Patron April/May Issue 2016

ON TARGET DALLAS ART FAIR’S TH TURN

Plus: Frank Stella at The Modern Diana Al-Hadid Oliver Clegg Melvin Edwards Margaret Lee Marc Quinn Michelle Rawlings Eva Rothschild Blair Thurman Rebecca Warren

THE S TORE S OF NOR THPARK AG APPLE ARHAUS FURNITURE BOSS HUGO BOSS BOT TEGA V ENE TA BURBERRY BV LGARI C ANALI C ARTIER CH C AROLINA HERRER A DAV I D Y URMAN DE SIGN W ITHIN RE ACH DIP T YQUE EISEMAN JE WEL S ELIE TAHARI THE FRY E COMPAN Y GREGORY ’S GUCCI HUBLOT K ATE SPA DE NE W YORK L ACOS TE LONGCHAMP PARIS LOUIS V UIT TON MICHAEL KORS MONTBL ANC MULBERRY NEIMAN MARCUS NOR DS TROM OFFICINE PANER AI OMEGA PIRCH POLO R ALPH L AUREN ROBERT GR AHAM ROBERTO C AVA LLI ROLE X

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SIGHTINGS: MAI-THU PERRET March 12 – July 17

Dallas Arts District nashersculpturecenter.org

Mai-Thu Perret, Les guérillères I, 2016, figure in steel, wire, papier-mache, acrylic paint, gouache, synthetic hair, silicon, glass, cotton, and polyester fabric, bronze, polyester resin and steel base, 74 3/8 x 19 1/2 x 17 3/4 in. (190 x 50 x 45 cm). Courtesy the artist and David Kordansky Gallery, Los Angeles. Photo: Annik Wetter © Mai-Thu Perret.

The Sightings series is generously sponsored by Lara and Stephen Harrison.

Sightings: Mai-Thu Perret is supported by the Swiss Arts Council Pro Helvetia and FABA Fundación Almine y Bernard Ruiz-Picasso para el Arte.

Aston Martin of Dallas is the official car of the Nasher Sculpture Center.

MODERN & CONTEMPORARY ART Originals | May 2 | New York Prints & Multiples | May 24 | Dallas DAVID BATES (b. 1952) Still Life - Winter, 2010-2011 Oil on panel 80 x 48 inches Estimate: $60,000-$80,000

View this piece at Heritage’s booth at the Dallas Art Fair April 15-17

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MARK

EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

April / May 2016

TERRI PROVENCAL Publisher / Editor in Chief

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PATRONMAGAZINE.COM

Marking the release of Patron’s largest issue to date, inside you will find coverage of some of the most intriguing artists, exhibitions, and events, making for a spectacular high-arts season. First off, the much anticipated Dallas Art Fair returns for the 8th year. With nearly 100 exhibitors to consider, we tapped three collectors of particular interest to share their fair-savvy knowledge. A peek inside Jackie Stewart’s and Mark Giambrone’s homes and Tammy Cotton Hartnett’s superb studio in American Beauty Mill reveal them to be expert sources on collecting what’s hot and navigating the fair. Howard Rachofsky interviews David Kordansky, a leading Los Angeles gallerist, on returning to the fair for a second year. If that weren’t enough, our cover shares a painting by Blair Thurman whose works will be on view and available through Galerie Frank Elbaz. Kat Herriman interviews the artist in his Upstate New York residence and studio in International Solitude.

We’ve read a great deal about the Frank Stella exhibition at the Whitney, so it’s exciting to see it mount at the Modern Art Museum of Fort Worth where Chief Curator Michael Auping played such a vital role in its inception. Organized and curated by Auping, in association with Adam D. Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art, a retrospective from the mid-50’s to the present displays some 120 works by this monumental living American artist including paintings, reliefs, maquettes, sculptures, and drawings.

Just how should sculpture be defined? The Nasher Sculpture Center poses that question everyday through their thought-provoking programming. In A Three-Dimensional Dialogue, arts writer Lee Escobedo discusses the selection of Doris Salcedo as the first Nasher Prize Laureate with Diana Al-Hadid, Melvin Edwards, and Eva Rothschild, in addition to their own work.

When we delved into the mind of Oliver Clegg, a London-educated Brooklyn-based artist, we discovered an individual who enjoys having a little fun with his practice. Clegg’s sui generis multidisciplinary work plays well in his new show, Life is a Gasssss opening at Erin Cluley Gallery this month. From a spinning table that serves 28 diners, to a neon sculpture flashing the exhibition title, to paintings of partially deflated Mylar balloons rendered with the likes of Donald Duck, Kermit the Frog, Tweety, and Bart Simpson among others, we know this artist is just as inspired by his portrayal of whimsy as he is nostalgia.

From contributor Kendall Morgan’s imaginings, beautifully translated by photographer Steven Visneau, The Girl Who Fell From Earth pays homage to the deeply missed legendary artist David Bowie. In one of the fashion images, a photograph of Bowie is integrated on-screen captured by Mick Rock in the 70’s. In Tomes, Kendall visits with Mick Rock about the ensuing documentary illustrating his own life and the April reissue of The Rise of David Bowie at a more approachable price than his limited-edition release last fall prior to the Starman’s death.

Also in this issue, Lee Cullum gives us the inside scoop on the world premiere of FWOpera’s JFK; Justine Ludwig checks in with Dallas’s own Michelle Rawlings in Studio; and Patricia Mora discusses the astonishing work of Scots-born, London-based photographer David Yarrow in Caught in the Moment. Our sights turn to Hong Kong where Margaret Lee’s work is exhibited in Dallas Museum of Art’s first off-site Concentrations series. Back home, Rebecca Warren’s site-specific sculpture will be unveiled when the Eagle Family Plaza opens this month. Artists collaborating in SOLUNA’S Myth & Legend presented by the Dallas Symphony Orchestra offer another interesting read. Lastly, Chris Byrne chats with prominent New York art patron Peter Hort in Furthermore.

Let’s be sure to show all these visiting artists and gallerists a great time here.

–Terri Provencal

Shown: The Grand Suite sofa, Oki server tables.

Dallas 1617 Hi Line Dr. Ste. 100 214.748.9838 Austin 115 W. 8th St. 512.480.0436 scottcooner.com

CONTENTS 1

FEATURES 90 THE ART ARENA Three local collectors share their advice on getting the most out of the Dallas Art Fair. By Terri Provencal 96 STELLA! The Modern Art Museum of Fort Worth ushers in the blockbuster exhibition, Frank Stella: A Retrospective. By Steve Carter 102 A THREE-DIMENSIONAL DIALOGUE Diana Al-Hadid, Melvin Edwards, and Eva Rothschild discuss contemporary sculpture and the selection of Doris Salcedo as the inaugural Nasher Prize recipient. By Lee Escobedo 108 LIFE IS A GASSSSS Erin Cluley Gallery hosts artist Oliver Clegg during the Dallas Art Fair.

By Patricia Mora 112 THE GIRL WHO FELL TO EARTH Embrace your inner glam-rock goddess with spring's most show-stopping styles. Photography by Steven Visneau

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108

ON TARGET DALLAS ART FAIR’S TH TURN

96

Oliver Clegg Margaret Lee Michelle Rawlings Blair Thurman Rebecca Warren

On the cover: Blair Thurman, Valkyries. Courtesy of the artist and Galerie Frank Elbaz. Photography

by Henry Hargreaves

112 14

Plus: Frank Stella At The Modern

PATRONMAGAZINE.COM

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CONTENTS 2

DEPARTMENTS I 12 Editor’s Note 22 Contributors 42 Noted Top arts and cultural chatter. By Shelby Gorday and Elizabeth Kerin Of Note 59 THE EYES HAVE IT Marc Quinn discovers the equal and unique in his iris portraits. MTV RE:DEFINE offers the opportunity for this artist and seer to look into yours. By Michael Mazurek Fair Trade 60 COMING TO THE FAIR Howard Rachofsky visits with David Kordansky on his booth at Dallas Art Fair.

59

Contemporaries 62 INTERNATIONAL SOLITUDE Though conceptual painter Blair Thurman’s work is found in collections across the globe, the artist enjoys the intimacy of the woods in Upstate New York where he works and resides. By Kat Herriman 64 RITES OF SPRING Rebecca Warren’s Pas de Deux (Plaza Monument) inaugurates the Eagle Family Plaza at the Dallas Museum of Art. By Nancy Cohen Israel Studio 66 A SUBTLE KNIFE A delicate hand with exacting precision informs the nuanced works of artist Michelle Rawlings. By Justine Ludwig Sojourner 68 CONCENTRATIONS EAST The DMA's project-based series celebrates its 35th year with a first-ever off-site exhibition featuring Margaret Lee's site-specific installation at Duddell's in Hong Kong. By Steve Carter

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62 PATRONMAGAZINE.COM

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CONTENTS 3

DEPARTMENTS II Auction 72 WELL CAST London gallerist C.J. Jones of 10 Hanover and Chicago-based artist Paula Crown lead the 5th Anniversary of MTV RE:DEFINE.

By John Riepenhoff Performance 74 ONE FINAL EVENING FWOpera’s world premiere of JFK offers an intimate portrait of President John F. Kennedy and First Lady Jacqueline Kennedy’s last night together.

By Lee Cullum 78 HARMONIC CONVERGENCE Dallas Symphony Orchestra’s SOLUNA International Music & Arts Festival brings together diverse disciplines. By Nancy Cohen Israel Celluloid 82 CAUGHT IN THE MOMENT David Yarrow’s Remarkable Talent Has Pedigree For Days.

By Patricia Mora

72

Tomes 84 ROCK STAR On the heels of his sell-out David Bowie book, legendary rock photographer Mick Rock is having his own moment in the spotlight.

By Kendall Morgan Space 86 THE CONTEMPORARY CLASS The Pioneering Women Who Brought Modern Furniture To The Forefront In Dallas. By Peggy Levinson Coveted 88 MARITIME The Senator Observer by Glashütte Original has a long history at sea.

There 120 CAMERAS COVERING CULTURAL EVENTS

74

Furthermore ...

128 GUEST OF HONOR A talk with prominent art collector, Peter Hort, on visiting Dallas Art Fair. By Chris Byrne

84 86 18

PATRONMAGAZINE.COM

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Shelby Gorday GRAPHIC DESIGN Jimmy Gigliotti COPY EDITOR Paul W. Conant PRODUCTION Michele McNutt EDITORIAL INTERN Elizabeth Kerin Fey Sandoval

PAPERWORK featuring works by

Margaret Fitzgerald Diane McGregor Jerry Skibell Anne Fairchild Thel and Paula Roland

CONTRIBUTING PHOTOGRAPHERS Mick Rock Jason Acton Fey Sandoval Shana Anderson Shawn Saumell Chris Byrne Nicky Sims Marten Elder John Smith Shannon Faulk Jamie Strachan Dana Driensky Scott Thompson Daniel Driensky Steven Visneau Henry Hargreaves Robert Yu Fredrik Nilsin Jonathan Zizzo Meghan Ralston Scot Redman CONTRIBUTING STYLISTS Jennifer Bigham ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com

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CONTRIBUTING WRITERS Justine Ludwig Chris Byrne Kendall Morgan Steve Carter Michael Mazurek Lee Escobedo Patricia Mora Nancy Cohen Israel Howard Rachofsky Lee Cullum John Riepenhoff Kat Herriman Peggy Levinson

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ART + DESIGN

is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2016, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited.

Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.

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CONTRIBUTORS

CHRIS BYRNE Chris Byrne is the author of the graphic novel project entitled The Magician (Marquand Books, 2013) as well as the book The Original Print (Guild Publishing, 2002). He is the co-founder of the Dallas Art Fair and the former Chairman of the Board of the American Visionary Art Museum.

Byrne currently serves on the American Folk Art Museum's Council for the Study of Art Brut and the Self-Taught, the Dallas Convention & Visitors Bureau Cultural Tourism Committee, as well as the Board of Directors for Dallas Contemporary.

22

LEE ESCOBEDO An international art critic, Lee Escobedo investigates the contemporary framework of sculpture, what it was, is, and can be.

He interviews three world-renowned artists, Diane Al-Hadid, Melvin Edwards, and Eva Rothschild to bridge connections between their individual practices and the work of Doris Salcedo, the inaugural winner of this year's Nasher Prize. Escobedo is the recent recipient of two arts grants from the City of Dallas to launch a podcast on cinema, connecting inner city youth to the cultural institutions of art and film within Dallas.

PATRONMAGAZINE.COM

STEVE CARTER In this issue, arts writer Steve Carter visits with the Modern Art Museum of Fort Worth’s Chief Curator Michael Auping on the blockbuster exhibition, Frank Stella: A Retrospective, which opens at the Modern on April 17. It’s the largest retrospective of Stella’s work ever assembled, a brilliant opportunity to explore every period of his oeuvre. Carter also covers the DMA’s first international iteration of its Concentrations series—New York-based artist Margaret Lee is showing at Duddell’s, a non-traditional Hong Kong art space.

LAUREN CHRISTENSEN With more than 18 years of experience in advertising and marketing, Lauren consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

JUSTINE LUDWIG Justine Ludwig is the Director of Exhibitions/Senior Curator at Dallas Contemporary. In recent years she has curated exhibitions at the Contemporary Arts Center in Cincinnati, the Tuft University Art Gallery, and the Museum of Modern Art in Rio de Janeiro.

Ludwig holds an MA in Global Arts from Goldsmiths University of London. For this issue of Patron she addresses the poignant and subtle work of Dallas artist Michelle Rawlings in A Subtle Knife.

PATRICIA MORA Patricia Mora has written for a wide array of newspapers, magazines, and online publications, including Humanities, a publication of the National Endowment for the Humanities, and The International Association of Art Critics. In this issue, she reflects on the extraordinary photography of David Yarrow and the painting and sculpture of Oliver Clegg. Both will occupy venues during the week of the Dallas Art Fair. Mora also furnishes copy and marketing expertise for corporate clients.

LEE CULLUM Lee Cullum is a journalist who does politics, business, and foreign policy by day and the arts by night. On CEO, the program she hosts on KERA-TV (PBS), in commentaries for the NPR affiliate in North Texas, and on the board of the American Council on Germany and the American Security Project, she pursues pressing issues of the moment. In the arts she finds the consolation of cultural depth and continuity.

Nowhere is this more true than in the Fort Worth Opera’s newly commissioned work, JFK.

NANCY COHEN ISRAEL Dallas-based, Nancy Cohen Israel is an art historian and writer.

For this issue, she enjoyed meeting with and writing about the diverse group of artists who will be part of this year’s exciting SOLUNA International Music & Arts Festival presented by the Dallas Symphony Orchestra. Nancy also enjoyed visiting with Rebecca Warren and having a sneak peek of her commissioned sculpture, Pas de Deux (Plaza Monument) for the newly unveiled Eagle Family Plaza at the Dallas Museum of Art.

KENDALL MORGAN Journalist and marketing writer Kendall Morgan got her start as a nightlife columnist for the Dallas Morning News.

In this month’s issue she pairs two of her favorite subjects— clothes and music.

Shining the spotlight on the uber-talented rock photographer Mick Rock in Tomes, she also uses his iconography as a jumping-off point to art direct a fashion spread that pays homage to the style and attitude of the Glam Rock era.

JOHN SMITH Smith has spent the last 20 years bringing out the art of architecture in his photography. He consults with architects, designers, and artists to bring their vision to light. An ongoing Patron contributor, John is called upon to photograph homes where art is at the forefront of design.

For this issue’s feature, The Art Arena, “I had the privilege of photographing three collectors (Tammy Cotton Hartnett, Mark Giambrone, and Jackie Stewart) in their homes and studio.”

MAY 18 | 2 016

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FIRST LOOKS

Without Borders WORLD PREMIERE

Minus 16

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01 AFRICAN AMERICAN MUSEUM Ongoing exhibits include: Facing the Rising Sun: Freedman’s Cemetery, which features photographs and interactive videos that explore the lost history of a once-thriving North Dallas community, and The Souls of Black Folk, which displays work from the Billy R. Allen Folk Art Collection. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Sedrick Huckaby’s The 99%—Highland Hills and Glenn Ligon’s Runaways inform the Identity exhibition, Apr. 30–Sep. 18. Focal Points: New to the Photography Collection is on view through Apr. 10. American Epics: Thomas Hart Benton and Hollywood investigates art and moviemaking through May 1. Esther Pearl Watson’s site-specific mural displays through May 30. Louise Nevelson: Prints runs through Jul. 31. Texas Folk Art features some of the state’s most original artists through Sep. 19. Image: Thomas Hart Benton (1889– 1975), Portrait of a Musician, 1949, casein, egg tempera, and oil varnish on canvas, mounted on wood panel. © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY, vagarights.com, Museum of Art and Archaeology, University of Missouri– Columbia, Anonymous gift. cartermuseum.org 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM Continuing this spring, Inside the Armor makes special use of X-rays to reveal the secrets behind the construction of Japanese armor. The museum sponsors a Lunchtime Talk every Thursday at 1 p.m. Public Tours 42

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

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14 are every Saturday and Sunday at 1 p.m. samuraicollection.org 04 CROW COLLECTION OF ASIAN ART Protecting Wisdom: Tibetan Book Covers from the MacLean Collection, displaying more than one thousand years of history, opens Apr. 2– Aug. 16. Time and Eternity: Landscape Paintings

by Bireswar Sen exhibits Sen’s playing-cardsized landscapes, exploring the beauty of light outdoors, through Apr. 24. Benevolence and Wisdom: New Gifts from the Collection of Trammell and Margaret Crow and Fundamental and Superfluous: The Arts of Life in China, Japan, and Korea are on view through Aug. 15. crowcollection.org 05 DALLAS CONTEMPORARY Dan Colen’s April show at Dallas Contemporary will be his first large-scale exhibition in North America featuring his Candlestick paintings and billboardsized works. Sculptures by Helmut Lang, informed by repurposed materials and textures, will present his first museum exhibit in North America. Paolo Pivi’s first museum solo show in the United States features her iconic bears made of colorful feathers, upside-down planes, and whippedcream-covered alligators. Colen, Lang, and Pivi open Apr. 16. Image: Paola Pivi.

Installation view of OK, you are better than me, so what?, 2015. Galerie Perrotin, New York.

Courtesy of the artist. dallascontemporary.org 06 DALLAS HOLOCAUST MUSEUM Anne Frank: A History for Today continues through May 31, going beyond the pages of

her diary by providing a wide perspective on the Holocaust, human rights, the Nazis, and Frank’s family experiences in hiding.

Members can enjoy an IRead Book Club Meeting to discuss Hitler: A Biography by Ian Kersaw on Apr. 4. Holocaust survivor, Simon Gronowski, speaks on Apr. 7. dallasholocaustmuseum.org 07 DALLAS MUSEUM OF ART Rebecca Warren: The Main Feeling runs through Aug. 28. In the first retrospective in nearly 20 years, Irving Penn: Beyond Beauty opens Apr. 15. Young Masters 2016 from 10 Dallasarea high schools shows through Apr. 17.

Inspired by Vermeer’s Young Woman Seated at a Virginal, the exhibit Vermeer Suite: Music in 17th-Century Dutch Paintings displays seven additional paintings by his contemporaries on loan from the Leiden Collection through Aug 21. Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art presents over 50 masterworks through Jul. 31.

Image: Irving Penn, Mouth (for L’Oreal), New York, 1986, printed 1992, dye-transfer print. Overall: 18.5 x 18.25 in., Smithsonian American Art Museum, © and gift of The Irving Penn Foundation. dma.org 08 GEOMETRIC MADI MUSEUM Israeli-born artist Yaacov Agam’s work shows in The Magic of Yaacov Agam, consisting mainly of polymorphs, paintings that have one appearance when viewed from the center, and different geometric patterns when viewed from the side. Through Apr. 21. Sculpted In Glass, Wood, and Museumboard will feature work from artists Roger Bensasson and Yukimo Kimuri. On view Apr. 29–Jul. 24. geometricmadimuseum.org

NOTED: VISUAL ARTS

05 09 KIMBELL ART MUSEUM The Brothers Le Nain: Painters Of SeventeenthCentury France, the first exhibition devoted to the Le Nain brothers in the United States, opens May 22–Sep. 11. On loan from Museo del Prado, Guest of Honor: Titian’s Entombment of Christ displays one of Titian’s most poignant and celebrated masterpieces, through Jun. 12. Image: Titian (Tiziano Vecellio), The Entombment of Christ, 1559, oil on canvas, Museo del Prado, Madrid. kimbellart.org 10 LATINO CULTURAL CENTER LCC will be screening the movie Maria Candelaria on Apr. 20. Founded for the preservation, development, and promotion of Latino and Hispanic arts and culture by presenting arts, film, and literature, LCC also supports local Latino artists and arts organizations. dallasculture.org/latinoculturalcenter 11 THE MAC Willie Baronet will feature We Are ALL Homeless at The MAC in April, along with works by various artists in The Stewpot’s art program. The MAC is asking visitors to donate a tube of acrylic paint to the art program. The works created by these artists will be sold, and a portion of the proceeds will go to The Stewpot. the-mac.org 12 MEADOWS MUSEUM Between Paris and Texas: Marie Cronin, Portraitist of the Belle Époque offers the first monographic exhibit of Cronin’s (1867–1951) paintings on view through June 5. Texas-raised, Cronin studied in Paris, then continued her artistic career back in Texas while carrying out the exigencies of her family’s business of

07 expanding railroad operations. Process and Innovation: Carlotta Corpron and Janet Turner, continuing through June 5, explores their art made during the 1940s and 1950s while teaching and working in Texas. meadowsmuseumdallas.org 13 MODERN ART MUSEUM FORT WORTH Highlights from the Permanent Collection continues to focus on some of The Modern’s most treasured works. Through Aug. 21. FOCUS: Glenn Kaino exhibits Kaino’s installations through Apr. 17.

