PATRON Magazine's 2022 April/May Issue by Patron Magazine

PATRON APR/MAY 2022

DALLAS ARTS MONTH RETURNS DALLAS ART FAIR Back in Stride DALLAS ART FAIR/MARGUERITE HOFFMAN/TACA PATRONMAGAZINE.COM

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3/11/22 11:09 AM

Marguerite Hoffman’s Amor Mundi

Plus, Jennifer Altabef & Larry Angelilli Take TACA’s Silver Cup

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April / May 2022

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

An exhilarating spring is before us with the return of Dallas Arts Month. With much to take in, we turn our attention to the vigorous schedule of visual arts programming stretching across North Texas. Our cover heralds the return of Dallas Art Fair, back to its original April spot. Liliane Tomasko’s all that we touch mines the realms of sleep and dreaming, “delving into the gulf between what we understand as the ‘conscious’ and ‘subconscious,’” Kerlin Gallery’s Darragh Hogan offers. With the world in crisis and Earth Day just around the corner, let’s forge our dreams to encourage those fighting to lay down their arms and instead heal our vulnerable planet. And given art’s power to heal, the fair offers a rigorous roster of emerging artists to watch, to collect now, and blue-chip contemporaries to invest in. Read about some of the standouts in Collectors Study. Women Painting Women sees the work of 46 female painters and their portraiture. Curated by the Modern Art Museum of Fort Worth’s chief curator, Andrea Karnes, the exhibition spans the late 1960s to the present and brings forth the perspectives of women who have historically been underrepresented in postwar figuration. Eve Hill-Agnus offers insight in A New Reckoning. The Kimbell Art Museum’s The Language of Beauty in African Art proves that all humans, from ancient civilizations to modern, have their own unique point of view. Steve Carter enlightens in Africa Speaks. To further exemplify, Fall of Powers, Rise of Maison Cartier, written by Nancy Cohen Israel, shares the riches of Islamic art and its influence on Louis Cartier at the Dallas Museum of Art’s exhibition opening in May. Stewardship is critical for the survival of all art forms, and we have plenty of them here. In Guardians of the Arts Lee Cullum describes two of the very finest, who are this year’s TACA Silver Cup Award honorees: Jennifer Altabef and Larry Angelilli. Their energy and commitment in both the best and worst of times is to be commended. Meet local artist Evita Tezeno, who will have her first appearance at Dallas Art Fair with Luis De Jesus Los Angeles; and we introduce Various Small Fires, which opens here this month. Chris Byrne catches up with Lonnie Holley, fresh from a residence at Cerámica Suro in Guadalajara, Mexico, to create new ceramic work for his coming from the earth show at Dallas Contemporary. Meanwhile, Carlos Gonzalez-Jaime celebrates the women behind two important art fairs: Kelly Cornell and Zélika García, the founder of Mexico’s Zona Maco. Slip Inside This House applauds the two-volume, slipcovered release of Amor Mundi: The Collection of Marguerite Steed Hoffman as reviewed by bibliophile Brandon Kennedy. We are so pleased to share the tireless work that went into creating this extraordinary book, available at The Conservatory on Two, which currently pays homage to the renowned collector through the work of local artists. Read about them in Tableaux Vivant, taken from the title of Art Ball, chaired by Brian Bolke for the DMA. Through April 9, a portion of the sale of work by Annabel Dauo, Stephen Lapthisophon, Nic Nicosia, Anthony Sonnenberg, and The Conservatory’s Larry Whiteley and Matthew Gilley, will benefit Tableaux, as will the proceeds f rom Hoffman’s book sales. Plus, collectors share their favorites from Slip Zone: A New Look at Postwar Abstraction in the Americas and East Asia, on view during Art Ball and through July 10. The Meadows Museum crosses centuries with two concurrent exhibitions: Murillo: Picturing the Prodigal Son and Meadows/ARCO Artist Spotlight: Ignasi Aballí, which showcases the Spaniard’s Empty Words. Aballí is representing his country at the Venice Biennale. Find looks to wear during the flurry of artful activities in our final feature. Courting the season, A Blooming Good Time finds multidisciplinary artist Mindy Byrd and creative director Elaine Raffel in collaboration to bring brilliance to fashion at the prettiest time of the year. – Terri Provencal

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M E E T TA N YA TAY LO R AND SHOP HER SPRING COLLECTION AT TOOTSIES A P R I L 21 S T F R O M 2 - 4 P M

HOUSTON

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CONTENTS 1

FEATURES 76 COLLECTORS STUDY From emerging to blue chip artists, get ready to collect the new, now, next at Dallas Art Fair. By Terri Provencal 84 A NEW RECKONING The Modern Art Museum of Fort Worth gathers the past for an of-themoment conversation about female painters and portraiture. By Eve Hill-Agnus 90 AFRICA SPEAKS Premiering at The Kimbell, the Art Institute of Chicago’s The Language Of Beauty In African Art is an eye-opening wonder. By Steve Carter 96 FALL OF POWERS, RISE OF MAISON CARTIER Some 400 objects define the history of the French jewelry house helmed by Louis Cartier. By Nancy Cohen Israel

102 GUARDIANS OF THE ARTS TACA Silver Cup Award honorees Jennifer Altabef and Larry Angelilli bolster the arts through volunteerism. By Lee Cullum 106 A BLOOMING GOOD TIME Photography and collage by Mindy Byrd; creative direction and styling by Elaine Raffel.

84 96

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On the cover: Liliane Tomasko, all the light that we touch, 2021, acrylic and acrylic spray on aluminum, 59.80 x 55.10 in. Courtesy of the artist and Kerlin Gallery.

CONTENTS 2

DEPARTMENTS 12 Editor’s Note 18 Contributors 36 Noted Top arts and culture chatter. By Anthony Falcon Of Note 40 PAINTING A PARABLE 42 MEET THE TUPLETS, PUTT-PUTT, AND QUEEN KIOK 55 TREAD LIGHTLY

Fair Trade 56 OPENING ACT Kohshin Finley brings LA sensibilities to Texas swagger at Various Small Fires’ new Dallas outpost. Interview by Esther Kim Varet Contemporaries 58 SLIP INTO ABSTRACTION Art Ball’s ’60s theme coincides with DMA’s timely exhibition. By Terri Provencal

60 MOTHER UNIVERSE, THANK YOU FOR LONNIE HOLLEY The multidisciplinary artist’s coming from the earth opens this month at Dallas Contemporary. Interview by Chris Byrne 62 THE IMPACT OF ART FAIRS AND THE WOMEN BEHIND THEM Kelly Cornell and Zélika García nurture two fairs in trying times and prevail. By Carlos Gonzalez-Jaime Volumes 66 SLIP INSIDE THIS HOUSE Marguerite Steed Hoffman’s collection weaves interconnectedness with the publication of Amor Mundi. By Brandon Kennedy Space 72 TABLEAUX VIVANT A cast of artists join Brian Bolke at The Conservatory on Two. By Terri Provencal 62

Studio 74 EVITA TEZENO BREAKS THROUGH The Dallas-based artist will make her first appearance at Dallas Art Fair with Luis De Jesus Los Angeles. By Darryl Ratcliff Atelier 114 JONATHAN SIMKHAI JUXTAPOSED The designer presents a shop-within-a-shop at MARKET. By Elaine Raffel 116 AN ARTFUL CAMARADERIE Tanya Taylor animates the élan of Elaine de Kooning in her fall 2022 ready-to-wear collection. Interview by Terri Provencal There 118 CAMERAS COVERING CULTURAL EVENTS Furthermore 124 EMPTY WORDS, FULL OF MEANING Conceptual artist Ignasi Aballí inaugurates MAS: Meadows/ARCO Artist Spotlight series. By Nancy Cohen-Israel

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John Sutton Photography

CONTRIBUTORS

MINDY BYRD is a Dallas-based multidisciplinary artist focusing on photography and collage. She combines her two creative worlds in the form of handmade cutout patterns and shapes paired with her original photographs for dynamic finished pieces. In Patron, A Blooming Good Time exemplifies her mixed-media talents. Her love of bold color, texture, and shape has been the driving force behind her collage work, which she’s explored with clients both locally and internationally.

CHRIS BYRNE authored the graphic novel The Magician (Marquand Books, 2013), included in the Library of Congress. He curated Peter Saul: 50 Years of Painting, named one of 2010’s top five shows by the Village Voice and organized Susan Te Kahurangi King’s first US exhibition, selected by Jerry Saltz for New York magazine’s The 19 Best Art Shows of 2014. Byrne chaired AVAM, the national museum for visionary art. He founded the Elaine de Kooning House and Studio in East Hampton, listed on the National Register of Historic Places.

STEVE CARTER previews the Kimbell’s extraordinary The Language of Beauty in African Art, opening on April 3. For a behind-the-scenes look at the exhibition, organized by the Art Institute of Chicago, Carter spoke with Jennifer Casler Price, the Kimbell’s curator of Asian, African, and Ancient American art. “This is one not to miss,” Carter says. “It’s a truly revealing look at African art, viewed through the indigenous perspective.” Read his story in Africa Speaks.

EVE HILL-AGNUS is a writer, editor, and translator. She has roots in France and California and has been a teacher of literature and journalism; an award-winning dining critic in Dallas who covered dining, art, and dance; and a freelance art writer and editor of nonfiction, fiction, and poetry. Her joy recently has been translation, whether the translation of one language to another or of art into words. In this issue, Eve previewed the Modern Art Museum of Fort Worth’s Women Painting Women exhibition opening in May.

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LAUREN CHRISTENSEN has over two decades of experience in advertising and marketing. As a principal with L+S Creative Group, she consults with a wide variety of nonprofit organizations and businesses in many sectors, including retail, real estate, and hospitality. Lauren is a Dallas native and a graduate of SMU with a BA in advertising. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

BRANDON KENNEDY is an occasional artist, book scout/collector, and freelance curator and writer based in Dallas. For several years Kennedy was the director of exhibitor relations at Dallas Art Fair. He regularly covers North Texas artists for Patron magazine and occasionally contributes to Fine Books & Collections magazine. In Slip Inside This Home, Kennedy profiles the new publication, Amor Mundi: The Collection of Marguerite Steed Hoffman, a two-volume set.

NANCY COHEN ISRAEL is a Dallas-based writer, art historian, and an educator at the Meadows Museum. Having grown up here, she has happily watched the city evolve into a major cultural destination. For the current issue, she enjoyed writing about spring exhibitions at the Dallas Museum of Art (Cartier and Islamic Art: In Search of Modernity) along with Meadows Museum’s exhibitions Murillo and Ignasi Aballí, all three of which will be the only American stop for these works.

LUIS MARTINEZ is a Kim Dawson model/actor discovery currently based in Dallas who is equally adept as a fashion/beauty/ portrait photographer and videographer. Luis photographed Dallas-based artist Evita Tezeno and her studio in Evita Tezeno Breaks Through; Tezeno will have her first appearance at Dallas Art Fair with Luis De Jesus Los Angeles. He also went to meet Larry Whiteley at his iconic metalworks studio where he created custom installations and sculpture works for The Conservatory.

LEE CULLUM is a Dallas journalist who has worked in radio, television, newspapers, and magazines. She was a regular commentator on what is now called the PBS NewsHour as well as All Things Considered on NPR, and, more recently, has interviewed CEOs for the public TV affiliate in Dallas-Fort Worth. In Guardians of the Arts, she spoke with Jennifer Altabef and Larry Angelilli, relentless supporters of the arts and winners of this year’s TACA Silver Cup Award.

DARRYL RATCLIFF is an award-winning artist and poet with a Dallas-based writing and curatorial practice whose work engages communities and mobilizes social issues. Darryl’s complex, collaborative, durational cultural projects help tell true community narratives, promote civic engagement, and increase community health. He is a Yerba Buena Center for the Arts 10 Fellow addressing climate change and racial equity, and he founded Gossypion Investments, a company seeking to evolve the role of culture in society.

CARLOS GONZALEZ-JAIME is a consultant and art advisor with years of experience working with cultural institutions in Mexico, Puerto Rico, and the US, along with an extensive background in the corporate world. He serves as outreach director at The Americas Research Network and editor for the digital catalogue of the exhibition Xicanx: Dreamers + Changemakers. He was executive director of Latino Arts Project, an institution designed to further Latinx and Latin American art, history, and culture.

ELAINE RAFFEL says Mindy Byrd was the obvious choice to shoot the fashion pages for Patron’s Dallas Arts Month issue. In and of themselves, her collages are works of art, made only cooler with amazing clothing, handbags, and jewels. On another note, she says, “I had the covetable assignment to profile supertalented designer Jonathan Simkhai. I’ve been a fan since he won the prestigious CFDA award in 2015. If you haven’t been by his Market pop-up, trust me: it’s a mustsee.”

Discover the Real Deal of Dallas Real Estate: Adele Broughton Compass agent Adele Broughton is known for her dedication to the arts. From her role on the board of directors at the Center for the Arts in Crested Butte, Colorado, to supporting local artists at galleries across Texas, Adele understands that the road to making a house a home starts at closing. “When it comes to making a house a home, it’s important to always be on the lookout for potential pieces – even in unexpected places,” said Adele. “For example, I recently found an antique Chinese vessel at an estate sale in Fort Worth and repurposed it as an outdoor planter.” For new homeowners and budding art collectors alike, Adele recommends prioritizing family heirlooms over mass-produced pieces often found in stores. “During the pandemic, people were spending more time at home than ever before,” Adele added. “Naturally, more homeowners are giving thought to the things that they choose to surround themselves with at home.” Adele also encourages homeowners to consider pieces of art beyond the basic framed print on a wall. She recommends sourcing unlikely items that could become their own work of art. For example, Adele recently found a vintage Turkish rug in oranges, pinks and blues to recover a tired ottoman. Adele is available to work with buyers and sellers who are interested in moving or finding their dream home in Dallas or a home away from home. Additionally, she is recognized by Preservation Dallas as an Advanced Historic House Specialist and has over 30 years of experience in sales and marketing.

ADELE BROUGHTON 214.228.6803 adele.broughton@compass.com @adele.compass

Adele’s Tips for Sourcing Unique Pieces to Fill Your Home TAKE ADVANTAGE OF ESTATE SA LES “Some of my favorite pieces in my home have been sourced from estate sales in Dallas. I always find a treasure - big or small.”

ART WALK NIGHTS “Find opportunities to walk through galleries - a great avenue to develop and define your taste while exposing yourself to different artwork.”

AVOID TRENDS “Once you’ve honed your taste, follow that rather than a trend. From my experience, this leads to your house feeling like home and for me, it looks like classic pieces with pops of color that liven my nest and make me happy every time I walk through the door.”

Get more tips and connect with Adele on Instagram @adele.compass

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

PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sophia Dembling PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Chris Byrne Steve Carter Nancy Cohen Israel Lee Cullum Eve Hill-Agnus Carlos Gonzalez-Jaime Brandon Kennedy Esther Kim Varet Elaine Raffel Darry Ratcliff CONTRIBUTING PHOTOGRAPHERS Jeff McLane Matt Arnett Will Michels Matthew Booth David Needleman Sharen Bradford George Ortman Mindy Byrd Tamytha Cameron Rebecca Patton Guy Rogers III Exploredinary John Smith Joseph Hyde Lawrence Jenkins May Stevens Swoon The Studio Bradley Linton Kevin Todora Luis Martinez STYLISTS/ASSISTANTS Missie Allen Elaine Raffel Michael Thomas ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS amazon.com/patronmagazine One year $36/6 issues, two years $48/12 issues For international subscriptions add $15 for postage For subscription inquiries email info@patronmagazine.com SOCIAL @patronmag 1019 Dragon Street | Design District

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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2021, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited. Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.

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BIGGER, BETTER MORE AMAZING THAN EVER

See the full season schedule and subscribe today dallassymphony.org/subscribe

Art Reframed

May 12 - 15 Dallas Market Hall

Head Over The Clouds by George Rosaly

MARCH 6 – JUNE 26, 2022

M EADO W S /A RCO ARTIST SPOTLIGH T:

IGNASI ABALLI

The Meadows Museum presents the work of Spanish conceptual artist Ignasi Aballí (b. 1958), who is representing Spain at the 59th Venice Biennale this spring. Aballí is the ﬁrst artist selected for the MAS: Meadows/ARCO Artist Spotlight program, a six-year partnership between the museum and Fundación ARCO (presenters of Spain’s largest contemporary art fair, ARCOmadrid) which aims to promote Spanish artists who have had limited exposure in the U.S. and provide them with an opportunity to enhance their visibility, build networks of support and interest, and expand understanding and appreciation of their work among U.S. audiences.

MEADOWS MUSEUM • SMU meadowsmuseumdallas.org

This exhibition has been organized by the Meadows Museum, SMU, Dallas, in collaboration with Fundación ARCO and is funded by a generous gift from The Meadows Foundation. Pictured: Ignasi Aballí (Spanish, b. 1958) Palabras Vacías, 2020. Installation view, Galería Elba Benítez, Madrid, 2020. Courtesy of the artist and Galería Elba Benítez, Madrid. Photo by Luis Asín.

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Women Painting Women May 15–September 25

FOCUS: Jamal Cyrus April 1–June 26

MODERN ART MUSEUM OF FORT WORTH 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 • www.themodern.org Above: Hope Gangloff, Queen Jane Approximately, 2011. Acrylic on canvas. 66 × 108 inches. Collection of Alturas Foundation, San Antonio, Texas. © Hope Gangloff. Image courtesy of the Artist and Susan Inglett Gallery, NYC Right: Jamal Cyrus, Texas Fried Tenor, 2012. Tenor saxophone, spray foam, flour, salt, egg, black pepper, and cayenne pepper, with railroad tie pedestal. Courtesy of the Artist and Inman Gallery, Houston. © Jamal Cyrus. Photo: Sean Fleming

Introducing Corey Damen Jenkins x Aria Stone Gallery Collection

Elevating stone to a fine art.

ariastonegallery.com Photography by Shawn Bentley

Photography by Studio Love List

Welcome, Spring. Celebrate spring by dining al fresco on Ellie’s Terrace, located within the HALL Arts Hotel. Savor seasonal cocktails, a featured wine list and showstopping cuisine to turn your Dallas Arts District outing into a masterpiece.

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Pablo Picasso (1881-1973) Grande Tête de Femme, 1962 Estimate: $60,000 - $80,000 | Prints & Multiples

James Surls (American, b. 1943) Untitled Estimate: $6,000 - $8,000 | Texas Art

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Heritage Auctions is a Proud Sponsor of The Dallas Art Fair April 21 – 24 | Fashion Industry Gallery Inquiries: Frank Hettig | 214.409.1157 | FrankH@HA.com 2801 W. Airport Freeway, Dallas, Texas 75261-4127 (Northwest corner of W. Airport Freeway [HWY-183] & Valley View Lane)

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NOTED

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

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01 AFRICAN AMERICAN MUSEUM Facing The Rising Sun presents the remnants of a once-thriving North Dallas community, and the Billy R. Allen Folk Art Collection, featuring one of the largest collections of African American folk art in the country, remain on view through May. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Sandy Rodriguez in Isolation features 30 new works on paper created by the Los Angeles–based painter through Apr. 17. Through Dec., Stephanie Syjuco: Double Vision transforms images of renowned works from the Carter and investigates narratives of national identity. Newly acquired photographs and more are on view in Beauty and Life: The Finis Welch Collection, through May 8 alongside ¡Printing the Revolution!, organized by the Smithsonian American Art Museum, which explores the rise of Chicano graphics within early social movements and the ways in which Chicanx artists since then have advanced printmaking practices attuned to social justice. Art Making as Life Making: Kinji Akagawa at Tamarind offers a glimpse of life in a 1960s print workshop, Apr. 23–Oct. 30. Darryl Lauster’s Testament (2018–20) will inaugurate a series of outdoor creative projects implemented by the Carter May 8, 2022–2023. Image: George Earl Ortman (1926–2015), printed by Kinji Akagawa (b. 1940), Two (Oaxaca XIV), 1966, lithograph. Amon Carter Museum of American Art, Fort Worth. © George Ortman. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS JooYoung Choi: Songs of Resilience From the Tapestry of Faith introduces the Cosmic Womb multiverse and highlights some of its key characters and narratives. In creating a world that explores loss, healing, and growth based upon a connective web of belief and faith in oneself, Choi expresses human resiliency and strength through the power of storytelling. Through Sep. 4. crowmuseum.org 04 DALLAS CONTEMPORARY Joseph Havel presents Parrot Architecture, an exhibition of neverbefore-seen wall assemblages and totemic bronze-and-resin sculptures made with the help of his pet parrot, Hannah, during the pandemic. See Lonnie Holley: Coming from the Earth, his first exhibition in Texas, featuring a new body of ceramic works made especially for the show. America, Nice Place marks New York–based artist Borna Sammak’s first solo exhibition in Texas. Riffing on 36

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American culture, Sammak brings his wide-ranging practice through a showcase of new and recent works as well as a new exhibition design conceived by the artist. Natalie Wadlington: Places that Grow presents her figurative paintings based on storytelling with wide-eyed characters full of wonderment and fear. On view Apr. 16–Aug. 21. Image: Natalie Wadlington, Digging in the Rain, 2021, oil on canvas, 42 x 42 in. Image courtesy of the artist and Library Street Collective. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM Courage and Compassion provides a 360-degree perspective of the World War II experience of Americans of Japanese ancestry while exploring the relevance of these events today. The exhibition honors people across America who stood up to recognize Japanese Americans as friends, neighbors, and fellow citizens. Through Jun. 12. dhhrm.org 06 DALLAS MUSEUM OF ART Slip Zone: A New Look in Postwar Abstraction in the Americas and East Asia continues through Jul. 10 along with Bosco Sodi: La fuerza del destino and Guadalupe Rosales: Drifting on a Memory. Rosales collaborated with Dallas-based lowrider artist Lokey Calderon to create an immersive work that nods to lowrider culture and uses sound to replicate the aural experience of cruising in East LA. Naudline Pierre: What Could Be Has Not Yet Appeared continues through May 15. Octavio Medellín: Spirit and Form continues through Jan. 15, 2023. Spirit Lodge: Mississippian Art from Spiro is the first major exhibition dedicated to the art and culture of Mississippian peoples, through Aug. 7. Cartier and Islamic Art presents over 400 objects from major international collections, including the Department of Islamic Arts at the Louvre Museum and the Keir Collection of Islamic Art on loan to the DMA, May 14–Sep. 18. Image: Starr Hardridge, Muscogee (Creek), COSMIC TWINS, 2016, acrylic and plaster on canvas. National Cowboy & Western Heritage Museum. dma.org 07 GEOMETRIC MADI MUSEUM Forty Days Forty Nights presents work by Shafaq Ahmad through May 27. geometricmadimuseum.org 08 GEORGE W. BUSH PRESIDENTIAL CENTER On view at the Food and Fiber Pavilion in Fair Park, Carne y Arena (Virtually present, Physically invisible), through Apr. 18, is

Mur illo P I CTUR I NG THE P ROD I GA L SON February 20 – June 12, 2022

MEADOWS MUSEUM • SMU meadowsmuseumdallas.org

This exhibition has been organized by the Meadows Museum, SMU, Dallas, in association with the National Gallery of Ireland and is funded by a generous gift from The Meadows Foundation.Promotional support provided by the Dallas Tourism Public Improvement District. Bartolomé Esteban Murillo (Spanish, 1617–1682), The Return of the Prodigal Son, 1660s. Oil on canvas, 41 1/8 x 53 in. (104.5 x 134.5 cm). National Gallery of Ireland. Presented,Sir Alfred and Lady Beit, 1987 (Beit Collection); NGI.4545.Photo © National Gallery of Ireland.

