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WI N S P E A R O P ERA H O USE , S EP TEMB ER 16 -18 | BA SS P ER F OR M AN CE HA LL, OC TO B E R 7 - 9 To purchase tickets, please visit TexasBalletTheater.org or call 877.828.9200
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Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak
August / September 2016
TERRI PROVENCAL Publisher / Editor in Chief
“Variety’s the very spice of life, that gives it all its flavour.” Thomas Cowper wrote that in his late 18th century poem, The Task. And in a world in desperate need for tolerance, today Cowper’s verse serves to remind us that diversity makes our days far more interesting. Throughout history cultural diversity has never been more openly welcomed than through the arts. Little else gives every nation, race, and creed the freedom to borrow from and inform one another, peacefully. That said, we dedicate this issue to diversity in everything and the undeniable necessity to embrace every community fully. In our features, Modern Frontier—a design project three years in the making—bares such diversity. Mary Anne Smiley masterfully combined two disparate art collections (one contemporary, the other decidedly Western) to create stunning interiors for a contemporary ranch one hour north of Dallas. From Dallas, With Love reveals not just one “man behind the curtain” but an entire ensemble of men and women producing the perennial TWO x TWO for AIDS and Art. “It’s not a gala, it’s a cause,” says Cindy Rachofsky, the cofounder of the event along with her husband Howard. Attracting distinguished international artists and collectors to their exquisite Richard Meier-designed home each October, the event benefits amfAR, The Foundation for AIDS Research, and the Dallas Museum of Art. Nearing its 18th year, this impeccably produced art auction and gala has raised more than $60 million to date for its beneficiaries. Patron is the proud media sponsor of this year’s cause. Diversity is further characterized by the new triangular-shaped Resource Center, serving the LGBT community and all those affected by HIV. The Right Angles written by Nancy Cohen Israel highlights the entirely donated museum-worthy collection amassed by an influential art committee comprised of artists Ted Kincaid and Annette Lawrence, collector and architect Lucilo Peña, gallerists Nancy Whitenack and Scot Presley, and curator George Shackelford. Featuring work by Felix Gonzalez-Torres, Pamela Nelson, Trenton Doyle Hancock, Jay Shinn, Gabriel Dawe, Ted Kincaid, Annette Lawrence, and many more, this center of equality and acceptance will benefit from art’s subtle soothing. Exploring art that transcends borders, the Crow Collection of Asian Art’s September opening of Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles exemplifies the beauty that arrives through embracing cultural nuances. Patricia Mora details the exhibition in Beautifully Diverse, writing “It may well come to light we all swim in a single sea.” Fashion provides another great example of varied cultures in harmonic coalescence. By melding local and international fashion brands, Meet Me On The Equinox herald’s fall’s caprices. Photographed and conceived by Anthony Chiang with styling by Jennifer Bigham and set design by Jeffrey Nobles, these styles prove differences are indeed “the very spice of life.” Terrance M. Johnson gives “spice” to underserved communities in Dance Movement, while Margaret Meehan articulates otherness in Thin Blue Line, written by the eloquent hand of Justine Ludwig. And while the work of all these passionate people make our community thrive, diversity was violently rejected on July 7, when one very troubled soul cast a searing spotlight on Dallas, tragically gunning down five of our police officers and wounding seven others. Now, it’s time to show the world we will honor their memory and stand by our city while we continue to pay respect to the fruits of its good people. The arts teach us to love that which is diverse and offer the chance to refresh our own perspective. May we all find consolation through the arts and every faith to heal the fissures of our days. –Terri Provencal
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CONTENTS 1
FEATURES 52 MODERN FRONTIER Designed by Mary Anne Smiley, a modern ranch is imbued by arresting views, a mĂŠlange or contemporary and Western art, and architecture by Vernon Berry. By Peggy Levinson 62 FROM DALLAS, WITH LOVE The extraordinary people who make TWO x TWO for AIDS and Art a nonpareil international auction and gala. By Steve Carter 70 THE RIGHT ANGLES Noted for its triangular shape, the new Resource Center abounds with thoughtfully donated art. By Nancy Cohen Israel 76 BEAUTIFULLY DIVERSE Clay Between Two Seas flares with elegance while linking Asia, the Middle East, and Mexico. By Patricia Mora 80 MEET ME ON THE EQUINOX Fall looks become languorous as the sun crosses the equator with an anything-goes mix of romantic folly. Photography by Anthony Chiang
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On the cover: A modern ranch in Gunter, Texas features ineriors designed by Mary Anne Smiley and architecture by Vernon Berry. Photo by Dan Piassick. On the alternate fashion cover: On Carmel:
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Navy velvet jacket with tails, black blouse with ruffles, Lurex, pleated skirt, Circus Animalier hoop earrings, clutch, and lace-up bootie, all by Roberto Cavalli, NorthPark Center. On Allison: Silk floral blouse with black tassel, black velvet skirt, Swarovski tassel earrings, gold, fringe sandals, all by Roberto Cavalli, NorthPark Center. Photo by Anthony Chiang.
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DEPARTMENTS 6 Editor’s Note 14 Contributors 22 Noted Top arts and cultural chatter. By Elizabeth Kerin Of Note 37 THE EYE THAT LINGERS The subtle alchemy of photographer Cordelia Bailey’s work makes for spellbinding viewing. By Steve Carter Fair Trade 38 TOP OF THE CLASS Rising from student intern to Director of the Dallas Art Fair, Kelly Cornell understands the importance of art education. By Autumn Hill Contemporaries 40 MYSTERY AT THE MUSEUM The Kimbell Art Museum explores the centuries-old authorship of paintings by the Le Nain Brothers. By Nancy Cohen Israel
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Studio 42 THIN BLUE LINES Margaret Meehan’s works echo human history where the intimate collides with the monstrous, elucidating the systemic nature of otherness. By Justine Ludwig Performance 44 DANCE MOVEMENT Terrance Johnson brings unity to underserved communities through dance. By Nancy Cohen Israel Space 46 A MODERN RIVERFRONT Inside six antique galleries committed to mid-century furnishings. By Peggy Levinson
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There 88 CAMERAS COVERING CULTURAL EVENTS 96 Furthermore ... AN ILLUSTRATIVE VOICE
New Zealand artist Susan Te Kahurangi King’s monograph inspires discussion at the New York Art Book Fair. By Chris Byrne
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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Shelby Gorday COPY EDITOR Paul W. Conant PRODUCTION Michele McNutt CONTRIBUTING WRITERS Chris Byrne Steve Carter Nancy Cohen Israel Elizabeth Kerin Autumn Hill Peggy Levinson Justine Ludwig Patricia Mora CONTRIBUTING PHOTOGRAPHERS Jason Anderson Stevan Koye Shana Anderson Thom Jackson Sil Azevedo Rhi Lee Bruno Nathan Paul Tamytha Cameron Robert LaPrelle Anthony Chiang Dan Piassick Daniel Driensky John Smith Thomas Garza Kevin Tachman CONTRIBUTING STYLISTS Jennifer Bigham Rick Flores Rey Madrano Jairus Midget SET DESIGN Jeffrey Nobles ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS www.patronmagazine.com One year $28/6 issues, two years $39/12 issues
is published 4X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2011, 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
STEVE CARTER Arts writer Steve Carter takes an in-depth look at the upcoming 18th annual TWO x TWO for AIDS and Art, the venerable gala auction benefit that’s raised over $60 million to date. The gala’s huge, with a wealth of moving parts, and Carter spoke with nine of the major players. He also covers photographer Cordelia Bailey, who has local exhibitions in August and September, as well as a new book surveying her career.
SIL AZEVEDO Photography is a means of discovery and personal growth for Sil. He enjoys connecting with people and capturing their uniqueness through his lens. Sil spends his time photographing incredible people at his Deep Ellum studio and on location. He loves art house films, old bookstores, and traveling the world with his camera.
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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.
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ANTHONY CHIANG This Dallas-based fashion and lifestyle photographer has a rich background that includes experience on shoots overseas and throughout the U.S. As distinguished in Moody Muse, this issue’s fashion feature, Chiang uses light as an art form to inject his personal aesthetics into his photography while keeping the digital post-production to a minimum. He frequently works in Los Angeles, New York, Miami, and any other location his project may takes him.
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.
NANCY COHEN ISRAEL An art historian and frequent lecturer at the Meadows Museum, Nancy Cohen Israel is a Dallas-based writer. For the current issue, she enjoyed writing about three of her favorite subjects: 17th century painting, contemporary Texas art, and dance. She hopes the examples set with the opening of Resource Center and the good work of Terrance M. Johnson Dance Project will help send ripples of hope, goodwill, and understanding throughout the Dallas community.
PEGGY LEVINSON Previously the showroom owner of BoydLevinson and Hargett Associates, Levinson is a design industry expert and former design and style editor. Patron tapped Peggy to explore the six vintage modern showrooms in the Dallas Design District. She also caught up with awardwinning designer, Mary Anne Smiley, on her ranch project in Gunter. In addition to freelance writing, Levinson consults with showrooms, artisans, and interior designers so they can function successfully and profitably, while preserving what makes each unique.
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 Tufts 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, Justine visited with Margaret Meehan in Studio.
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. A frequent Patron contributor, John is called upon to photograph homes where art is at the forefront of design. “In this issue, I had the pleasure of photographing a wonderful Texas ranch north of Dallas and the important art collection in the new Resource Center on Cedar Springs.”
PATRICIA MORA Patricia Mora has published work with a variety of magazines and newspapers as well as The International Association of Art Critics. In this issue, she offers insight into an upcoming exhibition at The Crow Collection of Asian Art, Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles.
Philip Johnson. Robert A.M. Stern. Howard Meyer. The list goes on. Dallas has its share of exquisite properties by icons both past and future. You know them. We know them. And we know they command a special touch—a reverence and respect.
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Gala and Auction • Saturday, October 22 Thanks to the following artists who have contributed work to this year’s benefit: Ricci Albenda • David Altmejd • Harold Ancart • Joe Andoe • Sarah Ball Kevin Beasley • Julie Beaufils • Brian Belott • Andrew Bick • McArthur Binion • Karla Black Carol Bove • Frank Bowling • James Buss • Nina Canell • Oliver Clegg • Martí Cormand • Isabelle Cornaro Mary Corse • Steven Cox • Annabel Daou • N. Dash • Michael Dean • Jessica Dickinson • Kim Dingle • Lucy Dodd Ingrid Donat • Chris Duncan • TR Ericsson • Roe Ethridge • Keltie Ferris • Richard Fleischner Juan Fontanive • Fernanda Fragateiro • Bernard Frize • Joe Fyfe • Maureen Gallace • Linnea Glatt Nick Goss • Channing Hansen • Rachel Hellmann • Julian Hoeber • Andrew Holmquist Tony Horton • Katsuyoshi Inokuma • Ryan Nord Kitchen • Mark Leonard • Eva Lundsager Nathan Mabry • Chris Martin • Stephen McKenna • Marisa Merz • Yoshiaki Mochizuki • Francisco Moreno Yuko Nasaka • Iván Navarro • Nic Nicosia • Isabel Nolan • Ruben Ochoa • Angel Otero • Laura Owens Trevor Paglen • Eddie Peake • Nathlie Provosty • Lina Puerta • Blake Rayne • Joel Ross • Mika Rottenberg Lee Seung-taek • Jay Shinn • Slavs and Tatars • Haim Steinbach • Michelle Stuart • Mika Tajima Quinn Tivey • Jason Tomme • Alexander Tovborg • Rinus Van de Velde • Rebecca Ward Nicole Wermers • Michael Wetzel • Lisa Williamson • Andy Woll list as of July 14
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01 AFRICAN AMERICAN MUSEUM The Carroll Harris Simms: National Black Art Competition and Exhibition runs through Nov. 12. Ongoing exhibits include: The Souls of Black Folk, featuring work from the Billy R. Allen Folk Art Collection; and Facing the Rising Sun: Freedman’s Cemetery, exploring the history of a once-flourishing North Dallas community. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Through Aug. 6, Sam Francis: Prints shows the late painter and printmaker’s lithographs. Discarded: Photographs by Anthony Hernandez runs through Aug. 7. Procession: The Art of Norman Lewis presents the first complete museum exhibition of the artist’s work. Through Aug. 21. A partnership between photographer R ichard Misrach and artistmusician Guillermo Galindo explores the border between the U.S. and Mexico in Border Cantos Richard Misrach | Guillermo Galindo, opening Sep. 24. Texas Folk Art is on view through Sep. 25. Identity continues through Oct. 9. Image: Norman Lewis (1909–1979), Aurora Borealis, 1972–76, oil on canvas, © Estate of Norman W. Lewis. Courtesy of Michael Rosenfeld Gallery LLC, New York, NY, The Thompson Collection, Indianapolis, Indiana. cartermuseum.org 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM Inside the Armor fascinates with the special use of X-rays to reveal the construction of Japanese armor. The museum sponsors a Lunchtime Talk every Thursday at 1 p.m. Public Tours take place on Saturdays and Sundays at 1 p.m. samuraicollection.org 22
