PATRON's Performing Arts Issue | December/January 2023–2024 by Patron Magazine

DWELLING WITH DUAL NARRATIVES Chris Angelle Designs PEAK PERFORMANCE New Voices Onstage

THOMAS HOUSEAGO, YET TO BE TITLED (PEEKING FIGURE), 2012, NANCY A. NASHER AND DAVID J. HAEMISEGGER COLLECTION.

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Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

December 2023 / January 2024

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

Because we know art and design are not finite forms of expression, and we love experimentation, our cover story reveals a blend of two distinct forms of architecture. A bird’s-eye view shows the true magnificence of this home inspired in one part by the Cotswolds’ weathered exteriors, while its central living spaces are definitively contemporary. Chris Angelle, who recently launched his design firm of the same name, made the interiors shine enhanced by large picture windows and Bart Fassino and Steven Riskey’s art collection. Another winning combination was the pairing of Christi Luter of Janson Luter Architects and Sebastian Construction Group to execute this dream sanctuary. Nancy Cohen Israel takes readers indoors and out in Contrasts in Harmony. In December we look to the performance-rich season to add the right amount of oomph to year’s end. Lee Cullum invites readers to partake in the gusto with The New Town Criers, featuring emerging talents creating powerful work. American Baroque Opera is right here in Dallas; Gregory Dolbashian’s The DASH Ensemble is thriving following a bold move (which the nimble dancers are known for) from New York City to Dallas during the dreaded March of 2020; Sam Brukhman’s Verdigris Ensemble continues its inventive trajectory and recently collaborated with up-and-comer Anuj Bhutani, a vocalist and composer, for The Endangered, performed at Dallas Contemporary. The kunsthalle benefits through deputy director Lucia Simek’s original programming; and the Dallas Symphony Orchestra continues to elevate the voices of women with composerin-residence Sophia Jani. Meanwhile, Maura Sheffler, TACA’s Donna Wilhelm Family President and Executive Director, does her part to keep the arts funded through extraordinary initiatives. Writing of Bonnard’s Worlds, on view at the Kimbell Art Museum, Matthew Bourbon penned his first story for Patron in A Bucolic Revolutionary. With descriptions so elucidating—he’s a painter himself—you can almost see Pierre Bonnard’s masterful paintings before viewing them. An exhibition that will not disappoint; journey through Paris and the south of France. Janet Kafka is a woman of influence in Dallas and across the nation, as well as in her beloved Spain, which she frequents with her husband, Terry, and urges others to delight in the riches of the country alongside her. So influential—she’s the Honorary Consul of Spain of 26 years—she was recently decorated with the Order of Civil Merit, presented at the Spanish ambassador’s residence in Washington, DC, by His Excellency Santiago Cabanas. Lee Cullum visits with Janet one afternoon in A Royal Welcome. Ron Gard is an afficionado of many things. A lover of dogs, outsider art, and decoys, he shares his collection of all these things, especially antique dog collars, in his new book Whose Dog Are You? Chris Byrne interviews Gard about the book he wrote with his daughter Christie and his time as a board member of the American Folk Art Museum. The perfect holiday gift, find this beautiful book at Interabang and Talulah and HESS. Cris Worley introduced me to the work of Fort Worth–based visual artist Dan Jian. Smitten with her oeuvre, we took a closer look. Brandon Kennedy explores her multidisciplinary practice in painting, drawing, and animation, telling of her “charcoal reveries” in To Return Between Reflected Landscapes. An ode to the performance season, An Outstanding Cast combines the lost art of plaster relief, courtesy of Casci, with divine jewelry selections. Chris Plavidal’s consummate photography, with styling by Elaine Raffel and floral design by Concepto, merge these two distinct art forms. The Power Station is aptly named, with exhibitions that challenge and define today’s art, like Robert Grosvenor’s current show. In Altered Objects of the Readymade, find his untitled sculpture of a boat rendered functionless, evocative of the future or from yesteryear’s Twilight Zone, contained within a metal garage. Let’s wrap 2023 with a performance or three—get set for an arts-inspired New Year. –Terri Provencal

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CONTENTS 1 FEATURES 50 CONTRASTS IN HARMONY Chris Angelle works in concert with Bart Fassino and Steven Riskey to create an oasis of distinction. By Nancy Cohen Israel 58 THE NEW TOWN CRIERS From Baroque opera to dance and more, North Texas is becoming a hotbed of innovative performance. By Lee Cullum 66 A BUCOLIC REVOLUTIONARY The Kimbell Art Museum’s Bonnard’s Worlds displays his paintings of voluptuous perception. By Matthew Bourbon 50

70 AN OUTSTANDING CAST Ceiling rosettes from Casci Plaster combine with jewels of the season. Photography by Chris Plavidal Creative direction by Terri Provencal Styling by Elaine Raffel Floral by Concepto

On the cover: Bart Fassino and Steven Riskey's home features architecture by Christi Luter of Janson Luter Architects and interiors by Chris Angelle Design. Photograph by Stephen Reed.

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CONTENTS 2

DEPARTMENTS 10 Editor’s Note 16 Contributors 26 Noted Fair Trade 42 THIRTY SOMETHING Jack Barrett looks ahead to the 2024 Dallas Art Fair and to introducing the work of young artists. Interview by Adam Green Contemporaries 44 A ROYAL WELCOME Honorary Consul of Spain, Janet Kafka is decorated with the Order of Civil Merit. By Lee Cullum 46 WHO LET THE DOGS OUT? Ron Gard’s new book reflects his passion for collectibles. Interview by Chris Byrne

Studio 48 DAN JIAN By Brandon Kennedy There 76 CAMERAS COVERING CULTURAL EVENTS Furthermore 84 ALTERED OBJECTS OF THE READYMADE A boat rendered inoperable highlights Robert Grosvenor’s exhibition at The Power Station. By Anthony Falcon

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September 23, 2023 – January 7, 2024

Groundswell: Women of Land Art is made possible by leading support from the Texas Commission on the Arts, The Andy Warhol Foundation for the Visual Arts, the Henry Luce Foundation, The Kaleta A. Doolin Foundation, and the Jean Baptiste “Tad” Adoue, III Fund of The Dallas Foundation. Generous support is provided by the National Endowment for the Arts and the Wyeth Foundation for American Art. Additional support is provided by Joanne Bober, Humanities Texas, Ann and Chris Mahowald, Leigh Rinearson, the Dallas Tourism Public Improvement District (DTPID), and Susan Inglett. ——————————————————————————————————————————————————————————————— Lita Albuquerque (American, born 1946). Spine of the Earth, 1980. Pigment, rock, and wood sundial, El Mirage Lake, Mojave Desert, California. Destroyed. © Lita Albuquerque. Courtesy of the artist and Kohn Gallery, Los Angeles

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CONTRIBUTORS

MATTHEW BOURBON is a painter, art critic, and a professor of art at the College of Visual Arts and Design at the University of North Texas. Following his October site-specific exhibition, The Weather Inside at Blind Alley Projects in Fort Worth, he has turned his attention to Transmission Voices, mounting at San Antonio College, February 8– March 27, 2024. For Patron, he reviewed Bonnard’s Worlds, on view at the Kimbell Art Museum, in A Bucolic Revolutionary.

CHRIS BYRNE authored the graphic novel The Magician (Marquand Books, 2013), included in the Library of Congress. He is the coeditor (with Keith Mayerson) of Frank Johnson, Secret Pioneer of American Comics Vol. 1: Wally’s Gang Early Years (1928-1949) and the Bowser Boys (1946-1950), published by Fantagraphics this fall. Paul Gravett, the Londonbased journalist and curator, included the book in his “Top 15 Graphic Novels, Comics & Manga: December 2023.”

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

NANCY COHEN ISRAEL is a Dallas-based writer, art historian, and educator at the Meadows Museum. As a devotee of Renaissance landscape architecture, she enjoyed writing about Bart Fassino and Steven Riskey’s stunning new home, in which the physical surroundings are a considered part of the overall plan. Contrasts in Harmony shares this distinctive residence designed by Chris Angelle with architecture by Christi Luter, and a vibrant art collection advised by Anne Bruder.

ADAM GREEN has over fifteen years of experience in the art industry and founded Adam Green Art Advisory in 2016. Adam advises new and experienced collectors on contemporary art acquisitions and collection strategies. Additionally, Adam serves as the host of the ArtTactic Podcast, the first and leading podcast covering the art market. Prior to founding his advisory firm, Adam worked at Christie’s auction house in New York City for nearly a decade.

CHRIS PLAVIDAL is a photographer based in Fort Worth represented by Sisterbrother Management. “I always enjoy these assignments for Patron. Not only do I get to shoot absolutely beautiful jewelry, (see An Outstanding Cast), but I also get to meet the most interesting and inspiring people and take their portraits. I always walk away feeling enriched.” Chris is lucky enough to be able to work with his wife, Penny, who is a photo stylist and ceramicist.

BRANDON KENNEDY is an artist, curator, writer, and the sole proprietor of 00ps b00ks. Kennedy also serves as a Texas regional representative for Bonhams Auctioneers. In the recently published Pastures of the Empty Page: Fellow Writers on the Life and Legacy of Larry McMurtry, Kennedy draws down on the Texas authorbookman’s early book scouting days. For this issue, he casts reflection upon Dan Jian’s fractured charcoal narratives that move beyond history.

ELAINE RAFFEL is a creative director/ stylist with a passion for anything sparkly–which is why working on Patron’s annual jewelry shoot is always a treat for her. If there’s still room on your holiday wish list, you’re in luck. This month’s story, An Outstanding Cast, features a treasure trove of fabulous gems guaranteed to make the season shine. “Everything about this project—the jewels, the images, the mega-talented creative team—was fabulous!”

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LEE CULLUM is a Dallas-based journalist and a senior fellow at the John Tower Center for Public Policy and International Affairs at SMU. She has been a commentator on what is now The PBS NewsHour and hosted CEO, a series of interviews with business leaders on KERA-TV and FM. She is passionate about the performing arts, a long-standing love affair, and is thrilled to have met such exciting young talent in The New Town Criers. They promise a blissful future for audiences in Dallas.

