PATRON's 10th Anniversary Issue by Patron Magazine

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R ADIANT .

Laura Lee Clark salutes Patron Magazine on their 10th anniversary.

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DORIS JACOBS , Allie Beth Allman and Assoc.

SUSAN MARCUS , Briggs Freeman Sotheby’s

MICHELLE WOOD , Compass

AMY DET WILER , Compass

JOAN ELEA ZER , Briggs Freeman Sotheby’s

EMILY PRICE CARRIGAN , Emily Price Carrigan Properties

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RALPH RANDALL , Briggs Freeman Sotheby’s

KYLE CREWS , Allie Beth Allman and Assoc.

STEWART LEE , Dave Perry-Miller Real Estate

PENNY RIVENBARK PAT TON , Ebby Halliday Realtors

MADELINE JOBST, Briggs

FRANK PURCELL , Allie Beth Allman and

BECKY FREY, Compass

JONATHAN ROSEN , Compass

ERIN MATHEWS , Allie Beth Allman and Assoc. MARK CAIN , Compass

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TOM HUGHES , Compass

RYAN STREIFF, Dave Perry-Miller Real Estate

Gala and Auction

Saturday, October 23

artist and gallery list as of September 2

View the full auction catalogue and register to bid at twoxtwo.org.

Thanks to the following artists and galleries that have contributed to this year’s benefit: DERRICK ADAMS Bienvenu Steinberg and Partner THEODORA ALLEN 12.26 DARREN ALMOND Galerie Max Hetzler HANGAMA AMIRI Towards Gallery HAROLD ANCART David Zwirner TOM ANHOLT Josh Lilley URI ARAN Andrew Kreps Gallery IVÁN ARGOTE Perrotin MARCH AVERY Blum & Poe SARAH BALL Stephen Friedman Gallery taylor barnes Erin Cluley Gallery PETER BAUHUIS Gallery Loupe THE ROMARE BEARDEN FOUNDATION ACA Galleries THE BENJAMIN LIVING TRUST (KARL BENJAMIN) Louis Stern Fine Art MARÍA BERRÍO Victoria Miro

JULIE CURTISS White Cube CYNTHIA DAIGNAULT Night Gallery TM DAVY Van Doren Waxter ANNEMIE DE CORTE Galerie Beyond THE JAY DEFEO FOUNDATION Marc Selwyn Fine Art JACKSON DENAHY Bienvenu Steinberg and Partner ELIZA DOUGLAS Overduin & Co.

CHRIS HUEN SIN KAN Simon Lee Gallery VOLKER HÜLLER GRIMM ROBERT JANITZ CANADA

PATRICK H. JONES The Sunday Painter

VERONIKA FABIAN Galerie Marzee

HALEY JOSEPHS Almine Rech; Jack Barrett

HADI FALLAHPISHEH Andrew Kreps Gallery

TEPPEI KANEUJI Yumiko Chiba Associates

TOMMY FITZPATRICK Holly Johnson Gallery; Inman Gallery

ALLISON KATZ Luhring Augustine

DAVID FLAUGHER AND NOW JOHNNY FLOYD Conduit Gallery ANDREA FOURCHY Lomex

MARLEY FREEMAN Karma

SOFIA BJÖRKMAN Platina

EMILY FURR Sargent’s Daughters

CHAKAIA BOOKER Marlborough Gallery

THE ESTATE OF HARRY GEFFERT Cris Worley Fine Art

CRISTINA CANALE Nara Roesler

ZHANG HUAN Pace Gallery

PAM EVELYN The Approach

MCARTHUR BINION Lehmann Maupin

SARAH CAIN Anthony and Celeste Meier

MARIAN HOSKING Funaki

MARCIN DUDEK Harlan Levey Projects

REBEKAH FRANK Ornamentum

JUSTIN CAGUIAT Modern Art

SKY HOPINKA Broadway

THE ESTATE OF PAUL JENKINS Ronchini Gallery

THE ESTATE OF JAKE BERTHOT Betty Cuningham Gallery

PETER BRADLEY Karma

REGGIE BURROWS HODGES Karma

YANN GERSTBERGER Galerie Gisela Capitain TOMOO GOKITA Blum & Poe SAYRE GOMEZ Xavier Hufkens TODD GRAY David Lewis

MARÍA FERNANDA CARDOSO Sicardi | Ayers | Bacino

JENNA GRIBBON Fredericks & Freiser

NATHAN CARTER Casey Kaplan

JOSHUA HAGLER Cris Worley Fine Art

MONICA CECCHI Galleria Antonella Villanova

KATE MOSHER HALL Hannah Hoffman Gallery

JULIAN CHARRIÈRE Sean Kelly Gallery

LUKE HARNDEN Barry Whistler Gallery

JÓZSEF CSATÓ Galleri Urbane

CHRISTOPHER HARTMANN Hannah Barry Gallery

ANTHONY CUDAHY Hales Gallery; Semiose

HERMAN HERMSEN Galerie Marzee

CAROLINE KENT Casey Kaplan

TONY MARSH albertz benda

MINDY SHAPERO Nino Mier Gallery

JASMIN MATZAKOW Maurer-Zilioli Contemporary Arts

AMY SILLMAN Gladstone Gallery

DANIELLE MCKINNEY Night Gallery; Marianne Boesky Gallery ANNA MEMBRINO Erin Cluley Gallery; Morgan Lehman Gallery JOEL MESLER David Kordansky Gallery SABINE MORITZ Marian Goodman Gallery YOSHITOMO NARA Blum & Poe; Pace Gallery KOHEI NAWA Pace Gallery; SCAI The Bathhouse; Sandwich Inc. EVERLYN NICODEMUS Richard Saltoun Gallery EVERT NIJLAND Galerie Rob Koudijs KIM NOGUEIRA Mobilia Gallery ASUKA ANASTACIA OGAWA Blum & Poe

HEIN KOH Anton Kern Gallery

THE ESTATE OF DOUG OHLSON Washburn Gallery

FLORIAN KREWER Michael Werner

TREVOR PAGLEN Pace Gallery

DANIEL KRUGER Galleria Antonella Villanova

VERONIKA PAUSOVA Simone Subal Gallery

LIZA LACROIX Magenta Plains

HILARY PECIS Rachel Uffner Gallery

TOM LADUKE Miles McEnery Gallery

HAYAL POZANTI Jessica Silverman Gallery

LORE LANGENDRIES Platina

LAUREN QUIN Friends Indeed Gallery

SOPHIE LARRIMORE Kate Werble Gallery

ADRIANA RADULESCU Jewelers’Werk Galerie

MARK LEONARD Louis Stern Fine Art

ELEANOR RAY Nicelle Beauchene Gallery

THE ESTATE OF BARBARA LEVITTOUX-ŚWIDERSKA Richard Saltoun Gallery

PEDRO REYES Lisson Gallery

MEG LIPKE Broadway ASAGI MAEDA Mobilia Gallery ELIZABETH MAGILL Kerlin Gallery THE ESTATE OF MASAFUMI MAITA Yumiko Chiba Associates THE ROBERT MAPPLETHORPE FOUNDATION Gladstone Gallery BROOKE MARKSSWANSON Galerie Noël Guyomarc’h

ELIAS SIME James Cohan NOLAN SIMON 47 Canal AVERY SINGER Hauser & Wirth; Kraupa-Tuskany Zeidler BEN SLEDSENS Tim Van Laere Gallery JOSH SMITH David Zwirner BOSCO SODI Kasmin; Axel Vervoordt Gallery JOHN SONSINI Vielmetter Los Angeles THE HEDDA STERNE FOUNDATION Van Doren Waxter WILLIE STEWART Nicelle Beauchene Gallery; Morán Morán JESSICA STOCKHOLDER Mitchell-Innes & Nash JASON STOPA Morgan Lehman Gallery COCO SUNG Galerie Door TERRY SUPREAN Bill Arning Exhibitions ELEANOR SWORDY Moskowitz Bayse THE ESTATE OF JIRO TAKAMATSU Yumiko Chiba Associates; Stephen Friedman Gallery; Kayne Griffin; Fergus McCaffrey MAMIE TINKLER Ulterior Gallery ANA TISCORNIA Bienvenu Steinberg and Partner FAYE TOOGOOD Friedman Benda

ROB REYNOLDS Anthony and Celeste Meier

ALEXANDER TOVBORG Galleri Nicolai Wallner; Blum & Poe

MARINA RHEINGANTZ Bortolami; Fortes D’Aloia & Gabriel; Zeno X Gallery

TANEL VEENRE Platina

FAITH RINGGOLD ACA Galleries TORBJØRN RØDLAND Nils Stærk

DAN WALSH Paula Cooper Gallery TARA WALTERS Kristina Kite Gallery

CELIA ROGGE

SIMON WARANCH Craighead Green Gallery

JULIA ROMMEL Bureau

JOAN WINTER Holly Johnson Gallery

MAJA RUZNIC Conduit Gallery

MASAOMI YASUNAGA Nonaka-Hill

ILANA SAVDIE Kohn Gallery

ANICKA YI Gladstone Gallery; 47 Canal

TWO x TWO for AIDS and Art 2021 Benefiting

THE DALLAS MUSEUM OF ART amfAR, THE FOUNDATION FOR AIDS RESEARCH SATURDAY, OCTOBER 23, 2021 • THE RACHOFSKY HOUSE • DALLAS, TEXAS 2021 Honored Artist YOSHITOMO NARA Presenting Sponsor NANCY C. ROGERS

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For more information about Yoshitomo Nara or TWO x TWO 2021, please visit twoxtwo.org. image copyright: Yoshitomo Nara • courtesy: Blum & Poe and Pace Gallery

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

October / November 2021

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

Imagination is our greatest freedom, and it doesn’t cost a thing. Communicating expressions of freedom through artists of all disciplines motivates our work here at Patron, and this issue marks our 10th anniversary. The premiere issue appeared in the mail in November 2011 with Aaron Parazette’s PATRON on the cover. Much has evolved since then, especially contemporary art forms of all kinds—now the norm rather than for curiosity seekers through emboldened museums, galleries, private collectors, and world-class venues showcasing brave performances. Many of these endeavors have been here for the taking. What has changed, however, is today’s diversity conversation, which strives to make all art platforms equitable. Let these efforts frame our future. Forward a decade, this cover presents the work and likeness of TWO x TWO for AIDS and Art Artist Honoree Yoshitomo Nara seated before his work TOBIU, 2019. In a return to The Rachofsky House, TOBIU will go under the gavel of Michael Macauley, a trusted Sotheby’s vice president and auctioneer, during TWO x TWO’s Gala and live auction on October 23. Indisputably a master of freedom of expression, Nara articulates empathic solitude and rebellion, offering a spiritual journey through his multivalent oeuvre of invented wide-eyed figures and animals wrought with human emotion. In these pages, Dallas Museum of Art’s curators Anna Katherine Brodbeck and Vivian Li introduce a conversation with Nara and his longtime friend and art dealer Tim Blum of Blum & Poe. TWO x TWO coverage also includes OWNitNOW options as selected by art advisors Adam Green, Benjamin Godsill, and Spencer Young. Locally, Sotheby’s Charlie Adamski Caulkins reveals some of her picks. In other returns, we welcome back the Dallas Art Fair, this time with a November installment. We’ve missed this event, which pairs the region’s collectors with local and international galleries presenting the best in contemporary art. Read about five of them spanning the globe: Olivier François Galerie, Blouin Division, Saenger Galería, Galerie Jérôme Poggi, and Louis Stern Fine Arts in On With The Show. May they arrive here safely. We also meet Hales Gallery cofounder Paul Hedge as Nancy Cohen Israel peeks inside the Londoner’s home and collection in advance of next spring’s fair. Influencing legions of artists, Van Gogh is remembered here as we eagerly await the opening of Van Gogh and the Olive Groves on October 17 at the Dallas Museum of Art. Coauthored by local professor and artist Joel Murray and art historian Brian Allen, Genius Through Despair provides a preview. Born a century earlier, the work of J.M.W. Turner is on view at the Kimbell Art Museum in Turner’s Modern World, described in Full Steam Ahead. Bringing the conversation back to today’s generation of artists, Carol Bove: Collage Sculptures opens at the Nasher Sculpture Center on October 16; Brandon Kennedy offers insight in Crushin’ on the past. Danielle Avram tells of a new exhibition curated by Sadie Coles at the Karpidas Collection. Read about four female forces in art—Issy Wood, Becky Kolsrud, Xinyi Cheng, and Katja Seib—in Private Passions. In Departments, Chris Byrne chats with Emilia Kabakov, the wife and art collaborator of Ilya, whose Paintings about Paintings is on view at Dallas Contemporary. Steve Carter reviews Annette Lawrence’s survey show at Conduit Gallery and Imagined Realism: Scott and Stuart Gentling, on view at the Carter. The final story, Blackness as Joy, Leisure, and Excellence, introduces the Green Family Art Foundation, which imparts the wisdom of creative freedom. Thank you to our advertisers, contributors, readers, and those who inspire us for being with us these 10 years. The opportunity to share the arts—diverse and vast, astonishing, elucidating, and fleeting—is a privilege. At Patron we look forward to guiding the way for many years to come. – Terri Provencal

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CONTENTS 1

FEATURES 82 THE FUNDAMENTAL EMOTIONS ALL HUMANS POSSESS TWO x TWO for AIDS and Art honoree Yoshitomo Nara’s rebellious and affecting figures inspired an enduring friendship with Blum & Poe’s Tim Blum. Text by Anna Katherine Brodbeck and Vivian Li 90 ON WITH THE SHOW... Highlighting five exhibitors appearing this November, Dallas Art Fair makes a triumphant return this fall. By Steve Carter, Nancy Cohen Israel, and Terri Provencal 96 GENIUS THROUGH DESPAIR Van Gogh and the Olive Groves at the DMA is a moving investigation of the Dutch painter’s work while in an asylum. By Brian Allen and Joel Murray 104 PRIVATE PASSIONS Xinyi Cheng, Becky Kolsrud, Katja Seib, and Issy Wood bring “distinctive interior worlds” to the Karpidas Collection. By Danielle Avram

110 CRUSHIN’ ON THE PAST The sculptures of Carol Bove mine modernism through integration and compression at the Nasher. By Brandon Kennedy 114 FULL STEAM AHEAD Turner’s Modern World brings light to the late 18th- and 19th-century artist’s range and his “uproarious treatment of paint.” By Nancy Cohen Israel 118 RETURN TO SPLENDOR Fall 2021 brings a stylish return to all forms of revelry. Photography by Luis Martinez; Styling by Carlos Alonso-Parada

118 110

On the cover: Yoshitomo Nara sitting in front of his donation to TWO x TWO for AIDS and Art. TOBIU, 2019, patched corrugated board mounted on wood, 116 x 139.5 in. Courtesy of the artist and Blum & Poe, Los Angeles/New York/ Tokyo; and Pace Gallery. © Yoshitomo Nara. Photograph by Ryoichi Kawajiri.

104 20

PATRONMAGAZINE.COM

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CONTENTS 2

DEPARTMENTS 16 Editor’s Note 24 Contributors 38 Noted Top arts and culture chatter. By Kit Freeman Of Note 42 THREADS OF HISTORY The Meadows Museum collaborates with Madrid’s Museo del Traje to pair art with fashion. By Nancy Cohen Israel 55 THE COLLECTOR’S PARADISE Hammering down TWO x TWO for AIDS and Art’s Live Auction for 20-plus years, Sotheby’s enlists the bid call of seasoned specialist Michael Macaulay. By Terri Provencal Fair Trade 56 BROADWAY DEBUT Entrance-makers Pascal Spengemann and Joe Cole will bring the work of Sarah Cain to the Dallas Art Fair with their new TriBeCa gallery. Interview by Pascal Spengemann

Openings 58 CONVERSATION PIECE Conduit’s Annette Lawrence survey traces her ever-evolving artistic fascinations, a journey that’s far from over. By Steve Carter 62 A HOMECOMING With Imagined Realism: Scott and Stuart Gentling, the Carter celebrates the diverse passions of Fort Worth’s Gentling twins. By Steve Carter Contemporaries 66 NEW REALITIES With dramatic flair, Ilya and Emilia Kabakov bring Eastern European conceptualism to Dallas Contemporary. Interview by Chris Byrne 70

68 SCRATCHING THAT SEVEN-YEAR ITCH James Cope’s AND NOW moves to Dragon Street as his emerging artists roster matures. By Brandon Kennedy 70 PACESETTERS OF THE NEW, NOW, NEXT The highly anticipated TWO x TWO Gala returns with the support of three rising art advisors. By Kendall Morgan 74 HIDDEN GENIUS In his London home and galleries, Hales cofounder Paul Hedge supports the immense talent of emerging and historically significant artists. By Nancy Cohen Israel 42

Furthermore 128 BLACKNESS AS JOY, LEISURE, AND EXCELLENCE Green Family Art Foundation gets underway with Black Bodies, White Spaces: Invisibility & Hypervisibility. By Terri Provencal

128 22

There 126 CAMERAS COVERING CULTURAL EVENTS

PATRONMAGAZINE.COM

John Sutton Photography

CONTRIBUTORS

DANIELLE AVRAM is a curator and writer based in Dallas. She is currently an assistant professor of contemporary galleries and exhibitions and director of the SP/N Gallery at UT Dallas. She has held positions at Texas Woman’s University; SMU; The Power Station and the Pinnell collection; and the High Museum of Art. She has an MFA from the School of The Museum of Fine Arts and Tufts University, and a BA from UT Dallas. Danielle discusses Private Passions, featured in this issue.

BRIAN ALLEN is the art critic for the National Review. He was the director of the museum division of the New-York Historical Society and the Addison Gallery of American Art. Prior to that, he was the curator of American art at the Clark Art Institute. Though a specialist in American 19th-century art, he’s done exhibitions on Old Masters prints, English silver, the Vienna Secession movement, late 19thcentury French art, and the work of living artists. He lives in Arlington, Vermont, where he’s involved in small-town doings.

STEVE CARTER stayed busy for this issue—not that he’s complaining. Check out his coverage of the Carter’s just-opened Imagined Realism: Scott and Stuart Gentling; the revelatory exhibition runs through January 9, 2022. Next, he previews Conduit Gallery’s Annette Lawrence survey show, Indeterminate Conversations; on view October 9 through November 13. Finally, Carter profiles two galleries that will be presenting at the Dallas Art Fair 2021—Mexico City’s Saenger Galería and Montréal’s Blouin Division.

CARLOS ALONSO-PARADA has always allowed his wanderlust to enhance his work and influence his approach to style making. With an insatiable appetite for culture, language, art, and music, Carlos is the consummate chameleon, creating bespoke looks, and custom styling to expertly conjure the vision of each client. His vast experience and honed skill set afford him the agility to oscillate among any project type, from editorial to commercial lifestyle to the runway.

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LAUREN CHRISTENSEN has over two decades of experience in advertising and marketing. As a principal with L+S Creative Group, she consults with a wide variety of nonprofit organizations and businesses in many sectors, including retail, real estate, 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.

CHRIS BYRNE authored The Original Print (Guild Publishing, 2002) and the graphic novel The Magician (Marquand Books, 2013), within the Rare Book & Manuscript Library, Columbia University; Rare Book/Special Collections Division, Library of Congress; Ryerson and Burnham Archives, The Art Institute of Chicago; Thomas J. Watson Library, The Metropolitan Museum of Art. He is co-editing the Frank Johnson: Secret Pioneer of the American Comic Book for Fantagraphics with Keith Mayerson.

NANCY COHEN ISRAEL is Dallas-based writer, art historian, and educator. Nancy has written for Patron since its first issue and is ecstatic to be celebrating its 10th anniversary. For the current issue, she was delighted to write about two fall exhibitions: Turner’s Modern World at the Kimbell Art Museum, and Canvas & Silk at the Meadows Museum, where she is on the education staff. Nancy also enjoyed speaking with galleries from the US and abroad and looks forward to welcoming them to the Dallas Art Fair in November.

BRANDON KENNEDY is a freelance writer, occasional artist/ curator, and book collector formerly based in North Texas. After several years as the director of exhibitor relations at the Dallas Art Fair, he is now a peripatetic amateur mushroom photographer, insect tracker, and devout birdsong cataloguer. In this issue, Kennedy engages in a Q&A with AND NOW’s James Cope as he moves his gallery to Dragon Street, and previews the Carol Bove sculpture exhibition coming to the Nasher Sculpture Center this fall.

LUIS MARTINEZ is a Kim Dawson model discovery from San Antonio and fashion/beauty photographer, videographer, and content creator now based in Dallas. Equally skilled on both sides of the lens, he’s our go-to guy for fashion. For Patron’s 10th anniversary issue, Luis worked with veteran stylist Carlos Alonso-Parada and models Sarah Thigpen and Chloe Bratten to capture the joyful return to party dressing for all occasions in Return to Splendor.

KENDALL MORGAN is a Dallas-based arts writer who profiled three young art advisors—Benjamin Godsill, Adam Green, and Spencer Young— who are lending their eye to the TWO x TWO Auction. “As a personal collector of work from the ridiculous (a 12-foot odalisque from a Harlem speakeasy) to the sublime (pieces from Murakami, Sachs, and Koons), it was a thrill to see what they singled out. Use Pacesetters of the New, Now, Next as an artistic Cliff’s Notes to bring home something.”

JOEL MURRAY is a Dallas-based artist and educator. His paintings and drawings are layered, narrative depictions of images taken from the news, art history, and stand-up comedy, which are then combined with symbols both abstruse and commonplace. Shown at Gallery 12.26, his nonlinear stories show real and imagined objects placed in or over altered versions of source material. He has taught at The Warehouse, Nasher Sculpture Center, Meadows Museum, Dallas Contemporary. KEVIN TODORA uses the photograph as the foundation for his sculptural work by experimenting with everyday objects, taking them out of their usual contexts and placing them into unexpected photographic tableaux. He earned his MFA from SMU and his BFA from UT Dallas. Todora was the subject of a solo show at Dallas Contemporary and his work is represented by Erin Cluley Gallery and is within the Toyota Motor Corporation North America collection. He captured the Karpidas Collection’s Private Passions for Patron.

