Patron February/March Issue 2016 by Patron Magazine

TOP FORM

Nasher Prize Winner Doris Salcedoâ&#x20AC;&#x2122;s Sculptural Effect

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Dallas Art Fair International Preview

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February / March 2016

TERRI PROVENCAL Publisher / Editor in Chief

These days internationalism is a central part of the arts conversation in the region, and, really everywhere. The arts are more accessible than ever before. Our local museums and institutions continue to mount the work of monumental and emerging artists whose works travel to the nearest and farthest stretches of the planet in expertly packed shipping crates—their global course creating its own form of mark-making. Tireless passionate souls behind these efforts offer the public unprecedented experiences. One such instance is the Nasher Sculpture Center’s presentation of the Nasher Prize, making its debut in April. Selected by an esteemed jury for whom art is visceral, Doris Salcedo, a Colombian-born, Bogotá-based sculptor and installation artist, was deemed the inaugural laureate. Among the jurors, we selected scholar Alex Potts, the Max Loehr Collegiate Professor at the University of Michigan and author of The Sculptural Imagination: Figurative, Modernist, Minimalist and co-editor of The Modern Sculpture Reader to define the important work of this artist in Poetic Gravitas. Imbued with loss and remembrance, one thousand one hundred and fifty wooden chairs represent the ravages of war in the Untitled, 2003 installation that appeared at the 8th International Istanbul Biennial in 2003; a picture of the ephemeral work now graces our cover. Also of international scope, World Stage has contributor Steve Carter previewing six galleries premiering from abroad at the Dallas Art Fair’s 8th iteration. From Dubai to Dublin, these gallerists recognize the impact modern and contemporary art has had on North Texans, especially in the last decade or so. We look forward to welcoming them to their booths mid-April. While modern and contemporary reign at the Dallas Art Fair, Harlan Crow is preserving the spirit of our Founding Fathers through his Old Parkland Campus. Steeped in American history, the preeminent sculpture, however, comes from an international artist. Crow appointed Scotsman Alexander Stoddart, known for civic monuments, to create a 45-foot bronze sculpture entitled Eos. Roosting preeminently in the circular drive impervious to our varying weather, Eos features 4-foot depictions of James Madison and Thomas Jefferson along with John Locke and Adam Smith. Though the caretaker did not forget to include local artists amidst the grounds’ permanent collection, Crow tapped Brad Oldham to create torchières in Century Hall, the anteroom to the prized Debate Chamber along with additional custom works. Other local artists, Arthur Pena, Vernon Fisher, and Jeff Zilm, enjoy pride of place in the home and collection of Denise and Chris Stewart, highlighted in Material Matters. While Nancy Cohen Israel stayed closer to home to take us inside their Bluffview residence, Farah Fleurima traveled three hours due east to Shreveport for this installment of our newest department, Sojourner. Over a lovely weekend she caught up with legendary Soundsuit artist Nick Cave during his artist’s residency through the Shreveport Regional Arts Council, busily preparing with five Louisianabased artists and the community for a one-day show on March 20 entitled As Is. All great art forms need patronage, stewardship, and commitment in order to flourish and survive. So when we find these rare souls—those who enjoy the arts but also foster them by getting things done—TACA recognizes them through their annual Silver Cup Awards Luncheon. There are no two more deserving honorees than Rebecca Enloe Fletcher and James Wiley, who live in theaters and champion boards and committees, constantly giving so the performing arts take center stage. Hope to see you at the luncheon. –Terri Provencal

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CONTENTS 1

FEATURES 52 POETIC GRAVITAS Loss and trauma define the oeuvre of Doris Salcedo, the inaugural Nasher Prize recipient, whose groundbreaking works bear witness to political violence in her Colombian homeland and around the globe. By Alex Potts 60 WORLD STAGE Dallas Art Fair attracts elite galleries from around the globe. Patron previews six international players visiting for the first time. By Steve Carter 68 MATERIAL MATTERS The Stewart Collection explores non-traditional media. By Nancy Cohen Israel 74 PATRON SAINTS TACA awards the Silver Cup to honor leaders whose stewardship truly evokes meaning and impact for the arts. This year’s recipients, Rebecca Enloe Fletcher and James E. Wiley are all that. By Lee Cullum

78 GO LIGHTLY Invite a little sparkle to your wardrobe this spring. Photography By Molly Dickson

TOP FORM Nasher Prize Winner Doris Salcedo’s Sculptural Effect Global Entry Dallas Art Fair International Preview

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On the cover: Doris Salcedo, Untitled, 2003, one thousand one hundred and fifty wooden chairs approx. 33 x 20 x 20 ft.; ephemeral public project, 8th International Istanbul Biennial, Istanbul, 2003; photograph, Sergio Clavijo

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CONTENTS 2

DEPARTMENTS 8 Editor’s Note 16 Contributors 22 Noted Top arts and cultural chatter. By Elizabeth Kerin Of Note 24 COME TOGETHER Chagall exhibition at Beatrice M. Haggerty Gallery at University of Dallas fosters interfaith dialogue. By Nancy Cohen Israel Fair Trade 38 SHARED SPACE Gallerists Michael Jon Radziewicz and Lisa Cooley will share a booth at the 2016 Dallas Art Fair. By Tina Kukielski Performance 40 CIVIL LIBERTIES Directed by Dallas Theater Center’s Kevin Moriarty, All the Way brings to the stage Lyndon B. Johnson’s no-holds-barred fight to enact a landmark piece of legislation. By Lee Cullum

Contemporaries 42 FOUNDING FATHER Harlan Crow engenders a new epoch for Old Parkland. By Lee Cullum Space 48 PARIS ON HI LINE Just when you thought the Dallas Design District couldn’t get any better, along comes Jean de Merry. By Peggy Levinson Sojourner 50 FROM MYSTERY TO MATTER Soundsuit artist and messenger Nick Cave rallied the Shreveport artistic community and social-service nonprofits for his March multidisciplinary performance, AS IS. By Farah Fleurima

There 86 CAMERAS COVERING CULTURAL EVENTS Furthermore ... 96 THERE AND BACK AGAIN Will art dealer, James Kelly, return to Dallas? By Chris Byrne

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CONTRIBUTORS

STEVE CARTER Internationally speaking, arts writer Steve Carter previews the upcoming visits of six foreign galleries to the Dallas Art Fair 2016; they’re all first-timers to the event. London’s Carl Freedman Gallery, Madrid’s Galeria Marta Cervera, Dublin’s Kerlin Gallery, Antwerp’s Galerie van der Mieden, Dubai’s Lawrie Shabibi, and Valentin, Paris are all set to impress, each bringing their unique vision and a representative sampling of their roster. Should be another landmark year for DAF, so make your plans now.

WILLIAM BICHARA A Dallas-based photographer, Bichara specializes in editorial and high-end portraits. His passion for the arts together with his distinctively bold photography style make Patron the perfect platform for his work. William has collaborated with the magazine since its start to cover the Dallas arts and culture scenes along with those who help shape them. In this issue, William photographed Jim Wiley at the Meyerson and Rebecca Enloe Fletcher at the Dallas Theater Center, and journeyed through Old Parkland.

CHRIS BYRNE Chris Byrne is the author of the graphic novel project entitled The Magician (Marquand Books, 2013) as well as the book The Original Print (Guild Publishing, 2002). He is the co-founder of the Dallas Art Fair and the former Chairman of the Board of the American Visionary Art Museum. Byrne currently serves on the American Folk Art Museum's Council for the Study of Art Brut and the Self-Taught, the Dallas Convention & Visitors Bureau Cultural Tourism Committee, as well as the Board of Directors for Dallas Contemporary.

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NANCY COHEN ISRAEL Nancy Cohen Israel is an art historian and Dallas-based writer. For this issue, she enjoyed visiting the Stewart collection and seeing the work of dynamic contemporary artists. With her interest in how the arts can foster interfaith dialogue, Nancy also enjoyed writing about the exhibition Marc Chagall: Biblical Narratives in Prints and its relationship to Nostra Aetate. In conjunction with the exhibition, Nancy looks forward to participating in an upcoming panel discussion about Chagall’s work.

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.

PAUL CONANT With over 19 years of editing experience, Paul lends his vast knowledge to magazines, books, dissertations and beyond. In addition to work on local and national publications, other clients include Francis Collins (Seashell Prisoners), Victor Shane (In God We Trust) and Brenda V. Johnson (Transitional Journey). He also enjoys editing the details of Patron.

LEE CULLUM Cullum is a Dallas journalist whose work has dealt often with politics, informed by history. For this reason, she is especially pleased to write about Old Parkland, steeped in the thought, times, and drama of those who invented the nation. They led directly to Lyndon B. Johnson whose tumultuous first year as president, after the assassination of John F. Kennedy, will be brought to life in All the Way, opening at the Dallas Theater Center in March. Cullum also wrote Patron Saints to showcase the TACA Silver Cup luncheon as Rebecca Enloe Fletcher and Jim Wiley, both stalwarts of DTC, are honored. FARAH FLEURIMA This Dallas-based freelance writer was tapped for a story on iconic Soundsuitartist, Nick Cave. The story appealed to her not just because she's a big fan of Louisiana, but because the artist's devotion to spearheading a communitybased art project that lifts and benefits residents ignited her sense of civic duty and giving. Meeting the multifaceted creator and learning how much he felt the community gave him on the road to the March 20 debut of his new show, As Is, heightened her admiration for him even more.

GUEST CONTRIBUTOR, ALEX POTTS Alex Potts is Max Loehr Collegiate Professor in the Department of History of Art, University of Michigan, Ann Arbor. He is author of the books Flesh and the Ideal: Winckelmann and the Origins of Art History (1994 and 2000), The Sculptural Imagination: Figurative, Modernist, Minimalist (2000), and most recently Experiments in Modern Realism: World Making, Politics and the Everyday in Postwar European and American Art (2013), and co-editor of The Modern Sculpture Reader (2007). In Poetic Gravitas, Professor Potts covers Colombian artist Doris Salcedo, the premier recipient of the Nasher Prize. PEGGY LEVINSON Levinson is a design industry veteran and prior Design and Style editor for D Home. In addition to freelance writing, she consults with showrooms, artisans, and interior designers so they can function successfully, while preserving what makes each unique. Previously a showroom owner—BoydLevinson and Hargett Associates—she loves to wander around the Design District and Industrial/Riverfront area keeping up with the “best and brightest.” In Space she checks out the recently opened Frenchinspired Jean de Merry showroom.

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01 AFRICAN AMERICAN MUSEUM Walter Cotton: Texas Folk Artist features the work of this chauffeur and later principal of the black school in Mexia. Through Mar. 5. Ongoing exhibits include: Facing the Rising Sun: Freedman’s Cemetery, featuring photographs and interactive videos that explore the lost history of a once-thriving North Dallas community, while The Souls of Black Folk displays work from the Billy R. Allen Folk Art Collection. Carroll Harris Simms Exhibition serves to expand the museum’s collection through the Biennial Southwest Black Art Competition. Through May 21. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART American Epics: Thomas Hart Benton and Hollywood shows Feb. 6–May 1. Discarded: Photographs by Anthony Hernandez opens Mar. 5–Aug. 7. Tales from the American West: The Rees-Jones Collection exhibits through Feb. 21. Hard-bitten communities of the West are revealed in That Day: Laura Wilson, through Feb. 14. Pasture Cows Crossing the Indian Creek, Comanche, Texas, Looking for the old Civilian Fort of 1851, North of Gustine and a mile west of Bag gett Creek Church is a mural by Esther Pearl Watson on display through May 30. Image: Thomas Hart Benton (1889–1975), Self-Portrait with Rita, ca. 1924, oil on canvas. National Portrait Gallery, Smithsonian Institution, Washington. Gift of Mr. and Mrs. Jack H. Mooney. Photo courtesy of National Portrait Gallery, Smithsonian Institution/ Art Resource, NY ©T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank 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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Trustee/Licensed by VAGA, New York, NY. cartermuseum.org 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM Inside the Armor makes special use of X-rays to reveal the secrets behind the construction of Japanese armor. The museum sponsors a Lunchtime Talk every Thursday at 1 p.m. Public Tours are every Saturday and Sunday at 1 p.m. samuraicollection.org 04 CROW COLLECTION OF ASIAN ART Time and Eternity: Landscape Paintings by Bireswar Sen exhibits Sen’s playing-cardsized landscapes, exploring the beauty of light outdoors. Alexander Gorlizki: Variable Dimensions brings together the artist’s work in drawing, sculpture, installation, video, and the applied arts for a kaleidoscopic peek into Gorlizki’s creative imagination, through Mar. 20. Benevolence and Wisdom: New Gifts from the Collection of Trammell and Margaret Crow is on view through Aug. 16. crowcollection.org 05 DALLAS CONTEMPORARY Black Sheep Feminism: The Art of Sexual Politics; Aura Satz: Her Marks, a Measure; and Jeff Zilm: Lossless Forms for Picture Plane continue through Mar. 20 in this noncollecting museum located on Glass Street. dallascontemporary.org 06 DALLAS HOLOCAUST MUSEUM Anne Frank: A History for Today continues through May 31. The exhibit takes the viewer beyond the pages of her diary

by providing a wide perspective on the Holocaust, human rights, the Nazis, and Frank’s family experiences in hiding. On Mar. 18–19 the museum hosts two live performances of Conversations with Anne each day. dallasholocaustmuseum.org 07 DALLAS MUSEUM OF ART Jackson Pollock: Blind Spots is the largest survey of Pollock’s understudied black paintings ever assembled. Through Mar. 20. Inspired by Young Woman Seated at a Virginal, one of Vermeer’s treasured works, Vermeer Suite: Music in 17th-Century Dutch Paintings displays seven additional paintings by Vermeer’s contemporaries on loan from the Leiden Collection. Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art presents over 50 masterworks in varied mediums through Jul. 31. N S Harsha: Sprouts, reach in to reach out is a site-specific mural on view through Feb. 14. Image: Dirck van Santvoort, Dutch, 1610–1680, A Boy Playing the Flute, n.d., oil on canvas, 10.75 × 8 in. The Leiden Collection, Inv# DS-100 28.2015.8 © The Leiden Collection, New York. dma.org 08 GEOMETRIC MADI MUSEUM Israeli-born artist Yaacov Agam’s work shows in The Magic of Yaacov Agam, consisting mainly of polymorphs—paintings that offer varying perspectives from differing viewpoints. Through Apr. 21. Image: Yaacov Agam, War and Destruction, 2000, polymorph on folded paper. Hand-signed in pencil, lower right by the artist. Signed, titled, and dated, "Paris, 2000," on the verso. A unique work, 11.25 x 11.25 in. geometricmadimuseum.org

NOTED: VISUAL ARTS

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09 KIMBELL ART MUSEUM Gustave Caillebotte: The Painter’s Eye and Castiglione: Lost Genius and Masterworks on Paper from the Royal Collection continue through Feb. 14. The Kimbell has a worldrenowned permanent collection, known for its distinguished level of extraordinary quality. Image: Gustave Caillebotte, Fruit Displayed on a Stand, c. 1881–82, oil on canvas, 30.125 x 39.625 in. Museum of Fine Arts, Boston. Fanny P. Mason Fund, in memory of Alice Thevin. Photograph © Museum of Fine Arts, Boston. kimbellart.org

Turner, Feb. 14–Jun. 5, explores the work of these artists made during the 1940s and 1950s while teaching and working in Texas. meadowsmuseumdallas.org

