THE PERFORMING ARTS Where Do We Go From Here? MITCH EPSTEIN: Property Rights Alonso Berruguete’s Renaissance Fashion Your Future
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EDITOR’S NOTE
Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak
December 2020 / January 2021
TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com Instagram terri_provencal and patronmag
By the time this issue reaches you, we will have just entered the twelfth month of a most trying year. While these months have been difficult, they’ve also revealed the resilience of North Texans, who continue to reinvent to save their own businesses and support others, including the arts. Thirty-one days remain in 2020 to make an impact before a new year unfolds, and with it, the first blush of promise. If there were ever a time to donate to the arts it is today. Lee Cullum presents the hard truths of the suffering the performing arts have endured through the ongoing pandemic in The Show Must Go On. Within the story, she called on 10 arts leaders from Dallas and Fort Worth whose might, dexterity, and inventiveness through withered budgets, have emboldened the path to a brighter tomorrow for troupes and audiences. Our back page exemplifies these necessary pivots through The Dallas Opera. While the company’s stages remain dark, When the Going Gets Tough presents the hard work of two young minds who create the virtual content and programming of TDO Network. On the cover, Mitch Epstein investigates urgency and resistance through Standing Rock Prayer Walk, which mirrors the plight of the Lakota nation created by claimed ownership and public access. Immersing himself in sub-zero temperatures within the Lakota community, Epstein spent time with Native American elders and for the first time made photographs on a reservation. Mitch Epstein: Property Rights also marks the first time these photos have been displayed at a museum. In Resistance, Steve Carter explores the mastery of this influential American artist’s large-format photography exhibition on view at the Amon Carter Museum of American Art. John Rohrbach, senior curator of photographs at the Carter reminds: “Even as they force us to acknowledge their often-distressing subjects, they invite us to relish their color, light, and order, offering a microcosm for reflections in our country itself.” Works sat in crates for months during the pandemic when a planned March exhibition opening was postponed. These significant sculptures and paintings have finally emerged in Alonso Berruguete: First Sculptor of Renaissance Spain, on view at the Meadows Museum. Nancy Cohen Israel writes of their heroic journey in Reframing The Retablo. Even in a challenging year there were still milestones: Christopher Martin is riding on his twenty-fifth-anniversary high as a thriving artist and gallerist. Boldly expanding his Dallas and Aspen galleries, Martin invited new artists to share in the limelight, as detailed In All Transparency. Also, in The Present is Female, we take note of the new exhibition at Park House curated by Dallas Contemporary’s deputy director Carolina Alvarez-Mathies who, in her first curatorial assignment, collaborated with Park House cofounder Deborah Scott to bring an all-women artists exhibition to its members. When art meets collaboration, you find interior designer Dan Nelson inspired. In Avant Garde Appeal, Nelson works in hand in hand with homeowner Missy Gunn Falchi to add interest to an eclectic art collection through free-spirited design. Suite Dreams inspects Rosewood Mansion on Turtle Creek’s striking lobby and guestrooms transformed through the high design of Thomas Pheasant. Fashion gets lustrous with jewelry from de Boulle, Eiseman Jewels, and Harry Winston. Photographed by Chris Plavidal with creative direction by Elaine Raffel, salon owner Patrick O’Hara augmented brunette beauty Taylor Harvick’s hair with the long, straight extensions of today in Fashion Your Future. A Brief Case of Cool shares the story of Franki Ray, a leather goods company three years in the making, birthed by besties Sasha Spivey and Stacey George. Yes, reinvention is, I believe, the word for 2021 as the truths of 2020 persist in the new year. May these arts champions renew the spirit and stimulate us all. – Terri Provencal
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CONTENTS 1
FEATURES 36 THE SHOW MUST GO ON Brilliant minds of the region look to save the future of the performing arts. By Lee Cullum 44 IRRESISTIBLE Don’t miss the Amon Carter’s timely Mitch Epstein: Property Rights, chronicling the artist’s journey of resistance. By Steve Carter 48 REFRAMING THE RETABLO Inspiration from an Italian sojourn enables to Alonso Berruguete to bring the Renaissance to his native Spain. By Nancy Cohen Israel 54 AVANT-GARDE APPEAL Through an eclectic-design ethos, Dan Nelson amplifies the colorful life and collection of Missy Gunn Falchi. By Peggy Levinson 60 FASHION YOUR FUTURE Fine jewelry, seasonal style, and long, beautiful hair bring back bold freespiritedness. Photography by Chris Plavidal; Creative Direction by Elaine Raffel; Hair by Patrick O’Hara
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DEPARTMENTS 04 Editor’s Note 08 Contributors 16 Noted Top arts and culture chatter. By Anthony Falcon Contemporaries 28 IN ALL TRANSPARENCY Christopher Martin cements his legacy as an artist and businessman. By Terri Provencal 34 THE PRESENT IS FEMALE Carolina Alvarez-Mathies works in concert with Deborah Scott to bring an all-women show to Park House. By Terri Provencal
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Atelier 66 A BRIEF CASE OF COOL Best friends Sasha Spivey and Stacey George introduce their leather accessories brand, Franki Ray. Space 67 SUITE DREAMS Rosewood Mansion on Turtle Creek celebrates 40 years with a stunning years-long renovation. By Terri Provencal Furthermore 68 WHEN THE GOING GETS TOUGH… David Lomelí and Annie Penner reclaim The Dallas Opera audiences in the virtual sphere. By Terri Provencal
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On the cover: Mitch Epstein (b. 1952), Standing Rock Prayer Walk (detail), North Dakota 2018, dye coupler print, Amon Carter Museum of American Art, Fort Worth, Texas, purchased with the support of David Gibson, Phil and Subie Green, Stephen and Suzie Hudgens, and Morris Matson, © Black River Productions Ltd. / Mitch Epstein.
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CONTRIBUTORS CHRIS BYRNE is the author of The Original Print (Guild Publishing) and the graphic novel The Magician (Marquand Books), included in the Rare Book & Manuscript Library, Columbia University; Rare Book/Special Collections Division, Library of Congress; Ryerson and Burnham Archives, The Art Institute of Chicago; Thomas J. Watson Library; and The Metropolitan Museum of Art. He is co-authoring the “Best Of” Frank Johnson’s comics for Fantagraphics with Keith Mayerson and co-founded the Dallas Art Fair.
John Sutton Photography
STEVE CARTER previews the Amon Carter’s Mitch Epstein: Property Rights exhibition in this issue; the don’t-miss show opens December 22, running through February 28, 2021. With this recent series, the legendary photographer turns his gaze to land-rights resistance movements in various American locales—the Dakotas, rural Pennsylvania, Arizona, Texas, and beyond. “This is one beautifully timely show,” Carter says. “Epstein’s work speaks volumes about today’s American landscape, and particularly its cultural landscape.” LAUREN CHRISTENSEN has more than two decades of experience in advertising and marketing. As a principal with L+S Creative Group, she consults with a wide variety of nonprofit organizations and businesses in many sectors including retail, real estate, and hospitality. Lauren is a Dallas native and a graduate of Southern Methodist University with a BA in Advertising. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron. NANCY COHEN ISRAEL is Dallas-based writer, art historian, and educator. While Nancy has been an active part of the local contemporary art scene for nearly three decades, her background is in Renaissance art. It was therefore with great pleasure that she wrote about Alonso Berruguete: First Sculptor of Renaissance Spain. Nancy is thrilled that after a delayed opening due to the pandemic, the exhibition could open at the Meadows Museum, where she is also a regular lecturer. LEE CULLUM is a journalist who hosts CEO, a program of interviews with business leaders, on PBS affiliate KERATV. In this issue she is concerned with CEOs fighting to keep the performing arts alive when stages are dark and performers are silent, except for virtual simulations. Online efforts are doing a lot to bring music, dance, and theater to audiences that crave them, sometimes watching a world away, broadening the reach of artists in North Texas. The play is still the thing in which we catch the conscience of the king—and the culture. COLLEEN DUFFLEY divides time between her beach house in Florida and a home in Dallas for her photography, design, and brand-management clients. She has over 25 years of experience working around the globe photographing people, places, and things. Using light as her inspiration and ethos, Colleen worked in concert with Dallas designer Dan Nelson to showcase the diverse beauty of Missy Gunn Falchi’s home and art collection in Avant-Garde Appeal. PEGGY LEVINSON reports news of the latest trends and all periods of design for Patron readers, engaging her knowledge in the field as a former showroom owner. In Avant-Garde Appeal Peggy tours the art-filled residence of Missy Gunn Falchi, who worked in concert with Dallas designer Dan Nelson to harmonize the eclectic art she acquired with her husband, the late designer Carlos Falchi, with her own acquisitions of art and furnishings.
PATRICK O’HARA and his newly opened eponymous salon is the premier go-to destination for Dallas’ besttressed women. Trained in London and New York, he has been cutting, styling, and coloring hair for over two decades. For this issue’s fashion story, Patrick and his crew used Bellami Professional hair extensions to give model Taylor Harwick exceptional length, volume, and fullness. “We love the look of long, thick hair—especially for the holidays,” O’Hara says. CHRIS PLAVIDAL, a photographer living in Fort Worth, photographed this issue’s Fashion Your Future. He tells Patron, “I love what I do. It can be difficult work sometimes, but even then it is really enjoyable. You never know when something inspiring will reveal itself. Sometimes it’s a song, or the accidental play of light and shadows down a wall, or even the random chaotic sounds of a city. Very often, though, you have to seek it out.”
ELAINE RAFFEL is thrilled to finally be back in the studio. A hardworking creative director, Elaine was inspired by the extralong hair prevalent on the fall/winter 2020-2021 runways. She turned to megatalented hairdresser Patrick O’Hara and his team to create looks that would complement the season’s super-stylish fashion, accessories, and fine jewels. “Photographer Chris Plavidal pulled it all together. I remember why this job is so much fun.” 8
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01 AFRICAN AMERICAN MUSEUM Vicki Meek: 3 Decades of Social Commentary is on view at the AAM though Jan. 31. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Meditations: Eleanore Mikus at Tamarind brings together rarely seen prints that Mikus created at the Tamarind Lithography Workshop in 1968, through Apr. 18, 2021. Opening Dec. 22: Mythmakers: The Art of Winslow Homer and Frederic Remington, the first exhibition to explore the unexpected resonances and moments of convergence between the themes, artistic sensibilities, and technical processes of these two artists; Mitch Epstein faces urgent, contemporary issues through his compelling photographs in Mitch Epstein: Property Rights; and Natasha Bowdoin’s abounding interest in literature, from fairytales to transcendental poetry, is in evidence in In the Night Garden, which offers viewers a moment to pause and reimagine humanity’s relationship to the natural world. All three exhibitions will be on view through Feb. 28. Image: Natasha Bowdoin (b.1981), For Maurice, Ranunculus, 2020, ink and Flashe on paper, image courtesy of the artist and Talley Dunn Gallery. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART Beili Liu: One and Another, featuring two monumental works from Austin-based artist and UT-Austin art professor Beili Liu, continues through Jan. 3, 2021. crowmuseum.org 04 DALLAS CONTEMPORARY Dallas Contemporary has organized a grassroots consortium of regional museums to bring MacArthur Grant winning artist Carrie Mae Weems’ national RESIST COVID/TAKE 6! to North Texas through billboards, alternative messaging, and public art projects. A solo exhibition for Yoshitomo Nara; Liu Xiaodong: Borders; Ariel René Jackson’s Doubt & Imagination; and Paolo Roversi: Birds will open Jan. 30. Image: Doug Aitken, New Horizon, 2019, hot air balloon with reflective surface and kinetic light sculpture, multiple locations across Massachusetts. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM The Fight for Civil Rights in the South continues through the end of the year and combines two prestigious photography exhibitions covering the African American struggle for civil rights and social equality in the 1960s:Selma to Montgomery: Photographs by Spider Martin and Courage Under Fire: The 1961 Burning of the Freedom Riders Bus. dhhrm.org 16
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THE LATEST CULTURAL NEWS COVERING ALL ASPECTS OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW PERFORMANCES, GALLERY OPENINGS, AND MORE.
