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PLUG IN TO ONE AGENT. LIGHT A NETWORK OF 24. They bring this city to life like no other group. In a spirit of collaboration that has propelled some of Dallas’ most legendary real estate transactions, this premier networking group continues to do what it does best—connect people and properties. What does that mean for you? A more expertly facilitated sale of your prized property. A more perfectly matched home for your next move. Twenty-four of the most admired and knowledgeable real estate professionals in Dallas come together to put their resources and their vast experience to work for you. Insider information, off-market properties, Dallas’ most exquisite estates—all leveraged for your benefit. Thinking of a change? Put the Masters of Residential Real Estate to work for you.
EMILY PRICE CARRIGAN , Emily Price Carrigan Properties CHAD BARRETT, Allie Beth Allman and Assoc. MADELINE JOBST, Briggs Freeman Sotheby’s RYAN STREIFF, Dave Perry-Miller Real Estate SUSAN BALDWIN , Allie Beth Allman and Assoc. FRANK PURCELL , Allie Beth Allman and Assoc. JONATHAN ROSEN , Compass
PENNY RIVENBARK PATTON , Ebby Halliday Realtors MARK CAIN , Compass STEWART LEE , Dave Perry-Miller Real Estate JACKIE MCGUIRE , Allie Beth Allman and Assoc.
Cecily Brown: Themes and Variations is the first exhibition to fully explore the pioneering British American artist’s work through the lens of its groundbreaking reconfiguration of cultural politics.
This major mid-career retrospective brings together nearly 30 large-scale paintings and drawings from across almost 30 years of Brown’s career. The exhibition offers a closer look at Brown’s practice, examining the way her work challenges art history’s traditional values and presents women as complex and fully realized authors and subjects. On view through February 9, 2025. Learn more and get tickets at dma.org.
by the
DMA
and donors, the Texas Commission on the
The Dedman Foundation Marguerite Steed Hoffman
and the citizens of Dallas through the City of Dallas Office of Arts and Culture.
Dallas Museum of Art and the Barnes Foundation. The Dallas Museum of Art is
Members
Arts,
PRESENTED BY
Due to popular demand, the run has been extended through February 23, 2025.
Frida: Beyond the Myth features over 60 works across media. This exhibition explores the life of Frida Kahlo, one of the 20th century’s most iconic artists, who continues to elude our understanding of her as an individual. Discover key moments of Kahlo’s life through her self-portraits, still lifes, important biographical drawings, and photographs taken by the friends and fellow artists who knew her best. Get tickets at frida.dma.org.
Frida: Beyond the Myth is organized by the Dallas Museum of Art. This exhibition is presented by Texas Instruments. The Dallas Museum of Art is supported, in part, by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.
Dedman Foundation Álvaro and Claudia Fernández TurningPoint Foundation
Frida
EDITOR’S NOTE
December 2024 / January 2025
TERRI PROVENCAL
Publisher / Editor in Chief terri@patronmagazine.com
Instagram terri_provencal and patronmag
Yearning to find the holiday spirit? There is no better way to ignite the senses than through the performing arts in our midst. Nightly, there is something for everyone, whether it’s theater, dance, opera, symphony, poetry, or spoken word you want, they are all here for the taking. To highlight this time of year, Lee Cullum visits with three presidents and CEOs and one general and artistic director navigating triumphs and setbacks with grace and ingenuity: Warren Tranquada of AT&T Performing Arts Center, Michelle Miller Burns of Dallas Symphony, Ian Derrer of The Dallas Opera, and Angela Turner Whitehead of Fort Worth Opera. “Time and again they pull the impossible out of impossible odds and make it look unforgivably easy,” Lee writes in Brava! Bravo! Bravi!
Our cover stuns with a residence designed from the ground up by Bodron/ Fruit with art advisory by Michael Thomas. A series of six archival pigment photographs of dried tulips from the Fairies series by German artist Kathrin Linkersdorff amplifies the architecture by Svend Fruit, and the kind of incomparable seating arrangement that Mil Bodron is known for. Rob Brinkley describes the special property the home resides on as having a “woodland aura, a mere three miles from Central Expressway, complete with a wide creek that burbles along one whole side.” Read his story in Attuned to Nature
In Neapolitan Allure in the 18th Century, Nancy Cohen Israel tells of the artistic splendor that surrounded the city of Naples in the shadow of Vesuvius. The Legacy of Vesuvius: Bourbon Discoveries on the Bay of Naples, currently on view at the Meadows Museum, highlights the activities of this time period, including excavations on ancient sites, through an interdisciplinary exhibition curated by Dr. Michael Thomas of the University of Texas at Dallas, who is an expert on the art and archaeology of the Etruscans and Romans.
If you’re art passionate, Richard Howard Hunt is a name you should know. Writer Darryl Ratcliff knows and describes him as “one of the most distinguished sculptors of the 20th and 21st centuries.” In Forging a New Reality , Darryl discusses the legendary Chicago artist, whose solo show Richard Hunt: From Paper to Metal is on view at the Amon Carter. Hunt, who passed away last December, peppered his sculptures all over the country through public commissions, but little is known about his residency at the Tamarind Lithography Workshop in 1965, where he produced two-dimensional prints. Head to Fort Worth to see this show, then check out Bowie House from the Auberge Resort Collection. Grab a meal at Bricks and Horses or an overnight stay in one of the rustically sophisticated suites discovered in An Exceptional Stay
Jacob Hashimoto’s exhibition Not After a Million Years, on view at Talley Dunn Gallery, showcases the brilliance of this multidisciplinary artist. He is distinguished for his immersive installations composed of thousands of layered, kite-like disks, a language he defined in the 1990s. At Talley Dunn, the viewer becomes part of the site-specific installation, whose “suspended shapes read as a makeshift armada flying through a sky punctuated by the skeleton structure of metal beams and ductwork,” observes Matthew Bourbon. It’s a show to see before it closes on January 18.
Lela Rose is a charmer and entertainer. Trained as a painter and sculptor, her creativity is original and never ending. In Ranch Dressing we take a look inside her boutique, completely redesigned in a collaboration with Studio DB. But the best part is the stories about every single garment and accessory in the shop, including the Lela Rose Ranch collection. If that isn’t enough, treat yourself to a cocktail at her fully stocked bar—a great start to the holiday, and the ring of the new year.
–Terri Provencal
Honored
BufordHawthorne is proud to receive the 2024 AIA Dallas Contractor Award.
ARCHITECT: BERNBAUM/MAGADINI
52 BRAVA, BRAVO, BRAVI!
Talent and strong leadership embolden The Dallas Opera and Fort Worth Opera.
By Lee Cullum
56 NEAPOLITAN ALLURE IN THE 18TH CENTURY
Meadows Museum highlights the glittering city on the bay in the shadow of Vesuvius.
By Nancy Cohen Israel
62 FORGING A NEW REALITY
Richard Hunt: From Paper to Metal highlights the artistic evolution of the late sculptor during his 1965 residency at the Tamarind Lithography Workshop.
By Darryl Ratcliff
66 ATTUNED TO NATURE
Bodron/Fruit harnesses a narrow, wooded, creek-side lot along a lake to design three-story perfection.
By Rob Brinkley
On the cover: Six archival pigment photographs from German artist Kathrin Linkersdorff’s Fairies II series make an elegant statement. To the left hangs Linda Ridgway’s bronze sculpture And a masked moon had spread down compass rays, 2019. Mil Bodron covered the 1950s vintage lounge chairs from the Czech Republic in Kvadrat fabric; Joseph Jeup’s Union cocktail table from Bright Group features a greige crosshatch linen finish; Living Divani sofa through Scott + Cooner; Elan Atelier Arch rectangular side tables in bronze through Sutherland; Merino rug through Holland & Sherry. Photograph by Steven Karlisch. 62
JEAN MAHIE
Charming Monster
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JEAN MAHIE
22k Yellow Gold Earrings
Circa 1970s
We Buy And Sell Fine Jewelry And Timepieces.
Assisting individuals with gem and timepiece liquidation for nearly 60 years. By appointment, in your home, your bank, or our salon at NorthPark Center. For more information please contact Michael Johnson at 214.369.6100.
Eiseman Jewels will feature one-of-a-kind estate pieces from its impressive Estate Jewelry collection, along with a curated presentation of a contemporary collection of artistic expressions of gold, diamond and colored stone designs by exclusive designers at the Dallas Art Fair on April 20-23.
DEPARTMENTS
Contemporaries
38 NOT AFTER A MILLION YEARS
Jacob Hashimoto’s solo exhibition at Talley Dunn Gallery showcases the breadth of his work, including an installation using his signature bambooand-paper kites. By Matthew Bourbon. 42 VANISHING ACT
The Power Station brings together a trio of artists who flirt with material and space. By Eve Hill-Agnus
Performance
OF THE PAC
AT&T Performing Arts Center CEO Warren Tranquada looks to build community engagement across its stages. By Lee Cullum
46 MANY HAPPY RETURNS
Michelle Miller Burns is back and ready to hit the ground running as Dallas Symphony’s Ross Perot President and CEO. By Lee Cullum
Space
48 AN EXCEPTIONAL STAY
Awarded two Michelin Keys, Bowie House stakes its claim on Western luxury and urban access to Fort Worth’s Cultural District. By Terri Provencal
Atelier 50
Lela Rose collaborated with Studio DB to redesign her flagship store with room for her signature Western collection. By Terri Provencal
Bringing international dance companies to Dallas, TITAS presents Alonzo Kings LINES Ballet and Ballet Hispánico’s Carmen.maquia. By Anthony
Falcon
CONTRIBUTORS
CHRIS BYRNE
is the founder of the Elaine de Kooning House in East Hampton, NY. Placed on the National Register of Historic Places by the US Department of the Interior in 2022, the residence is also an affiliate member of Historic Artists’ Homes and Studios, a program of the National Trust for Historic Preservation. This coming year, the Elaine de Kooning and Pollock-Krasner Houses are coproducing a joint initiative artist-in-residence and exhibition program.
MATTHEW BOURBON
is a painter, art critic, and professor of art at the College of Visual Arts and Design at the University of North Texas. His work was featured in two solo exhibitions in 2024, Transmission Voices at San Antonio College and Where Sameness and Difference Meet at Kirk Hopper Fine Art in Dallas. An equally talented writer, he explored Jacob Hashimoto’s solo exhibition Not After a Million Years, on view at Talley Dunn Gallery, for Patron
ROB BRINKLEY
is a writer, editor, and creative director in the worlds of magazines, social media, short films, and books. He co-authored the Assouline book Domestic Art: Curated Interiors. He is the director of communications for Briggs Freeman Sotheby’s International Realty. Armed with this knowledge of fine homes, in Attuned to Nature, Rob takes readers through an impeccably designed home nestled in trees along a creek and lake by Bodron/Fruit, with art advisory by Michael Thomas and landscaping by Mesa Design Group.
LAUREN CHRISTENSEN
has over two decades of experience in advertising and marketing. As a principal with L+S Creative Group, she consults with a wide variety of nonprofit organizations and businesses in many sectors, including retail, real estate, and hospitality. Lauren is a Dallas native and a graduate of SMU with a BA in advertising. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron
NANCY COHEN ISRAEL
is a Dallas-based writer, art historian, and educator at the Meadows Museum, and an ongoing Patron contributor of many years. In Neapolitan Allure in the 18th Century, it was her pleasure to write about The Legacy of Vesuvius: Bourbon Discoveries on the Bay of Naples, currently on view at the Meadows Museum. Interdisciplinary in nature and covering several centuries, the exhibition’s layers of depth make it one of the most intriguing exhibitions of the season, she says.
LEE CULLUM
is a journalist covering economics, politics, and public policy. Lee is a senior fellow at the John Tower Center for Public Policy and International Affairs at SMU. Art writing, however, gives her the greatest pleasure. In this issue, Lee talks with presidents and CEOs Warren Tranquada of AT&T Performing Arts Center and Michelle Miller Burns of Dallas Symphony, as well as operatic forces Ian Derrer and David Lomelí of The Dallas Opera, and Fort Worth Opera’s Angela Turner Wilson.
EVE HILL-AGNUS
is a writer, editor, and translator with roots in France and California. She has been a teacher of literature and journalism; a dining critic who also covered art and dance; and a freelance writer/editor of nonfiction, fiction, and poetry. She enjoys translation, whether the translation of one language to another or of art into words. In Vanishing Act, Eve writes of the threeartist exhibition at The Power Station featuring Olga Balema, John McCracken, and Stella Zhong.
DARRYL RATCLIFF
is an artist and poet with a writing and curatorial practice whose work engages communities and mobilizes social issues. He builds collaborative cultural projects that help tell community narratives and promote civic engagement. He is a Yerba Buena Center for the Arts 10 Fellow and founder of Gossypion Investments. In Forging a New Reality, Darryl investigates the Amon Carter exhibition Richard Hunt: From Paper to Metal, which highlights the late sculptor’s residency at the Tamarind Lithography Workshop.
Patty Chang
Jess T. Dugan
LaToya Ruby Frazier
Nan Goldin
Debbie Grossman
Letitia Huckaby
Deana Lawson
Laura Letinsky
Sally Mann
Arlene Mejorado
Catherine Opie
Laurie Simmons
Carrie Mae Weems
PUBLISHER | EDITOR-IN-CHIEF
Terri Provencal terri@patronmagazine.com
ART DIRECTION
Lauren Christensen
DIGITAL MANAGER/PUBLISHING COORDINATOR
Anthony Falcon
COPY EDITOR
Sophia Dembling
PRODUCTION
Michele Rodriguez
CONTRIBUTING WRITERS
Matthew Bourbon
Rob Brinkley
Chris Byrne
Lee Cullum
Nancy Cohen Israel
Eve Hill-Agnus
Darryl Ratcliff
CONTRIBUTING PHOTOGRAPHERS
Karen Almond
Kristina Bowman
Tamytha Cameron
Celeste Cass
Sylvia Elzafon
Victoria Gomez
Stephen Karlisch
Dahlia Katz
Sea of Love
Peyton Mixon
Martha Mood
ADVERTISING
Paul Salveson
Kaitlin Saragusa
Kevin Tachman
Amanda Tipton
Kevin Todora
Kathy Tran
Robert Tsai
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This exhibition has been organized by the Meadows Museum, SMU, Dallas, and the Edith O’Donnell Institute of Art History at the University of Texas at Dallas and is funded by a generous gift from The Meadows Foundation, with additional support provided by the Edith O’Donnell Institute of Art History.
