Patron February/March 2017 Issue

PIERRE HUYGHE 2017 NASHER PRIZE LAUREATE

Nearly Nine Dallas Art Fair Preview TACA Silver Cup Honorees Walter Elcock & Nancy Nasher

D R E S S B Y VA L E N T I N O

E A R R I N G S B Y A L E X I S B I T TA R AT N E I M A N M A R C U S

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

February / March 2017

TERRI PROVENCAL Publisher / Editor in Chief

On the eve of its 9th installment, impressive by any measure in its competitive category, the Dallas Art Fair introduces five international firsttimers to its booth roster along with a return from San Francisco’s Anthony Meier Fine Arts. Danielle Avram gives us the advance on what to expect from these gallerists this April in To the Nines.

The Nasher Prize is more than just an honor and $100,000 purse given to an artist—though that alone is unprecedented when it comes to recognizing an international sculptor. Live bees, a dog named Human that interacts with its installation environs, music, cinema, dance and theater, time-based elements—their very use in Pierre Huyghe’s practice begs to ask, what is the afflatus of this year’s Nasher Prize Laureate? Why was he chosen?

Under the vision of Nasher Sculpture Center Director Jeremy Strick, the award seeks to broaden the ken of contemporary sculpture and challenge our assumptions of what it comprises. Auriel Garza explores Huyghe’s oeuvre in A New Lease on Sculpture. Our cover displays a photograph of Pierre Huyghe by Nan Coulter snapped near his Brooklyn studio.

While the Nasher Prize awards the tangible work of an artist, The Arts Illuminators highlights two arts patrons whose work cannot be measured by tactility. “Both are indispensible to the cultural life of Dallas,” Lee Cullum writes of this year’s TACA Silver Cup Honorees. She’s describing Walter Elcock and Nancy Nasher—two extraordinary citizens of Dallas, championing and cultivating the evolution of the arts in the region. Their names are a constant in the Dallas cultural conversation (especially in 2016).

And through their enduring commitment and passion to emerging and nuanced platforms and organizations, the arts are palpable for all to enjoy.

I’ve long admired the interiors designed by David Cadwallader. Known largely for his modernity, A High-Rise Moment in Dallas shows the designer is equally versed in soft contemporary with his use of “layered textures and subtle tones” in our featured residence photographed by Allison V. Smith.

Peggy Levinson visits with David and architect Jessica Stewart Lendvay who take us inside the home, interestingly mixed with varied art genres and a traveler’s bounty belonging to a venturesome couple.

Peggy also describes the coming of For Home to McKinney Avenue to take the place of Forty Five Ten. From the imaginings of Brian Bolke and creative director Rob Dailey, the furniture store features some of the best names in the business—Jan Showers, Emily Summers, George Cameron Nash, Jan Barboglio, and David Sutherland.

With feet barely wet, Agustín Arteaga, Dallas Museum of Art’s new Eugene McDermott Director, has organized his first exhibition for the museum with “a sweeping survey,” México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde. This March, in collaboration with the Mexican Secretariat of Culture, the DMA will mount over 200 works investigating the country’s artistic Renaissance, marking the only stop in the U.S. In an exclusive announcement offered to Patron, we caught up with Nasiba and Thomas Hartland-Mackie, this year’s TWO x TWO for AIDS and Art co-chairs chosen by Cindy and Howard Rachofsky. These stories and so much more—MTV RE:DEFINE Artist Honoree, Eric Fischl; The Fisherman by George Bellows, an extraordinary acquisition for the Amon Carter Museum of American Art; Dallas artist Luke Harnden’s work as viewed through the curatorial eye of Justine Ludwig; and a visit to Ross Bleckner’s studio as detailed by Chris Byrne in Furthermore—combine to make this a something-for-everyone season.

– Terri Provencal

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CONTENTS 1

FEATURES 55 TO THE NINES On the eve of its 9th year, the Dallas Art Fair ups the art quotient with these six gallerists. By Danielle Avram 62 A NEW LEASE ON SCULPTURE Varied disciplines, materials, and time-based elements instill Nasher Prize Laureate Pierre Huyghe’s practice. By Auriel Garza 70 THE ARTS ILLUMINATORS Enduring arts patrons Walter Elcock and Nancy Nasher receive TACA’s top honors. By Lee Cullum 76 A HIGH-RISE MOMENT IN DALLAS Layered textures and subtle tones imbue a high-rise residence for an artloving, globetrotting couple. By Peggy Levinson

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On the cover: Pierre Huyghe on the streets of Brooklyn near his studio. Photographed by Nan Coulter on December 1, 2016.

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S A I N T L AU R E N T

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CONTENTS 2

DEPARTMENTS 6 Editor’s Note 14 Contributors 22 Noted Top arts and culture chatter. By Shelby Gorday Acquisitions 35 AMON CARTER’S BIG CATCH George Bellows’s The Fisherman is the museum’s latest major acquisition, bridging the Realist tradition and Modernist movement. By Steve Carter Openings 36 EL MODERNISMO MEXICANO Agustín Arteaga curates his first exhibition for the DMA, a blockbuster survey of Mexican art from 1900–1950. By Steve Carter Fair Trade 40 HISTORIC MODERNITY Per Skarstedt brings his primary and secondary art market prowess to the Dallas Art Fair. By Elisabeth Karpidas

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Contemporaries 42 FRESH PERSPECTIVES Nasiba Adilova and Thomas Hartland-Mackie to chair TWO x TWO for AIDS and Art. By Nancy Cohen Israel 46 THE FIGUREHEAD Influential painter Eric Fischl will be honored at 2017 MTV RE:DEFINE. By Michael Mazurek Studio 48 FORMAL FEEDBACK Luke Harnden’s Technological Occult. By Justine Ludwig Space 50 A COLLECTIVE POINT OF VIEW With a penchant for all things lovely, Brian Bolke and Rob Dailey bring top-name designers to McKinney Avenue at For Home. By Peggy Levinson

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There 84 CAMERAS COVERING CULTURAL EVENTS 88 Furthermore ...

A HEAD FULL OF IDEAS

A chat with Ross Bleckner on Hiroshi Sugimoto, The Mudd Club, and his exhibition at Dallas Contemporary. By Chris Byrne

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Shelby Gorday COPY EDITOR Paul W. Conant PRODUCTION Michele McNutt CONTRIBUTING WRITERS Danielle Avram Chris Byrne Steve Carter Nancy Cohen Israel Lee Cullum Auriel Garza Elisabeth Karpidas Justine Ludwig Michael Mazurek Peggy Levinson

FEBRUARY 18 - MARCH 25 Opening Reception February 18, 5-8 pm

CONTRIBUTING PHOTOGRAPHERS Nan Coulter Nathan Dilworth Ralp Gibson Paul Green Celeste Hart Matteo Prandoni Hyla Skopitz Allison V. Smith John Smith Bradley Taylor Kevin Todora Andres Valeriano ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS www.patronmagazine.com One year $28/6 issues, two years $39/12 issues For international subscriptions add $10 for postage

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CONTRIBUTORS

DANIELLE AVRAM Avram is a curator, writer, and Gallery Director at Texas Woman’s University whose work focuses on photography, new media, and collaborative practices. She was the 2015 Pollock Curatorial Fellow at SMU, and the Manager of The Power Station and The Pinnell Collection from 2011–2013.

From 2008–2011, Avram was the Curatorial Assistant for the departments of Photography and Modern and Contemporary Art at The High Museum of Art in Atlanta.

CHRIS BYRNE Chris Byrne is the author of the graphic novel project The Magician (Marquand Books, 2013) as well as the book The Original Print (Guild Publishing, 2002). He is Co-Chair of Art21's Contemporary Council and serves on the Dallas Contemporary’s board of directors, the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught, and the VisitDallas Cultural Tourism Committee. He is the co-founder of the Dallas Art Fair and was formerly Chairman of the Board of the American Visionary Art Museum.

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STEVE CARTER “These are exciting times here on the DFW art front,” according to freelance arts writer Steve Carter, who has his eye on the DMA and Amon Carter in this issue. The DMA’s new Director, Agustín Arteaga, is curating his first exhibition for the museum, México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde. It opens on March 12. Carter also explores the story of the Amon Carter’s new landmark acquisition, The Fisherman, by George Bellows.

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

Her work has appeared nationally in art ltd. and Lilith. She recently wrote the introductory essay for the catalogue, Deborah Ballard: Sculpture, published by Valley House Gallery & Sculpture Garden.

For this issue, she was privileged to write about Nasiba and Thomas HartlandMackie, the newly announced chairs for this years TWO x TWO for AIDS and Art.

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

PEGGY LEVINSON A former showroom owner in the Dallas Design Center and home and style editor, Levinson is a design industry expert. In this issue, Peggy shares with us the home of a Dallasbased adventurous couple. “I was able to explore the work of one of my favorite people and designers in the world, David Cadwallader, and his great working relationship with architect Jessica Stewart Lendvay.”

She updates us on For Home, from the mind of Brian Bolke with Rob Dailey, “a game changer in the Dallas design scene.”

NAN COULTER Nan Coulter is a photographer based in Dallas and contributing arts editor at the Dallas Morning News. She is currently working on a project researching prisons in the United States and the United Kingdom.

She photographed the 2017 Nasher Prize recipient, Pierre Huyghe, in Brooklyn in December 2016.

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

Ludwig holds an MA in Global Arts from Goldsmiths University of London. In Studio, Justine explores Luke Harnden’s Technological Occult.

LEE CULLUM Lee Cullum is a Dallas journalist who works mainly in public policy and business news, but her happy avocation is writing about the arts. So it has been a special pleasure for her to pursue interviews with this year’s TACA Silver Cup Award winners, Nancy Nasher and Walter Elcock.

Both have contributed mightily to the cultural life of this city: she at the Nasher Sculpture Center and NorthPark Center, he as interim director of the Dallas Museum of Art after the departure of his predecessor.

ALLISON V. SMITH A Dallas-based fine art photographer, Smith attended the Young Photographers program at the Maine Media Workshop at age 15, sparking a love of the medium.

After graduating from SMU, she was a staff photographer for newspapers for over 15 years. Smith’s long-term projects include exploring the landscape and personality of Marfa, Texas and the Maine coast. Her editioned fine prints are in The Modern Art Museum of Fort Worth, Dallas Museum of Art, and Museum of Fine Arts in Houston. Smith is represented by Barry Whistler Gallery.

AURIEL GARZA Auriel Garza has a BFA with an emphasis in art history, theory, and criticism from the School of the Art Institute of Chicago and recently earned her MA in art history from Texas Christian University. Recently appointed Associate Director of Laura Rathe Fine Art in Dallas, she has also previously worked for museums, galleries, and cultural nonprofits in Chicago, Dallas, Houston, Miami Beach, and San Antonio. For this issue, Auriel explores the practice of Nasher Prize Laureate, Pierre Huyghe.

JOHN SMITH Dallas-based photographer, John Smith, has spent the last 20 years bringing out the art of architecture in his photography.

He consults with architects, designers, and artists to bring their vision to light. John trained his lens this issue on TACA’s 2017 Silver Cup Honorees, Walter Elcock and Nancy Nasher. In A Collective Point of View, he also met with fashion and design wunderkinds Brian Bolke and Rob Dailey.

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13 01 AFRICAN AMERICAN MUSEUM Ongoing exhibits include The Souls of Black Folk and Facing the Rising Sun: Freedman’s Cemetery, exploring the history of a once-flourishing North Dallas community. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Sam Francis: Prints closes Feb. 5. Captivating artworks are featured in Invented Worlds of Valton Tyler. Between the Lines: Gego as Printmaker observes the diversity of lines in the work of this abstract artist. Both exhibits open Feb. 11. American Photographs, 1845 to Now, highlights artworks from the museum’s collection through Feb. 12. Opening Feb. 25, poignant photographs will display in Avedon in Texas: Selections from In the American West to feature Richard Avedon’s work from the 1978 Amon Carter commission. Mar. 4 marks the opening of Homer and Remington in Black and White. Fluid Expressions: The Prints of Helen Frankenthaler highlight the artist’s overlooked prints, Mar. 18–Sep. 10. Perspectives are explored in Horizon Lines through Feb. 26.

Texas-based Darryl Lauster carved phrases of essential truths into Carrara marble tablets for his sculptural installation Trace, mounting Mar. 25. David Ellis: Animal shows a cycle of video installations through Jun. 4.

Abstract Texas: Midcentury Modern Painting runs through Oct. 8. Gabriel Dawe’s site-specific Plexus no. 34 will be on view through Sep. 2, 2018. Image: Richard Avedon (1923–2004), Boyd Fortin, thirteen year old rattlesnake skinner, Sweetwater, Texas, 3_10_79, 1979, gelatin silver print mounted on aluminum panel. The Richard Avedon Foundation, Amon Carter Museum of American Art. cartermuseum.org 22

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

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03 ANN & GABRIEL BARBIERMUELLER MUSEUM The Samurai Collection, the single, largest private collection of Japanese armor in the world, focuses solely on the art of the samurai, spanning the 9th to the 19thcenturies. The masterworks in the collection illustrate their sculptural beauty, mystique, and craftsmanship. samuraicollection.org 04 CROW COLLECTION OF ASIAN ART Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles continues through Feb. 12. Exploring painting, photography, and the history and principles of Chinese ink painting, Landscape Relativities: The Collaborative Works of Arnold Chang and Michael Cherney runs Feb. 25–Jun. 25. Wisdom of Compassion: The Art and Science of Iwasaki Tsuneo shows Mar. 11–Jun. 10. Divine Pathways: South and Southeast Asian Art highlights the Hinduism, Buddhism, and Jainism influences on Asian art, through Jun. 25. An ongoing exhibition, Fierce Loyalty: A Samurai Complete, is devoted to the art and culture of the Japanese samurai. crowcollection.org 05 DALLAS CONTEMPORARY Bruce Weber’s photographs in Far From Home; Ross Bleckner’s exhibition, Find a peaceful place where you can make plans for the future, featuring his new large-scale paintings and recent smaller canvases; and John Houck’s work in The Anthologist, reflecting on material relics that signify his interpersonal relationships, continue through Mar. 12. Image: Ross Bleckner, Untitled, 2016, oil on linen, 32 x 16 in. dallascontemporary.org

06 DALLAS HOLOCAUST MUSEUM In partnership with the SMU Embrey Human Rights Program, the Upstander Speaker Series presents activist and actor, George Takei, on Feb. 2. Join the museum’s iRead Book Club on Feb. 6 to discuss Anna and the Swallow Man by Gavriel Savit. Filming the Camps—From Hollywood to Nuremberg opens Feb. 16. Join Dr. Sara Abosch, Senior Director of Education at the museum, for Lunch and Learn: Historical Lessons on Mar. 7. Spring Break Survivor Speakers Series takes place Mar. 13–17. On Mar. 23, the museum screens They Were Expendable at Studio Movie Grill followed by December 7th on Mar. 26. dallasholocaustmuseum.org 07 DALLAS MUSEUM OF ART México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde opens its only US stop Mar. 12. Concentrations 60: Lucie Stahl continues through Mar. 12.

Art and Nature in the Middle Ages features a selection of European medieval art, through Mar. 19. Daumier’s Political and Social Satire features Honoré Daumier's work through Apr. 23. Modern Opulence in Vienna: The Wittgenstein Vitrine and Passages in Modern Art: 1946–1996 both continue through May 28. Javanese batik is featured in Waxed: Batik from Java through Sep. 10. Shaken, Stirred, Styled: The Art of the Cocktail explores the history of signature beverages, through Nov. 12. dma.org 08 GEOMETRIC MADI MUSEUM Benini: Alla Geometria will show his brightly colored paintings and geographic shapes through Apr. 23. He will speak on Mar. 16. geometricmadimuseum.org

NOTED: VISUAL ARTS

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09 KIMBELL ART MUSEUM The Cliburn presents Avi Avital on the mandolin and Kenneth Weiss on the harpsichord Feb. 9. Don’t miss After Hours at the Kimbell the evening of Feb. 11. The Fort Worth Chamber Choir performs Love Makes the World Go ‘Round on Feb. 12. Also presented by The Cliburn, Richard Goode plays the piano Feb. 23 and 24. Considered one of the great master builders of the 20th century, Louis Kahn: The Power of Architecture, opening Mar. 26, includes a remarkable range of architectural models, original drawings, photographs, and films. kimbellart.org 10 LATINO CULTURAL CENTER The LCC’s monthly movie screening, Cine de Oro, features Solo Con Tu Pareja on Feb. 15 and La Diosa Arrodillada on Mar. 15.