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06 DALLAS MUSEUM OF ART Flores Mexicanas: Women in Modern Mexican Art continues through Jan. 10, 2021. My|gration highlights the contributions of artists who immigrated to the US, through Oct. 31, 2021. Through Jan. 3, 2021, Frans Hals: Detecting a Decade showcases two portraits of the same sitter over ten years. In For a Dreamer of Houses, contemporary artworks evoke personal spaces and consider the politics of places, through Jul. 4, 2021. Dalí Divine Comedy showcases wood engravings from Salvador Dalí’s ambitious illustrated series, through Feb. 21, 2021. Contemporary Art + Design: New Acquisitions remains on view in the Hoffman Galleries through Mar. 7, 2021. Moth to Cloth: Silk in America, an installation of textiles drawn from the DMA permanent collection, explores the production of silk and silk textiles in Ghana, Nigeria, and Madagascar, Dec. 20–Oct. 24, 2021. Image: Glenn Ligon (American, 1960), Untitled (America), 2018, neon and paint, 24 x 145 x 2.25 in., Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, © Glenn Ligon. Courtesy of the artist, Hauser & Wirth, New York; Regen Projects, Los Angeles; Thomas Dane Gallery, London; and Chantal Crousel, Paris. dma.org 07 FORT WORTH MUSEUM OF SCIENCE AND HISTORY Project Planet presents you with the most up-to-date information on what’s happening in our world and helps you to discover what we might be able to do about it, through Jan. 3, 2021. fwmuseum.org 08 GEOMETRIC MADI MUSEUM Ruth Anderson’s Circles, Squares, & Triangles: Geometry in Quilts remains on view through Jan. 24. geometricmadimuseum.org 09 GEORGE W. BUSH PRESIDENTIAL CENTER Liberty & Laughter: The Lighter Side of the White House presents a behind-the-scenes look into life inside the White House through Dec. 31. As a companion to Liberty & Laughter, One Time in the Motorcade presents a series of former White House staffers from multiple administrations who will tell entertaining stories from their days at 1600 Pennsylvania Avenue, on Dec. 15. bushcenter.org 10 KIMBELL ART MUSEUM Nefertari was one of the most celebrated queens of ancient Egypt. The favorite wife of the great pharaoh Ramesses II (reigned 1279– 1213 BCE), she was highly regarded, educated, and could read and write hieroglyphs. In 1904, the Italian archaeologist Ernesto Schiaparelli discovered her tomb—the most richly decorated in
M E A DOWS MUSEU M
Meadows Museum • Dallas
00 1 214 768 2516
meadowsmuseumdallas.org
This exhibition is organized by the Meadows Museum, SMU, Dallas, and the National Gallery of Art, Washington, in collaboration with the Museo Nacional de Escultura, Valladolid, and funded by a generous gift from The Meadows Foundation. Promotional support provided by The Dallas Morning News and VisitDallas. Alonso Berruguete (Spanish, c. 1488–1561), The Sacrifice of Isaac (detail), 1526–1533. Polychromed wood with gilding. Museo Nacional de Escultura, Valladolid, CE0271/013. Image © Museo Nacional de Escultura, Valladolid (Spain); photo by Javier Muñoz and Paz Pastor.
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the Valley of the Queens, with brilliantly painted scenes depicting her perilous journey towards immortality. Queen Nefertari’s Eg ypt celebrates the wives of pharaohs during the New Kingdom period (1550–1070 BC), when Egyptian civilization was at its height; opening Dec. 6, on view through Mar. 14. Image: Statue of Idet and Ruiu, probably from the Theban Necropolis New Kingdom, early 18th dynasty, ca 1480-1390 B.C.E., painted limestone, Museo Egizio, Turin, Italy. kimbellart.org 11 LATINO CULTURAL CENTER The mission of the Latino Cultural Center is to provide the preservation, development, and promotion of Latino and Hispanic arts and culture. The center will resume programming after the COVID-19 pandemic. lcc.dallasculture.org 12 THE MAC Finding Our Way is a photographic installation designed to serve as the catalyst for conversations on women’s issues in Texas and photography as a medium of self-expression. The exhibition is on view indefinitely through the winter and can be viewed by appointment. the-mac.org 13 MEADOWS MUSEUM Berruguete Through the Lens: Photographs from a Barcelona Archive features early 20th-century photographs of works by Alonso Berruguete and his contemporaries from the Archivo Mas in the holdings of the Meadows Museum. Used solely for study purposes since their acquisition in 2003, this is the first-time selections from the archive have been exhibited publicly. The exhibition is on view through Jan. 10, 2021. Alonso Berruguete: First Sculptor of Renaissance Spain is the first exhibition devoted to the artist to be presented outside Spain and runs congruently with Berruguete Through the Lens, through Jan. 10. meadowsmuseumdallas.org 14 MODERN ART MUSEUM OF FORT WORTH Mark Bradford: End Papers curated by Michael Auping, former chief curator at the Modern, focuses upon the key material and fundamental motif the artist employed early in his career and has returned to periodically over the past two decades; on view through Jan. 10, 2021. FOCUS: Marina Adams, on view Nov. 6– Jan. 10, will see contemporary artist Marina Adams’ seven energetic abstract paintings from the past four years that are immersive in scale, as well as several recent small-scale gouache-on-paper works from her New York series. Additionally, the Modern will host FOCUS: Leidy Churchman Jan. 22–Mar. 21. Image: Leidy Churchman, Buddhadharma Fever, 2019, oil on linen, 86 x 102.12 in. Artwork © Leidy Churchman, courtesy Matthew Marks Gallery. themodern.org 18
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15 MUSEUM OF BIBLICAL ART The MBA boasts 11 galleries, including The National Center for Jewish Art, Museum of Holocaust Art, Via Delarosa Sculpture Garden, European Art Treasury, and a conservation lab. Currently on view, Alexander McQueen Duncan Seeing the Light displays paintings that form a diverse and contrasting visual diary moving from representational images to abstract expressions, and Andy Warhol Jewish Heroes and Icons accentuates famous Jewish figures, including Gertrude Stein, Sigmund Freud, and George Gershwin. biblicalarts.org 16 NASHER SCULPTURE CENTER Resist/Release presents a dialogue between forms of resistance and release in sculptures by several artists, including newly acquired works by Magdalena Abakanowicz and John Chamberlain, through Jan. 17, 2021. Through Jan. 3, Barry X Ball: Remaking Sculpture presents sculptures created out of rare and delicate stones with the help of 3D scanning technology and CNC milling machines. The 2020 Nasher Prize Laureate Michael Rakowitz exhibition presents part of his series of sculptures and his film The Ballad of Special Ops Cody, through Apr. 18, 2021. Image: Magdalena Abakanowicz, Untitled, 1980–1983, 1983, sisal weaving in five parts, 158 x 439.75 in. Nasher Sculpture Center, acquired through the Kaleta A. Doolin Fund for Women Artists. nashersculpturecenter.org 17 PEROT MUSEUM The Perot is adhering to CDC guidelines and open to the public Thursdays–Sundays only. View the new Dragon’s Lair Gold, which weighs 60 pounds, in the Lyda Hill Gems and Mineral Hall. To increase accessibility for North Texas families, the museum’s Community Partners program will return, offering one-dollar admission to those enrolled in state- or federally funded programs. perotmuseum.org. 18 TYLER MUSEUM OF ART Ode to East Texas: Paintings by Lee Jamison continues through Feb. 7. His impressionistic paintings spotlight subjects ranging from picturesque pastures to iconic downtowns and celebrate the essence and mystique of the region. tylermuseum.org Please visit museum, performing arts, and gallery websites listed in Noted for any date changes and closures due to the ongoing COVID-19 pandemic. CDC guidelines are strictly observed and require masks.
MARK BRADFORD END PAPERS Through January 10 Above: Mark Bradford, 20 minutes from any bus stop, 2002 (detail). Mixed media on canvas. 72 × 84 inches. Judi and Howard Sadowsky and Family. © Mark Bradford. Photo: Charles White. Mark Bradford: End Papers is curated by Michael Auping, former chief curator of the Modern. Lead exhibition support is generously provided by the Texas Commission on the Arts. Major support is provided by Hauser & Wirth and the Fort Worth Tourism Public Improvement District, with additional support from Suzanne McFayden.
Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 Follow the Modern
FOCUS: Marina Adams Through January 10
Marina Adams, Standing Rock, 2016. Acrylic on linen. 78 x 68 inches. Courtesy of Salon 94, New York. The 2019–2020 FOCUS exhibition series is sponsored in part by Bonhams: Auctioneers for the 21st Century.
NOTED: PERFORMING ARTS
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01 AMPHIBIAN Amphibian Stage currently has interactive virtual events, including acting classes, on their website. amphibianstage.com
digital recording available Dec. 4. Image: Cast members of DTC’s production of A Christmas Carol, 2019. Photograph by Kim Leeson. dallastheatercenter.org
02 AT&T PERFORMING ARTS CENTER Dallas Bach Society presents the Annual Messiah Sing-Along in Strauss Square, Dec. 19. Jo Koy: Just Kidding World Tour brings the laughs to the Winspear Jan. 16–17. AT&T PAC Broadway Series Presents What the Constitution Means to Me Jan. 26–31. Virtual experiences are also available on their website. Image: Direct from Broadway, What the Constitution Means to Me. Courtesy of AT&T Performing Arts Center. attpac.org
09 EISEMANN CENTER I Am Clara: The Nutcracker will run Dec. 5–6. Keyboard Conversations takes the stage Dec. 14. Richardson Symphony Orchestra’s Holiday Classics features Nicole Van Every and Will Hughes on Dec. 5, and PSO Virtuoso Violin is next, on Jan. 16. eisemanncenter.com
03 CASA MAÑANA A Motown Christmas returns Dec. 1–12. Jingle All the Way features holiday hits sung by favorite holiday characters Dec. 5–20. Matilda the Musical returns Dec. 6–Feb. 21, 2021. casamanana.org 04 CHAMBER MUSIC INTERNATIONAL Chamber Music International offers exceptional classical music through performances and musical education programs in Richardson and the North Texas Metroplex. chambermusicinternational.org 05 DALLAS BLACK DANCE THEATRE Currently, DBDT invites viewers to visit #DBDT: At Home, a series of educational and digital events from the DBDT dancers. December sees Black on Black on Dec. 5 and Dallas Black Dance Academy’s Espresso Nutcracker on Dec. 12. dbdt.com 06 THE DALLAS OPERA Visit TDO Network, which brings a mixture of programming that educates, questions, and furthers classical music and the power of opera. With a diverse group of content creators from the opera industry, each series uniquely engages with our community in ways that go further than the typical live performance experience. dallasopera.org 07 DALLAS SYMPHONY ORCHESTRA The annual Dallas Symphony Christmas Pops commences Dec. 4–13. The Big Brassy Christmas Extravaganza livens up the stage on Dec. 15. Pianist Cyrus Chestnut and his trio perform A Charlie Brown Christmas on Dec. 23. New Year’s Eve with the Dallas Symphony is on Dec. 31. January brings Speaking Through Music: Haydn and Shostakovich Jan. 8–10; Mozart 40 and More, Jan. 14–16; and Fabio Conducts Britten & Bizet Jan. 28–31. mydso.com 08 DALLAS THEATER CENTER In the Bleak Midwinter: A Christmas Carol for Our Time is a ticketed 20
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10 FORT WORTH SYMPHONY ORCHESTRA Prohibition: A New Year’s Eve Celebration takes place at the Will Rogers Memorial Auditorium on Dec. 31. Robert Spano Conducts Dvorák’s Serenade at Bass Hall Jan. 7–9. fwsymphony.org 11 TACA TACA exists to nurture arts organizations and provide visionary and responsive leadership to the arts community by providing flexible funding and much-needed resources like professional development workshops. taca-arts.org 12 TEXAS BALLET THEATER TBT presents A Masked Ballet, a virtual gala on Dec. 5. texasballetheater.org. 13 THEATRE THREE Murder on the Orient Express takes you on an exotic, daring ride aboard the legendary train though Agatha Christie’s masterpiece as spun by Ken Ludwig Nov. 27–Dec. 20. theatre3dallas.com 14 TITAS/DANCE UNBOUND TITAS/DANCE UNBOUND is dedicated to the presentation of an exceptional all-American season in support of the artists working in the US. Ballet Hispanico returns to the Winspear on Jan. 15. The Virtual Santos Salon series encourages meaningful conversations within the artistic community. titas.org 15 UNDERMAIN THEATRE Through the winter, Undermain asks audiences to check their website for virtual programming. undermain.org 16 WATERTOWER THEATRE WaterTower Theatre returns with a holiday tribute, Ella’s Swinging Christmas, presented via video on demand through Jan. 3. watertowertheatre.org
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NOTED: GALLERIES