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sophia Dembling PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Brian Allen Danielle Avram Chris Byrne Steve Carter Nancy Cohen Israel Brandon Kennedy Kendall Morgan Joel Murray Pascal Spengemann CONTRIBUTING PHOTOGRAPHERS Bruno Matthew Murphy Joe Bondo Jesús Madriñán Megan DeSoto John Smith Mandee Johnson Ryan Stevenson Robert LaPrelle; Kevin Todora Jess Littlewood Robert Wedemeyer Luis Martinez Kim White Conor McPherson Laterras Whitfield STYLISTS/ASSISTANTS Carlos Alonso-Parada Eva Kadane Elaine Raffel LB Rosser ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS amazon.com/patronmagazine One year $36/6 issues, two years $48/12 issues For international subscriptions add $15 for postage For subscription inquiries email info@patronmagazine.com SOCIAL @patronmag

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Shozo Shimamoto, Untitled - Whirlpool, 1965, oil on canvas, The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund, 2012.1.3, © Shozo Shimamoto Association, Naples

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THE TOP AGENT OF THE TOP TEAM AT THE #1 LUXURY BROKERAGE IN NORTH TEXAS KNOWS WHAT AMENITIES ARE SUDDENLY HOT — AND WHY

aisal Halum sees a lot of highstyle homes. The head of the top-producing residential team at Briggs Freeman Sotheby’s International Realty has a penchant for selling houses of tremendous architectural significance — whether built in the Roaring ’20s, the modernist ’60s or finished just last week. Because his clients are architecturally inclined, too, Halum knows firsthand what amenities are in and out — the minute they are either. Today’s trending features? Halum can dash off many: “really luxurious outdoor living spaces, two kitchens, two private offices, a home generator, a space dedicated to learning if there are kids and spaces for several generations to live together.” Because working from home is a new reality, dual offices mean two people with differing careers won’t be bumping into each other in one workspace all day, or overhearing all those video calls. A place for kids to focus and learn — dif-

ferent than a playroom — is important, whether they are homeschooled or taking virtual classes. Perhaps the hottest commodity is living quarters for the whole family — grandparents and other relatives included. The National Association of REALTORS® reports that a full 15 percent of homes purchased now are bought for the purpose of everyone living together under one roof. The No. 1 reason? Parents moving in with their adult kids — a new paradigm that may be here to stay, says the man who sees it all.

TRENDS: THREE AT THE TOP Among the amenities that agent Faisal Halum sees in the highest-level homes, some are gaining speed. Here, just three luxuries that are moving from maybes to must-haves.

INSIDE OUTSIDE “Outdoor spaces that feel like indoor rooms are at the top of the new list of luxuries,”

Halum says. One brilliant example? 5828 Woodland Drive in Preston Hollow, above, sold by Halum.

HOME GENERATORS “More weather extremes mean more storms and freezes. A whole-house generator, powered by

natural gas, propane or diesel, keeps the lights,

Faisal Halum is the 2021 Real Trends # 1 Residential Resale Agent in Dallas and the 2021 Real Trends #1 Residential Resale Agent in Texas. Among the Faisal Halum Group’s many honors are 2021 Companywide Top Team, 2021 D Magazine Platinum Top Producers, Team of 3 to 5, and D Best.

appliances, security systems and HVAC going during outages.”

FAMILY QUARTERS “Suites on the first floor, or separate structures altogether, with a living area, bedroom and bath

are the new musts for aging parents moving in,

Faisal Halum, 214-240-2575, fhalum@briggsfreeman.com.

adult children moving back and/or relatives on extended visits.”

THE HEIGHT OF URBAN LUXURY

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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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01 AFRICAN AMERICAN MUSEUM Through the Feb. 15, the museum will host Sepia: Past. Pride. Power., an exhibition of African American politicians, community leaders, and entertainers from Sepia magazine; and The History of the Prairie View Interscholastic League: Black High School Sports in Texas in the Era of Segregation. The show highlights the players, teams, and the impact and dominance of Black high school sports in Texas, when racial segregation forced Black athletes to create their own interscholastic sports league. On view through Nov. 27, Ruth Mae McCrane: Scenes from the Lost Book of the Bible and Other Religious Subjects (1929-2002), sees an exhibition of religious paintings by Ruth Mae McCrane. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART The Carter’s three exhibitions spanning time and the globe continue through the fall. Mount Superior features the watercolor landscape artist Thomas Moran through Dec. 12. Anila Quayyum Agha: A Beautiful Despair, an immersive contemporary exhibition that displays the work of the multidisciplinary Pakistan-born, USbased artist, and Imagined Realism: Scott and Stuart Gentling will both continue through Jan. 9, 2022. Image: Anila Quayyum Agha, A Beautiful Despair, 2021, laser-cut lacquered steel, turquoise. © Anila Agha. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS The Crow’s ongoing exhibitions, Born of Fire: Contemporary Japanese Women Ceramic Artists and Vishnu: Across Time and Space, continue through May. Image: Matsuda Yuriko (b. 1943), In Her Shoes, 3, 2008, porcelain and polychrome enamel glazes and gold decoration. 6.5 x 10 x 3 in. Carol and Jeffrey Horvitz Collection. Courtesy of Dai Ichi Arts, Ltd. crowmuseum.org 04 DALLAS CONTEMPORARY Continuing through Feb. 13, 2022: Peter Halley: Cell Grids, presents a unique series of paintings made from 2015 to the present; Ilya + Emilia Kabakov: Paintings about Paintings resembles an outdated, rundown museum, incorporating paintings, interactive works, and an installation; Shilpa Gupta’s installation For, In Your Tongue, I Cannot Fit: 100 Jailed Poets is the artist’s first solo exhibition in the US in over a decade. Renata Morales: Inane and Mundane Evolutionary Tales of Fear Love and Horror, is a year-long multimedia project continuing through Sep. 25 2022 with a limited drop of sweatshirts and plates. 38

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Image: Renata Morales, niñe, 2019, ceramic sculpture, 23.22 in. Courtesy of Dallas Contemporary. © Photograph by Samantha Cen. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM The DHHRM’s special exhibition, The Book Smugglers: Partisans, Poets, and the Race to Save Jewish Treasures from the Nazis, detailing the true story of ghetto residents who rescued thousands of rare books and manuscripts by hiding them on their persons, burying them in bunkers, and smuggling them across borders, continues through Jan. 2, 2022. dhhrm.org 06 DALLAS MUSEUM OF ART The DMA will present five exhibitions for the fall season: Focus On: Henry Ossawa Tanner is currently on view; Slip Zone: A New Look at Postwar Abstraction in the Americas and East Asia continues through Jul. 10, 2022, along with Bosco Sodi: La fuerza del destino. Point, Line, Plane: The William B. Jordan and Robert Dean Brownlee Bequest will be on view Oct. 10–Jan. 9, 2022. Naudline Pierre: What Could Be Has Not Yet Appeared is on view through May 15, 2022. Sam F by Jean-Michel Basquiat remains on view in the main concourse through Feb. 22, 2022. The newest exhibitions for the fall, opening throughout, presents the exemplary Dallas-based collection of American art that was built over nearly 60 years, Oct. 10–Jan. 9, 2022. Van Gogh and the Olive Groves presents the first exhibition dedicated to Van Gogh’s olive grove series from Oct. 17–Feb. 6, 2022; and Bamana Mud Cloth: From Mali to the World presents culturally significant designs on bogolanfini Nov. 14–Dec. 14, 2022. Image: Jackson Pollock, Figure Kneeling Before Arch with Skulls, about 1934–1938, oil on canvas. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2017 © 2021 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York. dma.org 07 GEOMETRIC MADI MUSEUM The Sixth Biennial Group Exhibition, comprising 32 works by various artists, ends on Oct. 24. geometricmadimuseum.org 08 KIMBELL ART MUSEUM Turner’s Modern World, explores J.M.W. Turner’s lifelong interest in the inventions, events, politics, society, culture, and science of his time, which resulted in many of his most original works and transformed his way of painting, runs Oct. 17–Feb. 6, 2022. Image: Joseph Mallard William Turner (1775–1851), Venice by Moonlight, with

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NOTED: GALLERIES 14

Boats off a Campanile, 1840, watercolor on paper, 8.66 x 12.55 in. Tate Britain, London, accepted by the nation as part of the Turner Bequest 1856. Photograph © Tate, London, 2020. kimbellart.org 09 LATINO CULTURAL CENTER Nuestro Oak Cliff, which examines the neighborhood of Oak Cliff and illustrates the city’s transition throughout history, closes on Oct. 16. Cine de Oro presents To Rob a Thief on Oct. 17 and Chef on Oct. 20. lcc.dallasculture.org 10 THE MAC HYPERLOCAL II, the exhibition of work by Cedars Union cohort artists, continues through Oct. 9. Oct. 16–Jan. 8, 2022, The MAC presents a solo exhibition for Ciara Bryant, winner of the 2020 CADD x Maddrey PLLC Artist Prize, in collaboration with CADD. the-mac.org 11 MEADOWS MUSEUM The museum’s Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje pairs for the first time works in the Meadows collection with representative examples of the historic dress depicted, shedding new light on the relationship between representation and reality, between image and artifact. Canvas & Silk runs concurrently through Jan. 9, 2022, with Image & Identity: Mexican Fashion in the Modern Period. Image: Ignacio Zuloaga y Zabaleta (Spanish, 1870– 1945), Portrait of the Duchess of Arión, Marchioness of Bay, 1918, oil on canvas. Meadows Museum, SMU, Dallas. Museum purchase with funds generously provided by Mr. and Mrs. Walter Levy and Mr. and Mrs. Lawrence Hermele. Photograph by Kevin Todora. meadowsmuseumdallas.org 12 MODERN ART MUSEUM OF FORT WORTH Sean Scully: The Shape of Ideas closes on Oct. 11. Flora and Bust, both dating to 2017, join the Modern’s permanent collection and remain on view through Jan. 2, 2022. Seventy paintings from the 1910s to the mid-1960s by Milton Avery, one of North America’s greatest 20th-century colorists, will be on view from Nov. 7–Jan. 30, 2022. Opening Nov. 19, FOCUS: Frances Stark showcases the artist’s ability to find humor and poetry in even the most mundane aspects of daily life and society, through Jan. 9, 2022. Image: Milton Avery, Boathouse by the Sea, 1959, oil on canvas, 72 x 60 in. Milton Avery Trust courtesy Victoria Miro and Waqas Wajahat © 2021 Milton Avery Trust / Artists Rights Society (ARS), New York and DACS, London 2021. themodern.org 13 MUSEUM OF BIBLICAL ART 40

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06 The museum hosts Remember 9/11, historical items displayed in memory of the fallen exhibited alongside works from Texas artists such as James Surls, Sherry Owens, Barbara Hines, Michael Roque Collins, Pamela Nelson, Sharon Kopriva, and George W. Bush, as well as international artists such as Sean Scully, Robert Ballagh, Guggi, Eamon Colman, and the Edge from the band U2, through Nov. biblicalarts.org 14 NASHER SCULPTURE CENTER The Nasher hosts a traveling exhibition from the Los Angeles County Museum of Art (LACMA), Betye Saar: Call and Response through Jan. 2, 2022, which explores the relationship between Saar’s sketchbooks and her finished works. In the first major museum presentation focused solely on Bove’s formidable steel sculptures, Carol Bove: Collage Sculptures will bring together nine sculptures from the last five years, two of which have been made especially for the Nasher’s exhibition. Oct. 16–Jan. 9, 2022. Image: Betye Saar, Sanctuary Awaits, 1996. Courtesy of the artist and Roberts Projects, Los Angeles, CA, © Betye Saar, photograph © Museum Associates/LACMA. nashersculpturecenter.org 15 PEROT MUSEUM The Perot will unveil an exhibition of works by internationally renowned jewelry designer Paula Crevoshay in The Shape of Matter—Through an Artist’s Eye on Oct. 21. The Shape of Matter will be comprised of approximately 70 pieces that celebrate nature’s beauty and will be on display through Apr. 20. perotmuseum.org. 16 SIXTH FLOOR MUSEUM The Sixth Floor Museum’s 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. jfk.org 17 TYLER MUSEUM OF ART Building a Legacy II: Selections from the Permanent Collection continues through Oct. 24 and celebrates the 50th anniversary of the museum. The exhibition spotlights work, both long-held and recent acquisitions, from the TMA’s permanent collection. tylermuseum.org

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THREADS OF HISTORY Meadows Museum collaborates with Madrid’s Museo del Traje to pair art with fashion. BY NANCY COHEN ISRAEL

mbellished with silver thread and sequined tassels, traje de luces shimmer in the sunlight as bullfighters stride into the ring regally attired. This fall, visitors to the Meadows Museum will have the opportunity to view this quintessential Spanish costume, as well as many others, in the exhibition Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje. The exhibition pairs about 40 paintings from the Meadows’ permanent collection with objects from the Spanish institution’s vast holdings of clothing and accessories. “My goal was to inform our permanent collection,” says Amanda Dotseth, the museum’s curator and exhibition co-curator. For this project, she relied heavily on the museum’s collection of genre paintings and portraits from the 18th, 19th, and 20th centuries, which correlate to the strength of the Museo del Traje’s collection. In Madrid, exhibition co-curator Elvira González Asenjo oversaw the objects coming from that institution. The Museo del Traje had its peripatetic beginnings in the early 20th century as an exhibition meant to celebrate Spain and its regional dress just as the country was losing her colonies. As a national museum, it officially opened in 2004. In their American debut, the objects from Spain will be more than anthropological studies. Under Dotseth’s careful eye, everything selected has a connection to the museum’s collection. “The genre paintings are about fashion,” she explains. As a point

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of reference, Dotseth cites Antonio Casanova y Estorach’s Favorites of the Court. Based on the dress, the 19th-century artist was looking back wistfully at the previous century. Though depicting iconically Spanish bullfighters as well as courtiers, he places them in a hall of the French palace Fontainebleau. Given the political dynamic between France and Spain at the time, Dotseth adds, “There is a tension between what you wear to identify an allegiance, particularly in the wake of the Napoleonic Wars.” The exhibition also gives prominence to paintings that are sometimes overlooked by visitors, including the risqué work by Antonio María Esquivel, Woman Removing her Garter. For 19thcentury viewers, it offered a titillating bedroom scene. In the 21st century, it gives viewers a glimpse of the undergarments that served as a foundation for the fashions of the day, such as the dress worn by Isabel de Borbón that will also be on view. “Fashion is also symbolic of economic power,” Dotseth explains. As a result, the exhibition delves into where materials, such as gold, silk, and ostrich feathers, are sourced. “It almost always involved an international trade,” she continues. Using the iconic mantón de Manila as an example, she explains that these stereotypically Spanish wraps had their origins in China. Prior to their adoption of Spanish motifs, their embroidery reflected quotidian Chinese scenes, as seen in the example coming from Spain that will be shown juxtaposed with Ignacio Zuloaga y Zapata’s Duchess of Arión, Marchioness of Bay. His

inclusion of an antique shawl is testament to the duchess’ long and affluent lineage. This is contrasted to the rising middle class who, for the first time, could think of fashion as something that could change with the seasons and bestow status upon its wearer. “It is about how you present yourself to society. This is the ritual that you go through when you step out of your house,” Dotseth says, adding, “Accessories are essential. All of those things mattered. They had a social function.” Luis Jiménez Aranda’s Lady at the Paris Exposition embodies the look of this modern social class. A dress and shoes designed by Manuel Piña and painted by Alex Serna, dating from 1991, are among the more contemporary objects. They find their artistic counterpart in Joan Miró’s Queen Louise of Prussia. Concurrent with Canvas & Silk, the museum will present Image & Identity: Mexican Fashion in the Modern Period. Akemi Luisa Herráez Vossbrink, the Center for Spain in America Curatorial Fellow at the Meadows Museum, served as its curator. Herráez plumbed the collections of the museum, along with SMU’s DeGolyer Library, to bring together photographs, prints, books, and gouaches to highlight how fashion forged a national identity in 19th- and 20th-century Mexico. Ultimately, Dotseth says, “People who want to learn about fashion will learn about that, and people who like portraiture can find that.” In short, there will be something for everyone. P

On view through JANUARY 9

This page: Jusepe de Ribera (Spanish, 1591–1652), Portrait of a Knight of Santiago, c. 1635, oil on canvas. Meadows Museum, SMU, Dallas. Algur H. Meadows Collection. Photograph by Michael Bodycomb. Opposite, clockwise from top left: Insignia, Order of Santiago, 1650–1699, gold and enamel. Museo del Traje, Madrid. ©Museo del Traje. Centro de Investigación del Patrimonio Etnológico, Madrid, Spain. Photograph by Jesús Madriñán. Mariano Fortuny y Marsal (Spanish, 1838–1874); Beach at Portici, 1874, oil on canvas, 27 x 51.25 in. Meadows Museum, SMU, Dallas. Museum purchase with funds from Mary Anne Cree, Mrs. Eugene McDermott, Susan Heldt Albritton, Linda P. and William A. Custard, Gwen and Richard Irwin, Shirley and Bill McIntyre, Cyrena Nolan, Peggy and Carl Sewell, Gene and Jerry Jones, Pilar and Jay Henry, Barbara and Mike McKenzie, Caren Prothro, Marilyn Augur, Dr. and Mrs. Lawrence S. Barzune, The Joe M. and Doris R. Dealey Family Foundation, The Honorable Janet Kafka and Mr. Terry Kafka, the Mr. and Mrs. Walter M. Levy Fund of Communities Foundation of Texas, Stacey and Nicholas McCord, Linda and John McFarland, Catherine Blaffer Taylor, Julie and George Tobolowsky, Cheryl and Kevin Vogel, Diane and Gregory Warden, Natalie and George Lee, Estelle and Michael Thomas, Bethany and Samuel Holland, President R. Gerald and Gail Turner, Kathleen and Mark Roglán, and an anonymous donor. Photograph by Robert LaPrelle; Vestido (Blouse), c. 1890, cotton, mother-of-pearl, silk. Museo del Traje, Madrid. ©Museo del Traje. Centro de Investigación del Patrimonio Etnológico, Madrid, Spain. Photograph by Francisco Javier Maza Domingo. Abanico (Fan) (detail), 1850–1859, paper, horn, silvered metal, mother-of-pearl, and wood. Museo del Traje, Madrid. ©Museo del Traje. Centro de Investigación del Patrimonio Etnológico, Madrid, Spain. Photograph by Jesús Madriñán.

CARTERMUSEUM.ORG/ IMAGINEDREALISM #GENTLINGART STUART GENTLING (1942–2006), [Landscape with pond and barn] (detail), ca. 1979, graphite, opaque and transparent watercolor on paper, Collection of Lee Lupton Tennison, © Amon Carter Museum of American Art

OCTOBER / NOVEMBER 2021

NOTED: PERFORMING ARTS

03 18 01 AMPHIBIAN Amphibian Stage currently has interactive virtual events, including acting classes, on their website. amphibianstage.com

on Oct. 25. Hasan Minhaj takes the stage with The King’s Jester on Nov. 6. From Nov. 16–Dec. 5, Hamilton transports audiences on a revolutionary journey. dallassummermusicals.org

02 AT&T PERFORMING ARTS CENTER Andrea Bocelli brings his Believe World Tour to American Airlines Center on Oct. 20. The Elevator Project’s Clear Light of the Void, presented by Sangeet Millennium and Art Nomadic, mounts Oct. 28–30. The Eugene McDermott Foundation presents Turn Up the Lights, in support of the AT&T PAC, Nov. 4. The Gipsy Kings featuring Nicolas Reyes perform Nov. 10. Jo Koy makes a stop for his Just Kidding World Tour, Nov. 16–17. Image: Jo Koy tour. Mandee Johnson Photography. attpac.org

08 DALLAS SYMPHONY ORCHESTRA Philharmonia Fantastique: Multimedia Introduction to the Orchestra takes place Oct. 2. Chelsea Chen joins the Gould Family Organ Recital Series on Oct. 3. Ellen Taaffe Zwilich pays homage to Ruth Bader Ginsburg on Oct. 7. Chris Botti in Concert with the Dallas Symphony Orchestra will perform Oct. 8–10. Emperor, Beethoven’s last piano concerto, bursts with heroic themes, virtuosic cadenzas, and tender slow movements, Oct. 14–17. Erich Bergen’s Hollywood Songbook performs Oct. 20. Ben Folds in Concert with the Dallas Symphony Orchestra takes place Oct. 22–24. Elgar Symphony No. 1, the prelude to Wagner’s comic opera The Mastersingers of Nuremberg will be onstage Oct. 28–30 followed by Día de los Muertos Concert Oct. 31. Mozart’s Requiem opens Nov. 4–6. Luisi & Fleming pairs two stars Nov. 5–7. Patriotic Pops Veteran’s Day Celebration celebrates men and women in uniform Nov. 12–14. Bartók & Beethoven explores nature and love through music Nov. 18–21. mydso.com

03 BASS PERFORMANCE HALL Come From Away tells the true story of 7,000 stranded passengers and the small town in Newfoundland that welcomed them, Oct. 19–24. Broadway at the Bass sees fan-favorite Cats, Nov. 16–21. Image: Cats. Photograph by Matthew Murphy. basshall.com 04 CASA MAÑANA Grace for President tells the story of a girl who wants to be president and inspires a school election, Oct. 2–17. Smokey Joe’s Café: The Songs of Leiber and Stoller sees the legendary music of rock and roll pioneers Jerry Leiber and Mike Stoller, Oct. 30–Nov. 7. Rudolph the Red-Nosed Reindeer transforms the classic for the stage Nov. 20– Dec. 23. casamanana.org 05 DALLAS BLACK DANCE THEATRE African culture flows through DBDT and DBDT: Encore! along with the Allegro Performing Ensemble, Senior Performing Ensemble, and the Junior Performing Ensemble of Dallas Black Dance Academy for DanceAfrica, Oct. 1–2. The free daytime DanceAfrica Festival & Marketplace fills Klyde Warren Park Oct. 2. Director’s Choice, Nov. 5–6, marks DBDT’s 45th year. dbdt.com 06 THE DALLAS OPERA Available through Oct. 31 on thedallasopera.tv, Vanished is an art film in three parts about longing, heartbreak, and the search for love. Oct. 22, 24, and 30 The Dallas Opera Orchestra conductor Emmanuel Villaume leads Opera’s Greatest Hits. On Oct 29, Villaume will conduct TDO’s National Vocal Competition, Final Round. Nov. 6 brings the Hart Institute for Women Conductors Showcase Concert. dallasopera.org 07 DALLAS SUMMER MUSICALS DSM sees Penn & Teller at the Music Hall at Fair Park on Oct. 29. The Heart of Teaching continues through Oct. 23, with an auction 44

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09 DALLAS THEATER CENTER Tiny Beautiful Things follows Sugar, an online advice columnist who uses her personal experiences to help real-life readers, through Oct. 16. Cake Ladies welcomes DTC audiences back to live shows Oct. 17. The world premiere of The Supreme Leader presents a young Kim Jong-un, who learns he’s unexpectedly next in line as the Supreme Leader. Oct. 28–Nov. 21. dallastheatercenter.org 10 EISEMANN CENTER RSO’s 60th season opens with a world premiere by Kirsten Broberg on Oct. 2. Persian pop singer-songwriter Sasy performs Oct. 8. Keyboard Conversations highlights Beethoven, Schubert, Gershwin, and more Oct. 18. Theresa Caputo performs Live! on Oct. 22 followed by John Mueller’s Winter Dance Party, Oct. 23. Menopause The Musical runs Nov. 12–13. eisemanncenter.com 11 FORT WORTH SYMPHONY ORCHESTRA Harth-Bedoya Conducts Brahms and a World Premiere: Victor Agudelo, Rimsky-Korsakov, and Brahms, Harth-Bedoya’s collaboration with Colombian composer Agudelo, live through Oct. 8–10. Experience Halloween on Bald Mountain: Mussorgsky, Liszt, and Stravinsky on Oct. 29–31. fwsymphony.org 12 LYRIC STAGE Lyric Stage sees Harpsichord Concertos of J.S. Bach at Zion Lutheran Church on Oct. 15. Avant Chamber Ballet opens the season with ACB Unplugged at Sammons Center for the Arts Oct. 29–30.

