Rawlings immediately held a town hall on mental illness and joined other mayors around the country to call for better laws governing guns.

So Mike Rawlings has guts as well as honorable instincts, as kind as they are decent. It comes, he says, from the Jesuits at Boston College. From these professors he learned “how to think…how to have intellectual honesty [and be] dispassionate, unsentimental about the issue… come to the best possible conclusion, then add compassion.” It takes judgment, he avows, and “judgment is a word not used much anymore [even though] it is the precedent of wisdom.”

This sounds like a life lived from a core of unalloyed decency anchored in careful thought, as well it might. The mayor majored in philosophy along with communications. He arrived in Boston from Borger in the Texas Panhandle, where he was born and from where his family moved to Kansas, then Syracuse. There his father pursued a PhD before rising to be head of the journalism department at Texas Christian University, and Mike played high school football—outside linebacker. He was recruited for the team at Boston College, but that went less well than he had hoped. The disappointment turned out to be a godsend, however, because it freed him to delve into the wisdom of the ages.

The mayor already had a strong religious background, with two grandfathers who were pastors in the Church of the Nazarene, whose founders include the grandfather of newsman Jim Lehrer.

Was Rawlings on a spiritual quest when he embraced the Jesuits in Boston? Perhaps. He doesn’t say so, though Catholicism surfaces often in his conversation. In time he found his way to First Presbyterian downtown. Purists would call it predestined.

Mike’s first job out of college hardly flowed, however, from any study of Aristotle or the Scriptures. He was a radio reporter for NewsTalk on WFAA 570. The show was cancelled, and Rawlings was stranded—not on but in the air, looking for a place to land.

“Getting fired makes you feel alive,” he confides, adding that somebody in a parking lot told him he should go into advertising.

So he did. He looked up some agencies in a phone book and landed, finally, at Tracy Locke, where he worked as an account executive for 19 years before rising to CEO for another five. Then he left for a 90-day pause before taking over at Pizza Hut. After his usual five or six years in charge, Mike moved on, this time to an office offered him by Rusty Rose, where he could regroup while gravitating to an interest in the city.

Then followed a series of assignments, always at the helm.

Robert Frost might have been talking about Mike Rawlings when he wrote, “How hard it is to avoid being king when it’s in you and in the situation.” It was in Mike Rawlings, and in the situation at the Dallas Convention and Visitors Bureau, which he chaired; in the role of “Homeless Czar”—Mayor Laura Miller named him to that, and he responded by creating the Bridge; and in his role as president of the park board at the behest of another mayor, Tom Leppert.

Next, of course, Mike Rawlings became mayor himself. His achievements at city hall were many, but he puts at the top solving the alarming crisis of the Police and Fire Pension, which threatened insolvency and ruin. He’s also proud of the ceremony Ruth Altshuler put together to commemorate the 50th anniversary of the Kennedy assassination; the “greening of Dallas,” at Klyde Warren Park and along the Trinity, as well as in the downtown oases created by Robert Decherd, and the expanded Katy Trail; plus the new day now in the works for Fair Park. “Dallas has become an outdoor city,” he points out, “when everybody thought we were a concrete jungle.”

A lot can be traced to a love of beauty Mike imbibed in the study of art at Boston College. He first got interested, he says, when somebody told him that studio classes featured “a naked woman.”

He signed up to see for himself and fell in love—not so much with the model as with the process of painting. Today he takes enormous pleasure in the success of his daughter Michelle, whose latest show just sold out at the And Now gallery. A large canvas of hers hangs in her father’s office at CIC Partners at Old Parkland. It’s a striking portrait of her brother, Gunnar, who once ran the corporate work/ study program at Cristo Rey, a Catholic school that equips its students for the world by getting them jobs at various associated companies. He now has followed his father into business, with a major construction operation.

Art and literature flow from kindred spirits in the mind of Mike Rawlings. He collects first editions, including Nabokov’s Lolita and Ralph Ellison’s Invisible Man, plus works by Hemingway and Steinbeck. Hemingway, I opine, has had perhaps too many imitators of his sandpapered sentences, imitators who never understood the artistry of the master. Not altogether agreeing, Rawlings notes, “White space in Hemingway is so important.” As for Fitzgerald, Mike admires the way “he caught his times so well,” then adds this quote from the creator of Gatsby: “Show me a hero and I’ll write you a tragedy.” Rawlings felt this foreboding as mayor: “I was always waiting for the shoe to drop,” he admits. What is he reading now?