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01 12.26 A Sovereign Mouth, London-based artist Rachel Jones’ inaugural solo exhibition in the US, continues the artist’s investigations into representations of Blackness, through Dec. 19. Eve Fowler: Just Seated Besides the Meaning will be on view Jan. 9–Feb. 13. Image: Rachel Jones, A Sovereign Mouth, 2020, oil pastel, oil stick on paper, 15.5 x 23.5 in. gallery1226.com 02 500X GALLERY One of the oldest, artist-run cooperative galleries in Texas, the gallery is located in a former historic circa 1916 tire factory and air-conditioning warehouse. 500x.org 03 ALAN BARNES FINE ART ABFA belongs to a family of British art dealers, conservators, and restorers whose roots reach back to London during the reign of King George III. alanbarnesfineart.com 04 AND NOW The gallery will exhibit a group show of rostered artists including Paul Winker, Michelle Rawlings, and Oshay Green. Dec. 5–Jan. 2. andnow.biz 05 ARTSPACE111 To 40 More shows through Dec. 31. Good Things Small Packages II Group Exhibition continues through Jan. 16. artspace111.com 06 BARRY WHISTLER GALLERY Andrea Rosenberg: Select Drawings and Flora & Fauna: A Group Exhibition including Alex Katz, Ann Stautberg, Dan Rizzie, and Others will both be on view, by appointment only, from Dec. 5–Jan. 21. Image: Andrea Rosenberg, Untitled, 2020, mixed media on paper, 44 x 29.5 in. barrywhistlergallery.com 07 BEATRICE M. HAGGERTY GALLERY Tethered Oscillator, a solo show by Leticia Bajuyo inspired by a coupled oscillator, will suspend two of her horn-shaped theremins constructed of thousands of CDs and DVDs. One visitor at a time will be invited to perform the instruments, through Jan. 26. udallas.edu/gallery 08 BIVINS GALLERY Bivins Gallery showcases modern, postwar, abstract expressionist, and contemporary art. Additionally, the gallery shows established artists who were, and are, major figures in seminally historic art movements. bivinsgallery.com
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21 09 CADD/CADD SPACE CADD sponsors scholarships, including the new CADD x Maddrey PLLC Artist Prize, which champions underserved art communities, with the inaugural prize awarded to a Black artist working in the region. CADD Fund, a fun, fast-paced evening of sharing innovative ideas about potential artistic projects makes possible a high-impact idea that needs the support of the arts community. CADD Space, within the SieMatic showroom, displays the work of member galleries. caddallas.org 10 CHRISTOPHER MARTIN GALLERY Celebrating 25 years, the gallery presents the reverse-glass paintings of American artist Christopher Martin; the Rodeo series of Dallasbased photographer Steve Wrubel; the color-field paintings of New York–based painter Jeff Muhs; the acclaimed work of Dutch image maker Isabelle Van Zeijl; the acrylic constructions of Dallas artist Jean Paul Khabbaz; the large-format paintings of Dallasbased painter Tom Hoitsma; the abstract work of California-based painter Chris Hayman; and the organic paintings of Atlanta artist Liz Barber; as well as the work of rotating artists in the recently expanded gallery. christophermartingallery.com 11 CONDUIT GALLERY Been on My Way, a solo exhibit of new paintings by Dallas-based artist Desrieé Venice, will be on view Dec. 5–Jan. 2. From Jan. 15– Feb. 20 Vincent Falsetta New Paintings and Stephen Lapthisophon fill the gallery. Image: Vincent Falsetta, Untitled EX 20-2, 2020, oil on canvas, 60 x 53 in. conduitgallery.com 12 CRAIGHEAD GREEN GALLERY Faith Scott Jessup, Gary Shafter, Scott Simons continue through Jan. 6. From Jan. 9–Feb. 13, the gallery will host Peter Burega, Jackson Hammack, and Mark Smith. craigheadgreen.com 13 CRIS WORLEY FINE ARTS Ruben Nieto’s Cartouche investigates “comic abstractions,” a phrase coined by Nieto to reflect both the subject matter and his process, through Jan. 2. Next, a solo show mounts Jan. 9–Feb. 14 for Becca Booker, formerly known as Paul Booker, who transitioned genders in recent years. The show highlights Booker’s “frenetic” markmaking in works on paper. Image: Ruben Nieto, “Forget Goofy I want to play with Dino and The Flintstones” - Pluto, 2020, oil on canvas, 50 x 75 in. crisworley.com 14 DADA The Dallas Art Dealers Association is an affiliation of established independent gallery owners and nonprofit art organizations. dallasartdealers.org
THE ART OF WINSLOW HOMER AND FREDERIC REMINGTON 06
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15 DALLAS ART FAIR PROJECTS Recently renamed, Dallas Art Fair Projects is an exhibition and project space adjacent to its fair offices in River Bend on Manufacturing in the Dallas Design District. This additional venue allows Dallas Art Fair exhibitors to present more ambitious gallery installations and special projects on a year-round basis outside of the annual April event. dallasartfairprojects.com 16 DAVID DIKE FINE ART DDFA specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas landscape painters. daviddike.com 17 ERIN CLULEY GALLERY El Mercado: An Exhibition of Art & Design, co-organized with Marion Marshall, runs through Dec. 24. Jan. 9–Feb 14, DYED features the work of Catherine MacMahon and Chivas Clem. Image: Catherine MacMahon, Fold / Unfold 20.004, 2020, fiber-reactive dye on paper, 16 x 16 in. 18 EX OVO Ex ovo is a contemporary art exhibition space and features artists’ books in the newly named Tin District. exovoprojects.com 19 FWADA Fort Worth Art Dealers Association funds and hosts exhibitions of noteworthy art. fwada.com 20 GALERIE FRANK ELBAZ pre sent tense, a group show including William Leavitt, Ari Marcopoulos, Stefan Rinck, Mungo Thomson, and Blair Thurman, continues through Jan. 9. galeriefrankelbaz.com 21 GALLERI URBANE IN STITCHES, a dual solo exhibition, features an immersive installation by Jason Willaford of cut, sewn, and quilted repurposed vinyl billboards and Peter Frederiksen’s embroidered work, on view Dec. 1–25. Opening Jan. 9, work by József Csató and Iren Tete will be on view. Image: Peter Frederiksen, No promises, 2020, freehand machine embroidery on linen, 8 x 6 in. galleriurbane.com
DEC. 22, 2020– FEB. 28, 2021
CARTERMUSEUM.ORG/ MYTHMAKERS #MYTHMAKERS Images (details): Winslow Homer (1836–1910), West Point, Prout’s Neck, 1900, oil on canvas, Clark Art Institute, Williamstown, Massachusetts, 1955.7; Frederic Remington (1861–1909) A Dash for the Timber, 1889, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, Amon G. Carter Collection, 1961.381 Mythmakers: The Art of Winslow Homer and Frederic Remington is organized by the Amon Carter Museum of American Art, the Denver Art Museum, and the Portland Museum of Art, Maine. The national tour sponsorship is generously provided by Bank of America. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities; by the National Endowment for the Humanities: Exploring the human endeavor; and by the Wyeth Foundation for American Art. The Carter’s presentation of Mythmakers is generously supported by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Texas Commission on the Arts, and the Alice L. Walton Foundation Temporary Exhibitions Endowment.
22 GINGER FOX GALLERY Open by appointment, the gallery features paintings by Ginger Fox and select emerging and mid-career artists. gingerfox.myshopify.com DECEMBER 2020 / JANUARY 2021
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NOTED: GALLERIES
Gallery 4500 Sigma Rd. Dallas, Texas 75244 972.239.7957 www.kittrellriffkind.com
17 23 HOLLY JOHNSON GALLERY Twelve new ink-on-paper and -board works are shown in Todd Camplin: CALM & storm, through Dec. 19. Dornith Doherty: Atlas of the Invisible will continue through Feb. 6. hollyjohnsongallery.com 24 KIRK HOPPER FINE ART Stories from Memory by Roger Winter: Exhibiting illustrated stories from the NYC lockdown will show Dec 4–Jan 8. An exhibition featuring Charmaine Locke and James Surls will be on view Jan. 15–Feb. 12. KHFA’s online magazine, Passage, serves as a forum for insights, dialogues, and connections at passagevision.com. kirkhopperfineart.com 25 KITTRELL/RIFFKIND ART GLASS Kittrell/Riffkind offers an array of sculpture, goblets, jewelry, scent bottles, paperweights, platters, wall art, and other treasures, large and small and displays a rotating selection of outstanding work by over 300 contemporary glass artists. Ornament Extravaganza will be on view through Dec. 31.kittrellriffkind.com 26 LAURA RATHE FINE ART Visual Effect, featuring new works by Robert Mars and Stallman, continues through Jan. 2. Image: Stallman Studio, Breathe in and Let it Spin, sculpted canvas and acrylic, 36 x 36 in. laurarathe.com 27 LILIANA BLOCH GALLERY Liliana Bloch Gallery presents a new solo exhibition by Shawn Mayer: Failed Perfection, Dec 5–Jan. 2. lilianablochgallery.com 28 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries specializes in original paintings, sculpture, and limited-edition graphics. The gallery is distinguished by works of art by Erté, Marc Chagall, Keith Haring, and many other artists. martinlawrence.com
Flower Vase
29 PHOTOGRAPHS DO NOT BEND Mario Algaze’s Focus remains on view through Dec. 31. By appointment. pdnbgallery.com
Dallas’ finest collection of contemporary art glass from over 350 artists.
30 THE POWER STATION Full Length Mirror features Mathew Cerletty’s hyperreal portraits of seemingly mundane objects. powerstationdallas.com
SUSAN RANKIN
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“ Fa n tasy D r e a m s c a p e s” December - January Fine Art Exhibition Featuring O l e g Tu r c h i n , O l g a S u v o r o v a , and Igor S amsonov.
O L E G T U RC H I N “A n t i q u i t y ” 58x30
SOUTHWEST GALLERY 4500 Sigma Rd. Dallas 972.960.8935
W W W. S W G A L L E R Y. C O M
Fine Ar t Sculpture Custom Framing Ar t Glass
NOTED: GALLERIES
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31 SMU POLLOCK GALLERY A multisite exhibition at SMU’s Pollock Gallery, the Trinity River, and Sweet Pass Sculpture Park, Healing Pieces: Offerings of Art, Expression and Nature explores the intersection of mass incarceration, environmentalism, and neighborhood development through the curation of visual art exhibits, performance and ritual arts, and presentations by thought leaders, through Dec. 5. smu.edu/Meadows/AreasOfStudy/Art/PollockGallery 32 SWEET PASS SCULPTURE PARK Though Dec. 10, a collaboration led by SMU Meadows School of the Arts’ Ignite/Arts Dallas, BLACK POWER NAPS PARK / PARQUE SIESTAS NEGR AS is an interactive multisensory outdoor installation. sweetpasssculpturepark.com
39 The gallery is open during the pandemic, and more information on hours and appointments can be found at swgallery.com 39 TALLEY DUNN GALLERY The gallery has launched Virtual Experience, an online directory of exhibitions, interviews, and articles. Leonardo Drew continues through Dec. 15. Next, Pia Fries’ picklock manual will be on view through Jan. Image: Pia Fries, pp. 4, 2017, oil on silkscreen on wood, 31.5 x 23.62 in. talleydunn.com 40 VALLEY HOUSE GALLERY Through Jan. 9, a solo exhibition of Sedrick Huckaby’s recent work, titled Estuary, deals with death in the Black community, diversity in the African American family, and the continuation/continuity of life. valleyhouse.com
33 RO2 ART Brandon Thompson will show new paintings in his second solo exhibition with the gallery, Dec. 12–Jan. 30 at Ro2 Art in The Cedars. Ro2 Presents a holiday group show Dec. 14–Jan. 9 at Ro2 Art Downtown at 110 N Akard. Ro2 will additionally show James Talambas’ multimedia installation Jan. 16–Feb. 13. ro2art.com
41 WAAS GALLERY Through Dec. 31, EPHEMER AL, ephemeron melds the utility of light with sound in response to a specific site with the understanding that the art would eventually melt away, worn down by the elements. waasgallery.com
34 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings. roughtongalleries.com
42 WEBB GALLERY New work by Margaret Sullivan, Teresa Watson, and Rich Cali is on view through Jan. webbartgallery.com
35 SAMUEL LYNNE GALLERIES Impossible Knots by Brandon Boyd continues through the fall. A Los Angeles native, Boyd is recognized as the vocalist and front man of the rock band Incubus, though he has been creating visual art since he was a child. This new body of work focuses on his continuous exploration of the nature of lines. samuellynne.com
43 WILLIAM CAMPBELL CONTEMPORARY ART An exhibition of work by Kevin Tolman titled Alignments will be on view through Jan. 16. Image: Kevin Tolman, Alentejano (Arraiolos), acrylic and mixed media on canvas, 54 x 42 in. williamcampbellcontemporaryart.com
36 SITE131 Temporarily closed, SITE131 reschedules FRESH FACES from The Rachofsky Collection to open Apr. 15 to coordinate with the Dallas Art Fair. In the meantime, check out Art in Life, an online series that features new art pairings each week. site131.com 37 SMINK A showcase of fine design and furniture, SMINK has become a purveyor of fine products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com 38 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas largest collection of fine 19th- to 21st-century paintings and sculptures. 26
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AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY DAG is accepting consignments for their 2021 auctions. dallasauctiongallery.com 03 HERITAGE AUCTIONS HA slated auctions for winter are: Art of the West Special Online Auction on Dec. 1; American Art Signature Auction on Dec. 3; Decorative Arts Signature Auction on Dec. 4; European Art Signature Auction on Dec. 4; Watches & Fine Timepieces Signature Auction on Dec. 8; Animation Art Signature Auction on Dec. 11–13; Asian Art Signature Auction on Dec. 11; Urban Art Monthly Online Auction on Jan. 6; Photographs Monthly Online Auction on Jan. 13; Comics & Comic Art Signature Auction on Jan. 14–15; Fine & Decorative Arts Monthly Online Auction on Jan. 14; Prints & Multiples Monthly Online Auction on Jan. 20; and the Design Signature Auction on Jan. 28.. ha.com
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CONTEMPORARIES
Christopher Martin in his Dallas Gallery. Courtesy of Christopher Martin Gallery.
