PATRON'S 8th Anniversary Issue

8TH ANNIVERSARY ISSUE

ALEX KATZ TWO x TWO’S TWENTY-FIRST ARTIST HONOREE

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GED QUINN, TO BURN THE FLEECE OF A GRAZING CLOUD, 2013. © GED QUINN, COURTESY OF THE ARTIST AND STEPHEN FRIEDMAN GALLERY, LONDON.

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GED QUINN, TO BURN THE FLEECE OF A GRAZING CLOUD, 2013. © GED QUINN, COURTESY OF THE ARTIST AND STEPHEN FRIEDMAN GALLERY, LONDON.

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Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

October / November 2019

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

Eight years ago, we launched Patron to shed light on the arts in North Texas, from visual to performing and everything in between. It continues to be a joy and journey to discover nascent and venerated talent, and the determined individuals and groups leading the charge.

Speaking of determination, the masterful Alex Katz comes to Dallas this month as this year’s honored artist for TWO x TWO for AIDS and Arts. The steadfast career of the painter parallels beautifully with Cindy and Howard Rachofsky’s ongoing commitment to raise funds for amfAR, The Foundation for AIDS Research and the Dallas Museum of Art. Cohosts Lisa and John Runyon share the mantle for the new decade, beginning with the upcoming 21st installment of the fundraiser. Timed with Katz’s eponymous exhibition on view at the DMA, Hoffman Family Senior Curator of Contemporary Art Anna Katherine Brodbeck interviews the 92-year-old artist in The Distinguished Landscape of an American Painter.

Landscape, too, infuses our next two features. First, Robyn O’Neil’s multipaneled drawings of imagined worlds are on view this month at the Modern Art Museum of Fort Worth. Steve Carter outlines the show in Penciling In Robyn O’Neil. Next, Arthur Peña describes cultural cultivation in his interview with John Sughrue, cofounder of the Dallas Art Fair and the new River Bend development earmarked for creatives, along with his wife Marlene (there every step of the way), in Building the Arts Matrix.

Chris Byrne, who was also a cofounder of the Dallas Art Fair, interviews the unabashed rebel and outrageously talented Brit Gerald Scarfe on his costume and set designs informing Sir Peter Hall’s production of The Magic Flute—The Dallas Opera’s season opener. With wit equal to his pen, An Eighteenth-Century Gerald Scarfe tells of Sir Hall’s commission of the artist to render W.A. Mozart’s battle of good and evil at his whim.

Also in features, at long last the opening of the Dallas Holocaust Museum and Human Rights Museum awaits discovery in Teaching Tolerance in a Fractured World. Nancy Cohen Israel gives readers the scoop on the delicate yet timely topics the museum addresses. Our last feature finds Elaine Raffel teamed up with Stewart Cohen who, inspired by a vintage photograph in his collection, elevates fashion and fine jewelry with a reconjured set in Out of the Quiver.

In our departments, in Coming to the Table, Danielle Avram visits with sisters Hilary and Hannah Fagadau just prior to the opening of their gallery 12.26 in River Bend last month, and gallerist Erin Cluley transports us to the culturally rich city of Sydney in Australia. A World Full of Surprises offers an interview with art-passionate Forty Five Ten and 4510/SIX’s president Kristen Cole, who, with the Headington Companies, sponsors TWO x TWO’s First Look. Studio finds nomadic Brandon Kennedy exploring the practice of Dallas-based artist Steven Charles, who has a show opening at Cris Worley Fine Arts this month. In Of Note, my examination of Structured finds the through line in Joan Davidow’s Site 131 exhibition, on view through December. And uniting commerce with the arts, in November the Business Council for the Arts will bestow their annual Obelisk Awards to corporations and individuals building strong arts partnerships. Read about some of the honorees in Future Forward.

Dappling the issue with high style, in Coveted we catch up with local fashion-brand “it” girls, sisters Lizzie Means Duplantis and Sarah Means of Miron Crosby, who joined forces with Prabal Gurung to kick off a boot collection for the best occasions; and new mom Allison Mitchell’s self-named bag brand gets an update as detailed by Sara Hignite.

Lastly, as much as this magazine summarizes the goings-on in contemporary art, we know all art is rooted in history. Together Again, showcases one of the 17th-century paintings on loan to the Meadows Museum, on view in Highlights from The Bowes Museum.

– Terri Provencal

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THE ROW

An Exclusive Store-in-Store Now Open in Our Dallas Flagship

CONTENTS 1

FEATURES 76 THE DISTINGUISHED LANDSCAPE OF AN AMERICAN PAINTER TWO x TWO for AIDS and Art honors Alex Katz and his storied career.

By Anna Katherine Bradford 84 PENCILING IN ROBYN O’NEIL The Modern’s WE, THE MASSES reveals the artist’s 20 years of ambitious explorations in graphite. By Steve Carter 90 BUILDING THE ARTS MATRIX Through the Dallas Art Fair and the River Bend development, Marlene and John Sughrue foster Dallas as an international city for artists and dealers. By Arthur Peña 98 AN EIGHTEENTH-CENTURY GERALD SCARFE Commissioned by Sir Peter Hall, a celebrated British artist’s “no-taboos” imaginings come to life in The Dallas Opera’s season opener, The Magic Flute. By Chris Byrne

76

102 TEACHING TOLERANCE IN A FRACTURED WORLD Newly opened and renamed, the Dallas Holocaust and Human Rights Museum aims to raise a new generation of upstanders.

By Nancy Cohen Israel 106 OUT OF THE QUIVER Arrowing in on high style and jewelry.

Photography by Stewart Cohen; creative direction and styling by Elaine Raffel

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On the cover: Alex Katz, South Light 2, 2005, oil on linen, 96 x 120 in. Courtesy of the artist and Gavin Brown’s enterprise, New York/Rome.

B A T T A G L I A S A R A

H O U S T O N

D A L L A S

A T L A N T A

T O O T S I E S . C O M

CONTENTS 2

DEPARTMENTS 12 Editor’s Note 18 Contributors 38 Noted Top arts and culture chatter. By Anthony Falcon Of Note 58 STRUCTURE AND ITS AMBIGUITIES Four artists singularize orderliness in an exhibition at Site131.

By Terri Provencal Openings 60 COMING TO THE TABLE Stimulated by an arts-passionate grandmother, sisters Hannah and Hilary Fagadau open 12.26, a new art gallery in River Bend. By Danielle Avram Contemporaries 62 FROM THE LAND DOWN UNDER: COLOR AND FORM A Dallas gallerist yields to the culture of Sydney. By Erin Cluley

60

64 A WORLD FULL OF SURPRISES Forty Five Ten’s Kristen Cole shares insights on building a collection and the art of collaboration. By Terri Provencal 66 FUTURE FORWARD Business Council for the Arts enters new decade. By Nancy Cohen Israel Fair Trade 68 CARL KOSTYÁL’S BIG ART PARTY Heading to the Dallas Art Fair in 2020, the London and Malmö gallerist brings dialogue and exchange to the art business. By Adam Green Studio 70 DEEP IN SOME YELLOW (WITH NO APOLOGIES) The analog aspirations of Steven Charles. By Brandon Kennedy 62

Coveted 72 ARTFUL EQUESTRIANS Lizzie Means Duplantis and Sarah Means celebrate the high-style launch of Miron Crosby x Prabal Gurung. By Terri Provencal 74 IN THE BAG Handbag designer Allison Mitchell returns to her roots. By Sara Hignite Books 118 RED, RED, THEY CALL ME RED Dallas photographer and director Stewart Cohen’s casting call created the ultimate tribute to folks with ginger-colored hair. By Elaine Raffel There 120 CAMERAS COVERING CULTURAL EVENTS Furthermore 124 TOGETHER AGAIN Works from The Bowes Museum are reunited with paintings in the Meadows Collection. By Nancy Cohen Israel

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CONTRIBUTORS

ANNA KATHERINE BRODBECK is the Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art. Prior to joining the DMA, she worked in the curatorial departments at the Carnegie Museum, Pittsburgh; the Museum of Modern Art, New York; and the Frick Collection, New York. She holds a PhD from the Institute of Fine Arts, New York University, and has published widely in the field of modern and contemporary art. In The Distinguished Landscape of an American Painter, she interviews Alex Katz.

DANIELLE AVRAM is an independent curator and arts writer based in Dallas. She has held directorial and curatorial positions at Texas Woman’s University; Southern Methodist University; The Power Station; The Pinnell Collection; and The High Museum of Art. She has an MFA from the School of The Museum of Fine Arts at Tufts University and a BA from the University of Texas at Dallas.

In this issue she details sisters Hilary and Hannah Fagadau’s undertaking of creating a new art gallery, 12.26, in Coming to the Table.

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STEVE CARTER is a Denton-based writer and musician.

In this issue, Carter previews the Modern Art Museum of Fort Worth’s Robyn O’Neil: WE, THE MASSES and profiles the LA-based, graphitegrounded artist. Organized by associate curator Alison Hearst, the exhibition is a first-ever overview of O’Neil’s past 20 years of practice. “I really enjoyed talking with Robyn about her work,” Carter enthuses. “This survey show is huge in so many ways, and her vision is genuinely unique.”

CHRIS BYRNE is the author of the graphic novel The Magician (Marquand Books, 2013) as well as The Original Print (Guild Publishing, 2002). He is cochair of Art21’s Contemporary Council and serves on the board of directors of Institute 193, Museum of Contemporary Art Detroit, and the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught. He is the cofounder of the Dallas Art Fair and was formerly chairman of the American Visionary Art Museum.

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LAUREN CHRISTENSEN has more than two decades of experience in advertising and marketing. She consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Christensen the perfect choice to art direct Patron.

ERIN CLULEY is the owner of Erin Cluley Gallery, a contemporary art gallery presenting a provocative program of artists. Cluley opened in 2014, igniting a creative movement in West Dallas, and recently moved her operation to the River Bend development in the Design District.

Prior to opening her gallery, Cluley served as the director of exhibitions for Dallas Contemporary. Cluley is a native of Wichita Falls, mommy to twoyear-old Lachlan, and wife to film-industry executive Tearlach Hutcheson.

STEWART COHEN is a director/photographer and curious guy. Whether using his camera to explore the myths and mysteries surrounding redheads or purchasing a collection of vintage images (that just so happen to have served as inspiration for this issue’s fashion feature, Out of the Quiver), he’s bound to have his hand in something interesting. Born in Canada and based in Dallas, Stewart has built an impressive career in the world of commercial photography and filmmaking. What’s next for Stewart? Who knows, but we are definitely curious.

NANCY COHEN ISRAEL is an art historian, writer, and educator who leads art tours and lectures. She looks forward to the fall arts season, which she calls “the best time of year.” For this issue, she enjoyed writing about the Spanish masterpieces that traveled from The Bowes Museum in the United Kingdom to Dallas’ own Meadows Museum. She was also honored to write about the opening of the Dallas Holocaust and Human Rights Museum and hopes that its message of tolerance and upstanding spreads far and wide.

ARTHUR PEÑA is now a Bronx-based artist, curator, and writer, having moved from Dallas earlier this summer. His national curatorial project, One Night Only, will celebrate New York City-based artist Ellen Berkenblit this October in Dallas. In Building the Arts Matrix, he writes about the art collection of Marlene and John Sughrue. John is cofounder of the Dallas Art Fair and River Bend, a Design District development that includes the fairowned 214 Projects and three additional galleries: Erin Cluley, And Now, and 12.26.

MEGAN GELLNER is a photographer with a background in illustration and graphic design. She has a BFA in studio art from the University of North Texas, where she works as a photographer and videographer.

Environmental and traditional portraiture are her passions, and she loves having the opportunity to photograph so many diverse personalities, such as sisters and gallerists Hilary and Hannah Fagadau and the artists featured in Patron’s Studio column, including Steven Charles, profiled in this issue.

JOHN SMITH flexes his degree in architecture as a Dallas-based photographer and a frequent Patron contributor.

Bringing out the nuances of architecture and interiors in his pictures, he is renowned in the region for his work with architects, designers, and artists when tapped to showcase their vision and projects through photographs. In Building the Arts Matrix, Smith’s camera work defines the comfortable eclecticism of the home and art collection of Marlene and John Sughrue.

BRANDON KENNEDY is director of exhibitor relations for the Dallas Art Fair, working with international galleries and assisting with programming for the April event. Brandon curated The Anatomy of Disquiet at The Karpidas Collection, which explored the nature of Jungian thought and the collective unconscious through almost 80 artworks culled from the private collection. He is an occasional artist, avid book collector, and peripatetic curator who writes about area artists for Patron, including Steven Charles in Deep in Some Yellow (with no apologies).

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sophia Dembling PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Danielle Avram Anna Katherine Brodbeck Chris Byrne Steve Carter Erin Cluley Nancy Cohen Israel Adam Green Brandon Kennedy Arthur Peña Elaine Raffel CONTRIBUTING PHOTOGRAPHERS Stewart Cohen Katherine McMahon Megan Gellner Heather Rasmussen Kristen Kilpatrick John Smith Brad Linton Paul Takeuchi Chris Luttrell Robert Underwood Gonzalo Marraquin Sonny Vandevelde STYLISTS/HAIR & MAKEUP Casey Corbell LB Rosser Jessica Halliburton Josue Salinas Roger Koen Matt Taylor Ramon Longoria Tim Thomaston Elaine Raffel Ashli Vondara 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

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Robyn O’Neil: WE, THE MASSES October 18, 2019–February 9, 2020 Support for the presentation of Robyn O’Neil: WE, THE MASSES is generously provided by the Kleinheinz Family Endowment for the Arts and Education, with additional support from the Susan Inglett Gallery and the Talley Dunn Gallery.

Pictured: Robyn O’Neil, An Unkindness, 2019. Graphite, colored pencil, and acrylic on paper. Left and right sheets, 72 x 38 1/16 inches; center sheet, 72 x 72 inches. Photo: Heather Rasmussen, Los Angeles. Courtesy of the Artist and Susan Inglett Gallery, NYC

TUESDAY EVENINGS Join us for thought-provoking discourse straight from the source.

This popular series of lectures and presentations by artists, architects, historians, and critics is free and open to the public each Tuesday from October 1 through November 19. Visit www.themodern.org/programs/ lectures for more information on each talk.

Lectures begin at 7 pm in the Modern Art Museum of Fort Worth’s auditorium. Seating begins at 6:30 pm and is limited to 250; a live broadcast of the presentations is shown in Café Modern for any additional guests.

Café Modern serves cocktails and appetizers on Tuesday nights during the lecture series.

Revisit these insightful lectures on the Modern’s YouTube channel or on our website at www.themodern.org/podcasts.

Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215

Follow the Modern

at the Modern Fall 2019 October 1 & 2 Artists Amber Bemak and Nadia Granados October 8 Artist Alejandro Cesarco October 15 Artist Robyn O’Neil and critic Tyler Green October 22 Artist Ian Pedigo October 29 Designer Lindsay Starr and artist Daedelus Hoffman November 5 Artist Martine Gutierrez November 12 Wendy Evans Joseph, FAIA Architect November 19 Curator & writer Jarrett Earnest

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variations requires of components,” requireswrote a minimum Prouvéofincomponents,” 1963. wrote P In an era when artists and architects In an erasought when artists to present and architects function and sought to present function anda minimumvariations by the Prouvé materials wasoffascinated modern industry, by the materials of mode simplicity of design above allsimplicity else, Prouvé’s of design 1969 above fillingall station else, was Prouvé’s 1969Jean fillingProuvé stationwas wasfascinated Jean beginning an exploration beginning of the technical with anresources exploration of of the technical resourc a brilliant answer to the needafor brilliant roadside answer filling tostations the needthat for could roadside filling stations thatwith could metalworking—first with wrought metalworking—first iron, then with bent with wrought sheet iron, then with bent s be quickly and simply constructed be quickly and moved and simply according constructed to the and moved according to the steel—for and architectural metal joinery,components. furniture, and architectural co burgeoning needs of the French burgeoning freewayneeds system. of the French freeway system.steel—for metal joinery, furniture, With the rise of the automobile, WithProuvé the rise became of the automobile, an innovatorProuvé in became an in using new materials in using his architecture, totally new including materialsthermoformed in his architecture, including Jean Prouvé (1901–1984) was Jean a 20th Prouvé century (1901–1984) pioneer in was the innovative a 20th century pioneer in totally the innovative plastics, polyurethane foam insulation, plastics, polyurethane and neoprene foam seals insulation, for and neoprene production of furniture and architecture, production of imbued furniture with and thearchitecture, creative imbued with the creative waterproofing. waterproofing. philosophy of a group whosephilosophy principal aim of awas group an art whose industry principal aim was an art industry alliance offering access to all. alliance As a founding offering member access toofall. theAs Union a founding member of the Union Prouvé believed that “a building Prouvé has believed to be made thatof“athe building smallest has to be made of the des Artistes Modernes alongside des Artistes Le Corbusier, Modernes Pierre alongside Jeanneret, Le Corbusier, Pierre Jeanneret, possible number of elements,” possible and the number filling station of elements,” for Total and is an the filling station fo and Charlotte Perriand, Prouvé anddeveloped Charlotte Perriand, a “constructional Prouvé developed a “constructional explorationSeeking of just how far this exploration maxim could of just be how applied. far this Asked maxim to could be applied philosophy” based on rational philosophy” fabricationbased and functionality. on rational fabrication Seeking and functionality. create a model by the oil companies create a as model a response by the oil to companies the growingas a response to to make a clean break from the to make past and a clean struggling break from against the past and struggling against number tourists utilizing French number highways of tourists forutilizing their travels, French highways for their t elaborate designs in style at elaborate the time, artists designs of in thestyle union at the developed time, artists of the union of developed Prouvé camedesign up with nearly Prouvé two dozen came concepts up withfor nearly fillingtwo stations dozen concepts for fi and produced art, architecture, and and produced furnitureart, that architecture, emphasizedand design furniture that emphasized beforeWe landing on this design. before landing on this design. over decoration. “All notions over of embellishment decoration. “All aside… notions Weofbelieve embellishment aside… believe that buildings must equal automobiles that buildings in quality… must equal the host automobiles of possible in quality… the host of possible

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of its design combined The simplicity with the of its innovation design combined of the with the innovation of the ously used exclusively materials in previously the automobile used exclusively in the automobile s this piece asindustry revolutionary makesasthis it was piece popularly as revolutionary as it was popularly h the Total filling embraced. station, Prouvé With theproduced Total filling station, Prouvé produced ost technologically perhaps advanced, the most functional technologically advanced, functional ork of his storied architectural career. work of his storied career.

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“The name TASCHEN signifies beauty, culture, and modernity. Each of their books is an object of desire and a world event.”1 This truly unprecedented TASCHEN library, assembled specially and uniquely for amfAR, presents the crème de la crème of TASCHEN’s publishing program. The library features four hundred and twenty-six TASCHEN titles, including groundbreaking artist monographs, extra-large illustrated histories of popular culture, and over 60 of TASCHEN’s highly sought-after Collector’s Editions. Conceived and curated in direct collaboration with TASCHEN artists and estates, each book included in the TASCHEN library represents a spectacular feat in print production and a unique cultural experience.

Offering unrivalled access to the portfolios, archives, and personal vision of icons such as Muhammad Ali, Jeff Koons, Sebastião Salgado, Christo and Jeanne-Claude, Dennis Hopper, Paul McCartney, Helmut Newton, Annie Leibovitz, Zaha Hadid, Ai Weiwei, Naomi Campbell, Gisele Bündchen, Mario Testino and The Rolling Stones, TASCHEN books are instant collectibles. TASCHEN’s signed and limited Collector’s Editions –which often sell out before they hit shelves and make up a sizeable portion of the amfAR TASCHEN library – have an outstanding record in asset appreciation, reaching up to 10 times their original market value.

1

Madame Figaro, Paris

Helmut Newton, Benedikt Taschen and SUMO on its table designed by Philippe Starck, Cologne, July 7, 1999.

Copyright: Alice Springs

“If you decide to invest, choose appreciating assets and global heritage value.”1

True to the diverse TASCHEN universe, the amfAR TASCHEN library includes such distinctive titles as Peter Beard’s The End of the Game, The James Bond Archives, the Barbra Streisand Collector’s Edition, the Robert Crumb Complete Sketchbooks, and Vermeer— The Complete Works. Special highlights: the monumental Sebastião Salgado: Genesis, launched in conjunction with the touring blockbuster exhibition of the same name, and the SUMO-sized Annie Leibovitz. In addition to the large-scale Collector’s Edition books highlighted in the amfAR TASCHEN library, numerous titles come with signed and numbered artworks and prints, including the newly released two-volume Naomi Campbell, a breathtaking tribute to the supermodel housed in a ready-to-hang artwork by pop art legend Allen Jones.