Rabbit Is Rich by John Updike.

So the former mayor is a man with qualities who looks at the current state of our union with dismay. “Today Pandora is out of the box,” he laments, and “America is not going to put it back again as before. We must channel who we are truly into a better narrative.”

To shore up his point he reaches for Aristotle, who described virtue as the mean between two extremes. Paradoxical but true, like the outside linebacker who learned to love art and literature, especially novels of the 20th century that set aside mere storytelling in the style of Dickens for introspection and unexpected insights into cities, nations, and human hearts.

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THE HOUSE THAT TEXAS BUILT

NANCY AND TIM HANLEY’S HOME AND COLLECTION WERE A LOVE LETTER TO THE LONE STAR STATE.

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Rear exterior view of the house through the trees featuring classic O’Neil standards like Mexican brick and a low-slung standing-seam metal roof.

Deborah Ballard’s unique suite of five sculptures in cast stone

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The great room showing the grain of native woods, installed by Lynn Ford, and the Virginia bluestone floor. Furniture is a combination of the Hanleys’ own and staging by Josh Collins. From left: David Bates, painted bronze, 30.5 x 21 x 12 in.; Roger Winter, oil on canvas, 36 x 132 in.; Linda Ridgway sculpture, wax and raffia, 26 x 4 x 19 in.; David McManaway mixed media mounted on board, 69 x 38 in.; John Newman, gauze, steel cable, and steel plate, 87 x 50 x 49 in.

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he O’Neil Ford house on Northbrook is one for the ages. Not only because of the undeniable brilliance of the architect, but also because of the importance of the former owners of the house and their influence on the city of Dallas. In 1958 Patrick E. Haggerty, one of the founders of Texas Instruments, commissioned O’Neil Ford to build a memorable Texas house, and in 1991, Tim and his late wife, Nancy Hanley, major contributors to the art scene in Dallas, acquired the house. This masterpiece remains true to its architectural roots and craftsmanship from over 60 years ago.

Much has been written about O’Neil Ford, considered the father of Texas architecture and one of the most important architects of the 20th century. His architectural training and quest for a new and original style led him to merge European modernism with the roots of early Texas prairie houses. This house, widely considered his best, demonstrates his use of natural materials, high and low: Mexican brick and onyx, Virginia bluestone, and quarry stone. The intricately carved native-wood screens and doors throughout the house are the work of his brother, master artisan and frequent collaborator

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Lynn Ford. The home is built into the landscape rather than on it.

The sloping wooded site hides the house from the street, and its low-slung roof doesn’t reveal itself until you’re almost inside the courtyard.

Nancy and Tim Hanley’s daughter Barbara Hanley Ashworth says, “My parents were living in a traditional prairie style craftsman home in Highland Park. They both—but my father in particular— always admired midcentury architecture. At the same time, they were growing their collection of emerging Texas artists, and the house on Northbrook had the perfect wall space and lighting to accommodate that.”

Nancy Hanley studied studio arts at Southern Methodist University, where her classmates became lifelong friends: David Bates, John Alexander, Dan Rizzie, Brian Cobble, Lilian GarciaRoig, and teacher Roger Winter. Their paintings and sculptures throughout the house and grounds are breathtaking. Nancy’s love for Texas art began at SMU, where she recognized the talent of these artists early, and continued throughout their careers, as she visited their studios and adored their progress.

Massive hand-carved doors by Lynn O’Neil. Inside: Linda Ridgway, bronze with text, unique 28 x 43.5 x 4.5 in.

Sculptures by Linda Ridgway line the walkway from the entrance to the library, study, bedroom, and pool room.

Says Barbara, “My parents began to actively support these classmates and became very involved in the art community in general, culminating with my father’s work at the Dallas Museum of Art, where he served as president of the board of trustees from 2000 to 2004.” Later, with important bequests from private collectors like the Rachofskys, the Roses, and Mary McDermott, the DMA added galleries named for significant donors. The Nancy and Tim Hanley Gallery, one of the Quadrant Galleries off the Barrel Vault, emphasizes contemporary art.

