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EDITOR’S NOTE
October / November 2024
TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com
Instagram terri_provencal and patronmag
A soft pastel on linen by Swiss-born Nicolas Party reflects the near and distant sentiment of the final year of TWO x TWO for AIDS and Art in a rippling lake. Trees echo the myriad colors of the past twenty-five years of the inspired nonesuch auction and fundraiser—a landscape of time.
Party, this year’s honored artist, will receive TWO x TWO’s amfAR Award of Excellence for Artistic Contributions to the Fight against AIDS. Past honorees include María Berrío, Rashid Johnson, Yoshitomo Nara, Alex Katz, Dana Schutz, Jonas Wood, Laura Owens, Ellsworth Kelly, Wade Guyton, Luc Tuymans, Richard Phillips, Mark Grotjahn, Christopher Wool, Peter Doig, Jim Hodges, Elizabeth Peyton, Tom Friedman, Cecily Brown, Julian Schnabel, April Gornik, Ed Ruscha, Joel Shapiro, and Robert Rauschenberg.
Dallas Museum of Art’s Anna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary Art, interviewed the artist in Nicolas Party’s Emotive Landscapes. On the cover, his Landscape, 2024, will be a featured live auction lot at the closing gala.
Parallel to this story, the Dallas Museum of Art, the event co-beneficiary with amfAR, shows off its art riches in A Product of Time: 25 Years of TWO x TWO for AIDS and Art, on view at The Warehouse. A mere sampling is represented, culled from 350 artworks in the DMA’s holdings acquired through TWO x TWO funds. Brodbeck joined Vivian Li, the Lupe Murchison Curator of Contemporary Art, and the museum’s newest team member, Ade Omotosho, the Nancy and Tim Hanley Assistant Curator of Contemporary Art, to curate the show, a part of which we bring you in A Silver Sun Sets. The exhibition defines voids filled in the museum’s holdings through such acquisitions. TWO x TWO executive director Melissa Ireland tells writer Danielle Avram it is “a wonderfully tangible reminder that through philanthropy and goodwill we have the opportunity for real agency.” Danielle also interviewed event cofounder Howard Rachofsky, who speaks to the bittersweet moment.
In the waning days leading up to the auction, Charlie Adamski Caulkins, Sotheby’s VP and Head of Office, draws readers’ attention to distinguished work she finds compelling in this year’s auction. The Last Dance propels the hum of curiosity and cuts a swath through artworks at every price point eager to find new homes. Online, at twoxtwo.org, find every auction lot and the OWNitNOW works selected by Howard, John Runyon, Anna Katherine Brodbeck, and art advisors Adam Green and Benjamin Godsill. These are up for grabs on Friday, October 11, when bidding begins.
In 1999, when collecting contemporary art was anything but the norm in Dallas, the unprecedented auction and fundraiser took the art community by storm. We admire the beauty, grace, and largesse of torchbearers Cindy and Howard Rachofsky, who not only founded and fostered the event but also opened their home to thousands who came to marvel at the contemporary art of the day. But the couple is ready to pass the torch to the next generation. We will miss greeting the Rachofskys at the doorstep of their Richard Meier-designed home as they welcome guests, in this context, for the final time. As they look to the next generation to create something new, we applaud those who’ve worked so determinedly through the years: Melissa Ireland, Megan Gratch, and Lisa and John Runyon. As Cindy always says: “It takes a village.”
As the proud media sponsor of the event since 2016, may this magazine become an historical issue representing the past quarter-century of the thriving contemporary art world.
–Terri Provencal
FEATURES
74 NICOLAS PARTY’S EMOTIVE LANDSCAPES
The TWO x TWO Honored Artist invokes Rosa Bonheur’s Ewe in the Field in a self-curated solo exhibition at The Warehouse.
Interview by Anna Katherine Brodbeck
80 A SILVER SUN SETS
A Product of Time: 25 Years of TWO x TWO for AIDS and Art culminates the Dallas Museum of Art’s quarter-century acquisition journey through the exalted fundraiser.
By Danielle Avram
88 NORTHERN EXPOSURE
Crow Museum opens within the UT Dallas Athenaeum.
By Nancy Cohen Israel
96 COMPACT SUPERPOWER
Economic might of the Dutch 17th century on view at the Kimbell Art Museum.
By Nancy Cohen Israel
102 A LIVING SCULPTURE
A home designed by architectural legends, with interiors by Emily Summers, brims with a thought-provoking art collection.
By Rob Brinkley
110 AN ARTFUL LIFE
A new mother, a new home, a gallery refresh; Hannah Fagadau is an inspiration to the contemporary-minded.
By Lee Cullum
118 MIAMI ADVICE
Art advisor Adam Green shares insights on the best way to experience Art Basel Miami Beach and the vigorous programming surrounding it.
Interview by Terri Provencal
122 HEADS OF STATE
Distinguished jewelry and antiques add brio to the season. Photographs by John Smith; Creative Direction and Styling by Jacklyn Caveny
On the cover: Nicolas Party, (Swiss, born 1980), Landscape, 2024, soft pastel on linen, 41.31 x 45.31 in. Courtesy of the artist, Hauser & Wirth, and Karma for TWO x TWO for AIDS and Art.
Houston Galleria
Dallas NorthPark
DEPARTMENTS
10 Editor’s Note
18 Contributors
40 Noted
Openings
56 ACTION-ORIENTED
In Is It Real, artists and advocates tackle issues of women’s reproductive health.
By Eve Hill-Agnus
Fair Trade
58 PAINTERLY PASSAGES
Tops and Ulterior galleries will offer a collaborative presentation of Mamie Tinkler’s paintings in their joint booth at Dallas Art Fair’s 2025 edition.
Interview by Takako Tanabe and Matt Ducklo
Auction
60 THE LAST DANCE
TWO x TWO for AIDS and Art takes a bow with a stunning contemporary art auction for the 25th and final year.
By Charlie Adamski Caulkins
Contemporaries
66 A JOURNEY THROUGH TIME, TECHNOLOGY, AND PLACE
The AURORA Biennial returns with a multisensory experience. By Darryl Ratcliff
68 PRIZED ALLIANCE
BCA’s Obelisk Awards champion partnerships between businesses, arts organizations, and individuals.
Volumes
70 DOOMSDAY ON THE PRAIRIE
We Burn Daylight is Bret Anthony Johnston’s richly imagined telling of the Branch Davidians in Waco.
Interview by Chris Byrne
NEXT DOOR
NorthPark Center welcomes Givenchy.
By Terri Provencal
WISE BEYOND THE YEARS
From a 70th to a 10th anniversary, four prescient galleries advanced the exposure of contemporary art in North Texas.
By Anthony Falcon
CONTRIBUTORS
DANIELLE AVRAM
is assistant professor of contemporary galleries and exhibitions at UT Dallas and the director of SP/N Gallery. She is also a writer, curator, and project manager who has held positions at Texas Woman’s University; Southern Methodist University; The Power Station; and The Pinnell Collection.
In A Silver Sun Sets, Danielle covered the celebratory exhibition
A Product of Time: 25 Years of TWO x TWO for AIDS and Art
ROB BRINKLEY
is a writer, editor, and creative director in the worlds of magazines, social media, short films, and books. He co-authored the Assouline book Domestic Art: Curated Interiors. Rob is the director of communications for Briggs Freeman Sotheby’s. In the current issue, he trained his keen eye for design on a home featuring interiors by Emily Summers and associate Chris Angelle, and an impressive art collection.
ANNA KATHERINE BRODBECK
is the Dallas Museum of Art’s Hoffman Family Senior Curator of Contemporary Art. At the DMA she curated For a Dreamer of Houses, Jonas Wood, America Will Be!: Surveying the Contemporary Landscape, Cecily Brown: Themes and Variations, and co-curated When You See Me: Visibility in Contemporary Art/ History. In Nicolas Party’s Emotive Landscapes, she caught up with TWO x TWO’s final artist honoree, Nicolas Party.
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
NANCY COHEN ISRAEL
is a Dallas-based writer, art historian, and educator at the Meadows Museum. As a student of Dutch 17th-century painting, she relished writing about Dutch Art in a Global Age, opening at the Kimbell Art Museum. She was equally excited to preview the Crow Museum of Asian Art’s expansion as part of the opening of the Edith and Peter O’Donnell Jr. Athenaeum at UT Dallas.
LEE CULLUM is a journalist covering economics, politics, and public policy; art writing, however, gives her the greatest pleasure. Lee is a senior fellow at the John Tower Center for Public Policy and International Affairs at SMU. She has been a commentator on what is now the PBS NewsHour. An Artful Life sees Lee meet with Hannah Fagadau in her home to discuss her personal collection and helming 12.26.
CHARLIE ADAMSKI CAULKINS
is Sotheby’s Vice President, Head of Office, Dallas who brings specialist acumen and over a decade of experience in the auction business to her role. She is responsible for developing a strategy and coverage of Texas for Sotheby’s. For Patron, she shares her personal selections and insightful knowledge of the TWO x TWO for AIDS and Art auction highlights in The Last Dance
CHRIS BYRNE
is the founder of the Elaine de Kooning House in East Hampton, NY, host to art exhibitions and residencies. Placed on the National Register of Historic Places by the US Department of the Interior in 2022, the residence is also an affiliate member of Historic Artists’ Homes and Studios, a program of the National Trust for Historic Preservation. In The Living Daylight he interviewed the best-selling author Bret Anthony Johnston.
JACKLYN CAVENY
creates eclectic, highly individual interiors for her clients through her design work. She has extensive experience in floral installation for events and private parties as well as studio photography. She studied studio art in Lugano, Switzerland, and utilizes her extensive travel to inform her work. In Heads of State, Jacklyn combined today’s fine jewelry with beautiful floral and antique finds to create beguiling still lifes.
EVE HILL-AGNUS is a writer, editor, and translator with roots in France and California. She has been a teacher of literature and journalism; a dining critic who also covered art and dance; and a freelance writer/editor of nonfiction, fiction, and poetry. Her recent joy has been translation, whether the translation of one language to another or of art into words.
In Action-Oriented, Eve writes of the challenging exhibition Is it Real?
DARRYL RATCLIFF
is an artist and poet with a writing and curatorial practice whose work engages communities and mobilizes social issues. He builds collaborative cultural projects that help tell community narratives and promote civic engagement. He is a Yerba Buena Center for the Arts 10 Fellow and founder of Gossypion Investments. Find his preview of AURORA Dallas, set to light up the skyline this November.
JOHN SMITH is a Dallas-based photographer who uses his degree in architecture as a tool to photograph distinctive homes and projects. His skills as an interiors, portrait, and jewelry photographer were flexed to capture several stories, including the Business Council for the Arts Obelisk honorees, the home and artful life of Hannah Fagadau, and jewelry blended with objets d’art in Heads of State.
On view through November 17, 2024
Frida: Beyond the Myth features over 60 works across media. This exhibition explores the life of Frida Kahlo, one of the 20th century’s most iconic artists, who continues to elude our understanding of her as an individual. Discover key moments of Kahlo’s life through her self-portraits, still lifes, important biographical drawings, and photographs taken by the friends and fellow artists who knew her best. Get tickets at frida.dma.org.
Frida: Beyond the Myth is organized by the Dallas Museum of Art. This exhibition is presented by Texas Instruments. The Dallas Museum of Art is supported, in part, by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.
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Photography by Love List Digital
This exhibition has been organized by the Meadows Museum, SMU, Dallas, and the Edith O’Donnell Institute of Art History at the University of Texas at Dallas and is funded by a generous gift from The Meadows Foundation, with additional support provided by the Edith O’Donnell Institute of Art History.
Promotional support provided by the Dallas Tourism Public Improvement District and the Consulate General of Italy in Houston.
THANK YOU TO THE ARTISTS AND GALLERIES THAT HAVE CONTRIBUTED TO THIS YEAR’S TWO xTWO.
ARTISTS
Sara Anstis
Hernan Bas
Sholto Blissett
Elana Bowsher
Lewis Brander
Sean Cairns
Anthony Cudahy & Ian Lewandowski
Rob Davis
Gabriel Dawe
Bernadette Despujols
Isabella Ducrot
Melvin Edwards
Bracha Ettinger
Rodrigo Facundo
Tommy Fitzpatrick
Jonah Freeman & Justin Lowe
Jeremy Frey
Tom Friedman
Georgia Gardner Gray
Elizabeth Glaessner
Wade Guyton
The Haas Brothers
Jessie Henson
Marguerite Humeau
Kudzanai-Violet Hwami
Tatsuo Ikeda
Samuel Levi Jones
Hayv Kahraman
Claudia Keep
Matt Kleberg
Wanda Koop
Vojtěch Kovařík
Florian Krewer
Siji Krishnan
Anna Kunz
Sean Landers
Annette Lawrence
Mark Leonard
Jill Magid
Kylie Manning
Robert Mapplethorpe
Leslie Martinez
Simphiwe Mbunyuza
Anna Membrino
Masako Miki
Ana Montiel
Katy Moran
Francisco Moreno
Hannah Murray
Katsumi Nakai
Natsuyuki Nakanishi
Shahryar Nashat
Doug Ohlson
Nathaniel Oliver
Maia Cruz Palileo
Nicolas Party
Kris Pierce
Howardena Pindell
Rob Pruitt
Lauren Quin
Celeste Rapone
Gabriel Rico
Mariah Robertson
Ed Ruscha
Kikuo Saito
Adam Saks
Alan Saret
Margo Sawyer
Dana Schutz
Ding Shilun
Jay Shinn
Sebastián Silva
Raychael Stine
Julianne Swartz
Jane Swavely
Joey Terrill
Cheyney Thompson
Caroline Walker
WangShui
Summer Wheat
Pae White
Emmi Whitehorse
Shaqúelle Whyte
Lucy Williams
Jonas Wood
Clare Woods
Yoo Geun-Taek
Robert Zehnder
GALA AND AUCTION
SATURDAY, OCTOBER 19, 2024
GALLERIES
12.26
303 Gallery
Alexander Berggruen
Alexander Gray Associates AND NOW
Andrew Kreps Gallery
Anthony Meier
Barry Whistler Gallery
Berggruen Gallery
Bernheim Gallery
Bienvenu Steinberg & C BLUM
Broadway
C L E A R I N G
Conduit Gallery
Corbett vs Dempsey
Cris Worley Fine Art
David Kordansky Gallery
David Zwirner
Erin Cluley Gallery
Fergus McCaffrey
Gagosian
Galeria OMR
Galerie Derouillon
Galerie Gisela Capitain
Galerie Lelong & Co.
Galleri Urbane
Gallery Hyundai
Garth Greenan Gallery
Gladstone Gallery
GRIMM
Hales
Hannah Barry Gallery
Hannah Hoffman
Hauser & Wirth
Holly Johnson Gallery
Inman Gallery
James Cohan
James Fuentes Gallery
Jessica Silverman
Josh Lilley
Karma
Kasmin
Keijsers Koning kurimanzutto
LABOR
Lehmann Maupin
Lisson Gallery
Louis Stern Fine Arts
Magenta Plains
Marc Selwyn Fine Art
MARCH
Marianne Boesky Gallery
Marinaro
Matthew Marks Gallery
Meliksetian | Briggs
Michael Kohn Gallery
Michael Werner Gallery
Micki Meng
Mrs. Gallery
Night Gallery
Ortuzar Projects
Pace Gallery
Perrotin
Petzel
Pilar Corrias
Pippy Houldsworth Gallery
PPOW
Rachel Uffner Gallery
Ronchini
Sadie Coles HQ
Semiose
Sicardi | Ayers | Bacino
Soco Gallery
Sperone Westwater
Stephen Friedman Gallery
Talley Dunn Gallery
Van Doren Waxter
Vardaxoglou Gallery
Victoria Miro
White Cube
CORPORATE PARTNERS
Saks GALA PRESENTING SPONSOR
Capital One AFTER PARTY SPONSOR
Nancy C. and Richard R. Rogers ENTERTAINMENT SPONSOR
Cadillac Moody Foundation PLATINUM SPONSORS
Sotheby’s LIVE AUCTION SPONSOR
Todd Events EVENT DESIGN & DÉCOR
Headington Companies
CELEBRITY TRAVEL SPONSOR
Chanel
EXHIBITION SPONSOR
Gucci
ARTIST AMBASSADOR SPONSOR
Balmain Reza
LAST LOOK SPONSORS
The Georges™ GRAPHIC DESIGN
Chubb Personal Insurance IMA Select ART SPONSORS
Unified Fine Arts UOVO SILVER SPONSORS
Baker Tilly
WAREHOUSE RECEPTION SPONSOR
Patron Magazine
LOCAL MEDIA SPONSOR
LUXURY SIPS & CHAMPAGNE BY Belvedere • La Grande Dame • Moët Hennessy
Tequila Casa Dragones • The Macklowe • The Mascot LUXURY AUCTION DONORS Balmain
Bottega Veneta • Ceron and Todd Fiscus for HSA San Miguel • Chef Adam Ross
Keith Fox and Tom Keyes • Frieze • Grange Hall • Gucci • Headington Companies Loewe • One&Only • Paul Renwick • Phaidon • Pizzana • Ride & Ridden Wine Co. Saks • Steve Wrubel • Tequila Casa Dragones • The Tynan Travel Company
IN-KIND SPONSORS Acqua Panna • ART2Catering • Artspace • DJ RomiQ
DJ Lucy Wrubel • Droese PR • Empire Baking Company • Gelato La Boca • Gold Crown Valet Hilton Park Cities • Jim Hodges • Marguerite Steed Hoffman • Hôtel Swexan Jeff Leatham • Leatherology • Masterpiece International • Phaidon • Pogo’s • Regiis Ova
Rosewood Mansion on Turtle Creek • The Conservatory • The Cultured Cup • The Joule Hotel Travis Street Hospitality • Whitewall Magazine
For more information, visit twoxtwo.org/sponsors or email Melissa@RachofskyHouse.org
THURSDAY, OCTOBER 10 7-10 PM
THE RACHOFSKY HOUSE 8605 PRESTON ROAD
DRESS: UP, BIEN SÛR!
PROCEEDS BENEFIT amfAR & THE DALLAS MUSEUM OF ART GET YOUR TICKETS AT TWOXTWO.ORG – $500
With thanksgrateful
to Cindy and Howard Rachofsky and all of the artists, galleries, sponsors, collectors, and supporters who have contributed so generously to TWO x TWO for AIDS and Art over the past 25 years.
With the help of outstanding events such as TWO x TWO, amfAR has raised more than $900 million in support of its programs since its founding in 1985, making lifesaving research breakthroughs and charting a path to a cure for AIDS.
“TWO x TWO has had an enormous impact on our work. On the research front, for example, it helped us launch our $50 million Countdown to a Cure initiative that established the amfAR Institute for HIV Cure Research.”
— Kevin Robert Frost, Chief Executive Officer, amfAR
Photo credits (clockwise from top): Michelle C. Rose; Peggy Peterson/Penn Medicine; Mayo Clinic; amfAR Institute for HIV Cure Research; The Doherty Institute; The Westmead Institute for Medical Research; Colby Tallia
TWO x TWO FOR AIDS AND ART CELEBRATES 25 YEARS
On behalf of amfAR and the Dallas Musuem of Art, all of us at TWO xTWO thank the artists, galleries, sponsors, patrons, and friends for your unwavering support these past 25 years. We will be forever grateful to each of you – your extraordinary contributions and unparalled commitment have made TWO xTWO the remarkable success that it is.
Thank you from the bottom of our hearts, HOWARD, CINDY, MELISSA, MEG, LISA, AND JOHN TWO xTWO.org
SAKS IS PROUD TO BE THE PRESENTING SPONSOR OF TWO X TWO FOR AIDS AND
GRAND OPENING
The University of Texas at Dallas and UT Dallas Art Museums proudly announce the opening of Phase I of the Edith and Peter O’Donnell Jr. Athenaeum
Located on 12 acres at the southeastern edge of campus, the Edith and Peter O’Donnell Jr. Athenaeum is a new cultural district serving as a gateway to the University and a destination for the Dallas community to engage in arts and learning. This multi-phase project will include a second location for the Crow Museum of Asian Art, a performance hall and music building, an outdoor plaza and parking garage, and a future museum.
