PATRON JUNE/JULY 2022 MEET PATRON'S 2022 ART INFLUENCERS
ART INFLUENCERS
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“A cross-cultural conversation of beauty.” —Town & Country
MAY 14 TO SEPTEMBER 18, 2022 Islamic art was a formative inspiration for Louis Cartier and the Maison Cartier in the early 20th century. Cartier’s designers adapted shapes, techniques, and materials from India, the Middle East, and North Africa, synthesizing and transforming them into a unique, modern stylistic language that continues to inspire new creations.
To learn more and get tickets, visit cartier.dma.org Cartier and Islamic Art: In Search of Modernity is co-organized by the Dallas Museum of Art and the Musée des Arts Décoratifs, Paris, in collaboration with the Musée du Louvre and with the support of Cartier. The Presenting Sponsor for this exhibition is PNC Bank. The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the National Endowment for the Arts, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture. PRESENTING SPONSOR
MAJOR SPONSOR
EXHIBITION SUPPORT LISA AND CLAY COOLEY NANCY DEDMAN LAURA AND WALTER ELCOCK SUSAN AND BILL MONTGOMERY NANCY C. AND RICHARD R. ROGERS SOGAND SHOJA GAYLE STOFFEL
ADDITIONAL SUPPORT BELA AND CHASE COOLEY CHRISTINA AND SAL JAFAR II CATHERINE AND WILL ROSE DEEDIE ROSE VAUGHN O. VENNERBERG II
IMAGE: Bib necklace, Cartier Paris, special order, 1947. Cartier Collection. Nils Herrmann, Cartier Collection © Cartier
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EDITOR’S NOTE
Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak
June / July 2022
TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com Instagram terri_provencal and patronmag
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Though the art season slows for summer vacations—fewer openings, galas, and events—those working within the arts keep up the pace. Fall is just around the corner, and this year’s annual selection of Patron Art Influencers finds them busy planning, creating, and making. Casting our net wider this year, all told there are 13 of them winnowed from a diverse spectrum, including Dallas Contemporary’s executive director Carolina Alvarez-Mathies; artists Marjorie and Ludwig Schwarz; Karpidas Collection’s collection manager Sara Hignite; curator and director of educational programming at The Warehouse, Thomas Feulmer, who is also an artist; gallery owner Daisha Board; the first City of Dallas Poet Laureate Joaquin Zihuatanejo; performance artist Christian Cruz; gallery owners Dr. Valerie Gillespie and Emmanuel Gillespie, both artists, educators, and curators; filmmaker and educator Amber Bemak; and OutLoud cofounders Allison Caldwell and Jeffery Bryant Moffitt, who work to amplify youth voices. Steve Carter, Nancy Cohen Israel, and Eve Hill-Agnus joined me to tell their stories in these pages. Prepare to be motivated by their impressive minds, community building, and acumen. Their remarkable persistence gives art lovers a reason to get out of the house and engage. It doesn’t get more inf luential than the centuries-old lineage of glassmakers inhabiting the Murano islands, just a ferry ride from Venice. Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano, on view at the Amon Carter Museum of American Art, promises to enthrall with extraordinary examples of Murano techniques alongside the work of American artists who were deeply influenced by what they found there. Advocating art as a mechanism for well-being, Art for Tillman, written by Gavin Delahunty, discovers a persistent group who believe in the power of art for recovery. Just a year old, Tillman House is an affordable sober-living community encouraging long-term sobriety for graduates of Dallas 24 Hour Club, which provides transitional living, support services, and essential life skills for homeless alcoholics and addicts. CEO Marsha Williamson worked with Delahunty and board chair Michael Young to engage top area collectors to donate work to the two-story building to foster healing. Patron takes a look inside. Hannah Lupton Reinhard brings her fantasy realism to the Green Family Art Foundation with House of Stars and Angels, opening June 4. We caught up with the Swarovski-loving California dreamer in Dipped In Stardust. Dallas is smitten with Hadi Fallahpisheh, a Tehran-born, Brooklyn-based artist whose Young and Clueless currently occupies The Power Station. While here, the artist took to the Katy Trail to install Guest, comprised of four cheerfully hued companion sculptures. Read about him in Dark Victory. In Atelier, we interview Australia’s Nicky Zimmermann, the creative director of the eponymous fashion label she cofounded with her sister Simone in Sydney. Celestial Chic finds Zimmermann guided by the zodiac in a collaboration with Scottish artist Anita Inverarity for fall’s Stargazer collection. On the bespoke heels of May’s 2022 Met Gala and exhibition In America: An Antholog y of Fashion and the Dallas Museum of Art’s bejeweled opening of Cartier and Islamic Art: The Search for Modernity, we pursued artinclined labels of style. Elaine Raffel shares details in Artfully Amplified. Finally, the Bard of Avon is roaming Samuell-Grand Park this summer, as Shakespeare Dallas celebrates 50 years of producing works which have starred the likes of Morgan Freeman and Sigourney Weaver. The season kicks off with the 16th-century rom-com A Midsummer’s Night’s Dream at SamuellGrand Amphitheatre on June 15. As the weather gets steamier let’s take the influencers’ lead. Remember sly Iachimo said, “Boldness be my friend. Arm me with audacity from head to foot.” – Terri Provencal
CONTENTS
FEATURES 42 ART INFLUENCERS Meet a diverse cast of audacious instigators who are making art or influencing audiences to pursue contemporary programming. By Steve Carter, Nancy Cohen Israel, Eve Hill-Agnus, and Terri Provencal 54 CITY OF GLASS Revel in Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano at the Carter. By Steve Carter 58 ART FOR TILLMAN The 24 Hour Club stimulates better health and well-being through a permanent installation. By Gavin Delahunty DEPARTMENTS
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6 Editor’s Note 10 Contributors 22 Noted Top arts and culture chatter. By Anthony Falcon Of Note 31 DIPPED IN STARDUST Green Family Art Foundation exhibits Hannah Lupton Reinhard’s crystal-embellished fantasy realism. By Terri Provencal Contemporaries 38 DARK VICTORY Tehran-born, Brooklyn-based artist Hadi Fallahpisheh mined pitch-black realms for Young and Clueless. Interview by Terri Provencal
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Atelier 62 CELESTIAL CHIC Nicky Zimmermann’s fall 2022 Stargazer collection channels the zodiac. By Terri Provencal 64 ARTFULLY AMPLIFIED Can’t-miss museum exhibitions pair with the fashion world’s creative collaborations. By Elaine Raffel There 67 CAMERAS COVERING CULTURAL EVENTS Furthermore 72 THE BARD’S GOLDEN TICKETS Performing the works of William Shakespeare, Shakespeare Dallas turns 50. By Terri Provencal 54 On the cover: 2022 PATRON Art Influencers. Photography by Itzel Alejandra, Jess Ewald, Victoria Gomez, and Luis Martinez.
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THROUGH JULY 31, 2022
SLAY Artemisia Gentileschi & Kehinde Wiley
JULY 19–OCTOBER 9, 2022
The Language of Beauty in African Art was organized by The Art Institute of Chicago. Slay: Artemesia Gentileschi and Kehinde Wiley is organized by the Museo e Real Bosco di Capodimonte, the North Carolina Museum of Art, the Kimbell Art Museum, and The Museum Box. The Kimbell Art Museum is supported in part by Arts Fort Worth, the Texas Commission on the Arts, and the National Endowment for the Arts. Promotional support provided by:
Female Face Mask (detail), Chokwe, Angola, 19th–early 20th century, wood, pigment, metal, and fiber. Private collection. Courtesy of Schweizer Premodern, New York; Female Face Mask (Kambanda) (detail), Eastern Pende, Democratic Republic of the Congo, 20th century, wood, pigment, fiber, and metal. Museum Rietberg, Zurich, gift of Barbara and Eberhard Fischer, HH 21a; Face Mask (Agbogho Mmuo) (detail), Igbo, Nigeria, 20th century, wood and pigment. Detroit Institute of Arts, Bequest of Robert H. Tannahill, 70.99; Artemisia Gentileschi (Rome 1593–Naples c. 1653), Judith and Holofernes (detail), c. 1612–1617. Oil on canvas, 159 x 126 cm, inv. Q 378, Napoli, Museo e Real Bosco di Capodimonte; Kehinde Wiley (American, born 1977), Judith and Holofernes (detail), 2012. Oil on linen, framed: 130 1/2 x 99 7/8 in. (331.5 x 253.7 cm), purchased with funds from Mr. and Mrs. Gordon Hanes in honor of Dr. Emily Farnham, by exchange, and from the North Carolina State Art Society (Robert F. Phifer Bequest), 2012, 2012.6. Kehinde Wiley, Judith and Holofernes, 2012. © Kehinde Wiley. Courtesy of the North Carolina Museum of Art and Sean Kelly, New York
CONTRIBUTORS CHRIS BYRNE authored the graphic novel The Magician (Marquand Books, 2013), included in the Library of Congress. He curated Peter Saul: 50 Years of Painting, named one of 2010’s top five shows by the Village Voice and organized Susan Te Kahurangi King’s first US exhibition, selected by Jerry Saltz for New York magazine’s 19 Best Art Shows of 2014. Byrne chaired AVAM, the national museum for visionary art. He founded the Elaine de Kooning House and Studio in East Hampton, listed on the National Register of Historic Places.
John Sutton Photography
STEVE CARTER had the pleasure of getting to catch up with three artists chosen for Patron’s annual feature, Art Influencers: Christian Cruz, Marjorie Norman Schwarz, and Ludwig Schwarz. “I’ve contributed to these articles before, so I know what I’m in for: stimulating interviews with some of the city’s most in-tune creatives—always a pleasure.” Carter also previews the Carter’s upcoming Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano exhibition. Expect greatness.
LAUREN CHRISTENSEN has over two decades of experience in advertising and marketing. As a principal with L+S Creative Group, she consults with a wide variety of nonprofit organizations and businesses in many sectors, including retail, real estate, and hospitality. Lauren is a Dallas native and a graduate of SMU with a BA in advertising. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.
NANCY COHEN ISRAEL is Dallas-based writer, art historian, and an educator at the Meadows Museum. Always inspired by the breadth and enthusiasm of the area’s makers, for the current issue, she enjoyed writing about four local Art Influencers selected for Patron’s annual feature, whose work allows Dallas to continue to evolve into a dynamic cultural center. Read about filmmaker Amber Bemak, Allison Caldwell and Jeffery Bryant Moffitt of OutLoud, and Joaquin Zihautenejo the first poet laureate for the City of Dallas.
GAVIN DELAHUNTY is a Dallas-based curator. He served as editor of Amor Mundi: The Collection of Marguerite Steed Hoffman (Ridinghouse, 2022) and curated Psychic Wombs: On Art & Trauma at The Warehouse. In Art for Tillman, Gavin discusses the remarkable art donated by local collectors to the adult recovery center known as the Tillman House for Dallas 24 Hour Club graduates, which offers transitional living, support services and essential life skills, fostering long-term sobriety for homeless alcoholics and addicts.
VICTORIA GOMEZ is dedicated to telling stories through images by capturing life through her lens. Currently, she is an undergrad student at the University of North Texas, with plans to graduate in December 2022. Based in Dallas, Texas, her practices include commercial and fine art photography. She uses portraiture and still life to focus on themes of femininity, identity, culture, and intersectionality. For Patron, she photographed Art Influencers, including a museum director, gallerists, and artists.
EVE HILL-AGNUS is a writer, editor, and translator. She has roots in France and California and has been a teacher of literature and journalism; an award-winning dining critic in Dallas who also covered art and dance; and a freelance art writer and editor of nonfiction, fiction, and poetry. Her joy recently has been translation, whether the translation of one language to another or of art into words. In Art Influencers, Eve interviewed Carolina Alvarez-Mathies and Thomas Feulmer days before moving to Paris.
ELAINE RAFFEL blames her obsession with designer fashion and opulent jewels on her years as creative head for the crème de la crème of retail: Neiman Marcus, Bergdorf Goodman, and Stanley Korshak. An ongoing fashion contributor to Patron, she was inspired by the Met Gala to create Artfully Amplified in this summer issue. Here she takes a look at next-level creative ingenuity and unexpected splurges for fall closets.
JOHN SMITH is a Dallas-based photographer who flexes his degree in architecture to photograph homes of distinction by the best in the trade. Years of experience provides him with a unique appreciation for his clientele’s vision. In this issue, John brought his camera and lens to the adult recovery center the Tillman House to capture the permanent installation of art donated by area collectors to inspire well-being.
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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 is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2021, 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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Women Painting Women Through September 25
Women Painting Women features 46 female artists who choose women as subject matter in their works. This presentation, international in scope, includes evocative portraits that span the late 1960s to the present. All place women—their bodies, gestures, and individuality—at the forefront, conceiving new ways to activate and elaborate on the portrayal of women. Rita Ackermann
Celeste Dupuy-Spencer
Maria Lassnig
Joan Semmel
Njideka Akunyili Crosby
Nicole Eisenman
Christiane Lyons
Amy Sherald
Emma Amos
Tracey Emin
Danielle Mckinney
Lorna Simpson
María Berrío
Natalie Frank
Marilyn Minter
Arpita Singh
Louise Bonnet
Hope Gangloff
Alice Neel
Sylvia Sleigh
Lisa Brice
Eunice Golden
Elizabeth Peyton
Apolonia Sokol
Joan Brown
Jenna Gribbon
Paula Rego
May Stevens
Jordan Casteel
Alex Heilbron
Faith Ringgold
Claire Tabouret
Somaya Critchlow
Ania Hobson
Deborah Roberts
Mickalene Thomas
Kim Dingle
Luchita Hurtado
Susan Rothenberg
Nicola Tyson
Marlene Dumas
Chantal Joffe
Jenny Saville
Lisa Yuskavage
Hayv Kahraman
Dana Schutz
MODERN AR T MUSEUM OF FOR T WOR TH 3200 Darnell Street • Fort Worth, Texas 76107 • www.themodern.org
Hope Gangloff, Queen Jane Approximately, 2011. Acrylic on canvas. 66 × 108 inches. Collection of Alturas Foundation, San Antonio, Texas. © Hope Gangloff. Image courtesy of the Artist and Susan Inglett Gallery, NYC
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TWO x TWO for AIDS and Art announces 2022 Honored Artist Rashid Johnson As part of TWO x TWO for AIDS and Art 2022, Rashid Johnson will receive the amfAR Award of Excellence for Artistic Contributions to the Fight Against AIDS in recognition of his generous support of amfAR’s programs. Past TWO x TWO for AIDS and Art honorees include renowned artists Yoshitomo Nara, Alex Katz, Dana Schutz, Jonas Wood, Laura Owens, Ellsworth Kelly, Wade Guyton, Luc Tuymans, Richard Phillips, Mark Grotjahn, Christopher Wool, Peter Doig, Jim Hodges, Elizabeth Peyton, Tom Friedman, Cecily Brown, Julian Schnabel, April Gornik, Ed Ruscha, Joel Shapiro, and Robert Rauschenberg. We thank David Kordansky Gallery and Hauser & Wirth for their support of Rashid’s career and their longtime support of TWO x TWO. Visit twoxtwo.org or email melissa@rachofskyhouse.org for more information about TWO x TWO 2022. Portrait of Rashid Johnson: Fredrik Nilsen Studio, courtesy of the artist and David Kordansky Gallery.