Joan Davidow, a friend and fellow art lover who enlisted Nancy’s help founding the Dallas Contemporary, says, “She collected the art of our region. Serious area collectors rarely do that. Haute collectors travel worldwide, rubbing shoulders with other collectors who prefer to watch the international scene, visiting New York galleries and faraway art fairs. Nancy Hanley recognized great art created right under her nose, and she wanted it. She never wavered.”

Massive carved wooden doors by Lynn Ford welcome you to the foyer of the O’Neil Ford home, along with a floral sketch by Linda Ridgway and sweeping views of the almost three-acre grounds. All

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A cozy living room with a custom metal fireplace hood by Jim Cinquemani, Mitchell Gold furnishings. From left: Mark Flood, acrylic on canvas, 96 x 72 in.; Stephen Lapthisophon, ink and acrylic on cardboard, 53.5 x 31 in.

Tim Hanley’s office dominated by a John Alexander painting.

On floor: Joseph Havel, bronze, 42 x 42 x 42 in.

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The guest bedroom with native wood walls and artwork by Annette Lawrence.

Guest bedroom with a Joseph Havel sculpture comprised of shirt labels and pins.

Guest bedroom with traditional Queen Ann-style furniture and mixed-media abstracts by Trenton Doyle Hancock.

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In the master bedroom: Robyn O’Neil, graphite on paper in five frames with UV Plexiglas, 89 x 165 in.

Peter Zimmerman, epoxy resin on canvas, 98 x 63 in., in master study with views of outdoor grounds and five figures by Deborah Ballard.

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Natatorium designed by Ford protégée Duane Landry and mosiac by Martin Delabano.

rooms share walls of windows that create a sense of living outside.

They flow together via the gallery hall, but each has a sense of its own space. Open carved wooden screens divide large areas to create privacy but still allow the feeling of expansiveness.

Every surface is tactile—the Mexican brick looks soft, and the carved wood walls and screens invite you to touch them. The front hallway connecting all the rooms provides a gallery for art, including a collage by David McManaway, a curved wall sculpture

by Linda Ridgway, and green marble sculpture by Celia Eberle.

In the courtyard is a bronze and patina sculpture by Joseph Havel. Dotted throughout the grounds and among the trees are sculptures by Deborah Ballard, Charles Umlauf, Randy Twaddle, and Linda Ridgway, among others.

In the living room is a painting by Roger Winter and a gauzeand-steel cable sculpture by John Newman. An open screen by Lynn O’Neil gives a subtle backdrop to the front gallery, a Matisse lithograph hangs over the fireplace, and a soot-on-gesso abstract is

by Andrew Bennett. The focal point of the great room is a metalhooded fireplace crafted by Texas-based Jim Cinquemani, who also created much of the ironwork in the house. A work by Stephen Lapthisophon hangs here, as does one of Mark Flood’s highly sought lace paintings.

Several David Bates paintings are on the gallery walls of this wing, and all guestroom suites share views of the grounds.

One is a traditionally furnished room with abstracts by Trenton Doyle Hancock, another bedroom has a painting by Dan Rizzie and a mixed-media work by Joseph Havel. The focal point of Tim Hanley’s office is a monumental painting of a bride by John Alexander. Also in the office is another Joseph Havel work—a circular sculpture of shirt collars.

The master bedroom suite is a sea of calm, with soft wooden walls and light-colored floors. The mostly monochromatic, textural art includes a five-piece graphite on paper by Robyn O’Neil, whose 20-year survey at the Modern Art Museum of Fort Worth closes this month, and two abstracts by Linnea Glatt and Doug MacWithey that evoke the natural world. In the book-lined study is an abstract

by Peter Zimmermann.

The house has had one renovation in its 62 years. It was kept true to its roots by Ford protégé Duane Landry, who added the most whimsical gesture on the property: a fairyland of a natatorium enlivened by a mosaic-tile backdrop adorned with bronze sculptures

by Martin Delabano and delicate glass pieces by Tracy Hicks. The floor of the pool is tiled with magical undersea creatures by Thomas Stell, adding influences of Joan Miró and Wassily Kandinsky. The art studio adjacent has a haunting self-portrait by David Bates.

