PATRON's February | March Issue by Patron Magazine

DALLAS ART FAIR COLLECTORS’ PREVIEW TIMELESS REBIRTH ON A BLUFF POINTS OF VIEW: HE SAID/SHE SAID

HE XIANGYU, PALATE WONDER, 2021, NANCY A. NASHER AND DAVID J. HAEMISEGGER COLLECTION.

FEATURING: JIM DINE

HUMA BHABHA

JONATHAN BOROFSKY

LEONARDO DREW

SIOBHÁN HAPASKA

BARRY FLANAGAN

THOMAS HOUSEAGO

PAMELA NELSON AND ROBERT A. WILSON

ANTHONY CARO TOM FRIEDMAN

KAWS

ALAIN KIRILI

MIMMO PALADINO

TONY CRAGG

LIAM GILLICK

MICHAEL CRAIG-MARTIN

ANTONY GORMLEY

ROY LICHTENSTEIN

JOEL SHAPIRO

HENRY MOORE

FRANK STELLA

MARK DI SUVERO

KATHARINA GROSSE IVÁN NAVARRO

LEO VILLAREAL

HE XIANGYU

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THE SPRING SEASON NOW ACCEPTING CONSIGNMENTS

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The Curated Home | February 23

Texas Art | May 11

Asian Art | March 20

Modern & Contemporary Art | May 14

Urban Art | March 28

American Art | May 15

Prints & Multiples | April 16

Fine Silver & Objects of Vertu | May 16

Pursuit of Beauty: Art Nouveau, Art Deco & Art Glass | April 18

Design | May 23

Illustration Art | April 23

Decorative Art | June 7

Photographs | April 30

Ethnographic Art | June 6 Fine European Art | June 7

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

February / March 2024

TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com Instagram terri_provencal and patronmag

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We put the finishing touches on this issue amid a frosty week in Dallas, knowing the promise of spring art season will soon arrive. Dallas Art Fair appears early this year, April 4–7, prompting our sneak peek at the art and exhibitors coming to the fair. We looked to three women—Kasey Lemkin, Christina Jafar, and Catalina Gonzalez Jorba—to share their collecting advice, works they have their eye on, and the best way to navigate the fair. Check out In the Picture to learn more about these incredible women who make it their mission to educate themselves about the artists they collect. The Dallas Museum of Art broadens the narrative of women by rightfully inserting them into the historical canon with the exhibition He Said/She Said: Contemporary Women Artists Interject. Featuring artists from the feminist movement of 1970s and emerging artists inspired by surrealism, along with several male counterparts, this exhibition examines gender norms, sexism, and racism, and includes new acquisitions, work from local collections, and work from the DMA’s postwar collection. Danielle Avram and Darryl Ratcliff write separately about their observations of the show in our own version of He Said/ She Said. Bernbaum/Magadini designed a magnificent home on a bluff in Highland Park with great care, knowing the legacy of the previous home on that location. Tricy Magadini discusses the timeless modern with Nancy Cohen Israel. The architects worked in concert with Robyn Menter Design Associates, who designed the interiors. Elevated Contemporary sees the interiors and exteriors informed by decided teamwork, including custom builder Steven Hild and landscaping by Hocker. Swanky Swexan takes readers inside the new Swiss-meets-Texan Harwood District boutique hotel. Photographer Luis Martinez captures the essence of Hôtel Swexan’s layered common spaces, restaurants, the sublevel Babou’s night club and library, and a marvelous marble bath in the Grand Swexan Suite. In our departments, we meet a new exhibitor coming to Dallas Art Fair for the first time. Sow & Tailor is a Los Angeles gallery owned and directed by Karen Galloway. She interviews Sabrina Piersol about her abstracted landscapes in advance of her solo showing at the Sow & Tailor booth. Next, in Woven in Time, Nancy Cohen Israel speaks with textile and fiber artist Teresa Lanceta, who has an exhibition opening this month at the Meadows Museum for the biennial Meadows/Arco Artist Spotlight (MAS). John Zotos visits with UK artist Daisy Parris who too has a solo show opening this month at Green Family Art Foundation. John also checks in with local artist Xxavier Carter who, as part of the Empire of Dirt collective, took over the Nasher Public gallery, demonstrating artistic collaboration. Contemporaries sees new work from Julia Maiuri, who has made quite a splash with her paintings executed from invented and appropriated film dissolves derived from horror films and music videos. Hannah and Hilary Fagadau will feature her in a solo 12.26 booth at Zona Maco as the only Dallas exhibitor. And in Go Figure, Chris Byrne meets up with Sally Saul, a legendary contemporary ceramicist who will bring her humorous animal and human clay figures to Dallas Contemporary in April as part of the group show who’s afraid of cartoony figuration? In Turning the Inside Out Right Side Up Again, Brandon Kennedy delves into the practice of Jeff Gibbons, whose work, the artist says, is “a poetic translation of my own sense of being.” Formerly a Dallas-based artist, Gibbons is a resident fellow at The Fine Arts Work Center in Provincetown, Massachusetts, who will return to Dallas for a solo show at Conduit Gallery. As North Texas turns the corner on an unpredictable winter, and creative minds ignite for the seasons ahead, we invite you to enjoy the pre-spring awakening with Chantal Khoury’s Lace and Petals on the cover. –Terri Provencal

www.akris.com

CONTENTS 1 FEATURES 50 IN THE PICTURE Three savvy, well-informed women share their thoughts on collecting and navigating Dallas Art Fair. By Terri Provencal 58 HE SAID/SHE SAID A bold revision of art history at the Dallas Museum of Art is written about from the male and female perspectives. By Danielle Avram and Darryl Ratcliff 64 ELEVATED CONTEMPORARY Bernbaum/Magadini revive fabled Highland Park corner manse with interior design by Robyn Menter. 72 SWANKY SWEXAN Style Comes Together in Harwood’s Haute Hôtel. Photography by Luis Martinez

50 On the cover: Chantal Khoury, Lace and Petals (detail), 2023, oil on canvas, 10 x 12 in. © Chantal Khoury. Courtesy of the artist and Nicodim Gallery.

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MARIE OLIVER

HOUSTON

DALLAS

ATLANTA

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CONTENTS 2

DEPARTMENTS 6 Editor’s Note 12 Contributors 22 Noted Fair Trade 38 BETWEEN EARTHEN AND CELESTIAL Sow & Tailor will make its Dallas Art Fair debut with Sabrina Piersol’s abstracted imaginary spaces. Interview by Karen Galloway Openings 40 WOVEN IN TIME Textile/fiber artist Teresa Lanceta is featured in this year’s Meadows/ARCO Artist Spotlight (MAS). By Nancy Cohen Israel 42 ABSTRACT PORTRAITS OF HUMAN EXISTENCE Green Family Art Foundation opens a solo show for Daisy Parris this month. By John Zotos

Contemporaries 44 I WANT MY MTV Julia Maiuri’s paintings draw from music videos and horror films for 12.26’s Zona Maco presentation. By Terri Provencal 46 GO FIGURE Sally Saul’s delightful ceramics will be part of a group exhibition at Dallas Contemporary this April. Interview by Chris Byrne. Studio 48 TURNING THE INSIDE OUT RIGHT SIDE UP AGAIN The Roving, Ponderous Queries of Jeff Gibbons. By Brandon Kennedy There 80 CAMERAS COVERING CULTURAL EVENTS Furthermore 84 COLLECTIVE LIVES Empire of Dirt grows together through Nasher Public with Invocation of the Cosmic Body. By John Zotos

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CONTRIBUTORS

DANIELLE AVRAM is the assistant professor of contemporary galleries and exhibitions at UT Dallas and the director of SP/N Gallery on campus. She is also a writer, curator, and project manager. She has held positions at Texas Woman’s University; Southern Methodist University; The Power Station; and The Pinnell Collection among others. She has an MFA from the School of The Museum of Fine Arts and Tufts University, and a BA from UT Dallas. For Patron, she explored He Said/She Said: Contemporary Women Artists Interject, on view at the Dallas Museum of Art.

BRANDON KENNEDY is an occasional artist, book scout/collector, freelance curator, and writer based in Dallas. Kennedy also serves as a Texas Regional Representative for Bonhams Auctioneers. In Patron’s Studio he investigates the practice of Jeff Gibbons, who will have a show at Conduit Gallery in February. Read his story about Gibbons’ roving queries in Turning the Inside Out Right Side Up Again.

CHRIS BYRNE authored the graphic novel The Magician (Marquand Books, 2013), included in the Library of Congress. He is the coeditor of Frank Johnson, Secret Pioneer of American Comics Vol. 1: Wally’s Gang Early Years (1928-1949) and the Bowser Boys (1946-1950), published by Fantagraphics. Paul Gravett, the Londonbased journalist, included the book in his “Top 15 Graphic Novels, Comics & Manga: December 2023.” On Wednesday, February 28, Byrne will participate in a panel discussion about the book at the Society of Illustrators in New York City.

LUIS MARTINEZ is a Kim Dawson model/ actor discovery from San Antonio currently based in Dallas who is equally adept as a fashion/beauty/ portrait photographer and videographer. In this issue, Luis captured spring looks in the nuanced Swiss-meets-Texas lobby, restaurants, lounge, ballroom, and rooms of Hôtel Swexan in the Harwood District. See his work in these pages in Swanky Swexan.

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LAUREN CHRISTENSEN has over two decades of experience in advertising and marketing. As a principal with L+S Creative Group, she consults with a wide variety of nonprofit organizations and businesses in many sectors, including retail, real estate, healthcare, and hospitality. Lauren is a Dallas native and a graduate of SMU with a BA in advertising. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

WENDY MULAS was born and raised in Spain. Wendy made her way to Dallas as an au pair. She seized the opportunity to work with renowned fashion brands like Chanel, Fendi, and Dolce & Gabbana. Transitioning her passion into a career as a stylist, Wendy is dedicated to empowering women, helping them shine and believe in themselves through the cultivation of their personal style. Wendy loaned her spontaneity and open-handed talent for collaboration in this issue’s Swanky Swexan.

NANCY COHEN ISRAEL is a Dallas-based writer and art historian. For the current issue, she particularly enjoyed writing about the upcoming exhibition Meadows/ARCO Artist Spotlight: Teresa Lanceta at the Meadows Museum, where she is on the education staff. It will be the museum’s first exhibition dedicated to a fiber/textile artist. Nancy also enjoyed getting an inside view into Chris Parvin’s home, designed by Bernbaum/Magadini Architects with beautifully complemented interiors by Robyn Menter Design Associates.

DARRYL RATCLIFF is an artist and poet with a writing and curatorial practice whose work engages communities and mobilizes social issues. He builds collaborative, durational cultural projects that help tell community narratives, promote civic engagement, and increase community health. He is a Yerba Buena Center for the Arts 10 Fellow and founder of Gossypion Investments. For Patron, he explored He Said/She Said: Contemporary Women Artists Interject, on view at the Dallas Museum of Art.

JOHN SMITH is a Dallas-based photographer who flexes his degree in architecture to photograph homes of distinction. Years of experience provides him with a unique appreciation for his clients’ vision, including architects, interior designers, and artists. In the Dallas Art Fair preview story, John captured three young art collectors in their homes: Christina Jafar, Kasey Lemkin, and Catalina Gonzalez Jorba, who shared their picks from the exhibitors coming to the fair in April.

JOHN ZOTOS is an art critic and writer who has written about the arts in North Texas for the last 24 years. His writing is informed by advanced degrees in art history and aesthetics. For this issue of Patron he writes about the art collective known as Empire of Dirt in Furthermore, and in Abstract Portraits of Human Existence he interviews and discusses the work of Daisy Parris, an artist based in the UK, prior to their show opening at the Green Family Art Foundation in February.

ERIN MATHEWS

PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sophia Dembling PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Daniel Avram Chris Byrne Nancy Cohen Israel Brandon Kennedy Darryl Ratcliff John Zotos CONTRIBUTING PHOTOGRAPHERS Peyton Mixon Karen Almond Matthew Murphy AJ Boling Kaitlin Saragusa Sharen Bradford Dave Shafer Joaquin Cortés John Smith Robert Day Sim Smith Charles Davis Smith Miguel Garcia Carceles Kevin Tachman Kevin Todora KT Kim Evan Zimmerman Luis Martinez CONTRIBUTING STYLISTS / ASSISTANTS Pablo Arellano Ramiro Garcia Wendy Mulas Elaine Raffel LB Rosser Miguel Serrano ADVERTISING info@patronmagazine.com or by calling (214) 642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS amazon.com/patronmagazine One year $48/6 issues, two years $60/12 issues For international subscriptions add $15 for postage For subscription inquiries email info@patronmagazine.com SOCIAL @patronmag

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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2024, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited. Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.

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Lorna Simpson, Murmur,2019. Ink and screenprint on gessoed fiberglass. 108 × 96 inches. Collection of the Modern Art Museum of Fort Worth, The Friends of Art Endowment Fund. Acquired in 2020. Photograph by Kevin Todora

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The women artists featured in this show reference art history to argue for their inclusion in the canon that has long ignored their contributions. Ranging from the feminist movement of the 1970s to young artists inspired by Surrealism, they create work that critiques gender norms, sexism, and racism. Many, especially from the postmodern period of the 1970s to 1990s, appropriate elements from the work of male artists, some of whom are included in the show. They thus question the myth of the sole male genius to create space for new, more inclusive narratives.

Learn more at dma.org

He Said/She Said: Contemporary Women Artists Interject is organized by the Dallas Museum of Art. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture. ADDITIONAL SUPPORT

Pergusa, 2019. Olivia Erlanger. Silicone, polystyrene foam, MDF, plywood, and Maytag washing machine. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2019.63.A-B.