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Savor Summer at Ellie’s Celebrate the start of summer by dining al fresco on Ellie’s Terrace, located within the HALL Arts Hotel. Delight in refreshing seasonal cocktails and showstopping cuisine to turn your Dallas Arts District outing into a masterpiece. 1 7 1 7 L EO N A R D S T R E E T, DA L L A S, T E X A S 7 5 2 0 1 | 9 7 2 . 6 2 9. 0 9 2 4 | E L L I E S DA L L A S.CO M
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01 AFRICAN AMERICAN MUSEUM Yanga: Path to Freedom in the Americas breaks ground by introducing new and existing materials in a direct and purposeful bilingual educational experience. Through Oct. 21. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Stephanie Syjuco: Double Vision is a site-specific commission and multimedia exhibition that investigate narratives of national identity. Through Jan. Art Making as Life Making: Kinji Akagawa at Tamarind offers a glimpse of life in a 1960s print workshop, through Oct. 30. Black Every Day: Photographs from the Carter Collection, opens Jun. 11 and explores more than 100 years of photographic representations of Black American experiences, through Sep. 11. Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano, Jun. 26–Sep. 11, pairs the splendor of glass goblets and mosaics with paintings and prints by the leading 19th-century American artists. Justin Ginsberg: Shaking the Shadow, Jun. 11–Sep. 25, sees Texas-based artist Justin Ginsberg create a glass sculptural work. Image: Fred Baldwin, Wendy Watriss, Saturday Night, gelatin silver print. Amon Carter Museum of American Art, Fort Worth, Texas. Gift of the Texas Historical Foundation with support from a major grant from the DuPont Company and Conoco, and assistance from the Texas Commission on the Arts and the National Endowment for the Arts. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS JooYoung Choi: Songs of Resilience From the Tapestry of Faith introduces the Cosmic Womb multiverse and highlights some of its key characters and narratives. In creating a world that explores loss, healing, and growth based upon belief and faith in oneself, Choi expresses human resiliency and the strength that can be found through the power of storytelling. Through Sep. 4. Rare Earth: The Art and Science of Chinese Stones explores the ways that Chinese and Western cultures have celebrated the beauty of natural stones. Reflecting the educational mission of The University of Texas at Dallas to unite scientific and artistic thinking, this exhibition pairs works of Chinese art from the Crow Museum’s permanent collection. crowcollection.org 04 DALLAS CONTEMPORARY Houston-based sculptor Joseph Havel presents Parrot Architecture, an exhibition of wall assemblages and totemic bronze and resin 22
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THE LATEST CULTURAL NEWS COVERING ALL ASPECTS OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW PERFORMANCES, GALLERY OPENINGS, AND MORE.
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sculptures made with the help of his pet African parrot, Hannah, during the pandemic. Lonnie Holley: Coming From the Earth is the selftaught artist’s first exhibition in Texas and features a new body of ceramic works. America, Nice Place marks New York–based artist Borna Sammak’s first museum show. Sammak’s new and recent works are on view, as well as a new exhibition design conceived by the artist. Natalie Wadlington: Places That Grow presents her richly colored figurative paintings that are heavily based on storytelling. All four exhibitions continue through Aug. 21. Image: Natalie Wadlington, Picnic at Night, 2022. Courtesy of the artist and Dallas Contemporary. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM Courage and Compassion provides a 360-degree perspective of the World War II experience of Americans of Japanese ancestry. The exhibition honors people across America who stood up to recognize Japanese Americans as fellow citizens. Through Jun. 12. dhhrm.org 06 DALLAS MUSEUM OF ART Bosco Sodi: La fuerza del destino and Slip Zone: A New Look in Postwar Abstraction in the Americas and East Asia both continue through Jul. 10. Guadalupe Rosales: Drifting on a Memory, continues through Jul. 10. Rosales collaborated with Dallas-based lowrider artist Lokey Calderon to create an immersive work that nods to lowrider culture. Octavio Medellín: Spirit and Form, the first museum retrospective for the late sculptor, continues through Jan. 15, 2023. Spirit Lodge: Mississippian Art from Spiro is the first major exhibition dedicated to the art and culture of Mississippian peoples, on view through Aug. 7. Through Sep. 18, Cartier and Islamic Art presents over 400 objects from major international collections, including the Department of Islamic Arts at the Louvre Museum and the Keir Collection of Islamic Art on loan to the DMA. Image: Chase Kahwinhut Earles, Caddo, Horse Tripod Vessel (Deé-Tumbah Kah’-Wis), 2015, ceramic, National Cowboy & Western Heritage Museum. dma.org 07 GEORGE W. BUSH PRESIDENTAL LIBRARY AND MUSEUM Waxing Poetic: Expressions in Cold Wax, a special exhibit at the George W. Bush Presidential Library and Museum, features 35 new works by President George W. Bush, including cold wax renditions of floral arrangements, landscapes, birds, and more. Through Sep. 25 in Freedom Hall. bushcenter.org
HANNAH PAINTERS LUPTON PAINTING REINHARD PAINTERS A HOUSE OF STARS AND ANGELS
A STUDY OF MUSES, FRIENDS AND COMPANIONS
Hannah Lupton Reinhard House of Stars and Angels, 2020
Jenna Gribbon The Artist Eroticized (Anthony), 2020
CURATED BY BAILEY SUMMERS OPENING SATURDAY JUNE 4, 5-8PM JUNE 4 - SEPTEMBER 25, 2022
150 MANUFACTURING ST, DALLAS, TX GREENFAMILYARTFOUNDATION.ORG (214) 274-5656 GREEN FAMILY ART FOUNDATION
NOTED: VISUAL ARTS
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08 KIMBELL ART MUSEUM The Language of Beauty in African Art presents nearly 250 works from collections around the world that scholars, connoisseurs, and collectors outside Africa have admired for more than a century. Through Jul. 31. Two paintings depicting different versions of the Old Testament story of Judith and Holofernes will be on view at the Kimbell for a limited time—one by Italian Baroque artist Artemisia Gentileschi and the other by American contemporary artist Kehinde Wiley. Strikingly different renditions of the same subject realized exactly 400 years apart, the paintings will allow visitors to reflect on contemporary issues through a historical lens. Slay: Artemisia Gentileschi & Kehinde Wiley will be on view Jul. 19– Oct. 9. Image: Kehinde Wiley (American, born 1977), Judith and Holofernes, 2012, oil on linen. Purchased with funds from Mr. and Mrs. Gordon Hanes in honor of Dr. Emily Farnham, by exchange, and from the North Carolina State Art Society (Robert F. Phifer Bequest), 2012. © Kehinde Wiley. Courtesy of the North Carolina Museum of Art and Sean Kelly, New York. kimbellart.org 09 LATINO CULTURAL CENTER The LCC is a multidisciplinary arts center and regional catalyst for the preservation, development, and promotion of Latino and Hispanic arts and culture. lcc.dallasculture.org 10 THE MAC Featuring CADD Fund’s 2021 winner, Christopher Wright Evans: Country Mile continues through Jun. 15. The MAC is a 501(c)(3) nonprofit arts organization that stands as an advocate for creative freedom, presenting visual art in all its forms. the-mac.org 11 MEADOWS MUSEUM Murillo: Picturing the Prodigal Son presents paintings that represent the first time a Spanish artist painted the story in serial form, through Jun. 12. Meadows/ARCO Artist Spotlight: Ignasi Aballí presents the Spanish conceptual artist, who is representing Spain at the 59th Venice Biennale. Masterpiece in Residence: Juan Sánchez Cotán’s Still Life with Quince, Cabbage, Melon, and Cucumber, painted around 1602, showcases an extraordinary still life by artistturned-monk Juan Sánchez Cotán. Both continue through Jun. 26. Summer programming includes Drawing from the Masters, Movies with the Meadows, and in-depth discussions. meadowsmuseumdallas.org 12 MODERN ART MUSEUM OF FORT WORTH Houston-based artist Jamal Cyrus’s sculpture, assemblages, performances, and paintings examine Black American histories, social movements, and cultural traditions within the African diaspora. The artist focuses on the forgotten, ignored, or fragmentary histories related to Black American culture in FOCUS: 24
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04 Jamal Cyrus, through Jun. 26. Women Painting Women, featuring 46 female artists who choose women as subject matter in their works, presents 50 evocative portraits that span the late 1960s to the present. Through Sep. 25. Image: Stanley Whitney, Good Trouble, 2020, oil on linen, unframed: 96 x 96 in. Collection of the Modern Art Museum of Fort Worth, The Friends of Art Endowment Fund. © Stanley Whitney. themodern.org 13 MUSEUM OF BIBLICAL ART Side by Side: George Tobolowsky and James Surls looks at the artists together through the summer. biblicalarts.org 14 NASHER SCULPTURE CENTER Dutch-born, London-based artist Magali Reus presents an installation that examines the relationships between people and objects through the distortion of common images, through Sep. 11. Throughout her five-decades-long career, Lynda Benglis has created sculptures in a wide range of materials that explore the physicality of form and its effects on the viewer. Through Sep. 18. Image: Magali Reus, Hammock, 2020, sand cast and hand-painted aluminum, CNC’d and sprayed model board, powder coated, phosphated, sand blasted, blackened, and copper-welded stainless steel and mild steel, nuts and bolts, 50.37 x 32.25 x 24 in. Courtesy the artist; The Approach, London; and Fons Welters, Amsterdam. Photograph by Plastiques. nashersculpturecenter.org 15 PEROT MUSEUM Becoming Jane: The Evolution of Dr. Jane Goodall allows guests to experience the story of a STEM pioneer. From her childhood in England to her revolutionary work in Tanzania, her life is showcased through an immersive projection experience of Tanzania’s Gombe National Park, a hologram projection of Dr. Goodall narrating, and a replica of her research tent in Africa, through Sep. 5. perotmuseum.org. 16 SIXTH FLOOR MUSEUM John F. Kennedy and the Memory of a Nation examines the life, legacy, and assassination of JFK within the events of November 22, 1963, and their aftermath. The multimedia experience advocates for cross-generational dialogue to foster interest and understanding in a historical context. Fragments presents architectural elements from the historic Texas School Book Depository building that explore the building’s 120-year history. jfk.org 17 TYLER MUSEUM OF ART Throughout the summer, Off the Walls, a pop-up experience around Tyler for the entire family, will take place on Tuesday and Thursdays. tylermuseum.org
SPECIAL EXHIBIT
LIBERTY &
Laughter THE LIGHTER SIDE OF THE WHITE HOUSE
March 3 to December 31 Plan your visit...