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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04 CROW COLLECTION OF ASIAN ART Abhidnya Ghuge’s site-responsive installation, Flight of the Canyon, created with thousands of woodblock-printed paper plates, continues through Nov. 27. Benevolence and Wisdom: New Gifts from the Collection of Trammell and Margaret Crow; Fundamental and Superfluous: The Arts of Life in China, Japan, and Korea; Protecting Wisdom: Tibetan Book Covers from the MacLean Collection; and The Divine Feminine in Tibetan Esoteric Buddhism continue through Aug. 14. Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles opens Sep. 17. crowcollection.org 05 DALLAS CONTEMPORARY Dan Colen’s billboard-sized works and candlestick paintings, Helmut Lang’s uniquely texturized sculptures, and Paola Pivi’s feather-covered bears and upsidedown planes are all on view through Aug. 21. Exhibits featuring Laercio Redondo, Pedro Reyes, and Bruce Weber open Sep. 18. Image: Pedro Reyes, Sundial 2015, Carrara marble and brass, 31.49 x 10.63 x 9.84 in. Courtesy of the artist and Lisson Gallery. dallascontemporary.org 06 DALLAS HOLOCAUST MUSEUM Museum visitors will have a chance to hear Holocaust survivors speak on Aug. 10 and 21. The museum is celebrating International Day of Peace with Peace Day Dallas by offering free admission and a chance to meet three Holocaust survivors on Sep. 18. Survival In Sarajevo: La Benevolencija continues through Sep. 11. Join Dr. Sara Abosch for Lunch and Learn: Historical Lessons on Sep. 27. dallasholocaustmuseum.org
07 DALLAS MUSEUM OF ART Irving Penn: Beyond Beauty continues through Aug. 14 with a comprehensive exhibition of the late photographer’s work. Nicolas Party will present his first solo museum exhibition in the U.S. by painting a sitespecific mural in the DMA’s Concourse Gallery, Aug. 19–Feb. 17. Vermeer Suite: Music in 17th-Century Dutch Paintings is on view through Aug. 21. In her first U.S. solo museum show, Concentrations 60: Lucie Stahl opens Sep. 16. All things Greek and Roman continue to display in Visions of Antiquity in the 18th Century, through Oct. 23. Modern Opulence in Vienna: The Wittgenstein Vitrine and Passages in Modern Art: 1946–1996 both continue through May 2017. dma.org 08 GEOMETRIC MADI MUSEUM Color Into Space features more than twentyfive various works by Mokha Laget. Laget’s lithographs and clay-pigment paintings are on view through Oct. 30. geometricmadimuseum.org 09 KIMBELL ART MUSEUM The Kimbell hosts the first major exhibition in the U.S. featuring the Le Nain brothers— Antoine, Louis, and Mathieu. The Brothers Le Nain: Painters Of Seventeenth-Century France is on view through Sep. 11. The Kimbell has a world-renowned permanent collection, known for its minimal size but distinguished level of extraordinary quality and eminence. kimbellart.org 10 LATINO CULTURAL CENTER Cinco Latinas: A Common Thread features five Latino artists who work in North Texas, through Aug. 27. Join the Latino Cultural
NOTED: VISUAL ARTS
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Center on the second Saturday of every month for Target Second Saturday at the LCC for a free family event. This multidisciplinary arts center was founded for the preservation, development, and promotion of Latino and Hispanic arts and culture. dallasculture.org/latinoculturalcenter 11 THE MAC Dallas-based artist H. Schenck seeks to bridge connections between Dallas’s LGBTQ youth and Dallas’s art communities with The Mud Campaign. In his exhibition at The MAC, Schenck uses mud both physically as a material and conceptually as a vehicle to acknowledge social labels and redefine them. The exhibition opens Sep. 17. the-mac.org 12 MEADOWS MUSEUM Salvador Dalí, An Early Surrealist Masterpiece displays through Aug. 7. Enjoy an afternoon with artist Ian O’Brien during Drawing from the Masters on Aug. 14, 28, and Sep. 11 and 25. On Aug. 19, the museum presents ReConnections. Process and Innovation: Carlotta Corpron and Janet Turner exploring art created by the two while teaching and working in Texas in the 1940s and 1950s, runs through Aug. 21. Connections will return in September for an informal three-day program for individuals with early-stage dementia Sep. 7, 14, and 21. Celebrate the music and dance of Andalucia on Sep. 8 with a performance by Duo Cuenca and dancer Raquel Parilla. meadowsmuseumdallas.org 13 MODERN ART MUSEUM OF FORT WORTH A Series Conversation brings viewers together to discuss a specific series within a solo
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exhibition. On Aug. 7, the conversation covers Frank Stella’s Polish Village series. Highlights from the Permanent Collection exhibits some of The Modern’s most beloved pieces through Aug. 21. Moby Dick: A Reading Marathon is a continuous reading of Moby Dick by Herman Melville, beginning Sep. 15–18. Frank Stella: A Retrospective displays a comprehensive survey of this important American living artist’s paintings, reliefs, maquettes, sculptures, and drawings. through Sep. 18. themodern.org 14 MUSEUM OF BIBLICAL ART North Texas artist, Henrietta Milan, brings her impressionist paintings to the MBA in God in the Garden, through Sep. 23. Over 50 mosaic artists from around the globe are featured in A Mosaic Passover Story: Symbols of Judaism through the end of September. Works by Gib Singleton are housed in the Via Dolorosa Sculpture Garden. Image: Karen Ami, Meditations on Suffering, 28 x 23 x 3 in. biblicalarts.org 15 NASHER SCULPTURE CENTER Joel Shapiro, one of the most influential geometric sculptors of the era, continues through Aug. 21. Scope Out Sculpture puts the spotlight on materials, techniques, and artists, Aug. 4 and 18. Target First Saturdays takes place Aug. 6 and Sep. 3. Stay out late at ‘til Midnight at the Nasher Aug. 19 and Sep. 16. The Nasher mounts Kathryn Andrews: Run for President, Sep. 10–Jan. 8, organized by the Museum of Contemporary Art Chicago and curated by Julie Rodrigues Widholm, the former MCA Curator and current Director of the DePaul Art Museum. A 360 Speaker Series Panel Discussion is on Aug. 27. Image:
Installation view, Kathryn Andrews: Run for President, MCA Chicago, on view Nov 21, 2015–May 8, 2016. Photo: Fredrik Nilsen, Courtesy of David Kordansky Gallery, Los Angeles, CA. nashersculpturecenter.org 16 NATIONAL COWGIRL MUSEUM No Turning Back: The Art of Veryl Goodnight continuing through Oct. 30, features Goodnight’s works, including her life-size sculpture, A New Beginning. cowgirl.net 17 PEROT MUSEUM Eye of the Collector displays the interesting collections of local residents through Sep. 5. On Aug. 4, the First Thursday Late Night focuses on cellular biology experiments. An adults-only Social Science after-hours event takes place Aug. 5. Meet super scientists at Discovery Days on Aug. 13. First Thursday Late Night offers the opportunity to create robots and more on Sep. 1. Perform experiments at Discovery Days on Sep. 10. A National Geographic Experience presents three 3D films this fall including: Tiny Giants 3D, through Sep. 5; National Parks Adventure, through Oct. 5; and Flying Monsters 3D, through Oct. 14. Image: Conrad Anker climbs frozen waterfalls in Pictured Rocks National Lakeshore in Michigan. Courtesy of MacGillivray Freeman Films. Photo: Barbara MacGillivray, ©VisitTheUSA.com. perotmuseum.org 18 TYLER MUSEUM OF ART Pieced Together: Collages by Lance Letscher, Mark Lewis, and Mary McCleary will continue through Sep. 18. The museum also hosts monthly events including First Friday and Family Day. tylermuseum.org AUGUST / SEPTEMBER 2016
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01 AMPHIBIAN In Crossing the Line by Kieran Lynn, Arthur and Olivia take an afternoon stroll and find themselves in the middle of an absurd international crisis with no choice but to play along. Through Aug. 7. Comedian Baron Vaughn brings a few nights of absurdity to the stage from Aug. 29–Sep. 3. A dark tale of betrayal and the American dream come to life in A View from the Bridge from National Theatre Live, Sept. 10–14. On Sep. 24, join Amphibian for eats, drinks, shopping, and more at Guilty Pleasures. Image: Luke Norris, Emun Elliott, Phoebe Fox, and Mark Strong in A View from the Bridge. Photography by Jan Versweyveld. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER K.D. Lang, Neko Case, and Laura Veirs have spent the last two-and-a-half years writing 14 new songs together for case/lang/ veirs. Don’t miss your chance to hear these three artists perform together on Aug. 4 at the Winspear Opera House. Learn how to get away with murder with A Gentleman’s Guide to Love & Murder Aug. 16–28. Grammy Award-winning saxophonist, Kenny G, takes the stage at the Winspear on Aug. 30. Best known for his intense documentaries, #HEARHERE presents German cinematic star Werner Herzog in An Evening with Werner Herzog, Aug. 31. RENT comes to Dallas with the RENT 20th Anniversary Tour, Sep. 20–Oct. 2. Delbert McClinton and Friends perform at Strauss Square on Sep. 24. Image: National Touring Company. (L-R) Kristen Beth Williams as Sibella Hallward, Kevin Massey as Monty Navarro, and Adrienne Eller as Phoebe in a scene from A Gentleman’s Guide to Love & Murder. Photo credit: Joan Marcus. attpac.org 03 BASS PERFORMANCE HALL The hills are alive at Bass Performance Hall with a new production of The Sound 24
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of Music Aug. 17–21. Lyle Lovett and His Large Band make their seasonal one-night return on Aug. 23. An Evening with Terry Bozzio presents the drum legend on Aug. 26. The Fort Worth Symphony Orchestra presents the Classical Masters Festival: The Music of Beethoven, Hayden, and Mozart, Aug. 26–28. Experience the mystery of E.T. with the FWSO as they perform the Academy Award-winning music in sync with the film in E.T. The Extra-Terrestrial, Sep. 2–4. The orchestra performs Dvorak’s New World Symphony, Sep. 9–11. Join the orchestra as they pay tribute to David Bowie with the late artist’s hit songs in The Music of David Bowie, Sep. 24. The FWSO presents Hough Plays Rachmaninoff on Sep. 30. basshall.com 04 CASA MANANA Join Casa Mañana for an inspirational musical about parents, children, and faith in Children of Eden, Aug. 5–7. Experience Christ’s final days in Jesus Christ Superstar from Sep. 10–18. casamanana.org 05 DALLAS BLACK DANCE THEATRE The internationally renowned Dallas Black Dance Theatre and DBDT II will perform in Dallas DanceFest, Sep. 2–3. dbdt.com 06 DALLAS CHILDREN’S THEATER Horton the Elephant and Cat in the Hat join forces in SEUSSICAL, an unforgettable musical adventure, Sep. 16–Oct. 23. Join Dallas Children’s Theater on Sep. 17 for The Who Party, benefiting the DCT Student Matinee Performance Series that exposes students to live theater as part of regular classroom learning. Image: Kyle Igneczi and Brian Curtis in Seussical. Photography by Karen Almond. dct.org 07 THE DALLAS OPERA The Dallas Opera 2016–17 season begins Oct. 28 with Eugene Onegin. dallasopera.org
08 DALLAS SUMMER MUSICALS Mark your calendar for the 2016/17 season opening with Broadway Christmas Wonderland starting Dec. 6. dallassummermusicals.org 09 DALLAS SYMPHONY ORCHESTRA Enjoy music from the Final Fantasy video games with Distant Worlds, Sep. 2–3. Kick off the new season with the DSO and star pianist Lang Lang for a concert gala and after-party, Sep. 16. First performed in 1913, The Rite of Spring caused a riot. Jaap van Zweden will conduct an equally electrifying performance of Stravinsky’s classic Sep. 22–25. A tragic love story will come to life in Prokofiev Romeo and Juliet, Sep. 29–Oct. 2. mydso.com 10 DALLAS THEATER CENTER Discover the difference between choice and destiny when a theoretical physicist and a beekeeper begin a romantic journey together in Constellations, Aug. 24–Oct. 9. Board the train with Isabella “Bella” Patterson as she makes her way west to reunite with her soldier sweetheart in the world premiere of Bella: An American Tall Tale, Sep. 22–Oct. 22. dallastheatercenter.org 11 KITCHEN DOG THEATER Kitchen Dog Theater continues an exciting partnership with New York-based company, The One-Minute Play Festival, to present The 3rd Dallas One-Minute Play Festival, Aug. 13–15. The festival celebrates local artists and spirit through a series of sixty-second shorts. kitchendogtheater.org 12 MAJESTIC THEATER Don’t miss a night of comedy with Odin Dupeyron on Aug. 19. Indie pop-rock duo, Tegan and Sara, will stop in Dallas for a concert on Sep. 15. Donovan will celebrate 50 years with a stop in Dallas on Sep. 20. Glen Hansard will be at the Majestic on Sep. 24. dallas-theater.com
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CAL1501-DMNCalAd160714-4x11.pdf
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NOTED: PERFORMING ARTS
ART
ON STAGE 06 13 TACA Experience an elegant seated dinner and an exciting live auction at the 2016 TACA Custom Auction Gala on Sep. 23. taca-arts.org C
M
Y
CM
MY
CY
THE CENTER presents BROADWAY SERIES
THE CENTER presents #HEARHERE
A GENTLEMAN’S GUIDE TO LOVE & MURDER
WERNER HERZOG
AUG 31 WINSPEAR OPERA HOUSE
AUG 16–28 WINSPEAR OPERA HOUSE
CMY
K
your
li fe in Love
14 TEXAS BALLET THEATER Miguel Harth-Bedoya will conduct Carmen & Danse Á Grande Vitesse at the Winspear Opera House opening Sep. 16 through Sep. 18. texasballettheater.org 15 THEATRE THREE Paul, a Nobel-winning author suffering from writer’s block, his feisty wife, and two sons are finally getting together again. Paul’s young new assistant adds more to the family drama in The Novelist, Aug. 4–28. The Wedding Singer, based on the popular Adam Sandler movie, takes you back to the 1980s, beginning Sep. 22. theatre3dallas.com 16 TITAS TITAS Presents opens their 35th season titled Virtuosic Innovation when the powerful and graceful Aspen Santa Fe Ballet takes the stage at Dallas City Performance Hall, Sep. 16 and 17. titas.org
TITAS PRESENTS in association with AT&T PAC
THE CENTER presents BROADWAY SERIES
ASPEN SANTA FE BALLET
RENT 20TH ANNIVERSARY TOUR
DALLAS CITY PERFORMANCE HALL
WINSPEAR OPERA HOUSE
SEPT 16–17
SEPT 20 – OCT 2
ATTPAC.ORG I 214.880.0202 MEMBERS GET THE BEST SEATS! CALL 214.978.2888 TO JOIN TODAY.
ABSOLUT ELYX® Vodka. Product of Sweden. 42.3% alc./vol. Distilled from grain. ©2015 Imported by Absolut Spirits Co., New York, NY.