NOTED: VISUAL ARTS

presented for the first time in Texas in conjunction with the Nasher Sculpture Center. The ticketed, experimental, visual installation is a solo virtual reality experience that reunites frequent collaborators Alejandro G. Iñárritu and three-time Academy Award–winning cinematographer Emmanuel Lubezki. bushcenter.org 09 KIMBELL ART MUSEUM The Language of Beauty in African Art presents nearly 250 remarkable works from collections around the world—compelling art that scholars, connoisseurs, and collectors outside Africa have admired for more than a century, Apr. 4–Jul. 31. Image: Yòrùbá: Yewa culture; Nigeria Dance Staff (Oshe Sàngó), early 20th century wood and pigment The Art Institute of Chicago, gift of Richard Faletti, the Faletti Family Collection. kimbellart.org 10 LATINO CULTURAL CENTER On Apr. 20, LCC presents Cine de Oro: The Chosen Ones and on May 18, Cine de Oro: Tortilla Soup. lcc.dallasculture.org 11 THE MAC In Uncolonized: A Vision in the Parallel by Angel Cabrales, the artist uses science fiction to convey a reimagined legacy of the indigenous peoples of Latin America, through Apr. 30. the-mac.org 12 MEADOWS MUSEUM Murillo: Picturing the Prodigal Son presents paintings that represent the first time a Spanish artist painted the story in serial form, through Jun. 12. Marking the Meadows’ first collaboration with the National Gallery of Ireland, the exhibition was inspired by the recent conservation work carried out in Dublin, highlighting the beauty of Murillo’s technique and revealing new insights into his working method at a critical point in his career. Meadows/ARCO Artist Spotlight: Ignasi Aballí presents an installation by the Spanish conceptual artist, who is representing Spain at the 59th Venice Biennale, through Jun. 26. meadowsmuseumdallas.org 13 MODERN ART MUSEUM OF FORT WORTH The Modern commemorates its 20th year in its Tadao Ando– designed galleries with Recent Acquisitions 2002-2022 showcasing work from varied disciplines by artists from a wide range of cultures and geographies, through Apr. 24. Houston-based artist Jamal Cyrus’ sculpture, assemblages, performances, and paintings examine Black American histories and social movements as well as cultural traditions within the African diaspora in FOCUS: Jamal Cyrus from Apr. 1–Jun. 26. Women Painting Women features 46 female artists who choose women as subject matter in their works, May 15– Sep. 25. Image: Jammie Holmes, Carrying Caskets #1, 2021, acrylic and oil pastels on canvas, framed: 80.50 x 91.75 x 2 in. Collection 38

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04 of the Modern Art Museum of Fort Worth. Museum purchase with funds donated by the Green Family Art Foundation. Courtesy of Adam Green Art Advisory. © Jammie Holmes. themodern.org 14 MUSEUM OF BIBLICAL ART The Spirit of Abstraction features an outdoor sculpture garden of works from modern industrial design to deeply idealistic art by James Surls, George Tobolowsky, Sherry Owens, and other artists. biblicalarts.org 15 NASHER SCULPTURE CENTER Featuring work by the late Italian-born American artist, Harry Bertoia: Sculpting Mid-Century Modern Life continues through Apr. 24 alongside Sightings: Olivia Block. 2022 Nasher Prize Laureate Nairy Baghramian presents sculptures from her recent series Misfits, including a new work created by the artist for this installation. Dutch-born, London-based artist Magali Reus presents an installation that examines the relationships between people and objects through the distortion of common images, May 14–Sep. 11. Throughout five decades, Lynda Benglis has created sculptures in a wide range of materials that explore the physicality of form and its effects on the viewer. For her exhibition at the Nasher, Benglis highlights three bodies of work in media as diverse as traditional bronze and decorative glitter, May 21–Sep. 18. Image: Harry Bertoia, Untitled, 1953, bronze-coated iron, 33 x 17 x 10 in. Albright-Knox Art Gallery, Buffalo. Gift of Mr. and Mrs. Gordon Bunshaft. Harry Bertoia © 2021. Estate of Harry Bertoia / Artists Rights Society (ARS), New York. nashersculpturecenter.org 16 PEROT MUSEUM Paula Crevoshay’s designs in The Shape of Matter —Through An Artist’s Eye celebrate nature’s beauty, continues through Apr. 20. Thomas Peschak’s lifelong obsession with the ocean led him first to marine biology, specializing in kelp forest and the impacts of marine poaching. A conservation photographer since 2004, he realized his images could have greater impact than his research. See them in Wild Seas, Secret Shores on May 4. perotmuseum.org. 17 SIXTH FLOOR MUSEUM A multimedia experience, John F. Kennedy and the Memory of a Nation examines the life, legacy, and assassination of JFK stemming from the events of November 22, 1963, and their aftermath. Fragments presents architectural elements from the Texas School Book Depository that explore the building’s 120-year history. jfk.org 18 TYLER MUSEUM OF ART Building a Legacy III: Selections from the Permanent Collection remains on view through May 1. tylermuseum.org

65 TH

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OF NOTE

PAINTING A PARABLE

Meadows Museum showcases six paintings by Bartolomé Esteban Murillo.

t is a classic tale: A young man secures his inheritance, descends into ruin, and then returns, repentant, to those he left behind. It is also the basis for the Biblical parable of the prodigal son as written in the Book of Luke. Murillo: Picturing the Prodigal Son at the Meadows Museum features six paintings by Bartolomé Esteban Murillo, the 17th-century Sevillian master, based upon this teaching. Museum exhibitions usually reunite works, separated by centuries, that were produced for a single patron. The original patron of this series remains unknown. Remarkably, however, with the exception of a brief interlude when one of these paintings entered the Vatican collection, this series has remained whole over the past 350 years. “It is the only series by Murillo that remains intact,” states Amanda W. Dotseth, director ad interim and curator of the Meadows Museum. Since the late 20th century, these works have belonged to the National Gallery of Ireland, which recently spent six years meticulously cleaning them. According to Dotseth, the exhibition is a celebration of these conservation efforts. This the first time that these works are traveling to the US, and the only stop on this continent. As a university museum, the Meadows often augments its exhibitions with source material to contextualize the work on view. “As a Biblical subject for painters, the Prodigal Son is not common in Spain,” Dotseth explains. In an exploration of Murillo’s possible inspirations, the museum presents graphic work, including a late 15th-century engraving by the German artist Albrecht Dürer and suites of 17thcentury etchings by French artist Jacques Callot and Italian artist Pietro Testa. Prints such as these were easily disseminated across Europe, giving artists a way to see what was happening across the continent. Callot’s suite not only broke the story into 11 episodes, but also embellished upon it. A first-edition collection of Lope de Vega’s dramas, including Prodigal Son, is also in the exhibition. Published in Seville in 1604, Dotseth notes, “It is a religious play that takes place in six acts. It would have been something Murillo would have known.” She points to key influences from this play on several of the paintings. These include the now-muted greens that Murillo used in the young man’s clothing, signifying his naïveté, as well as the inclusion of wine in The Prodigal Son Feasting. “Wine is referred to specifically in Lope de Vega’s play as a reference to vino de olvido, the wine of forgetfulness,” Dotseth says. Taking a lead from Callot, Murillo expands the story in a few places. “In the parable, details are thin. There is a lot of room for Murillo,” adds Dotseth. Painting loans from several institutions, including the Kimbell Art Museum’s enigmatic Four Figures on a Step, round out the exhibition. The final gallery highlights the Meadows’ vast holdings of Murillo’s work, including the newly cleaned Jacob Laying Peeled Rods before the Flocks of Laban. The exhibition is a bittersweet one for Dotseth; it was the last major project she worked on with Mark Roglán, the museum’s late director. The sumptuously illustrated catalogue, which they co-edited, is dedicated to his memory. –By Nancy Cohen Israel

From left: Bartolomé Esteban Murillo (Spanish, 1617–1682), The Departure of the Prodigal Son, 1660s, oil on canvas, 41.12 x 53 in. National Gallery of Ireland. Presented, Sir Alfred and Lady Beit, 1987 (Beit Collection). Photograph © National Gallery of Ireland; Bartolomé Esteban Murillo (Spanish, 1617–1682), The Prodigal Son Feasting, 1660s, oil on canvas, 41.12 x 53 in. National Gallery of Ireland. Presented, Sir Alfred and Lady Beit, 1987 (Beit Collection). Photograph © National Gallery of Ireland; Bartolomé Esteban Murillo (Spanish, 1617–1682), The Prodigal Son Driven Out, 1660s, oil on canvas, 41.12 x 53 in. National Gallery of Ireland. Presented, Sir Alfred and Lady Beit, 1987 (Beit Collection). Photograph © National Gallery of Ireland.

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“Dazzling.” —Elle

“Groundbreaking.” MAY 14 TO SEPTEMBER 18, 2022

—Wallpaper

Islamic art was a formative inspiration for Louis Cartier and the Maison Cartier in the early 20th century. Cartier’s designers adapted shapes, techniques, and materials from India, the Middle East, and North Africa, synthesizing and transforming them into a unique, modern stylistic language that continues to inspire new creations.

Get tickets at dma.org

Cartier and Islamic Art: In Search of Modernity is co-organized by the Dallas Museum of Art and the Musée des Arts Décoratifs, Paris, in collaboration with the Musée du Louvre and with the support of Cartier. The Presenting Sponsor for this exhibition is PNC Bank. The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the National Endowment for the Arts, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture. PRESENTING SPONSOR

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IMAGES: Bracelet, Cartier Paris, 1923. Cartier Collection. Vincent Wulveryck, Cartier Collection © Cartier; Bandeau, Cartier Paris, special order, 1923. Cartier Collection. Vincent Wulveryck, Cartier Collection © Cartier; Vanity case, Cartier Paris, 1924. Cartier Collection. Nils Herrmann, Cartier Collection © Cartier; Tiara, Cartier London, special order, 1936. Cartier Collection. Vincent Wulveryck, Collection Cartier © Cartier.

“Striking.” —B loomberg

OF NOTE

MEET THE TUPLETS, PUTT-PUTT, AND QUEEN KIOK Enter JooYoung Choi’s welcoming planet, Cosmic Womb.

hrough September 4, the Crow Museum of Asian Art presents JooYoung Choi: Songs of Resilience from the Tapestry of Faith as the third and final artist of the Crow Museum’s multi-year series celebrating Texas-based contemporary Asian women artists. Growing up in Merrimack County, which had a 99.15 percent white population in 1980, Choi did not know many people who looked like her. She certainly didn’t see herself reflected in museums or the stained glass of churches. In response, Choi created a colorful, fantastical, world that would make her younger self feel heard and safe. Now she hopes others can be too. Through Choi, discover a land that exists in another world. Seventy-two hundred light years away from Earth there is a planet called the Cosmic Womb. On that planet is a continent that stretches over approximately 6,732 miles. It is filled with vivid psychedelic color; humanoid talking creatures known as Tuplets, who have special powers; an octopus named Putt-Putt; and guardian angels, all governed by Queen Kiok. Choi’s Cosmic Womb is more than merely a reflection of the Earth; it intertwines Earth’s history, current events, and shortcomings into an immersive experience—a story full of hope and joy. One Earthling from Concord, New Hampshire named C.S. Watson inhabits the land. Concord is where Choi was raised after her adoption from South Korea. The distance from Concord to Seoul, South Korea is 6,732 miles. Choi’s life and upbringing are directly tied to the Cosmic Womb’s national motto: Have Faith You Have Always Been Loved. It is safe to say that the Cosmic Womb is intricate, intimate, and deeply layered into the essence of Choi. As a multidisciplinary world builder, the artist utilizes video, painting, photography, and sculpture in her professional practice. Her inspiration comes from her own personal journey and experiences, the media of her childhood, her ongoing research on identity and American media’s representation of girls, women, intersex, transgender, and non-binary people of color. Additionally,

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she explores issues of belonging, trauma, resilience, and healing. She wants her art to provide a place for the healing of loss and for those forgotten to be rediscovered. If she had a superpower, like one of her characters Spacia Tanno—a Black Star, an incredibly powerful sentient star-being— it would be the power of storytelling. Choi breathes life into her characters, then uses them to funnel creativity, productivity, and research, as though they inhabit different points of view from her own, with highly detailed storylines that are immersive and interconnected. For Choi, the narratives must feel real and rooted in some way to her daily life and the world at large. This summer, step into her world and be filled by the love and effort Choi pours into her work. In the depths of the Songs of Resilience from the Tapestry of Faith, one may remember that they are, like all the work displayed, deeply loved, connected, and rich with extraordinary powers. A fantastical world indeed. —By Anthony Falcon

Above: JooYoung Choi, Like a Bolt Out of the Blue, Faith Steps In and Sees You Through (Detail), 2019, wooden armature, fabric, hardware, paint, vinyl dots. Below: Still image from JooYoung Choi’s Journey to the Cosmic Womb, Part 1 & 2, 2018. Courtesy of the artist and Nancy Littlejohn Fine Art.

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Save the Date for TWO x TWO 2022 SATURDAY, OCTOBER 22, 2022 THE RACHOFSKY HOUSE • DALLAS, TEXAS

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NOTED: PERFORMING ARTS

01 AMPHIBIAN No Child… is a one-woman performance not to be missed by anyone who is concerned about the state of our education system, Apr. 1–17. River Butcher is an American stand-up comedian, actor, writer, producer, and podcast host known for personal, observational comedy. See Butcher live Apr. 21–23. National Theater Live sees Hex on Apr. 25 and 28, and The Book of Dust on Apr. 27 and 30. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER R AGE is a one-act play that explores the stories of Black women throughout the history of the US. Ten women take their place on stage to share their stories of strength through Apr. 9. On Apr. 9, Dog Man: The Musical features the hilarious new production based on the worldwide bestselling series from Dav Pilkey, the creator of Captain Underpants. Summer: The Donna Summer Musical comes to town Apr. 26–May 1. Waitress returns to Dallas for a run May 10–15. attpac.org 03 BASS PERFORMANCE HALL Dixie Longate: Cherry Bombs & Bottle Rockets will take the stage Apr. 2. Daniel Tiger’s Neighborhood—LIVE! will share stories of friendship, helping others, and celebrating new experiences. The British Invasion—Live on Stage is a multimedia show that places viewers at the center of pop culture history. basshall.com 04 CASA MAÑANA Shrek The Musical continues through Apr. 3. Next, based on the popular Disney Channel Original Movies, Descendants is a brandnew musical comedy featuring the beloved characters and hit songs from the films, Apr. 23–May 8. casamanana.org 05 DALLAS BLACK DANCE THEATRE DBDT: Encore! returns with Rising Excellence on Apr. 22–23; it will be performed live as well as streamed. The annual Spring Celebration will take place May 20–21. Image: DBDT 2018 Rising Excellence. Photograph by Fermaint Photography. dbdt.com 06 DALLAS CHILDREN’S THEATER DTC presents The Lion, the Witch, and the Wardrobe Apr. 3–May 15. As part of the Teen Scene Players series, 10 Seconds follows Ray and Jimi, who are Washington, DC high school students navigating their young adult worlds; witness what it means to be young Black men in the city. Apr. 29–May 1. dct.org 07 THE DALLAS OPERA Long ago, two men fall in love with a priestess—then swear to give her up for the sake of their friendship. But they do not! One man 44

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makes her forget her vows and the other loses his life in this torrid tale of forbidden love and treachery. Gloriously romantic music from Carmen’s composer includes the famous “friendship” duet, the sensuous soprano aria, and the tenor showpiece Caruso made famous, Apr. 2–10. Image: The Pearl Fishers, Houston Grand Opera. Photograph by Lynn Lane. dallasopera.org 08 DALLAS SUMMER MUSICALS Jesus Christ Superstar marks its 50th year in a performance at Fair Park Apr. 5–17. Direct from Broadway, Mean Girls make its Dallas debut May 3–15. Stripped down to reveal the darker psychological truths at its core, Daniel Fish’s production of Oklahoma tells a story of a community circling its wagons against an outsider and of the frontier life that shaped America, showing the classic musical—and our country—in a whole new light, May 31–Jun. 12. Image: Aaron LaVigne, Tommy Sherlock and the touring company of Jesus Christ Superstar. Photograph by Matthew Murphy. dallassummermusicals.org 09 DALLAS SYMPHONY ORCHESTRA Partake in Fabio Luisi’s mastery of opera and a stellar cast of soloists in Tchaikovsky’s Eugene Onegin, Apr. 1–5. Berlioz described his orchestral tour de force as a portrait of the life of an artist and his unrequited love, conjuring up hallucinatory visions of longing, obsession, and the depth of despair all in glorious orchestral sounds; see Berlioz Symphonie Fantastique Apr. 8–10. Dvořák’s famed and final symphony, a musical testament to the “New World,” brims with brass fanfares, Bohemian and Czech dance rhythms, and folk tunes Apr. 14–16. Hear Bernstein’s most beloved score when the DSO performs West Side Story and Gershwin’s Piano Concerto, Apr. 22–24. See Kavakos, Kerr and Kufchak Apr. 28–May 1. Experience Star Wars: Return of the Jedi—Live in Concert on May 6–8. Luisi Conducts Beethoven’s Ninth May 12–15. Aaron Jay Kernis performs Rachmaninoff’s Piano Concerto No. 2 May 19– 22. Be the first to hear Mussorgsky’s Pictures, a new orchestral work by Jessie Montgomery, Leonard Bernstein Award–winning composer, violinist, and educator May 27–29. mydso.com 10 DALLAS THEATER CENTER In The Sound of Music, Dallas Theater Center boldly reexamines one of the most exhilarating musical theater classics ever written, continuing through Apr. 24. dallastheatercenter.org 11 DALLAS WINDS Dallas Winds wraps the season up with a match made in heaven: the legendary Canadian Brass will join the world-renowned Dallas Winds for an evening of brass-plated hijinks and musical shenanigans on Apr. 2. dallaswinds.org

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NOTED: PERFORMING ARTS

07 12 EISEMANN CENTER Join the Vocal Majority 50th Golden Anniversary Year celebration on Apr. 2–3. Meet Britain’s most electrifying vocal group, The Barricade Boys, on Apr. 9. The season’s final Keyboard Conversations will feature visually inspired masterpieces by Debussy, Liszt, Mendelssohn, and Rachmaninoff on Apr. 11. Richardson Symphony’s season concludes with RimskyKorsakov’s Scheherazade, inspired by the tales of the Arabian Nights on Apr. 23. Michael Cavanaugh is ready to rock with The Music of Billy Joel & Elton John on May 6. Join Full Circle Dance for an evening of contemporary modern dance on May 7. Max Amini is Live in Dallas on May 14. eisemanncenter.com

LIKE WHAT YOU SEE? We’ve got more where these came from Images (details): William Merritt Chase (1849–1916), Idle Hours, ca. 1894, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, 1982.1; William M. Harnett (1848–1892), Attention, Company!, 1878, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, 1970.230; Morton Livingston Schamberg (1881–1918), Figure, 1913, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, 1984.16; Lewis Wickes Hine (1874–1940), Steamfitter, 1921, gelatin silver print, Amon Carter Museum of American Art, Fort Worth, Texas, P1981.80.3; Frederic Remington (1861–1909), A Dash for the Timber, 1889, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, Amon G. Carter Collection, 1961.381; Arthur Dove (1880–1946), The Lobster, 1908, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, Acquisition in memory of Anne Burnett Tandy, Trustee, Amon Carter Museum of American Art, 1968–1980, 1980.29

13 FORT WORTH SYMPHONY ORCHESTRA Beethoven’s Octet for Winds is filled with whimsical melodies reminiscent of Haydn and Mozart, on Apr. 3. Canadian pianist Angela Cheng performs Rachmaninoff’s spirited Rhapsody on a Theme of Paganini Apr. 8–10. Ink Dark Moon demonstrates the fierier capabilities of the guitar on Apr. 29–May 1. Hop on the Hogwarts Express for a one-way trip to the magical world of Harry Potter on Apr. 30. Troupe Vertigo fuses cirque acrobatics, classical dance, and contemporary theater to create a spellbinding show May 6–8. Holst’s The Planets conjures the emotions of each planet on the human psyche, May 13–15. fwsymphony.org 14 KITCHEN DOG THEATER Taylor Mac’s comedy Gary: A Sequel to Titus Andronicus is set just after the blood-soaked conclusion of William Shakespeare’s tragedy Titus Andronicus and follows two lowly servants charged with cleaning up the bodies at world’s end. Closing Apr. 3. kitchendogtheater.org 15 LYRIC STAGE A Funny Thing That Happened on the Way to the Forum, set in ancient Rome, takes comedy back to its roots, combining the time-tested 2,000-year-old comedies of Roman playwright Plautus with the infectious energy of classic vaudeville. May 12–15 lyricstage.org 16 MAJESTIC THEATRE The spring lineup for the Majestic begins with Claudia Oshry: Not Like Other Girls on Apr. 1, followed by Whitney Cummings: Touch Me Tour on Apr. 2; Lyle Lovett and His Large Band Apr. 7–9; Trevor Wallace on Apr. 14; Jesse Cook on Apr. 15; Andrew Santino on Apr. 16; Beth Hart: The Thankful Tour on Apr. 19; Not Another D&D Podcast on Apr. 20; R AIN: A Tribute to The Beatles on Apr. 22; Citizen Cope Anniversary Tour on Apr.

