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EDITOR’S NOTE
Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak
Summer 2020
TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com Instagram terri_provencal and patronmag
From mid-March, through April and into May, makeup-less days came and went—slow, slow, quick, quick, slow, fashioned like the forward, backward, and sideward movements of the foxtrot. Nature, never yielding to the calamity and reclaiming its prideful place, unfolded into beautiful spring greenery, blossoms bloomed brightly hued. Walks within five miles of our East Dallas home became a delicate dance of genial avoidance, as those enjoying the outdoors traversed from one side of the street to the other, distancing. A red Cadillac sat parked for weeks, though where was last spring’s sun-soaked, black-and-white cat that lounged on the hood of the car, staring with its watchful eyes? Most likely safely tucked inside with its caretaker.… The avenue the Caddy sat on became the neighborhood thoroughfare for pedestrians with and without baby strollers, cyclists, skaters, and a few awkward Rollerbladers. Lawn chairs dappled either side of the street, empty or with too many maskless faces—social distancing is hard. Reconfiguring my strolls, I walked past my son’s former elementary school art teacher’s home on a few occasions, hoping to hear laughter rising from her backyard pool, a result of her legendary Art Splash Camp—but then I remembered school was not officially out. One day the laughter came around the corner, however, from a pair of kids riding bicycles equipped with training wheels. Young and old, Texans have been tested, and we all hope these difficult precautions will keep us safe. No one likes wearing masks, although there are some really cool ones out there, like the handmade ones our neighbors dropped off to our family of three, patterned specifically for each of us. And through all this, glimmers of hope emerged. In April, the Dallas Art Fair Online brought in sales of many, many artworks from both local and international exhibitors. We appreciate you, Kelly, Sarah, and Brandon, and applaud your lightning-quick efforts and nimble thinking. Late April brought more good news: Blake Hackler, SMU Meadows School of the Arts Associate Professor of Theatre received a Fulbright Scholar Grant for 20202021 and was added to the Dallas Theater Center’s Brierley Resident Acting Company. In fact, at the Dallas Theater Center no one was furloughed. Instead, the company grew, made masks, and took Spanish classes. Likewise, as one would expect, the Art Influencers featured in this issue influenced—Rick Brettell was hoping to sign a lease for MoTA (Museum of Texas Art) when we last corresponded in May. Dallas Contemporary’s Peter Doroshenko is working with his team to bring robust art content by way of #dcfromhome. Bernardo Vallarino received the Moss/Chumley North Texas Artist Award for his brave social practice addressing marginalized communities and his staunch volunteerism—and he continues to make work. Elsewhere in Patron we learn about John Eagle’s beautifully designed executive offices—a fluid combination of an exceptional art collection and Andre Staffelbach’s considered design. We peek inside the Lancaster Hotel, restored by Dallas-based artist and hotelier Jay Shinn, which features a wonderful art collection culled by Jay and his partner, Tim Hurst, with design by David Cadwallader. In a time when the arts are scrambling due to the global health crisis and the resulting challenging economy, this magazine remains committed to artists and our regional arts institutions. We seek notes of optimism and urge you to share these with us so we can pass them along. Please read about all of the innovative, whatever-it-takes individuals included in this issue. I do keep looking for the sun-loving cat to emerge from the recesses with us, to take its rightful place, as if signifying a sense of normalcy. We are of sturdy stock here in Texas, and our optimism runs deep. While the halcyon days seem bygone, they will return with patience and with a greater appreciation for one another. – Terri Provencal
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interior design + art maryannesmiley.com 214-522-0705
Photography by Holger Obenaus Christopher Martin “Archilochus II�, Acrylic on Acrylic, 96x48
CONTENTS 1
FEATURES 39 ART INFLUENCERS By Nancy Cohen Israel and Lee Cullum 48 PHANTOM THREAD Art and design elements woven together bring balance to John Eagle’s executive offices designed by Staffelbach. By Peggy Levinson 54 WITH A LITTLE HELP FROM MY FRIENDS Jay Shinn, an artist and second-generation hotelier, lovingly restored a historic hotel with interior designer David Cadwallader, replete with works by many lauded Texas artist friends. By Peggy Levinson DEPARTMENTS 4 Editor’s Note 8 Contributors
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18 Noted Top arts and culture chatter. By Anthony Falcon Fair Trade 30 VIRTUALLY DEPENDENT Committed to its exhibitors during the pandemic, Dallas Art Fair clocks in some great sales during its first online presentation. By Terri Provencal Contemporaries 32 #freshcontent Dallas Contemporary’s executive director Peter Doroshenko and his team maintain art experiences with #dcfromhome. By Chris Byrne Performance 36 HOW TO BE FABULOUS A Fulbright Scholar, Blake Hackler, the multidisciplinary associate professor of theatre at SMU Meadows School of the Arts, joins Dallas Theater Center’s Brierley Resident Acting Company. By Terri Provencal
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Atelier 60 C’EST LA VIE It’s a cool, cool summer with vintage-inspired caftans and kimonos designed by Lindsey McClain and Jamie Coulter. By Terri Provencal 61 COLOR TRANSPARENCY Vhernier, an Italian jewelry brand informed by sculpture, is an Eiseman Jewels exclusive. There 62 CAMERAS COVERING CULTURAL EVENTS Furthermore 64 HUMAN TOLL Bernardo Vallarino receives the Meadows Museum 2020 Moss/Chumley North Texas Artist Award. By Terri Provencal 54
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On the cover: John Eagle’s executive offices, designed by Andre Staffelbach, features Michael Heizer, Untitled (after “Levitated Mass”, 1982), 1985, polyvinyl on canvas; Not Vital, Moon, 2011, stainless steel; Rebecca Warren, Function V, 2009, steel and pom-poms; Pat Steir, Waterfall of Ancient Ghosts, 1990, oil on canvas. Photograph by Nick Merrick.
2020 21 Season
We
are looking forward to being together again, experiencing live music and connecting as a musical community!
Photo credits available at: https://bit.ly/3617MBq
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CONTRIBUTORS
John Sutton Photography
CHRIS BYRNE is the author of the graphic novel The Magician (Marquand Books, 2013) and The Original Print (Guild Publishing, 2002). He is cochair of Art21’s Contemporary Council and serves on the board of directors of the Museum of Contemporary Art Detroit and the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught. He is the cofounder of the Dallas Art Fair and former chairman of the American Visionary Art Museum.
LAUREN CHRISTENSEN has more than two decades of experience in advertising and marketing. She consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Christensen the perfect choice to art direct Patron.
NANCY COHEN ISRAEL is enjoying the slower pace this spring. For the art historian, writer, and educator, the quarantine has meant rejuvenating peace and the pleasurable sounds of nature close to home while social distancing. For the current issue, Nancy was inspired by the art influencers who continue to make North Texas a thriving creative center, including Tamara Johnson, Trey Burns, David Lozano, Sara Cardona, Vicki Meek, and Jin-Ya Huang. She especially looks forward to seeing the work being produced during this historic time.
LEE CULLUM is a Dallas journalist who hosts CEO, a series of interviews with business leaders on KERA-TV, and contributes commentaries to the National Public Radio station in North Texas. She has been a regular commentator on the PBS NewsHour and All Things Considered on NPR, and balances her work in business, public policy, and foreign affairs with a passion for the performing and visual arts. Lee visits with multiple players committed to the arts in Art Influencers, including Craig Hall, Richard Brettell, Roberto Zambrano, and Clyde Valentín.
PEGGY LEVINSON shares news of the latest trends and all periods of design with Patron, engaging her expertise and knowledge in the field as a former showroom owner. In Phantom Thread she toured John Eagle’s executive offices, designed by Andre Staffelbach with art advisory by John Runyon. In With a little help from my friends Peggy checked into Houston’s Lancaster Hotel (virtually) with Dallas artist and hotelier Jay Shinn and interior designer David Cadwallader.
NICK MERRICK gained notoriety as the senior photographer/partner at Hedrich Blessing Photographers, a renowned architectural photography studio in Chicago. When not out on assignment, Nick lives with his wife, Shaun, in Galisteo, New Mexico, in an adobe under the cottonwood trees next to the Arroyo de los Angeles. His work is in the permanent collections of the Library of Congress; the Chicago History Museum; the Art Institute of Chicago; and others. In Phantom Thread, Merrick captured the essence of John Eagle’s executive offices.
JULIE SOEFER is a Houston-based photographer who is known as one of the leading culinary, portrait, and interiors photographers in the Southwest. In 2003, she received her BFA from the NYU Tisch School of the Arts and immediately began working as the on-set still photographer for the major motion picture, Super Size Me, for which she took the image that would become the poster for the film. After working as a producer for celebrity photographers in NYC, Julie launched her own photography business in 2007 in Houston, where she lives with her husband Chris and her three fur-baby dogs, Buster, Ziggy, and Dakota.
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We salute our hometown heroes. From all of us at HALL Arts Hotel, we want to thank those who are on the front lines taking care of others. We will get through this together and appreciate your bravery as you work to keep our community safe.
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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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Due to the uncertainty of COVID-19 safety restrictions, please check the organization’s website for the most current opening hours and exhibition information.