NOTED 06

01 AFRICAN AMERICAN MUSEUM Central Track: Crossroads of Deep Ellum emphasizes the 1920s and 1930s and features newspaper clippings, archival photographs, posters, and recordings of blues, jazz, and popular music of the period. Seeing a World Blind Lemon Never Saw presents Alan Govenar’s photographic series from 2021–2023 exploring rural East Texas and little-known places in Dallas that Blind Lemon visited or alluded to in his songs; through May 30. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART The inaugural Re/Framed rotation celebrates the 100th anniversary of the birth of the Carter’s founder, Ruth Carter Stevenson, with a selection of works acquired during her lifetime; through Mar. 31. Elizabeth Turk’s The Tipping Point: Echoes of Extinction comprises vertical sound sculptures of bird species that are endangered or extinct; through May 1. Leonardo Drew’s site-specific commission, Number 235T, features the artist’s “planets” as central sculptural pieces surrounded by hundreds of smaller objects; through Jun. 30. Through May 12, Trespassers: James Prosek and the Texas Prairie features more than 20 new works, including a large-scale silhouette painting; watercolor portraits of plants collected during his travels across Texas; and trompe l’oeil clay and bronze sculptures of wildflowers. Image: Luchita Hurtado, Untitled, 1970, lithograph printed by David Trowbridge, 21.69 x 30.25 x 20 in. artist’s edition, 9 Tamarind impressions, Amon Carter Museum of American Art, Fort Worth. © Luchita Hurtado. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS Through April 14, the Crow Museum presents a landmark exhibition based on the collection of Jeffrey Montgomery in Japan, Form & Function: The Montgomery Collection. More than 240 works are presented, subdivided into themes and categories, throughout the galleries. crowmuseum.org 04 DALLAS CONTEMPORARY Chloe Chiasson’s Keep Left at the Fork continues through Mar. 17. Bianca Bondi: A Preservation Method sees work based on Bondi’s research into the Highway Beautification Act of 1965, passed by Texan president Lyndon B. Johnson and inspired by his wife, Lady Bird Johnson; through Mar. 17. The annual Dallas Art Book Fair takes place Mar. 16–17, bringing together artists, presses, publishers,

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

galleries, and bookstores with enriched programming, author readings, and a makerspace for zines and printmaking workshops, live music, and activities for kids. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM Walk this Way: Footwear from the Stuart Weitzman Collection of Historic Shoes, opening on Feb. 8, highlights how suffragists used fashion as a crucial part of their fight to win the vote. From silk boudoir shoes created for the 1867 Paris Exposition to leather spectator pumps signed by the 1941 New York Yankees, Walk This Way features more than 100 striking pairs of shoes. Organized by the New York Historical Society, this exhibition presents footwear—spanning nearly 200 years—from the collection of shoe designer Stuart Weitzman and businesswoman and philanthropist Jane Gershon Weitzman. dhhrm.org 06 DALLAS MUSEUM OF ART Looking Forward: A New DMA presents an inside look into the DMA’s redesign; through Dec. 29. Backs in Fashion: Mangbetu Women’s Egbe delves into the artistry of the egbe, a back apron garment fashioned by upper-class Mangbetu women. Tiffany Chung: Rise into the Atmosphere marks the sixth iteration of the DMA’s Concourse mural series, through the summer. Afro-Atlantic Histories sees over 100 works and charts the transatlantic slave trade and its legacies in the African Diaspora; through Feb. 11. The Impressionist Revolution from Monet to Matisse showcases more than 90 works from the DMA’s collection, Feb. 11–Nov. 3. Opening Feb. 25, From Munch to Kirchner: The Heins Collection of Modern and Expressionist Art celebrates the legacy of Marie “Elinor” Heins through her heirs’ recent gift of 30 paintings, sculptures, and works on paper. Beginning in 1967, Heins amassed an impressive collection of modern artworks she displayed in her home in Montreux, Switzerland; through Jan. 5, 2025. Image: Camille Pissarro, Apple Harvest, 1888, oil on canvas, Dallas Museum of Art, Munger Fund. dma.org 07 GEORGE W. BUSH PRESIDENTAL LIBRARY AND MUSEUM Through Dec. 31, Freedom Matters uses rare artifacts and historical documents, interactive activities, and personal perspectives to examine the concept of freedom: where it comes from, what it means, what free societies look like, and the role of the individual in protecting and spreading freedom around the world. bushcenter.org

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NOTED: VISUAL ARTS

08 KIMBELL ART MUSEUM Save the date for Art and War in the Renaissance: The Battle of Pavia Tapestries, which will mark the first time that the entire cycle of seven large-scale tapestries has been on view in the US. The tremendous images commemorate Emperor Charles V’s decisive victory over French King Francis I, which ended the 16th-century Italian Wars. The exhibition will mount Jun. 15–Sep. 15. Image: Willem and Jan Dermoyen, after Bernard van Orley, Invasion of the French Camp and Flight of the Women and Civilians, c. 1528–31, wool, silk, and metal-wrapped thread, 173.25 x 322 in. Museo e Real Bosco di Capodimonte, Naples. kimbellart.org 09 LATINO CULTURAL CENTER On Creation of Man: An inside look of the divinity of the human form takes illustrations from the pages of Creation of Man to the gallery walls through Mar. 1. Also through Mar. 1, LCC displays a captivating artistic journey spanning three decades of Fred Villanueva, a visionary artist. Trayectorias/Trajectories is an exhibition that explores the depths of creativity, expression, and introspection, all intertwined with the rich tapestry of Latino identity, politics, consumerism, spirituality, ritual, and abstraction. Image: Fred Villanueva, Coatlicue /Cuatro Direcciones, 1995, acrylic and ink on unstretched canvas 55 x 47 in. lcc.dallasculture.org 10 MEADOWS MUSEUM The Meadows Museum will present works by a fiber/textile artist in its exhibition, Meadows/ARCO Artist Spotlight: Teresa Lanceta. Widely recognized for her large-scale and intricately designed tapestries, Lanceta was recently awarded her country’s highest honor for visual artists: the Spanish National Prize for Fine Arts. The Meadows Museum exhibition will feature a selection of her weavings, painted and sewn fabric, and pencil drawings; on view Feb. 18–Jun. 16. meadowsmuseumdallas.org 11 MODERN ART MUSEUM OF FORT WORTH Organized by curator María Elena Ortiz, Surrealism and Us is inspired by the history of surrealism in the Caribbean with connections to notions of the Afrosurreal in the US. Representing a global perspective, this exhibition is the first intergenerational show dedicated to Caribbean and African diasporic art presented at the Modern; Mar. 10–Jul. 28. Image: Allora & Calzadilla, Graft (detail), 2021, recycled polyvinyl chloride and paint, variable dimensions. Edition of 3 + 2 AP. A&C21 2. Courtesy of the artists and Galerie Chantal Crousel, Paris. Photograph by Sebastiano Pellion di Persano. themodern.org 12 MUSEUM OF BIBLICAL ART On Mar. 11, the Museum of Biblical Art will open an exhibition 24

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for artist Helen Zarin. Born in Shirae, Iran, in 1970, and recognized early as having extraordinary talent, she studied under the Persian artist Saber. In 1993 she moved to Baltimore and has been creating works inspired by biblical stories since. biblicalarts.org 13 NASHER SCULPTURE CENTER A gift of 21 plaster sculptures and three bronzes by Jean Arp debuts at the Nasher alongside Arp’s Torso with Buds, the founding work of Raymond and Patsy Nasher’s collection of modern and contemporary sculpture. Plasters and Bronzes by Jean (Hans) Arp will remain on view through Apr. 21. For her solo exhibition, artist Sarah Sze invites viewers into a collection of new, site-specific works across three gallery spaces. Always attuned to the built environment, Sze’s new installations will integrate painting, sculpture, images, sound, and video with the surrounding architecture to create intimate systems that reference the rapidly changing world. This extraordinary exhibition will blur the boundaries between making and showing, process and product, digital and material, ultimately to question how objects acquire their meaning, Feb. 3–Aug. 13. Image: Jean (Hans) Arp, As the result of a paper toy / Als Folge eines Papierspielzeuges / A la suite d`une jouet en papier, 1960, plaster, 8.625 x 19.25 x 13. 625 in. Nasher Sculpture Center. Gift of the Stiftung Arp e.V., Berlin, 2023. Photograph by Rüdiger Lubricht. nashersculpturecenter.org 14 PEROT MUSEUM T. rex: The Ultimate Predator explores the features that allowed T. rex to dominate its competition, examines the sensory abilities and social behaviors of this powerful hunter, and reveals how the world’s most iconic dinosaur evolved from a superfamily that included more than two dozen species and spanned 100 million years. On view through Sep. 22. perotmuseum.org 15 SIXTH FLOOR MUSEUM Through Jun. 16, Two Days in Texas follows in the president’s footsteps as he made campaign stops in San Antonio, Houston, and Fort Worth before his untimely death in Dallas on November 22, 1963. Illuminating the president’s final days are eyewitness accounts, the president’s own words from delivered and undelivered speeches, historical artifacts, documents, as well as still and film footage, including a newly produced sequential video of the Kennedy motorcade in Dealey Plaza. jfk.org 16 TYLER MUSEUM OF ART The Way I See It features works by North Texas artists Cindi Holt and Susie Phillips. Focusing on the beauty of everyday spaces and objects, the artists offer their unique perspectives on the world around us through the use of flattened planes and bold patterning. tylermuseum.org

F E B R U A R Y 1 8 —J U N E 1 6 , 2 0 2 4

TERESA LANCETA

M E A D O W S /A R CO A RT I ST S P OT L I G H T :

Teresa Lanceta is a textile artist based in Mutxamel (Alicante), Spain, who recently won her country’s National Prize for Fine Arts. The Meadows Museum is pleased to present a selection of her weavings, painted and sewn fabric, and pencil drawings in this focused exhibition, the ﬁrst by a ﬁber/textile artist in the museum’s nearly 60-year history.

Teresa Lanceta (Spanish, b. 1951), Arc del Teatre (El Raval Series), 2020. Painted and sewn fabric, 122 x 90 1/8 in. (310 x 229 cm). Photo by Miguel Garcia Carceles, courtesy of Teresa Lanceta - 1 Mira Gallery, Madrid.

MEADOWS MUSEUM • SMU meadowsmuseumdallas.org

This exhibition has been organized by the Meadows Museum, SMU, Dallas, in collaboration with Fundación ARCO and is funded by a generous gift from The Meadows Foundation. Promotional support is provided by the Dallas Tourism Public Improvement District.

NOTED: PERFORMING ARTS

01 AMPHIBIAN In Instructions for a Séance by Katie Bender she attempts to escape her own life by summoning the spirit of master escapologist Harry Houdini, Feb. 2–11. National Theatre Live presents Romeo & Juliet at the Modern Art Museum of Fort Worth Feb. 28 and Mar. 2. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Golden Girls will delight audiences at Wyly Theatre through Feb. 4. AT&T Performing Arts Center slates a diverse lineup including Cat Kid Comic Club: The Musical on Feb. 3; Tabitha Brown’s I Did a New Thing Book Tour on Feb. 9; Black Violin: The Experience Tour on Feb. 18; and Bluey’s Big Play from Feb. 23–25. Eden Sher’s I Was on a Sitcom unfolds on Feb. 24, followed by The Taming of the Shrew by Plague Mask Players Mar. 8–17. Alan Cumming Is Not Acting His Age takes the stage on Mar. 8. Broadway at the Center presents Annie from Mar. 14–17. Modi’s Know Your Audience comedy show is set for Mar. 20. Experience the Grand Kyiv Ballet’s Giselle on Mar. 21. Tejas Dance’s mahAmAyA captivates on Mar. 22–23, along with Pink Martini featuring China Forbes on Mar. 22. Dinosaur World Live roars into action on Mar. 23, the same date as NPR’s Paula Poundstone’s performance. The Simon & Garfunkel Story serenades on Mar. 24, followed by Jon Batiste’s UNEASY Tour on Mar. 26, with Herb Alpert and Lani Hall. Thee Phantom & The Illharmonic Orchestra present Hip–Hop Orchestra in Dallas! on Mar. 31. Image: The Orphans in the North American Tour of Annie. Photograph by Evan Zimmerman for MurphyMade. attpac.org 03 AVANT CHAMBER BALLET For the Valentine’s season, Avant Chamber Ballet presents an evening of live orchestra and ballet masterpieces telling tales of romance and enchantment, true love, and sacrifice. This triple bill features George Balanchine’s Walpurgisnacht Ballet, Tchaikovsky’s Swan Lake Act 2, and Paul Mejia’s Romeo and Juliet, Feb. 17–18. Mar. 29–30, the Women’s Choreography Project will see world premieres and commissions. avantchamberballet.org 04 BASS PERFORMANCE HALL Disney’s Aladdin continues through Feb. 4. Tina: The Tina Turner Musical takes the stage Feb. 6–11. Moser and Hamelin perform Mar. 21. The BNSF Popular Entertainment Series features The Simon & Garfunkel Story on Mar. 21, and Bluey’s Big Play is set for Mar. 23–24. Image: Justin Collette and tour company of Beetlejuice. Photograph by Matthew Murphy for MurphyMade. basshall.com 05 BROADWAY DALLAS Tina: The Tina Turner Musical is the inspiring journey of a woman 26

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14 who broke barriers and became the queen of rock n’ roll, onstage through Feb. 4. Tim Burton’s dearly beloved film Beetlejuice takes the stage Feb. 20–Mar. 3. broadwaydallas.org 06 CASA MAÑANA All of your favorite Dr. Seuss characters spring to life onstage in Seussical the Musical, Feb. 3–18. From the very first note, Once draws you into an emotionally captivating musical, Mar. 2–10. casamanana.org 07 DALLAS BLACK DANCE THEATRE Cultural Awareness, a celebration of cultural diversity through the interplay of movement, rhythm, and expression from around the world, united by the language of dance, takes the stage Feb. 9–10. Dancing Beyond Borders is in Fort Worth on Mar. 16 at W.E. Scott Theatre, and on Mar. 23 at Eisemann Center. dbdt.com 08 DALLAS CHILDREN’S THEATER In Elephant & Pig gie’s We Are in a Play, watch how conflicting personalities come together, through Feb. 25. Life Doesn’t Frighten Me: I Am Fearless Royalty, a play based on Dr. Maya Angelou’s poem and directed by Paige Hernandez, runs from Mar. 16–30. dct.org 09 THE DALLAS OPERA The Dallas Opera presents Elektra, in which a woman tormented by the death of her father at the hands of her mother has only one thing in mind: revenge. When her brother Orest returns the siblings stage their bloody coup. See the 90-minute opera Feb. 9–17. Next, see the tragic tale of Romeo and Juliet Mar. 1–9. The children’s opera that teaches the value of kindness, The Billy Goats Gruff, returns on Mar. 11. Image: Marjorie Owens in Elektra. Photograph courtesy of The Dallas Opera. dallasopera.org 10 DALLAS SYMPHONY ORCHESTRA The Sibelius Violin Concerto, Feb. 1–3, features his tone poem En saga (A Legend). Jazz legend David Sanborn performs on Feb. 12. Youth Concert–The Recipe for Music will perform Feb. 14 and 15. Uptown Nights: It Don’t Mean a Thing if It Ain’t Got That Swing brings Harlem’s musical era to life on Feb. 16–18. The Saint–Saëns Organ Symphony, featuring the DSO and Bradley Hunter Welch, takes the stage Feb. 22–25. Fabio Luisi conducts The Book with Seven Seals Mar. 1–3, exploring the apocalypse with the DSO and soloists. Hear the powerful symphonies of Chopin and Shostakovich Mar. 7–8 and 10; Krzysztof Urbański conducts. An Evening with Sphinx Virtuosi, on Mar. 9, will showcase the chamber orchestra. A Night at The Movies: Music of John Williams unfolds Mar. 15–17, featuring iconic film scores. Daniil Trifonov Piano Recital will be onstage Mar. 18, with works by Rameau, Mozart, and more. See Amos Lee

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in concert with the DSO on Mar. 22. Mahler Symphony No. 5, Mar. 28–30, combines emotional depth with Anna Clyne’s Piano Concerto. mydso.com 11 DALLAS THEATER CENTER I am Deliverd’t is a joyful new comedy by Jonathan Norton that celebrates the power of faith, love, and forgiveness, onstage Feb. 2–18. Mar 12–24, see the immersive theatrical experience that speaks openly about depression, mental illness, and suicide. With poignant humor and joy, Every Brilliant Thing takes theatergoers on a journey through grief, healing, falling in love, and rediscovering all that life has to give. dallastheatercenter.org 12 DALLAS WIND SYMPHONY Dallas Wind Symphony sees saxophone virtuoso Timothy McAllister perform John Corigliano’s new concerto, Triathlon, on Feb. 6. Two pieces—Óscar Navarro’s Legacy Concerto and Ottorino Respighi’s immortal The Pines of Rome—speak to the passage of time and the power of place in the human experience. See them both on Mar. 26. dallaswinds.org 13 EISEMANN CENTER Sensing Deep Space: Pandora’s Cluster’s final days are Feb. 1–4. The Richardson Symphony Orchestra presents RSO—A Night at The Movies on Feb. 3. Eisemann Center presents Keyboard Conversations on Feb. 5; Brian Stokes Mitchell, Feb. 24; Jackie on Mar. 9–10; Hank and My Honky Tonk Heroes, Mar. 15–16; Cenicienta a bilingual Cinderella story, Mar. 17; the US Navy Sea Chanters on Mar. 20; and Patti LuPone: A Life in Notes on Mar. 23. Texas Whiskey, a Chris Stapleton tribute band, and The Sound of (Black) Music are onstage Feb. 16. Voices Unveiled, a three-part original musical composition by Ehsan Matoori will feature two Iranian voices: Maliheh Moradi and Mina Deris; and Branford Marsalis in concert with the Plano Symphony Orchestra takes the stage Feb. 17. Piano Men: Generations concludes the month on Feb. 28. Stars of the Future by the RSO is on Mar. 2 followed by Sammy: Celebrate the Legacy on Mar. 9, and One Night in Memphis by Diamond Horseshoe Productions on Mar. 10. Alexperience, a musical comedy show, is set for Mar. 24. Contemporary West Dance Theatre takes the stage Mar. 30. eisemanncenter.com 14 FORT WORTH SYMPHONY ORCHESTRA Disney Princess: The Concert highlights the Will Rogers Auditorium Feb. 9–10 and features Broadway performers sharing stories, with full-animation projections. Hidden Gems: Music by Mozart, Carter, Böhme, McKee, and Britten, on Feb. 11, will feature classical pieces. 28