In a rare and exceptional opportunity, the library also offers a signed edition of TASCHEN’s long sold-out Helmut Newton SUMO, gifted from Benedikt Taschen’s private collection.

This is an opportunity to own a piece of historical architecture, along with one of the world’s finest and most complete TASCHEN libraries.

1 Süddeutsche Zeitung, Munich on TASCHEN Collector’s Editions

For private viewing appointments, please contact Melissa Ireland at melissa@rachofskyhouse.org.

TWO x TWO Gala and Auction Saturday, October 26, 2019

Thanks to the following galleries that have contributed to this year’s benefit: 47 Canal ACA Galleries albertz benda Alexander Gray Associates Almine Rech Gallery Andrew Kreps Gallery Anthony Meier Fine Arts Anton Kern Gallery Axel Vervoordt Gallery Barry Whistler Gallery Berggruen Gallery Blum & Poe CANADA Carpenters Workshop Gallery Carrie Secrist Gallery Casey Kaplan CLEARING Conduit Gallery Cris Worley Fine Arts Danese/Corey David Kordansky Gallery David Lewis Gallery David Zwirner Derek Eller Gallery Eduardo Secci

Erin Cluley Gallery Esther Schipper Fergus McCaffrey Friedman Benda Frith Street Gallery Gagosian Gallery Galeria Nara Roesler galerie beyond Galerie Buchholz Galerie Frank Elbaz Galerie Gisela Capitain Galerie Lelong & Co. Galerie Marzee Galerie Max Hetzler Galerie Noël Guyomarc’h Galerie Ra Galerie Rob Koudijs Galleri Nicolai Wallner Galleri Urbane Gallery Funaki Gallery Hyundai Gallery S O Garth Greenan Gallery Gavin Brown’s enterprise Gladstone Gallery Green Art Gallery

Greene Naftali Greengrassi GRIMM Hales Gallery Harlan Levey Projects Hauser & Wirth Holly Johnson Gallery Hosfelt Gallery Inman Gallery Jack Shainman Gallery James Cohan Jessica Silverman Gallery Jewelers’Werk Galerie Josée Bienvenu Gallery Josh Lilley Karma Kasmin Gallery Kerlin Gallery Kurimanzutto Lehmann Maupin Leslie Tonkonow Artworks + Projects LewAllen Galleries Lisson Gallery Lora Reynolds Gallery Luhring Augustine gallery list as of September 3

Lyles & King Magenta Plains Marian Goodman Gallery Marianne Boesky Gallery Marlborough Maurer Zilioli Contemporary Arts McClain Gallery Michael Werner Gallery Miles McEnery Gallery Modern Art Monique Meloche Gallery Morán Morán Moskowitz Bayse Nathalie Karg Gallery Nicelle Beauchene Gallery Night Gallery Nino Mier Gallery Nonaka-Hill Ornamentum Perrotin Petzel Gallery Pippy Houldsworth Gallery PKM Gallery Praz-Delavallade Rachel Uffner Gallery

Regen Projects Reyes | Finn Richard Saltoun Gallery Roberts Projects Ronchini Gallery Salon 94 Sean Horton (presents) Sicardi Ayers Bacino Simon Lee Gallery Sperone Westwater Sprüth Magers Stephen Friedman Gallery Taka Ishii Gallery Tanya Bonakdar Gallery Thomas Dane Gallery Tilton Gallery Tim Van Laere Gallery Tina Kim Gallery Tiwani Contemporary Van Doren Waxter Various Small Fires Victoria Miro Vielmetter Los Angeles Washburn Gallery Yossi Milo Gallery Yumiko Chiba Associates

View the full auction catalogue and register to bid at twoxtwo.org.

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NOTED 17

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01 AFRICAN AMERICAN MUSEUM On view through Mar. 1, 2020 The Kinsey African American Art & History Collection, considered one of the most comprehensive surveys of African-American history and culture outside the Smithsonian Institution, features over 150 of the treasures amassed by Shirley and Bernard Kinsey. The collection includes masterful paintings and sculpture, photos, rare books, letters, manuscripts, and covers the lives and artistry of African-American people, from the 16th century, through the years of slavery and emancipation, to the civil-rights movement and modern-day. Highlights include bills of sale and legal papers documenting the slave trade; hand-colored tintypes from the Civil War era; art and literature from the Harlem Renaissance; and items spotlighting key moments in the civil rights movement, including the Woolworth store boycotts and the 1963 March on Washington. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Seeing in Detail: Scott and Stuart Gentling’s Birds of Texas features 23 of Scott and Stuart’s watercolors from the museum’s permanent collection, through Dec. 1. Set in Motion: Camille Utterback and Art That Moves pairs an interactive installation by this new-media artist with a century of art depicting motion from the Amon Carter’s collection, through Dec. 8. Gordon Parks: The New Tide, Early Work 1940–1950 explores the early years of Parks’ career as an influential photographer who captured the essence of the civil rights movement and broke barriers for African-Americans, through Dec. 29. Puente Nuevo by Justin Favela features an immersive installation created exclusively for the museum, through Jun. 30, 2020. James Surls’ sculpture Seven and Seven Flower, a complex portrait of family, land, and self, will be on view through Jul. 31. Image: Stuart Davis (1892–1964), Blips and Ifs, 1963, oil on canvas, 71.12 x 53.12, Amon Carter Museum of American Art, Fort Worth, Texas, in memory of John de Menil, trustee, Amon Carter Museum of American Art, 1961-1969. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS Hands and Earth: Contemporary Japanese Ceramics showcases a range of shapes, glazes, and surface treatments blending ingenuity with a dynamic relationship and deep respect for tradition. On display through Jan. 5, 2020. On view through, Aug. 23, 2020, Future Retrospective: Master Shen-Long highlights the contemporary master’s work in classical Chinese literati perfections of painting, poetry, 38

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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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and calligraphy, as well as seal-carving. Image: From Hands and Earth: Contemporary Japanese Ceramics, Kondo Takahiro (b. 1958), Jishinha (Seismic Wave), 2016, marbleized porcelain with metallic glaze and cast glass, 43.3 x 6.3 x 4.7 in., Carol and Jeffrey Horvitz Collection. Photograph by Richard Goodbody, courtesy of Joan B Mirviss. crowmuseum.org 04 DALLAS CONTEMPORARY My Life as a Man emphasizes John Currin’s depictions of his own gender, examining provocative depictions of a range of masculine identities over the course of his career. Alicja Kwade’s new body of work, developed in Mexico, is shown for the first time in Moving in Glances. In Polite English One Disagrees by First Agreeing presents the first solo museum exhibition by Brooklyn-based artist Jessica Vaughn.

All on view through Dec. 22. Image: John Currin, Fishermen (detail), 2002. © John Currin. Photograph by Rob McKeever, courtesy Gagosian. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM The inaugural exhibition in this new museum, Stories of Survival: Object. Image. Memory showcases more than 60 personal items brought to America by survivors of the Holocaust and genocide.

The objects—as ordinary as a child’s doll and a black suitcase, and as symbolic as a young mother’s cookbook and a wedding announcement—were saved by local survivors from genocides around the world, including Armenia, Bosnia, Cambodia, Iraq, Rwanda, South Sudan, and Syria. On view through the end of the year. dhhrm.org 06 DALLAS MUSEUM OF ART Two solo exhibitions are on view in the Hoffman Galleries through Mar. 22, 2020: Focus On: Alex Katz, is an exhibition of works by the celebrated 92-year-old American painter, and Focus On: Ragnar Kjartansson is an immersive video installation and a commissioned work by the Icelandic artist. America Will Be! Surveying the Contemporary Landscape, on view through Oct. 6, presents the ways in which contemporary artists engage with landscapes. Dior: From Paris to the World surveys more than 70 years of the House of Dior’s legacy, featuring more than 100 haute couture dresses as well as accessories, photographs, original sketches, runway videos, and more, through Oct. 27. The Fifty-Three Stations of the Tōkaidō continues through Nov. 24. Violence and Defiance, in the European Galleries, features prints by a generation of rebel-artists known as the Expressionists, who

NOTED: VISUAL ARTS

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reacted to the atrocities of World War I, through Mar. 8, 2020.

Image: Ragnar Kjartansson, The Visitors. Photograph by Elisabet Davids, courtesy of the artist, Luhring Augustine, New York and i8 Gallery, Reykjavik, Iceland. dma.org 07 FORT WORTH MUSEUM OF SCIENCE AND HISTORY Through artifacts and experiences, Launchpad: Apollo 11 Promises Kept commemorates the milestone anniversary of the Apollo 11 moon landing and introduces Drome 2020, an exciting 4-D theatrical experience. fwmuseum.org 08 GEOMETRIC MADI MUSEUM Biennial: Origins in Geometry is a juried competition to recognize excellence in emerging visual artists deriving inspiration from geometric abstraction. Finalists are featured at the museum through Oct. 20. Next, The Art of Orna Feinstein and McKay Otto will showcase the works of both from Oct. 25–Jan. 26, 2020. geometricmadimuseum.org 09 GEORGE W. BUSH PRESIDENTIAL CENTER Presidential Retreats: Away from the White House remains on view through Oct. 6. Join Alexander McCall Smith, author of the bestselling The No. 1 Ladies’ Detective Agency series, at the first Laura Bush Book Club event on Nov. 4. Meredith Land of NBC 5 will moderate a discussion on the first book in the series, which tells the story of cunning and engaging Precious Ramotswe, Botswana’s leading, and only, female private detective. bushcenter.org 10 KIMBELL ART MUSEUM Opening Oct. 27, Renoir: The Body, The Senses marks the first major exploration of Renoir’s interest in the human form, and it reconsiders Renoir as a constantly evolving artist whose style moved from Realism into luminous Impressionism, culminating in the modern classicism of his last decades. On view through Jan. 26, 2020. Image: Pierre-Auguste Renoir, Woman Crocheting, oil on canvas, c. 1875, The Clark Art Institute, Williamstown, Massachusetts, acquired by Sterling Clark, 1916. kimbellart.org 11 LATINO ARTS PROJECT Latino Arts Project, a nonprofit organization and pop-up museum founded by Jorge Baldor with executive director Carlos GonzalezJaime, is designed to bring a greater understanding of Latino art, history, and culture through exhibitions and community programs.

Día de Muertos/Day of the Dead Exhibition, is slated for Oct.–Nov. Slated on select 3rd Thursdays of each month, the Art Voices Lecture Series is a part of the Education and Community Programs Department. This series creates a platform for the voices of artists, art scholars, critics, museum professionals, and historians, and

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aspires to be a catalyst for interdisciplinary learning through talks, to encourage discourse and curiosity about all facets of Latin American and Latino studies. latinoartsproject.org 12 LATINO CULTURAL CENTER Genealogist and Latin American specialist Arturo Cuellar will present lectures on Oct. 3 and 4 for the exhibition Honoring Our Ancestors: A 500-Year Journey Back to Hernán Cortés, about the migration from New Spain (Mexico) to Tejas (Texas) in the late 17th century and its impact on local cultures. Cine de Oro: Pan’s Labyrinth will show Oct. 16. Guillermo Calderon’s play Villa, making its regional premier, tells a story about reclaiming your country when three women are charged with deciding the future of the Villa Grimaldi, an infamous detention camp of Chile’s Pinochet government. Oct. 17–Nov. 2. Cine de Oro will feature Salon Mexico on Nov. 20. lcc.dallasculture.org 13 THE MAC Cosmic to Corporeal: Contemporary Queer Performance Practices seeks to provide an intergenerational and intersectional exchange of artists who are working to redefine the constructs of performance art and identity, specifically in relation to the queer body and the relationship of the body to technology. Curator Liss LaFleur has selected works from an international open call, including, among others, works by Zackary Drucker, Le’Andra LeSeur, Jonathan Molina-Garcia, and Legacy Russell. On view through Nov. 9. Next, Artists of the Cedars Union will run Nov. 16–Dec. 22. the-mac.org 14 MEADOWS MUSEUM Goya’s Visions in Ink: The Centerpiece of the Meadows Drawings Collection highlights the museum’s recent acquisition of Goya’s ink drawing, Visions, from his “Witches and Old Women Album,” through Nov. 3. El Greco, Goya, and a Taste for Spain: Highlights from The Bowes Museum features artists such as Juan de Borgoña, El Greco, and Francisco de Goya, and paintings on panel and canvas ranging from the early 16th to late 18th centuries. On view through Jan. 12, it features saints and sinners, secular and sacred likenesses meant to inspire devotion, admiration and, at times, discomfort. Image: Joaquin Sorolla y Bastida (Spanish, 1863–1923), Female Nude, 1902, oil on canvas, 41.75 x 73.25 in., private collection. meadowsmuseumdallas.org 15 MODERN ART MUSEUM OF FORT WORTH Robyn O’Neil: WE, THE MASSES explores the artist’s fruitful career and includes major multipaneled drawings, signature works of graphite on paper, collages, and the animated film WE, THE MASSES, 2011. This is the first presentation to examine O’Neil’s formal and conceptual developments over the past two decades,

G-Parks-PatronPrks-4x11-V2-ad.pdf

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NOTED: VISUAL ARTS

Through December 29, 2019 Discover the early work of the pioneering African American photographer Gordon Parks, from his fashion photographs to his thoughtful depictions of American life.

Free Exhibition Admission For details and tickets visit cartermuseum.org #ParksNewTide

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on view Oct. 18–Feb. 2, 2020. From Nov. 08–Jan 12, 2020, FOCUS: Martine Gutierrez will showcase photographs and videos exploring gender, race, class, and sexuality, as well as conventional ideals of beauty and identity as a social construct. themodern.org 16 MUSEUM OF BIBLICAL ART View the Holy Land in a fresh way through contemporary Israeli artist Avner Sher. Chaotic Harmony: Jerusalem Journeys, Sher’s new art exhibition, is deeply rooted in his architectural practice and interest in the history of Israel. Elaborate and physically demanding, his technique involves scratching, slicing, engraving, and burning large sheets of cork. On view through Nov. biblicalarts.org 17 NASHER SCULPTURE CENTER On view through Jan. 5, 2020, Elmgreen & Dragset: Sculptures marks the Scandinavian duo’s first major museum presentation in the US. Working together since the mid’90s, Michael Elmgreen’s and Ingar Dragset’s sculptures, installations, and performances reinterpret familiar designs and spatial structures of our everyday lives with criticality and wit. Nicole Eisenman’s Sketch for a Fountain remains on view through Oct. 27. In her first US commission, French artist Anne Le Troter considers the ethics of eugenics in a linguistic score and site-specific installation, through Feb. 2, 2020.

Image: Elmgreen & Dragset, Traces of a Never Existing History, 2001, wood, stainless steel, aluminum, Perspex, fluorescent light, paint, 10.2 x 14.1 x 25.7 ft. nashersculpturecenter.org

ON THURSDAY, OCTOBER 24

learn more about Parks’ life and work with National Gallery of Art curator Philip Brookman and TCU professor Dr. Fredrick W. Gooding Jr.

ON SUNDAY, OCTOBER 27

celebrate Gordon Parks during Art Mashup with a day of events from tours to a screening of Parks’ film Shaft (1971).

Gordon Parks: The New Tide, Early Work 1940–1950 is organized by the National Gallery of Art, Washington, in collaboration with The Gordon Parks Foundation. Bank of America is proud to be the national sponsor of the exhibition. Generous support is also provided by the Kleinheinz Family Foundation for the Arts and Education and the Ann L. & Carol Green Rhodes Charitable Trust, Bank of America, N.A., Trustee.

Gordon Parks (1912–2006), Self-Portrait, 1941, gelatin silver print, Private Collection, Courtesy of and copyright The Gordon Parks Foundation

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18 PEROT MUSEUM Origins: Fossils from the Cradle of Humankind invites guests to come face-to-face with 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 will explore the dramatic discovery of these fossils, never before displayed outside of South Africa.

Oct. 19–Mar. 22, 2020. perotmuseum.org.

19 TYLER MUSEUM OF ART Continuing through Nov. 10, Books, Books & More Books: Works by MANUAL spotlights a series of photographic works from the ongoing artistic and book collaboration of Suzanne Bloom and Ed Hill that began in 1974. On view through Dec. 1, Passing Through: Works by Lloyd Brown, Pat Gabriel and Sarah Williams features works exploring scenes from the American landscape that one might encounter while “passing through” a town. tylermuseum.org

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NOTED: PERFORMING ARTS

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01 AMPHIBIAN Despite being a POW then ransomed off by her father to the feckless king of a foreign country, Margaret of Anjou went on to command armies. Stephan Wolfert worked with local veterans of the armed forces to create She-Wolf based on this powerful immigrant who became the Queen of England, onstage Oct. 18– Nov. 10. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Piff The Magic Dragon brings his brand of comedy and magic on Oct. 26. Jim Breuer’s Live and Let Laugh takes the stage Oct. 29. Mystery Science Theater 3000 Live: The Great Cheesy Movie Circus Tour! plays Nov. 17. Once tells the enchanting tale of a Dublin street musician who gives up on his dream until a beautiful woman takes an interest in his haunting love songs, onstage Nov. 22–24. attpac.org 03 BASS PERFORMANCE HALL Cameron Mackintosh’s production of Andrew Lloyd Webber’s The Phantom of the Opera runs through Oct. 5. The Fort Worth Symphony will perform Mahler 3, Oct. 11–13. Ghostbusters with the FWSO comes to the stage Oct. 25–27. Guest conductor Garrett Keast salutes American composers in Barber and Copland: Salute to America, Nov. 8–10. The Simon & Garfunkel Story arrives on Nov. 14.

Unforgettable: Nat and Natalie honors the father and daughter duo Nov. 15–17. DRUMLine Live Holiday Spectacular will take place Nov. 20. Blue Man Group’s Speechless Tour runs Nov. 26–27. Image: The Simon & Garfunkel Story, photograph by Steve Ashton. basshall.com 04 CASA MAÑANA Tuck Everlasting tells the story of eleven-year-old Winnie Foster, who yearns for a life of adventure. Winnie must fight to protect the family secret from those who would do anything for a chance at eternal life. See the secret yourself, Oct. 4–20. Next, Annie charms everyone’s hearts despite a next-to-nothing start in 1930s New York City, Nov. 2–10. casamanana.org 05 CHAMBER MUSIC INTERNATIONAL Taiwanese-American violinist Richard Lin and pianist Chih-Yi Chens join CMI on Oct. 26 for Sonata No.4 in A Minor for Violin and Piano by Ludwig van Beethoven, Maurice Ravel’s Sonata in G Major, and Fantasy on Themes for Gershwin’s Porg y and Bess, among others. chambermusicinternational.org 06 DALLAS BLACK DANCE THEATRE Muntu Dance Theatre of Chicago performs progressive interpretations of ancient and contemporary African dance in DanceAfrica, Oct. 4–5. Director’s Choice presents the future of dance, Nov. 1–3. Image: DanceAfrica, photograph by Brian Guilliaux. dbdt.com 44

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07 DALLAS CHILDREN’S THEATER Disney’s Beauty and the Beast’s mix of beloved songs with a touch of compassion and kindness highlight the power of true love in this family musical based on the classic, through Oct. 27. The Very Hungry Caterpillar Christmas Show comes to Dallas Nov. 23–Dec. 29. dct.org 08 THE DALLAS OPERA TDO’s 2019/2020 season opens with W.A. Mozart’s mystical allegory The Magic Flute, Oct. 18–Nov. 3. The story features a battle between good and evil as two young people find their way to love and enlightenment. The Golden Cockerel sounds the alarm whenever danger is near, but even the magical bird can’t save King Dodon when he comes up against his most formidable adversary—a young queen. Oct. 25–Nov. 2. dallasopera.org 09 DALLAS SUMMER MUSICALS An Evening with the Best of Broadway will celebrate the magic of musical theatre Nov. 1. Cats, Andrew Lloyd Webber’s captivating musical on tour across North America, will stop in Dallas Nov. 5–17. Dear Evan Hansen will inspire audiences to live the life they want Nov. 26–Dec. 8. dallassummermusicals.org 10 DALLAS SYMPHONY ORCHESTRA Tchaikovsky’s First Piano Concerto No. 1 will be performed by the DSO Oct. 10–13. Dvořák’s cello concerto and Schumann’s Symphony No. 2 mounts Oct. 17–20. A Sea Symphony with violinist Gary Levinson runs Oct. 25–27. Debuting as principal guest conductor, Gemma New leads two iconic Impressionist works: Prelude to the Afternoon of a Faun and La Mer Nov. 8–10. Violin sensation Maxim Vengerov solos in Bruch’s Concerto in G minor on Nov. 21–23. mydso.com 11 DALLAS THEATER CENTER In the Heights tells of a vibrant community in New York’s Washington Heights neighborhood, where the biggest struggles can be deciding which traditions you take and which ones you leave behind. Through Oct. 20. Ann reveals the feisty and unadulterated life of legendary Texas governor Ann Richards in a play written

by Emmy Award-winning actress and writer Holland Taylor, Oct. 15–Nov. 10. A Christmas Carol, Dickens’ boldly reimagined tale of joy, redemption, and the spirit of Christmas, returns Nov. 22–Dec. 29. dallastheatercenter.org 12 EISEMANN CENTER Barbra & Frank, The Concert That Never Was, starring Sharon Owens and Sebastian Anzaldo, returns on Oct. 5. The RSO opens its 58th season with Stravinsky’s The Firebird, Debussy’s Prelude to the

DALLAS: THE PLAZA AT PRESTON CENTER FORT WORTH: THE SHOPS AT CLEARFORK

NOTED: PERFORMING ARTS

19 Afternoon of a Faun, and Mendelssohn’s Violin Concerto with violinist Jinjoo Cho on Oct. 12. Russian Ballet Theatre’s new production of Tchaikovsky’s Swan Lake takes the stage Oct. 18.