These wings make the whole of the residence an architectural compound where one space flows into another, as the outside is brought inside, and art and nature become one. P

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ARTFUL

ACCOMODATIONS A curated art collection by Virginia Shore for HALL Arts Hotel comes to life with spring fashion looks and contemporary grandeur.

PHOTOGRAPHY BY THOM JACKSON, THE PHOTO DIVISION CREATIVE DIRECTION AND STYLING BY ELAINE RAFFEL HAIR AND MAKEUP MICHAEL THOMAS, SEAMINX

Anna Sui dress, The Conservatory, Highland Park Village; Nan Fusco earring, Rich Hippie, Inwood Village. REDValentino dress, Tootsies, Plaza at Preston Center; Rich Hippie earrings, Inwood Village. Artwork: Nekisha Durrett, Couple No. 1, 2019, latex paint on canvas; Artwork: Carrie Mae Weems, The Blues, 2017, archival pigment prints. Model Kayla Whitmire, Kim Dawson Agency; Assistant stylist Meagan Rone, Renee Rhyner & Co.

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Akris sequin-embellished strapless maxi dress, Akris, Highland Park Village; Nan Fusco earrings, Rich Hippie, Inwood Village. Artwork: Alison Watt, Volvere, 2018-19, oil on canvas.

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Carolina Herrera dress, Carolina Herrera, Highland Park Village; Mignonne Gavigan earrings, Tootsies, Plaza at Preston Center.

Artwork: Alicia Eggert, All That is Possible is Real, 2016-17, neon, steel, custom controller.

Dolce & Gabbana purple printed bra and skirt, Dolce & Gabbana, NorthPark Center. Artwork: Kristin Baker, Spangled Ramparts, 2019, acrylic on PVC.

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Gucci dress and cape, Forty Five Ten; Versace earrings, Carla Martinengo, Plaza at Preston Center. Artwork: Lava Thomas, Resistance Reverb: Movements 1, 2018, tambourines, leather, suede, Plexiglas, mirrored acrylic, acrylic paint, grosgrain ribbon, monoďŹ lament wire, S-hooks.

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Versace dress, slip, belt, and earrings, Versace, NorthPark Center.

Artwork: Clare Woods, The Right Kind of Boy, 2019, oil on aluminum.

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This page: Super Eight brocade long sleeve mini dress, Elements; Nan Fusco earrings, Rich Hippie, Inwood Village. Artwork: Najla El Zein, 6302 Spoons, 2012, stainless steel structure, stainless steel spoons, LED. Opposite: Rachel Comey dress, Elizabeth W, Shops at Highland Park; Agmes hoop earrings, Forty Five Ten. Artwork: Nekisha Durrett, Then I Wished That I Could Come Back as a Flower, 2018, polyurethane foam, acrylic paint, cotton bolls, Spanish moss, lotus pods, cedar cones, eucalyptus, burlap.

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THERE TEATRO REAL, THE DALLAS OPERA, AND MEADOWS MUSEUM WELCOME DELEGATION DINNER AT FLOREN DOMEZAIN ABASCAL, MADRID, SPAIN PHOTOGRAPHY BY ALEJANDRO GARCÍA

Beatrice Lodge de Oyarzábal, Janet Kafka, Antonio de Oyarábal

Sofia Barroso, Blanca Pons-Sorolla, Borja Ezcurra

Ignacio García Bellenguer, Mark Roglán, Ian Derrer

Francisco Freire

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Marisa Vasquez-Shelly, Brian Allen, Stacey McCord

Jeanne Marie Clossey

Rafael Mateu

T E R RY D. L O F T I S , TACA C A R L S O N P R E S I D E N T A N D E X E C U T I V E D I R E C T O R .

Photo by Terry McCranie.

TACA’s 42nd Annual Silver Cup Luncheon honoring

M AT R I C E E LLI S -K I R K and former Mayor

M I K E R AW L I NG S is March 10, 2020.