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01 AMPHIBIAN In David Adjmi’s contemporary take on the young queen of France, Marie Antoinette holds a mirror up to our contemporary society that might just be entertaining itself to death, Jun. 1–26. As part of the theatre’s National Theatre Live Series, Kit Harington plays Henry V in Shakespeare’s thrilling study of nationalism, war, and the psychology of power. Jul. 6–9. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER The PNC Patio Sessions series sees The Shepherds on Jun. 2 followed by DAMOYEE, an award-winning, multi-hyphenate music artist on Jun. 16. Next, a band rooted in the Texas indie and alternative rock music scene, Fishing in Japan, plays Jun. 23, and the Serenata Strings perform Jul. 21. The Elevator Project presents Love You Madly: Celebrating the Music of Duke Ellington on Jun. 2–4, next Griots: Celebrating a Compilation of Dallas’ Cultural Storytellers of the African Diaspora takes the stage Jun. 17–18, followed by Rhythm and Rhapsody presented by Verb Kulture on Jul. 14–16. For Mainstage presentations, the center presents legendary Italian composer and pianist Ludovico Einaudi on Jun. 22, Mandy Moore’s In Real Life Tour on Jul. 6, and Little River Band on Jul. 30. the Broadway series presents The Prom Jul. 26–31. Image: Courtney Balan, Patrick Wetzel, Bud Weber, and Emily Borromeo in the National Tour of The Prom. Photograph by Deen van Meer. attpac.org 03 BASS PERFORMANCE HALL Direct from Broadway comes an Oklahoma that looks and sounds like America today. A community bands together against an outsider in this picture of the frontier life that shaped America, on stage at Bass Hall Jun. 21–26. From Jul. 12–17, Jesus Christ Superstar will mark the celebration of its 50th anniversary. Mean Girls follows Cady Heron as she navigates a high school more savage than the African savanna where she grew up. Jul. 26–31. Image: Danielle Wade, Megan Masako Haley, Nadina Hassan, and Jonalyn Saxer in the National Touring Company of Mean Girls. Photograph © 2019 Joan Marcus. basshall.com 04 BROADWAY DALLAS The newly minted Broadway Dallas series features Oklahoma! Jun. 1–12. Next, from Jul. 20–Aug. 6, Frozen is an unforgettable theatrical experience filled with sensational special effects, stunning sets and costumes, and powerhouse performances. Frozen is everything you want in a musical: it’s pure Broadway joy. broadwaydallas.org 05 CASA MAÑANA Jun. 4–12, see Disney’s Newsies at Casa Mañana. Disney’s Newsies is the rousing tale of Jack Kelly, a charismatic newsboy and leader of a band of teenaged “newsies” in New York City at the turn of the 26
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twentieth century. Join the Apprentice Program Alumni as they celebrate a legendary composer in A Tribute to Stephen Sondheim, Jun. 16–18. Next, Steel Magnolias draws on the underlying strength and love that give its characters the superior quality to make them truly touching and funny company in good times and bad, Jul. 23–31. casamanana.org 06 DALLAS BLACK DANCE THEATRE DBDT is closing its 45th-anniversary season. The Big Dance or Boot Scootin’ Boogie on Jun. 4, includes a live concert and video tribute, dance party, dance lessons, food, and drinks. Special performances for the live concert will feature country music artist and Charley Pride’s son Dion Pride, and two-time CMA and ACM Female Vocalist of the Year, Janie Fricke. After-party dance entertainment will include the Breckenridge Band and fiddle duo June Blount. Image: Dallas Black Dance Theatre Academy. Photograph by Xavier Mack. dbdt.com 07 DALLAS CHILDREN’S THEATER Through the summer, DCT will offer their Academy Classes for the kiddos from pre-K to the 12th grade. dct.org 08 THE DALLAS OPERA TDO’s 2022–2023 season features four new-to-Dallas mainstage productions: Verdi’s dramatic Rigoletto, Humperdinck’s charming Hansel and Gretel, Wagner’s epic Das Rheingold, and Mozart’s mischievous comedy Così fan tutte—plus its annual Titus Family Recital, this year featuring soprano Ying Fang; a free seasonopening People’s Choice concert in the fall; two family operas: The Billy Goats Gruff and The Elixir of Love; the biennial Lone Star Vocal Competition; and the annual Hart Institute for Women Conductors Showcase Concert. dallasopera.org 09 DALLAS SYMPHONY ORCHESTRA DSO kicks off the summer with Baumer String Quartet Chamber Concert on Jun. 3, followed by Presto, Mambo! The Music of Latin America family concert on Jun. 4. On Jun. 7, Yanga is inspired by the story of Gaspar Yanga, an African prince who was shipped to Mexico as a slave in 1570 but managed to escape. Together We Sing, a musical presentation blending gospel and classical, will feature a musical tribute to Grammy Award–winning artist Richard Smallwood with national gospel recording artists, the DSO, and a 200-voice multi-ethnic, multi-faith choir on Jun. 15. Join the DSO for a symphonic tribute to Simon and Garfunkel Jun. 17–19. See Toy Story Live in Concert Jun. 24–26. The Highlander Concert Series: Verdi Requiem performs Jun. 30. Reverend Horton Heat with Justin Pickard and the Thunderbird Winos take center stage on Jul. 16. BLKBOK, a neo-classical piano prodigy from Detroit, uses his
JURORS
TERRI PROVENCAL & CHRIS STEWART
29th annual juried exhibition of
New Texas Talent
1011 dragon street • 214.855.0779 • www.craigheadgreen.com
Picture: Eli Ruhala, Sons, 2021
OPENING RECEPTION Saturday July 9, 2022 11AM - 7PM artists in attendance 3PM - 7PM
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dexterous arrangements and melodic scores to audibly illustrate experience across pivotal moments in American history, on Jul. 23. On Jul. 30 spend An Evening with Veronica Swift. mydso.com 10 DALLAS THEATER CENTER From Jul. 8–10, DTC highlights the reimagined Greek classic, The Odyssey. A man-eating Cyclops, a sorceress that turns sailors to beasts, and the deadly sweet song of the Sirens explode onto the stage with spectacular numbers in this joyful, larger-than-life musical about finding your way home—no matter where fate may lead you. dallastheatercenter.org 11 DALLAS WIND SYMPHONY Dallas Wind Symphony celebrates their annual salute to Jul. 4 in A Star-Spangled Spectacular. dallaswinds.org 12 EISEMANN CENTER DCJ Dance takes the stage Jun. 10–11. The Legacy of John Williams is a tribute to the composer on Jun. 11. The Royale Ballet Dance Academy performs on Jun. 12. Dove Academy of Dance Arts dazzles onstage Jun. 18. The Lords of 52nd Street perform Jul. 1. The Secret Comedy of Women runs Jul. 6–31. Benise’s 20th Anniversary Tour is a Latin-themed theatrical production with America’s foremost native-born ambassador of Spanish guitar. See him live on Jul. 31. eisemanncenter.com 13 FORT WORTH SYMPHONY ORCHESTRA FWSO’s Concerts in the Garden return for summer 2022. The Fort Worth Botanical Garden will see Asleep at the Wheel on Jun. 16, Jackopierce on Jun. 17, The Music of The Eagles on Jun. 18, Sarah Jaffe on Jun. 19, the Classical Mystery Tour on Jun. 23, The Music of Pink Floyd on Jun. 24, Star Wars and Beyond on Jun. 25, The Music of The Rolling Stones on Jul. 1, The Music of Queen on Jul. 2, and a July 4th celebration on Jul. 3 and 4. Image: Fort Worth Symphony Orchestra. Photograph by Julien & Lambert. fwsymphony.org 14 KITCHEN DOG THEATER For the 2022 New Works Festival Mainstage production, KDT has commissioned five playwrights—Migdalia Cruz, Matt Lyle, Allison Moore, Jonathan Norton, and Regina Taylor—to write short plays that will shine a spotlight on one of the five senses: taste, touch, vision, hearing, and smell. High Five runs Jun. 10–26. The 21st PUP (Playwrights Under Progress) Fest will feature six staged readings of jury-selected scripts written by high school students this summer. kitchendogtheater.org 15 LYRIC STAGE Set in Berlin as the 1920s draw to a close and based on John Van 28
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Druten’s 1951 play I Am a Camera and Christopher Isherwood’s 1939 novel Goodbye to Berlin, Cabaret focuses on the hedonistic nightlife at the seedy Kit Kat Klub while exploring the dark and tumultuous life in Germany as the Third Reich ascends to power. On stage Jun. 9–12. lyricstage.org 16 MAJESTIC THEATRE AEG Presents: Andy Grammer on Jun. 1, followed by Baby Shark Live on Jun. 3; poet Rupi Kaur stops in Dallas on Jun. 13; Joe Jackson is back on Jun. 14; Marlon Wayans brings the laughs on Jun. 18; followed by Patton Oswalt on Jun. 19; Professor Brian Cox mixes science and entertainment on Jun. 23; Colbie Caillat performs on Jun. 24; and John Crist performs his Fresh Cuts Comedy Tour for two performances on Jun. 25. #IMOMSOHARD began as a popular web series by real-life best friends, comedians, and moms Kristin and Jen. See their The Getaway Tour on Jul. 30. majestic.dallasculture.org 17 TACA TACA believes in the transformative power of the arts. TACA exists to nurture arts organizations and provide visionary and responsive leadership to the arts community. taca-arts.org 18 THEATRE THREE See Who’s Afraid of Virginia Woolf?, Edward Albee’s 1962 masterpiece, Jun. 9–Jul. 3. The play follows an escalating, perversely erotic dance of booze, anger, and resentment and remains as relevant as the day it was written. theatre3dallas.com 19 TITAS/DANCE UNBOUND TITAS/DANCE UNBOUND closes out its season with the thrilling Dallas debut of BalletX, Jun. 3–4. titas.org 20 TURTLE CREEK CHORALE Freedom Fighters: A TCC Small Ensemble Showcase presents the TCC Chamber Chorus, Coloratura, and TerraVox on Jun. 12. May 2021 saw the 100th anniversary of the Tulsa Race Massacre, and TCC will mark one of the worst acts of racial violence in US history through a commissioned work, Dreamland: Tulsa 1921, as part of its Let Us March On! concert, Jul. 2 and 3 in Dallas with a performance on Jul. 9 at Carnegie Hall in New York City. turtlecreekchorale.com 21 WATERTOWER THEATRE A Gentleman’s Guide to Love and Murder will take the stage Jul. 20– 31. In London in 1907, Monty Navarro is a penniless clerk who is informed after the death of his mother that he is ninth in line to inherit the earldom of Highhurst, controlled by the wealthy D’Ysquith banking family. watertowertheatre.org
Welcome Home.
THE DESIGN ISSUE Hello, Dalí! Meadows Mounts Miniatures Getting Linear: Ian Davenport TWO x TWO Turns 20
THE DESIGN ISSUE
THE ART & DESIGN ISSUE
Taking Reservations THE DESIGN ISSUE Highlighting the very best of North Texas Design. Space: July 8 To advertise: info@patronmagazine.com
NOTED: GALLERIES
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01 12.26 Sarah Ann Weber: The first green light of the sun, will be on view at the gallery Jun. 4–Jul. 30. Image: Sarah Ann Weber, Wildflower field (Texas bluebonnets), 2022, colored pencil on paper, 38 x 50 in. gallery1226.com
Van Zeijl; the acrylic constructions of Jean Paul Khabbaz; the large-format paintings of Dallas-based painter Tom Hoitsma; the abstract work of California-based painter Chris Hayman; and the organic paintings of Atlanta artist Liz Barber; as well as the work of rotating artists. christophermartingallery.com
02 500X GALLERY An artist-run gallery, 500x will host independent member solo shows through the summer. 500x.org
10 CONDUIT GALLERY Steven J. Miller: Something Like My Neighborhood, Jeff Baker: New Photographs, and Barbara Rosenblatt in the Project Room are on view through Jul. 2. Through July, the gallery will have a summer group show for gallery artists. Image: Barbara Glazer Rosenblatt, Flying Skeleton, 2022, fabric, thread, beads, watercolor, 11 x 6 in. conduitgallery.com
03 ALAN BARNES FINE ART Alan Barnes Fine Art relocated during the spring of 2022 and will release forthcoming exhibitions once their move is complete. alanbarnesfineart.com 04 AND NOW Closing out spring and entering summer, Phillip John Velasco Gabriel’s inaugural exhibition continues through Jul. 2. andnow.biz 05 ARTSPACE111 Healing, by Mihee Nahm will be on view through Jun. 25, along with Marking Time, new works by Robert McAn, and Solo Solo presents Jason Bly, winner of the 8th Annual Texas Juried Exhibition. The 9th Annual Texas Juried Exhibition will be shown at the gallery Jul. 16–Aug. 27. artspace111.com 06 BARRY WHISTLER GALLERY Learning to Draw, Jun. 4–Jul. 23, sees a group exhibition of over 30 artists exploring a wide range of approaches to drawing. The show includes Matt Kleberg, Claes Oldenburg, Edward Borein, Jay Shinn, Toni LaSelle, Peter Ligon, Andrea Rosenberg, and John Wilcox. barrywhistlergallery.com 07 BEATRICE M. HAGGERTY GALLERY Lyle Novinski prints will be on display through Aug. 3. udallas.edu/gallery 08 CADD/CADD SPACE Contemporary Art Dealers of Dallas is a nonprofit organization that was formed in 2007 for the purpose of promoting contemporary art in Dallas. caddallas.org 09 CHRISTOPHER MARTIN GALLERY The gallery presents the reverse-glass paintings of American artist Christopher Martin; the Rodeo series of Dallas-based photographer Steve Wrubel; the color-field paintings of New York–based painter Jeff Muhs; the acclaimed work of Dutch image maker Isabelle 30
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11 CRAIGHEAD GREEN GALLERY CGG hosts a group show of rostered artists through Jul. 2. Next, the annual New Texas Talent XXIX, juried by Terri Provencal and Chris Stewart, will highlight emerging Texas talent Jul. 9–Aug. 20. craigheadgreen.com 12 CRIS WORLEY FINE ARTS Kelli Vance: We Don’t Sleep displays intimate vignettes through Jun. 25. Vance’s luxurious and masterly paintings have often presented women in states of anomie or conflict—personal, social, physical. This is the feminine in a quietly hostile environment of her own making or trapped in a set of expectations that she either works with, to maintain equilibrium, or against, with mixed results— sometimes defeated, sometimes defiant. Image: Kelli Vance, The Gut Wrenching Beauty Of It All, 2022, oil on canvas, 42 x 72 in. crisworley.com 13 DADA The Dallas Art Dealers Association is an affiliation of established independent gallery owners and nonprofit art organizations. dallasartdealers.org 14 DAISHA BOARD GALLERY Romulo Martinez Reflejos, featuring new work from the Presences / Essences series, remains on view through Jun. 4 at Daisha Board Gallery. The Mount: A Photo Collection on restoring America’s buried past, Jun. 7–Jul. 2, features the work of Rodney Hawkins and Kwesi Yanful. daishaboardgallery.com 15 DALLAS ART FAIR PROJECTS Dallas Art Fair Projects is an arts and special-projects space located in the Dallas Design District that extends programming for the annual Dallas Art Fair. dallasartfairprojects.com
OF NOTE
DIPPED IN STARDUST
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Green Family Art Foundation exhibits Hannah Lupton Reinhard’s crystal-embellished fantasy realism.
his summer, the Green Family Art Foundation presents Hannah Lupton Reinhard: A House of Stars and Angels featuring a collection of the artist’s work over the past four years. “The paintings were not made to be seen together so the title feels very broad and very descriptive. The stars could be the rhinestones and the angels could be the figures,” says Lupton Reinhard. But it’s the story behind each that aligns them so spectacularly. “As a kid I was always drawing weird-looking figures. In middle and high school, I continued drawing and painting, but I always thought it was not a serious thing. When I studied art history at Berkeley, I realized I was super wrong: I wanted to be one of the artists that people might study. I wanted to do this full time, but not here.” So she left Berkeley, moved home, and used the unstructured environment to make paintings and build a portfolio. After a year she was ready to make a career of it and transferred to RISD, which “totally solidified it.” There she worked on large-scale, “impressive” works and brought Shabbat to the campus, chasing away that “scary and mean” East Coast feeling. The Last Sunset nods to these celebratory rituals. Perhaps the biggest turning point at RISD was the discovery of the “crystal palace”—a walk-in closet home to a Swarovski crystal emporium donated to the RISD furniture department and accessible to those students. She recalls thinking, “I know I need to have access to this, but I don’t know what I am going to do with them yet.” Eventually, she found her way to the crystal palace, enchanted by the treasures. This became a defining moment in her practice. She began applying crystals to the canvas, a gesture she describes as defacing. This final bedazzled layer adds to what she calls fantasy realism, her signature today. Covid brought her home again in 2020, and she finished her senior year online. She was glad to be back to the sunshine, however, and the return to her studio (her parents’ garage on a cul-de-sac in Orange County) wasn’t so bad. Her best friend lived next door. “Covid absolutely changed my practice and the way I was making and thinking about paintings. I didn’t have the same resources I had a RISD, and nothing was open. I started painting my sisters using warmer colors.” Many of Lupton Reinhard’s paintings
feature female figures embraced. Overwhelmed in affection, she clearly knows these women, who are her sisters and friends. Through this, her paintings became more “personal, slow, and less about scale and density and more about portraiture, and honest in a way.” She thinks about depicting things in both a literal and an abstract way. “Now it’s been stripped down to Jewish femininity, it’s become much more abstract, and I’m currently using the veil as a prop—so representative to my relationship with being Jewish and with Jewish femininity and what it means to cover ourselves up and hide ourselves. What it means to be modest or not in 2022 LA.” But within these luminous paintings, technically masterful yet mysterious, with hypnotic unsettling hues, she investigates duality. She thinks about beauty and the grotesque. “The paintings present themselves as beautiful, but when you get closer, they are not as beautiful and feminine.” Today the artist lives in Los Feliz and works from her studio in LA, near the fashion district, with wholesale fabrics, beads, and rhinestones within walking distance. The crystal palace is in the past, but she is slowly buying rhinestones and refining their use. “Almost like painting with rhinestones, pointillism with rhinestones. You’re taking an oil painting that’s fine art, and you’re putting something on it that is craft, that is low art and lowbrow or for children or girly. It’s kind of funny because it’s going to take 30 to 40 hours to do it. And that’s another one of the paradoxes.” Presently, she feels like her painting practice, “is like what I was doing at RISD, but I’m allowing my paintings to breathe. It’s about how the painting is made, built up, and what textures I am using. It can be this intimate image that has its own complications on a microcosmic scale. There’s a fantastical quality to them. They feel familiar but not to our world.” Hannah Lupton Reinhard: A House of Stars and Angels, and Painters Painting Painters, are on view Jun. 4–Sep. 25 at the Green Family Art Foundation in River Bend.–Terri Provencal
From left: Hannah Lupton Reinhard, Are You There?, 2021, oil and Swarovski crystals on canvas, 36 x 24 in.; Hannah Lupton Reinhard, The Last Sunset, 2020, oil on canvas, 66 x 54 in.; Hannah Lupton Reinhard, Miriam’s Breath and a Visiting Soul, 2022, oil and Swarovski crystals on canvas, 60 x 36 in.