JOHN SMITH is a Dallas-based photographer who flexes his degree in architecture to photograph homes of distinction. Years of experience provides him with a unique appreciation for the vision of his clients, which include architects, interior designers, and artists. Following the Spanish ambassador’s decoration of Janet Kafka with the Order of Civil Merit in Washington DC, John photographed her at home surrounded by Spanish sculpture in A Royal Welcome.

Oc tober 22, 2023 to Fe bruar y 1 1 , 2024 PRESENTED BY

Learn more and get tickets at afro-atlantic-histories.dma.org Afro-Atlantic Histories is co-organized by the Museum of Fine A rts, Houston, and the Museu de A rte de São Paulo in collaboration with the National Gallery of A rt, Washington, D.C. This exhibition is presented by Bank of A merica. Free General Admission to the Dallas Museum of A rt is made possible with generous support from the Robert Gerard Pollock Foundation. The Dallas Museum of A rt is supported, in part, by the generosity of DM A Members and donors, the National Endowment for the A rts, the Texas Commission on the A rts, and the citizens of Dallas through the City of Dallas Office of A rts and Culture. PRESENTED BY

MA JOR SUPPORT

Arlene J. Ford, PhD Christopher P. Reynolds

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Into Bondage, 1936. Aaron Douglas. Oil on canvas. National Gallery of Art, Washington, D.C., Corcoran Collection (museum purchase and partial gift from Thurlow Evans Tibbs, Jr., the Evans Tibbs Collection). © 2021 Heirs of Aaron Douglas / Licensed by VAGA at Artists Rights Society (ARS), NY.

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 Matthew Bourbon Chris Byrne Nancy Cohen Israel Lee Cullum Adam Green Brandon Kennedy CONTRIBUTING PHOTOGRAPHERS Karen Almond Victoria Gomez Jason Anderson Phillip Lehans AJ Boling Lisa Petrole Kristina Bowman Chris Plavidal Sharen Bradford Stephen Reed Bruno, Snap the Picture Kaitlin Saragusa Celeste Cass John Smith Sylvia Elzafon Kevin Tachman Exploredinary Kevin Todora CONTRIBUTING STYLISTS / ASSISTANTS Pablo Arellano Ramiro Garcia Elaine Raffel ADVERTISING info@patronmagazine.com or by calling (214) 642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS amazon.com/patronmagazine One year $48/6 issues, two years $60/12 issues For international subscriptions add $15 for postage For subscription inquiries email info@patronmagazine.com SOCIAL @patronmag

is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2023, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited. Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.

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A FLAVORFUL START TO 2024. Cheers to delicious, harvest-inspired dishes at Ellie’s, curated by Executive Chef, Anthony Hsia. Located within HALL Arts Hotel, in the heart of the Dallas Arts District, our showstopping dining experience will leave you ready for an encore. 1 7 1 7 L EO N A R D S T R E E T, DA L L A S , T E X A S 75 2 0 1 | 9 7 2 . 6 2 9. 0 9 2 4 | E L L I E S DA L L A S .CO M

Jaune Quick-to-See Smith: MEMORY MAP Through January 21

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3200 Darnell Street • Fort Worth, Texas 76107 • 817.738.9215 • themodern.org This exhibition was organized by the Whitney Museum of American Art, New York. Generous support for this exhibition is provided by the Henry Luce Foundation and the Terra Foundation for American Art. Support for the presentation in Fort Worth is provided, in part, by Frost. Pictured: Jaune Quick-to-See Smith, War is Heck, 2002. Lithograph, photolithograph, and collage. 58 9/16 × 57 5/8 inches. Whitney Museum of American Art, New York; gift of Dorothee Peiper-Riegraf and Hinrich Peiper 2006.287. Printed by Catherine Chauvin, with Matt Ebert. Published by P.R.I.N.T. Press, Denton, Texas. © Jaune Quick-to-See Smith. Photo courtesy of Whitney Museum of American Art, New York

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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 Central Track: Crossroads of Deep Ellum focuses primarily on the 1920s and 1930s and features newspaper clippings, archival photographs, posters, and recordings of blues, jazz, and popular music of the period. Seeing a World Blind Lemon Never Saw presents a photographic series made by Alan Govenar from 2021–2023 exploring rural East Texas and little-known places in Dallas, locations Blind Lemon visited or alluded to in his songs. The exhibitions continue through May 30, 2024. Image: Alan Govenar, Seeing a World Blind Lemon Never Saw, Houston and Texas Central Railway crossing, Calvert, August 10, 2020, photograph. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Elizabeth Turk’s The Tipping Point: Echoes of Extinction, the third installation in the museum’s outdoor sculpture program, continues through May 1, 2024. Sculptor Leonardo Drew’s site-specific commission, Number 235T, features the artist’s “planets” as central sculptural pieces surrounded by hundreds of smaller objects, emphasizing their interconnectedness; through Jun. 30, 2024. Organized by the Carter, World Outside: Louise Nevelson at Midcentury illuminates Nevelson’s multidimensional mastery of form and dialogue with postwar America. Come to Colorado, from the Carter’s Fred and Jo Mazzulla Collection, showcases Colorado’s history through 19th-century photographs that document the promotion of the area as an outdoor playground and the mining industry. Both continue through Jan. 7. Trespassers: James Prosek and the Texas Prairie continues through Jan. 28. Image: James Prosek, Burned log with flowers (Texas Paintbrush), 2023, bronze, clay, oil, and watercolor. Courtesy of the artist. Photograph by Argenis Apolinario. © James Prosek. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS Through April 14, 2024, the Crow Museum presents Japan, Form & Function: The Montgomery Collection, a landmark exhibition based on the collection of Jeffrey Montgomery. More than 240 works are on view, subdivided into themes and categories throughout the galleries. crowmuseum.org 04 DALLAS CONTEMPORARY Cerámica Suro: a story of collaboration, production, and collecting in the contemporary arts displays the studio’s influence vis-à-vis the collection amassed by Marcela and José Noé Suro; through Dec. 21. Chloe Chiasson’s Keep Left at the Fork exhibits her largest body of mixed-media paintings to date. Chiasson revisits Americana 26

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imagery from previous work to continue her explorations of nonconforming sexualities and identities in environments like that of her childhood in Texas; through Mar. 17, 2024. From Nov. 17–Mar. 17, 2024, Bianca Bondi: A Preservation Method sees an installation based on the highway beautification act of 1965, passed by President Lyndon B. Johnson and inspired by Lady Bird Johnson’s passion for the environment. Image: Chloe Chiasson: Keep Left at the Fork (installation view). Photograph by Kevin Todora for Dallas Contemporary. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM Through Dec. 31, Black Citizenship in the Age of Jim Crow explores the struggle for full citizenship and racial equality that unfolded in the 50 years after the Civil War. The exhibit guides spectators on a journey that commences with the Civil War and culminates at the end of World War I, illuminating the courageous advocacy efforts of Black Americans fighting for their rights. dhhrm.org 06 DALLAS MUSEUM OF ART Looking Forward: A New DMA presents an inside look into the museum’s ensuing redesign through Dec. 29, 2024. Picasso’s Muses: Between Inspiration and Obsession celebrates the muses in his oeuvre 50 years after the artist’s death, through Jan. 7. Tiffany Chung: Rise into the Atmosphere marks the sixth iteration of the DMA’s Concourse mural series. Abraham Ángel: Between Wonder and Seduction brings together a near-complete collection of the legendary artist’s known surviving pieces to a US audience. Witness the mesmerizing oeuvre of Ángel in this retrospective, through Jan. 28. Backs in Fashion: Mangbetu Women’s Egbe delves into the artistry of the egbe, a back apron garment fashioned by upper-class Mangbetu women, through Aug. 3, 2024. Afro-Atlantic Histories sees over 100 works that chart the transatlantic slave trade and its legacies in the African Diaspora, through Feb. 11, 2024. Image: Pablo Picasso, Woman in an Armchair Dreaming, Her Head Resting on Her Hand, March 9, 1934, engraving. Dallas Museum of Art, gift of Mr. and Mrs. Alfred L. Bromberg. © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. dma.org 07 GEORGE W. BUSH PRESIDENTAL LIBRARY AND MUSEUM Freedom Matters uses rare artifacts and historical documents, interactive activities, and personal perspectives to examine the concept of freedom: where it comes from, what it means, what free societies look like, and the role of the individual in protecting and spreading freedom around the world. Freedom Matters will be on

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view at the museum through Dec. 31. georgewbushlibrary.gov 08 KIMBELL ART MUSEUM Inspired by their 2018 acquisition of his painting Landscape at Le Cannet, the Kimbell exhibition Bonnard’s Worlds features some 70 of his finest works gathered from both European and American museums as well as private collections worldwide. The exhibition is organized not by time or place, but by levels of intimacy, taking visitors on a journey from public landscapes to the private realms of Bonnard’s personal life and thoughts, through Jan. 28. kimbellart.org 09 LATINO CULTURAL CENTER Through Dec. 15, La Peña fuses Latina American music from different countries. If you like original music and iconic covers, then La Peña is for you. lcc.dallasculture.org 10 MEADOWS MUSEUM Marking the centenary of acclaimed Spanish painter Joaquín Sorolla y Bastida’s death, 2023 has been declared the “Year of Sorolla” by the Spanish government. Celebrating this milestone, the Meadows Museum presents Spanish Light: Sorolla in American Collections, curated by the artist’s great-granddaughter and scholar, Blanca PonsSorolla. The exhibition spotlights 27 seldom-seen Sorolla paintings from private American collections. The accompanying catalogue, enriching the exhibition and providing fresh insights into Sorolla’s legacy, furthers the celebration of this influential artist’s year. On view through Jan. 7. Image: Joaquín Sorolla y Bastida (Spanish, 1863–1923), Detail of the Garden of the Sorolla House (Detalle del jardín de la Casa Sorolla), c. 1918, oil on canvas, 37.75 x 25.12 in. Private collection, Europe. Photograph personal archive, Blanca PonsSorolla, Madrid. meadowsmuseumdallas.org