THE LATEST CULTURAL NEWS COVERING ALL ASPECTS OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW PERFORMANCES, GALLERY OPENINGS, AND MORE.
01 AFRICAN AMERICAN MUSEUM
Facing the Rising Sun contains photographs, found objects, and historical documents that provide insight into a community called Freedman’s Town, now known as Uptown. Reintroducing the Sam & Ruth Bussey Art Gallery | Imagination and Materiality: The Power of Memory and Storytelling in Black Art showcases more than 500 objects in the museum’s main gallery. Both exhibitions are ongoing through November. aamdallas.org
Through Apr. 14, 2025, the Crow Museum of Asian Art hosts Japan, Form & Function: The Montgomery Collection. Most works from the Montgomery Collection can be identified as Japanese folk art
comprising a wide range of media, formats, and patterns, which typically differ from region to region. The museum’s second location just opened on the campus of UTD as part of the Edith and Peter O’Donnell Jr. Athenaeum. crowmuseum.org
04 DALLAS CONTEMPORARY
Through Jan. 5, Patrick Martinez: Histories draws attention to often overlooked and ephemeral city scenes embedded with elements reflective of intergenerational cultural exchange. Featuring sculpture, dynamic installations, large-scale multimedia paintings, and the artist’s iconic neon works, the exhibition transports the collective artifacts, sentiments, memories, and energies of Los Angeles and comparable Latinx, Filipinx, and BIPOC communities into the Dallas Contemporary space. Chivas Clem: Shirttail Kin sees Clem turn his attention to his native landscape and the mythos of the American Southwest; Oct. 17–Jan. 12, 2025. Image: Chivas Clem, A Drifter on My Bed, 2018, photograph. Courtesy of Chivas Clem. dallascontemporary.org
05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM
Hidden History explores this multifaceted history of desperation, loss, and asylum through artifacts, survivor stories, and the photographic lens of prominent American photojournalist Arthur Rothstein, who documented the Shanghai Jewish community in 1946 for the United Nations; through Feb. 16. dhhrm.org
06 DALLAS MUSEUM OF ART
Frida: Beyond Myth sees over 60 works across media—paintings, drawings, prints, and photographs—exploring the life of one of the 20th century’s most well-documented artists, who continues to elude our understanding of her as an individual. On view through Nov. 17. Cecily Brown: Themes and Variations is the first exhibition to fully explore the pioneering British American artist’s work through the lens of its groundbreaking reconfiguration of cultural politics; through Feb. 9. Celebrating 150 years since the first Impressionist exhibition in 1874, The Impressionist Revolution from Monet to Matisse showcases the story of Impressionism and its influence on modern European art; through Nov. 3. From Munch to Kirchner: The Heins Collection of Modern and Expressionist Art celebrates the legacy of Marie “Elinor” Heins through Jan. 5, 2025. When You See Me: Visibility in Contemporary Art/History aims to broaden and complicate official histories and their corresponding visual strategies to allow for richer representations of those who have been traditionally excluded or erased; through Apr. 15, 2025. Looking Forward: A
Freedom Matters uses rare artifacts and historical documents, interactive activities, and personal perspectives to examine the concept of freedom: where it comes from, what it means, what free societies look like, and the role of the individual in protecting and spreading freedom around the world; through Dec. 31. Meet at the front entrance of the Bush Center to take part in guided tours of the 15-acre Laura W. Bush Native Texas Park led by master naturalists on Saturdays, Oct. 5 through Nov. 16. bushcenter.org
08
KIMBELL ART MUSEUM
Dutch Art in a Global Age explores the artistic flourishing in the Netherlands during the 17th century, a period marked by extensive international commerce and cultural exchange. As Dutch merchants established expansive trade networks spanning Asia, the Americas, and Africa, they ushered in an era often regarded as the first age of globalization; Nov. 10–Feb. 9. Image: Artemisia Gentileschi, Penitent Mary Magdalene, 1625–26, oil on canvas, 42,75 x 36.75 in.Kimbell Art Museum. kimbellart.org
09 LATINO
CULTURAL CENTER
Through Oct. 11, Antonio Lechuga’s Flowers for the Living is an exhibition in which healing is the focus. Antonio takes cobijas (fleece blankets) found in most Mexican American and Latinx households and uses them to offer a space for comfort, grief, and care. On Oct. 16, see Blue Beetle as part of the Cine e Oro series, and on Nov. 2, Cine de Oro presents También la Lluvia. lcc.dallasculture.org
10 MEADOWS MUSEUM
The Legacy of Vesuvius: Bourbon Discoveries on the Bay of Naples reveals the slippage between the ancient and modern during the reigns of royal tastemakers. Through an 18th-century lens, Vesuvius’ volatility read as romantic; in its shadows the Bourbons financed excavations at the Roman sites of Pompeii and Herculaneum, the fruits of which both fueled and supplied demand for all things antique. Additionally, Unearthing the Legacy of Islamic Spain illuminates a moment of intense social and cultural change in Spain, when debates raged about national identity and modernization, which in turn yielded a cultural resurgence and renewed interest in Spain’s
past, including its Islamic heritage. Both exhibitions remain on view through Jan. 5. Image: Joaquín Domínguez Bécquer (1817–1879), Ladies and Gentlemen Visiting a Patio of the Alcázar of Seville, 1857, oil on canvas, 20.12 x 24 in. Meadows Museum, SMU, Dallas. Algur H. Meadows Collection. Photograph by Michael Bodycomb. meadowsmuseumdallas.org
Their Portraits is an exhibition recognizing the hostages abducted from Israel on October 7, 2023, through the art of portraiture. Led by artists Nancy Gordon, a former Dallas resident, and Sivia Braunstein, who was in Israel during the attack, the exhibition features over 200 portraits created by eight artists. These portraits depict individuals who were tragically taken hostage, including those who have been released, those who were murdered, and those whose status remains unknown. Their Portraits opens Oct. 7 and will remain on view through the fall. biblicalarts.org
13 NASHER SCULPTURE CENTER
Hugh Hayden: Homecoming runs through Jan. 5, 2025. New York–based artist Hugh Hayden utilizes wood carving and carpentry to construct sculptures and installations that critique the American dream, transforming familiar items like church pews, dinner tables, and football helmets into surreal expressions of potential
harm and discomfort. Samara Golden’s exhibition, which continues through Jan. 12, 2025, features installations that use architecture and mirrors to create disorienting spaces reflecting themes of violence, class disparity, and recovery. She combines chaotic and serene elements in her work, using materials like plastics and epoxy to craft unsettling yet familiar domestic environments. Image: Hugh Hayden, Oct 2020. Photograph by Michael Avedon for 65CPW. nashersculpturecenter.org
14 PEROT MUSEUM
Through the fall, explore a variety of fascinating exhibits: the Rose Hall Of Birds showcases the evolution from dinosaurs to modern birds; the T. Boone Pickens Life Then and Now Hall dives into ancient and contemporary fauna; the Expanding Universe Hall offers a stargazing adventure; the Tom Hunt Energy Hall explores different energy forms; the Lyda Hill Gems and Minerals Hall displays dazzling geological treasures; the Rees-Jones Foundation Dynamic Earth Hall features natural phenomena; the Being Human Hall examines human anatomy and cognition; the Texas Instruments Engineering and Innovation Hall encourages hands-on innovation challenges; the Discovering Life Hall provides an indoor nature walk experience; the Lamar Hunt Family Sports Hall tests athletic skills; and the Moody Family Children’s Museum invites interactive exploration for young minds. perotmuseum.org
15 SIXTH FLOOR MUSEUM
Two Days in Texas revisits President Kennedy’s 1963 trip to Texas through eyewitness accounts and his own words. This exhibition takes a new approach to telling the story of the assassination by tracing the president’s footsteps through each of the cities on his last presidential tour. Additionally, on Nov. 22 (the 61st anniversary of the assassination of President Kennedy), join the museum for an exclusive lunch-and-learn experience with presidential historian Marc Selverstone in conversation with fellow presidential scholar Jeffrey Engel as they discuss Selverstone’s book The Kennedy Withdrawal: Camelot and the American Commitment to Vietnam. jfk.org
16 TYLER MUSEUM OF ART
Four Texas-based artists—Raul Rene Gonzalez, Guadalupe Hernandez, Delita Martin, and Yasuyo Maruyama— offer their own fresh perspectives on the ancient genre of portraits in Forward Facing , through Dec. 1. tylermuseum.org
01 AMPHIBIAN
Juan Garcia returns to his hometown of Oaxaca with grandiose tales and ambitions of stardom only to find himself in a whirlwind of fabrications and comedic misunderstandings. See The Amazing, Fabulous, and Spectacular Untruths of Juan Garcia from Oct. 11–Nov. 3. amphibianstage.com
02 AT&T PERFORMING ARTS CENTER
See The Life and Music of George Michael on Oct. 2. CMT on Tour Presents Mickey Guyton on Oct. 4. The Latinidad Festival 2024 takes place Oct. 5. PNC Patio Sessions presents Corina Grove on Oct. 10. Artists Sans Frontières Presents HAZARDS Oct. 11–13, in honor of all those displaced or forced to flee. Jesus “Aguaje” Ramos and his Buena Vista Orchestra will be onstage Oct 17. On Oct. 18 discover the Coco Live-To-Film Concert Tour or enjoy the fiddle with Gangstagrass. Turn Up the Lights, Oct 19, benefits AT&T PAC. Join the Reunion ’85 on Oct 23–27 Color Book on Oct 24 presents the 2023 winner of AT&T Untold Stories. PNC Patio Sessions sees The Special Edition Band on Oct 24. Flies, Oct 25–26, is an all-female adaptation of Lord of the Flies. Halloween Family Weekend in Sammons Park on Oct . 26 presents a free faBOO-lous. Windy City & Endless Summer comes to town on Oct 26 . Open Mic Night Halloween Open Fright Night calls performers to the stage, Oct. 31. Menopause The Musical is back Nov. 1–3. SpiderMan: Across the Spider-Verse In Concert on Nov 2 screens the sequel as the score and soundtrack are performed live. See Andy Summers of the Police’s The Cracked Lens + A Missing String tour on Nov 5. Enjoy Brass and Jazz in the Park on Nov 9 Vitamin String Quartet follows on Nov 10. Bruce Wood Dance Dallas presents Touch Nov. 15–17. The Bravo! Gala on Nov 21 celebrates AT&T PAC’s 15th anniversary and honors Matrice Ellis-Kirk, followed by a Movie Night at the Symphony on Nov. 23. Image: Coco Live in Concert. Courtesy of AT&T Performing Arts Center. attpac.org
03 BASS PERFORMANCE HALL
Company, Oct. 1–Oct. 6, sees 35-year-old Bobbie as she searches for answers, discovering why being single, being married, and being alive in the 21st-century could drive a person crazy. Get spooky with Beetlejuice from Oct. 29–Nov. 3. Mariachi Herencia de México pushes boundaries on Oct. 8. Monte Montgomery stops in town on Oct. 12. Mrs. Doubtfire will charm audiences from Nov. 5–10. Dr. Seuss’ How The Grinch Stole Christmas! The Musical returns Nov. 19–Nov. 24. Image: Justin Collette (Beetlejuice). Photograph by Matthew Murphy, 2022. basshall.com
04 BROADWAY DALLAS
Cirque du Soleil brings Songblazers to the stage through Oct. 20. KXT 91.7 presents Air Play Moon Safari on Oct. 29. Morrissey will bring his iconic voice and presence on Nov. 2. Chelsea Handler’s Big Little Bitch comedy tour on Nov. 16 promises an
evening of sharp wit. A Magical Cirque Christmas on Nov. 21 and NUTCRACKER! Magical Christmas Ballet on Nov. 23 ring in the holidays Image: Cirque du Soleil: Songblazers. Courtesy of Broadway Dallas. broadwaydallas.org
05 CASA MAÑANA
Through Oct. 5, Live at the Apollo features performances of songs by artists who launched their careers at Harlem’s Apollo Theater, hosted in The Reid Cabaret Theatre. Find your prince charming in Cinderella from Oct. 11–27. See A Tuna Christmas from Nov. 9–17. casamanana.org
06 DALLAS CHILDREN’S THEATER
Grace for President, through Oct. 20, sees Grace and her classmates discover the world of third-grade politics. A Charlie Brown Christmas brings back holiday nostalgia from Nov. 23–Dec. 22. dct.org
07
THE DALLAS OPERA
La traviata sees Louisa Muller in her Dallas Opera debut on Oct. 18–27 The Three Little Pigs, a delightful adaptation of the classic fairy tale set to Mozart’s music, performs on Oct. 26. Pelléas and Mélisande tells a story of forbidden love and familial strife from Nov. 8–16, with Debussy’s score enhancing the dramatic narrative. Lastly, Pépito, a one-act opera about love and loyalty in a small town, is set for Nov. 16. dallasopera.org
08
DALLAS SYMPHONY ORCHESTRA
Wagner’s Ring Cycle: Siegfried on Oct. 5, followed by Götterdämmerung on Oct. 8 and 20, brings Wagner’s dramatic saga to a close. Das Rheingold sets the stage on Oct. 13 and Die Walküre follows on Oct. 15. The cycle wraps up with another performance of Siegfried on Oct. 17. Enjoy the iconic film scores by John Williams on Oct. 22, and relive the sounds of the Moody Blues from Oct. 25–27. A vibrant celebration of Dia de Los Muertos takes place on Oct. 29. November brings Elgar’s Enigma Variations from Nov. 1–3; a harmonious mix of Beethoven and Mozart from Nov. 22–24; and Dvořák’s New World Symphony on Nov. 29–30. mydso.com
09 DALLAS THEATER CENTER
Dracula: A Comedy of Terrors launches the 24/25 season with haunted humor from Oct. 11–Nov. 3. A Christmas Carol will ring in the holiday Nov. 29–Dec. 28. Image: A Christmas Carol. Photograph courtesy of Dallas Theater Center. dallastheatercenter.org
10 DALLAS WIND SYMPHONY
Dallas Winds presents the Music of John Williams on Oct. 22. Grainger Things–The Power of Percy will take the stage Nov. 12. Then Christmas at the Meyerson rings in the holiday on Dec. 17. dallaswinds.org
NOVEMBER 14, 2024 11:00 AM - 1:30 PM J.W.
AWARD HONOREES
Purvi Patel Albers
Outstanding Leadership Arts Alumnus
Nominated by Randy Coleson
Kim Campbell
Lifetime Achievement
Nominated by Carrie Hu
Daisha Board Gallery
Arts Partnership – Small
Nominated by Litehouse Wellness
Dallas Symphony Orchestra
Distinguished Cultural Institution
Nominated by Roger Gault
Samuel S. Holland, PhD.