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17 UNDERMAIN THEATRE so go the ghosts of méxico, part one, by Matthew Paul Olmos, is the first part of a three-play series investigating the drug war between the United States and Mexico, Sep. 14–Oct. 8. undermain.org 18 WATERTOWER THEATRE In One Man, Two Guvnors, Francis Henshall finds himself working for two different bosses that are connected to each other in unimaginable ways, onstage Aug. 5 through 28. Enjoy an evening with artists and friends at WaterTower Theatre’s Community Cast Party on Sep. 10. watertowertheatre.org
NOTED: GALLERIES
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01 ALAN BARNES FINE ART ABFA specializes in 18th- and 19th-century works as well as a vast selection of other works to meet the unique needs of each designer or collector. alanbarnesfineart.com 02 ANDNOW This gallery, located in The Cedars, represents an impressive roster of local and international artists. An exhibition of Dustin Pevey and Michelle Rawlings’s work continues through Aug. Check the website for dates. andnow.biz 03 ARTSPACE111 A Hundred Silent Ways, a solo exhibition of Carly Allen-Martin, runs from Sep. 10–Oct. 15. The gallery will participate in a FWADA opening reception on Sep. 10. artspace111.com 04 BARRY WHISTLER GALLERY Recently relocated to the Dallas Design District, the venerable gallery welcomes two concurrent exhibitions: Allison V. Smith’s Recent Work from Marfa and Otis Jones’s New Paintings show Sep. 10–Oct. 15. barrywhistlergallery.com 05 BEATRICE M. HAGGERTY GALLERY Brian Molanphy’s Business, Cleverly Disguised as Pleasure exhibits through Aug. 26. udallas.edu/offices/artgallery 06 CADD Contemporary Art Dealers of Dallas is a nonprofit membership organization of galleries. On the third Thursday of each month a different CADD member gallery hosts a happy hour. caddallas.net 07 CARLYN GALERIE Autumn Jewels shows Sep. 8–Oct. 6. The
28 exhibition celebrates the new fall jewelry designs by ten North American Artists. A percentage of all jewelry sales go to Craft Emergency Relief Fund which offers direct financial and educational assistance to craft artists. carlyngalerie.com 08 CARNEAL SIMMONS CONTEMPORARY ART Lindsey Dunnagan’s The Journey Home runs through Aug. 27. The project presents the world as a place to discover. Gregory Miller’s Continuum runs Sep. 10 throughout Oct. Continuum furthers the search for new variations to the ceramic forms and surface treatments Miller has developed over the last four years. Image: Lindsey Dunnagan, The Journey Home, 19 individual panels, watercolor, ink, salt, and acylic on acrylic panel, 48 x 96 in. carnealsimmons.com 09 CHRISTOPHER MARTIN GALLERY Founded 21 years ago in Dallas, the gallery presents reverse glass paintings by Christopher H. Martin in three locations, Dallas, Aspen, and Santa Fe. Michael Enn Sirvet’s works are currently on display alongside Martin’s. Sirvet is a contemporary sculptor who works in mediums such as aluminum, steel, wood, and acrylic. christophermartingallery.com 10 CIRCUIT 12 CONTEMPORARY The gallery welcomes Sincerely Awkward, a solo show by Marilyn Jolly, opening Sep. 10 and continuing through Oct. 8. Jolly’s work is inspired by the Japanese concept of Wabi Sabi, the appreciation of the beauty of the imperfect. circuit12.com 11 CONDUIT GALLERY Paper Weight, a group exhibition of works on paper curated by Stephen Lapthisoophon, brings together artists Christine Adame,
Lindsey Brown, Mason Bryant, Ashley Cooper, Josh Dryk, Spencer Evans, Cor Fariner, Diamond Gray, Billi LondonGray, and Madison Samas through Aug. 20. Marcelyn McNeil’s Love & Theft, Carrie Marill’s Sculpturing Paintings, and Sandra Ono’s Everything and Nothing run concurrently Sep. 10–Oct. 15. Image: Marcelyn McNeil, When Things Settle Out, 70 x 50 in. conduitgallery.com 12 CRAIGHEAD GREEN GALLERY New Texas Talent is an annual juried exhibition that features emerging artists throughout the state. 2016’s esteemed juror is Dallas-based Frank Hettig, the Modern & Contemporary Art Director at Heritage Auctions. NTT runs Aug. 6–Sep. 3. The gallery mounts a group show displaying the works of Jeanie Gooden, Patrick Gordon, and Pancho Luna, Sep. 10–Oct. 8. craigheadgreen.com 13 CRIS WORLEY FINE ART Adela Andea’s Rappel runs through Sep. 3, showing Andea’s innovative light installations. Patrick Turk’s debut solo exhibition, All of This From Nothing, runs Sep. 10–Oct. 8. Turk is a self-taught, Houstonbased artist, creating multidimensional collages. Image: Adela Andea, Vive le Roi, 2016, styrene, LED, and Plexiglas, 46 x 36 x 24 in. crisworley.com 14 CYDONIA GALLERY Julieta Aguinaco returns for Mañana will be Another, running Sep. 24–Nov. 29. The artist continues her trajectory of examining the framework of time through the various mediums of video, painting, and performance. Image: Julieta Aguinaco, Depth, Surface, and Memory #2, 2016, acrylic on canvas, 35.5 x 35.5 in. Courtesy of the artist and Cydonia. cydoniagallery.com AUGUST / SEPTEMBER 2016
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NOTED: GALLERIES
14 15 DADA The Fall Gallery Walk takes place Sep. 24 featuring members of the Dallas Art Dealers Association. DADA presents the Edith Baker Art Scholarship to Booker T. Washington High School seniors pursuing the study of visual arts. dallasartdealers.org 16 DAVID DIKE FINE ART Jon Flaming’s work exhibits in the gallery space Sep. 10–Oct. 3. His new series of paintings is based on barbeque that captures the culture of the tradition and pride, as well as the delight experienced by devoted patrons with his signature iconic imagery. daviddike.com 17 DREXEL GALERIA (MONTERREY) The gallery exhibits the work of emerging Mexican artists, focusing on conceptual art, photography installation, painting, and sculpture. The gallery assists collectors looking for masterworks from the Mexican School and Latin American Master Painters, as well as art from the 19th century and Mexican Colonial Art. drexelgaleria.com 18 ERIN CLULEY GALLERY The summer group show, featuring the works of Mike Carney, Oliver Clegg, Chivas Clem, Marilyn Jolly, Nic Mathis, Anna Membrino, Francisco Moreno, Nic Nicosia, and Zeke Williams, runs through Aug. 27. Kevin Todora opens Sep. 10. Todora’s photographic works interrogate the medium with unconventional treatment of process and presentation. Through Oct. 8. Image: Anna Membrino, Lady, 2016, acrylic and oil on canvas, 72 x 60 in. erincluley.com 19 FWADA Soon Warren, an internationally acclaimed watercolorist, will be featured in the Fall Gallery 28
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33 Night on Sep. 10. Warren recreates natural forms on paper and canvas, creating vibrant and aweinspiring compositions. fwada.com 20 GALLERIE NOIR Gallerie Noir is an interior design showroom and art gallery known for its understated chic style with an eclectic edge. Venezuelan-born painter Daniel Diaz-Tai’s latest show entitled Subconscious is currently on view. gallerienoir.com 21 GALLERI URBANE The gallery will have a booth at the Seattle Art Fair at CenturyLink Field Center, Booth E9, Aug. 2–7. The gallery space features the works of Irby Pace in Explosions in the Sky, opening Aug. 6 through Sep. 6. Gail Peter Bordon’s work will be on display Sep. 10–Oct. 8. galleriurbane.com 22 THE GOSS-MICHAEL FOUNDATION José Parlá, a Brooklyn-based artist, known for paintings, architectural collaborations, sculpture, and photography, will display in the gallery space Sep. 29–Oct. 11. The GossMichael Foundation is one of the leading contemporary British art collections in the United States and has recently relocated to 1305 Wycliff, Ste. 120. g-mf.org 23 HOLLY JOHNSON GALLERY Texas State Artists 2015 & 2016 welcomes award-winning artists: Dornith Doherty, Dario Robleto, Margo Sawyer, and Vincent Valdez. The exhibit shows through Aug. 13. James Buss’s The Poem’s Four Corners runs Sep. 10–Nov. 12. Buss’s work begins with a solitary affection that opens to a spectrum of references using an initial gesture or imprint and the forensic properties of plaster as a medium of empathy and mimesis. Image: James Buss, Untitled 02, 12 x 10 x 0.75 in. Courtesy of Holly Johnson Gallery. hollyjohnsongallery.com AUGUST / SEPTEMBER 2016
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NOTED: GALLERIES
S UMMER A RT F ESTIVAL August 6th & 7th from 1-5 pm See
B ERNADET TE F UENTES C REATING A RT G LASS M ARBLES & Featuring her Jewelry Trunk Show
Kittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 972.239.7957 n www.kittrellriffkind.com
Join us as we Celebrate our
26th
Anniversary! Saturday, September 17th 1-5 pm
One of a Kind An Exhibit of Special Work Created especially for this Celebration by 50 of our artists! ...Continues Through October
23 24 JM GALLERY Lesli Robertson and Shayema Rahim are on view through Sep. 10. Robertson fuses concrete and textiles into provocative objects while Shayema Rahim transforms drab wax into brilliantly colored encaustic paintings. The Phoinix Project explores Shawn Saumell’s abstract images made from the ashes of the artist’s earlier photographs, creating fresh material from the remains of old. Sep. 16– Oct. 29. jmgallery.org 25 KIRK HOPPER FINE ART Slipstream shows through Aug. 6, followed by New Works by Matthew Bourbon, Aug. 27–Oct. 1. Bourbon’s art arises from curiosity about the different ways one can establish the language of painting. His work is filled with the contradictions one sees in everyday life. Image: Matthew Bourbon, Different Versions of You, 2016, acrylic on canvas, 39 x 29 in. kirkhopperfineart.com 26 KITTRELL/RIFFKIND ART GLASS One of a Kind is an exhibit of work created especially for the gallery’s 26th Anniversary Celebration, bringing together 50 of the gallery’s favorite artists, opening Sep. 17 with a reception, and continuing throughout October. kittrellriffkind.com 27 KRISTY STUBBS GALLERY Kristy Stubbs is a private art dealer representing museum-quality period Impressionist, Modern, and contemporary paintings and sculpture. KSG remains preeminent in Dallas as a place for advice and guidance in pursuing and evaluating great works of art. stubbsgallery.com 28 LAURA RATHE FINE ART Hunt Slonem’s Fauna runs Sep. 10–Oct. 8. The solo exhibition gathers the New York-based artist’s admired work, renowned for his vibrant neo-expressionist works of butterflies, rabbits, and tropical birds. Image: Hunt Slonem, Untitled (Bunnies), oil on canvas, 48 x 48 in. laurarathe.com
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SOUTHWEST
GALLERY
SUMMER ART FESTIVAL WATCH ARTISTS CREATE! Saturday, August 6th and Sunday, August 7th 1-5 pm both days
A L E XA N D E R S E LYT I N
O pening S eptember 10 th
4500 Sigma Rd. Dallas n 972.960.8935 n www.swgallery.com
NOTED: GALLERIES
31 29 LEVEL GALLERY Organized by Lily Taylor, LIVE at LEVEL is a sonic experiment by musicians. In each of the three upstairs rooms of Level, one microphone is placed to pick up the sound generated in recording sessions to be released later in the fall for digital download. level-gallery.com
Lea Fisher | Blue Galaxy | Mixed Media | 60 x 36 in
LEA FISHER A Good Story... Opening Reception September 10th 5-8 pm
SAMUEL LYNNE GALLERIES 1105 DRAGON STREET | DALLAS, TEXAS 75207 WWW.SAMUELLYNNE.COM | 214.965.9027
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31 LUMINARTE FINE ART GALLERY New Horizons, an exhibit of contemporary abstract works reflecting on nature, features artists Gina Rossi, Motte Thomas, Mark Bueno, Scott Eakin, Leanne Venier, and Artyce Colen, and runs through Aug. 27. Paper and Power opens Sep. 10 and features work by Rick Timmons and Jeong and Choon Yun of South Korea. Image: Scott Eakin, Ghost of a Firefly, 36 x 36 in. luminartegallery.com 32 MARTIN LAWRENCE GALLERIES Celebrating Erté at the Hermitage is a collaboration with the Hermitage Museum to highlight the masterworks of Erté. Through Sep. 18 the Erté exhibition features the Russian master’s original gouaches, hand-signed limited edition serigraphs, and bronze sculptures. martinlawrence.com
Artist will be in Attendance
Patron August/September Lea Fisher Ad 3.indd 1
30 LILIANA BLOCH GALLERY The works of Kathy Lovas will be on display from Sep. 10–Oct. 8. Representing emerging and mid-career artists from across the globe, the gallery works to create a dialogue between institutional and private curators, collectors, educational art venues, and the general public. lilianablochgallery.com
7/7/16 1:20 PM
33 MARY TOMÁS GALLERY Radar II and Creative Arts Center Juried Exhibition run through Sep. 3. Reverence is a solo show
25 featuring Dawn Waters Baker’s landscape paintings inspired by her artist’s residency at Big Bend National Park. The exhibit coincides with the Centennial Celebration of the U.S. National Park Service. Opening Sep. 10. An artist talk takes place Sep. 24. Through Oct. 22. Image: Dawn Waters Baker, Mist and Shadow, oil on canvas, 48 x 48 in. marytomasgallery.com 34 PHOTOGRAPHS DO NOT BEND Critters showcases the enigmatic portraits of animals photographed by several gallery artists, including Keith Carter, Kevin Horan, Earlie Hudnall, Jr., Cheryl Medow, Bunny Yeager, Wu Jialin, and more. Through Aug. 27. Life, Death, Beauty, and Garbage is a collection of work from Geof Kern showing Sep. 10–Oct. 29, bringing together Kern’s most influential editorial and fashion photography. pdnbgallery.com 35 THE POWER STATION The gallery is hosting a series of rooftop screenings, Sunscreen (Shorts) during the summer. Housed in a Power & Light building constructed in 1920, artists are invited to respond to the raw character of the architecture, offering an alternative to the traditional gallery and museum context. powerstationdallas.com 36 THE PUBLIC TRUST The Public Trust teams up with Design Within Reach to present the photographs from Kasumi Chow and Desiree Espada’s truly, madly series, opening Aug. 11. Hot, Hot, Heat: The Public Trust Summer Sale, inventory sale and silent auction, runs Aug. 6–Sep. 3. Ryan McGinness is the featured artist in SOLILOQUY, a series that invites guests into a focused dialogue on a single piece of artwork, Sep. 10–Oct. 22. trustthepublic.com
AUGUST / SEPTEMBER 2016
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NOTED: GALLERIES
CONTEMPORARY ART
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Artist Dawn Waters Baker, detail: You See Me 2016, oil on canvas, 60 x 40 in.
37 THE READING ROOM In the Absence of Bodies, an exhibition of mixedmedia work by New York artist Jenny Vogel, deals with history, memory, and uncertainty through images of monuments shattered, toppled, and destroyed, Sep. 3–30. thereadingroom-dallas.blogspot.com 38 RO2 ART Gillian Bradshaw Smith’s Finding Daphne will exhibit in the gallery space on S. Ervay, Sep. 10–Oct. 8. The small gallery will concurrently feature the works of Robin Ragin in Upstart Crow. It’s Not This, It’s Not That, a collection of work from Bruce Schiefelbein, will show at the Magnolia through Aug. 23. The Magnolia will then show work from Cynthia Miro, on view throughout October. Ro2art.com 39 RUSSELL TETHER FINE ART Russell Tether Fine Art gallery specializes in collections and estates of fine art, with an inventory of more than 500 works from 19th-, 20th-, and 21st -century artists. Through Aug. 31 the gallery presents a sample of galleryowned works. Other artists and artworks are available by request only. russelltether.com
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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40 SAMUEL LYNNE GALLERIES Lea Fisher’s A Good Story displays Sep. 10– Oct. 8. This exhibition marks a significant evolution in Fisher’s career, as her newest works demonstrate her own interpretation of Reflectionism. samuellynne.com 41 SITE131 Black “Paintings’” response to the Dallas Museum of Art’s Jackson Pollock exhibit continues through Sept. 10. Beginning Sept. 24 the gallery welcomes Found, a collection of work from three artists: Robert Larson,
Ancel Nunn, The Pursuer, 1981, Watercolor and acrylic on paper, 17 x 209inches
RUSSELL TETHER Fine Arts Associates, LLC
08 Longhair Zhang, and Benjamin Terry. Each of the artists repurposes and recycles materials to make their art. Through Dec. 18. site131.com 42 SMINK SMINK, an art and design showroom, presents Margaret Fitz gerald in the Main Gallery and Jake Fischer in the Third Gallery, opening Sep. 10 from 5–8 p.m. and continues through the fall. sminkinc.com 43 SOUTHWEST GALLERY Annual Summer Art Festival runs Aug. 6–7. Activities include 18 artists painting onsite, gallery artists blowing glass, Inga Brogia’s inventive jewelry designs, and live music. Sep. 10 welcomes Alexander Selytin’s One Man Show, a collection of the native Russian’s Native American-inspired paintings. swgallery.com 44 TALLEY DUNN GALLERY David Bates’s Paintings and Sculptures is a presentation of the celebrated artist’s new series of still-life and Gulf Coast paintings. The exhibition runs Aug. 27–Oct. 15. talleydunn.com 45 TAUBERT CONTEMPORARY (BERLIN) Located in the Berlin Gallery District, Taubert Contemporary exhibits annually at Dallas Art Fair and has placed numerous works in local collections by Markus Linnenbrink, Adrian Esparza, Markus Weggenmann, and more. taubertcontemporary.com 46 UNT ARTSPACE DALLAS The gallery is temporarily closed through Aug. 31. However, a monitor will showcase student artworks from the New Media Program. gallery.unt.edu
John Marin, Grey Rock, Blue Grey Sea, 1960, watercolor, 20 x 36 inches
Collections and Estates of Fine Art Brokerage • Consulting • Management
Dennis Blagg, Fresno I, 1992, oil on canvas, 54x96 inches russelltether.com 13720 Midway Road, Suite 110 Dallas, Texas 75244 972-418-7832 | inquire@RTFAA.com
AUGUST / SEPTEMBER 2016
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NOTED: GALLERIES
recurring exhibitor at Dallas Art Fair
representing
ADRIAN ESPARZA BEAT ZODERER
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48 WILLIAM CAMPBELL CONTEMPORARY ART Collect/Works from the Secondary Market is a collection of works from Robert Mapplethorpe, Donald Sultan, Florence Pierce, Dan Rizzie, Bernd Haussmann, Joe Guy, Scottie Parsons, Kevin Tolman, and others, on view through Aug. 27. All The Words Have Been Spoken, a collection of works from Steve Murphy, exhibits Sep. 10–Oct. 15. williamcampbellcontemporaryart.com
office@taubertcontemporary.com taubertcontemporary.com
TAUBERT CONTEMPORARY BERLIN
47 VALLEY HOUSE GALLERY Jim Stoker’s Reflections of Nature runs through Sep. 3. Stoker, a San Antonio artist, naturalist, and environmental activist, uses a splatter technique to create painterly representations of the flora along the Guadalupe River. David H. Gibson’s Still Light mounts Sep. 17–Oct. 15. Gibson’s photographic career is largely informed by theatrical lighting. valleyhouse.com
PATRONMAGAZINE.COM
AUCTIONS 01 HERITAGE AUCTIONS The Fine & Decorative Arts including Estates sale occurs Sep. 17–18 and will feature fine art, furniture, and Asian art. The James Silberman Collection of Tribal, Pre-Columbian, and American Indian Art sale takes place Sep. 16, featuring the fine ethnographic art from the collection of a single owner. Image: Marc Chagall (French/ Russian, 1887–1985), Le Ciel, 1984, lithograph in colors, 24 x 18.5 in. ha.com 02 DALLAS AUCTION GALLERY The Decorative Arts Auction is Sep. 1, featuring the sale of fine silver, porcelains, furniture, and decorative art. The full catalog will be available Aug. 31. dallasauctiongallery.com.