10, a virtual program on the economy of sex trafficking will be presented. On Jun. 21, the museum will present a screening of Milk. dhhrm.org
01 AFRICAN AMERICAN MUSEUM Carroll Harris Simms National Black Art Competition and Exhibition will be on view at the African American Museum once the museum is allowed to open; the exhibition is expected to continue through Oct. 30. The national competition and exhibition attract artists of African American descent. aamdallas.org
06 DALLAS MUSEUM OF ART While the museum remains closed, explore the its exhibitions and collection through the DMA’s website. Brazilian artist Sandra Cinto’s Landscape of a Lifetime, a site-specific commissioned mural, remains on view through Jul. 5. Flores Mexicanas: Women in Modern Mexican Art surveys representations of women in Mexican Modernism through Sep. 20. My|gration highlights the contributions of artists who immigrated to the US, examines how the movement of people is expressed through art, and illuminates ways crosscultural connections inform artistic production through Jan. 3, 2021. Through Oct. 11, Frans Hals: Detecting a Decade showcases two portraits of the same sitter over a ten-year span. Inspired by philosopher Gaston Bachelard’s concept of the psychological significance of rooms and houses, For a Dreamer of Houses presents contemporary artworks that evoke personal spaces and considers the politics of places we identify with through Jan. 31, 2021. Dalí Divine Comedy showcases selections from Salvador Dalí’s most ambitious illustrated series: his colored wood engravings of The Divine Comedy, the epic poem by the medieval Florentine writer Dante Alighieri, through Nov. 15. Rethinking the Myth of the American West celebrates the grandeur and diversity of the American West while acknowledging a complicated history that has resulted in social, economic, and cultural adaptation for many, Jun. 7–Sep. 6. Image: Francisco Moreno, Chapel, 2016-2018, pencil, vine charcoal pencil, and acrylic on an all-encompassing structure. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, the Charron and Peter Denker Contemporary Texas Art Fund, Elisabeth Karpidas, Charles Dee Mitchell, Tammy Cotton Hartnett, Travis Vandergriff, Joyce Goss, Harper and Jim Kennington, and Karen and John Reoch. Photograph by Wade Griffith, courtesy of the artist and Erin Cluley Gallery. dma.org
02 AMON CARTER MUSEUM OF AMERICAN ART Currently the museum is closed until further notice. The Carter Museum has virtual exhibitions and events that are updated regularly on their website and social media accounts. Image: Ruth Asawa (1926–2013), Untitled (S.453, Hanging Three-Lobed, ThreeLayered Continuous Form within a Form), ca. 1957–59, iron wire, Amon Carter Museum of American Art, Fort Worth, Texas, © 2020. The Estate of Ruth Asawa, Courtesy the Estate of Ruth Asawa and David Zwirner. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART While the museum is closed, audiences are encouraged to explore the collection online. When the museum reopens, expect to see Beili Liu: One and Another, featuring two monumental works from the Austin-based artist and UT-Austin art professor. The exhibition continues through August 16. crowmuseum.org 04 DALLAS CONTEMPORARY The museum is closed to visitors through the duration of the COVID-19 crisis. DC will mount a solo exhibition for Yoshitomo Nara this fall. Dates for the previously planned Vivienne Westwood, Get A Life and Paolo Roversi, Birds exhibits will be announced at a later date. Image: Yoshitomo Nara, Stop the Bombs, 2019, acrylic on wood, 58.86 x 42.25 x 3 in. Courtesy of the artist and Dallas Contemporary. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM The museum will host virtual events through June and July. Virtual iRead Book Club: When Hitler Stole Pink Rabbit by Judith Kerr will take place on Jun. 1. On Jun. 3, Virtual Program: Suffrage for All? will spark conversation that will emphasize the unique and unequal challenges and outcomes for women of color within this movement. On Jun. 18
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07 FORT WORTH MUSEUM OF SCIENCE AND HISTORY Project Planet presents you with the most up-to-date information on what’s happening in our world and helps you to discover what we might be able to do about it through Jan. 3, 2021. Though the museum is currently closed, you can visit the museum’s website for fun interactive virtual events and activities. fwmuseum.org
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NOTED: VISUAL ARTS
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08 GEOMETRIC MADI MUSEUM Currently slated at the MADI is Five in Motion, featuring five women artists from Venezuela. The exhibition will remain on view through Jul. 26. geometricmadimuseum.org 09 GEORGE W. BUSH PRESIDENTIAL CENTER The special exhibit, Liberty & Laughter: The Lighter Side of the White House, presents a behind-the-scenes look into the lighter side of life in the White House through Oct. 4. On Sep. 24, the Bush Center will hold their annual Forum on Leadership. bushcenter.org 10 KIMBELL ART MUSEUM A special exhibition will feature nearly forty masterpieces from the Capodimonte Museum in Naples, one of the most important fine arts collections in Italy. The show will draw from the best of both the Renaissance and Baroque holdings of the museum. Flesh and Blood: Masterpieces from the Capodimonte Museum will be on view through Jun. 14. While the museum is currently closed, visit The Kimbell from Home on the museum’s website. The interactive page allows you to enjoy the museum’s programming from the safety of your home. Image: Amedeo Modigliani, Head, limestone, c. 1913. Given in honor of Ted and Lucile Weiner by their daughter Gwendolyn, 2017. Kimbell Art Museum, Fort Worth, Texas. kimbellart.org 11 LATINO ARTS PROJECT Latino Arts Project is a nonprofit organization and the first of its kind pop-up museum designed to bring a greater understanding of Latino art, history, and culture through exhibitions and community programs. In partnership with world-class national and international institutions, the museum will return to featuring rotating shows of Latin American and Latinx artists after the COVID-19 crisis. latinoartsproject.org 12 LATINO CULTURAL CENTER The mission of the Latino Cultural Center is to provide the preservation, development, and promotion of Latino and Hispanic arts and culture. The center will resume programming in the fall. lcc.dallasculture.org 13 THE MAC Finding Our Way is a photographic installation designed to serve as the catalyst for conversations on women’s issues in Texas and photography as a medium of self-expression. The exhibition is on view indefinitely through summer. the-mac.org 14 MEADOWS MUSEUM Prized for its extraordinary collection by Spanish masters, the Meadows Museum is making careful preparations to reopen, 20
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subject to all guidelines set by SMU and our local governments, in a manner that will protect the health and safety of its staff, visitors, and volunteers. The museum will update its website and social media channels with a reopening date as soon as one is determined; in the meantime, visit the website to participate in #MuseumFromHome. Image: Dalí (Spanish, 1904–1989), Venus de Milo With Drawers, 1936, cast 1971, white paint on bronze, 15 x 3.12 x 3.87 in. Edition: 37/150. Meadows Museum, SMU, Dallas. Gift of Daniel Malingue, Photograph by Kevin Todora. meadowsmuseumdallas.org 15 MODERN ART MUSEUM OF FORT WORTH Mark Bradford: End Papers curated by Michael Auping, former chief curator at the Modern, focuses upon the key material and fundamental motif the artist employed early in his career and has returned to periodically over the past two decades; on view through Aug. 9. themodern.org 16 MUSEUM OF BIBLICAL ART Since its founding in 1966 by Mattie Caruth Byrd, the Museum of Biblical Art Dallas has greeted over 50,000 visitors annually as a beautiful space where Biblically themed art is exhibited. The museum is currently closed until further notice. biblicalarts.org 17 NASHER SCULPTURE CENTER While the museum is closed, patrons are encouraged to visit the website to explore the museum’s collection and experience interactive virtual exhibits. Image: Magali Reus, Sentinel (Vesuvio), 2017, sprayed fiberglass and polyester resin, air-brushed aluminum, embroidered custom weave viscose, polyester, and cotton, sandcast aluminum, laser-engraved leather, cotton twine, powdercoated steel and aluminum, rubber, engraved aluminum, 57 x 57 x 13.75 in. nashersculpturecenter.org 18 PEROT MUSEUM It may be dark within the walls of the Perot Museum of Nature and Science during its temporary closure, but it’s “lights on” for learning as the museum launches Amaze Your Brain at Home!, a rotating wealth of brain-pleasing fun for the homebound over the weeks to come. Visit Amaze Your Brain at Home! through the museum’s website. perotmuseum.org. 19 TYLER MUSEUM OF ART The museum is currently open to visitors and observes all CDC guidelines. The 16th Annual High School Art Competition is on view through Jun. 7. Lone Star Impressions II: Prints by Flatbed Press, highlighting more than 30 fine art prints executed in a variety of techniques at the Austin-based collaborative workshop over the years, continues through Jul. 5. tylermuseum.org
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NOTED: PERFORMING ARTS
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01 AMPHIBIAN In addition to virtual events, Amphibian will return to the stage on Jul. 10 with Marie Antoinette, a modern and hilarious retelling of the story of one of history’s most decadent queens, through Aug. 2. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER ABBA The Concert will perform at Strauss Square on Jul. 18. ATTPAC is hosting digital events on their website through the duration of the COVID-19 pandemic. attpac.org 03 BASS PERFORMANCE HALL Come From Away, Jul. 7–Jul. 12, is set in the week following Sep.11 and tells the true story of what transpired when 38 planes were ordered to land unexpectedly in the small town of Gander in the province of Newfoundland and Labrador, Canada, as part of Operation Yellow Ribbon. basshall.com 04 CASA MAÑANA Matilda the Musical, Jul. 17–Jul. 26, tells the story of a little girl with wit, intelligence, and psychokinetic powers. A Man of No Importance presents the tender story of Alfie Byrne, a bus driver in 1964 Dublin who puts on an amateur production of Oscar Wilde’s Salome in the local church. Jul. 31–Aug. 2. Image: The cast of the Tony Award®winning Broadway hit Matilda, the Musical, performs Naughty, at the annual Unaccompanied Tour Families Holiday Reception at the US Department of State in Washington, DC. casamanana.org 05 CHAMBER MUSIC INTERNATIONAL Joyce Yang, a Grammy-nominated classical pianist and Van Cliburn silver medalist, will present Stravinsky and Brahms in CMI’s season finale on Jun. 13. chambermusicinternational.org 06 DALLAS BLACK DANCE THEATRE Viewers are invited to visit #DBDT:AtHome, a series of educational and digital events from the DBDT dancers. Image: DBDT: Encore! Rising Excellence, photographed by Amitava Sarkar. dbdt.com 07 DALLAS CHILDREN’S THEATER Viewers are encouraged to visit the company’s website for digital classes, performances, and interactive activities while DCT participates in social distancing. dct.org 08 THE DALLAS OPERA This summer visit TDO Network, which brings a mixture of programming that educates, questions, and furthers classical music and the power of opera. dallasopera.org 22
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09 DALLAS SUMMER MUSICALS Escape to Margaritaville on Jul. 28 is the musical comedy that features both original songs and most-loved Jimmy Buffett classics through Aug. 9. dallassummermusicals.org 10 DALLAS SYMPHONY ORCHESTRA Great American Movie Music, Jun. 12–14, will explore the history of American movies through the scores audiences love. Next, Coco: Movie in Concert presents the story of an aspiring musician, Miguel, and his discovery of the everlasting bonds of family. The DSO will perform Michael Giacchino’s score beneath the full movie in HD. Jun. 19–21. mydso.com 11 DALLAS THEATER CENTER The Supreme Leader, onstage Jul. 9, follows Kim Jong-un while in boarding school in Switzerland, where learns he’s next in line following his older brother’s career-ending trip to Tokyo, Disneyland. Set in the snow-globe world of stinky cheese and mountain climbing, this comedy imagines Jong-un’s final throes of youth. Through Aug. 9. dallastheatercenter.org 12 EISEMANN CENTER Keyboard Conversations with Jeffrey Siegel examines Gershwin, Joplin, Stravinsky, Shostakovich, and Sousa on Jun. 15. Anomaly: The Magic of Robby Bennett will mystify audiences Jul. 11. Vocal Majority chorus performs Jul. 18–19. Asleep at the Wheel brings their 50th. Anniversary Concert on Jul. 24. eisemanncenter.com 13 FORT WORTH SYMPHONY ORCHESTRA Concerts In The Garden celebrates 30 years of music, family, and fun. Join the FWSO for 15 nights of music under the stars with an amazing fireworks show after each performance, Jun. 5–Jul. 4. Check website for possible schedule changes. fwsymphony.org 14 KITCHEN DOG THEATER The 2020 New Works Festival, the Staged Reading Series, and PUP Fest will proceed as online festivals in a continuation of Kitchen Dog’s tradition of showcasing a lineup of exciting new plays from both adult and student playwrights. kitchendogtheater.org 15 LYRIC STAGE Lyric Stage will close its 2019/2020 season at the Majestic Theatre with the timeless magical fairy tale, Rodgers and Hammerstein’s Cinderella, with a yet-to-be-determined date.. lyricstage.org 16 MAJESTIC THEATRE The Majestic Theatre returns with An Evening with the Monkees on Jul. 25. majestic.dallasculture.org
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06 17 TACA Let’s TACAbout It: Cry Havoc Theater Co. follows the inspirational teens of Cry Havoc Theater Co. as they dive into their creative process for Endlings, a new work of devised documentary theater that centers on climate change, Jun. 18. taca-arts.org 18 THEATRE THREE Based on a true story, Russian-Jewish immigrant Haskell Harelik settles into America at the turn of the century. Unable to speak English, the outsider pulls his banana cart through the staunch Christian community begging for shelter. Over three decades, this tiny town becomes the home for his young family. The Immigrant is slated to take the stage Jun. 4–28. Check the website for updates. theatre3dallas.com
EXCEPTIONAL | ALL AMERICAN
Due to the COVID-19 crisis and the Shelter-In-Place restrictions, our scheduled June 6, 2020 Command Performance was postponed. We hope you will join us for a special new event, OPENING NIGHT CELEBRATION, on October 1, 2020.
C
SPECIAL EVENT
OPENING NIGHT CELEBRATION 2020
M
Y
A NEW TIME | A NEW EXPERIENCE
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19 TITAS/DANCE UNBOUND Command Performance, curated for the TITAS/Dance Unbound Gala, rescheduled to Aug. 29, will feature commissioned works created specifically for this gala performance, including works by some of the world’s leading choreographers, such as Twyla Tharp, Dwight Rhoden, Jessica Lang, Mia Michaels, Sonya Tayeh, Bridget L. Moore and Wang Yuanyuan. Image: MoMix Dance Theatre Company performs a scene from Botanica at the Olympic Theatre in Rome. REUTERS/ Alessandro Bianchi. titas.org
OCTOBER 01 2020 WINSPEAR OPERA HOUSE
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FEBRUARY 12 2021 WINSPEAR OPERA HOUSE
OCTOBER 02.03 2020 MOODY PERFORMANCE HALL
20 TURTLE CREEK CHORALE Mark your calendars for Classic: The Songs that Made the TCC, an exclusive anniversary concert that will feature many musical moments and memories that have defined the Turtle Creek Chorale, on Aug. 1. turtlecreekchorale.com 21 UNDERMAIN THEATRE Exploring the concepts inherent in the Greek tragedies of Oedipus and Medea, The Savage Seconds looks at the effects of obsession and celebrity in a world catapulted into disarray by disease and political turmoil. This original opera conceived by Danielle Georgiou and Justin Locklear centers on the story of a young girl sent home from boarding school during a great plague. Streaming Jun. 4–10. undermain.org
DOUG VARONE AND DANCERS
ALONZO KING/ LINES BALLET
KYLE ABRAHAM’S A.I.M
OCTOBER 16.17 2020 MOODY PERFORMANCE HALL
MARCH 26.27 2021 MOODY PERFORMANCE HALL
PARSONS DANCE
ASPEN/SANTA FE BALLET
NOVEMBER 20 2020 WINSPEAR OPERA HOUSE
APRIL 02.03 2021 MOODY PERFORMANCE HALL
SPECIAL EVENT
BALLET HISPÁNICO
COMMAND PERFORMANCE 2021
JANUARY 15 2021 WINSPEAR OPERA HOUSE
JUNE 12 2021 WINSPEAR OPERA HOUSE
DIAVOL| ARCHITECTURE IN MOTION® / ALONZO KING/LINES BALLET PARSONS DANCE / BALLET HISPÁNICO / DOUG VARONE AND DANCERS KYLE ABRAHAM’S A.I.M / ASPEN/SANTA FE BALLET PHOTO CREDITS: Header image -Alonzo King/LINES Ballet, photo by Meredith Webster, 1. DIAVOLO - Trajectoire, photo by Sharen Bradford, 2. DIAVOLO, photo by Benjamin Gibbs, 3. Lorris Eichinger, Photo by RJ Muna, 4. Photo by Travis Magee, 5. SOMEWHERE, Photo by David Bazemore, 6. An Untitled Love - Javon James, Rakeem Hardy, Donovan Reed, Photo by Carrie Schneider, 7. Heartspace, Photo by Sharen Bradford, 8. MOMIX, photo by Don Perdue.