Opening Apr. 17, Frank Stella: A Retrospective will display 120 of the artist’s paintings, reliefs, maquettes, sculptures, and drawings through Sep. 18. FOCUS: Thomas Demand displays the artist’s own ephemeral structures through photographs. Apr. 30– Jul. 17. themodern.org 14 MUSEUM OF BIBLICAL ART Johannes Boekhoudt is known globally for his ability to transmit emotion and marry artistic talent with thoughtful commentary.

The MBA showcases the bold, expressive works of this Latin American artist in Paradox through May 29. Works by Gib Singleton are housed in the Via Dolorosa Sculpture Garden. The Art of Aging: An Unapologetic Look at the Inevitable features works by an ensemble cast of contemporary Jewish artists through Apr. 28. Image: Johannes Boekhoudt, Tres Molinos, 2007, oil on canvas, 58 x 50 in. biblicalarts.org 15 NASHER SCULPTURE CENTER Plegaria Muda by Doris Salcedo, the inaugural Nasher Prize Winner, is on view through

Apr. 17. In her first museum solo show in the U.S., Brussels-based Ann Veronica Janssens displays select sculpture, challenging the viewer’s understanding of space, surface, depth, and color, through Apr. 17. Sightings: Mai-Thu Perret will build off a performance she recently staged in Geneva. Through Jul. 17. Joel Shapiro, one of the most influential geometric sculptors of the era, will display May 7–Aug. 21. nashersculpturecenter.org 16 NATIONAL COWGIRL MUSEUM Bullets and Bustles: Costumes of Lonesome Dove runs through Apr. 17. Light, Landscape, and Livestock: The Photography of Nadine Levin continues through Jul. 5. Experience cowgirl culture with the Cowgirl Hall of Fame nominees at the Cowgirl Spring Roundup, Apr. 28–May 1. cowgirl.net 17 PEROT MUSEUM The engaging National Geographic Speaker Series continues Apr. 7 with the lauded wildlife photographer and filmmaker, Charlie Hamilton James. Two sleepovers at the museum will be on Apr. 15 and May 27.

A special girls-only night will be on May 6.

The museum screens 3D films: Sea Monsters: A Prehistoric Adventure 3D and Journey to Space 3D through May 26, and Tiny Giants 3D through Sept. 5. perotmuseum.org 18 TYLER MUSEUM OF ART Chihuly: Works from Texas continues through May 15. The 12th Annual High School Art Exhibition will be held Apr. 3–May 1. Modern Masters: Twentieth Century Prints begins May 15–July 24. The museum also hosts monthly events including First Friday and Family Day. tylermuseum.org APRIL / MAY 2016

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NOTED: PERFORMING ARTS

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01 AMPHIBIAN Broadcast from London, National Theatre Live presents Benedict Cumberbatch in Shakespeare’s Hamlet, Apr. 6–9. Broadway’s Karen Murphy’s I’ll Eat You Last: a chat with Sue Mengers by John Logan takes the stage on Apr. 7–May 1. In De Troya by Caridad Svich, two families grapple with loss of faith, on May 15–16. Ryan Singer, the creator of Me and Paranormal You, presents a stand-up comedy special on May 20–21. Hangmen by Martin McDonagh will run May 25–28 by National Theatre Live. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER The Broadway production, Love Letters, runs through Apr. 3 at the Winspear Opera House. Shakespeare's Richard II shows Apr. 3–4. Take yourself back to the campfire with Ghost Quartet Apr. 7–9. Celebrate the music of Michael Jackson with SFJAZZ Collective on Apr. 13. Bonnie Raitt performs with The California Honeydrops on Apr. 26. David Sedaris shares his sardonic wit at the Dallas City Performance Hall, Apr. 27–29. Stephen Dubner and Faith Salie explain profitable thinking in Think Like a Freak May 4. Abbey Road on the Square will celebrate The Beatles May 7. Paul Simon performs May 8. The live-action graphic novel, The Intergalactic Nemesis, will follow May 12–14. Shakespeare’s darkest comedy, Measure for Measure, runs May 15–16 at Hammon Hall. Violinist Itzhak Perlman and pianist Emanuel Ax perform on May 19.

The mystery of Berlin nightlife unfolds in Cabaret on May 25. attpac.org 03 BASS PERFORMANCE HALL The Fort Worth Symphony Orchestra will present Bugs Bunny at the Symphony, Apr. 8–10. The Fort Worth Opera will celebrate 70 years with the 10th annual Fort Worth Opera Festival, running Apr. 23–May 8.

Performances of The Wonder Bread Years will be held at the McDavid Studio Apr. 27–May 44

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1. The UNT One O’Clock Lab Band will perform their new pieces on May 2. Midori Plays Tchaikovsky will run May 13–15. Mama Mia! will take the stage May 20–22. basshall.com 04 CASA MANANA The Three Little Pigs continues through Apr. 3. Beloved Dr. Seuss characters come to life in Seussical Jr. beginning Apr. 15 through May 8. casamanana.org 05 DALLAS BLACK DANCE THEATRE DBDT II presents next generation’s stars in Spring Fiesta at the Dallas City Performance Hall, Apr. 8–9. The company will return to NYC with Masterworks Redefined on Apr 22– 23. The season ends with Spring Celebration, May 20–22, including an opportunity to speak with the choreographers on May 21. dbdt.com 06 DALLAS CHILDREN’S THEATER The puppetry adaptation of Hansel and Gretel by the Brothers Grimm continues through Apr. 3. The Miraculous Journey of Edward Tulane runs through Apr. 10. Balloonacy will make a second appearance with DCT, Apr. 15–May 1. The BFG (Big Friendly Giant) comes to life, Apr. 29–May 22. dct.org 07 THE DALLAS OPERA Join Magnolia on her journey with the man she loves as Show Boat opens Apr. 15 through May 1. The Billy Goats Gruff will show on Apr. 16 at the Winspear Opera House and again on May 7 at the Dallas Arboretum and Botanical Garden. The Classical Criterion with The Dallas Opera Orchestra stages Apr. 24. The Dallas Opera Guild’s 28th Annual Vocal Competition Semi-finals and Finals are held on Apr. 29–30. dallasopera.org 08 DALLAS SUMMER MUSICALS DSM High School Musical Theatre Awards will be held on Apr. 14. Curtain Call Cirque du

Musicale stages Apr. 16. Wicked opens Apr. 20–May 22. Tony-winner Ragtime will stop at the Music Hall at Fair Park beginning May 24. dallassummermusicals.org 09 DALLAS SYMPHONY ORCHESTRA Experience the drama of Wagner’s Die Walküre on Apr. 1; selections from Wagner’s Lohengrin will be performed Apr. 15, both under the baton of Music Director, Jaap van Zweden. Chief organist of Notre Dame Cathedral in Paris, Olivier Latry, will join the Opus 100 Organ Series on Apr. 17, followed

by Todd Wilson with Legends of the Organ World on May 22. Chris Botti performs on the trumpet, Apr. 22–24. Carmina Burana will be performed Apr. 28–May 1. Listen to the Symphonic Oscars, May 13–15. A Musician’s View gives you the chance to sit on stage with orchestra musicians on May 16. DSO’s SOLUNA: International Music & Arts Festival opens with Rules of the Game on May 17. Imagine with Remix: Orchestral Myth and Legend, May 20–21. The DSO and renowned doctors present Music and the Brain, May 21. Homage to a Legend of the Violin World is onstage May 22. The Orchestra of New Spain honors the 400th anniversary of Cervantes and Shakespeare on May 26. Jaap van Zweden will conduct Mahler and Copeland, May 27–28. Conrad Tao will perform a solo piano recital, May 31. Performances of Noah’s Flood will begin May 31. Image: Jaap van Zweden conducts Wagner, Mahler, Copland, patriotic favorites, and more at SOLUNA International Music & Arts Festival. Credit: Hans van der Woerd. mydso.com 10 DALLAS THEATER CENTER The Tony Award-winning production, All the Way, extends through Apr. 3. Listen to the story of Javier Mejía and his struggles with immigration law in the world premiere of Deferred Action at the Wyly Theatre, Apr 20–May 14. dallastheatercenter.org

NOTED: PERFORMING ARTS

11 KITCHEN DOG THEATER Vivienne Avery describes the difficult journey of her mother being diagnosed and living with Alzheimer’s in Blackberry Winter, opening May 20. The Thrush and the Woodpecker changes two lives, starting May 27. kitchendogtheater.org 12 MAJESTIC THEATER Herb Alpert and Lani Hall are on stage Apr. 2. Grammy-winner Kirk Franklin performs Apr. 10. Ben Folds returns to the stage on Apr. 14. The Smashing Pumpkins’s In Plainsong comes to the Majestic on Apr. 18. On Apr. 23, comedian David Cross continues his Making America Great Again! tour. A Conversation on Making a Murderer with Dean Strang and Jerry Buting takes place May 22. dallas-theater.com 13 TACA The 2016 TACA Lexus Party on the Green features Rosewood and celebrity chefs from all over the world on May 6 at the Rosewood Mansion on Turtle Creek. taca-arts.org 14 TEXAS BALLET THEATER TBT’s world premiere of First Looks by Val Caniparoli will begin at Dallas City Performance Hall, May 6–8 and continue at Bass Performance Hall, May 27–29. texasballettheater.org 15 THEATRE THREE Light Up the Sky by Moss Hart combines hope, ambition, and hubris through Apr. 3. Tony-winner Memphis tells the story of a DJ trying to make it in the 1950s, from Apr. 28–May 22. theatre3dallas.com 16 TITAS With Electric Company Theatre at the Dallas City Performance Hall, Kidd Pivot presents music, text, and visual design, Apr. 21–22. TITAS presents new work in Command Performance on May 7. Complexions Contemporary Ballet Company performs at the Winspear Opera House on May 21.

Image: Kidd Pivot. Photo by Wendy D Photography, courtesy of AT&T Performing Arts Center. titas.org

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17 UNDERMAIN THEATRE A reflection on the story of the man, the sea, and the big fish, Jonah by Len Jenkin will premiere Apr. 13–May 7. undermain.org 18 WATERTOWER THEATRE The Big Meal opens Apr. 15 and runs through May 8, telling how an average first date turns into a family of five generations. watertowertheatre.org

NOTED: GALLERIES

08 01 ALAN BARNES FINE ART Les Peintres de Impressionists and recent 19th Century Acquisitions continues through Apr. 6. The work of painter James Tatum opening on Apr. 21. Canadian born, Tatum exhibits throughout the UK and in Holland and Switzerland. ABFA specializes in 18th- and 19th-century works as well as a vast selection of other works from artists working today. alanbarnesfineart.com 02 ANDNOW Jeff Zilm’s exhibit opens April 12 and shows through May 28. Dallas-based sensation, Zilm works with a breadth of media, ranging from abstract film-strip paintings to text-based conceptual work. This gallery is participating in the Dallas Art Fair. andnow.biz 03 ARTSPACE111 Rambler is a collection of work by Daniel Blagg. The artist’s most recent series explores the effect of the night sky on his humble and tenuous subjects. Through May 7. artspace111.com 04 BARRY WHISTLER GALLERY Barry Whistler Gallery will open its first exhibition at its new location, 315 Cole, this April. A solo exhibition by Linnea Glatt will run through April and May. Barry Whistler Gallery will participate in Dallas Art Fair, showing Houston artist Terrell James in a solo booth, with additional inventory from Ann Stautberg and Allison V. Smith. barrywhistlergallery.com 05 BEATRICE M. HAGGERTY GALLERY Located at the University of Dallas, the gallery presents Marc Chagall: Intersecting Traditions through Apr. 22, featuring a series of watercolor etchings depicting scenes from the Old Testament. Chagall developed a visual vocabulary that synthesized elements

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from diverse cultural and artistic traditions. udallas.edu/offices/artgallery 06 CADD The foremost Contemporary Art Dealers of Dallas advance contemporary art on all levels. On May 2, CADD hosts Eat Your Art Out, a mystery destination dinner fundraising for the CADD scholarship and educational programs. caddallas.net 07 CARLYN GALERIE Carlyn Galerie sells fine American art glass, clay, fiber, metals, and jewelry. carlyngalerie.com 08 CARNEAL SIMMONS CONTEMPORARY ART San Francisco-based sculptor Jud Bergeron’s work shows Apr. 2 through June 18. Image: Jud Bergeron, My Pal Foot Foot-Installation, cast resin with automotive finish, sizes vary. carnealsimmons.com 09 CERNUDA ARTE (CORAL GABLES) This gallery offers a selection of important Cuban art from the Colonial Era and Early Republic to contemporary works by today’s talent. Cernuda Arte will participate in the Dallas Art Fair Apr. 14-17 in Booth G-7 displaying paintings and sculpture in a variety of mediums along with works by guest artist Irina Elén González who will visit from Pinar del Río to meet collectors. cernudaarte.com 10 CHRISTOPHER MARTIN GALLERY Christopher Martin’s paintings are an expression of his interest in the repetition of patterns within nature. The gallery will host a spring show of new works during the month of April, with a Spring Reception Apr. 22. christopherhmartin.com 11 CIRCUIT 12 CONTEMPORARY Cult of Color is a group show that brings together works from Tomory Dodge, Stephen

Ormandy, Lauren Silva, Arthur Peña, Michelle Rawlings, Timothy Bergstrom, Cody Hudson, Jacin Giordano, and Iva Gueorguieva. Through May 7. These painters willingly pursue an ambiguous end and question the world to which they were born through invented visual language existing within the mysterious possibilities that abstraction lends itself to. Marble Head from a Herm is a solo exhibition by Mathew Zefeldt, May 14–June 18. circuit12.com 12 CONDUIT GALLERY Conduit welcomes a group of artists Apr. 2 through May 7. Jennie Ottinger’s Spoilers is in the project room. Rosalyn Bodycomb’s Trance features oil paintings on wood panels.

Juan Fontanive’s Colorthings is a collection of work that combines his interest in mechanics and automation with his fascination for insect life and birds. Solo shows with Billy Hassell and Susie Phillips open May 14 and run through June 18. Image: Juan Fontanive, Ornitholog y I, 2015, 4-color screen print on Bristol paper, stainless steel, motor and electronic, 4.25 x 5 x 3.75 in. conduitgallery.com 13 CRAIGHEAD GREEN GALLERY Works by Brad Ellis, Michelle O’Michael, and Linda McCall run Apr. 2–May 7. The show is a collection of new abstract works

by Dallas artist Brad Ellis, fresh sculptures

by Houstonite Michelle O’Michael, and engaging figure-based cityscapes by Dallas native Linda McCall. Image: Brad Ellis, Big Blue Boogie Woogie, 2014, oil stick and collage on canvas, 60 x 72 in. craigheadgreen.com 14 CRIS WORLEY FINE ARTS Timothy Harding’s Skin runs Apr. 2–May 7, and explores the fluid relationship between the pictorial space and the three-dimensional realm. The show will be followed by a collection of Maysey Craddock’s Lost Bay, May 14–June 18. crisworley.com APRIL / MAY 2016

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NOTED: GALLERIES

Kittrell/Riffkind Art Glass at Southwest Gallery

Kicks off the Artist’s Series 2016

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SHAWN MESSANGER Artist’s Series

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15 CYDONIA GALLERY Sybren Renema’s work comes together in The Harvest of Leisure, Apr. 9 to Jun. 4 as an exploration of the sublime in relation to the canonical and yet paradoxical persona of Samuel Taylor Coleridge. In this examination, the sublime is reimagined as a perceptive fiction to battle against the gravity of living. cydoniagallery.com 16 DALLAS ART DEALERS ASSOCIATION Dallas Art Dealers Association is an affiliation of established, independent gallery owners and non-profit art organizations offering the 2016 Edith Baker Art Scholarship & Craighead Green Fund for the Arts to Booker T. Washington High School seniors pursuing the study of visual arts. The 2016 Scholarship Awards to Booker T. Washington High School presentation and exhibition take place on May 7 at One Arts Plaza. dallasartdealers.org 17 DAVID DIKE FINE ART David Dike Fine Art was established in 1986 and specializes in late 19th- and early 20th-century American and European art, with an emphasis on Texas Regionalists and Texas landscape painters, for both new and mature collectors. daviddike.com 18 DREXEL GALERIA (MONTERREY, MEXICO) This important Latin American gallery, Drexel Galeria, returns to the Dallas Art Fair Apr. 14–17, at Booth F-9, featuring works from Javier Pelaez, Fidel Figueroa, Ricardo Pinto, Alejandrina Herrera, Marina Lascaris, Pedro Escapa, Javier Guadarrama, and Alejandro Pintado. Ricardo Pinto shows through Apr. 21 and Cecilia Jaime shows through Apr. 28. Image: Javier Guadarrama, Mar No. 1-XVI, oil on canvas, 78 x 94 in. drexelgaleria.com

is excited to host T WO L egendary N ational Juried Group Shows this Spring!

SOUTHWEST GALLERY

4500 Sigma Rd. Dallas

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972.960.8935

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NOTED: GALLERIES

13 19 ERIN CLULEY GALLERY Oliver Clegg’s Life is A Gasssss shows the works of Brooklyn-based mixed media artist Apr. 9–May 7. Clegg explores themes of change and resilience in depictions of pop art as an allusion to visual culture’s informational overload. Rachel Livedalen shows May 14–Jun. 11. Livedalen’s creative research focuses on contemporary girlhood and womanhood through the consideration of historical socio-cultural symbols and mythologies. This gallery participates in the Dallas Art Fair for the first time. Image: Rachel Livedalen, Cleopatra (Liz Taylor), 2015, screen print on archival inkjet print, 37.5 x 29 in. erincluley.com 20 FORT WORTH ART DEALERS ASSOCIATION Fort Worth Art Dealers Association includes independent art dealers, non-profit exhibition spaces, museums, and university galleries. Its mission is to promote visual arts through educational programs, art scholarships, and art competitions. April brings a ten-county high school art show. fwada.com 21 GALLERIE NOIR Venezuelan-born painter Daniel Diaz-Tai presents his work in Subconscious opening Apr. 15. His paintings are an expression of subconscious compositions that embrace the ups and downs of life. gallerienoir.com 22 GALLERI URBANE Galleri Urbane welcomes the works of Rachel Hellmann, Apr. 2. The solo exhibition of Irby Pace’s work opens in May. Galleri Urbane will participate in the Dallas Art Fair, Apr. 15–17. galleriurbane.com 23 THE GOSS-MICHAEL FOUNDATION Before moving to a new space on Wycliff, 50

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46 Paula Crown’s work displays Apr. 7–May 27 in an exhibition entitled Bearings Down.

The Goss-Michael Foundation is one of the leading, contemporary, British art collections in the U.S. Founded by George Michael and Kenny Goss in 2007, the collection includes Tracey Emin, Damien Hirst, Sarah Lucas, Marc Quinn, and Michael Craig-Martin. g-mf.org 24 GRAY MATTERS GALLERY The gallery serves as the exhibition space of Dallas-based artist, Vance Wingate. Wingate’s work emphasizes the extent to which the creative process can be stretched through adding to and deleting from an image. vancewingate.squarespace.com 25 HOLLY JOHNSON GALLERY Matt Rich’s Constructions and Gouaches runs through May 7, accentuating materiality and activated space by using complex compositional structures and assembly practices. Manmade is a group show, featuring the works of David Aylsworth, Todd Chilton, Joseph Cohen, Geoff Hippenstiel, Warren Isensee, Dion Johnson, and James Lumsden, Apr. 2–June 11. Anna Bogatin’s New Paintings will open May 14 and continue through Jul. 30. hollyjohnsongallery.com

W E SA LU T E DA L L A S A R T FA I R F O R I T S E N O R M O U S I M PA C T O N O U R

26 JM GALLERY JM Gallery presents sculpture by Jason Mehl in Naked Memories, a show running from April 16 through May 28. Using the language of erosion, decay, growth processes, and the passage of time, Jason explores the nature of memory. His works call to mind objects that have become fragmented but are in the process of being reconfigured, like fragmented memories that are retranslated and restructured each time we recall an event. jmgallery.org

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NOTED: GALLERIES

Fine Arts Associates, LLC

19 27 KIRK HOPPER FINE ART Misbehaving is a collection of artwork by Erin Stafford that shows Apr. 23–May 21. Her work engages with concepts relating to ideas of fetishes, absurdity, and visual pleasure.