10 LATINO CULTURAL CENTER This arts center was founded for the preservation, development, and promotion of Latino and Hispanic arts and culture by presenting their arts, film, and literature, in addition to supporting local Latino artists and arts organizations. dallasculture.org/latinoculturalcenter

14 MUSEUM OF BIBLICAL ART Mysteries, Signs and Wonders features highly spiritual paintings by Barbara Hines through Apr. 3. In partnership with Holy Trinity Greek Orthodox Church of Dallas, Orthos Doxa is a collection of treasures whose roots trace back to the early first century. Works by Gib Singleton are housed in the Via Dolorosa Sculpture Garden. biblicalarts.org

11 THE MAC The MAC will reopen in 2016 in The Cedars at 1601 S. Ervay St. in a new complex that will house The MAC galleries, performance spaces, and new media theater, commercial galleries, and more. the-mac.org 12 MEADOWS MUSEUM Between Paris and Texas: Marie Cronin, Portraitist of the Belle Époque offers the first monographic exhibit of Cronin’s (1867–1951) paintings Feb. 14–Jun. 5. Texas-raised, Cronin studied in Paris, then continued her artistic career back in Texas while carrying out the exigencies of her family’s railroad business. Process and Innovation: Carlotta Corpron and Janet

13 MODERN ART MUSEUM FORT WORTH Highlights from the Permanent Collection shows some of The Modern’s most treasured works. Through Mar. 20. FOCUS: Glenn Kaino exhibits Kaino’s installations that carefully balance between formal and conceptual concerns, through Apr. 17. themodern.org

15 NASHER SCULPTURE CENTER Piero Golia’s installation with architect Edwin Chan transforms the Corner Gallery into Chalet Dallas through Feb. 7. In her first museum solo show in the U.S., Ann Veronica Janssens displays select sculpture by the Brussel-based artist, challenging the viewer’s understanding of space, surface, depth, and color, through Apr. 17. Marina Piccinini and pianist Andreas Haefliger will perform as part of the Nasher’s Soundings series on Feb. 19. Sightings: Mai-Thu Perret opens Mar. 12. The Swiss-born Perret will build off a performance she recently staged in Geneva. Through Jul. 17. nashersculpturecenter.org

16 NATIONAL COWGIRL MUSEUM Feb. 19, the museum hosts Bullets and Bustles: Costumes of Lonesome Dove, held in conjunction with the Lonesome Dove Reunion and Trail. Exhibit will include: costumes of Gus and Call, props, and sketches. Through Apr. 17. Light, Landscape and Livestock: The Photography of Nadine Levin opens Mar. 4 and continues through Jul. 5. cowgirl.net 17 PEROT MUSEUM Creatures of Light: Nature’s Bioluminescence runs through Feb. 21, featuring the Earth’s extraordinary organisms producing light. The museum hosts its First Thursday Late Night, coinciding with the National Geographic speaker series on Feb. 4 that features David Doubilet and Jennifer Hayes who will present images from unusual aquatic life. The museum screens 3D films Sea Monsters: A Prehistoric Adventure 3D and Journey to Space 3D through May 26, and Tiny Giants 3D through Sept. 5. Spring-break camps for children are offered in March. Image: From the National Geographic Speaker Series, photograph by David Doubilet, baby green sea turtle, French Polynesia. perotmuseum.org 18 TYLER MUSEUM OF ART Embracing Diverse Voices: 90 Years of AfricanAmerican Art continues through Mar. 20, featuring works by a variety of artists including Romare Bearden, John Biggers, Jacob Lawrence, and Kara Walker. Chihuly: Works from Texas Collections opens Feb. 7, with a member’s preview Feb. 6. The museum also hosts monthly events including First Friday and Family Day. tylermuseum.org FEBRUARY / MARCH 2016

OF NOTE: VISUAL ARTS

COME TOGETHER

Chagall exhibition at Beatrice M. Haggerty Gallery at University of Dallas fosters interfaith dialogue. Nostra Aetate celebrated its 50th anniversary in 2015. Translated as In Our Time, its Declaration on the Relation of the Church with Non-Christian Religions is one of the milestones of the Second Vatican Council. Its importance continues to resonate as religious communities have been celebrating this landmark document throughout the year with lectures, exhibitions, and concerts. According to Dr. Mark Goodwin, Chair and Associate Professor in the Department of Theology at the University of Dallas, “Its spirit of fostering an openness and respect between different religions is badly needed in today’s world. Too many times in the 21st century we have seen the use of religion for destructive purposes and hate. Nostra Aetate reminds us of an alternative to the latter by encouraging a spirit of openness and goodwill toward those of other faiths.” This spirit of interfaith dialogue continues with the opening this month of the exhibition Marc Chagall: Intersecting Traditions at the Haggerty Gallery at the University of Dallas. Featuring approximately 50 of the 105 hand-colored prints from Chagall’s Bible series, it is derived from the Biblical Narratives exhibition originally organized by the Haggerty Museum of Art at Marquette University. The complete portfolio, donated by Beatrice and alum Patrick Haggerty, belongs to Marquette’s Haggerty Museum. Their son Patrick and the Haggerty Family Foundation are the impetus for the current loan to the University of Dallas. Chagall, himself a secular Jew, embodied the spirit of Nostra Aetate. According to Scott Peck, Director of the Haggerty Gallery at the University of Dallas, “I would call Chagall the greatest Biblical artist of the 20th century.” Peck is equally emphatic about the aesthetic importance of this group of etchings. “We think of line and vibrant color when we think of Chagall. These are different because they are muted, taking advantage of the [etching] plate in a different way. The message is more central than anything else,” he says. A comprehensive series of lectures by Jewish and Christian theologians and art historians will complement the exhibition and further the discussion around the importance of Chagall and his connection to liturgical art. The exhibition signifies the lead taken by the University of Dallas in commemorative programming for Nostra Aetate. “As a Catholic university, we want to be on the forefront of dialogue with different religions,” says Dr. Charles W. Eaker, Provost and Chief Academic Officer at the University. In November, over 800 people attended the 2015 Eugene McDermott Lecture, Nostra Aetate – 50 Years Later: Commemorating Jewish-Catholic Relations, at the Morton H. Meyerson Symphony Center. Leaders in interfaith dialogue, Bishop Brian Farrell and Rabbi David Rosen, each spoke. Responding to Nostra Aetate, with its original goal of healing Catholic-Jewish relations, the program was a collaborative effort between the Catholic Diocese of Dallas, the Jewish Federation of Greater Dallas, and the American Jewish Committee. “The goal here, in the spirit of Nostra Aetate, is to honor the work of a great Jewish artist as part of a Catholic university’s respect for and ongoing interest in Judaism,” concludes Dr. Goodwin. P Left: Marc Chagall (French, born in Belarus, 1887–1985), La lutte avec l’ange (Jacob Wrestling with the Angel), 1958, hand-colored etching on Archeswove paper, 80.7.16. Gift of Patrick and Beatrice Haggerty, Collection of the Haggerty Museum of Art, Marquette University, Milwaukee, WI. Right: Marc Chagall (French, born in Belarus, 1887–1985), Vision d’Ésaïe (Vision of Isaiah), 1958, hand-colored etching on Arches-wove paper, 80.7.91. Gift of Patrick and Beatrice Haggerty, Collection of the Haggerty Museum of Art, Marquette University, Milwaukee, WI.

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NOTED: PERFORMING ARTS

01 AMPHIBIAN The first of four compelling 2016 main stage performances, Isaac’s Eye by Lucas Hnath, runs Feb. 11–Mar. 6, featuring the tale of Isaac Newton’s fierce ambition potentially compromising his entire life’s scientific work. On Feb. 23, Kyle Kinane performs an evening of stand-up comedy. Concrete Temple Theatre’s Geppetto: Extraordinary Extremities by Renee Philippi takes the stage Mar. 17–20. Partnering with the Modern Art Museum of Fort Worth for National Theatre Live are broadcasts of Jane Eyre Feb. 17 followed by As You Like It Mar. 16. amphibianstage.com

04 CASA MANANA RENT, Feb. 27–Mar. 6, tells the story of impoverished artists and musicians in NYC. School House Rock Live Jr. is a live stage adaptation of the 1970’s Saturday morning cartoon series, Feb. 5–21. The Three Little Pigs airs Mar. 18–Apr. 3. casamanana.org

02 AT&T PERFORMING ARTS CENTER Jazz saxophonist, Branford Marsalis, plays at Dallas City Performance Hall Feb. 4. Eric Bogosian performs Bitter Honey: The Best Of 100 (Monologues) at Wyly Theatre Feb. 11–13. The Complete Works of Shakespeare series stages King John, Feb. 29, followed by Hamlet, Mar. 19–20. George Thorogood, The Destroyers, and The Edgar Winter Band perform Mar. 1 at Majestic Theatre, followed Mar. 2 by Vocalosity, an a cappella ensemble performance. Mar. 9 welcomes guitar solo performer, Joe Satriani. An Evening With Sophia Loren takes place Mar. 20. Love Letters, a Broadway production, opens the evening of Mar. 22–Apr. 3. Image: Love Letters, courtesy of AT&T Performing Arts Center. attpac.org

06 DALLAS CHILDREN’S THEATER A Year with Frog and Toad tells Arnold Lobel’s tale of amphibian friendship, at the Rosewood Center for Family Arts through Feb. 28. Caracol Y Colibri (Snail and Hummingbird), on Feb. 5, produced with a Teatro Dallas. dont u luv me? runs Feb. 12–21, portraying dating violence consequences. Hansel and Gretel is a puppetry adaptation of the Brothers Grimm running Mar. 4–Apr. 3. The Miraculous Journey of Edward Tulane takes the stage Mar. 18–Apr. 10. dct.org

03 BASS PERFORMANCE HALL February welcomes the Fort Worth Symphony Orchestra for a concert gala with Joshua Bell on Feb. 6 followed by West Side Story Feb. 12–14. FWSO performs Tchaikovsky 5 Mar. 4–6, The Sounds of New Orleans: A Tribute to Louis Armstrong Mar. 11–13, and Brahms 3 Mar. 18–20. Shen Yun performs on March 14–15. basshall.com 26

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05 DALLAS BLACK DANCE THEATRE DBDT uses Wyly Theatre Feb. 19–21 for an interpretation of myth and classic lore in Cultural Awareness. The All-Access interactive program includes an opportunity to speak with the choreographers and an on-stage celebration on Saturday. dbdt.com

07 THE DALLAS OPERA Feb. 21 marks Dallas Opera Guild Opera Insights. The 2016 Juanita and Henry S. Miller, Jr. Founders Award presentation is Feb. 24. Manon opens the evening of Mar. 3–12. Mar. 5 welcomes Mozart’s Bastien and Bastienne to Winspear Opera House for an evening of comic opera composed by Mozart, at just 12 years of age. dallasopera.org 08 DALLAS SUMMER MUSICALS Winner of the 2014 Best Score Tony Award, The Bridges of Madison County runs Feb. 2–14. The Little Mermaid runs Mar. 11–27 at the Music Hall at Fair Park. dallassummermusicals.org

09 DALLAS SYMPHONY ORCHESTRA The DSO performs Shostakovich 7, Feb. 4–7 followed by the songs, score, and screening of West Side Story, Feb. 12–14. On Feb. 25– 28 the ensemble will perform Tchaikovsky Piano Concerto No 1. March opens with Bach and Beyond, Mar. 3–6. A Tribute to the Beatles will be performed Mar. 11–13, along with ReMix, Mar. 11–12. The DSO plays Celtic Fire, Mar. 18–19 followed by Beethoven’s Fifth, Mar. 24–26. mydso.com 10 DALLAS THEATER CENTER Director Joel Ferrell interprets the classic from William Shakespeare, Romeo and Juliet, as part of Dallas Theater Center’s MainStage programming. Through Feb. 28. All the Way is a 2014 Tony Award® winning production about Lyndon B. Johnson’s fight for Civil Rights, onstage Mar. 3–27 at the Wyly Theatre. dallastheatercenter.org 11 KITCHEN DOG THEATER I’m Gonna Pray for You So Hard plays Feb. 12–Mar. 12, following the life of Ella who’s seeking to make her playwright father proud, written by Halley Feiffer. kitchendogtheater.org 12 MAJESTIC THEATRE MattyB takes the stage Feb. 14. March welcomes George Thorogood & the Destroyers with the Edgar Winter Band on Mar. 1, followed by Joe Satriani on Mar. 9 and IL VOLO on Mar. 19. dallas-theater.com 13 TACA The 2016 TACA Silver Cup Award Luncheon, founded by Annette Strauss in 1979, will take place Feb. 19 at the Hilton Anatole Hotel to recognize one man and one woman for their contributions to the arts in Dallas. taca-arts.org

WO RLD PREMIERE

14 TEXAS BALLET THEATER TBT’s Classic Combination brings together the compositions of Carl Czerny, Frédéric Chopin, and Pyotr Ilyich Tchaikovsky to the Bass Performance Hall Feb. 26–28. Sergei Prokofiev’s Cinderella enchants audiences at the Bass Performance Hall Mar. 25–27. texasballettheater.org 15 THEATRE THREE Oil, by Neil Tucker, follows Magritte Holes, the matriarch of one of Houston’s most affluent oil families. Through Feb. 14. Light Up the Sky, by Moss Hart, is an unforgettable synthesis of hope, ambition, and hubris, running Mar. 10–Apr. 3. theatre3dallas.com 16 TITAS In collaboration with the Crow Collection of Asian Art, Cloud Gate by the Dance Theatre of Taiwan tells about the East Rift Valley of Taiwan on Feb. 5 at the Winspear Opera House. BalletBoyz® is a production that calls upon the innovative forces of modern dance on Feb. 13. Mr. & Mme. Rêve is modern dance in 3D, musically arranged by Laurent Garnier, onstage at Dallas City Performance Hall, Mar. 18–19, followed by a performance of Cie Hervé Kombi, who combines martial arts into dance choreography, Mar. 25–26. titas.org

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17 TURTLE CREEK CHORALE "Musical" awards will be presented when Heroes shows at the Dallas City Performance Hall, Mar. 31–Apr. 2, honoring heroes within organizations that have helped form the Dallas community. The second half of the concert is dedicated to the memory of Tyler Clementi. turtlecreekchorale.com 18 UNDERMAIN THEATRE Bruce DuBose and Joanna Schellenberg in Long Day’s Journey Into Night by Eugene O’Neill open the evening of Feb. 10–Mar. 6. O’Neill’s autobiographical play depicts a thespian family facing imminent doom, winning O’Neill the Pulitzer Prize of Drama and the Tony Award for Best Play in 1957. Image: Bruce DuBose and Joanna Schellenberg in Long Day’s Journey Into Night; photography by Katherine Owens. undermain.org 19 WATERTOWER THEATRE William Golding’s Lord of the Flies runs through Feb. 14, about a plane wreck stranding a group of English boys on a deserted island during wartime. The tale explores morality, freedom, and power. watertowertheatre.org FEBRUARY / MARCH 2016

NOTED: GALLERIES

01 ALAN BARNES FINE ART ABFA offers collectors, including clients like The Royal Family and Paul McCartney, a series of 18th- and 19th-century works as well as a vast selection of other works to meet the unique needs of each designer or collector. alanbarnesfineart.com

06 CADD The foremost Contemporary Art Dealers of Dallas advance contemporary art on all levels. On May 2, CADD hosts Eat Your Art Out, a mystery destination dinner fundraising for the CADD scholarship and educational programs. caddallas.net