11 artist’s adventure-filled life. The ceramic work in this physical and spiritual journey include influences from pre-Columbian architecture, American Shaker design styles, Etruscan pottery, and Japanese armor and origami. biblicalarts.org 13 NASHER SCULPTURE CENTER Groundswell: Women of Land Art redefines the narrative of land art history, spotlighting the integral contribution of women artists who innovatively employed natural materials like earth, wind, fire, and more to create striking art beyond traditional gallery confines in the 1960s. Showcasing 12 artists renowned for their consistent engagement with land art, including Lita Albuquerque, Alice Aycock, Beverly Buchanan, and others, the exhibition illuminates the themes and artworks that form the backbone of land art history. Curated by Dr. Leigh A. Arnold, the exhibit transcends the conventional ’60s and ’70s timeline to capture the art form’s emergence, its perceived wane, and the artists’ transition to creating urban-centered land art. The exhibition is supplemented by a scholarly catalogue featuring essays by Dr. Arnold and other contributors. Through Jan. 7. Image: Agnes Denes, Wheatfield—A Confrontation: Battery Park Landfill, Downtown Manhattan—Blue Sky, World Trade Center, 1982, chromogenic print, 16 x 20 in. Collection of the Nevada Museum of Art, the Altered Landscape, Carol Franc Buck Collection. nashersculpturecenter.org 14 PEROT MUSEUM T. rex: The Ultimate Predator explores the remarkable features that allowed T. rex to dominate its competition, examines the sensory abilities and social behaviors of this powerful hunter, and reveals how the world’s most iconic dinosaur evolved from a superfamily that included more than two dozen species and spanned 100 million years. On view through Sep. 22, 2024. perotmuseum.org

11 MODERN ART MUSEUM OF FORT WORTH Organized by the Whitney Museum, Jaune Quick-to-See-Smith Memory Map, is the largest showing of Smith’s work to date, spanning five decades and various mediums. Smith’s art blends contemporary art modes with Native ideology, challenging historical narratives and dominant cultural norms. The retrospective aims to offer new perspectives on contemporary Native American art and address pressing issues like land, racism, and cultural preservation. Through Jan. 21. Image: Jaune Quick-to-See-Smith: Memory Map (installation view). Courtesy of the Modern Art Museum of Fort Worth. themodern.org

15 SIXTH FLOOR MUSEUM On the 60th anniversary of President Kennedy’s assassination, the Sixth Floor Museum sheds new light on his final campaign with Two Days in Texas. The exhibition follows in the president’s footsteps as he made campaign stops in San Antonio, Houston, and Fort Worth before his untimely death in Dallas on November 22, 1963. Illuminating the president’s final days are eyewitness accounts, the president’s own words from delivered and undelivered speeches, historical artifacts, documents, and still and film footage, including a newly produced sequential video of the Kennedy motorcade in Dealey Plaza. jfk.org

12 MUSEUM OF BIBLICAL ART Through Dec. 19, a unique exhibition showcasing Piero Fenci, artist and professor from Stephen F. Austin University, is featured in Grand Voyage, a reflective ceramic installation based upon the

16 TYLER MUSEUM OF ART A Pop of Color: Works by Jeffie Brewer highlights sculptures and works on paper by the Nacogdoches-based artist. tylermuseum.org

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KICK OFF THE HOLIDAYS WITH A CRESCENDO AT THE DSO!

CHRISTMAS POPS DECEMBER 1-10

FAMILY CHRISTMAS POPS DECEMBER 2 & 9

COUNTRY CHRISTMAS DECEMBER 6

CAROLS WITH THE KING’S SINGERS DECEMBER 11

THE POLAR EXPRESS™ IN CONCERT DECEMBER 15-17

JOIN US THIS HOLIDAY SEASON Tickets available at dallassymphony.org

NOTED: PERFORMING ARTS

01 AMPHIBIAN From Dec. 7–9, Come For Me, by Catherine Cohen, is a glamorous and raunchy musical exploration of what it means to enter your thirties as a woman online, in love, and inspired to romanticize the prospect of freezing your eggs. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER AT&T Performing Arts Center presents Reliant Lights Your Holidays on Dec. 2. See The Cher Show on Dec. 14–16. Experience Sarah Brightman: A Christmas Symphony on Dec. 18. Part of the Children’s Health Family Series, Cirque Musica Holiday Wonderland takes the stage Dec. 22–23. Dog Man: The Musical is a hilarious, heartfelt family adventure based on the worldwide bestselling series from Dav Pilkey, the creator of Captain Underpants and Cat Kid Comic Club; see it live on Jan. 11–28. Noted Dallas playwright Anyika McMillan-Herod presents her newest play, Elm Thicket, on Jan. 11–20. Jagged Little Pill takes Alanis Morissette’s music to the stage, Jan. 12–14. Spend An Evening with Itzhak Perlman on Jan. 15. The Golden Girls are back Jan. 30–Feb. 4. Image: Broadway at the Center Presents The Cher Show. Courtesy of AT&T Performing Arts Center. attpac.org 03 BASS PERFORMANCE HALL From Tudor queens to pop icons, the SIX wives of Henry VIII take the microphone to remix five hundred years of historical heartbreak into a euphoric celebration of 21st-century girl power; through Dec. 3. On Jan. 13, Robert Earl Keen returns to Bass Hall for a solo, acoustic concert that is sure to be an unforgettable experience. Disney’s Aladdin comes to Bass Hall on Jan. 31–Feb. 4. Image: Marcus M. Martin as Genie, Adi Roy as Aladdin, and company. Aladdin North American Tour. Photograph by Deen van Meer © Disney. basshall.com 04 BROADWAY DALLAS MJ, the multiple Tony Award–winning new musical centered around the making of the 1992 Dangerous World Tour, begins a tour of its own, through Dec. 3. Brett Goldstein: The Second Best Night of Your Life takes the stage Dec. 8. Amy Grant and Michael W. Smith will perform Christmas Live in Concert on Dec. 9. Cameron Mackintosh presents the acclaimed production of Alain Boublil and Claude-Michel Schönberg’s Tony Award–winning musical phenomenon Les Misérables, Dec. 20–31. TINA—The Tina Turner Musical is the inspiring journey of a woman who broke barriers and became the queen of rock ‘n’ roll, Jan. 23–Feb. 4. Image: The company of Les Misérables. Courtesy of Matthew Murphy and Evan Zimmerman for MurphyMade. broadwaydallas.org 05 CASA MAÑANA The Best Christmas Pageant Ever: The Musical, based on Barbara Robinson’s best-selling book, continues through Dec. 23 and tells 30

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the story of the mischievous Herdmans, who unexpectedly join a church Christmas pageant. Christmas in the Movies will be staged through Dec. 16, celebrating popular Christmas films from classics to modern hits. casamanana.org 06 DALLAS BLACK DANCE THEATRE Get ready for Black on Black on Dec. 1–2 at DBDT Studios, and the Espresso Nutcracker on Dec. 9 at the Majestic Theatre. dbdt.com 07 DALLAS CHILDREN’S THEATER Through Dec. 23, experience A Charlie Brown Christmas. Elephant & Piggie’s We Are in a Play demonstrates how conflicting personalities come together, Jan. 21–Feb. 25. dct.org 08 THE DALLAS OPERA The Dallas Opera presents The Robert E. and Jean Ann Titus Family Recital: Lawrence Brownlee on Jan. 21 and the Hart Institute for Women Conductors Showcase Concert on Jan. 28. Image: Hart Institute for Women Conductors Showcase. Courtesy of The Dallas Opera. dallasopera.org 09 DALLAS SYMPHONY ORCHESTRA Dallas Symphony Orchestra will perform transcendent anthems, classical holiday favorites, and sing-along carols with Christmas Pops on Dec. 1–10. The DSO will bring The Polar Express in Concert, to the Meyerson for the first time Dec. 15–17. Spend New Year’s Eve with the DSO on Dec. 31. Elgar’s Cello Concerto opens the New Year on Jan. 4–7 followed by Prokofiev Symphony No. 5 on Jan. 11–12. The sounds of Mozart and Beethoven fill the stage on Jan. 18–20. Revisit your favorite Queen songs with Finnish sensation Rajaton. The six-person singing group, accompanied by the Dallas Symphony Orchestra, will sing Queen’s greatest hits on Jan. 26–28. mydso.com 10 DALLAS THEATER CENTER Three spirits have come to visit the miserly Ebenezer Scrooge and take him on a fantastic journey through Christmases past, present, and future. A yearly tradition brimming with joyful songs, magical spirits, and holiday cheer, this holiday classic embodies a story of joy, redemption, and the spirit of Christmas. See DCT’s A Christmas Carol through Dec. 30. Image: Tiffany Solano and Kieran Connolly in A Christmas Carol. Photograph by Imani Thomas. dallastheatercenter.org 11 DALLAS WIND SYMPHONY Dallas Wind Symphony spends Christmas at the Meyerson Dec. 22–23. In this Circle sees two works by Quinn Mason with the help of soprano Hila Plitmann performing the title piece, Jan. 16. dallaswinds.org

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NOTED: PERFORMING ARTS

12 EISEMANN CENTER Eisemann will host a suite of dance companies performing The Nutcracker from Dec. 2–23. Rocky Mountain High Experience, A John Denver Christmas starring Rick Schuler, America’s Top John Denver Tribute is an intimate experience that will take you back to the ’70s, when Denver’s music permeated the radio airways, Dec. 16–17. The nonprofit SciArt Exchange, in collaboration with the University of Texas at Dallas and audiovisual artist Ben Heim, will launch the Sensing Deep Space: Pandora’s Cluster installation on Jan. 6. The installation will place you among the stars through Feb. 4. eisemanncenter.com 13 FORT WORTH SYMPHONY ORCHESTRA Hear Handel’s famous oratorio Messiah on Dec. 9. Walt Disney Animation Studios’ film Encanto comes to life in a concert event featuring the feature-length film with the orchestra performing the score, Dec. 15–16. Sounds of the Season brings a delightful blend of holiday classics on Dec. 19. FWSO and music director Robert Spano together with Dallas Black Dance Theatre will perform Stravinsky’s Petrushka, a balletic take on the story of Punch and Judy, with choreography by Sean Smith, Jan. 5–7. In The Music of Billy Joel and Elton John, the orchestra adds excitement and verve to well-known hits with Michael Cavanaugh, Jan. 19–21. Edusei conducts Mahler’s Seventh Jan. 26–28. Image: Principal guest conductor Kevin John Edusei. Photograph by Marco Borggreve. fwsymphony.org