IN ALL TRANSPARENCY Christopher Martin cements his legacy as an artist and businessman. INTERVIEW BY TERRI PROVENCAL
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elebrating 25 years as a successful working artist and gallerist, Christopher Martin shares his unique painting methods and tips for operating a gallery and for emerging artists. Terri Provencal (TP): Chris, we visited right before your 20th anniversary. What has changed in the last five years? Christopher Martin (CM): Twenty-five years is a benchmark for me. So much has happened in the last five years. It has been a very exciting time of expansion and growth. In 2018, we had the opportunity to open a pop-up Christopher Martin Gallery in Manhattan, on Madison Avenue. It was a fantastic year. New York has always had a large concentration of collectors of my work, and we expanded our reach into that market. In 2017, we more than doubled our Aspen Gallery by growing into one of the premier gallery spaces in town. We also opened a gallery in Santa Fe, which we operated from 2015 to 2018. We showed in Art Miami, Art Hamptons, Art New York, and many other art fairs across the country. In 2019, we doubled our Dallas space to over 10,000 square feet and expanded our program to almost 30 national and international artists. My studio has grown as well. I doubled my space in Aspen and added a sizeable studio in 28
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Dallas that allows me to work on very large-scale series. I now have three studio assistants, which allows me to execute my vision in a much more fluid way. TP: As you indicated, you now display the work of many more artists in the Dallas gallery. What prompted this? CM: Over the course of the last 25 years, I’ve met some amazing artists that I’ve connected with on an artistic and personal level. The opportunity to share this talent arose when the gallery space next door to the Dallas gallery became available. After careful consideration with my father and my director, Antonio Cortez, we decided it was the right move to expand and offer these talented artists under our umbrella. I felt that with my experience as an artist represented by dozens of galleries in the past, and being a gallery owner myself, we could offer artists a special place to show their work and address some of the issues artists face when showing in galleries. It has been a fantastic success thus far. TP: Twenty-five years is a huge milestone for any gallery, even more so as an artist-owned gallery. What is the secret to your success? CM: One, not having a Plan B and knowing that I will continue to make what I love and will strive to succeed no matter the obstacles.
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CONTEMPORARIES Two, having amazing talented, committed people to work with. Three, never taking clients for granted and treating them as the most important part of my business. Without them, there is no business. Four never giving in to resistance, always creating, and not allowing excuses to stop me from producing. Five, always being ready to make acquiring a piece of art one of the easiest things my collectors can do. Reducing any friction so I can make them happy about their decision. Six, being willing to take the risk that makes me nervous or uncomfortable. Some will work, some won’t, but without risk, my expiration date is all but certain. TP: You’re widely known for your reverse-glass paintings which is an oeuvre you’ve developed and stayed true to your entire career. In what ways do you keep it fresh? CM: I wouldn’t necessarily say that I try to keep it fresh; my intention is to keep it challenging. This medium is completely void. It’s just a clear sheet of nothingness—no texture, no color, only glass, unlimited in possibilities. There are hundreds of ideas that I have yet to work on. It mostly feels limitless. As long as I stay in the studio working, there seems to be a new discovery with this medium every day. I am always looking for a new inspiration that comes from a constant exploration of the medium itself. I find myself splicing ideas and applications from one series to another. To a degree, it evolves on its own, as long as I allow it to by putting in the time. TP: Will you describe your process? We know there can be upwards of 100 layers of paint. CM: The majority of the painting I do is on transparent acrylic sheets. I paint on the reverse side of the surface you view. You look through the glass to the dozens of layers of paint applied. These layers are patterns of water and paint on a non-permeable clear surface. The water is essentially the vessel that holds the paint. I then evaporate the water with powerful quartz lamps that leave the paint to emulsify and bond to the acrylic sheet. I use brushes and countless other ways to apply the paint and water to the surface. The thinner the layers of the water and paint, the more depth is revealed. This aqueous relationship allows me to create an organic movement that is apparent in most of my work. TP: We know your love for nature inspires your practice. And living in Aspen you must have plenty of opportunities to commune with nature. Will you share some of your favorite places to go for inspiration?
Jeff Muhs: The Record of Everything, installation view. Photograph by Jessica Uccello. 30Physical PATRONMAGAZINE.COM
CM: I find it throughout the Western US—Yellowstone, Zion, Monument Valley, and locally in my hometown of Aspen. The geography of the rivers, mountains, and all its nuances abound with abstractions that fuel my ideas. Whenever I explore the nature that is so easily within reach here, I am in awe and inspired. It’s also the physicality of living here. When I have lost motivation, a brisk hike up the mountain, skiing, skinning, or a swim in one of the coldwater lakes gets my head straight and leads to a realignment in the studio. TP: What was the first art sale that made you think a successful career as an artist was possible? CM: Some of the pivotal moments from selling my work I can remember vividly. It was my first art show in my own gallery in 1995. A very influential young art collector showed up at the opening [and] after 30 minutes of browsing my work bought two of the show’s
Christopher Martin, Merkaba, acrylic-on-acrylic, 96 x 96 in. Courtesy of Christopher Martin Gallery.
biggest paintings. Gave me a check on the spot and told me how beautiful my work was. I can remember it like it was last week. Another was in 2005, when an early client, who would prove to be a lifelong friend and patron, an asset manager for Metropolitan Life, commissioned me to do the largest paintings I had ever done, for a Wells Fargo tower in Houston. It was an epic job and a beautiful part of that iconic building. Another very memorable time was in Miami at one of my first art shows, likely around 2006. I had just started to paint large-scale pieces frequently and decided it was time to show them in Miami. Vespula was the name of the painting, a beautiful woodgrain inspired orange-andyellow painting. It was the largest in the entire fair. I was having a good show. On the last day, hours before the close of the show, a very affluent couple from Mexico City bought the piece with minimal negotiation on price. To be in Miami and sell one of the biggest pieces at the fair was a real boost to my confidence and fueled my enthusiasm for what I was doing. TP: Your business is very much a family-run operation; tell us how that works. CM: I couldn’t do any of this very well without the support of my family. My wife, Stacie, has been my muse since I fell in love with her. One of our first dates was when she came to one of my openings. I remember how important it was to me for her to love my work. Fortunately, she did, and to this day, I think of how I can keep her in love with the paintings I make. She has been involved in every part of our business since we have been together. My father, Glenn, manages many of the operations of our company, from employee relations, to accounting, to the overall gallery direction, and too many other things to list. My mother, Mimi, was involved in the management of some of those same duties earlier in my career and has always been a source of encouragement and support. Even my kids get in the studio during crunch time to help get things done or assist in deliveries.
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Christopher Martin, Cirque II, acrylic on acrylic, 60 x 48 in. Courtesy of Christopher Martin Gallery.
DECEMBER 2020 / JANUARY 2021
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CONTEMPORARIES
Christopher Martin, Vorticity Discs, acrylic on acrylic, variable dimensions, 24 to 42 in. diameter. Courtesy of Christopher Martin Gallery.
Steve Wrubel: installation view. Photograph by Jessica Uccello. 32 RODEO, PATRONMAGAZINE.COM
TP: How have you stayed motivated during the pandemic? CM: It wasn’t staying motivated to paint during the pandemic, but more that painting is what saved me from the pandemic. Going to the studio was my attachment to normal, my connection to what keeps me ticking day in and day out. My studio was a safe harbor. The environment of the studio didn’t change a bit. It was just the world around me that was changing. Knowing that people are now looking inward more than ever, their home being a huge part of that, I felt putting beauty into the world was needed more than ever. This was game time for artists. We have been fortunate to see many people using the pandemic as a time to finish their home projects, so we have been able to stay busy throughout this challenging time. We feel extremely fortunate. TP: You have collectors all over the world. Please describe your fan base. CM: It ranges so much, from a former president to supermodel Gigi Hadid, from princes to professional athletes, from TV personalities like Lara Spencer to CEOs of Fortune 500 companies, to first time collectors and schoolteachers. TP: What is your best advice for emerging artists? CM: Don’t ever believe in a Plan B, but make sure your Plan A of being an artist is based on something tangible. Meaning, you create something unique, true to your vision, and others want to have that become part of their lives. You can’t will your way into desirability; it has to be there however nascent it might be in the beginning. If that lines up, learn the business of being an artist; it will be a 50/50 partner with the creative side of your art. Do not run from it, do not convince yourself that it is just not your thing because you’re a creative. If your business sense is not strong, your already astronomically low odds of making it as an artist just dropped drastically. If you look at Koons, Hirst, Picasso, the ones who have crushed the art world—all of them have been very shrewd businesspeople. Now be prepared to work, take risks, cry, be lonely, get frustrated, angry, be broke, and become obsessive for most of your life. Resistance must be overcome, and you must produce as much as you can. Much of it will be shit, and some of it you hope will be amazing. Keep working and believe that you are on a path that nothing can knock you off except yourself. If it all melds in the end, it will lead you to the highest of highs and a happiness only few get to truly embrace. P
Photography by Dan Piassick “Forgotten Heroes II” by Don Morris “Full of Joy” Sculpture by Michelle O’Michael “Redemption- The Reconciliation of Opposites” by Cynthia Chartier
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interior design + art
THE PRESENT IS FEMALE Carolina Alvarez-Mathies works in concert with Deborah Scott to bring an all-women show to Park House. INTERVIEW BY TERRI PROVENCAL PHOTOGRAPHS BY BRADLEY LINTON
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ix female artists take the spotlight in the Fall/Winter Art Rotation at Park House through April 2021. Exploring concepts of deconstruction, Carolina Alvarez-Mathies selected eight works from Park House member collections, including one from her own; club cofounders Deborah and John Scott; gallerist Erin Cluley and her husband Tearlach Hutcheson, a film industry executive; Nancy C. Rogers; Mark Giambrone; and Lisa and John Runyon, who curated the permanent collection at Park House. Deborah Scott enlisted Alavez-Mathies about a year ago. “We were so lucky that Carolina had just arrived in Dallas for her new position as deputy director of the Dallas Contemporary. She was the perfect fit, with a worldly background and a Texas history, having graduated from TCU. She is so knowledgeable and connected in the art world, but this was her first solo curatorial undertaking.”
Alvarez-Mathies who had just moved to Dallas after a decade in New York City and then a stint in Zürich, translated Scott’s original all-female-artists directive, saying she learned to “trust my eye and instinct—even with being new at this—and most definitely to assert my voice as a Latina in contemporary art, to take up space unapologetically.” Beautifully displayed in the entry corridor, Sara Cardona’s Circular Thinking is the first work members see when they step off the elevator and look to the right. “My interest in collage began recently, in 2015, during my tenure at El Museo del Barrio in New York City,” Alvarez-Mathies explained. “Rocio Aranda-Alvarado curated a group exhibition called Cut N’ Mix, which portrayed artists experimenting with collage in new ways. I think I visited that show every day it was on view. When I first saw Circular Thinking at Erin Cluley Gallery, my reaction was immediate—I was drawn to
Deborah Scott and Carolina Alvarez-Mathies with two untitled works by Michelle Grabner. Loaned by Mark Giambrone.
Lorna Simpson, Darkened Staircase, 2015, ink and acrylic on gessoed aluminum and fiberglass board, 67 x 50 in. Loaned by Nancy C. Rogers
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CONTEMPORARIES Sara’s analog cut-and-paste method that had been transformed into a larger, almost sculptural, piece. The work was in its crate—it had just come back from the San Antonio Museum of Art, where it was part of Texas Women: A New History of Abstract Art.” AlvarezMathies not only included the work in the show, she also acquired it for her own collection. “Sara is such a natural fit for my collection— it’s mainly the work of Latin American artists, both based in Latin America and in its diaspora.” Scott is equally drawn to Cardona’s work and purchased a piece for her lake house. “John and I have now commissioned Sara to create a nearly 14-foot work of a very irregular shape.” The Scotts also loaned Marilyn Minter’s Deluge of strappy, jeweled silverplatform shoes. “I have been a big fan of Minter’s work since first seeing a show of her lips and jewels series back in 2006 at Baldwin Gallery in Aspen. We own a small piece from that show. I’m also a huge fan of her shoe photography—gorgeous stilettos stomping in grimy puddles—the opposite of what anyone would want to do with these beautiful shoes. Jimmy Choo hired her to do an edgy ad campaign for them when my friend was their head of marketing,” says Deborah Directly across, viewers see Lorna Simpson’s exquisite blackand-white Darkened Staircase, of a woman ascending a flight of steps that’s in great contrast to the colorful and frenetic Circular Thinking. “I see Sara’s and Lorna’s works as being in conversation with Michelle Grabner’s two untitled circular pieces as well as Katherine Bradford’s White Wave,” Alvarez-Mathies muses. “That entire entry hall is an exchange between four women who, through their practice, investigate and critique the human condition—often through notions of gender, consciousness, identity, waste, repetition and habit to name a few.” Erin Cluley, a former deputy director at Dallas Contemporary, and her husband Tearlach Hutcheson mounted two works by taylor barnes from their own collection: Should I Tell Em and Twitch. Featuring details of the human form—face, arms and torso—these are perhaps the most intimate in the exhibition. Says AlvarezMathies, “taylor’s work is so powerful, it’s the kind of work that invites us to pause and listen—there is a delicate beauty to the work with the choice of materials she works with, like cloth and charcoal. I am drawn to her investigation of identity, of existing in the world as a woman of color. I admire the strength and courage that exists in the work—the way the two pieces of cloth are sewn across the woman’s body on Should I Tell Em is so striking.” Deborah Scott felt strongly about presenting a show dedicated to women artists at Park House. “I think we have all recently looked at our collections, both individual collectors and institutions, and determined that the majority of our collections are disproportionately comprised of male artists. I definitely see my friends looking to add more diversity to their own collections.” She adds, “Art is such a big part of the club experience, but it almost blends into the overall decor. Rotating the art with dramatic new installations is an exciting change for our members and their guests, but it is actually our staff who really appreciate the new shows. They live with the art every day, and they were thrilled to have a fresh show installed.” The exhibition aims to provoke investigation rather than presumption as members walk though these corridors. The exhibited works are decidedly in conversation with one another, their meaning, if there is one, not readily apparent. The work offers a glimpse like a film still or a moment in time, and Alvarez-Mathies encourages viewers to consider their many and often conflicting meanings. She says, “The most rewarding aspect was definitely to dive deeper into the works of each of the artists I selected and form new points of connection between their practice and works.” P
Installation view; Marilyn Minter, Deluge, 30 x 24 in. Loaned by Deborah & John Scott; From left: taylor barnes, Should I Tell Em?, 2020, sewing and charcoal on cloth, 32.5 x 30 in. Loaned by Erin Cluley and Tearlach Hutcheson; taylor barnes, Twitch, sewing and charcoal on layered cloth, 40 x 29.5 in. Loaned by Park House Collection.