FABIOLUISIRETURNS

02 Paul Leenhouts performs Nov. 5–6. Come Sunday with Omar Thomas features music by the composer Nov. 7 at Moody Performance Hall. lyricstage.org 13 MAJESTIC THEATRE Majestic returns to the stage with Al Franken: The Only Former U.S. Senator Currently on Tour, Oct. 8; Keb’ Mo’ on Oct. 13; Black Jacket Symphony, Oct. 16; Amy Grant, Oct. 27; Bianca del Rio: Sanitized, Nov. 1; Christopher Cross, Nov. 2; Tommy Emmanuel, Nov. 10; Whose Live Anyway, Nov. 13; Straight No Chaser Back In The High Life Tour, Nov. 18; Daniel Sloss with Special Guest Kai Humphries, Nov. 19; and Postmodern Jukebox The Grand Reopening Tour, Nov. 30. majestic. dallasculture.org 14 TACA One of the best food and drinks events in Dallas, TACA’s Party on the Green, returns Oct. 15. taca-arts.org 15 THEATRE THREE Little Shop of Horrors has devoured our hearts for over 30 years. Enjoy T3’s production from Oct. 5–31. theatre3dallas.com

BEETHOVEN’S EMPEROR | OCT 14 – 17 ELGAR SYMPHONY NO. 1 | OCT 28 - 30 MOZART’S REQUIEM | NOV 4 + 6

16 TITAS/DANCE UNBOUND Doug Varone’s modern choreography is both sophisticated and accessible; experience it Oct. 22–23. Rubberband has redefined breakdancing and paved the way for new creators to elevate this dance form. Victor Quijada presents 10 irrepressible dancers and a DJ on Nov. 12–13. titas.org

RENÉE FLEMING | NOV 5 + 7 EHNES PLAYS ELGAR | JAN 13 – 14 TRIFONOV PLAYS BRAHMS | JAN 20 – 23 TCHAIKOVSKY PATHÉTIQUE | FEB 17 – 19

17 TURTLE CREEK CHORALE Broadway’s Back, Baby! will highlight Broadway’s rich musical history Oct. 9–10. turtlecreekchorale.com

TCHAIKOVSKY’S EUGENE | APR 1 - 5 ONEGIN OPERA-IN-CONCERT

18 UNDERMAIN THEATRE Stronger Than Arms, a new adaptation of the classic Greek play Seven Against Thebes, by Danielle Georgiou and Justin Locklear closes on Oct. 2. Undermain’s much-hailed St. Nicholas is back for live performances, Oct. 20–Nov. 7. Ryan Berg and the Velvet Ears perform their original music on Nov. 13. Image: Bruce DuBose in St. Nicholas by Conor McPherson. undermain.org

BERLIOZ SYMPHONIE | APR 8 – 10 FANTASTIQUE BEETHOVEN 9 | MAY 12 - 15

19 WATERTOWER THEATRE Conquering the Dance Call with Penny Ayn Maas, educator, choreographer, director, and Broadway performer, demystifies dance calls, Oct. 4–11. In The Taming, patriotic Miss Georgia kidnaps a GOP senator’s campaign manager and a liberal who is fighting to save the endangered pandashrew the night before the Miss America Pageant. Oct. 13–24. watertowertheatre.org

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OCTOBER / NOVEMBER 2021

NOTED: GALLERIES

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01 12.26 Amy’s World, the new locus in the oeuvre of Amy Bessone, continues through Oct. 30. In Nov., paintings by Belgium-born, Brooklynbased Aglaé Bassens will be on view through Dec. 8. gallery1226.com 02 500X GALLERY EXPO 2021, an annual exhibition showcasing work from visual artists across Texas in its 43rd year, ends Oct. 16. After EXPO 2021, the gallery will hold an exhibition for rostered artists. 500x.org 03 ALAN BARNES FINE ART ABFA’s Works on Paper exhibition will continue through Oct. Upcoming, The Lone Star Exhibition 2022 will commence next year. alanbarnesfineart.com 04 AND NOW A solo exhibition of work by Leslie Martinez is on view through Nov. 6 at the gallery’s new Dragon Street space. Next, the gallery will be filled with artwork by Coco Young Nov. 11–Dec. 31. andnow.biz 05 ARTSPACE111 Jules Buck Jones: Swallow the Frog continues through Oct. 23. An exhibition of watercolors by Douglas Blagg and Suzanne Gentling opens Oct. 29 and continues through Dec. 4. artspace111.com 06 BARRY WHISTLER GALLERY Terrell James: Painting From Here continues through Oct. 30. Next, New Work by Luke Harden will run Oct. 15–Nov. 15. Image: Terrell James, Above Below, 2018, oil on canvas, 66 x 66 in. barrywhistlergallery.com 07 BIVINS GALLERY With a concentration on modern, postwar, abstract expressionist, and contemporary art, Bivins Gallery displays established, bluechip artists who were and are major figures in seminally historic art movements. bivinsgallery.com 08 CADD 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

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21 09 CHRISTOPHER MARTIN GALLERY Celebrating 25 years, the gallery presents the reverse-glass paintings of American artist Christopher Martin; three Dallas-based artists: the Rodeo series of photographer Steve Wrubel; the acrylic constructions of artist Jean Paul Khabbaz; and the large-format paintings of painter Tom Hoitsma along with the color-field paintings of New York– based painter Jeff Muhs; the work of Dutch image maker Isabelle Van Zeijl; the abstract work of California-based painter Chris Hayman; and the organic paintings of Atlanta artist Liz Barber; as well as rotating exhibitions by various artists in the expanded gallery. christophermartingallery.com 10 CONDUIT GALLERY Conduit Gallery will open Annette Lawrence’s Indeterminate Conversations 1990–2006, Oct. 9–Nov. 13. Johnny Floyd: Hyperblack Spectacle, will be on view in the project room concurrently. conduitgallery.com 11 CRAIGHEAD GREEN GALLERY Works by Jeanie Gooden, Linda McCall, and Jeff Wenzel fill the galleries from Oct. 9–Nov. 13. Next, Chong Kuen Chu, Danna Ruth Harvey, and Kenda North will be on display Nov. 20–Jan. 8. Image: Chung Keun Chu, The Garden as a Metaphor for My Life #1, 2019, oil on canvas, 48 x 48 in. craigheadgreen.com 12 CRIS WORLEY FINE ARTS William Cannings: Getting Back to Basics will be on view at the gallery Oct. 9–Nov. 13. CWFA will present two shows Nov. 20–Dec. 31: Simeen Farhat: The Shape of Words and works by Charlotte Smith. Image: Charlotte Smith, Ebb Tide, 2021, acrylic on canvas, 36 x 36 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 DALLAS ART FAIR PROJECTS Dallas Art Fair Projects is an arts and special projects space located in River Bend in the Design District. The Green Family Foundation will take over the project space with Black Bodies, White Spaces: Invisibility & Hypervisibility, Oct. 9–Jan. 30 concurrent with the Dallas Art Fair, Nov. 11–14. dallasartfairprojects.com 15 DAVID DIKE FINE ART DDFA specializes in late 19th- and 20th-century American and

PRINTS & MULTIPLES

MODERN & CONTEMPORARY

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NOTED: GALLERIES 500X Gallery Carneal Simmons Contemporary Art Conduit Gallery Craighead Green Gallery Cris Worley Fine Arts Erin Cluley Gallery Galleri Urbane Dallas Holly Johnson Gallery Kirk Hopper Fine Art PDNB Gallery Ro2 Art Talley Dunn Gallery Valley House Gallery & Sculpture Garden

European paintings with an emphasis on the Texas Regionalists and Texas landscape painters. David Dike will hold their Fall Texas Art Auction on Oct. 30. daviddike.com 16 ERIN CLULEY GALLERY/ CLULEY PROJECTS Nic Nicosia: homemade stories will run at the gallery Oct. 9–Nov. 13. At Erin Cluley Projects, Du Chau’s Rhythm by Heart mounts Oct. 2–30. Image: Du Chau, ngoà den và trang (beyond black and white detail), black clay, porcelain, and wire, 54 x 24 x 13 in. erincluley.com 17 EX OVO What Goes On, featuring recent work by Cody Berry, Trey Burns, Ryan Chin, Kristen Cochran, Kendall Glover, Tamara Johnson, Mark Packard, Niva Parajuli, and Jessica Sinks, closes Oct. 13. Color for Life: A Student Art Show, organized by Natalia Padilla, will be on view Oct. 18–31. Trey Burns: Recent Landscapes opens Nov. 6. exovoprojects.com 18 FWADA Fort Worth Art Dealers Association funds and hosts exhibitions of noteworthy art. fwada.com 19 GALLERI URBANE Michael P. Berman: Perdido and Jeffrey Cortland Jones: Landscape Replica (Times Are Hard For Dreamers) close Oct. 2. From Oct. 9–Nov. 20, Urbane will show three exhibitions: Gail Peter Borden: SPACE, Peter Frederiksen: Human Cannon Ball, and KT Duffy will be shown in the Art Alley. Image: Peter Frederiksen, Human Cannon Ball, 2021, freehand machine embroidery on linen, 4 x 6 in. galleriurbane.com 20 GREEN FAMILY ART FOUNDATION Aindrea Emelife curates the foundation’s inaugural exhibition, Black Bodies, White Spaces: Invisibility & Hypervisibility, counteracting a historic invisibility of Black narratives and the experience of hypervisibility as an act of resistance through the work of twenty-one artists. On view at Dallas Art Fair Projects, the exhibition will open Oct. 9 and continue through Jan. 30, 2022. greenfamilyartfoundation.org

CONTEMPORARY ART DEALERS OF DALLAS caddallas.org 48

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21 HOLLY JOHNSON GALLERY In Sequence, which highlights paintings and works on paper by Anna Bogatin Ott, Rebecca Carter, Eric Cruikshank, Geoff Hippenstiel, Dion Johnson, Lester Monzon, Jill Moser, Jackie Tileston, and Joan Winter, will be on view through Nov. 13. Misty Keasler: Sanctuary Dispatches presents a poignant recollection of grief, longing, and solitude that allows an

LET CHRISTY BERRY GUIDE YOU HOME. Christy is a proud supporter of the Dallas Arts and is committed to making DFW an even better place. As a board member of the AT&T Performing Arts Center and The Crystal Charity Ball, she is able to serve as a patron of the arts as well as advocate for educating the city’s impoverished children.

Broker Associate - Compass 214.693.1600 christy.berry@compass.com

I C H R I S T Y. C O M PA S S

All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdrawal without notice. All measurements and square footagers are approximate. Exact dimensions can be obtained by retaining the services of an architect or engineer. This is not intended to solicit property already listed. Nothing herein shall be construed as legal, accounting or other professional advice outside the realm of real estate brokerage. Compass is a licensed real estate broker. Equal Housing Opportunity.

NOTED: GALLERIES K ittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 75244 n 972.239.7957

11 intimate look at her family’s isolation during the pandemic, through Nov. 13. Image: Lester Monzon, Untitled, 2020, oil, acrylic, and gesso on Belgian linen over wood panel, 20 x 16 in. hollyjohnsongallery.com 22 KIRK HOPPER FINE ART Alexandre Hogue: The Modern Work continues through Oct. 30. From Nov. 6–Dec. 18, KHFA will present an exhibition for Anne Wallace and Eric Avery. kirkhopperfineart.com 23 KITTRELL/RIFFKIND ART GLASS Kittrell/Riffkind’s 31st anniversary show, One of a Kind, continues through Oct. 31. Holiday Treasures, featuring a myriad of treasures, large and small, in celebration of the holiday season, will be on display Nov. 13–Dec. 31. Image: Mariel Bass, Scarlet and Smoke Lily Stone, hot sculpted, blown, and assembled glass. kittrellriffkind.com 24 LAURA RATHE FINE ART Naturaleza features Lucrecia Waggoner from Oct. 9–Nov. 13. The Little Things, an exhibition featuring small works from distinguished gallery artists, will open Nov. 20 and continue through the month. laurarathe.com

JENNIFER CALDWELL

JASON CHAKRAVARTY

25 LILIANA BLOCH GALLERY An exhibition for Alicia Henry closes Oct. 2. Next, the gallery hosts Nomin Bold from Oct. 9–Nov. 28. Image: Nomin Bold, Transporter, 2020, mixed media, 216 x 96 x 2 in. lilianablochgallery.com 26 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries specializes in original paintings, sculpture, and limited-edition graphics. The gallery features distinguished by works of art by Erté, Marc Chagall, Keith Haring, and many other artists. martinlawrence.com 27 OLIVIER FRANÇOIS GALERIE Oliver François will present River Shell: Something Beautiful through Oct. In Nov., the gallery will host Morehshin Allahyari. ofg.xxx

Offering Dallas’ finest selection of art glass!

kittrellriffkind.com 50

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28 PHOTOGRAPHS DO NOT BEND Jeanine Michna-Bales’ Standing Together: Inez Milholland’s Final Campaign for Women’s Suffrage remains on view through Nov. 13. pdnbgallery.com

ALEX ANDER S E LY T I N

Think

Art

SOUTHWEST GALLERY 4500 Sigma Rd. Dallas 972.960.8935

W W W. S W G A L L E R Y. C O M JOHN COOK

Fine Ar t  Sculpture

Custom Framing  Ar t Glass

NOTED: GALLERIES

29 P.A.O. PROJECTS P.A.O Projects’ exhibition of the surreal world of Amsterdambased Japanese artist Hiroaki Onuma continues through Oct. 30. Next, The Flower Bomb, from Nov. 6–Dec.18, features the work of Sydney-based artist dript. paoprojects.com 30 THE POWER STATION The Power Station is a not-for-profit initiative dedicated to providing a platform for contemporary art projects in Dallas and will open a show for Paulo Nimer Pjota on Oct. 29. powerstationdallas.com 31 SMU POLLOCK GALLERY The Arts of Oppression, which centers on the unheard voices behind the walls of the justice system, continues through Oct. 31. Professor Nishiki Sugawara-Beda’s new art book See You There will be presented Nov. 5, 6, and 7, 2021. pollockgallery.art 32 SWEET PASS SCULPTURE PARK Through Dec. 11, Nearly Natural, appropriated from the American company by the same name, reflects the contemporary status of the landscape as a massively collaborative, mediated plain where a multitude of disparate technologies have made marks, sculpted its meaning, and exchanged its elements. sweetpasssculpturepark.com 33 RO2 ART Ray-Mel Cornelius: Atmosphere and Alexander Revier: Creatures, Thoughts, and Travel close on Oct. 9. From Oct. 16–Nov. 16, Ro2 will be exhibiting a duo show of Terry Hays and Kathy Robinson-Hays at Ro2 Art in The Cedars. ro2art.com 34 ROUGHTON GALLERIES Featuring fine 19th-and 20th-century American and European paintings. roughtongalleries.com 35 SAMUEL LYNNE GALLERIES Punk Me Tender’s exhibition at Thompson Dallas Hotel closes Oct. 2. From Oct. 10 through Nov. 25 the gallery will highlight new works by Brandon Boyd. samuellynne.com 36 SITE131 Fresh Faces from The Rachofsky Collection gives an expanded look at the younger artworks from 2006 to present day in Cindy and Howard Rachofsky’s collection. The exhibition, curated by Seth and Joan Davidow, continues through Dec. 18. site131.com 52

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37 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 38 SOUTHWEST GALLERY SWG spotlights Alexander Selytin from Oct. 9–31. Expert in “impatient realism,” John Cook transports viewers to the Wild West with his whimsical cowboy paintings Nov. 13–30. swgallery.com

Canvas & Silk

39 TALLEY DUNN GALLERY Letitia Huckaby: And Thy Neighb(our) continues through Oct. 30. David Bates: Grassy Lake will be on view Oct. 2–Dec. 4. Image: Letitia Huckaby, Sadako, 2020, pigment print on fabric with embroidery. talleydunn.com

HISTORIC FASHION FROM MADRID’S MUSEO DEL TRAJE

40 VALLEY HOUSE GALLERY Lloyd Brown: The Sky Should Know Me by Now (Recent Paintings of U.S. Highway 50) and Amy Werntz: Ordinary Moments close on Oct. 2. The work of Miles Cleveland Goodwin will fill the gallery through Nov. valleyhouse.com

September 19, 2021 – January 9, 2022

41 WAAS GALLERY Curated through a lens of sustainability, W.A.A.S. empowers artists to connect to their communities to facilitate societal change while also offering a sanctuary to communicate artistic expression and immersion. waasgallery.com

MEADOWS MUSEUM • SMU meadowsmuseumdallas.org

42 WEBB GALLERY Everything is Getting Obscene except Obscenity: The Work and Life of Ken Havis and Ceramics by Carl Block continues through Nov. 21. webbartgallery.com 43 WILLIAM CAMPBELL CONTEMPORARY ART The group exhibition Vicenary, featuring recent work by longterm and new artists to the William Campbell roster, continues through Oct. 23. Founded in 1974 by Pam and Bill Campbell, in Dec. 2020 the gallery was purchased by Fort Worth Contemporary Art Partners (FWCAP), along with Gallery One Frames. FWCAP founders include: Jadz Pate, Clayton Snodgrass, Tim Locke, J.W. Wilson, and Peeler Howell, the

This exhibition has been organized by the Meadows Museum, SMU, Dallas, and the Museo del Traje, Centro de Investigación del Patrimonio Etnológico, Madrid, Spain, and is funded by a generous gift from The Meadows Foundation. Promotional support provided by the Dallas Tourism Public Improvement District. Left: Ignacio Zuloaga y Zabaleta (Spanish, 1870–1945), The Bullﬁghter “El Segovianito,” 1912 (detail). Oil on canvas. 78 3/4 x 42 3/4 in. (200 x 108.6 cm). Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.71.08. Photo by Kevin Todora. Right: Traje de luces (Bullﬁghter’s Costume), 1876–1900 (detail). Silk, linen, cotton, and silver metal. Museo del Traje, Madrid. ©Museo del Traje Centro de Investigación del Patrimonio Etnológico, Madrid, Spain; chaquetilla CE005407–09. Photo by Jesús Madriñán.

OCTOBER / NOVEMBER 2021

NOTED: GALLERIES Peter Frederiksen Human Cannon Ball Gail Peter Borden SPACED Oct. 9 - Nov. 13

25 Campbells’ gallery assistant since August 2017, who will direct the gallery. williamcampbellcontemporaryart.com AUCTIONS AND EVENTS 01 DALLAS ART FAIR After battling through the ever-changing pandemic, the Dallas Art Fair returns with a VIP Preview Nov. 11, and opens on Friday, Nov. 12 to run through Sunday Nov. 14. The fair offers collectors, arts professionals, and the public the opportunity to engage with a rich selection of modern and contemporary artworks presented by leading national and international galleries. dallasartfair.com 02 DALLAS AUCTION GALLERY Dallas Auction Gallery, founded in 2002 by the Shuford family, was purchased in 2020 by Katy Alexander and Gabe Echeverry. The new owners bring a combined 25-plus years of expertise in fine and decorative arts and look forward to continuing the legacy of DAG. dallasauctiongallery.com

Find us at: Dallas Art Fair Nov. 12 - 14 Untitled Miami Beach Nov. 29 - Dec. 4 GALLERI URBANE 54

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03 HERITAGE AUCTIONS Slated auctions for Oct/Nov include: Illustration Art Signature Auction on Oct. 3; Urban Art Showcase Auction on Oct. 6; Fine & Decorative Arts Showcase Auction on Oct. 7; Photographs Signature Auction and Art of the West Showcase Auction, both on Oct. 8; Depth of Field: Photographs Auction on Oct. 13; The Curated Home Signature Auction on Oct. 14; Prints & Multiples Signature Auction on Oct. 19; CryptoPunk 6503 An NFT Auction on Oct. 19, Prints & Multiples Showcase Auction on Oct. 20, Texas Art Signature Auction on Oct. 23; In Focus: Calder Showcase Auction on Oct. 26; and the Tiffany, Lalique & Art Glass Signature Auction on Oct. 28. On Nov. 3 the Urban Art Showcase Auction mounts, followed by American Art Signature Auction and Friday Night Jewels Auction, both on Nov. 5; the Urban Art Signature Auction on Nov. 9; the Depth of Field: Photographs Auction on Nov. 10; Fine & Decorative Arts Showcase Auction on Nov. 11; the Silver & Vertu Signature Auction on Nov. 16; the Modern & Contemporary Art Signature Auction–Beverly Hills on Nov. 17; and the Prints & Multiples Showcase Auction on Nov. 17. ha.com 04 TWO x TWO FOR AIDS AND ART TWO x TWO for AIDS and Art is an annual contemporary art auction held in the Richard Meier-designed Rachofsky House in Dallas and benefiting two organizations—the Dallas Museum of Art and amfAR, The Foundation for AIDS Research. twoxtwo.org

OF NOTE: AUCTION

THE COLLECTOR’S PARADISE

Hammering down TWO x TWO for AIDS and Art’s Live Auction for 20-plus years, Sotheby’s enlists the bid call of seasoned specialist Michael Macaulay.

“T

he phenomenal achievements of TWO x TWO over the past twenty years are nothing short of a profound inspiration,” says New York– based Michael Macaulay, senior vice president and auctioneer at Sotheby’s. With a first-class art history degree from The Courtauld Institute of Art in London, he enthuses, “Its extraordinary team has been tirelessly dedicated to a truly transformative ambition: raising over $93 million in support of the vital work of amfAR and securing almost 300 acquisitions for the Dallas Museum of Art.” A senior international specialist in contemporary art, Macaulay frequently takes major sales at Sotheby’s and conducts benefit auctions for nonprofits across the country. Advising international private collectors, museums, and institutions on both the buy and sell side, he will lead this year’s live auction on Saturday, October 23 during the TWO x TWO Gala. “Sotheby’s is incredibly proud to have supported TWO x TWO and its remarkable mission over the past two decades, and I am immensely honored to take up the gavel for 2021!”

Senior vice president and auctioneer at Sotheby’s, Michael Macauley. Courtesy of Sotheby's.