OF NOTE
BY STEVE CARTER
T
he digital works of Dallas photographer Cordelia Bailey range from straight-ahead captures, to mildly manipulated creations, to highly manipulated composite fictions that resonate with probable verity. It’s an intriguing conundrum for viewers, parsing through her images of the natural world, people, places, things, and other-worldly surrealities. But underlying Bailey’s eclectic artistry is a touch of ambiguous narrative that begs engagement. “I really strive to have a reaction from the viewer,” Bailey says. “Art has to have something emotional that grabs you, intrigues you, makes you angry or happy, or makes you think, ‘That’s wonderful, I just want to look at it awhile.’ And if I can, I also like to have a surprise in there, for the eye that lingers.” For the months of August and September, lingering eyes will have the chance to interact with Bailey’s vision up close and personal, with her two back-to-back solo exhibitions: The Essence of Élan runs from August 1–29 at Bath House Cultural Center (reception Saturday, August 6, at 7 p.m.), and Cordelia Bailey Photography: One Step Beyond is on view at the Mesquite Arts Center from September 1–29, with a reception on Thursday, September 8 at 5 p.m. Bailey will be on hand at the receptions, signing copies of her recently published Cordelia Bailey Photography (Fresco Books/The University of New Mexico Press). The book is a beauty, chronicling the artist’s career in 100 images, replete with three scholarly essays (one of which is by Modern Art Museum of Fort Worth’s Andrea Karnes), poetry, and insights. “Yes, it’s my greatest hits,” she laughs. Bailey calls her three-fold approach her “three niches,” and while she began her career shooting film, she’s now a firm proponent of the digital realm. “I was scared when I made that transition, because I thought I couldn’t master Photoshop,” she admits. “But it’s so exciting to be more like a painter. As an artist I’d started as a painter, and what I liked about it was that you decide what goes into the image.” A case in point is Picchu Sprite, a manipulated composite picture. Bailey’s initial photo of a Machu Picchu entryway was brilliant, but she knew something was missing. Years after taking it, she grabbed a shot of a naked child racing toward the Indonesian surf, capturing him just before he dove into the water. “With that first shot I knew I had to move beyond traditional; it was missing that element of surprise,” she explains. Photoshopping the boy into the ruins of Machu Picchu proved to be the perfect legerdemain. The picture’s mythic timelessness bridges cultures, and centuries. On the other end of her spectrum, On Edge is a barely manipulated photo of a hilltop house in Chile; the dramatic black-and-white gradations of the image highlight the precarious scenario, and the striations of the clouded sky enhance the drama. “You have to think about a picture as a stage; you have to make some action happen,” Bailey adds. “My images are about, and of, life—I think that’s the thread through all of them.” For more information, please visit: fortworksart.com, friendsofthebathhouse.org, or cityofmesquite.com/1782/ Art-Gallery. P
Cordelia Bailey, On Edge, photograph
THE EYE THAT LINGERS
The subtle alchemy of photographer Cordelia Bailey’s work makes for spellbinding viewing.
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FAIR TRADE
BY AUTUMN HILL Kelly Cornell is the new Director of the Dallas Art Fair.
TOP OF THE CLASS Rising from student intern to Director of the Dallas Art Fair, Kelly Cornell understands the importance of art education.
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hen it comes to managing multiple galleries, programs, beneficiaries, and a tony audience, Kelly Cornell doesn’t shy away from the task. Juggling 100-some dealers for the Dallas Art Fair each year and her own accessories label, the 26-year old is known for her ever-so-calm demeanor and creative appeal. Here, Dallas Contemporary’s Autumn Hill catches up with Cornell on the eve of her appointment as the fair’s new director. Autumn Hill: Kelly, I would like to begin by congratulating you on your well-deserved appointment as Director of the Dallas Art Fair. You have played a meaningful role in the evolution of the fair from its infancy to an internationally respected contemporary art event. Will you tell me about your personal history with the fair and what your new role will entail? Kelly Cornell: I am very excited about my new role with the Dallas Art Fair. The fair is a grassroots organization, and witnessing its growth has been a wonderful experience. I started as a college intern for the Dallas Art Fair in 2011. During my first fair, I felt the energy and passion that both the Dallas and international arts communities had for the event, and I knew I had to be a part of it. Immediately, I saw what a huge asset this was for our city. After I graduated from SMU, I kept in touch with Chris Byrne. When an opening at the fair presented itself in the late fall of 2012, I jumped on it, and I have been here ever since. Back then, I was more of a manager, working behind the scenes to make sure everything ran smoothly. Over the past few years, my duties have expanded to include a more public profile. This new role
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entails keeping close relationships with the galleries and creating interesting programming for the fair. I work with our Preview Gala beneficiaries (the Dallas Museum of Art, Nasher Sculpture Center, and Dallas Contemporary) and local institutions, as well as our sponsors to create a robust schedule of events. AH: I have personally had a wonderful experience working with you and your team on education programs over the last four years. Will you speak a bit about how education has become an increasingly important component of each year’s Dallas Art Fair offerings? KC: From the start, the Dallas Art Fair has hosted panel discussions during the fair on topics ranging from The Art of Collecting to Artist-Run Gallery Spaces. We always endeavor to educate and cultivate the collecting community. We began working with school-age children via the encouragement of our sponsor, Neiman Marcus. With your personal guidance and expertise as the Paula and Jim Crown Director of Learning, we have brought hundreds of children and teenagers to the Dallas Art Fair. They are given the opportunity to see artwork from all over the world and engage with gallerists and artists. This can be a pivotal experience for someone considering a career in the arts. This past year we launched our Student Sunday program. This allowed anyone with a student ID to come to the fair for free on Sunday. AH: The 2016 Dallas Art Fair was the most well-received and well-attended iteration to date. Can we expect anything new and exciting in 2017? KC: There is a synergy amongst the museums and non-profit
spaces that makes the Dallas Art Fair week an exciting, eventpacked week to be in town. This past year we partnered closely with the Mayor’s office to spread the message about Dallas Arts Week. Since we strive to be better each year, we are currently developing the 2017 program. We’ll be collaborating with the city again and are building relationships with new sponsors. AH: A woman of many talents, you are an artist yourself. Tell me about Desert Hide, the company you run with your husband Jack. KC: Jack and I launched Desert Hide as the interest in our handbag designs started to gain speed. What began as a passion project and expression of our personal style has become a fullblown business. A labor of love, we personally pick all of our materials and construct each piece by hand. You can visit our website at www.deserthide.com to see more. AH: What is your vision for the future of the Dallas Art Fair under your leadership? KC: As the Dallas Art Fair enters its ninth year, we are striving to connect ourselves with the community year round. We are currently developing programs for a month-to-month engagement with our audience. The Dallas community is vital to the success of the Dallas Art Fair. My hope is that the Dallas arts scene will grow with us as we move into the future. P Autumn Hill is the Paula and Jim Crown Director of Learning at Dallas Contemporary. She joined Dallas Contemporary shortly after graduating with a BA in Art and Performance from the University of Texas at Dallas in 2007. For four years, she served as an instructor for DC’s Art Think program, an outreach program that uses contemporary art to teach critical thinking skills, communication skills, and visual literacy to high school students across North Texas, and in 2012, she was promoted to Director of Learning. Hill currently organizes learning experiences to complement DC’s rotating exhibitions, oversees three youth education programs, and is laying the groundwork to open a contemporary art education center at the museum. P
Autumn Hill; Paola Pivi, Sometimes I have to stand for my safety, 2014.
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BY NANCY COHEN ISRAEL
MYSTERY AT THE MUSEUM The Kimbell Art Museum explores the centuries-old authorship of paintings by the Le Nain Brothers.
“T
his is a once-in-a-generation opportunity,” Esther Bell says of the Brothers Le Nain exhibition she curated, currently on view at the Kimbell Art Museum. If that is not enough of an endorsement, consider that this is only the second time in over 350 years that there has been a comprehensive exhibition devoted to the work of brothers Antoine, Louis, and Mathieu Le Nain. The last one took place in Paris in the late 1970s. Bell, Curator of European Paintings at the Fine Arts Museums of San Francisco, worked with C.D. Dickerson III, Curator and Head of Sculpture and Decorative Arts at the National Gallery of Art in Washington, D.C. Prior to this position, Dickerson served as Curator of European Art at the Kimbell, where he began organizing this exhibition. Questions regarding the Le Nains’s training and their division of labor have dogged scholars for centuries. The curators credit Parisian archivist Frédérique Lanoë with finding new documents pertaining to the painters. Even these, however, did not completely unravel their mysteries. The brothers, born in Northern France at the dawning of the 17th century, arrived
in Paris in the 1620s. Nothing specific is known of their early training. Antoine entered the Painter’s Guild of Saint-Germaindes-Prés in 1629. He and Louis were also early members of the newly established French Royal Academy of Painting and Sculpture. So who were these artists, connected to royalty while sympathetically portraying the plight of the poor? They were not country bumpkins as previous generations have characterized them. Rather, “they were like sponges,” Dickerson says, soaking up European contemporary art trends. From lighting inspired by Caravaggio and his followers, to the arresting gaze in vogue in The Netherlands, to local artists including Simon Vouet, Nicolas Poussin, Georges de la Tour, and Claude Lorraine, their subject matter was as broad as their technique. The first galleries at the Kimbell Art Museum feature altarpieces commissioned for royal churches, including Notre Dame Cathedral. The exhibition continues with portraiture, landscapes, mythological scenes, and genre paintings. In an era when many artists specialized, the range of the Le Nains’s talent
Above left: Le Nain, Peasant Interior, c. 1640, oil on canvas, 21.88 x 25.5 in. National Gallery of Art, Washington, D.C. Samuel H. Kress Collection. Above right: Le Nain, The Card Players, c. 1640–45. oil on canvas, 24.75 x 29.88 in. Musée Granet, Aix-en-Provence, France.
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CONTEMPORARIES
is unusual. “That kind of nimbleness in handling different styles marks them as quite sophisticated,” Dickerson explains. The effort to determine which brother painted each work remains the biggest mystery. When canvases are signed, it is with Le Nain or the more traditional Le Nain fecit. For this exhibition, scholars assigned each a letter, brother A, B, or C. In many cases, it appears that two brothers may have worked on the same canvas. “For several hundreds of years, people have been debating the authorship of these paintings,” says Bell. She and Dickerson spent considerable time in discussion trying to fathom generations of analysis. Aiding the curators in their endeavors were the conservators from both institutions, Claire Barry at the Kimbell and Elise Effmann Clifford at San Francisco. Barry cites several specifics that helped with their work. While she credits the scholarship of the curators of the Paris exhibition, she says that the advent of high-resolution digital photography makes it easier to share imagery across institutions. Improvements in infrared reflectography and X-radiography have also provided greater visibility into what lies beneath the painted surface. Canvasweave analysis, a technique not available in the 70s, also played an important role, allowing Barry to see if a painting’s canvas came from the same bolt of fabric or if it had been cut down or enlarged. “The impression we get is that the artists were thrifty with their materials,” she says. This parsimony extended to their recycling of canvases. “It is striking that you see a number of portraits under other paintings,” Barry explains. She also uses the landscapes as possible examples of their working methods. “They always painted the landscape first and then added the figures,” she says. Since, in some of the work, the landscape bleeds through the figure, the scholars conjecture if the brothers somehow divided the labor or if they went back and forth, working collectively or separately. “Maybe they worked both ways,” Barry suggests. Another big question surrounds the use of drawings. While none are extant, Barry and Bell feel that they probably did work from drawings. Especially, as Barry suggests, “Drawing was being promoted by the Academy.” And because the works on copper show “a repetition of figures in scale and poses,” she surmises that they may have been working from a pattern book. Part of the joy of this exhibition is the amateur sleuthing that it invites. Even for those with a good eye, determining who painted what is elusive. For example, while it seems that Antoine executed the small works on copper, Bell notes that he also worked on large-scale canvases. She concludes, “At the end of the day, the main point is that we can discuss connoisseurship. But most of all, we want our visitors to the museum to appreciate the paintings.” P Above: Le Nain, Allegory of Victory (or Piety Victorious over Protestantism?), c. 1635, oil on canvas, 59.5 x 45.25 in. Musée du Louvre, Paris. Below: Le Nain, Saint Jerome, 1642 or 1643, oil on canvas, 28.125 x 36.25 in. Private collection.
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BY JUSTINE LUDWIG
THIN BLUE LINES
Margaret Meehan’s works echo human history where the intimate collides with the monstrous, elucidating the systemic nature of otherness.
Margaret Meehan, The Lawless Have Laws, in progress. Archival photo collage, graphite, gouache, latex paint, wood, and Plexiglas.
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argaret Meehan uses the past to examine both the present and the future. Addressing politicized bodies that directly contest societal homogeneity through medical conditions, race, gender, or sexuality, she creates a tension between center and periphery. In the past she has drawn inspiration from female Civil War soldiers who presented as men in order to fight for their beliefs. Another body of work draws influence from the tale of a woman born with an atypical version of an atypical condition called Hypertrichosis that caused her to be completely covered in snow-white hair. In exploring the lives of these women, Meehan taps into the common fear of that which defies classification. The majority of Meehan’s different series addresses the stories of individuals—focusing on their humanity. She investigates the lives
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they led, often uncovering forgotten narratives through meticulous research. On her blog (http://upliketoast.blogspot.com), one gains access to her methodology. Text, images, and videos co-mingle. We see the inspiration for multiple projects scattered across each page. Present in the most recent posts are accumulations of blues, including Elvis’s rendition of “Blue Moon” and Agnes Martin’s delicate blue-line work. In other posts she catalogues manifestations of the romantic/erotic narrative of being held captive by savages as seen in No Doubt’s video for their song “Looking Hot” and in Erastus Dow Palmer’s painting, The White Captive. These two lines of inquiry elaborate on her exhibition Bye Bye Blue at the Old Jail Art Center in Albany, Texas, and connect the project to different manifestations throughout time. Meehan is presenting the echoes of human history.
STUDIO
Bye bye blues...bye bye blues Bells ring...birds sing Sun is shin-in’...no more pin-in’ Just we two...smil-in’ through Don’t sigh...don’t cry Bye bye blues Like a siren singing sailors to shipwreck, these haunting words drift through the Old Jail Arts Center, pulling you into Meehan’s exhibition (though admittedly to a more positive end). Here, implementing ceramics, altered photographs, text, and sculpture, the artist explores the life of Olive Oatman. Oatman led an extraordinary life. Born in 1837 in Illinois, at the age of 14 her family was murdered by a Native American tribe. The only individuals to escape this fate were herself and her sister, who were enslaved, and one brother who was left for dead, but survived. Oatman was later sold to the Mojave tribe, and conflicting stories arise here, some stating she continued to be a slave, while others posit that she was a respected member of the tribe’s society. A few years later she was ransomed back to white society, full of unusual stories and marked by a bright blue tattoo on her chin. Meehan weaves disparate aspects of Oatman’s life into her work. An elegant black branch with blue-dyed horsehairs cascading from it evokes her time living among the Mojave. On the facing wall, a series of altered vintage photographs of women with blue patterns painted on them speaks to a later stage in her life. Each piece is intimate. They lack the trappings of societal oddity that made Oatman a celebrity. Meehan’s objects and images create a dialogue with the space they are housed in—a jail cell and the namesake of the institution. It is as if Oatman herself is imprisoned for her inability to be labeled, thus confining her legacy. In all of Meehan’s works, her curiosities are always deeply human. Her subjects do not quite fit the framework of what is expected in society. She recreates the worlds of these individuals through personal narratives. As a result, we become more aware of the dictates of society and the codified system of Othering. In Meehan’s studio, walls are covered in images—ranging from Gloria Steinem holding a poster bearing the words “we shall overcome,” to prominent New York architects in the 1930s dressed as their most iconic creations. Her inspirational images evoke the avant-garde and historical moments that still appear fresh and relevant today. The struggles and passions of generations past still resonate. Nearby sit numerous stacks of books. Recent reads include The Monster Show: A Cultural History of Horror and Southern Horrors: Women and the Politics of Rape and Lynching. Meehan’s works do not function as historical record. For the artist, history is suspect—written by those in positions of power and distorted over time. She sees history as victim to the same pitfalls as human memory. We adapt these narratives to reflect our current context. As a result, for all of her historical research, the work remains open and intentionally mutable, as if to say what happened in the past could similarly happen today. P Above: Margaret Meehan, Bye Bye Blue, 2016, in progress, studio detail. Below: Margaret Meehan’s studio, 2016.
