PATRON's 9th Anniversary Issue by Patron Magazine

9th ANNIVERSARY ISSUE Our Changing Museums DMAâ&#x20AC;&#x2122;s To Be Determined with Jammie Holmes

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C H R I STO P H E R M ART I N L I Z B AR B E R PAUL B LO C H CO L L AZO CO L L E CT I O N AM B E R G O L D H AM M E R C H R I S H AY M AN M E L I S S A H E R R I NGTO N TO M H O I T S M A M AR G AR E T JU UL ANDR Z E J KAR WAC K I JE AN PAU L K H AB B AZ JI M K E L L E R I AN K I M M E R LY C H AD K L E I T S C H Y S AB E L L E M AY JANE M AX WE L L DAVI D M I DD L E B R O O K JE F F M U H S S H AR O N PAST E R M O NI CA P E R E Z G R E G O RY P R I C E B R AND O N R E E S E M I C H AE L E NN S I RVE T T R I C I A ST R I C K FADE N I S AB E L L E VAN Z E I JL ST E VE WR U B E L

Congratulations Patron Magazine on its anniversary!

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

October / November 2020

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

Writing this note for our 9th Anniversary issue proved to be challenging. Raging fires, pummeling hurricanes, devastating tornadoes, humans suffering and perishing due to this year’s onslaught of natural catastrophes, and the newest untamed calamity, the novel coronavirus. But one crisis is completely at the hands of people: violence and inequity of all kinds. Gravitydefying superheroes still don’t exist to fight the unjust, but hands-on bridge builders do. In Picturing Change, we call on the finest art minds in Dallas/Fort Worth to share how area museums are responding to new safety measures required by this pandemic and the rallying cry for cultural diversity. Dallas Museum of Art’s Dr. Agustín Arteaga, who became a US citizen last fall, brings promise: “I am one of the half-million residents of Latin American heritage who call Dallas home, with a unique responsibility as the leader of the city’s art museum to expand representation at the DMA of the full diversity of Dallas.” To that future, the DMA opened an exhibition spanning centuries, geographies, and culture in late September. To Be Determined includes two commissioned paintings by Jammie Holmes, an artist based here who took George Floyd’s final words to the air across five US cities in a public demonstration against police brutality toward people of color. A digital exhibition of Jammie Holmes: Everything Hurts is viewable on the Dallas Contemporary’s website. In Meeting the Challenge of the Moment, Arthur Peña visits with Vivian Crockett, DMA’s assistant curator of contemporary art, and Holmes to discuss the large-scale works, Tired and Four Brown Chairs. Cindy Nelson’s uplifting, light-infused home brims with art from an integrated family. It’s no wonder—this blended sanctuary was designed by her brother, the architect Jay Brotman, known for reintroducing a bright future for children with his firm’s treehouse-inspired Sandy Hook Elementary School in Newton, Connecticut, which brought beauty, safety, and hope to the community. Nancy Cohen Israel and photographer John Smith take us on a tour of Nelson’s home in All in the Family. In Reality Check, the hyperreal pop portraits of objects by Brooklyn-based artist Mathew Cerletty are bound to generate new energy at The Power Station when Full Length Mirror opens on November 14. Think a red snow shovel, an oversized men’s belt, manila envelopes, and a so-real-it-lookslike-a-photograph lilac stuffed bunny, all rendered with stunning precision and sincerity. Writing at large for Patron, in Distinctive Gestures Chris Byrne visits with Riccardo Bargellini, director of L’Atelier Blu Cammello, about fostering artistic talents for the differently abled in Livorno, Italy. Also in Contemporaries, Steve Carter shares news of the Business Council for the Arts’ plans to celebrate the honorees of this year’s Obelisk Awards virtually. In Studio, Aja Martin investigates Letitia Huckaby’s Suffer Rage series and faces the difficult subject matter stemming from her new Paper Dolls series, which recovers the voices of the little girls lost to unspeakable violence when the 16th Street Baptist Church was bombed on September 15, 1963—57 years ago to the day at the time of this writing. Huckaby draws parallels from this tragedy to the heartbreaking events of today with the 5 Paper Dolls: A Contemporary Tale exhibition opening at Liliana Bloch Gallery this month. And lastly, a Project Unity, Dallas Symphony Orchestra, and Dallas Black Dance Theatre concert and performance planned for November will honor lives lost to racial violence and injustice in Furthermore. Stories of community transcendence are what’s needed most as we enter the third quarter of a callous 2020. We hope this anniversary issue will engender respect for the lives of all people we share the planet with. – Terri Provencal

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D E M I L L I E R

H O U S T O N

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

A T L A N T A

CONTENTS 1

FEATURES 52 PICTURING CHANGE Area museums evolve in response to the ongoing pandemic and call for cultural equity. By Lee Cullum 62 MEETING THE CHALLENGE OF THE MOMENT Vivian Crockett commissions two large-scale paintings by high-profile Dallas artist Jammie Holmes for the Dallas Museum of Art’s To Be Determined. By Arthur Peña 68 ALL IN THE FAMILY Cindy Nelson enlists her brother to design a contemporary home for her art collection and integrated family. By Nancy Cohen Israel

On the cover: Artist Jammie Holmes in his Dallas studio with his painting Tired (detail), 2020, included in the Dallas Museum of Art’s To Be Determined exhibition. Photograph by Bradley Linton.

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CONTENTS 2

DEPARTMENTS 06 Editor’s Note 12 Contributors 22 Noted Top arts and culture chatter. By Anthony Falcon Fair Trade 36 WORLDS CONCEIVED Concurrent exhibitions for Angela Fraleigh and Robyn O’Neil bring gravitas to Inman Gallery’s 30th Anniversary. Interview by Kerry Inman Contemporaries 38 REALITY CHECK Mathew Cerletty’s precisely rendered pop portraits bring authenticity to idealized household objects. By Terri Provencal 42 INSTINCTIVE GESTURES Riccardo Bargellini nurtures artistic talents at L’Atelier Blu Cammello in Livorno, Italy. By Chris Byrne

44 NOW, MORE THAN EVER Business Council for the Arts’ annual Obelisk Awards celebrate the symbiosis of North Texas business and nonprofits, and in 2020, it’s critical. By Steve Carter Studio 46 VOICES RAISED Fort Worth–based artist Letitia Huckaby fortifies women-of-color narratives in two poignant new series. By Aja Martin Space 50 GOURMET THEATER Eggersmann works in concert with 212box to bring German finesse to an avant-garde kitchen. By Terri Provencal 38

Creatives 76 EXPERIENTIAL VIRTUOSO Dallas-based imaginist Chuck Steelman takes on a new role with Trademark. Interview by Terri Provencal There 79 CAMERAS COVERING CULTURAL EVENTS Furthermore 80 A TIME OF HEALING The DSO and DBDT join forces for Project Unity, an evening dedicated to victims of racial violence and injustice. By Steve Carter

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CONTRIBUTORS CHRIS BYRNE is the author of The Original Print (Guild Publishing) and the graphic novel The Magician (Marquand Books), included in the Rare Book & Manuscript Library, Columbia University; Rare Book/Special Collections Division, Library of Congress; Ryerson and Burnham Archives, The Art Institute of Chicago; Thomas J. Watson Library; and The Metropolitan Museum of Art. He is co-authoring the “Best Of” Frank Johnson’s comics for Fantagraphics with Keith Mayerson. He cofounded the Dallas Art Fair and was board chair of the American Visionary Art Museum, co-chair of Art21's Contemporary Council, and served on the boards of Institute 193, Dallas Contemporary, MOCAD, and the American Folk Art Museum.

John Sutton Photography

STEVE CARTER previews the latest iteration of an annual Dallas arts award and a timely concert at the Meyerson Symphony Center in this issue. The Business Council for the Arts Obelisk Awards, celebrating area arts benefactors nominated by nonprofits, takes place on November 17 in an unprecedented virtual format. And on November 11, the DSO, Dallas Black Dance Theatre, and Project Unity align their efforts for a fund-raising concert at the Meyerson, in person and streaming. “The arts will always find a way,” Carter promises.

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

NANCY COHEN ISRAEL is a Dallas-based writer, art historian, and educator. In addition to being a regular contributor to Patron, she has written for numerous arts publications. This fall, Nancy looks forward to delivering a series of virtual gallery talks for the Meadows Museum as well as to co-hosting a virtual art-related book club with The Wild Detectives. For the current issue, she enjoyed writing about Cindy Nelson’s serene home and beautiful art collection in All In The Family.

LEE CULLUM is a Dallas journalist who hosts CEO, a series of interviews with business leaders on KERA-TV, the PBS affiliate in North Texas. As such, she is especially interested in those brave executive directors working to steer art museums through the troubled waters of COVID-19 and the call for cultural equity. In nine interviews by phone she found energy, invention, resolve, and undiminished spirits in the face of frightening odds that the siege could be long and, once receding, could return at any moment. These arts professionals are subsidizing the culture and keeping it alive for the rest of us.

BRADLEY LINTON is a photographer whose work confronts the dichotomy of authenticity/artificiality, and seeks to illuminate our relationship to people, animals, and surroundings in unexpected ways. His current photo series focuses on cowboys and the American West. Bradley has previously developed and directed music videos for Bob Schneider and the Wind + The Wave, and created official portraits for the CEOs of some of the world’s largest brands. For Patron, he found a busy Jammie Holmes in his studio with DMA assistant curator Vivian Crockett. He splits his time between Dallas and Jackson, Wyoming.

AJA MARTIN is an art historian and doctoral candidate writing on 20th-century art and film created in the US and Europe. She has worked in a curatorial capacity with art institutions and organizations across Texas. Her initial foray into constructed public and private spaces hinged on technology, vision, and being. She carries these interests into her dissertation project, titled, “But for Dark: Lucio Fontana’s Grotesque World,” in which she seeks to reassess the artist’s polyvalent “spatial concept.” In Voices Raised Aja explores the significance of the 19th Amendment in relation to the new series Suffer Rage by Fort Worth–based artist, Letitia Huckaby, along with her newest series Paper Dolls. ARTHUR PEÑA is a Bronx-based artist and writer who lived in Dallas. He is the founder/director of national curatorial project One Night Only, which has presented ephemeral solo celebrations with Jay Stuckey, Nicole Eisenman, and progressive industrial musicians Street Sects, and he has worked as a public relations consultant for Independent Art Fair. His work has been nationally exhibited, including solo presentations at the Dallas Contemporary, EXPO Chicago, and Couples Counseling in Queens, New York.

JOHN SMITH flexes his degree in architecture as an ongoing Patron contributor and Dallas photographer. He is renowned in the region for his work with architects, designers, and artists when tapped to showcase their vision and projects through photographs. In All In The Family, John spent the day and evening following the natural light on Cindy Nelson’s home to capture the beauty of the architecture designed by her brother Jay Brotman along with the integrated art collection from a blended family.

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MARK BRADFORD END PAPERS Through January 10 Above: Mark Bradford, 20 minutes from any bus stop, 2002 (detail). Mixed media on canvas. 72 × 84 inches. Judi and Howard Sadowsky and Family. © Mark Bradford. Photo: Charles White. Mark Bradford: End Papers is curated by Michael Auping, former chief curator of the Modern. Lead exhibition support is generously provided by the Texas Commission on the Arts. Major support is provided by Hauser & Wirth and the Fort Worth Tourism Public Improvement District, with additional support from Suzanne McFayden.

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FOCUS: Marina Adams November 6, 2020– January 10, 2021

Marina Adams, Standing Rock, 2016. Acrylic on linen. 78 x 68 inches. Courtesy of Salon 94, New York. The 2019–2020 FOCUS exhibition series is sponsored in part by Bonhams: Auctioneers for the 21st Century.

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NOTED 06

01 AFRICAN AMERICAN MUSEUM Carroll Harris Simms National Black Art Competition and Exhibition will be on view through Oct. 30, 2020. The competition and exhibition attract artists of African American descent from around the country. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Acting Out: Cabinet Cards and the Making of Modern Photography offers the first-ever in-depth examination of the photographic phenomenon of cabinet cards. Texas Made Modern: The Art of Everett Spruce features 50 works from 50 years tracing the evolution of Spruce’s art as he adapted his style and subjects to the era in which he worked. Both exhibitions continue through Nov. 1. Meditations: Eleanore Mikus at Tamarind brings together rarely seen prints that Mikus created at the Tamarind Lithography Workshop in 1968, where she translated her signature style of painting into the medium of printmaking, and draws from the Carter’s deep collection of works on paper, which includes more than 2,500 Tamarind prints from the 1960s, on view through Apr. 18, 2021. Image: Everett Spruce (1908–2002), Big Turtle, 1949, oil on Masonite, Wichita Art Museum, Wichita, Kansas, Roland P. Murdock Collection. © 2019 Alice Spruce Meriwether. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART Beili Liu: One and Another, featuring two monumental works from Austin-based artist and UT-Austin art professor Beili Liu, continues through Jan. 3, 2021. crowmuseum.org 04 DALLAS CONTEMPORARY In response to the exponential spike in COVID-19 cases across the US, Dallas Contemporary has organized a grassroots consortium of regional museums to bring MacArthur Grant-winning artist Carrie Mae Weems’ national RESIST COVID/TAKE 6! to North Texas. Through billboards, alternative messaging, and public art projects, the campaign aims to help educate disproportionately damaged Black, Brown, and Native American communities on the importance of social distancing, dispel harmful falsities associated with the virus, and thank frontline and essential workers. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM The Fight for Civil Rights in the South combines two prestigious photography exhibitions covering Black Americans’ struggle for 22

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

civil rights and social equality in the 1960s: Selma to Montgomery: Photographs by Spider Martin and Courage Under Fire: The 1961 Burning of the Freedom Riders Bus are on view through the remainder of 2020. dhhrm.org 06 DALLAS MUSEUM OF ART Flores Mexicanas: Women in Modern Mexican Art continues through Jan. 10, 2021. My|gration highlights the contributions of artists who immigrated to the US, through Oct. 31, 2021. Through Jan. 3, 2021, Frans Hals: Detecting a Decade showcases two portraits of the same sitter over ten years. In For a Dreamer of Houses, contemporary artworks evoke personal spaces and consider the politics of places, through Jul. 4, 2021. Dalí Divine Comedy showcases wood engravings from Salvador Dalí’s most ambitious illustrated series, from the medieval Florentine writer Dante Alighieri’s epic poem, through Feb. 21, 2021. RESIST COVID/ TAKE 6!, a public art campaign by Carrie Mae Weems, through Dec. 20. To Be Determined juxtaposes works across centuries, geographies, and cultures to trace how the significance of art can shift when presented in new contexts and as viewers make personal connections, through Dec. 27. Arthur Jafa shares the multiplicity of Black experiences in America through found and self-produced footage of Black artists, athletes, public figures, and everyday people juxtaposed with clips of events ranging from faith-based transcendence to police brutality in Love is the Message, The Message is Death, through Mar. 7, 2021. Contemporary Art + Design: New Acquisitions remains on view in the Hoffman Galleries through Mar. 7, 2021. Image: Rosa Rolanda, Self-portrait, 1939, oil on canvas, Colección Andrés Blaisten, Mexico. dma.org 07 GEOMETRIC MADI MUSEUM Five in Motion features five women artists from Venezuela, through Oct. 11. Next, Ruth Anderson’s Circles, Squares, & Triangles: Geometry in Quilts will open Oct. 23 and remain on view through Nov. 23. geometricmadimuseum.org 08 GEORGE W. BUSH PRESIDENTIAL CENTER Liberty & Laughter: The Lighter Side of the White House presents a behind-the-scenes look into life in the White House, through Oct. 4. Highland Capital Lecture: Mark Cuban & Daymond John—Two Sharks Discuss the Path Forward for America takes place on Oct. 21. Laura Bush Book Club: A Conversation with Author Michele Harper focuses on Harper’s memoir The Beauty in Breaking on Nov. 18. bushcenter.org