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The Gala Concert with Renée Fleming and Rod Gilfry at Bass Performance Hall on Feb. 17 brings Broadway hits. The FWSO’s Jennifer Corning Lucio presents Beethoven, Vaughan Williams, and Carlos Simon Mar. 1–3. Beethoven Lives Upstairs, Mar. 9, will provide a unique perspective on the composer. The John Williams Celebration from Mar. 8–10 includes famous scores from iconic films. Tchaikovsky: Piano Concerto and the Fifth Symphony, Mar. 15–17, will feature Tchaikovsky’s renowned works. Image: Pianist Joyce Yang. Photograph by KT Kim.fwsymphony.org 15 KITCHEN DOG THEATER In Shape, the audience, both literally and figuratively, gets back into the gym. The interactive play, written and directed by Kara-Lynn Vaeni, runs Feb. 8–25. kitchendogtheater.org 16 LYRIC STAGE In Sweeney Todd, an unjustly exiled barber returns to 19th-century London seeking vengeance against the lecherous judge who framed him and ravaged his young wife, Mar. 15–Apr. 7. lyricstage.org 17 MAJESTIC THEATRE The Majestic comes alive in Feb. with: MANIA: The ABBA Tribute 50th Anniversary Tour on Feb. 2; Dead Ass Podcast on Feb. 13; Kenny Wayne Shepherd Band with Samantha Fish on Feb. 16; Brad Williams on Feb. 17, including a late show; Black Violin: The Experience Tour on Feb. 18; and the Jesús Adrián Romero: Terrenal Tour on Feb. 22. March opens with Ronny Chieng: The Love to Hate It Tour on Mar. 2; Brian Setzer: Rockabilly Riot! on Mar. 7; Orchestra Noir Presents Y2K Meets 90’s Vibe Vol. II on Mar. 8; KevOnStage and That Chick Angel: Here’s The Thing on Mar. 10; Justin Willman on Mar. 22; Juanes North American tour 2024 on Mar. 24; Ralph Barbosa: The Super Cool Ass Tour on Mar. 28–30, including a late show, and the Home Free: Craz y(er) Life Tour on Mar. 29. Image: Production photograph of Dinosaur World Live by Robert Day. majestic.dallasculture.org 18 TACA The TACA Silver Cup Award Luncheon gathers the region’s civic and cultural leaders and patrons to honor two individuals for their distinguished leadership and volunteerism in the arts in North Texas. Co-chaired by Lindsay Billingsley and Marguerite Hoffman, this year, Sharon Young and Steve Penrose will be honored as the 46th TACA Silver Cup Award recipients on Apr. 25 at the Omni Dallas Hotel. In addition, Morton H. Meyerson will receive the Tribute Award. taca–arts.org

04 19 TEXAS BALLET THEATER Brilliants, Feb. 23–25 and March 1–3, includes four movements, from journeying across time, to seeing ballet in its purist form, to the jaunty bravado of the swaggering seaman, and closing with a kaleidoscope of color and movement inspired by rubies. texasballettheater.org 20 THEATRE THREE In God of Carnage, two sets of Brooklyn parents meet to deal with a playground altercation between eleven-year-old boys, and a calm and rational debate between grown-ups transforms into a hysterical night of name-calling, tantrums, and tears, Feb. 1–Mar. 3. theatre3dallas.com 21 TITAS/DANCE UNBOUND Rennie Harris Puremovement will perform Rome & Jewels, hailed as an Elizabethan masterpiece, reimagining Shakespeare’s Romeo and Juliet in the streets of Philadelphia on Feb. 2–3. Parsons Dance, onstage Mar. 15–16, is internationally renowned for creating and performing contemporary American dance. Giordano Dance Chicago is America’s original jazz dance company. Powerful, passionate, and elegant, TITAS welcomes them to the stage on Mar. 29. Image: Parsons Dance Company. Photograph courtesy of AT&T Performing Arts Center. titas.org 22 UNDERMAIN THEATRE This Time is the product of Brian Dang, the 2022 recipient of the Katherine Owens/Undermain Fund for New Work. Dang’s play on longing and death takes the stage Feb. 29–Mar. 17. undermain.org 23 WATERTOWER THEATRE Ann is a portrait of Ann Richards, the legendary governor of Texas. This play brings audiences face to face with a complex, colorful, and captivating character, bigger than the state from which she hailed, Feb. 14–25. In partnership with The Penguin Project, a nationally recognized program that empowers children with special needs, WTT will feature Annie Jr. from Mar. 14–17. watertowertheatre.org

FREE EVERYDAY Images (details): A Dash for the Timber, 1889, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, Amon G. Carter Collection, 1961.381; Arthur Dove (1880–1946), The Lobster, 1908, oil on canvas, Amon Carter Museum of American Art, Fort Worth, Texas, Acquisition in memory of Anne Burnett Tandy, Trustee, Amon Carter Museum of American Art, 1968–1980, 1980.29

FEBRUARY / MARCH 2024

NOTED: GALLERIES

01 12.26 A two-person show, Corri-Lynn Tetz and Urara Tsuchiya: Night Shades, continues through Feb. 24. Next, two solo shows: Emma cc Cook in the main gallery and Moll Brau in the back room will be on display Mar. 3–30. Image: Corri-Lynn Tetz, Night Shift, 2023, oil on linen, 30 x 26 in. gallery1226.com

16, Fahamu Pecou’s Return of the King blends hip-hop, fine art, and popular culture to explore contemporary representations of Black masculinity. Concurrently, Jeff Gibbons’ Beard Chewer, created during his 2023 Provincetown Fine Arts Work Center Residency, will display paintings, sculptures, and works on paper. conduitgallery.com

02 ALAN BARNES FINE ART The gallery specializes in 19th- and 20th-century American and European paintings. From old masters to impressionist paintings, drawings, and watercolors. alanbarnesfineart.com

10 CRAIGHEAD GREEN GALLERY Read Between The Lines highlights the gallery through Feb. 10. From Feb. 17–Mar. 30, Thom Jackson, Rebecca Shewmaker, and Kelsey Irvin will share the gallery space. craigheadgreen.com

03 AND NOW Works by Chicago-based conceptual artist Max Guy highlight the gallery from Feb. 3–Mar. 23. andnow.biz

11 CRIS WORLEY FINE ARTS Marc Dennis: Paintings and Drawings and Nishiki Sugawara-Beda’s new sumi ink scrolls shine together through Feb. 10. From Feb. 17–Mar. 23, a solo exhibition by Patrick Turk will be featured alongside a Focus exhibition by Joshua Hagler as well as Hagler’s concurrent exhibition, Nor the Moon in its Water at the Old Jail Art Center. Following this, from Mar. 30–May 4, the gallery will present a solo exhibition by Robert Sagerman. Image: Patrick Turk, Molecularization no.5, 2022, hand-cut paper and acrylic on panel, 16 x 16 in. crisworley.com

04 ARTSPACE111 Through Feb. 3, J.C. Pace III’s latest solo exhibition, Time for Color | J.C. Pace III, highlights AS111. Bang, Bang: A show about Texas will be on view Feb. 8–Mar. 16. Jon Flaming: Big Bold Texas spotlights the gallery from Mar. 23–Jun. 6. artspace111.com 05 BARRY WHISTLER GALLERY The Group Show / Gallery Artists continues through Feb. 24. barrywhistlergallery.com 06 BEATRICE M. HAGGERTY GALLERY Yifat Gat and Lizzie Scott will be on view from Feb. 2–Mar. 6. Next, Rocky Horton and Thomas Sturgill fill the gallery space from Mar. 22– Apr. 25. udallas.edu/gallery 07 CADD Contemporary Art Dealers of Dallas is a nonprofit formed in 2007 to promote contemporary art in Dallas. The organization regularly hosts happy hours, bus tours, scholarships, and other events supporting artists and galleries in North Texas. caddallas.org 08 CHRISTOPHER MARTIN GALLERY Christopher Martin Gallery showcases Martin’s signature reverse acrylic paintings and the works of over twenty-five mid-career artists in painting, photography, mixed media, and sculpture. Spanning over 9,000 square feet, the gallery provides a unique environment for visitors to explore a dynamic fusion of styles and perspectives. christophermartingallery.com 09 CONDUIT GALLERY A retrospective for Vincent Falsetta, through Feb. 17, includes a focus on works from 1975 to 1988, including the Sound Wave Series and new paintings from 2022 and 2023. From Feb. 24–Apr. 30

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12 CVAD, UNT COLLEGE OF ART AND DESIGN GALLERIES Everybody’s Bolos displays the work of 30 contemporary artists invited to bring their unique voices to bear on the bolo tie. The exhibition was co-organized and co-curated by Ana M. Lopez, professor of metalsmithing and jewelry at the University of North Texas; Brian Fleetwood, assistant professor of studio art at the Institute of American Indian Arts, Santa Fe, NM, and citizen of the Muscogee Nation of Oklahoma; and Hannah Toussaint, metalsmith, and craft artist, UNT alum, and MFA candidate at the University of Georgia, Athens, Feb. 6–May 10. cvad.unt.edu 13 DAISHA BOARD GALLERYN DBG sees Jennifer Monet Cowley’s Art Chapters: The Book of Jennifer on view through Feb. 24. daishaboardgallery.com 14 DAVID DIKE FINE ART The gallery specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas regionalists, Texas landscape, and mid-century modern painters. Stay tuned for DDFA’s annual Spring Mini Sale. daviddike.com 15 ERIN CLULEY GALLERY A group exhibition, Interwoven, by Kaleta Doolin, Catherine MacMahon, and Sarita Westrup will be on view alongside On the Road, a solo exhibition by William Atkinson, from Feb. 17–Mar. 23, with an opening reception on Feb. 17. Cluley Projects features

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42 Candy Baby, a solo exhibition by Hollie Brown, during the same period. From Mar. 30–May 4, the galleries will showcase works by Karen Gunderson and Anika Todd. erincluley.com 16 FERRARI FINE ART GALLERY With over 28 years of experience in the art industry, gallery owners Debra and James Ferrari started their careers working as professional artists and art consultants in Florida. The gallery now operates out of two locations: in the Dallas Design District and in Southlake, Texas. ferrarigallery.net 17 FWADA FWADA’s Spring Gallery Night takes place on Mar. 23. fwada.com 18 GALLERI URBANE The group show I cast to earth a seed, featuring Bertrand Fournier, Michelle Wasson, Juan Negroni, Lori Larusso, and Robert Minervini, closes Feb. 7. The solo show Girls and Horses, for Meghan Borah, will fill the gallery Feb. 17–Mar. 23. Image: Meghan Borah, Girl and Horse with Sunflowers, 2023, oil on canvas, 45.50 x 33.50 in. galleriurbane.com 19 GREEN FAMILY ART FOUNDATION Some Dogs Go to Dallas will feature artworks from the collection of Pamela and David Hornik from Feb. 10–May 12. The exhibition highlights the Horniks’ love for dogs through diverse art spanning various eras and techniques, emphasizing the enduring human-animal bond. No Storm Was Ever Quite So Fierce, a solo show for Daisy Parris, runs concurrently. greenfamilyartfoundation.org

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20 HOLLY JOHNSON GALLERY Douglas Leon Cartmel’s Snowy Forest series, until Feb. 10, delves into the abstracted wonder of winter landscapes, transforming snow-laden scenes into dynamic, impressionistic canvases. Concurrently, Joan Winter’s Essential Light, through Mar. 23, captures the ephemeral qualities of light and time through her reflective works on paper, paintings, and sculptures, inviting contemplation on nature’s cycles and hues. hollyjohnsongallery.com 21 KEIJSERS KONING Keijsers Koning is hosting Kris Pierce’s solo exhibition Applause from Feb. 17–Mar. 23, with an opening on Feb. 17.

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30 The exhibition presents new works, including freestanding sculptures and a series of paintings, exploring the archetypes of individualism in the contemporary Western world. Image: Kris Pierce, Mirror Carousel, 2023, acrylic, enamel on canvas and Baltic birch, 81 X 60 in. keijserskoning.com 22 KIRK HOPPER FINE ART Cosmic Gardens by Annabel Livermore, from Feb. 17–Mar. 23, will feature a series of abstract paintings and over a dozen watercolors from Livermore’s ongoing Garden cycle. Livermore’s work, inspired by natural and cosmic themes, showcases a dynamic interplay of color, form, and emotion, reflecting on the transcendent and metamorphic aspects of nature and existence. kirkhopperfineart.com 23 KITTRELL/RIFFKIND ART GLASS Kittrell/Riffkind offers an array of art glass from sculpture to goblets to platters and wall objects by some 200 artists. The gallery studio offers custom stained glass for any architectural style. A solo show for Alex Gabriel Bernstein opens Feb. 17. kittrellriffkind.com 24 LAURA RATHE FINE ART Laura Rathe Fine Art celebrates its 11th anniversary with the group show ELEVEN, Feb. 17– Mar. 16. The show will feature works from over 50 artists showcasing a variety of art practices. Resplendence opens on Mar. 23 featuring new works by Carly Allen Martin and Janna Watson through May 4. This exhibition brings together the two artists for the first time, offering a harmonious exploration of color and movement through their unique approaches to abstraction. laurarathe.com 25 LILIANA BLOCH GALLERY Melanie Clemmons and Zak Loyd present Trophy Club Nissan through Feb. 17, featuring new work generated with AI models and deep-learning platforms. The exhibition includes a variety of media such as post-photographic prints, video art, and more, exploring suburban life in North Texas influenced by algorithmic filter bubbles. Shawn Mayer: CONTENTment will be on display next from Mar. 2–Apr. 6. lilianablochgallery.com 26 LONE GALLERY New American Perspective continues through Feb. 24. lonegallery.com 27 MARKOWICZ FINE ART Markowicz Fine Art showcases a wide variety of international 34

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21 established and emerging artists. markowiczfineart.com 28 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries specializes in original paintings, sculpture, and limited-edition graphics by Erté, Marc Chagall, Keith Haring, and many other artists. martinlawrence.com 29 MELIKSETIAN | BRIGGS New works by Los Angeles-based Edgar Ramirez will be presented in From the Rail to the Water, Feb. 2–Mar. 16. Image: Edgar Ramirez, Smoke No 3, 2023, house paint on cardboard, mounted on canvas, 76 x 59 in. meliksetianbriggs.com 30 PENCIL ON PAPER Abi Salami’s From Behind the Vine and Emmanuel Gillespie’s Joy continue through Mar. 2. Following these, Vanessa Meshack’s Innervisions will be on view Mar. 2–Mar. 30. Image: Abi Salami, A Discovery (Study), 2023, mixed media on canvas, 12 x 12 in. pencilonpapergallery.com 31 PHOTOGRAPHS DO NOT BEND Michael Kenna: Trees and Keith Carter: Ghostlight end Feb. 10. Next, Deep Dive: Into the Archive showcases great photographs that have not been exhibited in many years, Feb. 17–Mar. 23. pdnbgallery.com 32 THE POWER STATION Through Mar. 2, Robert Grosvenor’s exhibition showcases his unique approach as a collector and artist, transforming readymade objects, like vehicles stripped of their operational faculties into idiosyncratic sculptural pieces, since the mid1960s. powerstationdallas.com 33 RO2 ART Ro2 Art’s Adam Neese: Cycle Envy, Joshua Dodson: Instincts: Evolutions In Structural Compositions, and James Zamora: Being Realistic conclude on Feb. 17. ro2art.com 34 SAMUEL LYNNE GALLERIES Spend this Valentine’s Day at JD Miller’s annual Valentine’s Day LIVE painting. In March, Brandon Boyd 2024 exhibition will be on view Mar. 9–31. samuellynne.com