Alignment: sit, breathe, slow down, relax gathers the new work of Jaq Belcher Apr. 23–May 21.

Susie Kalil curates Slipstream, opening May 28, and shows works by Jorge Alegria, Lois Dodd, Lynn Randolph, Roger Winter, Angelbert Metoyer, Bill Haveron, Mary Jenewein, Emmi Whitehorse, James Surls, and Noriko Shinohara. Kirk Hopper Fine Art participates in the Dallas Art Fair. kirkhopperfineart.com Olin Travis, Oil Industry, commissioned by Howard Hughes

Henry Moore, Reclining Figure Bunched C5868 John Alexander, Bird with Yellow Head

Seymour Fogel, Transcendental Form In Blue

28 KITTRELL/RIFFKIND ART GLASS Grand Re-opening Celebration, A Blending of Two Traditions showcases new works from over 50 artists through April 10. April 16 welcomes the work of Susan Rankin and Shawn Messenger that continues to exhibit through May 15. Shortly after, Julia and Robin Rogers’s and Greg Fidler’s works will be displayed May 21 through Jun. 12. Image: David Patchen, Mosaic Foglio, blown glass, 20 x 11.75 x 3 in. kittrellriffkind.com 29 KRISTY STUBBS GALLERY Edgar Cardoze’s work opens Apr. 7 in a show entitled Lapsus Brutus. Cardoze has collaborated with local musicians and a metal shop to create paintings and sculpture; the innovative exhibit continues through May 15. stubbsgallery.com

Charles Hopkinson, Two Sisters, Elinor and Joan

Exceptional Collections and Estates of Fine Art 13720 Midway Road, Suite 110 | Dallas, Texas 75244 www.russelltether.com | 972-418-7832 | inquire@RTFAA.com Hours M-F: 9-5 and by appointment

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30 LAURA RATHE FINE ART The gallery welcomes the works of Michael Laube and Gavin Rain for Illusion, Apr. 2– May 7. German artist, Michael Laube, works primarily in acrylic while South African, Gavin Rain, works in the pointillist style.

Imminent Ascent is a collection of work from Christy Lee Rogers and Lucrecia Waggoner that runs May 14–June 18. laurarathe.com

CONTEMPORARY ART

31 LEVEL GALLERY The photographic works of Jeremy McKane show through Apr. 23 in Found, which includes prints and sculpture around the theme of marine debris and single use plastics. The artwork features model and surfer Ashley Baxter. A portion of the proceeds benefits 5 Gyres, an ocean conservation group. level-gallery.com 32 LILIANA BLOCH GALLERY Lynne Harlow’s Hey Sunshine opens April 2 and runs through May 7. Harlow’s works in Hey Sunshine continue her reductive exploration of light, color, and material, placing added emphasis on the behavior of light in relation to color and space. lilianablochgallery.com 33 LUMINÁRTE FINE ART GALLERY From Apr. 9–30, the gallery presents Judith Seay’s Retrospective works spanning five decades. Seay studied under Jerry Bywaters, one of The Dallas Nine; Deforest Judd; and Stephen Wilder who were influential in the mid-century Texas contemporary art scene. luminartegallery.com 34 MARTIN LAWRENCE GALLERIES Martin Lawrence, located in the Dallas Galleria, showcases a collection of works by Picasso, Chagall, and Warhol. The collection currently boasts a prestigious selection of paintings and limited-edition graphics. martinlawrence.com 35 MARY TOMÁS GALLERY Frequency runs April 2–23 and features new paintings by Blair Vaughn-Gruler, Mary Tomás, and Lori Schappe-Youens. In this group show the artists come together from Santa Fe, Dallas, and South Africa as they express their own unique mark-making. May 14 welcomes the dynamic works of Memphis artist Roy Tamboli in his solo exhibit, The Optimistic Storm. marytomasgallery.com

Artist Blair Vaughn-Gruler, detail: Something About A Boat, oil on wood on canvas, 48 x 60 in.

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For current exhibits visit us at www.marytomasgallery.com 1110 Dragon Street | Dallas, TX 75207 | 214.727.5101 Hours: M-F 10-5, SAT 12-4 and by appointment

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45 37 MUZEION Muzeion offers a varied collection of artifacts, sculptures, and historically significant pieces, fostering art that transcends time. The gallery continues to show Ultimate Beauty, a collection of human skulls from Papua, New Guinea. muzeiongallery.com 38 PHOTOGRAPHS DO NOT BEND Brad Temkin’s Rooftop Gardens and Stuart Allen’s Bubble show Apr. 30–June 18.

In conjunction with the release of his monograph, Rooftop, PDNB Gallery exhibits Temkin’s photographs of eco-friendly rooftop gardens from the United States and Europe.

Allen explores light and color in his works and he has taken another step in presenting the color spectrum by photographing organic bubbles against a clear blue sky. Image: Stuart Allen, Bubble No. 9, 2014, pigment print on rag paper, 24 x 24 in. pdnbgallery.com 39 THE POWER STATION Karl Holmqvist’s work shows in TUFF LOVE, Apr. 13–Jun. 17 and opens with a performance by the artist and Stefan Tcherepnin. As part of the gallery’s Culture Hole programming, Jesse Morgan Barnett has a one-night performance, L’Attico, on Apr. 15. Image: Karl Holmqvist, From his forthcoming The Power Station publication, TUFFLOVE. Image courtesy of the artist. powerstationdallas.com 40 THE PUBLIC TRUST SOLILOQUY: Trenton Doyle Hancock shows Apr. 2–May 7, followed by SOLILOQUY: Jason Salavon, May 14–June 18. SOLILOQUY is a series of solo shows featuring a single piece of artwork that challenges the viewer to engage with an artist’s work by removing familiar viewing elements such as comparison and contrast from the traditional exhibition format. trustthepublic.com 54

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39 41 THE READING ROOM American Dirt continues to show through April 17. The exhibition is a collection of found photographs from Jeff Ferrell—the author of The Empire of Scrounge—while dumpster-diving. The project is organized

by Gavin Morrison and Fraser Stables of Atopia Projects and is intended as a future publication. The photographs create an archaeology of American culture. Image: found photograph from Ferrell’s archive. thereadingroom-dallas.blogspot.com 42 RO2 ART Apr. 2 marks the opening of Olaniyi R. Akindiya (AKIRASH)’s Ebun [Gifts], while Julie Libersat shows in the project room. The works of printmaker Thomas Menikos will display beginning May 7. RO2’s location at The Magnolia continues to show Jennifer Leigh Jones’s Memory Web through May 3, followed by a photography exhibition of the work of Dannie Leibergot opening on May 5 in a show entitled Infinite Loop. ro2art.com 43 SAMUEL LYNNE GALLERIES Samuel Lynne Galleries is hosting a group exhibition featuring varied artworks by international emerging, mid-career, and bluechip contemporary artists. The show includes works by a roster of internationally celebrated artists and sculptors including Hans Van de Bovenkamp, Lea Fisher, John Henry, JD Miller, Denis Mikhaylov, Philip J. Romano, Tyler Shields, and Lidia Vitkovskaya. samuellynne.com

AMERICAN EPICS Thomas Hart Benton and Hollywood February 6–May 1, 2016 Experience the drama of Hollywood cinema and the works of one of America’s most popular painters.

Admission is free.

Hollywood (detail), 1937–38, Art ©T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Bequest of the artist, Photo by Jamison Miller

National Tour Sponsor

#ACMbenton

44 SITE131 Dropout, an exhibit guest-curated by Photias Giavonis of New York gallery, Callicoon Fine Arts, opens Apr. 13. The show is an exploration of the life and work of artist Lee Lozano and runs through June 4. site131.com

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18 45 SMINK SMINK hosts an exhibition of original work on paper, entitled Paperwork on Apr. 2. The work includes oil paintings on primed paper

by Margaret Fitzgerald, graphite work on Yupo by Diane McGregor, handmade Chinecollé and linoleum prints on Arches and Rives paper by Jerry Skibell and Anne Fairchild, collage works on Bainbridge board by Thel, and encaustic paintings on handmade Mulberry paper and Kitakata paper by Paula Roland. Through June 2. Image: Diane McGregor, Trance 1, 2013, graphite on paper, 6 x 6 in., 17.25 x 17 in. framed. sminkinc.com 46 SOUTHWEST GALLERY Outdoor Painters Society presents Plein Air Southwest Salon 2016, hosted at Southwest Gallery. The juried plein air competition brings together 88 exhibiting artists on April 9. The gallery will also be hosting Oil Painters of America’s Twenty-fifth Annual National Exhibition May 13–14. The juried exhibition displays traditional oil paintings. Image: John Cook, Morning Bath, oil, 20 x 16 in. swgallery.com 47 TALLEY DUNN GALLERY Spelboken, a solo exhibition of recent work by Natasha Bowdoin, opens on Apr. 1 and and runs through May 14. Spelboken’s centerpiece is Garden Plot, a monumental installation of cut paper and painted board that sprawls across the gallery’s primary wall. The gallery will simultaneously be showing With or Without, the works of Linda Ridgway. Image: Natasha Bowdoin, Garden Plot (detail), 2013, site-specific installation with gouache, acrylic and pencil on cut paper with latex acrylic on wall, 10 x 28 x 1 ft. talleydunn.com 48 UNT ARTSPACE DALLAS Opening Apr. 14, The 56th Annual Voertman Student Art Competition, runs through June 23. Displayed in the UNT Art Gallery, the program is open to all College of Visual Arts and Design students. gallery.unt.edu 56

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41 49 VALLEY HOUSE GALLERY A collection of works by Sedrick Huckaby shows Apr. 2–May 7 in Three Forbidden F Words: Faith, Family, and Fathers. Huckaby’s paintings of quilts and portraits metaphorically explore strains of pop-culture thought. Deborah Ballard’s The Voice Within and Gail Norfleet’s The Shape of a Flower are two shows that will run simultaneously, beginning May 14. The gallery hosts a Garden Party to celebrate the opening of Ballard and Norfleet’s exhibitions on May 15. valleyhouse.com 50 WILLIAM CAMPBELL CONTEMPORARY ART The gallery is participating in the Dallas Art Fair, Apr. 14–17. The works of Kevin Tolan will show in an exhibit entitled Viajem, April 21 through May 14. Richard Thompson’s work will show in the gallery May 19 through June 25. Image: Holman, Paths of Pollen, mixed media on paper, 13.5 x 10 in. williamcampbellcontemporaryart.com AUCTIONS/ART EVENTS 01 ART BALL 2016 The Dallas Museum of Art hosts the 51st Annual Art Ball the evening of Apr. 23. Art + Architecture will be the focus of this year’s event, chaired by Ann and David Sutherland.

The evening attracts some of the region’s most notable philanthropists and will feature a seated dinner, live auction, silent auction, and an after party. All proceeds benefit the DMA in their continued commitment to free public admission to their collection. dma.org/support-fundraising-events/art-ball 02 DALLAS ART FAIR Located adjacent to the DMA in the Fashion Industry Gallery, the fair features nearly 100 prominent galleries and international art dealers, displaying a multitude of media, including painting, sculpture, works on paper, photography, video, and installations by modern and contemporary artists. The fair runs Apr. 14–17. dallasartfair.com

PLEGARIA MUDA

DORIS SALCEDO On View Through April 17 Nasher Sculpture Center Congratulations to Doris Salcedo, Inaugural Nasher Prize Laureate nashersculpturecenter.org Doris Salcedo, Plegaria Muda, 2008-10.

Installation: Nasher Sculpture Center.

Courtesy of the artist; Alexander and Bonin, New York; White Cube; and the Inhotim Collection, Brazil. Photo: Kevin Todora Aston Martin of Dallas is the official car of the Nasher Sculpture Center.

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50 03 DALLAS AUCTION GALLERY The Decorative Art Auction, Apr. 6, will feature 19 th- and 20 th-century French furniture and accessories, Chinese porcelain, and silver collections. The Fine Jewelry Auction, Apr. 27, will feature diamond jewelry, signed pieces

by Cartier, Harry Winston, Van Cleef and Arpels, David Webb and Tiffany, timepieces, and colored gemstones. The Fine Art Auction, May 18, includes works by Rufino Tamayo, Robert Longo, Robert Indiana, Jesus Rafael, and Soto. dallasauctiongallery.com 04 HERITAGE AUCTIONS Heritage Auctions offers a series of art auctions, including Fine Silver & Objects of Vertu Apr. 8–11, Modern & Contemporary Art Apr. 14–16, Illustration Art Apr. 22–25, American Art Thursday, May 5–7, The Viktor Schreckengost Auction: 20th Century Art & Design May 11– 13, Texas Art May 19–20, and Modern & Contemporary Prints & Multiples May 21–23. ha.com 05 MTV RE:DEFINE On Apr. 8, MTV RE:DEFINE celebrates its 5th year to benefit The MTV Staying Alive Foundation and the Dallas Contemporary.

The evening synthesizes a gala and auction hosted at the Dallas Contemporary, curated

by Neville Wakefield, and hosted by Joyce Goss and Kenny Goss. mtvredefine.com 06 DAVID YARROW EXHIBITION Iconic London-based photographer, David Yarrow will have works on display Apr. 13– 17 at The Space on Oak Lawn during Dallas Arts Week. An opening night celebration with the artist takes place Apr. 13 from 7–10 p.m. On Apr. 15 an exhibition and artist's talk takes place on The Terrace at The Joule Hotel from 10–3 p.m. davidyarrow.photography 58

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OF NOTE: AUCTION

The Eyes Have It

BY MICHAEL MAZUREK

Marc Quinn discovers the equal and unique in his iris portraits.

MTV RE:DEFINE offers the opportunity for this artist and seer to look into yours.

In an exclusive interview for Patron, curator Michael Mazurek discusses the artist's practice with this highly lauded British sculptor and painter.

Michael Mazurek: Your work has great diversity, both in medium and content, but most if not all seem to come back to what one could broadly classify as the human condition—could you talk a bit about your conceptual parameters and how they relate to this diversity?

Marc Quinn: What interests me is making art about the world we live in now, about being a person in that world, and paths where those two elements interact. I started with making work about the embodiment of being a person in the world and moved outwards from there into how people interact with the world and in contemporary history—the whole works together as a conceptual idea rather than a look. When I come up with a new topic or theme that I’m interested in, a medium will come to me as to how to make that. I tend to make things in groups of works, and although they may appear scattered, in general there’s a cohesiveness. I’m making art that I want to be a document of the world we live in. I’m not just making art to put on people’s walls as decoration. So I’m less interested in creating a style that somehow in the market you end up being known for, but I’m thinking in a bigger way.

MM: Your work generally requires elaborate processes to come to fruition; is this a means to an end for you, or do you find reward in the making?

MQ: I’m fascinated by process the same way I want to make art to interact with the world. I want to use processes that interact with now. Like the big wave sculptures I’ve just made. They were made by scanning small fragments of shell and then producing them in stainless steel very big, and the technology to make these didn’t exist two years ago. I work very closely with people who fabricate in the highest quality and with the newest technology. But I never like my work to wear its technology on its sleeves.

You look at it and you don’t have to know that, you can appreciate the sculpture not knowing how it’s made. But it’s nice to know that you couldn’t have made it until very recently.

MM: There’s a fragility to many of the structures you explore, like shells—is it difficult to release works like this from your control, like your portraits in blood and frozen gardens, that require a high degree of care, or similar to Robert Smithson, does the possibility of their destruction interest you?

MQ: I think the possibility of destruction is part of the meaning of the work.

But I also think that if someone has paid a lot of money they tend to look after it. In that way the market helps. If they were worth nothing they probably would not exist anymore.

MM: You’ve generously donated an Iris portrait to the RE:DEFINE benefit auction. Could you talk about how these are made?

MQ: I’m interested in that border between abstraction and figuration, the two parts that together talk about identity. I take a photograph of the eye and then make an oil painting using an airbrush. When you blow up an eye, there’s so much detail and color that you don’t see. Whatever color the eye is, there is always something very interesting in there. You get this painting that when you see it in person, you forget it’s an eye, and when you look at it for a while, it starts to be more abstract. The pupil in the middle tends to hold safe, then you’re caught between the two. They’re very democratic, because everyone is the same. Everyone’s iris is just as interesting as anyone else’s. You can’t tell who the person is, whether it was commissioned or it was done by me. There’s an equality and democracy to the series that I like.

Marc Quinn is offering a unique opportunity to be part of his We Share Our Chemistry With the Stars series. Auctioned at MTV RE:DEFINE on Friday, April 8 at Dallas Contemporary, the winning bidder (or a sitter nominated by them) will visit Quinn in his London studio to have his/her very own iris captured by this highly acclaimed British artist. P From top to bottom: Marc Quinn, Courtesy of Marc Quinn Studio; Marc Quinn, We Share Our Chemistry With the Stars (SB 200), 2016, oil on canvas, 78 x 34 in.

Photography courtesy of Marc Quinn studio; Marc Quinn, Self 2006, blood (artist's), stainless steel, perspex and refrigeration equipment, 81.88 x 23.80 x 23.80 in.

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STAYING THE COURSE

Outgrowing his gallery space thrice, popular Los Angeles gallerist David Kordansky returns to the Dallas Art Fair for the second time, featuring the work of emerging artist Calvin Marcus.

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mere thirteen years ago, David Kordansky opened his original eponymous gallery in Chinatown. Of humble size, it represented eight emerging artists, several of which were fellow CalArts grads. He relocated to Culver City a few years later with an expanded artist roster of international renown and introduced a second gallery to the area in 2011. In September 2014, he reopened yet again in a super-sized 20,000-square-foot space that was formerly a 1930s food market, an auto dealership, and a martial arts center. Cited as an “L.A. heavyweight,” it’s safe to say Kordansky has enjoyed a successful career as a gallerist. “A favorite dealer among Dallas collectors, we are thrilled to welcome his gallery back to Dallas—it will be one of this year’s highlights,” says Dallas Art Fair co-founder Chris Byrne. Listed annually as one of the top 200 art collectors in the world by Art News, Howard Rachofsky visited with Kordansky on his second turn at the Dallas Art Fair.

Howard Rachofsky: Could you talk about the gallery’s connection/ relationship with Dallas?

David Kordansky: Our gallery has always enjoyed a close relationship with Dallas and its collectors. This year three of our artists will have institutional solo shows in the city: Mai-Thu Perret opened an exhibition at the Nasher Sculpture Center in March. In September, Kathryn Andrews’s MCA Chicago exhibition also arrives at the Nasher, and then Pietro Roccasalva installs an exhibition at The Power Station timed to coincide with his second solo show at our gallery in November.

HR: Why are you choosing to exhibit in the Dallas Art Fair?

DK: This will be our second trip to the Dallas Art Fair, and like our regular visits to TWO x TWO, we see it as an important and meaningful opportunity to deepen our ties to the Dallas community, which includes not only one of the strongest concentrations of leading collectors in the world, but also some of my favorite people. The fair is a great platform, in this decentralized art world, to showcase an individual artist, and to bring a new body of work directly to a curious audience.

HR: What works are you bringing? Why are you bringing these works to Dallas?

DK: We’ll present new works by Calvin Marcus, an emerging Los Angeles artist who debuted his first solo exhibition at the gallery in January. On view in Dallas will be his recent “me with

Above, left: David Kordanksy. Photo by Fredrik Nilsin; above, right: Calvin Marcus, me with tongue, 2016, oil stick, Cel-Vinyl, liquid watercolor, and emulsified gesso on linen/canvas blend, 84 x 60 x 1.5 in. Opposite, from left: Calvin Marcus, me with tongue, 2016, oil stick, Cel-Vinyl, liquid watercolor, and emulsified gesso on linen/ canvas blend, 84 x 60 x 1.5 in.; Calvin Marcus, me with tongue, 2016, oil stick, CelVinyl, liquid watercolor, and emulsified gesso on linen/canvas blend, 84 x 60 x 1.5 in.; Calvin Marcus, me with tongue, 2016, oil stick, Cel-Vinyl, liquid watercolor, and emulsified gesso on linen/canvas blend, 84 x 60 x 1.5 in. All images courtesy of David Kordansky Gallery, Los Angeles, CA. Photography by Marten Elder.