NOTED: VISUAL ARTS

09 KIMBELL ART MUSEUM The Kimbell is currently open and featuring wonderful examples from its permanent collection. Queen Nefertari’s Eg ypt, Nov. 15 through Mar. 14, 2021, celebrates the wives of pharaohs, along with sisters, daughters, mothers of pharaohs, and even some pharaohs themselves during the New Kingdom period (1550–1070 BC), when Egyptian civilization was at its height. This interesting period is brought to life through some 230 objects, including majestic statues, jewelry, vases, papyrus manuscripts, carved steles, mummies, intricately painted wooden coffins and stone sarcophagi, as well as tools and various items of daily life from the artisan village of Deir el-Medina. Image: Statue of the Goddess Mut, unknown provenance, New Kingdom, early 19th dynasty (ca. 1292-1250 B.C.E.), limestone, Museo Egizio, Turin, Italy. kimbellart.org 10 LATINO CULTURAL CENTER Quetzal Quatro: Genaro Hernandez, Juan J. Hernandez, Samuel Torres and Jose Vargas connects the Dallas-based artists through shared interest in their ancestral past. Through Oct. 24. lcc.dallasculture.org 11 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 the fall and can be viewed by appointment. the-mac.org 12 MEADOWS MUSEUM The Meadows Museum has reopened with Alonso Berruguete: First Sculptor of Renaissance Spain, the first exhibition devoted to the artist presented outside of Spain. Berruguete Through the Lens: Photographs from a Barcelona Archive features early 20th-century photographs of works by Berruguete and his contemporaries from the Archivo Mas in the holdings of the Meadows Museum. Used solely for study purposes since their acquisition in 2003, selections from the archive have never before been exhibited publicly. Both exhibitions are on view through Jan. 10, 2021. Image: Alonso Berruguete (Spanish, c. 1488–1561), Sepulcher of Cardinal Juan Pardo Tavera, 1561. Carrara white marble. Hospital Saint John the Baptist, Toledo. © 2019 Institut Amatller d’Art Hispànic. meadowsmuseumdallas.org 13 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, through Jan. 10, 2021. FOCUS: Marina Adams, on view Nov. 6–Jan. 10, 2021, will present Adams’ seven large, energetic abstract paintings from the 24

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past four years as well as several recent small-scale gouache-onpaper works from her New York series. Additionally, the Modern will host a lecture series through the fall; check their website for details. Image: Marina Adams, Days and Nights (detail), acrylic on linen, 88 x 78 in. Courtesy of Salon 94 New York. themodern.org 14 MUSEUM OF BIBLICAL ART The MBA boasts eleven galleries: The National Center for Jewish Art, Museum of Holocaust Art, European Art Treasury, an onsite Art Conservation Lab, Via Dolorosa Sculpture Garden, and other major pilgrimage attractions. biblicalarts.org 15 NASHER SCULPTURE CENTER Resist/Release presents a dialogue between forms of resistance and release in sculptures by several artists, including newly acquired works by Magdalena Abakanowicz and John Chamberlain, through Jan. 17, 2021. Through Jan. 3, Barry X Ball: Remaking Sculpture presents sculptures created out of rare and delicate stones with the help of 3D scanning technology and CNC milling machines. For Foundations: Barry X Ball, on view through Jan. 10, the artist and Nasher Chief Curator Jed Morse have selected works from the permanent collection that provide insights into Ball’s deep ties to Modernism. The 2020 Nasher Prize Laureate Michael Rakowitz exhibition presents part of his series of sculptures The invisible enemy should not exist and his film The Ballad of Special Ops Cody, through Apr. 18, 2021. nashersculpturecenter.org 16 PEROT MUSEUM The museum is open Fridays through Sundays only. To increase accessibility for North Texas families, the museum’s Community Partners program will return, offering one-dollar admission to those enrolled in state- or federally funded programs. perotmuseum.org. 17 TYLER MUSEUM OF ART Organized by the Tyler Museum of Art, Bits & Pieces: Works By Al Souza features a variety of mixed-media collages and assemblages from 2000 to 2010. The works, including his jigsaw puzzle assemblages, showcase his ability to masterfully combine various parts to create a dynamic whole, through Oct. 18. From The Vault: Works from the Art Museum of Southeast Texas features works by contemporary Texas artists. The diverse works include drawings, mixed-media collages, paintings, photographs, and prints, through Nov. 29. Image: Angelica Paez, Veronica Lake Surfing, 2013, collage with magazine cutouts. tylermuseum.org Unless otherwise indicated, these museums are currently open to the public and adhering to CDC guidelines. Please check websites for date changes or closure information.

M E A DOWS MUSEU M

Meadows Museum • Dallas

00 1 214 768 2516

meadowsmuseumdallas.org

This exhibition is organized by the Meadows Museum, SMU, Dallas, and the National Gallery of Art, Washington, in collaboration with the Museo Nacional de Escultura, Valladolid, and funded by a generous gift from The Meadows Foundation. Promotional support provided by The Dallas Morning News and VisitDallas. Alonso Berruguete (Spanish, c. 1488–1561), The Sacrifice of Isaac (detail), 1526–1533. Polychromed wood with gilding. Museo Nacional de Escultura, Valladolid, CE0271/013. Image © Museo Nacional de Escultura, Valladolid (Spain); photo by Javier Muñoz and Paz Pastor.

SMU

NOTED: PERFORMING ARTS

01 AMPHIBIAN STAGE Amphibian currently has interactive virtual events, including acting classes, and will screen Jack Absolute Flies Again and Fleabag on Oct. 3. Next, a recording of All My Sons will be screened on Nov. 11 and 14. Chris Garcia, a comedian, television writer, and podcaster from Los Angeles, will take the stage Nov. 17–21. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER AT&TPAC is hosting digital events on their website through the duration of the COVID-19 pandemic. The Raise The Curtain Fund invites patrons to provide support for the nonprofit organization while stages remain dark indefinitely. attpac.org 03 BASS PERFORMANCE HALL BPH remains closed due to COVID-19. Please check the website for performances when Bass Performance Hall reopens in Jan. 2021. basshall.com 04 CASA MAÑANA Casa Mañana will return with Matilda the Musical Feb. 12–21, 2021. casamanana.org 05 CHAMBER MUSIC INTERNATIONAL Chamber Music International offers exceptional classical music through performances and music-education programs. chambermusicinternational.org 06 DALLAS BLACK DANCE THEATRE Currently, DBDT invites viewers to visit #DBDT: At Home, a series of educational and digital events from the DBDT dancers. On Oct. 10 the company will host the virtual event DANCEAFRICA & Online Marketplace. Director’s Choice, featuring a virtual showcase of the best in future talent, takes place on Nov. 7. Behind the Scenes, a Thanksgiving holiday tradition, will be streamed Nov. 24. Image: Photograph by Amitava Sarkar. dbdt.com 07 DALLAS CHILDREN’S THEATER DCT has canceled in-person performances through 2020; viewers are encouraged to visit the company’s website for digital classes, performances, and interactive activities. dct.org 08 THE DALLAS OPERA The Dallas Opera will return with The Marriage of Figaro on Apr. 9. Visit TDO Network, which features a mixture of programming that educates, questions, and furthers classical music and the power of opera. With content creators from across the opera industry, each series engages with our community in ways that go further than the live performance experience. dallasopera.org 26

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09 DALLAS SUMMER MUSICALS Mark your calendars for DSM’s return with Come From Away on Jan. 5. Image: The First North American Tour Company of Come From Away. Photograph by Matthew Murphy, 2018. dallassummermusicals.org 10 DALLAS SYMPHONY ORCHESTRA The DSO offers performances for season ticket holders with Bold and New on Oct. 1–4, followed by Mahler’s Songs of the Earth Oct. 9–11, Kelli O’Hara In Concert Oct. 16–18, and Abduraimov Plays Beethoven Oct. 22–25. Dia De Los Muertos on Oct. 31 sees a vibrant concert featuring Latin American music and culture, dazzling guest artists, colorful festivities, and fun-filled events for the entire family. Verdi Selections with Fabio plays Oct. 29–Nov. 1. Hilary Hahn flexes her virtuosity with Marin Alsop and the DSO in Mozart’s final violin concerto, composed when Mozart was only 19 old, Nov. 5–8. On Nov. 11, the DSO, Dallas Black Dance Theatre, and Project Unity host a public concert to honor those who have lost their lives to racial violence and injustice. Queens of Soul take the stage Nov. 13–15. Organ Recital: Todd Wilson is Nov. 22. Tchaikovsky’s The Nutcracker closes out the month Nov. 27–29. mydso.com 11 DALLAS THEATER CENTER Dates are to be determined for Tiny Beautiful Things, which follows Sugar, an online advice columnist who uses her personal experiences to help the real-life readers who pour their hearts out to her. Tiny Beautiful Things is about reaching when you’re stuck, healing when you’re broken, and finding the courage to take on the questions that have no answers. dallastheatercenter.org 12 EISEMANN CENTER Two performances are tentatively scheduled for the Richardson Symphony Orchestra: the Opening Night Concert on Oct. 3, and a concert featuring the music of Mozart, Rodrigo, and Strauss on Nov. 7. The Eisemann Center main lobby, ticket office, Forrest & Virginia Green Mezzanine Gallery and administrative office are open to the public Monday through Friday. eisemanncenter.com 13 FORT WORTH SYMPHONY ORCHESTRA Roderick Cox conducts Beethoven’s Pastoral at Will Rogers Memorial Auditorium Oct. 16–18. Soul Men celebrates music legends Otis Redding, Marvin Gaye, Luther Vandross, James Brown, The Temptations, and Al Green in an evening of soulful rhythms Oct. 23–25. Mozart’s Jupiter Symphony and Bernstein’s Serenade take center stage Oct. 30–Nov. 1. Nicole Paiement conducts Copland’s Appalachian Spring and Stravinsky’s Pulcinella Suite Nov. 13–15. Home for the Holidays starts the holiday season Nov. 27–29. Image: Portrait of Roderick Cox. Photograph by Susie Knoll. fwsymphony.org

NOTED: PERFORMING ARTS

21 13 14 FORT WORTH OPERA Composer Joe Illick and librettist Mark Campbell have teamed up once again for Stone Soup, a new family opera. Led by a resourceful young hero named Sally, this timely tale teaches the value of sharing and collaboration. Five talented singers were filmed individually, then seamlessly edited together to bring Illick and Campbell’s charming opera to life. Available for booking after Oct. 1. Image: Artwork by Sarah Green. fwopera.org

Friends tour stops in Dallas on Oct. 29. Garnering initial fame from the reality show Operacion Triunfo, Spanish singer, songwriter, and actor Davide Bisbal Ferre is scheduled to perform Oct. 25. majestic.dallasculture.org

16 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 at a to-be-determined date. lyricstage.org

18 TACA TACA nurtures arts organizations and provides visionary and responsive leadership to the arts community. By providing flexible funding and much-needed resources, like professional development workshops, TACA allows arts organizations to spend less time on keeping their doors open and more time on running strong and effective programs that transform lives through the arts. The TACA Resiliency Initiative (TRI) was created to support and strengthen Dallas arts organizations in response to the COVID-19 pandemic. TRI consists of multifaceted support through grants, capacity-building workshops, and thought leadership initiatives to ensure the Dallas arts community continues to survive and thrive. taca-arts.org

17 MAJESTIC THEATRE Emily Fortune Feimster takes the stage on Oct. 10 in The Fortune Feimster. Russian Ballet Theatre presents Swan Lake on Oct. 18. Laugh with comedian Heather McMahan on Oct. 23. The Ben Rector Old

19 TEXAS BALLET THEATER Due to the ongoing pandemic and well-being concerns, TBT’s 2020/2021 season performances have been canceled through Dec. texasballettheater.org

15 KITCHEN DOG THEATER While Kitchen Dog Theater’s doors are closed, supporters are encouraged to donate to the company through their website to support the employees and actors. kitchendogtheater.org

TTS2000 VirtuallyTITAS-Parsons Dance_Parton_8x3.66.pdf

9/16/20

2:50 PM

VIRTUALLY TITAS

7:00PM TUESDAY, OCTOBER 6, 2020

PARSONS DANCE

CMY

Go to ATTPAC.ORG/TITAS to RSVP for this Free Event

CALL

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8:00PM FRIDAY, NOVEMBER 20, 2020 WINSPEAR OPERA HOUSE

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14 20 THEATRE THREE It Came From Theatre Three presents a new virtual offering from Theatre Three. Local playwrights Jonathan Norton, Blake Hackler, Nicole Neely, and the collective The Drama Club contribute short, frightening pieces to be produced virtually in one jam-packed program with two very distinguished hosts to keep things moving along, Oct. 19–Nov. 1. Murder on the Orient Express features glittering entertainment that takes you on an exotic, daring ride aboard the legendary Orient Express. Agatha Christie’s masterpiece is spun by Ken Ludwig Nov. 27–Dec. 20. theatre3dallas.com 21 TITAS/DANCE UNBOUND Opening Night Celebration will feature amazing dancers in seven works from seven companies on Oct. 10. Led by dance icons Dwight Rhoden and Desmond Richardson, Complexions awakens audiences to a novel genre with their singular approach of reinventing dance and contemporary ballet; on stage Oct. 16–17. Next, Alonzo King LINES Ballet returns to the Winspear on Nov. 6–7. Parsons Dance will showcase their distinct brand of American dance on Nov. 20. Image: Parsons Dance. Photograph by Lois Greenfield. titas.org