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35 SITE131 For SITE131’s ten-year anniversary, the gallery highlights New Year. New Faces. The exhibition remains on view through Mar. 23, and features five young artists who pursue new approaches in artmaking. The artists include Dárē FEBRUARY / MARCH 2024

NOTED: GALLERIES

01 Akinwole, Hannah Baskin, Veronica Ibargüengoitia, Ben Loftis, and Brandon Thompson. site131.com 36 SMINK A showcase of fine design and furniture, SMINK is a purveyor of quality products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com 37 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas with the largest collection of fine 19th- to 21st-century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000-square-foot showroom. swgallery.com 38 SWEET PASS SCULPTURE PARK The art space is hosting an open call for artists through Feb. 25. The open call marks the second iteration of its education and exhibition program, Sweet Pass Sculpture School (SPSS). The program consists of a one-week intensive in Dallas, a remote mentorship for research and project development, and a concluding exhibition at Sweet Pass in the fall. sweetpasssculpturepark.com 39 TALLEY DUNN GALLERY Linda Ridgway’s The Library continues through Mar. 23. talleydunn.com 40 TUREEN GALLERY Through Feb. 17, Irina Rozovsky’s Turn the Sun, explores the intersection of personal and universal themes through photography, challenging and embracing art historical clichés. This autobiographical collection includes images that capture moments from Rozovsky’s life, and also features her use of cyanotype and found objects like junk-mail envelopes and thrift-store frames, transforming personal memories into universal narratives. Łukasz Stokłosa: Cries & Whispers opens Feb. 24 and continues through Mar. 30. Image: Łukasz Stokłosa, Hotel des Invalides, 2023, oil on canvas, 19.68 x 23.62 in. tureen.info 41 VALLEY HOUSE GALLERY Mediated Time by Jim Woodson closes on Feb. 10. Gail Norfleet’s Cubes / Flowers / Still Life will be on view Feb. 36

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18 17–Mar. 16. Henry Finkelstein’s Recent Paintings opens on Mar. 23 and showcases his work that focuses on color, light, air, and the character of places. valleyhouse.com 42 VARIOUS SMALL FIRES Will Gabaldón’s third solo exhibition with the gallery, Winter will crave what is gone, will be on view through Feb. 17. Image: Will Gabaldón, Two Trees for AY, 2023, oil on linen, 14 x 14 in. vsf.la 43 WEBB GALLERY Nudists To The Left, Textiles To The Right, a selection of African American quilts and works by Dennis Nance, Judy Vetter, and Krissy Teegerstrom, will be on view Mar. 3–Apr. 3. At Webb’s Fair & Square in Fort Davis, Tumbleweed Hugs by Martha Rich exhibits metal and wood cutouts Mar. 15 and 16. webbartgallery.com 44 WILLIAM CAMPBELL CONTEMPORARY ART Foch Street Gallery presents Symbiosis: Nature Revealed by Luther Smith and Beverly Penn through Mar. 9. Additionally, Anticipate, featuring Marilyn Jolly, Justin Aidan, Marshall Harris, and Victoria Gonzales, is exhibited at William Campbell Gallery through Mar. 2. williamcampbellcontemporaryart.com AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY This locally based auction house specializes in fine art, jewelry, luxury goods, antiques, and decorative arts. dallasauctiongallery.com 02 HERITAGE AUCTIONS HA has an extended catalog of auctions for the winter, here are some highlights: the Urban Art featuring The Behnam Collection Showcase Auction on Feb. 7, Bare Necessities: The Body Photographed Showcase Auction on Feb. 14, The Curated Home Signature Auction on Feb. 23, In Focus: Dali Showcase Auction on Mar. 7, Luxe Jewels Showcase Auction on Mar. 7, Historical Manuscripts Signature Auction on Mar. 14, Fine & Decorative Arts Showcase Auction on Mar. 14, and the In the Wild: The Work of Philip Goodwin From the Collection of the Mamaroneck Public Library Showcase Auction on Mar. 20. ha.com

Look Again kimbellart.org Support for the Kimbell is provided in part by Arts Fort Worth and the Texas Commission on the Arts. Georges de La Tour, The Cheat with the Ace of Clubs (detail), c. 1630–34, oil on canvas. Kimbell Art Museum, AP 1981.06

FEBRUARY / MARCH 2024

Gallerist Karen Galloway. Photograph by Enio Hernandez. Courtesy of Sow & Tailor.

Sabrina Piersol. Courtesy of the artist and Sow & Tailor.

BETWEEN EARTHEN AND CELESTIAL Sow & Tailor will make its Dallas Art Fair debut with Sabrina Piersol’s abstracted imaginary spaces. INTERVIEW BY KAREN GALLOWAY

prung from Karen Galloway’s pandemic musings, Sow & Tailor is an LA gallery with a mission: To raise the voices of the underrepresented. Dallas Art Fair director Kelly Cornell says Galloway’s gallery had been recommended to her several times through other galleries and collectors to join the exhibitor lineup, so it felt very intentional to include the young gallerist. “Sow & Tailor has a strong following and a tastemaker crowd,” she says. Of Galloway’s decision to present a solo booth featuring the work of Sabrina Piersol, Cornell says: “Landscapes are having a moment right now. Sabrina’s abstracted forms within her landscapes show the passing of time; It’s very inviting for the viewer, and the paintings offer a great entry point into any collection.” Galloway caught up with Piersol, who divides her time between Aspen and Los Angeles, here: Karen Galloway (KG): I would love to chat with you about your beautiful practice and how you decided that painting is your path in life. When did you discover that you wanted to pursue this full-time? Sabrina Piersol (SB): I was lucky enough to grow up in a super-

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creative household. My mother is a very inventive artist, particularly gifted in painting. She would always have her own projects going and painted beautiful murals on many of the walls in our home. Even though my childhood often felt chaotic, I always felt empowered when making art. I loved film photography best as a teen but fell in love with painting in college while majoring in studio art and classics. I haven’t really looked back since I moved to LA immediately after finishing undergrad, into a warehouse I shared with other artists and musicians for a few years. Outside of grad school, I’ve always worked nine-to-five jobs while maintaining my practice. I currently work as the School, Youth & Family Programs Manager at the Aspen Art Museum in Aspen, Colorado. I love connecting with my community to balance the solitary, interior nature of my studio life. Existing as an artist is always full time. KG: Dallas Art Fair is your first fair presentation—congratulations! Does anything draw you to this art scene in particular? Are you excited? SP: Participating in the Dallas Art Fair is seriously a dream come true! It’s a scene that I have always wanted to explore, even more so the last few years. The fair is a thrilling confluence of galleries from all over the globe whose ethoses really resonate with me.

FAIR TRADE Being here feels surreal. KG: We have a solo exhibition coming up at Sow & Tailor in June. I am so excited to show your incredible work. Can you give us some insight into what you’ll be exhibiting? SP: There will be strong visual ties between what I’m presenting in Dallas and what I’ll be exhibiting in Los Angeles in June, but with some twists that explore particular avenues of my practice more deeply. That’s typically what catalyzes the evolution of my paintings—identifying a few ideas that I want to dig into with more intention and seeing where they take the work. I view painting as an opportunity for depth. KG: What inspired you to focus on painting landscapes? SP: People are sometimes surprised to learn that explicit allusions to landscape are a newer addition to my practice. I have been painting almost purely abstractly for the better part of the last decade. It wasn’t until I overhauled my conceptual framework a couple years ago, investigating the content and structure of Sapphic poetry, that landscape made its way into my visual vocabulary. Sappho (c. 600 BC), whose poems mostly survive in fragments, used natural imagery to reinforce her poetic expressions of longing and desire. My compositions follow this same kind of logic. They’re imaginary spaces that walk the line between abstraction and representation, the real and the imaginary, fracturedness and melodic wholeness— that invite the viewer to reconceptualize their relationship with their own physical and emotional environments. KG: Could you describe your creative process when approaching a new painting? How do you choose your color palette and imagery? SP: Like many artists, there is a very real, hilariously complicated narrative arc to the creation of each work. I do a lot of very loose drawing in my sketchbook with markers or ink or colored pencils or whatever. If I see something I like, I’ll draw it a few more times and then tear out the drawings and stick them onto the wall next to my canvas. I also keep several folders of reference imagery, truly cacophonous collections of stuff I inhale visually, that inform the paintings’ compositions. I begin each painting with a color palette in mind, but the entire process is quite responsive and improvisational. At a certain point I depart from the reference drawings or initial visions for a piece and then just work in service to the painting. In fact, I relish not knowing exactly how it will eventually be resolved. I do, however, know the level of finish and balance that each piece requires in order to be “done.” KG: Your paintings are vivid with lively hues. How do you believe color impacts the emotional response or connection viewers have with your artwork? SP: My color palette falls somewhere between earthen and celestial. I love when forms appear to be lit from within. I’m especially drawn to the transitional times of dusk and dawn and how the light exists in a highly energized quietness. Everything’s on the verge of a great temporal shift. It feels like the past, present, and future are happening all at once. I hope my color stories evoke something similar. KG: Are there specific locations or types of landscapes that particularly captivate and motivate you as an artist? SP: Living between California and Colorado for so long has made me partial to the desert and any kind of dramatic topography. I did a lot of domestic travel over the summer and haven’t stopped thinking about sparkly, moving water and the intricacy of insect wing patterns. KG: What techniques or methods do you employ to capture the essence of your work? SP: I think working reductively is as important to me as painting additively. Wiping pigment away to reveal soft, ghostly shapes and hues helps me to establish forms that oscillate between being real and alluding to what’s possible. This back-and-forth approach imbues each piece with a delicate, yet intense, vibrating quality.

KG: Do you draw inspiration from other artists, art movements, or particular periods in art history? SP: Women painters of the early 20th century are my greatest inspirations at present, namely Agnes Pelton and Georgia O’Keeffe, among many others. Seeing Another World: The Transcendental Painting Group (1938–1945) show at LACMA last year was wonderful. I think my work is in conversation with numerous other contemporary painters who are also responding to these figures and contemplating similar ideas. The experience of connection through painting is truly a gift. KG: How do you envision the role of your colorful landscapes in the lives of those who collect or view your artwork? SP: I hope my paintings challenge viewers to ask questions whose answers beget more questions. I also hope they can offer moments of refuge when the human condition becomes too much. Above all, what’s key to my work is access. That which feels familiar in my paintings is an on-ramp into the less explicit, abstract areas of each composition. I offer viewers an intimate view into my practice, a place any of us can revisit at any desired time. P

Above: Sabrina Piersol, Freia Fain, 2023, oil on canvas, 70 x 59 in. Courtesy of the artist and Sow & Tailor. Below: Sabrina Piersol, Halcyon Pour, 2023, oil on canvas, 49 x 59 in. Courtesy of the artist and Sow & Tailor.

FEBRUARY / MARCH 2024

OPENINGS

Woven in Time Textile/fiber artist Teresa Lanceta is featured in this year’s Meadows/ARCO Artist Spotlight (MAS). BY NANCY COHEN ISRAEL

Above: Laura Vallés and Teresa Lanceta. Photograph by Ester Pegueroles. Right: Teresa Lanceta (Spanish, b. 1951), The Order of the Band (Multiplied) / La orden de la banda (multiplicada), 2004, wool and cotton fabric, 96.12 x 61.37 in. Photograph by Joaquín Cortés. Courtesy of Teresa Lanceta and 1 Mira, Madrid.

y its very nature, the act of weaving is about interconnectivity. Whether it is the binary code of warp and weft or generations of weavers whose patterns are imprinted on those working today, it is an art form that is fundamentally a visual conversation with past, present, and future. This dialogue is particularly evident in the work of textile artist Teresa Lanceta, whose oeuvre will be the focus of this spring’s Meadows/ARCO Artist Spotlight (MAS) at the Meadows Museum. She will be the second artist to present in this six-year biennial program. “A key goal of the MAS program is to introduce, or increase recognition of, Spanish artists in the United States who, although perhaps better known in Spain, are not so over here,” explains Dr. Amanda W. Dotseth, the Linda P. and William A. Custard Director of the Meadows Museum. Significantly, Lanceta recently received the Spanish National Prize for Fine Arts, her country’s highest honor for visual artists. Coincidentally, her work is scheduled to come to North America as part of a group textileart exhibition that will travel to major venues throughout the US and Canada. Lanceta was chosen following a double-jury selection process

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that included a nominating committee assembled by Madrid’s Fundacíon ARCO and a final vetting by the Meadows Museum Selection Committee. “I am personally gratified to be featuring work by a female artist, and one working in a medium new to the Meadows. Lanceta is an intellectual artist but also a master technician. Her dedication to learning, teaching, and practicing traditional weaving techniques is admirable and a deep revelation to our understanding of the role of women in the history of art in Spain and beyond,” Dotseth states. This will be the museum’s first exhibition to focus exclusively on the work of a fiber/textile artist. Lanceta’s work is an amalgamation of influences that span continents and centuries while focusing on timeless questions of art vs. craft as well as the role of women in these endeavors. Her inspirations include the diverse El Raval neighborhood in Barcelona, where she lived for many years; Morocco’s Middle Atlas, which she has visited regularly for three decades; and other locales in Spain and North Africa. As she notes, “I always say that my work would not exist without the work of others. Their works of art are the great source of inspiration. Moroccan fabrics, carpets, handiras (wedding blankets), hanbels (a style of rug), are

extraordinarily beautiful. It is a living and rich tradition with which I have maintained a dialogue for more than thirty years.” At the Meadows, there will be visual links that relate her work to the museum’s permanent collection. “Some connections between Lanceta’s work, the Meadows collection, and the history of Spanish art are overt. The drawings in the exhibition were inspired by 16th-century Spanish carpets and include motifs easily recognizable to students of late medieval Spanish art. By the 20th and 21st centuries, Spanish artists began experimenting and questioning the boundaries between painting and sculpture, and in so doing used their canvas supports as compositional elements in and of themselves,” says Dotseth. The early work that she cites is often steeped in Spain’s Islamic roots. In particular, 13thcentury textiles as well as 15th-century carpets, visible in works throughout the museum, have also inspired Lanceta. Presenting her work in a museum dedicated to the art and culture of Spain is particularly attractive to the artist. In addition to her woven, sewn, and painted fabric work, a selection of her pencil drawings will also be on view. Lanceta’s practice is further informed by academic pursuits. “My degree was in modern and contemporary history, and years later, when I developed an exclusively textile artistic practice, I thought it was appropriate to do a PhD in contemporary art, in the specialty of art theory, which has allowed me a greater depth and openness in my vision of art,” she says. Her dual artistic practice and academic credentials make her an ideal fit for the museum’s university community. “An important part of the museum’s partnership with Fundación ARCO is providing opportunities for SMU students to engage with celebrated Spanish artists,” says Anne Kindseth, director of education, adding “We are proud to connect MFA graduate students at the Meadows School of the Arts and undergraduates enrolled in Spanish language courses with Dr. Lanceta when she visits Dallas in February.” The broader public is invited to a discussion with Lanceta on February 15, while younger audiences can enjoy family-day activities inspired by her work on April 7. Ultimately, Lanceta celebrates the universality of her chosen medium, noting, “Weaving follows a free-to-use binary code that has been with us since the beginning of humanity and still continues.” At a time when the threads of society seem to be fraying, it is reassuring to have work such as this that binds us back together again. P

Teresa Lanceta (Spanish, b. 1951), Mary of Castille, 15th Century - Detroit, 20th Century / María de Castilla, S. XV-Detroit, S. XX, 2004. Pencil on paper, 19.62 x 25.62 in. Photograph by Miguel Garcia Carceles. Courtesy of Teresa Lanceta and 1 Mira Gallery, Madrid.

Teresa Lanceta (Spanish, b. 1951), Gardunya, 9, 2020, wool, cotton, and jarapa fabric, 118.12 x 80.75 in. Photograph by Miguel Garcia Carceles. Courtesy of Teresa Lanceta and 1 Mira Gallery, Madrid.

Teresa Lanceta (Spanish, b. 1951), Red and Black in Diagonal / Rojo y negro en diagonal, 2019. Painted and sewn fabric, 100 x 71.25 in. Photograph by Miguel Garcia Carceles. Courtesy of Teresa Lanceta and 1 Mira Gallery, Madrid.