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THE SHOW MUST GO ON BRILLIANT MINDS OF THE REGION LOOK TO SAVE THE FUTURE OF THE PERFORMING ARTS. BY LEE CULLUM
“I
have always needed the consolation of the theater.” Playwright Beth Henley said that, years after she graduated from SMU’s Meadows School of the Arts and won a Pulitzer Prize for Crimes of the Heart. There are many crimes of the heart— against the heart—in this COVID moment. Talent has been stymied, some never to return to the stages of our lives, siphoned off instead to law school or nursing, as Kevin Moriarty, Dallas Theater Center artistic director, warns. “Some will do theater, but not all of them,” he says. “It’s a massive talent drain. A number of institutions will fail. In two years after a return to normalcy, failures will begin.” Indeed, already there’s an accumulating cataclysm. One survey shows that financial losses to arts groups in Dallas and businesses that serve them reached almost $68 million from March through July alone. Luckier than some in an unlucky business, Moriarty’s DTC is “the only professional regional theater in the country with no layoffs or furloughs among production folks,” he notes, even though its budget has been cut from $10.5 million last year to $7 million currently. But that’s merely a flicker of light in the gloom. Broadway is dark until next summer, at least. The New York Philharmonic has cancelled its season. So have the Metropolitan Opera, the Houston Grand Opera, and the Lyric Opera of Chicago. The Dallas Opera, however, has brave plans to open in March with a new work by Joby Talbot called The Diving Bell and the Butterfly; Talbot composed the riveting Everest for The Dallas Opera five years ago. It sounds like a world restored, and certainly Ian Derrer, general director and CEO of The Dallas Opera, can make you believe it might be true. With a spring season of four productions ahead—knock on
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wood— plus a special Viva Diva! night in May with reigning mezzosoprano Joyce DiDonato, he holds on to hope despite his share of furloughs and layoffs. “I have to ride those waves of optimism,” he says, and keep a “clear vision of what we can achieve. Keep going forward.” So I go forward too, from a phone interview with Derrer to another with Emmanuel Villaume, music director of The Dallas Opera, speaking from his Paris apartment overlooking Montmartre and Sacré-Coeur. I find him recovering from COVID, having caught it two weeks before, he knows not how. “I was very careful,” he tells me, but “the crisis is everywhere.” “The arts are getting worse in Europe,” he continues. This Villaume knows only too well, since he is also the music director of the Prague Philharmonia. He describes working with Plan A,B,C,D, and they “change every three days.” The question for Emmanuel is this: “What can we offer smartly?” He’s especially eager to conduct the world premiere of The Diving Bell and the Butterfly, which he considers “very important for the company. It is last on the chopping block.” Derrer would never speak with such tacit foreboding. I suspect he is Walt Whitman to Villaume’s Voltaire. Villaume still laments the day last March when he and Derrer realized they “had to stop the bleeding right away.” With plans for opera made four or five years in advance, it was “a mess,” he recalls. They had to cancel contracts with artists, then promise to “give them something later [but] we don’t know when later is. [We had to] push artists back again and again. [It is] stressful, a test of one’s nerves. We have taken massive pay cuts, yet we’re working more than ever.”
Photograph by Karen Almond.
Ian Derrer
General Director and CEO The Dallas Opera
Courtesy of the Dallas Theater Center.
Kevin Moriarty Artistic Director Dallas Theater Center
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Photograph by Marco Borggreve.
Emmanuel Villaume Music Director The Dallas Opera
Nor has the Dallas Symphony been spared furloughs and pay cuts, and finances remain “precarious,” according to president and CEO Kim Noltemy, whose budget fell from $40 million to $33 million this year. Before the deluge, about 35 percent of expenses were covered by earned income, and the rest came from donors. Now 80 to 90 percent must come from contributions. The CARES Act has come to the rescue on this front by raising the amount of charitable giving that’s deductible, from 60 percent to 100 percent of adjusted gross income. With the stamina of a thoroughbred and the nerve of a high diver, Noltemy has opened up the Meyerson, disinfected like mad, dispatched 20 to 40 players for concerts and tested them zealously using freelance medics and labs at UT Southwestern as well as COVID funds from the City of Dallas. She has flown in new music director Fabio Luisi from Zurich to conduct, along with guest artists, including Kelli O’Hara, whose tears began to flow, she told her audience, at the sound of the overture to South Pacific, the musical that made her a big star in New York, where she has not performed in months. Few have anywhere—at least not with a live orchestra. The intrepid seem to be concentrated here in Texas—in Dallas, Fort Worth, and Houston. Both North Texas symphonies have
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contracts with their musicians, a year’s extension in Fort Worth, according to president and CEO Keith Cerny, and a 12-month agreement also in Dallas that includes a 10 percent cut in pay. So, they may as well play for as many subscribers as can be accommodated in a sparsely populated hall. “The rebuilding process [will be] difficult and far more expensive [if you don’t] keep your audience with you,” Noltemy points out. “It will take two years to recover, to get a significant chunk of our audience back.” She remembers wistfully the progress DSO was making toward its goal of 40 percent earned income. “We can do it again,” she vows. “Increase the ticket price and attract more people.” For all the trauma, colleagues back at the Boston Symphony Orchestra, where she was chief operating officer before coming to Dallas, view her action in Dallas with understandable envy, since their governor and mayor will not permit them to perform. They call her “the renegade from Texas.” Led by that Texas renegade, the Dallas Symphony joined forces with Dallas Black Dance Theatre November 11 to present a concert—real and virtual—to support Project Unity in honor of those who have lost their lives to racial violence and injustice, including George Floyd, Ahmaud Arbery, Breonna Taylor, Dallas’
Photograph by Sylvia Elzafon.
Photograph by Brian Guilliaux.
Kim Noltemy
Melissa Young
President and CEO Dallas Symphony Orchestra
Artistic Director Dallas Black Dance Theatre
Botham Jean and Fort Worth’s Atatiana Jefferson. Working hard to make it happen was Melissa Young, artistic director of DBDT. A Honduran-American from California by way of The Ailey School in New York and the Amsterdam University of the Arts, she has done everything with the company and will lead its 45th anniversary celebration next year. Poet and philosopher as much as dancer, Young strives for productions that “transport you to another place.” Unwilling to be diminished by any pandemic, she reminds herself and others, “Just because the door closes doesn’t mean you should settle for that.” Settling for nothing, she schedules the main and Encore companies at DBDT for rehearsal four days a week. Dancers wear masks, which means they tire more quickly, but, with precautions everywhere, they carry on. “We’ve always lived in our own little bubble,” Young explains. For DBDT, digital performances have been a bonanza. They’ve broadened the reach of the company to other parts of the world— New Zealand, Norway, Trinidad—and definitely will keep it going as a new and growing part of their work. “It’s taken so much time, energy, and effort to figure out the digital world,” Young tells me. “There’s no reason not to continue. [Why] lose a flower starting to
bloom? To take that away would be so devastating.” While a hundred flowers bloom at DBDT, in resolute defiance of a world gone weird, Charles Santos, executive director at TITAS/ DANCE UNBOUND, maintains a fever of activity to keep his dance operation alive. “It’s been brutal,” he admits when we speak by phone. Santos is the only one in the office he shares with AT&T PAC in the Plaza of the Americas building. There, by himself, he finds solace in weekly Zoom meetings with other cultural CEOs in the Arts District and around the city. These calls are “helping you get through this mental handling of the work… It’s an exhausting effort. Everyone assumes you’re available 24/7.” Santos is working prodigiously 24/7. He does his Santos Salon every other Thursday, online now rather than in various living rooms as before. Like digital DBDT, it attracts people from unexpected places—Germany, Finland, Israel. He put on a virtual gala with dancers—“95 percent of whom are laid off now”—presenting all seven companies he had slated for the 2020-2021 season. Their magic was prerecorded and offered at no charge, with a plea for donations that flowed freely enough to make the goal for the evening. TITAS/UNBOUND has some savings, he reports, and the federal Paycheck Protection Program staved off trouble as long as
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Photograph by Carter Rose.
Photograph by Brian Guilliaux.
Charles Santos Executive Director TITAS/DANCE UNBOUND
it lasted. Since then it’s been a matter of “loans, grants, generous funders… We’re running on bare bones, as leanly as we can, [struggling to] pay our people.” Trying now to plan for 2021-2022 is making him crazy because nothing can happen until Broadway happens. “Broadway is the essential economic engine of the creative economy,” he points out. “When will they be at the Winspear?” And The Dallas Opera as well? These two have first call on the hall. Then TITAS/UNBOUND can choose among dates that are left. Santos isn’t the only one stewing about Broadway. Debbie Storey, president and CEO of the AT&T Performing Arts Center, also urgently wants AT&T Performing Art Center’s Broadway season back in the Winspear. The problem, she explains by phone, is that these productions need “high ticket sales, a near-capacity hall, [and] they can’t risk an outbreak in a city that then cancels.” Now she “doesn’t want to be as dependent on Broadway” and has resolved to book “national touring artists with less risk—solo artists, small groups, comedians.” “Resigned to the new reality,” however, she charges no rent to her resident companies—The Dallas Opera, the Dallas Theater Center, Dallas Black Dance Theatre, Texas Ballet Theater, and
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Debbie Storey President and CEO AT&T Performing Arts Center
Anita N. Martinez Ballet Folklorico—which means she has no earned revenue from tenants or shows and has to rely on corporate sponsors, grants, and donors, including strangers from whom she has sought to raise money in an effort called “Raise the Curtain Fund.” But none of this has prevented “painful steps” requiring a reduction in staff from 111 (70 of them full-time) to 45. “When touring performers come back they will be eligible for rehire,” Debbie says. She has already brought back some stagehands to do maintenance on the Winspear, and they’ll be on board for TITAS Parsons Dance in late November. Five years from now, what then? “It’s a very bizarre point in our history,” observes Santos. “There will be people with lost jobs and companies… It will happen [with] harsh realities… The COVID period could last two years.” Storey is no more sanguine. “The arts,” she states plainly, “are highly leveraged and deeply undercapitalized.” Moriarty concurs, adding that “the reinvestment it will take to reopen will take what’s left of capital. . . Right now one destabilizing event will push an institution under.” For Cerny the sentiment is the same: “It’s hard to put capital back together to relaunch themselves as what they were.” He points to “skeletal bankruptcies” among
Photograph by Lawrence Jenkins.
Keith Cerny
President and CEO Fort Worth Symphony Orchestra groups that are not performing and won’t survive, though some may not yet have recognized the full extent of their calamity. Even so, Cerny is hardly a prisoner of fate. He’s putting together a huge gala for the Fort Worth Symphony in February with Yo-Yo Ma at Dickies Arena, where 2,400 seats can be filled with social distancing. Close by is the Will Rogers Auditorium, where the FWSO had to scramble to open its autumn season when its customary home, Bass Hall, suddenly shut its doors until the end of the year. Music goes on, though, and the FWSO is paying its staff and musicians “in full [with] some coming and going,” Cerny tells me. Board chair Mercedes T. Bass has made a generous contribution above her usual gift, and that has helped considerably. The deficit is “under $200,000.” Concert protocols are in place, similar to those in Dallas, and Cerny doesn’t see this changing. “We’ll never go back,” he predicts. “We will still have heavy responsibility for the health of musicians and staff,” who currently undergo drive-through tests. Subscriptions will fade in favor of single tickets he expects, wondering how he will market single tickets. “Pandemics will accelerate,” he adds, and while there’s “online pressure” for the music lab he’s offering with a range of digital podcasts and educational materials, that is merely a “bridge toward getting back
to live performance. [Digital is] not enough to sustain everything we do,” he concludes. “There’s not a lot of revenue” in it, no “dollars in the door.” Five years from now, in his view? “I hope this will be a distant memory [and] people will be hungry to go out.” Moriarty agrees and even uses the same word: hunger. “Five years from now,” he is convinced, “there will be a hunger for release from isolation, too much screen time. Live performance is up for grabs one year from now, [but] desperation, innovation will play out in meaningful ways . . . make art in meaningful ways. . . All will be digital,” he stresses, “is the lazy wisdom of social media and journalism.” He does not envision “lines permanently blurred between live and digital.” Nonetheless, the Dallas Theater Center, like every other organization, has pursued a life online, especially with classes and its Public Works Project. It will produce a modern filmed version of A Christmas Carol for the holidays. At the end of October, the DTC signed a 35-week contract with stage actors whose union health insurance will run out if they do not work 17 weeks every six months. DTC will help with that and pick up the insurance itself when union coverage ends. Since Actors Equity does not permit its people to work in the theater until COVID cases fall to five per 100,000 people—hardly the situation in Dallas—
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Courtesy of the Fort Worth Opera.