22 WATERTOWER THEATRE Based on a true story and interviews conducted by the playwright, Doug Wright, I Am My Own Wife tells the story of Charlotte von Mahlsdorf, an elegant and eccentric 65-yearold German transgender woman who managed to survive both the Nazi onslaught and the repressive East German Communist regime. Jul. 16–Aug. 2. watertowertheatre.org
OFFICIAL HOTEL
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ATTPAC.ORG/TITAS SUMMER 2020
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01 12.26 An exhibition of work by David Gilbert and Gray Wielebinski will continue through Jul. 18. Image: Courtesy of David Gilbert and Gallery 12.26. gallery1226.com 02 214 PROJECTS 214 Projects, an exhibition and project space adjacent to the Dallas Art Fair offices at River Bend in the Design District, gives fair exhibitors the opportunity to present more ambitious gallery installations and special projects on a year-round basis. 214projects.com 03 ALAN BARNES FINE ART ABFA belongs to a family of British art dealers, conservators, and restorers whose roots reach back to London during the reign of King George III. The gallery currently has an online exhibition of Fine 19th & 20th Century British and American Watercolours on view through the summer. alanbarnesfineart.com 04 AND NOW A solo exhibition for Eli Ping is currently slated to continue through Jul. 4. Next the gallery will host Leslie Martinez from Jul. 11–Aug. 29. andnow.biz 05 ARTSPACE111 The 7th Annual Texas Juried Exhibition commences on Jun. 27. This year’s juried exhibition will focus on Texas-showing artists. The group show will continue through Jul. 25. Artspace111.com 06 BARRY WHISTLER GALLERY Considering the public health crisis, the gallery will be open by appointment only until further notice. barrywhistlergallery.com 07 BEATRICE M. HAGGERTY GALLERY In Pieced + Painted: Galen Cheney + Andrea Myers, color and form take center stage. Both artists manipulate materials and create multilayered constructions and collages by piecing together elements of paint, fabric, and collage to explore the space between two and three dimensions. By appointment only through Sep. 1. Image: Andrea Myers, Out of the Blue, 2019, denim and fabric collage, 96 x 252 in. Photograph by Sven Kahns. udallas.edu/gallery for updates. 08 BIVINS GALLERY With a concentration on modern, postwar, abstract expressionist, and contemporary art, the gallery shows established artists who were, and are, major figures in seminally historic art movements. 24
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The gallery also represents select emerging artists, artists’ estates, and has a secondary market division. bivinsgallery.com 09 CADD Contemporary Art Dealers of Dallas hosts regular Happy Hours, Bus Tours, and Mystery Brunches, and sponsors scholarships through CADDFund. A satellite gallery at SieMatic is open by appointment only. CADD will return to regularly scheduled events after the COVID-19 crisis. caddallas.org 10 CHRISTOPHER MARTIN GALLERY The gallery presents the reverse-glass paintings and the limitededition works of Aspen-based, Christopher H. Martin. CMG will host the Collazo Collection through Jun. 24, Chad Kleitsch Jun. 26–Jul. 22, and Isabelle Van Zeijl Jul. 24–Aug. 19. The gallery will be open by appointment only throughout the duration of the crisis. christophermartingallery.com 11 CONDUIT GALLERY A bird flew in through my window and Wordless Communication continue in the gallery’s online viewing room through Jul. 11. In addition to the online platform, the gallery will be available for private scheduled appointments to view the exhibition at the gallery. Image: Lance Letscher, Carp, 2019, collage on book, framed 27.5 x 15.5 in. conduitgallery.com 12 CRAIGHEAD GREEN GALLERY CGG’s Annual Group Show remains on view through Jul. 3. Next, the 27th installment of New Texas Talent will open Jul. 11 and run through Aug. 22. craigheadgreen.com 13 CRIS WORLEY FINE ARTS Cris Worley Fine Arts presents Patrick Turk’s Anthropocosmos, featuring sculptural collages that harmoniously intertwine all living things within the cosmos Jun. 20–Aug. 15. crisworley.com 14 CYDONIA Xxavier Edward Carter, Sisyphus and the Myth of the New World continues through Jul. 2. The exhibition presents video work, photo documentation, sounds works, and performance artifacts as an homage to the Greek character Camus famously coined as the “absurd hero.” cydoniagallery.com 15 DADA From, Jul. 6–Sep. 25, the Mesquite Arts Center will host HEAD EAST—An Exhibition of Dallas Art Dealers Association Galleries. Participating galleries include Afterimage Gallery, Christopher
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Martin Gallery, Craighead Green Gallery, Mary Tomás Gallery, Samuel Lynne Galleries, Southwest Gallery, TVAA -Texas Visual Arts Association, Talley Dunn Gallery, and Valley House Gallery. dallasartdealers.org 16 DAVID DIKE FINE ART DDFA specializes in late 19th- and 20th- century American and European paintings with an emphasis on the Texas Regionalists and Texas landscape painters. Save the date for the Fall Texas Art Auction, Oct. 3. daviddike.com 17 ERIN CLULEY GALLERY In response to the global pandemic the gallery launched ECG Viewing Room, a virtual exhibition space including architectural renderings, online viewing rooms, and a virtual storefront with capabilities for online purchases. Additionally, Silver Linings is a new, in-depth, long-format digital initiative highlighting the gallery’s artists, who share how their time is being spent inside their studios. erincluley.com 18 EX OVO ex ovo presents After 10, a one-to-four scale model of the Dwan Gallery’s 1966 exhibition of minimalist painting and sculpture, 10, by painter and paper maker Tino Ward. Working entirely in handmade paper, Ward recreates the works of ten artists including Agnes Martin, Donald Judd, and Robert Smithson. An original publication by Ward, printed by Riso Bar will accompany the exhibition. After 10 will be available to view by appointment only through mid-Jun. Image: Tino Ward, Untitled (After Michael Steiner), 2020, cast paper and aluminum paint. 14 x 41 x 6 in. exovo.tx xovoprojects.com 19 FORT WORKS ARTS Existing somewhere amidst a gallery, a cultural center, and a museum, the Fort Worth art space strives to continually evolve into its own entity, free from the traditional labels of the art world. fortworksart.com 20 FWADA Fort Worth Art Dealers Association (FWADA) organizes, funds, and hosts exhibitions of noteworthy art. fwada.com 21 GALERIE FRANK ELBAZ Since 2016, Galerie Frank Elbaz has served as cultural exchange between Paris and Dallas. The gallery highlights French artists Davide Balula, Bernard Piffaretti, and others. Simultaneously, it offers insight into the American scene, exhibiting artists such as
41 Ja’Tovia Gary, Sheila Hicks, William Leavitt, Ari Marcopoulos, Kaz Oshiro, Mungo Thomson, and Blair Thurman. galeriefrankelbaz.com 22 GALLERI URBANE The Right Rituals by József Csató will be on view through Jun. 14. A group exhibition of gallery artists called Summer Collective will be on view at the gallery through Jul. 25. Currently, the gallery is only open by appointment. Image: József Csató, Unexpected Process, 2020, acrylic and oil on canvas, 51 x 63 in. galleriurbane.com 23 GINGER FOX GALLERY Ginger Fox Gallery features abstract and hyper-real paintings by Ginger Fox and select emerging and mid-career artists. Currently, the gallery collection focuses on works by Fox. gingerfox.myshopify.com 24 HOLLY JOHNSON GALLERY Anna Bogatin Ott: The Nature of Things continues through Jun. Joan Winter: COLOR+LIGHT, the artist’s fourth solo show with the gallery, remains on view through Aug. 8 and will feature new oil paintings on linen, prints, and sculpture that explores the perception of color from a visual reference and investigates how color changes depending on light conditions. hollyjohnsongallery.com 25 KIRK HOPPER FINE ART In response to the pandemic crisis, Kirk Hopper Fine Art is publishing an online jounal, Passage, as a forum for insights, dialogues, and connections. The aim is inclusiveness as well as farreaching impact through truth and transparency, at passagevision. com. kirkhopperfineart.com 26 KITTRELL/RIFFKIND ART GLASS 26th Annual Goblet Invitational, featuring drinking vessels ranging from fantasy to functional from over 45 glass makers nationwide, will be on view Jun. 20–Aug. 2. kittrellriffkind.com 27 LAURA RATHE FINE ART On view beginning Jun. 20 by appointment only, the gallery will showcase works by Carly Allen-Martin and Audra Weaser, through Jul. Allen-Martin is known for her vibrant abstract oiland-pastel paintings with an emphasis on bright hues. Weaser, who lives and works in Los Angeles, earned her MFA in painting from Claremont Graduate University and has exhibited extensively since. laurarathe.com
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DAVID PATCHEN H A N D B L O W N G L A S S AVAILABLE AT
Kittrell/Riffkind Art Glass Gallery
29 28 MARTIN LAWRENCE GALLERIES Founded in 1975, MLG specializes in original paintings, sculpture, and limited-edition graphics by Philippe Bertho, Erté, Marc Chagall, Keith Haring, Liudmila Kondakova, René Lalonde, Felix Mas, Takashi Murakami, Pablo Picasso, Andy Warhol, and many others. The gallery is currently open and adhering with CDC guidelines. martinlawrence.com 29 MARY TOMÁS GALLERY All Together Now is a group show highlighting gallery artists Chong Chu, Sandra Lara, Leslie Lanzotti, Masri, Chalda Maloff, Tom Ortega, Margaret Ratelle, Winter Rusiloski, Shawn Saumell, Alexis Serio, Kenneth Schiano, Ellen Soffer, Mary Tomás, Blair Vaughn-Gruler, Roy Tamboli, Fred Villanueva, Lori Schappe-Youens, and Dawn Waters Baker through Jul. 31. Summer gallery hours are Monday, Wednesday, and Friday from 11:00 a.m. to 3:00 p.m. or by appointment and for online viewing. Image: Mary Tomás, In The Beginning, oil on canvas, 55 x 55 in. marytomásgallery.com 30 PHOTOGRAPHS DO NOT BEND Women We Have Known: A Celebration of Women Artists celebrates the centennial anniversary of the passage of the 19th Amendment, giving women the right to vote. The group exhibition features PDNB artists and debuts work by artists new to the gallery. PDNB is open by appointment only with online viewing options. Image: Sara J. Winston, Untitled, 2012, from Prized Possessions. pdnbgallery.com 31 SMU POLLOCK GALLERY The SMU Pollock Gallery is closed until further notice. To keep up to date on the gallery’s reopening visit smu.edu/ Meadows/AreasOfStudy/Art/PollockGallery 32 THE PUBLIC TRUST The Public Trust exhibits contemporary artwork by midcareer and emerging artists and publishes significant art tomes as well as limited-edition prints and other multiples. trustthepublic.com
4500 Sigma Rd. Dallas, Texas 75244 972.239.7957 n www.kittrellriffkind.com 26
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33 THE READING ROOM The Reading Room is project space which, through occasional readings, performances, and installations, explores the many ways in which text and image interact. thereadingroom-dallas.blogspot.com
JUN HAO
JESUS NAVARRO
S O U T H W E S T G ALLERY Fine Ar t n Sculpture n Custom Framing n Ar t Glass
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KENT WALLIS
PAUL WALDEN
4500 Sigma Rd. Dallas n 972.960.8935
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07 34 RO2 ART My Corona features artist-made masks, both functional and decorative, and art influenced by the effects the pandemic has had on society; scheduled to open Jun. 13 through summer. The Downtown Gallery will continue by appointment with its group exhibition Back to The Future, on view through the end of Jul. Enjoy a virtual walk-through on Ro2’s website. ro2art.com 35 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and research. roughtongalleries.com 36 SAMUEL LYNNE GALLERIES The exhibition for Incubus front man Brandon Boyd, Impossible Knots, features Boyd’s newest artworks combining ink, watercolor, and acrylic works on paper and on canvas, with a mix of portraiture and abstraction. It remains on view through summer. samuellynne.com 37 SITE131 SITE131 is temporarily closed until further notice. SITE131 has also rescheduled FRESH FACES from The Rachofsky Collection to open Sep. 2020 to coordinate with the Dallas Art Fair. site131.com
Night, 2020, oil and acrylic on canvas, 48 x 48 in. valleyhouse.com 42 WAAS GALLERY Established by and for women, WAAS celebrates art and wellness through a diverse curriculum of talks, wellness classes, events, and exhibitions. waasgallery.com. 43 WEBB GALLERY Webb Gallery strives to preserve the human spirit though art and design. Mark your calendars for the gallery’s exhibition of new work by Panacea Theriac and Mark Todd in fall 2020. webbartgallery.com 44 WILLIAM CAMPBELL CONTEMPORARY ART For more than 40 years, William Campbell Contemporary Art has been widely known for its contributions to the constantly evolving world of contemporary art. GEMS features four artists: Michelle Benoit, Jeff Kellar, Arno Kortschot, and Steve Murphy. Each artist uses clean lines, crisp forms, and strong color to explore the relationships among these elements, through Jun. 23. Image: Michelle Benoit, Untitled, 2019, mixed media on hand-cut, reclaimed Lucite and Appleply, 7 x 7.50 in. williamcampbellcontemporaryart.com
38 SMINK Established in 1989 as a showcase of fine design and furniture, SMINK is a purveyor of fine products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com
AUCTIONS
39 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas the largest collection of fine 19th- to 21st-century paintings and sculptures. The gallery is open during the pandemic, and more information on hours and appointments can be found on their website. swgallery.com
02 HERITAGE AUCTIONS HA slated auctions for summer, are the Urban Act Auction on Jun. 3, Tiffany, Lalique & Art Glass Auction on Jun. 4, the Timepieces Signature Auction begins Jun. 9, the Friday Night Jewels Auction begins Jun. 5, the Photographs Monthly Auction takes place Jun. 10, the Fine & Decorative Arts Monthly Online Auction on Jun. 11, the Prints & Multiples Monthly Auction on Jun. 17, the Modern & Contemporary Art Auction will begin Jun. 18, the Animation Art Signature Auction on Jun. 19–21, the Luxury Accessories Online Auction on Jun. 21, the Urban Art Signature Auction on Jun. 25, the Contemporary Asian Art Monthly Auction on Jun. 24, the Asian Art Signature Auction on Jun. 25, the American Art Signature Auction on Jul. 1, Urban Art Monthly Auction on Jul. 1, and the Prints & Multiples Online Auction takes place on Jul. 15. ha.com
40 TALLEY DUNN GALLERY In response to the COVID-19 crisis, the gallery has launched Virtual Experience, an online directory of exhibitions, interviews, and articles. talleydunn.com 41 VALLEY HOUSE GALLERY Valley House will host two exhibitions through Jun. 20: Henry Finkelstein: Recent Paintings and Highlights from the postponed Dallas Art Fair. Next, from Jun. 27–Aug. 15 the gallery will host Lindy Chambers: Obscura and Luke Sides: A Gluttonous Past. Currently, the gallery and garden is open by appointment only. Image: Lindy Chambers, Date 28
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01 DALLAS AUCTION GALLERY DAG is currently accepting consignments for their Winter/Spring 2020 Auction. dallasauctiongallery.com
Due to the uncertainty of COVID-19 safety restrictions, please check the organization’s website for the most current opening hours and exhibition information.