The Jen Chapin Trio will perform Oct. 19. The Stray Cats’ Lee Rocker will play Oct. 26. B.J. Thomas stops at the center on Nov. 7. That Golden Girls Show! A Puppet Parody runs Nov. 14–16. Candid Camera’s LOL Tour brings the laughs Nov. 23. eisemanncenter.com 13 KITCHEN DOG THEATER A Love Offering, a world premiere by Jonathan Norton on Oct. 3, tells the story of T’Wana Jepson and Miss Georgia, who are nurse’s aides caring for patients with Alzheimer’s and dementia.

Through Oct. 27. In Queen of Basel, Art Basel Miami’s weeklong party is in full swing and real estate heiress Julie reigns over the party her mogul father is throwing at his South Beach hotel— an explosive elixir of power, class, and race within the Latinx community, onstage Nov. 21–Dec. 15. kitchendogtheater.org 14 LYRIC STAGE Mirette, Tom Jones, Harvey Schmidt, and Elizabeth Diggs’ musical adaptation of Emily McCully’s Caldecott Award-winning book, is the story of a gutsy little girl who discovers her mother’s new boarder is none other than the Great Bellini, whose glorious tightrope-walking days were cut short when he lost his nerve.

Onstage Nov. 15–17. lyricstage.org

TOM ORR / WORKS ON PAPER OCTOBER 19 – NOVEMBER 23 IMAGE: #1, 2019, print 1/3, 108 x 40

315 Cole Street Suite 120 Dallas, TX 75207 | 214.939.0242 46

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15 MAJESTIC THEATRE Trae Crowder, Drew Morgan, and Corey Ryan Forrester bring wellRED: From Dixie With Love to Dallas on Oct. 5. Eric Andre’s Legalize Everything Tour, mounts Oct. 10. Herb Alpert and Lani Hall perform Oct. 12. Miranda Sings’ Who Wants My Kid tour stops by Oct. 15. Stassi Schroeder, the “basic” authority, takes her podcast on tour in Straight Up With Stassi Live on Oct. 16.

Penny & Sparrow’s songs and stories will unfold onstage Oct. 18. In her What Am I Going To Do With My Life Now? Tour, Rachel Bloom will perform standup and songs from Craz y Ex-Girlfriend, Oct. 23. Randy Rainbow Live! stages Oct. 24. Funnyman Nate Bargatze stops in on Oct. 25. November dates include UK’s Frank Turner, Nov. 1; Tedeschi Trucks Band, Nov. 7–8; RuPaul’s Drag Race World Tour, Nov. 11; Daniel Habif, Nov. 20; Rufus Wainwright, Nov. 22; and Lewis Black: Alive in Concert on Nov. 23. majestic.dallasculture.org 16 TACA On Oct. 4, 2019 TACA Lexus Party on the Green brings together celebrated culinary and artistic talent for an elegantly casual evening in support of the arts in North Texas. The culinary

DAVID DIKE FINE ART PRESENTS

Fall Texas Art Auction | November 9, 2019 DAVID DIKE FINE ART will host the Fall Texas Art Auction on Saturday, November 9, 2019 at Wildman Art Framing, Murad Auctioneers will conduct the sale. The Texas Art Auction was established in 1996 and has become a tradition in collecting early Texas art for the past 23 years.

The auction will feature 300 lots of early Texas art with great collections of Dallas painters: Olin Travis, Otis Dozier, Frank Reaugh, Merritt Mauzey, Zanne Hochberg and Edward Eisenlohr; Fort Worth Circle artists: Bror Utter, David Brownlow and some early, rare Samuel Ziegler works.

The auction will feature an exemplary San Antonio Landscape painting and works by the early Spanish-American painter Jose Arpa. David Dike Fine Art is excited to offer 2 rare and fresh paintings by the early Houston modernist painter Robert Preusser.

There will be several paintings in the auction from the estate of Carl Benton Compton

Seymour Fogel (Am. 1911-1984); Untitled, Abstraction, 1951; oil on Masonite 48 x 48; Est. $30,000 - $50,000

As always, the auction will be a live paddled sale with online, phone and absentee bidding available. This sale always draws an enthusiastic crowd of bidders as well as art enthusiasts, and DDFA will offer great food and drinks by Taco Heads. For more information and to request a catalogue please visit: www.daviddike.com.

David Bates (Am. 1952-); Baton Rouge, 1990; oil on canvas 74 x 67; Est. $120,000 - $150,000

Auction Date: Saturday, November 9 Auction & Preview Location: Wildman Art Framing, 1715 Market Center Blvd, Dallas, TX 75207 Auctioneer: Louis Murad – TXS 13362

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interior design + art 06 experience features 20 signature dishes from Dallas’ best chefs and restaurants and live performances by 2019 TACA Grant Recipients. taca-arts.org 17 TEXAS BALLET THEATER Princess Aurora dances her way through curses and dreams to find her prince charming in The Sleeping Beauty Oct. 18–20 at Bass Performance Hall. Clara and her Nutcracker Prince meet the Sugar Plum Fairy in the Kingdom of Sweets in The Nutcracker, onstage at Winspear Opera House, Nov. 29–Dec. 8 and Bass Performance Hall Dec. 13–29. Image: Cast of Sleeping Beauty, photograph by Sharen Bradford. texasballettheater.org 18 THEATRE THREE The 2019–2020 season opens with Dracula told through the eyes of his mistress Mina, onstage Oct. 3–27. Noises Off provides a sneak peek onstage and backstage of an amateur traveling theatre production, from final rehearsals through opening night and the subsequent touring season. Nov. 29– Dec. 22. theatre3dallas.com 19 TITAS/DANCE UNBOUND After a decade of stellar performances and world tours, including Moscow, St. Petersburg, and the Netherlands, BODYTR AFFIC comes to Dallas Oct. 25–26. Ballet British Columbia, one of the world’s most sought-after companies, will be in Dallas Nov. 8–9. Image: BODYTRAFFIC, photograph by Rory Doyle. titas.org

Photography by Danny Piassick Lea Fisher, “Infinite Diamonds”, Samuel Lynne Galleries

MARY ANNE SMILEY, RID, ASID maryannesmiley.com 214.522.0705

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20 UNDERMAIN THEATRE Red Chariot is a world-premiere science-fiction thriller set amid the downfall of civilization after the internet has created a mysterious Tarot deck that, when read, can affect the past, present, and future, onstage through Oct. 13. Good intentions collide in Larissa FastHorse’s satire as a troupe of terminally “woke” teaching artists scrambles to create a pageant that manages to celebrate both turkey day and Native American Heritage Month. Nov. 6–Dec. 1. undermain.org 21 WATERTOWER THEATRE After witnessing a murder, disco diva Deloris Van Cartier is put in protective custody in the one place the cops are sure she won’t be found: a convent. At odds with the uptight Mother Superior, Deloris uses her unique flair and singing talent to inspire the choir, breathing new life into the church and community. Sister Act steps into the spotlight Oct. 24–Nov. 10. watertowertheatre.org

DAVID YARROW SAMUEL LYNNE GALLERIES

11.16.19

Exhibition & Book Launch Artist in Attendance DALLAS

The must-have photography monograph of the year, this lavish oversized volume celebrates David Yarrow’s unparalleled imagery.

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CHICAGO

WWW.SAMUELLYNNE.COM | 214.965.9027

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27 01 12.26 For its inaugural exhibition, 12.26 is presenting Waters, a twoperson show of new paintings by Alex Olson and sculptures by Nancy Shaver. Waters reflects a dialogue between Shaver and Olson around the theme of water as a lens for approaching their individual works. Through Nov. 16. Gallery1226.com 02 214 PROJECTS In the fall exhibition, 214 Projects will present Arrival, Departure, Arrival, a solo show of the artist Ludwig Schwarz. The exhibition takes place on the stage of temporality, with Schwarz’s paintings working in collaboration with the specific nature of the project space and more specifically 214 Projects. The exhibition will be on view Oct.. 12–Nov. 23. 214projects.com 03 500X GALLERY The 2019 Expo exhibition will be on view Oct. 12–Nov. 3. The annual juried exhibition showcases artists from across the state; this year the artists were selected by Galleri Urbane’s director of exhibitions, Adrian Zuñiga. 500x.org 04 ALAN BARNES FINE ART ABFA will host Carle Shi at their Uptown gallery Oct. 18–Nov. 22.

Shi began her professional career as a painter, focusing on still life using a classical approach to composition and portraying fruit using a technique inspired by 17th-century Dutch still life painting. alanbarnesfineart.com 05 AND NOW Dallas-based artist Michelle Rawlings’ exhibition of new work will fill the gallery through Nov. 2. The work of multimedia, genredefying artist Covey Gong will be on display Nov. 9–Dec. 28. andnow.biz 06 ARTSPACE111 Refired Pow!, a collection of recent work by Nancy Lamb, will continue through Oct. 12. Next, Exurban, an exhibition of work by Dennis Farris and Jim Malone, will be on display Oct. 17–Dec. 1. artspace111.com 07 BARRY WHISTLER GALLERY A selection of the late artist Michael Miller’s work combining punchy graphics and text will be on display in Always: The Large Canvases t h rough Oct. 12 . K r isten Coch ran’s Chroma Soma: Photographs & Sculpture will also be on view through Oct. 12. From Oct. 19–Nov. 23, BWG will host Tom Orr’s Work on Paper and Frances Bagley’s Sculpture. barrywhistlergallery.com 50

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08 BEATRICE M. HAGGERTY GALLERY From Costa Rica to Lubbock, a solo show of digital drawings by artist Tom Spleth, features new works inspired by a recent trip to Costa Rica as well as familial portraits drawn from stories told in Lubbock, Texas. The show runs Oct. 4–Nov. 4. A retrospective of work by the late Heri Bert Bartscht, professor emeritus of sculpture, mounts Nov. 13–Dec. 28. Image: Tom Spleth, Tropical Plant with Shadow, 2018, iPad drawing using Procreate on high-gloss metal, 40 x 40 in. udallas.edu/gallery 09 BLUE PRINT GALLERY Blue Print has dedicated its gallery to established, midcareer, and emerging Texas artists and features contemporary paintings, works on paper, fine art photography, and sculpture. blueprint-gallery.com 10 BIVINS GALLERY Bivins Gallery shows works by French artist Patrick Rubinstein thorough Nov. 26. Rubinstein’s compositions are situated at the crossroads of optical, pop, and street art. bivinsgallery.com 11 CADD Contemporary Art Dealers of Dallas is a nonprofit organization formed in 2007 for the purpose of promoting contemporary art in Dallas. The organization hosts bus tours, happy hours, and distributes scholarships for local artistic endeavors. caddallas.org 12 CARNEAL SIMMONS CONTEMPORARY ART Sereno, a solo exhibition by artist Juan Alberto Negroni, continues through Oct. 26 along with Collective, a group show for gallery artists. carnealsimmons.com 13 CHRISTOPHER MARTIN GALLERY Christopher Martin Gallery presents the reverse-glass paintings and the 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. christophermartingallery.com 14 CONDUIT GALLERY Darren Jones: Supernatural Architecture; Ludwig Schwarz: No Title (Subject to Change); and Jeff Gibbons: Planet Sandwich will be on view through Oct. 12. On Oct. 19, Conduit will open three exhibitions: Slow Eddy, a solo show for oil painter Marcelyn McNeil; Exception: Works on Linen and Paper by Denton-based artist Annette Lawrence; and, in the Project Room, Angel Oloshove’s installation titled New Work. Image: Annette Lawrence, Blue Line, 2019, acrylic transfer and acrylic on linen, 48 x 44 in. conduitgallery.com

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15 CRAIGHEAD GREEN GALLERY Jeanie Gooden, Marty and Richard Ray, and Raymond Saá remain on view through Oct. 4. Next, from Oct. 12–Nov. 15, Craighead Green will host Tom Hoitsma, Shawn Smith, and Jeff Uffelman. Heather Gorham, Win Wallace, and Marla Ziegler will close out the year. Nov. 23–Dec. 27. craigheadgreen.com

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16 CRIS WORLEY FINE ARTS Tied to this World, showcases new works in crepe myrtle and bronze by Dallas native Sherry Owens through Oct. 12.

CWFA will host Paper Works by Harry Geffert and Sewn to the Sky the work of Steven Charles, Oct. 19–Nov. 16. crisworley.com 17 CYDONIA Impressions, a collective exhibition featuring works by Osamu Kobayashi, Barb Smith, and Sydney Williams highlights practices that incorporate touch as a process or a formal component that incites empathy for the human form, through Oct. 20. Opening Nov. 15, Dorotabo will showcase Elise Eeraerts’ work through Jan. 26. Image: Osamu Kobayashi, Shape-Shifter, 2016, oil on canvas, 15 x 17 in., courtesy of the artist and Mindy Solomon Gallery. cydoniagallery.com

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20 ERIN CLULEY GALLERY Hidenori Ishii: On the Fence, closes on Oct. 4. Two Thousand Seventeen, Eighteen, Nineteen, presents Nic Nicosia’s work inspired by daily and momentary thoughts, emotions, and situations that generate drawings and then produce sculptures which beget photo works, through Oct. 12– Nov. 16. The exhibition will contain approximately 70 new works. erincluley.com

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19 DAVID DIKE FINE ART David Dike Fine Art will host the Fall Texas Art Auction on Nov. 9 at Wildman Art Framing. The auction will feature 300 lots of early Texas art with great collections of Dallas painters Olin Travis, Otis Dozier, Frank Reaugh, Merritt Mauzey, Zanne Hochberg, and Edward Eisenlohr; Fort Worth Circle artists Bror Utter and David Brownlow; and some early, rare Samuel Ziegler works. daviddike.com

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

ONE OF A KIND

29th Anniversary Exhibition October- November

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21 EX OVO Altweibersommer, which translates to “old women’s summer,” closes Oct. 4. The gallery will present Next Exit, featuring the work of Trey Burns, Harris Chowdhary, Finn Jubak, and Jonathan Molina-Garcia from Oct. 12–Dec. 7. exovoprojects.com 22 FORT WORKS ARTS The mission of the second annual First Come First Serve Exhibition is to give all artists a platform for showing their work. The gallery will present more than 200 works of local, regional, and national artists. Oct. 23–Nov. 30. fortworksart.com 23 FWADA Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art. fwada.com 24 GALERIE FRANK ELBAZ On Oct. 24, the Dallas gallery will reopen for fall with Mungo Thomson’s solo show, Proposal for Stained Glass Window (Jane), which will remain on view through Feb. 28, 2020. Thomson lives in Los Angeles and works in sound, film, sculpture, photography, and publication. Image: Mungo Thomson, Majestic Mountains 2019 (January), 2019, 2-sided UV-cured print on samba fabric, custom LED lightbox, 96 x 96 x 4 in. galeriefrankelbaz.com 25 GALLERI URBANE Distant Snapshots will close Oct. 4. From Oct. 12, the gallery will showcase Samantha McCurdy in Sun Systems and host Arden Bendler Browning in Gallery One and Dennis Koch in Gallery Two through Nov. 16. galleriurbane.com 26 THE GOSS-MICHAEL FOUNDATION LA-based artist RETNA will be on view Oct. 11–Nov. 8.

Next, Ryan Hewitt will present a collection of new paintings specifically for the GMF space from Nov. 14. g-mf.org

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27 HOLLY JOHNSON GALLERY An exhibition of new paintings, drawings, and collages

by New York artist William Steiger will be on view Oct. 19–Nov. 21. Steiger has remained devoted to landscape painting even as his vistas often became devoid of visible land. SuperFlux, an exhibition of new paintings by Tommy Fitzpatrick, will open Nov. 23 and run through Jan. 25.

SOUTHWEST GALLERY

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W W W. S W G A L L E R Y. C O M 4500 Sigma Rd. Dallas n 972.960.8935 Fine Art n Sculpture n Custom Framing n Glass

NOTED: GALLERIES

36 Image: Tommy Fitzpatrick, Simulated Structure, 2019, oil on canvas, 14 x 14 in. hollyjohnsongallery.com 28 KIRK HOPPER FINE ART Dallas artist Martin Delabano’s third solo exhibition with KHFA closes on Oct. 5. Mind Gathering, a show displaying work by Matthew Bourbon, will be on view Oct. 12–Nov. 16. Lily Hanson’s Before I Forget will display her sculptural work Nov. 23–Jan. 11. kirkhopperfineart.com 29 KITTRELL/RIFFKIND ART GLASS One of a Kind is an exhibition of works created by 50 of the gallery’s favorite artists especially for the gallery’s 29th anniversary celebration, Oct. 5–Nov. 3. Ornament Extravaganza! celebrates the shape and color of the holiday season. Nov. 9–Dec. 31. Image: Jennifer Caldwell, untitled glass teapot. kittrellriffkind.com 30 LAURA RATHE FINE ART Wonderland: Hunt Slonem closes Oct. 5. Next, a dual exhibition featuring new works by artists Matt Devine and Nina Tichava will be on view Oct. 12–Nov. 16. Meredith Pardue’s dynamic, large-scale compositions featuring colorful abstract forms derived from nature will close out the year in a solo exhibition on view Nov. 21–Dec. 28. laurarathe.com 31 MARTIN LAWRENCE GALLERIES Founded in 1975, MLG specializes in original paintings, sculpture, and limited-edition graphics. The gallery is distinguished by works of art by Erté, Marc Chagall, Robert Deyber, Keith Haring, René Lalonde, Takashi Murakami, Pablo Picasso, Andy Warhol, and many others. martinlawrence.com 32 MARY TOMÁS GALLERY Trayectorias ref lects on the parallels and differences of Mexican American artists Juan Cruz and Fred Villanueva and remains on view through Oct. 5. Next, the gallery will open an exhibition featuring Chong Chu titled From The Garden To The Garden, and Roy Tamboli’s Breakthrough Chicot on Oct. 12, which will remain on view through Nov. 16. marytomasgallery.com 33 MERCADO369 Latin American artists are well represented in this Oak Cliff jewel. Nine galleries offer sculpture, jewelry, textiles, and home décor from Mexico, Argentina, and other Latin American countries. mercado369.com 54

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48 34 PHOTOGRAPHS DO NOT BEND Jeffrey Silverthorne: Looking features recent work by the artist, through Oct. 26. The exhibition focuses on his use of color in his later work, where black-and-white was mostly his default prior. Earlier work is also included, including his brutal bullfight series, which Silverthorne illustrates in intense color, along with his 1970s trans series, as well as his seminal morgue series. From Nov. 2–Dec. 28, a group show exploring images of war from the 20th century to the present will be on view. pdnbgallery.com 35 THE PUBLIC TRUST The gallery is exhibiting a collection of classic photographs from legendary photographer Mick Rock, featuring iconic images from the ’70s and ’80s of David Bowie, Lou Reed, Debbie Harry, Iggy Pop, Andy Warhol, Mick Jagger, and Joan Jett, among many others, through Oct. 19. trustthepublic.com 36 THE READING ROOM Eddie Leon Returns, narrative work by Ray Madison (aka Fort Worth artists Linda and Ed Blackburn) remains on view through Dec. 7. The exhibition includes paintings, drawings, and video, and is guest curated by Caleb Bell.