02 ANDNOW During February the gallery hosts the work of Steve Bishop. March welcomes the work of Bennet Schlesinger. andnow.biz

07 CARLYN GALERIE Carlyn Galerie sells fine American art glass, clay, fiber, metals, and jewelry. The gallery hosts Affair of the H*Art, an annual show that focuses on artisan-made jewelry, scarves, and hand-blown and fused glass objects, Feb. 1–Mar. 25. carlyngalerie.com

03 ARTSPACE 111 Nature’s First Green Is Gold features landscapes of America from abstract to realism by artists within the gallery roster along with guest artists, from the southwest to the northeastern shore, opening Feb. 5. Runs through Mar. 12. The 2016 Spring Gallery Night on Mar. 19 will feature the work of Daniel and Dennis Blagg. Through May 7. Image: Dennis Blagg, Jabba, oil on canvas, 24 x 30 in. artspace111.com 04 BARRY WHISTLER GALLERY The gallery is celebrating with its 30th Anniversary Exhibition, opening Feb. 13, featuring Jonathan Cross, Linnea Glatt, Nathan Green, Luke Harnden, Terrell James, Tom Orr, John Pomara, Dan Rizzie, Andrea Rosenberg, Johnnie Winona Ross, Allison V. Smith, and others. barrywhistlergallery.com 05 BEATRICE M. HAGGERTY GALLERY Located at the University of Dallas, the gallery presents Marc Chagall: Intersecting Traditions Feb. 5–Apr. 22, featuring a series of hand water-colored etchings depicting scenes from the Old Testament. As a modern Jewish artist, Chagall developed a visual vocabulary that synthesized elements from diverse cultural and artistic traditions. udallas.edu/offices/artgallery 28

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08 CARNEAL SIMMONS CONTEMPORARY ART The Landscape Redefined shows contemporary interpretations of the landscape by painters, Gwen Davidson and Sherry Giryotas, along with works by photography-based artist, Kalee Appleton, Feb. 20–Mar. 26. Beginning Apr. 2, the gallery will host a solo exhibition of San Franciscobased sculptor, Jud Bergeron’s work. Image: Gwen Davidson, Nehalem Bay Dusk, acrylic and charcoal on paper over canvas, 36 x 48 in. carnealsimmons.com 09 CHRISTOPHER MARTIN GALLERY Christopher Martin Gallery has opened a third location in Santa Fe. The gallery also has announced the launch of an app to allow interested clients to view Martin’s available works. The app includes a feature that simulates how a specific piece would integrate into a desired space. christopherhmartin.com 10 CIRCUIT 12 CONTEMPORARY There Was Never A Post Medium Condition, running Feb. 20–Mar. 20, includes new works from Alika Herresmhoff, Heath West, Angel Oloshove, Bill Willis, Bradley Kerl, Lane Hagood, Katy Heinlein, and

more. The gallery then welcomes Cult of Color to the space Mar. 26, featuring new work from Lauren Silva, Tomory Dodge, Stephen Ormandy, Cody Hudson, Timothy Bergstrom, Iva Gueorguieva, Art Peña, and Jain Giordano. circuit12.com 11 CONDUIT GALLERY Through Feb. 16 the gallery welcomes a selection of Annette Lawrence’s graphite drawings in Standard Time. Recent Works opens Feb. 20–Mar. 26, a collection of work from New York-based Catherine Howe and Israel-based Tsibi Geva, whose work was selected to represent Israel at the 2015 Venice Biennale. Image: Tsibi Geva, Untitled, 2004, acrylic on canvas, 59 x 78 in. conduitgallery.com 12 CRAIGHEAD GREEN GALLERY Kenda North, Abhi Ghuge, and Bryson Davis Jones continue to display through Feb. 13. North’s Flora Aquatilis shows underwater images that are inspired by floral still lifes. Ghuge displays Henna paintings and a wall sculpture, Relevance. Jones uses organic shapes and strong colors in his Arbitrary Chemistry painting series. Feb. 20–Mar. 26 welcomes the works of sculptor Kevin Box, realist painter Tracey Harris, and abstractionist Jerry Cabrera. craigheadgreen.com 13 CRIS WORLEY FINE ARTS Celia Eberle’s solo exhibition, entitled The Mytholog y of Love, explores aspects of love by referencing the love goddess, songs and poetry, movies, music, animals, and perfume. Through Feb. 13. Rusty Scruby shows Rock Garden Etudes, Feb. 20–Mar. 26. Image: Rusty Scruby, Counting, 2015, acrylic on paper, 12.5 x 11.5 x 2 in. crisworley.com 14 CYDONIA GALLERY Oscar Berglund’s Somewhere in Between runs

13 through Mar. 19, including his multi-media, photographic, and video work shown in conjunction with a site-specific installation, archaeological in nature along the theme of contemporary ruins. cydoniagallery.com 15 DALLAS ART DEALERS ASSOCIATION DADA, a local affiliation of established, independent gallery owners and non-profit art organizations, offers the Edith Baker Art Scholarship to Booker T. Washington High School seniors pursuing the study of visual arts. dallasartdealers.org 16 DAVID DIKE FINE ART DDFA, established in 1986, specializes in late 19th- and early 20th-century American and European art with an emphasis on Texas Regionalists and Texas landscape painters for both new and mature collectors. daviddike.com 17 ERIN CLULEY GALLERY Works on Paper continues through Feb. 13, featuring works by Zoe Charlton, Josephine Durkin, Grace Hartigan, Zanne Hochberg, Nic Mathis, JM Rizzi, Lauren Sleat, and René Treviño. On Feb. 20–Apr. 2, see works from Chivas Clem, Adrian Fernandez, Hillary Holsonback, Emily Peacock, Kevin Todora, and Jason Willard, with an essay by Danielle Avram in Not Photography. Image: Chivas Clem, Untitled (The Situation), inkjet and spray tan on canvas. erincluley.com 18 FWADA FWADA will present its annual Spring Gallery Night Mar. 19, held at over forty art galleries, museums, and other venues throughout the city. FWADA members include independent art dealers, non-profit exhibition spaces, museums, and university galleries. fwada.com

FEBRUARY / MARCH 2016

NOTED: GALLERIES

SUSAN GOTT

GILLES PAYETTE

Show Opening February 13th

Kittrell/Riffkind Art Glass at Southwest Gallery

GRAND Opening March 19th

www.kittrellriffkind.com www.swgallery.com 4500 Sigma Rd. Dallas, Texas 972.239.7957 30

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19 GALLERIE NOIR This Dragon Street space illustrates how paintings, sculpture, photography, and art installations are revitalized within residential spaces. Currently on view, The Royal Hunt Collection is the largest collection of Imperial German hunting trophies in private hands outside of Europe today. gallerienoir.com 20 GALLERI URBANE Royal Jarmon’s first solo exhibition, Duck in Water, will run until Feb. 13. Jarmon’s works contain both hand and digital processes, providing both stimulation and pleasure to the eye. Earning an MFA from SMU, Dylan Cale Jones exhibits new objects in Good Work, Feb. 20–Mar. 26. galleriurbane.com 21 THE GOSS-MICHAEL FOUNDATION The Goss-Michael Foundation is one of the leading, contemporary, British art collections in the US. Founded by George Michael and Kenny Goss in 2007, the collection includes artists Tracey Emin, Damien Hirst, Sarah Lucas, Marc Quinn, and Michael Craig-Martin. g-mf.org 22 GRAY MATTERS GALLERY The gallery serves as the exhibition space of Dallas-based artist, Vance Wingate. Wingate’s work emphasizes the extent to which the creative process can be stretched through adding to and deleting from an image. vancewingate.squarespace.com 23 HOLLY JOHNSON GALLERY Raphaëlle Goethals’s Echoes continues her signature layered encaustic and pigment abstractions, through Mar. 26. Matt Rich’s Constructions and Gouaches opens Feb. 20–May 7, that accentuate materiality and activate space by using complex compositional

Ale Terbus D h Opening saturday, February 13th - March

Tom Dorr

Opening Saturday, March 13th - April

SouthweSt Gallery 4500 Sigma rd. Dallas

972.960.8935

www.swgallery.com

NOTED: GALLERIES

28 structures and assembly practices. Image: Raphaëlle Goethals, Sky’s Falling, 2015, encaustic on panel, 70 x 60 in. hollyjohnsongallery.com 24 JM GALLERY A group show by Ann McIntyre, Rob Aikey, and Scott Shubin continues through Feb. 20. The Feb. 27 show includes works from Diana Antohe and Michael Sutton. Image: Ann McIntyre, Murasaki, monotype on paper. jmgallery.org 25 KIRK HOPPER FINE ART Tubers, Tablets, Turfs, Tails, from Sharon Kopriva runs through Feb 27. Kopriva’s exploration of nature brings deeper selfawareness and balances the reflections of life, death, universal spirituality, and coexistence. kirkhopperfineart.com 26 KITTRELL/RIFFKIND ART GLASS Now located inside Southwest Gallery, Kittrell/Riffkind will present the work of Susan Gott and Gilles Payette opening February 13. The gallery will host a grand opening event on Mar. 19. Over 300 contemporary glass artists exhibit their glassworks, including sculptures, goblets, jewelry, paperweights, wall art, and other handmade collectables. kittrellriffkind.com 27 KRISTY STUBBS GALLERY The gallery is currently exhibiting Purdey Fitzherbert, a contemporary British painter living and working in the UK, through Mar. 13. Other works are on view from Pablo Picasso, Jasper Johns, Robert Indiana, Damien Hirst, Paul Fryer, Ben Tyers, Polly Morgan, Bo Bartlett, Edgar Cardoze, Dennis Hopper, Laura Wilson, Roy Lichtenstein, and others. Image: Purdey Fitzherbert, Light Study V, 2014, mixed media on canvas, 64.375 in. (diameter). stubbsgallery.com 32

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28 LAURA RATHE FINE ART Mindscapes is a collaborative exhibit of the works of Katherine Houston and Michael Schultheis on view through Feb. 13. Houston and Schultheis’s newest series of abstract mixed-media paintings convey a sense of analytical expressionism in the form of cosmic landscapes. Celebrating its third year in the Dallas Design District, LRFA presents MOMENTUM, a group anniversary exhibition featuring new works by various gallery artists, through Mar. 26. Image: Gavin Rain, Audrey 2, acrylic on canvas, 59 x 59 in. laurarathe.com 29 LEVEL GALLERY Formerly known as WAAS Gallery, Level hosts The Oil and Gas Show through Feb. 28. Its mission is to host exhibitions focusing on artists who explore identity. WAAS is now solely in their Los Angeles venue. level-gallery.com 30 LILIANA BLOCH GALLERY Two impressive installations by Polish artist, Bogdan P. K. Perzyński, remain on view through Feb. 13. Dallas-based Shawn Mayer’s work will exhibit Feb. 20–Mar. 26 in Preteen Visions and Rituals: As Recalled by a Full Grown Adult, utilizing digital technology to talk about the mundane and insanity of life. lilianablochgallery.com 31 LUMINARTE FINE ART GALLERY Black, White and Wine opening Feb. 27 shows the work of Kay Barber Dalton, Jim Lively, and Sarah Martin. Each artist’s innovative techniques, from painting with wine to using a blow torch to enhance their works, run the gamut of creativity. A lecture and book signing by Bob Lively of his new novel, The Thin Place, will be at 7 p.m. on Mar. 19. luminarte.com FEBRUARY / MARCH 2016

NOTED: GALLERIES

RUSSELL TETHER Fine Arts Associates, LLC

Claude Venard, The Trocadero Under the Eiffel Tower, 1958

Mary Watson Stone Collection Due to the overwhelming success the

Exhibition is extended through February 27, 2016. Additional works from the collection have been included.

Landmarks and Legends: Celebrating the Culture and Heritage of Texas Exhibition: March 3rd —May 28th, 2016 From the estate of Abel Head “Shanghai” Pierce, Texas cattleman and founder of Pierce, Texas:

32 MARTIN LAWRENCE GALLERIES The Dallas collection showcases works by Picasso, Chagall, and Warhol. The collection boasts prestigious paintings and limitededition graphics. martinlawrence.com 33 MARY TOMÁS GALLERY Core features new works by the gallery’s core group of artists through Feb. Then a solo exhibit, Masri, featuring works from this Florence-based, Italian Lebanese artist, opens on Feb. 20. marytomasgallery.com 34 MUZEION Muzeion offers a collection of artifacts, sculptures, and significant pieces, fostering art that transcends time. Its current exhibit is from Papua New Guinea, called The Ultimate Beauty. muzeiongallery.com 35 PHOTOGRAPHS DO NOT BEND PDNB relocated to Glass Street. The gallery will showcase its current work in the Kimball Art Center’s (Deer Valley) 2016 Winter Art Salon show Feb. 13–15, alongside a variety of luxury vendors. A group exhibition opens in February celebrating the new location. Through March. pdnbgallery.com 36 THE POWER STATION Lucy Dodd shows Feb. 5–Mar. 25. Dodd is an important contemporary figure whose work exhibits at the Whitney Museum of American Art in New York. powerstationdallas.com

Raoul Dufy, #1167 Le Yacht a Deauville Catalogue Raisonne des aquarelles, gouaches et pastels Volume II by Fanny Guillon-Laffaille (p.40) Exhibited: Milan 1969, reproduced in the catalogue (p.32)

Russell Tether Fine Arts Associates, LLC 13720 Midway Road, Suite 110 | Dallas, Texas 75244 | www.russelltether.com | 972-418-7832 | inquire@RTFAA.com

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37 THE PUBLIC TRUST This contemporary art gallery on Monitor St. peers into its archives with The Flat Files: 12 Years In 30 Drawers. trustthepublic.com 38 THE READING ROOM Becoming Colette, a project by Dallas multimedia artist Colette Copeland, runs through Feb. 20. Copeland’s work examines issues surrounding gender, history, and contemporary culture. thereadingroom-dallas.blogspot.com

39 RO2 ART Uncertain Places, the works of Ken Craft and Adam Neese, continues through Feb. 13 at a pop-up location at 1717 Gould Street. The grand opening at the gallery’s new space is Feb. 19 at 1502 S. Ervay St. at Sullivan in The Cedars, featuring the work of Sonali Khatti and Scott Winterrowd. Through Mar. 19. Ro2 Art at The Magnolia Theatre features Cuyler Etheredge’s Someone You May Know through Feb. 23, followed by the works of Aimee Cardoso, Feb. 25–Mar. 29. ro2art.com 40 RUSSELL TETHER FINE ARTS Specializing in collections and estates of fine art, RTFA continues the exhibition of the Mary Watson Stone Collection through Feb. 27. Landmarks and Legends: Celebrating the culture and heritage of Texas opens Mar. 3 and runs through May 28. The gallery offers an inventory of more than 500 consigned works from 20thcentury artists. russelltether.com 41 SAMUEL LYNNE GALLERIES The gallery is currently displaying a roster of internationally celebrated artists and sculptors including Lea Fisher, Fletcher Benton, Hans Van de Bovenkamp, Phil Gleason, John Henry, Tom Holland, Robert Hudson, JD Miller, Denis Mikhaylov, Philip J. Romano, Lidia Vitkovskaya, and William T. Wiley. samuellynne.com 42 SITE 131 T h rough Mar. 26, Pushing Boundar ies offers the explosive abstractions of Paul Kremer, juxtaposed with the secretive, romantic subtleties of Eduardo Portillo. Both from Houston, Kremer’s canvases stage geometric, minimalist works in flaglike colors of red-orange, sapphire blue, and jet black with sparkling whites, while Portillo shares the dramatically loud environment with his molded and odd-shaped canvases in subtle colorations. site131.com FEBRUARY / MARCH 2016