C ABINE T C ARDS AND THE MAKI NG OF MODE RN PHOTOGRAPHY

ON VIEW THROUGH NOVEMBER 1

22 TURTLE CREEK CHORALE Dec. 18–20, TCC will return for their signature holiday production, On this Shining Night. turtlecreekchorale.com 23 UNDERMAIN THEATRE We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884–1915 ends Oct. 4. In St. Nicholas, a cynical drama critic falls for a beautiful young actress. On a drunken bender one weekend he pursues her to London, where he falls in with a coven of modern-day vampires. Storytelling at its spooky best in this solo story performed by Undermain artistic director Bruce DuBose Oct. 7–25. undermain.org

cartermuseum.org/ActingOut #ActingOutCarter

Benjamin J. Falk, New York, NY, Helena Luy (detail), 1880s, albumen silver print, Amon Carter Museum of American Art, Fort Worth, Texas, P2016.120

24 WATERTOWER THEATRE WTT will return with a holiday tribute to the music of one of America’s most beloved performers, Ella Fitzgerald, presented via video on demand in December 2020. watertowertheatre.org Dates and performances are subject to change with the ongoing pandemic. Please check each organization’s website for date changes or closure information. OCTOBER / NOVEMBER 2020

NOTED: GALLERIES

01 artists and artists’ estates, and has a secondary market division. bivinsgallery.com

01 12.26 GALLERY Through Oct. 24, Light Pollution, a solo show of new works by Los Angeles–based artist Theodora Allen, displays paintings from the artist’s series entitled Moth to the Light: A Sequence (2020). Image: Theodora Allen, From the Watchtower (Double Moth no. 4 ), 2020, oil on linen, 58 x 45 in. gallery1226.com

10 CADD Contemporary Art Dealers of Dallas will return to CADD events after the COVID-19 crisis. caddallas.org

02 214 PROJECTS 214 Projects, adjacent to the Dallas Art Fair office at River Bend in the Design District, gives exhibitors an opportunity to present more ambitious gallery installations and special projects on a yearround basis. 214projects.com

11 CHRISTOPHER MARTIN GALLERY Celebrating 25 years, the gallery presents the reverse-glass paintings and limited-edition works of Aspen-based American artist Christopher H. Martin and rotating artists in the adjacent gallery. christophermartingallery.com

03 500X GALLERY One of Texas’ oldest, artist-run cooperative galleries, 500X, offering virtual and by-appointment exhibitions, has reopened at 516 Fabrication St. 500x.org

12 CONDUIT GALLERY Reinhard Ziegler: On Earth, As In Heaven, Susan kae Grant: Collective Ruminations, and Desireé Vaniecia: Been on My Way show through Oct. 10. From Oct. 17–Nov. 28, three new shows mount: In For TR APADEMIA III: 7 African Powers, Dr. Fahamu Pecou mines the contemporary Black experience, drawing parallels to African spiritual and ancestral presence. In I have only what I remember, Ted Larsen continues his abstract sculptures from salvaged materials. In Dream Sequence, Christopher Mir weaves images from across the digital landscape. Image: Fahamu Pecou, Alagbara (All Mighty), 2020, acrylic on canvas, 80 x 53 in. Courtesy of the artist and Conduit Gallery. conduitgallery.com

04 ALAN BARNES FINE ART An online exhibition of Fine 19th & 20th Century British and American Watercolours continues through the fall. alanbarnesfineart.com 05 AND NOW AND NOW’s exhibition of work by David Flaugher continues through Oct. 17. A solo exhibition for Phillip John Velasco Gabriel will display Oct. 24–Nov. 28. andnow.biz 06 ARTSPACE111 Through Dec. 31, AS111 hosts To 40 More, which presents rostered artists as well as some new artists in the gallery’s stable. Image: AS111 installation view. artspace111.com 07 BARRY WHISTLER GALLERY John Pomara’s Digital_debris exhibits his oil enamel on aluminum paintings. Kristen Macy’s oil paintings are gathered in Always A Little Sad. Both exhibit Oct. 10–Nov. 21. barrywhistlergallery.com 08 BEATRICE M. HAGGERTY GALLERY Through Oct. 16, New Look: Art on Campus is an exhibition of selected works curated by Christina Haley. Tethered Oscillator, a solo show by Leticia Bajuyo, will suspend two of her horn-shaped theremins constructed of thousands of CDs and DVDs. Oct. 23– Jan. 26, 2021. udallas.edu/gallery 09 BIVINS GALLERY Bivins Gallery showcases a concentration on modern, post-war, abstract expressionist, and contemporary art. The gallery also shows major figures in historic art movements, represents emerging 30

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13 CRAIGHEAD GREEN GALLERY Exhibitions by Denise Brown, Rebecca Shewmaker, and Pamela Nelson mount Oct. 10–Nov. 14. Faith Scott Jessup, Gary Schafter, and Scott Simons will close out 2020 with solo shows Nov. 21–Jan. 6. craigheadgreen.com 14 CRIS WORLEY FINE ARTS Robert Lansden’s Wheel of Time exhibits from Oct. 10–Nov. 14. Lansden’s obsessive and painstakingly composed line drawings, in gouache and ink on paper, are explorations into the unknown based on an algorithm, or a step-by-step set of operations entered into without a defined outcome. Image: Robert Lansden, untitled, 2020 watercolor on paper, 30 x 30 in. crisworley.com 15 CULTURE PLACE Dallas Art Fair’s Culture Place is a digital marketplace for contemporary art collectors to discover, connect with, and purchase works from galleries across the region. cultureplace.com 16 CYDONIA The gallery is currently closed for the duration of the public health crisis. cydoniagallery.com

Judith Seay

w w w. j u d i t h s e a y. c o m

TIME FOR A CHANGE, oil & metal leafing on wood panel, 60 x 84 in.

N O W S H O W I N G AT

DAV I D D I K E F I N E A RT L . L . C . 2613 Fairmount | Dallas TX 75201 | 214.720.4044 | daviddike.com

NOTED: GALLERIES

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

26 17 DADA The Dallas Art Dealers Association is an affiliation of independent galleries and nonprofit art organizations. dallasartdealers.org 18 DAVID DIKE FINE ART The Virtual Fall Texas Art Auction streams live and offers both online and phone bids Oct. 3. Specializing in late 19thand 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas landscape painters, DDFA also represents Dallas artist Judith Seay. daviddike.com 19 ERIN CLULEY GALLERY HOME features work by Dallas-based artist Riley Holloway, who creates familiar spaces that are rich in storytelling, free from constraints, and true to his subjects. Oct. 10–Nov. 14. Image: Riley Holloway, Home Feels a Lot Like This, 2020, oil on canvas, 93 x 65.5 in. Photograph by Kevin Todora. Courtesy of the artist and Erin Cluley Gallery. erincluley.com

ONE OF A KIND

3 0t h A N N I v E r s A r y s h O w Through the month of October

20 EX OVO Tamara Johnson’s How to fold a fitted sheet draws from her childhood in Waco, through Nov. 1. Goo, both literally and figuratively, is Johnson’s primary subject, articulated in a 13-minute hybrid video, The Philosophy of Goo, (2020) of found and documentary footage. exovoprojects.com 21 FORT WORKS ART Fort Works Art exists between a gallery, cultural center, and museum, freed from traditional labels. fortworksart.com 22 FWADA Fort Worth Art Dealers Association (FWADA) organizes, funds, and hosts exhibitions of noteworthy art. fwada.com 23 GALERIE FRANK ELBAZ As a cultural exchange between Paris and Dallas, the gallery highlights French artists Davide Balula, Bernard Piffaretti, and others while offering insight into the American scene, exhibiting artists such as Ja’Tovia Gary, Sheila Hicks, William Leavitt, Ari Marcopoulos, Kaz Oshiro, Mungo Thomson, and Blair Thurman. galeriefrankelbaz.com

SUSAN GOTT “Guardian”

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24 GALLERI URBANE Jessica Drenk’s Transmutations, featuring new work and new series, continues through Oct. 24. Next, the gallery will host solo exhibitions for Stephen D’Onofrio and Peter Frederiksen Oct. 24–Nov. 28. galleriurbane.com

"Autumn Reflections" by Ugalde

Oil on Panel

SOUTHWEST

GALLERY

4500 Sigma Rd. Dallas яБо 972.960.8935

W W W. S W G A L L E R Y. C O M

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NOTED: GALLERIES

25 GINGER FOX GALLERY The gallery features paintings by Ginger Fox and select artists. Open by appointment. gingerfox.myshopify.com 26 HOLLY JOHNSON GALLERY Back & Forth: Celebrating Women highlights artworks created by the distinguished women from the gallery roster through Nov. 14. Todd Camplin: Drawings, an exhibition of new works on paper and board opens Oct. 10 and continues through Dec. 19. Image: Todd Camplin, Falling Phrase Puzzle, 2020, 36 x 36 in. hollyjohnsongallery.com 27 KIRK HOPPER FINE ART Dallas Collects Roger Winter: Exhibiting major paintings from Dallas collectors will show Oct. 24–Nov. 28. KHFA’s online magazine, Passage, serves as a forum for insights, dialogues, and connections at passagevision.com. By appointment. kirkhopperfineart.com 28 KITTRELL/RIFFKIND ART GLASS Kittrell/Riffkind offers an array of glass sculpture, goblets, jewelry, scent bottles, paperweights, platters, wall art, and many other treasures and features an ever-changing selection of innovative work by over 300 contemporary glass artists. kittrellriffkind.com 29 LAURA RATHE FINE ART By appointment, work by Paul Rousso and Max Steven Grossman display Oct. 10–Nov. 13. Rousso uses heat infusion on polystyrene to create hyperrealistic, hypersized sculpture of everyday print objects. Grossman’s studies in the arts and engineering blend to mold photography into a study of reality and imagination. Next, work by Robert Mars and Stallman mount Nov. 21–Jan. 2. laurarathe.com 30 LILIANA BLOCH GALLERY Letitia Huckaby’s new body of work draws parallels between the racial strife preceding the passing of the 1964 Civil Rights Act and the current climate of division. 5 Paper Dolls: A Contemporary Tale, Oct. 17–Nov. 28, confronts the bombing of the 16th Street Baptist Church in Birmingham, Alabama in 1963. lilianablochgallery.com 31 MARTIN LAWRENCE GALLERIES Founded in 1975, MLG specializes in original paintings, sculpture, and limited-edition graphics. martinlawrence.com 32 PHOTOGRAPHS DO NOT BEND Past and Present: Photographs by Earlie Hudnall, Jr. shares the vibrant communities of color in Houston spanning 40 years, through Oct. 31. Through Nov., an online exhibit features ceramic artist and retired dean of the UNT College of Visual Arts and Design Robert Milnes. Open by appointment only. pdnbgallery.com 34

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19 33 SMU POLLOCK GALLERY A multisite exhibition at Pollock Gallery, the Trinity River, and Sweet Pass Sculpture Park, Healing Pieces: Offerings of Art, Expression and Nature explores the intersection of mass incarceration, environmentalism, and neighborhood development through art exhibits, performance and ritual arts, and presentations by thought leaders Oct. 22–Dec. 5. smu.edu/Meadows/AreasOfStudy/Art/PollockGallery 34 RO2 ART Brian K. Jones: ...and it burns, burns, burns and Alexander Paulus: Savior Energ y continue through Oct. 17 at The Cedars location. Joey Brock’s In America confronts societal norms, perceptions, and perspective biases through Oct. 31. James Talambas’ multimedia works will be on view Nov. 7–Dec. 5. Bumin Kim: Coalescence and Nicole Havekost: Felt Sense fill the gallery in The Cedars Oct. 24–Nov. 28. Image: Alexander Paulus, The Great Jeep Meetup in the Sky, 2020, acrylic on canvas, 20 x 24 in. Courtesy of the artist and Ro2 Art. ro2art.com 35 ROUGHTON GALLERIES Roughton Galleries features fine 19th- and 20th-century American and European paintings. roughtongalleries.com 36 SAMUEL LYNNE GALLERIES SLG presents Impossible Knots by Los Angeles native Brandon Boyd, who is famously recognized as the front man of the multiplatinum rock band Incubus, though he has been creating visual art since he was a child. This new body of work focuses on Boyd’s exploration of the nature of lines and what these miniature highways mean to him. samuellynne.com 37 SITE131 Due to current health concerns, SITE131 is temporarily closed. site131.com 38 SMINK Established in 1989, SMINK has become 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 39 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas’ largest collection of fine 19th- to 21st-century paintings and sculptures. The gallery is open during the pandemic; more information on hours and appointments may be found on their website. swgallery.com

9115 Devonshire Drive $3,495,000

41 40 TALLEY DUNN GALLERY In addition to Virtual Experience, an online directory of exhibitions, interviews, and articles, an exhibition for Leonardo Drew runs through Dec. 15. talleydunn.com 41 THE POWER STATION Full Length Mirror featuring Mathew Cerletty's hyperreal portrait opens Nov. 14. powerstationdallas.com 42 VALLEY HOUSE GALLERY On Being Human, through Oct. 31, is about people seen through the artist’s eye. On view Nov. 7 through Jan. 9, Estuary displays Sedrick Huckaby’s recent work investigating death in the Black community, diversity in the African American family, and the continuity of life. Image: Michael O’Keefe, Take a Second Look, 2020, edition 1/9, painted cast plaster, 24.5 x 19.81 x 14.18 in. valleyhouse.com

6809 Golf Drive $3,450,000

43 WAAS GALLERY On view Oct. 1–Dec. 31, EPHEMER AL, ephemeron melds the utility of light with sound, created in response to a specific site with the understanding that the art would eventually melt away. waasgallery.com. Place des Vosges #6 $2,900,000

44 WEBB GALLERY New work by Panacea Theriac and Mark Todd will be on view Oct. 4–Nov. 28. webbartgallery.com 45 WILLIAM CAMPBELL CONTEMPORARY ART Acqua Alta exhibits color-rich abstract paintings and collages by Fort Worth artist Julie Lazarus through Oct. 10. Jake Gilson’s works on paper will be on view Oct. 17–Nov. 14. williamcampbellcontemporaryart.com AUCTIONS 01 HERITAGE AUCTIONS HA slated auctions include: Autumn Luxury Accessories Signature Auction on Oct. 4, Fall Fine Jewelry Signature Auction on Oct. 4, Property of a Lady Auction on Oct. 4, Photographs Signature Auction on Oct. 6, Design Signature Auction on Oct. 13, Prints & Multiples Signature Auction on Oct. 20, and the Erté Art & Design Auction on Oct. 23. In Nov., the Urban Art Monthly Auction on Nov. 4, American Art Signature Auction on Nov. 6, Friday Night Jewels Auction on Nov. 6, Urban Art Signature Auction on Nov. 11, Fine & Decorative Arts Monthly Online Auction on Nov. 12, Prints & Multiples Monthly Auction on Nov. 18, and the Ethnographic Art American Indian, PreColumbian and Tribal Art Auction on Nov. 20. ha.com

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Angela Fraleigh, Our world swells like dawn, when the sun licks the water, 2019, oil and acrylic on canvas, triptych, 90 x 198 x 1.375 in. Courtesy the artist and Inman Gallery, Houston.