David Kordansky Gallery, Photo by Fredrik Nilsin 60 PATRONMAGAZINE.COM

FAIR TRADE

INTERVIEW BY HOWARD RACHOFSKY

tongue” pictures: demonic-looking crayon-on-paper self-portraits meticulously enlarged to the scale and presence of paintings.

Complementing these faces will be a series of ceramic sculptures, as well as leisure shirts designed, worn, and stained by the artist. Calvin takes each soiled uniform to a different Los Angeles dry cleaner, who effectively finishes the artwork, framing it in their specific bagging.

Calvin’s practice is a rare blend, particular to Los Angeles, of material sensitivity, conceptual heft, and personal vision.

HR: What distinguishes your selection of gallery artists? Is it a particularly LA-based group?

DK: Exactly half of our 36 artists are based in Los Angeles. I

started my gallery in the city’s Chinatown neighborhood, showing classmates and friends I met while earning an MFA at CalArts.

In the last thirteen years we have grown the gallery by putting these artists in conversation with artists from other locales and generations. All of these artists, whether from near or far, whether young or old, share the unique spirit of this city. The idiosyncrasy, material alchemy, and visual pleasure characteristic of Los Angeles are a current running through my program.

Thanks David. Anecdotally, we recently acquired a Calvin Marcus painting from the last show, so we’re excited to see your presentation at the Dallas Art Fair. P

ABOUT HOWARD RACHOFSKY

Howard Rachofsky, photo by Sara Deal

A Dallas native, Howard Rachofsky was a hedge fund manager for thirty years. He started the Regal group of companies in the 1970s and acted as the Managing Partner of Regal Securities Investment, L. P. and President and Chairman of the Board of Regal Capital Company. Howard has served, and continues to serve, on several non-profit boards, including Dia Center for the Arts in New York, the AT&T Performing Arts Center, the Dallas Symphony Foundation, and Lumin Education. With his wife Cindy, he hosts TWO x TWO for AIDS and Art, which benefits amfAR, the Foundation for AIDS Research, and the Dallas Museum of Art’s Contemporary Collection Program. Over the past 17 years, TWO x TWO has raised over $60 million in support of these organizations.

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BY KAT HERRIMAN

INTERNATIONAL SOLITUDE Though conceptual painter Blair Thurman’s work is found in collections across the globe, the artist enjoys the intimacy of the woods in Upstate New York where he resides and works.

This page: Blair Thurman, Widows' Walk (A Coat of Arms and/or Tails for a Whale), 2015, neon, acrylic, glass, wood, metal fittings, transformers, 129.92 x 118.11 x 11.81 in.

Opposite (from left): Blair Thurman, Sea Robin, 2015, acrylic on canvas mounted on wood, 85 x 47 x 2 in.; Blair Thurman, Everlasting Sandcast, 2015, acrylic on canvas on wood, 85 x 47 x 2 in.; Blair Thurman, Dressed To Kill, 2015, acrylic on canvas on wood, 85 x 47 x 2 in. All images courtesy of the artist and Galerie Frank Elbaz.

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CONTEMPORARIES

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ersonal history goes a long way with artist Blair Thurman.

It’s the lifeblood of his art, which draws upon his childhood nostalgia for Pop and Minimalism as well as his early obsession with sports cars. The son of a contemporary museum director, Thurman spent his formative years looking at the work of art legends like Andy Warhol, Nam June Paik, and Robert Rauschenberg, but these days the 55-year-old artist tends to surround himself with a different kind of stimulus—namely the woods of Upstate New York, where he lives with his wife. Purposefully secluded, his studio offers ample space to experiment and produce his large sculptural paintings without interruption. An Edenic alternative to the hustle of New York, Thurman’s rural home base allows him the flexibility to commute for work when needed, but for the most part he sticks to his daily routine. “Constant coffee and television,” says Thurman, describing the typical series of events. “I try to get to the studio by 9 a.m. We eat a nice lunch everyday because we’re lucky to have a hippie commune nearby with a fabulous kitchen. Sometimes I work quite late, into the next morning, but generally until 10 or 11 p.m. I seem to be very slow at making things. My wife and I have a beautiful dog, and my assistants, Dana and Holly, also have dogs, so it’s very cozy. We know we’re very lucky. I like living in a place where I’m not likely to meet another artist. I like privacy and solitude.”

While Thurman tends to keep to himself and a small group of friends, his work travels around the world. Over the past two years, Thurman’s work has crisscrossed from Los Angeles to Berlin to please an increasingly international collector base. This month, Thurman’s paintings touch down in Texas thanks to the artist’s long-time friend and dealer, Frank Elbaz, who plans to show Thurman’s newest work at his Dallas Art Fair booth. “[I] met Frank in Nice through Vincent Pecoil. He’s very gregarious, very outgoing. We met at the casino one night, late, at an after party,” recounts Thurman of the duo’s first meeting. “Frank was playing Blackjack or maybe Baccarat with a bunch of other art dealers. He told me he was winning the money to do a show with me. I have to say I like that style.”

Equally a showman, Thurman knows how to energize a room.

His neon sculptures and oversized paintings add a sense of drama to any space they inhabit. Inspired by the tropes of Minimalism and Pop

as well as advertising, the artist looks at the construction of visual language through an abstracted lens. In his Supermodels series, one of his best known bodies of works, Thurman distilled racecars down to their individual components and laid them out on the wall in the same precise way a doctor might line up his scalpels. The resulting neon-lit works call to mind animal hides. It’s these slippages between references that require one to look twice at everything the artist touches.

Removed from the figurative or illustrative realm, Thurman’s paintings inhabit a conceptual space where meaning is open to individual interpretation. Titles become an important tool for Thurman to shape these evolving discussions around his work.

Whimsical names like Endless Summer, Undertow, and Goth Rocket set a certain tone when looking at Thurman’s geometrically striking compositions. “I always think about titles—titles make the connection to the viewer. At the other end, I always try to connect what I’m doing to my life,” explains Thurman. “There has to be something nominally personal, autobiographical, or whatever. I try to put a little soul into my work, which is, I guess, a very old-fashioned idea, like preferring a used car to this year’s model.”

While nostalgic in one sense, Thurman’s work rarely feels sentimental. Instead, it feels almost scientific in its analysis of Pop and consumer culture as an aesthetic. Permanent and paradoxically ephemeral, Thurman’s sculptures strike the same precarious equilibrium as their subject matter. Like something drafted from memory rather than copied from paper, Thurman’s wall-clinging creations meld together past and present in a way that feels authentic to both. Perhaps this organic touch comes from Thurman’s own experience finding a place within the art history canon alongside the Modern iconoclasts that his work continues to revisit.

A former assistant to video art pioneer Nam June Paik, Thurman intimately understands the cycles of influence and how one generation’s innovations lead into the next. “I’m at that age where you can really look at your life, and there’s still time left, but you can really see the arc, and you have some grasp of where you’re going,” notes Thurman. If his recent rash of exhibitions is any indication, it seems Thurman’s trajectory is undoubtedly up. P

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RITES OF SPRING

Rebecca Warren commission inaugurates the Eagle Family Plaza at the Dallas Museum of Art.

Rebecca Warren on a March day in front of her newly installed Pas de Deux (Plaza Monument) sculpture.

Photography by Fey Sandoval

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CONTEMPORARIES

BY NANCY COHEN ISRAEL

From left: Rebecca Warren, The Hills 1, 2010, hand-painted reinforced clay on painted MDF pedestal, 14.625 x 10.625 x 10.625 in. Courtesy of Matthew Marks Gallery.

Photo by Ron Amstutz; Rebecca Warren, Eins, 2013, hand-painted bronze, 82 x 11 x 11 in. Courtesy of Matthew Marks Gallery, Photo by Ron Amstutz; Rebecca Warren, The Hills 5, 2010, hand-painted reinforced clay on painted MDF pedestal, 15.375 x 11.75 x 10.25 in. Courtesy of Maureen Paley. Photo by Tom Van Eynde. © Rebecca Warren.

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ebecca Warren’s first U.S. museum-commissioned work will be unveiled this month on the newly completed Eagle Family Plaza at the Dallas Museum of Art. It is new work for a new era at the museum. “Our hope for Rebecca’s project was to inaugurate a commissioning program for Eagle Family Plaza, a program that in time will become part of the fiber of the DMA,” explains Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art. Warren’s monumental sculpture, Pas de Deux (Plaza Monument) is comprised of two totemic forms, each rising more than 16 feet and sitting on opposite ends of a plinth. It represents a changing of the guard, of sorts, as the work of this contemporary British artist will take the place of a bronze by Henry Moore, the defining British sculptor of his generation. This commission also marks the first time that a woman’s work is installed at the entrance to an American museum.

“We feel the work of a living female artist welcoming visitors to the DMA communicates an important message about our collecting and acquisition ambitions,” says Delahunty.

In an era in which process dominates much of contemporary practice, Warren’s work charts new territory. She initially makes the figures in clay before sending them to the foundry where molds are made and from which the pieces are cast. While cast bronze is an ancient technique, her method of hand-painting is innovative. She considers this piece to be part of an evolution. For Pas de Deux, Warren says, “The painting on these is more brilliant than usual.” It also creates another dimension to the work. “I’m treating the surface much more as in a painting. You have the sculpture and then the painting on top,” she adds. Car paint, which makes the work suitable for the outdoors, is her pigment of choice.

Warren’s work characteristically challenges Western sculptural traditions. With this commission, it is taking a new turn. “In the past few years, the sculptures have become simpler and a little less figurative in a sense,” she says, adding that in this work, “they shift around the gender and are less specific. I think it was having an innate sense of what would work and of getting them to work and having a dynamism.”

Warren first came to Dallas in 2014 to discuss the project with Delahunty. And, as with most commissions, it went through many

permutations. The results speak for themselves. “While the work is fully representative of Rebecca, she has really pushed herself for this commission. The work is of an unprecedented scale for her and the paint application some of the best and most expressive she has ever produced,” says Delahunty. For the artist, many factors shaped the commission. She says, “You’re trying to work within the location. My considerations were about scale and how scale fits the context. It was kind of pushing boundaries.”

In addition to the installation of Pas de Deux, Delahunty curated the exhibition currently on view, Rebecca Warren: The Main Feeling. Featuring work from the past decade, it presents an opportunity to introduce Warren’s work locally.

It takes a village, as it were, to fund a major endeavor such as this.

While DMA benefactors Jennifer and John Eagle provided the funds to renovate the north entrance to the DMA, several organizations helped support the exhibition and commission, including The Kaleta A. Doolin Foundation, Gene and Jerry Jones, and TWO x TWO for AIDS and Art. The annual contemporary art auction, TWO x TWO benefits amFAR, The Foundation for AIDS Research, and the Dallas Museum of Art. Cindy Rachofsky, who co-chairs TWO x TWO with her husband, Howard, says, “When we chose the DMA to be the second beneficiary, Howard had the brilliant idea that to encourage dealers to keep giving to TWO x TWO, the funds that the museum received had to be recycled to mount exhibitions, acquire new works, and commission new pieces.” She adds, “We are proud that this work will become an icon at the museum.” Without the support of these organizations, Delahunty says, “We quite simply would not have achieved this important commission.”

For the Dallas Museum of Art, this represents a new chapter.

Delahunty says, “We expect the work will stay in this location for 3–5 years. We have agreed with the artist to the option of relocating the work either in the museum or on our campus when the time comes.

Plans beyond Rebecca’s commission have not yet begun, but any future projects will continue to reflect the museum’s mission for excellence and diversity.” Working with the museum has been inspiring for Warren, too. From praising the new site to working with the museum staff, it has been an exciting endeavor for her. She concludes, “I think it is such a brilliant project. I can see how the museum will really benefit.” P APRIL / MAY 2016

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BY JUSTINE LUDWIG PHOTOGRAPHY BY SHAWN SAUMELL

Michelle Rawlings is a Dallas artist whose works have been exhibited locally and internationally.

A SUBTLE KNIFE

A delicate hand with exacting precision informs the nuanced works of artist Michelle Rawlings.

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STUDIO

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orn in Dallas, Michelle Rawlings’s art career has taken her to Boston, Providence, New York, Los Angeles, and Paris. When she returned two years ago to her home city, she found both the physical and mental space to create her art. Rawlings’s paintings, photo collages, and animations draw from a wide pool of source matter. Ranging from stock photography to the aesthetics of early childhood education, the artist’s mining of art history and her own upbringing place a strong emphasis on nostalgia. She taps into the romance and malaise of youth.

Many of Rawlings’s paintings focus on images of women.

She investigates the omnipresence of the sexualized female form throughout visual culture and the commodification of women’s bodies. The artist’s culling of source material evinces the mass of information we are bombarded with via the Internet and advertising.

The strength of Rawlings’s work is derived from her ability to translate different subject matter into paintings that are both considered and intimate. She is a painter’s painter with a masterful understanding of the medium.

Located in Old East Dallas near Fair Park, Rawlings’s studio, from the outside, is an unassuming two-family home. Inside, rooms are bathed in an ethereal soft white light. In the first room, two small in-process works hang on the walls. A stack of small canvases lean in the corner. In contrast to current trends in painting, which favor large, bombastic works, each of Rawlings’s canvases recalls the size of a book.

In the next room are a variety of works in different stages of completion. The artist often experiments with the buildup of paint and different forms, a deeply labor-intensive process. Many pieces are built on top of older works. If she does not feel that a work was successful or resolved, she simply allows it to once again be approached as a raw canvas. These ghostlike under-paintings appear as scars and result in lush, textured surfaces.

Health pamphlets, clothing catalogues, and film, in addition to her own archive of personal images, have become the subject and source material for Rawlings’s female portraits. These diverse figures are intentionally selected for their projected naïve quality or purity, which is perhaps best captured in an image of a young Brook Shields included in her 2013 print, Digi-collage. This interplay between seduction and innocence causes an arresting tension in the work. Each image unpacks the complexity of the appropriation of the female form and how gender is presented in mass media.

An interest in digital culture is manifested in Rawlings’s paintings, inspired by failing computer screens and highly pixelated images. In these works, distorted digital information is meticulously recreated as painted color blocks on canvas. Though executed with exacting precision, there remains a strong presence of the artist’s hand.

The more abstract of these compositions were inspired by her own malfunctioning computer that distorted images on her artist website, creating distortions of earlier works. In other paintings, color spectrums are broken down into countless small squares.

These pixelated rainbows are comprised of blocks of color that have each been individually mixed so that no two colors are exactly the same. The resultant image is a vibrant patchwork that taps into the emotional associations we have with color. Rawlings relishes in the simple, sublime beauty of juxtaposed hues.

This exploration of color is continued in animations that bring Rawlings’s paintings to life. These works appear as a hybrid of the

Above, right: Michelle Rawlings, A Gentle Creature installation at Raster Gallery in Poland.

Right: A peek inside Michelle Rawlings's studio.

iconic Disney film Fantasia and GIF culture. In one work, a mermaid in a watercolor landscape stretches as if she has just awoken from a nap. In another, bars of color travel across the screen in time to music.

They illustrate Rawlings’s interest in nuance, as small movements have great resonance.

Rawlings has been garnering much attention recently. At the last NADA art fair in Miami she was featured in the booths of two galleries, Warsaw’s Raster Gallery and Houston’s Hello Projects. Not long before that, she was the subject of a solo exhibition at Raster Gallery, titled A Gentle Creature. Currently, she is the subject of a twoperson show with Matt Morris at Permanent Collection in Austin. The show explores gender politics as well as gender fluidity. Additionally, she has two upcoming exhibitions at the Dallas-based And Now gallery and will be showing at the Liste Art Fair in Basel this summer.

Rawlings is present in all her work, no matter the subject matter.

Be it through the repetition of her likeness or her carefully honed, repetitive brush stroke. Her works elicit repeat viewings due to their subtle execution and nuanced content. Rawlings’s ability to create paintings that resonate with contemporary Internet culture makes the medium feel fresh and not only timely, but timeless. P

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Margaret Lee's exhibition at Duddell's in Hong Kong marks the 35th anniversary of the Dallas Museum of Art's Concentration Series.

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SOJOURNER

BY STEVE CARTER

CONCENTRATIONS EAST

The DMA’s project-based series celebrates its 35th year with a first-ever off-site exhibition featuring Margaret Lee’s site-specific installation at Duddell’s in Hong Kong.

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he Dallas Museum of Art’s Concentrations series has been a feather in the encyclopedic museum’s cap for 35 years, a keystone of its unflagging commitment to contemporary art.

Concentrations’s mission of presenting project-based exhibitions of international emerging and underrepresented artists has resulted in some of the DMA’s most provocative vanguard shows over the years—Charline von Heyl, Phil Collins, Kiki Smith, Slavs and Tatars, and Stephen Lapthisophon, to name only a few. But to celebrate the 35th year of the series, the DMA went abroad with Concentrations for the first time ever, and the buzz is audible. Concentrations HK: Margaret Lee is a departure, a conceptual collaboration between the DMA, New York-based artist Margaret Lee, and Duddell’s, a decidedly nontraditional art venue in Hong Kong. Concentrations HK: Margaret Lee is on view at Duddell’s through June 2016. The

opening was brilliantly timed to coincide with Art Basel Hong Kong, March 24–26, when the international art world’s eyes are on the East.

“I don’t think the museum has ever initiated a project that exists solely outside of the museum walls,” says exhibition organizer Gabriel Ritter, the Dallas Museum of Art’s Nancy and Tim Hanley Assistant Curator of Contemporary Art. “It’s of great interest to the DMA to be aligned with a space like Duddell’s, but also to be aligned with the art world elite of Art Basel Hong Kong, which is very quickly becoming the destination in Asia for contemporary art.

It’s just a really fantastic opportunity for us and also for Margaret Lee.” Duddell’s itself is unique. Located in the heart of Hong Kong’s Central district, it’s a multifaceted showplace that’s not only a world-class, two-Michelin-star restaurant, but also home to a

Left: Margaret Lee, W.D.U.T.U.R. #1, 2016, dye sublimation photograph and acrylic paint, 28 x 42 in., courtesy of the artist and Jack Hanley Gallery; Right: Margaret Lee, W.D.U.T.U.R. #5, 2016, dye sublimation photograph and acrylic paint, 28 x 42 in., courtesy of the artist and Jack Hanley Gallery

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renowned program of contemporary art exhibitions; it’s an artistic hub designed to satisfy more than just one appetite. Concentrations HK: Margaret Lee is a 2-D and 3-D site-specific installation that begins along Duddell’s marble staircase and threads its way upstairs to the Salon and Library. “In my opinion the installation’s perfect for the space,” Ritter enthuses.

Margaret Lee is a rising star in the arts firmament stateside, and this exhibition marks her first foray into Asia. Lee’s parents left Korea in the ‘70s and moved to New York in search of better opportunity; Margaret is their first American-born child. “I think Gabe [Ritter] understood that working with someone like me, someone who’s kind of caught between worlds, might have an interesting perspective of what it means to be a Western artist, and bringing my art to the East,” Lee muses. “I’m one of those ‘bridge generation’ people who doesn’t quite fit in either place, but then becomes a very interesting conduit—it’s like things getting lost in translation.” Lee is something of a shape-shifter as well; in addition to her own art practice, she’s a partner at the artist-run 47 Canal, a gallery on NYC’s Lower East Side, and changes hats again as studio manager for photographer Cindy Sherman.

Lee began to conceptualize the exhibition during a recent fullaccess visit to the DMA. She photographed iconic works from the collection, including not-on-view pieces, and started to riff on

the possibilities. “I was thinking about what the DMA and Duddell’s represent in very basic terms, the West and the East,” she says. “Dallas is very American, and very particular to Texas. For the installation I decided to focus on one piece from the DMA collection, a Brancusi sculpture called ‘The Beginning of the World.’ But rather than it being ‘I took all these photos at the DMA and I’m just putting them at Duddell’s,’ it’s more that I went to the DMA, took some photographs, decided to work with one very important work, and then from that was able to generate my own images.”

Constantin Brancusi’s The Beginning of the World (1920) is a Modernist masterpiece fashioned of marble, nickel, silver, and stone; its absolute geometry nonetheless seems to suggest anthropomorphic possibilities. The iconic image is appropriated throughout the 15 or so works that comprise the installation, incorporated in Lee’s self-standing metal sculptures and hanging wall pieces; the show also includes new watercolors and plaster cast trompe l’oeil vegetables, a recurring Lee motif. “She’s part of a group of artists with, and between, photography and sculpture,” Gabriel Ritter explains.

“And there’s a very interesting play between high and low— the Brancusi next to a sink, a showerhead. She’s hyper-aware of that; it’s humorous but it’s also a kind of critique.

“Everyone involved is very excited,” Ritter adds. “In many ways Margaret is acting as a kind of ambassador for the DMA in this project…hopefully it won’t be the first and the last.