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NOTED: GALLERIES Kittrell/Riffkind ittrell/Riffkind Art Glass Gallery
4500 Sigma Rd. Dallas, Texas 75244 972.239.7957
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16 DAVID DIKE FINE ART DDFA specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas landscape painters. daviddike.com 17 ERIN CLULEY GALLERY Karen Gunderson: Nature and the Nature of Royalty is on view at the gallery through Jul. 2. Image: Karen Gunderson, Beginning, 2020, oil on linen, 24 x 24 in. erincluley.com
Goblet Invitational
Opening June 11th continues through July.
18 FERRARI GALLERY Ferrari Gallery presents contemporary metal sculptures by James Ferrari; Debra Ferrari’s nature-inspired paintings; photographs by Jeremy McKane, who utilizes water and camera to capture the human form and express a passion to preserve our oceans; and ceramic sculptor Kosmas Ballis’ intricate clay sculptures. Through Jul. 30, Milieu Earth, an invitational group show, features American artists focused on works inspired by our planet and wildlife. theferrarigallery.net 19 FWADA Fort Worth Art Dealers Association funds and hosts exhibitions of noteworthy art. fwada.com 20 GALLERI URBANE The Shape of Color, an exhibition of works by Rachel Hellmann, and Mel Prest: Time is Knots on a String will be on view through Jul. 2. From Jul. 9–Aug. 13, Urbane’s Annual Summer Group Show will be on view along with work by Jonathan Paul Jackson in Gallery Two. Image: Mel Prest, Sundial, 2022, acrylic and mica on wood panel, 60 x 60 x 2 in. galleriurbane.com 21 GREEN FAMILY ART FOUNDATION Hannah Lupton Reinhard: A House of Stars and Angels and Painters Painting Painters: A Study of Muses, Friends and Companions will be on view Jun. 4–Sep. 25. greenfamilyartfoundation.org
Offering Dallas’ finest selection of art glass!
kittrellriffkind.com 32
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22 HOLLY JOHNSON GALLERY Margo Sawyer’s recent suspended glass works continue to hang through Jun. 25. Ana Esteve Llorens’ unique handwoven sculptural canvases for the wall will be on view through Aug. 6. Image: Ana Esteve Llorens, Untitled (Below and Above), 2020, natural cotton, jute, hemp, zacatlaxcalli dye, foam, poplar wood, acrylic paint, wax, 58.25 x 33.50 x 1.5 in. hollyjohnsongallery.com
Think
Art
SOUTHWEST GALLERY
4 5 0 0 S i g m a R d . D a l l a s , Te x a s 7 5 2 4 4 9 7 2 . 9 6 0 . 8 9 3 5 s w g a l l e r y. c o m Offering Fine Art, Sculpture, Custom Framing, and Art Glass for over 50 years.
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23 KEIJSERS KONING Booz y Wurlitzer (Lernplanet) is a two-person show by Michael Bauer and Stefanie Popp, who have known each other’s work since their days at Hochschule fur Bildende Kunst in Braunschweig. This is their first joint exhibition in the US, through Jun. 18. keijserskoning.com 24 KIRK HOPPER FINE ART KHFA displays Lee Baxter Davis and James Surls in an all-drawing exhibition through Jul. 2. From Jul. 9–Aug. 20, Ushio Shinohara’s Drawings and Sculptures fill the space. kirkhopperfineart.com 25 KITTRELL/RIFFKIND ART GLASS The 28th Annual Goblet Invitational, Jun. 11–Jul. 30 features drinking vessels, from functional to fantasy, from over 65 contemporary artists. Image: Tutti Frutti Water Glass by Robert Dane. kittrellriffkind.com 26 LAURA RATHE FINE ART Work by Carly Allen Martin and Nina Tichava fill the gallery through Jul. 2. Next, a group show for Marina Dunbar, Michael Schultheis, Bronson Shonk, and Sydney Yeager, Jul. 9–Aug. 20, rounds out the summer. Image: Bronson Shonk, Ode to Golconda (detail), acrylic on canvas, 48 x 72 in. laurarathe.com 27 LILIANA BLOCH GALLERY Through Aug. 22, the photographic work of Leigh Merrill will be installed in the gallery. lilianablochgallery.com 28 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries specializes in original paintings, sculpture, and limited-edition graphics. The gallery is distinguished by works of art by Erté, Marc Chagall, Keith Haring, and many other artists. martinlawrence.com 29 PENCIL ON PAPER Through Jun. 2, JD Moore’s A Honing of Self lends viewers witness to a collection of four individual series, each containing its own intimate narrative and nuance that embody a collective whole. A solo show for Frank Frazier opens Jun. 18 along with Desmond Blair: In the Garden. Jul 2 through Aug. 27, Stacie Monday’s solo show will be on view. pencilonpapergallery.com 30 PETER AUGUSTUS Peter Augustus is a contemporary art gallery focused on emerging and mid-career international artists. Housed in a historic storefront 34
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26 in the heart of the city’s Expo Park district, the gallery features Tobe Kan Kiu Sin through Jun. 25. The gallery will close for the summer Jul.–Aug. peteraugustusgallery.com 31 PHOTOGRAPHS DO NOT BEND Through Jul. 2., two solo exhibitions, Cheryl Medow: Envisioning Habitat: An Altered Reality and Robert Milnes: Sea What I Think, will highlight the gallery. Envisioning Habitat: An Altered Reality transposes animals into an unfamiliar environment, while Sea What I Think, displays Milnes’ under-the-sea inspired ceramics. Carbon & Gold: Workson-Paper by Don Schol, Paintings by Pam Burnley-Schol will be on view Jul. 9–Aug. 20. Image: Pam Burnley-Schol, Nest Monarchs, 2022, oil paint and 24k gold and aluminum leaf on panel, 30 x 30 in. pdnbgallery.com 32 THE POWER STATION Dedicated to providing a platform for contemporary art projects in Dallas, The Power Stations hosts the exhibition Young and Clueless through summer, showcasing the work of Hadi Fallahpisheh. powerstationdallas.com 33 RO2 ART Ro2 Art will present Cheryl Finfrock: The Ties that Bind and work by Ken Craft Jun. 18–Jul. 16. From Jul. 23–Sep. 10, CHAOS 8 returns. The show will feature a variety of small works by more than 100 gallery-represented artists and guest artists. ro2art.com 34 SMU POLLOCK GALLERY SMU Pollock Gallery provides a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. smu.edu/meadows/areasofstudy/art/pollockgallery 35 SWEET PASS SCULPTURE PARK This summer, Bottomland presents an alternative understanding of the local, from monuments to native flora. Formal aspects of the show draw on extractive and additive methods used in the construction of the built environment, redefining topography, installing announcement systems, and placing signage to direct traffic through space. sweetpasssculpturepark.com 36 SAMUEL LYNNE GALLERIES JD Miller and entrepreneur Philip Romano dreamed up a state-ofthe-art gallery that came to fruition in 2008. Their work along with work by Lea Fisher, Tyler Shields, David Yarrow, and Brandon Boyd remain on view. samuellynne.com
A Texas-Sized Auction Specializing in the Best American, Western, Wildlife, Sporting and Texas Fine Art NOW ACCEPTING CONSIGNMENTS FOR THESE ARTISTS:
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www.lsartauction.com • 469.608.7600
8333 DOUGLAS AVENUE, SUITE 360 • DALLAS, TX 75225
NOTED: GALLERIES
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37 SITE131 Exploring Constructs features artist Harriet Korman, a longtime abstract painter from New York; and Ronald Llewellyn Jones, a young self-taught Texas sculptor, filling the gallery’s large, open walls and airy space with imposing artworks, through Jun. 18. site131.com 38 SMINK A showcase of fine design and furniture, SMINK has become 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
June 26– September 1 1
39 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas with the largest collection of fine 19th–21st century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000-squarefoot showroom. swgallery.com 40 TALLEY DUNN GALLERY Flight Paths and Floor Plans sees a solo exhibition of work by sculptor Joseph Havel at the gallery through Jun. 18. Through Jul. 2, At What Point Do We Disappear? Black Women’s Obsession with White Femininity is an exploration by Vicki Meek of Black beauty in the face or, rather, shadow of idealized white beauty in America and abroad. Talley Dunn Gallery Equity in the Arts Fellowship Group Exhibition: Martha Elena, Charles Gray, Juan Negroni, Alex Ordoñez, Jae-Eun Suh closes out the summer, Jul. 9–Aug. 20. talleydunn.com 41 VALLEY HOUSE GALLERY Valley House Gallery and Sculpture Garden continues its 50-year tradition of offering the highest quality fine art to collectors and museums. valleyhouse.com
Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano is organized by the Smithsonian American Art Museum.
John Singer Sargent, A Venetian Woman (detail), 1882, oil on canvas, Cincinnati Art Museum, The Edwin and Virginia Irwin Memorial, 1972.37
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42 WAAS GALLERY Curated through a lens of sustainability, W.A.A.S. empowers artists to connect to their communities and facilitate societal change while offering an interstellar sanctuary to communicate artistic expression and immersion. waasgallery.com
SPEND SUMMER AT THE MEYERSON THE
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43 WEBB GALLERY New Work by Ricky Bearghost, Collages and Paintings by Mike Combs, and Posters of Nuns by Julie Speed will be on view through Jun. 12. For the rest of summer Webb will host artists in a group show. webbartgallery.com 44 WILLIAM CAMPBELL CONTEMPORARY ART Painting Reality features work by Peter Maier through Jul. 9. Maier’s realistic and natural paintings skew reality in exciting, colorful, and unexpected ways. williamcampbellcontemporaryart.com
KIRK WHALUM
AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY The auction house will hold a Fine & Decorative Auction on Jul. 27. dallasauctiongallery.com 02 HERITAGE AUCTIONS HA slated auctions for the summer are the Urban Art Auction on Jun. 1, Fine European Art Auction on Jun. 3, In Focus: Be@ rbrick Auction on Jun. 7, Depths of Field Auction on Jun. 8, Fine & Decorative Auction on Jun. 9, Prints & Works on Paper from the Collection of Dr. Cornelius Osgood Showcase Auction on Jun. 10, Decorative Arts Auction on Jun. 14, Ethnographic Art: Property from an Important New York Collector Signature Auction on Jun. 15, The Corporate Collection Auction on Jun. 16, Through Her Eyes: The Artwork of Margaret Keane Showcase Auction on Jun. 21, Western Art Auction on Jun. 24, In Focus: Superflat Auction on Jun. 28, Urban Art Auction on Jul. 6, Depth of Field Photography Auction on Jul. 13, Fine & Decorative Arts Auction on Jul. 15, In Focus: Leroy Neiman Art Auction on Jul. 19, and Design Auction on Jul. 21. ha.com 03 LONE STAR ART AUCTION Taking place on October 28–29 in Dallas, the Lone Star Art Auction is a Texas-sized auction specializing in the best American, Western, wildlife, sporting, and Texas fine art. Presented by Great American West and Phil Berkebile, Jr., the LSAA will bring buyers, collectors, and sellers of historic and contemporary fine art together for an enjoyable and highly entertaining event. Consignments are now being accepted for what will be Texas’ largest art auction event in 2022. lsartauction.com
VERONICA SWIFT
LUCIA MICARELLI
MADELEINE PEYROUX
REVEREND HORTON HEAT
Presto Mambo! The Music of Latin America JUN 4
BLKBOK Mixtapes X Counterpoint Tour JUL 23
Project Unity: Together We Sing JUN 15
An Evening with Veronica Swift JUL 30
Paul Simon Songbook JUN 17-19
Sing Along: Songs of Stevie Wonder AUG 6
Kirk Whalum JUN 20 Toy Story - Live in Concert JUN 24-26 Reverend Horton Heat with Justin Pickard & Thunderbird Winos JUL 16
BUY TICKETS AT DALLASSYMPHONY.ORG
The Romeros Guitar Quartet AUG 12 Madeleine Peyroux AUG 18 An Evening with Lucia Micarelli
AUG 20
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JUNE / JULY 2022
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Hadi Fallahpisheh, Young and Clueless installation views at The Power Station.
Dark Victory
Tehran-born, Brooklyn-based artist Hadi Fallahpisheh mined pitch-black realms for Young and Clueless.