Promotional support provided by the Dallas Tourism Public Improvement District and the Consulate General of Italy in Houston.
THE LATEST CULTURAL NEWS COVERING ALL ASPECTS OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW PERFORMANCES, GALLERY OPENINGS, AND MORE.
01 AFRICAN AMERICAN MUSEUM
Facing the Rising Sun: Freedman’s Cemetery contains photographs, found objects, and historical documents that provide an insight into a community called Freedman’s Town, later known as Short North Dallas, now known as Uptown. This ongoing exhibition features video kiosks with accounts from people who knew Freedman’s Town firsthand. aamdallas.org
03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS
The second location of the Crow Museum, serving as the anchor museum for the UT Dallas Art Museums, presents Ancient Echoes, Modern Voices: The Crow Collection Goes Beyond, featuring eight galleries with hundreds of works, ranging from textiles and ceramics to sculptures and paintings, along with an immersive multimedia installation titled Kinmakers: Hidden Songs in Our Mother’s Dreams. A video featuring an art performance by Chinese British artist Echo Morgan titled Be the Inside of the Vase, and a large-scale
work by Chinese Canadian artist Lam Tung Pang are also on view. From Texas to the World: Common Ground at UT Dallas and the Dallas Museum of Art features objects and masterpieces that span continents, cultures, and historic periods from the DMA. Un/Popular Art: Redefining a Latin American and Caribbean Tradition offers an array of sculptures, paintings, textiles, toys, and ceramics produced in Latin America and the Caribbean that have historically been known as “folk art,” or arte popular. In Fine Feather: New Works by Carolyn Brown features digital collage works created by the Dallas photographer. Image: Indigo Threads gallery, installation view. Courtesy of KUFRI. crowmuseum.org
04
DALLAS CONTEMPORARY
Patrick Martinez: Histories remains on view through Jan. 5, featuring sculpture, installations, large-scale multimedia paintings, and the artist’s signature neon works. Chivas Clem: Shirttail Kin sees Clem turn his photographic attention to his native landscape and the mythos of the American Southwest, through Jan. 12. The inaugural exhibition of DC’s NTX Graduate Student Program will debut Jan. 24. An annual initiative, the program facilitates generative mentorship and institutional connections between North Texas MFA students in their final year of graduate work with White Columns, New York’s curator Matthew Higgs, resulting in a Dallas Contemporary exhibition of selected student work, on view through Mar. 9. dallascontemporary.org
05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM
Hidden History, through Feb. 16, explores this multifaceted history of desperation, loss, and asylum through artifacts, survivor stories, and the photographic lens of prominent American photojournalist Arthur Rothstein, who documented the Shanghai Jewish community in 1946 for the United Nations. dhhrm.org
06 DALLAS MUSEUM OF ART
Frida: Beyond Myth, extended through Feb. 23, sees over 60 works across media—paintings, drawings, prints, and photographs— exploring the life of one of the 20th century’s most welldocumented artists, who continues to elude our understanding of her as an individual. Cecily Brown: Themes and Variations is the
Freedom Matters uses rare artifacts and historical documents, interactive activities, and personal perspectives to examine the concept of freedom: where it comes from, what it means, what free societies look like, and the role of the individual in protecting and spreading freedom around the world, through Dec. 31, 2024. bushcenter.org
08 KIMBELL ART MUSEUM
Through Feb. 9, Dutch Art in a Global Age explores the artistic flourishing in the Netherlands during the 17th century, a period marked by extensive international commerce and cultural exchange. As Dutch merchants established expansive trade networks spanning Asia, the Americas, and Africa, they ushered in an era often regarded as the first age of globalization. Image: Nicolaes de Grebber, Tazza with the Four Seasons, 1606, silver-gilt, 5 7/8 × 7 5/16 in. Gift of Rose-Marie and Eijk van Otterloo, in honor of Thomas S. Michie, and in support of the Center for Netherlandish Art. kimbellart.org
09 LATINO CULTURAL CENTER
The Latino Cultural Center serves as a regional catalyst for the preservation and development of Latino and Hispanic arts and culture through varied exhibitions, bilingual public programs, educational activities, festivals, and special events. lcc. dallasculture.org
10 MEADOWS MUSEUM
The Legacy of Vesuvius: Bourbon Discoveries on the Bay of Naples will reveal the slippage between the ancient and modern during the reigns of royal tastemakers. Through an 18th-century lens, Vesuvius’ volatility read as romantic; in its shadows, the Bourbons financed excavations at the Roman sites of Pompeii and Herculaneum, the fruits of which both fueled and supplied demand for all things antique. Additionally, Unearthing the Legacy of Islamic Spain illuminates a moment of intense social and cultural change in Spain, when debates raged about national identity and modernization, which in turn yielded a cultural resurgence and renewed interest in Spain’s past, including its Islamic heritage. Both exhibitions remain on view through Jan. 5. meadowsmuseumdallas.org
Their Portraits is an exhibition commemorating the hostages abducted from Israel on October 7, 2023, through the art of portraiture. Led by artists Nancy Gordon, a former Dallas resident, and Sivia Braunstein, who was in Israel during the attack, the exhibition features over 200 portraits created by eight artists. Their Portraits remains on view through winter. Gary Eisenstat’s Heart of Glass and Jeff Robinson’s Yirah: Awe! remain on view through Dec. 21, 2024. biblicalarts.org
Through the winter, celebrate the breathtaking beauty of one of nature’s most captivating minerals in Topaz: A Spectrum in Stone. Featuring over 100 exquisite topaz specimens from every corner of the world, this one-of-a-kind collection displays the spectacular scope of crystal structures and colored stones within the topaz family. perotmuseum.org
15
SIXTH FLOOR MUSEUM
Faith & Grief and The Sixth Floor Museum at Dealey Plaza present a special installation of River of Time, a work of art created by artist Pamela H. Nelson from thousands of ribbons signed each year at the Faith & Grief Memorial Arch at Klyde Warren Park in Dallas. River of Time ends Dec. 15, 2024. John F. Kennedy and the Memory of a Nation remains on view through Jan. jfk.org
16 TYLER MUSEUM OF ART
The Art of Texas State Parks: A Centennial Celebration offers a visual observance of the Texas State Park system featuring over 30 works by Texas artists capturing the natural beauty of the Lone Star state, through Jan. 5. tylermuseum.org
OPENS
NOVEMBER 10
Dutch Art in a Global Age: Masterpieces from the Museum of Fine Arts, Boston is supported in part by Frost, the Texas Commission on the Arts, and the Fort Worth Tourism Public Improvement District. Organized by Promotional support provided by
Screening at the Modern Art Museum of Fort Worth, Michael Sheen plays the titular Nye Bevan in this surreal and spectacular journey through the life and legacy of the creator of the NHS. See Nye Dec. 4–7. Next, Dec. 6–7, A Winter’s Cabaret presents An Evening with Mick Lynch. amphibianstage.com
02 AT&T PERFORMING ARTS CENTER
HilltopSecurities’ Camp Christmas takes over Strauss Square and features a fully immersive experience for the young and young at heart through Dec. 29. Reliant Lights Your Holidays event on Dec. 7, features a concert, fireworks, and a holiday drone show. Enjoy An Evening with Gregory Porter on Dec. 16, and A Soulful Christmas with Tye Tribbett on Dec. 17. Holiday Tours run from Dec. 18–21. Experience the Tony-winning musical Dear Evan Hansen from Dec. 19–21. Celebrate with the Blind Boys of Alabama on Dec. 23 and the festive Yippee Ki Yay event from Dec. 26–29. Sonic Symphony on Dec. 28 promises a musical journey through SEGA’s iconic sounds. The Snow Queen by Grand Kyiv Ballet on Dec. 30 brings a romantic story to life through classical music. The new year begins with The Secret of Skinwalker Ranch–Live on Jan. 9, and Potted Potter from Jan. 10–12, condensing all seven Harry Potter books into seventy hilarious minutes. The month concludes with The Man In Black–A Tribute to Johnny Cash on Jan. 29. Image: Scott Hoatson and Joe Maudsley in Potted Potter. Photograph by Dahlia Katz. attpac.org
03 BASS PERFORMANCE HALL
Celebrate the season with the UNT One O’Clock Lab Band presenting Holidays at Bass Performance Hall on Dec. 6, part of the Irwin Steel Popular Entertainment Series. The festive cheer continues into the new year with Sir Stephen Hough’s performance on Jan. 20, and The Music of Sam Cooke captivating audiences on Jan. 30, offering a soulful tribute to the legendary singer, also under the Irwin Steel series. Image: Alex Newell in Shucked . Photograph by Matthew Murphy and Evan Zimmerman. basshall.com
04 BROADWAY DALLAS
Skate into the spirit with the Grand Holiday Ice Show on Dec. 8. Experience A Drag Queen Christmas on Dec. 18. Enjoy the farm-fresh comedy Shucked from Dec. 3–15 and fly away to Neverland in Peter Pan from Dec. 25 to Jan. 5. Shen Yun returns Jan. 24–26, promising a spectacular blend of music and dance. Image: Nolan Almeida as Peter Pan, Cody Garcia as Captain Hook, Hawa Kamara as Wendy, and the cast of Peter Pan. Photograph by Matthew Murphy. broadwaydallas.org
05 CASA MAÑANA
Casa Mañana brings festive cheer with ‘Twas the Night Before Christmas through Dec. 23, a magical journey through New York with holiday song parodies. Christmas with Kenny & Dolly lights up
the Reid Cabaret Theatre from Dec. 3–22, featuring Fort Worth’s Jolie Holliday and classic holiday tunes. Get ready for a whimsical adventure in Charlie and the Chocolate Factory, running from Jan. 31–Feb. 16, in which audiences will explore the wonders of Willy Wonka’s world. casamanana.org
06 DALLAS BLACK DANCE THEATRE
DBDT and DBDT Encore! bring Black on Black to the DBDT Studios Dec. 6-7. dbdt.com
07 DALLAS CHILDREN’S THEATER
Celebrate the holiday spirit with A Charlie Brown Christmas through Dec. 22. Enjoy a heartwarming performance with Charlie Brown, the Peanuts gang, and live jazz music that captures the essence of the season. Then, groove into the new year with Pete the Cat from Jan. 25–Feb. 23, a musical adventure that brings the beloved book series to life, highlighting friendship and creativity. dct.org
08 THE DALLAS OPERA
Join The Dallas Opera for the Linda and Mitch Hart Institute for Women Conductors Showcase Concert on Jan. 25 at 7:30 p.m. This event celebrates emerging talent in the world of conducting. On Jan. 26 at 2:00 p.m., enjoy the Robert E. and Jean Ann Titus Family Recital featuring acclaimed baritone Christian Gerhaher. dallasopera.org
09 DALLAS SYMPHONY ORCHESTRA
Kick off December at the Meyerson with Dvořák’s New World Symphony on Dec. 1, a blend of American and European musical influences under Austrian conductor Markus Poschner. Revel in the holiday spirit with Christmas Pops from Dec. 6–15, featuring Capathia Jenkins and Ryan Shaw. For a unique holiday experience, don’t miss Elf in Concert from Dec. 20–22, celebrating its 20th anniversary with live orchestration. Ring in the New Year with the DSO on Dec. 31, and continue with The Music of Star Wars on Jan. 3–4. Experience the vibrant Disco Fever nights on Jan. 10–12, and delve into the dramatic intensity of Brahms’ Violin Concerto on Jan. 30–31, featuring violinist Augustin Hadelich. mydso.com
10 DALLAS THEATER CENTER
A Christmas Carol continues through Dec. 28. Enjoy a magical journey with Ebenezer Scrooge and the spirits of Christmas past, present, and future in this holiday classic brimming with joyful songs and holiday cheer. Shane, a fresh take on one of the greatest Westerns, runs from Jan. 31–Feb. 16. This stage adaptation by Karen Zacarías introduces us to Shane, the mysterious ex-gunfighter who protects a Wyoming farm, redefining heroism and family in the Wild West. Image: Dallas Theater Center’s A Christmas Carol. Photograph by Karen Almond. dallastheatercenter.org
CREATE A SYMPHONY OF MEMORIES
Every note brings the magic of Christmas and with every melody you feel the warmth and tradition of the holidays. Experience the wonder of the season with the music of the Dallas Symphony Orchestra.
CHRISTMAS POPS
DEC 6-15
KINGS R e JOYCE !