Maybe it opens the door for other interesting collaborations to bring the DMA into this international conversation—who knows what future iterations could be? I think there are a lot of possibilities here.” P

Left: Margaret Lee, W.D.U.T.U.R. #3, 2016, dye sublimation photograph and acrylic paint, 28 x 42 in., courtesy of the artist and Jack Hanley Gallery; Above, left: Margaret Lee, W.D.U.T.U.R. #2, 2016, dye sublimation photograph and acrylic paint, 28 x 42 in., courtesy of the artist and Jack Hanley Gallery; right, Margaret Lee, W.D.U.T.U.R. #4, 2016, dye sublimation photograph and acrylic paint, 28 x 42 in., courtesy of the artist and Jack Hanley Gallery

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SUPERIORITY. COMPLEX.

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WELL CAST

London gallerist C.J. Jones of 10 Hanover and Chicago-based artist Paula Crown lead the 5th Anniversary of MTV RE:DEFINE, an all-star art auction and gala at Dallas Contemporary.

C.J. Jones with Paula Crown in her studio that faces Millennium Park in Chicago.

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pril for me has come to mark a yearly visit to Dallas for spring art season. In addition to the social and economic buzz around the Dallas Art Fair, all the museums, nonprofits, and galleries seem to host a grand event, and this year is no different. The Goss-Michael Foundation will present the 5th installment of MTV RE:DEFINE, a contemporary art gala and auction to benefit the MTV Staying Alive Foundation and Dallas Contemporary where the event will be held this year. Relocating soon to a new space in the area, an exhibition featuring the work of Chicago-based artist Paula Crown serves as the closing exhibition at The Goss-Michael Foundation’s current site. I had the opportunity to talk with the event’s co-chairs Paula Crown and C.J. Jones to discuss the project, Dallas art culture, a new gallery, and studio projects in the works.

John Riepenhoff (JR): How did you come to co-chair MTV RE:DEFINE?

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Paula Crown (PC): One frosty day in January, I was working in my studio. I started hearing voices... ‘PAULA, YOU WOULD HAVE A GREAT TIME CO-CHAIRING THE MTV RE:DEFINE AUCTION. IT IS FOR A WONDERFUL CAUSE…AND DALLAS HAS BETTER WEATHER IN APRIL.’ I rubbed my eyes and realized yes, the weather is much better in Dallas. I must CoChair MTV RE:DEFINE. Postscript: The voices were those of Kenny and Joyce Goss standing in my studio. Their gracious and generous spirit, the auction beneficiaries, and the fact that CJ was involved—which upped my ‘cool quotient’ in the eyes of my children—made the decision to cochair an easy one. I first met Kenny and Joyce in 2014 when I had an exhibition at the Dallas Contemporary. I was most impressed with the Foundation’s collection and its outreach to artists and in the community.

AUCTION

BY JOHN RIEPENHOFF PHOTOGRAPHY BY SCOTT THOMPSON CJ Jones (CJJ): I’ve had a great relationship with The GossMichael Foundation for a few years. Kenny (Goss) is a close friend of mine, and we’ve worked together on a couple of shows recently.

Kenny kindly asked me to co-chair, as I’m a big supporter of the charity and love what Dallas Contemporary is doing at the moment.

I’m very excited to be co-chairing with Paula, who’s a fantastic artist.

We all met at her studio in Chicago; now here we are.

JR: I love how recent relationships have moved fast to make these things happen; it’s a testament to everyone involved having a sense of imagination and living in the moment to get things done. Paula, has your work as an artist taking personal thoughts and producing them on a public scale influenced the way you view the production of a cultural event like MTV RE:DEFINE? PC: Working on my own art projects or giving time to MTV RE:DEFINE are consonant with one of my own meta-life goals: to increase the opportunities to engage people with art in all of its forms. Art brings us to the present moment. It provides time for pause, thought, and reflection. In these turbulent times, we need more reasons to connect with each other. We have been overwhelmed with the polemics of politics, religion, and culture.

Art has been a feature of human civilization since the beginning of time. We have a core need to think creatively and to express our unique selves. How can we not prioritize ‘art making’ in our society?

We should encourage everyone to see more closely, sense more deeply, and engage in enlightened discussion.

JR: I find the Dallas art community very supportive. Even though you, Paula, and I both call the Midwest home, my first experience entering one of your large-scale installations outside of your studio was at Dallas Contemporary in 2014 when you exhibited INSIDE MY HEAD: A CONTEMPOR ARY SELF-PORTR AIT. What about the scene keeps you coming back?

PC: Dallas understands the importance of art to civic life. A vibrant culture attracts people and commerce. It seeds a virtuous cycle. The Dallas Arts District, with its ecosystem of premier arts facilities, green space, and architectural design, is a vital, creative community. I have watched it develop and expand on the cultural map.

As an artist, I live in the realm of possibilities. Being part of a burgeoning community is exciting. Dallas is open to new ideas and interventions. It has a history of embracing innovation. It understands how the public and private sectors can work together. It is a joy to be in such an environment, especially working with The Goss-Michael Foundation.

JR: Your exhibition will mark the final exhibition at The Goss-Michael Foundation in its current location in the Design District prior to its move to Wycliff. The show will be up during the Dallas Art Fair as well as the MTV RE:DEFINE events. What can we expect to see in this show?

PC: BEARINGS DOWN (2016) is a multi-media immersive installation with sculpture, video, 3D animation, and sound. I am a mark-maker. The genesis of the work is a landscape drawing that I made while flying in a helicopter. This is relevant because traveling in the air affected my hand, the drawn line, and the subject matter. The sketch was magnified, ‘dimensionalized,’ rotated in space, and etched on a silvered glass surface. The etched glass serves as the top of an ‘infinity’ box, which is 3 feet by 4 feet by 3 inches. It has a mirrored bottom which creates infinite speculations of an illusionistic space.

(Warning: spoiler alert)

I will gesturally intervene with the object, smashing it with ball bearings at the beginning of the show. What remains is a visually charged object which merges rigid and organic forms. Image, video, and sound reflect a micro and macro landscape.

JR: I understand that you are planning a project with C.J. for his London space. Is it premature to discuss your thoughts about that proposed installation?

Will it involve immersive installation?

PC: Although discussions are nascent, we imagine an installation where we would ‘crush it’ and ‘get plastered’ (puns intended). It would certainly be immersive. Sounds like fun, right? Stay tuned.

JR: C.J., how has your experience with the community in Dallas influenced or effected how you see art and life back in London?

CJJ: Since coming to Dallas it’s been incredible to see how the art community here gels together, from museums to foundations, curators to collectors. There’s an incredible keenness to absorb and be part of what’s going on in contemporary art at the moment, and you can really feel the energy that everyone has to put Dallas on the map of the international art circuit (which they have firmly done!)

There’s a great energy in London at the moment, but I’m not sure we have the culture to match the enthusiasm and close-knit community of Dallas.

JR: Your gallery name recently changed to 10 Hanover. What else has changed; will you be working with a different stable of artists?

CJJ: We changed our name to reflect a change in the way we operate. 10 Hanover is simply named after the address of the space.

I wanted to start curating shows that mixed established artists with younger artists with a connection between them. I wanted to move away from representing artists to allow for a bit more freedom in what I can show and for how long. We opened the space with a show with Kenneth Noland, Sergej Jensen, David Ostrowski, and Wyatt Kahn.

My next show will have an Asian influence as I have traveled there a lot recently. I’m hoping 10 Hanover becomes a destination in Mayfair to view interesting shows with artists you wouldn’t necessarily see together.

JR: You have collaborated on a number of projects with The Goss-Michael Foundation. When did you meet Kenny Goss? Which artists’ work will you be donating to MTV RE:DEFINE? CJJ: I met Kenny three and a half years ago at Frieze London and have had a lot of fun putting on shows with him over here in Dallas. His energy is awesome, and the foundation and team he has are fantastic.

Quite a few artists we’re working with have been kind enough to donate works: Luc Fuller, Grear Patterson, Hughie O’Donoghue, and Matthew Stone, to name a few.

JR: Which artists are you bringing to the Dallas Art Fair?

CJJ: This year we are bringing works by John Armleder, Evan Robarts, Stylianos SchicCho, Santiago Taccetti, Sergej Jensen, and Rob Pruitt.

JR: Do you have anything you’d like to share about this year’s MTV RE:DEFINE? Is there anything you are particularly proud of where we might see your influence on the event?

CJJ: The event is always great fun with a great energy. I think the art will be a fantastic mix of great younger artists and established artists. Hopefully the works we’ve got raise a lot of money for the charity and the Dallas Contemporary. P APRIL / MAY 2016

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ONE FINAL EVENING Set in Fort Worth’s Hotel Texas, FWOpera’s world premiere of JFK offers an intimate portrait of President John F. Kennedy and First Lady Jacqueline Kennedy’s last night together.

Costume Designer Mattie Ullrich imagines the women of 1963 and a private moment with Jackie Kennedy in her hotel room. Opposite: Matthew Worth and Daniela Mack take the stage as President John F. Kennedy and the First Lady in the world premiere opera JFK premiering April 23. Photo courtesy of Alex Lepe.

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PERFORMANCE

BY LEE CULLUM

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ore and more,” said Arthur Schlesinger, Jr., “she embodied something of increasing value for him—a surcease from daily business, a standard of excellence, a symbol of privacy, a style of life.” He was writing about Jack and Jackie Kennedy, the riveting pair at the center of JFK, a new work commissioned by the Fort Worth Opera set to open April 23 in Bass Hall. With music by David T. Little and libretto by Royce Vavrek, whose Dog Days—also done in fearless Fort Worth—is shocking audiences still with its brutal, unblinking depiction of war on a home front devastated beyond reconstruction or even recollection.

JFK makes different demands on the imagination, as Royce Vavrek, a thriving young Canadian, explained by phone from his home in Brooklyn as his dog Oliver (“a Puerto Rican mutt, found on the beach”) loudly protested the arrival of the postman. Royce had little to work with in terms of the historical record, only that the Kennedys arrived at the Hotel Texas in Fort Worth the night of November 21, 1963, after what must have been an exhausting day in San Antonio and Houston. They had breakfast the next morning with city luminaries, and then left for Dallas. Instead of doing a fictional treatment of what could have transpired in those two bedrooms, he drew upon dreams to dramatize what might have crowded in upon the mind of JFK as he tried to set aside a new poll, showing he would lose Texas to Arizona Sen. Barry Goldwater by 100,000 votes if the election were held that day, and get some sleep.

The elegant art arranged in the suite by Fort Worth collectors becomes a “portal to dreams,” said Royce—the moon, subject of his talk earlier that night in Houston, a distant horizon America must conquer; Nikita Khrushchev, Soviet adversary who won

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Left: Costume sketches of the Red Army and Nikita Khrushchev designed for the world premiere opera—JFK; Above left: Guests are transported to 1865 when the “fates” Rathbone and Clara Harris relive their time with President Lincoln. Right: Daniela Mack as the First Lady in the world premiere opera JFK premiering April 23. Photo courtesy of Alex Lepe.

their dangerous joust in Vienna but not Cuba; his sister Rosemary, lobotomized and lost to him; and of course Jackie, and the indelible moment of their meeting. “I’m Jacqueline, Jackie,” she tells him. “I’m John, Jack,” he replies. “Jack and Jackie: how poetic,” she notes. “How inevitable,” he foretells.

Her material is “so exciting,” Royce confided, “even more than Jack’s.” So he gave her a big aria at the top of Act I, followed by a five-minute love duet with the young senator from Massachusetts, then another aria in Act III, plus a trio described as “epic.”

There’s nobody better to sing Jackie than Daniela Mack, a smoky mezzo-soprano from Argentina who moved to Houston as a child when her mother married a physician there.

She went to a French school, followed by Louisiana State University, then young artists’ programs in Florida, Iowa, and San Francisco where she met her husband, tenor Alek Shrader, when she played Cinderella in La Cenerentola, and he prince charming. Now they have an eightmonth-old daughter, Evangelina, called Eva, who is prompting them to modify their nomadic life, on the road, from gig to gig, and find a home base, perhaps in New Jersey or Pennsylvania. This search they hope to fit in sometime around her rehearsals in Fort Worth.

David Little composed the role of Jackie for Daniela’s voice, following a suggestion of Darren Woods, general director of the Fort

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Worth Opera. In a conversation from Georgia, where she was visiting her husband’s family, she described by phone the Jackie she was playing.

This is a young woman in “personal turmoil, depression, over the loss of her son Patrick” who died not long before, a few days after birth.

Children in one of the paintings remind Jackie of him and also her stillborn daughter. So she sings to them with a sorrow that never stops.

“She wants desperately to reconnect with Jack,” Daniela said. “She’s coming to terms with Jack’s infidelity” and comes also to “a decision to stay with him and make it work. She is recommitting to him.”

The striking thing about Daniela Mack is not just that she’s a classicist of the first order, or an unusual beauty, much like the former first lady.

It is her composure, her control, the power of her full, rich, elegant instrument, rigorously trained in Rossini, Handel, and Mozart, that make her so right for the woman who transfixed a nation during the four days that followed her fateful night in Fort Worth. And yes, in the opera she wears that famous, pink Chanel suit the next morning, putting it on as armor to protect herself from the politics of Texas.

John Kennedy, at 46, knew and had always known, that his life would not be long. That’s why, according to Schlesinger, he insisted that every day be “concentrated, vivid, and full.” And he managed it even with a back so unbearably painful he spent hours in a hot bath, hoping for relief. The part was written for Matthew Worth, a baritone

who conveys not only style but subtle vulnerability, easy to miss in the dashing young president, but there nonetheless. His wife was the survivor after all, at least until the age of 64. He was doomed.

Matt Worth was born to sing the music of the twenty-first century, or so I realized when I tracked him down at his home in West Hartford, Connecticut. He lives in the house he grew up in with his parents only five doors away. He and his wife, Chelsey, a former lobbyist from down state, have a year-old son, Fenton, a Scottish family name.

There’s a rootedness about Matt Worth, going back to his grandfather who was a Congregational minister, that gives him the personal ballast, it seems, to venture far afield from the operas known and loved by all to embrace “the shock of the new” (a phrase by critic Robert Hughes). “It is the blessing of all blessings,” he related, “to work with living composers. I can be really original as an artist. I get to hold up my own torch, not look to other, earlier performers. I get to create something.

That’s it. That’s the object.”

Presiding over the drama of JFK is Thaddeus Strassberger, stage director and scene designer. Out of Oklahoma (like Daniela’s husband, Alek Shrader), Thaddeus is now in London insofar as he lives anywhere with so much work in so many parts of the world, especially now, in Russia. The day I caught him, in London, he was finalizing the paintings, which must be larger in the opera, he explained, than they actually were in the Hotel Texas.

“I wanted a sense that we’re in Fort Worth,” Thaddeus noted, “not any hotel anywhere…It’s a plain-looking suite, not Four Seasons, with 1950s and ‘60s furniture, a hodge-podge, anonymous,” except, of course, for the art, both Impressionist and Western. Through the windows there are lights on the skyline, decorations for the holidays, turned on early for the President, symbolizing the light he shed across the continent as well as the world, soon to be extinguished.

Then there is LBJ. “How does he come across?” I asked Darren Woods, also by phone. “Not very well” was his reply.

Indeed, the operatic Lyndon Johnson (surely an oxymoron) spends a night of debauchery that moves from a bar to his hotel room with cronies such as Texas Gov. John Connally and Sen. Ralph Yarborough, Tarrant County Rep. Jim Wright, reprobate Billy Sol Estes plus Raymond Buck of Fort Worth, chairman of the breakfast the next morning. They wear bright red cowboy suits with big stars and even bring a stripper to the party. All the while there’s an imaginary sparring match going on between JFK and LBJ over who’s the true American icon, the President from Harvard or the Veep from Texas State University in San Marcos.

The work is so promising that the Montreal Opera is now cocommissioning the piece. It will be done there, using Thaddeus Strassberger’s sets, and probably, in “four or five other companies, perhaps in Boston, or at the Kennedy Center in Washington,” said Darren, and surely in additional Texas venues.

Darren Woods and the Fort Worth Opera took a chance on Dog Days, and it paid off, critically if not always with some horrified skeptics in the audience. This time David Little and Royce Vavrek, by now acclaimed as the latest sensation, have scored even before the curtain goes up. It’s hard to see how JFK can miss being a big success. P

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Daniel Arsham and Jonah Bokaer, RECESS, 2011, Photography: Cherylynn Tsushima

HARMONIC CONVERGENCE

Dallas Symphony Orchestra’s SOLUNA International Music & Arts Festival brings together diverse disciplines.

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ultiple layers of collaboration have percolated to produce the Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival. Organized under the auspices of the Dallas Symphony Orchestra, the three-week festival challenges musicians, dancers, and visual artists to work collaboratively across disciplines. From the theme selection to individual programs, the festival embodies creative synergy.

This year’s theme, Myth & Legend, materialized through discussions between DSO staff members Anna-Sophia van Zweden, the Director of Festival Advancement; Jaap van Zweden, Music Director (and Anna-Sophia’s father); Jonathan

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Martin, President and CEO; as well as the artistic staff. AnnaSophia also works with Muriel Quancard, her New York-based colleague, “to try to soak up as much as we can around the world,” in a search for dynamic contemporary artists. Performance is the connective thread running through the entire festival.

“With performance, you want to give people a magical moment, something to remember,” Anna-Sophia explains. Building upon the successes of last year’s inaugural program, this year’s line-up promises to be equally impressive.

SOLUNA opens on May 17 with the world premiere of Rules of the Game, a work featuring choreography by Jonah Bokaer, scenography by Daniel Arsham, and an original score

PERFORMANCE

NANCY COHEN ISRAEL

by Pharrell Williams. Bokaer, a dancer, and Arsham, a visual artist, have a long history of working together. Arsham also has a longtime connection to Williams. After being invited to create a project for Myth & Legend, Arsham says, “I brought Jonah and Pharrell together to have a conversation of what it would mean to create a compelling work together.” This is Pharrell’s first experience working with an orchestra, as well as creating music for a dance or theatre piece. After he composed the score, a musical arranger set it for the orchestra, which will accompany the performance.

Collaboration is also an important part of Bokaer’s choreography. He says, “We have a very visual language, and work a lot with improvisation, which often produces very interesting results.” His inspirations for this material run deep.

They have referenced “the Albert Camus centennial; others refer directly to family history in Tunisia. In this production…I directly draw from Sicilian playwright, Luigi Pirandello.”

After its Dallas debut, Rules of the Game will be performed in France, England, and Australia. It is an exciting opportunity to expand the SOLUNA’s stature. According to Anna-Sophia, “We put lots of emphasis on commissioning new work. Now we can put our SOLUNA trademark on it.”

Another artist participating in the festival, Anton Ginzburg, has worked with Anna-Sophia for the past two years in the creation of Turo. A video installation, set to a musical program featuring six composers, it will be presented in the program Remix: Orchestral Myth & Legend. Though not a musician himself,

Above: Mai-Thu Perret, Biennale of Moving Images, 2014, Centre d’Art Contemporain Geneva, Switzerland performance. Photograph by Annik Wetter. Courtesy of the artist and David Kordansky Gallery, Los Angeles; left: New Yorkbased artist Daniel Arsham created the scenography for Rules of the Game, the opening-night multidisciplinary performance for SOLUNA.

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Anton Ginzburg on the roof of his studio. Photography by Willy Somma.

Anton Ginzburg, still from Turo

"With performance, you want to give people a magical moment, something to remember." –Anna-Sophia van Zweden

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Ginzburg has a great appreciation of music. “Growing up in Saint Petersburg, I went to classical music concerts. I try to make the music present in my life,” he explains, adding that he listens to music while working in the studio. This is his first collaborative project with an orchestra.

In his discussions with the curators, he says, “We talked about areas of interest such as modern history and mythologies.

They proposed the ReMix program that included compositions

by Wagner and Sibelius. I felt that it worked well with the direction that my new film was taking, and I agreed to make a special edition of Turo for the Festival.”

“Inspiring” is how Ginzburg describes his collaboration.

Anna-Sophia says that the concerted dialogue she has with the artists is one she cherishes, enthusing, “It is exciting for us as curators, because we become part of the process.” What do the DSO’s musicians think about these collaborations? AnnaSophia explains, “For the musicians, it’s like a different gear.

We ask them to really participate in the artwork. Some members love working outside the box.”

SOLUNA partners with many of its Dallas Arts District neighbors as presenters. While Rules of the Game premieres at the Winspear Opera House, the Dallas City Performance Hall will host Remix: Orchestral Myth & Legend. Similarly, the Nasher Sculpture Center welcomes Mai-Thu Perret for this spring’s Sightings exhibition.