WORLDS CONCEIVED Concurrent exhibitions for Angela Fraleigh and Robyn O’Neil bring gravitas to Inman Gallery’s 30th Anniversary. INTERVIEW BY KERRY INMAN

ouston’s Inman Gallery, a Dallas Art Fair exhibitor, mounted two exhibitions in September to mark its 30th anniversary: IN PIECES ON FIRE by Robyn O’Neil, and Our world swells like dawn, when the sun licks the water by Angela Fraleigh. O’Neil’s graphite landscapes investigate the apocalypse and evolution within human conceptions of existence, conflict, and mortality. Fraleigh reframes the roles of women, imagining heroic status across mythical and historical figures in new narratives that plait realism and abstraction. The exhibitions present new bodies of work by each artist. Kerry Inman (KI): First, I am so thrilled to be celebrating our 30th birthday with you two. We have two blockbuster shows to share with the audience, both in person and online. Tell us a little bit about the titles for your shows. Angela Fraleigh (AF): My titles are often snippets from larger texts: poems, prose, little fragments I find while reading or researching. I then try to match them with the paintings and sculptures, so that when the title and artwork are paired, they might expand or create a richer narrative, open up possibilities for new meaning or context. Our world swells like dawn, when the sun licks the water is a fragment from Crystal Williams’ “The Voice of God” (2018), an extraordinary poem that touches on the ways in which the “divine” flowed through Aretha Franklin’s voice. The writer described Franklin’s voice as an “aggregation of the choruses of the natural world—all of their harmony, complexity, and distinctiveness,” and that resonated so deeply with what I was attempting to convey in my paintings. Robyn O’Neil (RON): The act of titling my drawings and exhibitions remains my favorite part of the entire process of making work. I have a lengthy procedure for landing on my titles. I usually write something simple and boring like “Trees” and go from there. I just

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start adding and subtracting until the emotional reverberation of the words matches with the image or exhibition. Sometimes this takes one attempt and other times it takes twelve pages of words until I get it right. This one happened to be easy. KI: You’ve both just closed museum exhibitions—Angie, your show at the Delaware Art Museum, and Robyn, your show at the Modern Art Museum of Fort Worth. We are lucky enough to be including work from those museum shows in each of your presentations at the gallery. Can you share with us how the museum shows affected you? Did they change your practice at all afterwards? AF: Well, my overarching practice is about how images influence what we believe—culturally, politically, personally. From the beginning, I’ve looked to art history, pop culture, film, speculative fiction, and personal experiences to question how cultural narratives are applied and structured, as well as who those images benefit and how. As my work shifted to incorporate figures from art history in more overt ways, it seemed a natural evolution for my practice to exhibit those works in direct dialogue with the time period from which I was painting. In that way my practice has become kind of “interventionist.” For the past few years, I’ve been fortunate to collaborate with curators in order to work directly with an institution’s collection, making work in response to invisible histories or dormant narratives. RON: Being able to see, for the first time, twenty years-worth of my work under one enormous roof was absolutely wild. I didn’t know this prior to the exhibition opening, but seeing all of these drawings together was something that I needed to understand exactly what I’ve been doing this entire time. Without it, it's the equivalent of looking at a drawing I’m working on from only two inches away and never stepping back to assess the piece properly before deciding it’s done. Artists don’t do that. We always step back and look. My professor and dear friend, the late painter Michael Miller, used to say

FAIR TRADE

Robyn O’Neil, The Dissolution Documents: Air Quality Unhealthy, 2018, graphite, colored pencil, and watercolor on paper, 50 x 90 in., 54 x 94 in. (framed). Courtesy of the artist and Inman Gallery, Houston.

being an artist is 90 percent looking and 10 percent making. Well, thanks to this exhibition at the Modern Art Museum of Fort Worth, I finally got that 90 percent. I’m forever grateful to Alison Hearst, the curator, for giving me that priceless gift. KI: You both have been doing a lot of research lately, which has informed this recent work. Can you tell us a little more about that? AF: Not only has my research led me to uncover many valuable stories and contributions made by women, but it has also led me into different modes of working—from creating delicate handmade flowers to large-scale immersive installations. Sometimes I’ll come across an object or particular idea through research that can’t live in that particular project but finds an outlet in a new body of work. That’s what happened with the large marbles on view at Inman. While researching for the Delaware Art Museum exhibition I came across several first-edition feminist texts from the 18th and 19th centuries with some interesting provenance and some unique marbled endpapers. For instance, a copy of A Vindication of the Rights of Woman by Mary Wollstonecraft featured an early 20th-century gift inscription to “Mrs. Horace Brock with Dr Henry Biddle’s respects and best wishes, January 1915,” possibly to one Mrs. Horace Brock, president of the Pennsylvania Association Opposed to Woman Suffrage. I love that this gorgeous marbled cover, from suffrage supporter Henry Biddle to antisuffragist Mrs. Brock, came

to represent something uniquely different to both of them—that something so benign as a marbled cover could come to be a stand-in for a revolutionary subversive text. The style of marbling utilized in these gigantic six-by-twelvefoot paintings is a Spanish moiré technique, to help highlight the pattern-disrupting nature of the works. This notion of subversive décor becomes a tool to explore how images and ideas intersect and inform one another and experiments with how the transmission of ideologies happen and how. RON: Research—another favorite part of my process. The research has technically been going on forever. I grew up in Nebraska and Texas, so tornado alley. I’ve been staring at the sky since about birth. In high school, I became a volunteer weather watcher for CBS 11 in Dallas/Fort Worth. I took the highs and lows (and rain gauge measurements) every day up until I left Texas for graduate school. So that sort of set the stage. I’ve also simultaneously been compiling endless lists of clouds from art history, TV, movies, poetry, and literature in hopes of one day creating a huge anthology—a book celebrating these storms. So it was natural that my work started directly referencing these images and moments. On view by appointment through Saturday, October 31. inmangallery.com. P

Robyn O'Neil. Courtesy of the artist.

Angela Fraleigh. Courtesy of the artist.

OCTOBER / NOVEMBER 2020

REALITY CHECK Mathew Cerlettyâ&#x20AC;&#x2122;s precisely rendered pop paintings bring authenticity to idealized household objects. BY TERRI PROVENCAL

Mathew Cerletty, Bashful Lilac, 2019, oil on linen, 51.25 x 51.25 in.

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CONTEMPORARIES

Clockwise from left: Mathew Cerletty with Workforce, 2018, oil on linen, 60 x 60 in.; Youth Vengeance, 2019, oil on linen, 48 x 48 in.; Red Shovel, 2019, oil on linen, 84 x 36 in.; Returns and Exchanges, 2015, oil on linen, 46 x 46 in.

athew Cerletty is balancing a four-month-old baby with a painting practice that requires the hyperrealism he is known for. The artist doesn’t seem to mind the juggling act though, or the slower pace brought on by the pandemic. “In a weird way, it’s been sort of nice,” he says. Born west of Milwaukee in Wauwatosa, Wisconsin, in the Menomonee Valley (former Dallas Maverick point guard Devin Harris is also from the area), Cerletty says, “Becoming an artist was lucky because it wasn’t a path I could see clearly where I grew up. But my parents were open and supported my interest, and possibilities expanded little by little.” Ultimately landing in the Big Apple, he says, “I was always drawn to cities as a kid, and I kind of worked my way up to New York City. I went to college in Boston and then lived in San Francisco for a year. I moved to New York in 2003, after I started showing my work there with a youthful gallery called Rivington Arms.” The Boston University College of Fine Arts, where he studied and where “representational was encouraged, abstract was not,” urged him toward a career as a portrait artist. Using friends and family for his hyperreal portraiture, he recalls, “When I was younger, I couldn’t imagine doing a painting that didn’t include a person. So it felt daring the first time I did it.” Following his move to New York, Cerletty says, his portrait work initially continued, “but my sense of the possibilities of painting expanded so rapidly,” and spurred him to try new things. “In retrospect, I think the people in my paintings started to feel unnecessary, like a third wheel. The people in the work had become me and the viewer, and we didn’t need to be depicted.” For several years now the artist has replaced friends and family with objects as his sitters.

OCTOBER / NOVEMBER 2020

Clockwise from left: Mathew Cerletty, Manila Envelopes, 2020, oil on linen, 58.25 x 56.25 in.; Mut(u)ate; Unity, 2017, oil on linen, 43 x 43 in.; You’re the One, 2019, oil on linen, 48 x 48. in.

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Today’s call finds the painter preparing for the solo show Full Length Mirror at The Power Station, a nonprofit art initiative envisaged by Alden Pinnell. “I’ve been doing these commercial photography/stock image paintings of idealized household objects. They’re pop portraits isolated on single-color backgrounds” he describes as “context-free spaces, depersonalized to leave room for the viewer.” Attracted to the “imposing personality and texture” of The Power Station and its utilitarian origins as the circa 1920 Dallas Power & Light Building, he loved the idea of bringing his paintings to the space. “This group was conceived with the idea in mind that the exhibition space itself would complete the work and give the lonely objects a home.” W hile viewers may be tempted to ascribe Duchampian readymades “visual indifference” to Cerletty’s work, they would be mistaken, for Cerletty approaches the banality with tenderness and sincerity. “I think being a Midwesterner adds a certain level of earnestness to my approach,” he muses. And unlike Belgian surrealist René Magritte, who framed ordinary objects in impossible milieus, such as The Listener in the Menil Collection; or mislabeled, like The Treachery of images (This is not a pipe) a combination of image and text at the Los Angeles County Museum of Art, Cerletty brings self-awareness to the overlooked objects, often positioning them as a person might pose for a yearbook photo; Mut(u)ate Unity is a nice example. There is a ready-made fondness in much of the work, like You’re The One and Bashful Lilac—the latter so hyperreal it appears to be a photograph from the stuffed toy’s maker, Jellycat. Cerletty painted the piece about a year before his son was born. “Maybe it’s about anticipation of impending parenthood,” he suggests. He plans to keep Bashful Lilac, so in essence the painting is “a gift to the baby,” though it will be on view at The Power Station for about six months. Pink Pelvis, a painting he hadn’t yet completed as of press time, developed when his baby boy was born in May, at the height of

CONTEMPORARIES COVID in New York City. Cerletty and his girlfriend “took baby classes in the lead-up, with lots of charts. Those experiences helped me recognize the potential of this image.” His image selection is unmistakably chosen through the painter’s eye. “It’s about finding subjects that are well suited to showcase painting itself and feel open to multifaceted interpretation. Because paintings are supposed to be ‘special,’ it feels right for the subjects to undercut those expectations, at least at first. I believe in painting, and I’m proud to be part of the tradition.” Many objects, like Manila Envelopes, though executed beautifully, may seem mundane at first glance. The artist hopes, however, the viewer adds meaning. “They can contain material that runs the full range of significance, from divorce papers, birth certificates, a deed to a new house, all the way down to the most tedious paperwork.” The envelopes “possess an unexpected visual punch with their unusual color, that pale ochre that’s instantly recognizable but also a bit odd and specific. And the small clasp, shiny metal being a classic vehicle for painting to show off.” Cerletty clearly enjoys his mastery. “I get a kick out of defying my own expectations. They are labor intensive and technical.” Viewing brings a sense of melancholy to much of the work, “Life is fundamentally heartbreaking. There’s a ‘Rosebud’ quality to these objects. And hopefully there’s humor too, but I wouldn’t use the phrase tongue-in-cheek. I know painting a jet ski is funny, but hopefully it’s more than that too. Making these paintings takes a long time, so I really have to care.” In a nod to the modern crisis, Context, included in the show, sprung out of a mindful, socially distant Zoom call with his parents, whose inexperience resulted in their faces completely absent from the frame in favor of the crown molding around a ceiling corner, offering evidence of things seen. A drawing of a vent is also included in the show. The artist looks forward to his solo show opening November 14. “It’s really fun to think about the original purpose of the building, now generating art power,” he says, adding, “Alden deserves credit for that. And hopefully that history will now give a few more household objects a little extra life.” P

Mathew Cerletty, Dry, 2020, oil on linen, 69.25 x 52 in.

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INSTINCTIVE GESTURES Riccardo Bargellini nurtures artistic talents at L’Atelier Blu Cammello in Livorno, Italy. BY CHRIS BYRNE

Above: Exterior view of L’Atelier Blu Cammello in Livorno, Italy. Photograph by Tommaso Barsali. Right: Riccardo Bargellini director L’Atelier Blu Cammello. Courtesy of L’Atelier Blu Cammello. Photograph by Lorenzo Gennari.

n the mid ’90s, the Italian government executed the provisions of the law known worldwide as Legge Basaglia (also Law 180), from the surname of the Italian psychiatrist who led a political and medical battle during the ’60s to close the psychiatric hospitals. In this context, in 1994, Livorno opened the Centro Residenziale Franco Basaglia district, and through that initiative, Riccardo Bargellini founded L’Atelier Blue Cammello. Chris Byrne (CB): Can you tell us about the history of Centro Basaglia? Riccardo Bargellini (RB): In 1999, I proposed to the director of the center, psychiatrist Ivana Bianco, to create two ateliers, one for residents at Centro Basaglia and the other for those who no longer lived in the psychiatric hospitals. This way I had a unique opportunity to interact personally and creatively with some of the last people who had lived in the Manicomio, and to discover younger artists like Alessandra Michelangelo, Manuela Sagona and Riccardo Sevieri, who lived in other structures of the department of mental health. I have to clarify that as a coordinator and director of the two ateliers, my methodology has been identical, starting from observation, continuous listening to patients, and trying to understand their personal artistic preferences to stimulating their natural attitudes to empower them to a higher productive level and a more self-conscious, intense participation.

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CB: When I visited with Pierre Muelle, the former director of MADmusée in Liège, Belgium, we had lunch with you and the residents each day. RB: The typical life of patients and residents is a consequence of the highly professional operators and of the artistic and cultural project called PAC180, which is about inhabiting a place of healing. During the first weekend of July, since 1996, I coordinate a two-day event in which everyone is included, residents and nonresidents—musicians, performers, poets, artists, and a vast public of spectators. The Centro Basaglia is not only fully open all year, when everyone can enter or leave, but also people with no direct relationship to the center are invited and encouraged to enter it. This way, they can understand that those open doors are not barriers in any way, and that mental disease does not affect the meaning of the word “person.” Thus every year at Centro Basaglia we renew this community, where artists from all countries and creative paths have the opportunity to meet, stay together for a short period of time, and express their artistic feelings while respecting a place where people reside all year long. For the invited artists this represents a challenge, which in the end is always rewarding because their creative contribution makes the Centro Basaglia a unique place. After 40 years of Law 180, the ideas of Franco Basaglia are not gone with him, even if more and more frequently the law is under attack— never completely applied and, of course, the result of a political

CONTEMPORARIES Alessandra Michelangelo at L’Atelier Blu Cammello, 2008, Livorno, Italy. Photograph by Tommaso Barsali.