CHARLIE’S AUCTION PICKS: Local expert Charlie Adamski Caulkins, Sotheby’s head of Dallas office, recommends bidding on these lots. Theodora Allen: The first time I encountered Allen’s work was at Dallasbased gallery 12.26 in fall 2020. I was immediately struck by the luminescent quality of her paintings. Allen’s celestial and otherworldly compositions hold their own and draw you into the canvas. This talented young artist is one to watch. Hilary Pecis: I have been a fan of Pecis’ bright, painterly compositions for a long time, and it has been exciting to watch her rising star. Her vibrant compositions of domestic spaces have been exhibited at galleries on both coasts as well as several museums. Most recently, Pecis’ vibrant paintings lit up Rockefeller Plaza in New York. With its layered textures and patterns adorned with man’s best friend, fur whimsically rendered, Jake with Pillows is a wonderful example of this artist’s strong visual language. Her paintings are not easy to come by these days, so this is a great opportunity. Trevor Paglen: At 70 x 90 in., Bloom has wall power! Paglen’s photographs are not only visually arresting, but representative of his critical analysis of the historical times we live in. For this series, Paglen developed an algorithm which has compiled imagery and concepts collected through artificial intelligence, challenging our perceptions of the real world and encouraging the viewer to acknowledge the historical times we live in. Karl Benjamin: Known for his lively, hard-edge geometric abstractions, Karl Benjamin rose to fame in the late 1950s. His work is held in numerous museum collections, including the Los Angeles County Museum of Art, Whitney Museum of American Art and the San Francisco Museum of Modern Art, to name a few. Painted in 1990, #4, is a strong example of Benjamin’s mastery at fusing color and form to create dynamic imagery. Romare Bearden: Born in 1911, African American artist Romare Bearden was a man of many talents: artist, musician, teacher, writer, activist. Amongst the most important artists of the 20th century, he had a long, prolific career and was known for pushing the boundaries to create his very own visual language. With its fragmented collage-like imagery, you can almost sense the music swirling around the musicians in Jazz Deluxe II, transporting us to another era.–TERRI PROVENCAL Clockwise from top left: Charlie Adamski Caulkins, Sotheby's head of Dallas office. Courtesy of Sotheby's; Theodora Allen, The Snake, No. 7, 2021, oil on linen, 16 x 12 in. Courtesy of the artist and 12.26, Dallas; Trevor Paglen, Bloom (#7a5a4e), 2020, dye sublimation print, 70.12 x 93.12 in., edition 1 of 3 + 1 AP. Courtesy of the artist and Pace Gallery. © Trevor Paglen, Courtesy of the artist and Pace Gallery. Photograph by Damian Griffiths; Romare Bearden, Jazz II Deluxe, 1980, serigraph, 31 x 41.5 in., edition of 200. Courtesy of the estate of the artist and ACA Galleries, New York; Karl Benjamin, #4, 1990, oil on canvas, 60 x 60 in. Courtesy of the Benjamin Living Trust and Louis Stern Fine Arts, West Hollywood; Hilary Pecis, Jake with Pillows, 2021, acrylic on linen, 42 x 32 in. Courtesy of the artist and Rachel Uffner Gallery, New York.

OCTOBER / NOVEMBER 2021

FAIR TRADE

BROADWAY DEBUT

Entrance-makers Pascal Spengemann and Joe Cole will bring the work of Sarah Cain to the Dallas Art Fair with their new TriBeCa gallery. INTERVIEW BY PASCAL SPENGEMANN

Sarah Cain, Night Creatures, 2021, acrylic, beads, thread, gold and silver leaf on canvas, 60 x 48 in. Courtesy of the artist and Broadway, New York.

ast autumn Pascal Spengemann, Marlborough’s former VP, and Joe Cole, a previous Dallas denizen and art collector with his wife Kristen, debuted Broadway, adding to the pulsating TriBeCa art arena. For Dallas Art Fair they will present work by artist Sarah Cain.

Pascal Spengemann (PS): In advance of this year’s Dallas Art Fair, where we will be featuring a couple of works of yours, I wanted to help give Patron readers a bit of insight into what you’re up to. First off, it’s been an incredibly busy period for you lately, with a significant public project, several major institutional exhibitions, and your first show with us at Broadway in New York. Can you talk briefly about these projects and how you’re managing all of it? Sarah Cain (SC): Sure. Well, right before the pandemic I opened my first large-scale permanent public artwork, which is at the San Francisco International Airport, on one of the AirTrain stops. So technically you could just take the BART and see it, as it’s actually outside of the airport. That work is a giant wall of stained and fused glass measuring 10 by 148 feet. Then mid-pandemic I opened a show at The Momentary in Bentonville, Arkansas, curated by Lauren Haynes. And I currently have a big installation with a 45-foot-long

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Sarah Cain, Movement, 2021, acrylic, gouache, and watercolor on sheet music, 12 x 9 in. Courtesy of the artist and Broadway, New York.

painting up at the National Gallery in Washington DC, curated by Molly Donovan. My first survey show at the Tang Teaching Museum in Saratoga Springs, New York, curated by Ian Berry, is also up until 2022. And in the studio, I was most recently working on our September show at Broadway, which is accompanied by a new onsite floor painting PS: You’ve been based in Los Angeles for quite a while now but hail from Upstate New York and have had significant stints in the Bay Area as well. I’m curious if and how locale affects the work for you—especially with regard to your time in San Francisco. That city has such a deep history in art, literature, and counterculture at large, but somehow often operates just outside the frame for New York and Los Angeles. Maybe this is a question of whether an impactful mode of regionalism can still exist today. SC: I think my time in San Francisco affected me in a cellular way. It reinforced values I already had from growing up in Upstate New York that are tied into making something out of not much of anything— a scrappy elegance. I also spent a lot of my formative years with musicians and writers instead of gallery people, which I think might not have happened if I had gone through the more traditional art-world channels. I think that route created a spirited

Pascal Spengemann and Joe Cole at their New York gallery, Broadway. Photograph courtesy of Broadway, New York.

independence that’s essential to my work. PS: With regard to the specifics of your recent work, I’m curious about the interplay of object and image. I think so much of the dynamism comes from the friction between free-flowing painterly abstraction and the hard fact of the found object. Can you tell us how you navigate that? SC: I navigate most things instinctually, but there is this stopand-go confrontation that happens between my materials. I think it’s a way of questioning, looking, creating surprising moments, and sometimes it has roots in humor. PS: You recently completed a large-scale public work for the San Francisco International Airport. I’m curious how that experience went and what you see as your relationship to a large and largely non-artworld audience. I think of your work as generous and broadly engaging, and I wonder how the critique embedded in your work translates in these environments. SC: The SFO experience was great. My work started off 20 years ago in abandoned buildings in San Francisco and Upstate New York, which was an active attempt not to be in a commercial environment. So in a way it’s a full circle to be on an AirTrain stop—except now there’s a huge budget, and it’s forever instead of ephemeral. I like art to be accessible. I wasn’t exposed to high art as a kid, and my biological family still doesn’t necessarily understand what I’m doing. Real art is such a specific language, so I like to find ways to drop in entryways for the everyday person. It’s subversive to have my work in an airport or in the original squats. Likewise, to take a sequined backpack and add it to a painting, so that object must now be considered in a very serious way, is a transformation that’s very important to me. PS: In addition to these more immersive pieces, you also make very intimate and powerful works on paper. It’s my feeling that you’re an unusual case in that a viewer or collector gets the full Sarah Cain experience with every work, whether it’s an entire installation or a six-by-four-inch drawing. Can you speak to how your intent translates in this widely shifting scale? SC: I remember doing a studio visit with Amy Sillman in grad school where she said to me that shifting material was more difficult than shifting scale. I had never really thought about it before, but that’s totally right. Scale to me isn’t a big deal; each work has its own scale it needs to be. I also really try not to let something out into the world unless its 100 percent. I think a lot of artists are sloppy in the way they just do it and let it out without taking the time to fully consider it. Probably that’s a casualty of the art market. I make all my own studio work—there’s no assistant painting my works—so I think that’s part of it. There’s a conscious intent to preserve soul, as goofy as that sounds. P

OCTOBER / NOVEMBER 2021

CONVERSATION

PIECE

Conduit’s Annette Lawrence survey traces her ever-evolving artistic fascinations, a journey that’s far from over. BY STEVE CARTER

Annette Lawrence. Photograph by Megan DeSoto.

PATRONMAGAZINE.COM

OPENINGS

career survey mandates an artist to revisit, reassess, and process their history. It’s a family reunion, time travel, chapters on parade, a greatest hits collection. In the case of Conduit Gallery’s upcoming Annette Lawrence survey, Indeterminate Conversations, featuring works from 1990 to 2006, it’s all of the above, a celebration of Lawrence’s restless explorations; the exhibit runs from October 9 through November 13. “Each of the pieces has been shown before, but never together, so I’m wanting to see what that looks like, when they’re in conversation with each other,” Lawrence says. And the intriguing title? “I really like the word ‘indeterminate’—it means that something has value that can’t exactly be named, and it leaves things open. I think that’s how conversations ought to be,” she says with a laugh. Indeterminate Conversations marks the artist’s third solo show at Conduit; she’s been with them since 2016. A New York native, Lawrence has lived in Denton since 1996 and is a faculty member at the University of North Texas’ College of Visual Arts and Design. When she recently accepted a visiting faculty position at Vermont’s Bennington College, she invited Conduit owner/director Nancy Whitenack to her studio to review her earlier work, sowing the seed for this survey. In her two visits, “We just went through everything,” Whitenack says. “It was clear to me after the first visit that we had to do something with this—it merited doing something serious. So I suggested to Annette that we do a survey show, and she was all for that.” Surprises in reviewing the 16 years of output? “The early work was really quite bold,” Whitenack observes. “She used a lot of black and white, and images were drawn at a larger scale and then outlined, most always done on brown paper. There was an intensity to the images.” The earliest work in the show dates to 1990, an epic piece that was Lawrence’s MFA thesis at the Maryland Institute College of Art. Wallpaper originally comprised 18 panels, but in this iteration, it’s limited to nine. Even in its edited form it’s stunning; Lawrence

Above, left to right: Annette Lawrence, Phoenix, 1996, acrylic and graphite on paper, 78 x 74 in. Photograph Tesa Morin; Annette Lawrence, Indigo Ellipse, 2004, acrylic and graphite on paper, 88.5 x 93 in. Photograph by Kevin Todora. Below: Annette Lawrence, Free Paper 6 / 06, 2006, paper, glue, and wood, 27 x 25 x 2 in.

OCTOBER / NOVEMBER 2021

OPENINGS

Annette Lawrence, The Ancestors and the Womb I, 1995, paper, acrylic, and pencil on wood, 48 x 36 in.; Annette Lawrence, The Ancestors and the Womb III, 1995, paper, acrylic, and pencil on wood, 48 x 36 in.; Annette Lawrence, The Ancestors and the Womb V, 1995, paper, acrylic, and pencil on wood, 48 x 36 in. All exhibited in the 1997 Whitney Biennial. Courtesy of the artist and Conduit Gallery.

manipulating an image of a flower’s shadow through theme and variations. Looking back, she acknowledges Wallpaper as a seminal turning point in her practice. “I think of it as the origins of my using systems as a way of generating work,” she assesses. “At the time it was just an idea—one thing led to the next led to the next. Now I see that that’s really how I work…I’m always turning this thing I’m looking at—looking at it this way, turning it a little more, looking at it that way.”

Annette Lawrence, Wallpaper, 1990, acrylic and graphite on paper, as shown 150 x 114 in. Courtesy of the artist and Conduit Gallery.

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Phoenix, (1996), is a starkly somber commemoration of the epidemic of Black church burnings that plagued America in 1995 and 1996. The piece’s black fields are populated with symbols— simplistic icons of churches and people—and strewn with crosslike tally mark counts in fives. Lawrence was outraged by the lack of outcry the arsons garnered, and Phoenix was her response. “Why wasn’t this being treated like an act of terror?” she recalls thinking. “What number of burnings would make it a crisis—100? 200? But with each one of these instances, the communities rallied together and supported each other and proved that the church is not the building—the church is the people.” A representative trio of Lawrence’s 10-piece The Ancestors and the Womb (1996) is on view as well; the work was included in the 1997 Whitney Biennial. The three portraits aren’t traditional, but rather silhouettes of the artist’s grandmother on brown paper. A circular grid of dates chronicling Lawrence’s menstrual cycle shares the page. It’s transgenerational portraiture—part ancestry, part selfie. “It’s the relationship between the unborn and those who have passed away, in the tradition of Yoruba,” she explains. “You come from and go to the same place.” The patterned background reflects her grandmother’s quilts, and it’s also a coded nod to the quilt communicating of the Underground Railroad. Although her undergrad degree is in sculpture, Lawrence has worked nearly exclusively in two dimensions. In fact, the Texas Commission on the Arts named her 2021 State Artist of the year, Visual Artist, 2-D. But 3-D has stayed with her, and Free Paper 11-05, (2005) and Free Paper 6-06, (2006) are playful reminders. The wall sculptures are curiosities composed of precisely stacked strips of unsolicited mail and glue, each representing one month’s accumulation. They’re wonders of evanescence, monuments to insignificance, their profiles suggesting pre-Columbian pyramids. Lawrence has a long-established practice of repurposing materials into art—junk mail, brown paper bags, stacks of lists, childhood notebooks, journals, and more, the quotidian detritus of existence, the passage of time sacramentally memorialized. “I’m trying to elevate the thing that we take for granted, and also to see what is,” she admits. “ ‘ Value’ is a very subjective word, but it’s assigned, and maybe too quickly, without enough consideration.” Slow down and consider Indeterminate Conversations. P

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HOMECOMING

The Carter celebrates the diverse passions of Fort Worth’s twins Scott and Stuart Gentling with Imagined Realism. BY STEVE CARTER

hile they’re best-known for their magnificent Of Birds and Texas folio, the late Fort Worth artists Scott and Stuart Gentling weren’t one-trick ponies. Wondrously lifelike portraits, still lifes, landscapes, Texana, meticulously realized Aztec tableaux—all played roles in the fraternal twins’ oeuvre. With its just-opened Imagined Realism: Scott and Stuart Gentling, the Amon Carter Museum of American Art sets the record straight, telling the full story with the first comprehensive overview of their remarkably singular career. The exhibition runs from September 25 through January 9, 2022, and it’s revelatory— sure to surprise viewers expecting only fine feathered friends. Dr. Andrew J. Walker, executive director of the Carter, says, “I think the level and the subtlety of their artistic expression is something that individuals will only experience in the fullness of this retrospective; they were certainly very skilled across many different subject matters. They really were heroes of the artistic world in Fort Worth during their lifetime…and very much masters of their craft.” The Carter’s history with the artists goes back decades, but the history of this overview dates to 2015, when Suzanne Gentling,

Above: Scott Gentling (1942–2011), Girl with an Orange (also called Pattie), 1966, graphite, opaque and transparent watercolor on paper. Private collection. © Amon Carter Museum of American Art. below: Scott Gentling (1942–2011), Fog, n.d., graphite, opaque and transparent watercolor on paper, Amon Carter Museum of American Art, Fort Worth, Texas. Purchased with funds provided by Edward P. Bass, 2015.17. © Amon Carter Museum of American Art.

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OPENINGS the twins’ sister and estate executor, donated all their papers to the museum: 60 boxes of manuscripts, diaries, thousands of photographs, preparatory works—the lot. “It’s a treasure trove of archival holdings,” assesses Jonathan Frembling, Gentling curator and head archivist. “It provides that deep context about the artists in their own words.” He spent the next two-plus years processing the material. Then in 2018, Edward P. Bass, a childhood friend of the twins and longtime supporter of their careers, and of the Carter, donated several hundred of their finished and unfinished works; he also endowed the Gentling curator position, and his support championed the Carter’s Gentling Study Center. Another essential piece was the Fort Worth Museum of Science and History’s gifting of the original paintings that became the prints in Of Birds and Texas; the FWMSH had bought them in 1986, while the brothers were trying to complete the folio. “This was an exceptionally generous gift,” Frembling adds. The Gentlings were collaborative artists, working together on many of their pieces, and it’s not always easy to parse out their roles on a particular work. “Scott was a hyper hard-edge realist,” Frembling explains. “His details tend to be super crisp, whereas Stuart had a looser style, and so he often does things like clouds and backgrounds, because looser brushwork is well-suited to those. It was really common for one to start a work and the other to finish… working fairly interchangeably and not acknowledging who did what.” Their go-to medium was drybrush watercolor, although graphite, acrylic, and mixed media were also part of their practice. The watercolors are astonishing: Whether they’re rendering

Stuart Gentling (1942–2006), Snowy Owl, ca. 1997, graphite, opaque and transparent watercolor on paper. Collection of Lynda and Grady Shropshire. © Amon Carter Museum of American Art.

Stuart Gentling (1942–2006), [Landscape with pond and barn], ca. 1979, graphite, opaque and transparent watercolor on paper. Collection of Lee Lupton Tennison. © Amon Carter Museum of American Art.

OCTOBER / NOVEMBER 2021

OPENINGS

Clockwise from top left: Stuart Gentling (1942–2006), Star, ca. 1970, graphite, opaque and transparent watercolor on paper. Private collection. © Amon Carter Museum of American Art; Scott Gentling (1942–2011), Ed Ruscha, 2006, graphite on paper, Amon Carter Museum of American Art, Fort Worth, Texas, Scott and Stuart Gentling Collection, 2018.78. © Amon Carter Museum of American Art; Scott Gentling (1942–2011), Gray Fox, 1963, graphite, opaque and transparent watercolor on paper. Collection of Louann George © Amon Carter Museum of American Art; Scott Gentling (1942–2011), Andrew Wyeth (also called Independence Day), 2005, watercolor on paper, Brandywine River Museum of American Art, gift of Edward P. Bass, 2008. © Amon Carter Museum of American Art.

wildlife, landscapes, portraits, or still lifes, their technical mastery is eye-rubbingly phenomenal. Critics and champions heralded their style as “romantic realism,” but “strict realism” was the twins’ preference. And while they were sometimes considered regionalists in the same breath as their friend Andrew Wyeth, Walker’s view is broader. “They’re never sentimental,” he says. “They’re able to draw the viewer into a larger story that may be very personal, and deeper. There’s a kind of elasticity and the opportunity for interpretation.” Imagined Realism is organized thematically and somewhat chronologically, tracing their career trajectory from the early 1960s through to the end; Stuart died in 2006, and Scott in 2011. The 160-plus works on view weave a tale of the Gentlings’ sometimes eccentric, ever-shifting passions. While the Audubonesque Of Birds and Texas made their reputation, their portraits are equally spellbinding. An early portrait, Fog, shows Eddie and Clemmie McGary at home in deep East Texas; the Black couple are portrayed with a poignancy that transcends time and place. Avid collectors, the Gentlings would pose friends, including artists Wyeth and Ed Ruscha, in authentic historical costumes and

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paint or draw them. Some still lifes are of the costumes themselves, astonishingly accurate, down to the fraying. A well-known public work is their 80-foot mural on Bass Performance Hall’s dome, and the exhibition includes preparatory panels for that masterwork. The Gentlings’ fascination with “watershed moments” is represented in the exhibition’s Red Room, with its focus on ancient Aztec culture. Frembling says, “Ultimately they want to recreate what Mexico City, Tenochtitlan, looks like in the all-important year of 1519… they really engaged in a subject at the deepest level.” In their time, the Gentlings never sought gallery representation or national recognition; their loyal collectors supported them with commissions and purchases, freeing them to pursue their passions. “They had patrons who loved their work and would buy anything they produced…straight off the easel before it was dry,” Frembling says. “Our job with this exhibition, and the larger initiative, is to say, ‘These guys were world-class artists, but not enough people know that.’ Here’s our chance to say, ‘This is something new—behold the wonders of the Gentlings.’” P

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New Realities

With dramatic flair, Ilya and Emilia Kabakov bring Eastern European conceptualism to Dallas Contemporary. INTERVIEW BY CHRIS BYRNE

ased in North Fork, Long Island, husband-andwife duo Ilya and Emilia Kabakov are Russianborn conceptual artists who blur the boundaries of everyday elements with the dramatic and conceptual to create immersive installations. Having come of age in the former Soviet Union, the pair’s invented realities and environments examine the human condition rooted within the murkiness of power, control, oppression, and destruction. Ilya + Emilia: Paintings About Paintings, on view at Dallas Contemporary, ushers in the Kabakovs’ paintings, sculptures, public projects, interactive works, and an installation space all responding to the stimuli of theater, architecture, and music.

Top: Ilya and Emilia, Holiday #13, 2016, oil on canvas, 39.37 x 63 x 3.14 in. © Ilya and Emilia Kabakov. Right: Ilya and Emilia, Two Fragments, 2019, oil on canvas, 59 x 56.69 in. © Ilya and Emilia Kabakov.

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CONTEMPORARIES

Ilya and Emilia, Construction of the Cupola, 2020, oil on canvas, 90.15 x 339.37 in. © Ilya and Emilia Kabakov.

Chris Byrne (CB): Paintings about Paintings is your first exhibition in Texas since 1993’s School No. 6 at the Chinati Foundation in Marfa. Emilia Kabakov (EK): Of course, some big exhibitions with huge installations were covered by the press, and collectors did come to see them in the Venice Biennale; in Paris, at Pompidou and Grand Palais; London’s Tate Modern; Cuba; and even the Hermitage in St. Petersburg or the Tretyakov Gallery in Moscow. But nothing was shown in Texas since Chinati. CB: How did the Dallas Contemporary show come about? I understand you’ve had ongoing conversations with the museum’s director, Peter Doroshenko. EK: We did talk about the possibility of doing something interesting together for a few years. First he offered to let us to do something in Kiev or in Venice, but Ilya didn’t feel well at that time. and the project didn’t happen. Then we started to discuss the paintings and that people in America don’t really know much of what we’ve done for the last 30 years. This is the first time we are actually bringing our project to Dallas with Peter, and he is curating the show. And so the idea was transformed into reality, and here we are. The city is fantastic, the space is excellent for what we intend to present, and hopefully the show will have a lot of visitors despite the pandemic. CB: …and painting became the central theme... EK: Paintings were always there, included into installations, or installations were built around one painting or from several paintings. But this time we are “building” an old-fashioned museum, which presents different styles of paintings. In a way, each painting not only is a painting by itself, but it really is Painting about Paintings, reflecting on the history of art, the genre of paintings, our perception of them. CB: Can you describe your collaborative approach? EK: This is always a difficult question, which I usually either try not to answer or try to avoid. In this case I think it’s kind of a different collaboration. Ilya painted the paintings, but of course, since they are in a way conceptual paintings, we did discuss a lot the subjects, the ideas, the results. But as I say, he is the artist who created those paintings. I will create the installation: the image and atmosphere of the museum, which will present the paintings in a way I envision them in my mind and in my fantasies. CB: Has your use of Soviet iconography gradually dissipated? EK: I think our use of Soviet iconography faded a long time ago. We use photographs by Soviet photographers, but we never really used Soviet iconography. Here we are trying to see if the images and subjects from classical paintings can live on the same canvas, in the same space, and at the same time with those banal, everyday photos from the ’50s and ’60s—not all of them Russian. After all, Russians don’t hold the exclusivity to banality. Banality is universal. CB: And your installation in Moscow entitled The Toilet (2008)…? EK: The Toilet was built in 1992 at Documenta IX, in Kassel. In

Moscow, in 2008, we were the first show at the Garage, which was then just opened by Dasha Zhukova and Roman Abramovich. The Toilet was one of five shows in different spaces we did in Moscow for that exhibition. One was at Winzavod— The Toilet, The Tennis Game, The Life of Flies. The other, the biggest one, The Alternative History of Art, was at the Garage, and The Gates, the smallest one, was at the Pushkin Museum. CB: Following your exhibition in Dallas, what other projects can we look forward to? EK: Right after Dallas I am flying to Como, Italy, to install the permanent public project for the city, commissioned by the Antonio Ratti Foundation. Then to Moscow for the installation of The Monument to the Last Man at Tretyakov Gallery, then to Japan, which already built and opened the museum Ilya and Emilia Kabakov Dreams and (we) are now constructing a huge Monument of Tolerance, which will hold a small children’s museum inside. But I really hope to come back to Dallas with a monumental project: The Dark Chapel and The White Chapel. Houston has the Rothko Chapel. Just maybe Dallas will build the Kabakovs’ Chapel? P

Ilya and Emilia, The Movement of Darkness # 1 Archive Number 889, 2017, oil on canvas, 112 x 83 in. © Ilya and Emilia Kabakov.