Perret is a multidisciplinary artist whose work delves into feminist issues. Her installation, The Crystal Frontier, has evolved continuously over the past 16 years. Featuring the fictional feminist commune in the desert village of New Ponderosa, New Mexico, it chronicles the life of its inhabitants through a variety of media while exploring aesthetic ideas posited by Modernism.

She says, “The idea behind the project is not so much that of an artistic collective but more of a kind of fractured or multiple artistic self, closer to how a novelist works when creating various characters and situations.”

In her exploration of utopian societies, Perret has discovered a group of Kurdish women in Rojava, in northern Syria, who have formed exclusively female militias and who are literally fighting on the front line against ISIS. Inspired by them, Perret created life-sized figures realized in a variety of media and embodying, as she says, “composite characters, reminiscent of real events, people, and objects, but also very much put together like collages or science-fiction creatures.”

Performance is also a part of Perret’s work. In June, she reunites with artistic collaborators to present the American premiere of Figures at the Nasher Sculpture Center. Featuring dancer Anja Schmidt, singer-songwriter Tamara Barnett-Herrin, and musician Beatrice Dillon, Figures weaves together stories of women throughout history. Perret says, “It will be about groups and collective behaviors.”

While artists from around the world participate in SOLUNA, its intent is to appeal to a broad local audience.

Partnering with the organization Carry the Load, the DSO will perform a free concert over Memorial Day weekend in Klyde Warren Park. “It is a ‘thank you’ to the city as well as a way to honor area veterans and first responders,” says Anna-Sophia, adding, “Jaap wants to give classical music to as many people as possible.” Indeed, the efforts of both Van Zwedens make the city a much richer place. P APRIL / MAY 2016

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CAUGHT IN THE MOMENT David Yarrow’s Remarkable Talent Has Pedigree For Days.

David Yarrow is a British photographer, author, and conservationist who will present his fine arts photography during Dallas Arts Week.

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CELLULOID

BY PATRICIA MORA

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idst champagne and canapés, an attendee at one of David Yarrow’s exhibitions at the Saatchi Gallery in London enthusiastically quipped, “We’re seeing David’s soul tonight, and it’s wonderful.” While this is true, one might easily deploy an even more strident adjective—“magnificent” would function nicely. Yarrow’s images resonate with portent, visual luxuriance, and disquietude. They don’t merely hang mutely on walls; instead, they operate as hosts for stalking presences that encompass nature, mystery, and stunning compositional deftness. They’re also so deeply affecting that the artist occasionally uses the word “biblical” when describing his work. And, astonishingly, he’s right to do so. Thus, we should all be infinitely grateful to Kimberly Aston for bringing both Yarrow and his inestimable work to Dallas in time for this year’s Dallas Arts Week. After all, the man is busy. He not only globetrots to create breathtaking images, he is also cozy with the British Royal family and has been a companion of actress Elizabeth Hurley.

To add even more cachet and context, consider the following: Prince William, Duke of Cambridge, is writing the foreword to Yarrow’s upcoming book, Wild Encounters. This is all the more fitting since Yarrow is from an aristocratic and (very) moneyed background, a Scottish shipping family to be exact.

However, rather than coasting on familial laurels, he has directed his formidable talents towards photography, and his work simultaneously conjures aesthetic thrills as well as an impulse to venerate endangered animals, indigenous tribes, and the radiance of deserts, hills, and rivers in areas that (quite literally) span the globe. Kenya, The Camargue, remote areas in Colorado and Utah as well as the Sudan are a mere hint of places he’s gone to capture images that prove Cartier Bresson’s adage about “the decisive moment” doesn’t apply exclusively to human interaction. Yarrow proves splitsecond adroitness is imperative when it comes to “freezing” the moment when a shark snags a seal or Siberian tigers assemble as if for a decorous portrait. While such moments seem spontaneous, they decidedly are not. Yarrow sometimes waits day upon day (upon day) to catch just the right moment to create a work that is impeccable with regard to composition, lighting, and the ineffable emotive “tug” that signals an image has been captured that will engage viewers with his signature allure. Also, it should be noted that Yarrow never resorts to using Photoshop and, thus, an apex of clarity is reached in his work that would be impossible via digital manipulation. He is nothing if not the consummate perfectionist.

It should also be noted that Yarrow’s work is intensely romantic without falling into cliché. His images are far too intellectually neat for that. He manages to capture predatory creatures such that viewers are ultimately left with an ambiguousness regarding victor and victim, horror and mesmeric worship. And one is reminded that the earliest English poem, “Caedom’s Hymn,” instructs us that art is meant to “Sing the beginning of all things.” And this is no pared-back doctrinal instruction.

In Yarrow’s case, it’s visceral and rapturous and heaped with water, mud, and the cracked skin of elephants, seemingly ruined and rugged as any mapped terrain or craggy gorge. We’re shown the rivulets and rises in dusty hides and, emerging from it all, is the mystery of creatures. Thus, we are coaxed into marveling at their shape, their motion, and the gorgeousness of their instinctual prowess.

Yarrow’s work has been called “ridiculously good,” and that’s an accurate summation. His most recent news is that he was “taking a four-hour sleep before heading off to the Sierra for a shot he has in mind.” What it is precisely, he is unwilling to disclose. But it’s sure to be a breath-stalling visual code that will remind us that the world and its creatures are damaged and tenuous, and we are all perilously close to losing their loveliness. If Prince William is thoroughly in tune with Yarrow’s agenda of adoring the world’s spectacles via a camera lens, should we not join the effort, too? A great place to start is by admiring a selection of some of the most elegantly honed photographs on the planet. From April 11 to April 17, Yarrow’s work will be among the host of must-see exhibitions during Dallas Arts Week—and here are the pertinent venues: The Perot Museum, Capera Ryan’s The Space on Oak Lawn, and The Joule Hotel. Check for dates and times. P

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BY KENDALL MORGAN

Cynthia dining chair

by Reagan Hayes

Mick Rock, David Bowie, Haddon Hall Reflection, 1972, TASCHEN Books

ROCK STAR

On the heels of his sell-out David Bowie book, legendary rock photographer Mick Rock is having his own moment in the spotlight.

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ou Reed’s Transformer. Iggy Pop’s Raw Power. Queen, lit from below in the throes of their Bohemian Rhapsody. And, of course, the original man who fell to earth—David Bowie as Ziggy Stardust. Iconic artists all, but the images that come to mind when we hear their songs are always by British photographer Mick Rock.

Known as “The Man Who Shot the Seventies,” he didn’t stop when the Me Decade rolled to a close. Rather, Rock evolved with the eras to continue to capture the music world’s best and brightest, and now he’s finally, as they say, “having a moment” himself.

Having just wrapped a six-episode series called On the Record with Mick Rock for the Ovation network, Rock is in the final stages of approval on a documentary of his life produced by Vice magazine and premiering at April's Tribeca Film Festival. He’s also recently hosted dual exhibitions for his book The Rise of David Bowie at LA’s Taschen Gallery—one upon the debut of the glossy hardcover last fall, the other over the Oscar weekend to honor the fallen “Starman.”

Of course the best and worst thing that could happen for The Rise’s release was the unexpected death of Bowie in January. The limited edition signed by both Bowie and Rock soared from $700 to $4,000 and promptly sold out. Luckily for fans of the artist (and of Rock’s 84

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images), a more affordable (at $69.99) multilingual version makes its debut in April.

Working as Bowie’s official photographer from 1972 through 1973, Rock had unparalleled access to the budding superstar. The images (over half unseen until publication), came from the photographer’s personal trove and were all approved by Bowie prior to publication.

“He didn’t really say no to anything; he was never difficult to work with,” says Rock. “If he opened that door to you, the door was open and he trusted you to get on with it.”

That trust was in place from the very beginning, and it extended to Rock’s other subjects in the heyday of glitter and glam. “It was such a different world back then; obviously the media was in a totally different state,” Rock recalls. “Rock and roll was still an outsider thing. David Bowie, Lou Reed, Iggy Pop—people would hear about this whole thing and absolutely be shocked. This was also the time when the gay thing was in its early days of coming out of the closet.

Nowadays, who cares?”

Because he was able to live on little money, and the media landscape was sparse at best, Rock wasn’t shooting for the approval of anyone but himself and the artists he captured. “It’s not that I

TOMES

Mick Rock, Queen 2 Album Cover, 1974

didn’t need money here and there, but that wasn’t the primary thing on my mind. It was what I was attracted to, what turned me on—that glammy punchy stuff turned out to be a big deal, not just in the rockand-roll game, but culturally.”

Although Rock has released many more collectible books, including editions on Iggy Pop, Lou Reed, and Queen, it took a moment for serious collectors and galleries to pay attention. The rise of the Internet led to a new generation of talent wanting to work with him, as well as exposure for his fine art photo collages.

Other artists such as Shepard Fairey have used his images, and “serious galleries” in London and New York are currently planning shows. “I’m getting people approaching me in a different way in the

Mick Rock, Blue Debbie Harry, 1978. All photos copyright Mick Rock 1973, 2016.

last couple of years,” he says. “It happened before David’s death, but of course David’s death added another little flavor to it all. It’s interesting, with art in general, time changes people’s perspectives, especially with photography.”

Although Rock says that now “everybody wants to be a photographer,” he has a decided advantage, not just in his unique style, but also in that deep body of work, of which the public has only viewed a fraction.

When Rock says of the glam era, “The interesting thing about the music produced in that period is how ‘of the moment’ it sounds,” he could be saying the same thing about his images. There’s an energy and vibrancy that never seems dated. Long live Rock. P

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THE CONTEMPORARY CLASS The Pioneering Women Who Brought Modern Furniture to the Forefront in Dallas.

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n 1989, the prevailing design taste was based on the Tuscan Villa—rusty iron and crusty finishes on highly carved furniture.

Large floral prints on cotton and linen were all the rage, too. And that is exactly the year that the Smink sisters, Autumn, Jennifer, and Dawn, decided to open a store of decidedly modern furniture right on Mockingbird Lane. They had reached out to Ligne-Roset—a little-known, modern furniture company with original designs.

B&B Italia joined them a year later, having been with Herman Miller for years. From this beginning, Smink Inc. sold to the public, believing that anyone should have something fantastic.

Lloyd Scott became a contract sales rep for Atelier International in 1994 because she wanted to sell Cassina. When Cassina decided to split from the corporate world, Lloyd Scott, with a little “smoke and mirrors,” convinced them she had a showroom and opened a 500-square-foot space with Cassina and Garrett Leather. Soon after, Bruton sales rep, Josy Cooner Collins, joined her, and Scott + Cooner was born.

Many of the design greats from the Bauhaus, such as Mies van der Rohe, Walter Gropius, and Marcel Breuer, had immigrated to the United States when a German megalomaniac started his march across Europe. Their simple, articulate designs were often used in commercial spaces, and became lost in the systems maze of the 1980s owned by corporate giants like Steelcase and Herman Miller.

But, always, there were the refined eyes of architects, museums, and art collectors that sought timeless pieces like the Barcelona chair, Eames chairs, and Saarinen tables for their homes. The line between commercial and residential design became seriously blurred.

Scott + Cooner and Smink Inc. are very different in personality, scope, and size. But, they have in common their single-minded dedication, from their very beginnings, to modern design, and the discovery and representation of authentic design masters from around the world.

Lloyd Scott and Josy Cooner, with their training in architecture and interior design, have collected and curated some of the best classic and modern European furnishings in the world, such as de Sede, Giorgetti, Edra, and Knoll. Their extensive travel to furniture fairs around the world to discover new design talent, such as Poliform, Ingo Maurer, and Matteo Grassi, has put them at the top of the worldwide design community and made them a mecca for collectors and modernists at their showrooms in Dallas and Austin.

The sisters Smink were introduced to great designers by their mother, who grew up on a farm in New Jersey, but admired classics

by Eero Saarinen, Charles Eames, and Nana Ditzel. Degrees in architecture and interior design educated their eyes for great design and led them to opening their taste-setting showroom in 1989. They have gathered great manufacturers who represent famous designers

Left: Doge table designed by Carla Scarpa for Cassina available in floating glass, or black or white Carrera marble tabletop. Right: The de Sede DS-600 sofa allows for unlimited configuration options; both available exclusively in Dallas at Scott + Cooner.

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SPACE

BY PEGGY LEVINSON

such as Minotti with Rodolfo Dordoni, ONEcollection with Finn Juhl, and Kettal with Patricia Urquiola—all of which were great minds of the modern age that pursued and are pursuing the elegance of perfect design.

At the same time, there was a proliferation of classic knockoffs.

“Barcelona” chairs were sold at every price point in various degrees of quality and comfort. Likewise with the iconic Eames chair, Breuer chairs, and Saarinen tables. Retail giant, Design Within Reach originally carried copies of originals at much lower prices.

(They only represent licensed originals now.) “I credit DWR with introducing modern design to the general public,” says Autumn.

“These copies had the look, and they made clients hungry for the real thing.”

The design giants represented by Knoll and Herman Miller were heavily concentrated in commercial design, but there was a growing demand among educated buyers, led by art collectors, to have the availability to furnish their homes with the authentic pieces, without going through a contract dealer. Smink and Scott + Cooner helped make that availability possible. Now, licensing agreements are in place for the original, iconic pieces to be reproduced with the same quality and precision as the originals. Just recently, ONEcollection received the license to reproduce the classic Danish designs of Finn Juhl. Likewise, Cassina is licensed to produce some of the original

Le Corbusier pieces along with many others of the world’s greatest designers.

Smink’s vision has morphed gradually into including fine art in their collections. They started with Rina Menardi pottery and delicate hand-blown glass by Ivan Baj, and have added paintings

by Thel and photography by Gary Faye. “We have added more fine artists and encouraged our clients to see that there is no differentiation between the muse of a furniture designer and the muse of a world-class painter,” says Autumn Smink. Scott + Cooner showcases original art represented by Conduit Gallery and Holly Johnson among others.

Autumn Smink cites the importance to newer generations to live with what’s real, to reuse and recycle. “The original designs of these masters appeal to the desire to live authentically, with less extraneous stuff. We want to be the family doctor for design—a personal, familiar approach to help people find and do what’s best for their living environment.”

Lloyd Scott and Josy Cooner take a more global approach with larger showrooms, more lines, and the most cutting-edge European designs. “We have all the toys!” says Lloyd. What they both agree on—“A legitimate collector would no more have a copy of Arne Jacobsen’s Egg chair, than they would have a Picasso poster on their living room wall.” P

Left: BRDRS Petersen Seal chairs designed by Ib Kofod-Larsen in the mid-1950s are still in production. Painting by Richard Hogan. Right: ONEcollection, Chieftains Chair designed by architect Finn Juhl. Both exclusively available in Dallas at Smink.

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COVETED

MARITIME

The Senator Observer by Glashütte Original has a long history at sea.

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s spring makes its timely call to seafarers everywhere, Glashütte Original pays homage to the intriguing history of navigation at sea with its new Senator Observer. Released in 2015, the Senator Observer is a sophisticated observation watch (also known as a “deck watch”).

Deck watches were hand-held pocket watches that navigators used in conjunction with the ship’s marine chronometer, which allowed for the calculation of longitude while on the high seas.

Regarded as the homeland of German watchmaking history, the town of Glashütte was known to create extremely precise and reliable navigation clocks and watches—in particular under extreme weather conditions. These timepieces were indispensable instruments for navigation officers, pilots, and pioneering explorers. Revered as a founding father of observation watchmaking, Julius Assmann caught the attention of Norwegian explorer Roald Amundsen in 1910 when he purchased one of his highly accurate pocket watches at the German Naval Institute in Hamburg. One year later, Amundsen and his team were the first humans to reach the geographic South Pole. Glashütte’s first

edition in white gold commemorates these two pioneers, Assmann and Amundsen.

The hallmark of the Senator Observer is the extensive use of luminous surfaces, making the timepieces easy to read in the absence of light. The stately white gold hour and minute hands, bold Arabic numerals, and chapter ring hour indexes are all ornamented with green Super-LumiNova, a phosphorescent pigment that absorbs light by day and emits it at night. The small seconds subdial at 9 o’clock and the power reserve indicator at 3 o’clock are also luminous when darkness descends. Embellished with a font once extensively used for precision pocket watches made in the beginning of the 20th century at Glashütte’s atelier, by day the matte-black dial offers an elegant backdrop and contrast to the Arabic numerals. At the center of the lower half of the face is the distinguished watchmaker’s alluring Panorama Date display.

“One if by land, two if by sea?” You decide. Paul Revere would likely never take it off. Regardless, with the Senator Observer we know for certain his “midnight ride” would have been well lit, and timely. P

Glashütte Original Senator Observer: Stainless steel case. Matte-varnished dial, hands and markers treated with Super-LumiNova. Central hour and minute hands, small seconds off-centered. Panorama Date at 6 o’clock position, power reserve display at 3 o’clock position. Automatic winding, exquisitely finished movement, polished/beveled edges, polished steel parts, polished screws, and Glashütte three-quarter plate with striped finish, fine adjustment-by-adjustment screws. Available at Tourbillon Boutique NorthPark, 214-346-3431.

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BY TERRI PROVENCAL PHOTOGRAPHY BY JOHN SMITH

THE ART ARENA

THREE LOCAL ART COLLECTORS SHARE THEIR ADVICE ON GETTING THE MOST OUT OF THE DALLAS ART FAIR.

Jackie Stewart in her Highland Park home pictured with Lee Ufan, Dialogue, 2010; Sheila Hicks, Nomad Treasure Bales (Tresors des Nomades), 2014–2015; and Ken Price, Putana, 2001.

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ven the most experienced collectors sometimes find art fairs overwhelming—especially a well-curated one.

With lots of eye candy around every corner, fairgoers may leave feeling unfulfilled if they haven’t mapped out their plan of attack beforehand. So, with the solid offerings from the heavily edited global roster of galleries at the 8th installment of the Dallas Art Fair, we sought the advice of three notable arts patrons to help our readers navigate the 2016 edition.

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JACKIE STEWART President of Henry S. Miller Interests, mother of four grown children, arts patron and environmentalist, Jackie Stewart first began collecting in her early 20’s while still attending USC Film School. “I think the collecting of contemporary art is an extension of my desire to create a mise-en-scène whenever possible.” It also affords this petite, intelligent blonde a creative outlet.

Much traveled with a home in Highland Park and an apartment in Paris with her equally charming husband Peter, she’s been in the arts her entire life from theater to dance to fashion, film, and TV. “I also taught directing at the arts magnet high school for 18 years before taking over the family business.”

Stewart says that after the sale of Highland Park Village, “I was able to start collecting in a more meaningful way.” This made us ask, what was the first artwork she purchased that really mattered to her? “The two pieces of art that had the most meaning to me at the time that I purchased them were my Lee Ufan and a huge Gregory Crewdson photograph.” She acquired both on the same trip to New York City. “Once I saw them installed, I knew I was entering into the crazy art world, seriously.”

She began collecting contemporary art “six short years ago” at the Dallas Art Fair. The first piece she bought there was from Chris D’Amelio and Trina Gordon. “It is an extruded bullet drawing by metallurgist, Cornelia Parker. When I came home from the art fair with it, Peter remarked, “I can’t believe you purchased framed chicken wire!” When I finally found just the right location for it and had the right lighting, Peter could see why I fell in love with it. I was finally out of the doghouse, though I seem to find myself there again and again, since I continue to purchase art.”

Currently, she’s excited by the work of female artists Carol Bove, Jacqueline Humphries, Karla Black, Camille Henrot, Annette Kelm, and Aura Satz. Satz’s work was recently shown at Dallas Contemporary. “I have works by other renowned female artists such as Mai-Thu Perret represented by David Kordansky Gallery, who will be back at the Dallas Art Fair this year.”

Perret is featured in Sightings through July 17 at Nasher Sculpture Center. She also loves a piece by Alexis Smith, “a reflection of the artist and the time period in which the artist created the work. I feel that it is important for artists to be in touch with the global community and reflect through the art issues that are important to them.” A thinker who does her homework, Jackie owns three works by Dorothea Tanning, “who produced lovely paintings and went undiscovered until recently as she worked in the shadow of her famous husband, Max Ernst.”

She defines her collection as a “single thread of reflection,” describing its focus as “a reflection of the artist and the time period when the artist created the work.” And, personal history enhances. “I created a complete concept of reflection in our dining room. We have my mother’s crystal chandelier, a beautiful Teresita Fernandez mirrored glass piece on one wall, and a large painting by Michael Williams adjacent to it on which Michael painted prismatic colors as if the light had shown on it from a crystal in the chandelier. Outside of one set of windows, Lambert’s built a gabion wall. Outside of the French door leading into our garden you can see the Jeppe Hein sculpture created by two planes of mirrored steel that create all sorts of illusions and reflect the water of the pool.”