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05 23; Tori Amos on Apr. 27; and Penny and Sparrow on Apr. 30. Amanda Miguel y Diego Verdaguer kick off May 1; followed by Christone “Kingfish” Ingram on May 5; An Evening with Colin Hay on May 8; Hannah Gadsby: Body of Work on May 18; Daniel Tosh on May 20; Carla Morrrison on May 22; and The Criminal Tour on May 25. majestic.dallasculture.org 17 TACA Jennifer Burr Altabef and Larry Angelilli will be honored as recipients of the 44th annual TACA Silver Cup Award on April 21 at The National at Thompson Dallas. The event will be chaired by Diane Brierley and Deborah McMurray. taca-arts.org 18 TEXAS BALLET THEATER A Midsummer Night’s Dream highlights merriment and magic amidst a forest filled with fairies and frivolity when enchanted lovers resolve mischievous mix-ups and reunite with their intendeds, May 6–22. texasballettheater.org 19 THEATRE THREE Stede Bonnet: A F*cking Pirate Musical is a brand-new musical based on the true story of the Gentleman Pirate. Stede, depressed and exhausted from his luxurious life, chooses to leave everything behind and become the best pirate in the world! One problem … he does not know what he is doing. theatre3dallas.com 20 TITAS/DANCE UNBOUND Entering Marie Chouinard’s Garden of Earthly Delights is to step into Bosch’s tryptic and viscerally experience the painting as never before. Expertly choreographed, complex yet stunningly unfiltered, this dance work is a masterpiece within a masterpiece, Apr. 8–9. Jaw-dropping and awe-inspiring, Command Performance always delivers one of the most exciting performances of the year, Apr. 23. Image: TITAS Command Performance, Under the Stars. Photograph by Sharen Bradford. titas.org 22 UNDERMAIN THEATRE Undermain returns with Lonesome Blues, the true story of the legendary bluesman Blind Lemon Jefferson, who was born blind but was ultimately able to express his deepest emotions through music, Jun. 15–Jul. 3. undermain.org 23 WATERTOWER THEATRE Through Apr. 10, The Odd Couple shares the classic comedy, which opens with a group of guys playing cards in the apartment of divorced Oscar Madison. A Gentleman’s Guide to Love and Murder will be the company’s next production, Jul. 20–31. watertowertheatre.org APRIL / MAY 2022

NOTED: GALLERIES

01 12.26 Hasani Sahlehe: Sky, You, Water, Ground, and Austin Eddy: Above The House Where Paul Verlaine Died continue through Apr. 9. In collaboration with SOCO Gallery, 12.26 will host Liz Nielsen and Claire Colette Apr. 20–May 21. The gallery will participate in Dallas Art Fair Apr. 21–24. Image: Hasani Sahlehe, Untitled, 2022, acrylic on raw canvas, 14 x 11 in. gallery1226.com 02 500X GALLERY 500X is an artist-run, for-profit gallery currently seeking applications for new members to join the team for the 2022–2023 season. The deadline for membership applications is Apr. 23. 500x.org 03 ALAN BARNES FINE ART Alan Barnes Fine Art will relocate during the spring of 2022 and will release a schedule of forthcoming exhibitions once their move is complete. alanbarnesfineart.com 04 AND NOW The multimedia and fiber artist Miguel Bendaña’s solo exhibition closes Apr. 9. Next, Eli Ping will be on view Apr. 16–May 21. Closing out spring and entering summer, Phillip John Velasco Gabriel will exhibit in the gallery space for the first time May 28– Jul. 2. andnow.biz 05 ARTSPACE111 Being: in shape by Stella Alesi is highlighted in the gallery through May 7. The exhibition will highlight three closely related bodies of work titled Circuit, With Grace, and The Shape. Healing, by Mihee Nahm will be on view May 12–Jun. 25. Image: Stella Alesi, Trio, 2021, oil wax and pencil on oil paper, 22.5 x 30 in. artspace111.com 06 BARRY WHISTLER GALLERY Barry Whistler’s dual exhibitions of John-Paul Philippe / HER ALDS and Dan Rizzie Collages / 1980–2022 continue through Apr. 30. barrywhistlergallery.com 07 BEATRICE M. HAGGERTY GALLERY The Haggerty gallery is filled with the work of Grant Benoit and Mary Cale Wilson through Apr. 10. Beginning Apr. 20, the exhibition Lyle Novinski Prints will be on display through Aug. 3. udallas.edu/gallery 08 CADD Contemporary Art Dealers of Dallas is a nonprofit organization that was formed in 2007 for the purpose of promoting contemporary art. caddallas.org

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01 09 CHRISTOPHER MARTIN GALLERY The gallery presents the reverse-glass paintings of American artist Christopher Martin; the Rodeo series of Dallas based photographer Steve Wrubel; the color-field paintings of New York–based painter Jeff Muhs; the acclaimed work of Dutch image maker Isabelle Van Zeijl; the acrylic constructions of Dallas artist Jean Paul Khabbaz; the large-format paintings of Dallas based painter Tom Hoitsma; the abstract work of California-based painter Chris Hayman; and the organic paintings of Atlanta artist Liz Barber; and rotating artists in the expanded gallery. christophermartingallery.com 10 CONDUIT GALLERY Ludwig Schwarz: Moving Pictures fills the main gallery, and the Project Room sees New Work by artist Ari Brielle through Apr. 2. From Apr. 9–May 14, Conduit holds two solo exhibitions in the main galleries for Annabel Daou and Marcelyn McNeil, and Jennie Ottinger highlights the Project Room. Next, Steven J. Miller: Something Like My Neighborhood, Jeff Baker: New Photographs, and in the Project Room, Barbara Rosenblatt are on view from May 21–Jul. 2. Conduit is a Dallas Art Fair participant. Image: Steven J. Miller, Something Like My Neighborhood 1, 2021, acrylic on canvas, 20 x 16 in. Courtesy of the artist and Conduit Gallery. conduitgallery.com 11 CRAIGHEAD GREEN GALLERY Brad Ellis, Chris Mason, and Rebecca Shewmaker exhibitions close Apr. 2. Next the galley will feature exhibitions of Abhidnya Ghuge, Kendall Stallings, and Scott Simons from Apr. 9–May 14. craigheadgreen.com 12 CRIS WORLEY FINE ARTS Trey Egan: Signal/Rhythm/Solace fills the gallery with new work, closing Apr. 2. For the rest of Dallas Arts Month, Robert Sagerman debuts his exhibition titled Scintillae from Apr. 9–May. 19. Cris Worley Fine Arts is a Dallas Art Fair exhibitor. crisworley.com 13 DADA The Dallas Art Dealers Association is an affiliation of established independent gallery owners and nonprofit art organizations. dallasartdealers.org 14 DAISHA BOARD GALLERY DBG is a contemporary gallery representing BIPOC artists, LGBTQ+ artists, and artists with disabilities locally and abroad in various mediums that include mixed media, sculpture, photography, installations, performance art, and digital media. daishaboardgallery.com

NOTED: GALLERIES K ittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 75244  972.239.7957

Ross Richmond 05 15 DALLAS ART FAIR PROJECTS Dallas Art Fair Projects is an arts and special projects space located in the Dallas Design District, formerly known as 214 Projects. Currently on view: Women of Now: Dialogues of Identity, Memory, & Place. dallasartfairprojects.com 16 DAVID DIKE FINE ART DDFA specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas landscape painters. daviddike.com 17 ERIN CLULEY GALLERY Taylor Barnes: Holding on to Elsewhere is highlighted at Erin Cluley Gallery through spring. The exhibition of new work will be on view Apr. 2–May 7. Erin Cluley will exhibit at Dallas Art Fair. erincluley.com 18 FERRARI GALLERY Find metal sculptures by James Ferrari; canvas paintings inspired by nature by Debra Ferrari; photographs by Jeremy McKane, who utilizes water and camera to capture the human form and express a passion to preserve our oceans; and works by ceramic sculptor, Kosmas Ballis, who transports viewers to a distinct space through his intricate clay sculptures. Milieu Earth, opening Apr. 22, is an invitational group exhibition featuring American artists focused on works inspired by our planet and wildlife, through Jul. 30. ferrarigallery.net 19 FWADA Fort Worth Art Dealers Association funds and hosts exhibitions of noteworthy art. fwada.com 20 GALLERI URBANE Samantha McCurdy and Colby Currie, Subliminal Sublime and New Paintings, close Apr. 2. Two exhibitions open Apr. 9: Stephen D’Onofrio’s The Arborist and Anna Kunz’s Naked Light, through May 14. Galleri Urbane will participate in Dallas Art Fair. Image: Anna Kunz, Upward Slope, acrylic on panel, 96 x 87 in. galleriurbane.com 21 GREEN FAMILY ART FOUNDATION Women of Now: Dialogues of Identity, Memory & Place, curated by Clare Milliken and Bailey Summers, is a group exhibition of work by 28 emerging female artists, continuing through May 22. greenfamilyartfoundation.org

Offering Dallas’ finest selection of art glass!

kittrellriffkind.com 50

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22 HOLLY JOHNSON GALLERY Borrowed Light marks Jill Moser’s first solo show with the gallery and features recent paintings and works on paper, through May 9. Image: Jill Moser, Borrowed Light #41, 2018, gouache on paper, 60 x 45 in. hollyjohnsongallery.com

Think

Art

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

SOUTHWEST GALLERY

4500 Sigma Rd. Dallas 972.960.8935 Fine Ar t  Sculpture  Custom Framing  Ar t Glass

NOTED: GALLERIES

10 23 KEIJSERS KONING How far is in-between is a group exhibition of four women— Lisa Beck, Nayda Collazo-Llorens, Popel Coumou, and Dona Nelson—using abstraction as a form to discover the planes of a composition through form, light, and structure. Their chosen materials are diverse—painting, collage, sculptural, photography—yet their views are expressed through rhythm and form. Opening Apr. 2 and continuing through May 9. Keijsers Koning is a Dallas Art Fair exhibitor. keijserskoning.com 24 KIRK HOPPER FINE ART Benito Huerta will exhibit new work from Apr. 2–May 7. Next KHFA will display Lee Baxter Davis and James Surls in an alldrawings exhibition May 14–Jul. 2. Image: Benito Huerta, In Memory of Days Past, 2018, oil on canvas, 48 x 48 in. kirkhopperfineart.com 25 KITTRELL/RIFFKIND ART GLASS Ross Richmond’s A Solo Exhibition, featuring equine art, remains on view through Apr. 16. Thomas Scoon’s A Solo Exhibition, includes an artist talk on the night of the opening, Apr. 23, and continues through May 28. kittrellriffkind.com 26 LAURA RATHE FINE ART Midnight Blooms, a duo exhibition featuring new works by Stallman and Janna Watson, will be on view Apr. 2–May 7. Next, Carly Allen Martin and Nina Tichava will fill the gallery May 14–Jun. 18. laurarathe.com 27 LILIANA BLOCH GALLERY José Villalobos challenges the toxicity of machismo using objects that carry a history, through Apr. 16. From Apr. 23– May 21, Michael Corris will fill the gallery walls. From May 28–Aug. 22, the photographic work of Leigh Merrill will be installed in the gallery. lilianablochgallery.com 28 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries specializes in original paintings, sculpture, and limited-edition graphics. The gallery is distinguished by works of art by Erté, Marc Chagall, Keith Haring, and many other artists. martinlawrence.com 29 OLIVIER FRANÇOIS GALERIE Kevin Jacobs rules this Exposition Park outpost with 52

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04 unexpected and under-the-radar exhibitions. Check the website for details of his April/May shows. ofg.xxx 30 PETER AUGUSTUS Peter Augustus is a contemporary gallery focused on emerging and mid-career international artists. Housed in a historic storefront in the Expo Park district, the gallery will take part in Dallas Art Fair Apr. 21–24. peteraugustusgallery.com 31 PHOTOGRAPHS DO NOT BEND Texas–Bauhaus will feature photographs by Bauhaus artists who have visited Texas and the Texas artists they influenced. Featuring work by György Kepes, Carlotta Corpron, Ida Lansky, and others, the exhibition will be on view through Apr. 2. From Apr. 9–Jun. 18, two solo exhibitions, Cheryl Medow: Envisioning Habitat: An Altered Reality and Robert Milnes: Sea What I Think, will fill the gallery. Image: Robert Milnes, Pod, earthenware with textured glazes and slip. pdnbgallery.com

DALLAS ART FAIR BOOTH F17B APRIL 21–24

32 THE POWER STATION The Power Station will display the work of Hadi Fallahpisheh in Young and Clueless opening on Apr. 20 and continuing through the summer. Gallery hours are Thursday through Saturday 12 to 5 p.m. during opening week. Image: Hadi Fallahpisheh, Temptation, 2022, unique light drawing on photo-sensitive paper. powerstationdallas.com 33 RO2 ART Twists & Turns: Brooks Oliver and Joshua Dodson and TJ Griffin: Lucid at Ro2 Art in The Cedars continues through Apr. 30. Next, the gallery hosts Bartosz Beda in a solo exhibition May 7–Jun. 4. Image: Brooks Oliver, Grinders, 2021, porcelain, 12.5 x 13 x 3.5 (as set). ro2art.com 34 SAMUEL LYNNE GALLERIES Featuring the work of founders JD Miller, entrepreneur Philip Romano, and Lea Fisher, SLG will open a show for Tyler Shields on Apr. 23 that will continue through May. samuellynne.com 35 SITE131 Nonprofit art space SITE131 proposes as its core pursuit to spotlight the concept of pairing, presenting new art from

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J OSH HAGLER | CA N YON (DETA I L) , 2 02 2 MI XED MEDI A ON CA N VAS A N D OTH ER FA B RICS 94 X 76 I N CHES

APRIL 2022 53 Cris Worley Fine Arts – Patron – Half Page RHR / AdMAY – April / May 2022 Agency Job Number: 22_002 Cris Worley Patron Ad Agency: Lilco Studio, Lily Smith+Kirkley, 214.213.8013

NOTED: GALLERIES

America and abroad side-by-side with new works by Texas artists. site131.com 36 SMINK ART + DESIGN SMINK is a purveyor of fine furniture and art including Minotti with the work of Rodolfo Dordoni, House of Finn Juhl, Porro with Piero Lissoni, Massaud, Pillet, Rennie, Molteni&C, and Rina Menardi pottery and Ivan Baj’s hand-blown glass. sminkinc.com 37 SMU POLLOCK GALLERY SMU Pollock Gallery provides a space for critical engagement w it h art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. pollockgallery.art 38 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas the largest collection of fine 19th–21st century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000-square-foot showroom. swgallery.com 39 SWEET PASS SCULPTURE PARK Sweet Pass Sculpture Park will reopen programming later this spring. sweetpasssculpturepark.com 40 TALLEY DUNN GALLERY Ursula von Rydingsvard features the artist’s monumental sculptures through Apr. 2. Sedrick Huckaby’s inaugural exhibition at the gallery, Goin’ Up Yonder, featuring paintings and sculptures, will be on view through Apr. 23. talleydunn.com 41 VALLEY HOUSE GALLERY Pages from a Glass Book closes Apr. 2. Next, Valley House will host Michael O’Keefe and Henry Finkelstein from Apr. 9–May 29. Valley House is a participant in Dallas Art Fair. valleyhouse.com 42 WAAS GALLERY Through a lens of sustainability, W.A.A.S. empowers artists to connect to their communities and facilitate societal change while offering an interstellar sanctuary to communicate artistic expression. waasgallery.com 43 WEBB GALLERY New Work by Ricky Bearghost, Collages and Paintings by Mike Combs, and Posters of Nuns by Julie Speed will be on view Apr. 3–Jun. 12. webbartgallery.com 54

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44 WILLIAM CAMPBELL GALLERY Willam Campbell’s exhibition of new work by Frank X Tolbert 2 titled Live Wire at the original location continues through May 14. Concurrently, an exhibition for Paul Kremer and Matt Kleberg at the gallery’s Foch St. location, titled Kremer/Kleberg/Reverb, will feature new work by the artists. williamcampbellcontemporaryart.com AUCTIONS AND EVENTS 01 DALLAS ART FAIR Taking place at f.i.g. Apr. 21–24, Dallas Art Fair brings a rich selection of modern and contemporary artworks presented by nearly 90 leading national and international galleries. A pARTy Pass is required for both the Early Access Champagne Soiree, Apr. 21, and The Eye Ball, Apr. 23. dallasartfair.com 02 DALLAS AUCTION GALLERY Located on Monitor St. off Wycliff, the auction house will hold a Coins & Currency Auction in Apr. and Fine & Decorative Art Auction in May. dallasauctiongallery.com 03 HERITAGE AUCTIONS HA slated auctions for the spring are Urban Art Showcase Auction on Apr. 6, Comics & Comic Art Signature Auction on Apr. 7–10, Defiant Youth: The Work of Shepard Fairey Showcase Auction on Apr. 12, Depth of Field: Photographs on Apr. 13, Fine & Decorative Arts Showcase Auction on Apr. 14, Illustration Art Signature Auction on Apr. 15, Prints & Multiples Signature Auction on Apr. 19, Prints & Multiples Showcase Auction on Apr. 24. The Tiffany, Lalique & Art Glass Signature Auction on April 28. May begins with the Design Signature Auction on May 4, Urban Art Showcase Auction on May 4, American Art Signature Auction on May 10, In Focus: Martin Whatson Showcase Auction on May 10, Depth of Field: Photographs on May 11, Fine & Decorative Arts Showcase Auction on May 11, Modern & Contemporary Art Signature Auction on May 19, Texas Art Signature Auction on May 21, and the Photographs Signature Auction on May 24. ha.com 04 THE OTHER ART FAIR Presented by Saatchi Art, The Other Art Fair prides itself on being different, offering affordable, original artworks from 140 “gamechanging” artists who will showcase thousands of original works at this spring’s fair in partnership with Bombay Sapphire, May 12–15 at Dallas Market Hall. Special guest artist Anna Marie Tendler, live DJ sets, tattooing, and a Bombay Sapphire bar will add to the vibrant atmosphere. Image: Edith Torony (Romania), Exile And The Kingdom, acrylic on canvas, 27.6 x 31.5 x 0.8 in. Courtesy of The Other Art Fair. theotherartfair.com

OF NOTE

TREAD LIGHTLY

Marcos Acosta celebrates the joy of natural landscapes while recording our carbon footprint at Park House.

erhaps there is no better way to articulate Earth Day and our need to address climate change than through art. Marcos Acosta’s representational works combine abstractions to illuminate humanity’s intersection with the natural world. Evolved out of his upbringing near the Sierras de Córdoba, Acosta’s large-scale paintings are noted for dramatic abstractions bifurcating breathtaking landscapes. The artist, renowned across South America while new to US audiences, is showing with Hexton Gallery at Park House during Dallas Arts Month. This is the second exhibition with Hexton—an Aspen gallery known for modern and contemporary artists—this year at the private club in Highland Park Village. “Aspen has a special place in the hearts of the Park House owners and many of our members. Aspen, like Dallas, has a very vibrant arts scene and we love when we can bring a little piece of Aspen to Dallas for engaging exhibitions and conversations. We are thrilled to partner with a great friend to many, Bob Chase and his Aspen gallery space, Hexton,” says Deborah Scott, a Park House founder. Growing up in the rough terrain of central Argentina, the artist has grown accustomed to canyons, jagged peaks, and rounded topography. During holidays the area brims with tourism. His bright, abstract geometries announce human activity that creates tension, though he acknowledges we are part of nature ourselves. Linear shapes seem to indicate a footpath, signifying ascension and descension in these remote places. Our smallness within his conjured environments provides a heightened awareness of self. Interconnected with spirituality and the Universe, the abstraction does not connote desperate circumstances but instead it may be cautionary. Tread lightly through these worlds, hints Acosta, but enjoy the beauty, fresh air, and renewed sense of self that such profound landscapes can offer. The show, titled Right Place, reflects the artists belief that “no place and every place encompasses a common essence that is, at its core, simply light.” Park House members and their guests may see Right Place opening on Apr. 20 and continuing through September.–P

From top left: Marcos Acosta, Right Place, 2022, oil on canvas, 59 x 80 in.; Marcos Acosta, After the Storm III, 2022, oil on canvas, 59 x 80 in.; Marcos Acosta, Blue Night III, 2022, 51.25 x 37.25 in. All courtesy of the artist and Hexton Gallery.