FEBRUARY / MARCH 2024

OPENINGS

ABSTRACT PORTRAITS OF HUMAN EXISTENCE Green Family Art Foundation opens a solo show for Daisy Parris this month. BY JOHN ZOTOS

Above: Daisy Parris in their studio. Photograph by Max Bainbridge. Left: Daisy Parris, The Heaviness Of It All, 2023, oil and canvas on canvas, 78.75 × 189 in. Courtesy of the artist and Sim Smith.

n exhibition opening this month at the Green Family Art Foundation in the Dallas Arts District features five paintings by Daisy Parris. Parris (b. 1993, Kent, UK) lives and works between London and Somerset, UK and has already had quite a career, with an international exhibition history that includes shows far beyond Britain, in venues in Portugal, France, Spain, and Finland as well as the United States, in New York and Los Angeles. In a show titled No Storm Was Ever Quite So Fierce, the paintings on view illustrate the vibrant intensity of gesture and color that Parris has become known for in work that eloquently handles abstraction combined with elements of text. The title of the exhibition was inspired by Parris’ favorite band, SleaterKinney, whose song “Get Up” has the lyrics “and when you were near, no sky was ever so clear.” In this body of work Parris takes fronds of frayed canvas onto which textual elements are drawn in and adheres them to the

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surface of each painting. Usually, a single section of text is used for each vertically oriented painting, where the strong phrases of paint have a sporadic thrust in the same direction, as in 4 Seconds Was The Longest Wait. In this painting, sections of blue are overlaid with bold strokes of green; the upper left corner has the adhered text that reads “Your Falling Shape.” This text refers to another song by the same band: “Jumpers,” which is about high suicide rates at the Golden Gate Bridge in San Francisco. The lyrics are modified by the artist in an intense expression of emotion and rage. With a title that implies the actual act of a suicidal jump off the bridge, a harrowing feeling permeates the piece such that the artist invites us to share their empathy and sorrow. This painting, along with Weathered Flag, whose text reads, “Faded by the sun, weathered by the storm,” illustrate Parris’ adept handling of rhyme in the use of language, which suggests an adequation in importance and skill among elements of painterly medium, titles, and phrases that comprise each piece.

Daisy Parris, Weathered Flag, 2023, oil and canvas on faux fur, 23.62 × 15.75 in. Courtesy of the artist and Sim Smith.

Equally interested in pathos, human endurance, and resilience, here Parris explores the human capacity to succeed in the face of adversity. A frenetic green impasto supports a long flag-like canvas form displaying text that suggests our human capacity to survive and get through anything life throws at us. The artist brings both aspects together by concluding that “people are storms and people also weather storms.” In an imposing triptych worthy by comparison to Monet’s Nympheas, The Heaviness Of It All has a combined length of fifteen feet. Long tendrils of paint in white, yellow, green, and pink cascade down, along with three sections of text, over a dark surface base. This energetic expression of reality takes on the natural world with bold brushstrokes and the signature elements of language that address the weight of Being in all of its existential aspects. For Parris, painting is a way to work through problems or experiences during the quiet time of dealing with the surface, pushing paint toward extremes and boundaries in order to discover meaning and solutions to ongoing questions about existence. In surfaces that exude anxiety, rage, calm, and resolution, these pieces each seem to come together for the artist at the right moment; any less or more could bring down the entire composition. Parris describes their work as “an ode to human existence… sometimes silent, sometimes savage, with paintings that construct self-portraits of personal battles and triumphs in a fast moving yet contemplative assault on the canvas.” This personal vision of the abstracted image, combined with text, in an art world currently obsessed with figuration boldly pronounces the continued relevance of so-called painterly abstraction. P

From top: Daisy Parris, Faded By The Sun, 2023, oil and canvas on canvas, 70.87 x 59 in.; Daisy Parris, Constellation Of Plastic Bags, 2023, oil and canvas on canvas, 78.75 x 63 in.; Daisy Parris, 4 Seconds Was The Longest Wait, 2023, oil and canvas on canvas,19.75 x 15.75 in. All courtesy of the artist and Sim Smith.

FEBRUARY / MARCH 2024

CONTEMPORARIES

I want my MTV Julia Maiuri’s paintings draw from music videos and horror films for 12.26’s Zona Maco presentation. BY TERRI PROVENCAL

Juila Maiuri, We Know What You Want, 2023, oil on canvas, still from the film Vertigo (1958), 8 x 10 in. Courtesy of the artist and 12.26. Julia Maiuri, Nothing Compares, 2023, oil on canvas, still from Sinéad O’Connor’s music video “Nothing Compares 2 U” (1990), 14 x 18 in. Courtesy of the artist and 12.26.

n early February, art-collecting Texans will make the annual pilgrimage south to Mexico City’s Zona Maco to attend Latin America’s largest art fair of the year. Founded by Zélika García and held at Centro Citibanamex, it features four fairs: Zona Maco México Arte Contemporáneo (contemporary art), Diseño (design), Salón Del Anticuario (antiques and decorative objects prior to 1960), and Foto (photography). México Arte Contemporáneo, the largest section of the fair, presents leading international galleries exhibiting exemplary work in paintings, graphics, sculpture, installation, video, and new media. The ideas of generosity and care will be central to Sur, which explores artists’ practices, projects, and galleries from the global south or those engaged with the region, curated by Luiza Teixeira de Freitas. Esteban King Álvarez, curator of the Arte Moderno section, presents work by renowned artists during the first half of the 20th century. Younger galleries, hybrid spaces, and artist-run initiatives will be featured in the final section of the fair this year, called Ejes and curated by Bernardo Mosqueira, chief curator of Institute for Studies on Latin American Art in New York. A key criteria Mosqueira looked for in applications to the fair were galleries whose artists explore the complex relationship between pleasure

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and politics. 12.26 gallery is the only exhibitor selected from Texas in this section, which comprises 34 galleries. Sisters and gallery founders Hilary and Hannah Fagadau applied with a solo booth in mind for Julia Maiuri. “Julia’s work seamlessly fits in with this theme. Voyeurism, sexual desire, and vulnerability—it definitely seemed like a perfect pairing,” says Hannah, who also mentions that this is the gallery’s first showing at an international fair. At 33, Julia Maiuri is an old soul with a love for songs prior to her generation as well as classic film noir, horror films, and the You Must Remember This podcast. The film buff has always been drawn to “social commentary through horror films.” Michiganborn, following undergrad at Wayne State University in Detroit, she entered grad school at University of Minnesota intending to further explore the horror genre. “The pandemic added context,” she says, as a way of “getting out these anxieties through the work. ‘What’s going on beyond?’ ” Through her fascination with film dissolves, she expresses conflicting feelings in her work to convey unsettled disillusionment. “It’s clear there’s movement happening, and time becomes complicated. Your placement in time becomes questioned. I focus

on that paused moment and dissolve,” Maiuri states. For Zona Maco, Maiuri created new paintings winnowed from cuts of favorite films like Picnic at Hanging Rock, Vertigo, and Hausu, along with music videos by Annie Lennox and Sinéad O’ Connor during MTV’s heyday. “In ’80s music videos, film dissolves are ad infinitum.” In this new body of work she says, “Instead of inventing my own dissolve I freeze them as they happen.” Hilary discovered the artist through Saint Louis–based artist Kahlil Robert Irving. She felt immediately connected to Maiuri and signed her on the spot, fresh out of school. “This new group of paintings really captures that magical realism; it’s primarily a Latin American cultural movement in literature, art, and film. She’s found cuts within music videos and films. While these cuts do exist, she’s taking liberties with these colors into hyperpigmented spaces.” In We Know What You Want, rendered in shades of impossible fiery pink, a woman stands in a doorway and looks outside; in the foreground, the viewer sees a closeup of her tilted face with bluelined, widened eyes. “Who is watching who fuels that tension that I’m after,” Maiuri describes. “All of these paintings point to moments of tension and uncertainty, two themes that are cornerstones of Julia’s practice,” says Hannah. “For this body of work, she’s made this distinct shift from grays to vibrant hues. She’s really upped the saturation, and there’s this idea of surrealism that’s embedded in the work.” Maiuri drew from the music video “Nothing Compares 2 U,”—written by Prince, made famous by Sinéad O’Connor—revealing close-ups of the late songstress performing the ballad for a standout work. “In Nothing Compares, there’s this bedroom scene with the overlay of the intensity of her gaze. It is a very classic Julia work,” says Hannah. “She’s leaning into the sense of abstraction for this work.” Of her own pilgrimage to Mexico City, Maiuri says Templo Mayor is on her list of must-sees. “Mexico has so much ancient architecture,” she enthuses. “And I’m going to eat so much food and visit some cathedrals and Frida Kahlo’s house.” P

Julia Maiuri in her studio. Photograph by Joshua McGarvey @joshuadmcgarvey.

Julia Maiuri, Miranda and the Swan, 2023, oil on canvas, still from the film Picnic at Hanging Rock (1975), 10 x 8 in. Courtesy of the artist and 12.26.

Julia Maiuri, Give You My Heart, 2023, oil on canvas, still from Sinéad O’Connor’s music video “Mandinka” (1987), 4 x 6 in. Courtesy of the artist and 12.26.

FEBRUARY / MARCH 2024

Sally Saul, New Pajamas, 2023, clay and glaze; 21 x 13.50 x 6.50 in. Courtesy of the artist and Venus Over Manhattan.

GO FIGURE Sally Saul’s delightful ceramics will be part of a group exhibition at Dallas Contemporary this April. INTERVIEW BY CHRIS BYRNE

Sally Saul, Troubled Waters, 2020, clay and glaze, in six parts, 12.50 x 28 x 17 in. Courtesy of the artist and Venus Over Manhattan.

n April, Dallas Contemporary will present who’s afraid of cartoony figuration? comprised of the work of Karolina Jabłońska, Umar Rashid, Sally Saul, and Tabboo! who each intermix the levity of cartoons, comics, and commercial illustration with inescapable issues of today. Based in Germantown, New York, Saul injects sly wit into her humorous figures of animals that examine the quotidian with a healthy dose of existential neurosis. Chris Byrne speaks with the ceramicist in advance of the group exhibition here: Chris Byrne (CB): Your work will be included in Dallas Contemporary’s forthcoming exhibition who’s afraid of cartoony figuration? How did the show come about? Sally Saul (SS): My involvement with who’s afraid of cartoony figuration? came about in part because of inclusion in two group shows devoted to ceramic sculpture. One was Funk You Too! Humor and Irreverence in Ceramic Sculpture at the Museum of Arts and Design. Clay Pop at the Jeffrey Deitch gallery was the other show, both of which were exuberant and diverse with a sense of liberation from more conventional styles. CB: Yes, and this past summer, I had the chance to visit your exhibition People & Vases at Venus Over Manhattan. When did you become interested in making ceramics? SS: My interest in clay began gradually, first during the years my husband and I lived in the Bay area in California, where ceramics as an art form was really taking off (contrary to the East Coast) with all sorts of possibilities. However, although I looked at this work with real interest, I didn’t begin to seriously make pieces myself until we moved to Austin, Texas (1981 to 2000). My husband, Peter, took a teaching job in fine arts at the University of Texas,

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and we arrived with our two-year-old daughter in the middle of July when the temperature was over 100 degrees. That was a shock! We acclimated, however, and spent the following 19 years in Austin, in a neighborhood not far from the campus, with public springfed pools and the first Whole Foods store long before it became a corporate entity. There were many positives living in Austin in those years for adults and children. When our daughter began school, I discovered I could take ceramic classes at the university. There was a very large room with tables, chairs, and pottery wheels. Windows on one side looked out

Sally Saul, Couple, 2019, clay and glaze, 11.50 x 11.25 x 10 in. Courtesy of the artist and Venus Over Manhattan.

at the gas kilns in the kiln yard. Smaller rooms were for electric kilns, ingredients for glazes, and for clay mixing. Furthermore, one could work in the space without interruption. The teacher, Janet Kastner, an Alfred graduate , was excellent. Unfortunately, long after my husband retired and we had returned to New York, we heard that 3D imaging had absorbed the ceramics area. The irony is, this occurred just as interest in clay was beginning to surge, even in the East. In 2000, we returned to New York and ultimately found a home in the mid-Hudson area with a view of the Catskills. I purchased an electric kiln, which is still working after twenty years, and more recently a high-fire digital kiln, which I also use, but carefully. since at 77 years I still feel nervous about programming accurately. CB: And your subjects/themes? I understand the imagery is from personal memory... SS: Yes, subjects are often related to personal memory inspired by objects that have some personal meaning. People and objects intertwine, and one invokes the other. But then not entirely, as the work needs to have its own life—if that makes any sense. One series I made while living in Austin was called Presidents and Famous Women. I paired a US president with a well-known woman of the same era. Thus, Gertrude Stein partnered with FDR, Rachel Carson with Eisenhower, Ronald Reagan with Angela Davis, etc. I have Gertrude in the studio on top of the file cabinet, keeping me company. I think now that I could do a better sculpture of her. CB: You now share a studio with Peter in Germantown, New York... SS: Yes, Peter and I share our studio. He has the upstairs and I’m downstairs (where the kiln is). Windows look out at the Catskills and trees, and at night, the constellations. We have plenty of room, including some for storage, and the sage-green industrial metal siding blends nicely with the trees around us. CB: Do you have similar schedules in the studio? SS: We do have similar schedules but lately we’ve developed a bad habit of a leisurely breakfast, which we compensate for by working very late. CB: What are you currently working on? SS: Currently, I’m working on some pieces for the Dallas show, thinking up some new ideas and hoping to improve my “style.” P

Sally Saul, Friends, 2022, clay and glaze. Cat: 13.75 x 7.75 x 7.50 in. Girl: 14.25 x 10.50 x 7.50 in. Courtesy of the artist and Venus Over Manhattan.

Sally Saul, Meditation Tree, 2020, clay and glaze,34.50 x 12 x 11 in. Courtesy of the artist and Venus Over Manhattan.

Sally Saul, Woman with Shovel, 2021, clay and glaze, 25 x 13 x 7 in. Courtesy of the artist and Venus Over Manhattan.

FEBRUARY / MARCH 2024

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nntruest truestform, form,last lastspring springa aself-portrait self-portraitofofthe theartist artistinintightytightywhities whitiesand andtube tubesocks socksand andrendered renderedininpapier-mâché papier-mâchésprouted sprouted wooden woodenladders laddersfrom fromhis hisnipples nipplesjust justunder underthe thegrand grandstaircase staircase ofofthe theDallas DallasArt ArtFair Fairvenue. venue.AAmodel modelfor forprofane profaneascension ascension perhaps, perhaps, longing longing for for further further connectivity, connectivity,orormaybe maybesimply simplya a titillating titillatingprovocative provocativewrinkle, wrinkle,Ladder LadderNipples Nipples(Nippochio) (Nippochio)threw threwa a much-welcomed, much-welcomed,quizzical quizzicalwrench wrenchinto intothe theselfie selfiemachine. machine. This ThisFebruary, February,the theselfsame selfsameartist, artist,Jeff JeffGibbons, Gibbons,presents presentshis his sixth sixth solo soloexhibition exhibitionatatConduit ConduitGallery. Gallery.Beard BeardChewer Chewercenters centers around around aa group group ofof artworks artworks made made just just before beforedeparting departinghis his adopted adopted hometown hometown for for unforeseen unforeseenshores shoresand andaltogether altogethernew new locales. locales.For Foraabrief briefspell spellatatthe theVirginia VirginiaCenter Centerfor forthe theCreative Creative Arts Artsthis thissummer, summer,Gibbons Gibbonscrudely crudelyaffixed affixeda abroken-off broken-offceramic ceramic mug mughandle handletotoaachunky chunkyblock blockofofquartz quartzboldly boldlyemblazoned emblazonedwith with “BEST “BESTSHAMAN SHAMANEVER.” EVER.”AAmantra mantratotobebelifted liftedininspirit spiritonly onlybut but cutting straight to the unfolding future. cutting straight to the unfolding future.