Crossing several decades, Maestro Tejano: Roberto Munguia showcases through Apr. 1. dallasculture.org/latinoculturalcenter 11 THE MAC Joshua Goode’s Outhouse Oracle shows Feb. 18–Mar. 11 and includes an archaeological performance, in partnership with UTA, Feb. 18. Partial Visibility by artist Alicia Eggert includes new neon signs, lenticular prints, and a video installation, Mar. 18–Apr. 8.

Image: Alicia Eggert, All That is Possible is Real, (detail), 2016, neon and custom controller, 96 x 156 x 12 in. the-mac.org 12 MEADOWS MUSEUM Artist Ian O’Brien returns for Drawing From the Masters, Feb. 12 and 26. In collaboration with the Museo del Prado, Between Heaven and Hell: The Drawings of Jusepe de Ribera opens Mar. 12 and includes approximately fifty

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drawings, ten paintings, and a small group of prints. meadowsmuseumdallas.org 13 MODERN ART MUSEUM OF FORT WORTH Highlights from the Permanent Collection runs through Feb. 5. Beginning in the early 1980s and taking nearly a decade to complete, Donald Sultan: The Disaster Paintings is on view Feb. 19–Apr. 23. Known for his colorful, irregular grids on square canvases, Stanley Whitney’s abstract work is featured in FOCUS: Stanley Whitney, through Apr. 2.

Image: Stanley Whitney, SunRa 2016, 2016, oil on linen, 96 x 96 in. Courtesy of Team Gallery. themodern.org 14 MUSEUM OF BIBLICAL ART Linda Stein’s exhibition, Holocaust Heroes: Fierce Females, has been extended through the end of March. Via Dolorosa Sculpture Garden features Gib Singleton’s sculpture. biblicalarts.org 15 NASHER SCULPTURE CENTER Richard Serra: Prints pushes boundaries of traditional printmaking, through Apr. 30.

The Nasher’s Homeschool Workshops are Feb. 3 and 22–24. Target First Saturdays are on Feb. 4 and Mar. 4. Explore communication, language, and writing through photography, poetry, and other forms with Sightings: Michael Dean through Feb. 5. Nasher Now Classes for Adults take place Feb. 9 and Mar. 2.

New Acquisitions: Four Works by Ana Mendieta features sculpture, photography, and video by this Cuban-American artist through Feb. 12. Soundings continues with John Cage's Sonatas and Interludes on Feb. 18. Nasher Prize Celebration Month begins Mar. 1. Celebrate

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spring break with the Nasher, Mar. 14–19.

Mark your calendar for the Nasher Prize Dialogues on Mar. 16, 30, and 31. On Mar. 31, National Gallery of Art’s senior curator, Lynne Cooke, speaks with the 2017 Nasher Prize Laureate, Pierre Huyghe. Image: Richard Serra, Penn. Ship, 1987, ed. 30/31, lithograph, 61.5 x 52.5 in. Collections of Jordan D. Schnitzer and his Family Foundation. nashersculpturecenter.org 16 NATIONAL COWGIRL MUSEUM Celebrate Laura Ingalls Wilder’s 150th Birthday Program on Feb. 25. Explore Pure Quill: Photographs by Barbara Van Cleve, through May 7. cowgirl.net 17 PEROT MUSEUM First Thursday Late Night explores recycling on Feb. 2 and electricity on Mar. 2. Rediscover a lost civilization in Maya: Hidden Worlds Revealed, opening Feb. 11. Create your own inventions and discover fossils at Discovery Days, Feb. 11 and Mar. 11. Spend the night in Sleepover, Feb. 18 and a special Spring Break Sleepover, Mar. 11. The Perot’s Engineers Week opens Feb. 20–Feb. 25. The National Geographic Speaker Series continues Mar. 2 with aquatic biologist Zeb Hogan. Watch in 3D at The Hoglund Foundation Theater, A National Geographic Experience: Earthflight 3D, through Mar. 10 and Extreme Weather 3D, through May 25. perotmuseum.org 18 TYLER MUSEUM OF ART Flora and Fauna exhibits through Mar. 19.

Brickstreet Antholog y: Photographs by Robert Langham continues through May 14. TMA also hosts monthly events including First Friday and Family Day. tylermuseum.org FEBRUARY / MARCH 2017

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NOTED: PERFORMING ARTS

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01 AMPHIBIAN A miner is trapped underground and discovers he has many things in common with an inexperienced first responder in Northside Hollow by Jonathan Fielding and Brenda Withers, Feb. 10–Mar. 5. National Theatre Live brings the duo Ian McKellen and Patrick Stewart together for Harold Pinter’s No Man’s Land on Mar. 15 and 18. White Rabbit Red Rabbit is a theater experiment fused with a social experiment that no one is allowed to talk about, Mar. 22–26. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Tony Award-winning musical Hedwig and the Angry Inch comes to Dallas Feb. 7–12. The #HEARHERE series continues with Neil deGrasse Tyson: The Cosmic Perspective on Feb. 14, followed by Fran Lebowitz’s trademark sneer on Mar. 31–Apr. 1. Scottish-American stand-up comedian and television host, Craig Ferguson, entertains Feb. 16. The storytelling phenomenon, Snap Judgment Live! brings the finest storytellers to Dallas on Feb. 24. The Complete Works of William Shakespeare bring an unabridged staged reading of King Lear to the Studio Theatre Mar. 12–13 and All’s Well That Ends Well on Mar. 26–27. Robot Planet Rising: an Intergalactic Nemesis Live Action Graphic Novel hits the Wyly Theatre Mar. 23–25. Image: Euan Morton as Hedwig in Hedwig and the Angry Inch. Photo by Joan Marcus. attpac.org 03 BASS PERFORMANCE HALL The Fort Worth Symphony Orchestra presents Brahms Symphony No. 1 Feb. 3–5, followed by The Mozart Gala on Feb. 11, Saint-Saens Organ Symphony Feb. 24 –26, Rodgers & Hammerstein at the Movies Mar. 10–12, Gomyo Plays Mozart Mar. 17–19, and 007 The Music of James Bond on Mar. 31. An American in Paris takes the stage Feb. 14–19.

Witty and charming, Five Irish Tenors: Voices of Ireland stages Feb. 22. Vocal legend Tony Bennett performs Mar. 15. Broadway at the 24

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Bass presents the music of The Beatles in Let It Be, Mar. 21–26. Greater Tuna brings laughs in a comedy about Texas’s third smallest town, Mar. 29–30. basshall.com 04 CASA MANANA Let down your hair with Casa Mañana and Rapunzel: A Very Hairy Fairy Tale, Feb. 3–19.

The Tony Award-winning musical West Side Story stages Mar. 4–12. Red Riding Hood, a new musical of Red’s journey through the forest, begins Mar. 17. casamanana.org 05 DALLAS BLACK DANCE THEATRE Celebrate 40 years with a trip down memory lane in Cultural Awareness, Feb. 17–19.

DBDT and DBDT: Encore! join forces to bring audience favorites to the stage during Dancing Beyond Borders, Mar. 3 and 11. Image: Cultural Awareness, 2017, photo by Sharen Bradford—The Dancing Image. dbdt.com 06 DALLAS CHILDREN’S THEATER Junie B. Jones is back in Junie B. Jones is Not a Crook, through Feb. 26. The Teen Scene Players presents EAT (It’s Not About Food), a dramatization that explains the world of eating disorders, Feb. 10–19. The Kathy Burks Theatre of Puppetry Arts takes on Jack and the Beanstalk Mar. 3–26. Tomás and the Library Lady tells an inspiring true tale of how reading can help you escape, Mar. 24–Apr. 2. dct.org 07 THE DALLAS OPERA The 2017 Juanita and Henry S. Miller, Jr. Founders Award Luncheon takes place Feb. 22.

Family-friendly opera, The Three Little Pigs, is onstage Feb. 26. Opera Insights, presented by The Dallas Opera Guild, discusses Madame Butterfly on Feb. 26 and The Turn of the Screw on Mar. 5. Enjoy a multilingual performance with the family in Verdi and Company Mar. 5.

A young Japanese girl is blinded by her love for an American Naval officer in Madame Butterfly, Mar. 10–26. The Turn of the Screw tells the story of a governess hired to care

for two children, but soon suspects ghosts are haunting them, Mar. 17–25. dallasopera.org 08 DALLAS SUMMER MUSICALS An American in Paris continues through Feb. 12. The percussion sensation, STOMP, performs Feb. 14–19. The Illusionists shows the talents of seven incredible illusionists, Feb. 28–Mar. 5. Imagine a night that never happened in Let It Be, presenting the music of The Beatles, Mar. 7–19. Tony Awardwinning musical Kinky Boots will lift your spirits opening Mar. 28. Image: Kinky Boots, photo by Matthew Murphy. dallassummermusicals.org 09 DALLAS SYMPHONY ORCHESTRA Maestro Jaap van Zweden conducts the DSO in Tchaikovsky and Bruckner, featuring Alisa Weilerstein on the cello, Feb. 2–3. DSO performs Respighi’s symphonic poem Pines of Rome Feb. 10–12 followed by Richard Strauss’s Also Sprach Zarathustra Feb. 23–26.

Rachmaninoff + Rachmaninoff delights with the late Russian composer’s ambitious Symphony No. 1 and Piano Concerto No. 4, Mar. 2–5. Ella Fitzgerald and Satchmo are brought to life with Marva Hicks�s sultry voice and Byron Stripling’s “blazing” trumpet in Ella & Louis, Mar. 10–12. Jaap van Zweden conducts Brahms 2, Mar. 16–19. Organist Thomas Trotter plays the Lay Family Concert Organ in the Opus 100 Organ Series, Mar. 26. The Dallas Symphony Chorus and the Children’s Chorus of Greater Dallas perform with the DSO in St. Matthew Passion, Mar. 30–Apr. 2. mydso.com 10 DALLAS THEATER CENTER In The Christians, Pastor Paul has a message for his mega church that will turn the congregation on its head, through Feb. 19.

Prospero is marooned and left to die on a remote island in Shakespeare’s The Tempest, Mar. 3–5 presented by the Dallas Public Works Project. dallastheatercenter.org

MATHEWS-NICHOLS.COM

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11 EISEMANN CENTER Shakespeare’s famous female characters live in Tina Packer’s Women of Will, Feb. 3–4. Keyboard Conversations presents The Splendor of Schubert on Feb. 6, The Genius of Chopin on Feb. 20, and Fiesta! The Glorious Music of Spain and Argentina on Mar. 28. Paul Taylor Dance Company performs Feb. 11. Princesses come back to set the record straight in Disenchanted!, Feb. 16–19. Kelly Carlin moves from shadow to light in A Carlin Home Companion, Feb. 24–25. Dr. Seuss’s The Cat in the Hat causes trouble on Feb. 26. Women of Ireland takes the stage on Mar. 18. The Other Mozart tells the true story of Nannerl Mozart, the sister of Amadeus, Mar. 23–26. eisemanncenter.com 12 KITCHEN DOG THEATER Eva invites a homeless man to stay in her home for the night, but she doesn’t realize he plans to take over her life and home. Paper Flowers runs Feb. 17–Mar. 11. kitchendogtheater.org 13 MAJESTIC THEATER Gabriel Iglesias brings his standup comedy to Dallas Feb. 1– 4. Television host and comedian, Adal Ramones, will perform Feb. 10. Young singer Matty B returns to Dallas Feb. 11–12. Adam Ant is back on stage with his Kings of the Wild Frontier tour Feb. 14.

Al Di Meola brings his Elegant Gypsy: 40th Anniversary Tour on Feb. 18. Yes performs on Feb. 19. Modern folk musician Amos Less stops in Dallas Feb. 23. Writer, actor Odin Dupeyron is on stage Feb. 25. MultiGrammy-winning artist Al Jarreau performs Mar. 3.

Colombian singer and songwriter Maluma entertains Mar. 5. Gordon Lightfoot performs on Mar. 10 followed by Travis Greene, Anthony Brown, and Jonathan McReynolds in The Worship Tour, Mar. 13.

International singer Madeleine Peyroux and special guest Rickie Lee Jones perform together Mar. 14.

Marisela makes an appearance on Mar. 17. Legends Pat Benatar and Neil Giraldo play together Mar. 19.

Brain Candy Live! With Adam Savage and Michael Stevens is a family-friendly show onstage Mar. 26. The Queen of Mean, comedian Lisa Lampanelli, brings her jokes to town Mar. 31. dallas-theater.com

THE RESIDENT

EXPERT ERIN MATHEWS direct 214.520.8300 emathews@mathews-nichols.com

FEBRUARY / MARCH 2017

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ALL - NEW EXHIBIT

08 14 TACA The Arts Community Alliance (TACA) presents the 2017 TACA Silver Cup Award Luncheon honoring Nancy A. Nasher and Walter Elcock on Mar. 7 at the Hilton Anatole. taca-arts.org

PORTRAITS O F COURAGE A COMMANDER IN CHIEF’S TRIBUTE TO AMERICA’S WARRIORS

MARCH 2 – OCTOBER 1, 2017 See a vibrant collection of oil paintings

by President George W. Bush - and the stories of the warriors they represent - honoring the sacrifice and courage of America’s military servicemen and women.

15 TEXAS BALLET THEATER Rooster & Smith & Scher is a performance featuring a company premiere and two world premieres, Mar. 3–5. texasballettheater.org 16 THEATRE THREE Downstairs in Theatre Too, the annual production of I Love You, You’re Perfect, Now Change continues through Feb. 12. Passing Strange is a Tony Award-winning journey across boundaries of place and identity from Mar. 2–26. Miss Billie and Miss Freddie, the sequel to The Empress and the Pearl, will take the Theatre Too stage on Mar. 23. theatre3dallas.com 17 TITAS Doug Varone and Dancers present Varone’s awardwinning choreography at the Winspear Opera House on Feb. 18. Innovative dance company, Diavolo | Architecture in Motion, returns to Dallas Mar. 10–11.

Alvin Ailey American Dance Theater, a celebrated modern dance company, performs Mar. 31–Apr. 1.

Image: Diavolo, photo by Luke Behaunek. titas.org 18 TURTLE CREEK CHORALE Topsy Turvy Songs You Thought You Knew presents familiar songs in a new style you would not have imagined, Mar. 23–25. turtlecreekchorale.com 19 UNDERMAIN THEATRE Galileo by Bertolt Brecht tells the 17th-century story of this brilliant polymath’s controversial teachings of young students during the age of reason. From Feb. 8–Mar. 5. undermain.org

For more information call 214 - 346 -1650 or visit bushcenter.org Located on the SMU campus in Dallas, Texas just off US Highway 75.