APRIL / MAY 2022

Left: Kohshin Finley, Woman in Scarf, 2021, oil on canvas, 60 x 48 in.; above: Kohshin Finley, A Portrait of the Artist as Himself, oil on canvas, 2022, 24 x 18 in.

OPENING ACT

INTERVIEW BY ESTHER KIM VARET

Kohshin Finley brings LA sensibilities to Texas swagger at Various Small Fires’ new Dallas outpost.

eturning to her hometown, Esther Kim Varet will open Various Small Fires’ (VSF) third outpost within The Joule hotel complex, timed to the Dallas Art Fair. Renowned for her galleries in LA and Seoul, here she visits with LA painter Kohshin Finley, a new addition to the VSF roster.

Kohshin Finley. Courtesy of the artist, Various Small Fires, Los Angeles/Dallas, Seoul.

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Esther Kim Veret (EKV): Kohshin, I am excited to have this interview with you for VSF’s new space opening in Dallas and your solo exhibition in July. I would love to know why Texas is an interesting place in your eyes, on a cultural and personal level, to exhibit your work. Kohshin Finley (KF): I’ve had plenty of friends in the past few years go to Austin and Dallas, uprooting their lives and moving on a whim. I’ve always seen or heard of places like that in Texas as these sanctuaries for new beginnings. So in thinking about having the solo show there— it’s kind of an interesting moment because I know it’s your home and it’s like a homecoming for you. For me it’s a start of a new chapter, and having this show at VSF Dallas and being a part of your story and the gallery’s story also extends my story. EKV: Your work is about personal relationships with friends and family, and you take your camera around with you to capture moments. Could you talk a little bit about family and what it’s meant to you? I would love for you to go into your black-and-white documentary style as well. KF: My parents were fashion designers as I was growing up; the front part of

FAIR TRADE our home was their design studio. I literally grew up on a cutting table, as my mom and dad were cutting fabric and designing, directing patternmakers and sewers. As a four-year-old, I was able to see a vision come to life, from a drawing to somebody wearing a full corset dress made of lambskin. My parents and my brothers have always been the most supportive people in my life, especially as a creative family, and it’s always been paramount to me to honor that and to reflect that in the work. I think that’s why people and community are so integral to the work that I do. In thinking about why the work is in black and white and grisaille— it’s important to reflect the initial way that the imagery is captured in black-and-white film. Black-and-white photography distills the image in a really wonderful way; you get to focus on the details and really see the person and how they feel. They’re in focus and they’re paramount to the story. EKV: I was looking up the grisaille technique earlier today, and I came across a phrase saying that it was traditionally used to imitate sculpture, which I think is so great because it does bring in this element of a lived experience, or time and space, into these two-dimensional objects. KF: I would have to say it’s been a grounding force to my work since my friend Erin Christovale used the word to describe my work a few years ago. EKV: Erin is a curator at the Hammer Museum. KF: Yes, she is. She’s a wonderful curator, and to have someone I admire as much as her use such a word really stuck with me. Once I understood what the word meant and saw it repeatedly going to the Met and places I admire, it added weight to the work. If I engrain a term like that into my practice, when you see the works, you question: Are they sculptures? Are they these wonderfully marble soft but really hard and dense objects? What is actually being captured? What is the artist trying to tell us by using these words? How to play with that and explore, for me as the artist, opens up so many doors…it adds so much gravity. I’m talking about Rodin, thinking about the idea of attending to history. The same thing with my painting. I paint because it attends to a certain history. I’m not attending to a history of painters who

Kohshin Finley, Man in Suit, 2021, oil on canvas, 56 x 42 in. Courtesy of the artist, Various Small Fires, Los Angeles/Dallas, Seoul.

have just painted in the past 10 years. I’m attending to caveman paintings, I’m attending to John Singer Sargent, Picasso, Rembrandt, Alice Neel, Barkley Hendricks. The scope is really wide, and I think using words like grisaille envelops the work into different playing fields and meanings. EKV: Was there a specific moment that you realized that you wanted to turn the focus of your work towards people in your community? Was that very early on? KF: When I went to Otis College of Art and Design, I was always drawing in my sketchbook. I was drawing people while I was in class—constantly life drawing. Once I started to paint, I was painting a lot of other people’s references. I was painting stuff out of magazines, old images from books, things that didn’t belong to me or that I didn’t really have a connection to. But it wasn’t until my photography-lighting studio class, when we would bring someone in to photograph. . . I would run out and talk to all my friends and say, “Hey, who wants to come by? Who wants to come in the studio?” Photographing them in that way, with the lights and the big Canon camera, and the whole setup, and seeing the images, and then also seeing their reaction: “Whoa, that’s me”—that told me “Okay. There’s something here.” EKV: You’re [also] bringing your parents into this through your design. You’re channeling your parents. KF: I am, 100 percent. One of the first jobs I had after college was literally designing clothes. My dad always clowns me. He’s, like, “For years you were talking about, ‘I don’t want to do what my parents do,’ and the first thing you go and do is what?” But I worked at a design studio, I was the only designer there. I learned how to do Illustrator on the job, doing T-shirt graphics, designing tops and bottoms, photographing a campaign for Kohl’s, all in the same week. The whole experience taught me a whole lot, it was such a beautiful experience because I got to be, like, “I can do all this.” EKV: There is actually a fluid intersection between fashion and art in general, but also specifically in Dallas. We are on Commerce Street, the gallery that we took over is a former boutique, and we are next to the original Neiman Marcus. KF: When my parents made clothes together, Neiman Marcus was one of their clients. P

Esther Kim Varet. Photograph by Coley Brown.

APRIL / MAY 2022

Slip Into Abstraction

BY TERRI PROVENCAL

Art Ball’s ’60s theme coincides with DMA’s timely exhibition.

hrough painting, sculpture, and performance, the Dallas Museum of Art’s Slip Zone: A New Look at Postwar Abstraction in the Americas and East Asia, mines key contributions to artistic innovation in the mid-20th century. Through the lens of Slip Zone, we reconsider the influence of international movements such as Gutai and Mono-ha, Dansaekhwa, and Brazilian neo-concretism, and essential Black and women abstract artists who questioned abstract expressionism, minimalism, and color field movement perceptions in the US. Curated from the DMA’s contemporary holdings and loans

from local private collections, the exhibition is on view during the museum’s signature fundraiser TABLEAUX: 60 Years of Art Ball (1962–2022). “Slip Zone celebrates everything that makes the DMA special… inclusive in nature, international in vision, and a reflection of the generosity of Dallas,” says 2022’s Art Ball chair Brian Bolke. Choosing a ’60s theme, he adds, “This Art Ball is a love letter to the DMA, a look back at an institution that has always looked forward.” Here we asked patrons to select favorites from the show.

BRIAN BOLKE “The rawness of this photograph…a testament to the passion of creation…spoke to me. Seeing the scale and the intensity as well of the physical nature of the painting method reinforces that behind even the most simple-seeming work is true technique and craft.”

Kiyoji Ötsuji, Gutai photograph, 1956– 1957, printed 2012, black-and-white photograph. Overall, 14 x 11 in. Mat dimensions 20 x 16 in. The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund.

SHERYL AND GEOFF GREEN Sam Gilliam’s Leaf feels like a visual expression of a jazz song. The artist’s canvas drapes, pleats, and expressively reaches out into our space. The rhythmic array of colors melodically swirl and dance. We also love that Gilliam employed abstraction as a means of supporting change and growth on the heels of the Civil Rights movement. Leaf is uplifting, inspirational, and if you look close enough, you may just get swept up in it. Sam Gilliam, Leaf, 1970, acrylic on canvas, 121.75 × 186 × 12.50 in. Dallas Museum of Art. Gift of Timothy C. Headington.

Helen Frankenthaler, Myth, 1973, acrylic on canvas, 55 x 106 in. Private collection of Jennifer and John Eagle.

SHARON YOUNG It was so difficult to select only one piece from this amazing show! Abstract painting is my favorite form of art, which made it almost impossible to choose a favorite. In the end, I settled on Helen Frankenthaler’s Myth from 1973. I tend to walk around an exhibit quickly the first time, but this stopped me in my tracks. The opacity of the paint, the blurring of the edges of the pale colors with the red paint, the sliver of white canvas in the middle—all of this and more rooted me to the spot. It’s the kind of painting I would want installed in my bedroom—the first thing I see in the morning and the last thing at night. I also love the installation of the Lynda Benglis piece, Odalisque (Hey, Hey Frankenthaler)—made me laugh and appreciate our great curators!

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CONTEMPORARIES GOWRI SHARMA I experienced Lee Ufan’s From Point in two distinct ways when viewing it at the DMA. When I initially encountered it from across the gallery, the brushstrokes seemed to have a quick energetic quality to them, as if they were painted fast from left to right. In contrast, if the dark blue brushstrokes are seen as objects, then they seem to be moving through space from right to left, leaving shadow tracks in their wake. The image reminded me of the sensation of passing through a tunnel on a fast-moving train. When I stood closer to the piece, I experienced it quite differently; it was much calmer. The meditative and intentional brushstrokes slowed down the experience of time as the artist repeated the same movement until the paint wore thin. From this vantage point, I was able to connect with the artist’s methodology and sense of time. The act of painting and the finished work are concurrent. This would mean that the artist could not rework any paint after it is applied, therefore everything is as it should be. Lee Ufan, From Point, 1978, glue and stone pigment on canvas, overall, 71.50 x 89.37 in. The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund

GONZALO BUENO Two of my favorites are Mark Rothko and Louise Nevelson. I think the abstract paintings that Rothko created are so amazing and with such depth into the emotions. This painting in orange and yellow definitely captures the essence of basic human emotions as he intended in his art. We are so lucky to have a piece from Rothko at the DMA. Mark Rothko, Untitled, 1952, oil on canvas, 97.75 × 67.25 in. Dallas Museum of Art, gift of the Meadows Foundation, Incorporated.

AMANDA SHUFELDT My mother-in-law first introduced me to Robert Rauschenberg. She has always had a special fondness for his work that she instilled in me. I especially like how in his Hoarfrost series, he is using a traditional printmaking technique in an unexpected medium. The result is a work that moves and changes, interacting with visitors to the museum in a way that a typical work on paper does not. I also love that whenever I see a Rauschenberg, it gives me a reason to think of my mother-in-law and give her a call! JENNIFER EAGLE I get lost in an Agnes Martin work. So obsessive yet so elegant. It’s almost like she is speaking directly to you. So small yet holds the room all by itself. Meditative, calming. An exhale moment where all else fades away for a bit. Beautiful.

Robert Rauschenberg, Night Hutch (Hoarfrost), 1976, ink on unstretched fabric, 49.50 x 42 in. Dallas Museum of Art. Gift of the artist.

Ed Clark, Intarsia, 1970, acrylic on canvas, canvas dimensions: 119 x 215.50 in. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.

Agnes Martin, Untitled, 1960, oil on linen, 12.56 x 12.62 x 1.25 in. Collection of Marguerite and Robert Hoffman.

PATRON PICK Experimenting early with the shaped canvas, Ed Clark was a pioneer of the New York School. Since the 1950s, his decades-long exploration of vibrant color, abstract form, and the materiality of paint made him a pivotal artist of American abstraction, extending its language in ways that few artists have. Intarsia beautifully demonstrates Clark’s adept handling of a push broom as a performative process to create the pulsating effect.

APRIL / MAY 2022

Mother Universe,

Thank You for Lonnie Holley The multidisciplinary artist’s coming from the earth opens this month at Dallas Contemporary. BY CHRIS BYRNE

Lonnie Holley at Cerámica Suro preparing for his solo show at Dallas Contemporary. Photograph by Matt Arnett. Courtesy of the artist and Matt Arnett.

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CONTEMPORARIES

erhaps best known for his immersive sculptures, Lonnie Holley’s work was recently included in the American Academy of Arts and Letters’ 2020 Invitational Exhibition of Visual Arts as well as the 2022 USA Fellows. Holley’s first release in 2012, Just Before Music, was named to the top ten albums of year by the Washington Post. The track from the critically acclaimed third album, “I Woke Up in a Fucked-Up America,” was ranked number 16 on Pitchfork’s best songs of 2018. Chris Byrne (CB): Can you tell us about your new work—created at Cerámica Suro in Guadalajara, Mexico—for the upcoming exhibition at Dallas Contemporary? Lonnie Holley (LH): I didn’t really know what to expect going down to Guadalajara and working at Cerámica Suro. When Peter [Doroshenko] mentioned it after we were together in Colorado, I immediately said yes because I’m always up for challenges and trying new things. I’ve worked in clay before, but not really very seriously. It felt wonderful walking into that beautiful factory. It took me a few days to figure out how everything worked there, but everyone was so nice. More than even the art I worked on, my strongest memory is the people there. I feel like that’s a place I want to keep going back to and experimenting more and more. On my first visit I carved away at some vases and painted some other ones. I really enjoyed that. I sculpted some small pieces out of clay, too. And I spent a lot of the time making paintings on tiles, which was a continuation of some things I’ve been doing back home but trying to take those same ideas and doing them on a very different surface. CB: You’ve been making objects since childhood. In 1981, you visited the Birmingham Museum of Art, and following a chance encounter with the director, Richard Murray, the museum purchased nine of your sandstone carvings… LH: When my niece and nephew died in 1979, my sister couldn’t afford tombstones for them. She was already so sad to lose her two children like that, but to not be able to have tombstones for them really hurt her. I wanted to do something to lift her spirits, and I took some old core sandstone that the mills around Birmingham throw away and carved tombstones. It really lifted her spirits, and it brought me a lot of joy, too. So, I continued doing it. After another fire, the fireman saw some of my work and complimented it very highly. He told the TV station about me. Eventually someone suggested I take it to Mr. Richard Murray, the director of the museum. He got some of my pieces in a traveling show organized by the Smithsonian. CB: Then in 1986 you began a lifelong friendship with the art patron William Arnett, who later established the Souls Grown Deep Foundation to secure the legacy of Black artists from the South and their cultural movement. (The foundation’s collection now represents the work of more than 160 artists, including over 1,100 pieces.) LH: I’d probably be dead if it wasn’t for Bill Arnett. He came into my life at a really low time and supported my work and made me realize that what I was doing was important. He was the best friend anyone could ever ask for. Artists like me can do what we do, but without someone coming into our lives and encouraging us and supporting us, pushing us to be even greater than we thought possible, we’d probably give up. He did that for so many artists: Thornton Dial, Joe Minter, Ronald Lockett, Mary T. Smith, Hawkins Bolden, the Gee’s Bend quilters, and so many more. He took our work to levels we never dreamed of. And he’d take us around to meet each other, and that allowed us to see that there were more people like us. That really changed all of our lives. Bill and I traveled many roads together. He inspired me to go looking for others, and I eventually met Mr. Dial and took Bill to meet him. The rest is history, as they say. CB: After encountering your work, Bill became interested in vernacular artists from the region?

LH: Bill had already been visiting other Black artists in the South, but I heard him say that when he met me, a bigger picture developed for him. He told me the day we met that he’d traveled all over the world but never been to a place as exciting as my yard. Sadly, even though Bill and his family fought the city with me, the city destroyed my yard in 1997. CB: Prior to your first meeting, Bill had been collecting art from ancient Mediterranean cultures, dynastic China, India, pre-Columbian Americas—in the late 1970s, he began to focus almost exclusively on sub-Saharan Africa… LH: I’ll never forget the first time I went to Bill’s house. I’d never seen anything like all the art he had in every room. After Bill met me, he stopped collecting art from around the world and focused on our work. I’m really glad he did. CB: During your residency at the Elaine de Kooning House and Studio this past year, you used handmade stencils to paint large quilts stretched over wood panels. Your sculptures were assembled with found materials and “debris” such as tree branches, leaves, cloth, and wire. The visit culminated with a live performance in the E de K studio, broadcast by Guild Hall in East Hampton, as well as exhibitions at Water Mill’s Parrish Art Museum and the South Etna Montauk Foundation… LH: I think my time in Long Island was really important for me. Thank you very much for offering the Elaine de Kooning House as a place to make work and settle down for a while. In all the spaces I’ve had over the years to work, it was the first time I really had a space that was made for painting. The light was so good, and the walls were so big. And having spent so much of the last decade traveling for my music, it was nice to be in one space for a while without any distractions. I loved the performance and conversation we did there, and the two shows looked great. CB: As a musician, you’ve toured throughout the US, Canada, and Europe… LH: I think I’ve played music now in almost every state. The year before the pandemic I was in Europe twice, traveled the entire US, went to Brazil, Australia, and New Zealand. I even got to perform music in the opera house in Sydney. But the pandemic slowed all that down and gave me a chance to focus on making art again, which I’m thankful for. CB: What upcoming projects can we look forward to? LH: I’m really excited about the show at Dallas Contemporary. I can’t wait to see the stuff from Cerámica Suro up on a wall or on pedestals. After that I’ve got a show in London at Edel Assanti and a performance in a beautiful chapel that’s been closed to the public for years. The organization Artangel made that happen. I just got back from a week in Suffolk, UK, working with Artangel on some films we shot out on Orford Ness and an old secret army facility on an island off the coast. In July I have a show at Blum & Poe in Los Angeles. I’m really looking forward to that. And next year I have a show at MoCA North Miami. I’ve also been working with Jacknife Lee on a new record that should come out later this year or next. It’ll be different than my other records. I’ve got lots of great collaborators working on it with us. It’ll be out on Jagjaguwar at some point soon. Thumbs up for Mother Universe. P

“I didn't really know what to expect going down to Guadalajara and working at Cerámica Suro ... I spent a lot of time making paintings on tiles, which was a continuation of something I've been doing back home but trying to take those same ideas and doing them on a very different surface.” —Lonnie Holley APRIL / MAY 2022

THE IMPACT OF ART FAIRS AND THE WOMEN BEHIND THEM Kelly Cornell and Zélika García nurture two fairs in trying times and prevail. BY CARLOS GONZALEZ-JAIME

caption.

Kelly Cornell at Dallas Art Fair. Photograph by Exploredinary.

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Zélika García at Zona Maco. Courtesy of Zona Maco.

Robert Janitz, The Eternal City, 2021, oil, flour, and wax on linen, 51.20 x 39.40 in. Courtesy of the artist and Saenger Galería for Dallas Art Fair.