13 16 TACA TACA exists to nurture arts organizations and provide visionary and responsive leadership to the arts community. By providing flexible funding and much-needed resources, like professional development workshops, TACA allows arts organizations to spend less time on keeping their doors open and more time on running strong and effective programs that transform lives through the arts. taca-arts.org 17 TEXAS BALLET THEATER The Nutcracker heralds the magic of the holiday season with visions of enchantment and joy, through Dec. 24. texasballettheater.org 18 THEATRE THREE Without a success to his credit for some years, Sidney Bruhl receives a new, potential-hit script called Deathtrap that was written by his student. Sidney plots with his reluctant wife, Myra, about how best to plagiarize the play, and the evening takes a hilarious and dangerous turn. See Deathtrap Dec. 7–31. theatre3dallas.com 19 TITAS/DANCE UNBOUND Complexions Contemporary Ballet has awakened audiences to a new, exciting genre with their singular approach to reinventing dance and contemporary ballet; see for yourself on Dec. 8. Image: Complexions featuring Vincenzo Di Primo. Photograph by Rachel Neville. titas.org

14 KITCHEN DOG THEATER An engaging and provocative site-specific work designed to be performed inside a baseball stadium, Safe at Home examines the complex intersection of baseball, politics, and the American Dream. See Safe at Home at Riders Field Dec. 7–10. kitchendogtheater.org

20 TURTLE CREEK CHORALE In Sing For Joy: A Celtic Holiday Celebration a full orchestra and authentic Celtic musicians will bring a new sound and style to the annual tradition—one that will have you leaping from your seat with joy, Dec. 18–19. turtlecreekchorale.com

15 MAJESTIC THEATRE Pete Davidson takes the stage Dec. 1. Comedians James Pietragallo and Jimmie Whisman are bringing their hit podcast, Small Town Murder to Dallas on Dec. 2. Liz Phair: Guyville Tour stops at the Majestic on Dec. 3. Stayin’ Alive: One Night of the Bee Gees comes to the stage Dec. 7. Enjoy Croce Plays Croce: 50th Anniversary Of You Don’t Mess Around With Jim on Dec. 11. Abraham Alexander performs with special guest Jackson Scribner Dec. 14. The Polyphonic Spree celebrates the 20th anniversary of their Holiday Extravaganza, Dec. 15–16. AEG Presents: Jim Breuer Survival with Laughter Tour on Jan. 10. Pod Meets World stops in Dallas on Jan. 11. Elvis Costello and the Imposters with Charlie Sexton perform on Jan. 19. Tim Dillon: American Royalty Tour makes its way to the Majestic on Jan. 26. AEG Presents Stavros Halkias: The Fat Rascal Tour Jan. 27–28. majestic.dallasculture.org

21 UNDERMAIN THEATRE Set against the decayed elegance of a house in London’s Hampstead Heath, in No Man’s Land two men face each other over a drink. Their ambiguity and the comedy intensify with the arrival of two younger men, one ostensibly a manservant, the other a male secretary. All four inhabit a no man’s land between time present and time remembered, between reality and imagination—a territory which Pinter explores with his characteristic mixture of biting wit, aggression, and anarchic sexuality, through Dec. 3. undermain.org

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22 WATERTOWER THEATRE Matilda the Musical is a captivating adaptation of Roald Dahl’s novel featuring a young, telekinetic genius. The musical underscores the transformative power of education and bravery, Dec. 1–10. watertowertheatre.org

JAN 21, 2024 THE ROBERT E. AND JEAN ANN TITUS FAMILY RECITAL

LAWRENCE BROWNLEE

JAN 28, 2024 THE LINDA AND MITCH HART INSTITUTE FOR WOMEN CONDUCTORS

MYRA HUANG, PIANIST

SHOWCASE CONCERT

RICHARD STRAUSS

CHARLES GOUNOD

ELEKTRA

FEB 9, 11, 14, 17, 2024

ROMEO AND JULIET

MAR 1, 3, 6, 9, 2024

Tickets at dallasopera.org or 214.443.1000 Margot and Bill Winspear Opera House

Season Sponsor: Mary Anne Cree, in memory of Rosine Smith Sammons

P H OTOS: SH E RVI N L A I NEZ , K Y L E FLU BAC K ER, RO B ERT KU S EL , LY NN L A NE

NOTED: GALLERIES

01 12.26 Something to Do With Pleasure, a group show featuring new works by Claire Colette, Bea Fremderman, Hanna Hur, and Annabeth Marks, closes on Dec. 9, alongside Theodora Allen’s The Bowstring’s Tension. Carrie Rudd: Squirm will take over the gallery on Dec. 16– Jan. 20. Image: Carrie Rudd, I (still, still) think it’s just always and forever haha (detail), 2023, oil on canvas, 48 x 36 in. gallery1226.com 02 500X GALLERY EXPO23, juried by Randall Garrett, opens Dec. 9 and continues through Dec. 17. 500x.org 03 ALAN BARNES FINE ART Alan Barnes Fine Art specializes in 19th- and 20th-century American and European paintings. From old masters to impressionist paintings, drawings, and watercolors. alanbarnesfineart.com 04 AND NOW Kathryn Kerr remains on view through Dec. 30. As living archives, Kathryn Kerr’s paintings document events, dreams, recollections, and memories. andnow.biz 05 ARTSPACE111 Through Feb. 3, Time for Color | J.C. Pace III highlights AS111. The expansive exhibition combines elements of sculpture, metalwork, and photography. artspace111.com 06 BARRY WHISTLER GALLERY Danny Williams: Re-Trouvailles and Ann Stautberg: Interlude remain on view through Jan. 13. barrywhistlergallery.com 06 BEATRICE M. HAGGERTY GALLERY SOLID: Texas Sculpture Association Juried Member Exhibition sees selections by juror Thomas Feulmer, curator at The Warehouse, Dallas, through Jan. 24. udallas.edu/gallery

01 the acrylic constructions of Jean-Paul Khabbaz; California-based painter Chris Hayman; Liz Barber’s light-infused paintings, and rotating artists. christophermartingallery.com 09 CONDUIT GALLERY Through Dec. 30, the Jack Pine Savage group show, a testament to the rugged resilience and rich character shaped by winter’s solitude and the early logging days, draws inspiration from Justin Quinn’s painting and features works by artists such as Michael F. Blair and Margaret Meehan. Concurrently, celebrate Umbhiyozo with the Creative Block Initiative’s collection of small works reflecting the diversity of over 250 South African artists while contributing to the CADD Booker T. Washington High School Scholarship Fund. Image: Christopher Gee, Hare at Night, 2023, acrylic on paper. conduitgallery.com 10 CRAIGHEAD GREEN GALLERY Patrick Pietropoli, Frank Morbillo, and Jeanie Gooden remain on view through Dec. 30. Next, Read Between The Lines will highlight the gallery from Jan. 6–Feb. 10. craigheadgreen.com 11 CRIS WORLEY FINE ARTS Harry Geffert: A Place Beside the Road remains on view through Dec. 16. Isabelle du Toit: Refuge closes on Dec. 23. Marc Dennis: Paintings and Drawings and Nishiki Sugawara-Beda’s new sumi ink scrolls shine together from Jan. 6–Feb. 10, 2024. Image: Isabelle du Toit, Royal Flycatcher (detail), 2023, oil on canvas, 24 x 30 in. crisworley.com 12 CVAD, UNT COLLEGE OF ART AND DESIGN GALLERIES CVAD Galleries examine Cey Adams’ career as a visionary artist, cultural pioneer, and innovative designer. Adams honed his skills painting graffiti in New York City in the late 1970s before moving downtown, where street art was leaking into high-end galleries. Through Dec. 15. cvad.unt.edu

07 CADD Contemporary Art Dealers of Dallas is a nonprofit formed in 2007 to promote contemporary art in Dallas. The organization regularly hosts happy hours, bus tours, scholarships, and other events supporting artists and galleries in North Texas. caddallas.org

13 DAISHA BOARD GALLERY Closer To My Dreams, at Daisha Board Gallery in the Tin District from Dec. 2 to Jan. 6, showcases an inspiring collection from artists including Jennifer Monet Cowley, Jeremy Biggers, Jessica Bell, William Toliver, Joy Reyes, Ifeanyi Anene, Roscoe Hall, Atinuke Osibogun-Adeleke, Demarcus McGaughey and Omar Asprilla. daishaboardgallery.com

08 CHRISTOPHER MARTIN GALLERY The gallery presents the reverse-glass paintings of Christopher Martin; the Rodeo series of photographer Steve Wrubel; the colorfield paintings of Jeff Muhs; Dutch image maker Isabelle van Zeijl;

14 DAVID DIKE FINE ART DDFA specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas regionalists,

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11 Texas landscape, and midcentury modern painters. Additionally, the gallery provides collections management and cataloging, as well as fine art appraisals. daviddike.com 15 ERIN CLULEY GALLERY Hidenori Ishii: Gamma Garden investigates the paradoxical dichotomy of civilization and nature revealing the tenuous axis on which the two worlds coexist. Gamma Garden and Anna Membrino: Ripples remain on view through Dec. 23. Membrino’s paintings hover between the canons of still life and landscape painting with a nod to abstraction. At Cluley Projects, Tableau sees the work of Robert Weiss through Dec. 23. erincluley.com