DEC 11
ELF ™ IN CONCERT
DEC 20-22
FAMILY CHRISTMAS POPS
DEC 7 & 14
BRASSY CHRISTMAS
DEC 17
NEW YEAR’S EVE
DEC 31
CREATE YOUR HOLIDAY EXPERIENCE AT DALLASSYMPHONY.ORG/HOLIDAY
11 DALLAS WIND SYMPHONY
Christmas at the Meyerson rings in the holiday on Dec. 17. dallaswinds.org
12 EISEMANN CENTER
The season begins with the Chamberlain Ballet on Dec. 1. Enjoy the Vocal Majority Christmas Show on Dec. 5 and 6, followed by a performance by the Royale Ballet presenting The Nutcracker on Dec. 7–8. The Richardson Symphony Orchestra brings holiday classics on Dec. 7. Catch the Swingles on Dec. 9 and 10, and the DRB Nutcracker from Dec. 13–15. Christmas with the Rat Pack livens things up Dec. 17. Experience Christmas with C.S. Lewis from Dec. 19–22, and the season concludes with performances of The Nutcracker by the Tuzer and CCBT, Dec. 21–24. Celebrate Campana Sobre Campana, Christmas in Mexico on Dec. 28, and welcome the new year with Shen Yun 2025, Jan. 3–5. Pink Martini performs on Jan. 10, followed by Carpenters Legacy on Jan. 11. Don’t miss Dog Man: The Musical on Jan. 22. eisemanncenter.com
13 FORT WORTH SYMPHONY ORCHESTRA
Robert Spano conducts Beethoven and Jake Heggie, featuring Earth 2.0 (world premiere) and Beethoven’s Eroica symphony at Bass Performance Hall, Dec. 6–8. Frozen in Concert will delight families at Will Rogers Auditorium, Dec. 13 and 14. Sounds of the Season at White’s Chapel Methodist Church on Dec. 17 offers holiday classics. FWSO will perform Dvořák’s New World and Mozart’s 40th at Bass Performance Hall, Jan. 3–5. Experience Sci-Fi Symphony, exploring iconic movie scores, Jan. 10 and 11. Michael Shih and DJ Cheek perform Mozart’s Sinfonia Concertante, Jan. 17–19. Indiana Jones and the Raiders of the Lost Ark in Concert is onstage Jan. 24 and 25. Musical storytelling concludes with Scheherazade and The Rite of Spring , Jan. 31–Feb. 2. fwsymphony.org
14 LYRIC STAGE
Lyric Stage kicks off its 31st Season with Forever Plaid–Plaid Tidings through Dec. 22. Bring the whole family for a holiday show at the Lyric Stage Studio, featuring classic characters and a mix of holiday songs and favorite acts. Lady Day at Emerson’s Bar & Grill will follow, Jan. 31–Feb. 23, to honor Black History Month. The show portrays one of Billie Holiday’s final performances. lyricstage.org
15
MAJESTIC THEATRE
The Majestic Theatre’s holiday lineup begins on Dec. 4 with Nick Swardson’s Toilet Head on Dec. 4, Aaron Watson’s Family Christmas Tour on Dec. 5, followed by Ben Folds’ Paper Airplane Request Tour on Dec. 12. Michael W. Smith shares Every Christmas on Dec. 15, and Mariachi Sol De Mexico presents Merry-Achi Christmas on Dec. 18. Experience the magic with The Illusionists on Dec. 19, and enjoy a screening of It’s a Wonderful Life on Dec. 20. The Polyphonic Spree’s Holiday Extravaganza takes the stage on Dec. 21. The
Secret of Skinwalker Ranch LIVE is set for Jan. 9. Nurse John brings laughter with two shows on Jan. 16, leading into Drew Lynch’s The Faking It Tour through Jan. 25. majestic.dallasculture.org
16 TACA
TACA believes the arts are transformative, though obstacles of limited funding, rising costs, and a lack of access to other important resources make it difficult for the arts to survive and thrive. TACA exists to nurture arts organizations and provide visionary, responsive leadership to the arts community. taca- arts.org
17 TEXAS BALLET THEATER
Texas Ballet Theater’s annual rendition of The Nutcracker will delight audiences at Bass Performance Hall and Winspear Opera House, Dec 13–29. Image: Soloist Valentin Batista as The Nutcracker Photograph by Steven Visneau. texasballettheater.org
18 THEATRE THREE
Natasha, Pierre & the Great Comet of 1812 takes the stage through Dec. 29. Directed by Ashley H. White with music by Dave Malloy, this musical is set in 19th-century Russia and is based on a segment of Leo Tolstoy’s War and Peace, offering a mix of electro-pop and Russian folk music. theatre3dallas.com
19 TITAS/DANCE UNBOUND
Alonzo King LINES Ballet showcases his thought-provoking dance on Dec. 13 at Winspear Opera House. Ballet Hispánico brings to Dallas the premiere of a reimagined, evening-length version of the critically acclaimed Picasso-inspired contemporary take on Bizet’s classic. See CARMEN.maquia Jan. 24–25 at Moody Performance Hall. Image: Ballet Hispanico’s Carmen.Maquia . Photograph by Paula Lobo. Courtesy of TITAS/DANCE UNBOUND. titas.org
20 TURTLE CREEK CHORALE
TCC’s Wonder: Holiday Tour starts at Lovers Lane United Methodist Church on Dec. 5, then moves to the Meyerson Symphony Center on Dec. 10, followed by Broadway Baptist Church Ft. Worth on Dec. 13, and wraps up at First United Methodist Church Richardson on Dec. 17. Dive into the nostalgia of childhood Christmases with traditional holiday tunes. turtlecreekchoralecom
21 WATERTOWER
THEATRE
Watertower Theatre brings back the hilariously chaotic The Play That Goes Wrong , co-produced with Stage West Theatre, from Dec. 31–Jan. 12. After a sold-out run in 2022, this Olivier Award-winning comedy, described as a blend of Monty Python and Sherlock Holmes, returns by popular demand. Watch as the performance of The Murder at Haversham Manor hilariously unravels with an unconscious leading lady, a corpse that can’t stay dead, and actors stumbling over more than just their lines. watertowertheatre.org
01 12.26
Sarah Ann Weber’s Minerva’s Web and an exhibition of new work by Rachel LaBine will be on view Dec. 14–Feb. 1. gallery1226.com
02 ALAN BARNES FINE ART
Alan Barnes Fine Art specializes in 19th- and 20th-century American and European paintings, from old masters to Impressionist paintings, drawings, and watercolors. Kathleen Frank will showcase her Western landscapes through the winter. alanbarnesfineart.com
03 AND NOW
Maria Haag will fill the gallery from Dec. 7–Jan. 4. andnow.biz
04 ARTSPACE111
Sublime Desert Synthesis, featuring paintings by Winter Rusiloski and sculptures by Angel Fernandez, will be on view through Jan. 25. About Time, a solo exhibition of new works by Jim Woodson, will also remain on view. Image: Winter Rusiloski, Terlingua Creek Passages, 2023, oil on canvas, 60 x 84 in. artspace111.com
05 BARRY WHISTLER GALLERY
Collage /Assemblage presents a comprehensive look at Clyde Connell, Claes Oldenburg, Lawrence Lee, Dan Rizzie, Jessica Sinks, and more than a dozen other artists. Dec. 7–Jan. 2. barrywhistlergallery.com
06 BEATRICE M. HAGGERTY GALLERY
Yifat Gat and Lizzie Scott will highlight the gallery next on Feb. 2. udallas.edu/gallery
07 CADD
Contemporary Art Dealers of Dallas includes the city’s foremost gallerists who are experienced and knowledgeable in their field and represent the highest standards in artist representation. caddallas.org
08 CHRISTOPHER MARTIN GALLERY
The gallery showcases Christopher Martin’s signature reverse acrylic paintings and the works of more than 25 artists working in painting, photography, mixed media, and sculpture. Represented artists include Rodeo photographer Steve Wrubel; abstract painter Jeff Muhs; mixed-media artist Toni Martin; geometric painter Jean-Paul Khabbaz; and marble sculptor Paul Bloch, among others. christophermartingallery.com
09 CONDUIT GALLERY
From Jan. 11–Feb. 22, explore new large-scale paintings by Robert Jessup in his Robinwood series, influenced by his move from
Washington state to Denton, Texas. Alongside him, Austin-based Lance Letscher showcases his intricate collages, crafted from various antique papers and discarded materials, focusing on color arrangements that echo both quilt-making and modernist painting styles. conduitgallery.com
10 CRAIGHEAD GREEN GALLERY
Robert Burch and Ed Hall’s exhibitions remain on view through Jan. 4. From Jan. 11–Feb. 15, the group show Scapes highlights the gallery. Image: Ed Hall, Up in the Sky, acrylic on panel, 47.5 x 47.5 in. craigheadgreen.com
11 CRIS WORLEY FINE ARTS
Into the Weeds, a solo show for Paul Manes, remains on view at Cris Worley through Dec. 28. Image: Paul Manes, Two Trees, 2024, oil on canvas, 66 x 72 in. crisworley.com
12 CVAD, UNT COLLEGE OF ART AND DESIGN GALLERIES
Labor of Luxury: The Art of Embroidery from India to the World celebrates the artistry of Indian artisans, showcasing high-fashion garments adorned with intricate surface motifs. On view through Feb. 1. cvad.unt.edu
13 DAVID DIKE FINE ART
DDFA specializes in late 19th- and 20th- century American and European paintings with an emphasis on the Texas regionalists, Texas landscape, and mid- century modern painters. daviddike.com
14 ERIN CLULEY GALLERY
What, me worry, an exhibition of new work by Kevin Todora, remains on view through Dec. 21. erincluley.com
15 FERRARI FINE ART GALLERY
The Darkhorse Legacy Gala on Jan. 11 raises funds and marks the conclusion of Debra Ferrari’s Darkhorse painting series. ferrarigallery.net
16 FWADA
Fort Worth Art Dealers Association stimulates interest in the visual arts through scholarships, educational programming, and juried competitions. fwada.com
17 GALLERI URBANE
Benjamin Terry’s Done Being Cool and a pop-up exhibition for John Miranda close Dec. 28. Solo exhibitions for Donald Martiny and Arden Bendler Browning will open Jan. 11. and continue through the month. galleriurbane.com.
18 GREEN FAMILY ART FOUNDATION
Anthony Cudahy: Spinneret, titled for the silk-producing organ that
spiders use to weave their webs, features figurative paintings pieced together into enigmatic scenes of specific objects and environments from interwoven references drawn from queer archives, art history, film, poetry, friends, and his own autobiography. Ian Lewandowski: Mighty Real spans four years of photographs and a short film about The Saint, a membersonly gay discotheque from 1980–1988 in New York City’s East Village. Both exhibitions remain on view through Jan. 26. greenfamilyartfoundation.org
19 HOLLY JOHNSON GALLERY
David Aylsworth: The Sun is as Big as a Yellow Balloon and Randy Twaddle’s Back to the Garden : Recent Works on Paper will remain on view through Dec. 28. hollyjohnsongallery.com
20 JAMES HARRIS GALLERY
Ronald Hall continues through Dec. 21. Richard Rezac’s Selected Work will be on view Jan. 11–Feb. 22. Image: Ronald Hall, Inner City Dreamscape, 2024, acrylic on linen, 22 x 30 in. jamesharrisgallery.com
21 KEIJSERS KONING
Unspoken: Women in Science is a celebration and awareness of women’s contribution to a field which is prone to gender bias. The exhibition features watercolors, sculptures, and virtual animations, through Dec. 21. Next, Willie Binne: Marfa will highlight the gallery Jan. 11–Feb. 15. keijserskoning.com
22 KIRK HOPPER FINE ART
Benito Huerta and Janet Chaffee’s duo exhibition She Said, He Said runs from Dec. 7–Jan. 11, 2025. Following this, from Jan. 18–Feb. 22, Bryan Florentin and H. Jennings Sheffield will exhibit work at the gallery. kirkhopperfineart.com
23 KITTRELL/RIFFKIND ART GLASS
The Holiday Treasures exhibit will showcase a diverse array of treasures both large and small through the rest of 2024 kittrellriffkind.com
24 LAURA RATHE FINE ART
Laura Rathe Fine Art’s I Am–Meredith Pardue will remain on view through Jan. 4. Hunt Slonem opens Jan. 11. laurarathe.com
25 LILIANA BLOCH GALLERY
José Villalobos: In Reflection of Memory and Isaac Díaz: A Través/Through continue through Dec. 28. Image: José Villalobos, 2024, In the Reflection of Memory, installation detail. lilianablochgallery.com
Images (details): A Dash for the Timber, 1889, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, Amon G. Carter Collection, 1961.381; Arthur Dove (1880–1946), The Lobster, 1908, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, Acquisition in memory of Anne Burnett Tandy, Trustee, Amon Carter Museum of American Art, 1968–1980, 1980.29
26 LONE GALLERY
Lone Gallery showcases a diverse array of artistic talents including painters Bradley Kerl, Danny Joe Rose III, and Camille Woods, alongside mixed-media artists such as Cruz Ortiz and Heather Sundquist Hall. The gallery also features works by sculptors Aaron Michalovic and Fernando Rojas. lonegallery.com
27 MELIKSETIAN | BRIGGS
Organizing Principles, featuring work by Meg Cranston, continues through Dec. 14. Image: Meg Cranston, Radiator, 2024, acrylic and enamel on canvas, 55 x 76 in. meliksetianbriggs.com
28 PENCIL ON PAPER
The POP Gallery Holiday Exhibition, featuring work by Jessica Vollrath, Rapheal Crump, Charles Michael Davis, Desmond Blair, Elyse Hradecky, Nouman Gaafar, Barbara Mason, and Katie McKay Jones, will show Dec. 7–Jan. 25. pencilonpapergallery.com
29 PHOTOGRAPHS DO NOT BEND
Neal Slavin: When Two or More are Gathered Together celebrates the new publication of Slavin’s 1974 book of the same name, through Feb. 15. pdnbgallery.com
30 POLLOCK GALLERY AT SMU
Through Dec. 13, Somniloquy sees the installation of New York City–based artist Yuko Nishikawa. Nishikawa, who grew up in the seaside town of Chigasaki, just south of Toyko, creates fantastical environments with her colorful, tactile, lively forms. With a hands-on exploratory approach, she makes paintings, lighting, mobiles, and sculptures using a variety of mediums, reflecting her experiences in architecture restoration, interior and furniture design, crafts, and engineering. smu.edu/meadows/areasofstudy/art/pollockgallery
31 THE POWER STATION
A group exhibition for Olga Balema, John Mccracken, and Stella Zhong remains on view through Mar. 1. Devin T. Mays’ FACSIMILE , organized by Picnic Curatorial Projects, continues through Jan. 11 in The Power Station Annex. powerstationdallas.com
“Trinity Church, New York, C. 1880” 44x18
“Gleam of Nantucket” 16x16
NOTED: GALLERIES
32 RO2 ART
Bernardo Vallarino: Size Matters–The Golden Rule and Carmen Menza: Patterns of Disturbance continue to highlight the gallery through Jan. 11. ro2art.com
33 SAMUEL LYNNE GALLERIES
International fine art photographer David Yarrow returns to Dallas for his 2024 Exhibition, on view through Dec. 23. samuellynne.com
34 SITE131
Reply All, a solo exhibition featuring billboard-sized paintings by Dallas artist SV Randall , continues through Dec. 14. Also on Dec. 14, celebrate Site131’s 10-year anniversary with the Yellow Car Parade. This exhibition and event mark the closing of Site131. site131.com
35 SMINK
A showcase of fine design and furniture, SMINK is a purveyor of quality products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com
36 SOUTHWEST GALLERY