T E R RY D. L O F T I S , TACA C A R L S O N P R E S I D E N T A N D E X E C U T I V E D I R E C T O R . Photo by Terry McCranie.
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TACA H A S P L AY E D A C R I T I C A L R O L E I N A D VA N C I N G T H E A R T S I N N O R T H T E X A S . Y O U R I N V E S T M E N T I N TACA — A N D I N O U R A R T S C O M M U N I T Y — I S A N I N V E S T M E N T I N A ST R O NG E R , S M A RT E R , M O R E V I B R A NT N O RT H T E X A S . O U R PAT R O N S G UA R A N T E E W E C O N T I N U E T O P R O V I D E G R A N T S , OV E R
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S E RV I C E S A N D O T H E R T O O L S T O N U R T U R E A N D I M PA C T O U R L O C A L A R T S O R G A N I Z AT I O N S .
TACA is offering new-and-improved benefits for our Annual Supporters: Arts Ambassadors – welcomes contributions at all levels and offers a variety of benefits for gifts of $25 to over $2,500 Founders Circle – includes individuals and families giving major gifts of $5,000 and above Corporate Partners – features quarterly engagement opportunities for employees; starting at $2,500 Learn more at taca-arts.org/annualgiving
VIRTUALLY DEPENDENT Committed to its exhibitors during the pandemic, Dallas Art Fair clocks in some great sales during its first online presentation. BY TERRI PROVENCAL
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he art market is categorically changing in these extraordinary times. “We are seeing a forced but creative shift to an online marketplace in an industry that has traditionally been anti-digital,” said Kelly Cornell following the Dallas Art Fair Online presentation in April. “Perhaps the most notable change is the dramatically increased visibility to the art market via price transparency.” As galleries and fairs alike transition to online viewing spaces, the information accompanying the artworks often includes the price these days. The top-of-mind question is: do these online platforms work? For the Dallas Art Fair Online, the resounding answer is yes. Here is a highlight reel of sales from Dallas Art Fair Online:
The big ticket sale came from James Barron Art selling Alice Neel’s Mimi, 1955. “We're very pleased to have placed an important Alice Neel painting with a private collector in the US, with an asking price of $700,000. I believe it proves to us and to other dealers that it is possible to make a major sale through a virtual format. As well, we met through email many new collectors who inquired about works. For us a fair is evaluated not only by what is sold, but by the collectors we meet. All in all, we are extremely happy with the fair. Still, nothing will supplant an in-person art fair, and we look forward to meeting new clients and reconnecting with those friends and collectors who attend the fair this October 1–4.” –James Barron and director Hascy Cross
Galleri Urbane sold work by a new artist added to their roster, Budapest-based József Csató’s Afternoon Berry Ritual.
There were creative approaches to the model as well. Dallas-based dealer Erin Cluley built a virtual, to-scale model of her fair booth. This created an immersive experience and the opportunity to grasp the scale of the works, and it resulted in several successful sales. She also created a platform within her own site, aptly titled No Fair. Sales included: Nic Nicosia, bugs, 4-9.2019, 2019, for $28,000, and Anna Membrino, Summit, 2020, for $13,000.
The Hole physically built their booth within their gallery space in New York. “The two-prong approach was intended to give the visual and physical experience of an art fair in tandem with the virtual platform. It is also a commentary on the current state of things” says Raymond Bulman, director at The Hole. The platform worked: The Hole sold work by Jonathan Chapline, Aurel Schmidt, Koichi Sato, Robert Moreland, Joakim Ojanen, Anders Oinonen, and Eric Shaw.
Clockwise from top left: Alice Neel, Mimi, 1955, oil on canvas, 32 x 17 in. Courtesy of James Barron Art; Anna Membrino, Summit, 2020, acrylic and oil on canvas, 65 x 83 in. Courtesy of the artist and Erin Cluley Gallery; Robert Moreland, Untitled Blunted Pink Square, 2020, drop cloth on wooden panel with acrylic paint, tacks, and leather, 21 x 18 x 4 in. Courtesy of the artist and The Hole; József Csató, Afternoon Berry Ritual, 2020, oil, acrylic on canvas, 69 x 59 in. Courtesy of the artist and Galleri Urbane.
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FAIR TRADE Alex Katz, Blue Umbrella, 2020, sold through William Campbell Contemporary Art for $20,000 “We felt that the Dallas Art Fair online was a terrific idea, though nothing quite measures up to being able to experience the artwork in person. Kelly, Brandon, and Sarah came up with the best solution possible under the circumstances, and other fairs are now following suit. The online version of the fair generated considerable interest for us, mostly from regional clients, yet the Alex Katz was sold to a client in Tel Aviv,” said Pam and Bill Campbell.
Galerie Frank Elbaz, Paris and Dallas, sold Sheila Hicks, No Right Turn, 2019, for $65,000. Frank Elbaz says, “With the help of John Runyon, we managed to sell No Right Turn, to a great Dallas collector. We also sold a work from Mungo Thomson’s TIME Mirrors series to an art collection in Monaco for $80,000.”
Luce Gallery from Torino sold Untitled (Kevin in Green), 2020 by Dominic Chambers, among other works. “The Dallas Art Fair online actually did great for us! We were very close to being sold out. As for Dominic Chambers, we sold both works we were showing—a large work on paper, priced $13,500, to a very good collector on the board of a Canadian museum, and the painting priced at $11,000 to a Californian collector we know very well, who has a very important collection.” –Nikola Cernetic Otis Jones, Black Wash with Red Oxide and Black Circle, 2020, sold through Barry Whistler Gallery.
Carl Kostyál, a new gallery to the Dallas Art Fair roster, sold out their entire booth online, including works from Travis Fish, Canyon Castator, Basil Kincaid, Ben Spiers, Hein Koh, Peter Schuyff, Austin Lee, Petra Cortright, and Oli Epp.
Annabel Daou, citizen, 2020, sold from Conduit Gallery. “I sold the Annabel Daou piece to a very important collector in Dallas who has other of Daou's works in the collection. I am honored that the collector bought the piece, and I know that the person was very aware of what the sale meant to the artist and the gallery during this time.” –Nancy Whitenack
Clockwise from top left: Alex Katz, Blue Umbrella, 2nd ed., 3/150, 2020, archival pigment inks on Crane Museo Max 365GSM fine art paper, 30 x 45.5 in. Courtesy of the artist and William Campbell Contemporary Art; Sheila Hicks, No Right Turn, 2019, linen, wood, two panels, 19.62 x 19.62 in. each. Courtesy of the artist and Galerie Frank Elbaz, Paris and Dallas; Annabel Daou, citizen, 2020, ink and repair tape on paper, 90 x 74 in. Courtesy of the artist and Conduit Gallery; Otis Jones, Black Wash with Red Oxide and Black Circle, 2020, acrylic on linen on wood, 59 x 59 x 5 in. Courtesy of the artist and Barry Whistler Gallery; Austin Lee, Sun with Sunglasses, AP2, 2020, Aluminum and car paint 78.74 x 55.51 x 32.56 in. Courtesy of Carl Kostyál; Dominic Chambers, Untitled (Kevin in Green), 2020, oil on canvas, 52 x 50 in. Courtesy of the artist and Luce Gallery.
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Peter Halley, Regression, 2015, fluorescent acrylic and Roll-A-Tex on nine attached canvases, 86 x 72 in. Courtesy of the artist.
#freshcontent Dallas Contemporary’s Executive Director Peter Doroshenko and his team maintain art experiences with #dcfromhome while defining future programming. BY CHRIS BYRNE
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CONTEMPORARIES
Q:
What does a noncollecting museum do during a pandemic? A: Get creative. The Dallas Contemporary has vigorously mounted exhibitions by international artists since the appointment of Peter Doroshenko as its executive director, and 2020 was to be no exception. The crisis, however, forced the museum to pivot from planned spring exhibitions to a vital online art dialogue. As a former trustee of Dallas Contemporary who served on the Board of Directors’ Executive Committee that appointed Doroshenko, Chris Byrne was uniquely poised to interview him on what’s now and next. Chris Byrne (CB): This past winter, we traveled to Aspen to participate in a panel discussion with the artist Lonnie Holley. The event was part of the Aspen Skiing Company’s Art in Unexpected Places. Can you describe this program as well as your ongoing work with Ski Co? Peter Doroshenko (PD): I was invited in late 2019 by Paula Crown — who is a longtime supporter of Dallas Contemporary — to assist the Art in Unexpected Places program in Aspen with programming and publications. This is the fifteenth year for the Art in Unexpected Places program with the Aspen Skiing Company, which is evolving and ever challenging. Paula and the team at the company are wonderful to work with. To open the 2020 program, Atlanta-based artist Lonnie Holley was invited to participate in a full day of activities, including a unique educational event with families. It featured the screening of his new film, I Snuck Off the Slave Ship, a panel discussion about his work, and then a bespoke musical performance. Lonnie is such a renaissance, multi-dimensional artist and has an amazing personality—it was a special time. CB: Are there any proposed projects for next season? PD: We have invited FriendsWithYou, the Los Angeles collaborative art group (which recently had a solo show at Dallas Contemporary) to engage in various events within Aspen, amongst them are the creation of groups of ski badges and a large temporary installation at
One of Dallas Contemporary’s signature graphics.