Image: Ray Madison (aka Linda and Ed Blackburn), Gone Nowhere, 1995, colored pencil on paper, 22 x 30 in. thereadingroom-dallas.blogspot.com

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37 RO2 ART Ro2 Art will present TJ Griffin: Mind Island concurrently with Ray Mel Cornelius: SuperNature through Oct. 19. In November the gallery will open solo shows for Yuni Lee and Dee Shapiro. 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

OPENING IN THE GALLERY’S NEW LOCATION IN THE DESIGN DISTRICT.

39 SAMUEL LYNNE GALLERIES Tyler Shields’ latest fairy tale-themed series, in which he captured magical moments on legendary Hasselblad film, will be on display through Nov. 2. The gallery invites patrons to The Network Bar in Trinity Groves on Nov. 13 to hear the photographer David Yarrow speak before his exhibition opening on Nov. 16 at the gallery. Yarrow’s work will remain on view through Feb. 1, 2020. Image: Tyler Shields, Self Portrait #2, ca. 2017, chromogenic print, 30 x 30 in., edition 2/3. samuellynne.com

150 MANUFACTURING STREET, SUITE 210 DALLAS, USA ERINCLULEY.COM Image: Nic Nicosia, 2 suns, 2019, Archival inkjet on hot press, 50 x 40 inches.

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24 40 SEAN HORTON (PRESENTS) Occupying a Mission Revival storefront in Oak Cliff, Sean Horton (Presents) hosts Lucia Hierro’s Objetos Específicos through Oct. 19. seanhortonpresents.com 41 SITE131 Through Dec. 14, Structured presents Danish artist Anne Damgaard’s fashions as objets d’art; Hungarian artist Zsofia Schewger, meditative paintings of interiors that reflect home, belonging, and the emigrant experience; American artist Richard Tuschman, digitally contrived photographs of reinvented paintings, capturing themes of solitude and longing; and Cristina Velásquez, who creates multiples of folded-image collages. site131.com 42 SMINK SMINK is a design showroom and fine art gallery open to the public that represents artists such as Diane McGregor, Gary Faye, Dara Mark, Robert Szot, and Zachariah Rieke.

Paper 4 Paper, the gallery’s fourth annual paperwork show, features Signe Stuart, Thel, Gary Faye and Dara Mark, through Nov. 29. sminkinc.com 43 SOUTHWEST GALLERY For more than 50 years, Southwest Gallery has provided Dallas the largest collection of fine 19th- to 21st-century paintings and sculptures. Alvar Sunol will attend the Nov. 16 opening of his exhibition at SWG. This mixed-media exhibition will continue through Nov. 30. swgallery.com 44 TALLEY DUNN GALLERY Both the solo exhibition of new work by Sam Reveles titled Poulaphouca: New Paintings and Work on Paper, and a solo exhibition of work by Jennifer Steinkamp, Womb, close Oct. 12. Next, an exhibition of new paintings and photographs by Xiaoze Xie will open on Oct. 25 and run through Dec. 14. talleydunn.com 45 VALLEY HOUSE GALLERY An exhibition for Mary Vernon, who recently retired after teaching studio art and art history for 50 years, includes her recent paintings on Yupo paper and remains on view through Oct. 26. A solo show for Gail Norfleet runs Nov. 2–Dec. 7. valleyhouse.com 46 WAAS GALLERY WAAS Gallery’s eight-year-anniversary exhibition, Release 56

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08 Your Voice, will remain on view through Oct. 12. WAAS will hold women-focused events, workshops, and pop-ups through the fall. waasgallery.com 47 WEBB GALLERY The Stink Eye, an exhibition featuring artists Martha Rich, Esther Pearl Watson, and Heather Sundquist Hall, remains on view through Nov. 24. webbartgallery.com

COLLECT ART TO LAST A LIFETIME

48 WILLIAM CAMPBELL CONTEMPORARY ART Signs of Wear, Randall Reid’s exhibition of works in wood, metal, and other found objects, continues through Oct. 12.

Next, the gallery will present an exhibition of Alex Katz editions, both on paper and his powder-coated aluminum cutouts. Oct. 25–Nov. 16. Image: Alex Katz, Coca-Cola Girl 5, 2019, 20-color silkscreen on Saunders Waterford High White HP 425 gsm fine art paper, 40 x 56 in., edition: 60. williamcampbellcontemporaryart.com 49 UNIVERSITY OF NORTH TEXAS ART GALLERY Words and Pictures, an exhibition of work by UNT Regents Professor of Art Emeritus Vernon Fisher, displays paintings and sculptures from 1980 to the present and celebrates the grand opening of the university’s expanded and integrated College of Visual Arts and Design building.

The exhibition, curated by Tracee W. Robertson, will be on view Oct. 8–Dec. 7. gallery.unt.edu AUCTIONS 01 DALLAS AUCTION GALLERY Dallas Auction Gallery’s Fall 2019 Auctions will take place on Oct. 23 and Nov. 20. dallasauctiongallery.com 02 HERITAGE AUCTIONS Fall auctions slated for HA include the Photographs Signature Auction on Oct. 4, Monthly Fine & Decorative Art Online Auction on Oct. 10, Illustration Art Signature Auction, Oct. 15, Prints & Multiples Signature Auction on Oct. 22, the Estate of John and Elaine Steinbeck Manuscripts Signature Auction on Oct. 24, American Art Signature Auction on Nov. 1, Texas Art Signature Auction on Nov. 2, Urban Art Signature Auction on Nov. 4, Fine Silver & Decorative Arts Signature Auction on Nov. 5, Monthly Fine & Decorative Art Online Auction on Nov. 14, Modern & Contemporary Art auction on Nov. 20, Lalique & Art Glass Signature Auction on Nov. 21, and the Ethnographic Art American Indian, Pre-Columbian and Tribal Art Signature Auction Nov. 22. ha.com

Browse Artists + Acquire Online:

OCTOBER/NOVEMBER 2019

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OF NOTE

STRUCTURE AND ITS AMBIGUITIES Four artists singularize orderliness in an exhibition at Site131.

From left: Zsofia Schweger, Library #2, 2017, acrylic on canvas, 59 x 51 in.; Cristina Velásquez, Written on the Land, white paper and thread, 15 x 12 in.; Richard Tuschman, Green Bedroom (Morning), 2013, archival pigment print, 30 x 24 in.

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group show featuring four artists living in different parts of the globe and working in diverse disciplines define Structured, on view through December at Site131.

About the show, gallerist and curator Joan Davidow says, “I began with the idea of presenting an exhibition of more representational artwork. Zsofia Schweger was the first artist selected. Her cubist environments, ‘architectural orderliness’ in muted tones, sets an engaging stage. Then Richard Tuschman’s reinvented interiors added figures to the conversation.”

Schweger, who grew up in Hungary, first studied abroad in the US when she was 16. “Living away from my native country has been a significant influence on all of my adult life,” she says.

Distinguished by her application of paint in a reductive and flat manner, Schweger says her work, hints at a sense of alienation, “In my Sandorfalva, Hungary paintings, I painted the domestic interiors of my childhood home.” Her family still owns the house but doesn’t visit much since relocating to London. “Most of our old furniture and belongings are still in place there. For now, the house looks frozen in time. In these paintings, I was interested in depicting a home where I didn’t belong anymore.”

A feeling of finally being settled prompted Schweger to begin engaging with other types of interior spaces, including two Library paintings found in Structured. She’s drawn to libraries for their systems and order, “and the infinite quietness we associate with them, as well as their basic function of supporting one’s learning and the general cultivation of thought, especially in a political climate where fact-based expertise might be less valued.” The artist developed a painterly language she says works well with

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libraries, “which are not only typically quiet and still but have an air of permanence. And permanence is certainly something I value after a decade of moving often.”

Richard Tuschman’s photographs of rooms, moody protagonists, and tousled bedsheets may convey disorder, but closer investigation reveals that the order lies in the artist’s calculated planning. “My plan was to recreate photographically certain Edward Hopper paintings that spoke to me, like Hotel by A Railroad,” Tuschman explains. Feeling constrained, he later developed an “inspired by” series titled Hopper Meditations. To achieve these, Tuschman, who splits time between New York and Europe, designed a miniature set in 1:12 scale (one foot=one inch), which, he notes, is the standard scale for dollhouses. “The set’s walls were derived from half-inch foam insulation sheets. I painted them in acrylic, using whatever acrylic mediums and manipulation was required to obtain the desired ‘distressed’ plaster wall appearance.”

A few standard dollhouse pieces, along with Tuschman’s hand-built furniture of balsa wood or cardboard, enhance the set. “The windows I had to create myself from balsa wood strips and Plexiglas to match the windows in the paintings.” Diorama complete, Tuschman experimented with small wood mannequins as stand-ins for live models in order to visualize how the real models should be lit. He worked out the lighting by using small off-camera flash units as light sources to photograph the dioramas. He then photographed live models in the studio against a plain backdrop, “carefully transposing the lighting from the miniature set.”

The resulting Hopper-esque image were stitched in Photoshop, combining the photographs of the live models with those of the

Gail Norfleet

Sunset on Tano Road, 2019, mixed media on Lucite, 24 x 24 in., photograph by Dan Barsotti.

Anne Damgaard, Up #2 (installation view), 2018, nylon, 24 x 23 x 70 in.

miniature set.

Following Tuschman, Davidow discovered Denmark’s Anne Damgaard, whose sculptural fashions display as objets d’art not intended for wear. A persuasive Davidow, however, gained permission for ballerinas to model each of the seven pieces at the opening. “Her fabrics, flowing and gauzy, add a new dimension to structure. And in concept, they are clearly structured for the female form,” Davidow says. To create much of her work, Damgaard buys high-tech Japanese synthetic fabrics, sometimes laser cut or pleated. “You can work more precisely with the shape and draping,” says Damgaard. The garments’ function is not important to her. “The function,” the artist describes, “is how it moves.”

The final artist selected for the exhibition, Cristina Velásquez, combines photography with weaving in collaged works on paper that are first to greet the viewer. “Cristina’s paper works are layered, much like her life in now two different cultures,” says Davidow.

“She’s layering her experiences using paper to define her new language and new life conditions; that is, moving from her native Colombia to living in Houston. It’s a poetic way to describe new orderly conditions, much like Schweger’s life changes impacted her painting style.”

The show’s through line is each artist’s examination of the human relationship to space and belonging. “I have only realized recently that order—both seeking and depicting it—is crucial to me. A sense of order can sometimes provide respite from feelings of doubt and uncertainty, and perhaps that is the reason I’ve been so drawn to it,” Schweger sums up. P

Interior with Flower Vases, 2019, mixed media on Lucite, 24 x 24 in., photograph by Dan Barsotti.

Made in Layers

November 2–December 7, 2019 OPENING RECEPTION:

Saturday, November 2, 6–8 pm ARTIST TALK: Saturday, November 16, 11 am Catalogue Available

Valley House Gallery & Sculpture Garden 6616 Spring Valley Rd, Dallas, TX 972 239 2441 valleyhouse.com

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COMING TO THE TABLE Stimulated by an arts-passionate grandmother, sisters Hannah and Hilary Fagadau open 12.26, a new art gallery in River Bend.

BY DANIELLE AVRAM

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ituated in a low-slung office park on the edge of the Design District is one of Dallas’ newest art destinations, called River Bend. Beginning in 2017 with the relocation of gallerist James Cope’s And Now, the locale is now also home to Erin Cluley Gallery and the Dallas Art Fair’s recently opened 214 Projects. What was once a sleepy enclave of commercial rental units is now a white-walled, concrete-floored assortment of some of the city’s most exciting contemporary art spaces.

This fall the area welcomed 12.26, the brainchild of Hannah and Hilary Fagadau. Named for the sisters’ shared birthday (although they were born two years apart) of December 26th, the gallery boasts two exhibition spaces and a viewing room, the latter adorned with a massive black-marble table gifted to the duo by their late grandmother, Dallas art dealer and philanthropist Jeanne Fagadau.

Jeanne, who passed away in 2016, was a champion of the arts and education, serving as a board member for the Dallas Symphony 60

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Orchestra and giving generously, both financially and as a volunteer, to organizations such as the National Council of Jewish Women and Booker T. Washington School for the Performing and Visual Arts.

She was also an art dealer, selling prints by blue-chip artists such as Frank Stella and Robert Rauschenberg out of her home. “She was the one who introduced us to the visual language that is modern and contemporary art,” Hannah says. “We were the kids on field trips to museums that could discern a Donald Judd from a Richard Serra.”

Inspired by their grandmother, as well as their art-collecting parents, the sisters went on to study art in college and work in the arts in both the commercial and nonprofit sectors. Hannah studied theater and art history at New York University and received a master’s degree in arts administration from Columbia University. She worked at Dunn and Brown (now Talley Dunn Gallery) and in development at the Dallas Contemporary. Hilary received her bachelor’s degree in fine art specializing in studio art from the University of Texas at

OPENINGS Austin before working at D.A.P. in New York and as the director of Parrasch Heijnen Gallery in Los Angeles.

With a variety of experiences in the arts between them and connections on both coasts, the sisters decided to embark on opening a gallery. They envision 12.26 as a way to marry their individual strengths (Hannah in sales and Hilary as an artist liaison) and create opportunities for Texas-based artists while also bringing in artists from other cities. “We saw that there was space in the Dallas market to sell and show more artists that are living outside of Texas, as well as the opportunity for local artists to engage directly with what is happening in the contemporary art world in major art cities like New York and Los Angeles,” Hannah explains. “We also want to help our peers and inspire the city’s next generation of art collectors and patrons.”

12.26 opened this fall with Waters, a two-person show of new paintings by Alex Olson and sculptures by Nancy Shaver. Both Olson and Shaver play with ideas of perception and presentation, with Olson routinely challenging herself to work with paint in new ways, and Shaver creating assemblages from found objects and fabrics. The exhibition reflects a dialogue between the two artists in which they explore the various conations of water as a thematic device.

This fall also kicked off the gallery’s ongoing program titled The Table, with Portland-based artist Johanna Jackson, whom the gallery represented at the 2019 Dallas Art Fair. The series affords artists the opportunity to use the viewing room’s black-marble tabletop as a backdrop to curate their own mini-exhibitions. “The Table is inspired by the amazing table we inherited from our grandmother, serving as an alternative space within the traditional white-box gallery,” explains Hilary. We invite artists to utilize the table in whichever ways they would like, whether it be a pedestal or a type of canvas.”

As both a series and an object, the table is an apt expression of the Fagadaus’ commitment to art and community building. It’s a blending of the old and new guards, a place for gathering, and a space for individual voices to tell their own stories. P

This page, top: Alex Olson, Unwind, 2019, oil, grease pencil, and modeling paste on canvas, 51 x 36 in.; bottom: The viewing room with a black-marble table gifted to the gallerists by their late grandmother. Opposite: Hilary Fagadau and Hannah Fagadau in their new gallery, 12.26, in River Bend. Artwork above from left: Alex Olson, Ripple, 2019, oil and modeling paste on canvas, 24 x 18 in.; Alex Olson, Undercurrent, 2019, oil and modeling paste on canvas, 24 x 18 in.; Alex Olson, Splash, 2019, oil and modeling paste on canvas, 24 x 18 in.; Alex Olsen, Wave (1), 2019, oil and grease pencil on canvas, 24 x 18 in.

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Stephen Ormandy studio, Sydney, Australia.

FROM THE LAND DOWN UNDER:

COLOR AND FORM

Twice a year, a Dallas-based gallerist yields to the culture and creatives of Sydney.

BY ERIN CLULEY

Stephen Ormandy, installation view at Erin Cluley Gallery.

Photograph by Kevin Todora.

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S

ydney, a city of more than five million people, is the largest in Australia and the financial hub of the country.

Many people think of Australia as a British settlement, but beginning in the 1950s, waves of immigrants from Greece, Italy, Lebanon, China, Vietnam, and Eastern Europe arrived. It is this intersection of cultures that makes Sydney one of my favorite cities on the planet and inspires a sensibility of color and form for the artists who choose this city as their place to create. Sydney also has a lively central business district and world-class cultural institutions as well as more than 100 stunning beaches, which give the city a funky surf culture and endless opportunity for inspiring views.

I am fortunate enough to travel to Sydney twice a year with my husband, Tearlach, and two-year-old son, Lachlan, to visit my family.

While I am there, I have made a commitment to educate myself about the vibrant Sydney art scene through museum and studio visits, and by timing our trips with the Biennale of Sydney and the Sydney Contemporary art fair. During my visit this spring, I had the pleasure of visiting two Sydney-based artists: Stephen Ormandy and Gemma Smith.

As I approached the multilevel building on Elizabeth Street in the Redfern neighborhood, where Stephen Ormandy’s studio is situated, the first thing I noticed through the window was colorful resin

CONTEMPORARIES

Gemma Smith: Rhythm Sequence, Installation view at University of New South Wales Gallery, Sydney, Australia.

Photographs by Zan Wimberley.

jewelry and other objects. Ormandy is one half of the partnership that makes up Dinosaur Designs. His wife, Louise Olsen, is the daughter of one of Australia’s most important painters, John Olsen.

Louise Olsen and Ormandy started the jewelry and houseware company together after meeting in college, and it has since become a leading design brand. Alongside his work with Dinosaur Designs, Ormandy has also maintained an active studio practice of painting and object making.

He greeted me at the door and led me up to the third floor, where he has a beautiful but simple workspace with loads of natural light and just the right amount of city noise. Though this was our second time to meet—we were introduced in Dallas through a mutual artenthusiast friend—this was my first time to see his work in person.

There is something to be said for bold, colorful, elegant paintings.

As we looked at the paintings and sculptures in progress, we talked about his love for surfing and the landscape, elements that reveal themselves upon closer inspection of the work. His approach to painting is a study in color and form. The paintings are bright, full of color, and have a fresh contemporary feel, but one can sense the respect Ormandy has for tradition. He spoke about his father-in-law, John Olsen, and the other great painters he’s been able to meet over the years, such as Brett Whiteley, Jeffrey Smart, and John Coburn.

The romantic tradition of being an artist is part of who Ormandy is, in the most authentic way.

I would also use the words “authentic” and “intentional” to describe the work of Gemma Smith. Her career survey at the University of New South Wales Gallery was on view during this visit to Sydney, and I was lucky enough to walk through the exhibition

with her. She and the curator, José Da Silva, worked together to lay out the show featuring more than 50 works from over the course of 15 years, plotting the placement of works according to her process rather than chronologically. This made for beautiful connections between the various bodies of work. It also made for an interesting conversation as Smith and I ping-ponged around the gallery, from one room to the next.

Smith’s paintings begin with abstraction, and the transformation happens through her response to the process. Testing paint color, rearranging hard-edge geometric shapes, responding to the negative space of a gesture, she uses her studio like a laboratory, and the evidence of experimentation is everywhere in the work. One body of work informs the next; seeing the evolution of the paintings to the sculptures and back again over the course of Smith’s career was truly a delight.

I’m lucky to spend about six weeks a year in Sydney, a city where the arts are revered (hence the iconic Sydney Opera House), coffee and café culture are celebrated, there are beautiful public parks throughout the metroplex and tropical birds and colorful parrots in abundance, and the locals treat visitors like their best friends.

It is a place everyone should visit at least once in a lifetime, and you shouldn’t be afraid of the flight, which is direct to Sydney from Dallas and only 16 to 18 hours (depending on the headwinds but, really, who’s counting?!). I often say it’s like a flight to Europe but with a couple of extra movies. My son has done the trip four times already and he just turned two, so if he can do it, so can you.

Find works by Stephen Ormandy at Erin Cluley Gallery and pencil in a forthcoming solo exhibition of his work in the spring of 2020. P

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Kristen Cole in her Dallas home; Elizabeth Neel, Man's Animal, 2015, acrylic on canvas, 76 x 85 in., acquired through Susanne Vielmetter Los Angeles Projects at TWO x TWO for AIDS and Art.