Artistic installation in the PAC 180 park outside Centro Basaglia in Livorno. Photograph by Tommaso Barsali.

Franco Bellucci, Mad Musée Liegi, 2007. Photograph by Tommaso Barsali.

Alessandra Michelangelo, gessetti e lapis su cartoncino nero, 2008, chalk and colored pencil on cardboard,12.67 x 9.50 in. Collection of Kelly Colasanti, New York. Photograph by Scott Newton.

compromise, so always improvable. CB: Several of the artists’ work has gained recognition with contemporary curators, gallerists, and artists. Franco Bellucci (1945-2020) exhibited with Christian Berst in Paris, and the painters Eddie Martinez and Austin Eddy collect Alessandra Michelangelo’s drawings. Alessandra’s drawings were also included in groups shows at Dallas’ Site 131 and Kirk Hopper Fine Art... RB: The international recognition received by “my” artists makes me very proud and somehow reinforces the effort during these years, and it has helped dismantle the common stigmatization of artists living with mental disease; now they are only [considered] international artists. Alessandra Michelangelo, Franco Bellucci, Manuela Sagona, and others will be remembered only for the art they create. As a coordinator and director of the atelier these last 20 years, I have seen many things change. I have frequent requests from the international community of outsider art. At the beginning of this year, during the exhibition of Carlo Zinelli’s monographic work, I was invited by the staff of Art Brut museum in Lausanne to speak about the story of L’Atelier Blu Cammello in an exchange with the story of the atelier of the psychiatric hospital San Giacomo d Tomba in Verona, where the Scottish artist Michael Noble directed Carlo Zinelli in the ’60s. This was really rewarding for me as an example of the constant relationship with curators and gallerists.

CB: What upcoming projects can we look forward to? RB: I was invited by the Outsider Art Festival in Italy to curate, together with the artist Tea Taramino, a publication dedicated to irregular Italian art, to be accompanied by an exhibition at Accademia delle Belle Arti in Bologna. In this publication we have selected 16 artists, historical and contemporary, divided in four sections. We have included two artists from Atelier Blu Cammello: Giga (Giancarlo Galatolo), a contemporary artist, recalling with a personal dreamlike style the punk fanzines of the ’70s, and Alessandra Michelangelo, whose series of pencil and pastel drawings on black paper, done in the last years of his life, are full of void and matter, thought and unthought, of essence and irreality. In the near future, Galerie Christian Berst in Paris will exhibit a new solo exhibit of Franco Bellucci sculptures, who recently passed at 75 years. Mani di Sun Ra, drawings by Manuela Sagona, will be included in the exhibition curated by Pierre Muelle for the Museum Dr. Guislain in Belgium. Next spring, during the exhibition L’habit habité, curated by Elisa Fulco and Teresa Maranzano, a series of sculptures by me and Franco Bellucci, with the title Capita-capitola and centered on the economic crisis of the shoe manufacturing industry in Italy, will be displayed. Finally, we have started an open painting project with the contemporary artist Flavio Favelli, who will work in collaboration with Manuela Sagona. P

OCTOBER / NOVEMBER 2020

CONTEMPORARIES

NOW, MORE THAN EVER

Business Council for the Arts’ annual Obelisk Awards celebrate the symbiosis of North Texas business and nonprofits, and in 2020, it’s critical. BY STEVE CARTER

t’s been 32 years since Raymond Nasher founded the Business Council for the Arts, a win/win initiative that’s been facilitating partnerships between area businesses and arts organizations ever since. With a current roster of 70-plus member companies, benefiting 300-plus nonprofits, BCA’s contributions to the North Texas arts/cultural landscape is enormous. Small wonder, then, that every November, BCA pauses to recognize and celebrate the year’s vital accomplishments with its annual Obelisk Awards. As awards events go, the Obelisk is unique, with nonprofit beneficiaries nominating business benefactors, and benefactors nominating arts organizations. Winning honorees are recognized in seven categories: Business Champion for the Arts, Outstanding Leadership Arts Alumnus, Visionary Nonprofit Arts Leader, Arts Education, Distinguished Cultural Organization, Arts Partnerships, and New Initiatives, as well as a Lifetime Achievement award in select years. But in its long history, this year’s Obelisk Awards ceremony will be a first: a virtual celebration on Tuesday, November 17, with an 11:30 a.m. pre-event followed by presentations from noon to 1:00 p.m. (It was originally scheduled for the Fairmont’s International Ballroom, but the pandemic had other ideas.) The theme of this year’s awards is “State of the Arts,” and Katherine Wagner, BCA’s CEO is pumped. “At the end of the day, the Obelisk Awards has two purposes: One, we are honoring and recognizing those that have been exemplary, great examples for others in the business world; and then what we also want is for others to learn from these businesses.” Co-chairs this year are Mimi Crume Sterling, Neiman Marcus Group Vice President of Corporate Culture and Philanthropy, and renowned architect Cari K. Walls, AIA, principal at MDW Studio; they’re also among nine other jurists. This year’s crop of winners comprises a formidable A-list of benefactors and beneficiaries. Here’s a sampling: 2020’s Business Champion for the Arts is Sanjiv Yajnik, president of Capital One’s financial services and the Dallas

Symphony Association’s chairman of the board of governors; he was nominated by the DSO. BCA’s Katherine Wagner enthuses, “Sanjiv is just a really great exemplar of business support of the arts, both as an individual and also in really pushing his company to support the arts, and creativity, and innovation as much as they can, both internal and external.” Next, drum roll please for this year’s Visionary Nonprofit Arts Leader, Margie J. Reese, nominated jointly by the African American Museum of Dallas and SLDcreative. “Margie Reese was the head of what’s now the Office of Arts and Culture, which used to be called the Office of Cultural Affairs in Dallas,” Wagner says. “She’s phenomenal—she’s someone who has a national presence, especially in the areas of arts education and diversity in the arts. Margie’s iconic.” 2020 happens to be a year that features a Lifetime Achievement honoree, and this time it’s Dr. Dennis Kratz, nominated by UTD’s School of Arts and Humanities. And the school should know, since Kratz was its dean for 22 years. He’s now the university’s associate provost and founding director of its Center for Asian Studies. His career is the stuff of legend, including founding new degree programs, research centers, and the very first Confucius Institute in Texas, among many other milestones. Wagner rhapsodizes, “He’s brilliant. He’s completely brilliant.” Distinguished Cultural Organization kudos go to the Dallas Chamber Symphony and Founder/Artistic Director/Conductor Richard McKay, nominated by the law firm of Bell Nunnally and Martin LLP. DCS’s laurels include 30-plus commissions and premieres of new works, and it’s the city’s only professional chamber orchestra. And the Arts Partnerships (large) Obelisk goes to Frost Bank, nominated by the Nasher Sculpture Center, which is a longterm beneficiary of Frost Bank’s largesse. Now, more than ever, businesses partnering with the arts—the envelope, please… P

From left: Dr. Dennis Kratz will be honored with the Lifetime Achievement Award. Photograph courtesy of the University of Texas at Dallas; Capital One’s President of Financial Services, Sanjiv Yajnik, is this year’s Business Champion for the Arts honoree. Photograph courtesy of the Dallas Symphony Orchestra; Margie J. Reese, principle MJR Partners-Arts Management Services and Obelisk Visionary Nonprofit Arts Leader honoree. Photograph by Turk Studio.

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Photography by Holger Obenaus Jason Willaford, â&#x20AC;&#x153;Summer Produceâ&#x20AC;? 2019

interior design + art 6215 Royal Crest Dr, Dallas, TX 75230

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Letitia Huckaby with her work Sister Rebecca, 2014, pigment print on fabric, 48 x 72 in.

VOICES RAISED

Fort Worth–based artist Letitia Huckaby fortifies women-of-color narratives in two poignant new series. BY AJA MARTIN PHOTOGRAPHS BY CHRIS PLAVIDAL

etitia Huckaby’s practice is thriving—despite it all. Along with the recent acquisition of three of her works by the Crystal Bridges Museum of American Art and concurrent gallery, public, and online exhibitions, 2020 also entailed the creation of various new series. The German-born artist’s most recent work will debut at Liliana Bloch Gallery in 5 Paper Dolls: A Contemporary Tale October 17 thru November 28. Despite Huckaby’s impressive productivity, her year has been a tumultuous one, as for all of us. And rather than use her practice and studio as a space for retreat, Huckaby, in her most recent

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STUDIO works, faces down life-threatening issues: the continued and acute oppression of Black people in America and around the world, and the twin pandemic that is Sars-2/COVID-19. And that’s not all: Huckaby, as if desiring to see things all fall down, dares evoke the centuries-long terror and violence meted out to unsuspecting, undeserving individuals. The memory/history most pressing on Huckaby’s mind at present is the murder of 11-year-old Carol Denise McNair along with Addie Mae Collins, Cynthia Wesley, and Carole Robertson, all aged 14. These little girls died on September 15, 1963, when a group of four white supremacists bombed the 16th Street Baptist Church in Birmingham, Alabama. Addie Mae’s younger sister, Sarah Rudolph Collins, known as the “fifth little girl,” survived, with one eye lost to the darkness. As an act of self-care, and care for the deceased, I write (and say aloud) their names. In that same vein, I do not pretend to possess the training to write here about the trauma, victim, or terrorism theories that would undoubtedly reveal much more about this series. Nor will I detract from the work of scholars who dedicate their lives to this form of intense and often personal research. From my own position of care, where silence acts more like deliberate nonspeech, I touch on one of the tensions present in the Paper Dolls series as it relates to another series crafted this year, the Suffer Rage works. In a number of Huckaby’s works from Paper Dolls, young girls don the (all-too-political) face mask. Whereas in the world, the mask is for protecting one another from a virus, here, these solid-black face masks, as symbols, work in myriad ways. They evoke silence, but not a chosen silence like mine. These masked and voiceless faces were brutally, prematurely silenced by others. Ultimately, given their outwardness, the mask emerges in Huckaby’s series as a powerful and multivalent symbol. In the artist’s photographic representations, the mask quietly urges a culture of care and reminds us how the Black community, who die of the virus at higher rates than any other American demographic, must cope with these overt and covert threats to our well-being. And so we, as and like Americans for centuries, continue the struggle and speak up, speak out. Manifesting the kinds of works that come out of traumatic moments like the 16th Street bombing—

Two untitled works from Letitia Huckaby’s 5 Paper Dolls, 2020 pigment print on fabric framed in embroidery hoop, 27.5 x 20 in. each.

Studio view.

OCTOBER / NOVEMBER 2020

From left: Letitia Huckaby, Kijana Martin: Fear of Beauty, 2019, pigment print on vintage flour sack, 29 x 14 in.; Sanah’s 3 Cents, 2019, pigment print on vintage sugar sack, 33 x 18 in.; Valerie’s Voice!, 2019, pigment print on vintage sugar sack, 35.5 x 17 in.; Vicki Meek: What We Need!, 2018, pigment print on vintage sugar sack, 32.5 x 18 in.

or the murders of Breonna Taylor, George Floyd, Philando Castille, Michael Brown, and countless others—Huckaby realized the Suffer Rage series. It is Huckaby’s most journalistic portrait series yet. Starting from the term “suffrage,” Huckaby asked sitters to consider both its definitions: the right to vote and an incremental prayer. She shows us how the two are entwined. The women in Huckaby’s series float in abstract or ready-made spaces reminiscent of the midcentury Jim Crow era, but their signs firmly ground them in the present. These decommissioned vessels, rather than containers for anonymously sourced raw materials, now work in the service of protest speech, one of our most fundamental rights. Huckaby draws the protest language written on the signs by the woman sitter of each portrait in parallel with the ultimate form of political speech: the vote. Huckaby’s choice of support, the surface she prints on, draws the commodity realm into play, complicating the matter further. A reminder that speech has a peculiar relationship to commodities, currency, and the economic system more generally, Huckaby reuses old cotton-picking sacks, identifiable by their long, narrow forms without labels, as well as bags used to transport bulk food items. “WHITE SATIN SUGAR” sack, “100LBS NET WEIGHT,” from “THE AMALGAMATED SUGAR COMPANY,” in “OGDEN, UTAH,” are spelled out across the work Valerie (2020). The faded red-and-blue logo interacts with the pair of sitters in an ambiguous fashion. It’s not apparent which image has gone down first. The sitter, Valerie, looks down at her daughter, who leans reluctantly into

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her side. They stand just above the stacked text at the bottom of the bag, with “NET WEIGHT” just at Valerie’s feet, like a sort of scale. “FINE” and “GRANULATED” runs across the sitter’s chest, marking not the sack’s one-time contents, but instead seeming to refer to Valerie herself. The younger sitter tilts her head curiously and escapes the printed text, but for a small portion of the “D” in granulated. And while the contemporary photograph manages to pull the fabric bag into the present moment/movement for equality, in an instant the subjects are re-encoded into the past, and its past before that, until the sitters themselves and the emptied contents are commodified. We witness the collapse of contemporary subjects into history because these works collapse time. This elusive, intangible medium, time, is always at play in photography, but it’s one of Huckaby’s playthings, one of her tools for discovery, and a property on which her works turn. The passage of time was in the air as the artist began to fathom this series while an artist-in-residence in Peccioli, Tuscany. Beginning as a plan to work with recordings of morning bird calls Huckaby awoke to and recorded each morning, the sound piece transformed into an investigation of women’s voices, particularly, the phenomenon of high pitch. Huckaby realized that women’s screams held a kind of power, that women brought to screaming wield a specific power. This all came into focus for the artist with her almost accidental realization that most scientific recordings of bird calls feature males of the species only.