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20 WATERTOWER THEATRE Silent Sky explores the magic of the universe through Feb. 12. Playwrights, directors, and actors come together to create The 24-Hr Plays to culminate in a one-time performance Feb. 25. Parade in Concert is inspired by the events surrounding the 1913 murder trial of Leo Frank, on Mar. 25. watertowertheatre.org

NOTED: GALLERIES

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01 ALAN BARNES FINE ART The Alan Barnes Fine Art 2017 catalog, The Discerning Eye, has been released. The gallery’s winter exhibition will continue through Feb. 5. alanbarnesfineart.com

installations, and exhibitions utilizing vacant spaces. Robert Chase Heishman’s solo show, curated by Lauren Fulton, through Feb. Beefhaus hosts Carolyn Sortor’s self-curated solo show in Mar. beefhouse.org

02 ANDNOW Located in the The Cedars neighborhood, ANDNOW displays three paintings, a sculpture, and a massive wall collage by Dallas-based artist Michelle Rawlings through Feb. 18. andnow.biz

07 BIVINS GALLERY The inaugural group exhibition Bivins Gallery: 21 to Watch continues through Feb. 11. Artist Robert Hudson opens his exhibition Between the Lines, featuring his sculptures and paintings on paper, with a reception on Feb. 18. The exhibit continues through Mar. 25. bivinsgallery.com

03 ARTSPACE111 William Greiner’s paintings, prints, and collages titled Near & Far and Nancy Lamb’s photog raphy i n Up & Down continue in Near & Far & Up & Down through Feb. 4. Still-life artworks are the subject of an untitled group exhibition opening Feb. 1–Mar. 18. Artist Al Souza presents a solo show for Fort Worth Art Dealers Association’s Fall Gallery Night on Mar. 25. artspace111.com 04 BARRY WHISTLER GALLERY Houston-based artist Terrell James is well known in the Dallas art scene, but her exhibition, SOTOL VIEW, will give spectators a rare opportunity to view two of her mural-sized works never shown in Texas.

This will be the artist’s third solo exhibition with Barry Whistler, Feb. 18–Mar. 25. barrywhistlergallery.com 05 BEATRICE M. HAGGERTY GALLERY The 2017 University of Dallas Regional Juried Ceramic Competition continues through Mar. 13, featuring a reception with the artists on Feb. 13. View from the Art Village: 50-Year Retrospective runs Mar. 24–Apr. 29. udallas.edu/offices/artgallery 06 BEEFHAUS ART BEEF produces site-specific events,

08 CADD CADD’s Third Thursday Happy Hour is hosted by Valley House & Sculpture Garden Feb. 16. Celebrate creativity and community with a Sunday Soup Supper on Mar. 5. Galleri Urbane hosts CADD’s Third Thursday Happy Hour Mar. 16. caddallas.net 09 CARLYN GALERIE Various love-themed cards, glass hearts, and jewelry are featured in An Affair of the H’art, Feb. 1–14. Artists include: David Salazar, Mad Art, Patricia Locke, Tana Acton, and other American artists. Spring Flowers in Glass

by Chris Belleau and Shawn Messenger runs Mar. 15–30. carlyngalerie.com 10 CARNEAL SIMMONS CONTEMPORARY ART The gallery is exhibiting painter Jennifer Morgan’s work in Mesonoxian Meditations.

The exhibition opens with a reception Feb. 18 and continues through Mar. 25. Image: Jennifer Morgan, Craz y Diamond, acrylic and latex paint on canvas, 46 x 78 in. carnealsimmons.com 11 CHRISTOPHER MARTIN GALLERY Vitreous Air by Christopher Martin is reminiscent of his paintings, sublime and contemplative explorations of color and

composition that coax layers of imagery, light, reflection, and pigment; only here, the artist uses light and the camera as tools of abstraction. christophermartingallery.com 12 CIRCUIT 12 CONTEMPORARY Circuit 12 presents two solo exhibitions: How Did I End Up Here featuring new works

by Lucas Martell and Accidental World: Party Island with new works by Gina Orlando.

Both exhibits run Feb. 18–Mar. 18. The gallery will also show new paintings by Howard Sherman in Shifting Fancy of the Crowd beginning Mar. 25. circuit12.com 13 CONDUIT GALLERY Susan Kae Grant’s Convergence and Steven Miller’s Sweet and Sorrow both continue in the Main Gallery through Feb. 11. In the Project Room, David Canright’s exhibition Matters of Scale continues through Feb. 11. The gallery opens Fahamu Pecou’s The People Could Fly and New Paintings from Barsamian Feb. 18– Mar. 25, with an opening reception the evening of Feb. 18. conduitgallery.com 14 CRAIGHEAD GREEN GALLERY The Painted Tombs of Swift features new photography by Carolyn Brown. Chris Mason’s wire sculptures appear in Higher States. Pamela Nelson showcases her works on paper in EVIDENCE: Paper Trail.

All three exhibitions continue through Feb. 11. The gallery hosts a three-artist reception Feb. 18 for the opening of Faith Scott Jessup, Krista Harris, and Carolin Wehrmann. Jessup uses small panels as memory triggers in Rediscovered. Harris’s lively abstract paintings are shown in Wanderlust. Through narrowing her subject matter, Wehrmann is able to create an array of intense emotions in Water. Through Mar. 25. Image: Krista Harris, Whale Watching, acrylic, plaster, glazes, oil crayon on canvas, 36 x 36 in. craigheadgreen.com

FEBRUARY / MARCH 2017

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NOTED: GALLERIES

22 15 CRIS WORLEY FINE ARTS Murielle White’s solo exhibition Mutation features colorful mixed-media paintings that are inspired by her diverse, multi-cultural background, through Feb. 11. Patti Oleon’s second solo exhibition at the gallery, Neither Here Nor There, runs Feb. 18–Mar. 25.

The artist realistically paints altered spaces with an emphasis on lighting, architecture, and illusion. crisworley.com

HANS VAN DE

BOVENKAMP

16 DADA Mark your calendars for The Business of Art, a panel discussion at the Latino Cultural Center, Apr. 1. The Dallas Art Dealers Association is comprised of leading art dealers, commercial galleries, non-profit art spaces, and cultural art centers. dallasartdealers.org 17 DAVID DIKE FINE ART DDFA specializes in late 19 th - and 20 th -century American and European paintings with an emphasis on the Texas Regionalists and Texas Landscape painters. The gallery provides a compilation of traditional and distinctive works for new and mature collectors. daviddike.com

March 4th, 5-8 pm Artist in Attendance

18 ERIN CLULEY GALLERY Anna Membrino’s exhibition Views continues through Feb. 11. Through Thick and Thin, a group show opening Feb. 18, features artists Amna Asghar, Nadia Ayari, Dennis Congdon, Hilary Doyle, Anthony Giannini, Sedrick Huckaby, and Francisco Moreno. erincluley.com

SAMUEL LYNNE GALLERIES

19 FWADA Al Souza will present a solo exhibition for FWADA’s Fall Gallery Night Mar. 25 at Artspace 111. Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art. fwada.com

Exhibition Opening

1105 Dragon St. | Dallas, Texas 75207 www.SamuelLynne.com | 214.965.9027

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20 GALERIE FRANK ELBAZ This esteemed Parisian gallery outpost, located across from Dallas Contemporary on Glass St., offers

44 Meandering, Abstractedly through Mar. 25. Curated

by Paul Galvez, the show features Julije Knifer, Mangalos, Martin Barré, Bernard Piffaretti, and Sheila Hicks. Image: Bernard Piffaretti, Untitled, 2012, acrylic on canvas, 94.125 x 78 in. galeriefrankelbaz.com 21 GALLERIE NOIR Located on bustling Dragon Street, this interior design showroom and art gallery is known for its understated chic style. Works by Katy Hirschfeld, Camomile Hixon, Tatiana Gerusova, and Daniel Diaz-Tai are currently on view. gallerienoir.com 22 GALLERI URBANE Lindsey Landfried’s Skyline Drive in Gallery One and Mel Davis’s A MIRROR, A WINDOW, A POOL in Gallery Two both continue through Feb. 11. Next up, Heath West’s exhibit Neighborhood of Infinity opens in Gallery One and Lucy Kirkman Allen brings When a man’s house is finished to Gallery Two. Both shows open with a reception on Feb. 18 and continue through Mar. 25. Image: Heath West, pink and grey interior, 2016, gouache on paper, 15 x 11 in. galleriurbane.com 23 THE GOSS-MICHAEL FOUNDATION The 6th Annual MTV RE:DEFINE Auction and Gala at the Dallas Contemporary will pay tribute to G-MF cofounder George Michael and honor artist Eric Fischl. The event also celebrates fashion designer Johnson Hartig of Libertine on Mar. 24. g-mf.org 24 HOLLY JOHNSON GALLERY Dion Johnson’s paintings and works on paper continue in Optic Energ y through Feb. 4. Douglas Leon Cartmel’s new works in White Noise are based on graphic mapping of actual atmospheric spectral data, through Mar. 18. Opening Feb. 18, Joan Winter’s Edge of Light explores the relationship between the visible and the invisible, between the materiality of her work and its inner meaning. hollyjohnsongallery.com FEBRUARY / MARCH 2017

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NOTED: GALLERIES

February 11th

“On The Wild Side!”

March 11th

“All In The Family”

45 25 JM GALLERY JM Gallery begins its third year with Black & White, a solo exhibition of drawings by Dutch Caribbean, Dallas-based artist, Johannes Boekhoudt. He is best known for large, expressionistic paintings that reveal social injustice and lay bare the suffering and loss caused by hatred, intolerance, and arrogance. Through Feb. 25. Award-winning photographer Jeremy Lock will present his work at JM Gallery beginning Mar. 4. jmgallery.org 26 KIRK HOPPER FINE ART The group exhibit Margins Beyond: Self Taught continues through Feb. 11. KHFA presents the work of artists Lily Hanson and Brad Tucker Feb. 18–Mar. 25. kirkhopperfineart.com 27 KITTRELL/RIFFKIND ART GLASS A group show, On The Wild Side, features creatures of the earth, air, and sea. Opening with a reception Feb. 11, the show runs through Mar. 5. A group show, featuring work from contemporary glassmakers with family connections, titled All In The Family, opens Mar. 11 and continues through Apr. 2. kittrellriffkind.com 28 KRISTY STUBBS GALLERY A venerable private art dealer, Kristy Stubbs Gallery represents museum-quality Impressionist, Modern, and contemporary paintings and sculpture. stubbsgallery.com

Kittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 972.239.7957 n www.kittrellriffkind.com

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29 LAURA RATHE FINE ART Texas artists, Roi James and Katherine Houston, share an interest in creating bold yet mysterious forms and environments that encourage contemplation in Genesis, through Feb. 11. Celebrating its 4th year in the Design District, LRFA will present VANGUARD, a group anniversary exhibition featuring distinctive new works by gallery artists, Feb. 18–Mar. 25. Image: Zhuang Hong Yi, Untitled, 2016, acrylic on sculpted rice paper, 31.5 x 31.5 in. laurarathe.com 30 LEVEL GALLERY LEVEL Gallery has joined Artsy, one of the strongest growing databases and platforms for collecting art. level-gallery.com

ROBERT F OBEAR

Bogomir Bogdanovic

March 11th First One Man Show

February 11th Estate Retrospective

at Southwest Gallery

Important Oils, Watercolors, and Pastels

SOUTH WEST

GALLERY

4500 Sigma Rd. Dallas, TX 75244 972.960.8935

WWW.SWGALLERY.COM

NOTED: GALLERIES

48 31 LILIANA BLOCH GALLERY Ryan Goolsby obsesses over things most overlook. In TOTEM he takes these things out of their environment and makes them into something else, through Feb. 11.

The gallery will present the work of Salvadoran artist Mayra Barraza in a solo show Feb. 18–Mar. 25. lilianablochgallery.com

INVENTED WORLDS OF VALTON TYLER February 11–April 30

Free Admission. #valtontyler Valton Tyler (b. 1944), Guardian, 1973, oil on canvas, courtesy of Valley House Gallery & Sculpture Garden

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32 LUMINARTÉ FINE ART GALLERY LuminArté presents international artist, Albena Hristova’s The Faces of the Earth, Feb. 17–May 6. Hristova examines the beauty and grandeur of Mother Nature through highly textured surfaces detailing a wide range of light and dark variances of dusk and dawn. luminartegallery.com 33 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries mounts a Spring Auction with a collection of paintings, sculpture, serigraphs, etchings, and lithographs, from over forty 20th- and 21st-century artists through April. martinlawrence.com 34 MARY TOMÁS GALLERY PROCESS + LIGHT features two artists working at opposite ends of the spectrum. Artist Fred Villanueva’s paintings and drawings hold layers of information from a variety of places and materials, while Chris Lattanzio conceptualizes his clean lines of expertly crafted light sculptures that produce a mesmerizing array of colors and tones. Feb. 18–Mar. 18. Image: Chris Lattanzio, TULIP, light sculpture, 13 x 13 x 4 in. marytomasgallery.com 35 PHOTOGRAPHS DO NOT BEND In honor of African American History month, PDNB will feature Jeanine Michna-Bales’s exhibition, Through Darkness to Light: Seeking Freedom on the Underground Railroad, Feb. 18–Apr. 15. Michna-Bales researched territories where slaves risked their lives to find freedom.

The resulting essay and book take you on a dark, lit passage through demanding terrains and ominous river crossings from Louisiana to Canada. PDNB will host a reception and book signing on Feb. 18 and an artist talk on Mar. 4. pdnbgallery.com

41 36 THE POWER STATION Darren Bader’s exhibition, Meaning & Difference, opens at The Power Station Feb. 4–Mar. 24. Live From Culture Hole continues the evening of Mar. 18 with Rose Kallal. powerstationdallas.com 37 THE PUBLIC TRUST The Public Trust is a contemporary art gallery in the developing Monitor St. gallery area. The gallery presents challenging shows like its Soliloquy series, inviting viewers to consider one work of art by a prominent artist. Featured artists have included Trenton Doyle Hancock, Ryan McGinness, and Arthur Peña. trustthepublic.com 38 THE READING ROOM Mason Bryant’s exhibition, Mordants, creates unusual archives that appropriate and re-contextualize information, through Feb. 11. Mar. 11 marks the opening of a ten-year survey of Chicago-based artist Deb Sokolow’s hand-drawn and collaged books, guest curated by Charles Dee Mitchell. Sokolow’s narratives tackle vast government conspiracies, the sinister implications of Minimalism, and many other topics. thereadingroom-dallas.blogspot.com 39 RO2 ART Tuba Köymen’s solo exhibition Quiddity explores the inherent nature of a person or thing, through Feb. 4.

In Search of Meaning also continues through Feb. 4. Ro2 Art welcomes Jeff Parrott: Psyexpression Manifesto and Brian K. Jones: Eat Your Vegetables! from Feb. 11–Mar. 11. New paintings by Caroll Swenson-Roberts mount Mar. 15. The gallery shows new paintings by Yuni Lee and Anita Kunz with an opening reception Mar. 18. ro2art.com 40 RUSSELL TETHER FINE ART Original letters and artwork detailing the Dallas Museum of Art’s flower commission and resulting friendship between Alexander Calder and Otis Dozier open Feb. 1 in Alexander Calder: Letters and Drawings.

All drawings, jewelry, and sculptures are registered with the Calder Foundation. russelltether.com FEBRUARY / MARCH 2017

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NOTED: GALLERIES

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34 41 SAMUEL LYNNE GALLERIES Tyler Shields’s provocative and challenging photography will continue through Feb. 18.

On Feb. 14, SLG will host a Valentine’s Day with live painting by contemporary artist JD Miller. Viewers will have the unique opportunity to witness Miller’s artistic vision at work. Recognized for his monumental sculpture, internationally acclaimed artist Hans Van de Bovenkamp’s newest exhibition opens Mar. 4 and continues through Mar. 25. Image: Hans Van de Bovenkamp, Oracle, stainless steel, 89 x 52 x 20 in. samuellynne.com 42 SITE131 Greek artist Tsivopoulos’s video, History Zero, explores reclamation, Mexican artist Irizar tests possibilities, and Texas artist Holsonback pushes the limits on her identity in TR ANSFOR MED: Stefanos Tsivopoulos, Fritzia Irizar + Hilary Holsonback features.

Opening Feb. 4–Mar. 25. site131.com 43 SMINK Zachariah Rieke’s new series of work was created by tearing existing paintings and reconfiguring the pieces into a new piece.