Visionary Nonpro t Arts Leader
Nominated by Caren Prothro
Meow Wolf Grapevine
New Arts Initiative
Nominated by SPARK! Dallas
The Dallas Mavericks
Arts Education
Nominated by Dallas ISD
Daniel Tobey, Partner
Business Champion for the Arts
Nominated by AT&T Performing Arts Center
Vari
Arts Partnership - Large
Nominated by City of Coppell
OBELISK AWARDS CHAIR
Courtney Johnson
OBELISK AWARDS HONORARY CHAIRS
Mohua & Sanjiv Yajnik
CONNOISSEUR SPONSORS
COLLECTOR SPONSORS
PATRON PARTY SPONSOR
AFICIONADO SPONSORS
Dallas Winds
Frost Bank
Hall Group
Haynes Boone LLP
University of Texas at Dallas
Harry W. Bass School of the Arts
For more information, visit: ntbca.org/obelisk-awards2024
11 EISEMANN CENTER
OutLoud Dallas presents art exhibits and events from Oct. 3–5. The RSO’s Opening Night is set for Oct. 5. Gurdas Maan lights up the stage on Oct. 6. Keyboard Conversations takes place on Oct. 7, with Aida Cuevas performing on Oct. 10. Art of VIII School of Dance and Chamberlain/Plano Civic Chorus present their talents on Oct. 12. Terri Clark performs on Oct. 17, followed by Mandy Patinkin and Kathryn Grody on Oct. 19. Sugar Skull! A Dia de Muertos Musical Adventure brings cultural flair on Oct. 20. Ina Garten appears on Oct. 22, and Alireza Talischi on Oct. 25. The RSO presents Copland, Kodály, and Brahms on Nov. 2. Join Encanto Sing-Alongs Nov. 8 and 9. Jazzmeia Horn performs with Texins Jazz Band on Nov. 10, Fran Lebowitz shares her wit on Nov. 14, and Anubhav Singh Bassi entertains Nov. 15. Matthew Whitaker takes the stage on Nov. 16. Chamberlain Ballet will perform on Nov. 29–30 eisemanncenter.com
12 FORT WORTH SYMPHONY ORCHESTRA
On Oct. 11–13, the Allan Steele: Schumann Cello Concerto and Berlioz Symphonie fantastique will feature Debussy’s Prélude à l’Après-midi d’un faune and Schumann’s Cello Concerto in A minor. Enjoy The Kings of Soul , on Oct. 18 and 19. FLY Dance Company presents Breakin’ Classical on Oct. 19, blending hip-hop with classical music. Jane Glover conducts Mozart on Oct. 25–27. The Nightmare Before Christmas in Concert will enchant audiences on Nov. 2 at Will Rogers Auditorium. Mozart, Schulhoff, and Korngold will be showcased on Nov. 24 at the Kimbell, and Home for the Holidays on Nov. 29–30 at Bass Performance Hall rounds out the month. fwsymphony.org
13
LYRIC STAGE
Lyric Stage returns with Forever Plaid–Plaid Tidings on Nov. 29 to open their 31st Season. Holiday Classics will fill the air through Dec. 22. lyricstage.org
14
MAJESTIC THEATRE
René Vaca on Oct. 4 opens the Majestic’s fall season, followed by Ali Siddiq’s live taping on Oct. 5 and 6, Kany García on Oct. 9, and Felipe Esparza on Oct. 11. The Longest Johns perform on Oct. 12; Jeff Arcuri on Oct. 13; Lyle Lovett and his Large Band Oct. 15 and 16; Peter Sagal on Oct. 19; and Jim Henson’s Labyrinth on Oct. 21. Leonid & Friends performs on Oct. 22, followed by Opeth with Tribulation on Oct. 25. Celebrate Phantom of the Paradise 50th Anniversary with Paul Williams on Oct. 26 Dane Cook appears on Nov. 1, followed by Bob the Drag Queen on Nov. 7, Mat Kearney on Nov. 8, The Fab Four on Nov. 9, and the Vitamin String Quartet on Nov. 10. Matteo Lane brings the laughs Nov. 16, while The Jinkx & DeLa Holiday Show celebrates the season on Nov. 20. Charlie Berens’ Good Old Fashioned Tour follows, Nov. 22. Lewis Black’s final tour, Goodbye Yeller Brick Road, stops in Nov. 24. Laugh with Nick
Swardson’s Toilet Head on Nov. 27. majestic.dallasculture.org
15 TACA
TACA’s Fall Arts Crawl lineup begins with Raven’s Night, immersive dinner theater based on Edgar Allan Poe’s works at Arts Mission Oak Cliff on Oct. 9. The Autumn Fair at Fond offers an art salon evening with local Dallas artists complemented by French cuisine on Oct. 28. On Nov. 15, a celebration of ancient Mexican Flor y Canto poetry at Cara Mia Theatre features traditional poetry, dance, visual art, and Latin music. taca–arts.org
16 TEXAS BALLET THEATER
The Nutcracker will delight audiences Nov 29–Dec 8 and Dec 13–29. texasballettheater.org
17 THEATRE THREE
Carrie: The Musical, Oct. 3–Nov. 3, is directed by Christie Vela with music by Michael Gore and lyrics by Dean Pitchford. Natasha, Pierre & the Great Comet of 1812, from Nov. 29–Dec. 29, presents a musical set in 19th-century Russia based on Leo Tolstoy’s War and Peace and offering a mix of electropop and Russian folk music in an immersive theatrical experience. theatre3dallas.com
18 TITAS/DANCE UNBOUND
Noche Flamenca from Spain presents Searching for Goya on Oct. 4 and 5 at the Moody Performance Hall, fusing Flamenco dance and the art of Francisco de Goya. Õkāreka, hailing from New Zealand, makes its Texas debut on Nov. 1 and 2 at the Moody Performance Hall with Mana Wahine, inspired by Maori culture and the power of women. Mark Morris Dance Group performs on Nov. 23 at the Winspear with a new work set to the music of Burt Bacharach. Image: Noche Flamenca. Courtesy of Jesse Rodkin. titas.org
19 TURTLE CREEK CHORALE
Considering Matthew Shepard on Nov. 2 combines TCC ensembles, the Cathedral of Hope, and The Women’s Chorus of Dallas for an oratorio by Craig Hella Johnson. This profound work reflects on Shepard’s 1998 murder. turtlecreekchorale.com
20 UNDERMAIN THEATRE
Ionesco’s absurdist comedy Exit the King is set in the crumbling throne-room of the palace in an unnamed country where King Berenger the First has only the duration of the play to live; Oct. 31–Nov. 24. undermain.org
21 WATERTOWER THEATR
Jane Wagner’s The Search for Signs of Intelligent Life in the Universe, Nov. 6–17, examines society, art, human connectivity, and the feminist movement. watertowertheatre.org
01 12.26
New paintings by Greg Carideo, Milano Chow, and Will Rogan will be on view through Oct. 19. Georgia McGovern and Judith Dean show next from Oct . 26–Nov. 30. Iranian-born, Fort Worth–based artist Katayoun Hosseinrad will show congruently. gallery1226.com
02 ALAN BARNES FINE ART
Alan Barnes Fine Art specializes in 19th - and 20th - century American and European paintings. John Modesitt: An American Impressionist hangs in the gallery through Nov. 3. An exhibition of American landscapes by Kathleen Frank will follow. alanbarnesfineart.com
03 AND NOW
Leslie Martinez’s solo exhibition continues through Oct. 19. Next, a solo show for Ben Horns will be in the gallery from Oct. 26–Nov. 30. andnow.biz
04 ARTSPACE111
AS111 highlights Dennis Blagg in the Main Gallery and a showcase of 35 artists in their Grella Gallery through Nov. 2 . Sublime Desert Synthesis, featuring paintings by Winter Rusiloski and sculptures by Angel Fernandez, Nov. 7–Jan. 25, 2025. artspace111.com
05 BARRY WHISTLER GALLERY
Otis Jones / New Paintings, on view Oct. 12–Nov. 23, presents newly constructed paintings in the artist’s first solo show in Dallas since 2020. barrywhistlergallery.com
06 BEATRICE M. HAGGERTY GALLERY
Life and Death on the Border 1910-1920 continues through Oct. 15. Arny Nadler: Sculptures + Works on Paper features works from Nadler’s ongoing series titled Firstlings, which seeks to address the predicament of the human form and its endless struggle to adapt to life’s ever-changing circumstances; Oct. 18–Nov. 22. udallas.edu/gallery
07 CADD/CADD SPACE
Contemporary Art Dealers of Dallas includes the city’s foremost gallerists, who are experienced and knowledgeable in their field and represent the highest standards in artist representation. caddallas.org
08 CHRISTOPHER MARTIN GALLERY
The gallery showcases Christopher Martin’s signature reverse
acrylic paintings and the works of more than 25 artists working in painting, photography, mixed media, and sculpture. Among the represented artists are Rodeo photographer Steve Wrubel; abstract painter Jeff Muhs; mixed-media artist Toni Martin; geometric painter Jean-Paul Khabbaz; and marble sculptor Paul Bloch. christophermartingallery.com
09 CONDUIT GALLERY
Works by Annette Lawrence, Margaret Meehan, and Yana Payusova remain on view through Oct. 19. Conduit Gallery will open three exhibitions on Oct 26, continuing through Nov 30. The solo shows include James Sullivan’s bronze sculptures and works on paper in A Jar in Tennessee ; Marcelyn McNeil’s canvases and works on paper; and, in the Project Room, Yana Payusova’s ceramic work inspired by a Rube Goldberg machine. conduitgallery.com
10 CRAIGHEAD GREEN GALLERY
Closing Oct. 5, Danna Ruth Harvey, Kendall Stallings, and Jeff Wenzel fill the gallery walls in their new space on Parkhouse Street. Next, Oct. 12–Nov. 16, Kenda North and RL Savage will showcase new work. craigheadgreen.com
11 CRIS WORLEY FINE ARTS
Dialogue I, a group exhibition , will be on view through Oct. 12. William Cannings’ Fragments remains on view through Oct. 26. Image: William Cannings, Flate Tube Fold-Neon, 2024, inflated steel and auto paint, 19 x 18.5 x 6.5 in.crisworley.com
12 CVAD, UNT COLLEGE OF ART AND DESIGN GALLERIES
Labor of Luxury: The Art of Embroidery from India to the World celebrates the artistry of Indian artisans, showcasing high-fashion garments adorned with intricate surface motifs, continuing through Feb. 1. cvad.unt.edu
13 DAISHA BOARD GALLERY
Ghana-born artist Nii Narku Thompson is featured in Making Love to My Passion from Oct. 5–Nov. 16. Image: Nii Narku Thompson, Faces I See, 2024, acrylic on unstretched canvas, 88 x 60 in. daishaboardgallery.com
14 DAVID DIKE FINE ART
The 28th Annual Texas Art Auction on Oct. 26 will be a live auction and will showcase over 400 lots of Texas art, ranging from early and traditional to contemporary works. Highlights include works by Julian Onderdonk, Everett Spruce, Sedrick Huckaby, David Everett, Coreen Spellman, Seymour Fogel, and Vernon
Fisher. This year, over 35 works will be offered from the Heartland Insurance Collection curated by Jeannie Hibbs. A selection of works is also being sold to benefit CASETA–The Center for the Advancement and Study of Early Texas Art. The auction preview takes place Oct. 7–25 at DDFA, located in Alpha Plaza in Farmers Branch. daviddike.com
15
ERIN CLULEY GALLERY
SOFT Fascination, an exhibition for Catherine MacMahon, will be on view Oct. 5–Nov. 9. Through the same dates, Erin Cluley Projects sees Finds from The Pit, an exhibition of new work by Dallas-based artist Cat Rigdon. The exhibition features paintings, drawings, and ceramics in the style of ancient Cypriot artifacts. Image: Catherine MacMahon, Plaster Digits, 2024, hand-rolled plaster, dimensions variable. erincluley.com
16
FERRARI FINE ART GALLERY
HORIZONS: Photography by Jeff Overlie will have an opening reception on Oct. 24. The Colorado native’s photographs will fill the gallery through Nov. 24. ferrarigallery.net
18 FWADA
Fort Worth Art Dealers stimulate interest in the visual arts through educational programs, art scholarships, and art competitions FWADA also organizes, funds, and hosts exhibitions of noteworthy art. fwada.com
19 GALLERI URBANE
A solo show for Stephen D’Onofrio in Gallery 1 is on view Oct. 5–Nov. 9, followed by Benjamin Terry’s exhibition from Nov. 23–Jan. 4, 2025. Gallery 2 will feature Juan Alberto Negroni’s solo exhibition from Oct. 5–Nov. 9. galleriurbane.com.
20
GREEN FAMILY ART FOUNDATION
Anthony Cudahy: Spinneret draws inspiration from the silkproducing organ that spiders use to weave, or spin, their webs. Cudahy’s figurative paintings piece together enigmatic scenes of specific objects and equivocal environments from interwoven references drawn from Queer archives, art history, film, poetry, friends, and his own autobiography. Ian Lewandowski: Mighty Real spans four years of photographs and a short film about The Saint, an underground, members-only gay discotheque that stood between 1980 and 1988 in New York City’s East Village. Both will be on view Oct. 5–Jan. 26. Image: Anthony Cudahy, SelfPortrait with Ladder (For Joan Brown & Francis Bacon), 2021, oil on linen, 60 x 60 in. greenfamilyartfoundation.org
21 HOLLY JOHNSON GALLERY
David Aylsworth: The Sun is as Big as a Yellow Balloon will remain on view through Nov. 9. Randy Twaddle’s Back to the Garden : Recent Works on Paper will also be on view from Oct. 19–Dec. 21. hollyjohnsongallery.com
22 JAMES HARRIS GALLERY
Through Oct. 19, James Harris will present a solo show with Molly Vaughan. Vaughan is a multidisciplinary artist who works in performance, sculpture, and painting to address the representation of transgender individuals and those who do not fall into the binary gender spectrum. The gallery will present the first solo exhibition with artist Ronald Hall from Nov. 9–Dec. 14. Hall seamlessly blends fiction and nonfiction in his narrative paintings. Image: Ronald Hall, King of the Proletariat, 2021, acrylic on canvas, 30 x 24 in. jamesharrisgallery.com
23 JESSAMINE
Jessamine presents Dallas artist Jason Dann: Dream Diary No.3 through Oct. 19 on Saturdays 1–5 p.m. or by appointment. jessaminejessamine.com
24 KEIJSERS KONING
From Oct. 5–Nov. 9, Koning will mount the group show My Long Shadow and I. keijserskoning.com
25 KIRK HOPPER FINE ART
Gil Rocha’s solo exhibition closes Oct. 19. Next, Oct. 26–Nov. 30, Alejandro Diaz-Ayala will highlight the gallery with a solo exhibition. Diaz is a member of The Sour Grapes, a crew of street artists from Oak Cliff. kirkhopperfineart.com
26 KITTRELL/RIFFKIND ART GLASS
34th Annual Anniversary Gala at the gallery features a unique collection from over 50 artists through Nov. 9. Following this, the Holiday Treasures exhibit will showcase a diverse array of treasures both large and small, beginning on Nov. 16 and continuing through Dec. Image: Jeremy Popelka, Sagredo Bowl. kittrellriffkind.com
27 LAURA RATHE FINE ART
Beyond Reverie features Nina Tichava and Lucrecia Waggoner from Oct. 5–Nov. 9. Image: Stallman, Move with Me II, 2024, sculpted canvas and acrylic, 24 x 60 in. laurarathe.com
28 LILIANA BLOCH GALLERY
Nomin Bold and Baatarzorig Batjargal co-star in Chasing the Wolf ,
in which both artists actively use the Mongolian zurag style as a form of resistance to neoliberalism, through Oct. 26. José Villalobos and Isaac Díaz will open next , on Nov. 2. Image: Nomin Bold, Infinity Lives, 2024, mixed media, 17.7 x 12.2 x 3.1 in. lilianablochgallery.com
29 LONE GALLERY
Lone Gallery presents It’s a Dry Heat, a group exhibition featuring Wesley Anderegg, Bruce Lee Webb, Jess Tedder, and Amy Twomey through the fall. lonegallery.com
30 MELIKSETIAN | BRIGGS
Of Time, an exhibition of works by Los Angeles–based artist Cody Trepte, continues through Oct. 26. Image: Cody Trepte, Again And, 2021, ballpoint pen ink and gesso on panel, 50 x 40 x 2 in. Unique. meliksetianbriggs.com
31 PENCIL ON PAPER
Emmanuel Gillespie’s Love will be on view Oct. 5–Nov.
30. The artist exhibits new work in the continuation of his acclaimed Joy series as he celebrates his 30-year career in the arts. Image: Emmanuel Gillespie, Joy #39, 2024, mixed media on canvas, 40 x 30 in. pencilonpapergallery.com
32 PHOTOGRAPHS DO NOT BEND
Portraits of Frida by Lucienne Bloch and Nickolas Muray features iconic images of Frida Kahlo through Nov. 9 and shows alongside Al Satterwhite: A Retrospective Neal Slavin: When Two or More are Gathered Together celebrates the new publication of Slavin’s 1974 book, from Nov. 16–Feb. 15. pdnbgallery.com
33 THE POWER STATION
On Oct. 19, The Power Station will display work by Olga Balema, John McCracken, and Stella Zhong. The group exhibition will be on view through the fall. Picnic Curatorial Project will open a show for Devin T. Mays in the annex space. powerstationdallas.com
34 SITE131
Reply All, curated by John Pomara, an artist and professor at UT Dallas, presents a solo exhibition
David Patchen
“Flame Parabola”
featuring billboard-sized paintings by Dallas artist SV Randall, through Dec. 14. site131.com
35 RO2 ART
Through Oct. 26, Ro2 will present Lockhart, Texas–based artist Win Wallace: Before the Darkness Settles ; Matthew Wood: Dream A Little Dream, featuring “Biomorphagrams” made with vintage Chroma paper and paint chips; and Ken Craft: A Never Finished Light Craft is known for merging representational art with conceptual themes through which he explores the complexities of evolution, change, and our place within the natural world. ro2art.com
36 SWEET PASS SCULPTURE PARK
Sculpture School: Concrete features new commissions by artists Valentina Jager, Dalila Sanabria, Tatiana Sky, and Ariel Wood. The works exploring the nature of concrete will be on view through Nov. 16. sweetpasssculpturepark.com
37 SAMUEL LYNNE GALLERIES
A show for Tyler Shields continues through Oct. 31. David Yarrow returns to Dallas for an exhibition opening Nov. 15. Yarrow’s 2024 Exhibition will be on view through Dec. 23. samuellynne.com
38 SMINK
A showcase of fine design and furniture, SMINK is a purveyor of quality products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com
39 SOUTHWEST GALLERY
For over 50 years, Southwest Gallery has provided Dallas with the largest collection of fine 19th- through 21st- century paintings and sculptures. Save the date for Clinton Broyles’ solo show on Dec. 14. swgallery.com
40 TALLEY DUNN GALLERY
Through Oct. 26, Sam Reveles’ Beyond the Pale locates the origins of the idiom, which has now come to denote impropriety or a lack of social decorum but once originally referred to the colonial boundary between what was deemed “civilized” and “uncivilized” Ireland
"Panzano Charm" 30x24
"Blissful Farm" 20x16
as established by English rule. A solo show for Jacob Hashimoto opens on Oct. 4. Using sculpture, painting, and installation, Hashimoto creates complex worlds from a range of modular components: bamboo-and-paper kites, model boats, even astroturfcovered blocks.. Image: Jacob Hashimoto in studio, Ossining, New York, 2022. talleydunn.com
41 TUREEN GALLERY
Sky, Blue, a two-person exhibition of works by Kahlil Robert Irving and Beverly Semmes, explores both artists’ interest in memory, absence, and monuments, through Oct. 19. John Garcia: Water & Power opens next, from Oct. 26–Dec. 7. Born in Spain, Garcia is a multidisciplinary artist, writer, curator, and musician currently living and working between Los Angeles and New York City. tureen.info
42 VALLEY HOUSE GALLERY
John Cobb’s The Chapel Installation and Texas Landscapes continues through Nov. 9. valleyhouse.com
43 VARIOUS SMALL FIRES
Diedrick Brackens’ Tenderfeet continues through Oct. 26. Lezley Saar’s Saudade opens Nov. 2 and continues through the month. vsf.la
44 THE WAREHOUSE
The Warehouse presents two exhibitions through Nov. 30. Ewe in the Field features the pastel-on-canvas work of Nicolas Party, showcasing his unique artistic vision. Party titled the exhibition after a 19th-century work from the Dallas Museum of Art’s collection—Rosa Bonheur’s Ewe in the Field— as a historical touchstone and point of inspiration for his work. Curated by the artist, these galleries include pieces from the Dallas Museum of Art’s collection alongside a number of loans, and they are evidence of the formal and emotive depth of Party’s explorations of landscape. Party is this year’s TWO x TWO Honored Artist. Concurrently, Making Our Mark: 25 Years of TWO x TWO for AIDS and Art, curated by Anna Katherine Brodbeck, Vivian Li, and Ade Omotosho, celebrates the significant impact of the TWO x TWO for AIDS and Art benefit auction. thewarehousedallas.org
45 WEBB GALLERY
See new work by Pancea Theriac, Heather Sundquist Hall, Martha Rich, and Esther Pearl Watson on Nov. 24 in Waxahachie. webbartgallery.com
46 WILLIAM CAMPBELL CONTEMPORARY ART
WCCA’s Byers location features John Fraser’s Finding Serenity, and the Foch St. location showcases Desmond Mason Blurred Lines: The Intersection of Street and Abstract Art. Both exhibitions remain on view through Oct. 19. On Nov. 16, the Foch St. location will highlight the gallery’s 50th anniversary celebration. The group exhibition will be on view through November. williamcampbellcontemporaryart.com
AUCTIONS AND EVENTS
01 CORSICANA ARTIST & WRITER RESIDENCY
Save the Date for 100W Open Studios showcasing new studio work by artists Keiran Brennan Hinton and Katie Hudnall, and composer Cody Criswell-Badillo on Dec. 7. corsicanaresidency.org
02 DALLAS AUCTION GALLERY
Located on Monitor Street, Dallas Auction Gallery’s next auction on Nov. 12 will feature King Edward’s piano as well as the photo negatives of the last photo shoot of the Beatles before their split. dallasauctiongallery.com
03
HERITAGE AUCTIONS
HA’s upcoming auctions feature a range of art and collectibles: HBO Original Game of Thrones The Auction Signature Auction begins on Oct. 10. This is followed by the Fine & Decorative Arts Showcase Auction on Oct. 10, Louis and Susan Meisel Pin-Up & Pop Art Showcase Auction on Oct. 15, and The Bunny Yeager Archive: Pin Up Photographs Showcase Auction on Oct. 24. November’s offerings start with the Urban Art Showcase Auction on Nov. 6, Silver & Vertu Signature Auction on Nov. 13, and the American Art Signature Auction on Nov. 15. More details on these events are available at ha.com
04 LONE STAR ART AUCTION
Taking place on Oct. 11–12 in Dallas, the Lone Star Art Auction is a Texas-sized live auction specializing in the best American, Western, wildlife, sporting , and Texas fine art. The live auction takes place at noon on Saturday. You may register to bid online and preview the auction catalog. lonestarartauction.com
05 TWO x TWO FOR AIDS AND ART
While the TWO x TWO for AIDS and Art 2024 Gala is sold out, contemporary art lovers may purchase tickets for Last Look on Oct. 10, subject to availability. OWNitNOW works are available for bidding during the preview period Oct. 11–18. Absentee bid forms must be completed by Oct. 18. twoxtwo.org
A Next-Level Real Estate Experience
Action-Oriented
In Is It Real, artists and advocates tackle issues of women’s reproductive health.
BY EVE HILL-AGNUS
Abold show and group effort, Is It Real? Contemporary Artists Address Reproductive Freedom approaches the question of reproductive rights in a way that is vast and varied, enumerating threats like so many poisoned quills of a venomous sea urchin.
Independent curator Sara Hignite and Dallas Contemporary associate curator Emily Edwards had each been thinking individually about the topic and researching it for more than two years. In light of the Dobbs v. Jackson Women’s Health Organization (2022) decision that overturned the Supreme Court’s ruling in Roe v. Wade (1973), they were reeling, contemplating a landscape that included new restrictions and restraints, but also old afflictions. Both wanted an exhibition that would bear witness to the voices and views of a faction of Southern artists in the South.
Stationary after traveling, Autumn Breon’s bright-pink Care Machine , 2023, a vending contraption filled with self-care products, draws attention to the valences of freedom and self-love. As Hignite points out, Elliot Doughtie’s With teeth, the fox, he comes, 2019—a subdued, minimalist set of nine powder-blue bathroom tiles studded with real fox fangs—gestures to “how charged” this bathroom space has become “in the culture wars.” Madeline Donahue’s delicate and deeply haptic hand-painted ceramic pregnancy tests rest on the edge of a pedestal bathroom sink under a bathroom mirror. Imagining holding one, the viewer is caught in a fraught, vulnerable moment .