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CONTEMPORARIES

A WORLD FULL OF SURPRISES

Forty Five Ten’s President/Chief Creative Officer Kristen Cole shares insights on building a collection and the art of collaboration.

INTERVIEW BY TERRI PROVENCAL

T

erri Provencal (TP): Your collection has broadened over the years but began with photography, right?

Kristen Cole (KC): Yes. We started in our twenties collecting photography from artists such as Nan Goldin, Vivian Maier, and Stephen Shore whenever we could afford to. From there we moved on to painting and sculpture.

TP: You purchased Elizabeth Neel’s Man’s Animal from one of the TWO x TWO auctions. In our conversation, you mentioned you love the work of her grandmother Alice Neel, who was one of the great 20th-century figurative artists. Elizabeth’s vocabulary is harder to define, with her distinctive use of printmaking rollers, rags, and brushes, bringing about a narrative abstraction.

What drew you to this painting?

KC: Her abstract pieces have a sense of both structure and movement that we really appreciate. As you said, we’re also big fans of Alice Neel, so it’s neat to have a piece from her granddaughter.

TP: Are there any works you’re eyeing at this year’s TWO x TWO auction?

KC: We always have our eye on a few artists but generally wait for the right moment to strike. At TWO x TWO this year, we’re excited to see works by Dike Blair, LaKela Brown, Nicole Eisenman, Linder Sterling, and Carmen Herrera. Plus we always love Andrew Kuo and Tony Matelli, two artists whom we’ve collected and collaborated with in the past. There’s one more artist with a piece in the auction that Joe has really been wanting to collect, but I’m not going to name names on that one.

TP: Your Lionel Morrison-designed home offers a blank canvas for art, and you’ve recently begun integrating digital art into your collection. Will you tell us a little bit about that?

KC: Our new home has so much white space, which makes it super easy to display the various pieces we’ve collected over the years.

We have added two new Luke Murphy LED sculptures that are not truly digital art, but certainly in that realm. Our little boys love these pieces—go figure.

Outside of our personal collection, we’ve worked in the digital-art sphere through our Forty Five Ten microgrant program, Curaytid, which commissions pieces by women and gender-nonconforming artists. The works are displayed at our New York store in Hudson Yards, where we constructed a two-story, four-sided digital column on the main floor of the shopping center.

We launch a new piece each month and have exhibited works

by Amy Globus, Andrea Bergart, Jamilah Sabur, and Hayden Dunham so far. You can read about the works on our editorial page at fortyfiveten.com.

We just concluded showing Margaux Ogden’s video, Taconic.

We’re thrilled about this project and the pieces that have been produced; each is so different and compelling. The work we get to do while collecting and supporting art via Forty Five Ten and Headington Companies is a real privilege and joy.

TP: Favorite works in your collection?

KC: While it would be too hard to pick our favorites, we are currently

enamored with our newest acquisitions: Kevin Beasley, James Benjamin Franklin, and Davina Semo.

TP: As president and chief creative officer of Forty Five Ten—the presenting sponsor of First Look, which is an absolute blast every year, by the way—what do you have planned for this year’s installment?

KC: Mixing fashion and art is always the best kind of fun for me. I love that we get the chance to play a supportive and creative role in First Look. Collaboration with the team always ends up in a world full of surprises, whimsy, and celebration.

On the culinary side, the inclusion of Queso Beso, a new Headington Companies restaurant opening on Main Street, offers a lot of opportunity for color and cheekiness this year. Pair that with the lip collages artist Ella Jazz created for each of Forty Five Ten’s storefronts, and it’s a party. First Look always showcases Dallas in such a bright light: serious about art, serious about fun—and in a seriously chic setting, the Rachofsky House.

TP: Art is a key part of the culture of all Headington brands—Forty Five Ten, The Joule, all the restaurants, and Tony Tasset’s Eye, which is an institution onto itself—so you often collaborate with artists on installations, including Katherine Bernhardt, the Haas Brothers, Tony Matelli, and others. Do you have any collaborations on the horizon that you are excited about?

KC: We have so many! Most recently, we commissioned a piece from Katie Stout as part of her exclusive ready-to-wear capsule collection at Forty Five Ten. The collaboration recently launched in our New York, Dallas, and Miami stores and consists of organza dresses and tops and handmade objects.

We also partnered with Caitlin Keogh on a silkscreened tee that will display alongside one of her paintings. Shown at Whitney Museum’s Art Party, which Forty Five Ten sponsored earlier this year, it’s a provocative painting titled Lines on a Nymph’s Body, and it will become part of our New York store’s collection, thanks to a generous gift from a dear friend.

Al Freeman is still on display in our downtown Dallas store, while Katherine Bernhardt’s installation in No Aloha has worked nicely into a collaboration with designer Rachel Comey that features characters from the art. I could go on and on! This is such a ripe niche for us—one that truly captures Forty Five Ten’s point of view on the intersection of fashion, art, and design.

TP: How would you define the Dallas collector and the Forty Five Ten shopper?

We see many collectors dressed head-to-toe in Forty Five Ten brands at TWO x TWO. KC: When I think about our Forty Five Ten client and the Dallas collector, I see them in a very similar light: committed, passionate, informed, and generous. There’s a real confidence and boldness to how our Dallas customers dress in general, but especially for TWO x TWO. It’s the best night for fashion-watching in the city.

TP: Any advice for young collectors? What’s the best way to navigate the TWO x TWO auction?

KC: See everything. Twice. P

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CONTEMPORARIES

FUTURE FORWARD

Corporate philanthropy partners with arts organizations, making North Texas a cultural powerhouse.

BY NANCY COHEN ISRAEL

From left: Future Forward cochair Mimi Crume Sterling, courtesy of Neiman Marcus; Cochair Jessica L. Beasley, courtesy of the Ann & Gabriel Barbier-Mueller Museum: The Samurai Collection.

N

orth Texas ranks in the top five multicounty cultural regions in the US, according to Americans for the Arts’ 2017 Arts and Economic Prosperity study. Key to the area’s success, says Katherine Wagner, CEO of the Business Council for the Arts, is the engagement of corporate neighbors. “We have an increasingly enlightened business community that sees how art is beneficial inside their companies and within the community,” she says. She stresses that this commitment of the private sector is the economic engine propelling the region’s arts and cultural community.

The BCA’s annual Obelisk Awards honors the partnership between business and the arts. Each year the organization assembles a jury, presided over by founder’s chair Nancy Nasher, to determine its honorees. Jessica L. Beasley, curator of art at the Ann and Gabriel Barbier-Mueller Museum and Harwood International; and Mimi Crume Sterling, vice president of corporate culture and philanthropy of the Neiman Marcus Group, are cochairing this year’s November luncheon.

The honorees will receive awards designed by glass artist Polly Gessel.

Following the event’s 30th-anniversary retrospective last year, the duo’s aim for this year looks ahead, with Future Forward as their theme. “Jessica and I have gone to this event for many years. Our goal is to bring fresh energy to it,” Sterling explains. Beasley adds, “With my background in the arts, I have seen firsthand the importance of the efforts of these groups and individuals that are being recognized.”

Sterling brings the heft of the Neiman Marcus Group to her role as cochair. “The arts have always been an integral part of our culture. They are very much at the core of what we do,” she says. Richard Marcus sat on the founding board of the BCA, and she cites the culture of Neiman Marcus as one that is in line with the spirit of the awards. “Focusing on creativity in youth is our mission,” she explains, adding that corporate engagement inspires employees. “We can share this with our internal associates because it increases pride and motivation.”

Accenting Future Forward, many of this year’s honorees are being recognized for the work they do in engaging young audiences. The Andrea-Mennen Family Foundation was

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nominated by the Plano Symphony Orchestra as well as by Chamberlain Ballet for their contributions benefiting children and young adults. The number of nominees from the area’s suburbs is particularly notable. “It is fascinating to us that we are getting these nominations from around the area,” Wagner says.

The steadfast support of corporate partners such as American Airlines, nominated by The Dallas Opera, infuses the cultural landscape with the ability to think boldly. With the arrival of PNC Bank’s Regional President’s Office and Corporate Banking Division in 2017, another significant commercial patron joined the area’s philanthropists. According to Brendan McGuire, PNC regional president for North Texas, “PNC has a legacy of investing in the communities we serve through support of the arts, as we understand the economic, social, and civic impacts that a thriving arts and culture community has on our city.” PNC directs more than half of its giving towards arts and cultural institutions and programs. The Dallas Museum of Art, Nasher Sculpture Center, Dallas Symphony Orchestra, AT&T Performing Arts Center, Dallas Theater Center, and Dallas Summer Musicals are among the institutions that benefit from their largesse.

This symbiotic relationship between the business and artistic communities is one in which both sides take a great deal of pride. Through ongoing partnerships, the arts in North Texas continue to serve as a beacon of creativity, inspiration, and economic prosperity. P

Clockwise from top: Business Champion for the Arts honoree Charles Eisemann.; Outstanding Leadership Alumnus honoree James Mason; Carlyn Ray, New Initiatives award honoree, courtesy of the artist.

PREVIEW THE ART AT NORTHPARK CENTER A preview exhibition celebrating Dallas Children’s Advocacy Center’s Art for Advocacy event is on view at NorthPark Center on Level One between Neiman Marcus and Dillard’s through November 6.

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FAIR TRADE

CARL KOSTYÁL’S BIG ART PARTY

Heading to the Dallas Art Fair in 2020, the London and Malmö gallerist brings dialogue and exchange to the art business.

INTERVIEW BY ADAM GREEN

H

ungarian-born, London-based art dealer Carl Kostyál is a bit of an anomaly who eschews the white cube, so his recent space reservation in next year’s Dallas Art Fair lineup is one to plan for. Instead of representing an established roster of artists, Kostyál is known as a great cultural connector, unearthing young talent, mounting solo and group shows for unrepresented artists, and integrating that fresh talent locally, wherever he’s engaged. Here, art advisor Adam Green uncovers what makes Kostyál’s programs tick.

Adam Green (AG): Being from Dallas and now living in New York, I enjoy hearing glowing reviews from people about their experiences with the Dallas art community. As a gallerist based in London and Malmö, what have you heard about Dallas, and what drew you to want to participate in the Dallas Art Fair?

Carl Kostyál (CK): I have never done any art fairs and decided to start this year, to market what we have done through the years in places that we know will appreciate and energize us. I am a glass-is-halffull kind of person, so obviously I love Texas. I love the enthusiasm of the Dallas art community, so Dallas was an obvious choice.

AG: You present solo exhibitions with a variety of artists who don’t have representation where you’re located. You also have group shows featuring several artists; they almost feel like big parties among friends. How would you describe your gallery program to someone who isn’t familiar with it?

CK: I’ve been focusing on discovering and showing emerging artists for a couple of decades. The interest in emerging art is cyclical.

I’ve made friends by focusing on supporting artists early on and helping to reignite interest in many artists. I’m a bit of a romantic; I don’t do contracts but believe in collaborating with others, and I am quite specific on what I can deliver, which is a very local focus— essentially bringing friends I want to introduce to my collectors and to our museum [Moderna Museet] in Stockholm. Ambitious local artists, curators, and writers have been running our spaces, showing our guests a good time, and benefiting from the dialogue. Bringing new friends to the party creates the dialogue and exchange—that is the reason we’re in this game.

AG: Why did you decide to open a gallery in Malmö? Do you see any similarities

between the art scene there and in Dallas?

CK: My work bringing artists of my generation to Stockholm has generated interest among collectors and institutions in the Copenhagen/Malmö region. Twenty-plus artists and over 130 works traveled to Malmö this summer and interacted over several days with local artists, curators, and museums. Thankfully, my collectors continually find new buildings for me that make selecting and visualizing the art fun. It’s not dissimilar to what Pinnell and Rob Teeters have done with the Power Station, which had as one of its first shows a strong exhibit by Matias Faldbakken, who is godfather to one of my twin boys.

AG: Who are some of the artists you’re excited to be presenting at the Dallas Art Fair in 2020?

CK: We are using Dallas and the Marfa Invitational as an excuse to travel as a posse to meet old and new friends in Texas. At the moment of writing this, Peter Schuyff, Austin Lee, Gina Beavers, Oli Epp, Benjamin Spiers, Mike Shultis, Sarah Slappey, and Justin John Greene are all making work and coming out.

AG: What exhibitions do you have planned for the remainder of the year?

CK: One of my wife, Katharine, and my favourite people, Gina Beavers, is opening a great new show next week in Milan, then St. Louis native Basil Kincaid will show in London. We then have a smaller version of our Malmö group show in Stockholm, with Jon Rafman, Austyn Weiner, Gina Beavers, and others. As well as showing Dayton native Zach Armstrong during Frieze, I will be hosting my friend Kathy Grayson [The Hole] and artist Alex Gardner in my London space. In November, I continue my very rewarding collaboration with Austin Lee and Kaleidoscope in Milan. In December, we have a much-awaited solo by Oli Epp in my London gallery. Oli has also brought two very exciting young American artists to our program: Sarah Slappey and Mike Shultis.

I started collecting Chinese art 15 years ago and will continue my involvement with Chinese contemporary with a solo show of young abstract painter Li Shurui in Milan. My old friend Petra Cortright will do solos in Milan, and her second with me in Stockholm…and lots more. P

About Adam Green: With more than a decade of experience in the art industry, Adam Green founded Adam Green Art Advisory in 2016. Adam Green Art Advisory provides bespoke services to new and experienced collectors, including advising clients on contemporary art acquisitions as well as locating and brokering important contemporary artworks. Additionally, Adam serves as host of the ArtTactic Podcast, the first and leading podcast covering the art market. Born and raised in Dallas, Adam now resides in New York City with his wife and son.

From left: Mike Shultis, Roaches, 2018, mixed media on panel, 92 x 84 x 7 in.; Ben Spiers, Whip, 2011-12, oil on linen, 24 x 36 in.

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All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdrawal without notice. All measurements and square footages are approximate, but not guaranteed and should be independently veriďŹ ed. This is not intended to solicit property already listed. Nothing herein shall be construed as legal, accounting or other professional advice outside the realm of real estate brokerage. Compass is a licensed real estate broker. Equal Housing Opportunity.

Steven Charles in his studio

DEEP IN SOME YELLOW (with no apologies)

The Analog Aspirations of Abstractionist Steven Charles

BY BRANDON KENNEDY PHOTOGRAPHY BY MEGAN GELLNER

A

fter taking the stairs down to the sub-street level in the Adam Hats Lofts building in Deep Ellum, I’m led between a few lingering puddles and a phalanx of beefy motorcycles to the home and studio of British-born, Dallas-based artist Steven Charles. Upon entry, three large paintings lining the longest wall on the right command my attention, making it damn near impossible to pull my eyes away.

A four-panel, eight-by-eight-foot painting on canvas layers grids and patterns that burst forth against the constraints of its square footage. Hybrids of high-school doodling and fibrous structures are outlined, mashed up, and layered beyond belief. An infectious tenacity insists on readdressing every square inch of the work, and the viewer is left with a constantly wandering eye and little resolve, nor space, for the eye to rest. The central work on this wall is a diptych featuring the basic shapes and outlines of a man on horseback on the left and a wizard on the right; a crude crescent moon and a rainbow zip also appear. In regard to these areas, Charles offers that he “outlines some areas on the canvas in order not to touch it.” The entire work is set off by an electric fringe of color, which both frames and pulsates at the outer edges. Lastly, at left, a patchwork quilt on an

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aged, hefty, wooden support stays loose while utilizing a variety of surfaces and forms that all but render the figure-ground relationship null and void.

The affable Mr. Charles quickly outlines percentages of completion of each work comprising the trio (and a much smaller canvas crammed between the second and third): “Fifty percent, ninety percent, sixty percent, fifty percent,” he states without pause. Within each work are a smattering of methods and media deftly employed by the painter, who collages these techniques in slow motion over many months. Yarn drawing, glass-bead gel, confectioner’s tools, fabric swatches, and painted areas comprised of lines, dots, and blobs all congregate for an all-out assault via an acrid, artificial palette.

From the outset, process is at the center of this particular madness. “I like to be confused, then try to make sense of it,” Charles explains. “Make a mess of it, then solve the problem in front of the viewer.” Upon closer inspection of each work, a grid of inset dot forms, amoebas, plus signs, and linear rivulets lie upon the surface, simultaneously luring in and repelling the viewer. Upon my notice of these details, Charles reveals that he is legally blind and typically

STUDIO works at a distance of about a foot away from the painting while frequently stepping back from it to gain insight into his next move.

He confides that he “fell in love with art through magazines.” Thus an intimate look at a thumbnail-sized image is as familiar as it is routine. “Julian Schnabel said that you should stand back from the painting as far as it is tall,” he says, rounding out his equation of attentive materialization and contemplation inspection fully.

Raised on a steady diet of comic books and video games, Charles’ energy and enthusiasm for his craft of creation exudes a similar frenetic engagement, though it sometimes lacks a plot device or a handle to hold on to during what can be a rather intense ride. He studied painting with Vernon Fisher at the University of North Texas, was involved in the early days of the Good/Bad Art Collective, and then went on get an MFA from the Tyler School of Art in Philadelphia. He moved to New York in 1996 and eventually beat a fast path on the exhibition circuit, with three acclaimed solo shows at Pierogi in Brooklyn (2000 to 2003) before being picked up by the acclaimed Marlborough Gallery, where he had another a trio of successful shows from 2007 to 2012. Having racked up a bevy of praise, grants, and shows, Charles returned to Dallas in 2016 looking for a reboot, which can be necessary after a quasi-meteoric rise and the attendant perils that loom nearby.

A few months after my first visit, I return to Charles’ studio to see his progress and check completion percentages: “Seventy-four, ninety-seven, ninety-seven, respectively,” he notes (the little painting is passed over). While looking forward to his solo exhibition Sewn to the Sky with Cris Worley Fine Arts in October, Charles remains exuberant about the possibilities of where these works would lead him next. Small, hardwood-panel paintings and chunky Day-Glopainted-and-patterned rocks line a table across from the large pieces on which he’d been steadily working the past few months. After hearing the story of these objects, I venture closer to the central diptych, stare into a gridded sea of those concentric-circle dots, and have a minor epiphany: They are reminiscent of “evil eye” talismans of ancient cultures, meant to protect unaware bearers against a curse.

Though not discussed or most likely intended, I can’t help but relish the thought that the push-and-pull effect of these paintings has a deeper meaning after all. Charles admits that he is looking forward getting them out of the studio and letting them breathe on separate walls in the gallery in the coming months. A little space and time to reconsider their relationship to one another would be all they need to reduce the noise and cast away the visual cacophony of all the meticulous attention and thoughtful detailing he has given them over time. P

Clockwise from top left: Steven Charles, sidewalk gas glow track pants vehicle, 2019, acrylic and string on canvas, 77 x 105 in.; Steven Charles, Sprinkler, lawn, rainbow, 2019, acrylic on panel, 30 x 24 x 1.50 in.; Studio view; Steven Charles, I love you Daniel Johnston, 2019, acrylic on wood panel, 27 x 20 in.

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COVETED

ARTFUL EQUESTRIANS Lizzie Means Duplantis and Sarah Means celebrate the high-style launch of Miron Crosby x Prabal Gurung.

BY TERRI PROVENCAL

S

From top: Lizzie Means Duplantis and Sarah Means are the cofounders of Miron Crosby. Photograph by Kristen Kilpatrick; on right: Miron Crosby x Prabal Gurung New West in Deep Obsidian croc and python mix; Miron Crosby x Prabal Gurung Legend in Pink Parfait, Mint, Daffodil, and Celeste blue leather; Miron Crosby x Prabal Gurung Legend in mirrored rose gold Shorty, Photography by Sonny Vandevelde; Prabal Gurung Spring 2020 New York Fashion Week show featuring New West boots in white patent. Photograph by Filippo Fior; Prabal Gurung.

Photograph by Joanna Totolici.

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isters Lizzie Means Duplantis and Sarah Means reimagined the humble beginnings of the cowboy boot a couple of years ago.

Google tells us that just following the Civil War, the boots were invented solely for working purposes, to keep riders safe; the tall shaft provided protection from brambles and loathsome snakes, the pointed toe gave the wearer quick entry into the stirrups, the chunky heel kept riders rounding up livestock secure in the saddle, and ear pulls made the boots easy to tug on.