Afton Battle General Director Fort Worth Opera
Kevin hopes they will do some wild and crazy things on film in the spring, but that’s only for now. “We’re not making movies in the future,” he promises. “Plays on TV are a pale version of themselves. . . The acting technique is different on stage and screen. Filming a play, you get a historical document [that’s] not emotionally effective in the same way.” Live theater is the thing in which you catch the conscience of the king. Derrer sees it differently when it comes to digital, as well he might, given his tremendous success with TDO Network, which offers everything from cooking to mental health laced with music and the little dramas of life. The world, he believes, will be “forever changed.” There will be “a Winspear stage and a digital stage [where we] can reach an enormous amount of people . . . We can move much more quickly, make decisions quickly, do small things, thematically based, respond to something that happened a few months ago, do an opera about it . . . quickly, not five years to make it happen . . . We’re in a moment of transformation.” Ready for the new day, whatever it is and whenever it comes, is Afton Battle, recently arrived from Chicago to run the Fort Worth Opera. She moved here in September, then settled into a donor’s empty condo while she looks for a place to live. Originally from Amarillo, trained as a soprano in the heavy stuff—Wagner, Verde,
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Puccini, Strauss—and steeped in development campaigns for the New York Theater Workshop and the Joffrey Ballet, she seems born to revive the Fort Worth Opera as a “scrappy” troupe where, as she puts it, “all get in the weeds, everybody does everything.” Taking over just in time to direct FWO’s 75th anniversary next year, Afton dreams of ten months of music, anchored by the annual spring festival but not limited to it, and performing in venues all over the city. She wants to mount smaller operas, concert versions of operas, and evenings of arias. Committed to classics and longtime favorites, she also hopes to do new works by new composers and librettists, sung by new artists, telling different stories, more current and—she stops herself before saying it—relevant. But she is right. Villaume feels the same way: “Our job is to offer something to the audience that is present and relevant.” The Fort Worth Opera is already on the go, with two singers on a flatbed truck popping up in one neighborhood after another to bring the lift of live performance to audiences. Battle is doing digital, of course, but once a soprano always a soprano. Voices like hers, suffused with social conscience, however they are working, offstage or on, cannot be contained by technology. Remember: in a proper opera they don’t even sing with a microphone. Then there is the Undermain Theatre, Dallas’ playhouse for those
Photograph by Zane Pena.
Bruce DuBose Cofounder and Artistic Director Undermain Theatre
willing to take a chance on serious work that often has astonishing results. That was the case with St. Nicholas, a monologue by masterful Irish playwright Conor McPherson performed as a webcast by Bruce DuBose, an actor of riveting intelligence as well as producing artistic director of the Undermain. The production was discovered on the internet by Terry Teachout, theater critic for the Wall Street Journal, who wrote a review that lavished praise upon the project. Now Bruce is searching for other solo pieces to offer online, some with women. Of course, it costs money to produce these videos, but he reports that funding for the Undermain “is in solid shape right now.” State and city funding have helped, and TACA “has really stepped up to the plate during the pandemic.” Looking ahead, he sees a push “to create more diversity on stage and in organizations. . .. The environment of theater, people crammed in like sardines, this will change. . .. There will be more ways to perform, some outdoors.” The short attention span of the young, “their education interrupted by COVID, will have an effect on the performing arts. [We’ll see] improvisation, the art of pastiche.” He foresees “snippets, vignettes [for the young who can’t] follow a plot for two hours.” Still a believer in live performance, he insists there’s no other way to get “the catharsis of theater”—what Aristotle called a purging of pity and fear.
And what about the pity and fear that pervade the performing arts? Is relief on the way? From anywhere? “It’s only the federal government that has the resources,” says Moriarty. “Donations cannot do it.” Save our Stages, a bill introduced by Senators John Cornyn of Texas and Amy Klobuchar of Minnesota to pump $10 billion into the situation “does not have opposition,” according to Moriarty, but there’s not enough “energy or support” either. Villaume points out that European governments routinely fund the arts. In Germany, the New York Times reports, the government “will compensate small and midsize businesses that shut down” because of COVID, including theaters. The government “will cover up to 75 percent of their losses, up to a total of $11.9 billion.” In the UK, the Arts Council, responsible for distributing funds from the lottery, is dispensing $1.1 billion to arts and cultural groups, including $2.6 million to freelancers. Playwright Anne Washburn sees all this through a glass, darkly. “Art cannot save us,” she writes in her play Shipwreck. “Art is not a call to arms. Art is an elegy.” She could turn out to be right if the forces able to help don’t. It’s time to write our senators, and Speaker Nancy Pelosi of the US House of Representatives as well, with a plea for deliverance in the stimulus bill sure to come. P
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IRRESISTIBLE Don’t miss the Amon Carter’s timely Mitch Epstein: Property Rights, chronicling the artist’s journey of resistance. BY STEVE CARTER PHOTOGRAPHS BY MITCH EPSTEIN
Mitch Epstein (b. 1952), Standing Rock Prayer Walk, North Dakota 2018, dye coupler print, Amon Carter Museum of American Art, Fort Worth, Texas, purchased with the support of David Gibson, Phil and Subie Green, Stephen and Suzie Hudgens, and Morris Matson, © Black River Productions Ltd. / Mitch Epstein.
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M
itch Epstein is a legend, a trailblazer whose gamechanging explorations in fine-art color photography date back to the early ’70s. His work offers glimpses into his travels—from India to Vietnam, Jamaica to America’s national parks, New York City to Topanga Canyon, Java to Europe, and countless other whereabouts, he’s captured it all. “I think of the world as my studio,” he says, “and as three-dimensional space it’s very malleable, photographically.” But since 2017 Epstein has focused his lenses close to home, chronicling land-rights resistance movements at various sites here in the United States. A dozen images from the resulting series premiered at New York’s Sikkema Jenkins & Co. gallery last year, but the Amon Carter Museum of American Art has scored a coup with its expanded exhibition, Mitch Epstein: Property Rights; the first museum show of the 21 large-format images. Opening December 22 and running through February 28, 2021, Property Rights is a timely voyage that Epstein began in Standing Rock, North Dakota in 2017, shortly after President Trump’s nearimmediate rollback of Obama’s moratorium on developing the Dakota Access Pipeline. New York City–based Epstein felt the need to respond somehow and made his way to North Dakota to see the protests at ground zero himself.
Mitch Epstein, photograph by Nina Subin.
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From left: Mitch Epstein (b. 1952), Lakota War Pony Races, Pine Ridge Indian Reservation, South Dakota, 2018, dye coupler print, © Black River Productions Ltd. / Mitch Epstein. Courtesy of Sikkema Jenkins & Co., New York; Mitch Epstein (b. 1952), Tania Aubid and Scout, Sacred Stone Camp, Standing Rock Sioux Reservation, North Dakota 2017, dye coupler print, © Black River Productions Ltd. / Mitch Epstein. Courtesy of Sikkema Jenkins & Co., New York.
“I’d say I was a little distressed by the change in administration, but also just the quick turnaround that Trump did in Standing Rock,” he recalls. “I just decided on gut to jump into it. It was an extreme moment to be there because it was at the height of winter, and I think that many of the people who were holding out there were caught by surprise because there’d been this Army Corps review underway and things were stalled.” The tense atmosphere Epstein encountered was exacerbated by sub-zero temperatures, but the photographer went to work, and his visit proved cathartic. He made two subsequent trips, cameras and gear in tow, and soon a larger theme emerged. “I began to think more broadly about land and our whole concept of ownership of land, which I think is a very American trait, going back to the West and Manifest Destiny,” Epstein continues. “Thinking about Standing Rock and the Lakota Nation, I started to step back with a little more detachment to look at the long history as it was playing out in the present . . . this was about resistance.” A key element behind Epstein’s Property Rights photographs is his instinctive gift for interaction with people from all walks of life, his ability to earn their trust by empathetic listening and learning. The mural-sized Joshua Flyinghorse and William Nelson Williams III “NineTails,” Rosebud Camp, Standing Rock Sioux Reservation, North Dakota 2017, at 70 x 88 inches, represents a case in point, where the East Coast outsider is welcomed in to photographically eavesdrop on a very private, reflective moment. The image is haunting, documenting the tail end of the protest and capturing the ramshackle detritus of a makeshift campsite and broken dreams. One of his subjects is native, the other is white, but they’ve been united in the struggle, and there’s a palpable sense of loss, defeat, surrender. “They represent the two worlds, if you will, the white and the Lakota world, and they were so pensive,” Epstein notes. “If you look closely, they’re smoking a cigarette. Tobacco is so essential, as a kind of ritual—luckily I had a good stash of cigarettes. And I think a lot of my best pictures are kind of hovering between a scenario that looks like it could have been arranged as an installation.” War Pony Races, Pine Ridge Indian Reservation, South Dakota 2018 (70 x 88 inches) and Standing Rock Prayer Walk, North Dakota 2018 (42 x 56 inches) are among the other highlights from the Dakota images, each an intimate window on tradition and ritual. 46
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Epstein’s research on American communities with ongoing property rights issues next led him, two months later, to Pennsylvania’s bucolic Lancaster and Huntingdon counties, where eminent domainallowed pipeline construction had been an issue for years. Again, getting to know and gaining the trust of the locals served Epstein well, establishing relationships that bordered on the collaborative. In many of the images people aren’t even in evidence, yet unmistakable echoes of human presence inform the tableaux. The vertically formatted Tree-Sits, Camp White Pine, Huntingdon County, Pennsylvania 2017 is a testament to the spirits of ingenuity and perseverance, a capture of the extraordinary measures protesters have taken to save their environment. “It’s the people behind the resistance actions, these stories, that have no doubt shaped my experience, and I think also helped to fuel the development of this work,” Epstein says. “They’re kind of the linchpins, in a way.” But his journey wasn’t over. From its humble genesis in early 2017, Epstein’s project lasted through 2018 and into 2019 as he continued to examine more resistance actions in the country, focusing his eye on arenas that he felt were crucial, and that also had visual possibilities. During Epstein’s time on the southern border of Arizona he made six or seven “ritual water runs” with Stephen Saltonstall, a worker with an organization called Humane Borders; the experience was enlightening. “It gave me a way to understand what it’s like for somebody who’s crossing the border because they’re desperate to get into this country,” he says. “That was a lot of what also really interested me, how we are a country that’s the result of having open borders.” Epstein’s Border Wall, Nogales, Arizona 2017 is a poignant and all-too-familiar narrative portrait that resonates not only in border states, but universally across the human experience. Epstein’s pilgrimage ultimately led him to California, Hawaii, national monuments, and beyond. “I think this show will actually be more intense in its installation than at Sikkema last year,” Epstein predicts, “because there are more works hung a little bit more densely. And I’m honored to have the show in an institution that has really committed itself to collecting and engaging with American art, and that also has a terrific collection of 19th-century, especially Western, photography.” Mitch Epstein: Property Rights has found its rightful home at the Amon Carter. P
Above left: Mitch Epstein (b. 1952), Tree-Sits Camp White Pine, Huntingdon County, Pennsylvania, 2017, dye coupler print, © Black River Productions Ltd. / Mitch Epstein. Courtesy of Sikkema Jenkins & Co., New York; Above right: Mitch Epstein (b. 1952), Ironwood Forest National Monument, Arizona, 2018, dye coupler print, © Black River Productions Ltd. / Mitch Epstein. Courtesy of Sikkema Jenkins & Co., New York; Left: Mitch Epstein (b. 1952), Border Wall, Nogales, Arizona 2017, dye coupler print, © Black River Productions Ltd. / Mitch Epstein. Courtesy of Sikkema Jenkins & Co., New York.
“ Thinking about Standing Rock and the Lakota Nation, I started to
step back with a little more detachment to look at the long history as it was playing out in the present...this was about resistance.” –Mitch Epstein
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Reframing the Retablo Inspiration from an Italian sojourn enables Alonso Berruguete to bring the Renaissance to his native Spain. BY NANCY COHEN ISRAEL
Alonso Berruguete (Spanish, c. 1488–1561), Old Testament Prophets (Ezekiel, Isaia, and Saint Christopher), 1526–33, polychromed wood, Museo Nacional de Escultura, Valladolid (Spain). Photograph by Guy Rogers, III.
F
rom one painting’s departure on one of the last flights out of Italy to the sculpture-laden crates that remained unopened as the world went into lockdown, it had all the trappings of a spy thriller. Such were the circumstances surrounding the delayed installation and opening of Alonso Berruguete: First Sculptor of Renaissance Spain, currently on view at the Meadows Museum. Originally scheduled to open in March, the exhibition came to fruition through a combination of technology and generosity. Videoconferencing enabled lenders to be virtually present while sculptures were uncrated, and lenders graciously granted requests for loan extensions. “All of the private collectors and institutions in Europe and the United States said yes,” says Mark Roglán, the Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts. Curated in Dallas by Wendy Sepponen, the museum’s 2018-2020 Mellon Curatorial Fellow, the exhibition brings together some of Berruguete’s most significant sculptures as well as several paintings and works on paper.