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INTERVIEW BY TERRI PROVENCAL PHOTOGRAPHY BY KEVIN TODORA
orking in photography, sculpture, performance, and installation, Hadi Fallahpisheh created Young and Clueless, on view at The Power Station through the summer. The Tehran-born artist spent time on the Katy Trail amid spring’s art season and installed four larger-thanlife brightly hued sculptures of metal for the companion exhibition, Guest. Through paintings born of the darkroom, his cast of characters create narratives of connectivity, seeking a sense of belonging and openness while probing dichotomies. Fallahpisheh enlightens here. Terri Provencal (TP): Your photographs are made without a camera. Will you describe your process? Hadi Fallahpisheh (HF): My photographs are made completely in the dark, in a large darkroom space I have constructed specifically for these large-scale prints. To some extent the process of making my photographs is quite simple: for each photograph I enter a pitchblack photo darkroom, and I use a flashlight to blindly draw figures 38
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and scenes directly on the photosensitive paper. That’s the essence of the process, but of course in reality it becomes far more complicated. I usually spend eight to 10 hours in the darkroom for each piece, and there’s no way to see what I’ve done until usually days or weeks later. The paper is kept in a pitch-dark place until it is processed and I can finally see the work. TP: By narrating the relationship between darkness and fable, you reveal the tension between allegory and the subject’s innocence. Will you share with us the underpinnings of your show at The Power Station? HF: The thematic development of my show at The Power Station began with a focus on the idea of making an exhibition that tries its best to collaborate with the architecture of the building instead of competing with it, with the hope its whole would be seen as one big intimate object. And I was very keen that if done right, the exhibition as a whole would become subject to a process of projective personification. That is something I constantly try to achieve in my individual works (photograms, sculptures, painting,
CONTEMPORARIES and performances), knowing no matter how disjointed, plotless, and lacking in something concrete the pieces are, the viewer will invest in characterological significance and most likely will form a narrative development. When you look at the building from the front, it will seem almost as if you are entering inside a backpack of the child/artist, and when you are inside you will find yourself in a kind of failed idea of a house, where it only has a transparent cage-like living room and a bedroom under the stairs. If you go up the stairs, you will find yourself at a train station where one track goes to a closed cave and the other goes into a large mousehole. TP: Your frequent inhabitants are cats, mice, dogs, and humans—typically singular. When did these characters come into play in your practice? HF: I use the human figure and animals to create a visual language within the works, knowing that a viewer subconsciously will look for a storyline. However, I consciously avoid any storyline or narrative structure, but I am aware that the repetition of form and figure will send a signal to the viewer that there might be a narrative. In this way all the figures are treated in a formalist manner, whether it’s a human, a cat, or a mousehole—these elements are treated as forms within a larger composition. To be clear, the rat or cat does not stand for something specific, but all together each time in each work, one by one, in relation to one another, t hese forms point to so many things. TP: Your work’s fables are likened to a vessel’s interior. Do you leave it up to your audience to fill the vessels? HF: Yes—in so many ways that describes what often happens! I started to talk about this with regard to subject matter, but as I mentioned, narrative or story line is projected by the viewer. I think of and construct these works formally. The motifs of confinement or imprisonment are forms that can contain the figures and can easily be interchanged–for example, in the newer photographs you see that the main motif is the ocean, or an island. I think of these motifs or spaces in the same way as the figures and objects that I am drawn to, and these all become part of a visual language. But at the end, it is a formalist language. The interplay among characters and diverse material practices can be understood as an iteration of my reliance on multiple authorial voices. An unreliable narrator that only delivers confusion and uncertainty. Such narrative structures often manifest variations in the plot that are attributable to a narrator’s misperception,
impairment, accident, or even mendacity. TP: Where do you feel most at home? How does the idea of home take shape in your work? HF: The concept of home is central to so much of my work; it’s where one first gets introduced to the concept of society and hierarchies. It’s the first country where you right away face a government and will be governed. Home is where you first learn about what’s allowed and what’s not allowed, about what’s appropriate and what’s inappropriate, and all of this is present in my work. But to answer your first question; I feel the most at home where I can keep the lights on and off for any duration that pleases me, and that is, at the moment, Brooklyn. TP: Your work sometimes points to or hints at violence. However, through your subject matter, you sidestep the pitfall of projecting cruelty for cruelty’s sake. You may use violent acts (cutting furniture, burning paper, etc.), but in the absence of violence, there is a feeling of unease. Do you agree with that notion? HF: Much of the content of my work deals with social, sexual, psychological, and political themes, treated with mockery and theatrical exaggeration. Animals and humans play roles that blur the lines between love and hate, affection and aggression. And much of my work’s output is revealed in agitating the territories between satire, an unsettling perpetuation of stereotypes, and a notion of enjoying what one makes. Subsequently, the viewer gets room to experience different types of emotions: superiority, discomfort, identification, and alienation. I have the desire in all of my work to push it to the edge and do the “wrong” thing; one is not supposed to stretch a photograph, and in this way, it is almost against photography. One is not supposed to treat the photo paper brutally and stretch it, not to mention during the performance of their making. I walk on the prints, constantly touch the surface with my feet and hands, and throw objects against the surface. This also comes about as so much of my work has roots in Dada and Surrealist performance, codified in Artaud’s Theater of Cruelty, and its post-World War II offspring, the Theater of the Absurd. Situationist International’s absurdity and critique, pop’s indifferent appropriations, conceptualism’s rules and procedures, and art and language’s feigned objectivity. The polarities of our reality are ever present. TP: If you weren’t making art, what would you be doing? HF: Doing archaeological excavation? Collecting art? Being a primatologist? Gambling? Options are endless! P
Joshua Habermann | Artistic Director
CAMINANTE: Journey Through 40 Years
Join Us for Our 40th Anniversary! 2022 Summer Festival July 13 - August 5 3 distinct programs • 24 professional vocalists Sponsored by Mary and Phil Delk in Memory of Joel Brauer
THANK YOU TO OUR SPONSORS
TICKETS ON SALE NOW Photo: Chelsea Call
(505) 988-2282 desertchorale.org JUNE / JULY 2022
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Y T IS E R H UID C T G L E R RY M E . BE U HO YO Christy Berry Broker Associate - Compass 214.693.1600 | christy.berry@compass.com christy-berry.com | I C H R I S T Y. C O M PA S S
DA L L A S I S H O M E T O S O M E I N S P I R I N G A RT I S T S T H E S E A R E T H R E E O F M Y F AV O R I T E !
REAGAN CORBETT I met Reagan when she was a freshman at the University of Texas, where she and my youngest daughter were fast friends. I remember Mattie introducing her to me and saying Reagan is an ‘Artist”. And that she is! She studied art at the Sorbonne in Paris, France and received her B.A. in Studio Art form the University of Texas. Her work is rooted in American pop culture and while simple at first glance, it offvers openended questions for the viewer to contemplate. She works in a number of mediums and I always cannot wait to see what she is going to do next! Gamble (dice) Acrylic on Canvas 36” x 48” 2022
WILLIAM B U RTO N B I N N I E William grew up next us in Dallas (in Mickey Mantle’s old house for a fun fact) and he and his brother and sisters were all great friends with my children and still are. He also comes from a family of five. He attended the Episcopal School of Dallas and received his BA from Pitzer College and his MFA from SMU Meadow Schools of the Arts. His work confronts the American mythos as well as larger concerns around the world. His pieces can be discovered at Keijsers Koning, 150 Manufacturing Street, Dallas.
Not Yet Titled, Black gesso on canvas 102” x 76” 2020/2022
MIONE PLANT I was introduced to Mione four years ago through a mutual acquaintance and we have been fast friends ever since. She was formally an engineer for 10 years and decided to take the leap and pursue her curiosities and creativity through painting. She combines her mathematical combinations and mixes her right brain with left brain’s playfulness with precision, joy with geometry and whimsy with substance.
Eye of the Beholder 2022
Art Influencers Meet a diverse cast of audacious instigators who are making art or influencing audiences to pursue contemporary programming. BY STEVE CARTER, NANCY COHEN ISRAEL, EVE HILL-AGNUS, AND TERRI PROVENCAL
“Creativity takes courage.” –Henri Matisse
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Carolina Alvarez-Mathies Executive Director, Dallas Contemporary
Carolina Alvarez-Mathies sees her role at the Dallas Contemporary as “a mixture of shaking things up and exploring new forms of engagement.” Now executive director (as of May) after being deputy director for three years, the El Salvador-born, Texas Christian University–educated, New York transplant hopes to focus on inclusivity. “My aim is to bring a fresh and youthful approach” as she engages “a multiplicity of voices across our community and beyond.” As a kunsthalle-style institution that maintains no permanent collection but programs temporary exhibitions, much like a gallery, the Dallas Contemporary can “champion artists’ voices” wherever they are in their career, bringing new material to visitors, Alvarez-Mathies points out. She cites the current exhibitions on view through August 2022: “For three out of five artists, their solo exhibition at DC marks their first institutional show, and the other two are expanding their practice and experimenting with new materials and ideas.” The nimble visionary is passionate about the role of art institutions in our place, in our time, and the significance of this rigorous but experimental vein. Once a fashion novice who interned for a Venezuelan designer and sees “more and more opportunities” for the fashion and art worlds to intersect and collide, she is equally galvanized by her own heritage. “Being a woman of Salvadoran descent has greatly impacted my focus on the need to approach programming more thoughtfully and more inclusively,” she emphasizes. Her commitment results in a textured, layered, multi-access-point approach also informed by the public-facing roles she has played at Creative Time and El Museo del Barrio in New York. It’s a model in which meditation and puppy adoption can be part of the inclusivity kaleidoscope at a major artistic, cultural hub. “Art has the power of making people see things in a new way,” she says. “This is, ultimately, my goal: to leverage cutting-edge contemporary art to nurture dialogue around the most pressing issues of our time and make real, lasting change.”–Eve Hill-Agnus
Dallas Contemporary executive director Carolina Alvarez-Mathies stands alongside the Borna Sammak: America, Nice Place exhibition. Photograph by Luis Martinez.
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Artists Ludwig Schwarz and Marjorie Norman Schwarz. Photograph by Victoria Gomez.
Ludwig Schwarz & Marjorie Norman Schwarz Artists
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No shortlist of Dallas’ most celebrated working artists would be complete without husband and wife Ludwig Schwarz and Marjorie Norman Schwarz. While their influence is being felt today and will be in the future, it’s fair to speculate that they’ve also influenced each other, although Ludwig’s multidisciplinary work, (involving painting, installation, writing, video, sound, and found-object sculpture), and Marjorie’s finely crafted, seductively meditative abstract canvases couldn’t be more different. “I’m with Marjorie so much that she just influences everything,” Ludwig says. “People ask me, ‘As an artist, what’s your practice like?’ Well, I live life, and I make art, and everything I see, smell, and listen to influences it, and Marjorie’s a big part of that.” Marjorie too recognizes the inevitability of their domestic, rubbing-shoulders influence: “We’re together all the time, basically. I work at home, so Ludwig sees my work in progress. And we’ve been together for 20 years…it’s really hard to pull out exactly what the influence would be, just because we’re so much a soup together.” Both of the Schwarzes cast long artistic shadows, exhibiting often locally (she’s with Gallery 12.26, he’s with Conduit Gallery) and beyond. Marjorie’s also shown in New York; Houston; Austin; and Charlotte, North Carolina, and her works are included in the permanent collections of the Dallas Museum of Art and the San Antonio Museum of Art. Ludwig’s shown in Houston; New York; Chicago; Raleigh, North Carolina; Hamburg, Germany; and elsewhere, and he’s also been collected and exhibited by the DMA. Rick Brettell, the late art historian, critic, and former director of the DMA, was a staunch advocate for both. He once wrote of Ludwig, “I am surer than ever that Schwarz is a major artist. Indeed, he is quite possibly the most important painter who has lived in our city in the last generation…” And of Marjorie, in reviewing her 2020 show at 12.26, “What I quickly discovered is that she has been in the first tier [of Dallas artists] all along and that we, Dallas art lovers, have been more than a little slow to discover the extraordinary pictorial accomplishments of this refined and subtle artist… Schwarz creates the ineffable…” Their most recent local solo exhibitions were Ludwig’s Moving Pictures, in February at Conduit and Marjorie’s Six Patiences, December through January at 12.26. “It’s a good thing to be married to an artist, for the most part,” Ludwig assesses. “Artist couples, as a rule, have the joy of being enemies of the conventional lifestyle together. But also, sometimes we share in the same kind of angst—studio artists are isolated in a sense.” And any closing pearls of wisdom for the upand-coming new generation? “I went to school for a year at the Art Institute of Chicago,” Ludwig recalls, “and somebody asked a professor, ‘When do we take the class where we learn about how to make a living?’ I was shocked—I thought that was really funny at the time. But art isn’t like that unless you’re a commission artist. Just don’t expect anything. It’s a long game…it takes time.” –Steve Carter
Above: Ludwig Schwarz, The jury is out, the jury is... OUCH!, 2019, chairs, various materials, dimensions variable. Below: Marjorie Norman Schwarz, Six Patiences installation view at 12.26. Photograph by Kevin Todora.
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Sara Hignite Collection Manager, Karpidas Collection
Sara Hignite at the Karpidas Collection with David Salle’s Athena. Photograph by Victoria Gomez.
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Sara Hignite has been quietly sustaining visual arts programming with the purpose and vigor needed to produce landmark exhibitions and events for years. She credits her roots in art to her maternal grandmother: “She was a world traveler and art lover who volunteered as a docent at the Philbrook in Tulsa. Her house was filled with art books and classical music and curiosities–she really ignited the spark in me from an early age,” Hignite remembers. With a master’s degree in art history from Washington University in St. Louis, Hignite has held senior positions in arts institutions including the Mildred Lane Kemper Art Museum, the Meadows Museum at SMU, and the Dallas Museum of Art. “I’ve been so fortunate to work in a field that I love for over 20 years,” she says. That includes her role as program curator for the GossMichael Foundation, organizing exhibitions and spearheading the first juried MTV RE:DEFINE Award honoring postgraduate student excellence in fine art. While she is entirely comfortable behind the scenes, she now oversees the internationally renowned Karpidas Collection, leading strategic planning initiatives and a rotating exhibition program. Hignite co-organized Private Passions with Sadie Coles, featuring the work of Xinyi Cheng, Becky Kolsrud, Katja Seib, and Issy Wood drawn from the Karpidas Collection. She says, “My ultimate goal is to preserve the collecting legacy and spirit of Pauline Karpidas, who lovingly and intentionally built this incredible and truly singular art collection over the past 50 years.” Currently we find her working on a Richard Prince exhibition, which will open in October. “I’m incredibly excited about our fall exhibition, which will feature nearly 50 artworks in the Karpidas Collection by agent provocateur Richard Prince, including most of his major series and bodies of work, from the early ad photographs to the Instagram portraits.” “There’s a renewed energy pulsing through the art community,” Hignite says. She is part of that: “We’re also producing a small publication that will spotlight a brilliant, diverse group of artists and curators—all with a connection to Texas—responding and bringing fresh perspectives to Prince’s work.”–Terri Provencal
For Thomas Feulmer, the beauty of the world is in the interstices between the things we know—or think we know. Director of educational programming at The Warehouse, which has housed the Rachofsky Collection since 2012, and working with The Rachofsky Collection, focusing on post-war Japanese art since 2004, he brings breadth to the position. He majored in French and art in college and then dropped French in favor of sculpture. But language, text, and sound have always meant something to him. He has a personal practice in which shape and word form a palimpsest, as in the pale, chalky heft of the Yellow Tablets he exhibited at the Reading Room gallery in 2018. “One of the earliest drawings I made in undergrad was just writing these syllables over and over again on a giant sheet of paper—like if you said them out loud, it would be this murmuring noise.” But more recently, he’s poured energy into Sound as Sculpture ( January-May), The Warehouse exhibition—itself a tour de force of performance, installation, archival footage, and site-specific material—that represents years of thought and months of problem-solving at the peak of Omicron. “I love sound because it’s so bodily, the way it vibrates your body and vibrates through your body. There’s such a sensuality to that,” he says. “I really think exhibitions now should reward you for bringing your body, especially after these two years.” The Warehouse’s non-circulating library welcomes students and visiting researchers to peruse one of the most extensive collections on Gutai and Mono-ha art. To Feulmer, “curating, writing, organizing shows, making art, they’re all things I want to do because I want to have conversations with people about these ideas”—the ideas that make us question “what it means to be alive, what it means to have a body, what it means to exist. At the end of the day, I want to be around the people who want to dig into the things I think are strange and interesting.” He wants art to make us feel rung like a bell. –Eve Hill-Agnus
Thomas Feulmer
Artist, Curator & Director of Educational Programming at The Warehouse
Thomas Feulmer within The Warehouse exhibition Sound as Sculpture, pictured with audio works from Nancy Holt’s Tours. Photograph by Victoria Gomez.