Through January 7, 2024

16 FERRARI FINE ART GALLERY Ferrari Gallery presents the ethereal oil paintings by LA artist Mark Russell Jones and San Antonio artist Eric Breish, known for his abstract paintings on metal that create holographic illusions. On view through Dec. 30. ferrarigallery.net 17 GALLERI URBANE Peter Frederiksen: I Tried to Warn You remains on view in Gallery One through Dec. 29. Showing congruently in Gallery Two, a group show the process of seeing features Meghan Borah, Emily Bartolone, Melinda Laszczynski, Jessica Simorte, Meghan Borah and Saskia Fleishman. For the holidays, check out their selection of affordable works for gifting. Galleri Urbane will participate in Miami’s Untitled Art Fair, Dec. 6–10. galleriurbane.com 18 GREEN FAMILY ART FOUNDATION Throughout history, art has told neatly wrapped stories about human relationships, often-idyllic renditions of romantic love, or alternatively, tales of suffering and tragedy. Togetherness: For Better or Worse highlights the inherent complexity of our relationships. Nicolas Party: Landscape in the Spotlight Gallery accompanied by Danielle Avram’s insightful essay continues with Togetherness through Jan. 21. Image: Jonas Wood, Self Portrait with Momo, 2014, oil and acrylic on canvas, 68 x 68 in. Photograph by Brian Forrest. © Jonas Wood. Courtesy of Mark Grotjahn. greenfamilyartfoundation.org

The World Outside: Louise Nevelson at Midcentury is organized by the Amon Carter Museum of American Art. Generous support for the project comes from The Kaleta A. Doolin Foundation and the National Endowment for the Arts. The Carter’s presentation of The World Outside: Louise Nevelson at Midcentury is supported by the Ann L. & Carol Green Rhodes Charitable Trust, Bank of America, N.A., Trustee; and the Alice L. Walton Foundation Temporary Exhibitions Endowment.

Louise Nevelson (1899–1988), Lunar Landscape (detail), 1959–60, painted wood, Amon Carter Museum of American Art, Fort Worth, Texas, Purchase with funds from the Ruth Carter Stevenson Acquisitions Endowment, 1999.3.A-J

19 HOLLY JOHNSON GALLERY Matt Rich: Painting, through Dec. 22, blurs the lines between painting and sculpture through his shaped DECEMBER 2023 / JANUARY 2024

NOTED: GALLERIES

K ittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 75244  972.239.7957

Riccardo & Pietro Ferro Vessel 22x9.5x7.5 in.

36 collage paintings, integrating unconventional supports and a complex interplay with architectural space. Douglas Leon Cartmel’s Snowy Forest series, through Feb. 10, delves into the abstracted wonder of winter landscapes. Joan Winter’s Essential Light, from Jan. 6– Mar. 23, 2024, captures the ephemeral qualities of light and time. hollyjohnsongallery.com 20 KEIJSERS KONING Experience A Path Less Traveled: a joint exhibition from Dec. 16– Jan. 27, in which Joel Cooner Gallery presents a curated selection of tribal, ancient, and pre-Columbian works alongside Keijsers Koning’s contemporary art treasures. Combining each gallery’s vision will offer a dialogue on quality of expression and understanding of human nature and pulsation. keijserkoning.com 21 KIRK HOPPER FINE ART Delve into More Contemporary American Art, curated by Benito Huerta and featuring a compelling lineup including Richard Armendariz and Diana Molina, until Dec. 23. Following this, Homecoming by Cedric Ingram presents a personal exploration from Jan. 6–Feb. 10, 2024. Image: Cedric Ingram, Bubble Gum, Bubble Gum..., 2021, acrylic on wood and canvas, 36 x 48 in. kirkhopperfineart.com 22 KITTRELL/RIFFKIND From perfume decanters to sculpture and ornaments, Holiday Treasures features large and small art glass, through Dec. 31. kittrellriffkind.com 23 LAURA RATHE FINE ART Chromatopia introduces a kaleidoscopic world of pigments and textural intrigue. Mike Hammer, Katherine Houston, and Jane Waterous bring their interpretations of color as a medium to this collaborative presentation through Jan. 6. laurarathe.com

Offering Dallas’ finest selection of art glass!

kittrellriffkind.com 36

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24 LILIANA BLOCH GALLERY Bret Slater’s Multi-journeys of Nameless Perception, an evocative series of paintings inspired by a decade-old Zürich tram ticket, reflects the multifaceted nature of perception and experience in a provocative exploration of form and identity. Concurrently, Aguas profundas/Deep Waters, on view through Dec. 30, shares Berta Kolteniuk’s

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“Powerful Peace”

“Tulips Tree of Pink” 16x20

“Chacala Sonata” 36x36

“Autumn Path to Splendor”

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NOTED: GALLERIES

November 5–January 28

Experience the light and color of France

multisensory journey through the microcosmic and macrocosmic worlds. lilianablochgallery.com 25 LONE GALLERY Located on Converse Street within the Neighborhood showroom, Lone Gallery presents Landry McMeans’ Dynamic Earth, which will remain on view through Dec. 31. Image: Landry McMeans, Organ Pipes, acrylic on Fawn paper, 42 x 65 in. (framed). lonegallery.com 26 MARKOWICZ FINE ART In Reflections of the West, through Dec. 31, Beau Simmons’ medium-format film photography preserves quiet moments throughout the region. markowiczfineart.com 27 MELIKSETIAN | BRIGGS Meliksetian | Briggs’ solo exhibition John Miller: New Horizon remains on view through Jan. 20. meliksetianbriggs.com 28 PENCIL ON PAPER Rapheal Crump’s Moves the Soul and Emmanuel Gillespie’s I Am remain on view through Dec. 30. Valerie Gillespie Contemporary artist-in-residence Abi Salami will showcase the work she created during her two-month residency, from Jan. 6–Mar. 2, 2024. pencilonpapergallery.com

The exhibition is organized by the Kimbell Art Museum and The Phillips Collection. It is supported in part by Frost, the Texas Commission on the Arts, and by an indemnity from the Federal Council on the Arts and the Humanities. Pierre Bonnard, Dining Room in the Country (detail), 1913, oil on canvas. Lent by the Minneapolis Institute of Art, The John R. Van Derlip Fund. © 2023 Artists Rights Society (ARS), New York

Promotional support provided by

29 PHOTOGRAPHS DO NOT BEND Michael Kenna: Trees, from Dec. 2–Feb. 10, 2024, honors five decades of Kenna’s striking photography, complemented by a publication by Éditions Skira Paris. A book signing is scheduled for Dec. 2. Alongside, Keith Carter: Ghostlight, will feature photographs inspired by Beaumont’s Big Thicket, as well as a book designed by Pentagram’s DJ Stout and Michelle Maudet for a Dec. 9 signing reception. Image: Michael Kenna, Mountain Tree, Danyang, Chungcheongbukdo, South Korea, 2011, silver gelatin print. Edition of 45. pdnbgallery.com 30 RO2 ART At Ro2 Art Projects, Jackson Daughety: iPad Baby remains on view through Dec. 16 alongside Daniela Flint: Gardens of the Affluent. ro2art.com

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NOTED: GALLERIES

CONCEPTO

31 SAMUEL LYNNE GALLERIES David Yarrow presents a stirring blend of new photographs and timeless favorites through Dec. 22. For holiday gifting you can’t beat the spirited art tome by Lea Fisher. Self Portraits: Reflections of an Artist’s Journey reveals Fisher’s inner-self through a delightful array of demonstrative portraits. Readers will see themselves in each one of these unique portraits presenting a mental landscape of life’s ups and downs. Available at the gallery and at Amazon. samuellynne.com

32 SITE131 Memorializing its founding partner in …to see is a gift: Seth Davidow collection remains on view through Dec. 9. site131.com 33 SMINK A showcase of fine design and furniture, the showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com 34 SOUTHWEST GALLERY Southwest Gallery provides Dallas with the largest collection of fine 19th- to 21st-century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000-square-foot showroom. swgallery.com

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35 TALLEY DUNN GALLERY New Works by Leonardo Drew continues through Dec. 9. Natasha Bowdoin’s Sun Dogs blends the natural with the celestial, inviting a reconsideration of our connection to nature. Sedrick Huckaby’s What to Do with Difference presents evocative portraits from his New Delhi residency, probing the role of art in uniting diverse global narratives and reinforcing his commitment to depicting faith, family, and community. Both exhibitions continue

through Dec. 16. Image: Sedrick Huckaby, What to Do With the Difference: Mohd, 2020, mixed media on paper, 16.50 x 11.50 in. talleydunn.com 36 VALLEY HOUSE GALLERY An exhibition for Mary Vernon highlights VHG through Dec. 9. Image: Mary Vernon, July 10, 2022, oil on Yupo, 36.87 x 37.37 in valleyhouse.com 37 VARIOUS SMALL FIRES Alina Perez’s The Turquoise Room is on display through Dec. 23. In this body of work, Perez depicts a series of dreamlike tableaux that unfolds as an inquisition into one’s relationship with the world. vsf.la 38 WEBB GALLERY An exhibition for Dan H. Phillips, Heather Sundquist Hall, Adam Shrewsbury, and Margaret Sullivan will be on display from Dec. 3–Jan. 31. webbartgallery.com 39 WILLIAM CAMPBELL GALLERY Cecil Touchon: The Cuernavaca Papers exhibits Touchon’s new collection, rich with the colors of Cuernavaca, Mexico, through 25 pieces that challenge the conventions of abstraction. Through Jan. 11 at the Byers Street location. At the Foch Street location, 2023 Wrapped: Celebrating a Year of Art opens Dec. 9 and continues through Jan. 13. Symbiosis: Nature Revealed, featuring work by Luther Smith and Beverly Penn, opens Jan. 27. williamcampbellcontemporaryart.com AUCTIONS 01 DALLAS AUCTION GALLERY Stay tuned for the Fashion Street Wearable Art Sale, Feb. 9, 2024, and The Gentleman’s Sale on Feb. 11, 2024. dallasauctiongallery.com 02 HERITAGE AUCTIONS HA has an extended catalog of auctions for the winter, here are some highlights: the Holiday Fine Jewelry Signature Auction on Dec. 4, Property from a Texas Corporate Collection: Part I Showcase Auction on Dec. 5, Urban Art Showcase Auction on Dec. 6, Fine European Art Signature Auction on Dec. 7, Asian Art Showcase Auction on Dec. 8, Depth of Field: Photographs Showcase Auction on Dec. 13, HBO’s Succession Auction on Jan. 13, and the The Artful Eye: The Collection of the Late Larry Saphire Showcase Auction on Jan. 23. ha.com DECEMBER 2023 / JANUARY 2024