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Alonso Berruguete is responsible for some of the most important sculptural commissions in 16th-century Spain. A decade spent in Italy early in his career fueled his creativity and honed his talent. Berruguete moved to Rome sometime around 1506, where he found a vibrant contemporary art scene, due in part to the expansion of the Vatican. It was here that he befriended Michelangelo, whose work would have a profound influence on him. The exposure to the region’s classical sculpture would also inspire Berruguete’s work. Bank records suggest that Berruguete was living in Florence by 1508. Having established himself as a painter, he worked alongside a group of avant-garde artists—including Andrea del Sarto, Michelangelo, and Pontormo—in the emergent Mannerist style. He may have also had his first encounter with modeling in wax during this time. Berruguete went back to Spain in 1518, bringing this new style with him. Shortly after returning, he was named painter of the court by his new patron, Charles I, who would soon become the Holy Roman Emperor, Charles V. However, Roglán states, “Berruguete is well known enough and well respected enough
Above and below detail: Alonso Berruguete (Spanish, c. 1488–1561), Ecce Homo, c. 1524, polychromed wood with gilding and silvering, Museo Nacional de Escultura, Valladolid (Spain). Photograph by Guy Rogers, III.
and making money but not receiving many commissions.” Unlike in Italy, where painting prevailed, Berruguete soon realized that sculptural commissions, especially for altarpieces, would prove to be more lucrative. As Roglán explains, “He comes with new learning and style from Italy but could adapt it to do what is happening in Castile.” Berruguete soon moved to Zaragoza with Charles V’s itinerant court. Here he spent the next few years immersed in the thriving artistic life of that city. “He’s in the right place at the right time, as taste in Spain is pivoting from painting to sculpture,” says Roglán. His earliest introduction to wood-carving techniques may have come in this era, when he and sculptor Felipe Vigarny worked together on a commission. Berruguete’s lucky break came in 1523, when he and the sculptor Vasco de la Zarza were commissioned to create the main altarpiece for a chapel in Olmedo, near Valladolid. Working with an experienced carver helped Berruguete hone his own technique and adapt his Mannerist style to a different medium. Zarza passed away ten months into the project, giving Berruguete the opportunity to
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Above detail and below: Alonso Berruguete (Spanish, c. 1488–1561), Sacrifice of Isaac, 1526–33, polychromed wood, Museo Nacional de Escultura, Valladolid (Spain), © Museo Nacional de Escultura, Valladolid. Photograph by Javier Muñoz and Paz Pastor.
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“ This is the most important monastic church for the Benedictines,” –Mark D. Roglán, the Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts.
Alonso Berruguete (Spanish, c. 1488–1561), Reconstruction of a pediment with soldiers, sybils, and grotesque decoration, 1526–33, polychromed wood. Museo Nacional de Escultura, Valladolid (Spain). Photograph by Guy Rogers, III.
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Exhibition view. Alonso Berruguete: First Sculptor of Renaissance Spain, Meadows Museum. Photograph by Guy Rogers, III.
Alonso Berruguete (Spanish, c. 1488–1561), Christ on the Cross (detail, from Calvary Group), 1526–33, polychromed wood, Museo Nacional de Escultura, Valladolid (Spain). Photograph by Guy Rogers, III.
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Alonso Berruguete (Spanish, c. 1488–1561), The Adoration of the Magi (from retablo for the Chapel of the Epiphany), 1537–early 1540s, polychromed and gilded wood, parish of Santiago Apóstol, Valladolid. Photograph by Guy Rogers, III.
renegotiate the contract. Doing so enabled him to complete the commission and inherit Zarza’s tools and his workshop. As the lead designer, Berruguete now had to conceptualize the project. Using drawings and three-dimensional models, he deftly guided the workshop to the altarpiece’s completion. Its success led to Berruguete’s ultimate commission: the retablo mayor for the monastic church of San Benito el Real in Valladolid. “This is the most important monastic church for the Benedictines,” Roglán explains. Between 1526 and 1533, Berruguete conceived, designed, and oversaw the creation of this multistory altarpiece that would revolutionize Spanish sculpture. Though he delegated carvers, painters, gilders, and joiners to realize each element, it represents the apotheosis of Berruguete’s vision. The expressive faces, torqued figures, and dynamic interactions draw much of their inspiration from Berruguete’s encounters with Michelangelo.. It represents a groundbreaking departure from traditional Spanish retablos. In addition to his impeccable craftsmanship, Berruguete’s ability to gauge the height and distance at which each element would be viewed further reflects his astute design abilities. Amanda Dotseth, the museum’s curator, explains, “These sculptures are part of a structure.” Through his meticulous planning, Berruguete demonstrates, she continues, “an awareness of where they will exist in space.” How much of each of these works Berruguete did himself is open to debate. “One of the biggest questions and challenges is the question of attribution and how much Berruguete was involved,”
acknowledges Roglán, adding, “It is not clear the extent to which his hand is on these sculptures.” Roglán and Dotseth agree that one of his biggest responsibilities was to ensure quality control over the entire project. In addition to working with talented artists and artisans, he needed to be able to organize a workshop. “Berruguete is thinking more of the big picture,” Dotseth says. The altarpiece was dismantled in the 19th century. At the Meadows, several works are installed in the round, exposing roughly carved backs that contrast with the smooth, gilt and polychromed surfaces that would have faced the congregation. As Dotseth explains, “There is a pragmatism to the work. ‘Why finish the backside when you know it will be in a niche?’” Intimate viewing in the galleries allows visitors to examine sculpting technique while also noticing minor errors that would not have been visible at San Benito. Concurrent with Alonso Berruguete, the museum has installed Berruguete Through the Lens: Photographs from a Barcelona Archive. This intimate exhibition, culled from the Meadows’ Archivo Mas, features 31 black-and-white photographs documenting Berruguete’s sculptures in their original contexts. In many ways, this exhibition is a vestige from the pre-COVID world. With the era of international traveling exhibitions, rich with loans from multiple lenders, on pause, and reduced leisure travel for the foreseeable future, Alonso Berruguete offers an inspiring substitution to seeing these works in their homeland. P
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The dining room is anchored by a custom-designed table by Dan Nelson. The armchairs are by Gregorius|Pineo and the chandelier is by Ingo Maurer from Scott + Cooner.
The open kitchen, designed by Nelson, has a graphic marble tile mosaic backsplash.
Avant-Garde Appeal
Through an eclectic-design ethos, Dan Nelson amplifies the colorful life and collection of Missy Gunn Falchi. BY PEGGY LEVINSON PHOTOGRAPHS BY COLLEEN DUFFLEY
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W
hen you grow up among serious art collectors, that desire to acquire is part of your DNA. And Missy Gunn Falchi grew up surrounded by art. Her mother was a collector of Chinese porcelains; one of her teacups sold at a Sotheby’s auction in 1984 for $2 million. Falchi’s great aunt was a great collector of Postimpressionism—Matisse and Picasso are now part of Missy’s own ever-growing collection. This background and a stint as head of corporate public relations for Neiman Marcus (via Carriage House and Marie Leavell) in the 1980s led Falchi to acquaintances and friends in the art and fashion worlds. She met Carlos Falchi (who passed away in 2015), while she was working on the famed Fortnight at Neiman Marcus and later went to work for him. Meanwhile, Carlos Falchi had emigrated from Brazil to New York City in the 1960s. His mother owned several creative businesses, including a wedding dress atelier where young Carlos had hand applied pearls, so it was a natural for him to create his own clothes using scraps of leather while also working as a busboy at famed nightclub Max’s Kansas City. His first customers were musicians like Herbie Hancock,
An original Tang Dynasty horse on a pedestal shows its authenticity with the horse’s head facing to the left.
Jeri Ledbetter, Parole in Giallo, hangs above a mid-century sideboard with a vintage Georg Jensen silver service and lamp by Robert Kuo. Bicycle by Robert Rauschenberg hangs to the right.
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The art-lined living room features a painting by Helen Frankenthaler, Snow Pines, above the fireplace, a fireplace screen by Chipper Nelson, a trio of Rauschenberg lithographs, a collection of photographs, and three works by Alicia Henry and a David Bates sculpture are displayed in the hallway.
A limited-edition wire sculpture of a seated boy by Benedetta Mori Ubaldini.
Miles Davis, and even Mick Jagger. Soon rock ‘n’ rollers were carrying his bags. From there the fortuitous happening of Henri Bendel’s “new designer day” propelled Carlos and a bag full of his designs to the famous department store. Just recently Carlos Falchi was named one of the 12 most influential Latin fashion designers by Women’s Wear Daily. After a long friendship, Carlos and Missy married in 1984 and lived in New York’s West Village, surrounded by artists and designers. Famed designer Andrée Putnam was a friend and introduced Falchi to her friends at Edelman Leather, where he discovered buffalo-hide, which Japanese deconstructionist designer Issey Miyake particularly liked. These serendipitous relationships led to a store in Paris, a friendship with Hanae Mori, and an artistic affinity with Japanese arts. A consummate artist, Carlos Falchi was a wayfarer, opening boutiques in hotels around the world and discovering new inspirations wherever he went.
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The entry library has a vintage Ward Bennett table and Richard Serra’s Finally Finished etching. The small portrait of a woman is by Giovanni Lanfranco—a study for an altarpiece.
Falchi and Missy were natural collectors living in the prolific art scene of New York in the 1980s. Not that Missy was new to acquiring art. As a teenager on a trip to Santa Fe with her father, Missy wanted to buy a collection of Native American photographs. Her father only allowed her to buy one—which turned out to be part of the famed Curtis Portfolio, The North American Indian, which consists of over 2,000 images and 7,000 pages of text and is considered a priceless and integral part of American history in both imagery and its creation. On their honeymoon in Santa Fe the couple’s first buy was an Anasazi water pot from the Forrest Fenn Gallery. Dallas interior designer Dan Nelson designed the Carlos Falchi boutique in Highland Park Village in the 1980s. The Falchis knew him through mutual friends and the stonework of his wife, Chipper. They admired his eclectic design ethos and playful use of color, so it was natural for Missy to contact Nelson to design her new condo in Highland Park after she moved here from New York in 2016. The
A painting by Andrea Rosenberg is installed above an ornate console that also holds a small David Bates sculpture.
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Margarita Cabrera’s Time Does Not Forgive relief print with artist-applied border patrol uniforms from the 2019 Dallas Contemporary exhibit It is Impossible to Cover the Sun with a Finger.
space is a testament to that eclecticism and raucous color as well as a perfect backdrop for art. The synergism at work here also makes clear that they are great friends and colleagues. Says Nelson, “Design has always been a time-specific cultural product. The trend now is to combine the best of those cultural periods and use the astonishing technology now available. I was fortunate in this project to have a client who has taste, knowledge, and curiosity—the best attributes of a collector.” The elevator entry opens to the library with a mid-century Ward Bennett center table surrounded by laden bookshelves interspersed with a Richard Serra print, a painting by Andrea Rosenberg, and lifesize statues of Zelda and F. Scott Fitzgerald that the Falchis acquired in at a salvage sale in 1987. The pair of bronze shoes made for Carlos by Pierre Cardin peeking out from under a loveseat channel French surrealist artist René Magritte. The chandelier is by the Chinese artist Robert Kuo. A living room wall is dominated by three large Robert Rauschenberg prints that Dan and Missy discovered rolled up while shopping for furniture at Sputnik Modern. On a bench is a sculptural piece by Benedetta Mori Ubaldini—delicate wirework depicting a seated child. Also displayed in the living room are a Helen Frankenthaler above the fireplace and a wall of various photographs, including the famous Edward Curtis. The dining room has a playful chandelier by Ingo
In the primary closet, a circa 1950s portrait of Missy Falchi’s mother by Dallas artist M. Cieni hangs above the mid-century chest from circa20c in Dallas.
Abstract gold leaf wallpaper from Studio E illuminates the powder bath.
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In the hallway, Alicia Henry, Girl 1 and 2, and Untitled little sister and David Bates’ Chairs XI and XV bronze painted sculpture lead to the guest bedroom with a botanical photograph by Molly Wood, 9997.
The neoclassic engraving of the Barberini Head of Juno shares a space with Missy’s perfume bottle collection and porcelains from her aunt’s collection.
Maurer and a Picasso ceramic on the wall. Armchairs by Gregorius Pineo are in lime-green velvet. An authentic Tang horse (with the horse facing left) is from Missy’s great aunt’s collection. Three twodimensional figures in the hallway are by Alicia Henry, who emphasizes body and identity through her multimedia work. The guest bedroom in regal purple has a collection of 18th-century study drawings for stage sets and a Henri Matisse drawing over the Gio Ponti table. The primary bedroom has an animated rug by Rex Ray. An original Picasso hangs over one nightstand, an Ellsworth Kelly lithograph over the other. The bath is reflective of Missy’s artistic eye, love of collections, and deep regard for her heritage. Over the midcentury buffet hangs a photograph by M. Cieni, a prolific portraitist of Dallas cognoscenti from the 1950s. Now that every wall and surface in Missy Falchi’s home are filled with her most beloved art, she has turned her attention to another subject she knows well: handbags. She and her daughter Kate started direct-to-consumer luxury handbag company Lovard in 2018. With their serious street cred, the mother-daughter team has created basic shapes in luxury materials to fit the needs of any woman’s lifestyle. And they have teamed up with the 1000 Dreams Fund, which aids young women in embarking on the college education they desire. The creative energy in the Falchi family continues to find new outlets and ways to make art and design meaningful P
Ellsworth Kelly’s Philodendron lithograph hangs next to the custom bed and chaise lounge.