Contemporary. Peter Doroshenko. Courtesy of Dallas
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CONTEMPORARIES
FriendsWithYou, the dance, installation at Dallas Contemporary.
one of the ski lodges. Their work creates happiness, reflection, and positive vibes—all important emotions for this time. In early 2021, Paola Pivi will install her colorful polar bear sculptures in various lodges and buildings, continuing the uplifting theme. We will also incorporate family educational events and pop-up talks around the city about the art and artists to continue to engage with the public. CB: How does this supplement the other contemporary art programs in Aspen? PD: The idea is to add to the strong mix of art and learning programs in and around Aspen. All of our programs will be site-specific, many performative or participatory, and in non-traditional art locations. CB: Is there a connection to Dallas Contemporary? PD: There is a strong exchange between Dallas and Aspen both with artists and patrons. Starting this year, a few artists that I have worked with in Dallas will be part of the program in Aspen, and we hope that in the near future artists invited to Aspen will later come to Dallas. It’s all about creating a dialogue or two-way street between art and artists in two different cities. Learning and public programs will also be an important part of the mix. CB: In late March, it became necessary for Dallas Contemporary to reschedule several exhibitions as well as the annual gala. Can we look forward to these events resuming in the fall? PD: We are continuously assessing the future and how we will engage the public in the autumn of 2020 and beyond. We have a program of amazing artists slotted for a September opening: Yoshitomo Nara, Liu Xiaodong and Paolo Roversi. All are new or never-seen-before exhibitions–like always, we strive for fresh content and scholarship— all at free admission At this time, we have channeled our efforts into our website. Our initiative #dcfromhome, has so much new and exciting content from artists, educators, writers, curators, and musicians; it’s head spinning in an awesome way. #dcfromhome reflects our mantra of contextualizing contemporary art, design, and culture for North Texas audiences. It has always been a “go big or go home” style. We went live with the initiative just under a week after our temporary 34
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closure, a testament to responsive creativity and true contemporary thinking. CB: During the closure, are you still working from the museum? It’s great that the entire staff is still in place (albeit remotely) making Dallas Contemporary a noted exception among so many visual art institutions. PD: Our commitment to contemporary art in North Texas has kept us busy, and our entire team has played a huge role in allowing us to thrive during these unprecedented times. We are all working remotely and only venture to the museum for necessary tasks. Over the past few weeks and months it has been all about focusing on setting achievable goals to keep the museum moving. We are a small team with a nimble operation, we are receptive to change, embracing the word deconstruction. CB: How will the museum’s fundraising continue throughout the summer? Are you planning to work with board members as well as sponsors? PD: We are continuously working with our board (which has been immensely supportive), stakeholders, and members to not only keep them engaged but re-image the future of the institution. We have also created new, successful retail opportunities with partners and on our website, and are examining new funding paradigms. When you have many minds and great ideas involved, anything is possible. CB: I’m looking forward to museum’s upcoming exhibition with Peter Halley and understand that he is planning to show his Cell-Grid Paintings. Why did you and Peter decide to focus on this particular aspect of his work? PD: I have been visiting Peter Halley’s studio for three years now with various dialogues about his current and past works. He has had many exhibitions and survey projects in Europe. Recent exhibitions in New York City were monumental architectural interventions. A focused exhibition with the Cell-Grid Paintings has never been organized and seems to fit the museum’s history and current tempo. It will continue our path of excellence and not being afraid of risk. CB: Are you still considering a drive-in art project with Peter Halley or Julian Schnabel, using the block-long parking lot next to Dallas Contemporary? PD: I like the idea and we have been dreaming about it for years. Stay tuned! P
Top and below stills: Lonnie Holley, I Snuck Off the Slave Ship, 2019. Courtesy of the artist and Matt Arnett.
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Actor, playwright, and professor Blake Hackler. Photograph by Jordan Fraker.
How to be Fabulous A Fulbright Scholar, Blake Hackler, an actor, playwright, and associate professor of theatre at SMU Meadows School of the Arts, joins Dallas Theater Center’s Brierley Resident Acting Company. BY TERRI PROVENCAL
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lake Hackler is reading three books: My Dark Vanessa by Kate Elizabeth Russell; How to Be an Artist by Jerry Saltz; and The Delicacy and Strength of Lace: Letters Between Leslie Marmon Silko & James Wright. “I have my morning, afternoon, and night readings—three books for three different times of day,” says the associate professor of theatre at SMU Meadows School of the Arts. This natural elasticity is what defines the actor, director, playwright, and instructor who was recently awarded a second Fulbright Scholar grant. This grant will allow him to teach Shakespeare and conduct research for four months in Romania; his first grant took him to Bulgaria. And in a time when a glimmer of hope is what we need more than ever, Dallas Theater Center shared a second piece of good news: Hackler has been appointed to the Diane and Hal Brierley Resident Acting Company. “This has been the most unified and joyful response to bringing in a new member since we formed the company a decade ago,” says Kevin Moriarty, the Enloe/Rose Artistic Director of the Dallas Theater Center, with regards to selecting Hackler (along with his student Molly Searcy, a graduate of SMU’s 2020 MFA acting program) to join the company. “Anyone
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who has ever seen Blake on a stage or had a conversation with him is blown away by his depth of knowledge. He is a masterful teacher. He is an incredibly skilled director. He is an equally accomplished playwright.” DTC has collaborated with SMU for many years now. “One of the many things that has been a strength and joy of our partnership with SMU—and has become deeply important to us—is Blake’s classroom,” says Moriarty. “The students that Blake is teaching in the classroom will also have the opportunity to watch him in the rehearsal room, and the opportunity to watch him build a performance. Former students will have opportunities to act opposite him. This is the way that theatre has been passed on for thousands of years. Artisans passing down skills, tradition… There is something great about how those experiences collide in a room.” Moriarty describes Dallas Theater Center’s partnership with SMU as “a source of artistic strength and inspiration for both of our institutions and for Dallas audiences.” Samuel S. Holland, dean of the Meadows School of the Arts echoes this: “We are grateful for the opportunities Dallas Theater Center has provided over several decades to our students, alumni, and faculty, and for the chance
PERFORMANCE
to give back to the Dallas arts community through this special relationship.” Having cast Hackler several times in DTC productions, Moriarty recounts working with the actor in Shakespeare’s Twelfth Night rehearsals with his signature zeal. “From the first moment of the very first reading he was able to make strong, clear choices with seeming spontaneity and abandon. He was able to take ancient words and experience them fully in the moment. The other actors would gather in the room and watch the rehearsal of the scene— normally they move aside and work on memorizing their own lines or dialect.… It was noticeable.” As an actor, along with his work with the Tony Award–winning Dallas Theater Center, Hackler has appeared in productions on Broadway, off-Broadway, and in regional theatres throughout the country, working with acclaimed directors like Michael Mayer, Scott Ellis, Alex Timbers, and Mike Alfreds. In New York, he worked with such theatres as Playwrights Horizons, York Theatre, The Ohio, and Roundabout. He is also a company member at the nationally recognized Undermain Theatre. Additionally, Hackler is a member of the esteemed BMI Lehman Engel Musical Theatre Writing Program and an award-winning playwright whose works have been seen across the US. His recent
play What We Were, which tells the story of three grown sisters impacted by a childhood of abuse, was a winner of the Ashland New Plays Festival, a finalist for the O’Neill National Playwrights Conference in 2018, and received its world premiere in 2019. He returns to the state of Texas as a setting for his characters often. “There are fewer stories about people in the flyover states,” he says. Hackler has been teaching at Southern Methodist University for nine years, joining the Meadows School faculty in fall 2011, where he serves as head of acting. He also holds a teaching appointment at Yale University, where he earned an MFA in acting. A venerated Shakespearean, Hackler’s grant will allow him to work with the University of Craiova and the National Theatre Marin Sorescu in the city of Craiova. “The Sorescu is also the producing institution for the acclaimed International Shakespeare Festival, which provides unparalleled access to work by many of the world’s most acclaimed interpreters of Shakespeare,” Hackler says. The residency will tentatively begin in the spring of 2021, depending on the continued impact of COVID-19. Hackler’s project, “Embodying Shakespeare: A 21st Century Approach to Classical Acting,” will include teaching Shakespeare at the university and observing and working with actors at the National Theatre who, Hackler says, are immersed in Russian
Blake Hackler in Dallas Theater Center's production of Twelfth Night, featured with Liz Mikel. Photograph by Karen Almond.
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PERFORMANCE
Blake Hackler plays a poor, blind scholar in DTC’s Frankenstein, played by Kim Fischer. Photograph by Karen Almond.
physical theatre methodologies and exposed to a multitude of international Shakespearean performances. As an instructor this will give him “an indispensable laboratory to explore alternate theories about classical actor training outside of the American model.” He notes, “The methods [of teaching Shakespeare] are shifting in the major schools, but in many schools they are still sticking to these ideas that were taught in the 1950s. Students are completely changed since then, and students are coming to class with much more global information. We need to bridge that text work to embodiment.” He also hopes to conduct master classes in Bucharest and other Romanian cities. Hackler’s prowess with Shakespeare has taken him far. “The language can feel very far away and disembodied, and actors think they need a different voice. In my classes they learn about all the rhetorical structures that Shakespeare used.” Hackler has many interests and is sensationally talented. He was originally accepted to SMU as a voice student, though he went to DePaul University, and ultimately received his BFA in acting from Roosevelt University. He then promptly packed his bags and moved to New York to begin acting before grad school at Yale. He plays the violin (and collects them), writes plays and poetry, and still sings, of course. “One of the gifts of being an artist is that there are real opportunities for people to do more than one thing.” Hackler says. “Yale emphasized the idea of being active creators and being able to do more than one thing.” With the current pandemic all of Hackler’s classes have been
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moved online for the time being, which has proved to be difficult for his students. “Acting is an incredibly physical practice. Acting really happens in the space between two people.” Dallas Theater Center has not furloughed a single employee since the crisis began. Moriarty attributes much of this to an outstanding board that quickly initiated the Dallas Theater Center Bounce Back Fund and “an incredibly generous community,” Moriarty says, continuing, “Invest in your people and your people will pay off in meaningful ways.” Though not working on staged productions during this time, DTC has been busy. “The production team has been using the time to get technical certification for very specific things. Many staff members are taking Spanish classes, and the costume shop is busy sewing and distributing masks.” Of the future of theatre Moriarty says, “We have work to be done that we care about and believe in.” He looks forward to observing Hackler’s interpretation of Scrooge develop for DTC’s longstanding December production of the Christmas classic. “Scrooge will be a great role for Blake. His love of theatricality. The truth of that role, which has pain at its center—it is sentimental and bitingly funny—he’ll do fantastic with it.” Meanwhile, Hackler is proceeding with creation and caution personally, and in his classes he’s preparing his students for the market they are moving into. “Theatre will survive,” he says. “What are we all doing at home? We’re watching content. And who is making that content? Actors!” P
ART INFLUENCERS As the entire art community is thrust into finding new channels for creativity, we celebrate several passionate leaders committed to the future. BY LEE CULLUM AND NANCY COHEN ISRAEL
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n or about December 1910, human character changed.” So wrote Virginia Woolf. Similarly, on or about March 11, 2020, the world changed. Echoing the Black Death, which killed one third of Europeans in the mid-1300s, Covid-19, a coronavirus originating in China, stormed the US by way of Europe, shutting down the most extraverted nation on earth—equal only to Italy in its love of life out in the open, shunning solitude, as close to the madding crowd as humanly possible. The first plague was caused by rats, some say, and the second by bats. The first, in the 14th century, profoundly affected art and literature, turning them to a dark embrace of the “dance of death.” The second, here in our own time, surely will have a heavy impact as well. Not yet revealed, it no doubt will be mediated by “influencers”—too trivial a term perhaps, for the arbiters of art on whom we must rely to mend the sudden discontinuity of culture in Dallas. Here are some of them. There are many more.
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RICK BRETTELL
Rick Brettell is everywhere. A creator of community and communal institutions, his latest innovation is to renovate the Art Deco building that housed the original Dallas Museum of Fine Arts and make of it a new Museum of Texas Art, called MoTA. With typical dispatch he has formed a board, engaged an excellent consulting architect—Gary Cunningham— submitted a proposal to Fair Park First and Spectra, from which he hopes to lease the property, and even launched a seminar of graduate students at the University of Texas at Dallas to help inform and shape the project. Ranging from Hispanic to African-American to Chinese to Iranian, the students are the “New Dallas,” he says; the city can no longer think of itself as an ethnic triad. If the New Dallas is multifaceted, the new museum will aim to surprise as much as enchant. “Some thought it would be all bluebonnets,” Rick observed. But that is belied by 250 years of Texas art that is stunning in its scope and sophistication. Nonetheless, he promises, “We’ll do a bluebonnet show that will blow your mind. Every blue is different. It will be like a room of Monets. It’s about color and atmosphere.” Rick Brettell is about creative energy, at the Dallas Museum of Art which he once ran, at the Edith O’Donnell Institute of Art History at UT Dallas, which he founded, and at the Dallas Morning News where he is a contributing arts writer, having been the art critic there. And that’s only a fraction of his oeuvre. An influencer? More than that, Rick Brettell is an indispensable advocate for civilized living in this and many parts of the world. A recent portrait by the Italian artist Luca del Baldo was photographed by Rick Brettell’s friend and colleague Mark Lamster. “I call it Rick Brettell, the comic muse of art history,” Brettell enthused.