The exhibition takes its name from Juanita McNeely’s 1969 painting Is It Real? Yes It Is, a seminal work made at a time when terminating
Above: Autumn Breon, Care Machine, Vending machine containing self-care supplies, 72 x 29.50 x 28.50 in. Image courtesy of the artist. Right: Cynthia Mulcahy, Daddy (War Garden Series), 2024. Tansy, pennyroyal, angelica, sage, glass tubes, wood, enamel lacquer, peacock-pattern hand-marbled paper, dyed calfskin, archival glue, brass rod, leather glue, brass hinges. 9 x 11.50 x 8.25d in. (box lid open). Image courtesy of the artist and Talley Dunn Gallery.
pregnancies was illegal.
“This exhibition is happening because a lot of brave people said, ‘Yes,’” says Hignite of the show that brings together 30 works, including four commissions. “It’s needed more than ever,” Edwards adds.
Two filmic works are deeply personal. Louisiana artist Elvira Michelle Castillo’s four-minute piece Amor : Breathwork Therapy Session, 2022, intersperses therapy sessions with archival film clips of domestic violence, the casual brutalization of women. Dallasite Ari Brielle’s three-channel film, rooted in her personal experience of a hyper-premature hysterectomy linked to endometriosis, broaches a larger conversation about medical racism, particularly as it affects Black women.
In some cases, evocative materials carry the message, as in Lauren Frances Evans’ eerily realistic Lycra pillow, from a series of soft body sculptures printed to represent the medical tragedy of en caul births, or Katrina Majkut’s cross-stitch work that addresses issues such as in vitro fertilization and abstinence.
Nestled in a cigar box, Cynthia Mulcahy’s Daddy, 2024, offers a historical lens: vials of pennyroyal, sage, angelica, and tansy fill the bottom. The “daddies” are Benjamin Franklin, Pope John XXI, Aristophanes, and Carl Linnaeus: “the founding father, the holy father, the father of comedy, the father of binomial taxonomy,” Mulcahy explains. All wrote or published works—from The Treasury of Medicine for the Poor (12th century) to Peace (5th c. BCE), and The American Instructor or Young Men’s Best Companion (1773)—that included not only business advice of the day but also recipes to avoid pregnancy. “It’s part of the Western canon,” says Mulcahy, published in the major works of the day.
Meanwhile, Lex Marie’s Deconstructed Black Maternal Health Flag , 2024, sewn from reclaimed maternity-ward blankets, sparks hope. Perhaps the quietest work is Sarah Jené and Jasmine Williams’ We Grow On, a living (“biophilic”) installation of moss and foraged plants that takes the form of a couch and offers “a soft place to land,” Jené says, a place where visitors can “rest in their grief.” The intentionally somatic work was originally a response to the “perpetual grief” of Black Southerners (accumulated in the aftermath of the Dobbspreceding ban that came out of Mississippi, where the artists live and work), Williams says, but shifts the stance from one of combat to radical vulnerability. Grief and rage are entwined, the artists say: “The tears water the rage,” says Jené. The piece, like the exhibition itself, draws awareness to the silent burden of women and femmes. “How can we make people more aware of the everydayness of it, the terrain that we live in?” Williams asks. The answer may be to
sit in grief in situ. To simply be, open to all suffering. To all joy. To a solidarity.
“Our bodies are sacred, and our choices are extremely personal,” says Marlo Melucci, who joins artists, philanthropists, activists, and community and aid organization members in an all-female advisory council that has worked to bring the exhibition to life.
“We are living through a moment in history that is fraught with incredible worry and concern about the implication of damaging policies that have turned back the clocks,” Melucci says. “It has been an incredible honor and great comfort to stand in solidarity with this fierce group of women who are all change agents.” P
Ari Brielle, Screaming in the Palms of My Hands, 2023, three-channel video, 11 minutes, 27 seconds. Image courtesy of the artist.
Bernadette Despujols, Yo en la carraca, 2024, oil on canvas, 70 x 50 in. Image courtesy of the artist and Rachel Uffner Gallery.
PAINTERLY PASSAGES
Tops and Ulterior galleries will offer a collaborative presentation of Mamie Tinkler’s paintings in their joint booth at Dallas Art Fair’s 2025 edition.
INTERVIEW BY TAKAKO TANABE AND MATT DUCKLO
During the 2025 Dallas Art Fair, Tops Gallery and Ulterior Gallery are collaborating to present a group booth with the artist Mamie Tinkler as the central figure.
Tinkler held her first solo exhibition with Ulterior in 2020. Takako Tanabe, the founding director of Ulterior and a regular Dallas Art Fair participant says, “It is a wonderful opportunity to present Tinkler’s work in Dallas, a place I consider my second home, alongside Tops from Tennessee, where the artist originally hails from. And I personally spent 11 years in Texas before moving to New York. It’s such a great triangle power formation to me.”
Matt Ducklo, the founding director of Tops, concurs. “I’ve admired Mamie’s work for over 15 years and was thrilled to have the opportunity to exhibit her paintings at Tops in Memphis in 2023. I have also long admired Takako’s vision and Ulterior’s program. It’s nice to participate in this fair for the first time with this special intention.”
Tinkler grew up in Brighton, TN and lives and works in New York City. She graduated from Columbia University with BA in 2000 and obtained an MFA from Hunter College in 2005. Her watercolor painting was featured in TWO x TWO for AIDS and Art 2021, and a painting from her 2022 solo exhibition at Ulterior is now part of The Rachofsky Collection.
Celebrating this upcoming collaboration, the artist and gallerists discuss Tinkler’s work here:
Takako Tanabe (TT): The genesis of Mamie Tinkler’s work lies in the traditional still life, but the way she dissects the objecthood and reinterprets the essence of still life in her work is both radical and liberating. Our trained brain has a certain way of reading the object and drawing associations from it, but Tinkler’s paintings offer an unusual experience: They present something familiar yet radically independent from any traditional context, revealing things unlike anything we thought we were seeing. Yet they still fit within the
still life conversation. It’s neither one, nor the other—they are truly special.
Takako Tanabe (TT): Mamie, how do you view the role of objects in your paintings, and what significance do they hold for you?
Mamie Tinkler (MT): Objects are the genesis of my process. I collect things that have a sense of mystery or peculiarity way before I know how they might figure into a painting. What I call “collecting” can range from walking in the woods and picking up a feather, to wandering through a flea market and seeing an old figurine or an unusual textile, to shopping for food at the farmers’ market and finding fruits or vegetables with anthropomorphic shapes. Usually, a curious visual or physical feature of an object, rather than its cultural or symbolic resonance, gives me an idea for a painting.
TT: Could you walk us through your creative process when you are starting a new painting? How do you approach the initial stages?
MT: I start by staging objects in my studio, often trying to create a dramatic or playful interaction between inanimate things. I use practical effects like stage lights, colored gels, mirrors, and draped fabrics to distort and reflect without digital manipulation. I’ll then photograph each scene dozens of times, altering the lighting, the angles, and shifting the elements of the scene to create “painterly” passages. I paint using these images as references, letting the painting refer to the photograph but find its own materiality and depth.
Matt Ducklo (MD): Mamie’s paintings surprise and convince with idiosyncratic vision and technical virtuosity. Part of the tension in her watercolor works is the precision she achieves in a medium that resists exactitude.
TT: Recently there’s been a strong shift in your work from watercolor to oil—a change that feels deeply connected to the history of still life and objecthood in art. Could you share what sparked this transition for you? How has this shift in medium influenced your relationship with your paintings, and does working with oil differ from watercolor in terms of your artistic approach and vision?
MT: I studied oil painting briefly in college but started working only in watercolor many years ago. For years, watercolor felt so natural to me. There were new ways to push the medium, new ways to use it, and certain effects that I couldn’t achieve in oil. In 2023 I had two solo shows—one at Ulterior and one at Tops—and after those two it just felt like a moment to try something completely different.
For me, oils have a relationship to Painting with a capital P, so I wanted to look at the history of still life painting and the history of optics. Being a painter who uses photography, I want to be deliberate about photography as a tool, and I’m curious about its roots. So I’m playing with different themes around optical devices and stretching that idea to include magnifying glasses, blocks of ice, and pools of water. I’m also working with candles, as photography is ultimately a recording of light.
TT: This light analogy is particularly insightful in times like these. What we are seeing and what’s visible and invisible culturally and sociologically—I find it remarkable that we can present Mamie’s new work this April.
MD: We feel very strongly about this collaborative presentation at the Dallas Art Fair and are planning to present both watercolor and oil paintings by Mamie along with a couple of other artists from Tops’ and Ulterior’s rosters.
In November, Tinkler’s work will be featured in a group exhibition at MOCA in LA, Ordinary People: Photorealism and the Work of Art since 1968, curated by Anna Katz. P
Look Again
THE LAST DANCE
TWO X TWO FOR AIDS AND ART TAKES A BOW WITH A STUNNING CONTEMPORARY ART AUCTION FOR THE 25TH AND FINAL YEAR.
BY CHARLIE ADAMSKI CAULKINS
Left: Dana Schutz, The Crab, 2023, gouache and graphite on paper. 43.87 x 30 in. Courtesy of the artist and David Zwirner. Above: Jonas Wood, Studio Still Life #1, 2024, gouache and colored pencil on paper, 29.62 x 20.87 in. Courtesy of the artist, David Kordansky Gallery, Gagosian, and Karma
On October 19, 2024, for the last time, a well-heeled and glamorous crowd will dance the night away in the iconic geodesic TWO x TWO tent on the front lawn of The Rachofsky House. It will also be the last time the celebrated home, designed by Richard Meier, will be hung with a dynamic collection of artworks for the 25th and final installment of TWO x TWO for AIDS and Art. Over the years, this legendary benefit auction has not only become known for the essential funds raised for amfAR and the Dallas Museum of Art, but for its prescient selection, reflective of the most current trends in the contemporary art world. Many Dallas-based collectors credit participation in this auction as the start of their collecting journey.
As head of the Dallas office for Sotheby’s, I work with clients all over Texas, and over the years I have looked forward to exploring each edition of TWO x TWO’s offerings. This auction has something for all art lovers—every price point, medium, and taste. Sotheby’s is proud to be supporting TWO x TWO again this year.
Unsurprisingly, just as in the 24 years prior, this year’s art auction lineup is impressive. Headlined by a vibrant, verdant landscape painted by this year’s honoree, Nicolas Party, an exciting and compelling selection has been compiled by the TWO x TWO team.
Vojtěch Kovařík, Journey through the past, 2024, acrylic and sand on canvas, 98.38 x 86.63 in. Courtesy of the artist and Galerie Derouillon
A few pieces of advice as you strategize your approach:
1 Peruse twoxtwo.org and then go see the works in person. Thumbnails do not do the art justice! For instance, 2006 honoree Tom Friedman’s whimsical 30,000’ stands eighty-nine inches high—this work demands real-life interaction to fully appreciate!
2 Pay attention to how the works are being sold. Works designated as OWNitNOW, are available for immediate purchase as early as October 11, so you must act quickly. Others will be sold the evening of the main event
3 Follow your gut and have fun. As Picasso once said, “The purpose of art is washing the dust of daily life off our souls.” Find something that excites and intrigues you!
4 Engage in a bit of friendly competition to raise much-needed funds for two important charities. Bid high and bid often and be part of making the 25th TWO x TWO the most successful yet.
Since its inception, TWO x TWO has honored twenty-three artists, and it is exciting that many of the past honorees—worldrenowned artists—have contributed works to this year’s auction. Among those, 2018 honoree Dana Schutz’s The Crab caught my eye. The artist often works on monumental canvases, but this gouache, in contrast, is at a very domestic scale, executed in Schutz’s signature visual language. Another personal favorite is the meticulous work on paper Studio Still Life #1 by 2017 honoree Jonas Wood. Plants are a common theme throughout Wood’s practice, and the quirky succulents in this painting bring a defiant sense of personality to the otherwise stark setting of the cinderblock studio courtyard.
INTERNATIONAL ARTISTS
Czech artist Vojtěch Kovařík made his Texas debut at Dallas kunsthalle The Power Station this past fall. His larger-than-life compositions are rooted in classical art history and inhabited by mythological, heroic figures straining the picture plane. Journey through the past is a stellar example of the artist’s work. The imposing stoic figure, rendered with a supernatural skin tone and piercing yellow eyes, is set against a serene seascape. Measuring just over 98 by 86 inches, this monumental composition certainly has wall power!
I also encourage consideration outside of the typical twodimensional format with work such as The Guardian of Termitomyces by French sculptor Marguerite Humeau. Constructed out of organic materials, this larger-than-life sci-fi fungus-like form drew me in. Humeau roots her work in biological and scientific study, pushing boundaries to create supernatural and otherworldly forms.
death: unknown), 22.81 x 35.43 x 32.68 in., edition 2 of 3. Courtesy of the artist and White Cube.
Above: Kylie Manning, Family Secrets, 2024, oil on linen, 66 x 82 in. Courtesy of the artist and Pace Gallery. Photograph by Melissa Goodwin. Below: Marguerite Humeau, The Guardian of Termitomyces, 2023, natural beeswax, microcrystalline wax, walnut tree ashes, and 150-year-old walnut (cause of
AUCTION
RISING STARS
German born, New York–based painter Florian Krewer had his first institutional solo exhibition at the Aspen Art Museum last year and has steadily gained notoriety. With its thickly painted surface, Untitled presents a moment of tension between three feral beasts frozen in time and is a great example of Krewer’s mastery of color and composition, filtering real-life experiences through a fantasy lens. His work is held in museum collections, including Centre Pompidou, Paris; Hammer Museum, Los Angeles; and the Walker Art Center, Minneapolis.
Brooklyn-based abstract painter Kylie Manning is a master of juxtapositions. Family Secrets perfectly embodies the powerful yet delicate compositions she has become so well-known for. Confident and bold emotive strokes contrast with an ethereal soft background resulting in a layered and nuanced composition that requires close consideration. Every time I look at this painting, I notice something I did not see before—the brushstrokes are as if in constant motion.
NOTEWORTHY ESTABLISHED ARTISTS
Born in 1937, Melvin Edwards is a trailblazer in the world of contemporary art. He was the first Black sculptor to have a solo exhibition at the Whitney Museum of American Art in 1970. While Edwards is more widely known for his sculpture, Untitled (c. 1974) is a wonderful example of his works on paper, which utilize sculptural
elements to produce soft and beautiful compositions. His work is held in numerous public collections, including the Nasher Sculpture Center in Dallas.
The striking green painting Topiary by Indigenous artist Emmi Whitehorse immediately caught my eye. Residing in Santa Fe, Whitehorse is inspired by the southwest landscapes that surround her, and her ephemeral compositions are infused with the iconography of her Navajo heritage. Whitehorse has been exhibited in numerous museums and galleries since 1979; most recently her work was featured in the 2024 Venice Biennale. Her work is held in the collections of Crystal Bridges Museum of American Art, Bentonville; and the Whitney Museum of American Art, New York, among many others.
NOTABLE LOCALS
Whether looking at artists brought to TWO x TWO by local galleries or considering locally based artists, I am always interested in the “local” angle. American artist Claudia Keep had her Dallas debut with Gallery 12.26. Mourning Cloak Butterfly is a wonderful example of this master observer’s jewel box paintings, which beautifully capture and translate everyday images snapped on her iPhone in her painterly style. Mexican-born, Dallas-based artist Francisco Moreno also makes an appearance in this year’s lineup with the painstakingly executed Squirrel, Extra Dirty. P
Clockwise from above left: Emmi Whitehorse, Topiary, 2023, mixed media on canvas, 51 x 78.50 in. Courtesy of the artist and Garth Greenan Gallery, New York. Francisco Moreno, Squirrel, Extra Dirty, 2024, acrylic on canvas, 14 x 11 in. Courtesy of the artist. Claudia Keep, Mourning Cloak Butterfly, 2024, oil on masonite panel, 8 x 10 in. Courtesy of the artist, 12.26, Dallas and Los Angeles; and MARCH, New York.
A Journey Through Time, Technology, and Place
The AURORA Biennial returns with a multisensory experience.
BY DARRYL RATCLIFF
The upcoming AURORA Biennial in Dallas is set to be more than just another art exhibition—it’s an attempt at creative omnipresence, a moment of reflection on our past, present, and future. Taking place on November 16 from 7 p.m. to 1 a.m. at Dallas City Hall and surrounding areas, the sixth edition of AURORA will be free and open to the public, making its technological splendor accessible to all.
Curated by Kendal Henry and Leslie Moody Castro, who are based in New York City and Mexico City respectively, FuturePresentPast is a title that may initially seem straightforward yet encapsulates a profound exploration of identity, displacement, and the shared experiences of North Texas. The exhibition, which gathers renowned and emerging artists alike, invites us to reconsider how technology and art shape the way we see ourselves, our history, and our future.
“It’s a reflection on the changes happening both locally and globally post-pandemic,” explains Moody Castro. The concept for this year’s biennial grew organically from countless conversations with artists. Through these discussions, a recurring theme emerged: a recognition that the past, present, and future are intricately linked. As Henry describes, “We realized that one’s future, present, and past are all connected—where one begins, and the other ends isn’t always clear.”
At its core, AURORA is an immersive, multisensory experience, a departure from the conventional gallery setup. The curators have created an event that challenges the limits of what public art can be. There are large-scale projections, interactive installations, performances, and site-specific works that blur the boundaries between the digital and the physical while drawing attention to issues like environmental sustainability, urban transformation, and
health advocacy.
One of the most striking aspects of the show is how it addresses community, not as a backdrop but as a central element. Henry’s curatorial approach takes inspiration from Dallas itself. “Dallas is more than a site; it’s a reflection of larger global trends,” he says. Through projects like Ciara Elle Bryant’s city street–intersecting installation and Luke Murphy’s LED fire sculpture, the exhibition becomes a mirror reflecting not only the technological and urban transformations of North Texas, but also the social shifts happening worldwide.
In these immersive spaces, viewers may encounter works like Tramaine Townsend’s latest filmic exploration of Dallas, or Steve
Miguel Chevalier, Digital Icons, 2018, AURORA 2018. Photograph by Nicolas Gaudelet.
AURORA curators Leslie Moody Castro and Kendal Henry. Courtesy of AURORA.
Parker’s innovative sonic performance featuring a marching band. Parker’s work melds sound, movement, and space, creating an abstract narrative that speaks both to the city’s past and its present state of change. Townsend’s work, in contrast, paints a more literal picture, yet one that is equally rich with layered meanings about identity, place, and history.
Henry and Moody Castro’s biennial will be punctuated by communal moments—gospel choirs, mariachis, and marching bands that punctuate the evening with soundscapes that are both traditional and subversive. “We wanted to counter the isolation that technology can create by bringing people together in ways that aren’t just about screens,” says Henry.
As you walk through the exhibition, you’ll notice how the pieces are curated to move. Works won’t be static; they will shift across locations, altering how you experience them. As Henry puts it, “What dazzles you in one moment may take on a new depth when encountered in another space.” This fluidity reflects the central theme of FuturePresentPast —the idea that time, identity, and meaning are never fixed, but constantly in motion, shaped by our interactions
with them.
And while AURORA offers many moments of spectacle, there’s always more beneath the surface. The bright colors, largescale projections, and interactive technology serve as entry points into deeper discussions. As Moody Castro notes, “We want the exhibition to feel full, cohesive, and alive.” What begins as a visual or sensory experience eventually transforms into a contemplative dialogue about the world we live in.
As AURORA unfolds across the city, the public will be invited to consider how these layered, multisensory experiences reshape our understanding of art and technology. It asks the viewer not just to look, but to listen, move, and engage, all while contemplating what it means to exist in this shared present, as well as the futures we are building.