What follows is spatially complex with gestural alignments and misalignments that bring an unexpected dimension to the work. His solo exhibition at SMINK opens Feb. 18 and includes three large “fragment paintings.” sminkinc.com 44 SOUTHWEST GALLERY The gallery hosts a Bogomir Bogdanovic estate show featuring a sampling of his life’s work through four seasons including oils, watercolors, and pastels, Feb. 11, 1:00– 5:00 p.m. Robert Fobears showcases his creativity in his nature paintings that bring the viewer into this realm through his work, Mar. 11, 1:00–5:00 p.m. Image: Bogomir Bogdanovic, Central Park, NY I, watercolor, 27 x 41 in. swgallery.com 34

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45 TALLEY DUNN GALLERY Vernon Fisher’s exhibit, The American Landscape, and Erick Swenson’s self-titled exhibit continue through Feb. 25. Both artists have work in prominent museum collections including the DMA and Modern Art Museum of Fort Worth. Image: Vernon Fisher, American Landscape, 2016, acrylic on canvas, 45 x 54 in. talleydunn.com 46 UNT ARTSPACE DALLAS Shiny Ghost features 16 photographs by UNT alumna Rachel Cox. The exhibition is a celebration of Cox’s return to campus as a visiting faculty member. It is organized in conjunction with the release of her monograph on the project. The exhibit opens Feb. 4 with an artist talk and book signing. gallery.unt.edu 47 VALLEY HOUSE GALLERY The Maze features paintings and sculpture

by Mississippi artist Miles Cleveland Goodwin through Feb. 11. Till Things Never Seen Seem Familiar displays David A. Dreyer’s painterly investigations into arrangements of intuitive improvisation, Feb. 18–Mar. 18. In Pay the Thunder No Mind—Listen to the Birds, and Hate Nobody, Mark Messersmith creates dense narratives expressing his concern for the shrinking world of flora and fauna, Mar. 25– Apr. 29. Retrospective is the first exhibition in the South of paintings by American artist John Hartell, Mar. 25–Apr. valleyhouse.com 48 WILLIAM CAMPBELL CONTEMPORARY ART What Do I Know, featuring work by Kris Cox, continues through Mar. 18. Frank Tolbert opens at William Campbell Contemporary Art on Mar. 25 coinciding with this year’s Spring Gallery Night. Image: Frank X Tolbert, Black Necked Stilt, 2015, oilstick on paper, 60 x 44 in. williamcampbellcontemporaryart.com

20 AUCTIONS AND EVENTS 01 HERITAGE AUCTIONS Heritage Auctions offers a series of art and collectable auctions, including: Winter Luxury Accessories Signature Auction, Feb. 2–3 (New York); Fine & Decorative Art Including Estates Signature Auction, Feb. 25–26; The Peter Max Online Auction, Feb. 9–Mar. 2; Books Signature Auction, Mar. 8–9 (New York); Modern & Contemporary Art Online Auction, Mar. 10; Important Collection of 20th Century Art and Objects Collected by a Hollywood Writer Estates Signature Auction, Mar. 17–18; Entertainment Signature Auction, Mar. 18; Movie Posters Signature Auction, Mar. 25–26; and Musical Instruments Signature Auction, Mar. 25. ha.com 02 DALLAS ART FAIR Mounted annually at Fashion Industry Gallery (f.i.g.), save the date for the 9th installment of Dallas Art Fair featuring nearly 100 prominent contemporary gallerists from across the globe, Apr. 7–9. dallasartfair.com 03 DALLAS AUCTION GALLERY Mark your calendars for The Fine and Decorative Art Auction on Apr. 5 and The Fine Art Auction May 17. dallasauctiongallery.com 04 MTV RE:DEFINE Join hosts Kenny Goss and Joyce Goss for the 6th Annual MTV RE:DEFINE Gala and Auction honoring artist Eric Fischl and celebrating fashion designer Johnson Hartig.

Chaired by Maxine Trowbridge, the event benefits MTV Staying Alive Foundation and Dallas Contemporary and pays special tribute to George Michael. Simon de Pury as auctioneer is an event highlight. Friday, Mar. 24. mtvredefine.com

ACQUISITIONS

BY STEVE CARTER

AMON CARTER’S BIG CATCH GEORGE BELLOWS’S THE FISHERMAN IS THE MUSEUM’S LATEST MAJOR ACQUISITION, BRIDGING THE REALIST TRADITION AND MODERNIST MOVEMENT.

George Bellows, The Fisherman, 1917, oil on canvas, 30.12 x 44 in., Amon Carter Museum of American Art, Fort Worth, Texas.

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hile American painter George Bellows (1882–1925) may be best known for his brutally evocative boxing paintings and the seamy urban realism of his New York street scenes, about half of his 500 surviving paintings feature the sea as their subject. Indeed, Bellows was known to refer to the watery muse as his “eternal subject.” This year marks the 100th birthday of The Fisherman, one of the artist’s undisputed sea-centric masterpieces, and the Amon Carter Museum of American Art is now the landmark painting’s new permanent home. The museum announced the acquisition this past December, and The Fisherman went on view on the 21st of that month. It hangs next to a Bellows lithograph of his visceral boxing tableau, A Stag at Sharkey’s.

Bellows, a native of Columbus, Ohio, studied painting in New York and counted Robert Henri, renowned as a member of “The Eight” and a founder of the so-called “Ashcan School,” among his most influential teachers. Bellows’s fellow students included Edward Hopper, Rockwell Kent, and Stuart Davis. Shirley Reece-Hughes, Amon Carter curator of paintings and sculpture, says, “Bellows really rocketed to fame after painting A Stag at Sharkey’s in 1909, but he was a very complex artist. In 1911 he started going out to Monhegan Island, and that’s where he became fascinated with the subject of the sea…he was haunted by the sea.” Although the Amon Carter claims 230 lithographs by Bellows, The Fisherman is the first of his paintings the museum has acquired, and Reece-Hughes adds, “One reason why this painting is so important to our collection is

that it’s part of the figurative tradition. Coming out of that tradition you think of Thomas Eakins’s Swimming Hole, and William Merritt Chase’s Idle Hours [both part of the permanent collection]; Bellows never really departed from that tradition.”

Shirley Reece-Hughes notes that the work, painted at California’s Point Lobos, is a link between 19 th- century tradition and 20 thcentury modernism, as Bellows experimented with modernist color theory, blending primary with tertiary colors—blue-greens, green-yellows, purples—and the theme of the lone figure in nature.

“One thing that makes The Fisherman a work situated at the nexus of figuration and modernism is that you have this figure casting his line, facing the raw power of the sea,” Reece-Hughes observes. “The work fills the void in our collection where we didn’t have a work that bridged figuration and modernism. Even in the gallery that the Bellows now hangs in, we have a work by Morton Schamberg, who was of his generation, but he was moving in more abstract terms.”

The life of George Bellows was cut tragically short by an attack of appendicitis; he died at 42 in 1925, only 20 years into an already remarkable, prodigious career. He was praised by both conservative and forward-looking critics, was the youngest member of the National Academy of Design, enjoyed commercial success in his lifetime, and was the subject of a memorial exhibition at the Metropolitan only months after his death. As Bellows was haunted by the sea, visitors to the Amon Carter will now be haunted by The Fisherman. P FEBRUARY / MARCH 2017

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EL MODERNISMO MEXICANO

Agustín Arteaga curates his first exhibition for the DMA, a blockbuster survey of Mexican art from 1900–1950.

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t’s only been six months since Dr. Agustín Arteaga took the reins as the Eugene McDermott Director of the Dallas Museum of Art, but the Mexico City-born and educated Arteaga has taken to the job with a welcome international élan. Next month, opening on March 12 and running through July 16, México 1900 – 1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the AvantGarde marks the first DMA exhibition to be organized by Arteaga, an auspicious curatorial beginning for his DMA tenure. The survey show includes painting, sculpture, drawing, and photography from the crème de la crème of 20th century Mexican artists—some wellknown stateside, and others less so. In a press release, Arteaga offers, “México 1900–1950 showcases not only the greats of Mexican art, but also those who may have been eclipsed on the international level by names like Rivera and Kahlo. The exhibition helps broaden our understanding of what modern Mexican art means, and diversify the artistic narratives attributed to the country.”

The DMA is the exhibition’s only venue in the U.S.; it opened in Paris at the Grand Palais last October and ran through January, and was a major hit. Unlike the Paris iteration, the DMA exhibition will feature murals by Diego Rivera, Rufino Tamayo, José Clemente Orozco, Miguel Covarrubias, Saturnino Herrán, and Roberto Montenegro—a rare opportunity to view these giants of the

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genre under one roof. The 200+ works that comprise the show include a large number by female artists: painters Nahui Olin, Leonora Carrington, and Olga Costa, photographer Tina Modotti, multidisciplinary artist Rosa Rolanda, the iconic Frida Kahlo, and others. Besides the muralists, other male artists here are painters Ángel Zárraga, David Alfaro Siqueiros, Manuel Rodriguez Lozano, Gabriel Fernández Ledesma, abstract sculptor Germán Cueto, and many more.

The exhibition is organized thematically, connecting the dots between the international avant-garde, Mexican modernism, the prevalent influence of the Mexican Revolution, and the crosspollination of Mexican and American artists. Another DMA bonus is that several works of Mexican modernism that are part of the museum’s permanent collection will be on view along with the exhibition. Man (El Hombre), the monumental mural by Rufino Tamayo; Mexican Adam and Eve (Adam y Eve Mexicanos), by Alfredo Ramos Martinez, the “Father of Mexican Modernism”; and Genesis, the Gift of Life (Génesis, el Don de la Vida), an epic glass mosaic mural

by Miguel Covarrubias, are among them.

Another of Miguel Covarrubias’s featured works is Clark Gable vs. Edward, Prince of Wales (gouache and ink on paper, published in Vanity Fair, 1932), a caricature-ish “what-if” narrative of a fanciful

OPENINGS

BY STEVE CARTER

Above: Diego Rivera, Juchitán River (Río Juchitán), 1953–1955, oil on canvas on wood, 60 x 362.5 in. Museo Nacional de Arte, Asignación al Instituto Nacional de Bellas Artes a través del Sistema de Administración y Enajenación de Bienes de la Secretaría de Hacienda y Crédito Público, 2015, © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. Below: José Clemente Orozco, The “Soldaderas” (Las soldaderas), 1926, oil on canvas, 31 x 37.5 in., Museo de Arte Moderno, INBA, © 2017 Artists Rights Society (ARS), New York / SOMAAP, Mexico City.

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OPENINGS

Image caption goes here.

Left: Frida Kahlo, Itzicuintli Dog with Me (Perro Itzicuintli conmigo), c. 1938, oil on canvas, 27.94 x 20.47 in., Private Collection © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York; Right, above: Jorge González Camarena, The Bathers (Las Bañistas), 1937, oil on canvas, 39 x 49.5 in., Museo Nacional de Arte, INBA Donación Fundación Manuel Arango A.C., 2011 © 2017 Artists Rights Society (ARS), New York / SOMAAP, Mexico City. Right, below: Olga Costa, Fruit-seller (La vendedora de frutas), 1951, oil on canvas, 76.5 x 96.5 in. Museo de Arte Moderno, INBA © 2017 Artists Rights Society (ARS), New York / SOMAAP, Mexico City.

encounter—Gable, heart-throb icon of America movies, meeting Edward VIII, notoriously womanizing heir to the British throne.

Covarrubias was a renowned painter, illustrator, and caricaturist, and he spent much of his life in the United States. His palette in Clark Gable vs. Edward, Prince of Wales is strikingly American, but there’s also the undercurrent of Social Realism that infused Mexican art at the time. Indeed, Covarrubias’s works are emblematic of the cross-fertilization of art in Mexico and the United States, a central theme of the show.

Frida Kahlo’s Itzicuintli Dog with Me (Perro Itzicuintli conmigo) is an exhibition highlight, a haunting self-portrait dating to 1938, just before the artist’s solo debut in New York. The largely monochromatic canvas is a case study of the rich possibilities of grey, and both subjects—Kahlo and her tiny pet—address the viewer with patient resignation, regal disdain, and vague curiosity.

While not as surrealistically oriented as many of her self-portraits, there’s a compellingly genuine reveal here, a study in solitude, a portrait of the artist as “other.” Another highlight is Diego Rivera’s Juchitán River (Río Juchitán), 1953–1955, a 5 x 30-foot four-panel polyptych that’s a prime example of the muralist’s oeuvre. The work 38

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was inspired by Rivera’s trip to the Isthmus of Tehuantepec in the 1920s, and his mythologized depiction of life on the Juchitán is a microcosmic cultural window.

Although he’s best known for his political murals, José Clemente Orozco’s The Soldaderas (Las soldaderas), 1926, is an oil on canvas work with a clear political context. Soldaderas were female aids to male soldiers, essential participants in the Mexican Revolution.

Orozco’s gestural, nearly kinetic painting tragically captures the exodus of a band of the fighters. Jorge González Camarena was also well known as a muralist, but his The Bathers (Las Bañistas), 1937, is an easel work. With its Art Deco figuration, dramatic diagonal lines, and “cross” insignias, it casts a strangely prescient martial atmosphere, suggesting wars and rumors of wars, in stark contrast to his subject matter.

Agustín Arteaga’s vision with this exhibition hints at a bright future, and he adds, “Throughout my career I’ve been guided by the belief that art is a critical tool in fostering cross-cultural understanding.” Here’s to the new DMA and México 1900 – 1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde. P

FAIR TRADE

BY ELISABETH KARPIDAS

HISTORIC MODERNITY

Per Skarstedt brings his primary and secondary art market prowess to the Dallas Art Fair.

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er Skarstedt—a Swedish art dealer, aesthete, and collector with a continuous flow of buzzed-about, tastefully designed renovation projects in the works—keeps three interconnected galleries, with the most recent sited in London’s historic St. James’s area. Under the auspices of his namesake gallery, Skarstedt will be bringing his triumvirate to the Dallas Art Fair in April. Presenting exhibitions of modern and contemporary European and American artists of eminence, Skarstedt’s exhibitions are historically grounded, comprehensively researched and straddle between the primary and secondary markets.

Elisabeth Karpidas (EK): What led you to become a first-time exhibitor at the Dallas Art Fair this year?

Per Skarstedt (PS): It was an easy decision. Dallas and the surrounding region are home to many amazing art museums, including the Dallas Museum of Art, the Nasher (Sculpture Center), and the Modern Art Museum of Fort Worth. And then there are the private foundations and the many, many great private collections.

EK: How has the gallery had to adapt to the non-stop scheduling of having both several gallery exhibitions and international art fairs?

PS: It’s pretty rough. We work around the clock. Each year we have about 15–18 gallery shows plus 7–8 art fairs, all with meaningful material.

EK: When selecting work for the gallery’s booth at an art fair, what kind of parameters do you have to consider and how does that change from fair to fair?

PS: Well at Frieze Masters you can only show works made before 1989, so that makes that one easy. At FIAC and Miami we bring works in a price range from $100 thousand to $2 million. For Basel we show the very best we have.

EK: How do you view emerging artist and Fort Worth native Justin Adian’s work as walking the line between painting and sculpture?

PS: Justin’s wall sculptures are almost like “soft” paintings. They share a niche with artists like Lynda Benglis and Richard Tuttle. It will be exciting for Justin’s work to be shown at the Dallas Art Fair for the first time this year.

EK: As you’ve had your gallery for over two decades now, how has your model of exhibiting both primary and secondary market works together allowed you to create a new dialogue with your exhibitions?

PS: I love putting up historical exhibitions, and the most memorable for me must be Richard Prince’s protest paintings in London, Christopher Wool’s Black Book drawings, Carroll Dunham’s paintings on wood, Eric Fischl’s early paintings, and Martin Kippenberger’s Raft of Medusa. I also like to do two-artists exhibitions where we can mix new and old works, such as Yves Klein’s fire paintings and Warhol’s oxidations. I’m planning an exhibition now with Albert Oehlen and Willem de Kooning, which is going to be amazing. P Top: David Salle, Face, 2016, oil stick and flashe on archival digital print mounted on linen, 26.75 x 20.13 in. Titled, signed, and dated "FACE" David Salle 2016 (on the reverse), © David Salle/Licensed by VAGA, New York, NY. Bottom: Justin Adian, Blazed, 2016, oil enamel on canvas on ester foam, 15.5 x 21 in. Titled, signed, and dated Justin Adian "Blazed" 2016 (on the reverse) © Justin Adian. Courtesy of the artist and Skarstedt, New York.