Light and Legacy: The Glow of Cities through the Ages, opening Dec. 14., features the work of Clinton Broyles. For over 50 years, Southwest Gallery has provided Dallas with the largest collection of fine 19th- to 21st- century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000 -squarefoot showroom. swgallery.com
37 TALLEY DUNN GALLERY
Jacob Hashimoto: Not After a Million Years continues through Jan. 18. Vicki Meek: I know upon whose shoulders I stand. I am not confused continues through Jan. 18. The exhibition presents new work by the revered multidisciplinary artist. talleydunn.com
38 TF GALLERY
Newly opened in the Design District by Tanner Ewing, TF Gallery features quarterly contemporary art exhibition programming blended with fashion and design. Currently, work by artists Kevin Cole, Brandon Harris, Kelsey Anne Heimerman, Tran$parent, Paul Nagy, Ricardo Paniagua, and Lekha Singh are on view. tfgallerydallas.com
39 TUREEN GALLERY
Tureen presents Axiomatic Womb
solo exhibition of new work by Dallas-based artist Aliyah Cydonia , on view from Dec. 14-Jan. 3 tureen.info
40 VALLEY HOUSE GALLERY
Through Jan. 4, Lilian Garcia-Roig: On-Sitefulness sees Garcia-Roig’s plein air paintings made for her Cumulative Nature series during residencies in New York state at Art Omi in Ghent; Byrdcliffe in Woodstock; and Millay Arts in Austerlitz. valleyhouse.com
41 VARIOUS SMALL FIRES
Through Feb. 8, a solo exhibition of new paintings by Lezley Saar is the artist’s second exhibition with the gallery and first in its Texas space. In Saudade, Saar offers a series of surreal portraits of women from countries previously colonized by Portugal—including Angola, Cape Verde, and Brazil—which reflect on their journeys. Image: Lezley Saar, Moura Serpente, 2024, acrylic on fabric in found frame, 23 x 17 in. vsf.la
42 WEBB GALLERY
Through winter, Twenty-six CHARACTERS by Panacea Theriac, and new work by Heather Sundquist Hall, Martha Rich, and Esther Pearl Watson , fill the gallery. webbartgallery.com
43 WILLIAM CAMPBELL GALLERY
Celebrating 50 Years of Art showcases gallery artists through Dec. 21. In Jan. a retrospective for Randall Reid and an exhibition titled Grit and Grace will open at the Foch Street location williamcampbellcontemporaryart.com
AUCTIONS AND EVENTS
01 DALLAS AUCTION GALLERY
DAG’s next auction will be a Christmas sale on Dec. 5. dallasauctiongallery.com
02 HERITAGE AUCTIONS
HA’s upcoming auctions feature a range of art and collectibles: The Art of Archie Comics Part VII Showcase Auction begins on Dec. 5. This is followed by both the Hollywood/ Entertainment Signature Auction Featuring the Ruby Slippers on Dec. 7; Imperial Fabergé & Russian Works of Art Signature Auction on Dec. 16; the Depth of Field: Photographs Showcase Auction on Jan. 8; the Minerals Showcase Auction on Jan. 11; Dungeon & Dragons and Roleplaying Games Showcase Auction on Jan. 16; and the The Roger Hill Collection of Pre-Code Horror Comics Showcase Auction on Jan. 23. More details on these events are available at ha.com
Not After a Million Years
Jacob Hashimoto's solo exhibition at Talley Dunn Gallery showcases the breadth of his work, including a site-specific installation using his signature bamboo-and-paper kites.
BY MATTHEW BOURBON
Jacob Hashimoto makes paintings by making sculpture. More precisely, he crafts sculptures to think about flat media.
Like many contemporary artists, Hashimoto locates his work between historically cemented categories. His elaborate constructions emerge out of the usual concerns of painting (line, form, pattern, etc.), but the combination of materials is carefully calibrated to emphasize a three-dimensionality within the generally plain architecture of gallery spaces. Essentially, Hashimoto twists the convention of using a “proper” canvas on stretcher bars into something broader by adapting a methodology from Japanese bamboo-kite construction. He also incorporates techniques or modes of display from printmaking, low-relief sculpture, and accumulative installations. All these inventive consolidations refer to but expand beyond classical notions of the discrete painting. Hashimoto’s modus operandi involves using a particular
combination of component parts, mostly round forms that are stretched with rice paper and printed or painted with vibrant patterns. These disk shapes are displayed as interacting stratums—think of a multiple layered Connect Five game, or a vertical Go board hanging in space. The embellished circles are carefully tied to wooden dowels extending out from the wall. Despite their sculptural presence, the history of landscape representation is essential to understanding Hashimoto’s curiosities. At times one senses abstract descriptions of ground, horizon, and sky, and in other moments fictive digital terrain in an old-school video game. In all cases Hashimoto is adept at attuning the repeated forms into a palimpsest that ricochets into something like an aesthetic firework, exploded and frozen before the viewer. The insistence on the primacy of painting and printmaking via a sculptural form is reminiscent of an artist like Jessica Stockholder, who famously addresses painting by gathering and retooling everyday materials arranged within the boundary of a
Above: Jacob Hashimoto. Courtesy of the artist. Right: Jacob Hashimoto, The Caretaker, 2024, bamboo, paper, acrylic, wood, and Dacron, 36 x 24 x 8.25 in. Courtesy of the artist and Talley Dunn Gallery.
gallery room.
Hashimoto found a way to his distinguishing process by happenstance. In discussing his history, Hashimoto once explained a moment while he was a graduate student at the School of the Art Institute of Chicago when he felt uncertain about the paintings he was making. In order to pass time, he began crafting small kites to fly at a nearby park. This production of small kite forms soon snowballed into a regular activity that led Hashimoto to an epiphany—he suddenly saw the forms as something more than a distraction. Over time he developed a way of working that went beyond the typical pigment-on-a-surface paradigm, making instead a kind of deconstructed space of painting through his now-familiar fusion of materials.
For this first exhibition with Talley Dunn Gallery, Hashimoto offers a range of works that stem from this early experience. The show comes across like a catalog of the various ways of working he’s developed since those initial Chicago days. Nearly all the pieces have his hallmark kaleidoscopic patterns held in mostly rectangular borders—or in one case a large-scale hanging installation perched near the ceiling. The outlier is a monumental, segmented, framed rice paper printing that implies a wire-frame digital landscape. As a whole, the exhibition deftly balances an ethos of abundance or maximalist complexity with a refined and delicate clarity.
While there is a similarity between the works on display, one standout, titled A Thousand Ways to End Time, 2022, takes a slightly different stance This work involves a tricky arrangement, like all of Hashimoto’s art, but it’s also restrained in color, adopting a mostly black-and-white palette. The few moments of brighter colors within the variably sized circles are highlighted and made more significant by sheer contrast with the overall muted tones. While perhaps not as seductive when seen from a distance, this work allows one to appreciate the subtle play among shape, pattern, movement, and stasis more than the works that are riotous in color and design.
Jacob Hashimoto, Not After a Million Years, 2024, installation view at Talley Dunn Gallery. Photograph by Kevin Todora
Jacob Hashimoto, The Ruin, 2024, bamboo, paper, acrylic, wood, and Dacron, 36 x 24 x 8.25 in. Courtesy of the artist and Talley Dunn Gallery.
Jacob Hashimoto, A Thousand Ways to End Time, 2022, bamboo, paper, acrylic, wood, and Dacron, 32 x 25.75 x 8.25 in. Courtesy of the artist and Talley Dunn Gallery.
SCAPES
CONTEMPORARIES
In works like the The Caretaker, 2024, and The Ruin , 2024, Hashimoto is even more adventurous with his creation of shapes. Avoiding his usual circle-only constraint, the artist playfully overlays angular and hexagonal geometries. In The Caretaker, decorative impulses run wild, as squiggle lines meet target circles and partially obscured egg shapes. The variety of inscriptions on each kite feels like every form is an abstract world, complete and inviolable, even as each segment serves the larger composition.
In The Ruin , the irregular shapes are milky transparent, except for the bottom right quadrant, which reverts to circles cast in black-and-white patterns. This section also has patterns that are only intermittently complete, suggesting the work is being made or unmade in front of our eyes. Complicating these wall works (as if we needed more intricacy) are a host of shadows thrown upon the walls, prolonging the experience of looking both inside and outside the margins that Hashimoto delineates for each grouping. The jamming of information within the artwork almost implores us to imagine the parts as cogs in an elaborate machine—silent for a moment—but prepared to be turned on and set in clackety motion. This intoxicating relationship between the activity found in the strings and geometries, offset by the solidity of wood and the opacity or transparency of the paper “kites,” makes the examination of Hashimoto’s art extremely pleasurable.
Anchoring the whole sumptuous exhibition is a large installation floating like a river near the ceiling. The suspended shapes read as a makeshift armada flying through a sky punctuated by the skeleton structure of metal beams and ductwork. Like all of Hashimoto’s art, this arrangement arises from a childhood model-making spirit. But at this scale the enveloping nature of the installation places us squarely inside the construction. We meander within the materials, noticing the tempo of the wooden dowels and the two-sidedness of the hanging kites. One might also imagine moving under the parts as if inside a body, where we traipse around a company of vibrating molecules. This flip-flop between a macro and micro vision helps emphasize the work’s irresistible dynamism—and is emblematic of the unbounded energy displayed by all the work in this memorable exhibition. P
Jacob Hashimoto, This Entire Island of Fractured Glass, 2024, bamboo, paper, acrylic, wood, and Dacron, 66 x 60 x 8.25 in. Courtesy of the artist and Talley Dunn Gallery.
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“IVANISHING ACT
The Power Station brings together a trio of artists who flirt with material and space.
BY EVE HILL-AGNUS PHOTOGRAPHY BY KEVIN TODORA
like objects that appear, strongly, but also appear to disappear.”
—the late, minimalist John McCracken to Paul Tschinkel in an interview in 1996
Seen from a certain angle, John McCracken’s Wave, 2004, reflects in its glossy, monochromatic surface the foliage outside The Power Station in Exposition Park. At other times, it catches only the barest glimmer of light. It draws into itself, seems to condense, and nearly disappears.
In another corner of the 1920s-built former Dallas Light & Power building, three works on pedestals evoke and embody transparency, its poignancy and fragility. As you walk around them, each polycarbonate form’s ghostly outline takes on a shape that you suspect you cannot truly ever grasp. Ukrainian-born, New York–based Olga Balema’s work (from the Loop series exhibited last year at Hannah Hoffman Gallery in Los Angeles, among other venues) strikes one as oddly, thrillingly tactile, like a sheet of gelatin that might dissolve on one’s tongue at any moment; a membrane raised up so you can watch it react to the elements.
You take them in, and the tessellation of leaves, grid of the windows, or slant of the stairs, caught in myriad reflective surfaces, act as a portal into another world. The forms enact a certain kind
of camouflage that is predicated on open-minded seeing. Seeing the material object and also a sort of double—its hovering, immaterial yet spatial presence, transient as a hallucination, ever on the verge of dissolution. It’s a beautiful paradox: You know they are there yet find yourself wondering; they seem to casually flip through dimensions as though rifling through a Rolodex.
That is why The Power Station’s artistic director, Rob Teeters, brought them together for the exhibition Olga Balema, John McCracken, Stella Zhong : three sculptors turned into three roommates, in many ways—one Chinese-born, one Ukrainian-born, and one Californiaborn; two living, one deceased.
Mira Dayal recently wrote in Art in America that Zhong’s works “hinge on prepositions”: “above eye level, below the floor . . .” Here, there is one of those ( Tilted Airs, 2022), a fin that sticks out from a wall. On its underside clusters a universe built up of sand, string, and tiny gobs of clay, like barnacles on a ship’s hull. Zhong’s works play endless games of hide-and-seek. Take, for example, another in the site-specific show: CHIP2023-Splits, 2023, a cube of a room with one side missing and in its shadowy enclave a sort of table or plateau. Installed on the mezzanine, it withholds entry points until you realize that under the plateau—one of the sculptural elements
Stella Zhong, CHIP2023 - Splits, 2023, single-channel video (“Loss of coherence”), projector, acrylic, tinfoil, mirror, Aqua-Resin, oil paint, string, Mylar, wool, wood, foam, sand, epoxy, pigment, magnet, epoxy clay, wire, beads, dimensions variable; Video: 6:30. Collection of Liv Barrett and Patrick Collins. Installation view at The Power Station, Dallas.
that the artist calls “chips”—is a video, and that you are meant to lie down, angle yourself under and in, and watch it. “She sees these chips as being able to float off and dock in another situation,” says Teeters, who first encountered her work in a gallery. “This particular chip has never docked in this particular sculpture before.” This particular juxtaposition has never existed in this particular space before, either.
One element that all these artists possess is an otherworldliness, McCracken first and foremost. “He was interested in UFOs, aliens, and always thought of his objects as possessing this quality of [almost] being ‘left’” Teeters says. “Left by an extraterrestrial or left by somebody from outer space.” This was, in fact, one of the things that distinguished him from his minimalist or California Light and Space movement colleagues.