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FASHION YOUR FUTURE Fine jewelry, seasonal style, and long, beautiful hair bring back bold free-spiritedness. PHOTOGRAPHS BY CHRIS PLAVIDAL CREATIVE DIRECTOR ELAINE RAFFEL HAIR BY PATRICK O'HARA & BIANCA GANTT
de Boulle High Jewelry necklace in platinum features rose-cut and round brilliant diamonds totaling over 46ct and de Boulle High Jewelry earrings in 18K white gold with rose-cut and round brilliant diamonds, exclusively at de Boulle; Carolina Herrera pearl-embellished silk ruffle blouse in Celeste, Carolina Herrera, Highland Park Village. Hair: Patrick O’Hara, Bianca Gantt, and Muala Fera, Patrick O’Hara Salon featuring Bellami Professional hair extensions; Makeup: Bianca Gantt; Assistant stylist: Meagan Rone; Photographer’s assistant: Daniel Huffman. Model: Taylor Harvick for Kim Dawson Agency.
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Harry Winston Premier Kaleidoscope timepiece featuring white beaded mother-of-pearl lace applied on red beaded mother-of-pearl, blue, magenta, orange, and yellow mother-of-pearl and diamond set in 18K rose gold; Harry Winston Fashion ring featuring ruby and diamonds set in 18K yellow gold and platinum; Winston Classic radiant yellow diamond solitaire ring with pear-shaped diamonds set in 18K yellow gold and platinum, all at Harry Winston, Highland Park Village; RetrofĂŞte, Andrea maxi dress, Elizabeth W, Shops at Highland Park.
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From left: Rianna + Nina vintage-silk patchwork dress, The Conservatory, Highland Park Village; Nan Fusco 18K Maligano jasper and Madeira citrine necklace, and fossil walrus earrings in rose gold diamond baguettes, Carefully Curated Luxury; Gucci pinstripe crĂŞpe shirt, GG tulle lingerie, Light GG lamĂŠ pant, and mid-heel pump with studs, Gucci, NorthPark Center; Bottega Veneta fringe crisscross clutch, Bottega Veneta, NorthPark Center; Jonathan Simkhai, Leighton midi dress, Tootsies, Plaza at Preston Center.
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Messika pf Paris Wild Moon diamond necklace in 18K white gold with 18.18 twc of pear, marquise, and round brilliant-cut diamonds, and 18K yellow gold Snake Dance large 3/4 hoop earrings with round brilliant-cut diamonds and pear-shaped diamonds with pave diamonds. Exclusively at Eiseman Jewels, NorthPark Center; Act N°1 tiered top with feathers and black pant, Elements, Lover’s Lane.
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Dolce & Gabbana sheath dress with rose embroidery, Dolce & Gabbana, NorthPark Center.
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ATELIER
Franki Ray cofounders Stacey George and Sasha Spivey with their Neo-retro collection. Photograph by Vincent Monsaint.
Models with Franki Ray Weekender bags and backpack. Photograph by Vincent Monsaint.
A BRIEF CASE OF COOL Best friends Sasha Spivey and Stacey George introduce their leather accessories brand, Franki Ray. BY TERRI PROVENCAL
Franki Ray Business Bags. Photograph by Vincent Monsaint.
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I
t’s the best of stories coming out of 2020—two kids meet in kindergarten, become lifelong friends, have no prior design experience, and decide to flex their creative penchants to develop a new, bespoke accessories brand. Designers Sasha Spivey and Stacey George not only finish each other’s sentences, they also share a zealous approach to life and business that is the hallmark of Franki Ray. Dallas natives, their leather-goods company is named after their entrepreneurial fathers’ first names: Franki and Ray. After trademarking the name and establishing their initial email address, briefcase@frankiray.com, the gal pals decided they were obliged to design a briefcase, the Business Bag, as their first product launch. Updating the briefcase mindset and discarding the heavier styles of yesteryear, they disassembled and retrofitted classic briefcases unearthed from resale shops with mocked-up colorfulpatterned interiors, a redeveloped frame, and the high styling professionally minded women want. They took their prototype to India and met with scores of manufacturers until one finally said yes, they would be pleased to make it. While capacious, the Business Bag is purposeful and enhanced by customdyed buffalo leather on a wooden frame. Every detail was contemplated, like the detachable and adjustable leather shoulder and luggage straps. The interior is just as amped up, with a laptop strap; custom-designed, micro-suede lining; interior Velcro laptop strap; a magnetic-closure pocket; a pen holder; and one more pocket, just in case—the designers thought of everything. The gold lion clasps portray the fierce and confident edge of the founders. The briefcase is available in three personalities: Natalia, in white leather with a striped rose and monied lining; Edna, somewhere in the electric blue scale with a dark floral interior; and the caramel-leathered Head Honcho remains untamed with a lion-patterned lining. Choose from a standard size or mini, which will fit a 13-inch laptop. The two friends turn heads with their looks and personalities but also their business acumen. Spivey studied biomedical science, and George political science, both lending to the detail-oriented perfection and usefulness of their products. The Weekender Bag for example, has a trolley sleeve to pair with any piece of luggage and an exterior pocket with magnetic closure for easy access to travel documents. The full-grained vegetable-tanned leather softens with age like a worn saddle. The same leather is used for their backpacks in three styles, including Santa Fe Stacey, Salacious Sasha, and Mucha Muchacha. After three years in development the line launched on March 6, 2020, then life took a scary turn. Undeterred, the twosome sells their bags online and at Simply Irresistible, next door to the Farmer’s Market—a nod to Shop Local. And these days everyone needs a little pick-me-up. With the say-yes-to-local mindset, a Franki Ray is a perfect accessory for the gift-giving season. FrankiRay.com P
SPACE
Suite Dreams
Rosewood Mansion on Turtle Creek celebrates 40 years with a stunning years-long renovation. BY TERRI PROVENCAL
T
his fall, Dallas’ grandest dame kicked elegance up a notch when the Rosewood Mansion on Turtle Creek unveiled an updated lobby, guestrooms, and suites. Years in the making, the renovation marks 40 years since this palatial former private residence became a boutique hotel, the first for the international Rosewood Hotels & Resorts enterprise. “Since its inception, Rosewood Mansion on Turtle Creek has been a beloved gathering place for the local community and visiting travelers alike, and it is with great pride and pleasure that we welcome guests to experience the next chapter of the Mansion’s illustrious story,” said Andrea Gates, the hotel’s managing director. Known for five-star service with guest experience always top of mind, Rosewood sought distinguished designer Thomas Pheasant, who drew from “the original setting and story” to work in concert with Dallas architecture firm, three. The firm’s president, Gary Koerner, was the designer and project architect who first renovated the circa 1925 estate into a quintessential luxury hotel. “Taking this residential quality to the next level, while at the same time honoring the Mansion’s rich heritage and history, was the focus of the renovation,” said Pheasant. Light pirouettes throughout the airy rotunda at the hotel’s entrance. Of special note is the domed ceiling, handcrafted over six months by Casci Ornamental Plaster, whose founder, an Italian immigrant, worked on the original hotel. Inspired by the estate’s original hand-carved decorative columns, the dome features a leafy cascade in pristine ecru plaster. Crossing the threshold to the lobby, guests can easily find the concierge desk across from the registration desk and consummate professional Mary Stamm or a member of her nonpareil concierge team ready to meet most any request. The lobby appears much larger now, with generous lounge seating in a classicmeets-contemporary living room setting where guests can enjoy beverage service. Throughout, abstract paintings and sepia-toned photographs of Texas landscapes, commissioned from Eaton Fine Art, add modern sophistication, as do locally sourced objets d’art. Combining a serene color palette, 142 accommodations, ranging from 450 to 2,650 square feet, retained the original French doors and petite balconies, while new residential design details were added, including mahogany paneling, whitewashed oak flooring, and mirror-paneled double doors. Damask wall coverings complement custom-made furnishings from Pheasant’s signature Studio line. Spacious new bathrooms feature a generous walk-in shower along with other ADA-compliant room details. Dallas-based Sil Azevedo was commissioned to capture striking photographs of the Mansion, emphasizing the architectural details now installed in the rooms and suites. The Mansion is noted the world over for gracious entertaining, and a stay wouldn’t be complete without its bespoke offerings that speak to Texas heritage. The Mansion even has its own his and hers cowboy boots. Made of calf, Nile crocodile belly, and kidskin, and featuring intricate inlay and applique design details, the boots beautifully highlight the Mansion’s iconic quatrefoil motifs, found throughout the property and grounds; the Mansion Boots are
Rosewood Mansion’s stunning new rotunda.
The Mansion Boot designed by Miron Crosby.
Mansion Suite living room with custom art.
The lobby offers a handsome place to roost.
Turtle Creek Suite Bath.
available on mironcrosby.com. A partnership with Dallas’ own luxury retailer Neiman Marcus presents guests residing in the hotel’s top suites with exclusive shopping experiences, including private access to the brand’s flagship store before it opens. For those enjoying the comforts of their suite, an assortment of luxury clothing and accessories will be hand delivered following a consultation with a Neiman Marcus stylist. Suite guests also receive access to a Lexus during their stay through another premium partnership. Built 95 years ago, today’s Mansion is where modern splendor meets Southern hospitality. “We’re thrilled to mark our 40th anniversary with the official reintroduction of the hotel and look forward to the countless memories to come over the next 40 years and beyond!” enthused Gates. P
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FURTHERMORE
David Loméli. Photograph courtesy of The Dallas Opera.
Annie Penner. Photograph courtesy of The Dallas Opera.
When The Going Gets Tough… David Lomelí and Annie Penner reclaim The Dallas Opera audiences in the virtual sphere. BY TERRI PROVENCAL
I
n this behind-the-scenes year, some heroes remain unsung, especially those trying to keep the arts alive through virtual offerings. When The Dallas Opera announced the cancellation of live-stage productions until the spring of 2021, David Lomelí and Annie Penner got to work. Penner is the TDO’s network and social media manager and Lomelí is the creator of TDO Network, which has a staggering Facebook viewership of over 50 million from 50 countries. “I knew that if we wanted to stay connected with our community—audiences and artists—the only way we could do it was to be on their screens constantly with lots of good content and through every digital platform available to us,” says Lomelí. Lomelí, who joined TDO in 2014, has served as director of artistic administration since 2018. Previously he was the casting manager and Hart Institute for Women Conductors Manager, making him the first Hispanic to occupy a top casting position at a Level 1 opera house in the history of professional opera in America. Last November he accepted the position of casting director at the Bayerische Staatsoper in Munich and will join that company in July 2021, though he will remain with TDO as a consultant. Lomelí enjoyed an acclaimed career as a tenor prior to joining TDO, performing with leading ensembles and opera companies from the Berlin Philharmonic, Munich Radio Orchestra, and Los Angeles Philharmonic to Glyndebourne Festival Opera, the Deutsche Oper Berlin, Santa Fe Opera, LA Opera, and San Francisco Opera. In a collision of right-brain, left-brain proclivities, he holds an engineering degree in computer science from Mexico’s Instituto Tecnológico y de Estudios Superiores, as well as a postgraduate degree in international marketing from Spain’s Politecnica de Catalunya and Italy’s Università di Milano. Lomelí has been featured in TED Talks in Guadalajara and Milan. With TDO for just over a year, Penner’s influence on the company and the art form has been significant. Her role involves all aspects of conceiving, developing, and delivering new programming to tens of millions around the world, as well as managing a wide variety of
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social media campaigns to keep music lovers connected and well informed. Annie began her TDO career as an artistic coordinator for the company in August 2019. Prior to that, she was an intern for Des Moines Metro Opera. She received a bachelor’s degrees in vocal performance and history from Lawrence University, as well as a master of music in voice and opera from the University of North Texas. “TDO Network began as a collaborative project, combining our different strengths and interest in social media with a drive to continue to connect with our audience and community as the pandemic spread,” says Penner. “As it started out, we acted similarly to a lab—experimenting with patterns and algorithms to find the most efficient and successful ways to connect with our audience. Plenty of trial and error occurred as we learned what led to success for our content.” The ever-evolving original content is viewable worldwide though Facebook, Instagram, and YouTube. “Series that we did not expect to take off have completely surprised us, such as Opera Nightmares with three women from SMU. They have connected with audiences in an amazing way and blown ratings out of the water. We predicted success with the series, but they took it to a level that none of us expected. These moments teach us incredible amounts about our audience and how best to tailor our series to what they are looking for,” the coworkers enthuse. Popular programs include: Out of the Pit with the Dallas Opera Orchestra on Sundays at 1 p.m.; Stars of Tomorrow on Fridays at 9 a.m.; and Living Your Best Life with Deanna Breiwick: Season 2. Breiwick will make her Dallas Opera debut as Claude in Jody Talbot and Gene Scheer’s The Diving Bell and the Butterfly, scheduled for March 5, 2021. Lomelí shares in the spotlight with his own program, Creative Conversations. Together Lomelí and Penner are defining the future of the performing arts…the importance of immigrants, minorities, and women in creating and sustaining the American art scene, and the limitless imagination of today’s young adults. P
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