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ABOUT ELISABETH KARPIDAS Previously the owner of a helicopter training and charter company along with a background in professional fundraising, Elisabeth Karpidas now lends her unique blend of savvy to the arts. Of generous spirit, she is on the Advisory Board of the Dallas Art Fair, the Board of Trustees of the Dallas Museum of Art, and is also the Co-Chair of its Contemporary Art Initiative. She serves on the Tate North American Acquisitions Committee and the International Counsel of the New Museum.

Karpidas is also deeply involved as the director of the Karpidas Collection, an internationally renowned collection of contemporary art holdings.

In this role, she lends her time as co-host and sponsor of Hydra Workshop, Greece. P

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CONTEMPORARIES

BY NANCY COHEN ISRAEL

FRESH PERSPECTIVES Nasiba and Thomas Hartland-Mackie to chair TWO x TWO for AIDS and Art.

Nasiba and Thomas Hartland-Mackie with Artie Vierkant's Image Object Tuesday 20 January 2015 4:24PM, 2015, aluminum FEBRUARY / MARCH 2017and vinyl.

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CONTEMPORARIES

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ith the announcement of Nasiba and Thomas Hartland-Mackie as this year’s event chairs, TWO x TWO for AIDS and Art is reaching out to a new generation of collectors. Now in its 19th year, the event has raised over $60 million for its beneficiaries, amfAR (The Foundation for AIDS Research) and the Dallas Museum of Art. Nasiba and Thomas bring youthful vibrancy, international connections, and broad experiences to this year’s event. And, according to event co-founder Cindy Rachofsky, “They are the nicest, kindest people you will ever meet.”

Cindy and Howard Rachofsky personally select the chairs for TWO x TWO. “We take this chairmanship very seriously. Thomas and Nasiba have shown an amazing degree of sophistication, especially as young as they are,” Howard says. Their youth is one of the many reasons the Rachofskys entrusted this year’s event to them. “We look to them for really encouraging the next generation,” Cindy says. She adds, “We’ve never had chairs of this age. In the world they live in, they will bring ideas of what is seen and done that Howard and I haven’t done.” This young dynamic duo, in their 20’s and 30’s, is equally elated to be this year’s chairs. They are looking forward to working with the Rachofskys on what they call “one of the best fundraising events in the world.”

This global perspective is one that the HartlandMackies know well. Soviet-born Nasiba came to study in the United States on a one-year exchange program as a 15-year-old. Ultimately, she earned college and graduate degrees from American universities. Since then, she has become prominent on the international style circuit, from her stint as the business development manager for Büro 24/7, the international fashion blog, to her current venture, The Tot, an online resource and shop in Highland Park Village for chic mothers seeking information on baby products that are safe, healthy, and stylish. “She’s so ahead of the curve of what people are doing. She’s always on trend,” says Cindy.

Thomas has an equally impressive international pedigree. He is the scion of the British family whose company, City Electric Supply, he now runs as President and CEO. Born in Switzerland and raised in Colorado, a stint at SMU brought him to Dallas 12 years ago. He still spends a good deal of time in London on business.

He and Nasiba met while vacationing in St. Barths.

When Nasiba relocated to Dallas in 2012, she immersed herself in the city’s philanthropic community.

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TWO x TWO is the perfect venue for Thomas and her.

Between Nasiba’s professional background in the nonprofit world, working as a grants writer in New York, and her myriad connections to the fashion world, she is an ideal person to chair this iconic event. Her first significant involvement with TWO x TWO came in 2013, when she chaired the program’s First Look event.

Soliciting an impressive roster of fashion designers, Nasiba’s evening was a huge success. She says, “My goal was to raise funds through the fashion segment and get as much exposure as possible. We were able to achieve that, with international press coverage from Vogue, Harper’s Bazaar, WWD, W magazine, as well as a few international features.”

For Thomas, TWO x TWO has also played an important role in his art collecting. He says, “I have always had an interest in art. However, it was actually through attending TWO x TWO and bidding on works there that I first began to build a collection.”

He adds, “In the silent auction there are always a lot of fantastic works from serious artists at price points that are approachable for the young or first-time collector.

And knowing that all the proceeds from the sales go to amfAR and the DMA makes it a ‘no lose’ proposition.”

Thomas’s interest in collecting is also transforming the city’s cultural landscape. With his purchase and renovation of 400 Record, the former Belo building, Thomas is part of the reawakening of a once sleepy part of downtown. The building will include the restaurant Bullion, helmed by Michelin-starred chef, Bruno Davaillon, and will feature a commissioned work by Los Angeles-based artist, Kathryn Andrews.

Art will be integrated throughout the building’s public areas. Benjamin Godsill, the former curator of New York’s New Museum, is working with Thomas on commissioning and acquiring new work. “400 Record will be another wonderful public venue for art,” Cindy predicts.

Their deep connections in the world of art and fashion will attract an international roster of guests.

“Keeping this vital is critical to maintaining TWO x TWO as an important fundraising event in the community,” Howard says. He and Cindy feel confident that the couple will attract a younger, more international crowd. “We welcome with open arms the opportunity to welcome new people and new ideas to the event, and we think Nasiba and Thomas exemplify this,” he concludes. P

FEBRUARY / MARCH 2017

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CONTEMPORARIES

BY MICHAEL MAZUREK

THE FIGUREHEAD

Influential Painter Eric Fischl will be honored at 2017 MTV RE:DEFINE.

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ric Fischl is a stubborn artist. Graduating from the California Institute of the Arts (CalArts) at the height of the ideological attack on painting, he resisted the pressure from his teachers and peers to abandon conventional methods of art making. The 70’s art scene was not friendly to figurative painters.

Despite its initial funding from Walt Disney, CalArts began under the leadership of staunch conceptual artists that deemed painting the enemy, but Fischl persisted. Aptly described by critic Donald Kuspit as a New Old Master, Fischl’s resistance has inspired an entire generation of artists, yet has done so obliquely. Dallas Contemporary’s Director, Peter Doroshenko, selected the artist as the 2017 MTV RE:DEFINE Honoree and states he chose Fischl for this reason: “He is the influence of an influence. I want to expose young artists to historical figures of Fischl’s generation that have made an impact on teachers today.”

This impact is far-reaching and comes from a real place. Most importantly, it stems not from what Fischl and painters like him are painting, but rather, why they are painting. I asked him about this idea and he advocated: “There is something so irresistible in imagining that painting died/is dead/is not alive, that no matter how many times and ways a painter argues the opposite, the search for the corpse and the culprits who killed it continues. Was it killed or did it die of natural causes? If it was killed, how was it killed? If it simply died having run the full course of its own vitality, why do people still insist it is present?

“If painting was killed, it was killed not by conceptual artists, photographers, installation, performance, and video artists or even filmmakers. They did not kill it. They ignored it. If it was killed, it was killed by painters. They are the only ones who can make

convincingly dead paintings. They have that power. Remember it was painters who willfully reduced painting to its most basic and boring materiality or process as the way to prove painting had nothing left to give. They made paintings that had nothing to give as a way to prove painting had nothing left to give, and then they sit around constantly taking the temperature of the corpse.

“Now, if painting died by natural causes, then the only ones who continue to paint are those who have not been able to accept and come to terms with their loss. They can’t find closure. Their paintings are like people who, after a funeral, stand around recalling wonderful heartfelt memories of the deceased, trying to keep the memories alive by imitation. Those are the artists who find other ways of making objects that look like paintings, but aren’t.

“Radicality? If one searches for radicality, one only finds things that look like their definition of radical, which can’t be because its meaning had already been defined.

“The truth is this: There is only one important job, one responsibility that an artist has and must answer to, and that is to continue to find ways of keeping our ’Liberation’ narratives fresh, vibrant, and authentic. Talent is measured by the authenticity of their interpretation.” P

Above: Eric Fischl, Untitled (Brice in Pink Shirt), 2006, oil on linen, 50 x 60 in. Right: Photograph of Eric Fischl by Ralph Gibson.

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FORMAL FEEDBACK Luke Harnden’s Technological Occult

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n person, the surfaces of Harnden’s paintings appear alive. They undulate moiré patterns, evoking the static between channels on a tube television. Their surfaces change over extended viewing, recalling a range of abstracted visuals—topographical maps, twisted bodies, and urban landscapes. Delightfully reminiscent of 90s “Magic Eye” autostereograms, Harnden’s seductive works wormhole image and meaning in equal measure.

Harnden mines screen culture—our contemporary relationship with screen-based media typified by smart phones and LED monitors. Whether executed as painting, collage, or projection, his works suggest interfaces between the physical realm and a world beyond. Within these works, a conflation of real and digital space occurs.

Harnden’s process-oriented practice is greatly influenced by his interest in technology. Often, the artist’s most exhibited paintings

Luke Harnden, Untitled, 2016, acrylic on canvas, 8 x 12 in.

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are co-authored via computer algorithms he programs himself.

To make these algorithmic paintings, Harnden fabricates stencils from tape or vinyl to assemble uniform patterns. The surface of the final product is skin-like—leading the works to appear as a biotechnological hybrid. Composed in a variety of color palettes, the paintings at times appear to have underlying blue or red arteries, while at others they are monochrome, cold, and mechanical. The intention is not representation, but rather, visual stimulation.

For the ongoing Homunculus series, Harden ventures into new media. The title refers to the then-prevailing, but now wildly antiquated 16th-century theory, which posits a fully formed human lives inside of the sperm or egg. Today, the term refers to an artificially alchemist-produced being. Harnden casts himself as alchemist, bringing together projectors, Mylar, and basic motors to animate amoebic light forms. This effect was initially obtained

STUDIO

using photographed still-lifes, before moving on to screen-saver programs. Now the works employ surveillance cameras in order to create feedback loops. Works from his Homunculus series were included in Circuit Breaker, the inaugural show curated by Danielle Avram at Texas Woman’s University last fall, alongside fellow Dallas-based new media artists Michael Morris and Darcy Neal. The exhibition addressed the magic (or aspiration of magic) living within technology. Circuit Breaker aptly sussed out the spiritual in Harnden’s work—establishing the spectral nature of this series, which pop and click while refracting dancing light upon different surfaces.

Harnden’s sign paintings address the prevalence of advertising. The inspiration for these works is the iconic branding of companies such as NBC and Dairy Queen. Harnden recreates logos, simplified to their most basic geometric elements. Sans text and reduced to a dialogue between color and form, the works highlight the relationship between branding and modernism. No matter how simplified these images become, they still retain their familiarity. Even missing the word FOX, the television corporation’s logo remains iconic, if not immediately placeable. In these works, layer upon layer of polyethylene are built up, then transferred to canvas, revealing the underside of the layered paint in a technique similar to his algorithmic paintings. In the final product, the paint is pulled over the canvas surface like a membrane. Although alluding to advertising, they lack the crisp, mechanical aesthetic that has come to be expected of brand logos. Instead, the images read as cultural relics, worn from overexposure.

For his collages, Harnden manipulates black-and-white found images by cutting them up, reorienting them, and painting on the surface. After the artist’s interventions, faces seem to move while bodies lie still, as if only part of the image were subject to long exposure. Other forms are dissected and reassembled in a manner so that they remain familiar yet are difficult to decipher. These untitled images evoke surrealist collages and science fiction, and while originally, they began as preparatory drawings, these works have come to stand on their own.

Now Harnden is experimenting with sculpture. Created by building up stacks of paper, which he then carves and burns to establish form, these pieces exist as multiples—resulting in a tension between original and copy. Through this process Harnden mimics the degradation seen in the compressed images of JPEG files. Through the process of compression, information is lost. A RAW image and a JPEG, despite initially appearing to be the same, are not. Even in attempting to create as close a copy of the initial sculpture as possible, Harnden is unable to make an exact facsimile. Both original and copy can be seen as unique objects.

Harnden’s work is about looking past the surface. Like refocusing one’s vision to see the image hidden within a Magic Eye, or what once seemed like the omnipresent need to reorient television antennae to diminish encroaching in-between channels (static), Harnden requires a patience and openness to find subject and meaning beyond the purely formal. You may not find what you were looking for, but there is just as much intrigue in the abstract. P Top: Luke Harnden, K12g, 2016, acrylic on canvas, 40 x 30 in. Below: A peek inside Luke Harnden's studio

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BY PEGGY LEVINSON PHOTOGRAPHY BY JOHN SMITH

A COLLECTIVE POINT OF VIEW

With a penchant for all things lovely, Brian Bolke and Rob Dailey bring top-name designers to McKinney Avenue at For Home.

Emily Summers Gondola sofa.

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hat do you do when you’ve moved your venerable flagship store to Downtown Dallas leaving behind an impeccably designed space and popular lunch spot beloved by your loyal clientele? When you’re Brian Bolke, the visionary founder of Forty Five Ten, you call on your always at-the-ready imaginative talents and come up with something new. Which bring us to For Home, a furniture and lifestyle concept boutique unlike anything else in the city. “I think we sometimes forget that Dallas has such a depth of world-class showrooms and interior designers. For Home is a way to showcase this talent in a consumer-friendly format. The building perfectly lends itself to easily browse and hopefully discover something new at each visit. The updated T Room is the heart of the new store,” says Bolke.

With For Home’s creative director, Rob Dailey, Bolke envisions a store appealing to a collector’s point of view through the on-point eyes of Forty Five Ten. “The concept is access and edit. Many items are either one of a kind or offered [for] the first time at retail. The edit is a mix of modern, traditional, pedigreed, and humorous. We hope it will appeal to any interiors enthusiast. Someone who is looking to redo a whole home, or one who has been on an endless hunt for a perfect side table.” Considering For Home’s selections, Bolke affirms, “Rob has really given a sharp eye to the assortment of furniture, design objects, and art. Mixed in will be gifts, tabletop, and books

from our Downtown assortment.”

“Our client will be the Forty Five Ten client—the fashion forward and the design savvy, as well as the art collector,” adds Dailey. “Our client can buy anything, anywhere, so we hope to inspire them with the particular edit of the designers and artisans we are featuring here.” Some of the local design giants like Jan Showers, David Sutherland, Emily Summers, George Nash, and Jan Barboglio will have vignettes featuring rare and custom pieces not seen in their standard collections. Highland Park gallerist Talley Dunn will curate the art. "Art is such an important element of any interior space, and I always enjoy placing artwork in different environments. I'm thrilled

John Dickinson large, six-legged, African table from David Sutherland.

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Brain Bolke and Rob Dailey at the new Forty Five Ten on Main.

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Jan Barboglio will be one of the featured designers at For Home.

to curate the various spaces of For Home with dynamic work from Talley Dunn Gallery."

“We will also feature new pieces by Larry Whiteside, fantastical organic sculptures by George Sellers, and linens by Peacock Alley.

This is a Dallas store with a Dallas and Texas viewpoint. It is at once both worldly and sophisticated, and hospitable and casual.

Visitors to Dallas are always amazed at the sense of community and the generosity of hosts who will open and share their extraordinary homes to visitors. It has been compared to the Paris salons of the 1800s,” Dailey enthused. Dailey’s own line of furniture and accessories speaks to that locality. It is called Blacklands, after the blackland prairie where Dallas is situated. His new candle line is “urbi et orbi” after the blessing to citizens of Rome translated as “to city and to the world.”

These foremost Dallas showroom owners and designers are eager to expand their talents into this new venue. David Sutherland says, “When Brian Bolke approached me about being a part of this new venture, I was immediately curious as to the viability of our custom products to the general retail audience. Knowing Brian would only approach this effort from a quality standpoint, we agreed that the

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Arete Collection lamp.

exposure for our unique products and his unique venue would be a good combination. The collaboration will be fun and inventive and will generate new interests for both of us.” Adds Sutherland, “We will likely focus on the most creative, best quality items that we do not show on our showroom floor as it will help to broaden the uniqueness of the effort.”