OCTOBER / NOVEMBER 2021

CONTEMPORARIES

SCRATCHING THAT SEVEN-YEAR ITCH

James Cope’s AND NOW moves to Dragon Street as his emerging artists roster matures. INTERVIEW BY BRANDON KENNEDY PHOTOGRAPHY BY LATERRAS WHITFIELD

James Cope at his new gallery with work by Leslie Martinez.

fter first sitting down with the armchair contrarian years ago at the gallery’s first iteration for these pages many years back, Brandon Kennedy catches up with James Cope, sole proprietor of AND NOW, for a glimpse of the gallery’s new digs and a chat about artists’ goings-on and what the future holds. Brandon Kennedy (BK): What do you see as your primary function as a gallerist showing emerging artists in Dallas? James Cope (JC): To discover, promote, and advocate for artists and artworks that I feel are important. And to help museums and collectors understand the value of contemporary art today. BK: How has the scale/scope/mission of AND NOW changed since its inception in 2014? JC: The gallery has grown from a small exhibition space in a dilapidated house in The Cedars to a 2,000-square-foot exhibition space in the heart of the Design District. The mission has evolved from a project space to a fully formed rostered gallery that represents a select group of artists. BK: Where do you discover the majority of the artists you choose to exhibit? JC: Mostly from my artists, with whom I speak regularly. They know my vibe and taste, so if they tell me about an artist they think would be a good fit, I’m going to take a look. BK: Tell me about the shows you have lined up for the fall. JC: I opened the new space on September 11 with a solo show by Leslie Martinez. It is their second solo show with me, and I’m very excited about their new paintings in the show. The paintings are very large and fit the new space well. Our November show will be Coco Young, a painter from Marseille—she lives in New York City. Then, January 2022 will be a solo show by David Flaugher; this will be his third solo show with me. BK: With AND NOW you are quite particular with a general pared-down aesthetic. Can you speak to the “spare hang” in use for many of your exhibitions? Also, do you have key influences or gallerists that may have informed your aesthetic strategies? JC: Less is more. When I first opened the gallery, I was heavily influenced by Konrad Fischer in Düsseldorf in the 1960s. Lately I’ve been more informed by people like Ambroise Vollard in Paris, who supported Renoir, Cézanne, and Van Gogh and really advocated for his artists when nobody cared. BK: What is the new exhibition space on Dragon Street like? How does it differ from your previous locations? JC: The new space feels airy and is filled with natural light—high ceilings with skylights, a bay of large windows that wash the space with diffused natural light. Like Monty Python says: “And now for something completely different...” I’m bored with the generic fluorescent strip lighting that most galleries have nowadays; it feels dated.

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BK: Tell us about some of your recent successes, especially regarding your growing roster of artists. JC: David Flaugher has his first museum exhibition right now at the MSU [Michigan State University] Broad Museum. Oshay Green’s work was recently acquired by the DMA, Dallas and the PAMM, Miami. He will debut a site-specific sculpture at The Power Station in September. Leslie Martinez was recently in a group exhibition at Andrew Kreps Gallery, New York City and sold everything. Eli Ping recently had a sell-out show at Ramiken Crucible gallery, New York City. Michelle Rawlings recently had a solo show at Night Gallery, Los Angeles and will have a solo show at Chapter NY, New York City in January 2022. Maximilian Schubert presented new works at the Independent Art Fair with Off Paradise, New York City. And for the future, I’m pretty excited about the AND NOW golf team we are starting up! P

FIRST LOOK

THURSDAY OCTOBER 21 2021

Presented by Highland Park Village FEATURING A SELECTION OF ARTWORKS FROM THE TWO x TWO AUCTION On view at the following selected retailers: Akris, Alexander McQueen, Audemars Piguet, Cerón Highland Park, Dior, ETRO, Hadleigh’s, Lela Rose, MARKET, Rolex, The Conservatory on Two, Tom Ford, and Valentino Bites by: Bird Bakery, Bistro 31, Fachini, The Honor Bar, and YO! Lobster Beverages provided by: Belvedere, Ben E. Keith Co. and Casa Dragones Media Sponsor: Patron Magazine Party Design by: Todd Events

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SAME FIRST LOOK FUN, NEW LOCATION! EXCLUSIVE PRIZES FROM HIGHLAND PARK VILLAGE RETAILERS Tickets $150 per person at twoxtwo.org/first-look Benefiting amfAR and the Dallas Museum of Art Host Committee: Haley Anderson, Dana + Mike Arnold, Piper + Ryan Beal, Bela + Chase Cooley, Preston Evans, Hannah Fagadau, Christina Jafar, Kaleta Blaffer Johnson, David Liu, Rae Liu, Meghan Looney, Hilary Fagadau McCluskey, Bradley + Coley Means, Bridget + Alexis Barbier Mueller, Jordan Jones Muñoz, Missy + Tim Peck, Amanda + Charlie Shufeldt, and Robyn + Travis Wedgeworth

Pacesetters of the

NEW, NOW, NEXT! The highly anticipated TWO x TWO Gala returns with the support of three rising art advisors. BY KENDALL MORGAN

fter skipping a year during the height of the pandemic, TWO x TWO for AIDS and Art is finally back with its attendant First Look Preview on October 21 and gala honoring Japanese artist Yoshitomo Nara on October 23. For 2021, cofounder Howard Rachofsky engaged three energetic advisors with an unerring eye for the new and next to contribute to the auction’s curation.

ADAM GREEN

Founder of Adam Green Art Advisory, Green also serves as host of the ArtTactic Podcast, the first podcast to cover the art market. Foresighted enough to see the potential for the medium way back in 2009, he also brings a rich depth of history to his day job. Born and raised in Dallas, Green regularly went with his parents and two brothers to local museums. While studying art history at Boston’s Brandeis University, he worked in the institution’s Rose Art Museum, where he encountered the nuts and bolts of the industry. “When you study art history in an academic setting, they don’t really talk about the art world. [At Rose], I got to be with all these paintings, but I also came across art auction catalogs, which was my first entrée into the art world. [The museum] was a place where my passions for art and business and economics tied together, and I knew I wanted to pursue a career in [art].” Ultimately earning dual master’s degrees at the Wharton School and Sotheby’s Institute of Art, Green understands the delicate balance between art and commerce. And with a nearly decade-long stint at Christie’s auction house before he founded his firm in 2016, Green is perfectly positioned to help his clients grow their collections. An attendee of TWO x TWO since 2008, the New York-based Green feels the event is much more than just your average glamorous fundraiser. “It’s not just a gala; it’s a week of events, which separates it from other art galas,” he explains. “There’s an enormous amount of hospitality, and collectors open their homes. I have an incredible sense of pride at how our art community has thrived and flourished, and having an opportunity to help endorse the event and solicit artists to donate works is a great way to give back.” Chosen for their ability to encapsulate the artist’s oeuvre, here are three works from TWO x TWO’s “Own it Now” collection that Green suggests collectors keep their eye on: Safa Rice, by Hangama Amiri: A recent graduate of Yale’s MFA program, this Afghan-Canadian artist is already building a stellar reputation for her work exploring geopolitics and gender. In particular, her rich tapestries celebrate the feminism and identity of Afghan women with homespun beauty. Green selected this muslin, cotton, and suede portrayal of a simple rice bag for its intimacy and intricacy in execution. Saul, by John Sonsini: Having built a reputation for painting Latino laborers, painter John Sonsini pays his subjects an hourly rate to be themselves in front of his easel. The open-faced and honest visage of Saul finds beauty in a nontraditional subject. Says Green, “[The painting] exemplifies his practice, and it’s a great way to get a smaller scale work from him at a smaller price.” Meteor Man, by Eleanor Swordy: The Brooklyn-based artist’s stylized figurative painting of a rounded woman “engaging in this fantastical activity” caught Green’s attention because of the artist’s propensity to build her alternate universe. “There’s a softness and a little bit of humor in her work—the figure is actually transformed into a meteor creating an explosion. Her works make you smile, and because they’re so highly coveted and difficult to access, it’s a great opportunity for someone to get a painting from her.”

From top: Adam Green; Hangama Amiri, Safa Rice, 2021, muslin, cotton, polyester, suede, acrylic paint, and found fabric, 52 x 41 in. Courtesy of the artist and Towards Gallery, Toronto; Eleanor Swordy, Meteor Man, 2021, oil on canvas, 36 x 48 in. Courtesy of the artist and Moskowitz Bayse, Los Angeles; John Sonsini, Saul, 2019, oil on canvas, 20 x 16 in. Courtesy of the artist and Vielmetter Los Angeles, Los Angeles. Photograph by Robert Wedemeyer.

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CONTEMPORARIES

From left: Bejamin Godsill; Anicka Yi, She Climbed Through The Hills Until They Became Blankets, 2020, high density foam, resin, urethane paint, and frame, 37 x 49 x 2.5 in. Courtesy of the artist, Gladstone Gallery, New York and Brussels; and 47 Canal, New York; Sky Hopinka, The salt from the sea or an ocean, 2019, inkjet with hand-scratched text, 13 x 13 in., edition 2 of 3 + 2 AP. Courtesy of the artist and Broadway, New York; Mindy Shapero, Scar of Midnight Portal: Sound Vision, 2021, spray paint, gold, silver, and copper leaf on archival paper, 44.75 x 30.75 in. Courtesy of the artist and Nino Mier Gallery.

BENJAMIN GODSILL Growing up in Cambridge, Massachusetts, the loquacious Godsill wasn’t aware that guiding art enthusiasts in building a world-class collection was a possible career. But during his academic years studying art history, he found himself drawn to people and things more than ideas and words. In the past, Godsill has served as curator at the New Museum in New York and worked as a senior specialist in contemporary art at the Phillips auction house in London. But it is in his current role as the founder of Curatorial Services, a firm that builds world-class collections of late 20th- and early 21st-century art, that he feels most at home. “For me, being an art advisor is joining the two sides of my brain,” he says with a laugh. “I’m looking out for private individuals to curate collections that are representative of them and their surroundings. Things with meaning that can change their perspective, but also thinking about the long-term viability of their collection and how it can hold its value. It’s not just the historical import, but also the financial import.” As most of his prominent clients are in Dallas, Godsill has built relationships with locals, including Power Station founders Alden and Janelle Pinnell and collectors Thomas Hartland Mackie and his wife, Nasiba Adilova. For the latter, Godsill curated the collection of works on view at Bullion restaurant. Throughout the years, he’s become well versed in what sets TWO x TWO apart from other events of its kind. “TWO x TWO has been so important to me personally, and this year Howard and [co-host] John [Runyon] spearheaded the notion that they wanted to get a younger generation to come in and make sure that as an organization we’re looking at the full tapestry of the art world and not missing anything.” Here are three works Godsill feels collectors should embrace this year:

The salt from the sea or an ocean, by Sky Hopinka: A member of the Ho-Chunk Nation of Wisconsin, Indigenous multimedia artist Hopinka’s imagery possesses a kind of “ethnopoetry,” according to Godsill. Overlaid with hand-scratched text and framed in simple natural wood, the work recalls nothing as much as a still from a documentary. “It’s about a personal history and how we are thinking about the stories that are our own—and not our own—are created,” Godsill explains. “It’s not historicizing Native American history; it’s bringing it into the present.” Scar of midnight portals: sound vision, by Mindy Shapero: A sunburst of spray paint, gold, copper, and silver leaf on paper, Scar of midnight is a soulful work that Godsill says even the most particular collector would find divine to gaze on, year after year. “When you’re starting to collect, it’s important that you get some pleasure from the things you’re buying,” he says. “But there are also very pretty things with little intellectual content or works that have a ton of intelligence that aren’t so beautiful to live with. This is one of those things where the Venn diagram overlaps —it’s both smart and beautiful.” She Climbed Through The Hills Until They Became Blankets, by Anicka Yi: Like many of Yi’s works, She Climbed may remind the viewer of benign viruses and cellular structures (a timely subject, to be sure). Still, the bottle-green-hued canvas of foam, resin, and paint has a textural appeal that lives in the sweet spot between painting and sculpture. With an installation unveiled in October in the Tate Modern’s Turbine Hall, Yi is having a definite moment. “Anicka is an artist who is pretty prescient about thinking of how human beings interact with the world outside themselves and integrating thought about contemporary science,” Godsill says.

OCTOBER / NOVEMBER 2021

CONTEMPORARIES

SPENCER YOUNG With a career that has led him from an MFA in photography from Yale to the curatorial division of Art + Commerce to vice president of wholesale for the luxury brand Loro Piana, Dallas native Young came to his role as an art advisor in a roundabout fashion. Young says the artistic transformation of Dallas just over a decade ago helped him decide it was time for a career pivot. “I was a practicing artist for a couple of years, but it wasn’t the lifestyle for me,” he recalls. “It was a friend of mine’s idea to start advising. When the whole performing arts center was being built, and it was becoming cool for younger people to get interested in contemporary art, I met the Dallas collector who has become my longest client.” Currently a senior director at Schwartzman and Associates in New York, Young’s artist’s eye, and passion for supporting both creators and collectors sets him apart in the industry. Involved in TWO x TWO for several years, he joined the organization in a more formal capacity in 2021, highlighting work from younger to mid-career artists in this year’s auction. “I’ve worked with Howard for five-plus years on the emerging side of the market, so he and I talk almost every day,” Young says of his involvement. “He also introduced me to my first employer out of college, so I owe a lot of my art career to his support.” Young has selected four essential pieces he feels young collectors would be wise to bid on: Sex Girl, Sad Girl, Party Girl, Goth Girl, and Working Girl, by Andrea Fourchy: A mash-up of pop culture icons (including Charlotte Rampling in The Night Porter, the drag queen Divine, Anjelica Huston as Morticia, and Charlotte Gainsbourg), Fourchy’s work is one of a series from a recent show entitled Girlfriends. The painter also mashes up her influences, tossing everything from pointillism to pop art into the mix. “At the starting point is Picasso’s Les Demoiselles d’Avignon, which is a very famous painting of a group of women,” says Young. “She’s starting from that structural framework and inserting all these different figures and painting them over and over in different aesthetic modes in maintaining art history.” Blocks, by Julia Rommel: Though she traffics in classical abstraction, Rommel’s technique of almost pummeling the canvas to shape its meaning gives her painting a modern twist. The artist layers color on unstretched canvas, which she then stretches and stretches again to create folds that add a textural layer. Says Young, “You’ll see raw linen, staples, folds in the canvas—it’s all about the way layers create a dynamic play of different planes of space.” The Rose, by Tara Walters: A “soft, naïve” portrait of a single bloom, Walters’ painting has an ethereal beauty derived from the use of seawater in her work. “The salt and minerals create these iridescent layers that you have to see in person,” Young explains. “In her process, the narrative or figure decides itself in the way the water dries. I was so fascinated with her laborious process of bringing water from the ocean. It’s very interesting and romantic.” P

From top: Spencer Young; Julia Rommel, Blocks, 2021, oil on linen, 21 x 15 in. Courtesy of the artist and Bureau, New York; Tara Walters, The Rose, 2020, gesso and colored pencil on linen, 38 x 28 in. Courtesy of the artist and Kristina Kite Gallery, Los Angeles; Andrea Fourchy, Sex Girl, Sad Girl, Party Girl, Goth Girl, and Working Girl, 2021, acrylic on canvas, 72 x 70 in. Courtesy of the artist and Lomex, New York.

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2021 OBELISK AWARDS

HONOREES ATMOS ENERGY New Initiatives — Large NOMINATED BY ARTCENTRE OF PLANO

AT&T PERFORMING ARTS CENTER Distinguised Cultural Organization NOMINATED BY BILLINGSLEY COMPANY

GENSLER DALLAS New Initatives — Small NOMINATED BY CREATIVE ARTS CENTER OF DALLAS

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Hales Gallery cofounder Paul Hedge in his dining room. Aubrey Williams, New Volcano, 1963, oil on canvas, hangs to the left.

HIDDEN GENIUS In his London home and galleries, Hales cofounder Paul Hedge supports the immense talent of emerging and historically significant artists. BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JESS LITTLEWOOD

The salon hang in the hallway and library features works by Carl Plackman, 1973, charcoal on paper; Maja Ruznic, The Call II, 2020, acrylic and oil on canvas; Jeff Keen, 1959, ink on paper; Carolee Schneemann, untitled collage, 1961; Danny Rolph, pair of untitled works, 2001, collaged painted paper; Jeremy Deller, Acid Brass, 1998, print; Darina Karpov, oil on canvas; Eduardo Paolozzi, untitled study, 1972, ink on paper.

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he balance is everywhere, from the contrast between indoors and out, color and black and white, and vintage and contemporary. Paul Hedge’s home reflects the path his life as a gallerist has taken. With his family’s encouragement, Hedge opened his first exhibition space in a small outbuilding adjoining their home when he was just 10 years old. Surrounded by craftsmen growing up, he eventually enrolled in the art program at Goldsmiths, University of London. During this time, he and fellow classmates ran an alternative space called Scratch. In 1992, Hedge opened his current gallery, Hales, with Paul Maslin. The pair continue to run the gallery together with the directors Sasha Gomeniuk and Stuart Morrison. From the beginning, they had an eye for fresh talent, offering early exhibitions to artists such as Jake and Dinos Chapman, Tomoko Takahashi, and Sarah Jones. By 2004 the gallery had moved into its current home in the East End of London. It expanded to New York City in 2017 and is now part of the Chelsea gallery scene. The combination of vision and confidence have contributed to the gallery’s success, even as it has taken chances on underrepresented artists. “I have always been interested in finding artists who, for one reason or another, have been either wrongly ignored or had their genius hidden from view,” says Hedge. It should come as no surprise then that Hedge’s home offers a glimpse into the years spent nurturing talent. He and his wife, artist Jane Wilbraham, live in a London townhouse that was designed in the late 1950s by Austin Vernon & Partners, an architectural firm known for its modern buildings. Furnished with vintage pieces by iconic designers such as Eero Saarinen for Knoll, Alvar Aalto, William Plunkett, Robert & Dorothy Heritage for GW Evans Ltd, Bang & Olufsen, and Richard Hornby, among others, the midcentury vibe is complete.

The home’s open floor plan takes advantage of abundant natural light. In many ways, it has become an extension of the gallery. “We decided early on to use our walls to hang a regularly changing group of works that are either particularly good at fitting in with the architecture or that are important to us personally,” he explains. The sunlit living room is a prime space for the couple’s extensive collection of studio ceramics. “My main interests are in the works of English ceramicists Ian Godfrey and Richard Slee as well as a very large collection of porcelain objects designed by Susan Parkinson for the Richard Parkinson Pottery between 1951 and the early 1960s.”

Clockwise from top left: Flora, wheel cut glass panel by John Hutton, 1961; Reigate rocking chair by William Plunkett, 1968; glass carafes by Kaj Franck, 1960; Natural light flows through the living room where a breadth of art and eclectic furnishings are showcased, including Hew Locke, Island Queen, 2003, pastel and charcoal on paper; rosewood and leather lounge chairs by Ico Parisi for MIM (c. 1960s); porcelain by Susan Parkinson for Richard Parkinson Pottery (c. 1950s); stoneware sculptural objects by Ian Godfrey (c. 1960/’70s); lidded stoneware jar by Richard Batterham (c. 1990s); Shino jug by Lily Pearmain, 2021; Corniche, 1972, sculpture by Robert Adams in bronze; Bang & Olufsen, Beocenter 9000 designed by Jacob Jensen, 1983; and afromosia sideboard by Richard Hornby, c. 1960s; Gray Wielebinski, Bard/Barb, 2021, ink on paper; glass by Tapio Wirkkala for Iittala, 1950s; candlesticks by Nanny Still, 1960s, all atop the afromosia desk by Richard Hornby, 1960s.

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Above, from top: Andrew Bick, Retrial/again (III), 2008, oil paint, marker pen, watercolor, and wax on wood; John Hoyland, Untitled, 1966, gouache on paper. Bottom right: Kwame Brathwaite, Untitled (Sikolo), 1968/2016, pigmented archival print.

Paul Hedge’s placid sanctuary.

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This collection also has a local connection. As Hedge relates, “Back in the day, much of Susan’s work was actually made as a commission to be sold via Neiman Marcus. I often have to ship pieces I come across back to Britain.” Following the black-and-white aesthetic of the ceramic works, a charcoal and pastel portrait of Queen Elizabeth hangs above the fireplace. It is from a series by Hew Locke, whom Hedge has represented for many years. It is taken, he says, “from the image on a 1950s postage stamp and reworked in charcoal and crayon in his own unique way. There is something both wistful and fearful in those eyes as she gazes from above the mantle.” In the same space, Kenji Yoshida’s work La Vie adds a colorful element to the room. Realized in gold, silver, and copper leaf along with oil on canvas, it shimmers in the natural light. The collection features a constant balancing act between color and monochromatism. Kwame Braithwaite’s portrait Untitled Sikolo is from the series Black is Beautiful. The goal of the Harlem-based photographer was to translate that slogan into visual reality. In 1962, he formed a group known as the Grandassa Models. Chosen specifically for their dark skin and natural hair, they embodied racial pride. Here the olive-green background brings an additional majesty to the artist’s wife, who was also one of these models. In the same year, Coventry Cathedral was completely redesigned by Scottish architect Basil Spence and built to replace the original, devastated historic building that was bombed during the Second World War. John Hutton was commissioned to create 66 figures, known as “Screen of Saints and Angels,” for the West Screen of this ancient church. Hedge owns a study for it that is placed next to another Hutton work, Flora, which features a spectral figure holding an armful of flowers. Set against a black background, it exudes an aura of reverence. It was originally made for a horticultural building in Southern England. Hedge continues this chromatic balancing act throughout the home, where much of the work is hung salon style. The current installation features work by gallery artists such as Andrew Bick, Maja Ruznic, and Gray Wielebinski, as well as the late Carolee Schneemann and John Hoyland. He looks forward to presenting the work of Ruznic and Wielebinski at this year’s Dallas Art Fair. Hedge’s aesthetic vision tumbles beyond the home’s interior. “Jane and I are obsessive gardeners. We have a woodland garden full of cool shade-loving plants behind the house, and a productive vegetable garden elsewhere. I can get lost in the planning, design, and growing of flora,” he explains. Whether it is home or garden, Hedge has patiently and painstakingly created a placid sanctuary that, through its myriad contrasts, offers reflection, renewal, and inspiration. P

artful living

Thank you Patron for 10 years of a wonderfully curated collection.