Stewart also works with Franklin Parrasch “to collect artwork by LA artists from the time period that I lived in Los Angeles,” including artists such as Ken Price, Ed Ruscha, Billy

Al Bangston, and John Altoon. Plus she’s “looking forward to seeing many art world friends at the Dallas Art Fair this year— CANADA Gallery’s Phil Grauer and Sarah Braman, Franklin Parrasch, Jessica Silverman, Mike Homer at David Kordansky, and Sean Horton.

Locally she will make a point to say “hello” to gallerists Barry Whistler, who represents the fine art photography of wife Allison V. Smith, and Cris Worley representing sculptor, Harry Geffert. She’s most certainly art-fair-ready and plans to check out specific works including, Elisabeth Kley, Round Eg yptian Bottle, 2015, glazed earthenware; Julia Haft-Candell, Paper (one), 2013, ceramic; and Markus Weggenmann, LW 01, 2015, at the Taubert Contemporary booth.

Lastly she offers, “Making new friends with those with a shared interest is one of the benefits of collecting.”

Julia Haft-Candell, Paper (one), 2013, ceramic, 24 x 18 x 5 in. Courtesy of Parrasch Heijnen Gallery

Elisabeth Kley, Round Egyptian Bottle, 2015, Glazed earthenware, 18.5 x 15.5 x 15.5 in. Courtesy of the artist and CANADA, New York

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Bernard Frize, Répertoire, 2004, acrylic and resin on canvas, 59.06 x 48.06 x 1 in. Photo by Guillaume Ziccarelli, Courtesy of Galerie Perrotin

Günther Förg, Aller Retour, 2008, Ex., pastel on handmade paper, 28.5 x 21.33 in. Courtesy of Massimo De Carlo, London. Photo by Robert Glowacki

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MARK GIAMBRONE A single father of three young boys, by day this avid collector is a successful equity portfolio manager at Barrow, Hanley, Mewhinney & Strauss. As if this schedule weren’t pressing enough, Mark Giambrone also serves as President of Dallas Contemporary’s Board of Directors. And when you walk into his home, you will find an entirely impressive collection that makes an impact. Frank Stella anyone? Yes, he has one. It’s there just to the right of the entrance in this handsome and genial collector’s residence—a hypnotic and seemingly pulsing focal point in an otherwise neutral office. Apropos, Giambrone is listed in the Frank Stella: A Retrospective catalog as providing “generous support” to the exhibition on view at the Modern Art Museum of Fort Worth. He’s nothing less than a collector who gives back.

Several pieces in Mark’s collection are from galleries participating at the Dallas Art Fair. Among these, he says a favorite purchase was rendered by Markus Linnenbrink—a German artist now living in Brooklyn. “Linnenbrink is known for using layer upon layer of colorful epoxy resin in his works. For his ‘drill’ paintings, the artist bores directly into the highly saturated layers. I purchased a ‘drill’ painting through Taubert Contemporary, a Berlin gallery.

I hope they bring more examples of his work this year,” he says.

A detailed guy, he plans to navigate the Dallas Art Fair effectively, to be sure he has time to visit his favorites. He recommends a handful of not-to-be-missed booths this year. “Dallas Art Fair has a wonderful mix of local, regional, and international galleries. There are so many good galleries represented it’s hard to pick just a few, but some of my favorite international galleries are Massimo De Carlo, Galerie Perrotin, and Taubert Contemporary, and be sure to check out a few of my local favorites: Cris Worley Fine Arts and Erin Cluley Gallery.”

And there are specific artworks of interest available through these galleries he will make a point to see. “From Galerie Perrotin I plan to check out Bernard Frize, Repertoire. I enjoy this French artist’s experimental approach to painting and high-processed techniques. I admire the artists Erin Cluley is representing and her commitment to creating a dialogue for the local artist community.”

At the Erin Cluley Gallery booth he will look for Kevin Todora’s works on view. “Living and working in Dallas, Kevin Todora’s photography-based work takes everyday objects out of their known context then reintroduces them in sculptural tableaux.” Finally he has interest in Günther Förg’s Aller Retour, 2008, available through Galerie Perrotin. Förg was an enormous talent, a German painter, sculptor, and photographer. Cancer swiped the life of this artist at the young age of 61 on his birthday. He says of Förg, “He was a brilliant multidisciplinary artist. Förg often combined or juxtaposed his proficiencies in each discipline. His work reflects and reacts to Modernism and was said to be influenced by American abstract painting.”

It’s important to Giambrone that the Dallas Art Fair Foundation

Mark Giambrone pictured with Frank Stella’s Untitled (Double Concentric Squares), 1975

raises money to support the Dallas Museum of Art, Nasher Sculpture Center, and the Dallas Contemporary. “We are honored to have Dallas Contemporary as a recipient and have been fortunate to be partnered with the Dallas Art Fair for the last five years.”

And as a beneficiary, DC takes the partnership seriously. “We coordinate our calendars so that our April show openings coincide with Dallas Arts Week to be sure we provide an exhibition with excellent content and experience for those visiting the fair and enjoying the week’s many events. It is a wonderful, collaborative relationship.”

With the oft-apprehensive feelings associated with attending an art fair and making that first art purchase, we asked Mark what he wished someone told him when he first began collecting. “It may sound cliché, but it is really important to collect what you love.

There are many rewarding aspects to collecting art, but the best part is hanging it on your wall and the enjoyment that comes from living with art.” Final advice? “It’s important to remember that wall space can become a precious commodity for an art collector, so be selective and accept the fact that a storage space is probably in your future.”

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Tammy Cotton Hartnett in her office and studio. Above the stairs, Alex Hoda, Vanity Fair, 2009, represented by Edel Assanti Gallery London.

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TAMMY COTTON HARTNETT It takes a confident aesthete to brave the quick decision-making the art world demands in order to acquire the most highly pursued works. Anyone who has ever met Tammy Cotton Hartnett knows she’s up for the task. A multi-linguist, Vice President of the Board of Directors at Dallas Contemporary, additional board positions at Dallas International School and TexProtects, wife and mother, this powerhouse collector has no room in her life for indecision.

She began collecting in 2008 after visiting the Greek Antiquities room at the Louvre. “Enraptured with the Cy Twombly-painted ceiling, the only one by an American artist, I came home and found a small work on paper being offered for sale in Amsterdam.”

Undeterred after her fruitless attempt to purchase the Twombly, she left instead with “a lovely black-and-white Sol Lewitt and a hauntingly beautiful 1967 painting by Jacqueline de Jong, recently highlighted in a Blum & Poe exhibition curated by the talented Alison Gingeras. My amazing journey began.”

Today, each piece in her collection seems to have a unique story associated with it. “The most meaningful piece to me is a large Tracey Emin self-portrait painting that came serendipitously after sneaking into a Tate Lecture series in London where the artist was discussing her thesis on Edvard Munch’s The Scream.” Tammy has “another neon poetic work by Emin (that) illuminates my office in the Cedars at the American Beauty Mill.”

While she never misses a single gallery at the Dallas Art Fair, she is “delighted to see Lawrie Shabibi Gallery from the U.A.E.,” where she plans to explore Nadia Kaabi-Linke’s Tunisian Americans.

The artist is currently working on a commission for her. You will also likely find Tammy at Jessica Silverman Gallery from San Francisco, checking out Julian Hoeber Curtain Wall Vector Model—Elevation 03. “Her ( Jessica Silverman) program is always interesting.”

What’s the best way for new collectors to navigate the Dallas Art Fair, we ask? “Of course with a map, pen, and pocketbook.

Walk one direction and circle the gallery and note the work you like. Re-walk the same section in the opposite direction. Take a seat in one of the snack areas and pull out your phone and research that gallery. If it speaks to you, ask about the work and the price,

Julian Hoeber, Curtain Wall Vector Model—Elevation 03, 2016, string and acrylic with nails on plywood, 40 x 40 x 6 in. Courtesy of the artist and Jessica Silverman Gallery

then close the deal. If you need validation from a vetted consultant or experienced collector, ask the information desk. Dallas Art Fair is super-approachable and loaded with talent.”

When pressed for her favorite purchase from the Dallas Art Fair, she replied, “That’s a tough one; there are many. I enjoy my two all-white monochromatic Andrew Sutherland paintings from Edel Assanti Gallery. They have layers of paint over cast plastic rubbish bags that ironically take on a sculptural look of an elegant super-sized Rorschach inkblot. I also love my black-and-white Avedon-inspired photograph by Laura Wilson.” She’s excited about the work of emerging artist Francisco Moreno at Erin Cluley Gallery. “He’s dedicated and has made efforts to grow his practice while at residency in Spain.” Cluley will show a new series from UK-born, Brooklyn-based artist, Oliver Clegg. “He’s a painter, conceptual, and intellectual artist with an Eton attitude and wit.”

As a long-serving board member of Dallas Contemporary and current Vice President, she shares her excitement with regards to the April openings for Dan Colen, Helmut Lang, and Paola Pivi. Describing each as a must-see, she enthuses: “I saw the 6’6” Brooklyn-based once-bad-boy-turned-serious-artist Dan Colen working on the install earlier this year and thought to myself, you can’t have a better venue in North America for billboard-sized works than Dallas Contemporary. His show also includes classic examples of his Candlestick paintings, which reference perhaps portraits of God; let’s ask him.” Always impeccably and inimitably dressed, she is equally excited about “the chic, Austrian-born, New York fashion entrepreneur, Helmut Lang. He uses texture, repetition, and the royal beauty of simplicity to evoke magical sculpture, allowing the viewer to be one with nature.” Finally she says, “Italian-born Paolo Pivi lives up to her Alaskan joie de vivre in her newest exhibition while her Italian drama propels her art into a realm of the fantastical: upside-down airplanes and eyepopping, colorful, feathered bears floating through the air. Planes, bears, and alligators, she’s that ‛it’ artist and a Venice Biennalewinner debuting her first U.S. solo show at Dallas Contemporary.”

What gives you the most pleasure about collecting art we ask?

“Meeting the artist, of course. I always love a brilliant mind.” P

Nadia Kaabi-Linke, Tunisian Americans, 2012, wood, cork, and soil in four panels, 54 x 61.75 in. Courtesy of the artist and Lawrie Shabibi. Photo by Musthafa Aboobaker

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BY STEVE CARTER

STELLA!

The Modern Art Museum of Fort Worth ushers in the blockbuster exhibition, Frank Stella: A Retrospective.

Frank Stella, Plant City, 1963, zinc chromate on canvas, 102.5 x 102.5 in. Philadelphia Museum of Art; gift of Agnes Gund in memory of Anne d’Harnoncourt, 2008. © 2015 Frank Stella/Artists Rights Society (ARS), New York.

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Frank Stella, Gur I, 1968, polymer and fluorescent polymer paint on canvas, 120.13 x 181 in. Acquired in 1987, Collection of the Modern Art Museum of Fort Worth, Museum purchase, The Benjamin J. Tillar Memorial Trust, Image copyright: © Frank Stella/Artists Rights Society (ARS), New York.

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rapping your head around the serpentine trajectory of Frank Stella’s nearly 60-year career is no mean feat; to say succinctly what his art is recalls the story of the blind men who were asked to describe an elephant. Minimalist? Maximalist? Painter? Sculptor? Modernist? Neo-Baroque abstractionist? The artist’s restlessness is a through-line of his career, the Rosetta Stone that makes sense of it all—his 57+-year practice, his seriality, and his constitutional opposition to fixity. But how do you connect the dots? Fortunately for all, the Modern Art Museum of Fort Worth and the Whitney Museum of American Art co-organized an epic exhibition, Frank Stella: A Retrospective, arriving at the Modern on April 17.

Running through September 18, it’s an ambitious, major celebration of Stella’s visionary journey. The show premiered at the Whitney last October and played to stellar reviews; after Fort Worth, the next stop is the de Young Museum in San Francisco this fall.

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"I decided it was time to do Frank Stella. So I went to him and I said, ‘Frank, I’m sure you’re aware that no one’s done a retrospective of your work in three decades. Do you want to do a retrospective? And he said, ‘Well, let me think about it.’ I didn’t let him think about it, I just started doing it, and he didn’t stop me…"

–Michael Auping

Frank Stella, East Broadway, 1958, oil on canvas, 85.25 x 81 in. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts; gift of the artist (PA 1954) 1980.14. © 2015 Frank Stella/Artists Rights Society (ARS), New York.

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“This show really began six years ago with me thinking; the way all curators think, ‘what really major artist hasn’t had a retrospective—who needs to be done?’” recalls Michael Auping, the Modern’s Chief Curator. “I decided it was time to do Frank Stella. So I went to him and I said, ‘Frank, I’m sure you’re aware that no one’s done a retrospective of your work in three decades. Do you want to do a retrospective? And he said, ‘Well, let me think about it.’ I didn’t let him think about it; I just started doing it, and he didn’t stop me…But then the second question was why had no one done a retrospective for this many years? So I started putting a checklist together and looking at the fact that this is almost a 60-year career. I counted about 45 different series he’s done over the course of six decades, and each series has something like 30 works in it, and these works are gigantic. How do you possibly represent that kind of a career? That’s why someone hadn’t done it.”

Auping worked on the exhibition with Whitney Director Adam Weinberg, Whitney Assistant Curator Carrie Springer, and Stella himself. The show is configured essentially chronologically, but breaks stride on occasion. “There are some surprises within each area, so you never settle into one line of thinking, which is how Frank works,” Auping explains.

“It’s like point-counterpoint—make something, destroy it, pick up the debris and make something else.” Those nonsequential juxtapositions reinforce the diversity of Stella’s oeuvre—from his early Abstract Expressionist phase to his reputation-making Minimalist period, his revolutionary shaped canvases to printmaking and collage, his expansion into three dimensions and his metal reliefs, all the way to his recent Moby-Dick and ongoing Scarlatti K series—could the same artist have created all of this work?

A major curatorial challenge was deciding what to include in the show; in Auping’s 40 years as a curator, it’s the largest project he’s ever undertaken. The retrospective includes about 80 pieces—paintings, reliefs, sculptures, drawings, and maquettes, both well known and seldom-seen—and the sheer logistics have been daunting: it took 12 tractor-trailers to move the show from the Whitney to the Modern. “Frank’s remarkable in terms of the longevity of his involvement and relevance to the art world,” Auping says. “A lot of people know his early work, the famous Black Paintings, the famous Copper and Aluminum paintings—that was the holy grail of Minimalism. A lot of people know the very most recent work, which seems so diametrically opposed to that early work; from very minimal to incredibly maximal. But there’s also an entire middle body that’s so relevant—the Running V series, the Protractor series, Exotic Birds…” Auping recalls once complimenting Stella on a particular series of paintings, to which he replied, “Well, I’ve found plenty of other ways to piss people off, Michael—that’s all well and good, but you know…”

Top: Frank Stella, Chodorow II, 1971, felt, paper, and canvas collage on canvas, 108.06 x 106 in. (274.4 x 269.3 cm). National Gallery of Art, Washington, D.C.; Collection of Robert and Jane Meyerhoff 1992.28.5. © 2015 Frank Stella/Artists Rights Society (ARS), New York. Bottom: Frank Stella, Eskimo Curlew, 1976, litho crayon, etching, lacquer, ink, glass, acrylic paint, and oil stick on aluminum. 98.75 x 127 x 18 in. Portland Art Museum, Portland, Oregon; Museum purchase: funds provided by Mr. and Mrs. Howard Vollum 79.36. © 2015 Frank Stella/Artists Rights Society (ARS), New York.

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Frank Stella, Goppa, zoppa e collotorto, 1985, oil, urethane enamel, florescent alkyd, acrylic, and printing ink on etched magnesium and aluminum, 11 ft. 5 in. x 10 ft. .125 in. x 2 ft. 10.375 in. The Art Institute of Chicago: Mr. and Mrs. Frank G. Logan Purchase Prize Fund; Ada Turnbull Hertle Endowment 1986.93

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Below: Frank Stella, Chocorua 1V, 1966, fluorescent alkyd and epoxy paint on canvas, 10 ft. x 10 ft. x 8 in. Hood Museum of Art, Dartmouth College, Hanover, N.H.; purchased through the Miriam and Sidney Stoneman Acquisition Fund, a gift from Judson and Carol Bernis, Class of 1976, and gift from the Lathrop Fellows, in honor of Brian P. Kennedy, Director of the Hood Museum of Art, 2005–2010. Right: Frank Stella, Gran Cairo, 1962, alkyd on canvas, 85.56 x 85.56 in. Whitney Museum of American Art, New York. © 2015 Frank Stella/ Artists Rights Society (ARS), New York. Digital Image © Whitney Museum, N.Y.

Stella’s evolution, from the asceticism of his early twodimensional Minimalism to the complexities of his current explorations as a three-dimensional Maximalist, begs semantic speculation: when does a painting with 3D elements cross the line to become sculpture? As his paintings moved into the lateral with his Running V series in the ‘60s, the matter of work coming off the wall became inevitable. “A painting was becoming a relief, and at some point he just said, ‘This is ridiculous—I’m just going to blow it up and come out,’” Auping says. “Frank has told me, ‘You can call it sculpture, you can call it painting—whatever you want to call it. But when I look at it, I organize it pictorially.’ A lot of sculpture you do look at pictorially; you organize it in pictures, almost like frames. Frank sees something three-dimensional like that from a series of moving pictorial viewpoints. Hence he still just calls them paintings.”

Although he’s been at the forefront of American abstract art since 1959, when his Black Paintings were featured in the

Museum of Modern Art’s groundbreaking Sixteen Americans exhibition, the now 79-year-old Stella remains something of an enigma, unsullied by scandal or tabloid infamy. Michael Auping describes him as a worker bee, a regular blue-collar kind of guy. “Frank just works constantly in his studio,” the curator reveals. “There’s no big biography…there’s no crazy back story. There’s just the work; there isn’t anything else to focus on.

“And he’s still punching it out and making it vital,” Auping continues. “There’s a lot of things that have made me feel very good about this exhibition, but one of the takeaways I have is all the comments I’ve had from younger artists I know, who have every reason to throw the old guy under the bus and say, ‘Oh he had his day; he was a Minimalist, and now look at him—he’s Baroque, or beyond Baroque.’ But instead they say, ‘It’s amazing.’ A number of them have said to me, ‘God, I hope I can still piss people off when I’m 80—I hope I can still do that.’” Through all the changes, it’s one enviable legacy. P

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BY LEE ESCOBEDO PHOTOGRAPHY BY JASON ACTON, MEGHAN RALSTON, AND NICKY SIMS

A THREE-DIMENSIONAL DIALOGUE Diana Al-Hadid, Melvin Edwards, and Eva Rothschild discuss contemporary sculpture and the selection of Doris Salcedo as the inaugural Nasher Prize recipient.

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here is a solemnness to the room where Doris Salcedo’s sculpture, Plegaria Muda, is installed at the Nasher Sculpture Center, leveling the mood to ceremony.

Loosely translated as “silent prayer,” Salcedo’s piece is an examination of cultural tragedy, with traces of the piece’s conception dating back to a 2004 trip to Los Angeles, where she worked on the issue of the city’s massive death toll, mostly young people dying to gang violence. The resonance of Plegaria Muda is built inside a room on the top floor of the Nasher filled with many brown tables, those used in schools of yesteryear, stacked on top of each other, two to a set, each a different color, creating a sandwich effect of left-behind materials of wood and dust separated by concrete and earth.

The tables are installed with purpose; you must tread through them as a maze, as they are charged with the energy of coffins, each one embedded with loss and memory of forgotten people. As the viewers maneuver around the tables, they must acknowledge each one, as if in remembrance. Poetically, the organic matter, the clumps of cemented dirt between each wooden table, its legs driving through the air like stakes, hold life within them yet. Small blades of grass poke and push themselves through the cracks of the upside-down tables. Proclaiming their existence, tense little blades of green grass remind us that life, even within the most brutal of circumstances, endures. The piece is about layers. Layers of violence, and the people it is performed against, each one as unique and precious as a blade of grass.

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The genocide of people is linked to Salcedo’s practice of preserving authenticity of history, no matter how violent. She is a champion of the voiceless, an artist who uses her medium to discuss a human being’s capacity for both love, and hate. It’s a brave choice for the Nasher Prize jury to grant the inaugural award to an artist working amid the dealings of such harsh truths. Yet, in a way, it makes sense. The Nasher Prize itself is a declaration of the malleability and subjectivity of sculpture as an art form. It’s potential is limitless, and many artists over time have evolved its definition to what sculpture means.

To further investigate this artistic notion, Patron reached out to three living artists, each with a past exhibition tie to the Nasher, who are challenging the notions of what sculpture can be. Diana Al-Hadid, Melvin Edwards, and Eva Rothschild each express their thoughts on the medium, its potential, and how the questions a sculpture raises are more interesting than the answers.

Syrian-born, Brooklyn-based sculptor, Diana Al-Hadid, feels like she is still figuring out what it means, personally and theoretically, to work in sculpture.