STUDIO Gibbons settled in for a seven-month stint as a 20232024 Fellow at the Fine Arts Work Center in Provincetown, Massachusetts, soon thereafter. A dramatic change from his ramshackle live-work space back in Dallas, the Detroit-born artist has both a large studio and an apartment at his disposal until the end of April. Gibbons relayed that “if the space changes my work so much, then in a way I’m changing the mode in which I make the work in a space in order to see just what happens. Letting doubt exist alongside belief, in tandem… I need to attach myself to something, and I want to choose that thing to be something magical.” Seeking a quieter mode of existence and a qualitative change to his work and life, the sly provocateur found himself drawn to ruminating walks in nature, digging for clams, and examining tidal pools in his new surroundings. Gibbons also took to foraging for mushrooms, ramping up his identification skills along the way, eventually making teas with his fungi finds. He recounted a particular outing when he felt mystically drawn to a tree-bound birch polypore, a medicinal mushroom that was also found with the 5,300-year-old Ötzi the Iceman, having been preserved in an Italian alpine glacier and discovered by hikers in 1991. Gibbons felt summoned to take it and make use of it, much like our frozen forebear used it to treat his parasites, of which he had many. More often than not, there is a methodology in Gibbons’ art that utilizes similar strategies as felt/seen in clam digging or mushroom hunting: an attentive roaming of the eye and mind, piecing disparate parts into a new amalgam/mapping, or a splitting of the whole into a multitude of connected, yet separate, interpretations. The impish wizard’s apprentice delights in the fractioning off of his own personality, resulting in many

humorous, figurative works that poke at the self-portrait or a reluctant acknowledgement of ego. In The Parts of Me I Like the Least, a Ring Around the Rosie of nine homemade self-stuffies reach towards one another, arms outstretched, with titular chest-written confessions calling out their qualms: Man Baby, Stoner Guy, the Clown, Horny Fella, Money Man, et al. Similarly, an incongruous rock torso crammed into pudgy belted pants and boots (actionfigure sized) lingers wistfully next to a moss-crowned branch turned into a small tree, emoting an existential ache beyond its simple, descriptive title. As part of his residency this winter, Gibbons will also exhibit an ambitious sculpture entitled Caterpillar House at the Provincetown Art Association and Museum. While on one of his routine walks in the woods, the artist came across a pale, sun-worn, hollowedout turtle shell with a broken piece on one edge. He took it home and began to build a world around it. The break became a small wooden door. A series of spiraling found branches formed an armature and brought the shell chest-high; dozens of miniature cut, wooden steps with a railing at the top lead all the way up from a small ladder at floor level. A window was cut into the shell opposite the door. The interior was furnished, lit up, and the wings of its imprisoned butterfly inhabitant can be seen just within. Gibbons reminded me of how certain butterflies are attracted to turtle tears because of the salt content, and then everything fell into a slow, conceptual Möbius loop of atemporal discovery and the reliance of one thing upon the other. “You know, this shell gifted me with this whole idea. This thing that I was already thinking about. And the feeling of being stuck myself, and for me, that’s what it is… I am in communion with these things, and when I fall out of it, I don’t feel good.” P

Clockwise from above left: Jeff Gibbons, Me as a Horse with Endless Legs, 2023, acrylic paint, oil pastel, house paint, spray paint, and paper on stretched canvas, 36 x 48 in.; Jeff Gibbons, Rock with Pants, 2024, rock, epoxy clay, copper wire, acrylic and oil, 3 x 1 x 2 in.; Jeff Gibbons, The Parts of Me I Like the Least, 2023, canvas, colored pencil, marker, 9 x 8 x 3 in. (each doll).

FEBRUARY / MARCH 2024

IN THE PICTURE THREE SAVVY, WELL-INFORMED WOMEN SHARE THEIR THOUGHTS ON COLLECTING AND NAVIGATING DALLAS ART FAIR. BY TERRI PROVENCAL PHOTOGRAPHS BY JOHN SMITH

Clockwise from above left: Maureen O’Leary, The Janiculum, 2022, oil on linen, 46 x 46 in. Courtesy of the artist and Cristin Tierney; Bethany Czarnecki, Calla Lily Sweep, 2023, oil on canvas, 40 x 30 in. Courtesy of the artist and Massey Klein Gallery; Tim Brawner, Glycon, 2023, acrylic on canvas, 40 x 30 in. Courtesy of the artist and Management, New York. Photograph by installshots.art; Alain Joséphine, ST183, 2023, acrylic on canvas, 78.75 x 112.25 in. Courtesy of the artist and TAFETA.

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Clockwise from above left: Elizabeth Magill, Red Iris, 2022, oil on canvas, 50.40 x 50.75 in. Courtesy of the artist and Kerlin Gallery, Dublin; Albert Kotin, Untitled, c 1960, oil on canvas, signed verso, 24 x 20 in. Courtesy of Hollis Taggart, New York; Robert Natkin, The Old Guy Still in Love, 1988, acrylic on canvas, 59 x 39 in. Courtesy of Sundaram Tagore Gallery, New York; Yifan Jiang, Travel Pillow, 2023 oil on canvas, 38 x 38 x 1.50 in. Courtesy of the artist and Meliksetian | Briggs; Ashley Zelinskie, Arp 220, nickel and copperplated 3D print, 11 x 11 x 8 in. Courtesy of the artist and Torch Gallery, Amsterdam; Deborah Butterfield, Untitled #5282, cast bronze, unique, 25 x 28 x 13 in. Courtesy of the artist and Marlborough Gallery, New York.

FEBRUARY / MARCH 2024

Kasey Lemkin

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Kasey Lemkin pictured with Umar Rashid’s DALLAS, An Origin Story. Or You Should’ve Dressed for the Weather. My Beloved acquired at TWO x TWO for AIDS and Art

riginally from Jackson, Mississippi, Kasey Lemkin is a cultured woman with eternal Southern charm who moved to Dallas with her husband, Todd, a couple of years ago. Last year, Lemkin and her sister Lawren Sample gave birth to Partlow, “a company focused on crafting elevated Western boots for women,” she says. Her love affair with art began in childhood through participation in school exhibits and competitions, then through delving deeper in college art history classes. “This passion has stayed with me—I continued creating and later became a collector, immersing myself in the art world.” She furthers, “This mix of hands-on experience and academic exploration shapes both my personal and professional outlook.” Moving to a new home in Los Angeles in the 2010s prompted the acquisition of a work by Banksy followed by purchases of prints and paintings by LA artists like Karl Benjamin. The collector bug truly settled in with the acquisition of a Chevron painting by Kenneth Noland. “They have always been a favorite for both of us. With the guidance of Todd’s brother, Tyler, who is an art advisor, we were fortunate to acquire a fantastic early painting from the 1960s. Once we displayed it in our living room and witnessed its impact, we felt inspired to delve into more serious art collecting.” Their collection combines blue-chip artist like Alex Katz, Ed Ruscha, Richard Prince, David Salle, and Bridget Riley with up-andcoming artists like Paul Kremer, Miya Ando, and Claire Colette, demonstrating their appreciation of both established names and fresh perspectives. “When it comes to buying artwork, the initial attraction is crucial—we must genuinely like how it looks,” says Lemkin. “Striking a balance between edginess and timelessness is key; for historical pieces, being groundbreaking in their time and still captivating today is essential. Art, much like fashion, experiences trends, but the truly remarkable pieces endure.” Lemkin joined the Dallas Art Fair Foundation + Dallas Museum of Art Acquisition Fund committee last year. At the 2023 fair, they acquired a very colorful and large work by Andy Dixon from his “collector’s homes” series through Over the Influence. And, she says, “There are a lot of great galleries exhibiting this year from all over the world.” The couple has purchased paintings from Erin Cluley Gallery, Louis Stern Fine Arts, Ochi Gallery, 12.26, Ronchini Gallery, Hollis Taggart, and Yossi Milo; all are exhibiting at the fair this year. “Also, Half Gallery, Perrotin, and Luce Gallery had really strong booths last year so I’m looking forward to seeing what they have on offer in April.” Tyler Lemkin has been their art advisor for over a decade. She says they are drawn to his keen eye, market expertise, and trustworthiness. “Tyler has played a pivotal role in our art journey. Before each fair, we review digital previews from various galleries. Together, we attend to witness the artworks in person. With so much to explore, having a reliable advisor like Tyler is invaluable for guidance and focus.” As for herself, she finds the convergence of fashion in fine art to be an alluring creative expression that seamlessly incorporates elements of clothing. “This fusion not only challenges conventional boundaries, but also sparks a dynamic and innovative dialogue between the realms of fashion and art. Observing how artists play with style in their artwork inspires me as a boot designer, pushing me to explore new dimensions in my own creative endeavors.” Lemkin is very active in the Dallas art community and enjoys interactions with fellow art enthusiasts and collectors at exhibitions and events. They acquired Umar Rashid’s DALLAS, An Origin Story. Or You Should’ve Dressed for the Weather. My Beloved through Blum & Poe at TWO x TWO for AIDS and Art last year, along with Johnny Defeo’s It’s Starting to Feel Like the Storms Are Always Only Over Our Heads and Nowhere Else from Cris Worley Fine Arts. Rashid will be part of a group show at Dallas Contemporary in April, who’s afraid of cartoony figuration?

Kasey's Picks “Patrick Martinez has a show on currently at the Broad Museum in Los Angeles. We recently purchased one of his works. He is a very talented emerging artist.”

Patrick Martinez, Fleeting Bougainvillea Landscape 2, 2023, stucco, neon, acrylic paint, spray paint, tarp, latex house paint on panel; 84 x 96 x 5 in. Courtesy of the artist and Charlie James Gallery, Los Angeles. ©2024 Patrick Martinez; Photograph ©2024 Joshua White.

“We have been following Miya Ando’s work for a while now and recently purchased two of her pieces for our entryway. We love this new piece and will be looking at it when we’re at the fair.”

Miya Ando, Tasogare (Twilight) April 15 2023 6:41 PM, 2023, micronized pure silver, pigment, urethane, resin, aluminum, 49 x 96 in. Image courtesy of Sundaram Tagore Gallery

“Chantal Khoury is another female emerging artist we are following and is a promising talent. ”

Chantal Khoury, Lace and Petals, 2023, oil on canvas, 10 x 12 in. Courtesy of the artist and Nicodim Gallery.

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Catalina's Picks “I am eager to see this large scale (86 x 86 inches) painting by Jordan Ann Craig in person at Hales.”

Jordan Ann Craig, Sharp Tongue, Slant, no. 2, 2023, acrylic on canvas in two parts, 86.25 x 86 x 2.50 in. Courtesy of the artist and Hales, London and New York. Photograph by JSP Art Photography.

“I always look forward to seeing the paintings brought by Berry Campbell, which represents the estates of historical female artists. I am inspired by Alice Baber, who organized exhibitions of women artists, including Color Forum in 1972 at the University of Texas in Austin.”

Alice Baber (1928 -1982), Untitled, c. 1966, oil on linen, 51 x 37 5/8 in. © Estate of Alice Baber, Courtesy Berry Campbell, New York.

“I was introduced to Anna Kunz’s work through Galleri Urbane and was delighted to see her fall/winter 2022 collaboration with ARIAS. It has been exciting to see her representation expand in recent years to include Alexander Berggruen.”

Anna Kunz, Beacon Over Overpass, 2024, acrylic on canvas, 53 x 48 in. Copyright the artist. Courtesy of the artist and Alexander Berggruen, New York.

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ntrepreneur Catalina Gonzalez Jorba founded Dondolo, a women and children’s clothing line handsmocked and embroidered in her native Colombia. “I especially love collaborating with watercolor artists to bring my visions to life.” As a child, she lived in Cartegna with a mother who filled her childhood home with the works of artists from her country. “I loved the opportunity to listen to Colombian artist María Berrío share her story with us at TWO x TWO in October of last year. I was touched by the way she spoke about depicting her son in her artworks.” Gonzalez Jorba graduated from SMU as an economics and finance major with a minor in art, realizing both her passions. Her collecting journey began when she and her husband, Santiago, began remodeling their home in Dallas with Sees Design. “I wanted to be more intentional about the art that was going to be in our forever home in which my sons were raised. We collect principally to enrich the lives of our four sons (ages 12, 10, 7, and 4).” In a male-dominated home she feels it’s important for her “sons to grow up surrounded by artworks by female artists.” The couple works with local art advisor Temple Shipley, who she says has been “very nurturing throughout the process and shares her knowledge every day. We’ve collected works on paper, prints, photographs, and paintings—almost all are united by a bold use of color.” Shipley guided them to Susan Weil’s 1999 Configuration (Beige) from JDJ Gallery at Dallas Art Fair in 2021, which was one of their first acquisitions. “I love the way that Susan depicted the female form in a modern manner and decided to hang the artwork in my home office. Susan’s bright-blue brushstrokes against the beige background inspired the blue herons in the de Gournay wallpaper that envelops the room.” Other Dallas Art Fair finds include three Virginia Jaramillo prints from Hales that reference her paintings from the 1970s; a round canvas by Velia de Iuliis from Pauli Ochi’s gallery; a selection of eight-by-eight-inch paintings by Emily LaCour from Valley House; and a Charles Hascoët from Josée Bienvenu. “I’ve also acquired works from regular exhibitors Night Gallery, James Barron, and Anat Ebgi.” Gonzalez Jorba works closely with Shipley to maintain a cohesive and intimate collection. “For example, in our dining room, I wanted to contrast the tiny but impactful brushstrokes in Michelle Rawlings’ paintings with the vast, abstract shapes of color in Rebecca Ward’s canvas,” acquired at Dallas Art Fair from Ronchini Gallery. Prep for the fair has been very beneficial. She first looks to Shipley to filter the galleries’ previews and send snapshots of the artworks she thinks might be interesting for their collection. “She shares context about the artworks with me—videos, artists’ biographies, details on upcoming museum exhibitions.” She also enjoys walking the fair alone to see what stands out to her personally. She follows this with a guided tour with Temple to target specific artworks. Family focused, Gonzalez Jorba chaired The Great Create in the Nasher Garden in 2022 and the Family Forum at the Dallas Museum of Art, where she is currently on the board. “I will co-host the DMA Family Forum’s after-hours cocktail party in the Hamon Atrium followed by a curatorled tour of The Impressionist Revolution from Monet to Matisse.” She also serves on the board of Dallas Contemporary and appreciated the dinner at The Joule, where she had a chance to meet exhibitors and artists. She loves all the programming surrounding Dallas Art Fair and says she “looks forward to the fair’s VIP Preview, which allows me an unhurried look at the artworks in the booths.”

Catalina Gonzalez Jorba pictured with Corri-Lynn Tetz, Wings, 2021, oil on canvas, acquired from 12.26 above the mantle.

Catalina Gonzalez Jorba

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Christina Jafar 56

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Christina Jafar in her home with a work by Aglaé Bassens, Shadow Self, 2020, acquired from 12.26.

Christina's Picks “I love the moodiness of the piece and how the simple subject of a glass of water (or tequila!) can stand out and draw you in.”

Andrea Smith, Glass II: Wash (Yourself of Yourself), 2023, oil on canvas, 16 x 12 in. From Deli Gallery

“I was drawn to the colors and subtly of the woman’s figure in this piece. It is whimsical but dramatic at the same time.”

Chantal Khoury, Born of Lace, 2023, oil on canvas, 60 x 48 in. Courtesy of the artist and Nicodim Gallery.

“This oil on canvas looks like a pixelated photograph, which is quite fun. I enjoy the layering / depth of field, which gives it a 3D element.”