NOTED: GALLERIES

43 SMINK The Winter Show includes the works of Gary Faye, Dara Mark, Richard Hogan, and Paula Roland in the Main Gallery through Feb. 20. Image: Richard Hogan, Kintraw (from Gaelic: on the strand), oil on canvas, 54 x 72 in. sminkinc.com 44 SOUTHWEST GALLERY Dale Terbush’s The Art of Inspiration transforms beautiful images into the purely spiritual and poetic, opening Feb. 13 through Mar. 12, when Tom Dorr’s work begins to display, preserving the cowboy life on canvas. swgallery.com 45 TALLEY DUNN GALLERY Joseph Havel’s Spill continues through Feb. 20. Havel’s sculptures are included in permanent collections around the world, including the DMA, The Modern, and the Centre Pompidou, Paris. A new series of paintings by Sarah Williams is on view in Area Code, depicting quiet, small-town scenes at night. Image: Joseph Havel, How to Draw a Circle 4, 2015, graphite, oil paint, and oil stick on paper, 36 x 36 in. talleydunn.com 46 UNT ARTSPACE DALLAS Collections, Cultures, and Collaborations is a show of prints by German Expressionists from Gus Kopriva’s collection. Through Feb. 20. New York-based Fiona Benjamin’s serial works then mark the space Mar. 3–Apr. 2. The gallery hosts Saturday Series Mar. 12, with free parking on that day. gallery.unt.edu 47 VALLEY HOUSE GALLERY Bart Forbes’s My Mind’s Eye runs through Feb. 6. Forbes’s paintings represent a natural transition from his long career as 36

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CONTEMPORARY ART

48 WILLIAM CAMPBELL CONTEMPORARY ART Harmony Padgett’s work is exhibited in Miscellaneous Uproar through Mar. 12. Her paintings represent a spectrum of emotions distinctive to her high-contrast style. Arno Kortschot’s eponymous show follows, from Mar. 19–Apr. 16. He is a Dutch sculptor and spatial designer, who creates minimalistinspired environmental sculptures. williamcampbellcontemporaryart.com 49 ZHULONG GALLERY Johanna Billing continues to show through Mar. 7 in her eponymous exhibit. Zhulong then welcomes Alexandra Gorczynski’s work, Mar. 3–Apr. 9. zhulonggallery.com AUCTIONS 01 DALLAS AUCTION GALLERY The Fine and Decorative Art Sale takes place on Feb. 24, featuring exquisite pieces from local and international collections. The catalog is available on Feb. 10, with a preview starting on Feb. 22. dallasauctiongallery.com 02 HERITAGE AUCTIONS Property from the Estate of Richard D. Bass is featured in Heritage’s Estates Signature® Auction, scheduled for Feb. 20–21, in Dallas. The consign deadline for the Silver & Vertu Auction in April is Feb. 9. A Movie Posters auction runs Mar. 26–27. All previews and auctions to be held at Heritage Auctions in the Design District. ha.com

Detail: Self Portrait #33, mixed media on canvas (36 x 24 in.) artist Masri

one of America’s most recognized sports illustrators. In Medias Res is an exhibition of Michael O’Keefe’s work showing Feb. 20–Mar. 19, including selections of recent drawings and sculptures. Image: Michael O’Keefe, Untitled Drill Drawing, graphite on Claybord, 7 x 5 in. valleyhouse.com

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

FEBRUARY / MARCH 2016

INTERVIEW BY TINA KUKIELSKI

SHARED SPACE

Gallerists Michael Jon Radziewicz and Lisa Cooley will share a booth at the 2016 Dallas Art Fair.

iami and New York, the two cities should be forever intertwined, not only because snowbirds fly south, but because Miami and New York have strong artistic bonds. That is why gallerists Lisa Cooley and Michael Jon decided to combine forces and share a booth in the upcoming Dallas Art Fair. This first-time collaboration will feature artists from each gallery’s stable. Both were well represented in Miami last December—Michael Jon at Art Basel Miami Beach, who owns galleries in Miami and Detroit; and Lisa at NADA Miami Beach, whose gallery is located on NY’s Lower East Side. This was an opportunity for me to further appreciate a program I know really well in the Lower East Side, and on the other hand, to introduce a first-time Dallas fairgoer, in Michael Jon’s case. Tina Kukielski (TK): I heard you were from Texas. What has it been like to come back as a gallerist in the context of the Dallas Art Fair? Lisa Cooley (LC): I grew up in Houston and ran a gallery there for several years before moving to New York. We represented Mark Flood, among others. I have a deep loyalty to Texas, Texas collections, and Texas museums. The Menil Collection and the DMA in particular were formative and somewhat sacred to me. Every patron who supported the Dallas Museum of Art has influenced me by supporting the forward-thinking programming that educated me. I want to reciprocate that generosity as much as possible. TK: Thinking about your home base back in New York, how would you describe what is happening right now on the Lower East Side? LC: Every aspect of the LES is growing. The neighborhood is consolidating its power and diversity as more and more galleries move to the neighborhood, as new galleries open, and as established galleries take big steps like expanding their spaces, their staff, and their rosters. TK: What attracted you to the Dallas Art Fair? Have you been to Texas before? Michael Jon Radziewicz (MJR): We’ve never been to Texas before, but I kept hearing great things about Chris Byrne, the local collectors, and all that Dallas has to offer. It sounds like Miami in that there are many key figures and institutions that are truly engaged in developing one of the best art scenes in the world. All of this is evident by the impressive growth of the fair, and its ability to continuously attract a solid exhibitor list.

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Trudy Benson, Invisible Man, 2015, acrylic and oil on canvas 77 x 80 in. available at Lisa Cooley

FAIR TRADE

Sayre Gomez, Untitled Painting in Yellow with Illustrations, 2015, acrylic and oil on canvas. Courtesy of Michael Jon Gallery

Tina Kukileski is the new director of Art21 Michael Jon Radziewicz is a gallerist in Miami and Detroit.

TK: Because I am curating a show in Miami later this year and have been visiting now a few times, I am curious to know: how would you describe what is happening in Miami? How has your gallery program engaged with what is going on in terms of the arts community? MJR: Miami is in such an exciting position! The city’s reputation is rapidly and drastically shifting on an international level, and a large part of that is due to art. At the gallery, we want to be facilitators, and a big part of our belief structure is to engage with artists and not just their objects. We make sure our artists are able to come to Miami, experience the idiosyncrasies of the city, meet with local artists, and hopefully return to their homes as advocates. We tend to work with artists from outside the region as a way to help bolster what’s already happening in the local scene; this way, the Miami-based artists and collectors are potentially exposed to a totally different ethos and network. TK: What are you bringing to the art fair and who will you highlight? MJR: We’ll be bringing a few artists from our roster, including new paintings by LA-based Sayre Gomez. Gomez investigates the production and proliferation of meaning itself through various modes of aesthetic strategies. Gomez formally considers the actual gestures of painting as image itself with an understanding of the collapsed and complicated relationships between the paintingobject, its image, and its ultimate dissemination via digital screens. This self-aware framing is achieved by incorporating into the generic painterly gestures a vocabulary of motifs culled from popular visual communications, such as graphic design and advertising. P

ABOUT TINA KUKIELSKI Tina Kukielski is executive director of Art21, a nonprofit art organization specializing in digital media about contemporary art. She has previously held curatorial positions at the Whitney Museum of American Art and the Carnegie Museum of Art, and has independently curated art projects around the world. She was a co-curator of the acclaimed 2013 Carnegie International and was recently included in a list of “25 Women Curators Shaking Things Up” by artnet.com. She is curating the first museum exhibition of artist Susan Te Kahurangi King for the ICA Miami.

FEBRUARY / MARCH 2016

PERFORMANCE

BY LEE CULLUM PHOTOGRAPHY BY LYNN LANE

James Black as Lyndon B. Johnson in All The Way.

CIVIL LIBERTIES

Directed by Dallas Theater Center’s Kevin Moriarty, All the Way brings to the stage Lyndon B. Johnson’s no-holds-barred fight to enact a landmark piece of legislation.

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SOLD

he show that cannot be missed this spring is All the Way, the 2014 Tony Award® winner by Pulitzer Prizewinning playwright Robert Schenkkan, presented in an unprecedented collaboration by the Dallas Theater Center and Houston’s Alley Theater at the Wyly from Mar. 3–27. “All the Way with LBJ” was the slogan that carried Lyndon B. Johnson to a landslide victory in 1964, just short of a year after he became president in the ugly wake of John F. Kennedy’s assassination in Dallas. Johnson began working on civil rights the night of JFK’s funeral. He tracked down Martin Luther King, Jr. at the Waldorf-Astoria in New York and told him he intended to enact that legislation into law. Next he summoned Senator Richard Russell of Georgia to the White House and made the same declaration. The guest was filled with consternation and warned that it would be the end of the Democratic Party in the South. Russell was right and Johnson knew it, but when admonished by aides to go slowly on civil rights, he bellowed, “What the hell’s the presidency for?” All this Schenkkan captures in a single set, with a semicircular gallery curved around a massive desk. There Lyndon Johnson wields the phone like a deadly weapon as characters come and go from the seats around him. Hubert Humphrey, Everett Dirksen, Lady Bird Johnson, Ralph Abernathy, George Wallace, Bobby Kennedy—they’re all there in a fantastic panoply of history, undiluted and raw, in rapid rewind only to fast forward again and again with the urgency of a movement and a masterful tactician that would not be denied. Some say an excess of details about the making of laws burdens the show, but the exhilaration of the evening is bearing witness to a government that actually worked and achieved big things. Wielding “the ole Texas twist,” Lyndon Johnson indeed bent arms out of shape to get what he wanted. And what he wanted that first traumatic year in the White House was a civil rights bill that opened housing and public places of all kinds to African Americans with a promise to Martin Luther King, Jr. to get to voting rights as soon thereafter as politically possible. Nor did he shrink from the backroom dealing so abhorrent to purists of our own day. “Half a loaf ?” he sneered. “Hell, a slice of g-d bread.” If that’s all he could get, that’s what he would take. Bryan Cranston of Breaking Bad brought to Broadway a portrayal of LBJ so like the man himself it was shocking. Jack Willis played Johnson in Oregon and Seattle with complete credibility. James Black of the Alley Theater will take him on in Dallas with DTC’s Kevin Moriarty directing. Moriarty has been delving into race in America ever since he got to Dallas, beginning with The Good Negro and, more recently, Stagger Lee and The Mountaintop. But the most compelling play of all on the sin at the core of our culture is on the way in All the Way. It is not a screed. It is a tale of heroism, magnificent in its elegant vulgarity that triumphs over the basest elements of the human heart and shows what once was possible in American politics and perhaps could happen again. P

ralph@ daveperry miller.com A N E B B Y H A L L I D AY C O M PA N Y

214-217-3511

FEBRUARY / MARCH 2016

BY LEE CULLUM PHOTOGRAPHY BY WILLIAM BICHARA AND MARK A. MATTHEWS

Zeno Frudakis, Benjamin Franklin, 2015, bronze, 78 in.

FOUNDING FATHER HARLAN CROW ENGENDERS A NEW EPOCH FOR OLD PARKLAND.

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CONTEMPORARIES

ld Parkland is not what the name implies. What began as an homage to a hospital, or so it seemed, has burgeoned into a tribute to a nation and the minds that made it. The timing could not be better. The craze for Hamilton, now the hottest ticket on Broadway, is the most obvious evidence of a people in search of itself. Harlan Crow, mastermind behind the project, holds the animating hope that all who come to Old Parkland, to work or to visit, will be reminded of the principles on which this country was founded. The statues of Hamilton, Franklin, and Washington, and the figures of Madison and Jefferson at the base of a giant classical Eos [Goddess of Dawn] Column sculpted by Alexander Stoddart of Scotland, do indeed remind us that the founders of America stood â&#x20AC;&#x153;outside the zeitgeist,â&#x20AC;? as Louise Cowan of the Dallas Institute for Humanities and Culture used to say. They were like Plato, Aristotle, and other intellects of 4th and 5th century BCE Greece. There was nothing in their times from which they naturally and logically emerged. Call them sui generis, because they were radically original, in the ancient Mediterranean world as well as that of the Atlantic, more than two thousand years later, when thirteen colonies struggled to establish who and what they were. When I drove through the gates of Old Parkland, on Maple at Oak Lawn, I left a noisy, uninviting intersection for a place both stimulating and quiet, instructive and calm. It is stately and useful but willing to wait for adherents to come on their own volition. There is not anywhere a whiff of aggression or hint of the hard sell. A security guard guides me to one of the few parking spots in sight. (Most cars are hidden underground, making this campus lovely for walking.) A friendly looking silver lab named Sailor loiters about, never revealing that he too is charged with keeping these environs safe.

Chas Fagan, Thomas Jefferson, 2015, oil on canvas, 96 x 54 in.

Old Parkland Campus with the domed landmark building, Parkland Hall, as the centerpiece of the expanded West Campus that includes The American FEBRUARY / MARCH 2016 Experiment; photo courtesy of Mark A. Mathews

CONTEMPORARIES

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Alexander Stoddart, Eos, 2015, bronze, 45 ft.

Old Parkland’s Main Building, the renovated hospital, is just ahead, housing now, in a sweeping new glass-walled space across the back, the people of Crow Holdings, a collection of real estate private equity funds, properties (the Anatole, Dallas Market Center, and others in addition to the Old Parkland Campus), and an investment advisory operation. Sculptures by Rodin grace the indoor verandah, a prelude from France to the great new world symphony of sorts that awaits outside. The Nurses Quarters house the Pecan Room, redolent of old-world comfort brightened by a fireplace that makes gatherings there a special pleasure, far from the madding crowd or anything else Thomas Hardy ever might have imagined. But it does nothing to prepare you for the astonishing Debate Chamber in the Pavilion, a structure designed to remember Jefferson’s Monticello, on whose board Crow serves. The expansive foyer of the chamber is adorned with paintings that dramatize key events of the twentieth century such as Jeffrey Larson’s Nixon in China, as well as splendid torchieres fashioned in bronze by Dallas sculptor Brad Oldham. This is the piece de la resistance of Old Parkland. Rich in beautiful woods and long desks with inlaid leather, the Debate Chamber seats 150 and already hosts contests for high school and college students from all over the world. Crow plans to broaden the program to include scholars, journalists, and other voices drawn to debate current issues. Not one for limits, Crow hopes to simulcast these encounters to audiences in the Pecan Room and possibly beyond, to venues outside the Old Parkland Campus. He envisions, perhaps, a subscription season, somewhat like the Tate Lecture Series at SMU. Above all, he wants enlightened discourse, worthy of the Great Enlightenment that informed the formation of America, the pinnacle of productive reason that he celebrates now throughout this venture. “I’m a Republican,” Crow confided. “I watch Fox TV and it drives me crazy—the incivility, the shallowness…I like debate that can change your mind. I would love to argue the Syrian immigration question with hard evidence and moral imperatives, without a bunch of name-calling…If we can make this a living place of ideas and conversation, that will be my dream.” The Debate Chamber reminds me of the opulent dining halls and libraries at Oxford and Cambridge. Those who worked and took their meals in the midst of such inspired extravagance would believe, quite naturally, that they could

Alexander Stoddart, Eos (detail), 2015, bronze, 45 ft.