“I guess I’ll be thinking about that until the day I die. It has a lot to do with how a space or an object lives and relates in real time with a person, both in its creation and in its appreciation. It has a lot to do with history and material, spatial and societal, and it has a lot to do with how something relates to the floor and contends with gravity.”

Al-Hadid was featured in the Nasher’s Sightings series, exhibited

Syrian-born, American artist, Diana Al-Hadid in her Brooklyn studio. Photography by Jason Acton.

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from October 2011–January 2012. She connected her approach to sculpture from the Dadaist idea of “error.” “I love randomness and chance because it lets you work without having to have an idea. All you have to have is an itch to react.”

For Al-Hadid, it helps her to think through an exploration of materials. “Space is built up and drawn out with materials. Time is reflected in material, both in narrow terms, as in processes such as pouring, heating, dripping, and repetition, as well as in broader terms, as in current technological innovations. Place is evidenced through materials—it gives you access to things and stuff to work with.”

She sees her practice as putting her material through the ringer, exploiting it, and pushing it to its physical limits. “It’s important to see an idea as far as it can possibly go, by driving forward its core properties.”

In her practice, Al-Hadid uses fiberglass and steel, exploring the temporal, time, and deconstruction. Her work resembles mystical architecture, like looking at a city within a 10-year timelapse, where you see the building and demolition of a place all at once, depending on perspective. These sculptural architectures can be seen as holy places—spiritual objects charged with sensuality.

They exist outside of a specific time, within a world forged from the creative genesis of Al-Hadid. She says, “I actually construct as much as I deconstruct; I zoom in and fuss with details after I’ve made some big-picture breaks and gashes in the work. The work may look deconstructed at times, but in fact, it’s all built up, constructed from nothing, all handmade, and I rarely use found objects directly.”

So much of the work revolves around the evolution of an idea, as much as materials. “Perhaps what I focus on more is a transformation of forms, movement in space, moving materials, and a stopping still of an event. I am fascinated by how something like plaster, which begins as a powder, combines with a liquid and becomes a solid, and can then be broken into smaller fragments.

The evolution of this very material is simple and extremely elegant.

Steel and fiberglass can create big robust forms with very little mass, so something that is indeed very strong, can appear very slight.”

There is a collection of “marks” in Al-Hadid’s work—a gestural landscape she pulls from and returns to, while progressing in her work. There is subtle referencing to the depth of detail and minutiae of early Renaissance-period work, which is then “obliterated” by the time she is done breaking down and reconstructing any such call-back. “I tend to think in terms of lines and planes, or drips and puddles, poured or thrown; my work is often porous or transparent in some way, but constructed with mostly opaque parts.”

When it comes to exploring a space for exhibition, her approach is to first study the space beforehand, then create a work in response to its particular idiosyncrasies. She looks at things like ceiling heights, rafters, and obstructions, or in the case of her show at the Nasher, street-front windows, to gain an idea of how viewers will interact with the work within the space.

“I always imagine how a person will experience the work, because I am a person. And I am experiencing the work as I make it. Sometimes my appetite is bigger for a project than others. I may be in the mood to work on something I have to climb and jump on. Other times I want to work on something closer to my body.

Usually the space has the most say at the start of the project. A lot of the decisions about the scope of the projects have to do with my temperament. If I am working on something big and expansive and I have a need to indulge some fussy anxiety, I may move to a

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drawing or a detail on the work for a while.”

Through working with the museum in the past and having an understanding of its mission, Al-Hadid sees the Nasher Prize as an opportunity to widen Salcedo’s work even further. “(Salcedo’s work) is brilliant, (the award) really well-deserved; it sets a great precedent. When I first learned about her, I realized I had seen images of her powerful work. Hopefully this award will bring younger artists to her work sooner.”

American sculptor, Melvin Edwards, was born in the Fifth Ward in Houston, Texas, in 1937. For his work, he has received the prestigious Guggenheim Fellowship for Creative Arts, as well as a retrospective show at the Nasher Sculpture Center last year, titled, Melvin Edwards: Five Decades. Edwards says early entry points into sculpture involved manifesting meaning out of tools and discarded items around his neighborhood, making wheelbarrows out of apple crates. “The first sculpture I made was a tomahawk,” Edwards explains. “I would tie sticks together and throw them at stuff. They weren’t as good as actual tomahawks, but I made something.”

At an early age Edwards had the opportunity to visit museums in school, where he became fascinated by exhibitions featuring armor, horseback equipment, and varied styles of paintings. “When I was in high school I was one of six students from three different black schools picked to go to a class at the Museum of Fine Arts, Houston on a Monday, when it was closed. The great thing about the museum was walking around and seeing art from all different areas of the world. There was a Picasso from the Blue period. We thought it looked funny because it wasn’t realistic, and we didn’t understand art that didn’t have that approach. That understanding came later.”

Once he received his formal education at the University of Southern California, he began to take night courses where grad students in the art program, who taught him how to weld, tutored him. There’s a manual laboring with regards to sculpture that set the foundation for Edward’s initial growth in practice, leading to an evolution of his theoretical framework to his art. “In 1963 I began to come up with work that was unique to me and my thinking, and it didn’t have implications of what other people had been doing.

That moved me. I was a young father at that time, laboring to put food on the table. I would get home around 7 p.m. and work at home in my garage, which was my studio, till 11 p.m.”

Edwards was also painting at this time, always interested in multiple vocations. He decided to focus on sculpture because he “liked exploring with those materials; sculpture, being a threedimensional, tangible process, and the product seemed to pull me.”

For his practice, Edwards parallels sculpture to poetry in its experimental nature. “The most creative poets start with a blank piece of paper. I have an empty space in front of me for ideas and concepts. When I come across ideas that are curious to me, I rethink them. I rethought everything from God, to the Devil, to the guy next door. When you’re inventing your own game, you invent your own rules. I am taking on that freedom.”

The work that would come out of this period in the early ‘60s would come to define the issues and themes of Edwards’ career.

The artist was working during a time of turbulent racial strife. He decided he wanted his practice to address and challenge accepted historical narratives on America’s relationship to race and slavery.

Out of this came a body of work known as Lynch Fragments, demarcating forms embedded with symbolism from slavery to the Jim Crow South. Chains, nails, and sharp objects protrude from browning metal, leaving rusty, mental scars on any possible

Organized by Nasher Sculpture Center and Associate Curator Catherine Craft, Melvin Edwards: Five Decades traveled to the / MAYby2016 Columbus Museum of Art.APRIL Photography Meghan 105 Ralston.

Eva Rothschild in her London studio. She created Why Don’t You (Dallas) featuring painted piping snaking through the Nasher Sculpture Center in 2012 for the Sightings series. Photog106 PATRONMAGAZINE.COM raphy by Nicky Sims.

possible viewer’s ambivalence.

“With my pieces, like Cotton Hangup and Chaino, the principle of suspension is the dynamic. Most lynchings weren’t hung; the dynamic ones were. The truth is people were just killed and dumped in rivers or shot in the head on the street, all kinds of s***. It was about the inventive ways of killing people. Part of my intention is that people look at things as they are and not be intimidated.

There’s a problem? Fight it.”

Edwards uses welding to tie things together, to achieve a final form. He is attracted to the hammering—forging something out of nothing. “Welding is just a way to get things together. It’s not about adding. You might add all day and then cut it apart tomorrow morning. You can develop things from the parts. I don’t work on one piece at a time. Generally, the thoughts come and go. There are pieces I have finished six months before an exhibition and something doesn’t feel right, so I cut it open and start fiddling with it again.”

Edwards’s 2015 exhibition at the Nasher covered a survey of his artistic history, as well as the last 50 years of America’s social and racial issues. “I’ve grown old during all this s***. I have matured during the experiences of my lifetime. Recently, someone asked me what I thought of the events in Ferguson. I said there was nothing new to me about it. These things happen periodically. Most times they don’t receive the attention they deserve. People being abused by police—that’s very common. That’s nothing new.”

Edwards cites the Nasher Prize as a vehicle for recognition within sculpture, recognizing different forms and styles of the medium, embracing the limitlessness of it all. “Different artists are more personally directed. With the Lynch Fragments I see it as a personal conversation. You have to be within three to five feet to see them. If not, they’re just things on a wall. There’s work that’s a more personal expression, and there’s work that works like a public speech. When a President makes a State of the Union speech, he has to address the needs of the public. Doris Salcedo’s work seems to have implications of those important things.

Sculptures deal with space and the ideas of space. As soon as you move any significant distance, it involves relationships with other people, other communities. Any artist that grapples with human conditions has two sets of responsibilities: address the problem; express possible solutions. With the Nasher Prize, I wish someone could get support for 10 years, but it’s very important the Nasher initiated this prize, and I’m happy they were international in its selection. It doesn’t have to be someone from my neighborhood.

We live in the world of several thousand languages. Let’s open it up.”

London-based, Irish artist, Eva Rothschild, exhibited as part of the Nasher’s Sightings exhibit in 2012, installed her slithering, snakelike, aluminum sculpture piece, Why Not You (Dallas) amongst the soft interior of the museum. “For me, sculpture generally means being in the presence of something that is experiential and present in its materiality. Having said that, it is a very expansive term and can in many ways take on a much wider engagement with the world.”

This piece was a persisting dialogue with space, as well as audience, continuing from her show at the Tate Britain in 2009 where her sculpture stretched nearly the full 70 meters of the space, causing viewers to walk under, around, and over the work. There is a minimalistic approach to material, a certain thinness, within the physicality of both sculptures that is deceiving. Appearing

fragile, both works have the strength to hold the room, even bend its dynamic, while changing the energy of the particular space into something reinforced, vital. Rothschild sees materials as an expansive palette: “Nothing is excluded; new materials open new possibilities of making and reference.”

Rothschild works in reaction to a space, similar to Al-Hadid; she examines the architecture of a room beforehand, then builds based off the nuances of the room. “Much of my work is made in response to a space; the room often leads where the work goes and how it develops. Creating a whole exhibition is like creating an ideal environment for works to be in conversation and counterpoint to each other. The works may move on and have other lives after the show, but that initial coming together is a very specific moment of connection and actualization.”

Scale can be used as a vehicle for ideas and responses within a work, a concept not limited to sculpture. Rothschild, at the Nasher and Tate, utilized it as a mode for interaction between maker and viewer. “Scale dictates how work relates to the body and to the eye, and these are the primary ways in which we experience artworks; scale and the rhythm created within a group of works is extremely important.”

It’s critical to investigate the tension of these relationships, room to work, scale to material. For Rothschild it is not a relationship of vulnerability, rather precariousness that comes from a referencing to Minimalism. “I am interested in archaic and geometric forms that have a history and frame of reference that can often be at odds with the materials available to us at this moment in time.”

This acknowledgment of what came before exists within her work, while also looking steadily forward through her own lenses.

“I feel you can hold the two in tandem. I have a huge respect and abiding interest in the whole breadth of Modern, Minimalist, and Post-Minimalist sculpture, as well as in classical forms and architecture. In terms of the contemporary and looking forward, that is just where we are; we are in this, this moment; we are going forward.”

The decision to grant Salcedo as the inaugural Nasher Prize winner held a special meaning to Rothschild. She believes Salcedo is “working in a politically engaged way with intense material.”

Both have shown at the Tate as well; Salcedo’s piece, Shibboleth, like Rothschild’s piece, used the space of the museum to explore the tensions of the room, viewers, and ideas. “Her piece Shibboleth at Tate Modern was totally unexpected, both beautiful and critically engaged.”

Rothschild believes that awards like the Nasher Prize raise the profile of sculpture, because they are coming from an institution like the Nasher, renowned for its investment and commitment to the art form.

As the first Nasher Prize winner, Salcedo sends a powerful message on the evolution of sculpture as a medium, thus promoting a healthy dialogue around the potential of sculpture, in all its forms.

It’s also a comment on the sociopolitical concerns that sculpture, like the history of Modern art, has been in dialogue with. Salcedo’s work in particular is about acknowledging otherness and embracing it. In their own ways, the practices of Salcedo, Rothschild, Edwards, and Al-Hadid are challenging the notions and expectations of the medium they work in. The quiet, motionless room where Plegaria Muda is installed isn’t just a place for mourning. Each little blade of grass that pokes its head out from under the unforgiving wood towards the sky, is an act of life. One worth celebrating. P

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BY PATRICIA MORA

LIFE IS A GASSSSS Erin Cluley Gallery Hosts Oliver Clegg during Dallas Art Fair.

Multidisciplinary artist Oliver Clegg pictured in his Brooklyn studio. Photography by Jamie Strachan.

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O

liver Clegg, born outside London (Cornwall, aka “Camelot,” to be exact) and now residing and working in Brooklyn, is blessed with a Roman candle of an intellect. And this makes for fabulous verbal thrills; however, I am compelled to admit that we had a bit of a tussle while conversing. He asked that I not mention the fact that he attended England’s Eton College, one of the most ambitious and prestigious schools in the world. Alums include Thomas Gray, Beau Brummell, John Maynard Keynes and, yes, royalty. Clegg protests, “It gives people the wrong idea. I’m not what people think of when they hear that. My parents worked hard.” He adds, “I’m not from the kind of background people think of when they hear ‘Eton.’”

That may well be true. But I’ve never spoken with an artist who can dart from topic to topic with anything near the alacrity exhibited by Clegg. He’s smart; he’s passionate; and he’s got a lot on his mind—namely, he’s preparing a gamut of new works that will fill Erin Cluley Gallery as well as an adjacent warehouse space during the Dallas Art Fair. And, yes, he eventually relented with regard to my entreaty to mention his background. After all, it’s the only way to make sense of the scope of his interests, his finesse, and even his artistic techniques. (His time at Eton was followed up with study in Italy.) Thus, roaring intellectual

All works: Oliver Clegg, Untitled, 2016, oil on canvas, 66 x 66 in. Photography by Henry Hargreaves

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Oliver Clegg, UNTIL THE COWS COME HOME, 2014, steel, neon, laminated MDF, pine table: 60 x 168 in. Neon: 24 x 60 in. Installed at the Brooklyn Museum, New York, in 2014

“play” meets impeccable technique. It’s a rare and combustible combination, and it was a genuine privilege to visit with him.

All of this is meant to underscore that it’s not wholly unexpected that Clegg brings a host of nuanced and confounding spectacle to his work. He’s thoroughly cognizant that he has resided on the cusp of the digital era, and his liminal position makes his observations regarding our current culture all the more trenchant. Thus, he speaks openly about digitally induced “compassion fatigue.” He notes, “We have too much information, too much to consume every day. And with too many options, we have less of a sense of genuine relationships.” Thus, his new work, among other things, takes on a visual language of hybrids. He shows us contemporary icons, but he shows them to us in a collapsed and ruined state. A happy-face balloon is squashed and deflated, and this—it must be said—is an effort that 99 percent of the time would fail. Clegg, however, manages to keep the wit of the piece aloft due to his zealous pursuit for technical perfection. And ditto for countless other icons he skewers, including an image of Tweety Bird— it warps and twists and reminds us of the vapidity of consumer culture that is, indeed, consuming. It’s taking a huge toll on us, and Clegg knows it. His use of shadow and layered oil paint makes it clear something is terribly awry with regard to our unfettered infatuation with thousands of tiny idiocies, and he busily points our attention to them, all the while engaging us in their madness. In other words, his work is in medias res. He places us squarely in the center of the never-ending narrative he indicts.

Cluley’s gallery will be showing work by Clegg that includes both painting and sculpture. For example, a disco ball is being

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constructed that will flash with the words “Me” “Me” “Me.” However, viewed differently, it can be interpreted as “We” “We” “We.” This, de facto, makes the work endlessly refractory and fascinating. Clegg is also bringing neon sculptures that light up sequentially, lending a refreshingly new cant to a technique that has been deployed in seemingly infinite permutations. Life is a Gasssss, the show’s title, includes a neon sculpture of the same name. Clegg states, “To me the show is really about the relationships between 2D and 3D work and how they collaborate in presenting the conceptual foundations of the show.” Additionally, in a warehouse near the gallery, a table titled Until the Cows Come Home will be housed that was commissioned by the Brooklyn Museum in 2014 for their 4th annual Brooklyn Artists Ball. The table, which seats 28 people, revolves—thus providing an interesting “ride” for collectors, art aficionados, and enthusiasts. Scheduled to be “activated” at a series of dinners, it creates a new “view” with every turn. Clegg quips, “It’s like Instagram. You know, new things constantly coming up.”

So there we have it yet again. A perfectly crafted piece in what Cluley terms “Mondrian colors” that performs as a (jovial) jab at our zeal for eye candy.

Cluley states, “Clegg’s work fits perfectly into my program.

I look for high-level craft in work that is playful.” She is already ringing up success after success with her well-received shows.

However, Life is a Gasssss is likely to blow the lid off. I, for one, can’t wait to see Clegg’s exhibition and watch the fireworks. If witnessing the confluence of his work is anything like conversing with the artist, it will be akin to watching magnesium burn; it’s sure to be brilliant and beautiful. P

All works: Oliver Clegg, Untitled, 2016, oil on canvas, 66 x 66 in. Photography by Henry Hargreaves

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FURTHERMORE

BY CHRIS BYRNE

GUEST OF HONOR

A talk with prominent art collector Peter Hort on visiting Dallas Art Fair.

Peter Hort with Phil Grauer at Independent New York, March 2016

A

n attorney by trade, Peter Hort came to his interest in contemporary art quite naturally. The son of significant collectors Michael and Susan Hort, he is married to Jamie Cohen Hort with whom he makes almost all of his aesthetic decisions. Peter also serves on the Board of Directors of the Rema Hort Mann Foundation. Since its inception, RHMF has awarded and provided generous grants to artists early in their careers.

His family’s collection is renowned for its identification of and in-depth commitment to young artists and includes important works by Franz Ackermann, John Currin, Marlene Dumas, Olafur Eliasson, Nan Goldin, Karen Kilimnik, Jonathan Meese, Marilyn Minter, Vik Muniz, Elizabeth Peyton, Richard Prince, Neo Rauch, Kiki Smith, and Franz West. For the past fifteen years, the Hort family has opened their TriBeCa residence to attendees of Armory Week, hosting nearly 4,000 visitors. From the over 3,000 works in the collection, Jamie selects and organizes the installation of approximately 150 (recently) acquired pieces, and Peter provides fascinating anecdotes during his tour. If you have the opportunity, I encourage you to visit their collection.

We are excited to welcome Peter back as our guest for the 2016 Dallas Art Fair, and I recently asked him to share his thoughts about Dallas Arts Week: I happen to love art fairs. I go as often as time and economics will allow.

I’ve heard the complaints: they’re too big, too crowded, and there are too many.

For me, I am looking for an artist or a gallery program that otherwise might not have gotten on my radar. It is that unknown artist or gallery that excites me and keeps me walking. One of the art fairs that I look forward to every year is the Dallas Art Fair. It’s a good-sized fair—100 or so galleries. There are qualityemerging and mid-career galleries, such as CANADA, Jessica Silverman Gallery, Johannes Vogt, Lisa Cooley, Marlborough Chelsea, Nicelle Beauchene, and The Green Gallery.

Dallas Art Fair is very different. For one thing, it is totally accessible.

Things are different down in Dallas. Participants of the fair have time to sit and talk between the passed hors d’oeuvres. Last year, at the fair, I hung out with Hugo McCloud who had some great work at Luce Gallery (Turin); and

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Bill Arning and Peter Hort at Independent New York, March 2016

I met, for the first time, Laura Lancaster, whose art at Workplace Gallery (Gateshead, Tyne & Wear, London) was mind-blowing.

Both before the fair opens and after closing, there are things to do during the week of the Dallas Art Fair, and people to do them with. The Power Station— an old abandoned power station turned exhibition space—combines good art and fun food, making for a good old-fashioned party on Wednesday evening.

This year I hear that they are displaying the work of Karl Holmqvist, a Swedish artist known for his text-based work. On Friday this year, the Dallas Museum of Art will open an exhibition for photographer Irving Penn. Later in the evening, people can head over to a reception at Dallas Contemporary; April’s exhibition features Dan Colen, Helmut Lang, and Paola Pivi.

Last year I went to a great collection at the Rose home and PumpHouse next door. I love seeing a collection embedded in someone’s home. Living with art is very different from displaying it in a gallery or a museum. It is a fresh look.

Aside from the collection, the architecture of the PumpHouse is amazing in and of itself, and Deedie Rose is the consummate host.

I sometimes take a break from the visual arts to experience a performance with the Dallas Symphony Orchestra. And if you enjoy contemporary art, if you miss the Nasher Sculpture Center and The Goss-Michael Foundation, you’ve made a big mistake. I always look forward to the hanging at The Goss-Michael Foundation. This year’s GM-F’s programming brings Chicago-based artist Paula Crown as the final exhibition in their current gallery space. P

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