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PERFORMANCE BY NANCY COHEN ISRAEL PHOTOGRAPHY BY NATHAN PAUL
DANCE MOVEMENT
TERRANCE JOHNSON BRINGS UNITY TO UNDERSERVED COMMUNITIES THROUGH DANCE.
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In March, Terrance M. Johnson founded TMJDP to enrich underserved communities through artistic programming and live performance.
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estiny can be serendipitous. It certainly was for Terrance Johnson. While working for IBM, Johnson enrolled in a dance class at Dallas Black Dance Theatre. Already 23 years old, the former college cheerleader had found his calling. He ultimately danced for two seasons with DBDT II, comprised of the school’s most promising students. He then continued his training with Deeply Rooted Dance Theatre in Chicago, Alvin Ailey American Dance Theatre in New York, and American Dance Festival in Durham, North Carolina. Guest roles with The Dallas Opera, Contemporary Ballet Dallas, Dallas Neo-Classical Ballet, and the Exhibit Dance Collective proved that Johnson lived up to his early promise. His extensive training in ballet, modern, and hip hop led to an MFA in Dance Performance and Choreography from Texas Women’s University. Johnson knew the transformative power of the arts long before earning his MFA. His vision for Terrance M. Johnson Dance Project came into being in 2012 with a crystalclear mission: “To be an arts organization that promotes community outreach, cultural awareness, art education, and preservation of live performance art.” He adds that his ultimate goal is “enriching community through the arts.” This month, that goal will manifest itself at the South Dallas Cultural Center on several fronts. For the first three Saturday mornings in August, the Terrance M. Johnson Dance Project will offer free community classes that will incorporate movement therapy, drawing from different cultures and dance styles. Johnson sees the arts as a bridge, saying, “There are so many things in America that we can do to respect other cultures.” He plans to use dance as that vehicle towards understanding, adding, “The arts allow us to see both sides.” Additionally, he is offering summer intensive workshops for experienced dancers. While these programs are the staple of a young dancer’s training, they are often quite expensive. Johnson is presenting an affordable three-day workshop, which will include several dance genres. Johnson strongly believes that all children should have access to the arts. On August 19, he and his company of eight dancers will present two lecture/demonstrations that will take young audiences through different dance styles. Grants from the City of Dallas Office of Cultural Affairs and the Texas Commission on the Arts are making this work possible. Johnson recently began partnerships with the Latino Cultural Center, the Boys and Girls Clubs, as well as the Center for a New Generation, the school-based program founded by Condoleezza Rice. He plans to take his message into as many underserved schools as possible. To fully engage these youngsters, he would like them to have the necessary tools for success. For example, he would like every child learning ballet to own at
interior design + art
Dallas native Cami Holman is a virtuoso performing artist, instructor, and choreographer who specializes in modern, contemporary, West African, and Afro-Caribbean dance forms.
least one leotard, a critical element, he says, “to introduce them to the culture of ballet.” The culmination of the summer community programs will be the company’s performance of Lynched: Reflecting on the Past, Acknowledging the Present, and Hopes for the Future, choreographed by Johnson. Aspects of it will provide the basis for a scholarly paper he is writing, titled, Lynched: the State of Black People in America. With performance and paper incorporating issues relating to the Civil Rights Movement, it will be, as with everything Johnson does, embedded with a sense of hope. “I want to use my art to address so many social issues,” he says. Speaking with Johnson, it is clear that he truly engages with people from all walks of life. “I learn to really listen to the opposing side, and if I can identify with something, then we can make a connection,” he says. He would also like to work with the homeless population, perhaps offering them community dance classes at CitySquare, the Downtown antipoverty organization. Too often, Johnson says, the homeless are unseen. Through his programs, he hopes to provide them with an avenue through which to share their stories, saying, “The arts can facilitate a different process.” It creates an aesthetic challenge for him, too. “How do we use other influences to inform movement?” At the same time, his aim is to keep his work accessible to all audiences. Johnson and his company look forward to expanding internationally. The company has accepted an invitation to participate in Dance X Belize, an annual international festival that showcases dance from around the world. Johnson hopes to connect with Belizean youth by bringing his multiethnic dance programs to a local orphanage. His long-term plans include entering the University of Texas at Dallas Humanities program as a PhD candidate in Aesthetics Studies. In the meantime, Johnson sees his efforts as a work in progress, explaining, “A project is something not finished. I want the Terrance M. Johnson Dance Project to grow and be informed by other things.” At 6’2”, this gentle giant and inspiring dancer embodies the ideal of making the world a better place through the arts. Here’s to his success. P
Photo by Dan Piassick by Dan Piassick Art: DIVINA ORA, oil on canvas (95 x Photography 107) artist Roy Tamboli Nguyen, “Rorschach CourtesyHai of MARY TOMÁS GALLERYX Dallas Google Earth”, 49x68
interior design + art
mary anne smiley, RID, ASID maryannesmiley.com 214.522.0705
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BY PEGGY LEVINSON
COLLAGE 20TH CENTURY CLASSICS
A MODERN RIVERFRONT
Inside six antique galleries committed to mid-century furnishings.
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s the Dallas Design District continues its creep westward toward the Trinity River, Riverfront Boulevard has become ground zero for vintage and antique galleries. Where furniture consignment stores of varied quality and price of inventory have long flourished, now galleries of collectable art and furniture have taken root, and sales of four and five figures have become the norm. And where traditional antique stores along Slocum, even those with the very highest level of inventory, are experiencing slumping sales, designers and homeowners are flocking to the clean-lined modernism of mid-century design. I’ve asked several of the most noted local experts what has driven this demand. Says Abby Malowanczyk, owner, along with her husband Wlodek, of Collage 20th Century Classics, “Collectors are driving this movement. Art collectors have seen the inherent and lasting value of the modern masters.” Gallery owners and collectors alike know too that this inventory is finite. The old pieces actually produced by the hands of masters like Hans Wegner, Robsjohn-Gibbings, Jens Risom, and
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others are getting increasingly hard to find, which keeps increasing their value. Collectors and designers have also driven this movement both through the value of great antiques and the clean, spare aesthetic. Museums, long sparsely furnished with Knoll sofas and benches in leather and stainless steel, have influenced art collectors who want to create a museum-like atmosphere in their own homes. And these residences, published in glossy magazines, propelled the interest in modernism to the general public—especially design from the mid-century. In a throwaway age, buying a chair or painting of value is always a good investment. “There has always been a market for collectors and design-conscious buyers who want pieces with historical importance. The art market plays a big part in the recent demand for collectable design—as the market gets further out of reach, people are paying more interest to design,” says Chris Thurman, owner of Sputnik Modern. Here are just a few of the most notable of the modern and midcentury galleries located in the Design District.
SPACE
Dallas is home to one of the country’s most established and respected names in collectable mid-century furnishings–Collage 20th Century Classics. Abby and Wlodek Malowanczyk started collecting in California thirty years ago and moved to Texas in 1990 with their extensive assemblage of architect-designed furniture, lighting, and art. From their home and gallery designed by Russell Buchanan on Irving Boulevard, and also a 1stdibs space in New York, they sell to collectors and museums worldwide, yet only about fifteen percent of their clients are Dallas-based. You’re probably not going to find pieces here designated “in the style of”—their inventory is the real thing, attributed to the masters themselves, and with the pedigree to prove it. Abby is renowned and respected for her knowledge of mid-century masters and can easily point out the qualities of the original pieces and why they are important. “Take this Tank chair by Alvar Aalto from 1936. The arms are wider than the new ones and the upholstery is properly done with springs and foam rather than just foam.” Most if not all their inventory is also available on 1stdibs.
Opposite: 1938 Frits Henningsen mahogany and fabric sofa. Above: Pre-war Alvar Aalto Tank chair with curly birch arms and wool upholstery. Both exclusively at Collage. collageclassics.com
SPUTNIK MODERN Chris Thurman wore vintage clothes way before they were cool. He also appreciated great modern design from any and all design periods. “I’m not as interested in the new reproductions no matter how high the quality is—I appreciate the patina of the old pieces.” He soon realized that he had a good eye and that the prices antique stores were charging were a lot more than he paid for similar items. So about 20 years ago he opened a booth at Lula B’s, a consignment/vintage/antique store that had long been a fixture on Greenville Avenue. Sputnik Modern was born from there, moved to Henderson Avenue, and then relocated to the Design District about three years ago.
Thurman’s store is a treasure chest of high-quality, collectable, modern masterpieces—Nakashima, Edward Wormley for Dunbar, great Danish pieces from names like Finn Juhl and Jens Risom, and organic, sculptural pieces from California Craft. He also curates fine art from the mid-century period. “Mathieu Mategot was an important part of the French modernist design movement who in the 40s and 50s created some of the most iconic French furniture designs. In the early 1960s, Mategot left furniture design to devote himself full-time to tapestry work, becoming one of the leaders of the modern movement in French tapestries.”
A rare George Nakashima desk available exclusively at Sputnik Modern. sputnikmodern.com
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SPACE
TAUBERT CONTEMPORARY
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CIRCA20C Jean Nelson left the corporate world as the CFO of a big company a few years ago and followed her passion for highquality art and design of the 20th century. Four years ago she opened Give and Take, a consignment store of art and collectables. She recently changed the name to circa20c to reflect her particular interests. “As the company grew and developed a stronger focus on 20th century design, we thought a name that was more representative of the period pieces we carried would be helpful in identifying us,” says Nelson. circa20c is a bright collection of many of the top names in midcentury collecting. Names you know like Brno, Hans Wegner, Knoll, and Platner shine against bright white walls in attractive room settings, like a fluid glass coffee table by Laurel Fyfe, and a fabulously decadent Glacier table from Lion in Frost. Nelson lovingly refurbishes when necessary the pieces she buys and shows them off at their best. Unearthed at circa20c on Riverfront Blvd.: Italian mid-century chandelier fixture; “Little tulip Chair” by Pierre Paulin for Artifort (comes in a pair); Richard Anuszkiewicz (American, b. 1930), Celebration, 1973, screenprint on paper. circa20c.com
ANTIQUES MODERNE John Bacile takes a decidedly different approach to displaying his extensive inventory of furniture mostly from the 1960s to 80s. His store is the consummate antiques shopper’s dream—rows of chairs and tables stacked haphazardly on top of each other where a fabulous find is just waiting to be discovered. You can find classics from Mastercraft, a vintage Baker dining table and chairs from the Far East Collection designed by California designer Michael Taylor, and John Widdicombe pieces at prices far below 1stdibs or at the trade showrooms where they are currently represented. Of course, most of these furnishings will need to be recovered or refurbished, but bargains are to be found by someone with a good eye. “The real estate market is helping to drive the market for vintage goods. As young people buy homes and try to furnish them, they begin to realize that much of the new furniture they can afford will not last more than a few years—that’s when they look at old pieces with great style and quality and start developing their own look,” says Bacile.
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SPACE
20CDESIGN Ryan Rucker and Barry Gream have been buying and selling extraordinary examples of mid-century furniture and art for almost twenty years, albeit without an actual storefront. They now have a 5000-square-foot warehouse in the Design District and encourage clients to visit and shop, as they show only about one tenth of their inventory in their showroom on Riverfront Boulevard. The award-winning showroom is designed to be an art gallery as well—the furnishings are spare and museum-like to show off the great fiber art of Jane Knight. “Jane Knight was an extraordinary artist—she took the craft of textile art and turned it into fine art. She raised a family in the 1950s and 60s by selling her weavings when the fine art world was dominated by men,” says Rucker. After seeing just a few of her works, Rucker and Gream were impressed enough by how unique and dynamic each piece was that they bought her whole inventory. The warehouse about a mile away is full of classics from Wormley, Nakashima, Paul Frankl, Milo Baughman, Noguchi, and Venini. “It is our desire to develop lasting business relationships with designers and collectors from around the globe,” says Rucker.
Jane Knight (left to right), Hangie with Bells, 72 x 22 dia. in.; Hangie with Fringe, 117 x 20 dia. in.; Color Noise Wall Hanging, 41 x 67 in.; Paul Frankl Saber Leg Console Table, 30 x 36 x 18 in. All available at 20cdesign.com. Right: A set of five cantilevered side or dining chairs designed by Verner Panton for Studio Hag, circa 1992. Available at Dallas Moderne at Jacques Lamy. dallasmoderne.com
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DALLAS MODERNE AT JACQUES LAMY Long a fixture on Dragon Street, French artist Jacques Lamy has recently expanded his offerings with the inclusion of modern accessories and furniture. His son Lionel Lamy, who has spearheaded this expansion and re-named it “Dallas Moderne,” has a little bit different approach than some of the other galleries. He is concentrating on postmodern furnishings from the 1960s–1980s. Think names like Paul Evans, Karl Springer, and Verner Panton. He also has Italian modern pieces from Pucci di Rossi and Vittorio Dassi that have a modern Biedermeier influence. These pieces are complemented by abstract and cubist art, op art by Dordevic Miodrag, graffiti by Lionel Lamy, and woven African fabric art by Jacques Lamy. Take a jaunt some day to the Dallas Design District, and visit some of these galleries. Enjoy seeing the hand of the designers who shaped the modern movement years ago, whose designs are as fresh and timeless as when they were first conceived and made—over sixty years ago. It’s interesting to think about which of our current furniture designers will have created truly timeless pieces that will be sought after and collected in the 2080s. P
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MODERN FRONTIER
Designed by Mary Anne Smiley, a modern ranch is imbued by arresting views, a mĂŠlange of contemporary and Western art, and architecture by Vernon Berry.
A modern ranch house articulated by Vernon Berry of Sharif-Munir. Opposite: Saint Clair Cemin, A de Amor, 2014, polished stainless steel, 80.75 x 86.62 in. from the Myth and Math Series, Kasmin Gallery, New York.
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BY PEGGY LEVINSON PHOTOGRAPHY BY DAN PIASSICK AND JOHN SMITH
O
n the way to Gunter, Texas, about an hour north of Dallas, you follow a winding road that takes you by a few country churches, a horse farm or two, and some scattered longhorns. Along the way, you are entranced by the hilly, winding terrain dotted with groves of oak trees—it looks like scenes from yesteryear of the old Texas ranchlands. However, you know you’re out of yesteryear when you pass through a modern-steel gateway and start noticing oversized contemporary steel sculptures on the expansive grounds that lead up a long driveway to a modern ranch. Designer Mary Anne Smiley lovingly created the ranch with architect Vernon Berry (who had been referred by Smiley). When the owners found an old equestrian center on an idyllic piece of land about an hour north of Dallas, they knew just who to call to create their dream house. Mary Anne Smiley had already done several projects with them—starting with designing their daughter’s home in Highland Park. Then they enlisted her to redo both their home in Preston Hollow and a house in Vail, Colorado. They knew that she could use both their extensive contemporary and Western art collections and their love of bright color to create exactly what they wanted. “He loves red and she loves turquoise. I convinced them to start with a neutral palette and add the spectrum of warm colors leading to red—yellow, gold, orange, and then red. And add pops of turquoise and other cool blues,” says Smiley. The results create a soft glow in the home lit by all the abundant natural light flooding the house through floor-to-ceiling windows. Solar shades can be used for privacy or sun protection when needed but disappear seamlessly when not in use.
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Above: Spinneybeck Alaska leathercovered tête-à-tête and sofa by J. Robert Scott available at Allan Knight; Knoll Womb Chairs covered in Knoll Dynamic Bumble; Custom fire screen by James Ray Lockridge; All custom cowhide patchwork rugs by Dallas Rugs. Below: A view of the great room with Womb Chairs by Eero Saarinen from Scott + Cooner; Adriana Hoyos Bolero sofa covered in Casamance Ondulation and Spinneybeck Alaska, with custom pillows by Mary Anne Smiley; Lorin Marsh chipped Lucite-top side tables with gunmetal base from David Sutherland; Demorais International Monet three-tier table; custom dining tables are surrounded by iconic Brno chairs; Glass hanging sculpture, Carlyn Ray and Emily Teng Yan, Horizons, 2014, blown-glass plates and pulled-glass ribbons, 10 x 15 x 5 ft.; Custom cowhide patchwork rugs by Dallas Rugs.