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Daisha Board
Owner Daisha Board Gallery
Daisha Board at her gallery alongside Romulo Martinez, Time to Time (decree/act), 2021. Photograph by Victoria Gomez.
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Music, dancing, and clapping rocked the traditional art gallery’s white cube universe during Sharidyn Barnes’ closing reception at Daisha Board Gallery with the garage door rolled up. Celebration is a big part of Daisha Board’s mission. She is an intrepid advocate for BIPOC, LGBTQ+, and artists with disabilities of all merits, from highly emerging to midcareer artists who caught a break when they met her. Her enthusiasm for artists is unshakable, her energy, contagious. It began with her three children. Several years ago, while visiting museums and galleries, her daughter Savannah inquired why none of the artists were female or of color, and why none of the figures in art looked like her. Finding legitimacy in the comment, Board took it one step further and wondered why more people of color were not visiting these places. How can I make an impact? she thought, and Black Sheep Art Culture was born. Determined, she took to Instagram to post images from art spaces all over DFW. “I’m a hip-hop head from New York,” she says of Black Sheep, the name taken from the hip-hop duo from Queens. With a great name and gusto, Board quickly gained a following, making art accessible to all audiences. People began direct messaging her to organize tours. “We took the awkwardness out of the equation,” she says. Last November, Board opened her eponymous gallery on Sylvan Avenue. “We can be more passionate, more purposeful,” she says of committing full-time to an art space. “In order for me to facilitate these artists’ narratives I want to show solidarity. These artists’ stories are every day. They are part of the story.” Gallery exhibitions are booked through June 2023. While the emphasis has been on only artists of the region this year (expect Jeremy Biggers this fall), next year, she has programmed an international artist lineup. Emboldened by an all-inclusive vision which offers a price point for everyone, expect more dancing. “We can be versatile in this space.” –Terri Provencal
Joaquin Zihuatanejo City of Dallas Poet Laureate
“Writing poetry connects us to our humanity,” states Joaquin Zihuatanejo, the City of Dallas–named inaugural poet laureate. In a partnership between the Dallas Public Library, Office of Arts & Culture, and Deep Vellum, this position was established last year as a way to recognize and encourage the literary arts in general and poetry in particular. During his two-year term, which begins in June, Zihuatanejo looks forward to being an accessible, impactful ambassador. Zihuatanejo boasts a long list of accolades, including the World Poetry Slam Champion. He is also a former teacher, and therefore passing on a love of language remains one of his biggest goals. As poet laureate, he will have an office at the Central Library, where he plans to hold regular office hours, free of charge, to anyone seeking guidance with this craft. “I want to help everyone with poetry, from third graders to college students, and even to teachers,” he enthuses. He also looks forward to going out into the community, aiming to visit every satellite of the Dallas Public Library and meeting as many poets as he can from across the city. His East Dallas roots lead directly to his grandfather’s garden, which provided him with literal and figurative grounding. “I learned everything I know in that garden,” he emphasizes, including hard work as well as nurturing things to grow. Citing the ways in which his grandfather inspired him, he adds, “I want to breathe inspiration into as many young poets as I can.” Zihuatanejo sees this as a transformative time for the city and hopes that Dallas continues to garner attention as a beacon for all of the arts. He is excited to be a part of this moment, particularly within the literary arts, concluding “I want to do everything in my power to mentor and help poets with their craft. It is my way of thanking the City of Dallas for this honor.” –Nancy Cohen Israel
Joaquin Zihuatanejo is the first-ever City of Dallas Poet Laureate. Photograph by Jess Ewald.
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Christian Cruz Multidisciplinary Artist
Christian Cruz is a multi-media art whose work takes the form of performance, installation, video, and photography. Photograph by Sonny Christopher Martinez.
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While Dallas-born and -raised Christian Cruz may be best known as a performance artist, her self-described “Jane-of-all-trades” orientation is exactly where she’d like to be. Her hat-changing encompasses not only performance, but also installation, writing, education, video, photography, motherhood, and more. She’s busy, and her ebullience peppers her conversation. Her radar is tuned to artistic growth, community building, and inspiration wherever she finds it—she’s a dynamo. Cruz’s recent Nasher Public installation, Pink Collar // Children’s Linen, was a durational performance installation that ran for eight weeks last winter. The six-hour piece performed two days a week celebrated the mundane inevitability of laundry. Laundry? “A lot of my work relates to labor and the economy,” she explains, “and so I was speaking to domestic labor and what I call ‘invisible labor’…it’s the nitty-gritty, like laundry, that really makes the house successful.” The piece incorporated hanging textiles; clothes belonging to Cruz, her husband, and three-year-old daughter; stacks of laundry baskets; Cruz herself; and time. In Covid-era 2020, Cruz was inspired by artist friends in New York to create Artist Mama Fund, an initiative to help artist single mothers; she encored the grant awards in 2021 and 2022, and the giving continues. “I wanted to do something for my niche,” she says. “I was raised by a single mom, my sister’s a single mom, so I know it’s a really hard thing to do…” That same year she founded Dallas Performance Art Index, a website devoted to the city’s performance artists—who they are, what they do, where they’re performing. “I think there’s this passion that comes from being on fire,” she says with a laugh, “and I think that really moves people. I’ve always been open about depression, and anxiety, and having had a hard childhood, so I think that vulnerability is also really important. I do try to create an ecosystem in which other artists can thrive, and I think that’s inspiring to other people.” –Steve Carter
Dr. Valerie Gillespie & Emmanuel Gillespie Owners of Pencil on Paper Gallery
Art instigators in force, Valerie and Emmanuel Gillespie are educators, gallerists, artists, curators, and then some. They both teach at The Winston School: she is the director of performing and visual arts, and he is an art instructor. They founded Pencil on Paper Gallery four years ago. “We’ve always had a desire to share our love of art and education,” says Valerie. Emmanuel picked the name, “because these are some of the earliest tools an artist will often start with when beginning their artistic journey.” Newly relocated to Algiers Street in the northmoving Design District, the gallery’s exhibit JD Moore: A Honing of Self, examining four series within the artist’s practice over the past six years, nearly sold out this spring. Valerie recently curated Narrative as Reality: A World Reimagined / Selections from the Jessica and Kelvin Beachum Family Collection at SMU, informed by the work of 10 Black artists. With an undergraduate degree in studio art and Spanish from Randolph College in Virginia, she was well equipped during her year abroad at Universidad de Santiago de Compostela in Spain, where she studied art and architecture. In Venice, Italy, she completed her artist-in-residence program at Università Iuav di Venezia. She holds a doctorate in educational leadership from the University of New England in Portland and in curatorial practice from NYU. Through the use of color theory and texture, she conceives abstract works where vestiges of the past are juxtaposed with expectations of the future, a struggle within the same space for recognition. A former curator of the African American Museum, Emmanuel is an artist who creates images of water with mixed-media imagery, investigating memories and the relationship between those we encounter from our past. Find his work through several public art projects in Dallas, including specific work for the Bexar Street Corridor project and the DART Green Line project. He is also a sculptor, most recently commissioned to create the Ernie Banks Memorial Sculpture for his alma mater, Booker T. Washington School of the Performing and Visual Arts. He teaches classes at the gallery. Pencil on Paper, Valerie says, “provided an opportunity for us to merge our love of teaching and creating while lending space to emerging and established artists, local and national artists.” –Terri Provencal
Dr. Valerie Gillespie and Emmanuel Gillespie at Pencil on Paper Gallery with a painting by JD Moore. Photograph by Victoria Gomez.
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Allison Caldwell and Jeffery Bryant Moffitt within Cristina Grajales’ Dallas Art Fair booth in April. Photograph by Victoria Gomez.
Allison Caldwell & Jeffery Bryant Moffit OutLoud Cofounders 52
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“Who needs to hear your voice? What do they need to hear you say?” These are the questions posed to high school–aged students by the leaders of OutLoud, Allison Caldwell and Jeffery Bryant Moffitt. The pair co-founded OutLoud in 2019 with the goal of using the arts to amplify voices of the up-and-coming generation. The organization caters to youth from diverse backgrounds, representing 30 zip codes in the area. With their combined training in art therapy, youth development, theater, and performing arts, Caldwell and Moffitt are well-positioned to work with this population as they channel youthful energy into creativity. As Caldwell states, “Young people have so many different vantage points that are often overlooked. They bring different experiences and are eager to share their beliefs with the community.” By pairing students with established local artists, OutLoud helps provide these young people with the tools they need to see their visions realized. While OutLoud offers multidisciplinary learning opportunities in film, photography, storytelling, devised theater, and visual arts, it is far from an art school. “We’re not trying to teach young people how to think. We automatically assume that they come to the table with ideas,” Moffitt says, adding, “When people think of the arts and young people, they gravitate to a traditional way of teaching with the arts. We want to cultivate their voices.” Caldwell and Moffitt are also collaborating with the University of Texas at Dallas and partnering with Uplift Education to think strategically about how physical spaces can improve educational outcomes. Through the use of projections, ambient lighting, and comfortable seating they are creating oncampus environments for students and teachers to find respite from the traditional classroom setting. “We are trying to identify ways that we can make schools places of healing rather than part of the trauma,” Caldwell explains. As statistics prove, the stress of the past two years has weighed heavily on teens and teachers alike. OutLoud is currently completing work on a new space in the Dallas Design District, with the goal of hosting programs as early as this summer. Having a physical space will allow them to provide a wide range of positive, creative experiences. Ultimately, the organization hopes that these will be transformative to teens as they enter young adulthood. As Moffitt attests, “A sense of accomplishment carries you through the rest of your life.” –Nancy Cohen Israel
On June 25, Amber Bemak’s featurelength documentary about performance artist Guillermo Gómez-Peña will premiere at BAMcinemaFest in New York. The project, six years in the making, is a hybrid performance piece chronicling Gómez-Peña’s life and work as a founder of the trans-disciplinary arts organization La Pocha Nostra. For Bemak, it wades into comfortable territory. Bemak is also a performance artist working here in a medium that she describes as “body-based queer film.” Much of her award-winning, experimental film work entwines the two disciplines. A stalwart on the international film festival circuit, her short film Goodbye Fantasy earned the Ken Burns Award for Best of Festival at the Ann Arbor Film Festival in March 2020. Throughout the pandemic, her work continued to be streamed through online film festivals around the world. The majority of her projects are collaborative, international efforts. “I believe in a dialogue that is caused by making something together,” she states. As an educator, Bemak has lived and taught on four continents. She came to Dallas to teach film and media arts at Southern Methodist University, where she recently received tenure. In her practice, Bemak explains, “I am using media for advocacy and collaborative projects.” These lessons have carried over into the classroom. In 2015, the hashtag #BlackAtSMU began to circulate widely, with Black students tweeting their stories of anti-Blackness on campus; the hashtag was reinvigorated following the death of George Floyd in 2020. Using a series of these original tweets as their guide, Bemak’s students began crafting these shared experiences into a documentary of the same name that not only shone a light on the legacy of racism on campus, but also opened overdue conversations. “When community comes together and collaborates on storytelling, even the process is healing,” says Bemak. –Nancy Cohen Israel
Filmmaker, artist, and educator Amber Bemak. Photograph by Jewel Carter.
Amber Bemak
Educator & Filmmaker
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City of Glass
Revel in Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano at the Carter. BY STEVE CARTER
Clockwise from above left: Attributed to Compagnia di Venezia e Murano (CVM) manufacturer, Vase with Dolphins and Flowers, ca. 1880s—’90s, blown and applied hot-worked glass, Smithsonian American Art Museum. Gift of John Gellatly; Arthur Beecher Carles (1882–1952), Venetian Gondolas, ca. 1909, oil on canvas. The Estate of Robert and Linda Wueste. Photograph by Susan Goines; Maurice Brazil Prendergast, Fiesta Grand Canal, Venice, ca. 1899, glass and ceramic mosaic tiles in plaster, Williams College Museum of Art. Bequest of Mrs. Charles Prendergast.
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T
he word “Murano” is synonymous with exceptional fine art glassware, and the glassmaking Venetian island of Murano has enjoyed that world-class distinction since the Middle Ages. The colorful, beauteous lure of the glass has been a siren song for artists, tourists, and collectors from all over the world for centuries, a song that echoes even today. What’s often less appreciated, however, is that Venetian glass, and Venice itself, have long been inspiring and influencing American artists of all stripes in their own practices, fueling countless creative crucibles. And that’s why the Amon Carter Museum of American Art’s Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano is a don’t-miss rara avis of an exhibition, a revelation and a timely reminder that the world’s artistic cultures are constantly evolving and cross-pollinating with infusions from other cultures. The show is on view from June 26 through September 11, 2022. The Carter is the second port of call for Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano; the exhibition originated at the Smithsonian American Art Museum and was organized by Alex Mann, SAAM’s curator of prints and drawings. “Alex is an extraordinary curator who has studied decorative arts, which traditionally is not a specialty of the Carter’s,” says Maggie Adler, the Carter’s Curator of Paintings, Sculpture, and Works on Paper, and the curator of the Carter’s presentation. “But what’s great about this show is that while we would probably not do a show just of Venetian glass, we can do a show of Venetian glass that really speaks to the formation of American artists’ sensibilities.”