Dropped into this “noisy” architectural context, his Chieftain, 1992; Siskiyou 1988; and Wave become visible in a different way. “McCracken’s work has gotten to that level where the forms are so iconic that we kind of stopped seeing them, in a strange way,” Teeters says, “like hearing a song that you’re really familiar with. So I wanted the works to be put in a context in which they’re typically not seen.”
From the white-cube gallery or museum scenario, only the pedestals remain. The rest is “noise” and matter. Each oeuvre is a bowling pin in the space of concrete floors and dusky, exposed-brick walls. The Power Station functions as an envelope. (And you cannot tell where one stops and the other begins.) Inside, the pieces will act like atomic particles, with space in between protons, neutrons, and electrons, and something undefinable happening among them. We come to observe the unpredictability, the flux, the light. It’s a captivating, intense exercise.
And so you have choices. The first is how you approach them: in what order, from a fixed standpoint or myriad vantages, on a day of light or half-light, with sharp afternoon sunshine streaming through or early evening when the tones are subtle. Or all, perhaps. P
Clockwise from above: John McCracken, Siskiyou, 1988, polyester resin, fiberglass, and plywood, 96 x 27 x 14 in. Courtesy David Zwirner Gallery, The John McCracken Estate; John McCracken, Chieftain, 1992, polyester resin, fiberglass, and plywood, 96.12 x 29.87 x 17 in. Courtesy of David Zwirner Gallery, The John McCracken Estate; Olga Balema, Loop 53, 2023, polycarbonate sheeting, solvent, 36.50 x 28 x 22 in. Courtesy of Hannah Hoffman, LA. All installation views at The Power Station, Dallas.
LEADER OF THE PAC
AT&T Performing Arts Center CEO Warren Tranquada looks to build community engagement across its stages.
BY LEE CULLUM
When, finally, I find my way, on a whirling round of freeways, from SMU to the AT&T Performing Arts Center’s offices in Plaza of the Americas, CEO Warren Tranquada is surprisingly tranquil after a week in Malaga, Spain, competing in the World Triathlon Championship on behalf of the USA. It must be grueling to swim a mile, then bike for 24 miles (which is nothing compared to the 13.5hour Ironman he likes to do, which has 26 miles of running added to the mix), but Warren is quick to insist that in his age group, it is not as demanding as it sounds.
Warren is back now in Dallas, though, and ready to talk about the holidays at the AT&T Performing Arts Center. The big attraction, already underway, is Camp Christmas , an immersive holiday experience. Created by Lonnie Hanzon for Denver, who also leads his own ticketed tours, it is catapulting Strauss Square into orbit.
Irreverent, irrepressible, irresistible, Camp Christmas is the place to be. Tickets range from $18 for high-flying fun to $80 if you want a late-night tour of the territory, including one led by guides in drag.
Warren Tranquada has nerve; that’s indisputable. But he seems to be someone for whom everything falls into its proper place eventually (or that’s the way it looks), which may be why he tests himself so mercilessly in Ironman mode. He grew up in Toronto; went to McGill University in Montreal, where he met his wife, Alexine, also a triathlete; then got an MBA at Harvard. He did some time at JP Morgan Chase, Bain, and his own consulting firm before joining the New Jersey Performing Arts Center in Newark. There he stayed for 17 years, helping to run a start-up situation in a turnaround city whose population had fallen by more than 50 percent.
Now Newark is growing again, and Warren credits that to some extent to the New Jersey Performing Arts Center (NJPAC).
Tranquada.
This Performing Arts Center showed, he believes, “that Newark has a future.” Similarly, he wants a bigger future for Sammons Park in front of the Winspear. Flora Cantina is open for lunch, drinks, dinner, or whenever you want tacos or tapas. Dance socials, meditation, brass and jazz, open mic nights, and performers from Booker T. Washington High School for the Performing and Visual Arts at outdoor lunches are all scheduled for the months ahead, with special festivities for the holidays and free concerts in Strauss Square, on Flora Street, and in West Dallas. “People want to be part of something,” says Warren, “but the experience must be good. [starting with] the food and beverage, programming, and parking [that’s] easy.”
What he would love to attract is “spillover from Klyde Warren Park.” Wouldn’t everyone? The Dallas Museum of Art and the Nasher benefit mightily from the park, but you can’t tell while admiring the Nancy Best Fountain what might be going on down the street and around the corner, a few blocks away. Warren is counting on the new Visit Dallas information booth near the fountain to spread the word. “His vision and collaborative spirit have been evident as we launch the new Visit Dallas kiosk,” says KWP president and CEO Kit Sawers. “Warren’s dedication to arts
engagement aligns perfectly with our goals for the park’s growth and connectivity.”
AT&T Performing Arts Center’s major assets are still The Dallas Opera’s Winspear Opera House and the Wyly Theatre, home of the Dallas Theater Center, as well as Strauss Square, where Camp Christmas is camping.
Meanwhile, Broadway at the Center goes on, with “subscribers and ticket nerds” who loved Company, Warren reports, while singleticket enthusiasts are gravitating to Dear Evan Hansen December 19–21, 2024. Best of all, November marked the 15th anniversary of AT&T Performing Arts Center, and there is much to show for the arduous effort of the formidable threesome—Bess Enloe, Caren Prothro, and Deedie Rose, plus an army of others—to bring about this miracle of urban excellence.
Warren is celebrating by making plans upon plans, which fill everybody’s email every day, most recently with Shamrock Tenors at the Winspear and a tribute to Aretha Franklin at the Majestic Theatre, both on April 13. On weekends he plays hockey as much as possible, declaring himself “senior status.” However, that reminds me of golfers who claim they are not very good until your defenses are down, and then they cream you on the back nine. P
Clockwise from left: A view of Camp Christmas. Photograph by Amanda Tipton; Michael Fabisch as Evan Hansen in the 2024–2025 National Tour of Dear Evan Hansen. Photograph by Evan Zimmerman for MurphyMade; Tyler Hardwick and Britney Coleman in Company. Photograph by Matthew Murphy for MurphyMade.
MANY HAPPY RETURNS
Michelle Miller Burns is back and ready to hit the ground running as Dallas Symphony’s Ross Perot President and CEO.
BY LEE CULLUM
Isee Michelle Miller Burns in her office at the Dallas Symphony only three days after we both had immersed ourselves in Götterdämmerung for six hours at the Meyerson, starting at 2:00 p.m. for two hours of Wagner’s lament for the twilight of the gods, then an hour for an early dinner, followed by more drop-dead music, a 20-minute intermission, and the final act ending at about 8:00 p.m., when Brünnhilde rides her faithful steed, Grane, into a flaming pyre in search of salvation. I left for home a wreck, though exhilarated by a glorious concert you can only dream of ever seeing again in quite the same way.
It was a welcome back for Michelle, who left Dallas in 2018 to run the Minnesota Orchestra after filling almost every top position on the business side at the DSO, including interim president and CEO. Indeed she, along with her husband, Gary Burns, had landed
only a month before to find the large, square conference table in her office loaded with flowers. A couple of beautiful orchids still remain when I arrive, one of them from a mentor who now is head of a major American orchestra. I almost stumble over a big cardboard packing box holding a printer for her to take home. The new Ross Perot President and CEO of the DSO is getting settled in mid-flight from Wagner to the holidays.
The big question on my mind is this: Will the Dallas Symphony continue to do opera in concert, like the Ring Cycle just concluded? Yes, is her answer, and it is emphatic. “It’s important to Fabio [Luisi]. It’s good for the musicians.”
The audience grew throughout the four-opera cycle of Wagner’s Ring , Michelle notes, but hit its peak on the Sunday afternoon of Götterdämmerung , when I have never seen concertgoers so ready to
The Dallas Symphony with Lise Lindstrom as Brünnhilde in Siegfried, conducted by Fabio Luisi. Photograph by Sylvia Elzafon. Courtesy of Dallas Symphony.
fall in love. Even so, “ticket sales are not back to pre-pandemic levels,” she says. Response to the programs they do at DSO is “all over the place.” Like Warren Tranquada at AT&T Performing Arts Center she stresses the “whole experience,” adding that “we can’t help traffic, but once here we can shape that, tending to things at the micro level—look at it [parking et al.] holistically.”
Tending to big things, little things, every day. That is the mantra of Michelle Burns. No aspect of the symphony escapes her notice—certainly not at the Meyerson. “Some high roof needs to be repaired,” she points out, further avowing that “the Meyerson must be maintained, in partnership with the city.”
This season the DSO welcomed Shira Samuels-Shragg as assistant conductor. Having just completed a tour in the same position with the Plano Symphony, Samuels-Shragg also was one of four chosen for The Dallas Opera’s Hart Institute for Women Conductors earlier this year. She comes with impressive credentials from The Juilliard School and Carnegie Hall’s National Youth Orchestra.
Michelle emphasizes the importance of guest conductors and soloists to raise the visibility of the orchestra and the city. A question always on her mind is: “What do we do in this organization, in this building, to elevate Dallas on the world stage?”
That’s what she hoped to do, no doubt, in Minnesota—and did—but first, far more urgent work awaited her: the imperative to rebuild relations between management and musicians after a brutal lockout that lasted 16 months. Feelings were still raw, though the battle had ended four years before. There could be nobody better in such a situation than she, with her even temperament and careful, methodical approach to problems.
She advanced a “collaborative decision-making process” whereby key committees were composed of board members, musicians, and staff, all of whom voted. “A lot of wonderful work to heal the organization had been done,” Michelle recalls. “But it has to be tended to every day to rebuild trust. You never move on.”
Michelle Burns never really moves on, though she has grown
year after year in post after post, incorporating each adventure into a coherent, comprehensive worldview that leaves nothing behind while absorbing the new, including hiring the Danish conductor Thomas Søndergård to lead the Minnesota Orchestra. It’s all of a piece, flowing smoothly from her days at Northwestern University, where she majored in arts administration and then did increasingly important development at the Chicago Symphony Orchestra and Chicago’s Newberry Library, becoming a master of the art.
Her passion for music goes back to the age of four, when she played the violin while growing up in Iowa, then Chicago. When her parents moved back to Iowa, Michelle was a sophomore in high school, studying with a private teacher and playing in the Chicago Youth Symphony Orchestras. Her parents, surely saints, drove her back to Chicago every weekend to rehearse and play with the CYSO. Does she ever play the violin now? She laughs. “That is my mom’s favorite question.” P
Michelle Miller Burns. Photograph by Josh Kohanek. Courtesy of Dallas Symphony.
Daniel Johansson as Siegfried in Wagner’s Ring Cycle. Photograph by Sylvia Elzafon. Courtesy of Dallas Symphony.
Hagen performed by Stephen Milling as music director Fabio Luisi conducts the Dallas Symphony Orchestra in Götterdämmerung. Photograph by Sylvia Elzafon. Courtesy of Dallas Symphony.
AN EXCEPTIONAL STAY
Awarded two Michelin Keys, Bowie House stakes its claim on Western luxury and urban access to Fort Worth’s Cultural District.
BY TERRI PROVENCAL PHOTOGRAPHS BY STEPHEN KARLISCH
Imagine a hotel right out of the futuristic West World, and it will resemble Bowie House from the Auberge Resorts Collection. Wedding Texas tradition with casual opulence, architecture and interior design firm BOKA Powell spared no expense here.
Opened a year ago this December, Bowie House is situated in the Cultural District, next to the trio of landmark institutions—Amon Carter Museum of American Art, Kimbell Art Museum, and the Modern Art Museum of Fort Worth—and sees a lot of foot traffic from museumgoers as well as visitors to the region. Embracing her cultured neighbors, owner Jo Ellard assembled 400 works to create a “conversation-starting” art collection for the entire hotel that’s visible in every polished-rustic space: the Billet Room, the Mulberry Room, a sumptuously textured library, no area has been neglected.
Gather round the Bar at Bowie House, an already bustling happy hour hangout that reads as a grand ol’ living room peppered with guests dressed in Western flair claiming the character of the hotel, and people from area businesses looking for a stiff Bowie Old Fashioned or Damn Fine Ranch Water. Why not add a wild boar chili pie to that order? Steps away, Bricks and Horses, a chophouse drawing from pedigreed local ranchers and farmers, including Taylor Sheridan’s
The Sorrel Suite offers sweeping skyline views of the Cultural District.
Above, from left: The Bar at Bowie House; Ash, An Auberge Spa at Bowie House.
6666 Ranch , is helmed by executive chef Antonio Votta. Hunker down in one of the leather banquettes and indulge in the Cowboy Caviar Service for starters while pondering your next dry-aged beef fix. Inspired by the equestrian spirit, suede wall paneling, chevron wood floors, and more art from Ellard’s collection complete this modern-day supper club.
You’ll want to take dessert up to your guest room to bask in exquisite comfort and appointment. Choose from studios, or lofts and suites that have space to entertain. The Goodnight Suite is the largest and comes equipped with a fireplace and can accommodate indoor dining for ten. Constance Jaeggi’s black-and-white photographs imbued with the relationship between “horse and human” hang in every guestroom. A Swiss-born cutting-horse rider, TCU brought her to Fort Worth; she’s had two solo shows in the National Cowgirl Museum and Hall of Fame.
Following breakfast, wander the expansive second-floor terrace offering views of the Cultural District. While here, be sure to book a treatment at Ash spa, a wellness sanctuary boasting the Qi Beauty Facial that uses “static magnetic fields with controlled magnetic gradients” for optimal skin recovery and radiance, or Ashes designed to “revitalize the body’s secondary lymphatic system.” The aestheticians here are marvelous, and you will want to take advantage of the infrared sauna, steam room, relaxation lounge, and fitness center. Afterward, make an appointment for personal styling and shopping at the hotel’s Fifth Avenue Club by Saks.
During your transformative stay visit the museum exhibitions currently on view, Richard Hunt: From Paper to Metal at the Amon Carter, Diaries of Home at the Modern, and Dutch Art in the Golden Age at the Kimbell. An excursion to the legendary Fort Worth Stockyards adds storied culture to the mix.