FEBRUARY / MARCH 2016

CONTEMPORARIES

The 150-seat Debate Chamber located two levels below the entrance to The Pavilion

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do anything, that they could leverage an island into an empire. And the doughty English did just that. However, it is not empire that interests Harlan Crow, though he has a plaque on the property listing the British Lords of the Admiralty. They include Winston Churchill, twice. But that is “for fun,” Crow said. It is “the life of the mind” he really cares about. That’s why Adam Smith and John Locke are depicted on the Eos Column, and two Thomases—Paine and Hobbes—are honored with granite stepping stones carved to resemble the title pages of their most influential books. There’s even a spot devoted to Montesquieu, the political philosopher of France, whose ideas about separation of powers deeply impressed his readers in the newly United States. Rousseau appears as well with his seminal work on The Social Contract. So does Plutarch’s Lives, an account of the Greek and Roman forebears of the miracle in America. Harlan Crow is concerned not only with what our founders did, but also with what they read, how they thought, and what impelled them to the conclusions that came to distinguish the nation they invented. If the Debate Chamber resembles a gentleman’s club, upstairs in the Pavilion are areas of exquisite feminine sensibility. One small private dining room is oval with a table for eight in the same shape, painted wallpaper as was enjoyed in the eighteenth century, draperies of heavy sage brocade, and a radiant magnolia tree outside the window. Outside that window, and many windows, is a vast panoply of plantings, with pine trees growing as if they had been there for twenty years. Rosemary topiaries are dotted about in pots. They complement the new buildings of the Western Campus which are composed, in the old style, of hand-made bricks, all different, as they would have been in 1776, done by a company in North Carolina with sand, not mortar. Scattered here and there are white plaster fragments of Greek Revival columns, meant to warn what can happen when classical thinking is not preserved. It erodes, leaving in its wake the intellectual impoverishment of generations to come.

Brad Oldham, Untitled, 2015, bronze torchiere, 12 ft.

This is what Harlan Crow is determined to prevent, and if the enterprise is profitable, thatâ&#x20AC;&#x2122;s good too. But revenue without the reward of meaning would be hollow to him. Some discover who they are through another country or another culture, through music, art, or literature. For Harlan Crow it is through another epoch: the dawn of the American experiment; an age of elegance, eloquence, fine madness, and mad bravery; an age also of imagination, deplorably wrong in some respects, but startlingly astute in others, right-headed enough, after all, to be as durable as time and as relevant as tomorrow. All this is palpable at Old Parkland. P Brad Oldham, Untitled, 2015, bronze owl, 36 in.

When Luxury, Comfort and Style Matter

5600 W Lovers Ln #122 Dallas, TX 75209 The Pavilion on Lovers Lane just west of the tollway 214-352-5400 www.Linen-Boutique.com M-F: 10-5:30

Sat: 10-5

FEBRUARY / MARCH 2016

BY PEGGY LEVINSON

Cynthia dining chair by Reagan Hayes Christopher Boots Prometheus II chandelier in polished brass

PARIS ON HI LINE Just when you thought the Dallas Design District couldn’t get any better, along comes Jean de Merry.

y first thought on entering Jean de Merry was “Wow! Am I still in Dallas?” The new Jean de Merry showroom is hard to categorize—is it a showroom, or a perfectly curated gallery of art, sculpture, and furniture? Or, do we have a new museum straight from Paris just a couple of blocks over from the Dallas Arts District? Over two years in the making—including numerous construction delays and a complete change of venue, the 15,000-square-foot space more than delivers on the promise with which Dallas designers familiar with the line have eagerly awaited it. Founders Jean De Merry and Christian Darnaud-Maroselli have not only created a collection of their own estimable designs, but also have amassed some of the most talented designers in the world and brought this visual, sensual, and tactile delight to Hi Line Drive in the Dallas Design District. Jean De Merry is more than a modern interpretation of great French designs from the 1940s; ancient Greek pieces are represented, as well as sleek modern sofas and chairs. Christian Darnaud-Maroselli has designed the space, placing every chair, table, and vintage photograph “just so,” and nothing is left to chance. Please don’t look for any matching finishes or designer vignettes; there is nothing quite so pedestrian here. Books on tables are perhaps slightly askew as if inviting you to thumb through one. The variety of finishes on tables including shagreen, molded plaster of Paris, straw marquetry, and sculpted bronze beg to be touched. The sculptured yet sumptuous upholstered chairs and sofas invite you to sit down and be comfortable. But, don’t sit on Bella, the resident chocolate 48

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lab, who is usually enjoying a comfy, silk velvet-upholstered wing chair. In other words, the space invites you to come in, make yourself comfortable, and imagine having one (or more) of these lovely pieces in your own home. Jean De Merry and Christian Darnaud-Maroselli have mentored many of the artisans represented here. De Merry grew up in the south of France where his family has been involved in operating a tanning company for four centuries. The Corsican-born Darnaud-Maroselli brought his own knowledge of centuries-old traditions of working with wood, leather, shagreen, and bronze, and introduced these age-old French techniques to American artisans. Some of the highly acclaimed Los Angeles designers who have collaborations here include Phillip Nimmo, Reagan Hayes, and Kimberly Denman. The names of designers and artisans shown at the Jean de Merry showroom represent an international Who’s Who of the best and most sought-after designers in the world, including Jean-Louis Deniot from Paris, Christopher Boots and the Hamel+Farrell design firm hailing from Australia, and Heijden & Hume by way of Amsterdam. Azadeh Shladovsky and Natasha Baradaran bring their Persian influences to lighting and decorative objects. Alexander Dumont brings European and Japanese decorative finishes to his art. The monochromatic space has a masculine feel, yet the sensual shapes add a feminine and almost playful nod to the yin and yang quality of the showroom. Hamel+Farrell create an artful and animated take

SPACE

Alexander Lamont rock crystal, vitrum lidded jarlet

on recent greats such as Leleu and Parzinger with seemingly suspended stacks of bronze and wood in their Rachis side table. Christopher Boots refers to geometric shapes like the building blocks of amino acids in his Phasmida chandelier, and his glorious Prometheus chandelier refers to the gift of fire from the ancient Greek god. Alexander Lamont creates voluptuous natural forms from exotic natural elements in his Bangkok workshops, and his wall coverings are made from wood grains, straw marquetry, and shagreen. Philip Nimmo brings echoes of sculpture greats Alexander Calder and Giacometti to his pieces. His Goccia coffee table is made with slices of colorful agates. The Opio outdoor collection with the Calderesque cut-outs is a welcome addition to Dallas outdoor living. Kimberly Denman brings a modern twist to her collection including classic tufted sofas and leather club chairs. Her husband Laurent Rebuffel adds vintage

photographs to the collection. Reagan Hayes is another Los Angeles designer who brings her own playful vision and humorous descriptions to her classically inspired upholstery and tables. An example: “Cynthia (dining chair) is a California dreamer, casual, calm, and collected. She has attained a rich balance in life with daily meditation sessions on the beach while still knowing how to turn up the finesse to 11.” One entire gallery is devoted to art where some fine examples of Arik Levy are displayed. The Guillaume Bardet sculpture, L’Usage des Jour, is from the Do Not Enter Gallery in Los Angeles. Manager Kelsey Ann Haley echoes co-founder Darnaud-Maroselli’s philosophy in emphasizing the negative space, allowing room for collaborations with local artists and craftsmen: “As the newest showroom in the Design District with French owners out of Los Angeles, we have envisioned the gallery to lend itself as a showcase for local Texas artisans who do not have a platform on which to share their work—paying it forward, if you will.” P

Jax Table by Hamel+Farrell

Free Admission

972.721.5087 udallas.edu/chagall Etchings from the Haggerty Museum of Art at Marquette University

FEBRUARY / MARCH 2016

SOJOURNER BY FARAH FLEURIMA PHOTOGRAPHY BY CASEY JONES

Cave's signature Soundsuits inspire community collaboration.

FROM MYSTERY TO MATTER

Soundsuit artist and messenger Nick Cave rallied the Shreveport artistic community and social-service nonprofits for his March multidisciplinary performance, AS IS.

ultimedia artist Nick Cave has found himself in Louisiana, knee-deep in an unfolding artistic matter. Famed for taking his groundbreaking wearable sculptures called Soundsuits from idea to internationally lauded reality, he has immersed himself of late in civic-minded, collaborative efforts that put the power of artistic creation in the hands of many, all with uncertain yet fascinating outcomes. Last year, Cave worked on a giant endeavor in Detroit that included an exhibition of Soundsuits called Here Hear at the Cranbrook Art Museum that also featured a number of interactive community events, and the project’s culminating performance titled Figure This: Detroit. Along the way, Cave engaged and encouraged members of typically arts-starved pockets of the community to join him in shaping the overall experience, from kids who learned to make their own costumes, to local dancers and musicians who collaborated on one-of-a-kind creations. Thanks to an artist’s residency from the Shreveport Regional Arts Council (SRAC), Cave has launched a similar such project— his biggest, most elaborate community-driven art effort less than three hours away from Dallas that will culminate in the March 20 debut of his newest stage show, AS IS by Nick Cave. A major component of the lead-up to the show is the community involvement. Cave handpicked five Shreveport-area artists to work with local social-service nonprofits whose beneficiaries are

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crafting beaded blankets that represent their personal stories and will eventually become part of the show. That effort—which also includes the city at large turning up for costume “bead-a-thons,” Cave working with students contributing artwork and dance talent, and Shreveport singers joining forces as a choir created just for the show—features so many moving pieces in so many hands, that no one, not even Cave, can know precisely how it will all turn out until showtime. And it is this uncertainty that excites. Cave describes the production as “a visually stunning multimedia performance of music, dance, spoken word, and elaborate digital stage design that transports audiences beyond the normal limits of entertainment into a spectacular world that will have you asking, ‘What just happened right in front of me?’ This spectacle of social consciousness is designed to transform the audience, and I hope prompt them to ask, ‘How can we not accept each other “AS IS”?’” Cave says SRAC’s residency appealed to him because of its civic component and the access to lead and teach in culturally disadvantaged neighborhoods. “You know, my work is colorful, bright, and big, and the performances are real elaborate sort of spectacles, but this one is all that but coming from more of a conscious point of view,” he says. “Working with artists-inresidence and the residents that are living within these social services, we are the voices for the people. So that really became the sort of catalyst that is driving the project.”

In addition to including the resident beaders from the social service agencies, Cave dug deep into the well of local talent in Shreveport and nearby Natchitoches to fill the sprawling cast of more than 100. A choreographer, singers, dancers, composers, digital animators, and more were tapped from the community. “We bring the project to the city,” he notes. “But we hire the community to build the project, and we don’t know what that means because we don’t know you. We have to come in with open arms and be willing to allow things to evolve and unfold.” For now, there’s not much more about the result of the evolution and unfolding that Cave can share about the production, outside of the live music, legion of dancers, spoken-word artist, choir, digitally animated f loor, and aforementioned beaded blankets. And that element of surprise radiating around the final product is fine by him. “I cannot even tell you what the conclusion of the project is,” he says excitedly. “I can tell you after it’s completed what it was. We’re all developing this thing together,” he says. Bob Faust, the special projects director for AS IS, sums up why it’s well worth the drive east: “All of the work of this last year is to culminate in one performance, one Sunday in March, none of which has ever been done this way with these people before; most of which has never been done before. Not only will there be an element of surprise, it’ll be an unveiling for everybody. It is the result of this residency for one day only.” “[And] just providing light for people to stand in,” Cave adds hopefully. “When you’re given that kind of gift, you can only give it back. It’s really about purpose, that we all are here to serve a purpose. To know that I can be an artist with a purpose—I can’t ask for anything more.” P

AMERICAN EPICS Thomas Hart Benton and Hollywood February 6–May 1, 2016 Experience the drama of Hollywood cinema and the works of one of America’s most popular painters. Admission is free. Hollywood (detail), 1937–38, Art ©T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY, The Nelson-Atkins Museum of Art, Kansas City, Missouri, Bequest of the artist, Photo by Jamison Miller

National Tour Sponsor

#ACMbenton

Artist, dancer, and educator Nick Cave.

FEBRUARY / MARCH 2016

BY ALEXANDER POTTS

culptural Form and Meaning, Salcedo’s work, is particularly remarkable for combining vivid sculptural effect with powerful symbolic resonance. It is both compelling sculpturally and sharply political. Running through her work is a persistent concern with the ongoing effects of violent atrocity, sometimes implicit, as in her series of untitled furniture pieces, and sometimes explicit, as in Unland: audible in the mouth, A Fior de Piel, or Plagaria Muda, works which through their titles present themselves as tributes to or memorials of nameless victims of violence. Her work has its origins in her response to the mindless and arbitrary violence of the civil war in her home country, Colombia, and the human cost this has inflicted on its countless innocent victims. For those living in Colombia, as she makes clear, the toll inflicted has become an ongoing part of everyday life, not a state of exception, even now while it is dying down. For anyone approaching her work, however, it is important to recognize that the problem is global, not just local and particular to Colombia. This has become painfully evident recently to many living in the more protected environments of Western Europe or North America as they experience explosions of violence once thought to be localized to parts of the world such as the Middle East, torn apart by armed conflict. Salcedo herself pointed out that one of her works, Plegaria Muda, conceived in memory of young men murdered by Colombian government forces so their corpses could be presented for collection of bounty as alleged rebels, might function equally well as a memorial to the disregarded victims of gang violence in cities such as Los Angeles. While Salcedo’s work is charged with content that plays a central role in any viewer’s experience of it, the relationship between the particular form a work takes and its meaning or symbolic significance is far from straightforward. This is no fault, but one of Salcedo’s distinctive strengths. Meaning is not delivered on a platter or thrust at one. Her works never directly embody either the figure of the victim or that of the

Doris Salcedo, Plegaria Muda, 2008–10, wood, mineral compound, metal, and grass; installation: March 15–June 24, 2012, Museo nazionale delle Arte del XXI secolo (MAXXI), Rome; photograph, Patrizia Tocci

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POETIC GRAVITAS

Loss and trauma define the oeuvre of Doris Salcedo, the inaugural Nasher Prize recipient, whose groundbreaking works bear witness to political violence in her Colombian homeland and around the globe.