Attributed to Vittorio Zanetti, Fish and Eel Vase, ca. 1890, blown and applied hot-worked glass, Smithsonian American Art Museum. Gift of John Gellatly.
Left: John Singer Sargent, The Sulphur Match, 1882, oil on canvas. The Collection of Marie and Hugh Halff. Right: Alice Pike Barney, James McNeill Whistler, 1898, pastel on paper mounted to paperboard, Smithsonian American Art Museum. Gift of Laura Dreyfus Barney and Natalie Clifford Barney in memory of their mother, Alice Pike Barney.
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While John Singer Sargent (1856-1925) and James McNeill Whistler (1834-1903) get top billing in the exhibition’s title, there are scores more late 19th-century American artists included, all of whom were captivated by Venice and Murano magic, each referencing the glass industry in their work: Winslow Homer, Louise Cox, Frank Duveneck, Ellen Day Hale, Maxfield Parrish, Maurice Prendergast, Louise Howland King Cox, Mabel Pugh, Bertha Evelyn Jaques, Robert Frederick Blum, William Merritt Chase, Thomas Moran, and the roll call goes on. Of the more than 140 pieces on view, about 80 are glass works—ornate, masterful hand-blown vessels, mosaic tiles, mosaic portraits, vases, beads, jewelry, cups, and urns, including many pieces from the fabled Seguso, Moretti, and Barovier glassmaking families. The non-glass works include paintings, prints, lace, watercolors, etchings, pastels, linoleum block prints, and beyond—it’s a veritable Carnevale di Venezia for the eyes. The show will be installed similarly to SAAM’s iteration, with the install highlighting the interaction of the works and the ideas exchanged and absorbed; it’s as if visitors will be watching and listening as a global conversation unfolds. “There was a Venetian glass renaissance at the turn of the century, and these Murano makers were adapting,” Adler explains. “First of all, they were restoring San Marco, the main church of Venice, so there was a need for a lot of artisans to provide mosaics for that, and people were seeing, for the first time, ancient works that were inspiring them. It was really a time in which everybody understood Venice to be a cultural center.” Another key aspect of the exhibition is that many women artists are spotlighted, both the well-known and the less-remembered. “It’s great that there are works by women artists in the show, but there’s also the fact that the whole lacemaking industry and glassmaking industry did involve women workers,” Adler says. “I think Alex Mann has done a remarkable job crediting the makers of the glasswork rather than just saying, ‘Oh this is a Venetian goblet, and it’s by somebody and it’s not as important.’” An added attraction that’s unique to the Carter presentation is the concurrent sister exhibition of renowned area glass artist Justin Ginsberg at work; Justin Ginsberg: Shaking the Shadow begins June 11 and continues through September 25. Ginsberg will be situated on the Carter’s lawn each weekend through the run, working at a portable kiln for an audience of passersby. “I wanted people to get a sense of how glass participates in contemporary life, because it could start to feel like it’s just something that happened in history,” Adler says. “Justin’s a very talented artist whose work looks nothing like Venetian glass, but I wanted people to have a participatory experience.” Ginsberg’s piece will be comprised of a myriad of pulled molten glass threads, each up to 30 feet long, and the constructed sculpture will be displayed, as it unfolds, in the museum’s main gallery. “It will be sort of an isolated waterfall, or a rain shower,” Adler adds. “Each Monday, after he’s spent the weekend pulling this glass, he’ll install a little more of it, so you’ll be able to come back over time and see how it evolves. I like spectacle—you know me! It’s going to be really fun.” P Above: Giovanni Boldini, Portrait of James McNeill Whistler, 1897, oil on canvas. Brooklyn Museum. Gift of A. Augustus Healy. Below: James McNeill Whistler, The Doorway (First Venice Set), 1879—’80, etching, drypoint, and roulette on paper, Baltimore Museum of Art, The Conrad Collection. Opposite clockwise from above left: Maxfield Parrish, Venetian Lamplighters, 1922, oil on panel, National Museum of American Illustration, Newport, RI, and American Illustrators Gallery, New York, NY. © 2021 Maxfield Parrish Family, LLC/Licensed by VAGA at Artists Rights Society (ARS), NY; Irving Ramsey Wiles, John Gellatly, 1930—’32, oil on canvas, Smithsonian American Art Museum. Gift of the artist; Frank Duveneck, Water Carriers, Venice, 1884, oil on canvas, Smithsonian American Art Museum. Bequest of Reverend F. Ward Denys; Dott. Antonio Salviati & Co., manufacturer or Erede Dr. A. Salviati & Co., manufacturer, Portrait of Jane Lathrop Stanford, ca. 1902, glass mosaic tiles, Iris & B. Gerald Cantor Center for Visual Arts at Stanford University. Gift of Erede Dr. A. Salviati & Co.
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Art for Tillman The 24 Hour Club stimulates better health and well-being through a permanent installation. BY GAVIN DELAHUNTY PHOTOGRAPHY BY VICTORIA GOMEZ AND JOHN SMITH
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Josef Albers (1888–1976), Formulation: Articulation (I/8), 1972, screen print on paper, 20 x 15 in. Gift of Sharon and Michael Young. Photograph by Victoria Gomez.
James Everett Stanley (b. 1975), Scrub Pine, 2006, oil on canvas, 84 x 44 in. Gift of Michael Corman and Kevin Fink.
Helmut Dorner (b. 1952), Light Wall (white spot), 2008, oil on canvas over wood support 14.25 x 17.75 in. Gift of Deedie Rose.
The Tillman House.
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William Eggleston (b, 1939), Untitled (Memphis), 2008, pigment print, 30 x 24 in. Gift of Cindy and Howard Rachofsky.
Cordy Ryman (b. 1971), Broken Star, 2004, acrylic and mixed media, 21 x 15 x 6 in. Gift of Deedie Rose.
I
n December of 2020 I was invited to join the Dallas 24 Hour Club Advisory Council, an honor I enthusiastically accepted. “The 24,” as it is commonly known, was founded in 1969 to “provide transitional living, support services and essential life skills for homeless alcoholics and addicts so they can embrace long-term sobriety and become contributing and self-supporting members of the community.” Over the past 50 years, The 24 has grown exponentially, and it now helps over 600 people each year to get off the streets, find employment, and embrace recovery. Around the time I came on board as a council member, The 24’s CEO, Marsha Williamson, announced that they were purchasing an apartment building just minutes from The 24 on Ross. The idea was that Tillman House—as it has been renamed—would provide affordable sober-living apartments for up to one year for successful graduates from The 24. There would be on-site staff, structure, and a focus on accountability to support these residents as they build a stronger foundation of sobriety. Tillman offers a vital opportunity to learn how to live independently in a safe, structured environment. One day over lunch, Marsha suggested that we might think of introducing art to the public vestibules and apartments at Tillman to stimulate better health and well-being for the residents and extended community. Her idea caught me off guard. This wasn’t a proposal to find things to decorate the halls and bedrooms, but to identify art that might support recovery from addiction by transforming functional environments into spaces that encourage, enrich, and empower. In both my personal and professional life, I have had numerous firsthand encounters with the formidable impact the visual arts can have on our lives. Art has the power to move us in ways that sometimes transcend our attempts to describe them. The project for The 24 offered an opportunity for me to pass on a gift that has sustained me when I needed it most: the gift of art. Inspired by Marsha’s suggestion, I offered to help. The support for this idea from the art community was instantaneous and overwhelming. We received gifts of over forty works of art from several
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Peter Ligon, White House on A Hill White Rock Lake, 2004, oil on canvas, 20 x 16 in. Gift of Anna and Gavin Delahunty.
exceptionally generous Dallas families: Michael Corman and Kevin Fink, Jennifer and John Eagle, Tim Headington, Marguerite Hoffman and Tom Lentz, Cindy and Howard Rachofsky, Deedie Rose, Lisa and John Runyon, and Sharon and Michael Young. The donations included works by artists such as TM Davey, Peter Ligon, Catherine Opie, Cordy Ryman, James Everett Stanley, and Charline von Heyl. Framing, art handling and installation, labels, and an accompanying booklet were supported by Runyon Arts, 24 FPS, Unified Fine Arts, TM Graphics, and Miko McGinty Inc. In no time at all, thanks to an incredible display of generosity, we were well on the road to achieving our goal. One of the first donations to the art for the Tillman project was a set of 17 screen prints by painter, furniture designer, color theorist, glassmaker, writer, and educator Josef Albers (1888-1976). They were selected from his 1972 portfolio Formulation: Articulation. Dedicated to his wife Anni, the double portfolio’s intention was to show Albers’ methods of formulating and articulating his ideas and to demonstrate his unique concern for color and formal relations. Several of the prints selected for Tillman House are derived from previous works by Albers that are now held in some of the world’s most significant museums. These include his seminal Homage to the Square series; Fugue, 1925; Skyscrapers, 1926; Windows, 1929; Viewing, 1933; and his Treble Clef or Violin Clef series, 1932-’35. Despite their two-dimensionality, many of these works appear voluminous and spatial. This is achieved by the artist through graduated distances between the horizontals and juxtapositions of the colors, which produce the illusion of space. In the booklet that accompanies Formulation: Articulation, Albers describes the origin of art as “the discrepancy between physical fact and psychic effect.” Put simply, there is a gap between these abstract compositions and the profound effect they have on the surrounding space and the viewer’s state of mind. After fleeing Nazi Germany in the 1930s, Anni and Josef Albers maintained an unshakable belief in the transformative power of art. Josef Albers went as far as to suggest that habits that prevent self-actualization could be overcome through the study of abstract form, which has the potential to challenge ingrained behavior and offer a fresh perspective on the world. One print from Formulation: Articulation has been installed in every apartment. It is our hope that the residents will benefit from some the effects envisaged by Albers as they commit to a fresh start in their own lives. P Top right: Gary Hume (b. 1962), One Thousand Windows, 2013, acrylic on paper, 14.75 x 12.50 in. Gift of Anna and Gavin Delahunty. Right: Otis Jones (b. 1946), Yellow Circle and Red Circle, 2005, mixed media on canvas (2-parts), 7 x 7 x 2 in. (each). Gift of Deedie Rose.
Lynne Woods Turner (b. 1951), Untitled (#9069), 2010, oil on linen, 12 x 12 in. Gift of Marguerite Steed Hoffman.
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CELESTIAL CHIC Nicky Zimmermann’s fall 2022 Stargazer collection channels the zodiac. BY TERRI PROVENCAL
Image caption
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odiac-inspired bell-sleeve gowns, dresses with cascading stars, matching shirt and pant sets, minidresses underpinned with catsuits, adorned headbands, velvet platform shoes, and stretch satin boots—Nicky Zimmermann looked to the heavens for her fall inspiration. Working with fable-based artist Anita Inverarity, Zimmermann channeled the energy of the 12 houses to bring their celestial rulers to life with mythical motifs for the Australian line she cofounded with her sister Simone. The designer talks of star signs, the new prints, and her two Texas stores:
Clockwise from left: Nicky Zimmermann in her studio; Crescent stretch boot short; Cosmic Zodiac body shirt and trouser. All courtesy of Zimmermann.
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PATRON (P): Women here were thrilled when you selected Dallas as Zimmermann’s first Texas storefront in NorthPark Center, home to not only coveted fashion brands, but also a world-class art collection. What drew you to NorthPark? Nicky Zimmermann (NZ): Dallas is such a fun and vibrant city. I think the women there really like to have fun dressing and have an eye for the unexpected—something which is very much at the heart of our brand. Many women from Dallas had shopped with us in other stores around the world, so when the opportunity to open at NorthPark came along, the timing felt right. P: NorthPark’s Zimmermann boutique vibes with that art-centric ethos. Can you tell us about the art installed in-store?
ATELIER NZ: We always like to bring touches from our home in Australia to our stores and often do that through our art selection. For Dallas, we’ve included works from Australian artists including Sally Ross, Peter Cooley, and Tom Polo. I love the Tom Polo works; there’s a sense of fun to his artworks, and his use of color really appeals to my sensibilities. P: You’ve opened three new storefronts in Florida and are set to open your first Houston location in June. Tell us about your Houston store. NZ: The store is bright and welcoming—it’s a place you want to spend time in and find something you love. We’ve used a green-textured render on the storefront, something which I really love, and there is an eclectic mix of vintage artworks and furniture, including paintings by Australian artist Bridie Gillman, and a ’90s Noguchi floor lamp, which is great. P: We love the zodiac-influenced Stargazer fall collection inspired by Scottish artist Anita Inverarity. Here, each avatar and animal interprets the traits of their star sign. How did you collaborate with the artist? NZ: Print is often a starting point for us when creating a collection, and we’ll often choose to collaborate with an artist whose aesthetic can help evoke the mood of the season and express what we are trying to achieve with the collection. I knew early on I wanted to do something around astrology. The idea that our personalities are influenced by our birth signs has always been fun and intriguing to me. I was exploring this theme for the fall ’22 collection, and I came across these beautiful zodiac-inspired illustrations by Anita Inverarity that I was instantly drawn to—they were mystical, and I loved the colors she used. We were fortunate to work with her to create twelve whimsical prints that represent each sign of the zodiac. We’ve incorporated the symbols and icons of the zodiac in our detailing and finishes, and there’s a conscious clash of fabrics and prints in each look—it’s very textural and eclectic, with a kaleidoscope of colors. P: You are a Virgo, which ends at the fall equinox. What does every Virgo need when she dresses? NZ: Well, if they are anything like me–a plan! I’m very organized when it comes to dressing and putting together looks. If I’m heading on vacation, I’ll spend weeks laying out outfits to wear. I think that’s definitely the Virgo in me! P: And what does an Aries gal do when she is drawn to the colors and patterns of Aquarians? NZ: I’d say don’t take it too seriously! The sense of fun and enjoyment the clothes give is what was important to us when designing this collection, so definitely wear the style you fall in love with. P: Catsuits reign in this collection as layering pieces, and you’ve brought back patterned tights, both used as wardrobe staples this fall. What must every fall closet have? NZ: I think elevated outerwear can really transform your wardrobe. For fall ’22 we created a beautiful shearling coat, patchworked together with hand-crocheted braiding, and created high-gloss down bombers—I will definitely be wearing these. P: The high-neck mini with cascading stars personifies the star child. But we also love the Kaleidoscope contemporary suiting paired with a patterned blouse. What do you hope this collection brings the wearer? NZ: This collection has a real sense of fun, so we hope they have a really great time wearing it. P: What can’t you live without in your studio? NZ: Plenty of light! It’s also important to me that the studio is a space to collaborate in a very hands-on way, where we can play with fabrics and talk about what we want out of each look. It must be very visual too. We have boards up on all the walls where inspiration images and sketches are pinned, and collections take shape. P Clockwise from left: Celestial Zodiac Mini Dress; Cosmic Handkerchief Midi Dress; Kaleidoscope down jacket and Cosmic Swirl Floral midi skirt; Celestial Virgo swing dress and flare pant; Kaleidoscope shearling coat. All courtesy of Zimmermann.