For tables and tickets, visit taca-arts.org/silvercup

FOR

TACA H A S P L AY E D A C R I T I C A L R O L E I N A D VA N C I N G T H E A R T S I N N O R T H T E X A S . Y O U R I N V E S T M E N T I N TACA — A N D I N O U R A R T S C O M M U N I T Y — I S A N I N V E S T M E N T I N A ST R O NG E R , S M A RT E R , M O R E V I B R A NT N O RT H T E X A S . O U R PAT R O N S G UA R A N T E E W E C O N T I N U E T O P R O V I D E G R A N T S , OV E R

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S E RV I C E S A N D O T H E R T O O L S T O N U R T U R E A N D I M PA C T O U R L O C A L A R T S O R G A N I Z AT I O N S .

TACA is offering new-and-improved benefits for our Annual Supporters: Arts Ambassadors – welcomes contributions at all levels and offers a variety of benefits for gifts of $25 to over $2,500 Founders Circle – includes individuals and families giving major gifts of $5,000 and above Corporate Partners – features quarterly engagement opportunities for employees; starting at $2,500 Learn more at taca-arts.org/annualgiving

THERE RAY BOOTH COLLECTION LAUNCH AND BOOK SIGNING AT HICKORY CHAIR SHOWROOM PHOTOGRAPHY BY BRAD LINTON

Kevin Bowman

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THE DALLAS OPERA FIRST SIGHT FIRST NIGHT AT WINSPEAR OPERA HOUSE PHOTOGRAPHY BY TIFFANY SAGE AND WILLIAM NEAL

e m a d a M ovary B

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FEBRUARY/MARCH 2020

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FURTHERMORE

Terry Loftis at his alma mater, Booker T. Washington High School for the Performing and Visual Arts.

COMING HOME TACA’s Executive Director Terry Loftis pictures big things for the Dallas arts funder.

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BY STEVE CARTER PHOTOGRAPHY BY JOHN SMITH

lthough he’s only been behind the wheel at TACA (The Arts Community Alliance) as Carlson President and Executive Director since mid-October, Terry Loftis already feels right at home. The Dallas native, an alum of Booker T. Washington High School for the Performing and Visual Arts, has had a fascinating career in the for-profit arts world: he’s produced Tony-nominated Broadway shows, was president of Dallas creative branding agency Eisenberg and Associates, served as vice president of a New York performing arts-focused investment firm, and has been on the boards of numerous arts organizations. And as a jazz vocalist, Loftis is the first executive director in TACA’s 53-year history who’s a performer himself.

“I think I bring a unique perspective that’s different than my predecessors,” the ebullient Loftis says. “I understand what it’s like to be a performer…there’s a comfort level between myself and TACA beneficiaries—I get them, they get me, and I’m hoping the lovefest lasts for many years.” And while he identifies empathically with the artistic imperatives of TACA grantees, there’s also the little matter of fundraising—he gets that too. “Some people have questioned my sanity, going from an investment firm in New York to a nonprofit,” Loftis continues with a laugh. “It’s a unique skill set that I’m excited to share with TACA. When you look at events we do, when you look at programming, and fundraising being most pivotal of those—I know from producing shows on Broadway that you can’t be shy about asking people for money.”

Loftis has hit the ground at full speed, and his ability to

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imagineer, short-, mid-, and long-term, is in bloom. Consider the following: 1) A quarterly roundtable luncheon with all of TACA’s beneficiaries in attendance. “I want to create this transparent collaborative environment where we’re sharing best practices, trends—collaborating to help each other; it’s never been done before.” 2) “Pop-Up Grants” for emerging arts organizations.

“It could be individual visual artists, musicians, theater or dance companies that are not on the radar yet…not in the running for a large grant but might be in the running for a ‘pop-up grant’ based on content they’re producing.” 3) Scholarships. “This is probably a long-term goal, but I’d like to initiate a TACA scholarship program, where we’re doing scholarships for high school and college in any of the arts.” 4) Expanding the arts throughout Dallas. “How are we bringing that culture into the neighborhoods? I think the Arts District needs to expand beyond this real estate.” Loftis is also concerned with nurturing a younger donor demographic, raising substantially more money for grantees, and more effective marketing. And that’s just the short list.

Loftis’ dedication to the arts in Dallas is impassioned, contagious, and TACA has found in him a nonpareil visionary. As he enthuses, “There are days where I’m driving here and it just hits me: ‘Wow, I get to go and work in the arts every day, and to help raise money for arts organizations.’ It makes me giggle sometimes.

And working right across the street from where I went to high school—it truly feels like I’ve just come home.” P

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