STUDIO And from this perhaps trivial discovery of male preference in bird call recordings, we can come to understand the relationship between Huckaby’s series title, Suffer Rage, and the polyvalent term, “suffrage.” Huckaby trains our gaze and hers on the centennial anniversary of the 19th Amendment, which gave women the right to vote in 1920. It is for this reason that the series features only women—nineteen of them, in fact. In Sugar and Spice, which continues the multigenerational trend we saw in Valerie, Huckaby photographs her own daughter, Hallie, standing in profile—not unusual in portraiture. Her spray-painted protest sign rests on her shoulder; the word “Enough” arcs above her. Contemplative or discouraged, her pose reiterates the text. Huckaby crafted the sign based on a phrase, or suffrage, that Yolanda King exclaimed in 2018 after 17 children were murdered by a well-armed shooter. Shouting “I have a dream that enough is enough…” into the microphone at a nationally televised rally for gun control, Martin Luther King’s granddaughter, aged 12, inspired a new, younger generation by raising her voice alongside those of her peers. The sitter in Sugar and Spice, however, also brings along historical significance of her own. She happens to share her name with Hallie Quinn Brown, professor, author, and early suffragette. A speaker at the Cleveland Republican Convention, Brown was one of the earliest activists to agitate for the vote—but for Brown, the cries were necessarily on behalf of all women, since she was Black. It is impossible to paper over the fact that Black women do not celebrate the centennial of the right to vote, but instead celebrate about half that, fifty-five years. Only after the civil rights movement, and an intense period of protest, of public suffrage, were Black women afforded their right to cast a ballot. We come to understand why Huckaby has directed her attention to women of color. These photographs of female artists from across North America, in true documentary fashion, endeavor to find something out about the cultural shift we are experiencing as a nation, and attempt to record the sounds in the air, no longer rarified. Pivoting from the exploration of her private worlds in past series, Huckaby has activated her practice as a platform to raise women’s voices. P

Letitia Huckaby, Andrea Tosten: Mushrooms & Weeds, 2018, pigment print on vintage flour sack, 36.5 x 22 in.

Virtual and Live Events We Create Winning Results Wishing a Happy 9th Anniversary to PATRON rscshow.com

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SPACE

Eggersmann design team works in concert to bring drama to a kitchen designed by 212box.

GOURMET THEATER Eggersmann works in concert with 212box to bring German finesse to an avant-garde kitchen. BY TERRI PROVENCAL

“W

e are the backdrop,” says Evan Soltoff, referring to a theatrical-style kitchen designed by 212box. As vice president of operations for Eggersmann USA, Soltoff is accustomed to executing the needs of the most discerning clientele. He and designer Micky Nguyen worked directly with the developer of Arabella, a beautifully appointed high-rise in Houston, to outfit the all-luxury units with the German brand’s kitchen designs. They have worked with the developer Randall Davis before. “They knew how we executed. With a high-rise you really need to know how to sequence properly,” says Soltoff. Working with designer Eric Clough and architect Eun Sun Chun, principals of 212box and designers of Christian Louboutin

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stores, also proved to be a seamless affair. Soltoff and Nguyen know just what it takes to complement the overall design vision. For a custom unit within Arabella, Clough and Chun created a theatrical kitchen open to the living and dining rooms, incorporating their signature avant-garde materials. The ceiling adds to the tableau effect with custom wood tiles from a Japanese screen maker. The whiteveined Calacatta black marble plays to the drama. Eggersmann’s high-gloss cabinetry with under-cabinet lighting and Gaggenau appliances bring understated balance to the home’s epicenter, while Acrylux Anthracite brings a touch of metallic sparkle. All Eggersmann projects are “built from the client experience,” Soltoff sums up. “We offer a huge choice of options and finishes; our adage is ‘materials as unique as the owner’s fingerprints.’” P

PICTURING CHANGE Area museums evolve in response to the ongoing pandemic and call for cultural equity. BY LEE CULLUM

Carrie Mae Weems, RESIST COVID/TAKE 6! billboard project. Photograph by Nitashia Johnson.

“A 52

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nd the people stayed home. And they listened more deeply. Some meditated, some prayed, some danced. Some met their shadows. And the people began to think differently.”

So wrote Kitty O’Meara in People Stayed Home, and John Corigliano set that poem to music for Renee Fleming, the star soprano who premiered it in a live online concert for the Metropolitan Opera. The people are still at home to a considerable extent. The question is, when will they venture forth again? And how far afield will they go? And where? The answers are of urgent interest to museum directors, some of whom see their enterprises sinking beneath the waves, drowning in an angry sea of fear, indifference, and lives subject to radical revision. Indeed, a survey by the American Alliance of Museums has predicted that one-third of these institutions could disappear, ravaged by the novel coronavirus. “It will take 18 months for this blow to be fully felt,” says Dr. Andrew Walker, director of the Amon Carter Museum of American Art in Fort Worth. Only then will this new reality “come to the fore,” he says. Dr. Marla Price, who runs the Modern Art Museum of Fort Worth across the street, sees it differently: “I’m surprised at the speculation that some arts organizations won’t survive,” she observes. “It’s too soon to tell.” Price seems to be one of those leaders who doesn’t show her hand until she has to. Neither optimistic nor pessimistic, she watches. She Carrie Mae Weems, Untitled (Woman standing), 1990, gelatin silver print, 27.25 x 27 in. Modern Art Museum of Fort Worth purchase made possible by a grant from The Burnett Foundation. Courtesy of the Modern. Dr. Marla Price, director of the Modern Art Museum of Fort Worth. Photograph by David Woo. Courtesy of the Modern.

Dr. marla price

modern art museum of fort worth

OCTOBER / NOVEMBER 2020

Dr. andrew walker

Amon Carter Museum of American Art

Dr. Andrew Walker, director of the Amon Carter Museum of American Art.

waits. And when the moment comes to move, she’s decisive, clear without commotion, firm without fanfare. In the current moment, she admits, with no preamble, it’s “very difficult to manage staff.” The Modern reopened the first of July, resuming a terrific show of Mark Bradford, with “the virus still raging,” Price recalls, and colleagues who could not come to work because they had no place to leave their children. Daycare had “evaporated,” she says. “Half the staff was affected.” And, she explains, high “levels of anxiety” where “everything is uncertain,” with “no schedule to grab on to” that might chart a course for the virus and a vaccine to combat it. “There’s so much talk,” Price elaborates. “It’s hard to puzzle it out. No one is ready for large distribution of a vaccine.” Even so, the Amon Carter returned to life Juneteenth, and the Kimbell Art Museum, in the same cultural district as the other two, a day later, with attendance at about 80 percent of what might have been expected without the COVID-19 summer of our discontent— far higher than at any other major museum in Fort Worth or Dallas,

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where it hovered closer to 10 or 20 percent. That’s because of the Capodimonte show of masterworks from Naples—Titian, Raphael, El Greco, and the like. “We opened right before the big Texas spike,” reports the Kimbell’s director, Dr. Eric Lee. “It would have been harder after that.” Like all museum managements, Lee and his people have knocked themselves out to create a space that is trustworthy and safe. No crowds are allowed in the galleries. If too many congregate, guards will close the entrance and guide people into a line to wait. That has not happened thus far, but Lee anticipates it will during the Queen Nefertari’s Eg ypt show that opens in November; fans of the Kimbell are crazy for Egypt. While Walker, Price, and Lee have the assurance, however shaken, of their well-endowed institutions, heads of museums in the Dallas Arts District have perhaps suffered more than their friends in Fort Worth from the loss of revenue usually budgeted from box office, parking, shops and food service (both now open in some

museums but not others), fees for renting facilities, and galas. The Nasher Sculpture Center and the Crow Museum of Asian Art had windows smashed during the protests following the murder of George Floyd in Minneapolis. The Perot Museum of Nature and Science was vandalized the same weekend. Amy Lewis Hofland, executive director of the Crow, points out that the windows of the Lotus Shop were attacked by “rioters from out of town, not [local] protesters.” They were drawn to the retail operation, she is convinced, not the art itself, which suffered no damage, though the store certainly did. However, security guards at the Trammell Crow Center, home to the museum, were quick to subdue the intruders and police arrived as well, having hitherto been diverted to other venues that eventful Saturday night. As for the Nasher, director Jeremy Strick was left with a window shattered and the admonition, as he stressed to me, that “the chickens are coming home to roost.” “…[ T ]his incident,” he wrote of the broken glass at his

museum, “pales to insignificance when placed in the context of an overwhelming and ongoing history of institutionalized racial violence, inequality, injustice… At the Nasher, as much as we hope for the cessation of violence and a return to peace, we recognize that peace without justice is no peace at all… Out of this moment of grief and pain will come new resolve to right a multitude of wrongs, and the actions to do so.” The Nasher listed ten organizations its members might support in the necessary effort ahead, from Black Lives Matter to the American Civil Liberties Union to the Southern Poverty Law Center. A day before, Dr. Agustín Arteaga, the executive director of the Dallas Museum of Art, expressed the same determination “to seek, create, and share opportunities that address these crucial issues within our community, serving as a space of dialogue, listening, reflection, and action.” Action! That’s what is required of all museums in this perilous moment. This was made clear on Instagram’s #changethemuseum,

Dr. eric M. lee

kimbell art museum

Left: Court Lady, probably Shaanxi province, China, Tang dynasty, first half of the 8th century AD, gray earthenware with painted polychrome decoration. Kimbell Art Museum, Fort Worth, Texas. Above: Dr. Eric M. Lee, director of the Kimbell Art Museum. Photograph by Robert LaPrelle.

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Façade of a residence, North India, Rajasthan Mughal period (1526–1857), 18th century, red sandstone carved in jali and half-jali techniques, 144 x 18 x 336 in. Courtesy of the Crow Museum of Asian Art of The University of Texas at Dallas.

Amy Lewis Hofland, executive director of the Crow Museum of Asian Art of the University of Texas at Dallas, meditates in the museum’s galleries. Photograph by Can Turkyilmaz.

where hundreds of people who work or have worked at these sanctuaries across the globe for the good, the true, and the beautiful have posted bitter complaints. Some relate the sting of racism:As the museum’s staff was developing an exhibition and speaker series on the history of slavery, the president of the board took me aside to say, “those negroes will never be happy. Slavery is in the past. Get over it. What else do they want from us?” Others lament the lack of opportunity to showcase cultures seldom seen: For a number of years mid-level employees like me and also some more junior employees have been suggesting projects that would allow us to surface and amplify marginalized voices from art and cultural history, and present smart but accessible offerings for visitors and non-specialists to accompany some of the more scholarly projects we sponsor. These projects have been consistently turned down and often denigrated by the largely white curatorial and administrative gatekeepers. Now some of these gatekeepers are scrambling to try to develop such projects… So the demands on museum directors are escalating well beyond COVID-19. Indeed, when I interviewed Strick by phone for this piece, he had just gotten off a Zoom meeting with counterparts to discuss how to handle tough situations relating to Black Lives Matter. It’s not just a case of sensitivity training, though that would help, or diversifying boards, staff, acquisitions, and exhibitions. It also involves authority for curators and educators once hired. How much latitude do they have to develop their own ideas?

amy hofland crow museum of asian art

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These are not trivial matters. Nor do they reside outside the scope of daily operations. They may be beyond the canon established over generations by arbiters of taste. But they are pulling the art world apart and forcing reappraisals of patterns long thought to be sacrosanct and therefore assured of survival. The new day may upset donors—no trivial matter either—and donors doth make cowards of us all. However, it raises inescapable questions that museums have no choice but to answer. That is made all the more difficult by the fact that museums today cannot even define themselves. The International Council of Museums, based in Paris, tried, but the result produced only howls and resignations. Here, according to the New York Times, is what the committee came up with: “Museums are democratizing, inclusive and polyphonic spaces for critical dialogue about the pasts and futures. [They work] with and for diverse communities [and aim] to contribute to human dignity and social justice, global equality, and

planetary well-being.” Talk about polyphonic. With plenty of voices in opposition, a vote on this proposal has been postponed. It’s all part of what the head of the Autry Museum of the American West, quoted in the Times, called “transformational earth-moving changes that are taking place in museums.” He too resigned from the committee, but none of this turmoil touches the crucial issue of how to adapt to turbulent times. Some are not ready to eject art from the idea of an art museum. To Price, the “basic principle is that people interested in art should come together in the same space.” For Michael Thomas, director of the Edith O’Donnell Institute of Art History (EODIAH) at the University of Texas at Dallas, “Art is made for experience in person. It’s better in person. Standing in front of a work of art makes the experience possible.” In addition to running EODIAH, Thomas is teaching a course

Jeremy Strick, director of the Nasher Sculpture Center. Photograph by Allison V. Smith.

jeremy strick nasher sculpture center

Xxavier Edward Carter, Start Livin’ in the New World, 2020, tree limb, paper, flier, receipts, mail, varied paper, installation view. Courtesy of Nasher Sculpture Center.

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Peter Doroshenko, executive director of the Dallas Contemporary. Photograph by Kevin Todora. Courtesy of the Dallas Contemporary.

on Pompeii, a demanding assignment, he says, since he’s doing it online, and spearheading The Athenaeum, a monumental project created by Rick Brettell in his last years. Designed by Thom Mayne, architect of the Perot Museum, and anchored by a central building with offices, a library, and a reading room to honor Brettell, the complex also envisions gardens and three new, small, jewel-like museums: the Crow, which will keep its Arts District address though acquired by UTDallas; the Barrett Museum of Swiss Art; and a Latin American creation housing the Mexican folk art collections of Roger Horchow and Laura and Dan Boeckman. A couple of others may join The Athenaeum as well, Thomas tells me, which would mean two more museums. To create something “so different, dynamic enough that it will draw people to UTDallas to see it,” Thomas must raise “north of $100 million,” a daunting prospect—but at least he has relative calm at the happily positioned EODIAH. And it’s good to know that talks with Mayne and his firm Morphosis, put on pause by COVID-19, will resume in October. Dr. Mark Roglán, director of the Meadows Museum at Southern Methodist University, is similarly situated under the umbrella of a university. While he has to abide by SMU’s hiring freeze through December, his operation is part of that larger budget that funds

peter doroshenko

dallas contemporary Jammie Holmes, They’re Going to Kill Me (Los Angeles), 2020. Photograph by Azim Ohm. Courtesy of Jammie Holmes and the Library Street Collective.

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Dr. Agustín Arteaga

dallas museum of art

Dr. Agustín Arteaga, director of the Dallas Museum of Art, adheres to CDC guidelines during the re-opening day preview of Contemporary Art + Design: New Acquisitions. Courtesy of the Dallas Museum of Art.

the campus. Though the Meadows was “90 percent online,” this summer, all the galleries are now open, where works by Renaissance Spanish sculptor Alonso Berruguete have just come out of crates after waiting to be unpacked for an installation abruptly halted when the Meadows had to close in March. For all the ruptured plans— and there were many, including a joint project with The Dallas Opera and Teatro Real in Madrid—Roglán is digging in, with the rescheduled opening of Alonso Berruguete: First Sculptor of Renaissance Spain in September, and knowing always he must “be ready in case we have to close again.” Arteaga said the same thing about the DMA, where he and his curators are putting together imaginative shows. To Be Determined draws on the museum’s holdings to explore “hope and resilience in the contemporary moment.” Ideas of home, gender, and belonging imbue For a Dreamer of Houses, while women before and after the Mexican Revolution are explored in Flores Mexicanas, and the installation My/gration traces the migration of objects and people. All the while Arteaga is hoping, “the number of visitors will grow and evolve. But we could have another resurgence of coronavirus. We have to be ready if it happens again.” Meanwhile, the DMA has largely escaped the ax at city hall, where Jennifer Scripps, director of the Office of Cultural Affairs, has managed to hold the line against any cuts for utilities and building engineers funded by the city and held slashes in support

Tomie Ohtake, Untitled, 1976, oil on canvas, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund. Courtesy of Instituto Tomie Ohtake.