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Gabriela Hearst’s Nina and Demi bags are made in collaboration with Madres y Artesanas in Bolivia. Photograph courtesy of Gabriela Hearst.
Artfully Amplified Can’t-miss museum exhibitions pair with the fashion world’s creative collaborations. BY ELAINE RAFFEL
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op artist Andy Warhol once said that “fashion is more art than art is.” Both are outlets for self-expression. Whether you agree or not, in many respects, fashion designers are indeed artists, using cloth, shape, form, and color with the same mastery as a painter wielding oil on canvas. And many of the most coveted collections and iconic pieces were inspired by art. Look no further than Yves St Laurent’s renowned 1965 block-print Mondrian shift dress or Gianni Versace’s 1991 silk-screened Warhol Marilyn gown. Here are some of the fashion world’s latest artistically inclined apparel, accessories, and collaborations—including two must-see museum exhibitions. In America: An Anthology of Fashion at the Metropolitan Museum of Art showcases American fashion from the late 18th century to the present. The interesting twist: Nine esteemed film directors (Martin Scorsese, Sofia Coppola, Chloé Zhao, and Tom Ford among them) were tasked with bringing the Met’s 13 period rooms to life through the cinematic lens. The result is a compelling look at some of the country’s legendary clothiers and designers— some familiar, others less recognizable. “Ultimately, the aim of the exhibition is to offer a more nuanced and less monolithic reading of fashion,” said Andrew Bolton, Wendy Yu Curator in Charge at the Costume Institute, speaking at the press preview. Through September 5 at the Metropolitan Museum of Art, New York City. Closer to home, Cartier and Islamic Art: The Search for Modernity at the Dallas Museum of Art is both timely and enthralling. Whether you’re a jewelry lover, architecture and design lover, have a passion for Islamic art, or all four, the exhibition offers a singular educational journey. Through the cultural context of Paris
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A bag from the Louis Vuitton X Yayoi Kusama seen as part of its resort 2023 collection.
ATELIER in the late 19th and early 20th centuries and the life of Louis J. Cartier (1875-1942), a partner and director of Cartier’s Paris branch and a collector of Islamic arts, the exhibition reveals the origins of Islamic influence on Cartier. Find jewelry fit for kings and queens and imagine the original wearers of these one-of-a-kind historical and modern treasures. Through September 8 at the Dallas Museum of Art. Designer Albert Kriemler’s fall Akris runway exploded with color, showcasing the lively, sensuous work and signature squares of German artist Reinhard Voigt. The collection featured a myriad of printed and embroidered grid canvases, and Kriemler used the geometric shape as a pattern-making tool, evident in asymmetrical dress hemlines, cold-shoulder sweaters, and stunning evening wear. Voigt’s whimsical, multi-hued triptych Drei Teile was front and center on both apparel and leather goods. Captured in what we see today as pixels, the artist’s painted portraits, flowers, and landscapes were ahead of their time. “I was fascinated to learn that he developed his way of working as early as the late ’60s,” writes Kriemler. Available at Akris, Highland Park Village. This Stella x Stella collab pairs designer Stella McCartney with American painter/sculptor Frank Stella. “I love his minimalism and maximalism,” McCartney told Vogue. “It’s such a parallel to our brand.” The end product is clothing packed with pattern and texture, deconstructing the artist’s 1980s collage work. Standouts include a showstopping oversized suit, its bold design mirroring Stella’s lithograph Spectralia. Other prints were dissected, with elements taken out to make them more wearable. McCartney also featured monochrome zigzag coats, knits, and suiting reminiscent of Stella’s more linear early work. The showing took place atop Paris’ Centre Pompidou, home to one of Europe’s best collections of the artist’s work. As for teaming with Stella, McCartney said: “He has incredibly good taste. When you talk to him, he has such a knowledge of art and design.” Since it debuted in 2016, Gabriela Hearst’s Nina Bag—a nod to singer/songwriter/musician/civil rights activist Nina Simone— has been a mainstay in the collection. The top-handled, handcrocheted cashmere pouch regularly garners a wait list. This season, the designer introduced two new limited-edition Nina and Demi bags—a collaboration with Madres y Artesanas in Bolivia, an organization comprised of women dedicated to the production of handmade, high-quality fabrics. Hearst also turned to art for several pieces in her AW 2022 runway show. The print on a cashmere-silk knit poncho echoes artist Ana Martinez Orizondo’s painting of a tree. And voluminous ivory sleeves on a black off-the-shoulder dress looked straight out of a Renaissance painting. Nina bags are available in the designer’s flagship stores and online. Gabriela Hearst is available at The Conservatory NYC, Highland Park Village. Louis Vuitton has partnered with Japanese avant-garde artist Yayoi Kusama on an enticing handbag collection set to launch for resort January 2023. Since its creation in 1854, the maison has nurtured strong ties to the art world, resulting in often radical renditions of some of its most iconic creations. The Louis Vuitton X Yayoi Kusama exclusive bags feature a bold reinterpretation of Kusama’s hallucination-inspired dot pattern, appearing on both the brand’s signature shapes and new models. Available in January at Louis Vuitton, NorthPark Center. Music was the artistic inspiration for Isabel Marant’s Frenchgirl-cool fall collection. The designer admits to being a fan of New York City alt-rock band Blonde Redhead. “For me, this season was about this ballad of a girl, she’s really going to the essentials,” the
Isabel Marant Junco dress, Laelle boots, earrings. Courtesy of Isabel Marant
Akris fall 2022 ready-to-wear. Courtesy of Akris.
In America: An Anthology of American Fashion Frank Lloyd Wright Room. Director: Martin Scorsese. Image © The Metropolitan Museum of Art.
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ATELIER
Stella McCartney logo velvet applique body-con mini dress. Courtesy of Neiman Marcus.
Loewe fall 22 runway. Courtesy of Loewe.
Cartier and Islamic Art: In Search of Modernity (installation view). Courtesy of the Dallas Museum of Art. Photograph by John Smith.
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infinitely chic designer told Vogue. “I wanted to do something very evident and very cozy, and easy to wear, and being naively sexy. She’s very discreet and at the same time very powerful.” Fluffy sweater dresses and huge coats paired perfectly with thigh-high, rock star boots. Body-conscious evening tops glammed up low-slung shell and cargo pants. Also expect to see next season’s it girls sporting leather overalls, sparkly ’80s disco dresses, denim bombers, and slouchy, multi-pocket jeans. Available at Isabel Marant, NorthPark Center. The woman who wears Loewe appreciates art, and designer Jonathan Anderson knows his audience. Vogue calls his work “consciously art-adjacent.” For good reason; the designer is known for pushing boundaries. Even before the exhibit Surrealism Without Borders debuted at the Tate Modern this past February, he was already challenging fashion rules. Anderson’s AW 2022 catwalk emoted a surrealist René Magritte-like vibe—think giant puckers as breastplates, swishy leather mini dresses, paper-bag boots, and trompe-l’oeil balloon sculptures blown up as bras. Not only the clothing had artistic roots. Two replicas of giant pumpkins dominated the show arena, the handiwork of British artist Anthea Hamilton. (Her 2018 Tate Gallery exhibit, The Squash, was inspired by a photograph of a man dressed as a vegetable.) More of Hamilton’s influence was on display outside the venue: a massive image of a male model in skimpy trunks was a reproduction of the artist’s 2010 Aquarius. Available at Neiman Marcus, NorthPark Center. P
Xxavier Edward Carter Performs Where There Are Mountains to Move at the 2022 Dallas Art Fair. Photograph by Exploredinary.
THERE DALLAS ART FAIR EARLY ACCESS CHAMPAGNE SOIREE AT F.I.G. PHOTOGRAPHY BY EXPLOREDINARY
John Sughrue, Marlene Sughrue, Nathan Johnson, Sarah Blagden, Kelly Cornell
Jason Friedman, Nadia Dabbakeh
Geoff Green, Sheryl Adkins-Green
Jennifer Klos, Carolina Alvarez-Mathies, Kaleta Blaffer Johnson
Kenny Goss, Rebekah Lilli, Victor Sebastian
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Mallory Culbert
Dannye Butler and Hilary Conner
Jeremiah Onifade, Francisco Moreno
Inna Xu, Chen Dongfan
Nerissa von Helpenstill, Dustin Holcomb, Krista Tankersley
THE EYE BALL 2022 AT THE JOULE PHOTOGRAPHY BY BECKLEY & CO. AND BRUNO SNAPTHEPICTURE
Chandra North and Rhonda Sargent
Eric Neff
Mark Guiliana
Christen Wilson
Rambo Elliot
William Close of Earth Harp
Lana Evans, Bridget Hall, and Royston Langdon
Nikki St. George, Nancy Rogers, Missy Peck, and Becca Quinsberry
Sheryl Mass and Kristie Ramirez
Jessica Nowitzki
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THERE NASHER PRIZE GALA HONORING 2022 LAUREATE NAIRY BAGHRAMIAN AT NASHER SCULPTURE CENTER PHOTOGRAPHY BY AMANDA MARIE PHOTOGRAPHIE AND JESSICA GOMEZ
Cindy Rachofsky, Howard Rachofsky
David Haemisegger, Nairy Baghramian, Nancy Nasher
Minjae Kim, Su Wu, Evan Moffitt
Patrick Collins, Nicola Lees, Sohrab Mohebbi
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Jeremy Strick
Roberto Diaz Sesma, Tania Diaz Sesma
Katie Stout
Adriana Pareles, Nancy Carlson
Yuko Hasegawa
TABLEAUX: 60 YEARS OF ART BALL (1962–2022) AT DALLAS MUSEUM OF ART PHOTOGRAPHY BY KAITLIN SARAGUSA/BFA.COM AND BRUNO SNAPTHEPICTURE
Dr. Agustín Arteaga, Carlos Gonzalez-Jamie
Bela Cooley, Faisal Halum
Cutter Dykstra, Jamie-Lynn Sigler
Moschino model, Art Ball chair Brian Bolke
Bob's Dance Shop
Cindy Rachofsky, Geoffroy van Raemdonck
Jeremy Scott, Nancy Rogers
Ken Fulk, Christen Wilson
Mickalene Thomas, Brandon Maxwell
Andrea Pitter
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FURTHERMORE
N The Bard's Golden Tickets Performing the works of William Shakespeare, Shakespeare Dallas turns 50. BY TERRI PROVENCAL
An Evening of Shakespeare performed in 1972; In 1982, Morgan Freeman starred as Othello. Both images courtesy of Shakespeare Dallas.
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orth Texas has made a home for The Bard of Avon for 50 years. Producing performances for North Texas audiences since 1972, Shakespeare Dallas offers accessible indoor and outdoor theatre, integrated school programs, and cultural enrichment for longtime fans and those first discovering the virtuosity of the legendary Englishman’s extraordinary work. In 1972, Robert (Bob) Glenn founded Shakespeare Festival of Dallas, a nonprofit organization dedicated to providing free professional Shakespearean theater to the community. An Evening of Shakespeare, performed for an audience of 1,800, inaugurated the festival on July 16, 1972, at the Fair Park Band Shell. Since then, the company has produced over 133 productions, created jobs for more than 4,000 artists, and crafted 6,000 costumes. “In founding the Shakespeare Festival of Dallas, Bob was driven by two visionary goals: he wanted to make Shakespeare available to everyone, and he wanted to make it as entertaining as it was to its Elizabethan audiences,” said Sigrid Glenn of her late husband’s impassioned vision. Best known for Shakespeare in the Park, the outdoor performance series held at Samuell-Grand Amphitheatre in East Dallas each summer and fall, the company performs fully produced plays featuring classically trained actors with typical annual attendance of more than 30,000 guests, earning the title the “people’s theater.” Raphael Parry, executive and artistic director of Shakespeare Dallas, notes, “The productions are community crossroads, with people from all walks of life coming together under the Texas stars to experience the poetry and words of William Shakespeare and the writers inspired by him.” Shakespeare in the Park is a summer staple with its family friendly setting, affordable ticket prices, and the opportunity to bring your own food and beverages. For its golden anniversary year, a free, outdoor, family picnic takes place in June. This summer’s productions are The Tempest directed by Jenni Stewart and A Midsummer Night’s Dream directed by Parry. A winter season extends the fun at Moody Performance Hall in the Dallas Arts District. Critically vaunted, Shakespeare Dallas has welcomed some of the most talented artists in the country to its stage, including, Sigourney Weaver (As You Like It, 1981); Morgan Freeman (Othello, 1982); Earle Hyman (King Lear, 1987); Randy Moore (Richard III, 1993); Alan Tudyk (Much Ado About Nothing, 1993); Tyrees Allen (King Lear, 1994); Khary Payton (Macbeth, 1997 and The Complete Works of William Shakespeare [abridged], 2000); Leslie Alexander (Macbeth, 1997); Josie de Guzman (Much Ado About Nothing, 1999); August Schellenberg (Much Ado About Nothing and Anthony and Cleopatra, 1999); Doug Ballard (The Tempest, 2001); William Jackson Harper (Hamlet, 2003); the late Lynn Mathis (multiple productions), and Rene Moreno (artistic associate and director, numerous productions). The company also offers diverse in-person and digital educational programming for grades 2 to 12, designed using the Texas Essential Knowledge and Skills (TEKS) standards. Activities will also include summer camps, Junior Players’ co-productions in August, and more. “As we continue to have a wide array of streaming options for entertainment, nothing can replace the act of gathering together as a community,” says Parry. “Shakespeare Dallas is a gem in the performing-arts fabric in North Texas. Especially now, I am grateful to be a part of the yearlong celebration of this venerated company.” In remembering her husband, Glenn adds, “If only he were here to celebrate those 50 years. Bob would be so grateful and so proud to be a part of an enduring gift to the people of Dallas and beyond.” P
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