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Craig Hall not only adorns his buildings with art—he buys “at least one piece every week.” That’s because his curators, Patricia Meadows in Dallas and Virginia Shore in Washington DC, keep sending him work that he and his wife, Kathryn, cannot resist. Sometimes they have a place in mind at HALL Arts Center, with soon-to-be-opened residences, a hotel, and an office tower to choose among. Or maybe they can find a spot at HALL Park in Frisco. One work was so oversized they had to build a special wall for it at their winery in St. Helena, California. A sculpture in yellow metal by John Henry had no home, so Craig put it in a parking lot behind the Dallas Arts District, which then was still a hole in the ground. The point is that Craig Hall is a true believer in art for the Dallas Arts District. He is not solely a real estate player. He plays for keeps, helping update the long out-of-date Sasaki Plan for an area that he hopes will expand its boundaries and take in new territory, making sure that everything, including the hotel restaurant Ellie’s, is designed to create community. An added bonus for him would be if people relaxing along Flora Street would take time to read his latest book, Boom: Bridging the Opportunity Gap to Reignite Startups. The artful life, for him, must always be linked to real people doing real things.
CRAIG HALL
Craig Hall has enriched the Dallas Arts District with commercial and residential towers and its first boutique hotel. Photograph courtesy of HALL Group.
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ROBERTO ZAMBRANO
Getting Roberto Zambrano was a big coup for the Dallas Symphony Orchestra in its continuing campaign to open lives to new avenues of inspiration. A veteran of El Sistema in Venezuela and the US, he has signed on to start Young Musicians, an after-school program for students in southern Dallas, ages seven to ten. Working always as a group, they study music theory and learn to play instruments provided for free by the DSO. On Saturdays, the children from all five schools practice together as an orchestra. The point, insists Roberto, “is social change.” He and his cadre of teaching artists— one of them, Ashley Alarcon from Mexico City, helps translate our conversation—have an important effect, he notes, on parents, neighbors, the schools themselves. He has seen it happen in Venezuela, where El Sistema is one of the few stabilizing elements left in a land of chaos. He also knows what it can do in Boston, where he worked as an adviser. The key is the teacher, says Ashley. “The barrier,” she observes, “is in the teacher, not the child. Limitations are put on educators,” so, for example, they don’t press students to practice their scales playing two octaves instead of one. That will not happen with Roberto Zambrano’s Young Musicians. Roberto Zambrano is the artistic director of the DSO's Young Musicians. Photograph courtesy of Dallas Symphony Orchestra.
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My last lunch before the deluge was at the Nasher, with Clyde Valentín. Who wouldn’t love a guy with a name like that? He arrived early and had already eaten half his sandwich by the time I got there, the better to devote himself entirely to our conversation. And definitely he had a lot to say—mainly about Ignite Arts Dallas, the program at the Meadows he decamped from New York to launch. First, like Roberto Zambrano, Clyde had to create this catalyst, designed to “occupy an important middle” for artists, institutions, funders, interested bystanders— anybody who might be drawn into making things that never were to happen for the first time. That means extravaganzas like Public Works, which draws 200 people or so to the Wyly to mount a Shakespearean production such as Twelfth Night, scheduled, let us hope, for this summer. It also put Ignite Arts Dallas into the funding business for Playwrights in the Newsroom, written by two Meadows alums, Brigham Mosley and Janielle Kastner, and staged in the Wyly’s Studio Theater until an early end imposed by corona. Once the publisher of Stress Magazine, for the hip hop contingent, Clyde considers himself “a creative entrepreneur, a curator, an executive…an urbanist on the edge of culture.” That makes him perfect for the present danger: that the arts will vanish from our lives, except for the web and remembered glories. All these influential zealots—nothing less is equal to the hour—will fight that possibility and, surely, for the sake of all of us, prevail.
CLYDE VALENTÍN
Clyde Valentín, director of the Meadows School of the Arts’ urbanism initiative, Ignite Arts Dallas. Photograph by Kim Leeson.
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TAMARA JOHNSON / TREY BURNS
Nestled in a wooded acre between Trinity Groves and North Oak Cliff, Sweet Pass Sculpture Park is the brainchild of artists Tamara Johnson and Trey Burns. The New York transplants co-founded this nonprofit in 2018 as an outdoor artist-run space that hosts a robust rotating exhibition calendar. In Sweet Pass’ short existence, Johnson and Burns have worked with over 100 local, national, and international emerging and mid-career artists to present thought-provoking interactive art in a free, public environment. As part of their determination to engage with the community, they have worked cooperatively with a diverse range of stakeholders, from the Dallas Boys & Girls Club and the West Dallas Chamber of Commerce to the Nasher Sculpture Center, the Dallas Museum of Art, 500X Gallery, and NorthPark Center. Johnson and Burns are also associate curators for this fall’s AURORA 2020. In the past year, Sweet Pass received a micro-grant from the Nasher. This funding, along with a grant from the National Endowment for the Arts, awarded in conjunction with the New York-based Wassaic Projects, will help ensure that Sweet Pass continues to thrive. During the recent quarantine, Burns devoted considerable time to tending his garden. Agricultural metaphors also guide his thinking about his practice. “I have been working with a group of artists on a video exchange project—we’re passing around footage and editing/augmenting it; creating meaning collectively. It came about very organically as a way to make something together, and it has been a real joy to watch it grow,” he says. Johnson also remains optimistic, saying, “We are excited to create a sustainable model for this outdoor art space in West Dallas to support how we experience art and culture [in a way] that continues to be available and inclusive to anyone who wants to visit.” Tamara Johnson and Trey Burns at Sweet Pass Sculpture Park. Photograph by Trey Burns.
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SARA CARDONA / DAVID LOZANO
Latinos account for 42 percent of the local population, and Sara Cardona and David Lozano, of Teatro Dallas and Cara Mía Theatre, respectively, tell the stories of this diverse community. Sara’s parents, Cora Cardona and Jeff Hurst, founded Teatro Dallas in 1985, presenting groundbreaking plays featuring ethnically diverse casts at a time when that was a novelty. As executive director, Sara is an able guardian. In February, she received a grant from Ignite/Arts and CultureBank given to artists who are changing the cultural landscape. Cardona sees the seismic societal shifts as a result of the coronavirus pandemic as an opportunity for new beginnings. She says, “I think this virus has revealed the fractures in our social armature, but it is also an opportunity to repair them. I am hopeful that we can embrace a revolutionary spirit and overturn the systems that fail us as a human collective.” As executive artistic director of Cara Mía, founded in 1996, Lozano continues the mission of presenting transformative Latinx theatre while also providing youth arts experiences, including bringing bilingual plays to roughly 17,000 children per year. The theatre’s recent growth has been exponential. “When the pandemic hit,” Lozano shares, “I was exhausted. Little by little, I began adding yoga, meditation, and more reading to my schedule. I still dream a lot about making theatre again but I’m exploring how it can evolve in the next 12 to 18 months.” When the city’s Office of Arts and Culture updated its Cultural Plan in 2018, it called for equity and diversity in the cultural community. As part of this initiative, these two organizations were invited to become resident companies at the Latino Cultural Center. In addition to the main performance hall, a new, black box theater is currently under construction and slated to open in 2021. The move into their new home allows Cardona and Lozano to continue to push boundaries as they make Dallas a national destination for Latino theater. They also see the possibility that lies before them. “This is a time for us to cultivate unifying visions for our communities to move forward. I believe that we have to tap into our innate human strength and access our unbreakable spirits to sustain our visions,” Lozano states. As audiences currently have to remain physically distanced, Cardona sees theatre as a vehicle for reconnection. “We need those communal rituals that bring us physically together and allow us to be in a sacred, creative, narrative space from time to time,” Cardona concludes.
Above: A selfie of Sara Cardona, the executive director of Teatro Dallas and the daughter of the Latino theater’s founders. Courtesy of Sara Cardona. Right: David Lozano is the executive artistic director of Cara Mía. Photograph by Fabián Aguirre.
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JIN-YA HUANG When Jin-Ya Huang and her family arrived in the United States from Taiwan, they quickly grasped the cultural disruption of leaving one’s homeland. Huang’s mother, Margaret, eventually became a successful chef, restauranteur, and community activist, offering work and mentorship to other new arrivals. Huang founded Break Bread, Break Borders as a way to honor her mother’s legacy after she passed away. In this innovative social practice, Huang hires refugee women, predominantly from Syria and Iraq, to cook their traditional foods for catered events, where they also tell their stories. This simple idea of sharing food as a vehicle to share culture is successful on multiple levels. Attendees to these dinners benefit from a delicious meal while also being able to put faces to the refugee crisis. For the women in the program, it provides a livelihood in the form of a paycheck and, for those who complete the training program, a food manager certification. Many of these women have ultimately established their own catering companies, echoing Margaret’s example. In February, Huang received a grant from Ignite/Arts Dallas, in partnership with San Francisco–based CultureBank and Dallas’ own TACA, to continue the important work of her women-led, refugee-run organization, whose apt tagline is “Catering for a Cause.” Huang sees the current situation as a time to forge new paths. She says, “There’s a saying, ‘Don’t waste a crisis.’ For Break Bread, Break Borders, these trying times are exactly the kind of moments we look at to see how we can pivot and build on our resilience. These women’s stories must be told—and we will find new ways to share the storytelling to help build a more compassionate future.”
Jin-Ya Huang founded Break Bread, Break Borders to bring awareness to women refugees. Photograph courtesy of Jin-Ya Huang.
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VICKI MEEK
Artist, educator, curator, activist, and arts administrator—for over 40 years, Vicki Meek has made an outsized contribution to the dialogue of the African American diaspora through these varied roles. Through text-driven installations, her work tackles racism, explores Black history, and champions the women of the Civil Rights movement. As a contributor to a long list of commissioned major public art projects, she has made a lasting imprint on the city. Among these are the Dallas Convention Center Public Art Project, Nasher XChange, and Dallas Area Rapid Transit, for which she was awarded multiple commissions. To help realize several of these projects, Meek often works collaboratively, reaching back into the community to incorporate their stories into her work. When conceiving DART’s Hatcher Street Station, for example, Meek worked with young area art students to create a visual history of their neighborhood. Of the coronavirus pandemic, she says, “I think the most inspiring thing for me is to see how artists in myriad disciplines are finding new ways to make work and to get that work out to the public. It pushes me to also look for avenues of expression that may be different from my usual ones, and also to seek new audiences for the work.” To that end, she has recently turned to video as a medium to explore some of her recurring themes. Earlier this year, Meek’s work was honored with a retrospective at the Houston Museum of African American Culture. In addition to her own practice, Meek serves as a Commissioner of the Arts and Culture Advisory Commission for the City of Dallas. She currently divides her time between Dallas and Costa Rica, where she is on the administrative board of USEKRA: Center for Creative Investigation.
Vicki Meek is a nationally recognized artist and the former director of the South Dallas Cultural Center. Photograph courtesy of Nasher Sculpture Center.
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PHANTOM THREAD Art and design elements woven together bring balance to John Eagle’s executive offices designed by Staffelbach. BY PEGGY LEVINSON PHOTOGRAPHY BY NICK MERRICK
From reception into the foyer: Korakrit Arunanondchai (Thai, b. 1986), Untitled (History Painting), 2017, denim, inkjet print on canvas; far wall: Richard Misrach (American, b. 1949), Untitled, 2009, pigment print.
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The gallery features Michael Heizer (American, b. 1944), Untitled (after “Levitated Mass”, 1982), 1985, Polyvinyl on canvas; Not Vital (Swiss, b. 1948), Moon, 2011, stainless steel; Rebecca Warren (American, b. 1965), Function V, 2009, steel and pom-pom; Pat Steir (American, b. 1940), Waterfall of Ancient Ghosts, 1990, oil on canvas.
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peaking with Andre Staffelbach about design is a delightful education. From his impeccable design process to historical data to memorable quotes from philosophy and literature, you learn how design is closely integrated with the arts. “I grew up in Graubünden, Switzerland, at the base of the Alps. It is a mountainous place, which gives one the understanding of nature’s harmony and order, and that influenced my work,” says the founder of Staffelbach. “I learned from a professor at the Kunstgewerbeschule in Zürich, who had spent a respectable time at the Bauhaus.” When automobile magnate John Eagle wanted to expand and renovate his executive offices in Uptown, he had only to look across the street and a block over to DLR Group | Staffelbach. Eagle and Staffelbach knew each other from design and arts events but had not yet worked together. “I enjoy working with individuals who have a refined knowledge of art, music, architecture, and design, and John Eagle is among them. I have also been taught, during my schooling, that the finest projects are achieved by using the least number of products, a philosophy
John also endorses,” explains Staffelbach. “I love to build,” confirms Eagle. “I guess I’m a frustrated architect.” Staffelbach works closely with his wife, Jo Heinz. As proof of their global reputation, the firm was recently acquired by DLR Group, an integrated design firm and advocate for sustainable design that provides architecture, engineering, planning, and interior design from offices around the globe. A Dallas treasure, together the couple elevates the city’s reputation as an important design hub of influence. “Jo’s project management expertise and her attention to detail allowed the project to flow seamlessly,” Staffelbach says of his wife, who now serves as workplace leader and principal at DLR Group | Staffelbach. Together with in-house and exterior team members, all requirements were diligently researched for the new environment. Heinz and Staffelbach found in John Eagle a synchronic meeting of the minds, with his shared passion for design and zealous attention to detail. “It was a delight working with John; his understanding of art and respect for the design process made for a mutual exchange of information. On all details he was interested in the why and why not of every decision,” says Heinz. “Our offices being so physically
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Above: Gallery with John Eagle’s office: Park Seo-Bo (Korean, b. 1931), Ecruitre No. 141122, 2014, mixed media with Korean Hanji paper on canvas; in the adjacent office: Harmony Hammond (American, b. 1944), White Rims #7 and #4, 2015, monotypes on Twinrocker paper with metal grommets. Back office: Matt Connors (American, b. 1973), You're Gonna Take a Walk in the Rain and You're Gonna Get Wet, 2011, oil, acrylic and pencil on canvas with artist frame. Left: Another view of John Eagle’s office features John Mason (American b. 1927), Soft Grey Figure, 1998, ceramic; Chung Chang-Sup (Korean b. 1927), Meditation No. 20708, 2000, Best fiber on canvas; Kwon Young-Woo (Korean b. 1926), Untitled, 1984, gouache and Chinese ink on Korean paper; Ha ChongHyun (Korean b. 1935), Conjunction 92 -64, 1992, oil on hemp cloth.