THIRTY SOMETHING Jack Barrett looks ahead to the 2024 Dallas Art Fair and to introduce the work of young artists. INTERVIEW BY ADAM GREEN

Timothy Lai’s exhibition Double Wall (installation view) at Jack Barrett Gallery.

allas Art Fair exhibitor Jack Barrett Gallery, founded in 2015, nurtures and exhibits emerging artists working across a variety of disciplines. In 2022, the gallery joined New York’s f lourishing Tribeca neighborhood, where it commits its 3,000-square-foot space to represented artists while also pursuing the up-and-coming. Adam Green caught up with the gallery’s founder here. Adam Green (AG): Jack, thanks so much for chatting with us. I think your gallery program is really fantastic; you show a lot of exciting artists. For readers who may be new to Jack Barrett, tell us a little bit more about your gallery. Jack Barrett (JB): It’s been such a pleasure working with you and getting to know the Green Family Art Foundation, as well as the larger Dallas art ecosystem. The gallery is in the Tribeca neighborhood of lower Manhattan, where we’ve been for the past two years. We represent a small but expanding roster of artists working across painting, sculpture, and digital media, many of whom we’ve presented at the Dallas Art Fair. Prior to being in Tribeca, the gallery was on the Lower East Side of Manhattan, and Brooklyn before that. Each location has had a slightly different feel, but I like to think that the programming and sensibility have stayed much the same. We also participate in a number of art fairs

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each year and have been presenting at Dallas Art Fair since 2020. AG: I believe most of the artists you represent are in their 30s. How do you discover artists early in their career and what are some of the things you look for when deciding which ones to work with? JB: You’re right, most of the artists we represent are in their 30s, although there’s a bit of a range. We are a young gallery, but I have worked with several of our artists for over five years now. I am in my 30s, and I think those early artist relationships developed at a time when I was seeking out what young artists were up to, and many of those connections came from my existing community of emerging artists. I studied art history and fine art in the city, which helped cultivate my understanding of the arts scene in New York. It’s also where I first met a lot of artists. I think by sheer virtue of going to school with emerging artists, and even having some as my professors, I inevitably fell into that crowd. In that sense, it wasn’t intentional to show younger artists, but more organic. It’s a privilege to be in New York City where there are so many artists and galleries, but recently I’ve been discovering more artists in a digital space, where I can be introduced to artists practicing all over the world. Deciding who to work with is one of the most frequent questions I get asked and hardest to answer. As I mentioned, most of my early relationships with artists started organically––I’d be

FAIR TRADE introduced through friends or meet people at openings and events. I have to be excited about an artist’s practice in order to start working with them, and I get a sense of that pretty immediately during a studio visit. It’s also about personal connection. Presenting an exhibition is very much a collaboration between the gallery and artist, so it’s important to have a successful working relationship and communication with the artists you represent. AG: How are you enjoying your new space and why is there suddenly so much buzz surrounding Tribeca? JB: We started renovating our Tribeca space at the end of 2021 and opened with a solo show by sculptor Amy Brener in January of 2022. We love our current space––it has two floors, which allows us the option of programming either one extensive exhibition or two concurrent shows. We also have a landlord who appreciates and has an interest in the visual arts, and we even share a wall (technically the same building) with another gallery, Klaus von Nichtssagend. It’s been great to be in a place where we were immediately welcomed to the neighborhood and community. I think all the buzz simply comes from an influx of galleries moving or opening up in Tribeca within the past few years, specifically during Covid, when more commercial spaces became available. And it’s both young galleries, like our own, and more established galleries that may have had, or still have, locations in Chelsea or the Upper East Side. That mixture of younger and more established gallery spaces draws a wider range of viewers and makes for an interesting dialogue between exhibitions and artists that you don’t find in other neighborhoods. AG: The past few years you have exhibited at the Dallas Art Fair, and your artists have donated artworks to TWO x TWO. Thank you so much for supporting the Dallas art community! What is it that draws you to the city of Dallas and its art community? JB: I met Kelly Cornell and Sarah Blagden at another art fair, and they graciously invited me to participate in the Dallas Art Fair. Prior to that, I had never been to the fair or even to Texas, but it’s now one of my favorite fairs, and I look forward to it every spring. There’s a really strong and invested arts community in Dallas that you immediately feel welcomed into, which isn’t always the case.

Raymie Iadevaia, Little Things, 2023, oil on wood panel, 50 x 60 in.

Everyone is so kind and generous with their time, and there’s generally a more laid-back vibe, which I really appreciate. There are so many great public and private collections, and collectors invite you into their homes in the most casual and heartfelt way, clearly eager to share their passion for art with you. Sometimes in the mornings before the fair I sneak over to see shows at the Dallas Museum of Art and the Nasher Sculpture Center, both within walking distance of the fair. Every year I go to the Modern Art Museum in Fort Worth as well as the Kimbell, which has become one of my favorite collections in the world. Fra Angelico is one of my all-time favorite painters, and they have an incredible piece of his, hung right next to a Michelangelo painting, that I could stare at for hours. I also love coming to Dallas for the food! Can’t talk about Dallas without mentioning barbeque. It’s the first thing I do when I land. Coming from New York this is probably blasphemy, but the best sushi I’ve ever had is in Dallas. AG: What are the next few exhibitions you have planned at the gallery? JB: We just opened our last show of the year, a four-person exhibition featuring works by Taha Heydari, Yein Lee, Yanjun Li and Erik Nilson. In the first months of 2024, we have solo shows lined up with some of our rostered artists, starting with a solo show by Amy Brener in January. This will be her third solo show with us. After that we have our fourth solo show with painter Haley Josephs, followed by a solo with Danish artist Rasmus Myrup. We’re also excited to be introducing some new artists into our programming in 2024. We have two shows lined up with Montreal-based artists Caro Deschenês and Élise Lafontaine, and another with London-based artist Uchercie. AG: The next edition of the Dallas Art Fair isn’t until April 2024, but can you give us a sneak peek as to what you will be bringing to the fair? JB: We’re still finalizing our booth, but we plan to bring new work by Paul Rouphail and Raymie Iadevaia, two painters we’ve presented in past years at the fair, as well as work by Ben Tong. We haven’t brought Ben’s work to the fair before, but he has exhibited there with Night Gallery and has an upcoming solo show with them in January, which we are really excited for. P

Paul Rouphail, Ice Cream, 2023, oil on linen, 50 x 40 in. Courtesy of the artist and Jack Barrett Gallery.

DECEMBER 2023 / JANUARY 2024

CONTEMPORARIES

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Janet Kafka in her home with sculptures by celebrated Spanish artists Jaume Plensa (center) and Iñigo Arregi (right) on the buffet.

A Royal Welcome Honorary Consul of Spain Janet Kafka is decorated with the Order of Civil Merit. BY LEE CULLUM PHOTOGRAPHY BY JOHN SMITH

arl Jung, a grandee of psychotherapy in its early days, said that some people become who they were born to be in relation to another culture. For Janet Kafka, it was Spain. She went there on a college program run by Georgetown University—though actually she was enrolled at Northwestern University—having already studied Spanish in Mexico one summer while a high school student at Greenhill School in Dallas. “I found my soul in Spain, found where I belong” she tells me during a late-afternoon confab at her glorious contemporary house. It was designed by Lionel Morrison to showcase not only the art she and her husband, Terry, have collected over the years, but the guests who gather there to further the Dallas-Madrid-Valencia connection to which Kafka has given her life. As Honorary Consul of Spain for the past 26 years, Janet Kafka has trumpeted cultural institutions, especially the Meadows Museum of Art, in that nation, and through her own marketing firm brought Spanish food, wine, fashion, and luxury products to the United States. “Business, culture, and diplomacy are inextricably linked,” she explains. “If you bring people into the fold in all venues, you never fail.” And bring them together she does—“around my dining table,” where guests from former Prime Minister José María Aznar to architects Fuensanta Nieto and Enrique Sobejano, recently chosen to reimagine the Dallas Museum of Art, have held forth with other voices from other disciplines and found excitement in the things they could pursue together. In turn, she leads frequent delegations to Spain, where open arms greet her everywhere. Kafka has been so successful in these myriad pursuits that the Spanish government has honored her with the Order of Civil Merit, sanctioned by King Felipe VI and presented at the Spanish ambassador’s residence in Washington, DC, by His Excellency Santiago Cabanas. This award is at a level so high, it usually goes only to Spaniards. One other Dallasite has received it: Algur H. Meadows, founder of the museum that bears his name. Kafka points out that she was not trained in diplomacy, but that is indeed the discipline she practices. It has been said that diplomacy is not a matter of goals achieved so much as it is a question of what has been prevented, limited, diluted, or diverted. That is not the case with Janet Kafka. Her work as a diplomat deals with what can be built, enhanced, enlarged, enlivened. And this is the part of her life to which she is turning her full attention, having decided not to

revive her company after Covid. Marketing, she notes, has moved to social media, while she is still in love with the personal side of the business. A life with the Spanish language was not always her only ambition. At Northwestern she majored in piano music along with Spanish and also gave rein to her voice as a classical mezzo-soprano. Linguistics won out, however, as did Terry Kafka, a New Yorker whom she met in Chicago. She was still in college while he was making his way in advertising at the Leo Burnett agency. Before long they moved to Dallas, and both started new companies: his in outdoor advertising, hers based on a passion for Spain. “We were a no-paycheck family,” she says. In time that led Kafka to work with a number of Spanish clients, including the government of Spain, and then she was named honorary consul herself, in Dallas. The nomination took a year to come through, given the process in Madrid and vetting in Washington. Since then, she has “worked under eight ambassadors and more than a dozen consul-generals,” she notes. Now the couple has signed a five-year lease on an apartment in Madrid “in walking distance to all the museums.” This will make their travel there much easier. No longer will they have to take a different short-term rental each time they go which is “every three months, [staying] four to six weeks,” she relates. As I am leaving, Kafka takes a call from a security official at DFW International Airport. Looking ahead to the World Cup in 2026, he wants her help. The two have worked together to protect dignitaries from Spain. Now, once again, she is an indispensable person. P

Janet Kafka was decorated with the Order of Civil Merit.