Sarah and Lizzie grew up with firsthand experience of all this on the family’s West Texas cattle farm, christened Moon Ranch. “We could ride horses before we could walk,” says Sarah. Truth be told, Lizzie adds, “We were expected to ride and brand.” Now the sisters have blended that Texas bravado with New York élan in their fashion-driven boot brand, Miron Crosby.

Armed with Western traditions and following boarding school in Austin and college at Texas Christian University, the pair moved to New York to begin their careers, and became known for a wearing a wide array of cowboy boots design by Rios of Mercedes, a sixteen-decade manufacturer owned by the sisters’ cousins. While in the big city working in finance, Lizzie laughs, “I was at Goldman in my pencil skirts and my cowboy boots.” Sarah, the “more downtown” of the pair, and a fashion major, loved pairing a little bit of Texas with the streets of Manhattan.

The girls eventually came back to Texas inspired by the differences and similarities of the fashion cultures in Dallas and New York. Recognizing a growth point in the market, they dug their heels into the boot business and came up with Miron Crosby. The company is named after their greatgrandfather Marion Otis Means (a cowboy’s cowboy, the girls say), and Crosby, a pasture on the family’s cattle ranch as well as a street in SoHo where the sisters spent time while living in New York. They also gave a nod to Moon Ranch with a low-slung, crescent-shaped “o” as part of their branding.

Operating out of a gem of a space in Highland Park Village, the Texas designers deliver two collections a year: spring/summer and fall/ winter, with a holiday boot tossed in. With their boots spotted on Gigi Hadid in Vogue, the creators have enjoyed their fair share of celebrity—as evidenced by a new collection with Prabal Gurung for spring 2020 release. “Miron Crosby is reinventing Western wear by bringing consumers premium, handcrafted, artisanal boots with cutting-edge designs,” Gurung raves. “I am thrilled to be collaborating with them as part of my label’s 10th anniversary celebrations, which honor creativity, individuality, and inclusivity.”

A Nepalese-American fashion designer based in New York City, Gurung applies “a global and multicultural view” to all his designs—an ethos that prepared him well to create a collection marrying two distinct American cultures. “This perspective informs the variety of textures, and most importantly the colors, that you see on the runway.” A pair of boots in bright cardinal patent leather or mirrored rose gold fringe celebrates this diversity.

An honorary Texan, Gurung is frequently spotted at high-profile Dallas events, “I love the glamour of the Dallas woman and how every occasion— no matter how big or small—is celebrated with fanfare and beauty,” he says.

“I had such a wonderful time working with Lizzie and Sarah on the capsule collection. It was truly a collaborative effort, and I feel that we created Western footwear that feels modern and ultrafeminine.” P

TWO x TWO Gala and Auction Saturday, October 26, 2019

Thanks to the following artists who have contributed to this year’s benefit: Justin Adian Elise Ansel Helène Aylon Firelei Báez Nairy Baghramian Barry X Ball Dozier Bell Renate Bertlmann Sebastian Black Dike Blair Ross Bleckner Frank Bowling Diedrick Brackens Matti Braun LaKela Brown André Butzer The David Byrd Estate Carlito Carvalhosa Theresa Chong Ron Cooper Martí Cormand Sean Crossley Sarah Crowner Enrico David Jose Dávila Aaron Decker Saraï Delfendahl Paul Derrez Louise Despont Gustavo Díaz Don Dudley

The Estate of Robert Duran Jimmie Durham Celia Eberle Christian Eckart Nicole Eisenman Elmgreen & Dragset Jeff Elrod Emily Eveleth Maureen Faye-Chauhan Nicole Phungrasamee Fein Brendan Fernandes Eric Fischl Tommy Fitzpatrick Derek Fordjour Denzil Forrester Marley Freeman Andrea Galvani Jeffrey Gibson John Giorno Tomoo Gokita The Haas Brothers Heidi Hahn Peter Halley Anthea Hamilton Herman Hermsen Carmen Herrera Sheila Hicks John Houck Volker Hüller Luchita Hurtado Callum Innes

Tomashi Jackson Michael Jerry Jacqueline de Jong Misha Kahn Jiro Kamata Sanya Kantarovsky Alex Katz Minjung Kim Josh Kline Ella Kruglyanskaya Nadine Kuffner Andrew Kuo Tadaaki Kuwayama Doron Langberg The Dorothy Antoinette LaSelle Foundation Annette Lawrence Ted Lawson Linder Los Carpinteros Liza Lou Emil Lukas Eric N. Mack Catherine MacMahon The Estate of Masafumi Maita The Robert Mapplethorpe Foundation Tony Matelli Charles Mayton RJ Messineo Jason Middlebrook

artist list as of September 3

Anthony Miserendino Paul Mogensen Katy Moran Dave Muller Wangechi Mutu Rakuko Naito The Estate of Katsumi Nakai Kazumi Nakamura Xie Nanxing Shahryar Nashat The Estate of Alice Neel Nic Nicosia Arcmanoro Niles Gareth Nyandoro Odili Donald Odita Chris Ofili The Estate of Doug Ohlson Tom Orr Silke Otto-Knapp Wonmin Park Rod Penner Liliana Porter Katja Prins Elliott Puckette Joe Reihsen Faith Ringgold Ruth Root Brie Ruais Analia Saban Tomás Saraceno Mira Schor

Paul Mpagi Sepuya Paolo Serra Seher Shah Joel Shapiro Nancy Shaver Bruce M. Sherman Jay Shinn Daniel Silver Jaune Quick-to-See Smith Monika Sosnowska John Sparagana The Estate of Hugh Steers Vivian Suter Spencer Sweeney Claire Tabouret The Estate of Jiro Takamatsu Quinn Tivey Kim Tschang-Yeul Lynne Woods Turner De Wain Valentine Rinus Van de Velde Ursula von Rydingsvard Caroline Walker Lisa Walker Julia Walter Jason Willaford Clare Woods Purvis Young The Estate of Yun Hyong-keun

View the full auction catalogue and register to bid at twoxtwo.org.

COVETED

IN THE BAG

Handbag designer Allison Mitchell returns to her roots.

BY SARA HIGNITE PHOTOGRAPHY BY MEGAN GELLNER

Clockwise from top left: The Dylan Girl Bag features Pirarucu fish skin, Italian satin lining, acetate tortoiseshell chain, brass hardware. Made in New York City. Designer Allison Mitchell featured with her painting. Detail of Claire Clutch in Italian satin, Pirarucu fish skin, suede lining, brass hardware.

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llison Mitchell is a rising star in the fiercely competitive world of luxury handbags (literally, as evidenced by her 2017 Fashion Group International R ising Star Award). The Dallas native and Hockaday alumna recently completed a rigorous fashion-incubator program in Saint Louis that dovetailed with an award from that city’s Arch Grants Global Start-up Competition, for which she was one of the very first fashion designers to be selected. Last year, New York City luxury department store Bergdorf Goodman began carrying her eponymous collection.

Mitchell landed in fashion design unexpectedly. After stints in the Chicago corporate world and in Napa as a chef, she founded a successful marketing agency in Dallas. During her time at the agency Mitchell’s career path detoured yet again. One evening, in need of a bag to complete her look, Mitchell solved the sartorial problem with some basic craft supplies and a healthy dose of do-ityourself spirit. The result? A super-chic oversized clutch that became the prototype for Allison Mitchell Handbags’ signature piece, which was ultimately rendered in luxe, brightly colored calf hair instead of vinyl and hot glue.

Fashionistas approached Mitchell on the sidewalk and in valet lines, salivating over her bag, wanting details. Before she knew it, retail buyers were calling. Mitchell remembers, “The doors that were opening because of this bag...the signs were hard to ignore. I realized that if I didn’t take this opportunity, I would regret it. So we launched the website for Allison Mitchell in October 2014, the week I got married. After coming back from our honeymoon, I started selling bags to local boutiques like Elements and Stanley Korshak.”

Mitchell eventually made her way to the East Coast to be closer to her New York factory and showroom, expecting that she would 74

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at some point move the entire business operation to New York City.

However, the increasing volatility of the retail industry led her to reevaluate the future of the brand. It quickly became clear to Mitchell that the way forward was to get back to her roots. That meant first returning to Dallas, the city which, she says, “launched my brand and got me started. I have a huge customer base here, so it was not a hard decision to come back to rebuild, refocus, and reemerge.”

The decision was solidified when Mitchell and her husband, Ryan, learned that she was pregnant with their first child, Amelia, who was born in early August.

In addition to relocating corporate headquarters, Allison Mitchell Handbags is also in the process of restructuring its business model to focus exclusively on direct-to-consumer sales, which will include an expanded online presence (allisonmitchell.com), trunk shows, and strategic retail partnerships. During the restructuring, the brand will offer a small holiday capsule collection online and then gear up for a major spring 2020 launch. Expect new concepts, shapes, and materials, all of which reflect Mitchell’s continuing creative growth.

Mitchell explains, “I have a rule that I don’t force designs. Unless it’s very naturally coming through, I won’t do it.”

I asked Mitchell what she’s most excited to revisit in Dallas.

“Beyond the shopping, restaurants, and elevated beauty services, I am thrilled to be reentering Dallas’ vibrant art scene,” she shared.

“The people you see frequenting art events are always dressed to the nines. It’s a great source of inspiration.” And inspiration is crucial to Mitchell’s creative process, as well as to the success of her business.

“I’ve noticed that the designs that sell the best are the ones that are truly inspired by something—nature, a concept, a philosophy. When that creative inspiration is translated into handbags, that’s what works for us as a brand. And that’s what excites and inspires our clients.” P

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SPECIAL THANKS

THE DISTINGUISHED LANDSCAPE OF AN AMERICAN PAINTER TWO X TWO FOR AIDS AND ART HONORS ALEX KATZ AND HIS STORIED CAREER.

BY ANNA KATHERINE BRODBECK

Alex Katz, South Light 2, 2005, oil on linen, 96 x 120 in. Courtesy of the artist and Gavin Brown’s enterprise, New York/Rome. © Alex Katz, 2019/ Artists Rights Society (ARS), New York.

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Alex Katz in his Soho studio. Photograph by Chris Luttrell.

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Alex Katz, One Flight Up, 1968, oil on aluminum. 70 x 46 x 180 in. Collection of Marguerite Steed Hoffman. Courtesy of the artist and Gavin Brown’s enterprise, New York/Rome. Photograph by Mark Woods. © Alex Katz, 2019/ Artists Rights Society (ARS), New York.

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lex Katz, the honored artist for this year’s TWO x TWO for AIDS and Art, needs little introduction.

The 92-year-old veteran artist is best known for his punchy portraits that anticipated Pop Art, but he has been long engaged in depicting the natural world, and landscapes have been a major preoccupation for him in recent years.

A new painting on view at the Dallas Museum of Art, Crosslight (2019), is characteristic of his recent work: monumentally scaled and gestural, showing the confident mastery of a long career.

Crosslight, along with another landscape, 4pm (2014), and two portrait paintings from the past few years join 1968’s One Flight Up in a focused installation at the museum. It is a special treat to see One Flight Up, borrowed from the collection of Marguerite Steed Hoffman. The masterwork brings together 38 cut-out aluminum portrait busts arranged on a metal table, resembling a cocktail party where no one is talking. In August, Katz spoke by phone with Anna Katherine Brodbeck, the Hoffman Family Senior Curator at the Dallas Museum of Art, to discuss his upcoming show and his work in the TWO x TWO auction.

Anna Katherine Brodbeck (AKA): We are so excited to have your work on view this fall at the DMA in conjunction with our TWO x TWO fundraiser, in which we celebrate you as this year’s honored artist. The DMA installation will bring together the classic masterpiece One Flight Up with work as recent as your past show at Gavin Brown’s enterprise. Let’s start with the most recent, Crosslight, from that show. Can you talk about your painting practice now, in terms of your studio practice?

Alex Katz, Emma 3, 2017, oil on linen, 96 x 96 in. The Rachofsky Collection. Courtesy of the artist and Gavin Brown’s enterprise, New York/Rome. Photograph by Paul Takeuchi. © Alex Katz, 2019/Artists Rights Society (ARS), New York.

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This page and opposite: All studio views with works from Katz’s series Dancers, 2019. Photographs by Chris Luttrell.

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Alex Katz (AK): Crosslight is in the bright sun. The sun is only hitting pieces and then almost recedes into a shadow. The sketches for the painting are empirical. I just sketched it and then painted wet on wet. I don’t know if I did any studies for it, but I think I must have done two or three. The canvas is painted one color, the dark color, and then the lights are put in. When you load the brush you get a white light, and then as you proceed across the canvas there is less and less paint on the brush, and you get these softer lights, where the trees fall right into the green. The process is very quick, and you have to be close to perfect with the painting. The brush has to be loaded right, the paint underneath has to be right, and you have to pay attention to what you’re doing and hope for the best.

AKA: I know we find you in Maine, where you’ve long spent your summers. Is this from around your place in Maine?

AK: Yes, it’s based on a nine-by-twelve sketch done on-site in the landscape.

AKA: The work that we are honored to have for TWO x TWO, South Light 2, a 2005 painting, is also a landscape, with shadows on the beautiful pink foreground.

AK: I believe that’s a winter image. And it’s a very aggressive image.

It’s black and grey, yes, with shadows on the foreground. That’s

from Pennsylvania, also based on a sketch.

AKA: Talk about your landscape paintings throughout the years and how they’ve changed.

AK: Well the first paintings, in the ’50s, I was doing a lot of landscapes to get away from Picasso and Matisse, who were painting descriptive volumes. I wanted to depict things that spread. The references were Pollock and Bonnard. And at the end of the ’50s, I started to make the forms more concrete. I was making a lot of abstract painting, concrete painting, like Mondrian. In 1954, I hardened the edges, then I went into collages to form a landscape too, then I experimented with scale.

At the end of the ’50s, I started to do more figures, figure and ground, and big compositions. The big compositions led to the flower paintings of the late 1960s. They were more concrete and hard edge and big. I did not do a lot of landscapes in the 1970s, although there were some, and I was increasing the size a great deal on those. Swamp Maple, which is in the National Gallery, and Twilight, which is in the Colby College Museum of Art, are two notable landscapes from that period. After I had the retrospective at the Whitney in 1986, and in the 1990s, I started to fool around with the idea of environmental landscapes, and

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Alex Katz, 4 pm, 2014, oil on linen, 144 x 108 in. Courtesy of the artist and Gavin Brown's enterprise, New York / Rome. © Alex Katz, 2019/ Artists Rights Society (ARS), New York.

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so the size really got big. They are supposed to be not pictures that you see, but environments that you walk into.

AKA: It’s really quite incredible to see the scale of these works in person. Do you work on a ladder?

AK: Yes, I get on a ladder.

AKA: And I hear you do a lot of physical exercise to gear up for the day. Do you still have your routine?

AK: Yeah, I do a lot of exercise, regularly, seven days a week. But I don’t think it has too much to do with the painting … maybe it does.

AKA: It’s an impressive physical feat regardless.

AK: Yeah (laughs).

AKA: At the DMA, we have the opportunity to show One Flight Up, from 1968, which is a great example of your portraiture. This work is really a snapshot of a historic moment, capturing painters, poets, critics, and members of the intelligentsia in New York, who were friends. What do you want viewers today to know about that moment and its importance to your development?

AK: In the ’50s it was a very small group—and I’ll use the word avant-garde—downtown world. We had the opportunity to work with poets and dancers and musicians, and everyone was sort of in the same boat. And it changed a bit in the ’60s, this was a new crowd. Anyway, I was in the poetry scene, and a lot of people in One Flight Up were writers and poets, and there were some painters and a couple of critics—they were all in the same social world. It was a different world. I was kind of lucky because I met so many bright people.

AKA: Is poetry important to your formal development?

AK: My aesthetics mostly come from jazz music and poetry. I met the poets, and we were all on the same wavelength; we are using ordinary things in a sophisticated way. I’m speaking of Frank O’Hara, Jimmy Schuyler, John Ashbery, and Kenneth Koch.

AKA: That’s a really wonderful description. It reminds me that you published your own book last year, Looking at Art with Alex Katz, where you go through a whole host of famous paintings in art history and give your candid views on them. For me, one of the joys of having your work on view at the DMA is that we are an encyclopedic museum with a rich and varied context of painting traditions through the ages. Your treatment of light is so beautiful, it brought to mind one of the masterworks in the collection, Frederic Edwin Church’s The Icebergs, which presents such a mesmerizing depiction of light hitting the mammoth ice. What works do you gravitate to for inspiration when you visit your favorite museums?

AK: Well, each museum has a different flavor and its own masterpieces. There is the full-length Goya duchess in the Louvre [The Countess del Carpio, Marquesa de La Solana], I thought that was kind of fantastic; Vermeer’s depiction of the side of a house with bricks [The Little Street] at the Rijksmuseum; and, of course, Velázquez. Whatever I like, I am not part of the militant avant garde, where you have to work from the previous modern phase. For me it’s all open. Whatever I see I can use. And the old paintings for me are just as relevant as the new ones.

AKA: Reflecting back on a very long and storied career, what still surprises you when you make paintings?

AK: Well, you never know (laughs). You see something and off you go. P

Top: Alex Katz, Edwin and Rudy, 1968, oil on aluminum. 48 x 43.25 in. (details), Ada Katz is seated at the table next to Linden, 1995, oil on linen. 119 x 96 in. Photograph by Chris Luttrell. © Alex Katz, 2019/ Artists Rights Society (ARS), New York. Bottom: Alex Katz, Crosslight, 2019, oil on linen, 126 x 96 in. Courtesy of the artist and Gavin Brown's enterprise, New York/Rome.

Photograph by Thomas Müller. © Alex Katz, 2019/Artists Rights Society (ARS), New York.

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PENCILING IN ROBYN O’NEIL

WE THE MASSES at the Modern Art Museum of Fort Worth highlights 20 years of the artist’s ambitious explorations in graphite.

BY STEVE CARTER

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Robyn O’Neil, An Unkindness, 2019, graphite, colored pencil, and acrylic on paper. Left and right panels, 75.375 x 41.50 in.; center panel, 75.375 x 75.375 in. Courtesy of the Artist and Susan Inglett Gallery, NYC. Photographs by Heather Rasmussen, Los Angeles

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obyn O’Neil may as well have been born with a pencil in her hand. Her Grandma Ginny was her first art teacher, and young Robyn’s precociousness was obvious from the start. “I just had a very natural impulse not only to make art, but to make art that really spoke of melancholy, even when I was in kindergarten,” O’Neil says. “It’s been true from day one.”

Now the work of the Los Angeles-based graphite Goliath is being celebrated at the Modern Art Museum of Fort Worth with Robyn O’Neil: WE, THE MASSES, running from October 18 through February 9, 2020. The show is a 20-year survey exploring the breadth of the artist’s oeuvre, from small-scale to monumental, banal to heroic, bleak to hopeful, black- and-white to color. Organized by the museum’s associate curator Alison Hearst, it’s the first-ever overview of O’Neil’s career, and a don’t-

miss-it coup for the Modern.

WE, THE MASSES is comprised of nearly 60 works— graphite on paper, multipaneled epics, collage, animated film— dating back to 2000, when the artist was moving away from painting and embracing drawing. The Omaha-born, North Texas-raised O’Neil was in grad school at the University of Illinois at Chicago then, working toward a never-completed MFA, and remembers the epiphany when a professor perused some of her small study drawings. “She very bluntly told me, ‘Robyn, these are a million times better than your paintings, and I dare you to not pick up a paintbrush for the next six months and see what happens,’” O’Neil recalls with a laugh. “I loved the idea, went with what she said, and it’s been that way ever since.”

Along the way to the present, O’Neil’s been a resident artist at Artpace San Antonio, was included in the 2004 Whitney

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very bluntly told me, ‘Robyn, these are a million times better than “yourShepaintings, and I dare you to not pick up a paintbrush for the next six

months and see what happens,’” O’Neil recalls with a laugh. “I loved the idea, went with what she said, and it’s been that way ever since.”

–Robyn O'Neil remembering a conversation with a college professor Biennial, won a Joan Mitchell Foundation grant, the Hunting Art Prize, and more—in addition to having national solo exhibitions and works in public collections nationwide. But accolades aside, O’Neil is recognized for her large-scale drawings featuring small male figures uniformly clad in black sweat suits and Nike sneakers, variously involved in her fantastical, dystopian landscapes. She began the 200-plus drawings that comprise the so-called end of the world series with 2003’s Everything that stands will be at odds with its neighbor, and everything that falls will perish without grace, a massive triptych measuring 91.75 x 150.375 inches. The final work in the series is 2007’s These final hours embrace at last; this is our ending, this is our past, a three-panel work that’s in the Modern’s collection.