FEBRUARY / MARCH 2016

Above: Doris Salcedo, Unland: audible in the mouth, 1998, wood, thread, and hair, 29.25 x 124 x 31.5 in.; collection: Tate Gallery, London; photograph, Patrizia Tocci Below: Rachel Whiteread, Ghost, 1990, plaster and steel frame, 106 x 140 x 125 in. ÂŠ Rachel Whiteread. Courtesy of the artist and Gagosian Gallery. Photo: Mike Bruce

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bereaved. The associations conjured up by the works themselves with a violated or suffering body, or the situation of the bereaved mourning a victim’s absence, are allusive and indirect. They are made through materials that have been subjected to human use— second-hand pieces of furniture, discarded clothing and shoes, hand-stitched fabric-like surfaces made of organic matter, such as hair or silk, and joins secured with surgical thread. The work is not radically abstract, but it is not conventionally figurative or symbolic either. In this respect, Salcedo’s work parallels, albeit in a very individual way, that of two other major female sculptors who came to prominence in the 1990s, the Lebanese British artist Mona Hatoum and the British artist Rachel Whiteread. The parallel with Hatoum is perhaps the closest in that Hatoum’s earlier work in particular registered scenarios of pain and loss relating to her experience of armed conflict in Lebanon. Unland: audible in the mouth is one of three works Salcedo gave the title “Unland,” each conjuring up the lot of a child devastated by witnessing the killing of his/her parents and burdened by memories of this ‘unland’ of unspeakable horror. The work consists of two used kitchen tables, a lighter one in pinewood and a darker one in oak, jammed together, with the legs of both tables cut off at the join so as to form a single, long, but also somewhat broken, table. Neither the two tables nor the new un-table have been forced in any overt way to represent a body or bodies. Yet they are not just tables. The lighter table is covered with a thin skein of silk woven into its surfaces, most clearly visible on the top. Towards the join with the other table, the threads of silk begin to be taken over by strands of dark hair similarly woven into the wood, with the darker hair weave eventually superseding the lighter silk on the oak table. The threads run across the width of the tabletops, stitching together the joins between the planks that run from one end of each table to the other. The tables have been painstakingly worked over to become subtly different, almost unreal, though from a distance they still look very much like the ordinary kitchen tables they once were. The weaving suggests a very fragile process of healing or protecting, but it also could be associated with the pain engendered by threads and hair being stitched into the slightly resistant surface of a skin. At the same time, the neatly configured shape and the allure of the lightly textured surfaces make for a simple, almost harmonious presence, creating a calm not totally unlike that associated with conventional sculpture, but never free of a disturbance that haunts the work, not just by virtue of the title, but also because of barely perceptible details in its material makeup that won’t let one rest in peace. Salcedo presents many of her works as meditations on specific acts of violence, but she also at times leaves such associations open, even with work that makes a strong impact. A striking instance is the untitled work she created for the 2003 Istanbul Biennial. A gap that an earlier demolition had opened up between two buildings facing into a small street in Istanbul was filled with 1,150 wooden chairs. She has indicated that the work was inspired by a particular event, but decided not to specify what it was. In this way, she felt it could have a greater impact, conveying the sense of “a topography of war...embedded…in everyday life.” It could also, she suggested, evoke the plight of migrants displaced from a war zone who found themselves abandoned, cut off from the world where they had taken refuge. The variety of associations here is the point. The work is an intriguing, and at the same time somewhat

disturbing, intrusion in the cityscape—exposing possibly something that shouldn’t ordinarily be on view, transforming a gap into a dense accumulation of things rejected and set aside, or, more dramatically, violated and left to rack and ruin. The onus is on the viewer to see significance in a work that is insistently evocative but has no one meaning that makes consistent sense. It faces one as if it were a reality of the social and material environment in which it is embedded. Memorials: One very striking feature of Salcedo’s oeuvre is its breadth of scope—ranging from human-scale, individually orientated works to ones that are expansive and more public and social in character. Unland: audible in the mouth is clearly in the former category. The title, quoting a line from Paul Celan’s poem, An Eye Open, redolent of this poet’s lyric intensity, evokes the inexpressible rawness of an inner recollection of atrocity so extreme that it cannot be perceived by way of words one hears or images one sees, but only felt directly on the body: “No more to be named, hot, audible in the mouth.” At the other end of the scale, there is work such as Salcedo’s intervention in Istanbul’s urban environment, where both the form and potential meaning are evidently public and social. The works where a sense of inner, subjective life is dominant, are for the most part memorials to the disappeared or murdered. They do not conjure up the actual violence, but rather its oppressive afterlife as a haunting memory that cannot be rationalized away, but only dies with the fabric of memory itself. Salcedo insists that “My work is about the memory of experience, which is always vanishing, not about experience taken from life.” Such memory has a double aspect. As she expressed it, “Memory must work between the figure of the one who has died and the life disfigured by death.” In Salcedo’s earlier work, the focus on the bereaved is usually to the fore, as in the Unland series. The same could be said of Atrabiliarios. In this, the shoes installed in small cavities, partly obscured by translucent coverings of cow bladder stitched into the wall with surgical thread, might at first seem fairly straightforward memorials to those captured and murdered and then buried in mass graves. But the search for the graves, the uncovering of the bodies and discovery of the remains, and the often hopeless process of trying to identify them was the task of the bereaved. Salcedo’s preserving the shoes and resituating them as individualized testimonials to the “disappeared” has more to do with the process of mourning than the disappeared themselves. An emphasis on bereavement is made explicit in the title. Translating roughly as the defiant or irascible one, Atrabiliarios conjures up the responses of those devastated but also outraged by the senseless deaths of loved ones who had been executed anonymously in gratuitous acts of violence. With A Flor de Piel (to flower of skin), the emphasis shifts to the atrocity committed on the body of the victim of violence rather than the pain and loss of the one mourning. This is a disturbing but also singularly beautiful work, a blanket or shroud made of rose petals intricately stitched together and specially treated to preserve their deep red hue. Originating in Salcedo’s response to the killing of a nurse whose body was savagely dismembered, it is generally seen as symbolizing a painstaking restitution of the dispersed body fragments. However, if this is one possible response, it is far from being the only one. What is formed from the weaving together of the petals is less a body as such than a possible wrapping of a body or shroud. It could also be seen as a second skin of flowers,

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Top: Doris Salcedo, Atrabiliarios, 1992â&#x20AC;&#x201C;2004, shoes, drywall, paint, wood, animal fiber, and surgical thread, 43 in. and 40 boxes; overall dimensions variable; installation: February 21â&#x20AC;&#x201C;May 24, 2015, Museum of Contemporary Art, Chicago; photograph, Patrizia Tocci. Bottom, left: Doris Salcedo, Untitled, 2003, one thousand one hundred and fifty wooden chairs approx. 33 x 20 x 20 ft.; ephemeral public project, 8th International Istanbul Biennial, Istanbul, 2003; photograph, Sergio Clavijo. Bottom, right: Doris Salcedo, Untitled, 1998, wooden armoire with glass, concrete, steel, and clothing, 72.25 x 39 x 13 in. Collection of Lisa and John Miller, fractional and promised gift to the San Francisco Museum of Modern Art

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quite different from flesh, in which form it would be a gruesome, flayed skin. The process of its making similarly has a double resonance. The stitching together suggests a restitution, a making whole; at the same time, the petals were obtained by dismembering countless rose flowers. Any single idea of what the work means in relation to the fate of the victim memorialized and the gruesome violence perpetrated on her is always a little at odds with other responses one has to it as a material object. It can simply be seen as an incredibly sumptuous and beautiful and also delicate fabric-like spread, and this is integral to its effectiveness. As such it perhaps becomes a worthy homage to the victim, an implication that sits uneasily with the suggestions of bodily pain and dismemberment that are there as a constant undertow. Salcedo’s untitled more traditionally sculpture-like furniture pieces form a persistent thread in artistic production. These solidlooking constructions are assembled from items of second-hand furniture, most of block-like form such as armoires, cabinets, and cupboards with their cavities cemented over, and occasional chairs filled out with cement to take on a more compact shape. These works, which first brought her to the attention of the international art world, are not given an explicit memorial significance. What is more, she has made it clear that the furniture from which they are fabricated had no actual connection with victims of atrocity. Often shown in arrays, which vaguely recall the clustering of assorted pieces of second-hand furniture in a warehouse or shop, they are powerful and haunting works. If the significance they carry is palpably there, though, it hovers at the edge of consciousness, and has no obvious connection with the themes of violence and bereavement that inform much of Salcedo’s art. The strong effect has a lot to do with her embedding the empty spaces inside the pieces of furniture with cement. (This necessitated strengthening the wooden structures with a steel frame to prevent them breaking apart under the pressure exerted by the mass of cement.) The furniture has not only been rendered useless in this way but is also muted, almost suffocated. Interiority has been stifled, at the

same time that there is also a sense of things being compacted together, with cabinets and armoires jammed inside one another and cemented into place. These strange rather awkward things strongly assert an identity, but it remains unclear what this is, not as a mystery that might be deciphered, but as an assertion of the inherent muteness of things we find oddly striking. The Body Social: The larger social or public significance of the ongoing violence that disturbs the world we live in is as important a factor in Salcedo’s work as individual bereavement and suffering. As she explained, “I wanted to make the private things into something public. It’s not a private problem. It’s a social problem.” A number of her more compelling works, such as the 2003 Istanbul Biennial piece, are evidently social in character, designed to exist in a public sphere and take on their meaning from this context. Among her gallery works, there are some too whose expansive presentation makes them more social than individual and subjective in character—most notably Plegaria Muda (silent prayer). The prevailing effect here recalls the anonymity of a multiplicity of deaths rather than individual loss. Unlike Atrabiliarios, where the remains of the deceased, the shoes, have an individual character, the repeated elements are so similar that at first they seem exact replicas of one another, even though closer inspection reveals that the pairs of juxtaposed tables vary very slightly in size. In this case, rather than using second-hand tables, which would carry distinctive markings, Salcedo had them fabricated in her studio to a uniform format. In Plegaria Muda, each unit is made up of a pair of wooden tables, one inverted table with legs jutting upward placed atop one which is set on the ground. Separating them is a thick block of earth compressed between the flat surfaces of the two tabletops. The area occupied by each unit, defined by length and width of the tabletops, roughly corresponds to that of a coffin, but the units do not otherwise strike one as forming coffin-like shapes. Furthermore, the earth does not surround the wooden armature formed by the paired tables as it would a coffin but is held inside it.

Left and right: Doris Salcedo, A Flor de Piel, 2012, rose petals and thread, 257 x 42.25 in., private collection

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Still, one is inclined to imagine the earth as representing soil from mass graves containing disintegrated remains of victims (though it is clearly not literally this), the latter unrecognizable residues of bodies that never had a coffin, let alone a proper burial. These imagined remains are preserved and given a ceremonial dignity by their setting and public display, but are also compressed inside the blocks of soil and, as it were, silenced. The effect of the blocks of earth pressed into the spaces between the tabletops parallels that of the cement embedded inside Salcedo’s furniture pieces, particularly as cement has been mixed into the soil so the blocks retain their rectilinear shape. At the same time, the muteness, the silencing is countered by sparely indicated signs of life—scattered blades of grass rising up through tiny holes drilled through the upper tabletops. There is some intermittent regeneration, but firmly held in check; no full re-awakening. The dead remain dead whatever else might show tentative signs of life, while the prayers of those haunted by the loss they represent are silent, hovering on the fringes of a very striking and possibly even calmly vital display that is only distantly reminiscent of an assemblage of coffins or a graveyard for someone first entering the space. The social reach of Salcedo’s work was perhaps most vividly realized in Shibboleth, the temporary project she designed for the monumental turbine hall in Tate Modern in London. An irregular crack was opened up in the floor, extending from one end of the building to the other, splitting the smooth, uninflected expanse of concrete. This crack, made of concrete strengthened with wire mesh, was fabricated by Salcedo in Bogotá, transported to London and then set inside a ditch dug out of the floor of the Tate and sealed into place with an infill of concrete. The crack in the floor introduced a split in the gallery’s main public gathering area, deep enough that people had to be attentive to it, if they were not to stumble or catch their foot as they crossed over it. Still, it did not come over as overtly threatening, even if it was a fairly striking intrusion into the fabric of the building. Shibboleth stands a little apart from most of Salcedo’s work in that its significance as suggested by the title and the comments made by her do not conform to her pervasive theme—memorializing victims of

Artist Doris Salcedo

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Doris Salcedo, Shibboleth, 2007, concrete and metal, length 548 ft.; installation: October 9, 2007–April 6, 2008, Turbine Hall, Tate Modern, London

violence and processes of bereavement and mourning—nor is there any suggestion that it had its origins in events taking place in the civil war in Colombia. The meanings associated with it have to do with the broader social and political environment of the modern metropolis, exemplified by the actual environs of this gallery in the heart of London. The title refers to the idea of a test phrase, a shibboleth, used to root out those who don’t belong from those who do. The word has its origins, as Salcedo has explained, in an Old Testament story in which members of a defeated group of Israelites seeking to escape across the river Jordan were identified by members of the victorious tribe as strangers by the way they pronounced the word shibboleth, and summarily executed. The crack, seen from the perspective of this story, becomes a barrier to be crossed with peril, a stand-in for the river of Jordan. Equally though, Salcedo has represented it as having a contemporary resonance, with the crack marking out the racist divides in modern society between whites and non-whites, a “history of racism,” as she put it, which “is the untold dark side of the history of modernity.” Seen in this way, the crack is not a dividing line so much as an intrusion, recalling the presence of immigrants or other marginalized groups excluded by the sameness of white society and consigned to the depths of

fissures opening up within the world of more privileged whiteness. It is important that these associations are not entirely consistent but form a field of competing possibilities, thereby echoing the actual character of the public sphere in the modern world. Shibboleth made its most telling mark by literally, for a moment, creating a fault line disrupting the neutral container within which art, even overtly radical art, is usually shown. Instead of bits of the outside world or references to it being brought into the gallery, fractures endemic to the outside world were opened up within an art environment. The effect is not dramatized unduly and did not intrude too insistently on the everyday life of relative privilege enjoyed within the gallery, or even necessarily interrupt the fascination a viewer might feel for the visually compelling reconfiguring of space. However a real sense of intrusion and fracturing was still there, haunting it. This is a particularly suggestive but also materially real instance of Salcedo’s ambition to make “a topography of war that was so embedded, really, inscribed in everyday life,” prompting one to move beyond the confines of individual consciousness and come up against a “type of knowledge that is greater than oneself, which is so broad socially, in terms of its volume and comprehensiveness, that one cannot grasp its meaning.” P FEBRUARY / MARCH 2016

BY STEVE CARTER

WORLD STAGE

The Dallas Art Fair attracts elite galleries from around the globe. Patron previews six international players visiting for the first time.

Asad Faulwell, Les Femmes d'Alger 36, 2013, paper collage, pins, and acrylic on canvas, 60 x 144 in. Courtesy Lawrie Shabibi

s it readies for its eighth birthday in April, the Dallas Art Fair promises a record year including around 95 galleries for 2016, with roughly 40% of those being international exhibitors, hailing from Antwerp, Berlin, Bogotá, Brussels, Dubai, Dublin, London, Madrid, Mexico City, Milan, Paris, Rome, Tokyo, Toronto, Wien, Zurich, and beyond. “Dallas collectors and institutions continue to foster a warm impression of the city both nationally and abroad,” Fair cofounder Chris Byrne observes. “The exhibitors who participated during past years have recommended other galleries, and that’s been beneficial to the Dallas Art Fair’s growth. I think our audience is really an international audience now, and the galleries reflect that.” Here we get acquainted with six of Dallas Art Fair’s global first-timers.