DECEMBER 2023 / JANUARY 2024

CONTEMPORARIES

Who Let The Dogs Out?

Winston the “Westie” with a mid-19th-century Belgian collar.

Ron Gard’s passion for collectibles is reflected in his new book. Mid-19th-century Swiss leather-and-brass collar.

INTERVIEW BY CHRIS BYRNE PHOTOGRAPHY BY JEFF MOORE

on Gard’s history with American folk art and antique decoys is legendary. He has authored three books on the subjects and lectured widely at museums. A fine art photographer, he had two exhibitions at the Dallas Museum of Natural History (now the Perot Museum) and served on the board for 14 years. Chris Byrne caught up with the expert here:

English bulldog carving by Isaac Smith with a European armored collar.

George the Bluetick Coonhound with an early 20thcentury collar.

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Chris Byrne (CB): When did you begin collecting? Ron Gard (RG): I’ve been a collector for as long as I can remember. The first thing I ever remember collecting was pictures of dogs. As soon as I was old enough to use scissors, I cut them out of magazines and newspapers and put them in a box to keep. To me, collecting has never been about making money, though I have often sold things for far more than their purchase prices. I’ve done well with antique decoys, which I started collecting around 1975. I found a book called The Art of the Decoy: American Bird Carvings by Adele Earnest, founder of the American Folk Art Museum in New York, which led me to become more interested in decoys in general as an art form and Ward Brothers decoys in particular. CB: Was there anyone who influenced you? What directed your interests? RG: I’ve made a lot of good friends through collecting. In addition to the thrill of the hunt and the joy of discovering that special, prize object, one of the greatest things about collecting is the interesting people you meet. I met Dr. Jim McCleery, another Texan whose decoy collection is legendary, at an auction on Cape Cod. We became best friends, and I went on to write a book about his collection with folk art consultant Robert Shaw, who was previously curator of the Shelburne Museum. Jim taught me a lot about collecting. He had a great eye for what was high quality and how to tell the good ones from the bad ones. CB: And your love for dogs ... RG: One of my earliest memories is looking in a pet store window at puppies. We lived in Lincoln, Nebraska, at the time, where my dad was stationed with the air force. It was 1944, so I was three years old. There was a hole in the window where you could put your hand in and pet the animals. When I stuck my hand inside, one of the puppies licked me, and I was smitten. I remember my dad bringing her home to me in a box, and I named her Lady. Lady was an English shepherd, and I have a picture of her with her six puppies on my grandparents’ farm in Texas. Of the many dogs that I’ve owned since, I’ve only named one after Lady, who is on the cover of my new book. So I guess I was born with the gene to collect, and because I love dogs, I’ve always been drawn to other dog collectibles, particularly dog-handle canes, and, more recently, dog collars. CB: You’ve pursued specific objects, like collecting dog collars—how did your new book, Whose Dog are You?, come about? RG: After I had been collecting antique collars for a few years, someone from the Dallas Antiques & Fine Arts Society saw my collars and asked me to present a program on them at one of our meetings. My good friend and very talented photographer Jeff Moore was visiting, and I asked him to take pictures of some of the collars for my presentation. He did, and I used them in the presentation. Someone from the Dallas Glass Club was in the audience and asked me to do a program on the collars for one of their

meetings. I was told that the programs were very much enjoyed, and one of their members said that I should write a book on the collars, as they had not even heard of anyone collecting antique dog collars. I had found since I started collecting collars that it was indeed rare and difficult to find them, and even rarer to find a collector. With all of Jeff’s wonderful pictures, I decided to write a book, and my daughter, Christie, agreed to coauthor with me. CB: In addition to your collection of folk and decorative objects, you also have several works by important self-taught/outsider artists, i.e., Bill Traylor’s Untitled (c. 1940) and Purvis Young’s Untitled (c. 1990) . . . RG: I’ve always loved folk art or outsider artwork by self-taught artists, who many times did not even think of themselves as artists. They made things to be used, but the art that came out of this quest for expression was certainly great art. Many of the artists also made wonderful paintings, including the Ward brothers, who were barbers and are the subjects of another of my books. During the 1980s, when I was working a lot in New York, I was asked to serve as an advisory director for the American Museum of Folk Art, it was then called, which I did for several years. Bill Traylor and Purvis Young were always my favorite outsider artists—completely different in style, but both are wonderful artists. The movement, form, and honest expression are unsurpassed. Another self-taught artist I collected more extensively is Isaac Smith (1944-2016). Isaac lived in the Oak Cliff neighborhood of Dallas and saw animals in the branches and trunks of trees just waiting for him to carve them. I first saw Isaac’s work around 1980. I love his animals, especially his dogs, and started collecting his work because it makes me smile and sometimes laugh. I wrote a book about him, Isaac’s Ark, in 2000. The director of the American Folk Art Museum, Gerard Wertkin, wrote the foreword. One of Isaac’s pieces, an English bulldog made in 1994, is in Whose Dog are You? Isaac’s work is in the permanent collections of museums and art galleries around the country, including the Dallas Museum of Art and the Amon Carter Museum of American Art. CB: I understand you use a 20th-century Ukrainian wood-and-brass cane with a dog-head handle from your collection—is it among your favorite pieces? RG: My daughter, Christie, found the Ukrainian cane on the internet. It is not my favorite collectible cane, but in addition to being sturdy and comfortable for me to use, it is an example of beautiful workmanship and a favorite to use because it has my favorite breed of dog on the handle: the golden retriever. That’s open to interpretation. Someone whose favorite dog is a setter might call it a setter. P

Whose Dog are You? by Ron Gard and Christie Gard is available at Interabang Books and Talulah & HESS.

DECEMBER 2023 / JANUARY 2024

To Return Between Reflected Landscapes Dan Jian’s charcoal reveries construct watery dimensions of objects in nature living within fractured histories. BY BRANDON KENNEDY PHOTOGRAPHS BY CHRIS PLAVIDAL

Dan Jian in her Fort Worth Studio. The artist is represented Worley Fine Arts. 48by CrisPATRONMAGAZINE.COM

STUDIO

Studio view.

ollow the sound of water as gravity pulls it downward. A plane’s silhouette rests just below the leaning tree, downstream from an impossible arch that grafts two landscapes. A half-dozen horses bound to meet twice as many flowering fruit trees that hang from above. Devoid of graphite, a central expanse is both river and sky, coyly intersected with a masked canal that mirrors the bridge that tenuously holds the rushing pivot. In January of 2023, Jian had her first solo exhibition at Dallas’ Cris Worley Fine Arts entitled Nascent Terrain, consisting of six framed, medium to large landscapes on paper. Jian’s craft and method is such that it easily lends itself to multiple historical reads and lifts, with her measured gestural sweeps and their cut-out forms or negative voids easing from one elemental form to another without effort. There is a minimal touch and ease of precision that echoes through her forms, lines, and objects. A sly humor is present at times too, an absurdity proposed, a sad disquietude with a stifled laugh. Jian’s technique is such that it occasionally eludes initial understanding, even at closer inspection. Large forms can flip-flop and trade distinctions of their perceived role or function. Small objects d’art, fauna and flora alike, occasionally take motion cues from the elements. Unknown geometries in search of a pattern, rules marked by absence. With a nod to Persian miniature painting, Jian cuts out charcoal-dust-wiped tracing paper bricks with parchment below to create isometric architectural forms. A plane or steps, a small pool, a chimney or simple room, roofed towers, a structure edged by a wall that lapses into an arching bridge then flattens again, breaking dimensional perceptions all the while. Trees and reeds have a woodcut-like detailing that resonates deeper within a pattern across the landscape. Herds in silhouette, clouds and scissors cut out. Moments frozen in Jian’s compositions can lean towards unease at times, but generally humor finds a way through. A lone breakaway from the flock now flying in teardrop form. A large feline turning back toward a volley of arrows in her direction. Equines sliced in half still joined by a gut string race across the picture plane. The animated outline of a snow fox pouncing down frame by frame into the soiled mound below. Beyond Jian’s drawing practice, the Fort Worth–based artist also engages with animation with sound, generally in collaboration. In The Waves Not Yet High, A Dream Floods the Shore (2021), water courses through the source sound and video, unfolding the action

Studio view.

from the accordion-hinged source drawing, dipping deeper into scenes, tracking and rotating through Jian’s imagery. There is a nod to the vastness of the unknown depths, though ending cheerier, with bathtub toys and a mother’s kiss to baby’s forehead, airplane inflatable vests buoying both. While some of the trepidatious imagery may owe a debt to the pandemic and the uncertainty of the political and cultural moment, Jian’s “melan-comic” gaze earned her a Nasher Artist Grant in 2023, with which she plans to make another animation entitled Shadow of the Rhizome. When speaking of the somewhat bleak scenarios and emptiness in her work, Jian reflected, “Directionless is more like it. Not just me, but how a lot of people feel ... kind of the emotional undertone of our time.” Jian moved to Texas just before the world shut down to take a teaching job at Texas Christian University. Around this time, she also returned to finish another animation that opens with the sound of the wind blowing against a tree pictured in a Qing dynasty scroll painting by Jian Jiang. The limbs and trunk sway and are eventually dismembered, carried away by the steady gusts. The written Chinese characters follow suit, marching off in a spiraling line until the blankness below is revealed. An immigrant herself, Jian reflects on the question of working within a tradition so laden with history: “... there’s always this question of heritage, tradition, and your relationship to the current contemporary practice of drawing. I think that was just the question. Disassemble and dismantle this masterpiece and then return it to the page.” P

Dan Jian, A Tale of the Peach Blossom Spring, 2021, ashes, charcoal dust, tracing paper on board, 25 x 35 in.