Back at the hotel check out Whinny’s, a poolside restaurant. Sip a frozen drink or eat an ice cream sandwich at your home away from home. P
Thandiwe Muriu, Maridadi, 2022, hangs in the Mulberry Room.
RANCH DRESSING
Lela Rose collaborated with Studio DB to redesign her flagship store with room for her signature Western collection.
BY TERRI PROVENCAL PHOTOGRAPHS BY LISA PETROLE
Clockwise: Lela Rose in her Heart of Texas skirt; Breeze blocks offer an ingenious way to create dressing rooms; The checkout serves as a bar and display case. Background: Hand-embroidered Texas wildflowers bring cheer to custom drapery.
“I’m obsessed with these swing tables,” says Lela Rose, who’s in the middle of opening her reconceived boutique with a wagonload of clients she clearly knows well. As they bustle about to try things on, she speaks of her love of entertaining. The table is drawn from her own dining table in her Tribeca home at a much grander scale. This one echoes the circular layout of the Dallas shop, and she’s layered it with things she loves: woven placemats, scarves, hard-to-get BDDW ceramics, and Grandsue’s sweet and spicy roasted pecans.
Beyond the table is a fully stocked bar that doubles as a checkout and display case for rare vintage silver and turquoise belt buckles, leather straps to pair them with, bolo ties, and whatever discovery she makes. “You can’t find turquoise like this anymore,” she says. Rigorously sourced by Rose from Western shows all over the country and through private dealers that go back generations, she prizes each. Once they are sold there is no finding that exact piece again. “We sold a 1930s rodeo cowgirl outfit today that I’m kind of devastated over,” she cheerfully laments. But the entertainer in her is thrilled for her clients to have just as much fun as she’s having. Did we mention she’s authored two coffee table books on entertaining?
She looked to Studio DB, a husband-and-wife architecture and design firm out of Manhattan, to helm the expansive redesign. Britt and Damian Zunino love the blend of natural materials, traditional elements, and modern styling, and you see every bit of that here. “I could tell they were the right firm for us just because of their sense of texture. They fully understood from the moment I started talking about it.” Character-grade oak flooring and millwork and a custom Heritage Tile floor, patterned by senior interior designer Julia Bialke, bring warmth and depth.
Throughout the shop find elements of discovery in distinct vignettes from both the design details—custom rose drawer pulls—and the fashionable contents. Breeze block walls used to create dressing rooms are a nod to the home of Rose’s mother, Deedie, an art collector who’s passionate about Dallas and currently
serves as the board chair of the developing Harold Simmons Park. Drapery panels are hand-embroidered by New York–based artist William Storms on Rose’s Texas wildflower print. “I just love all that handcraft,” she says lifting one of the drapes that flank the bar.
Every detail nods to Rose and her family’s ReyRosa Ranch, where she frolicked in her youth and entertains as an adult. “There’s a lot of my dad in here,” she says. “He was such an ornithologist. He loved birds.” In a gesture to him, Catherine Hicks crafted kinetic bird mobiles that fly above the dressing rooms. There’s even a Reyrosa toile print with Texas bluebonnets, a horsewoman, and her father’s first dog, Phoebe, a Boykin Spaniel. Find it on A-line dresses, one with a fringed capelet, and skirts. It’s part of the Lela Rose Ranch collection, previously exclusive to the boutique’s location in Jackson Hole, where Lela has a home and spends much of her time. Other great pieces include metallic bead embroidered cotton shirts, embroidered trumpet skirts in grosgrain, pencil skirts with fringe, and upcycled suede jackets.
Trained as a painter and sculptor, Rose has deep reverence for craftsmanship. Sleuthing the world over, she unearths hidden gems she repurposes or leaves alone, like Japanese Satsuma porcelain hand-painted buckles that would go on kimonos. “There’s this huge Japanese-Western symbiosis,” she says. “We take vintage kimonos and make skirts out of them and ‘fringe them up,’ and they take on a whole life of their own.”
She has managed to combine this whole ranch concept and leave plenty of room for her signature collection. You won’t find a Texas gala or luncheon where women aren’t wearing signature Lela Rose. And she likes mixing things up: a vintage concho belt over a sequin knit citrine gown from her ready-to-wear collection. “I like mixing the collection in and doing it with belts and in different ways—I don’t see why you can’t combine stuff like this.”
In case you need a reason to return other than the fabulous mix of apparel and accessories, “You can always have a cocktail.” Rose promises to have guest bartenders, and of course a lot of fun. “I’m having a blast,” she laughs. P
A swing table sets the stage for an adventurous shopping experience.
Lela Rose Collection sequin knit dress in citrine.
BRAVO! BRAVA! BRAVI!
Talent and strong leadership embolden The Dallas Opera and Fort Worth Opera.
BY LEE CULLUM
Anew theory of improbability. This is what guides Ian Derrer, Kern Wildenthal General Director and CEO of The Dallas Opera; Emmanuel Villaume, music director of the company; and David Lomelí, its artistic consultant. Time and again they pull the impossible out of impossible odds and make it look unforgivably easy. Ian is soaring at the moment, with shows that often sell out and frequently fill 80 percent of the hall while other houses, including the Met in New York, struggle to score over 70 percent. Emmanuel will preside over the last two productions this season, conducting to elegant effect. The miracle worker you may not know, however, and should, is David Lomelí.
Currently chief artistic officer of the Santa Fe Opera and head of international partnerships at the Beyerische Staatsoper in Munich,
with commitments in Atlanta and Rijeka, Croatia, thrown in, David is a powerhouse when it comes to casting, coproducing, and spreading the wealth to stages that otherwise might never be able to afford the projects he brings them. “My network is incredible,” he says, with scouting resources in both Eastern and Western Europe plus North and Latin American. La Traviata arrived at the Winspear in October with sets, costumes, and inspiration from Santa Fe, and Pélleas and Mélisande originated in Munich with an approach that is slightly “less edgy” for Dallas, David notes.
Even so, “I am mainly a counselor,” David points out, “never the boss.” The boss is Ian, and David credits him with cultivating a sure sense of the Dallas audience. “It takes a while to build trust,” Ian explains. “Every city is different. Every opera is different, and it’s changing all the time.” For now, he seems to have hit a workable balance between two old favorites bookending the season and a couple of unexpected operas in between.
Sometimes Ian does a newly commissioned work like The Diving Bell and the Butterfly, which was one of three from American companies to be nominated for an International Opera Award, or Orpheus and Eurydice, coming to the Winspear in February. Ian explains that in this production, Orpheus will be using music to reach Eurydice as she slips into dementia instead of tracking her into the underworld, the usual plot. It’s about “the myths that connect the modern with archetypes,” he elaborates. Growing up, he adds, he loved the PBS production of The Power of Myth by Joseph Campbell with Bill Moyers, and that informs his programming along with, perhaps, his own experience as a professional singer: He holds a master of music in vocal performance from Brooklyn College.
David shares that he has attention deficit hyperactivity disorder, which means he is in motion all the time, especially in his head. The result is boundless creative energy. He played wind instruments in pop bands when a teenager in Monterey, Mexico, majored in engineering and computer science in college, and all the while developed his voice as a tenor to a level that took him to topflight opera houses throughout the US and Europe. A cyst in the esophagus and diaphragm brought a goodbye to all that and hello to his current wizardry.
Sometimes David gets impatient with Ian’s infinite patience in putting together the jigsaw puzzle of an opera. But now, more and more, he admits, “I am learning to appreciate Ian time.”
Edward Nelson and Lauren Snouffer as Pélleas and Mélisande at The Dallas Opera. Photograph by Kyle Flubacker.
Ian Derrer at the Winspear Opera House. Photograph by Thanin Viriyaki. Courtesy of Lan Rose PR.
Angela Turner Wilson at Bass Hall. Courtesy of Fort Worth Opera. Photograph by Freddie Watkins.
In Fort Worth, never underestimate Angela Turner Wilson. Those who do make a big mistake. For example, some assumed that never could she get the Fort Worth Opera airborne again, that it would rot forever in the ruins of three previous regimes that were unlucky, unready, or so undone by Covid that the improbable grew impossible, beyond the futile hopes of many who had loved the Fort Worth Opera Festival and its commitment to the new.
But “it’s been a whirlwind.” That’s how Angela describes the two short years since she left as chair of the Vocal Arts Division at TCU to bring the Fort Worth Opera back to life as its general and artistic director. What the doubters failed to understand was how much she has going for her: a radiant soprano voice that has taken her to opera houses all over America and given her, as a result, an intelligent grasp of the mechanics of running a company not always attributed to singers, however successful; an acquaintance with the world of fundraising, no doubt much more than that by now; an easy extroversion that makes her a lot of fun; and, most of all, fearlessness.
It is fearlessness Angela looks for in hiring singers, she tells me one morning when we get together at my house, “fearlessness that’s goes with really giving yourself to the art.” Also, “I want to see excitement…I’m listening for healthy voices that can last all night.” That’s especially necessary for Rossini, whose La Cenerentola she is bringing to Bass Hall in full production in April.
Angela knows about Rossini, having sung Rosina in his Barber of Seville at the Kennedy Center. There are “as many fireworks at the end as at the beginning,” she points out. To sing that music, with its “athleticism,” takes stamina.
Stamina Angela clearly has. Starting 24 months ago with imaginative shows in various settings, still in full swing, she has assembled a season based on “women making their choices, whether the choice is obvious or not.” Little Women by Mark Adamo played at the W.E. Scott Theater in November, fulfilling her vow to do at least one American work a year. The Fort Worth Opera will mount The Elixir of Love at the I.M. Terrell Academy for Visual and Performing Arts in January using the company’s four resident singers plus faculty and students. And of course there’s La Cenerentola
Angela has added some Dallasites to her board, including Allie Beth Allman and Bob Estrada, plus Teresa King, who, like the others, “straddles” both cities. She has brought a new director of education, Anthony Pound, from New York to Fort Worth. And she realizes that donors to her company want to know what they are investing in besides performances. “They want to know you,” she explains. “They want to know about your family.”
Her driving force throughout this whirlwind of rejuvenation has been to “show the light side of opera. I sang so much comedy in my career.” And why not? The main thing is the Fort Worth Opera is back. “I agree,” she says. “I have all my hopes in it.” P
Sandra Piques Eddy, Jennifer Dudley, Tawny Seward, and Coral Owdom in Little Women. Photograph by Ellen Appel. Courtesy of Fort Worth Opera.
NEAPOLITAN ALLURE IN THE 18TH CENTURY
MEADOWS MUSEUM PRESENTS THE GLITTERING CITY ON THE BAY IN THE SHADOW OF VESUVIUS.
“Everybody loves a volcano,” muses Dr. Michael Thomas, exhibition curator of The Legacy of Vesuvius: Bourbon Discoveries on the Bay of Naples, currently on view at the Meadows Museum. And just as a volcano erupts from a single crater before splintering into separate streams of molten lava, so too does this exhibition stem from a singular moment in the 18th century, when the Spanish Bourbons ruled Naples in the shadow of Mount Vesuvius. Their court-sponsored excavations on ancient sites across the region captured the collective imagination while laying the foundation for modern-day archeology. As an interdisciplinary exhibition, it cuts across time, social strata, and disciplines. It broadly covers daily life in antiquity, noble life in the 18th century, and the peripatetic travelers on the Grand Tour.
So who were the Spanish Bourbons and how do they relate to Naples? Briefly, when Hapsburg rule ended in Spain in 1700, power transferred to the Bourbons, notably of France. Once installed in Madrid, Philip V sent his son, Charles III, to wrest control of Naples from the Austrian Hapsburgs. Having accomplished this, Charles,
From left: Francesco Liani, Charles of Bourbon, ca. 1770, oil on canvas, 53.50 x 38.62 in. Caserta, Reggia di Caserta; Anton Raphael Mengs, Portrait of Ferdinand IV of Bourbon, 1759, oil on canvas, 70.87 x 49.62. Naples, Museo e Real Bosco di Capodimonte; Francesco Liani, Maria Amelia of Saxony, ca. 1770, oil on canvas, 53.50 x 38.62 in. Caserta, Reggia di Caserta; Photograph by Kevin Todora. Courtesy of Meadows Museum.
Élisabeth Louise Vigée Le Brun (French, 1755–1842), Portrait of The Young Francis of Bourbon (Francis I), c. 1790, oil on canvas
along with his wife, Maria Amalia of Saxony, transformed Naples into a glittering capital. In addition to sponsoring excavations, they oversaw the construction of palaces and established the Royal Manufactory at Capodimonte to produce porcelain. Maria Amalia also championed local artists.
The exhibition opens with portraits of the royal couple by the Neapolitan painter Francesco Liani. These flank a portrait of their son and heir, Ferdinand IV, by Anton Raphael Mengs. Upon Philip V’s death, the couple returned to Madrid, leaving Ferdinand in Naples. Their departure is chronicled by Antonio Joli in a suite of paintings on view here. Ultimately, Ferdinand married the Austrian archduchess Maria Carolina. A formidable stateswoman and supporter of the arts, her tastes leaned towards the work of foreign artists. Through the efforts of the Bourbon kings and queens, Naples became a de rigueur stop on the Grand Tour.
“It’s a great exhibition because it also connects to 18th-century learning and science. There are all kinds of subtexts that you can find as you walk through it,” says Dr. P. Gregory Warden, the Mark Roglán Director of the Custard Institute of Spanish Art and Culture
at SMU, housed within the Meadows Museum. The exhibition is a collaborative effort with the University of Texas at Dallas’ Edith O’Donnell Institute of Art History, of which Thomas serves as director. He and Warden are fellow archeologists with a long history of working together. For this exhibition, their combined research on antiquity has been balanced by the 18th-century research efforts of Heather Bowling at EODIAH and Dr. Agnieszka Anna Ficek, postdoctoral fellow at both institutes.