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The bar top features longhorn hides protected by a resin coating designed by Mary Anne Smiley and produced by Luminexa Surfacing; pendant lamps by Foscarini from Scott + Cooner; Artifort tulip chairs also from Scott + Cooner. The wine bar features backlit custom artwork by Richard Bettinger.
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Architect Vernon Berry with Sharif-Munir Custom Homes designed the approximately twenty-thousand-square-foot (under roof) ranch home with one thing in mind—to make the home fit the site so as to fully enjoy the southerly breezes and the view of the fountains in the lakes. “The style is an articulated Hill Country contemporary with an unusual shape in order for all the rooms to have expansive views. The house is really one room deep with wall-to-wall windows looking toward the beautiful scenery and bringing the outdoors in. We created a seamless floor plan with no thresholds and with the same wall color throughout, so that the rooms flow into each other. Porcelain wood-plank flooring used throughout the house is maintenance-free but has the look of old plank floors,” says Berry. To continue the flow of inside to outside and vice versa, a fun element was added to the decks. Tiny fiberoptic cable was installed under the limestone with tiny holes drilled to emit a starlight-like illusion when it’s dark outside. The tan of the Oklahoma stone used exclusively on the exterior keeps the look of the house informal and adds to the golden light of colors used within. Smiley and her assistant designer Dani Burbidge exclusively
used local showrooms and artisans for the interiors. “Due to largesse of the great room, we had to rescale some of the furniture, but used the original designer or manufacturer to build it for us. We created four distinct areas within the space to bring it to a human scale—a kitchen area, a dining area, seating in front of the fireplace, and a bar. We designed the kitchen to be open to the dining area, but raised the bar to hide preparation areas. The focal point of the kitchen is the hanging glass ceiling art of blown-glass plates and pulled-glass ribbons designed by Carlyn Ray and Emily Teng Yan. The dining tables are a combination of an amber-resin top by Ironies from Culp Associates, paired with a stainless-steel-column base from David Sutherland. We ordered the iconic Brno chairs and covered them in orange leather from Spinneybeck. The circle light fixtures from Allan Knight were particularly tricky—there are two of them, and the ceiling slants from twenty to fourteen feet, and they had to be absolutely level,” says Smiley. All rugs in the house are works of art in themselves—designed by Smiley and rendered in hair on hide by Alex Husseini, the charming owner of Dallas Rugs. Custom-sized sofas by J. Robert Scott front the massive
In the guest suite, clockwise from left: custom window-facing bed ensemble designed by Mary Anne Smiley; Christopher Martin, Sonora, 2015, 60 x 192 in. from the Bala Series; Heather Gorham, Wild Pack of Family Dogs, bronze, from Craighead-Green Gallery. Opposite: The hallway serves as a contemporary art gallery including clockwise from top left: Beat Zoderer, Excentric Hours No. 7, 2014, transparent foils, nails, framed, 72 x 64.2 in. from Taubert Contemporary (Berlin); Christopher Martin, Prismatic Rings, 96 x 144 in. from Christopher Martin Gallery; Roy Tamboli, Divina Ora, oil on canvas, 95 x 107 in. from Mary Tomás Gallery; Adrian Esparza, Start and Stop, 2014, serape, wood, nails, enamel, 84 x 94 in. from Taubert Contemporary (Berlin); Custom cowhide patchwork runner by Dallas Rugs.
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This page: The master bedroom features Knoll Barcelona chairs covered in Spinneybeck Alaska; an exquisite acrylic desk by Vladimir Kagan from David Sutherland; and a custom bed by Mary Anne Smiley. Donghia Esha Altal Lamps perch on Lorin Marsh Tuxedo bedside chests with high gloss bleached goatskin from David Sutherland; striped custom cowhide rug from Dallas Rugs; above and flanking the bed: Christopher Martin, Elestial 2, 96 x 48 in. from Arc Series, and two works by Christopher Martin from the Lattice Series, Arroyo 3, each 66 x 88 in. Opposite: (above) A parade saddle from the owner’s collection. In her study (below): custom fire screen by James Ray Lockridge; Womb Chair from Scott + Cooner; custom turquoise cowhide rug from Dallas Rugs; Markus Linnenbrink, hellooneworld, 2011, epoxy resin on wood from Taubert Contemporary (Berlin).
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fireplace in the great room with tables by Holly Hunt. The branch light by Jonathan Browning from David Sutherland brings the height of the ceiling down to room scale to provide a comfortable sitting area. James Lockeridge designed this fire screen, as well as all the fireplace screens in the house. The bar area is particularly innovative—the counter surface is covered in longhorn hides protected under a resin coat Smiley commissioned from Dallasbased Luminexa Surfacing. A backlit painting on acrylic by Richard Bettinger is behind the bar. The red pendant lights and tulip bar chairs are from Scott + Cooner. On both sides of the fireplace (and throughout the home) are bronzes of Native Americans by New Mexico sculptor Dave McGary who created incredibly lifelike sculpture using the lost wax method accented with patina and paint. His intricately detailed statues with their expressive faces, colorful feathers, and beads just beg to be touched. Along with the McGary sculptures, the owners are avid collectors of Western regalia—especially parade saddles. Two stunning saddles mounted on specially designed acrylic stands flank the entry door like sentries. Some of these parade saddles were designed specifically for only one parade, but the workmanship is outstanding. The leather is carved with floral and foliate designs; the sterling-silver mountings are etched in intricate Western and geometric motifs. Other historical memorabilia include a pair of spurs worn by the legendary cowboy, Tom Mix.
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Custom billiards table by Mitchell Exclusive Billiard Designs; pendant light by Jonathan Browning from David Sutherland; Michael Berman Limited Fargo Game table with driftwood oak top, ebonized matte walnut base and Michael Berman Limited Futura dining side chairs covered in Edelman Cavallini burnt orange hair-on-hide, all from Allan Knight; cowhide patchwork rug from Dallas Rugs; (Sculpture) Markus Linnenbrink, Buildingsteamwithagrainofsalt, 2010/2011, epoxy resin, pigments, wood foam, 35 x 76 x 40 in. from Taubert Contemporary (Berlin).
The gallery wing fronting the billiard room and leading to the master suite is full of great Western art by such masters as R.S. Riddick, Jim Norton, Roy Andersen, Robert Pummill, and Xiang Zhang represented by Southwest Gallery. The colorful billiard room is dominated by a custom pool table with a cobalt blue euro cloth top commissioned from Mitchell Exclusive Billiard Designs. A pendant fixture by Jonathan Browning from David Sutherland Showroom provides the light. In keeping with Smiley’s support-local mandate, the majority of the contemporary art in the house was purchased in Dallas on Dragon Street from elite galleries such as Craighead Green, Christopher Martin Gallery, Laura Rathe Fine Art, Samuel Lynne Galleries, and Mary Tomås Gallery. Smiley did find some important pieces at the Dallas Art Fair and at Art Basel Miami. When she saw a large-scale amorphous-polished stainless-steel sculpture in Miami, she knew it was perfect for the entry to the home. After approval from her clients, she contacted the Paul Kasmin Gallery
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in New York and had the splendid Saint Clair Cemin sculpture A de Amor sent to Dallas. Several great additions to the art collection were found at the Dallas Art Fair. The draped ottoman sculpture and other drip-anddrill paintings are by Markus Linnenbrink, represented by Taubert Contemporary in Berlin. Linnenbrink builds his compositions using layer upon layer of controlled drips in saturated, glossy colors evoking the stripe paintings of Morris Louis. Another great piece found at the Dallas Art Fair is by Adrian Esparza, the El Paso artist also represented by Taubert Contemporary. Using serape, nails, and board, Esparza composes his art by stretching threads from the serape over geometric shapes formed by the wooden strips. You can also admire an Esparza installation at the Dallas Museum of Art. 25 Eccentric Hours No. 7 is also from Taubert Contemporary by Beat Zoderer. Several contemporary works from prominent Dallas galleries line the hallway leading to the guest wing. Of particular note is
the explosive abstract by Roy Tamboli, Divina Ora from the Mary Tomás Gallery, using oil paint in conjunction with hot and cold chrome. The Christopher Martin Gallery provided the Prismatic Rings paintings. A custom bed designed by Mary Anne Smiley that faces the windows dominates the guest room. A bronze sculpture Wild Pack of Family Dogs by Heather Gorham from the Craighead Green Gallery provides a touch of whimsy to the room. The spacious master bedroom seems to glow with the golden colors of the striped rug by Dallas Rugs, the pillows, and the complementary golden oranges of the Barcelona chairs from Knoll. A work by Christopher Martin hangs above the bed, and is flanked by two paintings from Martin’s Arroyo series. The acrylic desk by Vladimir Kagan (recently autographed by the designer when he was in town), seems to float in the space. Wall-to-wall windows look out at the fountain and a sculpture by Juanluis Gonzales from Samuel Lynne Galleries; a winding metal stairway leads up to a cozy aerie—a place to see for miles and miles, or just enjoy a lovely sunset. The ranch is a comfortable marriage of contemporary art, Western art, and colorful furnishings. The interiors flow to the exterior deck areas with inviting room settings of teak tables and chairs from Sutherland Teak and Perennials Fabrics. But, here, sitting on the sparkly deck, the art is provided by the pastoral scenery of lakes, rolling hills, and oak trees. P
Below and right: All outdoor seating by Sutherland Teak and Perennials Fabrics; black iron sculpture by Juanluis Gonzales from Samuel Lynne Galleries.
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BY STEVE CARTER PHOTOGRAPHY BY SIL AZEVEDO AND ANTHONY CHIANG
Eminent art 62 collectorsPATRONMAGAZINE.COM and philanthropists, Howard and Cindy Rachofsky are the founders of TWO x TWO for AIDS and Art.
From Dallas, With Love
The extraordinary people who make TWO x TWO for AIDS and Art a nonpareil international auction and gala. AUGUST / SEPTEMBER 2016
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I’ll try to do again this year is bring different people to the table, people who “ What haven’t attended before, or are new to the scene. And I think another responsibility of the Chair is to make it fun…”
–Nancy Rogers, TWO x TWO 2016 Chair and Philanthropist
Nancy Rogers is the chairwoman of TWO x TWO for the second consecutive year. To her right: Mark Handforth (American, b. 1969), Texas Tom, 2007, steel, epoxy, enamel paint, 108 x 132 x 48 in., The Rachofsky Collection.
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2
016’s iteration of TWO x TWO for AIDS and Art is just around the corner, and while nobody’s placing bets, this year promises to be another record-breaker. As the legendary contemporary art auction celebrates its 18th birthday, a few statistics are in order: since its inaugural year in 1999, TWO x TWO has raised a monumental $60+ million for its beneficiaries: the Dallas Museum of Art and amfAR, the Foundation for AIDS Research; with its half of those proceeds, the DMA’s acquired more than 220 major contemporary works for its permanent collection; last year’s event brought in an all-time high of $8.6 million. TWO x TWO is an internationally recognized phenomenon, attracting A-list collectors, gallerists, and donating artists from around the world, and it’s the largest U.S.-based fundraiser for both amfAR and the DMA. Patron examines the anatomy of TWO x TWO for AIDS and Art, a behind-the-scenes take on the charitable colossus. While TWO x TWO founders Cindy and Howard Rachofsky are the undisputed heart and soul of the gala benefit auction, they’re quick to acknowledge the multitude of players who make it a nonpareil sustainable event. “It really does take a village,” Cindy says, “because there are so many people involved. It’s a huge group
of people who care about this event and help us raise that kind of money because of what they do and what they give. People like Todd Fiscus of Todd Events. He’s been with us for 16 years, donating his time to put this on from an event décor point of view. It’s huge. We honored him last year because his in-kind sponsorship had gone over a million dollars—that’s incredible.” Howard adds, “We didn’t think this would have a shelf life like this. Early on we took the attitude that we wanted this to be a party that we’d absolutely want to go to ourselves, not one that we had to go to. Quality food— the best you’ll ever get at an event like this, premium wines, caviar service, everything that you’d think would be at a top-drawer event anywhere on the planet—we want this to be at or above that level, and we’ll accept nothing less…” One of the keys to TWO x TWO’s success is that it’s continually evolving, never resting on prior laurels. “Primarily because of Cindy it’s an event that people look forward to every year,” Howard continues. “She keeps it fresh—each year is similar but different, it’s nuanced; there are some surprises each year that are an improvement over the previous year.” Cindy continues, “Each year is a little bit different based on who the chair is, and that’s why we do it. We don’t ask much of them, but their personality comes through the evening
Melissa Ireland is the Director of TWO x TWO for AIDS and Art, pictured in front of Sadamasa Motonaga (Japanese, 1922–2011), Work, 1963, oil and gravel on canvas, 72 x 50 in., The Rachofsky Collection.
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“ It’s staggering ... this incredible gift they deliver to the DMA every year.” –Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art
Gavin Delahunty, the Hoffman Family Senior Curator for the Dallas Museum of Art, is pictured with work by this year’s artist honoree. Laura Owens (American, b. 1970), Untitled, 2013, Flashe, acrylic, and oil on linen, 137.5 x 120 in., Amy and Vernon Faulconer and The Rachofsky Collection.
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“ It’s so off-the-charts successful because of Cindy and Howard.”
–Kevin Robert Frost, Chief Executive Officer, amfAR, The Foundation for AIDS Research
of the event, and that’s what’s important, because it could get a little boring otherwise.” 2015’s Chair, Nancy Rogers, had such a great time that she’s returning this year, an unprecedented encore. “At the end of last year’s event, when we learned that we’d raised $8.6 million, Nancy just burst into tears,” Cindy recalls. “None of us could’ve imagined that number, and she just started crying and said, ‘Can I do it next year? I’ve never been involved in anything like this in my life!’ So she’s our first chair who was crazy enough to sign up for this thing again.” “I really did have a great time last year,” renowned philanthropist Nancy Rogers concurs. “I’m chairing again because the Rachofskys didn’t have a choice—I volunteered right at the end last year, and they were too polite to hurt my feelings and tell me ‘No.’” While she acknowledges she’s fairly new to the art world, Rogers loves the artists, gallerists, collectors, and the beneficiaries. “What I’ll try to do again this year is bring different people to the table, people who haven’t attended before, or are new to the scene. And I think another responsibility of the chair is to make it fun…” “Responsibility” just might be TWO x TWO Director Melissa Ireland’s middle name—she’s been on board for ten years, and serving as Director for the last eight. Her roles involve a lot of hatchanging: soliciting and cultivating corporate sponsors, developing graphic designs, event planning, procuring auction art, donor relations, strategizing, producing the auction catalogue, and logistics for the week of festivities. “There are many people sharing these hats with me; I can’t stress that enough,” Ireland says. “It really does take a village. Our village is the thing that differentiates TWO x TWO from every other event, not only by making things run seamlessly, but by helping keep our expenses to a minimum, and putting more dollars to the good at the end of the day. When your village is led by Cindy and Howard, you know you’re in good hands.” The local beneficiary of TWO x TWO’s largesse is the Dallas Museum of Art, and specifically its program of contemporary acquisitions. The DMA’s Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art, has been TWO x TWO’s DMA point man since 2014. “It’s staggering,” Delahunty assesses, “this incredible gift they deliver to the DMA every year. Part of my job is to be the responsible custodian of those figures, but also to be the responsible individual, because it falls under the Contemporary department, and to spend those monies wisely.” Delahunty also confers with the Rachofskys on selecting TWO x TWO’s honoree artist. Last year’s honoree was Ellsworth Kelly, and for 2016 it’s
LA-based Laura Owens. “We were thinking about who would be the right artist to follow someone as iconic as Ellsworth Kelly,” Delahunty reveals. “We quickly agreed that someone like Laura Owens, who has this incredible in-built questioning about the parameters and possibilities of painting today, would resonate well with Ellsworth...” Kevin Frost is the NYC-based (with Texas roots) CEO of amfAR, The Foundation for AIDS Research, and an eloquent spokesperson for the event. “It’s so off-the-charts successful because of Cindy and Howard,” he enthuses. “One of the things that’s really made a difference in the quality and growth of the event is the success they’ve had in consistently getting better and better art every year for the auction. Howard’s been a genius at this, a flat-out genius. TWO x TWO has become the cornerstone of our U.S.-based events. They’ve done an incredible job building the architecture of this event and making it sustainable. It’s so important to know year in and year out that we’ll be able to fund a certain amount of research, without question, simply because of the existence of TWO x TWO. We’re very fortunate—we count our blessings that we have that
amfAR’s CEO Kevin Frost is at the organization’s headquarters in New York, pictured with an installation by Joseph Kosuth entitled Guests and Foreigners: Corporal Histories. Photograph by Kevin Tachman.