“When I started to draw these men, they were all based on my dad and his best friend, Marty,” O’Neil reveals. “Just regular dudes who like sports and going outside and fixing things; they wore sweatpants and sweatshirts all the time. I felt that with those characters I could act out any possible scenario, any emotions, anything under the sun; they became my archetypes for humanity.” O’Neil’s teeming flocks of everymen are engaged— exercising, debating, killing, dying, flying, plummeting, dangling in the void—enacting an existential playbook of futile pursuits set against an indifferent, triumphant natural world. A macabre

resonance of her little men is their costumed resemblance to the mass suicides of California’s Heaven’s Gate cult back in 1997.

“The day that news story broke it just really struck me,” she says. “Their outfits, those weird suits… it took me many years to understand that that was the connection to why my men all have Nike tennis shoes and sweatpants. I’ve always been fascinated by people who all do the same things, because it’s so not me.…”

Although she believed she could utilize the uniformed men for the rest of her creative life, O’Neil decommissioned the masses in 2007 and began exploring a series of “psychological landscapes” devoid of humans. Skies, empty fields, calmer vistas, and meticulously drawn animals began to populate her work. “I was so sick of humanity, really,” she admits. “That’s kinda where that came from. And I’m very drawn to quiet.” One example is something of a visual koan: 2008’s His Disharmony, a wondrously rendered drawing of a horse, albeit with a smudgily obscured head. While it may appear that a furious fit of erasing has obliterated the horse’s features, nothing could be further from the truth. O’Neil thrives on the bafflement of the unexpected, and His Disharmony is one of her personal favorites. It’s a riddling head-scratcher that she herself has no answer for.

By 2011, however, her little men had returned from their

This page: Robyn O’Neil, HELL, 2011, graphite on paper. 83.625 x 172.50 in. Courtesy of the artist. Opposite, top to bottom: Robyn O’Neil, These final hours embrace at last; this is our ending, this is our past., 2007, graphite on paper, 83 x 166.75 in. Collection of the Modern Art Museum of Fort Worth, gift of Marshall R. Young Oil Co. in honor of George Marshall Young, Sr., Chairman; Robyn O'Neil, We the Masses, 2011,video (stills). Duration: 13 minutes. Collection of the artist; Robyn O'Neil, Low American Grace, 2018. Graphite, watercolor and colored pencil on paper. Overall: 50 x 76 in. Collection of Robert Moyer and Anita Nagler, Los Angeles.

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Robyn O'Neil, A death, a fall, a march: toward a better world, 2008, graphite on paper. Overall: 32 x 40 in. Collection of Karol Howard and George Morton.

Robyn O'Neil, As Ye the sinister creep and feign, those once held become those now slain, 2004, graphite on paper.

Overall: 92.50 x 166 in. Elyse and Lawrence B. Benenson Collection.

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hiatus, and O’Neil’s worlds were again populated with men— dead ones. HELL is an apocalyptic three-panel nightmare that involves 35,000 collage elements and 65,000 figures. Measuring fourteen feet across, the work took O’Neil three years to complete. The influences of both Hieronymus Bosch and selftaught artist Henry Darger are felt here, and the seldom-shown work is an exhibition highlight. Working obsessively to draw the figures, cut them out, and collage them, O’Neil acknowledges that it wasn’t a logical approach, “but it seemed like the only thing to do at the time.” HELL was preceded by O’Neil’s 13-minute animated film, WE, THE MASSES, which lends its title to the exhibition. That project called for training animators to draw her men, and to cut out thousands of them. “I kind of fell back in love with the men, accidentally,” she muses.

Recently color has begun to appear in O’Neil’s work, as in 2019’s enormous triptych, An Unkindness. What? Color? “It feels like complete freedom,” she enthuses. “A relief, a release, and more than anything it feels necessary. Graphite on white paper just wasn’t portraying the mood I wanted in this new work. I fought it for a while—I like the simplicity of just mechanical pencil and paper.”

An intriguing bookend moment is the very first work in the show, Ride in the Nit, in color, dating back to 1985, when she was in kindergarten. It won O’Neil her first art prize. “It’s a really beautiful piece, and it’s so weird because it looks like I could’ve made it last year,” she says with a laugh. “I’m not kidding—it’s very bizarre.” P

Top to bottom: Robyn O'Neil, His Disharmony, 2008, graphite on paper, 60 x 60 in.

Courtesy of Deasil, Inc.; Robyn O'Neil, A Dismantling, 2011, graphite on paper, Sheet: 41.125 x 65.25 in. Collection of the artist.

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John McAllister, bear your blazing, 2015, oil on canvas, 23 x 18.9 in., from Carl Freedman Gallery, London; Marlene and John Sughrue; Thilo Heinzmann; O.T., 2017, oil and pigment on canvas, 54.31 x 58.25 x 3.375 in., edition unique, from Perrotin, New York; behind Marlene: Bruce M. Sherman, The Librarian, 2016, glazed ceramic, 19 x 7 x 12.5 in., from Nicelle Beauchene Gallery, New York; on the table: Bruce M. Sherman, Self Aware Turtle, 2017, glazed ceramic, 6 x 18 in., from Nicelle Beauchene Gallery, New York.

BUILDING THE ARTS MATRIX

Through the Dallas Art Fair and the River Bend development, Marlene and John Sughrue foster Dallas as an international city for artists and dealers.

BY ARTHUR PEÑA PHOTOGRAPHY BY JOHN SMITH 90

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arlene and John Sughrue could be called the first couple of the Dallas art world. Sincere and charming, both exude a genuine passion for collecting and working to build an internationally recognized Dallas arts community. The Dallas Art Fair, cofounded by John, is the premier arts event in the region and has only grown in prominence over the past 11 years. Without a doubt, it is this venture that has led the way for Dallas to become the center of the art world for one week in April.

As collectors, the Sughrues’ combined visual interests and shared emotional responses drives what art they are drawn to. John has a more than 30-year history of collecting, while Marlene started coming into her own as a collector when she arrived in Dallas from her hometown of New York City with a well-trained eye. Together they share an enthusiasm for contemporary art and have nurtured a personal voice within the works they own.

A beloved centerpiece of their collection is To Take Roots by celebrated artist Sheila Hicks. Thousands of linen threads create a visual tactility anchored by a stark violet diagonal form flanked by crisp white triangles. The work recently returned to the Sughrues’ home from the Nasher Sculpture Center, where it hung in Hicks’ stellar exhibition, Seize, Weave Space. The Sughrues were introduced to the work of Hicks by art dealer Frank Elbaz, who has eponymous galleries in Paris and Dallas. With its exceptional new director, Temple Shipley, Galerie Frank Elbaz in Dallas represents what

Above the antique Biedermeier highboy: Xylor Jane, Princess NOX REX #13, 2011, oil on panel, 30 x 36 in., from CANADA, New York; Venus & Co floral.

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Above the mantle: Sheila Hicks, To Take Roots, 2012-2014, 37 x 37 in., Galerie Frank Elbaz, Paris, Dallas; custom sofas; Walter Knoll velvet pillows, Moroso Chamfer pillows, Flexform pillows, Yerra Metropolis hide rug, Neo Rebels Pouf, and Neo Colosso Basket, all from Scott + Cooner, Decorative Center Dallas.

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Richard Gorman, Cool Squeeze, 2014, gouache on handmade kozo washi paper, 25.2 x 19.3 in. each, Kerlin Gallery, Dublin; Rannva Kunoy, C in C , 2019, pigment and acrylic on linen, 84.64 x 66.92 in., Nathalie Karg Gallery, New York.

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Above: David Bates, Gulf Coast Magnolia, 1996, 40 x 24 in., oil on canvas; Douglas Melini, WEEDS (#3), 2018, oil and acrylic on canvas with artist frame, 19.75 x 22.50 x 2 in., Van Doren Waxter, New York, acquired through TWO x TWO for AIDS and Art. Below: Ryan Nord Kitchen, Dawn, 2016, oil on linen, 24 x 21 in., Nicelle Beauchene Gallery, acquired through TWO x TWO for AIDS and Art; Artifort Tulip Midi chair from Scott + Cooner, Decorative Center Dallas.

the Sughrues hope continues happening through their culturally enterprising efforts to lure top dealers to plant a flag in Dallas.

Another standout work comes from New York-based painter Xylor Jane, whose paintings are as iridescent as they are obsessively executed. Jane’s devotion to her materials and process-driven practice attracted the Sughrues to the work and particularly captivated John. “The painstaking process involved is incredible, and all of her work is exquisitely detailed, while at the same time presenting themselves as a single vision,” he says. Jane is represented

by New York gallery CANADA, which has exhibited at the Dallas Art Fair since 2014 and has a recently opened an exhibition space in Tribeca. Consistently bringing top-notch work by some of today’s best painters to the fair, CANADA has a strong presence amongst Dallas collectors, with its artists finding homes in Dallas-Fort Worth art institutions. Maintaining a relationship with a collector base such as the one in Dallas is the best outcome a visiting gallery could hope for, and one that John takes care to make possible.

In the master bedroom of the Sughrue home is a work by Dallas artist Anna Membrino, whose masterful use of her medium makes the painting a favorite of Marlene’s. “I found the tactility of the painting so arresting, and I was fascinated with how sculptural it looked,” she says. Membrino is part of the superstar, Dallascentric artist roster at Erin Cluley Gallery. Formerly a West Dallas staple, the gallery made a move earlier this year to the River Bend development in the Design District, where the Sughrues are establishing a destination for world-class galleries. Also in the development are the much anticipated and newly opened 12.26 gallery, directed by Hilary and Hannah Fagadau; and James

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Above: Stephen McKenna, Hydrangeas, 2016, oil on canvas, 31.5 x 39.4 in., from Kerlin Gallery, Dublin; Liam Gillick, Folded Discussion, 2012, powder-coated aluminum, 20 elements, 78.7 x 98.4 x 3.9 in. each, Kerlin Gallery, Dublin; Cassina Cab chairs in cognac, China red, grey, porcelain, blue, and sage green, Poliform frame rug, Neo Colosso basket all, from Scott + Cooner, Decorative Center Dallas; Venus & Co. floral.

Andrew Millner, Black Poppy, 2008, lightjet print mounted to plex, 36.5 x 92 in., edition 2/15, William Shearburn Gallery, St. Louis; Dan Rees, Artex Painting, 2012, oil on canvas, 64.17 x 49.21 in., Jonathan Viner Gallery, London; Venus & Co. floral.

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Anna Membrino, Undergrowth, 2017, acrylic on canvas, 65 x 72 in., Erin Cluley Gallery, Dallas; Giorgetti Dia Cabinet and Moroso Redondo chair from Scott + Cooner, Decorative Center Dallas; Venus & Co. floral.

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Copes’ established And Now gallery. River Bend is anchored by a commissioned tile mural by Clare Woods, who is represented by Simon Lee Gallery, yet another fair exhibitor.

River Bend is also home to 214 Projects, an exhibition space connected to the offices of the Dallas Art Fair’s hyper-dedicated team, Kelly Cornell, Brandon Kennedy, and Sarah Blagden. 214 Projects is a smart move to extend the life of the Dallas Art Fair while serving as a platform for local and international talent. The space offers invited galleries and their artists an opportunity to connect with Dallas institutions and audience on a level that may not be possible during the hustle and bustle of Arts Month. For example, Brussels-based dealer Harlan Levey took full advantage of 214 Projects in presenting the work of Emmanuel Van der Auwera, which led to critical and commercial success. Through the Dallas Art Fair Foundation Acquisition Program, which has provided almost half a million dollars in funds over the past years, Levey was happy to have his artist’s work acquired by the Dallas Museum of Art for its permanent collection. Levey is a strong international voice who has found lasting professional and personal friendships in Dallas through his willingness to engage the city and take advantage of the unique potential 214 Projects offers.

Another objective of the space is to work with Dallas-based curators and artists in cultivating talent residing in the city. The recent exhibition, How it looks to be you in Eg yptian Cotton, curated by Adrianna Cole, is a strong example of what’s possible. “The idea

was to have a show of Dallas artists who are not represented by a gallery and pair them with national artists, to encourage people to come in, and hopefully create a special opportunity for the exhibiting artists,” Marlene says. John echoes the sentiment, “Do we claim to have a vibrant art community but really it’s limited to private mega collections, or do we have a vibrant community full of Dallas-based artists that are supported by the institutions and collectors here? I think we are so much better than we were, for sure. I think to be an artist in Dallas today is to be surrounded by a supportive community, but we can always work to do better on that front.”

As John and Marlene facilitate creative energy that can transcend the city and have an impact internationally, they continue to build a legacy through an inspired collection, including with artists and exhibitors like Rannva Kunoy, whose luscious C in C they acquired through Nathalie Karg Gallery at this year’s fair. Other works they have acquired through the fair include Laura Lancaster’s untitled painting, through Workplace Gallery; Folded Discussion by Liam Gillick, a celebrated artist within Kerlin Gallery’s esteemed roster; and work by Julian Hatton, an artist and longtime friend of John’s, whom he credits with opening his eyes to art’s visual language. It’s deep relationships, such as with these artists and their work, that the Sughrues value and that compel them to collect. As Marlene says, “We feel grateful to have the opportunity that we do to support the arts and, when it comes down to it, we collect what we love.” P

Julian Hatton, 3 monoprints, 2011, oil on paper, image size 16 x 16 in. each, from the artist; matelassé bedding and pillows, Home Treasures linens from Hickory Chair on Slocum; Poltrona Frau Brera bench from Scott + Cooner, Decorative Center Dallas.

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AN EIGHTEENTH-CENTURY

GERALD SCARFE

Commissioned by Sir Peter Hall, a celebrated British artist’s “no-taboos” imaginings come to life in The Dallas Opera’s season opener, The Magic Flute.

INTERVIEW BY CHRIS BYRNE DRAWINGS BY GERALD SCARFE

Costume design for Papageno

by Gerald Scarfe.

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M

ore than 25 years ago, the legendary director Sir Peter Hall tasked British satirical cartoonist Gerald Scarfe to use his unrestrained wit to reimagine The Magic Flute through fanciful interpretations only he could dream up. Wolfgang Amadeus Mozart’s classic shares the fable of Prince Tamino who, armed with a magic flute and an awkward feathery servant, Papageno, undergoes three trials. Charged by the hyper-controlling Queen of the Night, Tamino must rescue and restore her daughter, the Princess Pamina, in order to win the young woman’s hand.

We had the chance to visit with Gerald Scarfe on his work for The Magic Flute, the 2019/2020 season opener of The Dallas Opera.

Chris Byrne (CB): How did the commission for The Magic Flute with Sir Peter Hall come about?

Gerald Scarfe (GS): I had the great good fortune to meet Peter when I was invited to share a box at the BBC Proms in the Albert Hall. “I’ve been meaning to contact you,” he said. “I think we should work together on a new project I have in mind. I’ll ring you tomorrow.”

I remember thinking, “Oh yes, I’ve heard that one before.” But the next day, he did ring, and described a new musical he intended to produce at Chichester Theatre, based on Eugene Ionesco’s play Rhinoceros. We had a very enjoyable collaboration on that project, for which I produced several full-size, realistic rhino costumes. And a year later Peter asked if I would be interested in designing Die Zauberflöte, to be produced at the Los Angeles Opera, where two productions I had designed—Offenbach’s Orpheus in the Underworld and Tobias Picker’s Fantastic Mr. Fox—had played. I jumped at Peter’s offer.

CB: What was your favorite character and scene to create? Would you describe this opera as a morality tale of good versus evil?

GS: Soon after Peter asked me to design the production, he wrote me a wonderful, detailed letter explaining what he felt The Magic Flute was about. “I want an 18th-century Gerald Scarfe,” he told me. I had so many wonderful characters to design for: Papageno, Sarastro, the Queen of the Night, and so on. Because of the Masonic and Egyptian themes of the opera, my main design feature was a giant pyramid that would dominate the stage in the first act. On seeing my designs, Peter decided that the pyramid motif was so strong that it should be deployed throughout all acts—that it should be omnipresent and transform itself into a temple, a mountain, and a crypt. So the pyramid was designed to split in half and become hillside stairs, rocks, temples, whatever the scene demanded.

I designed the backgrounds not as painted backcloths, but as projected paintings of mine, meaning that I could change the mood of the sky: Blue-washed morning can melt into blood-red and black thunderous skies, and back again to moonlit mists.

Most fun of all are the animals that Tamino tempts and enchants out of the forest with his magic flute. These I have made half one animal and half another: Tigoon is half tiger, half baboon, and there is a Crocoguin, a Giraffstrich, on stilts, and a Zebkey.

CB: When did you begin designing costumes and sets for the theater? Do you have any anecdotes from early on you would like to share?

GS: One of my first forays into the theatre was designing the costumes for a production called Ubu Unchained, based on the notorious 19th-century Ubu plays by Alfred Jarry, at the Traverse Theatre in Edinburgh. I had the two main characters, Ma and Pa Ubu, dressed as sexual organs. On the day of the opening, without my knowledge, the production decided this was too controversial and changed those two costumes. The company made a statement saying the decision was due to the “current climate of opinion in Edinburgh” and that “the public would be unable to see the costumes in the context visualized by Gerald Scarfe.” They appeared in boiler suits. I was very cross.

CB: Were there any changes made for The Dallas Opera production? Did you have any preconceptions about the city?

GS: Although I visited Texas in 1986 for a production in Houston of Orpheus in the Underworld that I had designed for the English National Opera, I’ve never been to Dallas. I’m writing this before arriving, and my preconceptions of Dallas are based on JR and Miss Ellie and their lives at Southfork.… I’m pretty certain everyone will live on a multimillion-pound ranch and wear a Stetson.…

The Magic Flute poster design by Gerald Scarfe.

Design for Bird to carry the three boys by Gerald Scarfe.

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Left: Costume design for the Turcan by Gerald Scarfe. Above: Set design by Gerald Scarfe.

My son Alexander is married to a Dallas girl, and if the city is as delightful as Charity is, I am looking forward to it.

CB: In previous interviews, you discussed your lack of formal training, having never attended art school, other than two weeks at the Royal College of Art in your early twenties. How did your interest in drawing develop? Were there certain illustrators whose work you admired? With which artists do you now share an affinity?

GS: The artist I most lionized was Ronald Searle, who first came to my attention when I was about fourteen. He could really draw. He had a huge effect on me. I wanted to draw like him. His pen was always searching, exploring, and recording every nook and cranny of his subject. His exciting, electric style fascinated me. I still have memories of a wonderfully detailed drawing of Shepherd Market in London showing the cafés and fruit stalls, with the added frisson for a teenage boy of prostitutes waiting on corners for trade. I also admired the stunning immediacy of his huge Lemon Hart Rum billboards. I discovered St. Trinian’s in the magazine Lilliput and his Rake’s Progress in Punch. His accurate theatrical caricatures of Donald Wolfit, John Gielgud, and Fernandel—they were all brilliant.

I admired him so much I became a stalker. I found out where he lived, and I cycled there from my home in Hampstead on many occasions. On the journey I would rehearse all the many things I wanted to ask him. How could I become a successful cartoonist like him? There are no schools that teach cartooning. His house was set back from the road, behind a high brick wall, and in the wall was an arched doorway with a brass doorbell. I would park my bike and approach the door. But my finger would not, could not, press that doorbell. There was a psychological barrier. I always lost courage, and after cycling in circles in the road for some time, I’d go home, mission unaccomplished, feeling a dismal failure. I never did ring that doorbell.

Fifty years later my wife, Jane, took me for a surprise birthday lunch to a small restaurant in the Provençal village of Tourtour in the south of France. To my delight, sitting at a table for four in a corner of the otherwise empty restaurant were Monica and Ronald Searle, and on my place setting was a beautifully wrapped parcel, about four inches square, tied with blue ribbon.

“Is this for me?” I asked.

“Yes, yes,” he said. “It’s nothing.”

“May I open it now?”

“Yes, of course.”

I carefully untied the ribbon and undid the wrapping. There inside, lo and behold, was a doorbell—a brass doorbell with a message attached in Ronald’s neat, minuscule handwriting that read “Please ring any time.” That doorbell has sat on my desk in my

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studio to inspire me ever since.