The earliest works on view date from the 1st century BCE. They include Pompeiian wall frescoes depicting mythological scenes, religious rituals, and even the wall of a gladiatorial barrack. On the Meadows’ walls, painted a dark, ashy gray, they sing across the centuries. Loaned from the National Archeological Museum in Naples, this will probably be their final visit to the United States due to their fragility.
Artifacts from the Villa dei Papyri in Herculaneum reflect the life of the privileged class. “The exhibition presents the two sides of ancient society. We have an elite villa that was probably owned by the father-in-law of Julius Caesar, and then we have this exotic
Runner (reproduction), installation view (detail), first century BCE–first century CE, Villa of the Papyri, Herculaneum, Naples, Museo Archeologico Nazionale di Napoli, bronze, bone, and stone. Photograph by Guy Rogers III. Courtesy of Meadows Museum.
Egyptianizing Temple of Isis that was really for the lower classes of Pompeii. It was paid for by the son of a freedman, a former slave. At a time when we want our exhibitions to actually say something of social relevance, to me, that’s very interesting,” Warden explains. Another subtext celebrates the role of women. “We’ve always had a female thread running through the exhibition because of the huge role that Maria Amalia played. She was noted for being a real powerhouse and the one who was really running things. The fact that she was behind this impetus to do the excavations and her role in [establishing] the porcelain factory creates a strong current here of women as protagonists, and that includes female painters,” states Dr. Amanda Dotseth, Linda P. and William A. Custard Director of the Meadows Museum. Consider Pliny the Younger and his Mother at Misenum, 79 A.D. by Angelica Kauffmann. Dotseth says, “It is the only work in the exhibition that is an example of an 18thcentury artist imagining an event in the past.” The Swiss-born Kauffmann, along with the French painter Élisabeth Vigée Le Brun, whose Portrait of the Young Francis of Bourbon (Francis I), included in the exhibition, is emblematic of a mobile society, particularly for
Above: Nicola and Pietro Fiore and Antonio Pittarelli, sofa, 1796–99, carved, decorated, and gilded wood, 37.37 x 69 x 21.62 in. Naples, Museo e Real Bosco di Capodimonte. Photograph by Guy Rogers III. Courtesy of Meadows Museum.
At right: The Legacy of Vesuvius: Bourbon Discoveries on the Bay of Naples, installation views. Photograph by Guy Rogers III. Courtesy of Meadows Museum.
women, made possible by relative stability across Europe.
The inclusion of porcelain is also significant. A new medium at the time and considered “white gold,” it was coveted by the wealthy across the Continent. When they left for Spain, Charles and Maria Amalia took their Royal Manufactory with them. In the wake of their departure, the industry was rebuilt into the Real Fabbrica Ferdinandea, founded by Ferdinand and Maria Carolina. The works produced under their reign are heavily influenced by the ancient objects that were being excavated at the time.
The idea of presenting an exhibition devoted to antiquity but dusted with Spanish history was of particular interest to the museum’s late director, Dr. Mark Roglán. Years in the making,
it came about through Roglán’s conversations with Thomas. “I’ve always wanted to do this because I thought it would be a great way to get something different into the Meadows that was ancient but was also pertinent to Spain,” explains Thomas. As a collaborative effort, it is a resounding success. “A lot of people were willing to contribute in new ways to a project that was, in the end, very unique. It speaks to the true value of collaboration and what we can accomplish when we step out of our comfort zones,” acknowledges Thomas. Dotseth concurs, adding, “I hope the collaboration continues. It has been nothing but positive.” For those whose interest is piqued by this oftenoverlooked century, Thomas confides, “We’re not through with the Bourbons yet.” P
From left: Wall painting fragment with priest holding a situla, midfirst century CE, pigment on plaster, approx. 14 x 8 in. Temple of Isis, Pompeii, Naples, Museo Archeologico Nazionale di Napoli; Wall painting fragment with priest dressed as Anubis, mid-first century CE, pigment on plaster, approx. 14 x 8 in. Temple of Isis, Pompeii, Naples, Museo Archeologico Nazionale di Napoli.
The Legacy of Vesuvius: Bourbon Discoveries on the Bay of Naples, installation views.
Photograph by Guy Rogers III. Courtesy of Meadows Museum.
Wall painting fragments with figures, early first century CE, pigment on plaster, 4.75 x 20.50 in. Villa Arianna, Stabiae, Naples, Museo Archeologico Nazionale di Napoli.
FORGING A NEW REALITY
RICHARD HUNT: FROM PAPER TO METAL HIGHLIGHTS THE ARTISTIC EVOLUTION OF THE LATE SCULPTOR DURING HIS 1965 RESIDENCY AT THE TAMARIND LITHOGRAPHY WORKSHOP.
BY DARRYL RATCLIFF
Richard Hunt, one of the most distinguished American sculptors of the 20th and 21st centuries, transformed the materials of industry into art that speaks to human resilience, transformation, and spirit. Now, at the Amon Carter Museum of American Art, Richard Hunt: From Paper to Metal provides an intimate look at his artistic evolution, tracing his journey from lithographic experimentation to monumental metalwork. The exhibition, open through March 2, features 25 lithographs created during Hunt’s pivotal 1965 residency at the Tamarind Lithography Workshop, alongside Natural Form (1968), a newly acquired sculpture that powerfully exemplifies his direct-welding technique.
For Hunt, lithography—an art form where images are created on a flat stone or metal plate using oil-based mediums and then printed onto paper—was a method of translating his sculptural instincts
into two-dimensional space. Unlike drawing, lithography allows for rich textures and tonal variation, enabling Hunt to capture the fluid, impressionistic forms that would become central to his work in metal.
During his residency at the Tamarind Lithography Workshop, an influential center for fine art printmaking in Los Angeles, Hunt learned specialized techniques like acid-tinting from master printer Kenneth Tyler. Founded in 1960 to revive the practice of lithography in the United States, Tamarind became a place for artists to push the boundaries of printmaking, and Hunt’s time there marked a significant chapter in his career. The lithographs he produced at Tamarind are steeped in the themes of transformation and hybridity that define his sculptures, drawing viewers into worlds where organic forms and abstract shapes overlap.
Hunt, a descendant of slaves who passed away in December last
year, was born on Chicago’s South Side in 1935 and grew up in the neighborhoods of Woodlawn and Englewood. His father was a barber, his mother a prominent Black librarian, and together they cultivated his early interest in art. Through lessons at the South Side Community Art Center and visits to Chicago’s major museums, Hunt became enthralled by African art and began to imagine his own place in that lineage. When he was just 19, he saw the open casket of Emmett Till, a boy from his neighborhood whose brutal murder marked him and fueled his commitment to Civil Rights. These early experiences shaped Hunt, imbuing his art with themes of resilience and transformation.
In From Paper to Metal , these themes shine through. The lithographs, born from his time at Tamarind, reveal a quieter, more introspective Hunt, exploring organic and skeletal forms that would later find new life in metal. Many of these lithographs are rendered in stark black and white, their compositions marked by long, sinewy shapes that evoke both the inside of a factory and the curvature of a rib cage. One lithograph’s entwined lines suggest a fusion of machinery and anatomy—gauges and jointed limbs that are sometimes more animal than landscape, more bone than mountain. The forms are plaintive, almost melancholy, with washes of gray that soften the starkness, making the pieces feel both industrial and intimate.
One standout lithograph features fluid, interconnected forms that seem to drift between structure and decay, conjuring images of machinery transformed into bones or carcasses. Here, Hunt’s fascination with anatomy meets his interest in industry, creating an ambiguous space where a factory becomes a body, becomes a landscape, and—if one looks closely—perhaps even becomes two lovers locked in an embrace. This piece, like many in the exhibition, is marked by elongated lines and carefully applied washes that lend the work an introspective, haunting quality, as though Hunt was capturing a moment of transformation or memory.
Another lithograph, rendered in bold red, presents a surreal landscape that feels both geological and anatomical. The overlapping shapes suggest the interior of a machine or a robot collapsing, their jagged edges softened by delicate layers of ink. This piece captures Hunt’s ability to convey both power and vulnerability; it is as if viewers are witnessing a body slowly merging with a mountain.
Natural Form (1968) anchors the exhibition with its undulating steel body, crafted from reclaimed car bumpers and sculpted into a form that’s both industrial and organic. Hunt once described his intention to explore “the kinds of forms nature might create if only heat and steel were available to her.” In Natural Form, this vision materializes—its smooth, metallic curves conjure images of a geological peak or a living creature. The work speaks to Hunt’s philosophy of transformation: He found beauty in discarded materials, welding them into forms that evoke the resilience of both nature and human spirit. It’s a philosophy deeply rooted in his life experiences, from working in Chicago’s zoological laboratory to standing against segregation in Texas during his army service.
For Hunt, these lithographs were not mere preparatory sketches but independent works that allowed him to experiment with form and materiality in ways that would inform his sculpture. “I am interested more than anything else in being a free person,” Hunt once said. “To me, that means that I can make what I want to make, regardless of what anyone else thinks I should make.” His lithographs and sculptures alike embody this freedom, challenging viewers to see beauty in unexpected forms and to find meaning in the spaces where worlds intersect. P
BODRON/FRUIT HARNESS A NARROW, WOODED, CREEK-SIDE LOT ALONG A LAKE TO DESIGN THREE-STORY PERFECTION.
BY ROB BRINKLEY PHOTOGRAPHS BY STEPHEN KARLISCH
“B
ut where will you put the house?” Friends just couldn’t fathom where on the long, thin, tapered, lot — shaped rather like a golf tee—a new house could possibly go. Peppered with large trees and sloping from the street down to a neighborhood lake, the narrow sliver may have seemed more like a side yard than a buildable lot for an entire dream house for a couple of empty nesters.
That’s okay. The nesters were in no hurry. They were living just one street over and had been for about 25 years, raising their family. They did visit their lot often, just to imagine that new house and have a glass of wine by that gleaming lake, where the occasional canoe gliding by is the only traffic to speak of. (Besides, the husband was having far too much fun occasionally tugging a wagon full of drinks the 600 feet from the house to the lot, then texting his friends: “Come over. I’m at my ranch.”)
All the while, Dallas architect Svend Fruit was behind the scenes, quite excited. Fruit and his business partner, interior designer Mil Bodron, had suggested the lot to the couple as an alternative to their firm, Bodron/Fruit, renovating the couple’s longtime home—a perfectly serviceable 1980s traditional—or buying a different house altogether. The nature-loving husband and wife fell in love with the lot’s woodland aura, a mere three miles from Central Expressway,
A home designed by Bodron/Fruit features bevel shell stone exteriors, Douglas fir siding and soffit, and Indiana grey limestone on the terrace. On the right a white-marble sculpture by Jaume Plensa titled Rose’s World II, 2021, is installed.
Svend Fruit designed a three-story stacked home to work within the lot’s small footprint.
Six archival pigment photographs from German artist Kathrin Linkersdorff’s Fairies II series make an elegant statement. To the left hangs Linda Ridgway’s bronze sculpture And a masked moon had spread down compass rays, 2019. Mil Bodron covered the 1950s vintage lounge chairs from the Czech Republic in Kvadrat fabric; Joseph Jeup’s Union cocktail table in Gibraltar Grey on walnut from Bright Group, Dallas, features a greige crosshatch linen finish; Living Divani sofa through Scott + Cooner; Elan Atelier Arch rectangular side tables in flaxen bronze through Sutherland; Merino rug through Holland & Sherry.
Linda Ridgway, Whose Emerald Nest The Ages Spin, 2021, bronze, 24k-gold leaf sculpture; and An evening line seeking its source, 2019, bronze, hang on opposite sides of the André Arbus vintage dining table in limed oak through Unforget, Belgium. Mattaliano Motto armless dining chairs in wood and leather through Holly Hunt, with a Fortuny inset panel through Sutherland. Custom drapery in Great Plains fabric through Colvin Brooks Design.
James Surls’ Eighteen Flowers, 2022, a basswood and steel commissioned wall sculpture, embraces the natural setting; a pair of Roman Thomas Preston chairs in American walnut with nailhead finish covered in Rogers & Goffigon fabric add texture to the seating arrangement. At the entrance, the Untitled, 2020, ceramic, Japanese lacquer, and copper coil sculpture is by Kazunori Hamana in collaboration with Yukiko Kuroda. The door and ceiling are combed Douglas fir wood.
Vik Muniz’s archival photograph Christina’s World, after Andrew Wyeth, 2023, hangs above a Victor desk by Lema from Haute Living, Chicago with a Quintis desk chair, Adam Otlewski desk lamp, and a Lawson-Fenning custom cabinet. Helen Frankenthaler's Untitled, 2001, acrylic on paper, is installed at the top of the staircase. A Halabala 1930s lounge chair from the Czech Republic through Morentz, Netherlands, is upholstered in Holland & Sherry fabric next to the Kathy Kuo faux shagreen Darren coffee table.
Carl Hansen & Søn CH71 walnut lounge chairs covered in fabric from Designtex through Design Within Reach; walnut coffee table in black lacquer through Woodsport, Minnesota; Nasiri custom rug in Mazandaran flatweave is through Nasiri, New York; Artifort leather Mood chairs through Scott + Cooner surround the breakfast table. Viccarbe Aleta counter stools in Elmosoft leather, through Scott + Cooner, line the island. The kitchen features white-oak cabinetry, and the island cabinets and backsplash are in stainless steel with white Macaubas quartzite counter tops.
complete with a wide creek that burbles along one whole side. They wanted their new house to relate to all of it, Fruit says, and they wanted to keep as many trees as they could, so he devised a plan: “We stacked the house. The footprint needed to be as small as possible.” In its resulting three stories, Fruit packed three bedrooms, six baths, a two-story living room, a den, a kitchen, a dining room, a salon/office for the wife and an office/listening room for the husband, who loves his connoisseur audio systems and his country and classical music. There are porches, decks and terraces that jut here and there—into the trees, over the creek, over a pool. Gargantuan windows slide or pivot, opening the house to trees, breezes, and views. It is a permeable, precision assemblage of fir, fossilized limestone, copper, steel, and glass—a sleek shelter in these in-town woods.