CONTEMPORARIES

Zona Maco 2022, installation view. Courtesy of Zona Maco.

was introduced to the term “art fair” in 2001 while living in Miami. There was great anticipation surrounding the inaugural Art Basel Miami. Unfortunately, the terrible events of September 11 put the opening, and the entire world, on hold. The fair opened the following year and became one of the most important art fairs in the Americas and a catalyst for the arts in the US. At the same time, a young woman, Zélika García, graduated with a degree in art and started Muestra art fair in the northern Mexican city of Monterrey. After two editions, the event moved to Mexico City, and twenty years later it has transformed into the most important art fair in Latin America: Zona Maco. Last February, I attended the 18th edition of Zona Maco. After changes due to Covid, the event returned to its traditional format with several sections, including contemporary and modern art, antiquities, design, photography, and emerging artists. More than 200 galleries from all over the world and 57,000 visitors participated in this edition. I had the pleasure of talking to Zélika, the mastermind and soul of Zona Maco. She believes the most important part of the fair is facilitating connections and relationships among exhibitors and visitors. “The fair generates opportunities for gallery owners to meet new artists, and for collectors to learn about their work and get acquainted,” she says. Additionally, through the fair, “Curators and directors from international museums have discovered and offered exhibitions to Mexican artists.” Zélika hosted a small group of collectors, gallerists, curators, museum directors, and “art lovers” (like me) at her astonishing apartment overlooking Chapultepec Park, where I was able to experience the magic of those connections. When I asked Zélika if it has been difficult to be such a successful woman in a male-dominated country and industry, she smiled and said, “I believe that machismo is present at all levels, in all industries. There are still many things to be done in terms of equity for women . . . In the art world, the work of women artists is becoming more and more visible. There are many initiatives from galleries, fairs, and institutions, but there is still a lot of work to do.” Although she has noticed substantial changes, Zélika remains an agent for change and is committed to advancing gender equality in the art world. Since very early in her career, she has received numerous awards. She was named one of the 50 most powerful women in Mexico by Forbes Mexico, and she is considered one of the country’s most influential leaders.

Just a quick two-hour flight from Mexico City, Dallasites have our own art fair, driven by the young and powerful Kelly Cornell. Kelly is the brilliant woman behind the engines that move the Dallas Art Fair (DAF) and local art scene. Galleries are already planning which masterpieces to bring to Dallas in April, and DAF VIP tickets are in high demand. Two months in advance it feels like “love for art is in the air” in North Texas. Kelly started working as an intern in 2011. “While still in school I fell in love with [the fair], and I kept coming year after year,” she says. After she graduated from SMU with a double major in painting and arts management, she had the opportunity to work for the fair. “I really just jumped on it,” she says, face beaming with love for her job. Kelly became the managing director in 2016 and juggles a busy schedule. She is mom to two little girls, and with her husband, she founded a leather-goods company. “But how do you do it?” was the first question that came to my mind. “I don’t know,” she laughed, “It’s just a shuffle . . . but it’s fun and we’re making a big impact.” And I asked the same question I’d asked Zélika, about how challenging is it

Isabel Alonso Vega, Suspiro III (detail), 2022, smoke and acrylic case, 20 x 20 x 13 in. Courtesy of the artist and Proyecto H for Dallas Art Fair.

APRIL / MAY 2022

Left: Johannes Boekhoudt, The Saint, 2019, oil on canvas, 48 x 60 in. Courtesy of the artist and Drexel Galería for Dallas Art Fair. Below: Octavio Abúndez, Epistemología (Instrucciones Inciertas series), 2022, ultra-clear tempered glass of 6 mm, silver emulsion, mirror, wood, 91.93 x 43.30 x 4 in. Ed. 1/3 + AP. Courtesy of the artist and CURRO, Mexico City for Dallas Art Fair.

for a woman—particularly one so young—to lead such an important event. Kelly responded that it’s good to be challenged; “I feel that I constantly need to prove myself,” she said, which gives her “a lot of energy.” And yes, you must have very high energy to launch the 14th edition (April 21–24, 2022) just a little over five months after the previous one in November. This spring’s DAF will bring more than 80 galleries from across Europe, the Middle East, and the Americas, including CURRO, Drexel Galería, Galería Mascota, Proyecto H, and Saenger Galería from Mexico. The fair aims to “target the next generation of collectors,” says Kelly. And, she continues, “What makes our fair different from others is our scale and the friendliness of the people. We want everyone, experienced and new collectors, to feel welcomed, and I think we have achieved that.” Another unique component to the fair is the Acquisition Fund for the Dallas Museum of Art. Since it was established in 2016, the fund has raised over $500,000 that the DMA uses to acquire works of art at the fair. “I’m very happy that most of those acquisitions are exhibited almost immediately; that’s very satisfying,” Kelly says. These two talented, young, and powerful women control their cities’ art scenes for over a week each year. Everyone involved with the art and hospitality industries—galleries, museums, hotels, and restaurants, among others—depend on what they do. Interviewing these remarkable women has solidified my belief in the transformational impact art fairs can have on a city and its citizens. Almost 21 years ago a terrible act of terrorism almost stopped Art Basel Miami from happening. In hindsight, it seems to have made the fair, and all of us, stronger and more resilient. As I write, a terrible war has erupted in Ukraine. My hope is that it ends soon. And I hope that while visiting the Dallas Art Fair and connecting with people from different cultures and backgrounds we use the opportunity to understand that we are all humans and are all responsible for a better world. I truly believe the arts can help get us there. P

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Amor Mundi: The Collection of Marguerite Steed Hoffman is a clothbound two-volume set in a slipcase available at The Conservatory. Courtesy of Ridinghouse and Lewis Ronald; Peter Doig pages. Courtesy of Ridinghouse and Jeff McLane.

Slip Inside This House Image captions this page.

Marguerite Steed Hoffman’s thoughtful and rigorous collection weaves interconnectedness and expansion with the publication of Amor Mundi. BY BRANDON KENNEDY

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VOLUMES

iving thanks as the front door was slowly closing, I found my eyes lingering over Gerhard Richter’s Familie (Family) hanging on the foyer’s left wall while I was gently negotiating the weighty boxed two-volume set and its attendant tote in my receiving arms at Marguerite Hoffman’s home. I was cradling the swaddled books—first expectant, now anticipatory—watching the blurred, black-and-white image of the three adult women and two children in the countryside being horizontally wiped away into the timelessness of the 1964 painting. Published by Ridinghouse and designed by A Practice for Everyday Life—both based in London—the execution and production of this exquisitely designed object as the document of a collecting vision is a complete experience unto itself. Beautifully photographed and illuminated by writings from artists and scholars as well as a few artists’ inventions, Amor Mundi: The Collection of Marguerite Steed Hoffman, is an inspired testament of what is, in her own words, “a collection of objects that speak to both the heart and the mind.” The first volume opens with an honest and sincere preface by the collector, offering up emotional and historical insights into the objects in her collection as well as wrestling with the idea of what it

means to compile them into the form of a book. Hoffmann outlines her relationship with her late husband Robert—already a collector of 20th-century masters by the time they married in 1994—and how their collecting journey together helped forge a deep connection with the Dallas Museum of Art, to which the stellar collection will eventually be bequeathed. After Robert’s untimely passing in 2006, Marguerite continued along an expanded journey that was both informed by grief, a conversation upturned, and an opportunity for her to expand upon the somewhat male and canonical nature of the collection with an open curiosity and inner dialogue that still pushes her into new areas of discovery. Not only in terms of art—whether focusing on the underrepresentation of women or a recent appreciation of installation-based practices—but also in a grouping of hypnotic antiquities, Chinese monochrome porcelains, and an exquisite collection of medieval illuminated manuscripts. These were new areas of collecting explored by Hoffman after losing her husband and finding her way in objects while “looking for hidden messages.” Editor Gavin Delahunty notes in his preamble that Amor Mundi (“Love of the World” in Latin) has literary forebears in both the

Marguerite Steed Hoffman. Photograph by David Needleman.

APRIL / MAY 2022

Clockwise from top left: Rita Ackermann, Mama, for the Left Hand, 2019. © Rita Ackermann. Courtesy of the artist and Hauser & Wirth. Photograph by Jeff McLane. Francis Picabia, Les papillons (Papilliomanie) (Butterflies [Papilliomanie]), 1926–27. © ADAGP, Paris and DACS, London 2022. Photograph by Jeff McLane. Peter Doig, Red Man (Sings Calypso), 2017. © Peter Doig. All rights reserved, DACS 2022. Photograph by Jeff McLane.

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Steve McQueen, Weight, 2016. © Steve McQueen. Courtesy of the artist, Thomas Dane Gallery, and Marian Goodman Gallery. Photograph by Jeff McLane.

VOLUMES

APRIL / MAY 2022

From top: Philip Guston, Studio Landscape, 1975. © The estate of Philip Guston. Courtesy of Hauser & Wirth; Maria Lassnig, Untitled (Selbstportrait mit Hasen) (SelfPortrait with Hare), 2000. © Maria Lassnig Foundation/Bildrecht Vienna, DACS London 2022; Julie Mehretu, A Mercy (after T. Morrison), 2019–20. © Julie Mehretu. Courtesy of the artist and Marian Goodman Gallery. All images courtesy of Ridinghouse. Photographs by Jeff McLane.

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namesake poem by the Pre-Raphaelite poet Christina Rosetti as well as the humanist question of Hannah Arendt, the German-born political philosopher, but it ultimately points back to the query of “Why collect?” The following section, “To Love the World as It Is,” is an erudite analysis of 25 objects in the collection arranged chronologically. An epilogue further explores the motivations and propositions raised during the two-year production of the book. With inset images of an atmospheric Tacita Dean and the aforementioned Richter on the front panel of each volume, the thick quartos weigh in at a total of 980 pages and almost eleven pounds. A putty-colored linen slipcase protects the pair while repeated, staggered titles rain down one side and the back, visually calling on the influence of concrete poetry within the collection. Mark your navigation of the experience with two matching ribbons in each volume. Every artwork that appears in this book (around 400 out of more than 900 total in the Hoffman collection) has been rephotographed for this publication by Jeff McLane, who does a superb job of maintaining both clarity of presentation and compatibility from one artwork to the next. Likewise every detail—from font selection, paper choices, and the overall simplicity of design and use—invites the reader/viewer to play an active role, with multiple entry points and endless revisitations. The writing component is tantamount to the heart of the project, with almost every invited scholar or artist contributing a pair of entries on artists of their choosing, illuminating each with elan and/or scholarship that offers both equal footing. There are also a handful of artists’ interventions sprinkled within, occasionally adding a dash of unexpected levity, or laying down some weighty literary propositions. A rousing conversation regarding painting in postwar Germany between the editor and publisher/professor Isabelle Graw rounds out volume two, leaving some historical questions and political quagmires still in active discussion. Thoughtful epigraphs and single-line quotes pop up amid spatial pauses and can quickly lock a brain down or simply stir the soul. Louise Erdrich’s opening quote fills and deepens the void of brokenheartedness that is living in this world, typographically laid out as a hole. Martin Jay’s essay on the mania of collecting and his conversation with Hoffman thereafter open up the second volume, which then continues with artworks and essays regarding the artists whose last names run from L to Z. For the few weeks I’ve had these two volumes in hand, I’ve explored, read, and revisited their pages many times, while also simply appreciating their presence and objecthood as they sit encased upon my desk as the late afternoon light shifts. A collection born of love, care, and dedication, passing through grief and renewal, now provides ample and varied opportunities for connection between reader/viewer and the artworks and words that speak to them. One can feel and appreciate the organic nature of collaboration therein, the dedication and energy that vibrates through the project, and the construction of a thoughtful and beautiful book that, according to the editor, “has life.” P

Clockwise from top: Dana Schutz, Mountain Group, 2018. © Dana Schutz. Photograph by Jeff McLane; Mark Bradford, A Truly Rich Man Is One Whose Children Run into His Arms Even When His Hands Are Empty, 2008. © Mark Bradford. Courtesy of the artist and Hauser & Wirth. Photograph by Jeff McLane; Charles Ray, School Play, 2014. © Charles Ray. Courtesy of Matthew Marks Gallery. Photograph by Jeff McLane.

APRIL / MAY 2022

TABLEAUX VIVANT

BY TERRI PROVENCAL

A cast of artists join Brian Bolke at The Conservatory on Two to foster the generous spirit of the art world.

rian Bolke is known for his nothing-less-than-extraordinary approach to retail. The Conservatory on Two is no exception. Newly revamped and relocated to the opposite side on the second floor in Highland Park Village, beneath Park House, his newest space highlights his commitment to considered fashion brands for men and women combined with his love for artisans and art, making the boutique not only consciously curated, but also interesting and contemplative. In addition to opening the boutique amid the sweeping omicron variant, as TABLEAUX: 60 Years of Art Ball (1962–2022) chair, Bolke was entangled in preparations for the ’60s-themed April 9 fête. “Having been immersed in chairing Art Ball benefitting the Dallas Museum of Art (after two cancelled years) and spending a lot of time at the museum, I have learned firsthand the generosity of the art world of Dallas,” says Bolke. Marguerite Steed Hoffman released her two-volume tome, Amor Mundi: The Collection of Marguerite Steed Hoffman at The Conservatory to coincide. “When I learned of Marguerite Hoffman’s extraordinary book of her collection, much of which is earmarked to the DMA, it cemented the idea of doing something to celebrate our art community, and the generous spirit of its patrons,” he says. Hoffman donated proceeds from her book to Art Ball. He also refers to the generosity of guest artists (Nic Nicosia, represented by Erin Cluley Gallery, and Annabel Daou, Anthony Sonnenberg, and Stephen Lapthisophon, all from Conduit Gallery), and a pair of his ongoing artisans, Matthew Gilley and Larry

The Conservatory on Two founder Brian Bolke. Rebecca Patton for Beckley Photography.

Matthew Gilley in his studio. Photograph by Swoon, the Studio.

Above: Stephen Lapthisophon, Crazy Weather (for JA), 2018, latex, collage, spray paint, coffee, India ink, pencil, and charcoal on canvas, 40 x 30 in. Left: Anthony Sonnenberg, Candle Column (Modeled Blue/Green), 2020, porcelain over stoneware, found ceramic tchotchkes, and glaze, 22 x 8.25 x 8.25 in. Courtesy of the artist and Conduit Gallery.

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SPACE Whiteley, who will each donate a portion of sales to Art Ball. The artists were eager to pay homage to Hoffman and participate in the March 24 book signing and ongoing effort. “Further proof of the generous spirit of our art community.” Larry Whiteley has collaborated with Bolke for many years on both stunning custom store installations and hand-forged sculpture. “Without a doubt, I have learned firsthand from Larry the extraordinary feats that it takes to make something that literally looks light and effortless. His work in metal is so fluid, so nature-inspired…it moves. We worked closely on our new entrance to The Conservatory on Two, and it is magical. I see a new detail every time I look at it.” Recently discovering the ceramic work of Matthew Gilley through the boutique’s architect, David Droese, and Sam Sano with the creative agency Swoon, he says, “When I finally got to his studio in The Cedars, I was hooked the minute I met him and saw his amazing studio. I love seeing where artists create.” Gilley’s clay vessels are a surefire hit and already selling quickly. Enjoying a successful career as a Dallas-based artist, Nic Nicosia is someone Bolke knew he wanted to include. “The whimsy and the hidden ‘nuggets’ in everything he does… There is both beauty and a subversive context to his work, and I love the tension between the two. I was lucky enough to purchase one of his pieces from TWO x TWO in 2019, and I will treasure it forever.” A long w it h Nicosia, work by Dauo, Son nenberg, and Lapithisophon are in Hoffman’s collection. Daou investigates language and nonverbal modes of communication through her multidisciplinary practice, while Sonnenberg is fascinated with Silenus, the Greek god of winemaking and drunkenness, and with self-awareness. His captivating dripping ceramic sculptures echo the opulence of Baroque and Rococo periods. Lapithisophon is a conceptual artist and educator who addresses critical theory and disability studies through his teachings and practice. To inform his newest works, he combines text and letterforms with deep references to literature to create poetic improvisations through unconventional materials: pigmented animal fats, spices, dirt, and coffee grounds. A portion of proceeds from the artworks and Amor Mundi: The Collection of Marguerite Steed Hoffman will benefit the DMA’s Art Ball 2022 through April 9, 2022. P Annabel Daou, as you are as I am, 2021, ink and watercolor on microfiber paper, 52 x 30 in. Courtesy of the artist and Conduit Gallery.

Nic Nicosia, 2 moons, 2.1227.2019, 2019, Paperclay, iron, wood, Styrofoam, yellow pencils, 43 x 16 x 3 in. Courtesy of the artist and Erin Cluley Gallery.

Larry Whiteley in his studio. Photograph by Luis Martinez.

The Conservatory on Two featuring a custom installation by Larry Whiteley. Rebecca Patton for Beckley Photography.

APRIL / MAY 2022

Evita Tezeno Breaks Through The Dallas-based artist will make her first appearance at Dallas Art Fair with Luis De Jesus Los Angeles. BY DARRYL RATCLIFF PHOTOGRAPHY BY LUIS MARTINEZ

Evita Tezeno, Joy, Compassion, and Generosity, 2022, mixed media collage on canvas, 48 x 48 in. Courtesy of the artist and Luis De Jesus Los Angeles, to be shown at Dallas Art Fair. Photograph by Lawrence Jenkins.

vita Tezeno is no longer being ignored. Not nationally, where she is selling out art fair booths including NADA Miami (a satellite art fair held during Art Basel Miami) and having widely acclaimed solo exhibitions in Los Angeles, and finally not locally, as the longtime Dallas-based artist will be one of two artists showing at the Luis De Jesus Los Angeles booth at the Dallas Art Fair this month. When asked about the secret to her resurgence and keeping faith during the decades when the art world seemed like it had moved past her, Tezeno replies, “I just held my mouth right.” Tezeno, a Black woman who was raised in Port Arthur, Texas, but has lived more than half of her life in Dallas, has been a practicing artist for over thirty years. She is known for her multimedia collages utilizing painted pieces of paper to produce images of everyday Black people, often rooted in her childhood memories. Tezeno first achieved success

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Evita Tezeno in her studio.

in the late ’90s when she was the first female artist to create a poster for the New Orleans Jazz & Heritage Festival. That led to a steady career with an East Coast gallery that consistently sold her work, but it did not lead to the type of breakthrough she had hoped for. “One of my life goals is to be in a museum collection. It is an honor to be in front of thousands of people who admire your work and study your work and wonder what you are thinking,” Tezeno says. So she took a calculated risk and pulled back from showing at galleries that couldn’t help her with her big goal. Then a New York gallery sold her art to Denzel Washington, and Samuel L Jackson purchased a piece as an anniversary gift for his wife. Then an unexpected message on Instagram came her way from the very type of gallery she was hoping to attract—Luis De Jesus Los Angeles. “I’m a praying woman. I said, ‘Lord I wanted it to happen,’ and it happened,” Tezeno says.

STUDIO In addition to being a supremely talented artist, Tezeno also had a long career as a vegan chef known for her vegan meats, briskets, gouda, and charcuterie boards. She retired from this work in 2019, but there is perhaps a connection between her style as a collage artist and her inventiveness in the kitchen. And Tezeno readily and proudly announces her artistic influences: Romare Bearden, Elizabeth Catlett, William H. Johnson, and Bisa Butler, amongst others. She is struck by how these artists “interpreted Black life and Black joy; they are guideposts to me.” Tezeno is delighted when teachers use her work to teach young people in the classroom. She hopes her work can be a guidepost for current artists, particularly as an example of how to depict Black people. “We have been so downtrodden by circumstances, but I wanted to show the other aspects of the joy, and family, and we are still a noble people.” she says. Her work certainly does show this in the straightforward, earnest gazes of many of her figures, and the textured scenes of ordinary, rural Black life from her childhood memories. Tezeno describes her work as contemporary folk, a way of both looking to the past and the future simultaneously. It is as if she unearths poignant messages for contemporary audiences from memories that may soon be forgotten. In many ways this reflects Tezeno’s career. She recalls meeting with Dallas art galleries and being told her work belonged on greeting cards. The Black Lives Matter movement, which reached a fever pitch with the death of George Floyd, helped many people reassess artists and work that they might have previously overlooked. Now the interest sparks new challenges for Tezeno as her collector base shifts and her stature as an artist continues to rise. “I have been called an emerging artist for all of my career, and I am 61 years old and still emerging,” she says. Perhaps soon enough she can shed that label. Next up for Tezeno is a solo show at Luis De Jesus Los Angeles Gallery that opens April 16 in Los Angeles. And then her homecoming at the Dallas Art Fair, where maybe, just maybe, she will have her first museum acquisition. “I am in a zone,” Tezeno says. “I just want to embrace the moment.” P

Evita Tezeno, Cherish the Moment, 2022, mixed media collage on canvas, 48 x 30 in. Available at Dallas Art Fair.

Studio view with Evita Tezeno’s Celebrate Good Times, 2022, mixed media collage on canvas, 48 x 60 in., to be shown at Luis De Jesus Los Angeles.

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Collectors Study From emerging to blue chip artists, get ready to collect the new, now, next at Dallas Art Fair.

BY TERRI PROVENCAL rtists to catch on the rise, artists to collect now, established artists to invest in; it’s all at this year’s Dallas Art Fair.

SUSAN INGLETT GALLERY/New York “We are so excited to return to Dallas this year,” says an enthusiastic Susan Inglett. She shares the energy of the entire art community in anticipation of Dallas Art Fair’s return to April after three years. “We’ll be bringing three artists whose work has recently been featured at Dallas venues. Both Maren Hassinger, (Nasher Mixtape, Track 4: Force of Nature) and Beverly Semmes have been exhibited and recently acquired by the Nasher Sculpture Center. Channing Hansen was shown recently at Site 131 in Fresh Faces from the Rachofsky Collection.”