Jan Showers visualizes her vignette like a small upscale shop on the Left Bank in Paris. She will feature one-of-a-kind pieces, both vintage and new lighting, along with accessories, rugs, and pillows.

“When Brian approached me about it, I thought it was a great idea and one that would be beneficial to both of us. It’s also exciting to be associated with the Forty Five Ten brand that is respected nationwide,” Showers enthuses.

For George Nash, the new store is “something similar yet distinguished from the old Bergdorf Goodman days. Beautiful arrays of merchandise are set into distinctive boutiques unto themselves, each having a different point of view. The gallery will be put together with product and a purpose to envision a connoisseur level of furniture and products that is accessible and easily understood.”

Known for Cameron Collection, his own brand of luxury furnishings

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Jan Showers Eliza bar cart.

and a highly edited showroom, George explains, “I see the For Home client as someone like Mr. and Mrs. from New York City who need to select furnishings and have it all installed in 4–6 weeks; on contract to live in Dallas for 3 years, and then relocate to Beijing or Dubai. They might have a designer, but might not. But they will know quality.”

Unique vintage pieces will imbue the Emily Summers vignette in the new For Home store. “I have been collecting for years and have found many of these pieces on my travels to New York and abroad. At the For Home store, my focus will be on the customer who enjoys one-of-a-kind found objects and furniture,” says Emily.

Arete Collection cylinder box with spikes.

“Some notable pieces that I will have for sale will include a French Art Deco cabinet from the 1930s made of rosewood and parchment.

Each door and drawer has a small brass key in which it can be locked.”

Upon entering the store, the central gallery will be arranged using pieces from each vignette’s furnishings. “This will be the real heart of the store—fine interiors through the Forty Five Ten lens,” says Dailey. Names may change, and certainly new collections will be added to the mix. But you can be assured that with the creative vision of Brian Bolke, and the design talents of Rob Dailey, the store will always be fresh and exciting. P

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the thirty-ninth annual

TACA SILVER CUP AWARD LUNCHEON presented by J.P. MORGAN and NEIMAN MARCUS PROU DLY S A LU T E S T H E 2017 R ECI PI E N T S

Nancy A. Nasher &

Walter B. Elcock Tuesday, March 7, 2017 12:00 NOON · H I LTON A N ATOL E

Chairmen

Nancy Carlson and Lynn McBee C o -Ti t l e S p ons or s

Join us as our entire arts community gathers to recognize the outstanding volunteer leadership and contributions of Nancy A.Nasher and Walter B. Elcock.

To purchase tickets, please call 214.520.3930 or visit our website at taca-arts.org.

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To the

BY DANIELLE AVRAM

s

On the eve of its 9th year, the Dallas Art Fair ups the art quotient with these six gallerists.

For four days this April, Dallas will become the center of the contemporary art world with the return of Dallas Art Fair. Now in its ninth year, the fair has become a favorite on the circuit due to a unique blend of the city’s top-tier collecting community, world-class institutions, and down-to-earth charm. This year sees the return of many booth veterans, as well as the addition of several newcomers, lured to the fair by Dallas’s growing role as a contemporary art powerhouse.

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oberto Paradise

Among the first-timers is the San Juan-based Roberto Paradise, which opened in 2011. Owner Francisco Rovira Rullán boasts an impressive list of museum credentials, which belies the glitzy, most-interesting-man-in-the-world-sounding name of his very serious endeavor. Functioning as a tongue-in-cheek alter ego for Rullán, Roberto Paradise is an amalgamation of enigmatic art world tropes—globe-trotting collector, young upstart artist, trust-fund playboy—that winks at Rullán’s tactical approach of dropping the hyper-connected, yet unknown, Paradise on the art world like a bomb. Since its inception, the gallery has aggressively participated in a slew of international art fairs, biennials, and museum exhibitions, while cultivating relationships with galleries like Andrea Rosen and Josh Lilley. Rullán is often referred to as a trailblazer, one of a younger generation of gallerists with art historical chops, who value artistic collaboration and cultural propagation above the bottom line.

For his inaugural foray at the Dallas Art Fair, Rullán will be showing work by two artists with Dallas connections. Back in

2014, Spanish-born, Puerto Rican-raised José Lerma participated in the Dallas Biennial, as part of a two-person show at Oliver Francis Gallery. Lerma’s visually enticing paintings, drawings, and sculptural installations layer narratives to the point of abstraction.

His collage-type works entangle the past and the present, collapsing the space between the personal and historical.

Also in Paradise’s booth is Southern Methodist University alum Caroline Wells Chandler, who received his Bachelor’s in Fine Art from the school in 2007. After learning to crochet at SMU, Chandler retreated to Tyler, Texas, where he embarked on blending the craft into his art practice as a way to remain socially engaged with his family, yet artistically productive. His colorful textiles explore queerness and sexuality, pop culture, and the art historical canon, with joyous characters ranging from more traditionally male-looking athletes, to radically queer “bois” with mastectomy scars and rainbow genitalia, to non-human scatological lumps. In addition to the fair, Chandler has a solo show at Dallas’s Conduit Gallery opening on September 9th.

Above, from left: Caroline Wells Chandler, Tammy, 2017, hand-crocheted assorted fibers, 36 x 18 in. Courtesy of the artist and Roberto Paradise. Caroline Wells Chandler, Mable, 2017, hand-crocheted assorted fibers, 36 x 18 in. Courtesy of the artist and Roberto Paradise.

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From across the pond come this year’s fair newbies Waldburger Wouters, Kate MacGarry, and Grimm Gallery.

Originally established in 2009 as Gallerie Waldburger, Waldburger Wouters shifted to its current iteration in 2014 with the addition of partner Tim Wouters. The Brussels-based gallery focuses on solo exhibitions, cultivating their small, eclectic roster of ten artists as individual practices that exist in harmony with one another.

Patrick Waldburger says, “Waldburger Wouters has a focus on international young art. The gallery is interested in artists that cross borders and develop hugely unique artistic languages.”

The gallery’s booth will feature the work of Jakub Nepraš, a young video artist from Prague. This is the first time Nepraš will show work in the United States, and Waldburger Wouters is eager to share it with a new audience. Hovering between science fiction and the natural world, the artist projects videos onto three-dimensional sculptures, creating objects that appear to have various living beings emanating from within. The work springs from a childhood obsession with treehouses, marrying organic, natural forms with contemporary humanity and technology. The pieces range from small sculptural forms, to large-scale, sitespecific installations, such as his 2012 work, Landscape, which will be at the fair.

Nepraš’s videos are collages of both natural and mechanical systems, looping together to form something akin to the internal operations of a biological organism—suggestive of the circulatory system or processes such as reproduction and mitosis. The resulting effect is the hybridization of biology and technology: the creation of a new post-structural, rhizomatic being that absorbs its surrounding elements in a process of continual evolution.

Top: Jakub Nepras, Transmitter, 2012, videosculpture, 8-minute loop, 90 x 86 x 118 in. Courtesy the artist and Waldburger Wouters, Brussels. Bottom: Jakub Nepras, Metropolia, 2010, videosculpture, 10-minute loop, 138 x 138 x 40 in.

Courtesy the artist and Waldburger Wouters, Brussels.

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rimm Gallery

THE ARTISTIC AMBASSADOR Chris Byrne

Principles Jorg Grimm and Hannah Reefhuis started Grimm Gallery in 2005. The duo now has two spaces in Amsterdam, with a focus on emerging contemporary art. Boasting a rigorous international program, Grimm Gallery represents a number of American artists, including Matthew Day Jackson, Nick van Woert, Letha Wilson, Dave McDermott, Eric White, and Jonathan Marshall, many of whom will be shown at the fair.

Marshall, who received his BFA from the University of Texas at Austin in 2003, will feature prominently in the gallery’s booth, with a piece titled The Incomplete History of Walking (for Jack), 2014.

Consisting of a large-scale, handmade world map, and a library chair/ladder (based on a design by Benjamin Franklin), the work is suggestive of the eccentrically laborious efforts of a history buff or genealogical enthusiast. Stemming from a genre of modern literature and film called “mythopoeia,” in which the writer or filmmaker creates a fictional or artificial mythology comprised of

many social, historical, political, and theological aspects, Marshall wants viewers to create their own narratives for his work from a combination of real and fictional possibilities. The act of artmaking is an exercise for the artist to explore his own role in space, time, and culture.

The gallery will also show the work of Brooklyn-based artist Nick van Woert. Like Marshall, Woert is fascinated with the cultural materiality of the past-present-and-future, blending craft and process with readymades and found objects. It’s a Trap (I told you twice), 2016, comes from his recent solo exhibition of the same name, at Phoebe Projects in Baltimore. The piece frames Woert’s concerns about the insidious nature of “things,” and the manner in which we are arbiters of our continual near destruction, creating readily available materials that are merely situational horrors-inwaiting. It’s a Trap can be read as a hindsight-is-20/20 description of the past, or as an ominous message from the future.

Above, from left: Nick Van Woert, It's a Trap (I told you twice), 2016, acrylic, urethane, plywood, and steel frame. Jonathan Marshall, The Incomplete History of Walking (for Jack), 2014, acrylic, paper, ink and inkjet prints on panel in mahogany frame with mahogany Franklin Chair, 132.5 x 91.9 in. Franklin Chair, 32.3 x 18.1 x 15.6 in. Courtesy of the artists and Grimm Gallery.

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From London comes Kate MacGarry. The gallery opened in 2002 in the East End and represents seventeen international artists, many of whom had their first commercial exhibitions in the space. Kate MacGarry has a special emphasis on film and video, representing seven artists working in this medium, including African artist, Samson Kambalu, whose works she will be bringing to the fair.

Known for his Situationist-inspired mixed-media installations that reference the Chewa Nyau culture of his native Malawi, the London-based Kambalu will be showing a suite of photographic collages that pair images of President Barack Obama and Kenyan nationalist Thomas Mboya, who was assassinated in 1969. Like articles unearthed from a time capsule, the collages evoke a sense of nostalgic hope for a promise never quite fulfilled. The pairing of these two political figures—one who is championed as a hero of Kenyan independence, the other targeted for his Kenyan heritage, and both of whom fought to unshackle their countries from their haunted pasts—is heartbreaking considering the parallel of Mboya’s assassination and the death of Obama’s “Yes We Can” legacy. Pictures of a young Obama and a young Mboya hint at the possibility of what might have been, giddy optimism brushed aside with a wistful sigh.

MacGarry will also show the work of Francis Upritchard, who represented New Zealand at the 53rd Venice Biennale in 2009.

Upritchard will show some of her more recent sculptural works: spidery humanoids dressed in outfits that combine elements of contemporary streetwear, historical and folk costuming, and swaths of decorative textiles. The resulting figures are mash-ups of cultural appropriation, resembling otherworldly creatures that gathered their ideas about how to pass for “human” by walking through a museum. Existing somewhere between tourist, talisman, sage, and comic relief, these creatures seem to embody “us” in a clumsily naïve manner.

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ate MacGarry

Samson Kambalu, Mboya Cigarette, 2016, Edition 1 of 3, digital c-type print on Fuji paper, 5.51 x 5.51 in. (unframed); Francis Upritchard, Seraphina Purple Kiss, 2016, steel and foil armature, paint, modelling material, fabric, bone, 39.37 x 11.81 x 13.77 in. Courtesy of the artists and Kate MacGarry London.

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Above, left: Jesse Willenbring, Homer-Phaiakian Vacations Advert Worksheet, 2016, acrylic, fabric dye, and Flashe on canvas, 94.8 x 79.9 in. © Rémi Villaggi.

Below: Jesse Willenbring, And Or On Phaiakian There Are No Judgments, acrylic, fabric dye, and Flashe on canvas, 94.8 x 79.9 in. © Rémi Villaggi. Above, right: Claude Viallat, 2016/093, 2016, acrylic on tarpaulin, 76.77 x 76.77 in. Courtesy of the artist and Galerie Bernard Ceysson.

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Another European gallery, Galerie Bernard Ceysson, chose the Dallas Art Fair as a strategic accompaniment to participation in Armory, Frieze, and Art Los Angeles Contemporary. With plans to add a New York post to their locations in Luxemborg, Paris, Saint-Etienne, and Geneva, partner Loïc Garrier says, “We want to be more present on the artistic scene in the United States, and Dallas is a good opportunity for us to learn more about the American art market.”

As a bridge between the French and American art markets, the gallery plans to exhibit a two-person show between Frenchbased Claude Viallat, and Los Angeles-based Jesse Willenbring.

One of the founders of the Supports/Surfaces movement in the 1970s, Viallat has been radically challenging formal notions of painting for the last four decades, employing devices such as borders, trims, and faux frames, as well as innovative supports like tents, tablecloths, bed sheets, and rugs. In 1966 he introduced his signature ovoid shape—likened to a bean, bone, and artist’s palette—which he applies all over the surfaces of his works.

Like Viallat, Willenbring explores Modernism’s painterly lineage. His simple use of tools such as pencil, charcoal, and paper, and balmy brushwork, pastel tone, and sophisticated color sensibility recall the work of early abstract artists such as Sonia Delauney. Despite being 44 years apart in age, both Viallat and Willenbring share a relationship with Henri Matisse, bringing together color and shape in an organic, experimental fashion, reexamining the role of Modernist painting in contemporary art.

alerie Bernard Ceysson

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nthony Meier Fine Arts

Returning to the fair after a three-year hiatus is San Franciscobased Anthony Meier Fine Arts. Established in 1984 as a private dealer in the secondary market, Anthony Meier built a highly regarded international reputation specializing in post-World War II contemporary masters. Emerging and mid-career artists were added to the roster in 1996 with the opening of a public space, which holds five shows per year.

The gallery will show a mix of resale and gallery artists at the fair, with secondary market pieces by industry legends Gerhard Richter, Josef Albers, Ellsworth Kelly, and Donald Judd. Gallery artists include Teresita Fernández, Jim Hodges, Donald Moffett, and Dave Muller. Known for her large-scale public installations, Fernández’s latest work featured images of fire, referencing Ed Ruscha’s famous 1964 book, Various Small Fires. The subject of a 2013 exhibition at the Dallas Museum of Art, Hodges’s delicate, temporal pieces have a loyal following amongst the city’s institutions and collectors. Donald Moffett’s lushly humorous shag paintings, which appear to be turf or grass, are made of oil paint methodically extruded onto the surface. The rock-and-roll-influenced work of Dave Muller often features elements such as vinyl records and disco balls. In a current exhibition at the Minneapolis Institute of Art, Muller created an eclectic installation of contemporary works from the museum’s permanent collection against his hand-painted murals, while music from his extensive collection streams through a listening station in the galleries.

These artists are just a small taste of what will be offered by roughly ninety galleries participating at the Dallas Art Fair, and anticipation for a positive response from visitors is high. “We know the Dallas/Ft. Worth area to be a culturally rich audience who is both acquisitive and engaged. It will be an exciting week connecting with this group of collectors and enthusiasts,” says Anthony Meier Fine Arts Director, Lauren Ryan. It’s a sentiment echoed by Roberto Paradise owner, Francisco Rovira Rullán, who proclaims, “We are ready for a great time!”

Above, right: Donald Moffett, Lot 120216 (spore fall, titanium white), 2016, oil on linen, wood panel, steel, 21 x 16.75 x 6.75 in. Right: Teresita Fernandez, Nocturnal (Dusk 1), 2014, graphite and metallic paint on wood panel, 36 x 48 in. Courtesy of the artists and Anthony Meier Fine Arts.

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BY AURIEL GARZA PHOTOGRAPHY BY NAN COULTER

A NEW LEASE ON SCULPTURE

Varied disciplines, materials, and time-based elements instill Nasher Prize Laureate Pierre Huyghe’s practice.

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hen the Nasher Sculpture Center set out to award an international sculpture prize to the most groundbreaking artists advancing the medium today, they certainly meant business. The selection of Pierre Huyghe as the second recipient of the Nasher Prize proposes the discussion and celebration of an artist whose broad practice incorporates everything from film, musical opera, gardening, animation, weather machines, holiday celebrations, arctic expeditions, puppet shows, fish tanks, and so much more.