It is also a vessel for a cerebral collection of furnishings. Bodron kept the palette quiet but turned up the textures—think thick rugs, nubby fabrics, matte leathers. “The clients wanted a contemporary interior that wasn’t too modern or slick,” he says, and that mission was accomplished with a very specific vibe that Bodron divined: “Modern Texas regional meets Americana.” He has mixed both sleek and soft-edged contemporary pieces that evoke a crafted feeling, and he has stirred in some vintage European pieces, too. For the living room, he discovered a pair of 1950s lounge chairs from the Czech Republic “that act like comfy wingback chairs.” In the dining room, a 1950s table in limed oak and designed by the revered André Arbus “looks somewhat like a French farm table,” Bodron says, “but with soft, modernist detailing.” Otherwise, almost all of the furnishings are of the moment—but they subtly
The Molteni&C Asterias dining table from Urban Space Interiors, surrounded by Artifort leather Mood chairs from Scott + Cooner, offers a view of the backyard and James Surls, Eighteen Flowers, 2022.
Above: The terrace features Indian grey limestone and Douglas fir siding and soffit. On the veranda, Tribù’s Nodi dining armchairs in wenge and linen rope and Dolce Vita aluminum dining table through Janus et Cie offer sweeping views of the property. Kettal’s landscape club chairs in manganese and rope through Smink offer additional seating. Below: A terrace offers a serene overlook.
nod to more traditional classics. Even some of the rugs get in on the act: Their mottles, speckles, and textures evoke the handmade rag rugs of pioneer and colonial homes. “It’s all Mil,” says the husband of the house’s furnishings. Precious few pieces from the previous house came over. (“The old stuff never fits a new house,” Bodron says, speaking from experience.)
Another area in which best to start from scratch was the art. With the kids grown and gone, the house could be whatever the couple wished. Enter Michael E. Thomas, the longtime Dallasbased art advisor whose clients live around the world. (He’s been advising one for 41 years and counting. “When I go to work for someone,” he says, “it’s for the rest of their lives.”) Thomas and Bodron have been friends for 30 years and have worked together on several projects, so Bodron introduced Thomas to the homeowners about halfway through the construction phase. “I met them and fell in love,” Thomas says of the jovial, storytelling couple, whose big personalities and eagerness to learn appealed to the astute advisor. He quickly determined one thing: “They are so attuned to nature.” That observation set an idea in motion—that the works collected could also reference nature, much like the flora found right outside the couple’s glassy twist on a treehouse. The first piece acquired was a bronze branch with a nest, by Dallas-based Linda Ridgway.
A Ridgway commission followed; now there are four of her works in the house, and the couple plans to focus further on Ridgway— known for her bronze wall reliefs that address femininity, tradition, and domesticity—on Thomas’ advice. In the double-height living room, more works referencing nature face off across the space. Six large photographs by German artist Kathrin Linkersdorff fill one wall. They are from her Fairies series of portraits of dried tulips, wherein she extracts much of the flowers’ pigments then suspends them in a liquid medium, where their petals unfurl and their delicate structures are almost transparent, like X-rays. Opposite is a monumental, wall-filling work by Texas native James Surls, a commission suggested by Thomas. It, too, references flowers, with its rough-hewn, burned-wood petals sprouting from dark-painted steel stems.
Another compelling piece is a human representation outside. It is a large-scale, exaggeratedly elongated white marble bust of a young woman titled Rose’s World II by Spanish artist Jaume Plensa, the first living artist to have had an exhibition at the Nasher Sculpture Center. It is the husband’s favorite work. “I really wanted that,” he says—followed quickly by a good-natured clarification from his wife. “Unless my husband and I both like a piece, we don’t get it.” P
Embracing the natural surroundings, the home features bevel shell stone walls, siding and soffit in Douglas fir, and roofing and fascia in copper metal. The Richard Schultz 1966 chaise lounge in bronze is through Knoll with Kylix side tables through Janus et Cie. Landscape by Mesa Design Group, lighting by Byrdwaters Design, and custom builder Steven Hild all expertly realized the vision of this residence with Bodron/Fruit.
Cindy Rachofsky is thanked for her 25-year commitment to TWO x TWO.
Photograph by Kevin Bachman
CAPITAL ONE AND THE CULTIVIST HOST FIRST LOOK DINNER FOR TWO x TWO FOR AIDS AND ART
CAPITAL ONE AND THE CULTIVIST HOST FIRST LOOK DINNER FOR TWO x TWO FOR AIDS AND ART
PHOTOGRAPHS BY TAMYTHA CAMERON AND CELESTE CASS
Cindy Rachofsky, Howard Rachofsky
Jacqueline Atkinson, Howard Rachofsky, William Atkinson
Suzanne Droese, Ceron
Piper Beal, Rachel Finkbohner
Rajan Patel
Marlies Verhoeven
Capital One and The Cultivist First Look Dinner
Ashley Venetos, John Runyon, Lisa Runyon, Lauren Hall Haskins
Chef Thomas Keller
PHOTOGRAPHS BY TAMYTHA CAMERON AND CELESTE CASS
Cindy Rachofsky, Howard Rachofsky
Jacqueline Atkinson, Howard Rachofsky, William Atkinson
Suzanne Droese, Ceron
Piper Beal, Rachel Finkbohner
Rajan Patel
Marlies Verhoeven
Capital One and The Cultivist First Look Dinner
Ashley Venetos, John Runyon, Lisa Runyon, Lauren Hall Haskins
Chef Thomas Keller
Jennifer Eagle, John Eagle
Megan Gratch, Melissa Ireland, Lisa Runyon
Nancy Whitenack, Ade Omotosho, Melissa Ireland, Annette Lawrence
Hannah Fagadau, Sean Cairns
Bob Gibbs, Matthew Wilson
DJ RomiQ
Cindy Rachofsky, Howard Rachofsky, Meghan Looney
Caroline Taubman, Robert Taubman, Howard Rachofsky
James Williams, Lauren Williams
TWO x TWO FOR AIDS AND ART 25TH ANNIVERSARY GALA & AUCTION PRESENTED BY SAKS AT THE RACHOFSKY HOUSE
PHOTOGRAPHS
BY BRUNO AND KEVIN TACHMAN
Nancy Rogers, Sharon Young
Kevin Robert Frost, Marguerite Hoffman Nicolas Party
Amir Rozwadowski, Charlotte Jones
Howard Rachofsky, Todd Fiscus
Mariel Sholem, Dave Sholem
John Runyon, Lisa Runyon
Alan Cumming
Gene Jones, Cindy Rachofsky
Jessica Nowitzki, Ade Amotosho Chaka Khan
Meghan Looney, Melissa Ireland
AKRIS HONORS HONORARY CONSUL OF SPAIN JANET KAFKA AND MARIA GOMEZ, AIA, AS WOMEN WITH PURPOSE AT THE FALL/WINTER 2024 FASHION SHOW AT PARK HOUSE
PHOTOGRAPHS BY PEYTON MIXON
Kimberly Bruder, Maxine Trowbridge
Akris Fall Winter 2024 Fashion Show
Karla Sainz, Nicole Medrano
Maria Gomez, Janet Kafka
Anna Meliksetian, Jennifer Klos
Catanna Berger Butch and Terry Irby, Olivia Pedigo, Clay Irby
Akris Fall Winter 2024 Fashion Show
Teresa Moeller, Ann Dodds
DALLAS CONTEMPORARY 2024 GALA AND AUCTION AT DALLAS CONTEMPORARY
PHOTOGRAPHS BY TAMYTHA CAMERON, CELESTE CASS, AND SEA OF LOVE
Nancy Rogers, Jeny Bania
Bombshell Dance Project
Kyle Hobratschk, Will Evans
Leigh Ann Clark, Kasey Lemkin
Lucia Simek
Dorian Dayton
Daisha Board, Michael Phelps, Dr. Jessica Shephard, Desiree Jordan
Santiago Jorba, Catalina Gonzalez-Jorba, Temple Shipley
Chris Jennings, Rochelle Gores
Shelby Wagner, Niven Morgan
Maria Vittoria Cusumano
Ashley Rutledge, Sherry Brown
Joni Krieg, Catherine Awtrey
Kimberly Whitman, Jessica Nowitzki
Tiffany Edmonds, Kim Dickson, John Dickson
Kasey Lemkin
Michael Regier, Melinda Rathke, Gordon Kendall
Kristen Gibbins, Shelby Foster
2024 DSO SYMPHONY GALA AT MEYERSON SYMPHONY CENTER
PHOTOGRAPHS BY SYLVIA ELZAFON AND KRISTINA BOWMAN
Jon Adams, Terry Loftis
Cece Smith, Ford Smith
Michelle Miller Burns, Marc Gineris
Lang Lang performs with the Dallas Symphony
Laura Harris Means, Patrick Means
Lang Lang, Fabio Luisi
Nancy Nasher, David Haemisegger
Todd Clendening, Sherwood Wagner, Marena Gault, Roger Gault
John Koryl, Rachel Koryl
ERIN CLULEY GALLERY AT TEN YEARS VIP RECEPTION IN RIVER BEND
PHOTOGRAPHS BY EXPLOREDINARY
PARTY IN THE PARK AT KLYDE WARREN PARK
PHOTOGRAPHS BY TAMYTHA CAMERON AND CELESTE CASS
Catherine MacMahon, Doug MacMahon
Elvis Presley Tribute Artist
Terry Kurz, Jeff Kurz
Lynn McBee, Sheila Grant, Jennifer Staubach, Lyda Hill
María Elena Ortiz, Glenn Hutchinson
Nancy Best, Linda Silver
Erin Cluley, Nic Nicosia
Jeff Staubach, Stephanie Phillips, Todd Phillips
Victoria Brill, Grace Cook, Kelly Cornell Kit Sawers
Kaleta Doolin, Alan Govenar
Laura Wilson, Margot Perot, Scot Dykema, Betty Harlan
PATRON MAGAZINE'S CURATED ART & DESIGN PANEL WITH CHRIS ANGELLE, MIL BODRON, GONZALO BUENO, TALLEY DUNN, AND VALERIE GILLESPIE AT HOLLY HUNT DALLAS
PHOTOGRAPHS BY VICTORIA GOMEZ
Victoria Lopez, Nancy Winston, Todd Rowe Burger, Crystal Carmona
Lea LaFortune, Kathy Adcock, Jen Mauldin
Grace Severn, Cade Kieschnick
Mil Bodron, Talley Dunn, Gonzalo Bueno, Valerie Gillespie, Chris Angelle
Carmen Menza, Bridgette Hook
Nancy Winston, Ramon Longoria
Richard Bettinger, Chad Bettinger, Bryan Yates, Grayson Knight
Suzanna Brown, Michael Thomas Grace Teng, Nosheen Iqbal, Miti Kufri
TITAS/DANCE UNBOUND continues to assert its reputation as a fearless force in the Dallas arts scene, bringing together revolutionary dance companies that define contemporary movement. This season is especially thrilling, with the return of giants in the dance world: Alonzo King LINES Ballet and Ballet Hispánico. Each bring a distinct vision, yet together they offer an unparalleled exploration of dance as both an art form and a medium of cultural storytelling.
Alonzo King LINES Ballet arrives at the Winspear Opera House, bringing with it a new work alongside the acclaimed Deep River King’s choreography is often described as spiritual and elemental, weaving threads of resilience and unity through movement. His new work promises to continue this tradition of emotional and physical depth, where dancers push the boundaries of their bodies to convey the power and beauty of human connection. Deep River is a piece that delves into universal themes of struggle, hope, and redemption, creating a shared experience that feels almost sacred. King’s work isn’t just performed; it’s felt, leaving an imprint on those who witness it.
“During a dense season of Nutcrackers, TITAS offers an alternative: the ethereal and stunning LINES Ballet, which is Alonzo King’s amazing contemporary ballet company. Spectacular, unworldly dancers,” raves Charles Santos, executive director of TITAS.
The premiere of Ballet Hispánico’s CARMEN.maquia , a bold reinterpretation of Bizet’s classic opera, comes the Moody Performance Hall on January 24. “If Georges Bizet and Pablo Picasso had a glass of wine together, you get Ballet Hispanico’s CARMEN.maquia ,” says
DARINGLY DIFFERENT DANCE
Bringing international dance companies to Dallas, TITAS presents Alonzo Kings LINES Ballet and Ballet Hispánico’s Carmen.maquia
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BY ANTHONY FALCON
Santos. “Gustavo Ramirez Sansano’s choreography is a spectacular blend of classic and contemporary.” The vision of the company’s artistic director, Eduardo Vilaro, fuses modern choreography with the passion of flamenco and paso doble (Latin ballroom dance), reimagining Carmen as a symbol of strength and defiance.
The minimalist black-and-white set design by Luis Crespo and costumes by David Delfin evoke the artist’s expressive aesthetic, stripping the stage down to its essentials and allowing the raw intensity of the dance to take center stage. “Stunning choreography, music, set and costume designs inspired by Pablo Picasso, modern and innovative, celebrating Bizet’s famous score—this is a must-see performance,” Santos enthuses.
Each movement is rich with emotional tension and intricately structured partnering, with dancers navigating complex relationships and rivalries through physicality. CARMEN.maquia is a visceral exploration of love, jealousy, and freedom, a timeless tale reborn for modern audiences.
TITAS/DANCE UNBOUND is just that: a dance presenter bringing the most intrepid companies to Dallas. Always thoughtprovoking and at times unsettling, the current season has been no exception. Both performances are prime examples of the organization’s commitment of showcasing onstage works that are culturally resonant, artistically daring, and emotionally profound. Through works King and Vilaro, audiences are invited to experience dance as an act of defiance, a celebration of human spirit, and a reminder of art’s transformative power. P