Ultimately, Henry’s hope is simple: “I want people to have fun, to feel connected, and to perhaps learn something about themselves.” And in this journey through Dallas’ streets, through sound and light, through the past and into the future, AURORA promises to do just that. P
Tramaine Townsend, Suspense, 2018, AURORA Expanded 2018. Photograph by Paperlyte.
Refik Anadol, Melting Memories, 2018, AURORA 2018. Photograph by Paperlyte.
Bruce Wood Dance, begin again, 2018, AURORA 2018. Photograph by Paperlyte.
Prized Alliance
BCA’s Obelisk Awards champion partnerships between businesses, arts organizations, and individuals.
PHOTOGRAPHS BY JOHN SMITH
The Business Council for the Arts (BCA) was founded in 1988 by the late Dallas real estate developer and philanthropist
Raymond D. Nasher, who envisioned North Texas’ cultural and business communities growing together. The BCA upholds this mission today by facilitating and celebrating the most successful business-arts partnerships through the 36th annual Obelisk Awards. BCA’s CEO Stacie Adams believes, “There’s no greater call than to ensure our creative community remains a vibrant force for inspiration and innovation while attracting more and more companies to our region.”
Nasher’s daughter and the BCA Founder’s Chair, Nancy A. Nasher, concurs: “The Business Council for the Arts has proudly dedicated itself to nurturing the critical link between business and the arts, and for 37 years the Obelisk Awards have celebrated the pinnacle of corporate and leadership excellence in this endeavor.”
This year the Dallas Symphony Orchestra is being recognized as a Distinguished Cultural Institution; the Dallas Mavericks for Arts Education; Vari, known for their standing desks, in the Arts Partnership (Large) category; Meow Wolf for its New Arts Initiative; and as Business Champion for the Arts, Danny Tobey,
who founded a software company and is chair of DLA Piper’s AI & Data Analytics practice.
These honorees will be feted at a luncheon held at the JW Marriott Dallas Arts District Hotel on November 14, along with four others, including:
Samuel S. Holland , Algur H. Meadows Dean of SMU Meadows School of the Arts, an award-winning professor of music and a visionary nonprofit arts leader. Since he joined SMU 33 years ago, serving as dean since 2014, Meadows School has received national acclaim for its innovative approach to arts education across all disciplines. Holland leads a team that has raised over $145 million for the school and launched groundbreaking programs like the Online Master’s in Creative Technology while forging partnerships with major arts organizations, including bringing the National Center for Arts Research (now SMU DataArts) to SMU. This initiative advances high-quality data for arts organizations and advocates nationwide. Holland was nominated by Caren Prothro, SMU Board of Trustees.
Daisha Board Gallery, the Arts Partnership (Small) honoree, for significantly impacting Litehouse Wellness by offering invaluable
counsel and physical space to help expand the organization’s goal of normalizing and funding wellness for the Black community. Founder Daisha Board believes that “to see oneself reflected in fine art is powerful.” Says Sherri Doucette, Litehouse Wellness’ executive director, who nominated the gallery, “Her bold aspiration and commitment to BIPOC, LGBTQ, and artists with disabilities inspired our organization to launch wellness and art collaborations specifically for Black men to find community and connection while removing the stigmas around wellness and the arts as unapproachable in the minority community.”
Purvi Patel Albers, a distinguished leader in North Texas’ arts and culture sector, who will receive the Outstanding Leadership Arts award. An alumna of BCA’s Leadership Arts Class of 2008, Albers has embodied the program’s mission. Her impactful service on prestigious boards, including the National Symphony Orchestra, The Arts Community Alliance (TACA), and Dallas Theater Center, highlights her commitment to the cultural landscape. A partner and board member at Haynes and Boone and nominated by colleague Randy Colson, Albers’ expertise in trademark law and strategic insight have been recognized by Chambers USA and World Trademark Review. Her role as a World Intellectual Property Organization (WIPO) arbitrator and her ongoing support for BCA initiatives further reflect her dedication to both legal and cultural excellence.
Kim Campbell , the founder and recently retired executive director of the Dallas Winds, who will receive the Lifetime Achievement Award. Nominated by Carrie Huff, chair of the board of trustees of the Dallas Winds and a retired partner at Haynes and Boone, LLP, Campbell has profoundly shaped the Dallas arts community throughout his 38-year leadership of the Dallas Winds.
His motto of “Have Fun, Make Friends, Be Amazed” inspired everything he sought to accomplish. After cofounding the ensemble in 1985, he shaped the organization into one of the nation’s leading professional wind bands; it has achieved global recognition, with five Grammy nominations and more than 500 unique concerts. Education programs include the annual Strike Up the Band concerts and the largest inner-city band camp in the US. Most notably, upon his retirement in April 2024, Campbell was lauded for the successful leadership transition to Michelle Hall, a testament to his careful planning and dedication, to ensure that the Dallas Winds shines for decades to come.
The event’s presenter Courtney Johnson, Chief of Staff Internal Experiences Lead for the Financial Services division of Capital One, believes, the “Obelisk winners’ collective efforts represent decades of thoughtful work to protect Dallas’ legacy of cultural experiences while securing a bright future for the arts.” Johnson will chair the event alongside honorary chairs Mohua and Sanjiv Yajnik. Each honoree will be presented an original glass artwork created by Simon Waranch, a Booker T. Washington High School for the Performing and Visual Arts alumnus whose work is represented internationally.
A driving force of BCA, Nasher enthuses, “I am proud to honor this year’s champions of business, arts, and culture for their extraordinary talent, unwavering passion, and steadfast commitment to maintaining North Texas as one of the world’s most dynamic places to live and work alongside world-class arts and culture experiences.” P
From left: Dean Samuel S. Holland, Meadows School of the Arts; Daisha Board, founder of Daisha Board Gallery; Purvi Patel Albers, board chair and partner ar Haynes and Boone; Kim Campbell, founder of Dallas Winds.
Doomsday on the Prairie
We Burn Daylight is Bret Anthony Johnston’s richly imagined telling of the Branch Davidians in Waco.
INTERVIEW BY CHRIS BYRNE
Bret Anthony Johnston’s new novel, We Burn Daylight, examines the besiegement of the Branch Davidians compound in 1993 Waco, Texas, with empathy for a cast of characters and the star-crossed lovers at its core.
Chris Byrne visits with the prize-winning author here:
CHRIS BYRNE (CB): Congratulations on the recent publication of We Burn Daylight , described as “an epic novel of star-crossed lovers set in a doomsday cult on the Texas prairie.”
BRET ANTHONY JOHNSTON (BAJ): Thank you! I’ve been so humbled by the responses to the book, and by “humbled,” I mean completely floored. I spent ten years with these characters, and to have so many readers embrace them to this degree feels like a gift. I think of it as a story that asks what we’ll do for love. Whether it’s romantic or platonic, familial or spiritual, the question is much the same: What are you willing to sacrifice? How far are you willing to go? I didn’t know the answers, so I had to write the book to find out.
CB: In addition to the specific references to Shakespeare’s Romeo and Juliet (1597), the book is separated into four sections, named after the Book of Revelation’s four horsemen of the apocalypse, i.e. The White Horse, The Red Horse, The Black Horse, and The Pale Horse…
Left: Author Bret Anthony Johnston. Above: We Burn Daylight is the new novel by Bret Anthony Johnston. Courtesy of the author.
BAJ: Those are references to the four horsemen mentioned in The Book of Revelation. There are myriad references to scripture and Shakespeare throughout the novel; I wanted to reward the attention of readers who are especially familiar with the plays, poetry, and Bible. I believe the youngsters call such things Easter eggs.
CB: The New York Times critic John Wray described it as “a darkly dazzling pilgrimage of violent delights, and violent ends.”
BAJ: He sure did! I owe that man a ranch in Texas or a house in the Hamptons for his generous and thoughtful reading of the book. I couldn’t have asked for anything more in a review. John Wray is a writer that so many of us admire; he has an undeniable mystique, an artistic and cultural gravitas, so his endorsement of the work feels like another gift.
CB: I understand you first had the idea for the story in 2014, during your book tour for Remember Me Like This
BAJ: I was on book tour and overheard a gentleman saying he’d worked beside a Branch Davidian in Waco, but he didn’t know that until he saw his coworker’s photo on the news, saying the person had died in the fires. That really made an impression on me, and I wondered how it would feel to spend that much time beside someone without understanding the basic contours of their life. From there I started wondering how that feeling would be so much larger if you weren’t a middle-aged man, but a teenager who wasn’t yet old enough to drive.
CB: You grew up in Corpus Christi — and the story takes place within the doomsday context of Waco, Texas, in 1993.
BAJ: I remember watching the fires burn on the television in my parents’ living room. Even then I recognized that we were witnessing a violent and tragic meridian, an undeniable cleaving of before and after.
CB: It was nice to see you in Sag Harbor this past summer. Can you tell us about The Steinbeck House’s Writer-In-Residence Program?
BAJ: The Sag Harbor Partnership, an amazing nonprofit, worked tirelessly to save Elaine and John Steinbeck’s home from becoming—get this—a helicopter pad! They enlisted the University of Texas at Austin to help, asking us to establish a low-impact writers’ retreat on the property. Along with the rest of the staff at the Michener Center, I was eager to do everything I could. Steinbeck was an incredibly generous writer, both on the page and in life, so it felt like something of a sacred duty to save the home where he wrote his last three books, learned he’d won the Nobel Prize—he was watching television!—and where Charley, from Travels with Charley, is buried. So far, we’ve hosted four writers, including Ayad Akhtar and Hernan Diaz.
CB: You also serve as the director of the Michener Center for Writers at the University of Texas at Austin…
BAJ: The job is one of the great privileges of my life. I spend my days surrounded by fellows, staff, and faculty who hold language and the imagination in the highest esteem, so every evening I go home eager to read and write. The community is like nothing I’ve ever known; it’s intimidating and inspiring, the result of James Michener’s peerless commitment to supporting writers making the work that only they can.
CB: Can you tell us about the upcoming projects we can look forward to?
BAJ: The next book will be a collection of short stories, and I think Random House will bring it out in 2026. Beyond that, I’m increasingly interested in the shrimping community on the Texas Gulf Coast. I’m starting to wonder if there isn’t a novel floating out there in that gray-green water. P
NEXT DOOR
NORTHPARK CENTER WELCOMES GIVENCHY.
BY TERRI PROVENCAL
The art-saturated NorthPark Center continues its luxurybrand footprint expansion. In September, the house of Givenchy opened its first retail location in Dallas. Prada is scheduled to move next door in November.
Over 5,600 square feet of retail space make up Givenchy’s tenth freestanding boutique in the Americas. Valerie Leon, President of the Americas, said, “Dallas’ active social community and notable role in art and philanthropy, as well as their love for fashion, made it a natural choice for Givenchy’s first location in Texas.” She continues, “NorthPark Center, with its elevated and engaged clientele, also felt like the ideal home for introducing our brand to the market.”
The timing is just right, with the announcement of British designer Sarah Burton as the brand’s new creative director a week prior to the opening. Burton comes from Alexander McQueen, where she was the creative director for 13 years and with the house for 26 years. She follows in the footsteps of her mentor, the late McQueen, who oversaw Givenchy’s creative direction from 1996 to 2001. The house’s eighth designer, and the second woman to hold this role, Burton will present her first collection in March at the fall 2025 Paris Fashion Week shows.
Upon the announcement Burton enthused, “It is a great honor
to be joining the beautiful house of Givenchy; it is a jewel. I am so excited to be able to write the next chapter in the story of this iconic house and to bring to Givenchy my own vision, sensibility, and beliefs.”
To gush for, the NorthPark boutique teems with Givenchy readyto-wear and accessories for women and men from the fall/winter 2024 collection. Capsule collections will be available seasonally. For women, Givenchy’s modern evening wear, signature sharp tailoring, and elevated denim are available, as is a voluminous selection of the season’s statement accessories. Various iterations of the Voyou bag, the reimagined Antigona called the Antigona Cube; and Givenchy’s coveted Shark Lock boots in leather draped in shimmery strass, or the on-trend cowboy version are plentiful. Men’s apparel includes the handsome suiting the house is known for, (worn by actors Tom Hiddleston, Michael B. Jordan, Barry Keoghan, and the illustrious singer, songwriter, and pianist John Legend.) Shirting and a variety of accessories round out the array of haute fashion for men.
With its juxtaposition of sharp and soft tones and materials, matte and rough, industrial and natural shades, the boutique exemplifies Givenchy’s latest retail concept. An archival tiger print fabric from Hubert de Givenchy’s home upholsters the seating and adds oomph to the stone-grey palette. P
Clockwise from above left: Givenchy Shark Lock boots; NFNTY-52 Sneakers by Givenchy; Givenchy Antigona Cube; Givenchy fall 2024 men's handbag; Givenchy fall 2024 women's ready-to-wear; Givenchy fall 2024 men's ready-to-wear. All courtesy of Givenchy.
David Dike Fine Art’s 28th Annual Texas Art Auction
Saturday, October 26, 2024 -10:30 A.M CST
Left: Ben L. Culwell (Am. 1918-1992), Autumn, mixed media on masonite 48 x 24, signed on all four corners: BLC, estimate: $25,000 - $35,000
Right: Robert Preusser (Am. 1919-1992), Reflected Light, 1956, plastic and oil on board 20 x 30, signed lower right: Preusser, estimate: $12,000 - $18,000
David Dike Fine Art will host the 28th Annual Texas Art Auction on Saturday, October 26 at the gallery in Alpha Plaza. The sale will be a live auction and will showcase over 400 lots of Texas Art ranging from early and traditional to contemporary works. Highlights include works by Julian Onderdonk, Everett Spruce, Sedrick Huckaby and David Everett. Also, featured are works by Coreen Spellman, Seymour Fogel and Vernon Fisher. This year, over 35 works will be offered from the Heartland Insurance Collection curated by Jeannie Hibbs.
This exciting sale will be conducted live by auctioneer, Jason Brooks TXS 16216. There will be In-Person Bidding, Live On-line Bidding, Phone, and Absentee Bidding. Auction guests will enjoy Bubbles and Bites, catered by Rodeo Goat.
Auction Date: Saturday, October 26 - Bidding starts promptly at 10:30 am, CST
Preview Dates & Times: October 7 – October 25, Mon - Fri: 10 AM - 5 PM
Preview & Auction Location: David Dike Fine Art 4887 Alpha Rd., Suite 210 Farmers Branch, TX 75244
NICOLAS PARTY'S EMOTIVE LANDSCAPES
The TWO x TWO Honored Artist invokes Rosa Bonheur’s Ewe in the Field in a self-curated solo exhibition at The Warehouse.
INTERVIEW
BY
ANNA KATHERINE BRODBECK
Anna Katherine Brodbeck, Dallas Museum of Art’s Hoffman Family Senior Curator of Contemporary Art, sat down with artist Nicolas Party to discuss his exhibition Ewe in the Field on view at The Warehouse, which includes a recent acquisition for the museum. It also signifies Party as the Honored Artist of TWO x TWO for AIDS and Art benefiting the DMA and amfAR, marking the 25th and final year of this internationally heralded benefit auction.
Anna Katherine Brodbeck (AKB): It is such pleasure to speak with you on the occasion of the 25th and final year of TWO x TWO. Your gorgeous mural presentation, Nicolas Party: Pathways , was on view at the DMA when I first started working here, making this a full-circle moment for me. It really came to embody the museum’s contemporary art program and TWO x TWO’s support of it, so how fitting that you are the final honoree.
That mural featured the signature elements of your practice: your use of pastels and your engagement with the traditional portrait and landscape genres.
As the DMA is an encyclopedic museum, we have historic examples in our collection of these touchpoints, and what I love about your art is how you’ve dug into particular moments of art history to create something that’s so unique and engaging for contemporary audiences.
Let’s start with your use of pastels, which is super interesting because you don’t see it often in contemporary art. How did you come to that medium?
Nicolas Party (NP): I started to do pastel 11 years ago, after an encounter with a post-cubist-period work by Picasso. To be honest, when I tell the story now, I feel a bit bothered because I have to name Picasso, as he doesn’t really need to be named anymore, but I guess I’m just trying to stay true to what happened. So I bought the pastels the next day with the postcard of that particular piece,
Nicolas Party, (Swiss, born 1980), Landscape, 2024, soft pastel on linen, 41.31 x 45.31 in. Courtesy of the artist, Hauser & Wirth, and Karma for TWO x TWO for AIDS and Art.
Nicolas Party, (Swiss, born 1980), Landscape, 2022, soft pastel on linen, Left: 88.56 x 31.50 in.; Center: 88.56 x 63 in.;
Right: 88.56 x 31.50 in. Green Family Art Foundation, Courtesy of Adam Green Art Advisory.
Nicolas Party. Photograph by Axel Dupeux.
Nicolas Party, (Swiss, born 1980), Red Portrait, 2017, soft pastel on pastel card, 31.50 x 22.25 in. The Rachofsky Collection.
which was a portrait, and I started to copy it. That was the first time I started to do portraits, and that first afternoon I fell in love with the medium. It felt very intuitive, very sensual because you work with your fingers. But also it’s very fast compared to oil or acrylic paint. It’s actually very reduced, so it compressed possibilities in a very interesting way for me, allowing me to investigate things faster than before.
After over a year of working with pastel I realized that nobody else was doing it. I was asking friends or colleagues for technical advice, and the few people I knew who were working in it were working on paper—nobody on canvas. Which has led me to be more interested in the medium itself and its significance in art history. It had this boom in the 18th century and then was basically abandoned after the French Revolution.
At the same time I discovered that pastel was frequently used by women artists because of the nature of the medium. You don’t need a big studio or to go to the academy, which women were not
allowed to do; you can actually work at home. So watercolor and pastel became the preferred mediums for women.
And I found it fascinating that this is not an example of a lack of women artists—it’s just how art history was written. To this day, it’s not seen as interesting. It’s seen as “Oh, it’s just hobbyists doing portraits of rich people,” with no place compared to [for example] Jacques-Louis David’s complex displays of power in painting.
So all those artists have been completely forgotten even if they were hugely popular at the time—Rosalba Carriera being a great example.
AKB: This is a great segue to Rosa Bonheur, an important figure in our discussion because the DMA acquired a wonderful work of yours this past year that has a specific reference to Bonheur, who is also represented in our collection. What drew you to Bonheur’s work?
NP: Like Carriera, Rosa Bonheur was extremely successful in her day, as well as eccentric in many ways. What really attracted me to her was her compassion towards the depicting the animal world. In art
Nicolas Party, (Swiss, born 1980), Landscape, 2018, soft pastel on linen, three parts; each: 70.87 x 43.31 in. Courtesy of the artist.
history, animals are often depicted, but nobody was painting them with an individuality, with a soul—really, as a portrait. And I just thought it was revolutionary for the time. In a recent retrospective of Bonheur’s work there was a text alluding to the concept of ecofeminism, a term that obviously didn’t exist at the time—just as the terms feminism and homosexuality didn’t exist. And Bonheur was living with her female partner, and she had famously worn men’s clothes to be able to do the sketches for her famous painting The Horse Fair. She had the full package: the great art, the charismatic character, the success story, but yet again, she was erased from art history.
For the portrait that now is at the DMA, I was looking at Bonheur’s The Wounded Eagle. I love the idea that it’s falling from the sky, which is very powerful, given that the work is now at LACMA, in America, where it is an important symbol. We forget that eagles were almost extinct in the US because they were seen as pests that were destroying the human environment. The buffalo
Above: Nicolas Party, (Swiss, born 1980), Landscape, 2024, soft pastel on pastel card, 31.50 x 19.68 in. Courtesy of the artist. Below: Nicolas Party, (Swiss, born 1980), Sunset, 2018, soft pastel on linen, 70.87 x 43.31 in. Green Family Art Foundation, Courtesy of Adam Green Art Advisory.
is similar—it is one of the biggest symbols of America, but it got almost completely wiped out. So it’s kind of ironic, the idea of the wounded eagle falling like an angel from the sky.