CB: You may be best known for your contributions to the Sunday Times over five decades. Your caricatures have become internationally recognized, depicting the most caustic personality traits of the famous and infamous. Have there been instances when your images were immediately condemned?

GS: There should be no taboos in my line of work, but I notice that when I experience difficulties getting work published it’s often to do with sex. Sex is a big part of life, and I believe it’s my duty as an artist to represent that. If we falsify the world around us, we are dishonest both to ourselves and to posterity. I have been censored many times but not, as far as I can tell, for my political views. Certainly many of my sexual drawings have been refused by editors—but offense comes from all quarters. In the UK in the late 1960s and 1970s, a woman called Mary Whitehouse styled herself an ordinary housewife, but also a keeper of public morals. She often complained about what she had seen on television or read in the press, and she started a Clean-Up TV campaign, which later became the National Viewers’ and Listeners’ Association. Her complaints were usually about sex. At one point she went to Rome to see the pope about the lax state of morals in Britain. At the time Rupert Bear was the symbol of the underground movement, owing to the Oz magazine obscenity trial, and I made a drawing for the cover of Ink magazine in 1971 of Rupert and Mrs. Whitehouse in the Vatican with the caption “Mary Whitehouse explains her position to the Pope” (you can imagine what position she and Rupert were in). She wasn’t pleased—she sued me. I received a hilarious letter from Mrs. Whitehouse’s lawyer in which he set out in legal language Costume design for Sarastro

by Gerald Scarfe.

a description of my drawing, saying that I had suggested that his client was prepared to disport herself in flagrante in front of the pope. Ink magazine settled out of court, donating several hundred pounds to charity, and it all died down. In the years since, that drawing has been exhibited in the Victoria and Albert Museum and the Tate, which shows how tastes change.

CB: Is it more difficult to address the hypocrisies of powerful figures and institutions from a mainstream publication such as the Sunday Times or the New Yorker? I recently viewed Robert Crumb’s exhibition in New York and wonder if underground comics influenced your work?

GS: I love the work of Robert Crumb. Of course, there are certain taste considerations to be aware of when working for a national daily or a wide-selling magazine. There is much more freedom when drawing for a fringe publication—their readers are used to controversial content and are much less easily offended.

Many years ago, a 16-year-old student begged me to contribute drawings to a new magazine he was producing and calling Student.

While researching for my autobiography, I came across a letter from that student, thanking me for my help and inviting me, if I were free, to drop by his office for a drink. The letter was signed Richard Branson, later to become chairman of Virgin International.

On rediscovering this correspondence, I immediately wrote an email to Richard apologizing for my tardiness and adding that I was now ready, 50 years later, to take up his offer. He thought it a great joke and replied that any time I was passing Necker Island the offer was still open.

Richard recently put this exchange on his website.

CB: You created graphics for Pink Floyd, most notably the video Welcome to the Machine and the 1982 film adaptation of The Wall. How did your relationship with the band begin? Did you know or ever work with Syd Barrett?

GS: I made a film for the BBC about all things American, called Long Drawn Out Trip, and it was that film which led to my association with Pink Floyd and changed my life. Nick Mason watched the film and rang Roger Waters to say, “You have to check this guy out.”

Roger did and called Nick back—“We definitely have to get him involved; he’s f****** mad!” So Nick got in touch with me to ask if I would consider working with the band. Although I had obviously heard of Pink Floyd, I was by no means a fan. But I went to meet the group and liked the boys. After that meeting, they invited me to the Rainbow Theatre in Finsbury Park, London, to watch them in concert, performing Dark Side of the Moon. It was that evening that truly changed my attitude towards them; their show was spectacular.

Real Roman theatre. One particular effect had me hooked: As I and the rest of the audience were focused on watching the band on stage, a very large model of a Second World War German divebomber on fire flew over my head from the upper circle behind me and crashed in smoke and flames on the stage, making a horrendous noise. Real, exciting theatre. I hadn’t expected anything to come from behind, and it startled and surprised me. I’ve always liked the grand gesture, and at that moment I decided working in this kind of environment was the place for me. A fantastic opportunity not to be missed.

No, sadly, I didn’t know Syd Barrett—he had left the band before I became involved. Roger told me that he was so missed by everyone that Wish You Were Here was a tribute to him.

CB: What are you working on at the moment?

GS: I’ve spent most of this year working on two books—one, a large-format, 500-page coffee-table-size book that is a retrospective of my work since the beginning of my career, called Sixty Years of Being Rude, and the other is my autobiography, which I’ve called Long Drawn Out Trip. Both are published this autumn by Little, Brown. P

Top to bottom: Set design for entrance of Snake; Alternative set design by Gerald Scarfe; Costume design for Queen of the Night; Set designs for scenes using pyramid changes by Gerald Scarfe.

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James Surls’ This Place, Everywhere (2019) resides in the courtyard of the Dallas Holocaust and Human Rights Museum.

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Teaching Tolerance In A

FRACTURED WORLD Newly opened and renamed, Dallas Holocaust and Human Rights Museum’s educational mission is to raise a new generation of upstanders.

BY NANCY COHEN ISRAEL

Memorial & Reflection Room detail.

“W

e are trying to eradicate the cancer of hatred, bullying, and killing. Unless we all get together and understand who we are, the suffering is the same, whoever we are.

Therefore bigotry can’t be cured with a pill, but it can be eradicated by education,” says Max Glauben, who knows the sting of prejudice firsthand: His family and community were shattered by the scourge of anti-Semitism that decimated European Jewry during World War II. Making a new life in postwar America, Glauben, along with the late Mike Jacobs, the late Frank Bell, and more than a hundred other Holocaust survivors living in Dallas, doggedly worked to create Dallas’ first Holocaust Museum. Its beginnings forty years ago were modest, but now this expanded institution reopened in September in the West End as the Dallas Holocaust and Human Rights Museum, housed in a copper-clad, 50,000 square foot, LEED certified building designed by Dallas-based OMNIPLAN in collaboration with museum educators and exhibition designers.

Museum President and CEO Mary Pat Higgins says that the museum’s board was ready to start the process of expanding the museum shortly after hiring her in 2013. “The first thing we did was hire Michael Berenbaum, the first director of the USC Shoah Foundation.” Berenbaum helped craft a vision for the new museum that included making oral histories core to its mission. According to museum board chair Frank Risch, that vision also strives “to bring to life the tragic history and consequences of the Holocaust, other genocides, and our own country’s journey for civil and human rights.”

With the population of survivors dwindling, the Dimensions in Testimony Theater provides one of the museum’s most important and engaging experiences. Using interactive video technology

developed by the USC Shoah Foundation, the stories of seventeen survivors, including Glauben, are told in perpetuity. Used by only two museums worldwide, this technology enables visitors to ask questions of survivors’ holographic likenesses. Not only is this a gift to visitors who want to hear these stories, it also honors the storytellers.

“Be assured that the person who volunteered for this will rest in peace after he’s gone, knowing the results of his endeavors,” Glauben says.

The interweaving of Holocaust remembrance with human rights awareness makes this museum unique. In explaining the larger cause and effect that the Holocaust has had on human rights, Higgins says, “The creation of the Declaration of Human Rights came about because of the Holocaust.” Tragically, the Holocaust is not alone in the institutionalization of mass murder. The Ten Stages of Genocide gallery educates visitors on the downward spiral of bigotry, showing the arc of prejudice through the lens of other 20th-century genocides.

Through the galleries devoted to International Human Rights, and in the Pivot to America Wing, the exhibitions are designed to empower visitors to stand up to injustice. For example, photographs of the Piccadilly Cafeteria in Dallas—where the action of protesters defying segregation helped propel the Civil Rights Act of 1964 into law—are supplemented with personal testimonies. While Higgins acknowledges that this is a history museum, she says, “These stories help us be aware of what’s happening in the world today.” Towards the end of the exhibition, Call to Action kiosks offer concrete information about opportunities to be an upstander. As Risch explains it, “The museum is also a call to action, not just a call to learn. Our goal, through education, is to overcome prejudice, hatred, intolerance, and the suffering they cause.”

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Video testimonies of the Nazi era are screened in a World War II boxcar.

Chul-Hyun Ahn, Railroad, 2018, plywood, mirrors, resin, stone, LED lights, hardware, 94 x 94 x 20 in. Edition 2 of 3, a gift to the museum through Janet and Terry Kafka.

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Chul-Hyun Ahn, Railroad (detail).

Book detail from Genocide Gallery.

Though the core exhibition will be permanent, temporary exhibitions will support the museum’s mission, and its dynamic programming will include lecture series and film screenings.

Additionally, Risch says, “The museum is a convener in Dallas for people to have difficult, respectful conversations, and where organizations doing positive work in the community can come together to find solutions to difficult social problems.”

Local art collectors are further enhancing the building through significant donations. Betty Jo and David Bell, for example, commissioned James Surls to create a monumental sculpture for the enclosed courtyard. It was a profoundly meaningful commission for Surls, who titled the work This Place, Everywhere. “Saying that this place is everywhere, my sculpture becomes a metaphor for something that a community has built together,” he says. The sculpture is dedicated to the memory of David Bell’s parents, survivors and original museum founders, as well as, “to all those who perished in the Shoah (Holocaust).”

The decision to commission Surls came easily, Davis says. “Our mission here is to teach. We wanted a piece that would invoke a discussion.” And Surls’ work easily sparks conversation. Its eyes, for example, point up and down, symbolically looking towards the past and the future. Betty Jo notes the symbolism of the eighteen blooming flowers with six petals each. In Jewish tradition, the number eighteen signifies life, and the petals echo the hexagonal shape of the Star of David.

Janet and Terry Kafka acquired Chul-Hyun Ahn’s haunting work, Railroad, for the museum. Facing a bank of elevators, the artwork’s railroad tracks stretch into the void, lending visual immediacy to the role trains played during the Holocaust. “We had been thinking about a donation to the Holocaust Museum for quite some time. We knew we wanted to do something unique and powerful, and given our passion, we knew it would come in the form of a work of art,” say the Kafkas.

“We were at an opening reception at Erin Cluley Gallery during an exhibition of new works by Chul-Hyun Ahn,” Terry explains.

“We were familiar with his work, and one of his pieces hangs in our home. When Janet saw Railroad, she pulled me over to it and said two words: ‘Holocaust Museum.’ When Mary Pat went to see it, she agreed that is belonged in the museum and worked towards that goal. Everyone on the board, as well as the architecture and design team, approved.

“It’s been a great collaborative effort. We all feel a contemporary work of art that tells the Holocaust story will enhance the museum experience,” Janet adds. “We donated it in memory of all of our family members who perished in the Holocaust, and our grandparents who left their countries and sacrificed to come to America to give us a better life.”’

This reference is made even more poignant in the galleries of the Holocaust wing, where visitors may walk through a newly restored Nazi-era boxcar like the ones used for transport to the death camps.

The large-scale installations punctuating many of the exhibition spaces were fabricated by Seattle-based NFI; co-owner Ike Brown is also a museum board member. Higgins offers that Brown felt “a strong sense of responsibility towards the creation of the museum, saying, ‘If our generation doesn’t build this, no one will.’”

With this new institution, the early seeds a group of survivors planted have blossomed into a place of hope. “We were unknown, but we proved by our deeds that we were able to accomplish the impossible,” Glauben says. In Higgins’ summation: “Our goal is for all our visitors to see their history here, and to see what happens when good people stand up for change.” P

Pivot to America Wing installation view.

Genocide Gallery installation view.

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Out of

The Quiver

ARROWING IN ON HIGH STYLE AND JEWELRY. PHOTOGRAPHY BY STEWART COHEN CREATIVE DIRECTION AND STYLING BY ELAINE RAFFEL

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Alex Perry Hunter vinyl midi dress, Dolce and Gabbana pendant earrings, Carla Martinengo, Plaza at Preston Center; YSL Opyum pumps with gold-toned heel in smooth leather, Nordstrom, NorthPark Center. Hair and makeup, LB Rosser, Kim Dawson Agency; Assistant stylist, Ashli Vondara, Seaminx; models, Lily Griffin and Bella Tylen, Kim Dawson Agency; set design, Tim Thomaston; retouching, Imaginary Lines; producer, Casey Corbell; assistants, Matt Taylor, Josue Salinas.

David Koma ruched asymmetric dress, Tootsies, Plaza at Preston Center; Lynn Ban earrings, Grange Hall; Jimmy Choo pumps, Nordstrom, NorthPark Center.

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Rodarte ruffled, pleated lamé blouse and pleated lamé wide-leg pants, Forty Five Ten on Main; Lele Sadoughi earrings, 4510/SIX on Main; Jimmy Choo sequin pumps, Nordstrom, NorthPark Center. Inset: Vintage image from The Devaney Collection available on superstock.com

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Alex Perry sequin gown, Carla Martinengo, Plaza at Preston Center; de Boulle Collection diamond leaf choker and earrings, de Boulle.

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Image caption.

Akris wool dress in fern embroidery, Akris, Highland Park Village; Lele Sadoughi earrings, 4510/SIX on Main.

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Zimmermann printed silk-chiffon jumpsuit, Elements on Lovers Lane; YSL Opyum pumps with gold-toned heel in smooth leather, Nordstrom, NorthPark Center; headband and ring, Carla Martinengo, Plaza at Preston Center.

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Versace V-pattern brocade jacquard coat, Barocco Femme-print silk dress, satin lingerie skirt, charm necklace, pink Napa leather gloves, sandals, Versace, NorthPark Center.

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Harry Winston diamond loop necklace and earrings, Harry Winston, Highland Park Village; Basix strapless tulle gown, Tootsies, Plaza at Preston Center.

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Etro floral-print lace long dress, belt, and double-buckle loafers, Etro, Highland Park Village; WWAKE pendulum gold earrings, Ylang 23, Plaza at Preston Center.

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Emerald necklace and hoop earrings, Eiseman Jewels, NorthPark Center; Paris Georgia Paloma jumpsuit, Forty Five Ten on Main.

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Tom Ford double georgette chain gown and Tom Ford satin peep-toe platform pumps, Tom Ford, Highland Park Village; Lele Sadoughi earrings, 4510/SIX on Main.

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BOOKS

RED, RED, THEY CALL ME RED

Dallas photographer and director Stewart Cohen’s casting call created the ultimate tribute to folks with ginger-colored hair.

Clockwise from left: Clottie Harrison, Seeing Red book cover; Carrot Top; Veronica Van Dine; Robertson Brothers; Thomas Paessler; Felix Parle.

All photographs by Stewart Cohen.

BY ELAINE RAFFEL

I

f there’s one takeaway from Stewart Cohen’s anthology Seeing Red, it’s that redheads are definitely a force to be reckoned with. Inspired by the internet-fueled notion that “gingers” were becoming extinct, the book features more than 160 compelling portraits, each styled in a way the Dallas director/photographer envisioned an endangered species should be displayed for posterity.

It all started with an off-the-cuff comment his redheaded assistant made one morning. “He asked if I knew about the rumor.

Whether or not it was true, I felt we should do something about it.”

Twenty seconds of Googling quickly confirmed gingers weren’t in any real danger (red hair, caused by a relatively rare recessive gene, may decline, but it isn’t going away). But by then, it didn’t matter, Cohen was intrigued.

His initial idea was to photograph his subjects in a beautifully framed shadow box. “But as I began working with a model maker, he pointed out that what I was describing was a coffin. It turned into a funny conversation. Is it a frame? Or is it a coffin?” Cohen opted to let the reader decide.

The next step was putting out an open casting call. “Word got around. But we realized it would be too difficult to travel anywhere with this giant box/frame/coffin. We were lucky that people started coming to us to get their portrait taken.” Cohen and his crew eventually took their show on the road—albeit sans box. “We were going to be in the UK and reached out to the organizers of Redhead Day. They asked us to become their official photographer.” The response was phenomenal he says. “There were Brits lined up around the block to be photographed.”

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Three hundred photography sessions later, Cohen turned his passion project over to Caliber Creative’s Brandon Murphy to handle design and production. The result: a full-blown tribute to gingerness. In addition to the portraits, there are declarations (“a face without freckles is like a night without stars”); research results (redheads have more sex than any other hair-color group); lists (“25 Famous Redheads in History”); fun facts (individuals with red hair are more likely to be left-handed); proverbs (“there never was a saint with red hair”); and confessions (“I’m fiery and tenacious, and I feel more powerful being a redhead”).

Seeing Red comes equipped with a celebrity endorsement: Cohen tapped the redheaded comedian Carrot Top to write the book’s provocative foreword. And singer Ed Sheeran reveals how red hair toughened him up. “If you’re ginger, you end up being pretty quickwitted.” Even Playboy magazine has its say: “Redheads are like other women—only more so.”

Since the book’s publication earlier this year, book signings and tours have allowed Cohen to get something in front of people that’s out of the realm of commercial photography. “In the end, someone’s probably not going to remember a specific ad,” he says.

“But if you have a body of work in books, it’s like a testament to what you have created.”

Seeing Red is available at Interabang Books and on amazon.com.

Cohen’s other titles include The Twins Book (1997), Alma Cubana The Soul of Cuba: A Photo Essay (2001), and Identity: A Photographic Meditation From The Inside Out (2010). P

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FURTHERMORE

TOGETHER AGAIN

Works from The Bowes Museum are reunited with paintings in the Meadows Collection.

BY NANCY COHEN ISRAEL

I

n the aftermath of its mid-19th-century makeover, Paris offered inspiration to its inhabitants as well as a haven to those escaping the revolutionary fervor sweeping across Europe.

Among the émigrés coming into this modern capital were the Spanish politician and art collector Francisco Javier de Quinto y Cortés, conde de Quinto, and his wife, the condessa de Quinto.

“The conde de Quinto was the director of the Museo de la Trinidad, which used nationalized convents for nationalized paintings,” says Amanda Dotseth, curator of the Meadows Museum. In the decades following the dissolution of church property in Spain in the 1830s, newly nationalized art became available for his museum, she explains. At the same time, the conde de Quinto amassed a personal collection, ultimately bringing 200 of these works into exile. His arrival in Paris in 1854 dovetailed with a uniquely Spanish moment in France. The previous year saw the dispersal of more than 450 paintings comprising the Louvre’s Galerie espagnole, which had introduced French audiences to Spanish art. Upon Quinto’s death in 1860, the condessa worked with French art dealer Benjamin Gogué to liquidate his collection.

Among Gogué’s clients were John and Joséphine Bowes. In Paris, the illegitimate, British-born John Bowes became a successful businessman. His marriage to actress and painter Joséphine CoffinChevallier elevated her own social status. His wealth and her eye formed the basis of a refined art collection. “They started buying to furnish their home, and it seems fairly early that she’s the driving force,” says Dotseth. Before long, she adds, “It seemed that they were buying for a public collection.” Gogué pushed them towards works by El Greco and Francisco Goya, artists whom he deemed

important, though they were not in alignment with the Bowes’ taste. Through Gogué’s efforts, the Bowes’ acquired more than 70 paintings from the Quinto collection. They chose to build their museum in County Durham, in the northeastern corner of the UK. Neither one lived to see the Bowes Museum through to completion.

El Greco, Goya, and a Taste for Spain: Highlights from The Bowes Museum, currently on view at the Meadows Museum, features 11 paintings acquired from the Quinto collection. “This is a small, focused exhibition. We wanted the crème de la crème, but to also show the breadth of the collection,” Dotseth explains.

In a unique though calculated twist, several works in the Meadows collection, notably Juan de Borgoña’s The Investiture of St. Ildefonsus and Goya’s Yard with Madmen are also from the Quinto collection. They are being reunited with two works by Borgoña from the Bowes collection, along with Goya's Interior of a Prison.

The inclusion of Antonio de Pereda y Salgado’s resplendent Tobias Restoring His Father’s Sight contrasts with the Meadows’ darker Saint Joseph and the Christ Child, offering a look into the breadth of his style.

“These particular collectors who left Spain with their collections have informed our tastes,” suggests Dotseth. By bringing together these works of the Spanish art diaspora, the Meadows Museum continues to explore the role connoisseurship plays in shaping our perceptions of art from the Iberian peninsula. On a final note, the exhibition is dedicated to Linda Perryman Evans President/CEO of The Meadows Foundation, who after 23 years of leadership, is retiring at the end of this year. P

Antonio de Pereda y Salgado (Spanish, 1611–1678), Tobias Restoring his Father’s Sight, 1652, oil on canvas. The Bowes Museum, Barnard Castle, County Durham, UK.

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