Martina Grlić, Plastic Gems, 2023, oil on canvas, 19.70 x 16.10 x 2 in. Courtesy of the artist and Fragment Gallery.

hristina Jafar grew up with an appreciation for design and the arts from one of her grandmothers. Her penchants led her to a career in interior design, where art and design intertwine. “As a more creativeminded person, I connect with the emotional side of art—both in terms of the response to the piece itself, but also how a wellcurated room can make you feel (a large component of that being driven by art).” Jafar grew up in South Texas and came to Dallas to attend SMU. She married her husband, Sal, in 2017, and they have a one-year-old son. “After working in interior design for a number of years, I have taken some time to focus on being a mother and pursuing other passions, such as becoming active in and supporting the art community.” The couple’s collecting journey began a few years ago, when they acquired a large-scale painting on aluminum by local artist and friend Keer Tanchak. “This piece has remained important to me for many reasons—it signifies the beginning of this process for me and exploring a new passion, and the subject matter overlaps with literary interests of mine. It hangs in our formal dining room, helping to set the tone and create a whimsical ambiance for entertaining guests.” They have made a number of purchases from Dallas Art Fair over the past several years. A “meant-to-be” purchase last year was found at Ronchini Gallery. “We ended up stumbling on the piece on our second lap of the fair (we somehow missed it on our power lap). We were both immediately drawn to it. It’s of a beautiful woman, sitting relaxed, with cowboy boots, in one of our favorite dinner clubs in London. Once it was hung in my stairwell, I sent a photo to my aunt, who lives in London. Turns out, she is friends with the artist’s mother! Such a kismet moment. Apart from us being drawn to it for elements of Texas and London (one of our favorite cities), it then took on even more life and meaning as the story behind it deepened.” The couple acquires art when they have an emotional response to a piece. “We have a mix of figurative, still life, abstract, and more. Mediums are also a mix of oil on canvas, mixed media, paper, aluminum, metal, and plaster sculptures.” She says her two main drivers are timelessness, “not jumping on trends/fads, which are likely to fade,” and spontaneity, “following my gut and interests in my acquisitions, which leaves me less focused on any specific theme.” At Dallas Art Fair they visit every gallery, she says, “as you never know what you might discover.” She looks at the exhibitor lineup in advance, flagging her favorites that carry artists they love or exciting new artists to discover. At the fair they do their power lap, which consists of a quick walkthrough of each space, making notes on initial pieces they want to revisit. They do a deeper dive on their second and third laps to obtain more information, and from there start making acquisitions. She is always impressed by the booths from local galleries and makes a point to drop by favorite visiting galleries 1969, Hales Gallery, Hollis Taggart, Perrotin, Ronchini Gallery, Saenger Galeria, and Shulamit Nazarian. She is drawn to the story of the artist and their creative process “which adds layers of depth, meaning, and appreciation to each piece.” Plus, she adds “I appreciate gallerists who are constantly searching out and working with emerging artists as well as taking the chance to promote them and share their work with the community.” The Jafars also enjoy the extended art programming during Dallas Art Fair. “It’s always great to catch up with fellow collectors, friends, gallerists, advisors, artists, and more while getting to see amazing work in very intimate settings, as well as hear from the artists themselves on their work. I especially love the private collection tours, as I enjoy seeing what art others are drawn to and how they live with it.” P FEBRUARY / MARCH 2024

He Said/She Said AA bold bold revision revision of of art art history history at at the the Dallas Dallas Museum Museum of of Art Art isis written written about about from from the the male male and and female female perspectives. perspectives.

Installation Installationview viewof ofDonald DonaldJudd, Judd,Untitled, Untitled,1970; 1970;Lauren LaurenHalsey, Halsey,South SouthCentral CentralCity CityFarm Farm//Doing Doing My MyThang, Thang,2022; 2022;Janiva JanivaEllis, Ellis,From FromWhom Whomthe theBell BellTolls, Tolls,2021; 2021;and andRobert RobertMotherwell, Motherwell,Elegy Elegyto tothe the Spanish SpanishRepublic Republic108 108(The (TheBarcelona BarcelonaElegy),1966 Elegy),1966ininthe thesection section“Black “BlackFemale FemaleSubjectivity.” Subjectivity.”

He Said... BY BY DARRYL DARRYL RATCLIFF RATCLIFF

he he Dallas Dallas Museum Museum of of Art’s Art’s latest latest exhibition, exhibition, He He Said/She Said/She Said: Said: Contemporary Contemporary Women Women Artists Artists Interject, Interject, isis aa powerful powerful and and thought-provoking thought-provoking exploration exploration of of the the contributions contributions of of women women artists artists from from the the 1970s 1970s to to the the present present day. day. This This groundbreaking groundbreaking exhibition exhibition challenges challenges the the traditional traditional narrative narrative of of the thesole solemale malegenius geniusand andendeavors endeavorsto tocreate createspace spacefor forwomen womenartists artists to to get get more more than than just just aa word word in in edgewise. edgewise. On On view view through through July July 21, 21, 2024, 2024, the the exhibition exhibition showcases showcases works works that that strategically strategically appropriate appropriate the the contributions contributions of of male male artists, artists, offering offeringaafresh freshtake takeon onthe thecanon canonof ofart. art.Curated Curatedby byAnna AnnaKatherine Katherine Brodbeck, Brodbeck, the the Hoffman Hoffman Family Family Senior Senior Curator Curator of of Contemporary Contemporary Art Art atat the the Dallas Dallas Museum Museum of of Art, Art, and and installed installed by by Ade Ade Omotosho, Omotosho, the theNancy Nancyand andTim TimHanley HanleyAssistant AssistantCurator Curatorof ofContemporary ContemporaryArt, Art,

58 58

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the the exhibition exhibition isis divided divided into into four four thematic thematic sections, sections, each each delving delving into into different different aspects aspects of of women’s women’s engagement engagement with with art art history. history. By By rejecting rejecting chronological chronological organization, organization, He He Said/She Said/She Said Said emphasizes emphasizes the the ongoing ongoing and and interwoven interwoven dialogues dialogues between between male male and and female female artists artists across across time time and and space. space. “The “The thrust thrust of of the the show show isis to to push push visions visionsof ofwomen womenartists artistsin inthose thosehistories historiesand andin inthose thosecontexts contextsthat that they they are are overlooked overlooked in in or or erased erased from.” from.” says says Omotosho. Omotosho. Upon Uponentering enteringthe theexhibition, exhibition,one oneisispresented presentedwith withwomen womenartists artists who who are are linearly linearly and and directly directly making making commentary commentary with with art art history, history, juxtaposed juxtaposed with with foundational foundational works works from from the the DMA’s DMA’s permanent permanent collection, collection, including including pieces pieces by by Jackson Jackson Pollock Pollock and and Jasper Jasper Johns. Johns. One One highlight highlight isis Carolee Carolee Schneemann’s Schneemann’s piece piece Up Up toto and and Including Including Her Her Limits, Limits, which which isis an an installation installation of of marks marks on on canvas canvas that that the the artist artist

Installation view of Carolee Schneemann, Up to and Including Her Limits, (1975–2008), in the entry gallery.

made while suspended nude in a tree harness displayed alongside video of the performance. This is a direct response or extension of the male-dominant action painting of Pollock as well as a different type of performance, one without a fixed audience, cues, or intention, which Schneemann referred to as “movement meditation.” Another revelation is Kaleta A. Doolin’s Improved Janson: A Woman on Every Page, which takes the popular Janson history of Western art textbook and cuts out a vaginal shape, so that a woman now appears on every page of the book that included no women artists. It is a brilliant, direct action of both reclaiming and highlighting the historic omission of women from these narratives. The section on “Women and Appropriation” explores art created during the rise of postmodernist theory, rejecting the notion of artistic genius and questioning the validity of male genius. Artists such as Jenny Holzer, Cindy Sherman, and Sherrie Levine challenge societal norms and critique the objectification of women. The standout for me is Barbara Kruger’s Pledge, Will, Vow, in which transcripts of the US Pledge of Allegiance, traditional marriage vows, and a last will and testament are “typed” on screen as if being composed and revised in real time. This three-channel installation dominates the wall, and a satisfying sound like footsteps accompanies the work, as sharp,

Installation view of Barbara Kruger, Pledge, Will, Vow, 1988/2020 in section “Women and Appropriation” and Kaleta A. Doolin, Improved Janson: A Woman on Every Page in the entry gallery.

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subversive, and uncanny connections are made between property laws, allegiance, matrimony, and women’s bodies. The “Black Female Subjectivity” section is particularly poignant, as artists appropriate imagery from white male artists to broaden the subject of art and empower Black women to reclaim their agency in the narrative. Works by Janiva Ellis, Lorna Simpson, and Lauren Halsey are juxtaposed with those by Donald Judd and Robert Motherwell, emphasizing the need for a visual language that accommodates the lived experience of Black women. In particular, Halsey’s South Central Farm/Doing My Thang, which features three stacked boxes, some mirrored, with painted signs of salons and a community garden—feels like an evolution and rightful successor of Judd’s long, wall-slung aluminum sculpture. In “Women and Surrealism,” artists like Leonora Carrington, Emily Mae Smith, and Olivia Erlanger use hybrid and anthropomorphic figures to overtly critique gender roles, highlighting the legacy of surrealism in providing a platform for younger women artists. Ivy Haldeman’s Bun Piece Dabs Forehead, Hand Lifts Rip, Thigh Left, which is a painting of a hotdog lady finding pleasure in her own bun, is particularly delicious. The final section, “Friendship and Collaborations,” explores the relationships between women and male artists, showcasing works in which male artists serve as subjects for female artists alongside collaborations between men and women designers. One highlight is Calida Rawles’ In His Image, which is a stunning photo realistic painting of artist and UNT alum Diedrick Brackens emerging from or floating in a pool. He Said/She Said is a significant and timely exhibition that not only celebrates the achievements of women artists but also serves as a catalyst for reevaluating and reshaping the narratives that have historically marginalized their contributions. It is a must-see for those seeking a more inclusive and diverse understanding of art history.

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She Said... BY DANIELLE AVRAM

bout halfway through the 2018 documentary The Price of Everything, artist Marilyn Minter remarks, “I’ve really never made any money, until recently. But I always got by. If you have something to say, it will be seen, you just might not be alive… You might be old or dead. And if you’re female, you’re bound to be old or dead.” That Minter was nearly 70 when she made the above statement speaks volumes about the art world’s historically blithe disregard for any sort of representational equality. While the recent shift towards more inclusive programming and collecting strategies suggests that significant efforts are being made to right centuries of wrongs, the fact remains that art is a multibillion-dollar industry populated by a vast array of parties with different agendas in competition with one another. Given that institutions are largely beholden to the financial interests of their benefactors, change tends to take longer in these arenas—even more so when it comes to addressing issues of inclusion/exclusion within the art historical cannon. He Said/She Said: Contemporary Women Artists Interject at the Dallas Museum of Art tackles this issue with a thoughtful array of works, the majority of which are acquisitions made within the last few years

as part of an effort to increase the museum’s holdings by women and artists of color. Organized by Katherine Brodbeck, the Hoffman Family Senior Curator of Contemporary Art, He Said/She Said is divided into four sections: “Women and Appropriation,” “Black Female Subjectivity,” “Friendship and Collaboration” and “Women and Surrealism.” The exhibition’s conceit evolved organically, growing from Brodbeck’s initial interest in the surrealism evident in recent acquisitions into an opportunity to explore the sexual and cultural dynamics that have shaped art since the early 20th century. “I started to think through works in our collection that made particular references to art history that seemed to complicate, or lay bare, the inherent sexism of how exclusionary the canon has been to women, both as makers and subjects,” says Brodbeck. The exhibition opens with a display that recontextualizes art history. Front and center is Improved Janson: A Woman on Every Page, Dallas-based artist Kaleta A. Doolin’s alteration of Horst Waldemar Janson’s History of Art, a once-standard educational text that famously excluded female artists. Doolin’s version features a vulva shape sliced into each page, a hole carved through the entirety of the book —a feminine portal signifying the absence of woman artists amidst

This page: Kaleta A. Doolin, Improved Janson: A Woman on Every Page, altered text with red bookmark, 3 x 17.50 x 11.50 in. Dallas Museum of Art, Lay Family Acquisition Fund. Opposite, above: Ivy Haldeman, Bun Piece Dabs Forehead, Hand Lifts Rip, Thigh Left, 2020, acrylic on canvas, 24.12 x 16.62 x 1.25 in. Dallas Museum of Art, gift of Andre Sakhai; Opposite, below: Installation view of Toyin Ojih Odutola, Cracked Screen (Lynette in front of Sigmar Polke, Sardinia 2021), 2022; Sigmar Polke, Clouds (Wolken), 1989; and Lynette YiadomBoakye, Repose 3, 2018 in the section “Friendship and Collaboration.”

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of Sherrie Sherrie Levine, Levine, After After Man ManRay Ray(La (LaFortune): Fortune):6,6,1990; 1990;Rachel RachelHecker, Hecker,Parboiled, Parboiled,1994; 1994; Installation view of Pensato, Felix, Felix, 2007 2007 inin the the section section“Women “Womenand andAppropriation.” Appropriation.” and Joyce Pensato,

“I’ve “I’ve really really never never made made any any money, money, until untilrecently. recently.But ButI Ialways alwaysgot gotby. by.IfIfyou you have have something something to to say, say, itit will will be be seen, seen, you youjust justmight mightnot notbe bealive… alive…You You might might be be old old or or dead. dead. And And ifif you’re you’re female, female,you’re you’rebound boundtotobe beold oldorordead.” dead.” –Marilyn –MarilynMinter Minterfrom fromThe ThePrice PriceofofEverything Everything

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the presence of nude female figures as subject matter. Nearby are works by Carolee Schneemann and Sarah Charlesworth, shown in relationship to Jackson Pollock’s 1947 action painting, Cathedral. Each woman responds to Pollock’s drip technique: Charlesworth undermining the singular “genius” of the male painter by using a similar technique rendered photographically, Schneemann through a durational performance that involved her making marks while suspended nude from a harness, her action the embodiment of the sentiment that anything Fred Astaire did, Ginger Rogers did “backwards and in heels.” “Women and Appropriation” features a powerhouse trio of works by Sherrie Levine, Jenny Holzer, and Barbara Kruger. Especially impactful is Kruger’s Pledge, Will, Vow, which features three monitors that play text from the Pledge of Allegiance, marriage vows, and legal estate documentation, cycling through words and phrases that highlight the misogynistic nature of widely accepted, traditional verbiage. A treat in this section is Parboiled, a fantastic painting by Houston-based Rachel Hecker, a silvery dreamscape of a nude female body punctuated by images of Casper the Friendly Ghost, a screw head, and an alarm clock. Moments such as this are why permanent-collection shows are vital to museum programming, giving curators and viewers the opportunity to discover (or rediscover) a truly unique work of art by a possibly lesser-known artist. Two of the most poignant moments occur in “Black Female Subjectivity” and “Friendship and Collaboration,” the latter section an often-overlooked dynamic between male and female artists, with women typically posited as muses or behind-the-scenes bolsters instead of platonic colleagues. For Whom the Bell Tolls, by Javina Harris is a pointed look at the tendency for early-20th- century male artists—the title is derived from Ernest Hemingway’s novel— to find inspiration in “exotic” locales, using the tragic, real-life experiences of others as critical source material. The intricacies of relationships developed between artistic peers is shown in an unlikely grouping of works by Toyin Ojih Odutola, Sigmar Polke, and Lynette Yiadom-Boakye, with Polke serving as a touchstone for the friendship between the other two artists. The most dynamic section is “Women and Surrealism.” Although surrealism has remained a steady influence over the last century, the past decade has heralded a return to its deeply personal origins as a way to parse through the noise of contemporary life and embrace the unconscious—an act that seems less and less achievable given the intrusiveness of media and technology. Works by Leonora Carrington, Max Ernst, and Yves Tanguy demonstrate the exquisite combativeness between the ancient and modern in early surrealism, while contemporary artists like Issy Wood, Lucy Bull, and Ulala Imai investigate comfort, safety, and identity. Other standouts are Limule by Julie Curtiss and Compressions by Danica Lundy. Curtiss’ painting (on loan from The Rachofsky Collection) is sharp and mysteriously tantalizing, while Lundy’s is fantastical and grotesque. One issue raised by the exhibition is the inherent exclusionary nature of a show rooted in the female-male binary when there are many underrepresented artists who don’t identify as either. To address this, the museum has an upcoming exhibition featuring works from the collection by trans and nonbinary artists. Explains Brodbeck, “these artists have their own approach and perspective on issues of representation in art history and together can enrich our understanding of both art and life.” Change may move slowly, but the DMA and curators like Brodbeck are ensuring it takes place, one exhibition at a time. P

Top: Julie Curtiss, Limule, 2021, acrylic and oil on canvas 30 x 25 in. The Rachofsky Collection; Bottom: Calida Rawles, In His Image, 2021, acrylic on canvas, 47.75 x 60 x 2 in. Dallas Museum of Art, gift of Marcia and Jonathan Sobel.