AKB: That is so interesting, this perspective of environmentalism, given your attention to landscape. Did environmental issues draw you to that genre as well?
NP: The landscape is often used to visually communicate an environmental issue, either with pollution or forest fires visible in the distance. But it was also used historically as a tool to encourage tourism. Even with how a foreboding Arctic landscape is depicted, the viewer thinks, “Oh, it looks nice.” So landscape has a strong connection with how humans see the environment both as a cultural construct and an identity construct. And coming from Switzerland, one of our main cultural identities is based around the myth of mountains. I grew up seeing a lot of Alpine landscapes by Hodler or Vallotton, for example.
So I think it is definitely connected. I always make my landscapes without any human traces. There’s never a house or a road—which is actually unusual. My landscapes are either pre-humans or posthumans—a kind of idealistic paradise. Humans have this strange fascination with loving nature and constantly feeling that the world would be better if there were no humans, but of course they’re also constantly destroying their surroundings. The traditional depiction
of paradise is literally a world without humans.
AKB: I love the wonderful triptych in your Warehouse show that looks like a folding altarpiece. And that’s of course a specific religious reference from the European tradition, but what’s being depicted is not any figure of God or saints, but uninhabited nature.
NP: Yeah, it is funny for me that in Eden, you have this perfect world that is basically untouched and there’s only two humans, who are naked. And as soon as they become human, they have basically destroyed the entire thing. It seems that we have this weird relationship with our environment because of course we’re part of nature—we’re not from another planet—but we feel like we’re not part of it. All the landscapes in the show are this kind of idealistic representation of nature that I think we all have. We constantly go “Oh, yeah, it was great there. There were almost no tourists.” But it’s been maintained by humans.
AKB: Speaking of environments and human connection, you have such a sensitivity to your environs, which is why your mural was so successful at the DMA. I know you often incorporate mural elements into your show. I wondered if you could speak a little but about the experience of working in Dallas and on a site in general?
NP: The reasons I like working on site are both the performative aspect and the fact that you have to stay in one place for a long time.
Left: Nicolas Party, (Swiss, born 1980), Portrait with an Eagle, 2023, soft pastel on linen, Arch: 59.06 x 43.37 in. Dallas Museum of Art, TWO x TWO for Aids and Art Fund. Above: Rosa Bonheur, (French, 1822–1899), A Sheep at Rest (Ewe in the Field), second half of the 19th century, oil on canvas, 23.25 x 27 x 2.50 in. Dallas Museum of Art. Gift of Alessandra Comini in honor of Charlotte Whaley.
You get much closer to the space itself, to the people that work there, to the energy around it. And when a mural is done that way, you really feel I was there, that I took something from the space itself. Dallas was special because the mural is in this long corridor, and it was open to the public. So the entire three weeks that I did the mural, I was in contact constantly with visitors, and I think it was fun for the public to see.
AKB:: It definitely was—it remains a favorite of so many of our visitors. Which brings me back to the celebration at hand. What does it mean for you to be the final TWO x TWO artist honoree?
NP: I’m just happy to be part of it. I think this year is going to be very special. Some of the people in attendance probably have gone every year for 25 years. And I think for a lot of people it’s going to be very emotional because the world is changing. Obviously, the museum, but also AIDS research, which changed drastically in the last 25 years.
And it’s changed for the better because of all the amazing artistic projects and important research funded by donations. The concept is interesting, as it supports both the museum and a very urgent crisis, trying to break that cycle of disease. It’s going to be very moving to just be there to celebrate the great work that has been done for 25 years. I feel honored to be part of it. P
Nicolas Party, (Swiss, born 1980), Landscape, 2023, soft pastel on linen, 50 x 59.06 in. The Rachofsky Collection.
Nicolas Party, (Swiss, born 1980), Landscape, 2023, soft pastel on linen, 39.37 x 31.56 in. Courtesy of Ann and John McReynolds.
Installation view of A Product of Time: 25 Years of TWO x TWO for AIDS and Art at The Warehouse, Dallas. David Altmejd, The Eye, 2008. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund; Frank Bowling, Marcia H Travels, 1970. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
A SILVER SUN SETS
A Product of Time: 25 Years of TWO x TWO for AIDS and Art culminates the Dallas Museum of Art’s quarter-century acquisition journey through the exalted fundraiser.
BY DANIELLE AVRAM PHOTOGRAPHS BY KEVIN TODORA
David Altmejd, The Eye, 2008, wood and mirrors, overall: 129.50 x 216.50 x 144.50 in. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
A25th anniversary is typically celebrated with silver. It’s fitting then that The Warehouse’s latest exhibition, A Product of Time: 25 Years of TWO x TWO for AIDS and Art, opens with an explosion of silver in the form of David Altmejd’s large-scale sculpture, The Eye. Capturing the force of an atomic blast, the structure appears to simultaneously collapse inward and expand outward, cracking and shattering under the pressure. A dizzying array of mirrored staircases, obelisks, and rods pierce the surface of a mirrored base.
An explosion is an apt metaphor for TWO x TWO, the art auction that has forever altered the contemporary art landscape of Dallas and beyond. Started in 1999 by famed art collectors Cindy and Howard Rachofsky, TWO x TWO has somewhat humble origins for an event of its magnitude. The couple, longtime supporters of the Dallas Museum of Art, had completed their 10,000-squarefoot, Richard Meier–designed home in Preston Hollow in 1996 and were looking for a more purposeful use for their home beyond simply entertaining guests. Enter close friend and fellow Dallasbased art collector Deedie Rose, who had an existing connection to the nonprofit amfAR, the Foundation for AIDS Research. The organization had previously held a fundraiser in Dallas and was looking to strengthen its relationship with the city.
Approximately six weeks later, the first TWO x TWO auction was held, raising a significant sum to be split evenly between the DMA and amfAR. The event was repeated the following year, in 2000, with actress Sharon Stone serving as auctioneer and emcee, and artist Robert Rauschenberg awarded the first annual amfAR Award of Excellence for Artistic Contributions to the Fight Against
Tala Madani, The Womb, 2019, single-channel color animation, runtime: 3 minutes 27 seconds. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
Installation view of A Product of Time: 25 Years of TWO x TWO for AIDS and Art at The Warehouse, Dallas. Lynda Benglis, Odalisque (Hey, Hey Frankenthaler), 1969. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund; Sadamasa Motonaga, Work, No. 1, 1962. The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund; Shozo Shimamoto, Untitled – Whirlpool, 1965. The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund; Jackie Tileston, Things the wet nurse told me, 2003. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund; Minjung Kim, Sculpture, 2019. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
Installation view of A Product of Time: 25 Years of TWO x TWO for AIDS and Art at The Warehouse, Dallas. Matthew Barney, The Cloud Club, 2002. Dallas Museum of Art, Contemporary Art Fund: Gift of Arlene and John Dayton; Mr. and Mrs. Vernon E. Faulconer; Mr. and Mrs. Bryant M. Hanley Jr.; Marguerite and Robert K. Hoffman; Cindy and Howard Rachofsky; Deedie and Rusty Rose; Gayle and Paul Stoffel; three anonymous donors; TWO x TWO for AIDS and Art Fund; and Roberta Coke Camp Fund; Mamma Andersson, Gone for Good, 2006. Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund and gift of The Rachofsky Collection; Jonas Wood, Robin and Ptolemy, 2013. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund; Charles Ray, The New Beetle, 2006. The Rachofsky Collection, Collection of Deedie and Rusty Rose, and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund; Hugh Hayden, Daddy Says , 2021. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
Jim Hodges, and still this, 2005–2008 (detail), 23.5k and 24k gold with Beva adhesive on gessoed linen, overall: 89 x 200 x 185 in. Dallas Museum of Art, gift of The Rachofsky Collection and purchase through the TWO x TWO for AIDS and Art Fund.
Gabriel Orozco, Untitled (OROXXO), L5-P01, 2017 (detail), package of 75 entities, dimensions variable. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
Installation view of A Product of Time: 25 Years of TWO x TWO for AIDS and Art at The Warehouse, Dallas. Philip-Lorca diCorcia, Hartford, 1979. Dallas Museum for Art, TWO x TWO for AIDS and Art Fund; Gregory Crewdson, Untitled, 2001–2002. The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund; Michaël Borremans, The Devil’s Dress, 2011. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
Installation view of A Product of Time: 25 Years of TWO x TWO for AIDS and Art at The Warehouse, Dallas. Genevieve Howard, Mouvement De Menuet necklace, 2015. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund for Wearable Art and gift of Deedie Rose; Katie Collins, At night I would think of all that happened during the day (crane) necklace, 2017. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund for Wearable Art and gift of Deedie Rose; Louise Campbell, Veryround chair, designed 2006. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund; Alia Ahmad, From A Dream–Min Al Helim, 2022. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund; Ed Clark, Intarsia, 1970. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
AIDS. Following its repeat success, TWO x TWO clearly had the momentum to keep growing.
“We never in a million years imagined we’d be doing this for two and a half decades after the beginning, nor did we imagine we were going to be raising the kinds of dollars we’ve been able to raise,” Howard Rachofsky explains. “I would have to give Cindy all the credit for making this the art event to go to in Dallas; her mandate early on was if we’re going to keep doing this thing it’s going to have to be an extraordinary event.”
But all good things must come to an end, and so this October will mark the final iteration of TWO x TWO, which has, to date, raised a total of $120 million for amfAR and the DMA, and added 350 works of contemporary art to the museum’s permanent collection. To celebrate the occasion, the Rachofskys’ private exhibition space, The Warehouse, is hosting A Product of Time: 25 Years of TWO x TWO for AIDS and Art, culled from the museum’s collection of pieces purchased with TWO x TWO funds.
Curated by the DMA’s contemporary curatorial roster of
Katherine
of Contemporary Art; Vivian Li, Lupe Murchison Curator of Contemporary Art; and Ade Omotosho, Nancy and Tim Hanley Assistant Curator of Contemporary Art, the exhibition showcases the breadth of works—including strong holdings of postwar German art and Japanese Gutai—that the museum has been able to collect with auction earnings. It’s an opportunity not afforded to many museum curators, who are often hamstrung by the mechanics of wooing potential donors to generate funds, many of which are attached to short purse strings.
“TWO x TWO has provided the curators resources to come up with interesting ideas,” says Rachofsky. “Most museums don’t have deep pockets, and TWO x TWO has given these curators the opportunity to be imaginative and creative and to know that if they see something at a fair or a gallery that would be beneficial to the collection, they can acquire it. They can focus on the art and not on the finances.”
A Product of Time developed organically, with Brodbeck, Li,
Anna
Brodbeck, Hoffman Family Senior Curator
Clockwise from top left: Ugo Rondinone, frail foggy fairytale, 2009, wood, fittings, and varnish, 111.75 x 100.75 x 5.13 in. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund; Ian Cheng, BOB (Bag of Beliefs), 2018–2019, artificial life-form, dimensions variable, infinite duration. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund; Installation view of A Product of Time: 25 Years of TWO x TWO for AIDS and Art at The Warehouse, Dallas. Jonas Wood, Robin and Ptolemy, 2013. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund. Charles Ray, The New Beetle, 2006. The Rachofsky Collection, Collection of Deedie and Rusty Rose, and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund; Simon Starling, Venus Mirror (8/6/08, Copenhagen), 2011, mirror, diameter: 51 in., depth: .50 in. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund.
and Omotosho each identifying works of interest that gave way to natural groupings according to process and subject matter. Each section also includes the work of an artist who has had a solo exhibition at the DMA, emphasizing the role TWO x TWO has played in turning the museum into a driving force for the creation and collection of contemporary art.
“Seeing A Product of Time is a remarkable experience for all of us, whether you have been part of TWO x TWO for the long haul, or if you are a new viewer of contemporary art,” says TWO x TWO executive director Melissa Ireland. “The impact of TWO x TWO has been profound, undoubtedly, but to see in person this collection of works that were thoughtfully assembled over a 25-year period is a wonderfully tangible reminder that through philanthropy and goodwill we have the opportunity for real agency, not just to inspire, but to facilitate growth and even transform institutions.”
As with any permanent collection, the works accessioned with these funds are reflective of art world trends, significant moments and artists, and the interests of the various curatorial teams over the past 25 years, but also the museum’s increasing focus on telling lesser-known contemporary art narratives. For example, Omotosho cites the fund as being crucial to the museum’s holding of significant works by Black abstractionists like Frank Bowling and Ed Clark, both of whom have paintings in the show. “Much of the work of a museum is to tell this kind of march through history using the objects you have in the collection,” he explains, “but it’s very hard to have an inclusive display if you’re missing key works by Black artists who were active at the same time as others. TWO x TWO has allowed us to tell a more robust story of the history of art.”
States Li, “That’s the great thing about a permanent collection. It’s built by many people, many interests, new research, new scholarship. It evolves, and it’s always changing. Twenty-five years is a long time!” This sentiment is echoed by the exhibition’s pairing
of Shozo Shimamoto’s poured-enamel painting and Lynda Benglis’s poured-latex floor piece, both of which were made close to the same time but in very different contexts. Says Li, “The artists had different intentions, but the works dialogue so well. We sometimes joke that if we had to save only one work from a fire, it must be the Shimomoto. It’s a standout in any collection.”
Another goal of the exhibition was to showcase objects, like Altmejd’s sculpture, that are delicate, labor-intensive, or require a significant amount of technology—all of which the TWO x TWO fund covers in addition to the work itself.
One such piece is Ian Cheng’s BOB (Bag of Beliefs), which was acquired in 2019 and is a personal favorite of Brodbeck’s: “BOB is essentially a piece of AI. He’s a creature who lives in a closed environment that you interact with via an app. BOB has editions in different institutions, so some of us came together to form a ‘network of care’ so we can work collaboratively on maintenance. This piece is a great example of how we’ve been able to acquire works that we otherwise wouldn’t have been able to add to the collection. TWO x TWO has allowed us to have an ambitious collecting program.”
Adds Li, “There is a distinct ‘before and after’ TWO x TWO in the contemporary collection. It transformed the collection into something very formidable.”
Without TWO x TWO, it remains to be seen how the DMA will continue its collecting strategy, but all three curators and Rachofsky are positive about the future of the museum and the city’s role as a contemporary arts destination.
Remarks Rachfosky, “It’s a bittersweet moment, but this is it. It’s time to move on. TWO x TWO helped break down the barrier for enjoying contemporary art, and now there are many talented and bright younger people who can find a way. It’s time for them to embark on their own adventures.” P
Hitoshi Nomura, Dryice, 1970 (printed 2011), twenty-four photographs, 35.75 x 26.25 in. each.
The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund.
At its best, a university campus is a nexus for knowledge, art, and discourse. With Phase I of the Edith and Peter O’Donnell Jr. Athenaeum, Arts and Performance Complex at the University of Texas at Dallas now open, concentric rings are beginning to ripple from the North Dallas campus into the greater community. In addition to this second location for the Crow Museum of Asian Art and a satellite space for the Dallas Museum of Art, the 12-acre site will ultimately include a performance and music hall, built during Phase II of its development, followed by the Phase III construction of a museum dedicated to the arts of Latin America. This cultural district will eventually include an art plaza, forming the connective tissue between the three buildings, the university, and the larger North Texas community.
UT Dallas came into existence in 1961 to train local engineering talent for Texas Instruments, which was founded by Cecil H. Green, J. Erik Jonsson, Eugene McDermott, and Patrick E. Haggerty. This quartet and their families have left a profound mark on the university as well as the Dallas Museum of Art, where each has donated generously. Dr. Michael Thomas, director of the Edith O’Donnell Institute of Art History, will serve as the curator of the UT Dallas and Dallas Museum of Art exhibition partnership. From Texas to the World, the inaugural exhibition, presents works from the DMA’s collection that came as bequests from these first families as well as through the vision of the late Dr. Richard Brettell and Dr. Bonnie Pitman. Both served as DMA directors prior to their academic stints at the university.
When Phase I opened in September, it became the first major art museum north of LBJ Freeway. As the Crow Museum expands into nearly 70,000 square feet, its staff anticipates the possibilities within its
thoughtfully conceived galleries, sculpture garden, conservation studio, and object-study room. It will now also be the fourth largest Asian art museum in the country. Additionally, its northward expansion is strengthening its partnership with the university’s Center for Asian Studies. Phase I also houses the Richard R. Brettell Reading Room.
Making the Athenaeum a welcoming place for local residents, particularly the area’s large Asian community, is of paramount importance. Amy Hofland, senior director of the Crow Museum, looks forward to the museum being an educational resource for the surrounding area. “It will transform our K-12 tour program. This will allow us to provide multiple visit experiences, which will be really important to the school districts, giving students more meaningful, relevant, repeated, and varied experiences with works of art,” she says.
Its first exhibition, Ancient Echoes, Modern Voices: The Crow Goes Beyond, includes traditional works in jade, ceramics, and textiles. But the curators are also boldly mixing the contemporary with the
Rock crystal sphere, 19th century, rock crystal, silvered and gilded mount. Japanese, Meiji era (1868–1912). Crow Museum of Asian Art.
ancient. The Jade gallery, for example, is wrapped in a multi-panel work by the Hong Kong–born artist Lam Tung Pang. According to Crow curator, Dr. Natalia Di Pietrantonio, “Lam Tung Pang’s monochromatic mountainscape is an ode to shan shui forms of Chinese brush-and-ink paintings. While his semiotic model is classical Chinese painting, Lam’s technique and choice of plywood are inventive.”
Similarly, Di Pierantonio is featuring the work of Chinese-born, British-based sculptor Xie Rong, also known as Echo Morgan. Xie’s exploration of the complexities in balancing her Eastern culture with her life in the West embodies the melding of cultures.
Considering the STEM focus of UT Dallas, it is fitting that the museum now has the capacity to present new media. The Digital Athenaeum incorporates technology to chart new artistic paths. The first installation, Kinmakers: Hidden Songs in our Mother’s Dream, is curated by Dr. Laura Hyunjhee Kim, an assistant professor of visual and performing arts at the university, and her artistic partner Surabhi Saraf, a New York–based multimedia artist.
In 2019 the Crow family donated their collection to the university, along with a financial gift to support it. This opened the door for transformational growth. The recent gift of the Montgomery Collection, for example, substantially increases the museum’s holdings of Japanese ceramics. According to Hofland, other acquisitions are in the works.
Hofland credits Brettell with seeding the idea of the Latin American museum. With the Boeckman and Horchow families’ donations of their important collections of folk art, this endeavor is well underway.
The structures of the Athenaeum came into focus through the vision of Los Angeles–based Morphosis Architects. “I feel like the architects really listened to us around visibility and accessibility,” says Hofland. The architectural team drew inspiration from the glass-wrapped galleries of the Crow’s Dallas Arts District home, allowing them to conjure the possibilities of an art space infused with natural light.
“We started designing this from the inside out,” explains Arne
Dari Rulai, 15th–16th-century, bronze, gilding, pigment. Chinese, Ming dynasty (1368–1644). Crow Museum of Asian Art.
Emerson, Morphosis partner and the design partner leading the project. A light well in the galleries, for example, provides a soft indirect glow while creating a moment for visitors crossing the threshold into the Asian galleries. Making the galleries as flexible as possible, those with natural light are also equipped with retractable blackout shades to shield light-sensitive objects.
The Crow also tasked Morphosis with the installation design. “It was really special for us to be able to get down to the granular level, to think about how these objects are displayed,” says Emerson. It made their team think about scale and space in a new way.
The interior and exterior walls are an intentional
Be the Inside of the Vase, 2012, documentation of performance; photograph and video by Jamie Baker. Echo Morgan (Xie Rong), Chinese, born 1983; lives and works in the UK and China. Jamie Baker, British, born 1972; lives and works in the UK and China. Photograph and video courtesy of the artists.