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Upper left: Angel Vergara, Obra 2, 2014, oil on glass (5 glasses), 15.74 x 23.62 in., Galeria Marta Cervera; Upper right: Dirk Vander Eecken, J.C. NÂ°2015/10/12 Boeschepe, 2015, lacquer and spray paint on canvas, 70.86 x 59.05 in., Gallery van der Mieden; Center: Merlin James, Estuary, 2014, acrylic, wood, and mixed media, 39.4 x 73.2 in., Kerlin Gallery; Lower left: Jean-Baptiste Bernadet, Untitled (Retour), 2015, oil on canvas, 47.25 x 39.375 in., Valentin; Lower right: Katherine Bernhardt, Duracell, Cantaloupe, Doritos, Toilet Paper, 2015, acrylic and spray paint on canvas, 96 x 120 in., Carl Freedman Gallery

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Studio of Dirk Vander Eecken, Antwerp, December 2015. Courtesy of Gallery van der Meiden

GALLERY VAN DER MIEDEN

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ANTWERP

Diederik van der Mieden is the owner and managing director of Gallery van der Mieden, located in the center of Antwerp. Originally a photographer, van der Mieden founded the gallery in 2004, as an extension of his vision and direction. “From the very beginning I was clear in my wish to represent a selective range of artists, both international and national, who explore the space between reality and abstraction,” he says. Most of his artists are established names, but van der Mieden’s currently keeping an eye out for emerging artists as well. The gallery’s booth will feature a handful of artists, and van der Mieden summarizes, “This diverse mix of artists explores various contrasts that interest me to a great extent: figuration versus abstraction, the real versus the tale, society versus nature. There’s definitely a synergy between all of their work, which especially comes to appearance when one sees the combined works on display at art fairs…” The five artists are German photographer Martina Sauter, Danish photographer Adam Jeppesen, along with photographer Filip Dujardin, painter Alain Biltereyst, and painter Dirk Vander Eecken, all Belgian. The latter’s large-scale lacquer on canvas etherealities are sublime, meditative abstractions, utilizing grids and spray paint. “Dirk Vander Eecken’s work is to be found between figuration and abstraction,” Van der Mieden adds. “His paintings seem to be almost idealistic, utopian land and skyscapes. Whereas someone like Constable still brushed them onto the canvas in a retinal-realistic way, Dirk Vander Eecken sprays and grids them in an equally retinal way, directly from his mental fantasy into ours. In relation to this view, Vander Eecken himself likes to use the metaphor of ‘photographic reproductions of images which, in a way, have left the darkroom too early.’ They are already present but still have to partly develop themselves on the retina, a task which he explicitly reserves for the viewer.”

Above: Alain Biltereyst, Untitled, 2015, acrylic on plywood, 10.23 x 7.48 in. Below: Alain Biltereyst, Untitled, 2015, acrylic on plywood, 10.23 x 7.48 in. Courtesy of Gallery van der Meiden

CARL FREEDMAN GALLERY LONDON

Carl Freedman founded London’s Carl Freedman Gallery in 2003, originally as Counter Gallery; the eponymous name change dates to 2007. Before becoming a gallerist, Freedman made his name as a writer and curator, a known associate of Damien Hirst, Tracey Emin, and the Young British Artists’ scene generally. The gallery focuses on emerging and mid-career artists, with a mission of introducing them to international audiences and growing along with them. On its inaugural pilgrimage to the Dallas Art Fair, Carl Freedman Gallery is bringing paintings by four of its artists: the UK’s Billy Childish and Ivan Seal, and Katherine Bernhardt and John McAllister, both from the US. Gallery director, Robert Diament, enthuses, “We liked the idea of showing these four artists together because each has a very unique approach to painting. We are excited to bring these four distinct positions together at Dallas Art Fair to have a look at what painting means now in 2016.” On the new works by Billy Childish, Diament continues, “His paintings are often autobiographical, but recent works have included oyster boat sailors and dockyard workers who once populated the river Medway and Chatham dockyards in Kent, UK, where the artist grew up. He’s also made a recent series of birch tree and landscape paintings, removing the figure completely. And Katherine Bernhardt is the newest addition to our roster; she had her first solo show with us in London during Frieze London in October, 2015. She paints with acrylic and spray paint and has a masterful use of color. The objects in her recent pattern paintings are as quotidian as its gets: coffee makers, cigarettes, toilet rolls, Duracell batteries, laptops, Doritos, etc. One of my London collectors described her paintings as ‘time capsules of contemporary life’—I really loved that idea. It was a remarkable 2015 for Katherine, so we’re thrilled to continue to introduce her paintings to new audiences.”

John McAllister, powdery galactic, 2014, oil on canvas, 70.86 x 64.96 in. Courtesy of Carl Freedman Gallery

Artist Billy Childish; photograph by Rikard Osterlund. Courtesy of Carl Freedman Gallery

Billy Childish, Fisherman, 2015, oil and charcoal on linen, 72.047 x 108.07 in. Courtesy of Carl Freedman Gallery

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GALERÍA MARTA CERVERA

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MADRID

Above: Angel Vergara, Obra 3, 2014, oil on glass (5 glasses), 15.74 x 23.62 in. Below: Angel Vergara, Obra 6, 2014, oil on plexiglass (3 plates), 78.74 x 59.05 in. Courtesy of Galeria Marta Cervera

Madrid’s Galería Marta Cervera is truly international in scope, representing artists from Europe, the US, Asia, South America, and the Middle East. Owner and director Marta Cervera established the gallery in 1996, later worked primarily as a private consultant, and ultimately relaunched in 2008. Her gallery’s emphasis runs the gamut, Cervera noting, “We do everything. I go from real emerging artists to established—I have the whole range. It’s more about the work…” Years ago she visited Dallas and loved it, so this first year at the Dallas Art Fair is an especially appealing prospect. She learned of the Dallas Art Fair from colleagues. “I’d been paying attention to the fair for awhile, and I know the area a little bit, but I haven’t been to Dallas in a long time, and I’m really excited about getting to know it better,” she adds. Cervera plans a one-artist booth in Dallas, highlighting the works of renowned Spanish-born artist Angel Vergara; he lives and works in Brussels, Belgium. Flashback to 2011, Vergara represented Belgium at the 54th Venice Biennale; his Feuilleton at the Belgian Pavilion was a large-scale installation comprised of seven simultaneous looped projections, exploring the seven deadly sins. And why a solo booth? “Because I think Vergara is a very important artist, and he’s one of the best Spanish artists of this moment,” Cervera answers. “I don’t think his work is well known enough, and I really would like to bring him and his work to the attention of more people. The best way is to make a strong statement, and he’s not represented in the States at the moment. He’s more a multimedia artist in a way, but we’ll bring in some of his paintings, if you can call them that, because they’re a special kind of painting—they’re not made on canvas. And we’ll probably bring in his sculpture and a video.”

LAWRIE SHABIBI DUBAI

Farhad Ahrarnia, Her Body, Her Nation, 2014–15, digital print, heat transferred onto polyester aida, hand-stitched using silk, cotton, and metalic thread, and needles, 13.1 x 10.6 x 0.60 in. Courtesy of Lawrie Shabibi

Dubai’s Lawrie Shabibi opened five years ago, with a particular focus on artists from the Middle East and North Africa. Co-founders/co-directors William Lawrie and Asmaa Al-Shabibi had both been key players in Dubai’s developing art scene, and their vanguard gallery’s mission is concerned with long-term career development of its young international artists, and with presenting historical exhibitions of older artists from the region. The Lawrie Shabibi booth will be highlighting the work of four of their artists: Nabil Nahas (born in Beirut, based in New York), Asad Faulwell (Los Angeles), Farhad Ahrarnia (UK/Iran based), and Nadia Kaabi-Linke (Russia/Tunisia). “Nadia Kaabi-Linke has just had a very successful show at Dallas Contemporary—Walk The Line, curated by Justine Ludwig, so she’s been introduced to the Dallas audience,” William Lawrie says. “She and the other artists we’re showing all bridge the East/West divide, either by being of mixed origin or by country of residence. This kind of hybridity is typical of an expanded concept of the Middle East that may be unfamiliar to an American audience, and so Dallas Art Fair presents an exciting opportunity for us to show it.” Lawrie was in Dallas this past September for KaabiLinke’s opening at Dallas Contemporary and recalls, “I was impressed by the enthusiasm and hospitality of the collectors I met here; I was also impressed with the vibrancy of the art scene, with the museums and the Design District. So I’m looking forward to reconnecting and discovering more.” He adds that visitors to the Lawrie Shabibi booth can expect “multilayered, thought-provoking, but beautiful works that will challenge ideas of the exotic. Nadia Kaabi-Linke will be showing wall-based works similar to Altarpiece (in the show at DC last year), Nabil Nahas will be showing his hyper-saturated fractals, Farhad Ahrarnia will explore the Hollywood fascination with Cleopatra, while Asad Faulwell’s work shines a light on female Algerian freedom fighters.”

Nabil Nahas, Mashallah, 2013, acrylic on pumice on canvas, 120 x 83.85 in. Courtesy of Lawrie Shabibi Artist Nadia Kaabi-Linke. Courtesy of Lawrie Shabibi

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VALENTIN PARIS

Valentin, Paris, makes its maiden voyage to the Dallas Art Fair this year, having learned of it by word of mouth. The gallery was established in 1994, and has always had a long-term agenda, with a focus on discovering young artists and helping develop their careers to “well-established” status. Valentin represents 20+ artists, mostly European, a few from the US, but all exhibiting at least a tinge of avant-garde orientation. The gallery will be bringing the work of three artists to their booth—paintings by Jean-Baptiste Bernadet (Paris-born, based in Brussels), 3D pieces by Eric Baudart (Paris), and paintings by Graham Wilson (born in Louisville, KY, based in Brooklyn). It’s a diverse, intriguing sampling. “We’ll be presenting new works of each of these artists,” gallery co-owner Frédérique Valentin says: “New JeanBaptiste Bernadet paintings from his new series named Retour; new Eric Baudart work from his series Concave; and a new work of Graham Wilson from his Quilt series.” Bernadet is already known in the States, having been artist-in-residence at Triangle Studios in Brooklyn, APT Studios in Brooklyn, and Marfa’s Chinati Foundation; he also showed at Dallas’s legendary Angstrom Gallery. Baudart’s iconoclastic sculptural pieces are fashioned from repurposed banalities— plastic, paper, tape, and miscellany all factor into his work in a fascinating “silk purse from a sow’s ear” aesthetic. The inclusion of buzz-worthy wunderkind Graham Wilson is a coup—overnight he’s zoomed from impoverished anonymity to scaling the parapets of international acclaim. “We thought it could be interesting to bring the works of these three over,” Valentin continues. “Jean-Baptiste Bernadet has already made the Marfa residency and has exhibited here, and it’s also an opportunity to present the works of another French artist like Eric, who’s been shown at the Bass Museum (Miami) and Neueberger Museum (NY), and a US artist like Graham to extend his visibility.”

Eric Baudart, Concave, 2014, poster, spray paint, and metal, 88.58 x 62.20 x 21.65 in. Courtesy of Valentin

Jean-Baptiste Bernadet, Untitled (Retour), 2015, oil on canvas, 47.25 x 39.375 in. Courtesy of Valentin

Graham Wilson, Dead Beat, 2014, oil and twine on canvas, 84 x 72 in. Courtesy of Valentin

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Liam Gillick, Intermodal Elevation, 2015, powder-coated aluminum and Plexiglas, 78.7 x 92.7 x 41.5 in., Courtesy of Kerlin Gallery

KERLIN GALLERY

Callum Innes, Exposed Painting Blue, 2014, oil on linen, 49.2 x 48.4 in., Courtesy of Kerlin Gallery

DUBLIN

Merlin James, House and Cloud, 2014, acrylic, wood, and mixed media, 28.3 x 22 in., Courtesy of Kerlin Gallery

Dublin’s Kerlin Gallery has been one of Ireland’s leading contemporary galleries for decades, having been established in 1988. While this is the gallery’s first association with Dallas Art Fair, the gallery already has strong connections to the city: Director Darragh Hogan has visited Dallas numerous times, most recently in October for TWO x TWO 2015; two Kerlin artists, Sean Scully and Merlin James, had work up for auction at the event. Kerlin’s also nurtured a strong, ongoing working relationship with the Dallas Museum of Art. As to their big picture, gallery associate Rosa Abbott explains, “We work with a mix of emerging, mid-career, and established artists, and many of our art fair presentations embrace this diversity by presenting different generations of artists side by side. For instance, at Art Basel 2015 our artists ranged from the youngest artist we represent, the 26-year-old photographer Samuel Laurence Cunnane, to 70-year-old Sean Scully, who of course is a very well-established name, represented in almost all major museum collections worldwide.” At the Dallas Art Fair, Kerlin will be presenting work by at least three of their artists, among them Liam Gillick (sculpture, installation), and painters Callum Innes and Merlin James; all are from the UK. It should prove to be a wonderful juxtaposition of visions—Gillick’s powder-coated aluminum and Plexiglas minimalist sculptures are grounded in a modular, monolithic geometry; Innes’s Color Field abstractions evince a strangely inviting austerity, a sense of the absolute; and James’s enigmatic mixed-media canvases seem to speak a secret language in search of a Rosetta Stone. Taken together, the three artists make tantalizing suitemates. Rosa Abbott adds, “Visitors can expect a specifically curated booth that takes in diverse approaches by artists from a number of generations. The gallery is working hard to create a booth that is as intellectually rigorous as it is visually stimulating.” P

FEBRUARY / MARCH 2016

Maximilian Schubert, Untitled, 2015, cast acrylic polyurethane, and acrylic and vinyl paints, 64 x 48 in.

MATERIAL MATTERS THE STEWART COLLECTION EXPLORES NON-TRADITIONAL MEDIA.

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BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JOHN SMITH

Arthur Peña, Attempt 75, 2013, pine, shop towel, duct tape, wire mesh, sandpaper, drywall, oil paint, and drywall dust, 9 x 10.25 in.

hen art collectors buy works they love, eventually unifying themes emerge. In the case of Denise and Chris Stewart’s collection, this includes personal connections and creative processes. As both come from visual arts backgrounds, there is a natural interest in how art is created. Chris graduated from Southern Methodist University as a studio art major, subsequently earning MBA and Master of Fine Arts degrees. Denise studied interior design, a program within the College of Visual Arts and Design at the University of North Texas. Their shared enjoyment of art has been a constant in their relationship. Denise describes one of their first Christmases together, when they each coincidentally purchased a work for the other from a Lance Letscher exhibition at Conduit Gallery. The couple believes in supporting the local art community. Chris asks, “You strive to live in a city that has cultural activities going on. How do you support it so it continues?” For them, this means getting to know local artists and gallerists, making studio visits, and learning as much as they can.

Arthur Peña, Attempt 59, 2013, pine, gesso, and staples, 7.5 x 16 in.

Their connection to Conduit’s artists remains strong. For example, their personal relationship to Roberto Munguia adds special meaning to his work in their collection. While a student at Cistercian Preparatory School, Chris studied art under Munguia. He credits his mentor’s recommendation for his admission to SMU’s art program. And Billy Hassell’s Gorge, of the Taos Gorge, reminds Chris of when he painted in that area. “Everything is there,” he marvels of Hassell’s colorful landscapes. Denise’s UNT connections are also well represented, including work by Jeff Elrod, with whom she went to school, and Vernon Fisher, then on faculty at UNT. An interest in unusual materials clearly presents itself throughout their home. Of Stephen Lapthisophon’s work, Chris says, “We love the use of non-traditional material: coffee grounds, leaves, egg, all sorts of crazy stuff.” And while Lapthisophon’s work is a conscious oleo, Kirk Hayes’s work appears to be mixed media, but is stunningly trompe l’oeil. Objects appearing to be splintered wood, textured cardboard, or torn paper are typical of Hayes’s extraordinary handling of oil paint.

FEBRUARY / MARCH 2016

Images above: (Above fireplace) Dan Rees, Gravel Master, 2013, oil paint and pebbles on canvas, 48 x 61 in. (On coffee table) Felipe Archuleta, Turtle, 1981, 8.5 x 23 x 23 in. Below: Jeff Zilm, Cops, 2014, acrylic emulsion, gelatin emulsion on canvas, 72 x 54 in.