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close was a great gift,” she adds, “because often he would ask us to drop by on the way to work to go over a question or decision.” And, Staffelbach says, “I appreciated the continuous respectful and quiet pushes by John, which made the whole project ours—not mine or his, but ours.” The Eagle offices are in a 1930s building, once a small hospital, that was artistically renovated in the late 1990s by developer Boots Reeder with glass-brick walls, exposed brick, and a cage elevator. “There are new projects, and there are projects of a certain age that need to be addressed for the rebirth of the space,” says Staffelbach. “In this case, with the objective to create multiple simple spaces for individual requirements, to hold artwork, and for the eye to feel as comfortable as the body. This required the removing and paring away of all prior interior construction until what was left could not be further reduced.” The building proved to have great bones he continues. “The discovery brought to light wood-formed concrete in places and brick walls in others, which contrasts with the beautifully formed concrete columns, deck, and beams, whose individual time frame could not be established.” “The building is also residential, so I wanted a residential feel to the space,” says Eagle. As you enter the Eagle offices, the foyer provides a focal point for art and furniture with a small tasteful logo and a large color photograph by Richard Misrach. “The foyer is a common area, but we supplied the art and furnishings and we made the logo intentionally small, to be cognizant of the needs of the residents around us,” Eagle explains. A massive carved walnut door leads to the reception area. The light-filled space seems minimal to the eye until the details are recognized. “Successful details are those you cannot see,” says Staffelbach, referencing the museum-quality art installation tracks with sprinkler systems and conduits installed intentionally to hug the exposed beams in order to inform the precise nature of the installation. “The lighting, art, and simple, elegant interiors make people feel appreciated,” Eagle adds. “The space is designed for art— from the museum lighting system to the color of the LED bulbs.” The concrete columns and beams, sandblasted to their original patina, and revealed-brick walls lend a feeling of authenticity to the space. “The use of concrete makes memory speak to you from its use through the ages,” Staffelbach says, referencing Vladimir Nabokov: Memory is now, a kind of happening at this very moment. Nothing detracts from the design, with smooth-surface walls seamlessly aligning with concrete columns and beams, dropped ceilings, and frameless glass doors. The reception area introduces the architectural ethos with dark-stained oak floors, glass, white gallery walls, and specialized lighting. Classic Walter Knoll furniture adds to the timelessness of the space, where modern slick finishes are married with original building materials of concrete and brick. A painting representing hot flames surrounded by collaged burnt denim by Thai artist Korakrit Arunanondchai is on the front wall. The space is a stage for art, as the reception area becomes a gallery. “I have collaborated with the Staffelbach team before,” says John Runyon, Eagle’s art advisor of over thirteen years. “The Staffelbach team transformed John Eagle’s office into an art advisor’s dream space: perfect white walls, fabulous lighting, and a matrix of connected spaces that present multiple curatorial surprises. As veteran collectors, the Eagles have an art collection that provides a multimedia and multigenerational
Wood plank concrete wall.
Front office.
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Below: Garth Weiser (American, b. 1979), Looks like someone left something on at the restaurant below our aptmt - our aptmt looking like its ok- woken up @ 5 by fire alarms and smoke but interesting moment of grabbing whats important just in case- which is (drumroll) wedding rings, bicycle, Amy's ghi, laptop, 2013, oil on canvas.
Above: The connecting hallway features on the plinth Mark Manders (Dutch b. 1968), Unfired Clay Head, 2012, wood and painted epoxy, and Marco Maggi (Uruguayan, b. 1957) Windows (South), 2018, cuts and folds on 600 archival papers in 35 mm slide mounts mounted on dibond.
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Lighting detail in reception area.
presentation in this unique workspace.” The central gallery with major art installations is a rectangle with a symmetrical ceiling grid of polished concrete beams adding to the geometric precision of the space, and a hand-loomed rug holding the area together. The main gallery is anchored by Michael Heizer’s Levitated Mass painting from 1985, inspired by his monumental 1982 site-specific sculpture of the same name for the New York IBM building. The five-foot, stainless-steel moon is by legendary Swiss artist Not Vital, the same generation as Heizer. “In John Eagle’s personal office, with floor-to-ceiling glass, the Staffelbach design provided a front row seat, as the theme of density, volume, mass, and space is beautifully represented in this main gallery,” says Runyon. “Center stage, the theme is playfully represented in the sculpture by Rebecca Warren. Attached to a steel ramp is a delicate white pompom, seemingly about to take flight. The backdrop to this drama is a cascading waterfall represented in a painting by Pat Steir.” The end of the gallery has an oil, acrylic, and pencil on canvas work titled You’re Gonna Take a Walk in the Rain and You’re Gonna Get Wet, by Chicago artist Matt Connors, who shows the influence of poetry and writing in his whimsical titles of paintings. Outside one of the conference rooms is a painting by Garth Weiser, Looks like someone left something on at the Restaurant. Weiser is a New York artist who mixes stark geometric patterns with textured paint surfaces. Also in the hallway is an acrylic on canvas by Sarah Crowner, another accomplished young abstract painter in the collection. More surprises in conference rooms and executive offices are works by Marco Maggi, Mark Manders, and Harmony Hammond. Of the art collection Eagle says: “My wife, Jennifer, and I are interested in how artists manipulate materials—paint formed into lines or having the texture of carpet. I love abstract art because it is thought-provoking—what is the artist trying to say?” John Eagle’s own office is a thoughtful space of calm, quiet elegance, and minimal distraction, devoid of clutter. Even the art is contemplative, featuring the work of contemporary Korean artists. Eagle’s cantilevered desk from Roche-Bobois looks over a ceramic sculpture by John Mason. “I don’t like the idea of a closed desk,” says Eagle, “because it creates a barrier to conversation. My cantilevered desk seems to be floating in the space.” Hanging here is a work by Korean artist Park Seo-Bo, who is one of the founding members of the Dansaekhwa monochrome painting movement, which emphasizes tactility and surface. Dansaekhwa, a synthesis of traditional Korean spirit and Western abstraction, emerged in the early 1970s in postwar Korea. Behind the desk are three paintings by Korean artists Ha Chong-Hyun, Kwon Young-Woo, and Chung Chang Sup, reflecting the Dansaekhwa philosophy of balance and nature. “If there is a thread that runs through the project, it is an unwillingness to dilute any part of our vision of how things ought to be. It is unquestionably about minimalism; it is about a place for art, a place to work, and a place for the eye and body to find serenity,” says Staffelbach. John Eagle wanted an office where he could savor the time he would be in it. Staffelbach created just that: “Some design is created by adding; my basic instinct is to carve away rather than build up, until the form engulfs you with its simplicity, leaving space for art and for an environment of peace and tranquility.” P
Point of arrival.
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Behind the front desk: Otis Jones, Untitled (Blue Rectangle with Two Rectangles), 2018, acrylic on canvas on wood, 30 x 80 x 4 in.
With a little help from my friends JAY SHINN, AN ARTIST AND SECOND-GENERATION HOTELIER, LOVINGLY RESTORED A HISTORIC HOTEL WITH INTERIOR DESIGNER DAVID CADWALLADER, REPLETE WITH WORKS BY MANY LAUDED TEXAS ARTIST FRIENDS. BY PEGGY LEVINSON
Donald Judd, Untitled (#207 – 210), 1991–1994, four woodcuts printed in chrome oxide green on Japanese laid mitsumata paper, 26.75 x 38.5 in. each. Photograph by Julie Soefer.
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hen the oldest hotel in Houston, needed a face-lift, it took two prominent Dallas denizens, artist Jay Shinn and designer David Cadwallader, to make it into the premier hot spot in Houston, adding it to the canon of the world’s art hotels. The Lancaster was built in the Regency style in 1926 by the DeGeorge family and remained in the ownership of the family until Shinn’s recent purchase. Its storied history includes visits by prominent actors Clark Gable and Gene Autry, businessmen, circus performers, and even a horse, Speedy Boy, who won a race in Galveston in 1927. Jay Shinn, a notable Dallas artist represented by Barry Whistler Gallery and CEO of his family’s Magnolia Lodging, heard the hotel was on the market and felt it would be a good fit for his company. “As an artist, collector, and second-generation hotelier, I am thrilled to be able to combine my passion for art and hospitality into this remarkable venue,” he says. Shinn purchased the hotel in 2017, one month before Hurricane Harvey decimated most of the city of Houston, and enlisted his friend David Cadwallader to oversee the interior design. What began as modest updating of a beautiful and elegant old hotel turned into a full-scale reconstruction, and a welcome addition to Houston’s
famed theatre district, alongside Jones Hall and the Alley Theatre. Because the scale of the project had changed from a gradual update to a fast-track renovation, Cadwallader and team worked on design while demolition and new construction was underway. “I worked with a great team—skilled craftsmen from Magnolia Lodging were able to build and make furniture at the same time. Dallas designer Dan Nelson helped with the guest rooms and provided color and added flair, and Steven Byrd designed lighting that was adequate for a hotel and subtle enough to create a residential atmosphere,” says Cadwallader. Shinn curates the art in the hotel, many pieces culled from the work of friends; all artwork is from the private collection he assembled with his partner, Tim Hurst. Over 200 pieces of art adorn the hotel’s lobby, Tea Lounge, Cultivated F+B restaurant (where one of Shinn’s own works hangs), and Speedy Boy coffee bar. The 93 guest rooms each feature one central artist, from emerging artist to mid-career, all Texas based or with significant Texas ties. “Every time a guest checks in they have a different experience with different art. We have works by over 50 artists in the rooms and suites and represent no more than three or four individual works by each artist,” says Shinn. “The opportunity to curate the art collection at the Lancaster
The salon-style wall adjacent to the staircase features work by (from left to right, top to bottom row): Rackstraw Downes, Matt Kleberg, Joe Mancuso, Bale Creek Allen, Andrea Rosenberg, Julie Speed, Stephen Mueller, Dan Rizzie. Keith Carter, David Aylesworth, Helen Altman, and Carlo Palazzolo, and Ed Blackburn on the landing. On the right: Terrell James, Revelers, 2017, oil on canvas, 66 x 66 in.
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Image caption.
In the lobby area: James Surls, Stairway to Heaven-Maquette, 2002, painted steel, 20.75 x 17.75 x 20 in.; behind: Mark Flood, Outcrop, 2004, acrylic on canvas, 90 x 60 in. On right and below: Donald Moffett, Lot 021417 (the hard spore, aubergine), 2017, pigmented epoxy resin on wood panel support with steel tubing. 24 x 24 x 4.5 in.
has been a rewarding experience. Learning about each of these artists, who have lived in Texas at some point in their career or who currently make Texas and our vibrant art community their home, has been most enlightening and personal,” he enthuses. “Many of the artists in the collection are at the pinnacles of their career, producing their best work. Many are strong and promising younger artists giving proof to the vibrant and relevant art currently being made in this state.” The clean lines and architectural ethos of Cadwallader’s interior are the perfect backdrop to the collection, making guests feel like they are entering the elegance and comfort of a fine home. The original Regency style is modernized with enlarged picture windows in front and contemporary ironwork and fixtures. “Shinn wanted loyal hotel clients to have the familiarity of the old hotel, but with a new, fresh, and playful approach,” says Cadwallader. In the entry, a custom reception desk is flanked by columns with
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Tommy Fitzpatrick, Campanile, 2017, acrylic on canvas, 30 x 20 in. installed in the dining room. Photograph by Julie Soefer.
In the dining room: Jay Shinn, Cameo I, 2018, painted neon, enamel, mirror, Plexiglas, and frosted Plexiglas. Marcelyn McNeil, Smooth Talker #18, 2016, oil on layered paper, 28 x 25 in.; Trenton Doyle Hancock, New Marily, 2002, graphite, acrylic, and ink on paper, 11.25 x 9.75 in. Photograph by Julie Soefer.