Vase with cranes and flowers, 19th century, iron with gold, silver, shakudo, and shibuichi inlay. Japanese, Meiji period (1868–1912).
Crow Museum of Asian Art.
Three friends of winter (pine, bamboo, and prunus), 19th century, jadeite. Chinese, Qing dynasty (1644–1911).
Crow Museum of Asian Art.
COMPACT SUPERPOWER
ECONOMIC MIGHT OF THE DUTCH 17TH CENTURY ON VIEW AT THE KIMBELL ART MUSEUM
BY NANCY COHEN ISRAEL
That a small nation straddling water and land on the edge of Western Europe could become a global economic superpower is as improbable as it is remarkable. With merchant ships crisscrossing the oceans, the Netherlands in the 17th century enjoyed enormous wealth. That it did so as a republic is even more remarkable. Dutch Art in a Global Age: Masterpieces from the Museum of Fine Arts, Boston, opening at the Kimbell Art Museum in November, presents a dazzling array of paintings, objects, and works on paper. Much of it was made for the open market of a growing middle class in a country that was suddenly awash in imported luxury. “The idea was to look at Dutch art with a new point of view, as evidenced or influenced by this phenomenon of the Dutch Republic being the most international, cosmopolitan place in the world in the 17th century,” says Dr. George Shackelford, deputy director of the Kimbell.
The exhibition was conceived and organized by the Museum of Fine Arts Boston Center for Netherlandish Art (CNA), which came into being as part of an extraordinary bequest by Boston collectors Rose-Marie and Eijk van Otterloo and Susan and Matthew Weatherbie. “Our mission is to promote the appreciation and study of Dutch and Flemish art in Boston and beyond. One of the ways that we are excited to do this is to share works from the collection, as in this exhibition,
Above: Adriaen van Hoecke (Dutch, 1659–1716), Dutch (The Hague), Layette Basket, 1666–67, silver, 28.37 x 16.56 x 5.06 in. John H. and Ernestine A. Payne Fund. Museum of Fine Arts, Boston. Right: Pair of Torah finials, Dutch (Rotterdam), 1649, silver, parcel gilt, 16.75 in. Museum purchase with funds donated by Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, Museum of Fine Arts, Boston.
Rembrandt, Harmensz. van Rijn, Portrait of Aeltje Uylenburgh, 1632, oil on panel, 29 x 21.93 in. Promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, Museum of Fine Arts, Boston.
and to engage audiences beyond our local communities,” explains Dr. Christopher Atkins, the CNA’s Van Otterloo-Weatherbie Director. In November, the Kimbell will host a symposium, moderated by Shackelford, with the collectors and scholars.
Dr. Antien Knaap, assistant curator at the MFA as well as the exhibition’s curator, developed the theme of Dutch economic prowess inspiring its contemporary art. This narrative helps breathe new life into often overlooked works. “We used still lifes as a starting point for examining the impact of global trade and travel on Dutch art and society. For example, at first glance, Willem Claesz. Heda’s Still Life with Glasses and Tobacco appears to be an arrangement of domestic goods. A closer look reveals that most items are imports from faraway places. Lemons and olives came from Southern Europe, and the piece of paper contains tobacco from the Americas. The tazza, or drinking vessel, on its side is made of silver imported from South America,” she says, adding, “The exhibition also wishes to acknowledge that many of these products for European consumption were grown on plantations in the Americas heavily reliant on slave labor.”
As new commodities such as tea and sugar poured into Europe, industries devoted to creating objects for their storage and consumption blossomed. One particularly striking example of how artisans translated these raw materials into luxury objects can be seen in the silver Layette Basket by Adriaen van Hoecke.
Commodities from South and Central America, brought by the
Willem Claesz. Heda, Still Life with Glasses and Tobacco, 1633, oil on panel, 20 x 29.75 in. Gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, Museum of Fine Arts, Boston.
Frans Hals, Portrait of a woman, probably Cunera van Baersdorp, 1627–8, oil on canvas, 45.9 x 36 in. Susan and Matthew Weatherbie Collection, Museum of Fine Arts, Boston.
Jan van Huysum, Flowers in a Terracotta Vase, 1730, oil on panel, 31 x 24 in. Promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, Museum of Fine Arts, Boston
Pieter Jansz. Saenredam, Interior of the Buurkerk, Utrecht, 1645, oil on panel, 22.87 x 20 in. Kimbell Art Museum.
Rembrandt van Rijn, Bust of a Young Jew, 1663, oil on canvas. Kimbell Art Museum.
Gerrit Dou, Dog at Rest, 1650, oil on panel, 6 x 8 in. Promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, Museum of Fine Arts, Boston.
Dutch West India Company, were balanced by those coming from Asia via the Dutch East India Company. Shackelford enumerates their origins, including South Sea pearls and shells, Chinese and Japanese ceramics, as well as Indian silks and spices.
A uniquely Dutch tolerance at home benefited groups that were marginalized elsewhere. A section devoted to religious freedom features sumptuously crafted Torah finials belonging to a Jewish community that could live in peace and thrive within the larger society. Works from the Kimbell’s own collection are layered into the exhibition to create additional context. Among them are Rembrandt van Rijn’s painting, Bust of a Young Jew and Interior of the Buurkerk, Utrecht by Pieter Jansz. Saenredam. The latter celebrates the pristine, whitewashed walls of a Protestant church at a time when this religious group faced persecution in other parts of Europe.
And with an autonomy unknown elsewhere in Europe, Dutch women could start businesses and control their own money. This kind of empowerment is reflected in the era’s depictions of them, as seen in Rembrandt’s Portrait of Aeltje Uylenburgh, which portrays
an expensively dressed matron of means. Furthermore, as Knaap observes, “Portraitists also captured the personality of the sitter through facial expressions and vivid brushwork, as in Frans Hals’ Portrait of a Woman.”
In spite of this global reach, the art-buying public also focused on the local and contemporary. To that end, the exhibition includes maritime scenes and landscapes vistas. A gallery devoted to genre scenes reveals urban comfort as well as domestic revelry. “We hope that visitors will appreciate the lifelikeness and realism of the paintings in the exhibition. Dutch artists were masters at differentiating texture, whether it was capturing the shininess of Gerard ter Borch’s silk fabrics, the soft fur of animals by Gerrit Dou, or the veins of flowers and leaves of Rachel Ruysch,” states Knaap.
“What I think is really great about the exhibition is that there is a real narrative and through line that is told by beautiful works of art. I think that is part of what is special about it,” Atkins concludes. P
Gerard ter Borch, The Card Players, about 1659, oil on canvas, 18.75 x 14.5 in. Promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, Museum of Fine Arts, Boston.
A LIVING SCULPTURE
A 1990s home designed by New York–based architect Steven Holl. An addition added three decades after was designed by Dallas architect Max Levy. Photograph by Charles Davis Smith.
A HOME DESIGNED BY ARCHITECTURAL LEGENDS, WITH INTERIORS BY EMILY SUMMERS, BRIMS WITH A THOUGHT-PROVOKING ART COLLECTION.
BY ROB BRINKLEY
“Everything.”
Selwyn Rayzor is reflecting on what drew her to her wildly unconventional house in the woods, in a Dallas neighborhood peppered with Mediterraneans, Georgians, and the occasional Tudor.
Rayzor’s house is none of that. The business and banking executive and her family live in a work of art — a composition by two contemporary architects, one international and one regional. Rayzor’s house comes in two parts: the original, a 1990s work by New York–based Steven Holl; and an addition, nearly 30 years later, by Dallas-based Max Levy. The revered Holl was inspired by the sloping lot and the creek that cuts through it, with multiple spillways. He designed the house as a series of four concrete-block rectangles, spaced apart, mimicking dams, over which leap multiple roofs of fluid, curvy metal, mimicking water. The thoughtful Levy had the brilliance to stay out of the way of the landmark house—architecture
The natural surroundings and Steven Holl’s architecture is reflected in Ai Weiwei, Bubble, 2008. Drapery by Holly Hunt. Photograph by Eric Piasecki.
The clean-lined living room features a Viccarbe Step sofa through Scott + Cooner, Glas Italia coffee tables, custom carpet by Emily Summers, and a Desirée Dolren photograph above the fireplace. Photograph by Eric Piasecki.
Another view of the living room with Adam Ball’s compressed paper cut-out painting, a technique for which he is known. Custom Beauvais rug in shades of blue and white. Photograph by Robert Tsai.
Japanese floral artist Azuma Makoto’s suspended bonsai tree. Photograph by John Smith.
buffs make pilgrimages to see it—when Rayzor asked him to expand it to better suit a family. (It was originally commissioned by an art-collecting couple.) Levy devised an entirely separate structure of concrete, aluminum, and glass, low in profile, and with three bedrooms, gently connecting it to Holl’s structure with an 80foot, glass-walled gallery. The two parts work in perfect, peaceful harmony, keeping a respectful boundary.
But it was in the home’s furnishings where Rayzor, and her husband Richard Moses, wanted to cross some lines. Enter Emily Summers, recommended by Levy, a longtime collaborator of Summers’, and Rayzor’s good friend Catherine Rose, who had also worked with the Dallas designer. Says Rayzor: “They felt she was the only one who could create an interior that would respect the architecture but maintain her own originality.” After all, says Rayzor, a wife and mom of two, “We wanted it to look like a home, not a museum.”
While the Levy addition was being built, Summers and her team set to work refreshing the interior of the original structure, with an eye on unifying the two parts once the whole composition was complete. Summers was already “a huge fan” of Holl’s, having explored his addition to the Nelson-Atkins Museum of Art in Kansas City, Missouri, and his Museum of Contemporary Art Kiasma in Helsinki, Finland. Rayzor is a fan, too, and can see parallels between her own home and a building Holl designed 30 years later for The Museum of Fine Arts, Houston, an addition known as the Nancy and Rich Kinder Building. “The overlapping spaces and the use of light,” she says, permeate the two. “Both are very rhythmic in their design.”
It’s not easy furnishing a work of art that also happens to be a home for humans. Summers and one of her firm’s associates on the project, Chris Angelle, thought a lot about that. “The house does not allow clutter,” Summers says. Angelle felt it, too: “There is so much linear architecture—so many long walls—that the house doesn’t have all the gathering spaces that a typical house does. There is so much architecture, in fact, that you don’t need a lot of furniture.” Holl had met some of the needs of daily living by designing furniture right into the structure itself, as built-in desks, benches, bookcases, and cabinets. But now was the chance to inject more color and more comfort into the home. In came plump sofas and plush armchairs mixed with cerebral modern classics—leggy wooden chairs by Gio Ponti and steel-and-leather sling chairs by William Katavolos, Ross Littell, and Douglas Kelley. For several pieces, Summers and Angelle took cues from the house itself. A Viccarbe sofa in the living room has a deep notch in its back that echoes the shape of the window beyond it. The curves of the Emmemobili oval table in the dining room are a nod to the arc of
Above: A blue and green painting by Shinpei Kusanagi, known for the translucent colors in his work, hangs above a KGBL console crafted in New York City. Photograph by John Smith. Below: A corridor view shows the way natural light streams throughout the home. Photograph by Robert Tsai.
the ceiling above it. Rugs were designed with woven-in patterns that directly reference the dappled light and tree shadows that come visiting through the windows. “The complex design of the house required very specific pieces,” Summers says, but some fun was had, too.
And then there is the art—Rayzor’s gripping, truth-seeking art. “The collection is a reflection of our lived experiences,” she says, “and my attempt to understand the meaning of life.” The works are by a global cast of artists, many also activists. “I am drawn to works that have a philosophical meaning that is relevant to me,” says the collector. “And it is important to me to support female artists and artists pushing for social change.” The house is positively alive with thought-provoking pieces by Nadya Tolokonnikova, the Russian conceptual artist, musician and founding member of the feminist group Pussy Riot; Tracey Emin, the multidisciplinary British artist known for her confessional, biographical work; Annette Lawrence, the American artist whose work transforms raw data into drawings, objects, and installations; and Desirée Dolron, the Dutch photographer and filmmaker who investigates themes such as the passing of time,
the relation between finite and transcendent, and the complexity and impermanence of the human condition. Men with work in the collection include the Chinese artist and documentarian Ai Weiwei; the Uruguay-born Marco Maggi; the London artist Adam Ball; the Dutch-Brazilian artist Rafaël Rozendaal; and American artist Johnny Floyd, who examines the sustainability of Blackness in the US. One unforgettable piece, by Japanese artist Azuma Makoto, hanging from the ceiling in a room all its own, is a bonsai tree suspended from a metal frame that has been taken into the stratosphere by a giant helium balloon and returned to Earth. “I wanted to see the movement and beauty of plants and flowers suspended in space,” Makoto has said. “Flowers aren’t just beautiful to show on tables.”
Here Rayzor has the home for showing any idea and feeling explored by an artist. “The house naturally creates spaces for art to work in combination with each other and with the design of the house,” she says. She loves placing works together by theme, or perhaps by any relationships between the artists. “But I try to respect the art and the architecture by not crowding every space,” she says. “The entire composition is important to me.” P
Helen Frankenthaler,
An Ozone Light fixture is installed above an Emmemobili dining table with Gratz Industries chairs and a rug from Holland & Sherry beneath. Johnny Floyd’s Swim at Dusk, 2022, adds vibrancy to the subdued blue wall. Photograph by John Smith.
Annette Lawrence, Phoenix, 1996, tallies the attacks on churches and synagogues in the mid-1990s. Margaret Meehan’s I’ll Fly Away, 2021, roosts on a pedestal. A Tai Ping rug adds comfort beneath. Photograph by John Smith.
Erick Swenson’s Séance, 2019–2023, an acrylic on resin and porcelain sculpture, offers a daring entrance to the library. Photographs by Maxine Helfman hang on the right. Photograph by John Smith.
AN ARTFUL LIFE
A NEW MOTHER, A NEW HOME, A GALLERY REFRESH; HANNAH FAGADAU IS AN INSPIRATION TO THE CONTEMPORARY MINDED.
BY LEE CULLUM PHOTOGRAPHS BY JOHN SMITH
Sean Cairns, Creek Poetry, 2024.
Carrie Rudd, On Ep. 2 of EDGING!! Island, 2023, anchors the living room. Conner O’Leary, LA Apartment, 2023, hangs to the right.
Hannah Fagadau pictured with Theodora Allen, Shooting Star IV, 2022 on the left, and Amy Bessone, I Dream of Jean, 2022 on the right.
Ipull up to Hannah Fagadau’s sleek and confidently contemporary house to find a wheelbarrow in front with plant materials scattered all about, clearly part of a promising project that she explains when she comes to the door. She and her husband, Matt Kaye, are putting in a new patio with a swing and other accoutrements designed to appeal to their new baby boy and first child, seven-month-old Benjamin who, it would seem, is already living a charmed life.
Benjamin is having a quiet afternoon upstairs with his nanny while Hannah and I sit down at the dining table to talk about her home and 12.26, the art gallery she owns with her sister, Hilary. Two art galleries really—there’s another in Los Angeles, launched by Hilary. The name is their shared birthday, two years apart.
In LA, 12.26 is in a smaller, project space, which means that shows can run longer there with more experimental work. “There
is no high concentration of galleries in LA,” Hannah explains. It’s “spread out; there’s no neighborhood you have to be [and] there’s plenty of space to be had. You can take risks.”
You could say Hannah took a risk when she left her job in development at Dallas Contemporary to go from a nonprofit art museum into the business of art—but not really. Her mother, Pat Fagadau, is a collector, and her grandmother, Jeanne Fagadau, led the way as a successful dealer in fine prints. “There was not a museum show she didn’t drag us into” in New York, Hannah recalls.
The sisters also saw lots of plays with their grandmother, inspiring Hannah to major in theater at NYU with a minor in art history, then study arts administration in graduate school at Columbia. When the call came from her sister in LA, Hannah was ready to become a gallerist. And she didn’t have to live against the
Conner O’Leary, LA Apartment, 2023, hangs to the left while J.A Feng, Thorny Flora, 2023, adds interest to the media room on the right.
grain to do it. The sisters’ father, Tom Fagadau, also collects and remains active in the art community. While some who aspire to a life in the arts must contend with apprehension and disbelief from their family, she and Hilary had the full force of their culture behind them.
Now they work with an all-female team and show as many women artists as they can, though Hannah says they work with a “handful of amazing male artists.” The Dallas gallery just completed renovations, trimming an “awkward rectangle, hard to photograph,” into a more congenial square, using what’s left for storage.
Many works by artists they represent at the gallery make their way into Hannah and Matt’s home. A painting by Sean Cairns greets me in the entrance hall. A member of the installation group at the Dallas Museum of Art, he understands the uses of color as well as sand to give his work texture and additional layers of life. Along with Cairns, Hannah represents numerous artists now working in Dallas and, of course, LA, plus “a ton from the UK,” she says. “There’s great art coming out of London,” she notes—partly because “there are great art schools in London.”
As I glance around the open, airy spaces in Hannah’s house, (she worked
Above: Aglaé Bassens, Entre Chien et Loup, 2021. Far right: Fernanda Mello, Earth Constellations (Marfa 2), 2022.
Julia Haft-Candell, Torus and Arch: Orange, Violet, 2020, ceramic work sits on the console. Above hangs Claire Colette’s painting After the Flood, 2023.
with designer Jennifer Littke of Set Studio), a surrealist painting leaps off the wall at me. By Conner O’Leary, this eerie interior with a wrench at the bottom of the canvas is so convincing as art that it’s hard to believe he only attended art school for one year. His work is featured in the exhibition Long Live Surrealism! 1924–Today in the Dream Imagery section at the Blanton Museum of Art, University of Texas at Austin. In that show O’Leary is keeping company with masters such as Salvador Dalí, Max Ernst and Man Ray. And at 12.26 in LA, his solo exhibition Now Revealed is currently showing. Each area of the home offers a stunning vignette with art as its focal point. A salon-style hang ascending the stairs is dominated, it seems to me, by a small, though impactful, work of three cannon muzzles—austere, gunmetal-gray front ends of the barrels—ready to be fired and do their worst. Hannah points out a tongue in one of them, a gesture typical of the New York artist Emily Furr, demonstrating, perhaps, the short leap from sexuality to aggression. There’s also a painting by Dallas artist Michelle Rawlings, as well
as one by Marjorie Norman Schwarz, whom Hannah represents. A larger, seminal piece by Schwarz hangs in the primary bedroom.
On that same active wall hangs a work on paper by Los Angelesbased Theodora Allen, a gift from the artist. It’s easy to miss her quiet piece, almost all white space but surrounding a tiny depiction of—what? I look closely, and Stonehenge comes to mind, that Neolithic foretelling of its own singularity. Hannah so admires Allen that she and her husband gave each other a large vertical painting of hers called Shooting Star IV. Sprung from Allen’s own Blue Period—may it go on forever—this is an elegant work of high drama with white swirls, an infinity symbol embedded in one of
them, that seem to announce the beginning of the world.
Matt Kaye emerges briefly from his home office and returns just as quickly to the remains of the day. I ask Hannah if she too has an office at home and if so, where it might be; I’d like to see it. But no,
“I don’t like working from home,” she makes clear. She wants to “keep work and life separate.” Life intrudes itself into our meeting, however, when Benjamin announces that he’s ready for action, or, at the very least, food.
It’s time to go. I make my way past the painting by Sean Cairns, past the wheelbarrow, and back to the world that Hannah and her sister are seeking to enlighten with art. P
From left to right: Julia Maiuri, Marlon Kroll, Claudia Keep, Emily Furr, Austin Eddy, Theodora Allen, Hanna Hur, Cary Leibowitz, Marjorie Norman Schwarz, David Gilbert, Keer Tanchak, Michelle Rawlings, and Hasani Sahlehe; Rebecca Manson’s work on paper The Back Patio, 2020, enchants in the baby’s room; Marjorie Norman Schwarz, Untitled, 2021, enjoys pride of place in the primary bedroom.