FEBRUARY / MARCH 2024

A modern oasis created by Bernbaum/Magadini Architects with custom builder Steven Hild and landscape design by Hocker.

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ELEVATED CONTEMPORARY BERNBAUM/MAGADINI ARCHITECTS REVIVE FABLED HIGHLAND PARK CORNER MANSE WITH INTERIOR DESIGN BY ROBYN MENTER. BY NANCY COHEN ISRAEL PHOTOGRAPHS BY CHARLES DAVIS SMITH AND DAVE SHAFER

FEBRUARY / MARCH 2024

A curved water feature designed by Hocker with lighting by Douglas Lighting Design.

hris Parvin knew immediately that the empty lot he acquired could be turned into an incredible property. “We decided to build a contemporary home. We had no idea that the house before [its demolition] was contemporary,” he reminisces. The former home was an iconic architectural gem by O’Neil Ford. Without knowing that storied history, Parvin was drawn to the lot’s elevation and large footprint. He worked with Bernbaum/Magadini Architects to reincarnate the property. Familiar with the fabled home, Patricia Magadini says, “We had a large responsibility because this lot was a well-known property with a beautiful piece of architecture on it.” Through the combined visions of those who worked on it, the site once again features a spectacular contemporary home. Magadini assembled a team that included Robyn Menter Design Associates, landscape architect David Hocker, and contractor Steven Hild. “It always makes a difference when the team is working together. You get a very cohesive project at the end of it,” Magadini states. The result is a home reflecting a buoyancy that comes from the harmonious balance of architecture, interior design, and landscape design. On the exterior, the limestone façade is softened by a mahogany

Interiors by Robyn Menter Design Associates with Holly Hunt Harlow lounge chairs.

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Above: Chuck Close, Self Portrait, 2015, on left with Allan Knight custom Van Ness sectional with waterfall back cushions; Holly Hunt Harlow lounge chair and ottomans. Below: Anders Moseholm, You're Such A Beautiful Person But You Have Problems, 2022, oil on canvas, diptych from Craighead Green Gallery; Holly Hunt Diplomat dining table; Walter K. Saddle dining chairs from Scott + Cooner.

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Paul Manes, Porto Ercole, 2014, oil on canvas, 90 x 122 in.; Sloan Miyasato entry table. Kyle Bunting custom hair on hide rug.

portico that stretches across the entry. Menter, who also selected the art for Parvin, installed a mirrored, abstract sculpture by Jon Krawczyk as a counterbalance to the front door. Its organic form offsets the angularity of the exterior. With full-length windows creating a clear membrane between interior and exterior, the middle section of this tripartite arrangement reveals Paul Manes’ monumental Porto Ercole. Installed in the entry hall, it presages the palette for much of the home. The exterior is also enhanced by a curved water feature, designed by Hocker, that wraps around the landing. Its negative edge allows water to tranquilly spill downward. Magadini explains that the foundation was deliberately set back to create the effect of the water continuing beneath the window-wrapped home. From the living room, she says, “You look out over the water to the trees across the street.” Since Parvin moved from woodsy Cedar Hill, Hocker enveloped the property with trees. Once inside, living areas on either side of the foyer speak to Parvin’s enjoyment of entertaining. One side leads into a formal living room while the other leads into a game room. The former can seat a crowd. The custom Van Ness Sectional, Menter adds, features waterfall back cushions that do double duty as additional informal seating. In a room with 14-foot ceilings, she was cognizant of drawing energy into the sitting areas. For example, she flanked the entryway with large paintings by Anders Moseholm. This softens the stone walls while bringing an Tecno P32 swivel armchairs; Kenneth Cobonpue Chiquita stool; Robyn Menter Design Associates custom Grazzini coffee table; custom area rug.

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Apparatus Arrow pendant, aged brass and bronze-color suede; Douglas Jennings Wallace walnut with satin antique brass coffee table from Bright; Senufo by ArnoDeclercq side tables from Garde; DLV Campanha club chairs from JDM.

FEBRUARY / MARCH 2024

Bernbaum Magadini and RMDA designed two garages for the homeowner’s automobile collection.

intimacy to the room. Over the fireplace, Menter designed flexible paneling. Closed, it creates a serene space that directs one’s gaze to the exterior view. These panels, however, are motorized and can be opened, revealing the television set behind them. Parvin made several specific requests, Magadini says. Rather than a formal dining room separated from the kitchen, he preferred one large open space. Menter placed the Diplomat dining table as a space divider between the living area and the kitchen. This dining environment is bracketed on one side with a resin shelf, where three wood and silk sculptures by French artists Sylvia Eustache Rools and Jérôme Pereira soften the strong horizontals of this area. A woodcut by Chuck Close on the facing wall brings a pop of color to the cool neutrals around it. Anchoring the other end of this space is an open, spacious kitchen where, Magadini notes, Parvin enjoys cooking. The game room on the other side of the entry hall is a relaxed gathering space. Here a quartet of lounge chairs encircle a custom table designed by Menter. “I love doing custom, bespoke pieces. They give the essence of unique design for me,” she offers. Kenneth Cobonpue Chiquita stools tuck neatly under the table. Using rattan poles in place of cushions, they are as surprisingly comfortable as they are offbeat. This playful arrangement is in a room that also boasts a pool table and arcade games. The custom black-granite bar serves the indoor and outdoor areas with ease. Glass pocket doors open onto a covered terrace, pool, and fire pit. The pool, Magadini emphasizes, is magical in the way that it is flush with the pool deck. She credits Hocker with its elegant design and Hild with its challenging fabrication. At the opposite end of the game room, a staircase leads downward into a sublime cigar lounge. Parvin’s tastes are perhaps best expressed in this part of the home. The horseshoe bar, topped with white onyx, is a focal point of this space. Here he also enjoys a fully stocked wine cellar as well as an additional seating area. He is an avid golfer, and one half of the room is dedicated to a simulator with which, he says, “I can play almost any course in the world.” He is watched over by a signed portrait of golf greats Jack Nicklaus, Arnold Palmer and Gary Player. Nicklaus, Parvin says, was like a grandfather to him. His collection of memorabilia extends to other sports legends, musical icons, and historic leaders, including George Washington. According to Magadini, the homeowner’s requests included a large garage for his significant car collection. The architects designed two garages. The one above is where Magadini says the “daily drivers” park. The toney subterranean one, however, is where Parvin keeps an impressive array of sports cars, and features floor-to-ceiling picture windows. Those who worked on the project are delighted with the outcome. “Chris has a large personality so we wanted to do something striking and memorable and that would still be a home you could live in,” Menter says. Of the enduring architecture Magadini modestly adds, “It’s definitely more contemporary than what was there [previously], but hopefully it is a nice piece of architecture.” As for Parvin, it is a home he looks forward to enjoying for many years. P

David Yarrow, The Home of Golf, 2022, and custom wine storage by RMDA.

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Knoll Richard Schultz 1966 dining table, dining chairs, counter stools, lounge chairs, ottomans, coffee table, chaise loungers, firepit rocking chairs, and side tables; Brown Jordan sectional sofa with David Sutherland fabric.

Jon Krawczyk, Intoxicating Visage, 2021, from Craighead Green Gallery.

Douglas Lighting Design enhanced the exterior views.

FEBRUARY / MARCH 2024

This page: Hair and makeup LB Rosser, Kim Dawson Agency; Photographer’s assistant Miguel Serrano; Model, Liv Swardh, Kim Dawson Agency. Monse Floral Skeleton print mesh top and bustier trouser; Deepa Gurnani beaded earring; Paris Texas mule in acid. All available at Tootsies, Plaza at Preston Center. Opposite: Jil Sander sleeveless tank top bustier with scoop neckline, wool gabardine belted trousers, metallic leather heeled ankle boots, and Goji Bamboo Square bag. All available at Jil Sander, NorthPark Center.

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SWANKY SWEXAN Style Comes Together in Harwood’s Haute Hôtel PHOTOGRAPHS BY LUIS MARTINEZ STYLING BY ELAINE RAFFEL AND WENDY MULAS FLORAL DESIGN BY CONCEPTO

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Akris Mel silk gauze cargo pants and Teodore silk gauze oversize blazer jacket. All available at Akris, Highland Park Village; Aquazzura Amore mule in powder pink. Available at Tootsies, Plaza at Preston Center.

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IMAGE CAPTION.

Versace shirt with printed floral details, Midi skirt with printed floral details, and Gianni Ribbon boots. All available at Versace, NorthPark Center.

FEBRUARY / MARCH 2024

Zimmermann Harmony Gathered long dress, Midnight earring, and Orchid ballerina. All available at Zimmermann, NorthPark Center.

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Dolce & Gabbana lace mini dress with collar; polished calfskin platforms, and holdup stockings with branded elastic. All available at Dolce & Gabbana, NorthPark Center.

FEBRUARY / MARCH 2024

This page: Brunello Cucinelli chiffon blouse and knitted skirt. Available at Brunello Cucinelli, Highland Park Village. Opposite: Monse Floral Skeleton print slip dress; Nickho Rey Margaret earring; Aquazzura Uptown sandal in black suede All available at Tootsies, Plaza at Preston Center.

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FEBRUARY / MARCH 2024

THERE: THERE AKRIS CELEBRATES NEW STORE REVEAL DESIGNED BY DAVID CHIPPERFIELD WITH JOYCE GOSS BENEFITING DALLAS CONTEMPORARY PHOTOGRAPHY BY PEYTON MIXON

Joyce Goss, Rose Cole, Marisa Howard

Barbara Buzzell, Rand Mason, Jane Wempe

Dr. Jessica Shepherd, Clarissa Kelly Hunter, Noelle LeVeaux

Leigh Reinerson, Anna Meliksetian

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Selwyn Rayzor

Brendan Blaney, Melissa Rose Heer, Teresa Moeller, Catanna Berger, Kelly Anderson

Janet Kafka, Emily Edwards, Lucia Simek

Kaleta Blaffer Johnson

DROESE RANEY CELEBRATES 25TH ANNIVERSARY AND BOOK LAUNCH AT THE CONSERVATORY PHOTOGRAPHY BY KAITLIN SARAGUSA FOR BFA.COM

Steve Jordan, Daniel Driensky, John Fife

Todd Fiscus

Brian Bolke, Faisal Halum

Kim Whitman, Missy Rogers Peck

Mason McCleskey, Javier Burkle

Lance Raney, Brady Wood

Francisco Moreno, Courtney Terrell, TJ Terrell

David Droese, Suzanne Droese

Kasey Lemkin, Reed Robertson

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THERE THE CULTIVIST IN CONVERSATION WITH ALICIA EGGERT IN PARTNERSHIP WITH JIMMY CHOO AT BAR CHARLES PHOTOGRAPHY BY KAITIN SARAGUSA FOR BFA.COM

Alicia Eggert, Joey Lico

Anastacia Stathakis, Miguel Mendelowitz, Amy Robb

Annabel Toole, Kaleta Blaffer Johnson, Anais Nussbaumer

Greer Goss, Joyce Goss

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Lance Raney, Christy Berry

Robyn Siegel, Ashley Varel, Shayna Fontana Horowitz, Jamie Coulter

Reed Robertson, Sharon Lee Clark

Grace Cook, Miles Parker Trapp Danielson

Talley Hodges, Will Pike

REFER TO FIG 361 CLOSING RECEPTION SPONSORED BY PATRON AND LALO AT THE BELMONT HOTEL PHOTOGRAPHY BY AJ BOLING

Christian Armando Guillén of El Cantinero, Orlando Trejo

Jose Vasquez Ramirez

Michael Domke

Elizabeth Hooper O'Mahony, Aliyah Cydonia Darryl Ratcliff

Adrian Zuniga, Aliyah Cydonia, Christopher Scott

Chris Stewart, Denise Stewart, Hannah Baskin

Donovan Hinda

Jillian Wendel and Jack Jones

Lauren Fleniken and Mir Ortiz

FEBRUARY / MARCH 2024

FURTHERMORE

COLLECTIVE LIVES

Empire of Dirt grows together through Nasher Public with Invocation of the Cosmic Body. BY JOHN ZOTOS

hen it comes to progressive art now, the Nasher Public gallery has become an important venue that gives artists with ties to Dallas a place to shine. Currently, an immersive exhibit by the art collective known as Empire of Dirt, titled Invocation of the Cosmic Body, treats visitors to an installation art experience. Empire of Dirt is a collective of artists that includes visual artists Xxavier Edward Carter and Tabatha Trolli and performance artist Gata Voladora. To their collaboration Carter brings his large-scale tapestries of collaged detritus accumulated as he goes through life, which include receipts, tickets, papers, tea packets, talismans, and museum brochures. These and other items together advance his representation of our collective lives, or a collective society that Trolli explores in ceramics and Voladora with performance art. For this collaboration, the artists adopted a view that “we all grow out of one another.” For this exhibition the three artists collaborated on everything from the tapestries to a group of six ceramic bonsai tree pieces such that no particular artist is responsible for any individual work of art. For Carter the bonsai trees represent “something that spoke to scale, things that involve individual mark making, ideas of the trace, the idea of the bonsai kind of spoke to me as a product of the natural environment that here is confined to a human space.” Xxavier Carter grew up in Dallas and attended Stanford University, where he completed a bachelor of fine arts. An MFA quickly followed at SMU, where he determined that no single style or medium would define his practice, which he sees as “transdisciplinary.” Early on during the pandemic, while the Nasher Sculpture Center was closed, the curators were eager to reach the public and mounted a series of exhibitions inside the entry foyer known as “Nasher Windows.” It was then that Carter’s path crossed

with the museum in his own window exhibition, which led to an acquisition by the center and his inclusion in Nasher Mixtape, which went on view after the center reopened to the public. This introduced Carter to Nasher curator Dr. Catherine Craft, who was instrumental in bringing Invocation of the Cosmic Body to the museum. Originally the exhibition was intended as a showcase of Empire of Dirt on view in a contemporary commercial art gallery. When the plans fell through, Carter approached Craft with a proposal to bring the installation to the Nasher, an offer she couldn’t refuse. The collective’s name was drawn from a song called Hurt by Nine Inch Nails (an American industrial rock band) with the lyrics “and you could have it all, my empire of dirt.” In a quite esoteric, philosophical explanation of his views about both the notion of abstraction and the underpinnings informing the exhibition, Carter states that the “cosmic body stretching beyond our gaze to realms unseen and unsensed is fruited in human response to the darkness on the other side of our eyelids.” Whereas, on the material end, as human beings we engage in transactions and experiences in which “we account for our time through collecting the bits and pieces of the transaction.” Keeping these ideas in mind, it’s easy to understand the gravity and depth plumbed by the artists when they conceived of this ambitious exhibition, while they designed and hand finished the ceramic pieces produced at Cerámica Suro in Guadalajara, Mexico, and while they painstakingly directed and traced their transport to Dallas. So called “cold finishes” were applied here before they eventually went on display. Carter’s mother passed away last year, and the exhibition also includes a small altar that contains her ashes. Life, mortality, and transcendence are laid bare here, reminding the viewer of what the collective has grappled with in this timely and important exhibition. P

Empire of Dirt, Invocation of the Cosmic Body, 2023, installations views. Nasher Public: Empire of Dirt, Nasher Sculpture Center, December 10, 2023–February 11, 2024. Photographs by Kevin Todora. Courtesy of Nasher Sculpture Center.

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