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Todd Fiscus of Todd Events makes magic happen as the event producer of TWO x TWO for AIDS and Art. Installed on the vast front lawn is Robert Irwin (American, b. 1928), Tilted Planes, 1999, earth, grass, and Cor-ten steel, 720 x 720 in., The Rachofsky Collection.
know about it and its success, and there’s not a museum in “People the world that wouldn’t give their eyetooth to emulate this. I love that it’s an important cause—it’s not a gala, it’s a cause. We’ve always wanted people to understand why they were there, and to know that they were making a difference.”
–Cindy Rachofsky, Co-Founder of TWO x TWO.
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kind of reliable support.” Any superlative gala needs a superlative event producer, and Dallas’s Todd Fiscus, of Todd Events, has been the man for all but two of TWO x TWO’s 18 years. One of his goals is keeping it fresh, and every year he’s raising the bar on himself. “I’m always trying to modify the aesthetic,” he says. “The most challenging part about doing an annual event, and knowing that you have a really great repeat audience, is that you don’t want to hear, ‘Uuhh, it’s just like last year,’ or worse, ‘It’s not as good as last year.’” 2016 will be the fourth year that Fiscus has staged the gala in the spectacular “Freedomes” geodesic tent; the Rachofskys bought it specifically for TWO x TWO. “The thing about working with the Rachofskys is they’ve always allowed me to express the artistic side of my business,” Fiscus adds. “Most clients tell me what they want me to do—Cindy and Howard come to me and say, ‘What do you want to do?’ which is a real gift.” Brian Bolke is the owner of Forty Five Ten, Dallas’s destination boutique, and his supporting involvement with TWO x TWO dates back to 2000. Back in 2004, he and Cindy Rachofsky co-created First Look, a Thursday night preview party at The Rachofsky House. “The event got so popular that a lot of people wanted to experience TWO x TWO,” Bolke explains. “Cindy and I thought it would be
great to have an event to open the audience up…” Cindy Rachofsky says, “It started as a way to encourage a younger generation to get involved at a level they could afford. It’s educating the next generation, and it raises money; it’s one of those stand-alone events that gives particular sponsors an opportunity to really be aligned with TWO x TWO.” Patrons of this year’s First Look will be gifted with an exclusive Fossil watch, collaboratively created by Forty Five Ten and Fossil, another longtime supporter of the event. Jill Elliott, Fossil SVP and Chief Creative Officer says, “We were really excited when Brian approached us about doing some type of collaboration, and it was a really fun project to work on together.” 18 years in, TWO x TWO for AIDS and Art continues to grow and amaze. “It’s become an event that people talk about in the art world outside of Dallas,” Cindy Rachofsky says. “People know about it and its success, and there’s not a museum in the world that wouldn’t give their eyetooth to emulate this. I love that it’s an important cause—it’s not a gala, it’s a cause. We’ve always wanted people to understand why they were there, and to know that they were making a difference. You can dress up for anything, you know, but it’s important to us that this really says something to the community. And it’s teed up to be another record-breaking year— you never know.” P
Pictured at Fossil’s Richardson headquarters, Jill Elliott, SVP and Chief Creative Officer of Fossil, joined forces with Brian Bolke, owner of Forty Five Ten, to design this year’s watch for First Look.
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THE RIGHT ANGLES IMBUED BY ITS TRIANGULAR SHAPE, NEW RESOURCE CENTER ABOUNDS WITH THOUGHTFULLY DONATED ART.
Art committee members, Lucilo Peña, Scot Presley, and Ted Kincaid in the triangular-shaped event space at Resource Center. Opposite: Felix Gonzalez-Torres (Guáimaro, Cuba, 1957–1996, Miami), Untitled (Perfect Lovers), 1987/1990, wall clocks, Dallas Museum of Art, fractional gift of The Rachofsky Collection; David Aylsworth (b. 1966), See the Sail as it Swiftly Swells, 2008, oil on canvas, 70 x 70 in. Gift of the artist, Holly Johnson Gallery, Dallas and Inman Gallery, Houston.
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BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JOHN SMITH
“T
his is a sanctuary and safe space for the community,” celebrated artist and advocate Ted Kincaid says of Resource Center’s bold new building on Cedar Springs. “It is like being in a spiritual space.” His sentiment is echoed repeatedly. While Resource Center serves the LGBT community, a broad cross-section of Dallas came together to make the new center a reality. Local architect James Langford conceived the building’s thoughtful design. “We like to take jobs where people have a story to tell,” he says. For this building, Langford chose the triangle as the primary motif. Originally a sign of oppression, triangles evolved to become the symbol of empowerment for the LGBT community. In addition to constructing a triangularshaped building, he also selected triangular floor tiles for the two-story, 20,000-square-foot facility. He explains, “We wanted something that will be iconic and will be a powerful symbol in Dallas.” Wrapped in a glass façade, there is a transparency that is meant to be literal as well as figurative. The $8.7 million capital campaign is almost complete thanks to an outpouring of generosity from the entire Dallas community. This facility serves two largely underserved populations within the LGBT community: youth and seniors. Because Resource Center meets the counseling and medical needs of these groups as well as those living with HIV, foundations that usually support such issues gave generously. These included donors such as the Harold Simmons Foundation, Meadows Foundation, and Ben E. Keith Foundation, among others. According to Lucilo Peña, who has been involved with many aspects of bringing this building to fruition, “There are a lot of institutions that thought this was positive for the community.” The facility, which opened in May, was an immediate success.
Shortly after it opened, it became the site for an impromptu memorial for those slain in Orlando, attracting hundreds of people and providing a platform for city leaders including Mayor Mike Rawlings and Police Chief David Brown to speak. “This building is making things possible,” says Resource Center’s Executive Director Cece Cox. In addition to the magnificent architecture, Resource Center also has an outstanding collection of art. Cox tasked Kincaid with this mandate. He put together what he calls his dream team of arts professionals and collectors, including fellow artists Annette Lawrence, Nancy Whitenack of Conduit Gallery, Scot Presley of Craighead Green Gallery, George Shackelford of the Kimbell Art Museum, and Peña, who is a collector. “Each person contributed in a unique way. It wouldn’t have worked without each person on it,” Kincaid says. Committee members prepared a list of artists whose works they thought would enhance the building. Practically every artist that was asked said “Yes” to the project. While art is usually a significant line item in any building’s budget, in this case, the total cost for the art, installation, and framing was zero. Not only was the art donated, it also quickly became the project with which artists wanted to be involved. Many of the artists selected, though not a part of the LGBT community, “represent so much the mission of the center,” says Kincaid. Debra Stevens donated the framing while Robert Gimenez, owner of LS Elite, provided installation services. Kincaid is aware of how often artists and galleries are asked to donate work. With that in mind, the committee took a cautious approach, trying not to ask for too much. But, he says, “So many powerhouses in the Dallas art world came together to make this happen.” For example, Félix Gonzáles-Torres’s Untitled (Perfect Lovers) is on loan from The Rachofsky Collection and the Dallas Museum
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Cece Cox is the Chief Executive Officer of the Resource Center; Sculpture, Frances Bagley (b. 1946), Absence/Presence, 2009, fabric and epoxy resin. Courtesy of the artist.
A local police officer at the opening reception of the Resource Center stopped to admire Thom Jackson’s Portrait Man/Woman, from Blurring the Lines, 2015, photograph. Gift of the artist and Craighead Green Gallery, Dallas. Opposite (clockwise from top): Cece Cox tasked celebrated artist Ted Kincaid to spearhead the art committee. Behind the artist: Ted Kincaid, Thunderhead 11513, 2012, lacquer-based pigment on canvas. Gift of the artist and Talley Dunn Gallery. Lucilo Peña pictured with Jay Shinn (b. 1957), High Life, 2005, acrylic and gesso on white cedar. Courtesy of the artist. John Wilcox (1954–2012), Double Ought, 1989, ink on paper. Courtesy John Wilcox Estate and Barry Whistler Gallery. Heyd Fontenot (b. 1964), Self Portrait as David Koresh, 2012, graphite and ink on paper. Gift of the artist and Conduit Gallery.
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of Art, with whom it is jointly owned. Installed in the reception area, it does double duty as a pair of synchronized clocks while serving as a reminder of the AIDS epidemic, which ultimately claimed the lives of Gonzáles-Torres and his partner. While most of the collection will rotate, Gabriel Dawe’s ethereal Plexus C17 is permanent. Installed in the light well above the staircase, the work seems to thrust the energy from the first-floor gathering space upward, propelling it into a colorful symphony fashioned from thread. Whitenack, who represents Dawe, says, “I love how it pays attention to that beautiful curve (of the building) and the stairwell.” She adds, “How the different pieces in the collection speak to what this place is, is just really beautiful.” Much of the work on the lower level is about memory and tends towards the monochromatic. A niche under the staircase became the perfect place for Francis Bagley’s Presence/Absence, a contemporary momento mori. Works on paper by Annette Lawrence, Linnea Glatt, Trenton Doyle Hancock, and John Wilcox also hint at loss. In addition to Dawe’s work, a painting by David Aylsworth and a photograph by Kelly Connell punctuate their respective spaces with bursts of color. The collection will be a continuous work in progress. Bagley’s husband, Tom Orr, will soon see three of his prints join the work of photographer Allison V. Smith in a conference room. When sculptor Deborah Ballard came through the space, she too wanted to be a part of it. Her life-sized work will be installed outdoors. Dawe’s shower of color leads up the stairs to a landing where Kincaid’s cloud-like Thunderhead 11513 continues to suggest upward momentum. Unusual angles throughout the building are a result of its unique structure. Jay Shinn selected one of these odd spaces for his totemic installation, created for this project. Sam Reveles’s English Canto “Chichester” II is another work that deals with the
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Scot Presley, Associate Director of Craighead Green Gallery; Wall sculptures, Pamela Nelson (b. 1947), Circles of Life, 2015–16, glass and plastic beads, buttons, and other found objects on panel. Gift of the artist and Craighead Green Gallery.
energy of a place. On a facing wall a suite of seven graphite and ink drawings by Heyd Fontenot reflects the diversity of the people who visit Resource Center daily. One of the defining features on the second floor is a large public event space. At one of the entrances, Pamela Nelson’s 20 tondos are each inspired by the name of a small Texas town. Within the LGBT community, many of these towns are synonymous with discrimination. “In a way these reclaim those towns for us,” says Kincaid. At night, visible from the street, these works glow as beacons. Sited on the flight path to Love Field, the building’s triangular structure is also visible from the air. At night, the building is outlined with LED lights donated by Mark and Dante Reed-Walkup, owners of Wiedamark. They also provided the programmable panel used to create light patterns for this outline. Even before the current skirmishes over bathroom accessibility began, Resource Center had printed their signs with the tagline “It’s For Everyone.” This created the perfect space for photographs from Thom Jackson’s series on androgyny. “I always knew I wanted to include Thom’s work because of his exhibition titled Blurring the Line we had at Craighead Green Gallery. He was so thrilled and humbled to be included in Resource Center,” says Presley, who represents the artist’s work. Just as Resource Center is as much an educational facility as it is a community center, the art serves as more than eye candy. Wall plaques, written by Shackelford, explain each work and offer a brief biography of the artist. The art is seen as an integral part of the center. Cox says, “It is such a beautiful addition to everything happening here.” Resource Center is a national leader in the services it provides. According to Cox, it is usually among the top four Resource Centers across the country. Kincaid concludes, “With the new building we’ve changed the game. Our expectation for ourselves is higher.” P
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Clockwise from top: Tom Orr, Waterfall II, 2008, two- plate etching, 32.5 x 29 in. Gift of the artist. Two works on paper from Trenton Doyle Hancock’s Bye and Bye series. Gift of Talley Dunn. On the stairwell: Nancy Whitenack, owner of Conduit Gallery. Above the staircase, Gabriel Dawe (b. 1973), Plexus C17, 2016, colored thread and hooks. Gift of the artist and Conduit Gallery. Deborah Ballard, Welcome, 2005–16, unique cast stone, iron, bronze, and wax, 78.5 x 64 x 14 in. Courtesy of the artist and Valley House Gallery and Sculpture Garden. Opposite (above): Annette Lawrence (b. 1965), Chronology, 1994, photocopy with acrylic on paper. Courtesy of the artist. (Below): Allison V. Smith, Robert Indiana’s studio. Vinalhaven, Maine, July 2011, © Allison V. Smith color photograph, 40 x 40 in., edition AP. Gift of the artist and Barry Whistler Gallery.
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BY PATRICIA MORA
BEAUTIFULLY DIVERSE
C
CLAY BETWEEN TWO SEAS FLARES WITH ELEGANCE WHILE LINKING ASIA, THE MIDDLE EAST, AND MEXICO.
ultural exchanges expose the ways in which things are gorgeously intertwined and, thus, art that emerges from commercial trade dependably announces a fusion that is both deeply fascinating and beautiful. And, perhaps surprisingly, this collision of divergent entities is splendidly articulated in ancient texts. Thus, since it is intoned in the Upanishads that we (yes, we) “are the dark butterfly (and) the green parrot with red eyes,” it can hardly be surprising that New Spain and entrepôts in far lands, for example, are conjoined in ways that are wildly unexpected. Broadly considered the culmination of the Vedas, the Upanishads relentlessly underscore the interrelatedness of the known and unknown worlds. And whether you feel comfortable with the notion of the Western via negativa or the aforementioned Vedic verbiage, it becomes apparent that we are all, each of us, inextricably bound together in a sometimes messy, yet marvelously spangled, existential spectacle. For the scientifically minded, it might be noted that humans, animals, water, and rock— literally everything—is imbued with stardust from the Big Bang. Thus, aside from philosophical considerations, there are multiple sources for insight regarding this affection for a fused world. That being said, art reliably conveys the notion in ways that are especially deft and subtle. Fortunately for those who want to experience life most deeply, this is precisely the sensibility upon which Dallas’s Crow Collection of Asian Art operates. Amy Lewis Hofland, Director of the Museum, states: “We look for exhibitions that are cross-cultural. One example of this is finding ways that deliver an understanding of Islam to the
Hispanic community. This is not only extraordinary—it inspires us and helps us move forward with our goal. It gives us an opportunity to offer programs that inspire a compassionate understanding of various cultures…and that is precisely what the Crow wants to do.” If you desire or need a visual explanation for such aspirations, luckily it is close at hand. Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles, an upcoming exhibition at the Crow Collection of Art, spells out this observation in ways that are both sumptuous and instructive. Thus, while wisdom literature underscores the fact that global concerns are infinitely and deeply pertinent, there are also pulse-quickening objects that hold within them the power to demonstrate how cultures, thought, and cosmologies are interlaced, remade, and given new trajectories. And it can hardly be otherwise since all things are extravagant instances of what the poet Annie Dillard terms “gods on the lam.” To paraphrase the aforementioned Vedic text, individuals, cultures, and objects all flare with a disclosure that points us towards the infinite. While Clay Between Two Seas is comprised of more than a hundred historically significant works from the Museo Franz Mayer in Mexico City, contemporary ceramics from Puebla, Mexico, and Chinese ceramics from the Crow’s permanent collection, the exhibition has scope that extends far beyond its contents and august pedigree. It, amazingly, shows us how art, people, philosophy, and (even) religions coalesce in ways that effortlessly confound ideologies and constricted thinking. And, thus, the Crow’s exhibition aims at leaving us fascinated by creature comforts that resonate with far more meaning than one might suspect could emerge from “mere”
This page: Left: Tin glaze earthenware jar with lid (tibor con tapa), Puebla, late 17th century. Museo Franz Mayer Collection, Mexico City, Mexico, GTH-0031. Photo by Michael Calderwood. Middle: Pitcher (Jarra) with Chinese double-curved handles, Puebla de los Angeles, 17th century, earthenware, Museo Franz Mayer. Photo by Michael Calderwood. Right: Porcelain jar with lid (jarron con tapa), China, 17th/18th century. Museo Franz Mayer Collection, Mexico City, Mexico, GJC-0091. Photo by Michael Calderwood. Opposite: Basin (Lebrillo), 17th century, Puebla de los Angeles, Polychrome earthenware, Museo Franz Mayer collection.