Artists to Collect Now/Artists to Invest In Beverley Semmes, Cake, 2012, was purchased through the Nasher’s Kaleta A. Doolin Acquisitions Fund for Women Artists to “advance gender equality in the arts.” And Semmes’ organza and velvet Yellow Pool was exhibited at the Nasher in Resist/Release in 2020. Hassinger’s Fiela, 1989, a concrete and wire rope sculpture, was also purchased through the fund. As to this year’s program, Inglett says, “The work is linked in a celebration of craft and the handmade.” Channing Hansen’s hand-knit works mine a spider’s proclivities in their delicacy and web-like appearance. He dyes then spins his own fibers, investigating craft, science, and technology.

Clockwise: Channing Hansen, Anticipatory Synthetic, 2021, mixed fiber materials, 51 x 44 in. Photograph by Robert Wedemeyer; Maren Hassinger, Splintering, 2019, wire rope, 15 x 60 x 12 in. each (1 of 10, dimensions vary per unit); Beverly Semmes, Shinnecock Pot #4, 2001, terra cotta, vinyl-acrylic paint, 23 x 17 x 16 in. All courtesy of Susan Inglett Gallery, NYC.

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KERLIN GALLERY/Dublin Artist to Invest In Dividing her time between New York and Provence, France, Switzerland-born Liliane Tomasko investigates the personal effects of everyday domesticity: bed sheets, clothes, and linen. Kerlin Gallery’s Darragh Hogan describes, “Painted with layers of acrylic and spray paint on aluminum all that we touch is a beautiful and powerful example of Liliane Tomasko’s approach to contemporary abstraction. Tomasko began this work, as she often does, by drawing with a spray gun the creases and folds of the crumpled bedsheets that bear witness to the artist’s sleep form the night before. The artist then uses acrylic paint with a very distinctive and bold lyricism. Her abstractions strive for a tension between delicate drawing and sweeping gestures of unabashed color. He continues, “all that we touch offers a gateway into the realms of sleep and dreaming; delving into the gulf between what we understand as the ‘conscious’ and ‘subconscious.’ The painting is rooted in the intimate physical world but attempts an escape, or at least a temporary departure, from it.”

Liliane Tomasko, all that we touch, 2021, acrylic and acrylic spray on aluminum, 59.80 x 55.10 in. Courtesy of the artist and Kerlin Gallery.

HALSEY McKAY GALLERY/East Hampton Artist to Invest in Rooting his work in the passage of time and natural forces, Chris Duncan employs the sun as metaphor, instigator, and fabricator. He begins by wrapping and draping colored fabric over selected objects he then exposes, swaddled, to the California sun. After typically six months of ultraviolet bleaching. the imagery emerges in a ghostly wake. The artist recently began making openended compositions. Like his paintings, the sound works are slowly built and layered through repetition and accumulation. LAND AND SEA is an artist books press and record label he founded with his wife. Find Duncan’s work at Halsey McKay’s booth.

Chris Duncan, MOON/CLEAR NIGHT (6 month exposure), 2022, sun, time, paint, thread on fabric, 40 x 32 in. Courtesy of the artist and Halsey McKay.

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HESSE FLATOW/New York Artists to Collect Now Here find a presentation of works by Amanda Baldwin, Aglaé Bassens, Kirsten Deirup, Quentin James McCaffrey, and Lumin Wakoa. The artists render contemporary scenes of nature and domestic interiors that are tinged with longing and nostalgia while working within the conventions of still life and landscape painting, some dating back to the Renaissance. In contrast to the imagery Baldwin and Deirup use to conjure imagined locations through lush stylizations and surrealist juxtapositions, Bassens, McCaffrey, and Wakoa evoke the essence of stillness and introspection that may signal a place, time, or memory outside the frame of the work. Mining Quattrocento Italian painting and 17thcentury Dutch interiors, in their quietude, McCaffrey’s interiors examine the balance of reality and illusion, which call into question our understanding of the world. Amanda Baldwin's paintings find commonalities between micro and macro in rhythms and growth patterns of nature. Her work seeks a geometric order and reason: raindrops are spheres, mountains are triangles, the seas roll into perfect curvilinear forms. Baldwin carefully renders each component discrete and knowable and yet distinctly uncanny, all washed in a myriad of meditative tones.

Top: Quentin James McCaffrey, Bouquet and Mirror, 2022, oil on canvas over wood panel, 10 x 8 x .50 in. Photograph by Joshua Shaw. Below: Amanda Baldwin, Umbra Echoes, 2022, oil and acrylic on canvas 53 x 42 in. Courtesy of the artists and Hesse Flatow.

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PATEL BROWN/Toronto Artists to Collect Now Patel Brown presents an all-Canadian artist roster including Shary Boyle, a multidisciplinary artist known for her ceramic sculptures, light-based installations, and performances. Boyle’s uncanny characters are amorphously human and animal, male and female, young and old. Simultaneously off-putting and irresistible, the characters animate Boyle’s scenes exploring class and gender inequality, vulnerability, relationships, sexuality, and, as the artist once said, “some form of invented essentialism. I like to look at the root causes of things.” Renowned postwar contemporary painter Kim Dorland explores materiality through thickly applied oil paint. His love of natural environments, particularly forests and mountains, is evident in his paintings. His work is in the collection of the Blanton Museum of Art at the University of Texas.

Top right: Shary Boyle, Red Shoes, Fake News, 2020, stoneware, porcelain, underglaze, gold luster, 19.75 x 15.75 x 9.50 in. Courtesy of the artist and Patel Brown. Middle: Kim Dorland, untitled, 2021, chalk pastel on sanded paper, 24 x 18 in.; Bottom: JJ Manford, Interior with Niki de St. Phalle & Sophie Taueber-Arp, 2020, oil stick, oil pastel, and Flashe on burlap over canvas, 78.5 x 71 in. Courtesy of the artist and Derek Eller Gallery.

DEREK ELLER/New York Artist to Invest In JJ Manford also renders stilled interiors absent of people in his paintings, which are often on burlap. The work, however, is much more free-spirited, without the restraint of historical conventions. Interior with Niki de St. Phalle & Sophie TaueberArp unabashedly calls out his two inspiration references. Here we see a modish room recalling the 1960s with a Taueber-Arp-like rug beneath a vase, a moon and planet rug, and a St. Phalle-esque sculpture beneath the stairs.

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SUNDARAM TAGORE GALLERY/ New York Artist to Invest In Japan-born New York–based artist Hiroshi Senju is highly regarded for his spectacular waterfall and cliff works, which often reach monumental proportions. In his work, he blends the minimalist visual language of abstract expressionism with that of traditional Japanese painting. After Senju applies mineral pigments on Japanese paper, the creases and wrinkles inform the landscape. Next, he applies iron, calcite, and other pigments, allowing rivulets of paint to move across the surface. The Hiroshi Senju Museum Karuizawa is dedicated to the artist.

Hiroshi Senju, Waterfall on Colors, 2021, pigments on Japanese mulberry paper, mounted on board, 71.5 x 89 in. Courtesy of Sundaram Tagore.

LUCE GALLERY/Torino Artist on the Rise/Artist to Collect Now Because of his unerring eye for discovering the emerging, it’s always a treat to visit Nikola Cernetic at Luce Gallery. This year, two artists of note will instill the Turin, Italy-based gallery’s booth, along with several others. Born in Nigeria 1996, Barry Yusufu is an artist on the rise who recently held his first solo show at the gallery. “It’s about the potential of this artist,” Cernetic says about the sold-out show. “During his young career he conceived two different bodies of works utilizing two separate techniques. Showing an informal approach to new techniques, he has developed interesting works in a short period of time.” St. Louis–born Yowshien Kuo’s paintings are cowboy cool with atypical stereotypes. Instead of macho white males, find Asian characters who like cherry pie, ten-gallon hats, and all the hallmarks of the Old West. There is empathy in his work, and the artist conveys that these Asian figures are, in fact, American. “Yowshien’s works are really incredible. He has a very unique language and a great approach in his paintings. His works look like something that you rarely find—a level seldom reached during his modest years of experience as an artist. The prices compared to the quality of the works are still affordable. It’s like buying a Rolls Royce for $30,000.”

Above: Barry Yusufu, Sister VI, 2021, oil on canvas, 23.66 x 19.56 in.; Below: Yowshien Kuo, Two Right Feet, Snake Eyes and Cherry Pie, 2022, acrylic, bone ash, chalk dust, glitter, vinyl, and mixed fibers on canvas, 46 x 70 in. Courtesy of the artists and Luce Gallery.

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From left: Malick Sidibé, Amis des Espagnols, 1968, Baryta silver print (unique), 47.25 x 47.25 in.; Amadou Sanogo, Sans titre, 2019, acrylic on canvas, 80.75 x 81.5 in. Courtesy of the artists and MAGNIN-A.

GALERIE FRANK ELBAZ/Paris Artists on the Rise/To Collect Now/To Invest In Galerie Frank Elbaz invited MAGNIN-A, an aesthetic and political project founded in Paris in 2009 by André Magnin and directed by Philippe Boutté, to present a curated selection of established and emerging African contemporary artists, including Seydou Keïta and Malick Sidibé, both Malian photographers. Keïta was known for his photographs of Bamako society in the 1950s, while Sidibé celebrated pop culture and nightlife through his studio portraiture often featuring patterned backdrops. Amadou Sanogo is a mid-career artist whose figures interact with solid or intricately patterned blocks. Painting unstretched repurposed cloths, he refers to his Senoufo heritage, contemporary politics, and power dynamics. Sanogo is building an arts center in Bamako, set to open in 2022, that will host workshops, exhibitions, and artists in residence. Finally, Bodys Isek Kingelez, who was the first-ever Black African artist to have a solo exhibition at MoMA, will be included in the group presentation along with Fréderíc Bruly Bouabré, Romuald Hazoumè, and Chéri Samba.

ERIN CLULEY GALLERY/Dallas Artist to Collect Now New York native Lynn Stern explores the nuances of light in her gelatin silver black-and-white process. An internal glow emanates from within the space that symbolizes and connects her series of images. It’s important to her. Rather than celebrating the surface beauty, she values the expression of the unseen. Stern says she thinks like a painter, “in that my concerns are largely formal: my aim is to create tension, plasticity, texture, and especially spatial ambiguity in which figure (or abstract form) and ground seem to merge with or emerge from one another. Above all, I want the image to feel charged.” Lynn Stern, Quickening #19-35a, 2019, edition of 6, archival inkjet pigment print, 48 x 38 in. Courtesy of the artist and Erin Cluley Gallery.

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CONDUIT GALLERY/Dallas Artist on the Rise Detroit’s Johnny Floyd had us at hello. Following a sold-out show, Hyperblack Spectacle at Conduit Gallery, riveting bidding ensued for his painting The Young Bol is an Alchemy at TWO x TWO last October. His work was then featured at Conduit Gallery’s booth at the November edition of Dallas Art Fair. Quickly spotted by the Dallas Museum of Art’s curators Nicole R. Myers and Vivian Li and donors to the 2021 Dallas Art Fair Foundation Acquisition Program, Floyd’s oil, acrylic, and gold leaf painting Upon Reflection, I am Aphrodite’s Pearls Strung Across the Firmament was one of six works selected to enter the DMA’s collection.

CRIS WORLEY FINE ARTS/Dallas Artist to Collect Now With the figurative art collecting movement in full force, we hope this longstanding artist’s notoriety rises with it. “Kelli Vance creates deeply psychological and cinematic visual narratives that explore anxieties of the unknown,” Cris Worley says of the artist she represents in North Texas. “Fully self-directed and self-starring, Vance is the subject of each painting; the offstage viewer becomes a participant in a perceived power struggle with her as the main character. With all the visual cues she provides, she offers only questions, never answers, and we are always left to question what exactly is going on. “Vance takes her place alongside other important artists like Cindy Sherman and Marilyn Minter, who work from a distinctly female perspective, often sensual, sometimes psychosexual in tone.” Artist to Invest In Now in his third decade as an exhibiting artist, Dallas-based Richard Patterson displays virtuosic handling of paint and image. As a Young British Artist (YBA), he was part of the canonical handful of artists like Tracey Emin, Damien Hirst, Sarah Lucas, and Gary Hume who emerged in the 1990s. Enthusiastic about having one of Patterson’s original paintings at her booth, Worley informs, “Patterson’s work explores the relationship between the perceived and the felt, the visceral and the imagined. The meticulously crafted paintings’ fictive spaces present idealized and conflicting realities that often shift between styles or genres. His paintings suggest a metaphysical appreciation of how we, via the mind’s eye, picture intangible or illusive aspects of our existence.”

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Left: Johnny Floyd, Like Niobe II, 2021, oil and acrylic on canvas, 36 x 36 in. Courtesy of the artist and Conduit Gallery; Top right: Kelli Vance, That Melancholy Residue of Desire, 2021, oil on canvas, 60 x 40 in. Below: Richard Patterson, Title Forthcoming, 2022, oil on canvas, 66 x 55 in. Courtesy of the artists and Cris Worley Fine Arts.

BIENVENU STEINBERG & PARTNER/New York Artists on the Rise Lou Doillon is a French-British artist based in Paris. A singer songwriter, actress, model, and creative collaborator with fashion houses, she is Gucci’s French Ambassador. In a self-empowering and revealing gesture, eliminating the male-gaze perspective, she draws herself from life, as if it were a selfie shoot, from torso to feet, sometimes showing fragments of a sexualized body, or a body engaged in daily activities, eating, smoking, dressed or undressed, as she chooses. Jackson Denahy’s paintings are an entangled montage of collected memory and fiction and offer an endless inventory of his distractions, jumping from one subject to the next in his demure-sized canvases.

Lou Doillon, Untitled (Visions from Above), 2021, 16.50 x 11.75 in.; Jackson Denahy, Lipthop Bloom, 2020, oil on paper, 12 x 9 in. Courtesy of the artists and Bienvenu Steinberg & Partner.

SCHACKY ART ADVISORY/Dusseldorf Artist to Collect Now Presenting the work of multiple blue-chip artists, like Gerhard Richter and Vik Munoz, Eric Cruickshank is still making his mark. Mining the palette of Scotland’s breathtaking landscapes, Cruickshank expertly layers thinly colored bands, and a subtraction technique, leaving the surface balanced in a continuous field with no traces of brushstrokes. Upon closer inspection revel in the vibrant, pulsating and shifting patterns. P Eric Cruikshank, Untitled (C-006), 2021, oil on canvas over board, 16.14 x 11.80 in.; Vik Muniz, After Mark Rothko, 2001, Cibachrome print on aluminum, 67 x 49 in. Both courtesy of Schack Art + Advisory

APRIL / MAY 2022

A New Reckoning The Modern Art Museum of Fort Worth gathers the past for an of-the-moment conversation about female painters and portraiture. BY EVE HILL-AGNUS

Alice Neel, Pregnant Nude, 1967, oil on canvas, 33 x 53.87 in. © The Estate of Alice Neel. Courtesy the Estate of Alice Neel and David Zwirner.

hat exactly does it mean to have women painting women? The question opens onto a playground of nesting answers. In a major group exhibition at the Modern Art Museum of Fort Worth, opening in May and running through September, chief curator Andrea Karnes has gathered more than 40 women artists representing more than 50 years for a figurative show titled Women Painting Women that orchestrates an ambitious answer to the question. The show, in its magnitude, is rather breathtaking. The exhibition is anchored by heavyweights—Faith Ringgold, Alice Neel, Joan Semmel, Sylvia Sleigh (who infamously flipped the gendered narratives of nude group portraiture with The Turkish Bath in 1973)— who traversed much of the century; mostly one painting for each. And

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it centers on a challenge, a possibility, a variously filled lacuna teased out not chronologically but across thematic categories. “Since women have traditionally been left out of the canon of art, it seemed like a good idea to focus on an exhibition that would feature women artists of roughly the last 50 years,” Karnes reasoned. But more than that: “The term ‘woman’ is a contested term these days. It’s being liberated from its binary definition. The opportunity to have a show that is very inclusive of all women seemed interesting to me.” And so arises a dialogue between the iconic trailblazers, the younger generation, and mid-career artists that might have been inconceivable 20 years ago. “Because figurative art was not always in favor, and a lot of these

women were not getting airplay during certain decades, especially as figurative artists, it wasn’t going to make sense chronologically. I would rather read art history again with a more inclusive scope. And in this case looking at women. What is their story? How do women see women?” Karnes asks. In essence, the show has the palpable intensity of a series of studio visits, as though diverse minds that have spent entire careers broaching these subjects were invited and destined to enter into conversation. They have all explored the missing female subjectivity as defined outside the male gaze, as though this were audacious. They plumb their own depths. The fact that some of the trailblazers—often hailed as radical, activist, groundbreakers, pioneers—were being granted retrospectives meant adjustments. The Ringgold that Karnes had wanted was going into the artist’s highly anticipated retrospective in New York, so Karnes had to adapt. The iconic late Neel is similarly the subject of a retrospective traveling from New York to Paris, but Karnes was able to source a Pregnant Nude from the 1960s. The Semmel work will leave a six-decade-career-spanning retrospective and come immediately to the Modern. “The reality was that it wasn’t always easy to get exactly the painting I wanted. Most of the time I did, but for good reason when I didn’t.” The reason: an inflection point. A swell. A new reckoning and resonance. An acceleration of attention. And if it presented hurdles, “It means they’re finally getting a major exhibition

Top: Christiane Lyons, Yayoi , 2021, oil on canvas, 58 × 49 in. Courtesy of the Artist and Meliksetian | Briggs, Los Angeles. Bottom: María Berrío, Wild lowers, 2017, mixed media, 96 x 140 in. Nancy A. Nasher and David J. Haemisegger Collection.

APRIL / MAY 2022

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Arpita Singh, My Mother, 1993, oil on canvas, 54 x 72 in. From the Collection of Sharad and Mahinder Tak © Arpita Singh. Photograph courtesy of Kiran Nadar Museum of Art and Talwar Gallery.

somewhere,” Karnes says. Leaning into figuration, these artists map themselves using the body. In one section, the pale, exposed flesh of Neel’s Pregnant Nude is taken up by the psychosocial intimacy of Celeste Dupuy-Spencer’s Sarah and the profound, luminous corpulence of Jenny Saville’s triptych Strateg y. In some, the plumbed frontier is nudity; in others the bridge between self and other; in others, race. All seize upon their theme with profound power. San Francisco–based Christiane Lyons, who recently had a solo show in Los Angeles titled Some Women: A Total Portrait With No Omissions, proposes subjectivity as the antidote to objectification. In vibrant, kaleidoscopic paintings that layer contemporary imagery gleaned from internet searches of terms borrowed from women’s depictions in art history—“model,” “reclining,” “portrait”—the woman shatters and shivers, breaks apart to form a new image and individuality. “My work examines how women are seen as both subjects and objects,” Lyons says. “I want them to appear as new subjects.” Marilyn Minter, best known for her provocative enamel paintings, video, and photography, takes on the erasures from art history—the pubic hair and, here, bathers who inhabit no stream banks but the liminal space of the modern shower, blurred pallor witnessed as though through the erotically refracting prism of a fogged glass wall. Danielle McKinney allows the Black female gaze to interrogate and transfix you. In her paintings, it arises from a place of smoldering self-awareness and self-containment, where privacy is paramount. Colombian-born, Brooklyn-based Maria Berrio’s oeuvre of collage executed with Japanese paper melds cross-cultural commentary with patternings that refract hybrid identities sensitively. And Nicola Tyson insists on the creative authority that comes with practicing a play tied to self-determination. “The beauty is [that] it always used to be young bad boys. And now it’s old ladies and young bad girls,” says Minter, who at 73 brooks no apologism. “Women are so terrifying because of the power we have. It’s

“Since women have traditionally been left out of the canon of art, it seemed like a good idea to focus on an exhibition that would feature women artists of roughly the last 50 years...” —Andrea Karnes, chief curator, Modern Art Museum of Fort Worth

Above: Danielle McKinney, Corner Store, 2021, acrylic on canvas, 20 x 16 in. Ben Shenassafar collection © Danielle McKinney. Courtesy of the artist; Night Gallery, Los Angeles; and Marianne Boesky Gallery, New York and Aspen. Photograph by Matthew Booth; Below: Marilyn Minter, Red Flare, 2018-2019, enamel on metal, 84 x 60 x 2.06 in. Courtesy of the artist and Salon 94, New York.

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Clockwise from top: Njideka Akunyili Crosby, Dwell: Me, We, 2017, acrylic, transfers, colored pencil, charcoal, and collage on paper, 96 × 124 in. Collection of the Modern Art Museum of Fort Worth. Gift of the Director's Council and museum purchase, The Benjamin J. Tillar Memorial Trust. 2019 © Njideka Akunyili Crosby; Emma Amos, Three Figures, 1967, oil on canvas, 60 x 50 in. The John and Susan Horseman Collection. © Emma Amos. Courtesy RYAN LEE Gallery, New York; Amy Sherald, A Midsummer Afternoon Dream, 2020, oil on canvas, 106 x 101 in. Private collection. © Amy Sherald. Courtesy of the artist and Hauser & Wirth. Photograph by Joseph Hyde.