A student of the École Nationale Supérieure des Arts Décoratifs in Paris from 1982 to 1985, Huyghe became associated with a group of artists in the 1990s, including Rirkrit Tiravanija, Philippe Parreno, and Carsten Höller, whose works involved participation, social interaction, and a surprising degree of chance. It was then that notorious art critic and curator Nicolas Bourriaud first coined the term “relational aesthetics” to describe these unusual practices.

Much like his contemporaries, Pierre Huyghe isn’t interested in

creating discrete objects fixed in stone, marble, or paint on canvas.

Instead he often presents his audience with living systems of entities (animal, mineral, and/or vegetable) that the viewer encounters in flux rather than passively observes. This is why Director, Jeremy Strick, and his colleagues at the Nasher are presently concerned with how to grow moss on a cement sculpture of a reclining nude. They’re also rehashing how to best maintain the lives of sea creatures that will once again occupy a large aquarium by Pierre Huyghe when it is re-exhibited at the Nasher, potentially as soon as February 1st.

Pierre Huyghe was first named the winner of the Nasher Prize in September of last year, but the award will officially be conferred to the artist at a formal gala event on Saturday, April 1st. Leading up to that presentation, the Nasher will be organizing a monthlong celebration of the prize that includes a graduate symposium led by keynote speaker and aforementioned critic, Bourriaud, a conversation with select members of the Nasher Prize jury, and a public conversation with Huyghe himself.

Pierre Huyghe on the streets of Brooklyn near his studio. Photograph by Nan Coulter. Opposite: Pierre Huyghe, La déraison (detail), 2014, concrete, marble, heating system, water, and plants. Courtesy of The Rachofsky Collection. Photograph by Nan Coulter

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Clockwise from upper left: Studio detail, photograph by Nan Coulter; Pierre Huyghe sits at desk in his Brooklyn studio with Jeremy Strick, the Director of the Nasher Sculpture Center. Photographed on December 1, 2016, by Nan Coulter; Pierre Huyghe, Untilled, 2011–12, living entities and inanimate things, made or not made.

Courtesy of the Nasher Sculpture Center.

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Pending complications with the moss and a few capricious hermit crabs, the stone sculpture and the aquarium will be two of three works by Pierre Huyghe going on view in the coming weeks. The aquarium, which was first shown at the Nasher as part of Chalet Dallas, the experimental social space organized by artist Piero Golia in 2015, perfectly demonstrates Huyghe’s practice of presenting living systems as works of art. Within the tank, the artist has put forth a set of conditions and material circumstances that he then sets in motion without knowing entirely what may or may not transpire as a result.

Often filled with rare and beautiful flora and fauna as well as large but surprisingly buoyant volcanic rocks, each of Huyghe’s aquariums is a miniature theater unto itself, in which living performers play out unscripted events in real time. Gaze long enough at one of these alien seascapes and one might witness complex situations that are surprisingly relatable to human life. As the creatures struggle to coexist in Huyghe’s manufactured environment, the fish tanks shift and evolve without the artist’s direct intervention, and these aquatic dramas continue to unfold long after the spectator departs from the

gallery as well.

In their efforts to bring Huyghe’s work in concert with museum visitors, the Nasher joins a small contingent of ambitious and frankly brave and industrious museums that include the Centre de Pompidou in Paris, the Museum Ludwig in Cologne, and the Los Angeles County Museum of Art, all of whom contended with the artist’s traveling retrospective in 2013–2015. In addition to minding Huyghe’s aquariums, organizers at these institutions had to figure out how to systematically produce snow, rain, and fog in one gallery; how to lure living ants from a hole in the wall of another; and how to allow a white Ibizan hound with a pink-painted leg named Human to freely roam the exhibition.

Human was the same dog who for 100 days occupied the site of Huyghe’s breakthrough work, Untilled, 2011–2012. Part of dOCUMENTA (13) and installed in the compost heap of the manicured grounds of a Baroque park in Kassel, this expansive work included objects Huyghe found at the site as well as those brought in by the artist. In addition to Human, the work incorporated large cement blocks, an uprooted oak tree once planted by German artist FEBRUARY / MARCH 2017

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From left to right: Project ideas at Pierre Huyghe’s studio in Brooklyn, December 1, 2016. Photographs by Nan Coulter. Below: Pierre Huyghe, L’Expédition Scintillante, Acte 1, 2002; Pierre Huyghe, Untitled (Weather Score), snow, rain, fog, programmed precipitation; Pierre Huyghe, Untitled (Ice Boat), ice. Photograph: Kub, Marcus Tretter

Opposite, top: Pierre Huyghe, Untilled (Liegender Frauenakt), 2012, concrete cast with beehive structure, wax.

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Joseph Beuys, a bench by the French artist Dominique Gonzalez Foerster, aphrodisiac and psychotropic plants, and a beehive-headed Modigliani reclining nude sculpture teeming with live bees.

The third work by Pierre Huyghe going on view at the Nasher will be a film the artist made from footage shot at the site. Much like Huyghe’s aquariums, the verdant art garden was very much alive and host to encounters and events that occurred with or without spectators present. Huyghe wasn’t interested in how the objects existed individually but how they interacted and converged operationally in terms of organic processes and chemical reactions.

The site was host to consumption, intoxication, and fertilization, and as is fitting of compost, dead materials metabolized and allowed new and exciting forms to emerge, forms that in this case should be called art.

Though the material manifestations of Huyghe’s art are in fact remarkably accessible, e.g., insects, cartoons, figure skaters, fish tanks, etc., the appearance of these elements in an art museum leaves many visitors scratching their heads. But if we immediately move past the question of “Is it art?” and take the time to truly experience the work and consider how these objects, situations, and

environments make us feel and why, the result may be immensely rewarding.

Nasher Director, Jeremy Strick, argues that “the experience for those who are uninitiated or for anyone is actually quite strong and profound because these are very often quite sensual experiences.

They’re works that visually and experientially reveal themselves very quickly, and they’re unusual and fascinating. I think that anyone who encounters the work will find it that way. When you become involved in explaining it, then it becomes more complicated.”

It’s true, the work of Pierre Huyghe has been at the heart of serious intellectual discussion for some time now, and it’s the sort of discussion that may tire even the most credentialed participant.

The more you read about Huyghe’s work, the more complicated it becomes, and the more he creates, the less likely we are to ever summarily define the meaning of his remarkably eclectic and evershifting body of work, but maybe that’s the point.

When asked to consider Pierre’s vitality within the contemporary zeitgeist, Lynne Cooke, Senior Curator at the National Gallery of Art in Washington DC, commented, “I think Pierre’s interest in broad questions that are posed in ways that speak in very contemporary

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Pierre Huyghe, Cambrian Explosion, 2014, Live marine ecosystem; Exhibition view of The Roof Garden Commission: Pierre Huyghe at The Metropolitan Museum of Art, 2015. Photo: Hyla Skopitz, The Photograph Studio, The Metropolitan Museum of Art. © 2015.

Pierre Huyghe, Streamside Day, 2003, event, celebration, October 11, 2003, Streamside Knolls, NY, USA. Super 16mm film transferred to digital Betacam, color, sound

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Pierre Huyghe, A Forest of Lines, July 2008, event, Sydney Opera House, film, color, sound, Photo credit: Paul Green.

languages, film being one, is very relevant to that concern. His resistance to over-theorization and fixed readings is also important.

He wants the work to be porous, to be open to a variety of readings, to the idea that there isn’t one answer or a better interpretation. I think he has a great trust in audiences, that people will find their way.”

A recent film by Pierre Huyghe, Untitled (Human Mask), 2014, features a monkey wearing a human mask wandering a vacant restaurant. Huyghe discovered the monkey on YouTube working part-time as a masked female waiter in the same restaurant outside Fukushima, Japan. In Huyghe’s film, the customers have gone home, and the masked animal appears almost somber and remarkably humanlike as it aimlessly explores the empty space.

In regards to the film, Cooke says, “It’s a very haunting and remarkable piece. You can see audiences from teenagers to adults from many different cultures immediately having a rapport with that. It’s compelling, destabilizing, and uncanny, asking, if you want

it to follow one line of thought, to think about Darwin’s On the Origin of Species and how humans are part of an evolutionary chain… that's something we may know, but we don’t always find so easy to grasp or even accept. It asks the question without being didactic or polemical…However you choose to address it, it’s very engaging."

Though Huyghe’s penchant for the enigmatic seems now and again very much intentional, what if it is the lack of singular interpretations that opens his work up to any number of meanings?

What if perhaps his work is so unstable and so remarkably diverse and dependent upon the very sensual experience of each viewer/ witness/participant, that it matters less and less what’s written or said about it?

The work of Pierre Huyghe draws us into the present moment, into a heightened consciousness where we must contend with the passing of time and our relationship to nature, media, and society at large. It not only tests our understanding of the possibilities of sculpture, but also the possibilities of art more generally. P

Pierre Huyghe, Untitled (Human Mask), 2014, film, color, sound.

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Enduring arts patrons Walter Elcock and Nancy Nasher receive TACA’s top honors.

“B

eauty teaches. Beauty is a disciplinarian.” Virginia Woolf said that and she could have been writing about this year’s winners of the TACA Silver Cup award, Nancy Nasher and Walter Elcock. Both have been shaped by the galvanizing spirit of art, and both are indispensable to the cultural life of Dallas.

As Wolford McCue said, “The TACA Silver Cup was created to recognize individuals who have made impactful contributions that have transformed the arts in Dallas. Nancy and Walter’s leadership has both enhanced the artistic quality of multiple organizations and engaged new and younger audiences to experience performances and arts experiences.” Wolford McCue is the new Carlson president and executive director of TACA. Nancy Nasher is no stranger to complexity, but at NorthPark Center, which she owns and operates with her husband David Haemisegger, she insists that complexity yield to order. Indeed, when thousands of seasonal plants arrive to fill the gardens inside and out, company landscapers know exactly where each cactus, each bromiliad, each succulent will go.

The proportions of each allée of shops are strictly adhered to: 14 feet in the middle for planting and art with 12 feet on each side for walking. Fountains, allées, courts: all are designed in stately procession with the mathematical precision best understood by architects of the Italian Renaissance—Palladio, Bramante—and faithfully practiced by designers of NorthPark: Eero Saarinen, Kevin Roche, E.G. Hamilton, and more recently Mark Dilworth, as well as Renzo Piano, master builder of the Nasher Sculpture Center, founded, like NorthPark, by Nancy’s father, Ray, who was everlastingly a classicist. So is she, with occasional forays into the baroque, not unlike her mother, Patsy, who was brilliant, audacious, and with Ray the guiding spirit of the Nasher Collection. (I’ve heard it said that all art is either classical or baroque.)

When I arrive at NorthPark to meet Nancy near the soaring red Ad Astra by Mark di Suvero, as agreed, I don’t have to look far.

There she is, sitting at a small white table in front of Teavana, the smashing success helped along by Barron Fletcher and his Dallas buyout firm before they sold it to Starbucks. She has come well prepared and supplies me with copies of NorthPark’s elegant “Art of Shopping” publications, featuring fashion photographs shot at various museums, from the Kimbell to Crystal Bridges to the Nasher in both Dallas and at Duke University, Ray’s alma mater, where Nancy went to Law School.

She also gives me a stunning catalogue of the Nasher-Haemisegger Collection of Contemporary Art on exhibit most of last year at Duke and Princeton. (Nancy and David met there as undergraduates.) There are also brochures for SOLUNA, an extravagant spring festival of music and culture staged by the Dallas Symphony along with 30 groups from the arts and sciences and sponsored by the N-H family, including Sarah, David, and Isabelle. Then there’s an elegant introduction to the Nasher-Haemisegger Family Center for the Arts at Hockaday, where Nancy also once was a student.

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BY LEE CULLUM PHOTOGRAPHY BY JOHN SMITH

Nancy Nasher in the outdoor garden of the Nasher Sculpture Center with George Segal's Rush Hour.

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Nancy Nasher; In the foreground, Antony Gormley, Quantum Cloud XX (tornado).

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TACA Silver Cup was created to recognize individuals who have “The made impactful contributions that have transformed the arts in Dallas.

Nancy and Walter's leadership has both enhanced the artistic quality of multiple organizations and engaged new and younger audiences to experience performances and arts experiences.”

–Wolford McCue, Carlson president and executive director of TACA I tell you all this as a way of saying that Nancy Nasher is a woman coming decisively, triumphantly into her own. She and her husband bought NorthPark from Ray in 1995, acquired the ground lease from the Hillcrest Foundation in 1999, and doubled the size of the center in a dicey, gutsy burst of new buildings flung open to an always-appreciative public in 2006, just in time for the crash of the economy two years later. Clearly NorthPark came through all that strong enough to be one of the top four shopping centers in the country today and the only one of them not in a hot tourist spot like Miami, Orange County, or Honolulu. It’s a considerable achievement after 51 years in business.

Nancy keeps everything jumping at NorthPark with constant entertainment, both professional and for fun. School orchestras and itty-bitty ballet dancers perform there. So does the Dallas Symphony, eight times a year, for free. Last fall two thousand people turned out to hear Jaap van Zweden conduct Tchaikovsky’s Fourth Symphony in the CenterPark Garden. As Nancy and I talk, technicians are preparing for a concert by the DSO that evening, indoors, beneath the Ad Astra (to the stars).

Of course, all this action helps keep NorthPark Center and its 100-percent-leased store spaces alive and thriving while other retailers are reeling under the blows of online shopping. It also keeps Nancy Nasher alive. “I love classical music,” she says, “how complex it is.” She played the piano for 20 years and studied music at Princeton. Though she wound up majoring in American literature, her remembered joy is music theory and the history of symphony.

Literature, however, prepared her to write, something she thought necessary for law school. It was law that led her where she was always meant to go. As an intern and then a young associate at the firm representing NorthPark, she learned the art of negotiating leases. When her mother grew fatally ill, Nancy left the firm and began helping at NorthPark as much as she could, given the family crisis. In time she and David were running much of the show, she in operations, he in finance.

With the dramatic new beginning ten years ago, they truly made NorthPark their own. They respected what had gone before, she tells me, but “we left the 1965 center exactly as it was, and left half the 1973 expansion. We converted the parking lot into a garden, and we wanted stores to open into the garden. People need a sense of the time of day so we added more light. But there are no kiosks, nothing commercial, just community. It’s an aesthetic experience.”

To enhance that aesthetic experience, Nancy and David have added more sculpture, adventurous pieces like Ivan Navarro’s water towers in three terrific iterations titled This Land Is Your Land, plus works by KAWS, Anthony Caro, Leo Villareal, and Joel Shapiro.

They’ve produced an art app that visitors can use to track the collection, and for their own family they’re creating a house on the

property where Ray and Patsy lived. It’s a sensitive undertaking since that is, for many who basked in the glories of the art that once was there and now graces the Nasher Sculpture Center, a sacred place.

Nancy Nasher is accustomed to sacred objects and sacred spaces, and they do not intimidate her in the slightest. Life, she knows, is for the living. So is art. It all coheres for her—business, fashion, family, art, life. Everything is at the core. There is nothing extracurricular, except for the innumerable nonprofit organizations she nurtures and sponsors, thus, earning her TACA’s Silver Cup Award.

As I leave, Nancy is conferring with the technical people, still getting ready for the symphony that night. No detail is too small for her careful attention, no project too big for her bold, intelligent attack. This includes The Dallas Opera where Nancy and David are now sponsors for the current season. “You have to support the Keith Cernys,” she says, speaking of TDO’s general director. “It’s so hard to do what they do, so complex.” Then she adds, “I love opera. I love the performing arts.” No wonder she is such a born impresario.

As I walk up to Walter Elcock’s house near the Katy Trail, Laura, his wife, rushes out to meet me. There has been a crisis that almost wrecked our session that day not to mention the easy, interested serenity with which they normally live their lives. Max, one of two cherished Norwich terriers, disappeared. The Elcocks called the police and frantically combed the neighborhood only to have him turn up, finally, voluntarily, from they know not where.