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Aaron Parazette, Solid, 2008, acrylic on canvas, 36 x 36 in. Photograph by Julie Soefer.
In the Gallery Board Room hangs John Pomara, Flower Power, 2018, digitally printed mural, 42.75 x 107.75 in. Photograph by Julie Soefer.
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In the Mezzanine Lobby hangs Robert Rauschenberg, Samarkand Stitches #VII, 1998, screen print with mixed media, 48 x 53 in.
Barovier & Toso sconces specially designed for the Lancaster. The oval window above gives nod to the Regency style. A painting by Otis Jones that hangs behind the desk gives a sense of tranquility to the buzz of activity at the reception area. Above the credenza hangs Outcrop, a lace painting by celebrated Houston artist Mark Flood. A suite of four woodcuts by Donald Judd hangs above the bar cart. Italian porcelain tile honed to give the impression of subtle wear connects the common areas of the lobby. The cozy tea lounge has intimate seating areas grounded by a Cadwallader-designed area rug. A laser-cut resin work, Lot 021417, the hard spore aubergine by Donald Moffett, a San Antonio–born, New York–based artist, hangs above the canapé sofa. The original staircase, modified and modernized by Cadwallader and team, leads to more art on the mezzanine—a sought-after event space for theatre and art groups. Some artists represented on the mezzanine include Joseph Havel, Linnea Glatt, Luis Jimenez, Lance Letscher, and Tom Orr. The mezzanine also boasts a Robert Rauschenberg textile collage painting, Samarkand Studies #VII, from his Samarkand Stitches series. An inviting seating area under the staircase has a custom sofa and area rug by Cadwallader. Reveler, over the sofa, is an oil on canvas
by Houston artist Terrell James. Represented within the Museum of Fine Arts, Houston; the Menil Collection; and the Dallas Museum of Art, James’ paintings are known for a lyrical handling of color, form, and light. Hanging salon style, an assemblage of artworks leads up the staircase; artists include Dan Rizzie, Andrea Rosenberg, Helen Altman, Ed Blackburn, and Matt Kleberg. “Several pieces have a clear personal connection for me,” says Shinn, such as Rackstraw Downes’ graphite interior of one of Judd’s Marfa army barracks. “Downes was a visiting artist and did a studio visit with me in art school at Skowhegan in Maine. Also, Bale Creek Allen’s Beauty—I assisted Bale’s father, the artist Terry Allen, on an installation in Kansas City in the ’60s, before Bale was born.” Shinn continues, “It is fun to see guests looking at the art. They may own a piece by the artist and have a sense of familiarity. The broad variety of intimate drawings, paintings, and photography in the collection is meant to be accessible and appreciated. It is intended to make them stop and contemplate a question they might not otherwise ever consider. This is what great art can do if you, as our guest, will take the time for the experience.” P
Lancaster Hotel’s entrance.
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ATELIER
La Vie Style House caftans and kimonos worn by Booker T. Washington High School for the Performing and Visual Arts students.
C’est La Vie It’s a cool, cool summer with vintage-inspired caftans and kimonos designed by Lindsey McClain and Jamie Coulter. BY TERRI PROVENCAL PHOTOGRAPHY BY ANTHONY CHIANG
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n 2013, former stylists Lindsey McClain, a Dallas native, and Jamie Coulter, who hails from eternally fashion-forward LA, dreamt up La Vie Style House and introduced an ageless fanciful caftan and kimono collection. Handmade in the US, the universally sized brand takes inspiration from their mutual affinity for vintage clothing and world travels. Following a successful pop-up in Highland Park Village in December (extended through January), Coulter and McClain are glamping through summer and into fall with their shop-in-shop La Vie Style House concept at MARKET. The brand’s six-month residency is part of the boutique’s tastefully and newly unveiled revamped store design, which includes two temporary in-store shops. MARKET’s polished owner Elisa Summers and head of fashion Keenan Walker are always discerning when it comes to the brands they carry within the tony shop, cultivating relationships with coveted global fashion houses and of-the-moment emerging artists. With La Vie’s styles designed for everyday life, cofounder McClain says, “MARKET
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is the perfect spot to share our latest collection.” Though, she adds, “Obviously our opening coincided with the pandemic—so, we’ve shared walking through this sensitive time together. We are grateful they’ve reopened and excited to offer them exclusive pieces.” Hand-plucked for the Highland Park Village shop, La Vie’s assortment includes Elizabeth Taylor-worthy at-home loungingwhile-sipping-margaritas-poolside options such as short caftans in heart-shaped-cut lace. If you do venture out at a safe distance, leopard sequins to full-length metallic brocade kimonos and one-of-a-kind embellished frocks are perfect for anything from a coffee shop tête à tête to an evening soiree. “Our caftans and kimonos can be dressed up or worn casually, so we believe they are a perfect and essential part of the modern woman’s wardrobe,” cofounder Coulter enthuses. “We’ve been delighted with our shop-in-shop at MARKET. It’s been a cool touchstone for local customers to easily access our product.” We can’t wait to see our Patron readers wearing La Vie at all the fall openings. P
ATELIER
Color Transparency Vhernier, an Italian jewelry brand informed by sculpture, is an Eiseman Jewels exclusive. PHOTOGRAPHY BY ANTHONY CHIANG
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choing Italian design, art, and architecture, sensuous shapes infuse the minimalist creations of Vhernier. The jewelry line was founded in 1984 by a sculptor and Angela Camurati, whose refined taste for art and architecture led the pair to combine the trade secrets of a goldsmith with the forms of modern and contemporary art to craft their bespoke jewelry pieces. The Milan-based maison remained a quiet favorite for in-the-know connoisseurs until 2001, when the Italian art collector and entrepreneur Carlo Traglio discovered and acquired the niche brand with intentions to develop a wider audience. He continues the brand’s roots, however, creating jewelry mirroring contemporary Italian design. Always delivering the unexpected, Vhernier is distinguished by experimentation with nontraditional elements like wood, fossils, aluminum, and unexpected stones. Vhernier is hewn in Italy’s nonpareil gold region of Valenza, notable not only for its precious materials but attention to detail and a mastery of craft for refined brands like Bulgari. Richard D. Eiseman Jr., president and CEO of Eiseman Jewels in NorthPark Center, describes Vhernier as “a visual symphony of the senses for the discerning eye of art and design lovers alike.” Vhernier’s entire collection is crafted by hand. Here, the 18K rose gold Re Sole color-imbued bracelets bring unconventional elegance to both day and evening wear. Cabochon rock crystal combined with turquoise, jade, and mother-of-pearl create Vhernier’s signature Trasparenze, bringing bursts of color to the wearer. A venerated Dallas jeweler who devotes his attention to his discriminating clientele’s “taste and aesthetic interests,” Eiseman strives to offer the finest and most exclusive brands. To that end, he says, “We are thrilled to add Vhernier to our designer offerings.” –P
From Eiseman Jewels NorthPark Center, Vhernier's Re Sole bracelets in 18K pink gold featuring turquoise, cornelian, jade, mother-of-pearl, and rock crystal. eisemanjewels.com
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THERE 2020 TACA SILVER CUP AWARD LUNCHEON AT THE FAIRMONT HOTEL DALLAS PHOTOGRAPHY BY EDDIE MARAK
Matrice Ellis-Kirk
Monica Egert Smith, Katie Robbins, Elizabeth Dacus
Mike Rawlings
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Micki Rawlings, Mike Rawlings, Matrice Ellis-Kirk, Ron Kirk
Celia Walker, Hunter Holtz, Charles Santos, Don Glendenning
Terry D. Loftis, Margot Perot, Joyce Mitchell, Holly Mayer
Catherine Ellis Kirk
Angel Vargas
Wanda Gierhart-Fearing and Dean Fearing
FOOD N' FANCIES TASTING KITCHEN AT SIEMATIC PHOTOGRAPHY BY THANIN VIRIYAKI
Chef Donny Sirisavath
LAAB Moutsahyang
Eve Hill-Angus
Ramon Longoria, Teresa Nguyen, Chef Donny Sirisavath, Tang Nguyen
Marc Ramirez
Arnold Wayne Jones
Kelsey J. Vanderschoot
Ilene Jacobs
Mason Ho
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FURTHERMORE
HUMAN TOLL
Tackling violence and sociopolitical concerns, Bernardo Vallarino receives the Meadows Museum 2020 Moss/Chumley North Texas Artist Award . BY TERRI PROVENCAL PHOTOGRAPHY BY BERNARDO VALLARINO
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ernardo Vallarino, a Colombian-American mixed-media sculptor and installation artist who explores themes of human suffering, social injustice, and geopolitical conflicts, and their correlating apathy, has won the Moss/Chumley North Texas Artist Award. Established in 1995, the award is presented annually to an outstanding North Texas artist who has exhibited professionally for at least ten years and has established a proven track record as a community advocate for the visual arts. Known for engaging his audiences visually, morally, and philosophically, Vallarino holds a BFA from Texas Christian University and an MFA in sculpture from Texas Woman’s University in sculpture. Vallarino’s work has been exhibited at the Amarillo Museum of Art, the Dishman Art Museum at Lamar University, the Arlington Museum of Art, and North Texas gallery and art spaces, including Ro2 Art and Artspace111. The Moss/Chumley Memorial fund was established in 1989 by Frank Moss and the Meadows Museum as a tribute to Jim Chumley, with Moss’ name added to the fund posthumously in 1991. Both art dealers, the pair operated Nimbus Gallery in Uptown and the Moss/Chumley Gallery at the Crescent Court from 1986 to 1989 and made their own outstanding contributions to the visual arts in North Texas during the 1980s. In addition to pursuing his own practice, Vallarino, a 2019 graduate of the National Association of Latino Arts and Culture’s Leadership Institute, is the coordinator of the Fort Worth Art Collective, a multidisciplinary group of artists who promote “compelling raw talent” through a variety of spaces. He is a board member of Art Room, a nonprofit dedicated to supporting underrepresented youth and adult artists in the Fort Worth community through sustainable programs and arts education. As well, he is a board member and gallery programming chair for Artes
de la Rosa Cultural Center for the Arts, a venue for Latino art and cultural performances. As a committee member of Nuestro Kimbell, he has served with a group of Latino civic and community leaders who, together with Kimbell Art Museum staff, plan and produce dual-language museum resources. Employing formal elements, plurality, scale, and anonymity, Vallarino’s own work confronts topics of violence and its resulting victims by bringing awareness to the toll of human suffering. “It is part of the human experience to avoid pain, and humanity prefers to ignore painful truths rather than to confront them. As an artist addressing social issues, I feel a responsibility to create artworks that evoke questions with respect to our own behaviors towards others,” imparts Vallarino. Shelley DeMaria, curatorial assistant for the Meadows Museum and chair of the Moss/Chumley jury stated, “We found Vallarino’s work aesthetically and conceptually impactful and were impressed by the manner in which he addresses relevant and pressing social issues with quietly powerful visuals that draw viewers in, facilitating careful consideration and meaningful conversations.” The jury for the 2020 Moss/Chumley award included De Maria; artist, curator, and writer Carolyn Sortor; Leigh Arnold, associate curator, Nasher Sculpture Center; Anne Lenhart, collections manager, Meadows Museum; and David Sedman, interim chair of the art department, associate professor of film and media arts, and associate dean, Meadows School of the Arts, Southern Methodist University. Juror Carolyn Sortor, a past Moss/Chumley recipient, believes Vallarino’s work “successfully integrates urgent sociopolitical concerns with beautiful and moving aesthetic forms. His works evince sensitivity, complexity, and depth, and I’m delighted to have had the opportunity to help bring more attention to his work.” P
From left: Bernardo Vallarino, Tribute to Grandma's Sacrifice, 2020, lace, faux dollars, white cloth, bandana, and gold leaf, 90 x 40 in. ; Bernardo Vallarino, iPhone selfie; Bernardo Vallarino, Carved Souls with Help (detail), 2018, paper, carved donated immigrant shoes, soil, installation 25 x 8 x 4 ft. All photographs courtesy of the artist.
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The Ebby Halliday Companies are proud to be the luxury market leader in not just a single area, but in all of North Texas. Through our exclusive partnerships with Leading Real Estate Companies of the World®, Luxury Portfolio International® and Mayfair International Realty, we work to best position a property and effectively reach today’s affluent consumers. A sound marketing plan requires knowing your buyers, and we know them better than any other broker in North Texas. How may we assist you?
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MEADOWSM U S E U M D A LLA S . O R G EX PE RIE NCE THE
ART A ND
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S P A I N✥ # M U SE UMF ROMHOME
MEADOWS MUSEUM SMU ・ DALLAS
María Blanchard (Spanish, 1881–1932), Seated Woman (Femme assise) (detail), c. 1917. Oil on canvas. Meadows Museum, SMU, Dallas. Museum purchase with funds from The Meadows Foundation, MM.08.02. Photo by Michael Bodycomb.