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just a lot easier to fit into your assigned roles. But they’re not working anymore. They haven’t been working for quite a while. And I don’t think we had language for it yet.” “I do think it’s very timely,” Lyons adds. “I also think that it’s about time that it happened. How else are things going to get talked about unless we put them out there?” The specter of tokenism or ghettoizing can, detractors may say, stalk any show that posits female artists as common denominator. But the conversation is too specific; there have been too many heroes. Amid the energy of a group show—bold, defiant, magisterial, erotic, charged—the totality is curated with such intelligence that the works form a conversation. It is as though we were seeing a cohort from the inside out.

I am not at all surprised when, over the phone, Lyons tells me a story—that her undergraduate mentor long ago gave her tubes of oil paint that had belonged to her own mentor, the late Joan Brown, whose work figures in the exhibition and inspired Lyons’ own practice. “It’s just a continuation of what artists should do for each other,” Lyons tells me of the gesture. (Coincidentally, she has named paintings after four women who are now in the show with her.) Her experience is a microcosm of the scaffolding of nesting affinities that underlie the show. “There’s always going to be more than one person that changes the way we see. And that’s the glorious thing,” Minter says. Sometimes it is hardest to show what is already there. In the midst of the fizzing energy of a group show, the hope is that people will make connections. P

Above: Hope Gangloff, Queen Jane Approximately, 2011, acrylic on canvas, 66 x 108 in. Collection of Alturas Foundation, San Antonio, Texas. © Hope Gangloff. Courtesy of the artist and Susan Inglett Gallery, New York; Below: May Stevens, Forming the Fifth International, 1985, acrylic on canvas, 78 × 120 in. Courtesy of the estate of the artist and Ryan Lee Gallery, New York. © May Stevens.

APRIL / MAY 2022

AFRICA SPEAKS

PREMIERING AT THE KIMBELL, THE ART INSTITUTE OF CHICAGO’S THE LANGUAGE OF BEAUTY IN AFRICAN ART IS AN EYE-OPENING WONDER. BY STEVE CARTER

Yòrùbá culture; Ifè, Nigeria Head (possibly a King), 12th–15th century, terra cotta with traces of pigment and mica. Kimbell Art Museum, Fort Worth, purchase by the Kimbell Art Foundation.

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ere in the Western world it’s often been the case that the appreciation of African art is filtered through distinctly Western aesthetics and perspectives. But it’s a big world, and notions of beauty and ugliness aren’t necessarily Eurocentric. That’s one reason why the Kimbell Art Museum’s The Language of Beauty in African Art is revelatory, exploring the indigenous context of the 200-plus pieces in the exhibition, culled from public and private collections worldwide. The Art Institute of Chicago is the organizing museum of the show; it’s been years in the making, curated by Constantine (Costa) Petridis, chair and curator of Arts of Africa at the Art Institute. There are more than 50 sub-Saharan African cultures represented, from West, Central, and Southern Africa; most works date from the late 19th and early 20th centuries, and three are from the Kimbell’s collection. Opening on April 3 and running through July 31, The Language of Beauty in African Art then travels to the Art Institute of Chicago in the fall, its only other venue. Jennifer Casler Price, the Kimbell’s curator of Asian, African, and Ancient American art, says that Costa Petridis initially contacted her back in 2017. He was then conceptualizing the exhibition for the Art Institute and hoping the Kimbell might loan a couple of pieces to the cause. “I immediately emailed back and said, ‘Well yes, we would be happy to loan, but also are you looking for venues?’” she recalls. “Because we hadn’t done a major exhibition of African art in 25 years, I saw this as a great opportunity to work with a specialist in the field. Costa’s been a scholar of African art for many years—he’s

Hemba: Niembo culture; Democratic Republic of the Congo Male Figure (Singiti), 19th–early 20th century, wood and pigment. Kimbell Art Museum, Fort Worth, purchase by the Kimbell Art Foundation.

Mbuun culture; Democratic Republic of the Congo Anthropomorphic Cup, 19th–early 20th century, wood and pigment. MAS|Museum aan de Stroom, Antwerp, purchase, 1920. Photograph by Bart Huysmans and Michel Wuyts.

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Above: Fang: Mvai culture; Gabon Male Reliquary Guardian Figure (Eyema Byeri), 19th–early 20th century, wood, beads, and pigment. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc. Image courtesy of the Dallas Museum of Art; right: Songye culture; Democratic Republic of the Congo, Four-Horn Community Power Figure, 19th–early 20th century, wood, pigment, copper, metal, glass beads, raffia, antelope horns, goat horn, and civet hide. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

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worked in many institutions and has great connections all around the world with those museums and private collectors.” The show focuses on 3D—sculptures, power figures, masks, and beautifully crafted prestige objects—and the thematic signature of the exhibition is understanding African art language as an essential key. Casler Price enthuses, “I love the premise of the exhibition, looking at African art through indigenous perspectives, through their language and their perceptions of what beauty and ugliness are.” As the show’s eight sections unfold, visitors encounter the concept of utotombo, used to describe a sculpture that’s executed with skill and care. And there’s cibema, a Chokwe term for a work that evinces both formal beauty and moral integrity. Busoga is from the Lega culture, describing something that’s visually appealing and of praiseworthy character. And there’s the Kongo people’s term ngitukulu, describing coexisting aspects of beauty and ugliness in an object, inspiring awe. “What Costa’s done, which is really kind of brilliant, is taken this very wide umbrella concept of what do these cultures consider beautiful and attractive—what are their criteria for beauty?” Casler Price continues. “He pulled together as many pieces of art as he could, across all these different cultures, but there’s this thread that runs through it…shared conventions, but diversity within them.” Head (possibly a King) (Yòrùbá culture; Ifè, Nigeria, 12th–15th century) is one of the oldest works included; it’s from the Kimbell’s collection and one of the few archaeological pieces. It’s in the section of the show that focuses on gracing the body; scarification of the face is a prominent feature of the work. Casler Price says that this “idealized portrait of a king” and other terra cotta heads often had a ceremonial function and were used and reused annually. She adds that the view from behind is equally revealing: “You can see how it’s made, this coil method—you can really see the hand of the artist from the inside.” Another section of the exhibition focuses on ugliness, and a highlight is Monkey Figure (Baule culture; Côte d’Ivoire, 19th–early 20th century; wood, sacrificial materials, cloth), a monkey-human composite. “Our idea and definition of ugliness is not the same as in many African cultures,” Casler Price says. “These

“I love the premise of the exhibition, looking at African art through indigenous perspectives, through their language and their perceptions of what beauty and ugliness are.” —Jennifer Casler Price, the Kimbell’s curator of Asian, African, and Ancient American art

Baule culture; Côte d’Ivoire Female Face Mask, (Ndoma), late 19th–early 20th century, wood, pigment, and copper alloy. The Art Institute of Chicago, Ada Turnbull Hertle Endowment.

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Èkìtì culture; Ìkéré, Nigeria; Olówè of Ìsè (c. 1869–1938), Veranda Post (Òpó Ògògá) Yòrùbá, 1910–14, wood and pigment. The Art Institute of Chicago, Major Acquisitions Centennial Fund.

Bamana culture; Baninko region, Mali; Pair of Headdresses (Ciwara Kunw), mid-19th–early 20th century, wood, pigment, metal, brass tacks, and grasses. The Art Institute of Chicago, Ada Turnbull Hertle Endowment.

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Left: Chokwe culture; Angola Female Face Mask (Mwana Pwo or Pwo), 19th–early 20th century, wood, pigment, metal, and fiber. Private collection. Courtesy of Schweizer Premodern, New York; Below: Baule culture; Côte d’Ivoire Monkey Figure, 19th–early 20th century, wood, sacrificial materials, and cloth. Private collection, New York. Photograph © John Bigelow Taylor.

pieces are meant to be scary, terrifying, or sometimes humorous, in order to communicate with the spirit world. This monkey figure is acting as a vessel for the spirit to inhabit, to give the community protection and support.” Consider Four-Horn Community Power Figure (Songye culture; Democratic Republic of the Congo, 19th–early 20th century), on loan from the Dallas Museum of Art—it’s a frightening work that’s found in the final section of the show. Casler Price says the extravagant sculpture embodies the term ngitukulu—the experience of astonishment or awe. “Figures like these are owned by the leaders of the village, and they deploy them for the benefit of the community. The sculptures mediate between the living and the dead, to help or to harm. And all the external paraphernalia—the animal horn, metal applique, glass beads, nails—help to advertise the authority, make them larger than life. They fascinate and terrify at the same time. I think they’re some of the most extraordinary pieces in African art.” And function can be deceiving. Two cases in point are Pipe (Southern Nguni; South Africa/Southern Sotho; 19th century), and Anthropomorphic Cup (Mbuun culture; Democratic Republic of the Congo, 19th–early 20th century). “The pipe and the cup are utilitarian things, but these objects were made with great skill, or maybe with precious materials—they’re not meant to be used for their original purpose,” Casler Price says. “The function of the art is the key, but function can be a lot of different things. Primarily they’re for aesthetic appeal, and by extension, they convey something about the owner. “There’s a saying I really love that goes back to a well-known scholar of African art, Roy Sieber: ‘This is art for life’s sake’,” Casler Price concludes. “It’s serving an important purpose in these peoples’ daily lives, whether it’s meant to represent prestige, or a person’s moral character and integrity, or meant to work in a religious capacity to communicate with the spirit world. It’s going to be an amazing show, any way you look at it.” P

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Fall of Powers Rise of Maison Cartier SOME 400 OBJECTS DEFINE THE HISTORY OF THE FRENCH JEWELRY HOUSE HELMED BY LOUIS CARTIER. BY NANCY COHEN ISRAEL

Above: Tiara, Cartier London, special order, 1936, platinum, diamonds, turquoise. Sold to The Honorable Robert Henry Brand. Cartier Collection. Vincent Wulveryck, Collection Cartier © Cartier; Below: Bracelet, Cartier Paris, 1923, platinum, diamonds. Cartier Collection. Vincent Wulveryck, Collection Cartier © Cartier.

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hen Cartier and Islamic Art: In Search of Modernity opens at the Dallas Museum of Art in May, it will offer an intensely scholarly look, as well as lots of sparkle, into a particular moment that helped define Maison Cartier. “For the first time, the exhibition shows that jewelry, far from being a simple accessory of the costume, as some want to limit it, can be the subject of art history studies in the same way as other artistic creations, such as painting, sculpture, or decorative arts in general,” says Évelyne Possémé, chief curator of ancient and modern jewelry at the Musée des Arts Décoratifs, Paris. This internationally conceived exhibition was co-organized by the DMA, its only North American venue, and Musée des Arts Décoratifs, in collaboration with the Musée du Louvre and with the support of Maison Cartier. With loans from several international collections, this major exhibition features over 400 objects, including from the Keir Collection of Islamic Art, on loan to the DMA. “Only about a one-quarter to one-third of the exhibition is jewelry. We

Above: Vanity case, Cartier Paris, 1924, gold, platinum, parquetry of mother-of-pearl and turquoise, emeralds, pearls, diamonds, black and cream enamel. Cartier Collection. Nils Herrmann, Cartier Collection © Cartier; Below: Mamluk Carpet Fragment (detail), 15th–16th century, wool. The Keir Collection of Islamic Art, on loan to the Dallas Museum of Art.

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Clockwise from left: Bandeau, Cartier Paris, 1922, platinum, gold, round old-, single-, and rose-cut diamonds, coral beads and batons, onyx rondelles and batons, tortoiseshell, black enamel. Nils Herrmann, Collection Cartier © Cartier; Ewer, late 10th–early 11th century, rock crystal with enameled gold repairs and fittings by Jean-Valentin Morel (1794-1860), French, The Keir Collection of Islamic Art, on loan to the Dallas Museum of Art; Female tumbler, Iran, early 19th century, The Hossein Afshar Collection at the Museum of Fine Arts, Houston. Photograph © The Museum of Fine Arts, Houston. Photograph by Will Michels.

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Clockwise from left: “Persian” cigarette case, Medallion: India, 18th–19th century. Cartier Paris for London, 1926, gold, agate, lapis lazuli, sapphires, rubies, emeralds, diamonds, enamel. Nils Herrmann, Cartier Collection © Cartier; Bib necklace, Cartier Paris, special order, 1947, twisted 18-karat and 20-karat gold, platinum, brilliant- and baguette-cut diamonds, one heart-shaped faceted amethyst, twenty-seven emeraldcut amethysts, one oval faceted amethyst, turquoise cabochons. Nils Herrmann, Collection Cartier © Cartier; “Persian” cigarette case, Cartier Paris, 1924, gold, enamel, onyx. Cartier Collection. Nils Herrmann, Cartier Collection © Cartier.

are building a narrative of looking back at things Louis Cartier is collecting,” states Sarah Schleuning, the Margot B. Perot Senior Curator of Decorative Arts and Design at the DMA. Also included will be the Persian, Indian, and Islamic paintings, manuscripts, rugs, and objects that inspired Cartier’s creations. In the mid-19th century, “Orientalism,” as it was traditionally known, captivated European audiences with the perceived exoticism of the East. Politically, as governments across the Levant weakened, European countries vied for colonial dominance. The dissolution of these empires resulted in a flood of cultural treasures into Europe. “Everything became available with the fall of powers. Paris became the center of the Islamic art market,” explains Dr. Heather Ecker, the former Marguerite S. Hoffman and Thomas W. Lentz Curator of Islamic and Medieval Art at the DMA. She and Schleuning comprised the local curatorial team. Also in Paris, the third generation of Cartier sons—Louis, Jacques, and Pierre—catapulted the family business, founded by their

grandfather in 1847, to international renown. According to Judith Henon-Raynaud, curator and deputy director of the department of Islamic art at the Louvre, “It was the arrival of Louis Cartier in 1898 as artistic director of the Paris branch that transformed the family business of jewelry creation and resale. After the relocation of the company to rue de la Paix, he equipped it with a designers’ workshop that would give birth to the Cartier style.” As the new century dawned, several seminal exhibitions brought widespread attention to Islamic art. In 1903, Exposition des art musulmans was curated by Gaston Migeon in Paris. Two years later, according to Henon-Raynaud, Migeon “inaugurated a room entirely dedicated to Muslim art. It is this room that is truly considered the first devoted to Islamic art in the Louvre, even though earlier collections of Islamic art were presented in the museum, but mixed with Western works.” Henon-Raynaud and Possémé served as the exhibition’s Parisian curatorial team. In 1910, Masterpieces of Muhammadan Art opened in Munich,

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Bazuband upper arm bracelet, Cartier Paris for Cartier London, special order, 1922, platinum, old-cut diamonds. Nils Herrmann, Cartier Collection © Cartier.

“For the first time, the exhibition shows that jewelry, far from being a simple accessory of the costume, as some want to limit it, can be the subject of art history studies in the same way as other artistic creations, such as painting, sculpture, or decorative arts in general,” –Évelyne Possémé, chief curator of ancient and modern jewelry, Musée des Arts Décoratifs, Paris.

Tiara, Cartier Paris, special order, 1912, platinum, round old- and rose-cut diamonds, pear-shaped diamonds, carved rock crystal, millegrain setting. Marian Gérard, Collection Cartier © Cartier.

Bandeau, Cartier Paris, 1923. Platinum, diamonds. Made as a special order for Madame Ossa Ross. Cartier Collection. Vincent Wulveryck, Collection Cartier © Cartier.

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featuring over 3,500 objects from public and private collections. The exhibition was a sensation. Visitors from across Europe, including Louis Cartier, flocked to see it. Inspired by what he saw, over the ensuing decades, Louis amassed an enviable collection of Islamic art. His collection also included Chinese and Japanese art as well as 18th-century furniture. By the time the Musée des Arts Décoratifs mounted an exhibition of Persian miniatures in 1912, Louis was a lender. Upon his death, his massive collection was dispersed. Much of it is now being reunited for the first time in over 75 years. Before long, Louis translated these Eastern-inspired styles into his designs. Antithetical to the languid lines of art nouveau, they soon became one of the defining elements of Cartier’s work. “The inspirations that Louis drew from Islamic art and particularly geometric shapes, which had not existed in jewelry until then, brought the company into the modern era, initiating the beginnings of art deco,” says Henon-Reynaud. Louis also began to use materials in a new way. “Using platinum was a Cartier innovation. It is light, strong, doesn’t tarnish, and works well with diamonds,” Ecker explains. His study of Indian jewelry also led him, she adds, to create jewelry that was jointed and hinged. In addition, Ecker says, “Cartier produced color combinations that were radical.” The combination of blue and green, for example, ultimately became part the house’s signature Tutti Frutti design. Other signature Cartier motifs, such as the panther, can be attributed to Jeanne Toussaint, who became Cartier’s director of fine jewelry in 1933. Leading the London operation, Jacques made his first of many trips to India in 1911. According to Possémé, “India was one of the most important producers of precious stones at the time, so it seems normal that jewelers were present there with an office, or even a simple correspondent, to ensure the exchange and shipment of precious stones.” The exhibition also delves deeply into graphic arts. “Pattern books provided dissemination of possibilities and opportunities,” says Schleuning. The influence of these as well as Eastern manuscripts cannot be underestimated. As Ecker notes, “The transmission [of ideas] wasn’t from traveling to the Middle East, it was through the mediation of books, which were everywhere.” Similarly, Maison Cartier created its own graphic tradition, even with quotidian objects such as playing cards. These were designed and sold in the New York house, led by Pierre. At the DMA, the installation has been conceived by the New York–based design studio Diller Scofidio + Renfro. “DSR has been such a great partner and has brought such interesting ideas,” offers Schleuning. She adds that devised to invite closer looking, the installation will provide a layered experience. Cartier and Islamic Art: In Search of Modernity belongs to a long history of exhibitions devoted to Maison Cartier. But seeing it through a contemporary lens is of particular interest to Schleuning, who is intrigued, she says, by “what inspires people and how they recombine these ideas.” If the exhibition’s success in Paris is any indicator, it will not only inspire but will also dazzle audiences on this side of the Atlantic. P

Flask, c. 1025, rock crystal, The Keir Collection of Islamic Art, on loan to the Dallas Museum of Art.

Head ornament, Cartier New York, circa 1924, platinum, white gold, pink gold, one 4.01-carat pear-shaped diamond, five briolette-cut diamonds weighing 5.22 carats in total, round old-, single- and rose-cut diamonds, feathers, millegrain setting. Marian Gérard, Collection Cartier © Cartier.

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GUARDIANS OF THE ARTS TACA Silver Cup Award honorees Jennifer Altabef and Larry Angelilli bolster the arts through volunteerism. BY LEE CULLUM PHOTOGRAPHY BY JOHN SMITH

ACA (The Arts Community Alliance) continues to propel the arts through the direst circumstances. They recognize it takes all hands on deck to achieve this. To that end, each year TACA recognizes two outstanding leaders in the community serving on boards, fundraising, donating time and savvy-thinking to bolster our cultural institutions. This year’s honorees are no exception. “Jennifer Burr Altabef and Larry Angelilli represent the very best of Dallas arts philanthropy,” said Terry D. Loftis, TACA’s Donna Wilhelm Family President and Executive Director. “Their selfless giving of time and talent to organizations including the AT&T Performing Arts Center, Dallas Theater Center, and many others have made sustainable impacts on artists and organizations. They are most deserving as our TACA Silver Cup Award honorees for 2022, and we look forward to celebrating them on April 21 at the National at Thompson Dallas.” Jennifer Altabef has a way of gravitating toward whatever action is the most demanding, without always intending to. No sooner had she agreed to chair the board of the Dallas Theater Center than the Kalita Humphreys tumbled into her portfolio. As the only theater ever designed by Frank Lloyd Wright, it had to be saved from ruin—not an easy assignment when passionate advocates were arguing for purity of restoration while theater people insisted on technical capacities for modern production. Jennifer Scripps, director of arts and culture at City Hall, guided this ill-starred schooner through troubled waters by creating a steering committee composed of interested parties, a coalition of the willing and the skeptical, to select an architect. That’s when Jennifer Altabef stepped in. A lawyer for 28 years, she knew how to establish a lasting rapport that has yielded spectacular results: Diller Scofidio + Renfro, one of the most inventive architectural firms in the world, was happily selected by the steering committee and just as cheerfully applauded by Altabef’s principal clients at Dallas Theater Center—though now, actually, her client is the city itself. “I like to go for the people with the biggest ideas,” says Altabef in a phone conversation. Now those big ideas must be applied to the master plan, long since due in Scripps’ office and now revved up again, after a long Covid collapse, with a deadline extended to the end of this year. This is a backbreaking assignment. DS+R must harmonize its thinking, never conventional, with that of historic preservation architect T. Gunny Harboe, recognized expert in the Chicago School that gave birth to Frank Lloyd Wright. DS+R also must come up with a workable approach to two new, small theaters—one a black box with 100 seats, the other a proscenium house for an audience of 200. These would be perfect for groups like Soul Rep, currently performing at the

South Dallas Cultural Center, which could do part of its season on the Kalita campus. “We hope that two of the three theaters could always have something happening,” notes Altabef. Companies could create “audience awareness of each other. We need a strong theater ecosystem. This would help.” Of course, the master plan also has to deal with landscape design, by Reed Hilderbrand, not only preserving Wright’s “naturalistic vision,” Altabef explains, but also connecting it to the Katy Trail (with maybe a small restaurant along the way), as well as to William Dean Park, so near and yet so far. The city now wants them “to make more land” says Altabef, pointing out that now “there is a ton of asphalt. We must make it appear more of a piece.” That is, the park, the theaters, and Turtle Creek Boulevard. All that’s required now is to raise the last 25 percent of $2 million needed for the master plan. If it passes muster, finally, with the city council, then perhaps seed funding for the project might be found in a bond election, possibly in 2024. Then Altabef wants to see a management contract with the city similar to that negotiated for the Meyerson by Kim Noltemy, CEO of the Dallas Symphony. The question for the Kalita is: How much of this refurbished theater is deferred maintenance that should be funded by the city? Of course, territory like this is nothing new to Altabef. She chaired the board of the Dallas Zoo when its management went private and can testify, “I have seen it work, this sort of transition.” She also was in charge of the savannah that was created for elephants and giraffes to roam freely. We have little time left to discuss the SMU Meadows School of the Arts executive board, which she leads (it’s also involved in a building renovation), or KERA, where she is the immediate past chair ( a wellsuited assignment since she set out to be a journalist at SMU, but needed to pay off her student loans, so she borrowed more money to go to SMU law school and settled all her debts by the age of 40), or the boards of the NPR Foundation and AT&T Performing Arts Center. Nor did we talk enough about her remarkable husband, Peter, chair and CEO of Unisys and one-time CEO of Perot Systems, among other posts. The important thing, though, is that he’s a lawyer, and he met Jennifer when they both clerked for federal judges at the courthouse. Also, that both their offspring, Hayley and Will, are attorneys. Law is the family profession. In summing up Jennifer Altabef, if that can be done at all, an architect comes to mind: Daniel Burnham, who helped rebuild Chicago after the fire of 1871. Burnham used to say, “Make no little plans.” Indeed, Altabef wouldn’t dream of it.