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Dr. Mark Roglán, director of the Meadows Museum, with Linda Custard at the Highlights from The Bowes Museum preview. Courtesy of the Meadows Museum.

dr. mark roglÁn meadows museum

from the Cultural Organizations Program to $126,000 or 11.78 percent, assuming the city council approves this budget. That’s a bite out of its bank account Arteaga would rather not have, but it could be a great deal worse. Whatever happens, “the digital experience” is here to stay, declares Arteaga—and so does everybody else. Strick feels he’s operating a parallel online museum at the Nasher, and Peter Doroshenko, executive director of the Dallas Contemporary, is working with filmmaker Quin Matthews to “connect with the mobile phone [in a way] that is all video-based.” DC’s website will be too. “We’re trying to connect with people,” Doroshenko explains. “Hold a mirror to what’s happening.” Like the others, he is delighted with the international reach made possible by the internet. Even so, he shares the same fears as Roglán and Arteaga: “COVID is getting worse,” Doroshenko points out,” [and] I don’t want to open and close two weeks later.” Hence the Dallas Contemporary will not receive visitors until the end of January.

Maria Blanchard, (Santander, Spain, 1881-1932, Paris, France), Seated Woman (Femme assise), 1917, oil on canvas, 43.75 x 30.25 in. Meadows Museum. Museum purchase with funds from The Meadows Foundation.

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Dr. michael L. thomas

edith o'donnell insitute of art history at the university of texas at dallas

In Fort Worth, the Amon Carter carries on, with galleries newly configured a year ago featuring shows of cabinet photography in Acting Out and Everett Spruce, part of the Dallas Nine, in Texas Made Modern: The Art of Everett Spruce. The museum is borne on a wave of cash reserves through September, salaries budgeted for and paid, and a five-year planning cycle that may require some programs to be scaled back, but nonetheless provides general financial stability. We “have not hard-pressed donors the past few months,” Walker confides, “but it will start in the fall.” At the Modern, Price watches the price of oil, since her museum benefits from a trust with energy assets. Beyond that, “I haven’t said anything very interesting,” she admits, closing our conversation. Oh yes she has. What she has brought is matter-of-fact, wistful realism: “Would I love to see 200 children in the galleries?” she asks—a bit of wishful thinking that is, of course, exactly what everybody yearns for. “It’s not bleak at all,” insists Strick, buoyed, in spite of everything, by the arrival of a new puppy named Grace. But even winsome Grace can’t erase his worry that “the public health crisis [could be followed by] an ongoing economic crisis [which] inevitably will have an impact.” For Lewis Hofland, meditation, lots of it, saves her sanity, along with teaching a course on understanding art, using the Crow Collection, to UTDallas students not majoring in art history. “We will get back to something closer to what we were from where we are,” Thomas believes. Lee strikes a somewhat different tone: “The world will never return to what it was before the adjustments for a strong post-COVID future.” Preparing already for the next pandemic, he looks resolutely ahead. “Those that survive,” he predicts, “will come back.” P

Dr. Michael L. Thomas, director of the Edith O’Donnell Institute of Art History, Richard R. Brettell Distinguished University Chair.

Jennifer Scripps, director of the Office of Cultural Affairs, near the I.M. Pei-designed Dallas City Hall with Marta Pan’s Floating Orbs.

jennifer scripps office of cultural affairs

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Jammie Holmes in his studio with Four Brown Chairs, 2020, acrylic on canvas, Dallas Museum of Art, Charron and Peter Denker Contemporary Texas Art Fund.

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MEETING THE CHALLENGE OF THE MOMENT Vivian Crockett commissions two large-scale paintings by groundbreaking Dallas artist Jammie Holmes for Dallas Museum of Art’s To Be Determined. BY ARTHUR PEÑA PHOTOGRAPHY BY BRADLEY LINTON

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Jammie Holmes with Tired and Because of Covid studio view.

fter months of closures due to the ongoing coronavirus pandemic, galleries and institutions are reopening with not only refreshed events calendars and safety precautions, but also a renewed social mission. This comes after months of a national reckoning with historic racial disenfranchisement that has spilled into the streets and reached into museums across the country. From SFMoMA to the Guggenheim, chief curators, directors, and board members have had to answer to allegations from employees and colleagues of cultural mismanagement and racial discrimination. As calls for reform grow to increase diversity, equity, and inclusion in the staff and collections of museums, institutions are being tasked to reflect upon their roles in society and “meet the moment.” Prior to the current urgency for museums to address these issues with tangible change and plans of action, the Dallas Museum of Art had already begun expanding its strong community-focused programming and consciously building upon its team leadership. Just before the shelter-in-place mandate in March, the museum appointed Vivian Crockett as the Nancy and Tim Hanley Assistant

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Curator of Contemporary Art. With Vivian Li joining as the Lupe Murchison Curator of Contemporary Art and the promotion of Anna Katherine Brodbeck to lead the department as Hoffman Family Senior Curator of Contemporary Art, the DMA has brought together a dynamic curatorial team unlike any previously seen at the museum. Crockett brings expertise in contemporary art with a specialization in art of the African and Latinx diasporas and the Americas. She has served as a research fellow at the Museum of Modern Art, New York and has extensive ties to the city, including the Whitney Museum of American Art, where she is a Joan Tisch Teaching Fellow, and Columbia University, where she is currently finishing her dissertation as a PhD candidate in art history. Although her research includes queer studies, new media, and performance, Crockett’s love of painting was her entry point into art. As a child, her parents were close friends with Brazilian artist Pietrina Checcacci, and Crockett fondly remembers spending time in the artist’s studio. Her curatorial debut with the DMA is the ambitious new

Jammie Holmes, Tired, 2020, acrylic on canvas, courtesy of the artist and the Library Street Collective.

exhibition, To Be Determined. The show, which was co-organized by Crockett, is the culmination of a collaboration across the DMA’s entire 12-person curatorial team and draws from the museum’s encyclopedic collection of works of art, sacred objects, and design. Within this historic context, the exhibition showcases 13 new acquisitions from contemporary artists such as Thornton Dial, Jeffrey Gibson, and Matthew Wong. To Be Determined also features Dallas-based artist Jammie Holmes in the central gallery, debuting two large-scale paintings made specifically for this exhibition. Curated by Crockett and among her first acquisitions since joining the DMA, this commissioned component features Holmes’ Four Brown Chairs and Tired (2020). “This is part of a stated focus on Dallas-based talent and making sure that the museum and the power of the institution are utilized to highlight the community that’s here,” Crockett says. Holmes was raised in Thibodaux, Louisiana, where he was surrounded by the social and economic consequences of America’s dark past. “Thibodaux is the real Deep South; you’re either Black or you’re white, that’s it,” says Holmes. With not many options and

a sense of immobility, he didn’t see a way out. “I was willing to do whatever it took to live like what I thought was free at the time. I wanted the nice cars and the big house.” He continues, “I didn’t want to steal or hurt anybody, but I was willing to sell drugs. In the end, I think I would have either been stuck in jail or just dead.” There were no museums in Thibodaux to inspire his early artistic interest, so Holmes took in art where he could find it. “The first time I remember seeing art was graffiti on the trains passing through. Trains would gather a few blocks from my house and that was the art show,” he says. But after graduating high school, Holmes’ early hopes of being an artist were met with an emotional breakdown while staring at the drawings and sketches on his bedroom wall. “I thought, ‘What the hell am I going to do with this? You can’t make a living as an artist.’ ” So he tore them all up and threw them in the trash. What followed was a stint in the military and 14 years of working in the Louisiana oil fields. In this tough environment, through the everyday hustle of life as a roughneck, he learned what it really meant to work hard for a dollar. After a promotion to supervisor, he found the time to start painting on the side. In 2016,

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Vivian Crockett, the Nancy and Tim Hanley Assistant Curator of Contemporary Art at the Dallas Museum of Art, commissioned Holmesâ&#x20AC;&#x2122; two paintings included in the To Be Determined exhibition.

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once he realized he was consistently selling paintings, he left his job and relocated to Dallas to pursue art full time. With a new studio in the Design District, surrounded by the visual energy of the creative community, the work came fast, his artistic curiosity pushing him to experiment and commit to learning what he didn’t know. Prior to the move, Holmes had actually visited Oak Cliff periodically with family members, some of the few times he had ever left Thibodaux. He remembers going to neighborhood staple Big-T Bazaar and seeing 24-inch rims on cars for the first time. The cultural diversity of Dallas inspired him then as it does now. Holmes had already built a name for himself through social media and keeping up with collectors through newsletters that he and his partner, artist Abi Salami, worked on together. This commitment to his art and self-advocating led to numerous exhibitions through the years, but in 2020 his voice found powerful resonance. In April, for the Dallas Art Fair’s online edition, Holmes participated with New York City’s LMAKgallery. The works offered sold out almost immediately, with additional paintings getting placed in important collections. It was during this time that Anthony Curis, a partner in the Detroit-based Library Street Collective, reached out to Holmes, hoping to work together. The gallery would go on to financially

back Holmes’ recent aerial demonstration, Everything Hurts, which, just days after George Floyd was killed while in custody of the Minneapolis police, dispatched small planes to fly banners across the skies of multiple cities, including Miami, New York, and Dallas, displaying Floyd’s final words. After seeing images of Everything Hurts and connecting the work to Holmes’ paintings, Crockett reached out. For her, it was clear that there is a conceptual component connecting his work. “He was still doing his thing while also being able to respond to the moment instantly,” she says. For Holmes, his work is about “the overall essence of being a Black person”—a perspective Crockett responds to and advocates for. “As a culture we have so much to gain by expanding our framework and acknowledging that excluding the contributions of people of color is a detriment to everyone.” Surrounded by a supportive team and community, Crockett is ready to make an impact and have the necessary conversations. “There is a grappling with history at any institution. Museums are constantly evolving and are not static entities. In order to not be obsolete and remain relevant, it’s important to shift and understand that the way that things have been done is not necessarily the way they should continue,” she says. “We all win when we meet the challenge of the moment.” P

Studio view from left: (in the foreground) Jammie Holmes, Box Fan Heroes #2, 2020, acrylic and oil pastels on canvas, 48 x 36 in.; American Neighborhood #2, 2020, acrylic and oil pastels on canvas, 48 x 36 in.; American Neighborhood #1, 2020, acrylic and oil pastels on canvas, 48 x 36 in.; partial views of And Ushers, 2020, acrylic and oil pastels on canvas, 66 x 71.88 in.; My Grandmother Was An Usher, 2020, acrylic and oil pastels on canvas, 65.88 x 77.88 in.; Sunny Days, 2020, acrylic and oil pastels on canvas, 54 x 65.88 in.

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ALL IN THE FAMILY Cindy Nelson enlists her brother to design a contemporary home for her art collection and integrated family. BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JOHN SMITH

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n De Architectura, the Roman architect Vitruvius extolled the virtue of architecture reflecting the perfect proportion of the human body. His theories citing stability, unity, and beauty have inspired builders throughout millennia. These timeless elements germinated in the North Dallas home of Cindy Nelson. The Dallas native found the ideal architect to build her dream home in Jay Brotman. While Brotman is perhaps best known for rebuilding Sandy Hook Elementary School in Newtown, Connecticut, he is also Nelson’s brother. And while his projects are mostly nonresidential, for his sister he designed a contemporary idyll. Dallasbased architect William Snyder was also part of the architectural team. As Brotman explains, “Will brought in a lot of modern housing techniques.” Snyder also drew up the final construction documents to reflect local building codes. Nelson hired Dallas-based Susan Newell as the builder who then also provided her with critical interior-design advice. Together they designed the kitchen, bathrooms, and closets. “I loved picking every piece,” Nelson exclaims. They worked closely with Poggenpohl to design an open kitchen, and with knoxtile for the bathrooms. Lynn Brotman, Nelson’s sister-in-law and a corporate interior designer, made additional contributions, including the design of the Venetian plaster fireplace in the den. While each professional brought unique expertise to the project, Nelson is universally credited for her specific tastes. “She did a lot of homework. She had a good feeling for what she wanted and she could visualize it,” Newell says. Brotman’s approach to any project starts by listening. “We had to understand how Cindy wanted to live,” he says. Newell joined these initial conversations shortly thereafter. “We first came up with the design concept and developed it from that (with Brotman),” she explains. Ultimately, the home was designed from the inside out. Conceptually, Brotman thought of it as a series of five boxes; three of which comprise the living areas, one for the garage, and one for the cabana at the back of the property. “It is a huge lot but not a huge

Above: Evening falls on Cindy Nelson’s home, designed by architect Jay Brotman with Dallas architect Will Snyder and builder Susan Newell and featuring a site-specific sculpture by Brad Howe. Right: A painting by Isaiah Zagar, known for his mosaic murals, hangs suspended in a window. The mahogany staircase complements the exposed-limestone walls. A painting by Kirk Mullenax hangs at the top of the stair, and a work on paper by Julie Anne Greenberg below.

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house,” he explains, adding, “The roots of contemporary architecture are building what’s needed and making it functional.” As part of that functionality, Brotman incorporated LEED principles, making it as energy efficient as possible. The home’s south-facing façade features a row of clerestory windows, amplifying natural light while minimizing summer’s heat. Full-length windows line the northern façade, offering views to a verdant yard, serene pool, and welcoming cabana, which is Nelson’s favorite room. Perfectly aligned with the living room, it reads as a cohesive whole to the rest of the house. Landscape architect John Armstrong collaborated with the design team to create complementary landscaping. Airy and open, the rooms are scaled for intimate family living.

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A central spine downstairs and a parallel bridge upstairs provide connective tissue that runs the length of the house. That every room opens onto this central axis is perhaps the physical manifestation of a household that was in need of healing. Nelson began this endeavor following the death of her husband. The home became a place for her family to start anew. “It was cathartic for her to think about the future and what it could be for her and her family. It allowed me to come visit, and we could focus on the future for her in a very healthy way,” Brotman says. With her children now young adults, Nelson shares the home with her partner, Barry Waranch. The house serves as a showcase for their combined art collections. Nelson enjoys discovering new artists through such diverse venues

This page and opposite: The first-floor central spine leads to the kitchen and den with four oil on paper works by Peter Krauskopf (left) and a painting by Paris-based Jean Paul Donadini (right) installed above a Porada console table; a glass assemblage by Simon Waranch sits on the limestone floor.

as Art Basel Miami and visits to area studios and galleries. A painting by Dallas-based Andrew Kochie accents the dining room with its pulsating energy. Kirk Mullenax’s vibrant green canvas serves as a beacon on the staircase. Dallas Art Fair finds include work by Eric Zammitt and Dan Miller. A site-specific sculptural commission by Brad Howe lends an additional air of welcome to the front of the house. Among the notable works in Barry’s collection are two paintings by Tom Pribyl, acquired from the beloved, now-shuttered Edith Baker Gallery, as well as a painting by the late Scott Barber. Julie Waranch Fleschman, Barry’s sister, is an Austin-based artist whose small, gemlike paintings and collages are sprinkled throughout the home.