A LLI E BE T H. C OM

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MAV ERICK Be independent in your choices and stand by your own convictions.

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CLASSIC Beauty and harmony are classic to a home adding art makes it interesting.

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Artists: Monica Perez & Salvador Dalí | Christopher Martin Gallery

DYNAMIC Art, like your home, is timeless if you love it.

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Sometimes the smallest piece of art adds energy and personality.

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Home will always give you balance. Art will always give you dimension.

There is no stopping greatness — be bold.

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Artists: Melissa Herrington & Salvador Dalí Christopher Martin Gallery

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Feeling inspired by wonderful art at the Christopher Martin Gallery and Craighead Green Gallery. The top luxury agents at Allie Beth Allman & Associates have fun and celebrate the connection of art and home.

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Live large and have an adventure. That is what life is all about.

Living among beautiful art and interiors brings much inspiration. JULI HARRISON 214.207.1001

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INTUITIVE

Many times homes, like art, have the insight to welcome and embrace us.

Art can puzzle us - but yet, if you allow the artist to work with you, answers happen.

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Art brings a great feeling of joy and spreads happiness in your home.

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Space, color, texture, it is all about Artful Living. Just like art fills the soul and walls with escaping beauty and experiences, our life fills each room of our home with living breathing memories and experiences. Luxury agents find the home that brings perfect harmony between collecting beauty and living beautifully.

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Every home and every piece of art has a story to tell if you listen.

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Yoshitomo Nara sitting in front of his donation to TWO x TWO for AIDS and Art. TOBIU, 2019, patched corrugated board mounted on wood, 116 x 139.5 in. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo; and Pace Gallery. © Yoshitomo Nara. Photograph by Ryoichi Kawajiri.

The Fundamental Emotions All Humans Possess TWO X TWO FOR AIDS AND ART HONOREE YOSHITOMO NARA’S REBELLIOUS AND AFFECTING FIGURES INSPIRED AN ENDURING FRIENDSHIP WITH BLUM & POE’S TIM BLUM. TEXT BY ANNA KATHERINE BRODBECK AND VIVIAN LI

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oshitomo Nara is this year’s TWO x TWO for AIDS and Art honoree, and he is beloved by local institutions, with works by the artist promised to the collection of the Dallas Museum of Art. A recently closed solo exhibition, i forgot their names and often can’t remember their faces but remember their voices well, was on view at the Dallas Contemporary. One of the most internationally renowned artists working in Japan today, for over four decades Nara has been critically acclaimed for his bold portraits of adorable, wide-eyed children, often depicted with an unsettling edge. Poised holding a cigarette or knife and with a glare of defiance, their curious blend of innocence and punk aesthetics became iconic of the spirit of youthful rebellion and childhood anxiety that embodied his generation that grew up in postwar Japan. After he graduated from Aichi University of the Arts with a master’s degree in 1987, Nara’s artistry developed further during his period in Germany, when he studied in the Kunstakademie Düsseldorf from 1988 to 1993 and settled in Cologne in 1994. During this pivotal moment in his artistic career, he began merging Japanese and Western popular culture into a language distinctly his own, from comic books and animation to vernacular art and devotional sculpture. His work also drew on rock, folk, and punk music; existential philosophies; and spirituality. While living in Cologne in the mid-1990s, he began depicting his now-signature solitary and fiercely independent figures of children with large heads and eyes boldly portrayed against ambiguous blank backgrounds. In 1995, he had his US debut with this new body of work at Blum & Poe in Los Angeles. After twelve years in Germany,

he returned to Japan in 2000. Rising to international prominence during this time, Nara gained more opportunities in Japan and abroad to exhibit his figural drawings, ceramics, and sculpture as well as his paintings. His cartoonish, childlike characters also grew more emotionally complex, ranging from angry and sad to serene. After the devastating Tohoku earthquake and tsunami in 2011, the tone and expression of Nara’s youthful figures became markedly more introspective and contemplative. The earthquake and tsunami personally affected Nara, since the Fukushima nuclear disaster triggered by the tsunami was near his hometown of Aomori. Being familiar with the landscape as well as knowing the peoples’ loss from the fallout, he visited the ruined site many times. Nara also noted a shift in his artistic process, growing more mindful and deliberate in his artmaking. To date, Nara has been featured in over 40 solo exhibitions and is collected widely among major museum and private collections in Japan, Europe, and the US. The breadth and depth of his work can be seen in three major recent exhibitions: the eponymous LACMA retrospective, which will travel to Shanghai, Bilbao, and Rotterdam next; the beautiful solo presentation at the Dallas Contemporary; and a special traveling exhibition organized by the Japan-Taiwan Exchange Association and the General Association of Chinese Culture. Patron called on Tim Blum of Blum & Poe and Yoshitomo Nara to discuss the history of their collaborative relationship through which Nara’s work was introduced to US audiences, the role of art galleries in the current pandemic moment, and a look towards what’s next.

nd .5 nd ri.

Left: Tim Blum at the Blum & Poe Tokyo space. Courtesy of Blum & Poe.

Installation view, Blum & Poe, Los Angeles, 2014, © Yoshitomo Nara. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photograph by Joshua White/ JWPictures.com.

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PATRON (P): How would you describe the context in which you both met? Tim Blum (TB): I first learned of Nara’s work while living in Tokyo, but he actually lived in Germany, so he was not someone I could meet or engage with physically at the time. Sometime later I moved back to Los Angeles and opened Blum & Poe in September 1994. Shortly thereafter I went to Japan and visited Masami Shiraishi at SCAI The Bathhouse, who happened to be installing a Nara show at that moment. Nara happened to be in town, so we met then. P: What drew you to collaborate in the first place? TB: When I walked into SCAI The Bathhouse, I remember very vividly one painting that they had leaning on the wall. It was of one of his figures, in a yellow bathtub with blue water, and he—it felt like the figure was a he—was wearing a red, hooded jumpsuit with two instruments in his hands. It was a small painting, probably around 24 x 20 inches, but I was immediately drawn to it. That was my first experience with the work in person, and it has not changed since. The whole experience with Nara is a subconscious, physical experience that I believe relates to one’s own personal story and narrative. Something about his work can universally tap into that part of a person, so your first attraction to the work is not to look at it as a painting in the traditional sense, but you have a more visceral reaction. When I lived in Japan, I learned to trust my instincts, and with Nara’s work I had that feeling right away. We did our first show in Los Angeles in 1995. P: What was the first exhibition at Blum & Poe like, as well as Nara’s first experience in Los Angeles? Yoshitomo Nara (YN): Blum & Poe is now a big gallery in California, but at first, they were in a tiny space— like five meters by five meters. Tim had seen my show at SCAI The Bathhouse, and he reached out

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to me. He saw something in me that wasn’t limited to Japan, something international that went beyond words, and wanted to do something with me. So that first show in America was titled Pacific Babies because I went over the Pacific Ocean. I think that’s where my history as an artist, as perceived by everyone else, started. For the first time I went to a place where I had no footing, a place not in Europe nor in Japan. Because of this, I was able to feel like I could live the rest of my life as an artist on the faraway West Coast—perhaps because there wasn’t as much of the class to establish what constituted mainstream culture, underground, and subculture. Things just danced out in the open. I think that the underground culture gained more and more popularity and became pop culture there. That kind of history of the West Coast has a lot in common with the process of how I became an artist. That was the first place I was able to feel accepted. On the West Coast, art journals gave me coverage even though I was new, and there were other artists in California who liked my work, and I remember being very happy. P: You both spent time abroad during your formative years: for Tim, the move to Tokyo, and for Nara, Germany. How did you decide to make that move in the first place? How did that experience shape your understanding of the world and what your role might be in it? TB: I first went to Japan during the summer of 1984. It was just an exploratory trip, but I loved it so much I went back in 1985, focusing mostly on Tokyo. I went in on all that Tokyo still has—architecture, design, art, food, culture, fashion—you name it. It was at an apex with the bubble economy, and there was just a percolation of a great creative and economically prosperous time. I ended up going back permanently in 1989 after graduating from college, and from there I began a long journey of cultural immersion and language absorption.

Installation view, Blum & Poe, Los Angeles, 2008, © Yoshitomo Nara. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photograph by Joshua White/JWPictures.com.

Installation view of Pacific Babies, Blum & Poe, Santa Monica, 1995, © Yoshitomo Nara, courtesy of the artist and Blum & Poe, Los Angeles/ New York/Tokyo. Photograph by Joshua White/JWPictures.com.

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Installation view of Shallow Puddles, Blum & Poe, Tokyo, 2015, © Yoshitomo Nara. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photograph by Keizo Kioku.

Installation view, Blum & Poe, Los Angeles, 2014, © Yoshitomo Nara. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photograph by Joshua White/JWPictures.com.

Installation view, Yoshitomo Nara, Los Angeles County Museum of Art, April 1, 2021 – January 2, 2022, art © Yoshitomo Nara, photograph © Museum Associates/LACMA.

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Installation view, Blum & Poe, Los Angeles, 2014, © Yoshitomo Nara. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photograph by Joshua White/JWPictures.com.

In Tokyo, I did every job under the sun: brokering deals, advising collectors, running a gallery, a private museum, and working towards one mission, which was to discover and show great art. You also have to remember that our experience with Nara in the 1990s, though he is a Japanese artist, was actually in Germany, so that’s a perceptual shift. YN: I went to Germany in 1988. I came to understand that European traditions are built upon very strong, deep foundations—not just in art, but also in philosophy and music. I didn’t feel overwhelmed by this; it was just the idea that the Western world was a completely different place. The Kunstakademie [Düsseldorf] felt more like an art laboratory than a university, so there was no set curriculum. When I was a student in Japan, I kind of thought that anything that didn’t come from within myself was borrowed so it’s not good to pay too much attention to passing trends. Then I went to Germany and realized I was doing the same things. But this was my expression, and it went over well with my Akademie classmates and friends. I didn’t know the reason for this, but I was able to decide it was okay as it was. P: You have known Nara now for over 25 years. How would you describe the longevity and trajectory of this relationship? TB: It feels like we’ve walked through the whole arc of life together. From seeing the work in Tokyo while he was living in Germany, to visiting him in Germany, to doing these seminal exhibitions with him all over the world, we have slowly, step by step, built the gallery in tandem with him. We were growing at the same time and

developing at the same pace. As he moved from Germany back to Japan, we moved and expanded, going from Santa Monica to a bigger space in Culver City to our current home. Nara is our generation. To have seen his growth as an artist from the very first time until now is an experience in and of itself. P: How has your perspective on the art world changed in the last 5, 10, 20 years? How do you think the gallery has evolved? How has Nara’s work evolved? TB: The art world is obviously now a very different time than it was when we first started the gallery, but the one constant is that what we do has always been in service of the artist. We’ve been fortunate to work with a great group of artists, and to have kept working with the same core group since the beginning. We had a vision, which was to be a self-sustaining business, running the best galleries in the best environments with the best staff, in service of the artists. When it works it is a mutually beneficial system at the highest level. As for Nara, to have witnessed firsthand the full evolution of his work has been incredibly rewarding. If you go to LACMA, where he has a career survey on view, you can see the paintings starting with the earliest work to the most recent painting, which was made during the quarantine period—the work is incredibly different but always hits with the same emotional impact. P: Nara, there are some pivotal moments in your life that have impacted your approach to making art. For example, in interviews you have described the Tohoku earthquake and tsunami of 2011 as key moments that shifted your practice in a major way. YN: After the East Japan earthquake, I grew a lot as a human being,

OCTOBER / NOVEMBER 2021

Installation view, Blum & Poe, Santa Monica, 1997, © Yoshitomo Nara. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photograph by Joshua White/JWPictures.com.

and I think this was significant. I was able to reexamine my own background and feelings towards the region, and it led to a chance for me to take the ideas and desires and all kinds of things swirling around me and consolidate them into one. It has nothing to do with creating, but since I’m the original source of all of my work, in that sense, I think this had an influence on my art as well. P: The last few years have been extremely challenging for the world, specifically the last year and a half, with the pandemic upending everyone’s sense of normalcy. What is the role of art during times of distress, instability, turmoil? Nara, what do you want your art to communicate? TB: It turns out that for us, art is as important as medicine. It’s not a cure-all, but it’s a curative. That was one of the ironic downsides to the pandemic—Nara had this major retrospective that was installed at the beginning of COVID and sat at the museum unseen during this very uncertain time. It was frustrating to wonder why people couldn’t go through a museum to see an exhibition safely. But now that it’s open and people can see it, you hear stories about how the show has really transcended the self and this very difficult time we’re in. There is a time and a place for all kinds of work as long as it’s great work, but in speaking about Nara’s work, there really is nothing like it. It just gives so much on so many levels, but it does require the viewer to be open and vulnerable to it. It gives you as much as you give it, and that’s why it’s so special. I always say that Nara is the great leveler. I don’t care how tight or dry or intellectual somebody might

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be, I have seen the work transform the hardest of people because it cracks the surface. All ages, all walks of life—they have individual experiences, but they are all similar in that regard. That is eminently rare. YN: It would have to be simply the fundamental emotions that all humans possess. In times of a natural disaster when there’s no electricity, what do people think in that situation? How do people feel about someone close to them who hasn’t come home yet from being away? What feelings do people experience when they are removed from society, in a place where there’s no telecommunications? Painting as a communication tool was born when I was one-on-one with myself, and my hope is that it can become an expression that connects with people in the future. I hope that my work can possess universality and communicate beauty and emotions outside of historical references instead of being categorized in a systematically organized history. I believe that no matter how much nature is lost, there is something internal that is unchanging. P: Looking forward, what is your outlook on the post-pandemic world (whenever that may be), and how the gallery’s program might shift and change accordingly? TB: We’ll continue to do the same thing: show work that reflects the world we’re in, show work that reflects the world we’ve come out of. Intersect the past and the present and hope that all this can indicate a better path for the future. P

Installation view, Yoshitomo Nara, Los Angeles County Museum of Art, April 1, 2021 – January 2, 2022, art © Yoshitomo Nara, photograph © Museum Associates/LACMA.

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On With The Show... HIGHLIGHTING FIVE EXHIBITORS APPEARING THIS NOVEMBER, DALLAS ART FAIR MAKES A TRIUMPHANT RETURN THIS FALL. BY STEVE CARTER, NANCY COHEN ISRAEL, AND TERRI PROVENCAL

DALLAS MEXICO CITY MONTREAL PARIS WEST HOLLYWOOD

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Olivier François Galerie DALLAS

evin Rubén Jacobs opened his original Oliver Francis Gallery (OFG) in 2011, and while its location was not the expected—an area mottled by desperate homelessness and de facto parking—his art clairvoyance earned him a pedigree. At the time, his fan base ranged from the not-yetemerged artists of the region (he had a hand in their development), to the collectors ready for the newly emerged, to the sublimely cool set who frequently visited. His neighbors were friends he lured to Peak Street—art collaborators and artists: Francisco Moreno, followed by Arthur Peña and Michelle Rawlings, and later Travis LaMothe. The foursome today all enjoy successful art careers. After many reinventions, self and otherwise, including founding two Pushkin & Gogels in Berlin, Jacobs is back in Dallas with OFG’s next iteration: a grown-up but no-less-edgy Olivier François Galerie. He teamed up again with the talented painter Francisco Moreno— in Dallas for an indeterminate time—whose solo show Demons introduced the new gallery in Exposition Park. He met Moreno in 2009 at UT Arlington when they were undergrads, and in 2011, it was Moreno’s solo show that germinated the gallery. Jacobs describes Moreno’s practice as being in “constant maturation.” He adds, “His practice is not a modernist approach. His work is very art-historically centered. He always wants to be really aware of his direction. When he loosens up it’s a special moment that opens up a new door for him, like his Demons, which he began working on in 2019.” Moreno’s seminal Chapel was acquired by and included in Dallas Museum of Art’s For a Dreamer of Houses. His buzzed-about WCD Project, culminated in a performance piece of a reclaimed Datsun covered in an artist-rendered razzle-dazzle camo skin doing donuts in front of a large-scale painting inspired by

Emanuel Leutz’s Washington Crossing the Delaware, 1751. In November, Jacobs will show Moreno’s paintings at the Dallas Art Fair along with the work of River Shell (formerly known as Pierre Krause), a summa cum laude grad from UT Dallas who, like Jacobs, had a stretch at the Goss-Michael Foundation; Jacobs served as GM-F’s curator, where again he brought a fresh perspective to augment the blue-chip YBA platform. Of Shell he says, “We have an affinity for each other’s projects. The work is an opening to them, their history, and their identity, showing what I believe is a beautiful range of methods, techniques, and approaches to art making. They are necessarily made, like coping with life.” He will also bring work from Morehshin Allahyari, who was represented at the founding gallery as well—Jacobs is nothing if not loyal. He believes in his choices, an unwavering commitment that’s refreshing as a gallerist matures. Allahyari’s solo show will run concurrently with the Dallas Art Fair in November. Work by Brandon Thompson will be presented too; this painter is fresh to his programming. “I saw his first solo show at PRP [Permanent Research Project] in 2018, and I just loved the energy, narrative, and his humor… Back in the day I did a studio visit with him and bought one of his drawings.” And he will include work by the Whitney Biennial–featured Brian Fridge, whom he deeply admires. “Brian was the first artist that presented a lecture at UT Arlington when I went to school there.” As a first-time Dallas Art Fair exhibitor he says, “I’ve always been very poor, so doing a fair has been out of the question. But now is the time to catapult. I would rather start the new gallery with a bigger bang and introduce the gallery to the newer patrons. And I think it’s a way to recontextualize a lot of these artists.” –Terri Provencal

Clockwise from top center: Francisco Moreno, Demon in Water, 2021, acrylic on panel, 11 x 14 in. Courtesy of the artist and Olivier François Galerie; Kevin Ruben Jacobs. Photograph by John Smith; River Shell, Something Beautiful installation view at Olivier François Galerie. Photograph by John Smith. Morehshin Allahyari, She Who Sees The Unknown: Kabous, 2019, 3-D render. Courtesy of the artist and Olivier François Galerie.

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Clockwise from top left: Eduardo Sarabia, Jaguar Bar Sunset (detail), 2019, oil on canvas, 100 x 145 in. Courtesy of the artist and Saenger Galería; Fernanda Brunet, Splash!!!, 2020, acrylic on linen, 75 in. diameter. Courtesy of the artist and Saenger Galería; Robert Janitz, La Garderobe du Placard, 2021, oil, wax, flour on linen, 80 x 60 in.. Courtesy of the artist and Saenger Galería.

Saenger Galería MEXICO CITY Bernardo Saenger brings his eponymous Saenger Galería to the Dallas Art Fair for the first time this year, with a focus on the works of four of his artists: Robert Janitz, Fernanda Brunet, Eduardo Sarabia, and Javier Peláez. Located in Mexico City, Saenger’s gallery has an international program, as reflected in the artists he’ll be showing. Brunet and Peláez are both Mexican, living and working in Mexico City; Janitz is German, living and working in Mexico City; and Sarabia is a LA-born Mexican American, living in Guadalajara. In recent months, Saenger has been rebranding—his gallery Archivo Colectivo was thriving, but a name change became inevitable. “Archivo Colectivo was created two years ago with the intention of being a gallery and an edition company that makes art books as well as prints and multiples,” he explains. “The reason for the name change is very simple: Since we’re internationalizing our gallery, it might be difficult for people in the international market to understand what ‘Archivo Colectivo’ would mean. Is it an archive? And why collective? Saenger being my last name, we’re now Saenger Galería.” One of Saenger’s showcasing artists is German-born Robert Janitz, about whom the gallerist comments, “Janitz is really strong and solid in the US market.” Best known for his large-scale abstracts painted in oil, wax, and flour on linen, Janitz himself has likened his squeegee-like brushstrokes to “a hardware store” approach, “… like someone who cleans a window or spreads butter on a piece of toast.” Expect three of his recent paintings to be on view at the exhibitor’s booth, all of them riveting. Cornerphobia (2021, oil, wax, flour on linen, 51” x 40”) is fairly electrified, its yellow lines popping off a background of graduated color fields, deep orange into blue. La Garderobe du Placard (2021, oil, wax, flour on linen, 80” x 60”) is a room-commanding abstract of volcanic coiling striations setting off

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a somnolent background. In contrast, Fernanda Brunet’s acrylic works are bold, swooshing, splashing, explosive large-scale abstractions that often contain figurative suggestions or associations—certainly the eye of the beholder comes into play. There’s an unmistakable nod to Japanese illustration in her paintings, recalling everyone from Hiroshige to Takashi Murakami. Not limited to the usual rectangular presentation, many of her paintings live on circular surfaces, and other shaped canvases are indefinable none-of-the-aboves. Her work has been shown widely in Mexico, Spain, Hong Kong, and the United States. Eduardo Sarabia’s art involves painting, sculpture, ceramic, installation, and more, often taking cues from Mexican folklore, stereotypes, and cultural and legal issues that are endemic to the border region. Like Janitz, Sarabia is also well-known in the US market, having shown in Los Angeles, Denver, Tempe, and New York; he was included in the 2008 Whitney Biennial. But for Saenger Galería’s presentation at DAF, it’s all about the painting. Three large (100” x 145”) oil on canvas works will be on view, part of the artist’s Jaguar Bar series (2019). Sarabia’s florid, energized brushwork and high-contrast palette make for an immersive experience. Mexico City’s Javier Peláez rounds out Saenger Galería’s booth with two paintings, both from 2021. The enigmatic oil on linen Estratos and Cripto #2 are 65” x 50”, and each is a riveting invitation to engage. Portions of the paintings are exquisitely fine-detailed with baroque precision, but larger expanses play tricks with the eye—cells of color are hazy, soft-edged, and challenge the depth of field. It’s a playful take on trompe l’oeil that’s both eye-rubbingly confounding and mysteriously rewarding. Although Saenger Galería’s a veteran of many art fairs in Mexico, this marks the gallery’s first international outing—and it looks like an auspicious beginning. –Steve Carter