Another local artist whose work they are collecting is Arthur Peña. Peña’s vast interest in materials is evident in the work owned by the Stewarts. One is composed of staples while another includes scorched pine and Hydrocal, and still another includes duct tape, dry wall, and wire mesh. As with many of the artists in the collection, Peña’s work is drawing widespread attention. He recently mounted a solo exhibition at the Latino Cultural Center and is currently included in the inaugural exhibition, along with Marjorie Schwarz and Lauren Muggeo, at Site 131, the new Design District venture opened by Joan Davidow and her son, Seth. The couple credits their friendship with James Cope of And Now Gallery as well as with Janelle and Alden Pinnell of The Power Station with keeping them abreast of the local contemporary art scene. It was through Cope that they found Jeff Zilm’s paintings, which are born from emulsified film. Zilm, profiled in our last issue, currently has work on view at the Dallas Contemporary. The Stewarts’s collection also reflects national contemporary art trends. On a recent New York jaunt, they acquired work by Maximilian Schubert. Schubert uses a lost wax process to create

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Kirk Hayes, Explains Death with a Sock Puppet, 2014, oil and enamel on signboard, 48 x 39 in.

Helen Altman, Bird, 2007, wire, shell

FEBRUARY / MARCH 2016

sculptural works mimicking traditional canvases and paint. As with much of the Stewarts’s collection, it requires sustained observation. New York-based Ben Schumacher’s background in architecture is evident in Paxton, Chareau, Archigram— independence of continuum, with its combination of drawing and machine precision. As Chris describes it, “The work represents the idea of what life might be like when humans are not making things anymore.” Others, such as Post-Internet artist, Jason Matthew Lee, incorporate unique media. Acetone inkjet, magnets, magazine pages, solvent, and UV-protective varnish applied to primed canvas all mix in Mrxnet.sys. This particular work, Chris explains, deals with the question from the early days of Internet technology about how to send images electronically.

The Stewarts discovered Dan Rees’s work during his artist in residency at The Goss-Michael Foundation in 2013. Their painting, from the artist’s Gravel Master series, feels like a fresco for the 21st century. Using a broad palette, Rees applies oil paint to his canvas and then coats the paint with pebbledash, small stones used for siding on project housing in his native UK. The effect of color and texture creates a dynamic threedimensionality. The journey of discovery continues for this couple. Chris says he enjoys “art that is introduced to me that is hard to get my arms around initially.” For him, reading up on the artist and meeting him or her is part of the pleasure of collecting. Denise adds, “There is intention with each of these artists. They are building something with unique material.” P

Large: Jason Matthew Lee, Mrxnet.sys, 2014, Acetone inkjet, magnets, magazine pages, solvent, uv-protective varnish, and security sticker on primed canvas, 72 x 54 in. Small: Trenton Doyle Hancock, THE DEVIL, 2013, mixed media on canvas, 24 x 24 in.

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FEBRUARY / with MARCH 2016 and73glass pieces. Housed in custom book shelves, Stewarts boast a large and varied selection of art books combined small sculpture

From the biggest to the smallest performing art productions, James E. Wiley is a fixture in local audiences.

PATRON SAINTS

TACA awards the Silver Cup to honor leaders whose stewardship truly evokes meaning and impact for the arts. This year’s honorees, Rebecca Fletcher and James E. Wiley, are all that.

ames E. Wiley, Jr. lives in theaters. On the Saturday afternoon I stopped by his house, he had been to the symphony the night before at the Meyerson and was heading to an opening at the Undermain Theatre that evening. On Sunday he would catch The Totalitarians at the Kitchen Dog Theater. TACA (The Arts Community Alliance) holds Jim's commitment to theater and all of the performing arts in high regard and will honor him with a Silver Cup Award in February. “Karen [his wife] and I like to support smaller theaters,” he noted. But he also has served on the Board of Trustees at the Dallas Theater Center, along with TACA Silver Cup co-honoree, Rebecca Fletcher. A subscriber to DTC since high school, Jim well remembers consultants telling them that when they decamped from the Kalita Humphreys to the Wyly Theatre, they would have “to upscale their productions”—a lot. “If you do the same thing you’ve been doing on the Kalita stage,” they said, “it will be like: so???” The Dallas Theater Center did upgrade, dramatically, and achieved as a result a great and continuing success. In fact, Jim said, “Since Jaap [van Zweden, conductor of the Dallas Symphony Orchestra] and [general director] Keith Cerny at The Dallas Opera came to Dallas,” it’s been a feast of riches. Of course, Jim serves on those boards too: DSO’s Board of Governors since 2000 along with the Building Committee, Stradivarius Committee, and Gala Host Committee, plus he’s on the Board of Trustees for The Dallas Opera. It all began for the Wileys at the Junior Players where he tumbled easily into energetic support since he had been an actor at Thomas Jefferson High School, playing in Brigadoon and Bye Bye Birdie. He still feels strongly about the importance of the Dallas Independent School District and is proud to have his son’s two children at Nathan Adams. The Booker T. Washington School of the Performing Arts is high on his list as well. Karen Wiley was upstairs wrapping holiday gifts that day. These would be sent to another son, his wife, and their four children

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in Norway. It’s part of the seasonal ritual of the Wiley family, which lives according to the calendar of the Episcopal Church. St. Michael’s, like the arts, is central to their lives. Jim sings tenor in the choir there; having honed his voice while growing up at University Park Methodist, the denomination, it must be admitted, that has the best hymns of any in the realm of Protestant Christendom. Jim also values the commitment in Methodism to social justice. Karen, however, grew up an Episcopalian in Waco and probably led them in that part of their lives after a blind date turned happily long-term. She’s a soprano in the choir at St. Michael’s as well as a Biblical scholar and teacher. If he “keeps coming back like a song,” as Irving Berlin wrote, that’s because Jim always gravitates to music. He was a singing cadet at Texas A&M. But his work is in business. After majoring in civil engineering, he studied management science at the University of Texas at Dallas and taught finance there for 13 years. He also joined the family enterprise, Wiley Brothers General Contractors and Wiley Brothers Management Corporation, started by his father and uncle, and helped expand it into Wiley Brothers Commercial Properties and Management Corporation. Jim and the youngest of his three male siblings run the company today. For so steady and steadfast a life, Jim is drawn to remarkable turbulence in the theater. His favorite plays in recent years? The Testament of Mary, a tour de force at the Undermain Theatre based on the novel by Colm Toibin, as well as An Iliad, also at the Undermain. His favorite play by Shakespeare? The Tempest, stunningly produced by Dallas Theater Center early in its tenure at the Wyly with a fantastic set by Beowulf Boritt. Jim’s taste is serious and sophisticated—also passionate and democratic. “The arts are for everybody,” he declared. “The arts are a gift from God.”

BY LEE CULLUM PHOTOGRAPHY BY WILLIAM BICHARA

FEBRUARY / MARCH 2016

Rebecca Enloe Fletcher means business. She laughs easily and she’s a lot of fun, but when she sets her mind to something, watch out. It will happen no matter who or what tries to stop her. She is one of those people who truly, as once was said, “imposes order on chaos and lies as if it were true.” This was apparent when I stopped by her house late one rainy afternoon, right after Thanksgiving. A number of holiday gifts were propped against the sofa in the living room, happily wrapped with plenty of red, at the ready, brightening a space already vivid with art, wit, and expectation. Rebecca guides me through the family room, where her daughter Claire is struggling to choose between a TV football game and sleep, and her husband Barron has made a solid selection: the gridiron. There are no such lazy holiday decisions for Rebecca, however. She is a co-winner of this year’s TACA Silver Cup Award, and has committed to an interview about it. So we keep on going, past a lovely round table laden with porcelain plates, cups, and silver flatware, laid out for a dinner party Rebecca is putting together four days later for Riata Capital, the private equity firm newly formed by Barron with Jeff Fronterhouse. She leads me back to the office she shares with Barron, who likes a place to work at home in the evenings so he can be there for dinner. It’s a converted garage—lively, spacious, organized, and as expressive as the rest of the house for a pair whose lives are filled with “many interests and much substance” (that’s Virginia Woolf). We are followed by the three dogs who greeted me at the door, two King Charles Cavalier spaniels named Nelson and Archie— comic strip names for two comically charming companions—plus Ivy, a blonde lab who deserves, she seems to convey, to be taken more seriously than the other two. As genial as the little ones, quivering with anticipation, she nonetheless has been trained to hunt, and she does. She’s also done some notable chewing on a baseboard nearby. The trio, large and small, march dutifully into three cages, neatly in a row, with doors left open for them, and now shut. This is “command control,” Rebecca explains, the place where she runs her household and, until a few months ago, the Board Chair for the Dallas Theater Center and before that DTC’s big fundraising campaign to move to the Wyly Theatre—no small venture. The walls tell the story of her tenure. On one is a shadow box, covered by glass and containing a vest and cap worn by revolutionaries in Les Miz, at the end of Act One, as they sang One Day More. At the bottom is a tribute “to Rebecca Enloe Fletcher, Revolutionary and Rainmaker.” It was given to her by the staff, which also supplied a photographic composite of memorable moments before and after the move to the Wyly. Rebecca Fletcher is a democrat, with a little as well as a big D. So, of course, she would make a point of making friends with the staff. After all, she says, they cause everything to happen. And what has happened at the Wyly that has meant the most to its revolutionary rainmaker? Les Miz, certainly, she answers, because of the way this “classic was reinvented, in an experimental space, with a thrust configuration” of the stage. She adds A Midsummer Night’s Dream, which opened the Wyly, and Henry IV with the fantastic swordplay that raged in the balconies, all around the audience. It was indeed total immersion, and that’s what Rebecca loves about artistic director Kevin Moriarty—his ability to create physical context seldom seen in a theater, such as the football field in which he set Colossal. “Kevin’s given us some wonderful consistency,” she noted, “personally [in his own directing] and in the plays and guest directors” he has chosen. Rebecca’s son, another Barron, arrives in the office, only to be diverted to some grocery shopping for necessary provisions. By now his mother is explaining how she and Charles Santos saved

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TITAS from extinction. Seeming often to chair enterprises in the worst of times, she never fails to generate the best of times before she is done. Husband Barron told her she “needed a new business model” at TITAS. So she got one, putting together an arrangement with the AT&T Performing Arts Center to co-present a season— mainly dance but not exclusively—and split the income and expenses. AT&T PAC (Rebecca sits on that board too.) has taken over marketing and ticketing, a godsend for Charles Santos and his office. “Now he can do edgier things,” Rebecca related; “not everything has to be so commercial.” It’s hard to fathom that Rebecca Enloe Fletcher had attention deficit disorder when she was at Hockaday. She managed, however, as she always does, majoring in history and government at UT Austin, studying law at SMU, and practicing at Davis, Polk & Wardwell in New York before deciding she was destined for

Rebecca Fletcher is the Chairman Emeritus for the Board of Trustees at Dallas Theater Center.

development. That’s when she helped John Sexton, now president of New York University, raise $250 million for the School of Law where at the time he was Dean. That was a strenuous effort, but it was nothing compared to serving Texas Senator Lloyd Bentsen when he was named running mate to Michael Dukakis at the 1988 Democratic Convention in Miami. “I’ve never worked so hard in my life,” she said. Operating on two or three hours of sleep a night, Rebecca was dispatched to find an appropriate dress for B.A. Bentsen to wear on the big last night since the one she had brought clashed with that of Kitty Dukakis. Off to Neiman Marcus went the young aide from Dallas to find something in a solid color. She took back a few choices and a “beautiful green” finally won out. None of this was suggested, really, in an aptitude test Rebecca once took. It suggested she might do well as “a mechanical

engineer, architect, or space planner.” She is “very visual,” which is plain to see in the stylish delights all over her house. Every room is stimulating, because Rebecca Fletcher requires constant stimulation. She likes “groups of people” and “wants to feel stuff going on around me.” She keeps television on “for background” and “feels distracted by all the silence” without it. She “needs multiple things” and likes to “hop from one stack to another” on her desk, creating order in the face of chaos. In one of those stacks is her latest project—the Holocaust Museum, where she is working with Frank Risch, a compatriot from DTC, and others on the board to fund a new building in the West End. The hope is this: not only will the museum teach new generations about a ghastly era in human history, it also will inspire mutual respect and comprehension across cultures. P

FEBRUARY / MARCH 2016

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FURTHERMORE BY CHRIS BYRNE

Santa Fe Gallerist James Kelly will participate in the 2016 Dallas Art Fair.

James Kelly visits with artist James Drake.

THERE AND BACK AGAIN Will Art Dealer, James Kelly, return to Dallas?

recently met with Jim Kelly in Miami during Art Basel; together we attended Unrealism—the pop-up collaboration between Jeffrey Deitch and Gagosian Gallery—as well as Larry Bell’s talk at White Cube’s temporary space in the Design District. (Jim was kind enough to introduce me to the artist prior to the panel discussion.) Having owned and directed his eponymous gallery in Santa Fe, New Mexico, for the past 18 years, Jim has organized numerous exhibitions of work by internationally recognized artists such as Agnes Martin, Bruce Nauman, Susan Rothenberg, Ed Ruscha, and Richard Tuttle, among others. Jim was also one of the first gallerists to rediscover Ken Price’s work. (Price had a retrospective at the Nasher Sculpture Center in 2013.) Further, the gallery carries an active program of exhibiting artists based in the Southwest. In 2011, James Kelly Contemporary was admitted into the prestigious Art Dealers Association of America. Jim received his Bachelors of Arts degree in Art History as well as a Masters of Business Administration and Masters of Arts Administration from Southern Methodist University. During his time as an undergraduate, he took classes with William B. Jordan, then the director of the Meadows Museum on campus. Jim remembers, “He was a great mentor to me, and I still have his friendship.” Bill Jordan has his own accolades for Jim: “Nearly everyone who sets out to build a serious collection has been both a buyer and a seller. Jim Kelly, who has been an incomparably loyal friend since his earliest days as a dealer—decades ago—has from time to time been a valuable partner in the development of the contemporary side of our collection, sometimes helping to find the perfect object, and other times helping to find the right new home for something 96

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we needed to sell. His clients, who tend to be his friends for life, know they can rely on his professionalism and his absolute integrity.” Jim began his career as an intern for Harry S. Parker, III, Director of the Dallas Museum of Art from 1979–1982. At that time, Jim became a Eugene McDermott Foundation intern and met Margaret McDermott, who has remained a great friend to this day. In fact on an early trip to London with Mrs. McDermott, he was invited to visit Henry Moore’s studio. Jim also knew Ellsworth Kelly, and the two remained close until the artist’s death this past December. When I first met Jim, he was the director of Laura Carpenter Fine Art in Dallas. He immediately engaged me with his erudition for Post-War Art and his graciousness. He was always willing to visit and discuss various endeavors in which I was involved and seemed truly interested in forthcoming projects. Deedie Rose recalls, “I first met Jim in the mid-80’s when we were both working for Laura Carpenter’s gallery. Jim became a much-admired co-worker, and a valued friend. While he is exquisitely discerning, he also gets genuine pleasure from the work that he carries. He is also one of the nicest and most gentle people I know— not just in the art world, but anywhere.” During our visit in Miami, Jim mentioned that he was considering opening a second space in Dallas, something that would immediately enhance the cultural landscape of the city: “One idea I am working on is the possibility of opening a small gallery or perhaps a private space. I have many friends in Dallas and look forward to the possibility of doing something back in my hometown.” Until then, we are honored to welcome Jim back to the Dallas Art Fair this April and believe that his participation will add immensely to the event. P

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