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domestic and religious appurtenances—in this case, vessels made of fired clay. So. Where to start? First, the name of the exhibition alludes to the Abbasid Court, a caliphate that emerged in the eighth century and takes its name from the youngest of Muhammad’s uncles, Abbas Ibn Abd al Muttalib. During its duration, the Muslim world became an intellectual center for science, philosophy, and medicine and, in fact, eventually established the House of Wisdom in Baghdad, a center of learning where Muslim and non-Muslim scholars alike sought to gather and synthesize knowledge from Roman, Chinese, Indian, Persian, Egyptian, North African, Greek, and Byzantine origins. And, as many Westerners know, were it not for their efforts, many fundamental texts that form the Western canon would have been lost: Aristotle, Ptolemy, and Euclid are only three such examples among many. Thus, the Arab world contained an unthinkable richness that was exported to all of Europe, but especially Spain, and eventually found its way to Mexico or “New Spain.” Moreover, said objects arrived via the Manila Galleons, which, beginning in the 16th century, started delivering Eastern, Middle Eastern, and European goods to Mexico in exchange for the silver that was found there in almost scandalous abundance. In fact, due to the Manila Galleon trade, the currency of China during that era was counted in silver ingots. If this doesn’t establish Mexico as a source of a complex and rich culture, what can? Importantly, beautifully crafted items began pouring into the new world in the form of ceramics, textiles, paintings, and more—and, in exchange, an extravagant expenditure of wealth fueled commerce
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on the other side of the globe. In fact, Mexico was the primary source of revenue for the Spanish Empire during the reign of King Philip II and beyond. And, importantly, the imported goods created a thriving artistic and cultural center in Puebla, Mexico. Folding screens, elegant vases, and other objects were created that distinctly bore hints of Spanish (Moorish), Chinese, and explicitly Islamic culture. The Curator Emeritus of the Crow, Dr. Caron Smith, is located in New York and graciously offered her time to talk about the exhibition. Thus, she immediately traced Talavera Poblana, the tin-glazed earthenware made in Puebla de los Angeles, Mexico, to its origins in Chinese porcelain. However, she quickly accedes that, “Like most successful endeavors, it has many mothers.” And to speak of its multiple origins, of course, immediately reminds us again of the Manila Galleons, the fabulously laden Spanish vessels that made voyages between Manila and Acapulco once or twice yearly from 1565 to 1815. And Smith’s observation about Talavera Poblana in New Spain is especially apt since the Galleons were also referred to “La Nao de la China”—the China Ship—because many of the goods that arrived in Mexico originated in the Far East. She immediately compares “the shape of flowers and vines painted in blue pigment to highlight the adaptation of Chinese ceramic models in New Spain.” However, it becomes even more fascinating when she describes a Puebla jar. Says she, “The potter has used stylized architectural motifs, evolved from the calligraphic alafia (Arabic script) motif of Hispano-Moresque design, and the lower band points to New Spain’s close connection with a
Hispano-Moresque decorative vocabulary.” She adds, “Aesthetic choices combine motifs from culturally distinct sources to create a distinctive Mexican cultural expression.” Smith also points out that the Danish author, Gustav Curiel, carefully framed the adaptation of European, Indigenous, and Asian cultural entities in 2006 as “constitutive essences of considerable weight…and not a mere copying of foreign models.” Thus she states, “Chinese porcelain achieved a role in the Viceregal (or Colonial period—1535–1821) of Mexican society that was closely linked with other Chinese goods, such as silk and other textiles, medicines, jewels, and luxury goods.” New Spain residents, of course, sought to obtain luxury goods from the Galleons when at all possible; however, if their cost was too prohibitive, a similar piece produced in Puebla offered an elegant substitute. For example, Chinese porcelain was highly desirous due to its delicate construction and luminous sheen. Thus, the native artists sought to emulate it by creating their own glaze, a tin-lead mixture, which allowed them to approximate the luster of Eastern pieces. Also, different clays, firing temperatures and pigments, of course, all posed challenges, but Talavera Poblana exhibited an allure that was highly desirous even when compared to works from East Asia, not to mention Europe and Islamic lands. Ambassador Jorge Lozoya, Executive Secretary of the State Council for Culture and the Arts in Puebla, adds the following
insight: “All during the Baroque era, Puebla was the trade capital of New Spain—thus, the splendor and wealth of this beautiful city emerged.” He adds, “Today Mexico is the twelfth largest economy in the world, and it makes sense to reconsider our national history in order to expand the opportunities provided by globalization.” In other words, the intermingling that is outlined by the mission of the Crow Collection (as well as ancient texts) is still needed and, in fact, is absolutely integral to creating a vital contemporary culture. Lozoya continues, “We are reviewing the past in order to build a better future for the new generations. This is evident in the Baroque period, during which the influence of Mexico in world commerce was significant.” Consequently, when Clay Between Two Seas opens September 17, it will be an excavation of sorts, and a new exploration of the world’s interrelatedness. And whether one is most at home inside the Cathedral Shrine of the Virgin of Guadalupe in downtown Dallas or a mosque, temple, or synagogue in outlying areas, it will become clear that human interaction is strongest and best when understood as a varied compilation of rich and divergent cultures. And, again, it’s apt to recall the wisdom of the Upanishads to celebrate the conjunction of cultures that will be on display at the Crow through February. In fact, it may well come to light that we all swim in a single sea—and it is shared, gloriously luminous, and worthy of adoration by all. P
This page: Cylindrical bowls, 2016, tin glaze earthenware, 11.81 x 6 in., Talavera de la Reyna Workshop, Cholula, Puebla, Mexico. Opposite: Jan Hendrix, tin glaze earthenware jar (tibor), 2010. Talavera de la Reyna, Alarca, Cholula/Puebla. Photo by Michael Calderwood.
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Hair and makeup by Rick Flores, The Campbell Agency and Rey Medrano; Stylist’s assistant, Jairus “Jay” Midget; Models: Carmel Dudley, The Campbell Agency and Allison Ponthie, Dragonfly Agency; On location at chifilmstudio.com. On Allison: Emerald gown, Rochas, at Forty Five Ten; earrings by Babylone, at Gregory’s, NorthPark Center; feather cuff by Le Votre at Gregory’s NorthPark Center; sequin heels by Rochas at Forty Five Ten. On Carmel: Mauve fur shoulder wrap, Andrea, Gregory’s; beige gown by Rochas at Forty Five Ten; choker and earrings by B.Steller, bstellar.com. Opposite: Shoes by Rochas available at Forty Five Ten.
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PHOTOGRAPHY BY ANTHONY CHIANG STYLIST JENNIFER BIGHAM SET DESIGN JEFFREY NOBLES
MEET ME ON THE EQUINOX
Fall looks become languorous as the sun crosses the equator with an anything-goes mix of romantic folly.
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On Carmel: Green blouse and jumper, studded Mary Janes, gold and silver earrings, and Chester polished black embossed-crocodile bag, all by Mulberry, NorthPark Center. On Allison: knit top with sequined skirt, studded boots, navy and gold earring, all by Mulberry, NorthPark Center. Opposite: On Carmel: Navy velvet jacket with tails, black blouse with ruffles, Lurex, pleated skirt, Circus Animalier hoop earrings, clutch, and lace-up bootie, all by Roberto Cavalli, NorthPark Center. On Allison: Silk floral blouse with black tassel, black velvet skirt, Swarovski tassel earrings, gold, fringe sandals, all by Roberto Cavalli, NorthPark Center.
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On Allison: Black sweater and red floral skirt by Valentino at Tootsies, Plaza at Preston Center; ankle boot by Sergio Rossi, at Gregory’s, NorthPark Center; earrings, B.Stellar, www.bstellar. com. On Carmel: Floral jumper by Red Valentino at Tootsies; cutout over-the-knee boot, Sergio Rossi at Gregory’s, NorthPark Center; earrings, B.Steller, www.bstellar.com. Opposite (upper right): On Carmel: Fur hat, Christian Dior, Forty Five Ten; black diamond earrings by Le Votre at Gregory’s, NorthPark Center; knit top and plaid slip dress by Maison Margiela at Forty Five Ten; red fur shoulder wrap by Andrea at Gregory’s; noir boots by Balenciaga at Forty Five Ten. On Allison: Cropped pants and leather bodysuit by Maison Margiela at Forty Five Ten; fur jacket by Ann Demeulemeester at Traffic L.A., The Joule Hotel; studded cuff by Clemmie Watson at Traffic L.A., The Joule Hotel; Vamp ankle bootie, Frankie Segal, Gregory’s, NorthPark Center. On Allison (lower left): Black lace gown by Temperley at Gregory’s, NorthPark Center; gold medallion necklace, Thomas Wylde at Gregory’s, NorthPark Center. On Carmel: pink lace dress by Temperley at Gregory’s, NorthPark Center; necklace, Bstellar, www.bstellar.com.
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On Allison: Long jacket dress by Ann Demeulemeester; boots by Ann Demeulemeester; long horsehair earrings, Clemmie Watson, all at Traffic L.A., The Joule Hotel. On Carmel: Knit Dress and sweater, Missoni, Market, Highland Park Village; long rose gold chain and cuff, Hoorsenbuhs, Market, Highland Park Village. Opposite: On Carmel: Plaid flannel jacket with slip dress, Etro, Highland Park Village; pearl bead choker, Babylone, Gregory’s, NorthPark Center; rose gold long chain, Hoorsenbuhs, Market, Highland Park Village. On Allison: Leather embroidered jacket with slip dress, Etro, Highland Park Village. Ear cuff, Clemmie Watson, Traffic L.A., The Joule Hotel.
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Natalie Westbrook, Brooke Williamson at Sherle Wagner Photography by Thomas Garza
SWAG GALLERY OPENING AT SHERLE WAGNER PHOTOGRAPHY BY THOMAS GARZA
Possum Kingdom Lakefront Retreat
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THERE
ART BALL 2016: ART + ARCHITECTURE AT DALLAS MUSEUM OF ART PHOTOGRAPHY BY RHI LEE AND TAMYTHA CAMERON
Tony Romo
Rachel Osburn, Michael Osburn
Georgia Bridgwater Orchestra
Brook Hazelton
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Catherine Rose, Mayor Mike Rawlings, Micki Rawlings
David Sutherland, Ann Sutherland, Laura K. Elcock, Walter B. Elcock
Brian Bolke, Christen Wilson and Faisal Halum
Jennifer Eagle, John Eagle
Michael Flores, Nancy Rogers, Donna Brittingham, Douglas Carney
2016 DADA SCHOLARSHIP AWARDS AND EXHIBITION AT ONE ARTS PLAZA PHOTOGRAPHY BY THOMAS GARZA
Lauren Kuehmeier, Vivie Behrens, Joseph Racz, Edith Baker, Cathy Drennan
Chase Domke Quintet
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Don Hodges, Nik Hermanovski
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THERE
THE BROTHERS LE NAIN RECEPTION AT KIMBELL ART MUSEUM PHOTOGRAPHY BY ROBERT LAPRELLE
Mary Anne Roth, Tracy Syler-Jones
C.D. Dickerson, Elyse Dickerson
George Shackelford, Ronni Baer, Eric Lee
Jason Varone, Esther Bell
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FATBOY POPUP AT NEST DALLAS PHOTOGRAPHY BY BRUNO
Heather Wiese-Alexander
Brendan James
BORDER CANTOS
Richard Misrach | Guillermo Galindo
September 24 through December 31, 2016
Admission is free. #amoncartermuseum David Salmon Richard Misrach (b. 1949), Cabbage crop and wall, Brownsville, Texas, 2015, Cosecha de coles y el muro, Brownsville, Texas, 2015, inkjet print, © Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/ MacGill Gallery, New York, and Marc Selwyn Fine Art, Los Angeles Border Cantos: Richard Misrach I Guillermo Galindo was organized by the artists in conjunction with participating museums.
Donald Fowler, Ellen Winspear, Tiffany Divis, Paul Divis
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THERE
WINGS AND WHEELS AT MILLION AIR DALLAS PHOTOGRAPHY BY STEVAN KOYE
Ali Sheikh’s Best in Show 1953 Jaguar XK120 FHC
Wings and Wheels at Million Air Dallas
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Sharla DeFrancisco, Eric Holleman
David Yarrow
John Kobell, Cara Loper, Pat Arnold
ART FROM THE HEART AT LOFTY SPACES PHOTOGRAPHY BY THOMAS GARZA
Cynthia Smoot, Jane McGarry
Ekaterina Kouznetsova, Michael Dylan
Adrianne Creasey, Preston Pannek
Tim James
Steve Kemble, Carmen Surgent
Leighton Autrey
Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 Follow the Modern Frank Stella, Marrakech, 1964. Fluorescent alkyd on canvas. 77 x 77 x 2 7/8 inches. The Metropolitan Museum of Art, New York; gift of Mr. and Mrs. Robert C. Scull, 1971 (1971.5). © 2016 Frank Stella/Artists Rights Society (ARS), New York.
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FURTHERMORE BY CHRIS BYRNE
A Voice Through Drawing New Zealand artist Susan Te Kahurangi King’s monograph inspires discussion at the New York Art Book Fair.
T
his September the New York Art Book Fair will host a panel discussion to introduce the monograph The Drawings of Susan Te Kahurangi King. The participants will include Gary Panter, Petita Cole, and myself. The publication’s editor, Tina Kukielski, will moderate the talk. The book is published by the Institute of Contemporary Art, Miami, in conjunction with the artist’s first one-person museum exhibition, curated by Kukielski. Produced by Lucia|Marquand in Seattle, the monograph will feature essays by Kukielski and Panter, an interview with the artist’s sister, Petita Cole, as well as a contribution by artist Amy Sillman and foreword by the museum’s Deputy Director and Chief Curator, Alex Gartenfeld. Since 2012, King’s drawings have been shown at the Outsider Art Fair in New York and Paris, the Andrew Edlin Gallery in New York as well as the Robert Heald Gallery in Wellington, New Zealand. Gary Panter introduced me to King’s work, and I was enthused to meet the artist during my first trip to New Zealand. By then Ed Marquand and I had already exhibited a chronological sampling of her sketchbooks at the Outsider Art Fair in Paris. Even before having the opportunity to examine the artist’s entire archive, I was convinced that King was among the greatest draftspersons and image-makers. Yet nothing could have prepared me for the breadth and depth of the drawings I encountered. It was often possible to find visual lists of certain objects, which get reconfigured and distorted beyond recognition in subsequent pictures. During my visit, Susan drew almost constantly each day, only
breaking to silently socialize with her family during meals and excursions. It was at this time I also became familiar with her personal story: She was born in 1951 in Te Aroha, New Zealand, and was raised with eleven siblings on the North Island. “Te Kahurangi” literally translated means “the treasured one” and Susan’s father— an editor by trade—taught the Maori language and had a great passion for the people, devoting long hours to independent research. Susan’s earliest works share the same qualities as other children’s drawings, save for their exceptional precocity. Sometime between the ages of four and nine years, she gradually stopped speaking— not suddenly or abruptly, but over a period when she would still occasionally hum or sing while she drew. Eventually the King family moved to the North Shore of Auckland for her education. (She currently lives with her sister Wendy.) Susan ceased drawing for a 20-year period, when with the encouragement of her mother and siblings she resumed again in 2008, picking up nearly where she left off. I admire the artist’s extended family—beginning with her maternal grandmother Myrtle Murphy— who has dedicated themselves to caring for her and preserving not only her work, but also the anecdotes and artifacts which will become so important for future scholarship. Susan’s isolation from verbal and written communication has allowed her to methodically create an entire analogous world through her work. Each of my viewings has been a revelation, opening up different vistas with their own vocabularies and internal logic. P
Susan Te Kahurangi King, Untitled, c. 1975–1980, Graphite, colored pencil, and crayon on paper, 17 x 21.25 in., A127. Courtesy of the artist and Chris Byrne.
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