So all manner of things were well by now. Max rejoined his pal Olive, and I joined Walter in a room so stimulating—and at the same time comforting—that it was hard to concentrate on the conversation for which I had come. Contemporary art was everywhere, some of it laced with color, other pieces devoted to black, white, and various tones of gray—subtle and geometric, which explains their power to soothe an agitated mind.

Walter Elcock had a lot of agitation to contend with in his years with Bank of America, beginning with his first tour in Dallas. He could not have come at a more inopportune moment. It was 1988. A collapse in banking, real estate, and oil and gas had decimated much of the economy, making the crash that came twenty years later seem like an earthquake, yes, but not the heart-stopping catastrophe that first blew the Elcocks into Dallas.

They came with the North Carolina National Bank whose initials soon stood for “No Cash for Nobody” in the view of local businesspeople caught in the fall of First Republic, a shotgun marriage of two dominant but suddenly stricken cowboy-capitalist institutions distinguished by their mutual loathing. That was the bank bought by NCNB at a distress sale held by the federal government. That was the bank Walter Elcock, one of the most genial of his kind, came to salvage.

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Pictured in his Highland Park home, Walter Elcock held the position of interim director at the Dallas Museum of Art.

There was “a one-week honeymoon,” he remembers. “Then the FDIC [Federal Deposit Insurance Corporation] told them to start collecting loans, and it was work after that.” In the midst of all the angst, and there was plenty of that, the Elcocks fell in love with this city. “Many came to Dallas,” he says of his colleagues from North Carolina; “I was the only one who stayed.”

He did leave a couple of times for San Francisco, but returned to steer his enterprise, now merged into Bank of America, through another trauma, the Great Recession that struck in late 2007. He hung around “longer than I wanted to because of the crisis,” he explains. “Things were so difficult…What you’re doing is thinking how to work your way out of it.”

It took five years, but Walter did work his way out of the worst of it and retired in 2013, only to have an unexpected opportunity thrust upon him “from out of left field.” With the sudden resignation of Max Anderson as director of the Dallas Museum of Art, Walter Elcock was asked—one might surmise implored—to resign as president of the board and instead take over as interim head of the DMA. He was not an illogical choice. As a student at the University of North Carolina in Chapel Hill, Walter had worked in the Asheville Art Museum and stayed on after graduation to become director for two years. It was only after the birth of his first daughter that he turned to business. Running the Dallas Museum of Art was circling back, in a way, to a first love. “It was like a surprise baby,” he related.

“We didn’t expect it, or plan for it, but we loved it.”

The museum flourished under his leadership. Walter, long a specialist at working with people, calmed the staff, understandably disturbed, and kept them together. He presided over a few hires such as Nicole Myers as curator of painting and sculpture, but left

other vacancies to be filled by the new director, Agustín Arteaga.

“Now,” says Walter, “I’m thrilled to be retired again.”

Retired, yes. Relaxing? No. Walter gives a lot of time to the national board of Reading Partners, a program created to tutor children who are falling behind in reading and help them catch up to fourth grade proficiency, since after that most schools no longer teach the subject at all. Kids are expected to know by then.

The organization trains volunteers with “highly structured” rigor, hires independent analysts to interpret the data, and as a result is “extremely effective.” This kind of “personal commitment” is critical, he points out, “not just legislation.” Kids need “someone to sit down and pay attention to them.”

Walter and Laura sit down whenever they can and pay rapturous attention to their five grandchildren, born to the Elcocks’s two daughters and living on both coasts. And they fill their lives with art. An extraordinary photograph by Allison V. Smith, dark yet startlingly luminous, hangs over the mantel, not far from a tall, haunting figure carved in wood by an Episcopal priest in North Carolina named Peter Marshall. It was the first piece they bought.

The Smith is the latest of her work which is well represented in the Elcock collection.

By the front door is a Jenny Holzer that says this: “It’s nice when you decide you like someone and, without declaring yourself, do what’s possible to further his happiness. This can take the form of gifts, lovely food, publicity, or advance warning.”

A touch of wit amidst a nice sentiment, making sure it is far from sentimental. That would suit the Elcocks who go in for uncomplicated decency—direct, sincere, but never sweet. Nothing about them betrays their pivotal role in rescuing not one institution but two. P

Walter Elcock at the Dallas Museum of Art Naturalization Ceremony. Photo courtesy of Dallas Museum of Art.

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A HIGH-RISE MOMENT IN DALLAS

Layered textures and subtle tones instill a high-rise residence for an art-loving, globetrotting couple.

The Little Forest, a triptych by Shane Pennington made of copper wire, is mounted on the encausto plaster art wall.

An African chair is to the side. A wire bird by Helen Altman perches on the wall.

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BY PEGGY LEVINSON PHOTOGRAPHY BY ALLISON V. SMITH

A

tree-lined street in Uptown is home to a peripatetic couple that has one foot in the lively Dallas art scene (She is a trustee at the Dallas Museum of Art.) and the other foot in Mali. Or maybe the Masai Mara. Or perhaps the Central Africa Republic tracking the lowland gorilla—any number of exotic locales where the couple can find indigenous artifacts to add to their art collection here in Dallas.

To build the perfect space for their home and collection in a new high-rise building, the couple called on designer David Cadwallader and architect Jessica Stewart Lendvay. They had worked with Cadwallader on their previous home, and knew they wanted his particular design sensibility. He was able to use most of their existing furnishings by adding new coverings and finishes to create a fresh, new look. Lendvay designed a space that is deceptively modern. Deceptive in that it’s a rather simple design, though the many fine details create a timeless, classic architectural design. Says Lendvay, “The thick exterior walls create deep windowsills, not unlike those in a pre-war New York apartment. Harmonhinge doors that are flush with walls and cabinets create seamless silhouettes. Sliding, frosted-glass doors provide flexibility and openness.”

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This page: Clockwise from top left: A standing Buddha from the couple’s travels; bowl with terracotta fragments from African statues; wire bird

by Helen Altman. Opposite: In the dining room: Luisa Lambri photograph above the rosewood veneer buffet designed by David Cadwallader; vintage Murano glass Donghia chandelier hangs above.

Below: A view of the living room with custom fireplace screen from Emily Summers Studio 54; built-in display shelves house an array of the couple’s travel acquisitions; Ralph Pucci daybed divides the room.

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From experience, the couple knew how they would like to live in their new space. Lendvay designed an interior layout with finishes and detail to create a sense of expansion, openness, and light. The living area, divided into three separate areas with the use of art walls, provides space for multiple functions, yet doesn’t sacrifice the sense of continuity. The elevator vestibule and entry open to the light-filled living room with a gallery wall, creating a separate dining area on the other side. A built-in Bulthaup kitchen faces a breakfast area with a custom banquette by Cadwallader and a print by Dallas artist Stephen Sellers. An ample terrace is beyond where the couple can enjoy seeing one of the Calatrava bridges in the changing seasons. The result is a California-casual kind of layered ambiance with chairs and sofas covered in different textures in subtle tones floating in a neutral background. Color is provided by the Dallas skyline and well-placed art.

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In the entry you are introduced to the couple’s eclectic art collection—a work by David Bates, landscapes by Mary Foote, and cubist paintings by Karl Knaths and Agnew Weinrich. The media room to the side with three small David Bates flower paintings and a Gregory Kondos California landscape painting opens up to the guest room to provide a private guest suite. The furniture is vintage deco by Paul Frankl that Cadwallader bought locally at Sputnik Modern and Vinya. The couple’s extensive collection of Dogon masks from Mali is in the guest room, along with a grouping of antique grain locks above the bed. There is also a black-and-white silhouette by Kara Walker depicting often uncomfortable and controversial slavery and racial issues.

Three sculptural rooted trees by Dallas artist Shane Pennington adorn an encaustic plaster wall by Casey Cheatham. Pennington’s work often illustrates the balance and fragility of nature. “We didn’t want to cover the subtle organic wall by a painting—the trees just complement and add to the tactile quality of the wall finish,”

This page: A print by Stephen Sellers and a Dorothea Lange painting embellish the breakfast nook. Opposite: A custom Bulthaup kitchen.

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says Cadwallader. A wire bird by Helen Altman is simultaneously convincing and yet blatantly absurd in the obvious artificiality.

Facing it is Sheet Music, Color Coded, by Jim Hodges. The built-in shelves around the fireplace are arrayed with some of the owners’ travel acquisitions. There is a wire basket from Japan and a highly polished, turned-wood vase by a North Carolina wood sculptor; pages from antique Persian manuscripts are displayed along with African artifacts. The fireplace screen is from Emily Summers Studio 54, and the Japanese, lacquered coffee table was a London purchase with Emily Summers. Two separate seating areas are divided by a Ralph Pucci daybed and arranged by Cadwallader to provide a perfect atmosphere for conversing, sharing travel stories about the art and accessories, or simply enjoying the expansive views of downtown.

In the living room, a Minimalist, mixed-media painting by Dallas artist Otis Jones draws your eye toward the windows. On another wall are clustered three landscapes by Julian Onderdonk, the early 20th century Texas plein-air artist, probably the best loved and most famous of Texas’s landscape painters. A standing Buddha by the contemporary Chinese sculptor Chen Wen Ling is in the corner by the windows; a Wil Wilson still-life is above it. A decorative bowl casually displays old clay heads broken off of an African sculpture. In the dining room are Mattaliano chairs and a custom table and credenza designed by Cadwallader.

The photograph over the wall-mounted buffet is by Italian artist Luisa Lambri, known for understated abstract compositions of architectural details. There are also three Robert Mapplethorpe flower photos that grace the hallway that houses the butler’s pantry.

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The afternoon light plays on a horse gifted to the Montgomerys.

The deck overlooks Downtown Dallas with Schultz 1966 furniture.

A Cadwallader-designed rug that was in their previous living room provides color and pattern in the master bedroom. The custom shelves designed by Lendvay showcase more meaningful objects, either found or inherited. There is a Hawaiian flower basket; a Scrimshaw bag from Cape Cod; several Minimalist, Chinese royalty paintings; and two Chinese, carved cabinets with ivory and jade. A perfectly aligned vista from the master bedroom shows off two charcoal drawings by Meg Lindsay. Windows in the bath area look over the Dallas skyline.

The home is very quiet and restful. The architectural details of thick walls and sound barriers provided by Jessica Lendvay keep any outside sounds from seeping in—even the icemaker is silenced. David Cadwallader designed interiors with layered textures and subtle tones that create a sense of calm. The ambiance is elegant and peaceful. It is a perfect place for the world-traveling couple to come home to. P

Powder bath with Elizabeth Dow wallpaper and vintage Italian mirror from John Gregory.

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The master bath features charcoal drawings by Meg Lindsay.

Antique grain locks are mounted above the Frankl furniture.

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THERE

THE ECCENTRICS OPENING CELEBRATION AT FORTY FIVE TEN PHOTOGRAPHY BY MATTEO PRANDONI

China Chow, Tina Craig

Elaine Agather, Meghan Looney

Lynn Yeager

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Dita Von Teese, Brian Bolke

Jeny Bania, Tim Headington

Cindy Rachofsky, Hal Rubenstein

Nancy Rogers, Taylor Tomasi Hill

Gabrielle de Papp, Michael Sills, Shelle Sills

Vanessa Swarovski, Iris Apfel

UNICEF SHOP FOR A CAUSE AT JONATHAN ADLER PHOTOGRAPHY BY BRADLEY TAYLOR

Julie Tregoning

James Frederick

Misty Glover, Kori Storer

Joyce Goss, Lynn McBee, Jonathan Adler, Gowri Sharma

Saun Lightbourne

Summer Riehn, Jamie Smith

MODERN ART MUSEUM OF FORT WORTH

3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 www.themodern.org Left: Stanley Whitney, Blue for You, 2016. Oil on linen. 96 x 96 inches. Courtesy of the Artist and Team Gallery, New York Right: Donald Sultan, Early Morning May 20 1986, 1986. Latex and tar on tile over Masonite. 96 x 96 inches. Private collection, New York

FOCUS: Stanley Whitney January 21–April 2

Donald Sultan: The Disaster Paintings February 19–April 23

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THERE

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2016 8X8 ART EXHIBITION & AUCTION AT THE MUSEUM OF BIBLICAL ART PHOTOGRAPHY BY ANDRES VALERIANO

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in association with AT&T Performing Arts Center

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Sarah Migel, Liz Migel

THE DALLAS OPERA 2016 FIRST NIGHT AT WINSPEAR OPERA HOUSE PHOTOGRAPHY BY CELESTE HART

Andrei Bondarenko, Susan Geyer

Jeanne-Michele Charbonnet, Mikhail Kazakov, Svetlana Aksenova

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FURTHERMORE

BY CHRIS BYRNE PHOTOGRAPHY BY NATHAN DILWORTH

A HEAD FULL OF IDEAS A chat with Ross Bleckner on Hiroshi Sugimoto, The Mudd Club, and his exhibition at Dallas Contemporary.

Chris Byrne visits with Ross Bleckner in the painter's Chelsea studio.

F

ind a peaceful place where you can make plans for the future. This is the title of New York painter Ross Bleckner’s first major exhibition since his 1995 retrospective at the Guggenheim—I had met and visited the artist's studio two years earlier.

Curated by Peter Doroshenko for Dallas Contemporary, Bleckner’s new large-scale paintings and recent smaller-scale canvases explore the physical and absent, described by the artist as where “the architecture of place meets the architecture of the sky.”

Chris Byrne (CB): The new works look great—they seem like an encyclopedic survey of your various painting vocabularies. The last show in New York also featured images from different series...

Ross Bleckner (RB): Actually it’s not a survey. The show (at Dallas Contemporary) is divided into four distinct groups of paintings, which are mostly recent. I carry ideas around in my head and keep returning to them in some way or another. The ideas are mostly about space and light, though not always literal space, although architecture is referenced, but also space in the form of how things come into and out of recognition and being or dissolving.

CB: I noticed that the photographer Hiroshi Sugimoto is your neighbor at your current Chelsea studio building. Have you spent time with him there?

RB: Sugimoto is one of my favorite photographers and I do run into him from time to time. He has a tearoom on top of his studio and he has taken me there. It’s like a monk’s room. I would imagine we are interested in some of the same things: particularly the horizon where things blend, merge, and disappear...as in a Rothko painting.

CB: Your former studio building housed the now legendary music venue, The Mudd Club. Can you tell us how that came about and what it was like 88

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in Tribeca during the early eighties? And do you feel that the music that was being played downstairs influenced the type of painting you were doing upstairs?

RB: When I first came to New York City after graduating from CalArts, I had the good fortune of being able to buy a building in Tribeca. My father was very supportive and lent me the down payment. That was in 1974. In 1979, some friends of mine approached me about opening an artists’ bar on the ground floor. The idea appealed to me. By 1980 the club had morphed into a very popular (and loud) music venue where many bands (such as Blondie and The B-52s) got their start. I enjoyed going down for a beer and seeing friends...I wasn’t as much into the noise or the music.

CB: Can you talk about your approach for the installation at Dallas Contemporary? Each body of work seems to have its place—was this a way of making certain that no one particular series dominates?

RB: For the Dallas show I wanted to move around the “atmosphere” from the structures of the rooms that contain us, to the areas that surround those rooms, to the places where those rooms meet the outside, the sky, the clouds, and the landscape, and where all of that “place” loses its identity as a place. Those “places” are in each room of the building as separate entities and also flow into each other from room to room...at least that’s my hope.

CB: How was your recent trip to Dallas?

RB: I visited Dallas to check out Dallas Contemporary. It’s a wonderful space, like a kunsthalle in Europe. The day that I happened to be there Bruce Weber and Pedro Reyes had openings. Both shows looked terrific. Bruce is a friend, so it was nice to see him and his wife Nan. Other than that, I don’t really know Dallas, but am certainly looking forward to that famous “Texas hospitality”! P

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