Simon Waranch, his son, is an up-and-coming glassblower whose work was recently featured in these pages. Nelson is one of Simon’s most enthusiastic collectors. His floating spheres bob in the pool. A grouping of his shaped silver reticello vessels, suspended from the ceiling, activate an upstairs reading nook. And his functional objects are used on a daily basis. Aesthetics were at the heart every decision, beginning with the approach to the home. Guests pull into an expansive parking court that is embraced on one side by the living spaces and is perpendicularly anchored by the garage. Entering the home, guests are greeted by the staircase, which, Brotman says, “becomes a central piece of art. It is very light and airy and connects to the bridge.”

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Poggenpohl kitchen with blue-glass vessel by Simon Waranch.

Cindy Nelson with Ollie; glass bowl by Simon Waranch.

In the den: a Flexform sofa and B&B Italia table with glasswork by Carlyn Ray; black armchairs by Verzelloni; two wooden chairs by Porada; a sculpture by Eric Zammitt flanks the sliding glass door with a yellow painting by Ibrahim Jalal (left). Far right: The dining room features a Porada table paired with chairs by B&B Italia, Andrew Kochieâ&#x20AC;&#x2122;s 519 acrylic on canvas, and a glass assemblage by Simon Waranch.

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And the exterior limestone is reinforced through exposed walls on the interior. Limestone floors echo the walls and contrast with the ribbon of mahogany used in the staircase and the bridge. In the den, incorporating this lush dark wood floats each room as a unique space. Commercial-grade metal stripping quietly lends definition to each material on the floor. Details, such as reveals and strategically placed outlets, further define the home. “We picked up the aesthetics of museums,” Brotman explains. He also focused on the proportion and scale of each room. “The goal with this is to create a place for living,” he continues. For Nelson, this home is an oasis. “I pull up and I’m just happy,” she professes. The project was a delight for everyone involved. “I love my architect and my builder is great,” she enthuses. Brotman echoed the sentiment, saying, “We played together very well in this endeavor.” And Newell cites it as one of her favorite projects, adding that by the time it was over, she and Nelson felt like family. Stability, unity, and beauty. While it may have taken a village to build, this team created a modern-day palazzo of hope and healing. P

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Top: The primary bedroom faces the verdant outdoors and features a Montigo fireplace, Minotti chair and nightstand, and glass vessels by Simon Waranch. Below: A site-specific glass installation features Simon Waranchâ&#x20AC;&#x2122;s silver reticello forms installed above the B&B Italia chair, with a painting by Seung-Ha Lee on the right.

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Center: Cindy Nelsonâ&#x20AC;&#x2122;s daughterâ&#x20AC;&#x2122;s bedroom features a Jonathan Adler sofa with two recent glass vessels by Simon Waranch, a South African sculpture, and a painting by Casserroi. Left: A view of the fountain designed by Cindy Nelson shows off the stunning yard with an assemblage glasswork by Simon Waranch. Below: An arresting view of the glass-infused, limestone home designed by Jay Brotman with landscaping by John Armstrong.

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EXPERIENTIAL VIRTUOSO Dallas-based imaginist Chuck Steelman takes on a new role with Trademark. ILLUSTRATION BY ROB WILSON

hrough a rewarding career with Neiman Marcus Group, Chuck Steelman is known for fashioning nonpareil events across stores and programs designed to enhance customer engagement with each of the luxury retailer’s brands. Now Trademark has tapped his creative genius for a newly created position.

Patron (P): Please tell us about your new role as Vice President of Experience with Trademark and experiential retail overall. Chuck Steelman (CS): My interpretation of experiential retail is creating an unexpected memorable moment for mall and shopping center guests. It’s not just about shopping anymore; it’s now about the small things like ease of parking, the opportunity to meet a celebrity or fashion designer, or discovering exclusive or special products. Most importantly, I think it’s about relationships, because people appreciate when someone knows who they are and greets them by name, which goes a long way in the competitive retail environment. The true goal is offering what e-commerce can’t, because there are things you can’t experience online. For example, you can’t have a conversation with a designer or fully appreciate a piece of art online like you can in person. One way Trademark has increased experiential retail is investing in parking garages and including street art throughout the garage. Adding color to an otherwise grey and simple garage brings out emotions while also helping with wayfinding. It’s unexpected to have art in a parking garage, and guests don’t realize they’ve already had an experience. It’s a natural way to make someone feel good. P: Trademark is known for creating mixed-use lifestyle properties like Watters Creek. Will you describe this ethos? CS: Terry Montesi, CEO of Trademark, has led the company to

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focus on creating spaces to foster community, and this has led us to focusing on mixed-use and lifestyle centers. Terry is a leader in transforming properties on the outside, adding needed and wanted amenities, and layering in a unique tenant mix to make the center a place for everyone. The company has also seen success in creating more green spaces while incorporating sustainability into the properties. P: We know art is essential and invigorates the soul. And art is also a major initiative at Trademark properties? CS: Public art is a major initiative at all of Trademark’s properties, as it’s ultimately about creating retail and mixed-use places that offer more than just a place to shop or eat. Public art adds character, soul, and personality to the property, creating an opportunity to engage with customers. All the while, the program supports art and local artists and fosters the idea of engaging in experiences. Currently, 11 Trademark properties have public-art programs, including several here in the metroplex. Cassie King, Trademark’s director of design and development, has done a great job of emphasizing public art at several of our properties, and she is also skilled in highlighting local artists and mixing styles of art, such as street art, found-object pieces, and sculptures. P: Do you have a favorite work of art or artist you follow at one of our area museums? CS: I love nature, so I am drawn to art that reflects the world around us, particularly animals. I’m also drawn to colorful contemporary art. I have several local favorites including Rob Wilson. Tamara White would be at the top of the list. We purchased a Tamara White

CREATIVES

piece during the annual Taste the Nation event a few years ago, and I love the texture and color she uses in her artwork . I also like that she is a Booker T. Washington graduate. I also enjoy the whimsical animals that Dallas-based artist Kim Wyly paints. When I first became aware of her art, I didn’t even realize she was based in Dallas. I actually connected with her through an Instagram post, met her in person, and now own one of her pieces. I love Isabelle du Toit’s artwork, who is represented by Cris Worley Fine Art locally. I first became aware of this artist during the Dallas Art Fair. I was drawn to a small painting of a blue bird that literally looked as if it had just landed on the canvas. I often visit the gallery to see Isabelle’s latest pieces. One of my favorite exhibits was the Dallas Museum of Art’s Yayoi Kusama: All the Eternal Love I Have for the Pumpkins in 2018. I enjoyed the exhibit’s immersive aspect, where you became part of the art installation. P: Will you tell us about the Trademark Trailblazers? CS: Trademark Trailblazers, an idea I brought to Trademark and Galleria Dallas, is fashion-panel events featuring influencers from various areas. While these events are dependent on the pandemic and when we can meet in person again, we have pivoted to offer virtual events called Talent Talks, where I interview influencers who are blazing trails in their industries, such as Laura Slatkin of Nest Fragrances, Miss America Camille Schrier, Young and Restless actor Donny Boaz, and Jamie O’Banion of Beauty Bio. We have seen great responses from these events so far, and we are excited for them to continue. P: You’ve held leadership roles and director positions with Fashion Group International, where you are currently district director, DIFFA/Dallas, and

you’ve chaired numerous events and panels. Will you parlay these experiences with Trademark? What do you have up your sleeve? CS: Trademark Property and all our centers have always been committed to making an impact in the local community. For instance, at Galleria Dallas during the pandemic, we created a monthly nonprofit focus, allowing us to raise much-needed funds for local nonprofits. Even when needing to limit crowds, we wanted to provide an experience for guests and offer an opportunity to support local organizations helping those hit hardest by the pandemic. In August we partnered with Make-A-Wish of North Texas to host an art auction and raised $10,000, the amount needed to grant one child’s wish. With October being Breast Cancer Awareness month, we are partnering with the Susan G. Komen Foundation of Dallas to create a portrait exhibit of board members and survivors, and in November, we will welcome Fashion Group International of Dallas with a “Fashion Meets Masks” auction to benefit their scholarship foundation. In December, we will highlight Chamberlain Performing Arts and the Salvation Army. Galleria Dallas also has a partnership with Dallas Children’s Advocacy Center, which will benefit from the annual holiday skate show on December 6. P: In what ways do you see consumers’ choices evolving now and in the future, following this challenging year? CS: We obviously don’t know what the future holds for the pandemic or how consumers will respond. But evidence has shown that investment pieces are becoming more important than ever, as consumers are more cautious in what they buy. With people not being able to travel as much, they have more disposable income to invest in special items or fashion of all types. Jewelry is one example of something sustainable that a customer can invest in and have for many years. P

OCTOBER / NOVEMBER 2020

THE 2020 OBELISK AWARDS HONOREES Business Champion for the Arts

Sanjiv Yajnik – Capital One NOMINATED BY DALLAS SYMPHONY ORCHESTRA

Lifetime Achievement Award

Dr. Dennis Kratz NOMINATED BY UTD SCHOOL OF ARTS AND HUMANITIES

Visionary Nonprofit Arts Leader

Margie J. Reese NOMINATED BY SLDCREATIVE AND AFRICAN AMERICAN MUSEUM DALLAS

Arts Education

Sammons Enterprises NOMINATED BY BIG THOUGHT

Arts Partnerships – Large

Frost Bank NOMINATED BY NASHER SCULPTURE CENTER

Arts Partnerships – Medium

Thompson & Knight Foundation NOMINATED BY GAIL SACHSON, ASK ME ABOUT ART

Arts Partnerships – Small

Joseph Vincelli Music NOMINATED BY DONNAMARIE MCGAW

Distinguished Cultural Organization

Dallas Chamber Symphony NOMINATED BY BELL NUNNALLY & MARTIN, LLP

New Initiatives – Medium

STATE OF THE ARTS THE 2020 OBELISK AWARDS PRESENTED BY BUSINESS COUNCIL FOR THE ARTS

ACES NOMINATED BY NELL LANGFORD

New Initiatives – Small

Irving Archives & Museum NOMINATED BY THINKINDIA FOUNDATION

VIRTUAL EVENT TUESDAY, NOVEMBER 17, 12PM

Outstanding Leadership Arts Alumnus

Megan Heber NOMINATED BY RAYMOND ROWELL ART BY JUAN ALBERTO NEGRONI, ARCHIPELAGOS SERIES (DETAIL), 2015 – ONGOING

For more information call 972.991.8300 ext.602 or visit ntbca.org/the-obelisk-awards

THERE JOE BRADLEY & ERIC HAZE ARTISTS-IN-RESIDENCE AT THE ELAINE DE KOONING HOUSE PHOTOGRAPHY BY KATHERINE MCMAHON AND CRAIG WESTERBY

Alicia Longwell

Eric Haze studio view

Joe Bradley studio view

Rosie Perez and Eric Haze

Eric Haze

Joe Bradley

Bobby Flay

Maurizio Cattelan

Joe Bradley studio view

OCTOBER / NOVEMBER 2020

FURTHERMORE

A TIME OF HEALING The DSO and DBDT join forces for Project Unity, an evening dedicated to victims of racial violence and injustice. BY STEVE CARTER

roll call of the names strikes an eerily tragic, and by now all-too-familiar, knell: George Floyd, Ahmaud Arbery, Breonna Taylor, Jacob Blake, Botham Jean. And the list of victims has continued to grow, lives lost to racial violence and injustice. But how to honor those lives? One beautifully uplifting answer is the upcoming Unity Concert, a collaborative night of hope-giving and fund-raising that melds the talents of the Dallas Symphony Orchestra, Dallas Black Dance Theatre, the DSO’s Young Strings, and guest vocalists Michelle Bradley, soprano, and Reginald Smith, Jr., baritone. Scheduled for Wednesday, November 11, 7:30 p.m. at the Meyerson to a reduced live audience, and streaming live online to all, the concert will raise funds for Project Unity while raising awareness. Project Unity, founded by Pastor Richie Butler of St. Luke “Community” United Methodist Church in Dallas, seeks to heal the oftenfraught race relations between Dallasites and law enforcement; the community-building organization last collaborated with the DSO for last year’s Gospel Goes Classical concert. The seeds of the Unity Concert were sown back in June, following George Floyd’s killing at the hands of Minneapolis police on May 25. Kim Noltemy, the DSO’s Ross Perot President and CEO, says, “We decided not to just issue a statement, but to actually work with colleagues like Richie Butler and Project Unity and Dallas Black Dance Theatre so that we could have a show of unity. Zenetta Drew [DBDT executive director] is on our board, and I’m on her board, so we’re the best of partners…they’re one of the most amazing organizations in the country, and anytime we can work with them, we’re thrilled.”

Melissa M. Young, DBDT’s artistic director, is likewise thrilled to be partnering with her troupe’s DSO neighbors. “We feel that now’s the time for the community to be awakened in an artful way, to come together, to listen and learn and take action,” she says. “We all try to have compassion and understand what it may be like to stand in someone else’s shoes, but it’s not always possible. We feel like this concert is the perfect way to bring everyone into the room, because it’s something that we can all understand, coming together because art moves us and speaks to us in an array of volumes. Perhaps this can be the very thing that allows us to have that breakthrough.” The Unity Concert will have a decidedly Black focus, with performances by the dancers of DBDT and works by Black composers Adolphus Hailstork, Florence Price, William Grant Still, and Quinn Mason. Mason, a young Dallas-based wave-making composer, was commissioned to write his string orchestra work Reflection on a Memorial especially for this concert. Additionally, two renowned Black vocalists, soprano Bradley and baritone Smith, will join the DSO for a selection of gospel/spiritual evergreens. Musicians from the racially diverse DSO Young Strings program will also be included, and speakers will include Butler and Drew, and Dallas City council member Tennell Atkins. “As an arts organization, the thing that we can offer is inspiration and peace and reflection, to try to figure out how we can all work together to have society change,” DSO’s Noltemy says, adding, “We recognize that this is just one event, one organization working with two other organizations, but we feel like it’s the thing that we can do to try and make a difference.” P

From left: Dallas Black Dance Theater Spring Celebration, 2019, A Tender Pardon. Photograph by Amitava Sarkar; Dallas Symphony's Music Director Fabio Luisi conducts Beethoven at the Meyerson Symphony Center. Photograph by Sylvia Elzafon.

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