Opposite: Jennifer Altabef chairs Southern Methodist University’s Meadows School of the Arts Executive Board and the Board of Trustees of the Dallas Theater Center.

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“Jennifer Burr Altabef and Larry Angelilli represent the very best of Dallas arts philanthropy. Their selfless giving of time and talent to organizations including the AT&T Performing Arts Center, Dallas Theater Center, and many others have made sustainable impacts on artists and organizations. They are most deserving as our TACA Silver Cup Award honorees for 2022, and we look forward to celebrating them on April 21 at the National at Thompson Dallas.” —Terry D. Loftis, TACA’s Donna Wilhelm Family President and Executive Director

Larry Angelilli is the last person you would think of to be drawn habitually to enterprises in extremism. But he is the one who has battled catastrophe over and over, in business and the arts. “If a company is doing well, it doesn’t need you,” a headhunter once told him. It’s when doom is dawning and the end is near that he is indispensable. “My career,” he explains in a telephone interview, “has been one crisis to the next.” It was during the relentless fallout from the crash of 2008 that Angelilli was summoned to MoneyGram to help put that company back together. The new day took hold and now he is chief financial officer of a flourishing operation. Its services are so essential that when Covid started shutting down cities all over the world, they begged MoneyGram to stay open because people still needed a way to send remittances home to families, wherever they were. “Our people are proud of what they do,” says Angelilli. Go back a decade and Angelilli was on the board of the Dallas Theater Center for a year when 9/11 struck. He was stranded in Chicago, which was bad enough, but even worse, some DTC actors couldn’t get back from New York. That meant shows had to be cancelled. “It was devastating,” he lamented, and the trouble went on and on. By then on the finance committee, Angelilli met once a week with DTC board leader Deedie Rose and others to find a way through the fog, through “triage,” he says. They survived. Then came the move to the new Wyly Theatre over which he presided as president of the board with chairman Frank Risch. Though highly successful, the transfer was not without anxiety. They doubled the budget of DTC, a nervy thing to do in the wake of September 29, 2008, a date that lives in infamy for financial people like Angelilli. It worked, however, so the AT&T Performing Arts Center was more than relieved to have him on its board when bad trouble came calling there. It was the same calamity, the crash of 2008, and it left ATTPAC with a debt of $150 million and a capital structure that had crumbled into obsolescence. “It no longer applied,” he says. “It was a complicated capital markets transaction. A lot of people can’t understand it. You

can’t fix what you don’t understand.” Angelilli did understand it and played a pivotal role in saving yet another situation. So did many others, he stresses, raising “a ton of money.” The city helped. The banks did their part. Everybody rallied, and the show went on. Until the pandemic. When the coronavirus struck, “MoneyGram’s business was down 40 percent overnight,” Angelilli remembers, “and ATTPAC’s was down 100 percent. Zero revenue.” We “tightened things up…and came out of it,” he points out. “Hadestown did extremely well. Demand is here. People want to come.” Still, “it’s not over yet.” “Traumatic” is how he describes the age of Covid, in the arts and at MoneyGram, where they stayed open but under vastly different circumstances. “Immigration fell to practicality nothing all over the world,” he notes. “To levels not seen since World War II. Borders closed all over the world. That’s part of our labor shortage today. People can’t move. Some countries export labor, not goods. If people can’t move, there’s a devastating impact.” Angelilli grew up in Detroit, a perfect city in which to learn the uses of adversity. In “slow-motion decline” since the 1970s, this capital of American carmakers crumbled along with the industry. Even so, Angelilli had some good years at Chrysler before a federal bailout, bankruptcy, and misbegotten mergers took their toll. He went on to NationsBank, north of Philadelphia, and it was NationsBank, now Bank of America, that brought him to Dallas in 1997, just in time for the Russian debt crisis. “I have had a 40-year career of learning,” says Angelilli, and the arts, especially dance and theater, have seen him through. They still do. “I’m in a stressful job,” he explains. He finds “calm, emotional release” in the theater. He and his wife, Anne, finally returned to the Wyly last fall to see Tiny Beautiful Things and Cake Ladies, after two years at home. “When something is gone,” he reflects, “you realize how much” it meant to you. “We have our house in order,” he says of ATTPAC. “I’m proud of everybody. We’re financially as tight as any business I’ve ever worked for. Everybody is doing their best work.” For this affable, effective antidote to Dr. Doom, that’s saying a lot. P

Larry Angelilli is the executive vice president and CFO of MoneyGram Interational Corporation and past president of the Dallas Theater Center.

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a blooming good time * PHOTOGRAPHY & COLLAGE BY MINDY BYRD, THE PHOTO DIVISION * * CREATIVE DIRECTION & STYLING BY ELAINE RAFFEL *

Jonathan Simkhai scarlet slip dress, Tootsies, The Plaza at Preston Center; Bibi Marini Sunflower earrings, Grange Hall, Travis Street. Hair and makeup by Michael Thomas, seaminx; assistant stylist Missie Allen, Renee Rhyner & Co.; model, Zoe Gegout, Kim Dawson Agency. Opposite: Winston Cluster earrings featuring diamonds set in platinum; Winston Candy ring featuring tsavorite, aquamarine, and diamonds set in platinum; Winston Candy ring featuring pink sapphire, rubies, and diamonds set in platinum; Winston Cluster bracelet featuring diamonds set in platinum. All by Harry Winston. Harry Winston, Highland Park Village; Et Ochs tie-dye gown, Tootsies, The Plaza at Preston Center.

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This page: Alberta Ferretti dress, The Conservatory, Highland Park Village; Nan Fusco rose-gold and diamond earring, Carefully Curated Luxury. Opposite: Carolina Herrera dress, Carolina Herrera, Highland Park Village; Deepa by Deepa Gurnani earring, Tootsies, Plaza at Preston Center; Lisa Martensen, hair/makeup, Kim Dawson Agency; Missie Allen, assistant stylist; Renee Rhyner and Co., Mikayla Rogers, model, Kim Dawson Agency.

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Dolce & Gabbana dress with sequined tulip embellishment, Dolce & Gabbana, NorthPark Center.

Jonathan Cohen Studio red floral dress with twist, The Conservatory, Highland Park Village; vintage hat.

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Akris polyester sequin, round neck, tulle shoulder dress at Akris, Highland Park Village.

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Giambattista Valli crepe minidress and jacket with gold logo and platform calf-high boots, Carla Martinengo, The Plaza at Preston Center.

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Gucci Diana medium python tote bag, Gucci, NorthPark Center.

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Balenciaga SneakerHead handbag, Balenciaga, NorthPark Center.

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JONATHAN SIMKHAI JUXTAPOSED

Through June, Jonathan Simkhai presents a shop-within-a-shop at MARKET. BY ELAINE RAFFEL

Jonathan Simkhai. Courtesy of Jonathan Simkhai.

Selections from Jonathan Simkhai pre-fall and fall 2022 ready-to-wear collections. Courtesy of Jonathan Simkhai.

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ATELIER

hen it comes to fashion-forward looks, Jonathan Simkhai knows what women want. His eponymous label is the epitome of modern versatility—a mix of familiar silhouettes made new and enticing with sumptuous fabrications, deluxe detailing, and intricate handwork. “My design philosophy is really rooted on dichotomies and juxtapositions,” Simkhai says. “How do we change things up and make them feel a little bit different?” Case in point: Simkhai’s fall 2022 collection. Beaded fringe adorns formfitting knits. Strategic cutouts give a signature shirtdress a sexy update. Other standouts include glittery, sequin-embellished pieces and tailored-with-atwist jackets. “The woman who wears my clothes appreciates quality and craft. She doesn’t want anything that’s too basic.” She’s also a woman who loves fashion, which is exactly why Simkhai chose Dallas for his inaugural in-store pop-up. “People here are so hospitable and friendly. And Dallas women really appreciate fashion and art and culture,” he tells us. “They get excited turning out at a store to meet the designer.” And now through the end of June, welcome to the world of Jonathan Simkhai. The designer’s ready-to-wear, runway apparel, and his new accessories line of footwear, handbags, and sun hats are available at MARKET’s rotating residency space in Highland Park Village, the brainchild of Elisa Summers and chief creative officer Keenan Walker. It’s a welcome change. Throughout the pandemic, going-out clothes were a tough sell. “But we’re definitely in a better place,” Simkhai says. “People either want something that feels really fun and celebratory or pieces that feel very versatile.” Simkhai’s clothes deliver both—a testament to the success of the 12-year-old brand. In 2015, he earned the ultimate recognition for emerging designers: the prestigious CFDA/Vogue Fashion Fund award. Three years later, Simkhai moved his operation to Los Angeles, partly for the weather but, more importantly, to create an environment where he and his team could thrive creatively. During fall fashion week this past February, Simkhai had two spots on the calendar. The day before his in-person presentation, he was the inaugural designer at Metaverse Fashion Week, the first to transform a collection into digital wearables. “It was business as usual with an extra fun layer,” he told Vogue. His pre-fall lookbook video, shot on location at Cal Poly’s theater department building, was equally memorable. “I love the idea of mixing fashion with different art forms,” says Simkhai. “There was something so structured, so sculptural, about the architecture, but then the clothes were so soft and fluid.” And in fall 2021, with Los Angeles under lockdown, he photographed his free-flowing collection on dancers from the California-based troupe Jacob Jonas The Company. At his Dallas opening he said, “People are looking for something with purpose, with meaning. There’s so much beautiful product out there in the world, so many brands. But really, everyone is just looking for connection.” We asked. Jonathan answered. Favorite color? “I like unexpected mixes—colors that shouldn’t necessarily go together. But then when you look at them, you’re like, ‘wow, that’s really pretty.’” Vacation spot? “Maui. It’s magical. We go every year for Christmas.” Advice you’d give your younger self? “Don’t take reviews to heart. At the end of the day, it doesn’t really matter.” Favorite artist? Basquiat. I love the combination of something that feels urban and, at the same time, fresh and exciting. Bucket list? “I want to take a photography class. And also do more ceramics. Standout career moment (other than the CFDA award)? “When my husband and I got married, there was a girl waiting in line for the judge wearing one of my dresses. When I told her I was Jonathan, the designer, she started crying.” P

Top: Jonathan Simkhai fall 2022 ready-to-wear collection. Courtesy of Jonathan Simkhai; bottom: Jonathan Simkhai pop-up shop at Market in Highland Park Village. Photograph by Beckley.

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An Artful Camaraderie

Tanya Taylor animates the élan of Elaine de Kooning in her fall 2022 ready-to-wear collection. BY TERRI PROVENCAL

Tanya Taylor at the Elaine de Kooning House and Studio.

n a serendipitous turn, Canadian-born fashion designer Tanya Taylor filmed her fall 2022 collection at the East Hampton home of Chris Byrne, an ongoing Patron contributor and the founder of the Elaine de Kooning House and Studio, which has hosted exhibitions and informal artist residencies since 2011. Meanwhile, boutique director Nerissa von Helpenstill was busy making plans for Tootsie’s runway presentation with Tanya Taylor, this year’s featured designer of the Mad Hatter’s Tea at the Dallas Arboretum on April 20. An admirer of Elaine de Kooning’s enduring strength, Taylor, who always breaks from the status quo, drew inspiration from the late artist’s postwar practice. We spoke with the New York– based designer following the collection’s filming and release. Terri Provencal (TP): You’ve painted your entire life, and your own handpainted prints are your signature. What does the intersection of art and fashion mean to you? Tanya Taylor (TT): I grew up in a highly creative environment, to the point where I was even allowed to paint walls in our home. I was always encouraged to pursue my artistic sensibilities and think out of the box. Being able to be at the intersection of art and fashion means that I’m able to make art accessible and approachable to more people and give them the tools to express themselves creatively and confidently. TP: The Tanya Taylor fall 2022 collection was inspired by Elaine de Kooning, whose practice straddled abstract expressionism and portraiture. What drew you

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to her? Have you always admired her work? TT: I’ve always felt drawn to the stories of female artists, and I am so passionate about keeping their visions alive. De Kooning was simply fascinating to me; she was described by Brandon Brame Fortune [the author of Elaine de Kooning: Portraits (2015)] as at the “red-hot center of everything that was happening in New York City.” She was such a supporter of other female creatives, and even through the residency program established in her former house. She created this spirit of camaraderie in the artistic community, and I want to help keep it alive. TP: And how did you discover the Elaine de Kooning House, which just entered the National Register of Historic Places in January? TT: I lived in East Hampton during the pandemic and did not actually know about the Elaine de Kooning House and Studio until we started looking for interesting places to take an inspiration trip in the area. It was so exciting to discover such a culturally significant place just a stone’s throw away. TP: You filmed your fall collection at this East Hampton studio, which includes an artist’s residency program. You even painted while there. Tell us about the experience. TT: De Kooning created some of her most important works in that home, and standing where she once stood to create was such an honor. When we think back to the trip, we can’t help but feel so lucky to have been given the opportunity to create so freely in her home. We explored every nook and cranny, discovered some of her personal effects, and walked away with so many new creative ideas

ATELIER

Tanya Taylor's fall 2022 collection is inspired by the Elaine de Kooning House and Studio, revealing an elegant point of view with a nocturnal sensibility. All images courtesy of Tanya Taylor.

not just for the shoot we did, but ideas that we’ll want to continue to ruminate on. TP: Describe the mood of fall you describe as “nocturnal elegance” and how fabrics, such as ink-washed prints, embody this. TT: We printed on liquid lurex, worked with velvet ponte, and did some incredible trims to bring a sense of nighttime and playfulness to life. And being in the house also helped us to convey this mood through the images we shot. We used the light that came through the angled window as a mood trigger to what we were doing. We shot the daytime looks in daylight, and as it got darker, we moved into the evening looks and were able to really showcase them in their full glory. TP: You are the featured designer for the Mad Hatter’s Tea presented by Tootsies at the Dallas Arboretum. It’s always a festive, albeit a highly competitive, event in the hat category. Will you share your plans for the runway show? TT: The theme for the Mad Hatter’s Tea is going to be about all things Dallas, which is so exciting for me as a Canadian. I don’t want to ruin the surprise for our runway show, but expect to see our artful prints—and even if you’re not into prints, I think we’ll be able to change your mind. TP: What can ladies find in store at Tootsie’s? Favorite silhouettes? TT: The current collection in store was inspired by the spirited prints of the young artist Ammon Rost. You’ll find fine knits and sand-washed cotton dresses in our hand-drawn chalk floral print. I think many of us have exciting trips and occasions coming up, and there are so many great pieces that go from day to night. TP: Your brand is dedicated to strong women and individuality. Will you share with us what it means to embrace women of all shapes, sizes, and ages in your collections? TT: It means that when we design, we keep real women and their lives in mind, and not an idealized version of who we think our customer is. We’re constantly asking for feedback on social media and host regular Instagram Live events so that our customer always feels like they’re able to have a conversation with us about our designs. P

APRIL / MAY 2022

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THERE MAS/ARCO SPOTLIGHT CONTEMPORARY CONVERSATIONS WITH IGNASI ABALLÍ AT MEADOWS MUSEUM PHOTOGRAPHY BY CELESTE CASS

Kaitlin Sanson

Thomas Feulmer, Maria Gomez

Erica and Roderick Steinkamp, Michael Domke

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Jenny Mullen, Dr. Amanda Dotseth, Ignasi Aballí, Janet Kafka

Ignasi Aballí, Amanda Dotseth

Richard and Jenny Mullen

Denise Stewart

Bill and Linda Custard

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THERE COREY DAMEN JENKINS COLLECTION REVEAL & BOOK SIGNING AT ARIA PHOTOGRAPHY BY BRADLEY LINTON

April Renee Graves, Corey Damen Jenkins

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William Bardin, David Cadwallader

Camila Alzate, Helima Essary

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THERE MEADOWS MUSEUM HONORS DIGNITARIES AND LENDERS TO MURILLO: PICTURING THE PRODIGAL SON AT SMU PHOTOGRAPHY BY TAMYTHA CAMERON

Dr. C.D. Dickerson III, Elyse Dickerson

Eliza Solender, Gary Scott

Bill and Linda Custard

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FURTHERMORE Spain's Ignasi Aballí is the first artist featured in the MAS: Meadows/ARCO Artist Spotlight.

Palabras Vacías (Empty Words), 2020 detail.

EMPTY WORDS, FULL OF MEANING Conceptual artist Ignasi Aballí inaugurates MAS: Meadows/ARCO Artist Spotlight series. BY NANCY COHEN ISRAEL PHOTOGRAPHY BY GUY ROGERS III

n the art world, words are used to describe objects, interpret meaning, and foster conversation. But what if words are the object? And what if they express something that is not tangible? Such is the case with Ignasi Aballí’s Palabras Vacías (Empty Words), currently on view at the Meadows Museum. In 2019, the museum entered into a six-year partnership with Fundacíon ARCO, one of Spain’s premier contemporary art organizations, with the intended goal of introducing the work of a contemporary Spanish artist with limited recognition to American audiences. A panel of jurors, representing both organizations, selects each artist on a biennial basis. Aballí’s exhibition inaugurates the partnership. Palabras Vacías is a conceptual installation comprised of 27 galvanized iron plates, each of which is 12 x 40 inches. Cut out of each plate is one word that defies visual representation. “This work is especially interesting because it negates the idea of image. There is no image for something nonexistent,” Aballí says. A common observation is that the words themselves are in English. “When you use language as part of the work, you have to decide what words to use,” says Aballí. His choices included Catalan, spoken in his native Barcelona, where he still resides; Castilian, the official language of Spain; or English, currently the lingua franca of much of the world. “There is another reason, and it is important,” Aballí offers, explaining, “In Spanish, we have masculine and feminine forms. I chose English

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Palabras Vacías (Empty Words), 2020 installation at the Meadows Museum.

because there is no gender. There is neutrality in gender consideration.” The word secret, for example, can take a gendered form in Spanish. In English, Aballí suggests, “It works in a more abstract way.” The genesis of this work is a 2019 exhibition in Barcelona. “I made an installation and used metal plates as a stencil. Then I spray painted the words onto the wall. But I thought when I did the installation that the plates themselves can be interesting. The word immaterializes because you can see through it, and you can see the wall behind it,” he says, making it an empty word. The following year, he presented the current installation at Elba Benítez Gallery in Madrid. The visual effect of the single line of plates bisecting the wall, combined with thoughtful placement of each word and proper lighting to maximize the shadows left by the negative space, make this work multidimensional. Aballí came to Dallas specifically to oversee its installation, which Amanda W. Dotseth, director ad interim and curator of the Meadows Museum states, “is part of the piece.” To accommodate all 27 plates, a temporary wall has been installed within one of the museum’s contemporary galleries. “The architecture will force a more intimate space,” says Dotseth. Following his opening in Dallas, Aballí was bound for Venice. For the second time, his work will represent Spain at this year’s Venice Biennale. “We selected him for this before the selection for the Biennale was made,” notes Dotseth, with pride. It is an auspicious start to this partnership and a win for contemporary art in Dallas. P

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EMPTY WORDS, FULL OF MEANING

AN ARTFUL CAMARADERIE

JONATHAN SIMKHAI JUXTAPOSED

GUARDIANS OF THE ARTS

FALL OF POWERS, RISE OF MAISON CARTIER

A NEW RECKONING

EVITA TEZENO BREAKS THROUGH

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