MIAMI ADVICE
Art advisor Adam Green shares insights on the best way to experience Art Basel Miami Beach and the vigorous programming surrounding it.
INTERVIEW
BY TERRI PROVENCAL
There is nothing quite like the beaches of Miami to attract art lovers to the vast and rich programming for the partaking from December 2 to 8. A siren song draws an international crowd to the headliner, Art Basel Miami Beach, while smaller fairs, stimulating museums exhibitions, artist and curator talks, and private art institutions enrich the week with flavor and diversity.
Adam Green, of his eponymous art advisory firm and a trustee of the Green Family Art Foundation, shares what not to miss during a week chock-full of manifold options.
Patron (P): In December Miami transforms into the hub of the art world, when art dealers, collectors, curators, enthusiasts, and artists descend on the city. Why does Art Basel Miami Beach hold so much significance in the art world?
Adam Green (AG): Art Basel’s roots trace back to its founding in Basel, Switzerland, in 1970, but its Miami Beach edition, launched in 2002, has grown into the most important art fair in the United States. The caliber of exhibiting galleries and the high-quality artworks on display attract top collectors, curators, and art professionals from around the globe. I often compare it to the Super Bowl—it’s not just the main event, but the countless dinners, exhibitions, and exclusive events that make the entire week so special.
P: In your role as an art advisor, how do you prepare your clients? Do you have
specific goals in place before heading to Miami?
AG: In the weeks leading up to Art Basel Miami Beach, I receive hundreds of PDF previews from the exhibiting galleries, showcasing the artworks they will have for sale at the fair. Galleries typically share these previews with their regular clients rather than the general public, giving us an exclusive look at what’s to come. I review these previews with each of my clients to identify the artworks we want to target for acquisition, focusing on artists they’re actively collecting or are on their wish lists, as well as discovering new, exceptional works we hadn’t considered.
For artworks we’re interested in, we often aim to acquire them ahead of the fair. Some galleries will allocate works to us in advance, while others may wait to gauge broader interest and make final decisions closer to or during the fair itself. Beyond the buying opportunities, the most significant aspect of the fair is the chance to view an incredible range of art in person—likely the most my clients and I will see in a single day all year. This is especially important when encountering an artist’s work for the first time. Even if a piece is already sold, seeing it in person allows my clients to appreciate its physical qualities—such as color, texture, and brushstrokes—that can be difficult to fully capture in digital images. This experience becomes invaluable when evaluating future acquisitions, where we
Art Basel Miami Beach, 2023 edition. Courtesy of Art Basel.
Adam Green. Photograph by Victoria Gomez.
may need to rely solely on digital representations.
Additionally, the fair offers my clients invaluable face time with gallery owners and directors. I take my clients around the fair to meet with gallery representatives, either because we’ve already acquired works from them or to build relationships for future opportunities. For highly sought-after artists, developing strong, inperson connections with galleries can be the key to securing priority when new works become available.
P: How do you navigate Art Basel Miami Beach, which has some-283 exhibitors and six sectors?
AG: Navigating the Miami Beach Convention Center can be overwhelming due to its size and the number of galleries, so having a strategic plan is essential. I always start by addressing any timesensitive priorities, such as artworks my clients have on reserve. We make sure to visit these booths first to finalize decisions. After that, I rely on a detailed floorplan of the venue, which I study in the weeks leading up to the fair. I map out the galleries my clients should visit based on their specific collecting interests, ensuring that we have a clear plan in place before we even arrive. This preparation allows us to maximize our time at the fair, efficiently seeing the most relevant
works and making the best use of our day.
That said, while a structured plan is critical, some of the best discoveries happen when we leave room for spontaneity. As we move from one gallery to the next, we often come across booths we hadn’t planned to visit, which can lead to unexpected and exciting finds. I also set aside time to walk the fair on my own, reconnecting with gallery contacts and experiencing the art at a slower pace.
What’s truly special about Art Basel Miami Beach is that it feels like the entire art world comes together under one roof. Walking from booth to booth, I run into collectors, curators, and gallery owners I’ve worked with in the past. It’s a wonderful community, and the fair provides a rare opportunity for these chance encounters, which add to the unique, vibrant atmosphere of the event.
P: How can readers gain access to the VIP preview days on December 4 and 5?
AG: Exhibiting galleries receive a limited number of VIP tickets, which they allocate to their top clients. Additionally, the fair itself distributes VIP tickets to select individuals. As an art advisor, I assist my clients in securing VIP access, either directly through the fair or by reaching out to galleries with whom my clients have a strong purchasing history. For readers interested in obtaining VIP
Above: Osgemeos installation view in the Kabinett sector at Lehmann Maupin’s booth, Art Basel Miami Beach, 2023. Courtesy of Art Basel. Below: Lucy Bull, 3:13, 2023, oil on linen. diptych, overall: 54 x 192 x 1.25 in. Photograph by Elon Schoenholz. Courtesy of David Kordansky Gallery, Los Angeles.
tickets, I recommend contacting the gallery you have the closest relationship with and requesting tickets from them. If that’s not an option, general admission tickets for the non-VIP days of the fair are available for purchase directly from the fair.
P: There are over 20 fairs taking place during the heavily programmed Miami Art Week. Other than the main fair, which fairs will you head to and why?
AG: With so many events packed into Miami Art Week, it’s important to be selective with your time. While there are numerous fairs to explore, two I would highly recommend outside of Art Basel Miami Beach are NADA Miami and Untitled Art Fair. NADA Miami features emerging galleries and artists, some of whom are on the verge of exhibiting at Art Basel Miami Beach. Untitled Art Fair also showcases younger galleries and artists, but its unique setting sets it apart—it’s literally housed in a tent on the beach, offering incredible views of the water.
P: ICA Miami just celebrated its 10th anniversary with Toward the Celestial, highlighting a selection of works from the permanent collection. How has ICA Miami influenced the city’s art scene?
AG: While Miami Art Week undoubtedly plays a major role in boosting the city’s art scene, I believe one of the biggest factors in its recent growth has been the rise of ICA Miami. Since moving into its current home in the Design District in 2017, the museum has played a pivotal role in transforming Miami into a year-round art destination, ensuring that the city’s cultural relevance extends far beyond just one week during Art Basel. My good friend Alex Gartenfeld, the artistic director, has done an exceptional job putting ICA Miami on the map through a combination of groundbreaking exhibitions, bold acquisitions, and—perhaps most importantly—his efforts to unite the Miami collecting community. For the first time, many of the city’s most prominent collectors are actively involved with the museum, providing strong support for its mission. As ICA Miami continues to grow in influence, I believe it will eventually become one of the most important contemporary art institutions in the country.
P: In December, ICA will mount Lucy Bull’s first solo US exhibition The Garden of Forking Paths as well as the first US exhibition for Ding Shilun, featuring newly commissioned paintings. Bull was included in the Green Family Art Foundation’s Women of Now exhibition in 2022 and in an Instagram post you described her work as “luscious and viscous.” What makes this 34-year-old artist exhibition worthy?
AG: As we increasingly consume art through digital platforms such as Instagram, I’ve noticed that abstract paintings are often more challenging to fully appreciate digitally. Elements like texture and brushstrokes are particularly integral to abstract work, often more so than in representational paintings. I’ve seen instances where viewing an abstract piece in person is a completely different experience—for better or worse—than seeing it online.
One of my most vivid memories from the pandemic was traveling to LA in early 2021 for the first time since the pandemic began. I travel often for work, but this was my first trip back to LA in over a year. During that visit, I saw Lucy Bull’s first exhibition at David Kordansky Gallery, and it was a standout experience. Seeing
John Marquez at Marquez Art Projects (MAP). Courtesy of MAP Foundation.
so many of her abstract works in person was incredible—the images didn’t do them justice. The way she applies paint to create distinct textures and uses vivid colors is like a visual symphony.
As you mentioned, another artist to look out for is Ding Shilun, who will simultaneously have a solo exhibition at ICA Miami this year. Ding is a rising Chinese artist based in London, and I first encountered his blend of mythological and contemporary compositions in Bernheim Gallery’s booth at Art Basel Miami Beach in 2022. I’m looking forward to seeing more of his work in person later this year!
P: Miami has some fantastic private collections, such as the Rubell Museum. Which are your favorites?
AG: Outside of the fairs, there are several museums and nonprofit foundations in Miami that are definitely worth visiting. The Rubell Museum is a must-see for anyone attending Art Basel Miami Beach. The quality and scope of the collection is truly remarkable, and the museum is especially known for its annual residency program, which highlights emerging artists. Many of these artists have gone on to achieve significant success in their careers, making it a great place to discover new talent.
I would also recommend visiting Marquez Art Projects (MAP), a nonprofit foundation established last year by Miami-based art collector John Marquez, who is a client of mine. I helped him establish the foundation, which not only exhibits works from his collection, but also provides opportunities for younger, rising artists to showcase their work through temporary exhibitions. This year, MAP will host group exhibitions focusing on process-based abstraction, contemporary surrealism, and landscapes.
P: For the past several years your family has emphasized the work of underrepresented artists who have since become highly valued. What trends are you currently watching in the art market?
AG: It has been incredibly exciting to witness historically underrepresented groups of artists gain more prominent and frequent visibility in galleries and museums over the past few years. We remain focused on collecting and supporting these artists at various stages of their careers, as this is a key part of our approach. Some of our recent acquisitions include established artists like Tracey Emin, Toyin Ojih Odutola, and Lesley Vance, alongside
rising talents such as Alia Ahmad, Felipe Baeza, Sophia Loeb, and Ding Shilun.
Additionally, at the Green Family Art Foundation in Dallas, we have two solo exhibitions opening in early October featuring Anthony Cudahy and Ian Lewandowski. Then, in February 2025, we will open a large group exhibition centered on paintings by a diverse group of exciting British artists at various stages of their careers. I believe the British art scene is the most vibrant it has been since the YBA movement in the early 1990s.
P: While Miami is a nonpareil art experience, it can be overwhelming for new collectors. Will you take us through your week?
AG: I usually arrive on Monday morning and after settling in, I’ll meet with clients, galleries, or museum curators over coffee as everyone gathers in town for the week. In the early evening, I attend openings at some of the city’s prominent foundations, such as the Rubell Museum and Marquez Art Projects. Afterwards, I’ll head to a dinner hosted by an exhibiting gallery—a routine I follow each evening throughout the week.
Tuesday is when things really start to pick up. I’ll begin the day by visiting NADA Miami and Untitled Art Fair. In the evening, I will make sure to attend the ICA Miami opening, followed by a gallery or museum dinner.
Wednesday is a full-on day. I start with an early coffee meeting with a client, and then I’m at the Art Basel fair all day, from 11 a.m. until 7 p.m., guiding clients through the booths and helping them navigate the fair. Once the fair closes, it’s time for another gallery dinner.
By Thursday, many collectors begin to leave town, but I always use the day to squeeze in a few more meetings, revisit Art Basel Miami Beach, and check out peripheral exhibitions or any interesting events happening around the city. I wrap things up and usually depart on Friday morning.
Following soirees in lavish hotels, restaurants, and yachts, the sun sets on Miami Art Week and collectors from all over the world return home to await shipping containers gingerly packed with compelling art discoveries. P
Untitled Art Fair, Miami Beach. Courtesy of Untitled Art Fair.
Anthony Cudahy, The painter (Jenna Gribbon pointing to Friedrich), 2022, oil on canvas 72 x 72 in. Courtesy of the artist and Semiose Gallery, Paris.
Left and right: Italian walnut whippets from Legacy Antiques. Left whippet wears a Cultus Artem 18k bracelet with imperial topaz, ruby, pink sapphire, and garnet; 18k brooch with purple, yellow, and pink sapphires, yellow diamond, and South Sea pearl; Cobaltoan calcite 18k ring, diamond and orange, yellow, purple, and pink sapphire, all from Grange Hall. A Nymphenburg fawn porcelain bowl, from Grange Hall, perches on a 19th-century French Louis XVI style carved footstool from Embree & Lake; Chinese export Batavia ware porcelain jar, late 18th century; French 19th-century bronze inkwell; French 19th-century Dufour wallpaper panel, all from Embree & Lake; Right whippet wears a Cultus Artem 18k pearl necklace with diamonds and pink tourmaline; a Fernando Jorge 18k, horn, and diamond ring hangs from a Jayshree Dalal 18k gold beaded necklace; Cultus Artem 18k aquamarine earrings with pink sapphire, pink spinel, white sapphire, diamond, and pearl; 18k bracelet; imperial topaz, ruby, pink sapphire, garnet earrings; Jayshree Dalal’s silver 18k assorted gemstone bracelet crowns a Nymphenburg porcelain hare, all from Grange Hall.
Heads of State
CREATIVE
PHOTOGRAPHY BY JOHN SMITH
DIRECTION AND STYLING BY JACKLYN CAVENY
Designers Guild Royal Collection, striped cut velvet with floral trail approved by Queen Elizabeth from ID Collection; French early 19th-century portrait of a gentleman; 19th-century Wedgwood-and-bronze inkwell; French Louis XVI–style cobalt porcelain and bronze mounted Cassolette, all from Embree & Lake; Augarten gold porcelain cup and saucer from Grange Hall. Julius Cohen 1970s 18k yellow and white gold, ruby, and Keshi pearl bracelet, Eiseman Estate Jewelry Collection; Eiseman Estate Jewelry Collection pendant with a rhodolite center stone and multi-shaped diamonds, blue sapphire bead tassel earrings, 1950s yellow gold leaf pin featuring blue sapphire, rubies, and diamonds, and 18k yellow gold elephant pin with cabochon rubies and round brilliant-cut diamonds; Eiseman Collection 18k rose gold ruby huggie earrings and 18 karat white gold 7.62 carat cushion ring with blue sapphire with diamond halo. All jewelry from Eiseman, NorthPark Center. Gold pheasant through Legacy Antiques.
Bunny Williams for Lee Jofa Woodland paper; A Bibigi lapis lazuli, diamond, white gold necklace; sapphire, diamond, white gold earrings; and ruby, diamond, white gold ring below the necklace—all through Heritage Auctions—adorn a 19th-century Italian carved marble statue from Legacy Antiques. On her hand: a sapphire, diamond, white gold eternity ring and a French Tiffany & Co. diamond multi-stone gold ring, A Frascarolo diamond, enamel, gold bracelet, and a French Schlumberger for Tiffany & Co. diamond, enamel, and gold bracelet hang across a French 19th-century bronze whippet on a marble base along with a Sophia D. ruby, diamond, platinum ring on the dog’s paw. On the obelisk, Picchiotti diamond and white gold earrings. A tanzanite, sapphire, diamond, white gold ring sits on the small dog. All jewelry through Heritage Auctions. ha.com
French 18th-century Directoire trumeau mirror painting and 19th-century German porcelain parrot with French bronze dore mounts from Embree & Lake; from above Harry Winston Sparkling Cluster necklace featuring sapphires, aquamarines, and diamonds set in platinum; Harry Winston Forget-Me-Not lariat necklace featuring sapphires and diamonds set in platinum; in the goose’s beak Forget-Me-Not bracelet featuring sapphires and diamonds set in platinum; sapphire and diamond earrings set in platinum on a Nymphenburg porcelain snail in bowl from Grange Hall. Antique French textile, stylist’s own. All jewelry Harry Winston, Highland Park Village.
Antique painting from Embree & Lake; on the Nymphenburg raven from Grange Hall hangs a Mariani 18k sapphire multi-strand necklace with diamond clasp, and a deBoulle Collection Evil Eye talisman with sapphires, both from deBoulle; a 19th-century Italian bronze of Silenus from Embree & Lake is adorned with a deBoulle Collection Duchess ring with round brilliant diamonds and diamond baguettes; deBoulle Collection True Blue earrings in 18k white rose-cut sapphire; and an deBoulle Estate Collection 18k Victorian enamel bracelet locket holding an enamel cruciform, circa 1873; on the Nymphenburg porcelain bird from Grange Hall; deBoulle Estate Collection platinum diamond Burmese ruby clip with baguette and round brilliant diamonds, circa 1960s. Beneath, Old World Weavers La Verne fabric to the trade from ID Collection.
WISE BEYOND THE YEARS
From a 70th to a 10th
anniversary,
four prescient galleries advance the exposure of contemporary art in North Texas.
BY ANTHONY FALCON
In the broad sweep of art history, galleries hope to become more than mere spaces—they aim to become vessels of cultural memory, incubators for artistic risk, and anchors in a city’s evolving identity. Four notable galleries in the Dallas/Fort Worth area are celebrating significant anniversaries, each contributing uniquely to the region’s rich cultural tapestry and solidifying their roles as pillars in the foundation of the DFW cultural landscape.
Celebrating its 70th year, Valley House Gallery & Sculpture Garden offers a rare blend of art and nature. Kevin Vogel, who runs the gallery with his wife, Cheryl, notes, “Because of our unusual location, Valley House has always been a destination gallery. People who discover the gallery for the first time often think it is a foundation museum or a park.” Kevin recalls that during the 1960s, his parents, Donald and Peggy Vogel, curated exhibitions that “to my knowledge, have not been matched by any other gallery in the Southern part of the US.” These included the first major show of Emile Bernard’s Pont-Aven paintings, a remarkable collection of Georges Rouault’s The Passion, and a sprawling exhibition of over 50 sculptures by Henry Moore, seamlessly integrating art with nature. Kevin hopes the gallery’s legacy will outlive the Vogel family’s direct involvement, ensuring Valley House remains integral to Dallas’ cultural landscape.
Now in its 50th year, William Campbell Gallery has been an understated powerhouse in Fort Worth’s art world. The gallery’s significance lies in how it nurtures its community, shaping Fort Worth’s understanding of contemporary art, often without fanfare, yet with deep-rooted impact. In December 2020, the gallery transitioned to new ownership under Fort Worth Contemporary Art Partners. The new owners are committed to preserving the legacy built by Pam and William Campbell over 46 years, ensuring the
gallery continues to serve as a platform for artistic innovation. Misty Locke, managing partner of William Campbell Gallery, remarks, “We've witnessed significant evolution, particularly in Fort Worth. What’s been most exciting is how art has become more integrated into daily life, extending beyond traditional viewing spaces.”
At 40, Conduit Gallery embodies aesthetic rigor and intellectual curiosity, making it a lodestar for contemporary art in Dallas. Under Nancy Whitenack’s stewardship, Conduit challenges its audience while weaving its artists into the city’s cultural DNA. Danette Dufilho, director and Project Room curator, reflects on her 25 years at the gallery: “When I stop and look back on what we have accomplished in the 25 years I’ve been at the gallery, there’s a wave of pride. What we do is a vocation that has woven us and the artists we show into the cultural fabric of this city.”
In just a decade, Erin Cluley Gallery has become a vital player in the Dallas art scene. Its move to River Bend speaks to a bold, forward-thinking ethos. The gallery has proven that the new guard is just as powerful as the old, carving out space in a rapidly evolving cultural landscape. Marking their first decade, Erin Cluley states, “Celebrating 10 years feels exciting but surreal. I am grateful for all the people involved in this ecosystem, which has enabled us to thrive over the past 10 years. In particular, to our artists–we could not do what we do without them.”
As these four galleries celebrate their milestones, they remind us that the true measure of a gallery is not just in the art it shows, but in the space it carves into our cultural consciousness. They stand as leaders, weathering the shifting tides of taste, economy, and social change, each contributing to a rich, layered narrative that is uniquely North Texas. P
Clockwise from above left: Conduit Gallery original Main Street location, 2001, with James Sullivan sculpture; Donald Vogel with Henry Moore Knife Edge Figure, 1965. Courtesy of Valley House Gallery & Sculpture Garden; Cofounder Bill Campbell of William Campbell Contemporary Art; William Campbell Gallery today. Courtesy of William Campbell Gallery; Rene Trevino installation view at Erin Cluley Gallery's original location. Courtesy of Kevin Todora.