Blouin Division MONTRÉAL Dominique Toutant, director of Montréal’s Blouin Division gallery, is a huge fan of the Dallas Art Fair, and of the city itself. This year will be the gallery’s fourth DAF visit, and Toutant’s excitement is palpable: there’s the “cozy” scale of the fair and f.i.g. as a venue, there’s the walkability of the Dallas Arts District, the friendliness of the people, the collectors, The Warehouse, the “amazing” NorthPark Center, the “amazing” Nasher Sculpture Center, Dallas Contemporary, the DMA, and on and on. “I have to say that I really love Dallas, I love the dynamic—I find it just beautiful, and the community of museums, the arts culture…” Toutant enthuses. Will someone present the Key to the City to this man? For 2021, Blouin Division will be bringing the work of three artists to DAF, one of whom is already well-known to area art cognoscenti, and two who will be making their inaugural splashes in the city. Wanda Koop is one of Canada’s most celebrated artists and no stranger to Dallas: In 2019, the Dallas Museum of Art showcased her in Concentrations 62: Wanda Koop, Dreamline, an exhibition that featured eight new works from her Dreamline series and 20-plus selections representing the last 20 years of her career. Look for her Road to Red Lake (2021, acrylic on canvas, 30” x 40”) at the Blouin Division booth; it’s a minimalist, ironic landscape that suggests a dystopian revery. “She’s probably one of the most important painters in Canada,” Toutant points out. “We’ve been presenting her every year we’ve come to Dallas, so there’s a certain market there, and people recognize her work.” The other two artists being presented by Blouin Division in 2021 are both Indigenous: Caroline Monnet, born 1985, is a multidisciplinary artist and filmmaker; and Nico Williams, born 1989, is also multidisciplinary, with a particular focus on unexpected sculptural beadwork. “There’s a lot of wind behind these two right now, there’s a lot of energy,” Toutant says. Monnet’s award-winning work has been frequently exhibited internationally; in 2019 she was included in the Whitney Biennial, Venice Biennale, and the Toronto Biennial of Art. One signature aspect of her practice is the utilization of industrial materials, as is the case with her hypnotically patterned abstraction, Kokom’s Comfort (2020, embroidery on Comfort-Seal, 27.5 x 27.5 in.). Nico Williams’ Bingo (Orange) (2019, glass beads, 18” x 3.5”) is a double twist on the ordinary—it’s neither typical subject matter for beadwork nor a typical depiction of a lottery ticket. On close inspection the work’s meticulous intricacies are spellbinding. “He’s doing traditional beading…but doing it in a larger format,” Toutant explains. “He often works in a small group, two or three people, so there’s the idea of the collective when he works. And there’s a kind of joy in the studio when they’re working…there’s a rhythm, almost a mantra.” The Blouin Division booth will also host New York’s Arsenal Contemporary Art, a private art center with sister locations in Montréal and Toronto. Arsenal is a cultural initiative of art patrons/collectors Pierre and Anne-Marie Trahan; they, along with René Blouin, are cofounders of Blouin Division. Arsenal plans to show works by one artist, still TBA. “The idea of Arsenal in New York is to share the energy of what’s going on, what’s the current of right now,” Toutant says. “When Pierre and Anne-Marie were collecting they felt like they needed to be more present by helping, so Arsenal was a place they could make shows and help the artists present. It’s more a private museum than a gallery.” –Steve Carter

From top: Dominique Toutant. Courtesy of Blouin Division; Wanda Koop, Road to Red Lake, 2021, acrylic on canvas, 30 x 40 in. Courtesy of Wanda Koop Studio. Bottom right: Nico Williams, Bingo (Orange), 2019, glass beads, 18 x 3.5 in. Courtesy of Musee d’art contemporain de Montréal; Bottom left: Caroline Monnet, Kokoms Comfort, 2020, embroidery on Comfort-Seal, 27. 5 x 27.5 in. Photograph by Lesia Miga.

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Visually, the contrast between their work is striking: Kapwani Kiwanga creates large, colorful, dimensional works while Sophie Ristelhueber’s photographs are quieter studies in monochromatism. Both artists, however, capture the current state of the human condition, and both are represented by the Parisian Galerie Jérôme Poggi, which will present their work at the November edition of Dallas Art Fair. Kiwanga and Ristelhueber reside in Paris and have had exhibitions all over the world. Kiwanga’s work has been shown frequently across Texas. Over the past five years, it has been included at The Contemporary Austin as well as in a one-person exhibition at San Antonio’s Artpace. Currently her work is on view in a solo exhibition at Houston’s Moody Center for the Arts. “We thought it would be important to show her work at the fair,” says Jérôme Poggi, the gallery’s founder and director. Earlier this fall, the gallery brought Kiwanga’s work to Art Basel. Kiwanga’s educational background includes studies in anthropology and comparative religion, disciplines that may have offered her insights into approaching narratives from multiple angles. Her conceptual work incorporates a variety of media to explore the stories of those who are often forgotten, how previous exclusion of their histories reverberates today, and how it will impact the future. Ristelhueber looks at the physical changes to the landscape that are wrought by humanity. Camille Bréchignac, the exhibition’s curator, says, “She explores questions of landscape and nature, especially in the context of war. She is showing the scars of war that can be psychological, but that can also be left on the landscape.” Her aerial views of the Kuwaiti desert, Poggi adds, “are related to the Gulf War but are very universal.” Although Ristelhueber’s work has been shown at institutions such as the Museum of Modern Art in New York and the Museum of Fine Arts in Boston, it is still better known in Europe. According to Bréchignac, however, “She is one of the major artists of her

generation. We feel that she deserves more recognition.” The presentation of such thoughtful work reflects the gallery’s philosophical approach to art. It opened in 2009 and represents 15 artists. Five years prior to its opening, Poggi founded the nonprofit organization SOCIETIES with the goal of making art accessible to wider audiences. Through its New Patrons program, Poggi says, it offers communities the opportunity to commission artists to create new work that will “serve a collective interest.” The program has worked with diverse populations who are often overlooked by the art world, including infirm and homeless people. These populations, Poggi says, “don’t even think they can be an interlocutor with an artist. We free the mind to say, ‘yes, you are relevant to speak to an artist.’” Ultimately, he says, “It shows the kind of impact on society that art can have.” This will be the gallery’s inaugural Dallas Art Fair. Poggi and Bréchignac, along with colleague Jonathan Frydman, are looking forward to being in Dallas and to exploring the cultural landscape across the state. “I thought it would be interesting to go beyond the major cities [in the United States]. It is really exciting to discover the local art scene in Texas,” offers Poggi. –Nancy Cohen Israel

Galerie Jérôme Poggi PARIS From left: Jérôme Poggi © Georges Tony Stoll, Le Marchand, 2017; Kapwani Kiwanga, Glow #1, 2019, wood, stucco, acrylic, steel, LED, 68.9 x 38.98 x 9.84 in. Courtesy Galerie Jérôme Poggi, Paris; Edition of 3. Kapwani Kiwanga, White gold II, 2016, waxed metal, sisal fibers, 68.89 x 66.9 in. Courtesy of Galerie Jérôme Poggi, Paris. Above: Sophie Ristelhueber, Fait #01, 1992, color photograph, silver print mounted on aluminum, with gold waxed frame, 39.3 x 50 x 1.96 (framed). Courtesy of Galerie Jérôme Poggi, Paris.

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Louis Stern Fine Arts WEST HOLLYWOOD

Luminous orbs float above intersecting axes in Mark Leonard’s paintings. They are simultaneously buoyant and weighty. A background of graduated light propels them forward in the picture plane. The work is fresh and current, yet there is something about it that is familiar. That familiarity has its roots in Old Masters paintings. Leonard, who trained as a visual artist, spent decades as a paintings conservator, primarily at the J. Paul Getty Museum in Los Angeles. A dozen years after retiring from the Getty and returning to his own artistic practice, Leonard moved to Dallas to establish the conservation studio at the Dallas Museum of Art. In 2017, he returned to California and to painting full time. The spheres in his current body of work have their origins in Dallas. Leonard was commissioned by a local collector to restore a 17th-century still life by the Dutch painter Pieter Claesz. “I had to learn how grapes take in light and exude it,” he says. From here, he continues, “I started a little still life that is based upon this. It’s a nice way to marry the restoration side with creating art, and to use Old Masters painting as a springboard to my own work.” The two practices achieve different goals. “When you are a restorer, you basically have to disappear. As an artist, you have to throw your soul onto the easel,” he explains. While visually his work is antithetical to the centuries-old European paintings that he restored, his methods are not. “I paint with the same materials I used as a restorer. It was a matter of embracing what I knew,” he says. This includes Schmincke gouaches and Gamblin Conservation Colors. The latter is a non-toxic paint which he helped develop with artist Robert Gamblin and fellow conservators Jill Whitten and René de la Rie. As a support, he prefers Claybord panels for their smooth, porcelain-like quality. “I’m attracted to the purity of the surface,” he says. As a gift to future restorers, he labels the back of each work with detailed information about his materials. Leonard met gallerist Louis Stern at his own retirement party. “When you have a body of work, give me a call,” he recalls the venerable gallerist telling him. About a year later, he did just that, and Stern agreed to an exhibition. “I’m really lucky that he believes in my work. It means the world,” says Leonard. As a stalwart on the Los Angeles gallery scene since the 1980s, Louis Stern Fine Arts promotes West Coast artists, particularly the hard-edge abstraction of painters such as Karl Benjamin, Helen Lundeberg, and Lorser Feitelson. “They made a wonderful contribution and were wonderful artists and never got their due,” says Stern. Leonard follows in the tradition of this earlier generation. His work, along with a painting by Benjamin, will be included in this year’s TWO x TWO for AIDS and Art.

“We represent work that champions the underdog and the forgotten artists,” Stern adds. One of these artists is Alfredo Ramos Martínez, whose paintings formed the basis of last year’s DMA exhibition, Flores Mexicanas: Women in Modern Mexican Art. Stern serves as the director of the Alfredo Ramos Martínez Research Project. Bringing the work of many of these artists to the Dallas Art Fair, he concludes, “I’ve always had a good Texas clientele. They have an open mind, and we’re looking forward to showing work in Dallas.” P

Clockwise from top left: Mark Leonard (b. 1954), Red, White and Blue, January, 2019, gouache, synthetic resin, and ink on panel, 9 x 12 in. Courtesy of the artist and Louis Stern Fine Arts; Mark Leonard (b. 1954), Prometheus, August, 2018, gouache and synthetic resin on panel, 9 x 12 in. Courtesy of the artist and Louis Stern Fine Arts. Mark Leonard (b. 1954), Pandora's Box III, May, 2020, gouache and synthetic resin on panel 14 x 18 in. Courtesy of the artist and Louis Stern Fine Arts; Louis Stern. Courtesy of Louis Stern Fine Arts.

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genius through despair Van Gogh and the Olive Groves at the DMA is a moving investigation of the Dutch painter’s work while in an asylum. BY BRIAN ALLEN AND JOEL MURRAY 96

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incent van Gogh’s paintings of olive trees, bold and experimental, are among the few slices of his career to have escaped scrutiny. About fifteen in number and painted at his peak, they’ve never been gathered and displayed as a discrete unit until now, at the Dallas Museum of Art, in Van Gogh and the Olive Groves. It’s a special exhibition that opens on October 17 in Dallas in collaboration with the Van Gogh Museum in Amsterdam. Van Gogh (1853-1890) started painting olive trees in May of 1889 after committing himself to an asylum in Saint-Remy in Provence for those suffering mental illness. At that despairing, turbulent point in his life, he quickly fastened on the olive groves surrounding the hospital. He wrote to his brother, Theo, about their color. “Silver, sometimes more blue, sometimes greenish, bronzed, whitening on the ground that is yellow, pink, purplish or orangish to dull red ochre,” he reported. “Big blue flies, emerald fruit beetles, and cicadas in great numbers fly about, everything immersed in pale blue.” The branches and trunks, old and gnarled, presented a challenge all their own. His stay lasted six months as he struggled to find courage and hope but saw the future more and more, he told his brother, “as abominable.” He looked at and painted individual trees and views of groves in the prime of summer as the leaves turned violet and the figs ripened. As the days lengthened and then shortened, as showers came and went, as summer turned to fall, the sky and light lent their own changing palette. Van Gogh painted blossoms and, at the end, trees in dormancy. In short, a sensual and aesthetic feast for the artist and for those seeing the show. For Van Gogh, the trees became more than a motif. He drew therapy from them and found as they changed an analogy to human life and how it evolves over time. It was a spiritual journey during which he found as much sorrow as joy, if not more, as well as a sense of inevitability. He died from suicide on July 29, 1890.

This page: Aerial view of the asylum Saint-Paul de Mausole in Saint-Rémy, first half of the 20th century. Van Gogh Museum, Amsterdam (Tralbaut Archive). Opposite: Vincent van Gogh, Olive Trees, June 1889, oil on canvas, National Galleries of Scotland. Purchased 1934. © National Galleries of Scotland.

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Vincent van Gogh, A Wheatfield, with Cypresses, September 1889, oil on canvas, The National Gallery, London. Purchase funded by Courtauld Fund, 1923.

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Above: Vincent van Gogh, Olive Grove, July 1889, oil on canvas, Kröller-Müller Museum, Otterlo, the Netherlands. Photograph by Rik Klein Gotin; below: Vincent van Gogh, Olive Grove with Two Olive Pickers, December 1889, oil on canvas, Kröller-Müller Museum, Otterlo, the Netherlands. Photograph by Rik Klein Gotink.

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This page: Vincent van Gogh, A Walk at Twilight, 1889–1890, oil on canvas, Collection Museu de Arte de São Paulo Assis Chateaubriand. Purchased 1958. Photograph by João Musa. Opposite: Vincent van Gogh, The Olive Trees, June 1889, oil on canvas, The Museum of Modern Art, New York. Mrs. John Hay Whitney bequest. Digital image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.

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The exhibition at first seemed impossibly difficult to do says Nicole Myers, the senior curator of the Dallas Museum of Art and one of the show’s scholar organizers. Myers was a curator at the Nelson-Atkins Museum of Art in Kansas City before she came to Dallas. That museum owns Olive Trees, painted by Van Gogh early in the summer of his stay at Saint-Remy. In researching the painting, Myers realized that little scholarship had been devoted to it. She saw this gap as a chance to gather the Dutch master’s olive tree oeuvre. She knew the obvious challenge. “The paintings are in collections all over the world,” she told us. “They’re requested constantly, and owners just don’t want to see them go.” Myers reached out to the Van Gogh Museum and in 2015, after meeting with the curators, she found a partner. Together, the DMA and the Van Gogh Museum had the scholarly and borrowing heft to make an exhibition happen. After the deal between the two was sealed, Myers celebrated what would be a career highlight by indulging in a decadent waffle from an Amsterdam street vendor. The paintings are radiant and startling as a group. For starters, they’re so different in mood, texture, and palette from Van Gogh’s portraits, his famous Sunflower series, or even many of his landscapes. They’re less formal, more intense and, grouped together, show the artist’s will to tweak and his love of new ideas. Olive Trees can be seen as a template for the others, as he started it almost immediately after his arrival. It shares a palette of spirited, dynamic blues, greens, and yellows with the other paintings he did that summer. Loose, gestural brushstrokes show how spontaneously he worked, often outdoors. He seems to start with a meandering path made from long, curving grey-green and yellow strokes and uses red poppies along the path to draw the eye toward the trees. The trees and their shadows are vivid

greens and blues. Dappled spots of sunlight evoke the summer heat without showing the sun. The olive groves were quiet, but earth and trees seem to bulge and beat from a hidden power. Van Gogh paints the illusion of plunging depth to give us an immersive feel. The Olive Grove from the Museum of Modern Art, another summer painting, depicts the Alpilles mountains in the distance and is the only one of the series with distinct, precise topography. Instead of dramatic depth, the look is one of solidity and flatness, though the forms are also more stylized and abstract. It lacks the hidden chaos of Olive Trees. Some of the paintings in the series, like Olive Grove, smaller and from a private collection, are elaborate and ambitious but with denser, longer brushstrokes that suggest a grove gone wild. Autumn demanded different, earthier colors and a different palette for the sky as heat gave way to fall, cooler and given to variable weather. Red earth and purple shadows and leaves of a darker green create a different mood. Theo was astonished with the quality of these pictures. He said that Olive Grove, Saint-Remy was “especially superb.” Both brothers were attracted by the unknown or mysterious Provence, a place not of eternal summer. The artist sought “the smell of the soil.” Red-orange-brown tones alternate with a blue-purple to evoke ripeness and fullness but also a new, drier milieu. The grove looks more systematized and less lush and dense. Rows are more obvious. It’s time for the harvest. In A Walk at Twilight Van Gogh painted himself, with his characteristic red hair and beard, strolling with a woman through the olive groves at dusk. The exhibition catalogue calls it “a farewell to this region he had grown to deeply cherish” as a place where he found moments of joy and peace amid a frame of mind that, overall, seemed to darken. It has a naive feel, childlike and playful. Of all the paintings in the show, it also

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Top: Vincent van Gogh, Olive Trees, November 1889, oil on canvas, Minneapolis Institute of Art. Purchase funded by The William Hood Dunwoody Fund, 51.7. Photograph by Charles Walbridge; bottom: Vincent van Gogh, Olive Grove, Saint-Rémy, November 1889, oil on canvas, Gothenburg Museum of Art, Sweden. Photograph by Hossein Sehatlou, Gothenburg Museum of Art.

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looks the most unreal. It’s marked by innocence and fondness, but it’s also a picture about exits. The exhibition positions Van Gogh as a religious painter using the olive tree, ubiquitous in Provence, as artists elsewhere would use grapes and vineyards to suggest birth, abundance, death, and infinity. Rather than a straightforward depiction of agrarian workers, Women Picking Olives suggests God’s reaping of humanity, itself an essential step in subsequent times of rebirth. It’s not a noisy, buzzy scene. Van Gogh said he wanted to convey “a far-off thing like a memory softened by time.” He surprises us by achieving it through a pale pink sky contrasting with even deep shades of green for the leaves. The time is dusk. The pink sky isn’t something we’d see in nature so there’s less in the painting that’s documentary. It’s the most wistful, even melancholy, of all the works in the series. Visitors can savor Van Gogh and the Olive Groves for the art’s dense, luscious surfaces and saturated color and for its exploration of the cycles of life. For the curators, these are good and essential parts of their inquiry. Important, too, are their connoisseurship and conservation work, expertly done and presented in detail in the scholarly catalogue. Nienke Bakker, the senior curator at the Van Gogh Museum, said that “one part of the research we’ve been doing is trying to really follow the

artist in the artistic choices he made, on the one hand intuitive and on the other methodical.” The popular stereotype of the eccentric, if not mad, artist encourages the notion that Van Gogh painted only when mental illness afflicted him most severely. Not so. Conservators who studied the layers of paint applied to each work found that they indicated a deliberate, calculated approach. Myers explained that Van Gogh “was lucid always when he was making his work.” Paint, applied with perceptible ease, balances analogous and complementary colors, while shifts in tone, from light to dark and hue to hue, give shape to tree branches and leaves. The palette of each painting conveys seasonal distinctions and times of day, moods varying from active to quiet. At the time the tortured artist painted the series, Myers said, “he’s at a very low period in his life…he needs to feel that there is something beyond to help him manage this illness.” Bakker argues that “these are not gloomy paintings.” Rather, she calls them “a life force.” Standing on their own and as we see them today, they’re beautiful. They’re also evidence of Van Gogh’s own quest for meaning as he puzzled over his life. P

Vincent van Gogh, Olive Grove, November 1889, oil on canvas, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation).

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Private Passions installation at the Karpidas Collection featuring work by Xinyi Cheng on the far wall and Katja Seib’s paintings on the right.

Private Passions

XINYI CHENG, BECKY KOLSRUD, KATJA SEIB, AND ISSY WOOD BRING “DISTINCTIVE INTERIOR WORLDS” TO THE KARPIDAS COLLECTION. BY DANIELLE AVRAM PHOTOGRAPHY BY KEVIN TODORA

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Clockwise from left: Xinyi Cheng, Coiffeur, 2019, oil on canvas, 21.75 x 18.25 x 1.12 in.; Xinyi Cheng, Sur la plage, 2019, oil on canvas, 24 x 19.85 x 1.12 in.; Xinyi Cheng, Stijin (Cerulean), 2019, oil on canvas, 25.75 x 39.37 x 1 in.

he world is an increasingly bizarre place. A global pandemic, irreversible climate change, econom ic crises, political gaslighting, rampant misinformation…it feels like we are inhabiting a fugue state spurred on by one cataclysmic shift after another. Each day feels like the moment before a storm, when the atmosphere tingles with anticipation and an uneasiness washes across the land. During this time, it’s become progressively difficult to retain a sense of self and place, with lockdowns and social distancing driving us further into the arms of the internet void. Now more than ever we rely on this invisible network to retain a semblance of connection. On one hand it’s been a literal lifesaving device, on the other it causes us to disassociate from our IRL selves. As the membrane between private and public personas grows thinner, we become punctured and vulnerable, filled with content culled from news sources and social media rabbit holes.

Private Passions, the latest exhibition at the Karpidas Collection, revels in the malleable weirdness that permeates contemporary existence. Curated by venerable British art dealer Sadie Coles, this exhibition brings together four young female artists working in figurative painting. Says Coles, “The paintings in this exhibition offer intimacy and static, something that seems quite relevant after a year of pandemic seclusion and stillness. These four positions are hermetic islands of distinctive interior worlds, visions of private passions that reinterpret contemporary life and evoke an incisive, sometimes surreal take on the ordinary and the obscure.” X inyi Cheng’s paintings depict moments of tenderness and vulnerability, drawing from real-life situations. The (mostly male) characters that appear in her works are people with whom she has a personal relationship; the level of shared intimacy and comfort between subject and painter heightening their emotional auras.

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Clockwise from top left: Issy Wood, Study for self soothing, 2020, oil on linen, 55.25 x 39.5 x 1.75 in.; Issy Wood, Car interior/violin as everything burns, 2019, oil on velvet, 35.5 x 65 x 1.87 in.; Issy Wood, Cries real tears! 3, 2020, oil on velvet, 71 x 57.25 x 2 in.

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Katja Seib, Damour, 2017, oil on hessian, 71 x 79 x 1 in.

Inspired by Western art history and the color theory of Josef Albers, Cheng’s paintings are contemporary but timeless. The combination of recognizable imagery rendered in unusual color palettes gives them an otherworldly quality, as if they occupy a different plane of existence. The sense of unease that permeates her paintings is generated by Cheng’s emotive use of color and her simplistic depiction of scenes: her figures float against empty backdrops devoid of any extraneous information. The artist works from photographs of her subjects, often combining elements from different images, further pushing the resulting paintings out of the realm of reality. Works such as Coiffeur and Stijin (Cerulean), which depict a man getting a haircut and a man sleeping, highlight the moments in which you place trust entirely in another individual, when you are at the tipping point between emotional vulnerability and physical danger.

Whereas Cheng’s paintings have a soft surreality, the works of Issy Wood are dense and edgy. At 28, Wood is the youngest artist in Private Passions, and her paintings capture the dueling camps of anxiety and malaise that dominate the millennial zeitgeist—the reticence of people shaking off the last vestiges of adolescence and settling into adulthood. The works’ dark and dusty color palettes and lush surfaces exude the powerful susceptibility of contemporary femininity, a time in which women are rewriting sexual politics by laying bare the raw intimacy of their lives. While not overtly diaristic, Wood’s paintings allude to personal issues, which can potentially be teased apart by the entries on her blog, committothedish. A section titled, “On Cars,” wherein Wood unpacks the car as a midlife crisis/divorced dad trope, directly ties to her own series of car interiors while possibly hinting at issues surrounding

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Katja Seib, Girl Taking a Bath, 2015, oil on hessian, 71 x 71 x 1 in.; Katja Seib, Girl Leaving a Ghost Ship Party Secretly, 2014, oil on hessian, 63 x 63 x 1 in.

her estranged relationship with her own father. Wood routinely uses imagery culled from auction house catalogues, mixing historical artifacts and contemporary objects to divine a mystic connectivity across space and time. In other works, such as Love your neighbour, gaslight your neighbour, faces emerge from indeterminate vessels, suggesting that object, person, and memory fuse together to create “haunted” entities. Using a combination of photography and imagination, the characters of Katja Seib’s paintings range from crudely cartoonish beings with clunky appendages to depictions that fall just short of realism. Captured in moments of isolation, Seib’s figures are indicative of the degree to which social media creates a confusion between fiction and reality, given the pressure to live for and through the lens while fearing the possibility of imperfection or critique. It raises the question of whether or not Seib’s characters are entirely trustworthy, which is in and of itself an increasingly problematic aspect of contemporary life. What did the woman in Girl Leaving a Ghost Ship Party Secretly do to cause her to sneak away? Was it an innocent mishap or something that will forever plague her with an online presence? Is the figure in

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If the Truth Hurts / Pop Pain Pills struggling with addiction or needing to medicate because of the looming specter of anxiety and depression? The morass of truths, half-truths, and outright lies through which we wade on a daily basis has plunged the world into a perpetual state of magical realism. Eschewing reality altogether is Becky Kolsrud, whose female figures occupy a fantastical oceanic realm. Commissioned by Pauline Karpidas for the collection, Kolsrud’s paintings in Private Passions are part of her Allegorical Nudes series, which investigates the mythos of the female bather in art historical paintings. Unlike the romanticized and softly voluptuous bathers of the past, Kolsrud’s women are two-dimensional outlines, projections of female forms. Mostly obfuscated by opaque blue layers of water and waves, the women resist the conventional definition of “nude,” underscoring the fallacy of conservative norms created via a prescribed set of attributes. Unlike bathers of the past, generally depicted as passive beings spied upon by the viewer, Seib’s women confidently gaze outward, turning the subject-viewer dynamic inside out, watching us watching them. P

Private Passions installation featuring Issy Wood paintings in the foreground and a trio of paintings by Becky Kolsrud; from left Inscape, I, Inscape, III, and Inscape II, in the second gallery. Becky Kolsrud, Group Portrait, oil on canvas, 2020, 76.12 x 90.12 x 1.5 in.

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Carol Bove, Hylomorph I, 2016, steel, found steel, and urethane paint, 71.5 x 42 x 51 in. Private collection. Courtesy David Zwirner.

Crushin’ on the Past

THE SCULPTURES OF CAROL BOVE MINE MODERNISM THROUGH INTEGRATION AND COMPRESSION AT THE NASHER. BY BRANDON KENNEDY

ith Carol Bove: Collage Sculptures, a grouping of nine artworks made during the past five years, two specifically for this exhibition, Carol Bove complicates her exhumation of late-modern and minimalist forms—and sometimes their accompanying palette—only to squeeze, contort, and repurpose their known quantities into something vaguely familiar before our already anticipating eyes. The forms themselves can often be read as a curious, visual mash-up without necessarily indicating a homage to the predominately male lineage of these midcentury sculptural vocabularies and material methodologies. What was once given ample floorspace to amble about—in a public space, a corporate plaza, at an upscale shopping center (in Dallas, at least)—are now constricted into tighter compositions in which you can sense the physicality that went into their making. This is sculpture being made largely as it is seen, your eyes unfolding, unbolting, and unwelding as the sum of its parts are revealed, with the absence of sheer force and physical inventiveness that brought them to this new state. Matte-painted steel square tubes of lime green and white are torqued and folded onto welded segments of rusty scrap and bolted to I-beams, complete with cutting notes and dimensions. A lone, glossy black polished disk nests just inside these linear appendages, a visitor finding refuge, untouched and unscathed from the accumulation of spent histories. These “polka dots” of Bove’s are a recurring motif of recent years that often function as an entry point or punctuation to the complex sentences of amassing such diverse riffing and countering of color with a pared-down approach to form.

Carol Bove, Hylomorph I (detail), 2016, steel, found steel, and urethane paint, 71.5 x 42 x 51 in. Private collection. Courtesy David Zwirner.

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There is an anxiety of visual compression and material complexity that belies the language these sculptures possess entirely on their own. It becomes more apparent when confronted by a room full of forms in dialogue, each calling out shared syntax, “appropriated” reuse, and the sheer power of play with the physicality of the materials. The push to transform here is to juxtapose approaches, materials, and compress down, spilling out the guts of formal predecessors into an entangled vacuum of what once was used to convey power and signature style separately, now calling that hierarchy and reasoning into question altogether. Earlier this spring, Bove had two concurrent exhibitions at David Zwirner in New York, one presenting a series of seven large-scale works entitled Chimes at Midnight: ten-foot leaning, bent forms of salvaged hot-rolled steel with contorted red-orange square tubes nestled inside. This grouping of vertical columnar structures presents as a room-sized installation, and the viewer is kinesthetically drawn in, weaving through the small towers set in a field, while the pairing of materials within each work can be interpreted as a discreet symbiotic relationship, or simply giving notice to oppositional textures, materials, and forms. The second exhibition was a grouping of much smaller “collage sculptures” comprised of wall-mounted works, with some on pedestals and a few lying low on a Donald Judd table. Their matte surfaces of bright yellow and lavendergray (occasionally punctuated with a high-gloss disk), softly vibrate with the muted intensity of newly formed clay appearing to defy gravity’s pull, torquing, and twisting the rectilinear volumes of the minimalist master here and there with a knowing wink. These two exhibitions ran in conjunction with The Facade Commission: Carol Bove, The séances aren’t helping at the Metropolitan Museum of Art, which is on view until November. Given the scale and formidable nature of the great museum’s entrance niches, here the artist deftly plays with materials and context, arranging sandblasted stainless-steel tubes that contort behind reflective aluminum disks that reference the surrounding columns’ diameters while also occasionally gazing back towards the viewer. Bove doesn’t make preliminary

Carol Bove, Luxembourg (detail), 2016, stainless steel, found steel, and urethane paint, 72 x 48 x 47 in. Private collection. Courtesy David Zwirner.

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drawings or maquettes for her sculptures, which can range from tabletop to monumental. She adeptly arranges forms in real time with her studio team in Red Hook, Brooklyn. (For The Met Façades project, Bove and her team built a life-size model of the niches in her studio). This approach allows for a vital amount of formal experimentation and physical inventiveness, as Bove’s studio is able to posit, reassess, and find a solution to problems that may not have arisen otherwise given the scale, tools, and methods necessary to command the material With the arrival of Bove’s Collage Sculptures at the Nasher this fall, not only are we confronted with the brute physicality of new forms brought forth by looking back and nimbly reconfiguring their compositions, colors, and materials, we have an opportunity to view one of the foremost exemplars of contemporary sculpture within the context of one of the great collections of the modern era, creating both a rich dialogue and room for newfound inquiry all at once. P

Carol Bove, Luxembourg, 2016, stainless steel, found steel, and urethane paint, 72 x 48 x 47 in. Private collection. Courtesy David Zwirner.

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Full Steam Ahead Turner’s Modern World brings light to the late 18th- and 19thcentury artist’s range and his “uproarious treatment of paint.” BY NANCY COHEN ISRAEL

Modern, colorful furniture complements the monumental windows in Surrey Circle.

J. M. W. Turner, Sheerness as seen from the Nore, 1808, oil on canvas, 41.12 × 58.87 in. The Museum of Fine Arts, Houston. Museum purchase funded by the Alice Pratt Brown Museum Fund, the Brown Foundation Accessions Endowment Fund, Isabel B. and Wallace S. Wilson, The Brown Foundation, Inc., and Ann Trammell.

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hat defines modernity? Is it found exclusively in subject matter or in artistic practice? Whether painting history, mythology, or current events, J.M.W. Turner looked through the lens of a rapidly industrializing Britain to define the modern world in new ways. “Turner’s modernity lies in what he paints as well as how he paints,” says George T.M. Shackelford, Deputy Director of the Kimbell Art Museum. Shackelford is also the exhibition curator for Turner’s Modern World, which features over 100 of the artist’s oil paintings as well as watercolors and gouaches. Though he helped shape the course of 19th-century painting, Turner was a son of the 18th century, and his earliest works celebrated traditional British landscapes and seascapes. As the new century dawned, however, his work begins to shift. In Sheerness as seen from the Nore, for example, the sea becomes more turbulent and the clouds billow energetically as he forges a path into modernity. By the 1820s, Turner’s loosened brushstrokes had become more pronounced. He painted Chichester Canal for Lord Egremont, one of his few patrons among the nobility. At first glance, it appears Turner has depicted a serene canal in the country. In fact, the canal was part of a larger new enterprise meant to transport goods across Britain through inland waterways. As one interested in scientific advancement, especially as it benefited his agricultural holdings, Lord Egremont was a principal investor in this ultimately failed endeavor. Shackelford talks about the contrasts embodied within the work. A traditional British landscape hangs in a balance with modern industry. The rowboat in the foreground is dwarfed by the oncoming cargo boat. The industrial world, it seems, is advancing while a more traditional way of life, represented by the church in the background, is receding. Is Turner making a statement? “He’s often equivocal about what his view is,” says Shackelford. When it came to politics, Turner is similarly ambiguous. The Burning of the Houses of Lords and Commons is based on his observation in October 1834, when the Gothic Houses of Parliament burned down. The event has great significance, becoming the symbol of big political change in England in the 1830s. “From then on, any citizen can come to the poll, not just landowners. People have much more say of how their government will be run,” Shackelford explains. On one point, however, Turner is unequivocal. With his interest in the sublime and its emphasis upon the natural world, Turner is very much a man of his time. “He’s the culmination or great proof of what the sublime could be,” states Shackelford. In Snow Storm: Hannibal and his Army Crossing the Alps, the mighty Carthaginian army, notoriously accompanied by

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J. M. W. Turner, Snow Storm: Hannibal and His Army Crossing the Alps, exhibited 1812, oil on canvas, 57.50 x 93.50 in. Tate Britain, London, accepted by the nation as part of the Turner Bequest 1856. Photograph © Tate, London, 2020.

J. M. W. Turner, Chichester Canal, c. 1828, oil on canvas, 25.75 x 53 in. Tate Britain, London, accepted by the nation as part of the Turner Bequest 1856. Photograph © Tate, London, 2020.

elephants, looks minuscule compared to the power of a storm so strong that it blackens the sun. Figures in the foreground cringe as they face nature’s wrath. The effects of humanity’s power to destroy itself was also on Turner’s mind in the aftermath of the Napoleonic wars. “He goes to Plymouth to interview sailors and to hear their accounts,” says Shackelford. The impact of his visit to Waterloo in 1818 speaks through his work. “He paints about the tragedy of war. He paints about how everybody loses,” Shackelford notes. It is perhaps the effect of industry on the landscape for which Turner is best known. As the British economy grew and became increasingly dependent on steam—whether from ships, factories, or railways—Turner spun its hazy output into a gauzy painted screen that spread across his canvases. It is little wonder that the majority of his patrons were industrialists and self-made men. His revolutionary work led fellow landscape painter John Constable to declare, “He’s really outdone himself. It’s like he’s painting with tinted steam.” But the work also offers a cautionary tale about progress. According

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to Shackelford, “He’s dealing with modern subjects such as climate change. He sees how filthy the air in London is becoming.” He depicts the factories that spew poisonous lead white, which, ironically, had been used for centuries to create artists’ pigments. On the one hand, it brought great beauty to art; on the other, its toxicity was killing modern laborers. By the 1830s and ’40s, Turner was one of the most important painters in London. “He is well-regarded by other painters, and particularly by people such as Constable,” Shackelford explains. Before long, artists on both sides of the Channel were drawn to his work. “It was the uproarious treatment of paint that the Impressionists came to appreciate,” Shackelford adds. The exhibition concludes with the Kimbell’s Glaucus and Scylla. This late work is based on the Ovidian story that, somewhat appropriately, deals with immortality and transformation. Both are reflective of Turner. As Shackelford states, “Modern painting doesn’t lie in the subject matter but in the way that paint is put on the canvas.” In forever changing painting, Turner himself became immortal. P

J. M. W. Turner, The Burning of the Houses of Lords and Commons, 16 October, 1834, c. 1834–35, oil on canvas, 36.25 x 48.50 in. The Cleveland Museum of Art. Bequest of John L. Severance.

Above: J. M. W. Turner, Staffa, Fingal’s Cave, c. 1831–32, oil on canvas, 35.75 x 47.75 in. Yale Center for British Art, New Haven, Connecticut, Paul Mellon Collection. Right: J. M. W. Turner, Glaucus and Scylla, 1841, oil on panel, 36.81 x 30.50 in. Kimbell Art Museum.

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Return To

Splendor Fall 2021 brings a stylish return to all forms of revelry. PHOTOGRAPHY BY LUIS MARTINEZ STYLING BY CARLOS ALONSO-PARADA

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Rochas feather fringe top and skirt at Carla Martinengo, Plaza at Preston Center; Mask Jan Strimple collection at Martini Consignment, N. Henderson Ave. Hair/Makeup: LB Rosser, Kim Dawson Agency; Assistant stylist: Eva Kadane; Models Sarah Thigpen, Kim Dawson Agency; Chloe Braaten, The Campbell Agency.

Winston Cluster necklace, earrings, two bracelets, and ring featuring diamonds set in platinum by Harry Winston; Avenue C Emerald timepiece featuring diamonds set in 18k white gold by Harry Winston. All Harry Winston, Highland Park Village; Pink silk and tulle ball gown, Martini Consignment, N. Henderson Ave.

The

Galas

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Opening

Night

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Vintage gown and feathered hat, Martini Consignment, N. Henderson Ave.; 18k yellow gold Where There Is Smoke earrings with two green tourmalines suspended from a sabi and a paveset motif with 87 round brilliant-cut diamonds. 18k yellow gold necklace with peridot drop, 169 round brilliant-cut pave diamond halo and round brilliantcut diamonds on chain with diamond, 18” sabi tube chain; Henry Dunay 18k yellow gold Huzzah ring with green tourmaline center surrounded by 100 brilliantcut diamonds. All Henry Dunay at Eiseman Jewels, NorthPark Center.

On Sarah: AIDA strapless sequin gown, Tootsies, Plaza at Preston Center; de Boulle High Jewelry Collection Red Carpet Earrings 18k white gold featuring emerald-cut diamonds over 21ctw. de Boulle High Jewelry Collection Moghul Necklace with over 61ctw on strands, hoops, and tassels mounted in platinum. On Chloe: Rebecca Vallance, navy Celestine Mini Dress, Tootsies, Plaza at Preston Center; Marina B art deco earrings at The Conservatory, Highland Park Village.

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ETRO quilted jacket and pant, Stanley Korshak, Crescent Court; Sidney Garber Honeycomb Earrings at The Conservatory, Highland Park Village; Pierre Hardy, Midnight sandal, Carla Martinengo, Plaza at Preston Center.

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image caption.

Museum

Exhibitions

Dolce & Gabbana V-neck sweater with multicolor glitch design; Dolce & Gabbana dripping print jeans with draping; Nappa mordore leather DG Girls clutch in azure; Dolce & Gabbana patent leather ankle boots with pearls. All Dolce & Gabbana, NorthPark Center.

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Left: Leslie Paige necklace, earrings, and rings from The Conservatory; Vintage Jean Paul Gaultier blouse from @wtfdesigner_vtg; Vintage Vivienne Westwood jacket from @ wtfdesigner_vtg. Below: Balenciaga hat, Carla Martinengo, Plaza at Preston Center; Comme des Garçons dress, Martini Consignment; vintage leather gloves @wtfdesigner_vtg; Alberta Ferretti boots The Conservatory, Highland Park Village.

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Akris Tiled Roof Intarsia Boxy Pullover and skirt; Akris Medium Messenger Bag in St. Laurenzer Patchwork; Akris lambskin fur deep blue Eaden coat. All at Akris, Highland Park Village.

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THERE

GUILD HALL’S EVENT AT ELAINE DE KOONING HOUSE

CULTURED CONVERSATIONS ART & DESIGN PANEL AT ORNARE DALLAS

PHOTOGRAPHY BY JOE BONDO AND KIM WHITE

PHOTOGRAPHY BY BRUNO

Heidi Smith, M. Louise Stanley and Will Welch

Olavo Faria

Kambel Smith’s Capitol Building (2016)

David Cadwallader, Kelly Cornell

Juliet Rylance and Maud Fried-Goodnight

Ornare Paris kitchen

Peter Halley, Jason Metzner and Sam Metzner

Ike Isenhour, Jennifer Klos

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BLACK BODIES, WHITE SPACES INVISIBILITY & HYPERVISIBILITY Curated by Aindrea Emelife

October 9, 2021 - January 27, 2022 Nina Chanel Abney, Amoako Boafo, Jordan Casteel, Dominic Chambers, Robert Colescott, Darrel Ellis, Jadé Fadojutimi, Derek Fordjour, Jameson Green, David Hammons, Barkley L. Hendricks, Jammie Holmes, Joy Labinjo, Danielle Mckinney, Ludovic Nkoth, Toyin Ojih Odutola, Otis Kwame Kye Quaicoe, Deborah Roberts, Amy Sherald, Henry Taylor, Mickalene Thomas

Free Admission 150 Manufacturing Street, Suite 214 Dallas, Texas 75207 (214) 274.5656 www.greenfamilyartfoundation.org

FURTHERMORE

Blackness as Joy, Leisure, and Excellence Green Family Art Foundation gets underway with Black Bodies, White Spaces: Invisibility & Hypervisibility BY TERRI PROVENCAL

allas art collectors Debbie and Eric Green, who began to collect art over 20 years ago, recently announced the inception of the Green Family Art Foundation, established to make endowments to museums for both the purchase of art as well as exhibitions, manage an art exhibition venue, and help support art educational opportunities. The Green collection includes over 300 works of art, and is notable for its prescient concentration of work by Black artists, LGBTQ artists, and female artists. Adam Green, a New York City art advisor and consultant, as well as Debbie and Eric’s son, consulted extensively with the foundation regarding the first exhibition and potential future shows. “When my family began collecting art, we focused on female artists, such as Dana Schutz and Nicole Eisenman, because we felt they were severely undervalued, yet incredibly talented and important. As the collection grew and evolved, women artists became the focus, and we became deeply supportive of many of these artists.” Over the years, Green says, “We have since expanded our collection to concentrate on other underserved artists, including artists of color and LGBTQ artists.” The foundation’s exhibitions—the intention is three each year—will feature works from the Green collection as well as borrowed works and recent acquisitions purchased for shows. Dallas Art Fair Projects, in the River Bend development on Manufacturing, will host the inaugural exhibition, Black Bodies, White Spaces: Invisibility & Hypervisibility, curated by London-based curator Aindrea Emelife. Of the impetus for the show Emelife states: “I wanted to establish a legacy of Black artists using their bodies to create art that celebrates the multiplicity of the Black experience and exposes the underbelly of how Blackness has been perceived then and now. We must see Blackness as joy, leisure, and

excellence, and do away with limited depictions of strife.” Correcting the historic invisibility of Black narratives, the show introduces the experience of hypervisibility as an act of resistance. Comprising 21 artists, Black Bodies, White Spaces includes major works by Robert H. Colescott, Barkley L. Hendricks, David Hammons, Toyin Ojih Odutola, Amy Sherald, Henry Taylor, Mickalene Thomas, as well as young artists broadening the conversation: Jordan Casteel, Jadé Fadojutimi, Jammie Holmes, and Dominic Chambers among others. “This exhibition is a battle cry and reminder that taking up space is resistance,” enthuses Emelife. Working closely with Emelife stateside, the foundation’s curator, Clare Milliken, is assisting with exhibition management alongside registrar Bailey Summers. “As a team, we have produced an exhibition in which meaningful and impactful discourse can occur,” Milliken says. “For example, I respond to the narratives of resilience and fortitude found in the contrasting figures of Deborah Roberts’ isolated little girl jumping rope (Moving Target, 2018) and Amoako Boafo’s dignified seated man (Steve Mekoudja, 2019), which correlate to one another by the use of solitary figures breaking the fourth wall to engage their onlookers.” Green is proud of his family’s collection and is wholly committed to sharing it with the public. “What was once a personal collection has become a group of artworks that deserve to be shared with the broader community, much of which is due to the fact that we tirelessly pursued works by these artists.” He emphasizes, “It is no coincidence that they are finally gaining overdue recognition from museums, galleries, and collectors. We hope with our foundation we can increase these important artists’ exposure in DFW and beyond.” Black Bodies, White Spaces: Invisibility & Hypervisibility opens October 9 and runs through January 27, 2022. P

From left: Amoako Boafo, Steve Mekoudja, 2019, oil on canvas, 92.5 x 63 in. Collection of Danny First, Los Angeles, © Amoako Boafo, 2019. Courtesy of the artist and Roberts Projects, Los Angeles; Derek Fordjour, Two Point Bend, 2019, acrylic, charcoal, oil pastel, and foil on newspaper mounted on canvas, 40 x 60 in. Green Family Art Foundation © Derek Fordjour. Courtesy of the artist; Petzel Gallery, New York; David Kordansky Gallery, Los Angeles; Josh Lilley, London; Amy Sherald, High Yella Masterpiece: We Ain’t No Cotton Pickin’ Negroes, 2011, oil on canvas, 59 x 69 in. Green Family Art Foundation © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Ryan Stevenson; Deborah Roberts, Moving Target, 2018, mixed media and collage on paper, 67.5 x 48 in. Green Family Art Foundation, © Deborah Roberts. Courtesy the artist and Stephen Friedman Gallery, London. Photograph by Todora Photography.

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Plus: Vincent Van Gogh, J.M.W. Turner, Carol Bove, Annette Lawrence, Gentling Brothers, Ilya + Emilia, and more