DECEMBER 2023 / JANUARY 2024

CONTRASTS IN HARMONY CHRIS ANGELLE WORKS IN CONCERT WITH BART FASSINO AND STEVEN RISKEY TO CREATE AN OASIS OF DISTINCTION. BY NANCY COHEN ISRAEL 50

PHOTOGRAPHS BY JASON ANDERSON, LISA PETROLE, AND STEPHEN REED

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ow often is the word “fun” used when describing a construction project? Yet everyone who worked with Bart Fassino and Steven Riskey on their home describes the experience in this way. Behind the conviviality, however, are two people with a clear vision of what they are looking for in art, architecture, and design. From the architecture, which fuses traditional with contemporary; to the landscaping, which balances natural with nurtured; to the art, which is serious while also being playful, this home is a study in contrasts. Interior designer Chris Angelle says Fassino and Riskey have been friends of his for years. When he launched Chris Angelle Design, he finally had an opportunity to work with them. “You gravitate toward the people you have things in common with, whether it’s fashion, TV shows, or architecture and design,” says Angelle, adding, “They have the same ideology when it comes to design.” Angelle doesn’t try to implement a particular design style. Instead, he says, “I adapt to the vernacular of the house, site conditions, and the individual personalities of the clients.” For this project Angelle began with the bones of the home and focused on decorative lighting and finessing the finishes. As to furnishing, he says, “They had amazing things to work with, like a clean-lined purple velvet sofa that I designed custom throw pillows for.” Throughout the home he popped in “a few incredible new pieces that made the environment sing.” Riskey and Fassino acquired the previously cleared lot about three years ago. Nestled among trees and abutting a creek, the site has natural beauty that they wanted to maintain. To realize their vision, they engaged Christi Luter of Janson Luter Architects, with whom they had previously worked. According to Fassino, Luter would spend time on the site thinking about how she could maximize the views from the home while keeping it as private as possible.

Surrounded by natural beauty, a striking residence inspired by the Cotswolds was designed by Christi Luter of Janson Luter Architects.

DECEMBER 2023 / JANUARY 2024

Luter worked with Sebastian Construction Group and landscape architects The Garden Design Group to bring the outside in.

“From the street the house looks like an old English cottage,” Luter states. It reflects the inspiration the homeowners drew from the Cotswolds. Entering the motor court, one finds that rustic exterior melts into sleek contemporary glamour punctuated by large picture windows. The trio collaborated closely to realize this vision. Their thoughtful deliberation is evident throughout the home. The way that windows provide stunning views of a seemingly untamed grove on one side of a room while framing a crisply built environment on the other side is one of the many elements that the homeowners finds special. “It’s that juxtaposition that is so much fun,” Riskey says. Luter explains that this effect was achieved by working collaboratively with the landscape architects at The Garden Design Studio as well as the builder, Sebastian Construction Group. “Bart, Steven, and I spent a lot of time on the details. These make the house feel good and peaceful. Everywhere you look there is greenery,” says Luter. Riskey is also drawn to the light on the site, adding, “Texas is often perceived in a distinctive light, where the sun takes center stage. Witnessing the sun’s enchanting descent behind the creek is a truly magical experience.” Angelle enhanced the interiors with his polished and purposeful design. “The client had an idea for a contemporary-meets-

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traditional home,” Chris Angelle describes. The homeowner’s vision is “a testament to Christi and how she designs as an architect,” he says, adding, “The execution makes for a beautiful, sophisticated, serene product.” In the primary bedroom, the contrasting garden views are visually linked by the 14-foot headboard that Angelle designed. “We never needed to make grand gestures but just had to work with the views and the incredible art collection,” he says. Angelle installed stylish lighting throughout the home. His custom rug designs add interest in nearly every room. In planning the interiors, the homeowners—veteran renovators— had a keen sense of what they wanted. As Fassino explains, the boldness of the bulthaup kitchen provides an anchor to one end of an open living area that is balanced on the opposite end by a fireplace with a 4,000-pound hearthstone. The rustic ceiling, traversed with solid beams, helps to provide a cozy feeling. Visual levity comes from clerestory windows that are punctuated with fabricated steel mullions. “Christi is one of the most detail-oriented architects. She was passionate about the entire project, but she was steadfast about a few details, and that was one of them,” Fassino says.

A Troscan chair and ottoman are perched perfectly to take in the verdant outdoors.

Above the custom sofa: André Butzer, Untitled, 2019, oil and acrylic on canvas, from the TWO x TWO for AIDS and Art Auction; Chris Angelle Design pillows; Ochre side tables through David Sutherland; succulent arrangement by Grange Hall.

DECEMBER 2023 / JANUARY 2024

Here and inset: A bulthaup kitchen, in Calacatta Viola marble, and scullery open to the living areas.

The homeowner’s art collection is as dramatic as the home’s exterior vistas. They have been working with art advisor Anne Bruder since 2015. She says, “Over the years, Bart and Steven have not only narrowed the focus of their collection, which is heavy on painting, humor, and representational imagery, but have also become very brave and forward-thinking in how they are collecting, acquiring artists who are really pushing boundaries and taking risks in their own practices. As sophisticated collectors, their risk-taking attitude towards finding work has allowed them to buy certain artists before they have become household names and represented by major galleries.” Works by artists such as Katherine Bradford, André Butzer, and Matthew Ronay reflect a playful nature. Tony Matelli’s painted bronze Weed #402 appears to be growing out of a floor vent in the dining room. It was installed there to tie the adjoining exterior view with interior art, notes Fassino. It is a collection that uniquely reflects their tastes. Some of the most important artwork in the collection dominates the dining room. Louise Bonnet’s Red Interior with Seated Figure pops off the wall with its striking palette and strong angularity. The homeowners loaned it to the Modern Art Museum of Fort Worth for the recent exhibition, Women Painting Women. On the facing wall, Zipora Fried’s ethereal work on paper Cobalt Blue and Black is composed of cool blues

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Above the dining table hangs Louise Bonnet, Red Interior with Seated Figure, 2021, oil on linen, from Nino Mier Gallery, Los Angeles; &Tradition chairs through Scott+Cooner; custom rug Chris Angelle Design; floral by Chris Angelle.

Zipora Fried, Cobalt Blue and Black, 2015 from On Stellar Rays, New York, hangs on the opposite side of the dining table with custom rug beneath by Chris Angelle Designs.

DECEMBER 2023 / JANUARY 2024

Holly Coulis, Hot Dog Sun, 2017 oil on linen from Klaus von Nichtssagend Gallery, New York.

that act as a counterweight to the warmth of Bonnet’s work. Realized in colored pencil, it has a shimmering quality that changes with the light. “The new house allows us to consider works of sizable scale,” explains Bruder. The dining area is the gateway to cascading spaces such as the cocktail lounge, with seating arranged around a coffee table designed by Angelle. Luter designed the fireplace, with its cantilevered hearth. They look for “quiet moments with art,” Angelle suggests. The bar tucked behind this intimate seating area is one of the magical surprises in the home. Equally enchanting is the transition between the linear, singlestory space, where most of the public rooms and primary bedroom are, and the traditional, three-story part of the home, which is a more private living area. Luter incorporates subtle design elements to contrast the two sides. For example, pocket doors use the same hardware throughout the home. Angelle best sums up the home: “Stepping into the space puts a smile on your face.” Bruder stresses the joy that went into creating such a serene environment, saying, “Bart and Steven make the process so much fun and enjoyable.” Luter concurs, citing the friendship she has formed with the homeowners. And what could be a better outcome than that? P

Eddie Martinez, Cowboy Town Study #8, 2017, oil on canvas, from Mitchell-Innes & Nash hangs above the mantle. Carl Hansen56 and SonPATRONMAGAZINE.COM sofas with a custom table by Michael Wilson.Floral and styling by Chris Angelle Design.

Lawson-Fenning chairs with Rule of Three pillows and an ottoman table by Dmitriy & Co.

Dogs enjoying the expansive primary bath featuring Matthew Fairbank lighting.

Custom bed and chaise pillows by Chris Angelle Design, rug through Interior Resources. Above the headboard hangs John Houck’s diptych, Untitled #196, 159,999 combinations of a 2x2 grid, 19 colors; Untitled #197, 2 colors, #EFE6CE, 6F8ABC, 2015, from On Stellar Rays, New York.

DECEMBER 2023 / JANUARY 2024

Sophia Jani, composer-in-residence at Dallas Symphony. Photograph by Manuel Nieberle.

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The New Town Criers FROM BAROQUE OPERA TO DANCE AND MORE, NORTH TEXAS IS BECOMING A HOTBED OF INNOVATIVE PERFORMANCE. BY LEE CULLUM

he Shock of the New by Robert Hughes was first published in 1980 with the subtitle Art and the Century of Change. Now art no longer shocks, whether visual, as he was exploring, or in performance. The new arrives as commonplace and grows quickly conventional. In the midst of such ubiquity, it’s hard for the original to resonate. Some manage it though, and among the most intriguing is Sophia Jani, composer-in-residence at the Dallas Symphony Orchestra. I track her down by phone in Munich, where she lives with her partner, who plays the piano in the world of pop music. They are expecting “a Christmas baby,” she tells me. “A boy.” Jani is back home after graduate work at Yale, where she studied with Pulitzer Prize–winning composer David Lang. She used her time in New Haven to write Flare, a “huge outburst of sound,” as she describes it, inspired by a poem of the same name by Mary Oliver. “My head was really, really exploding” when she wrote this piece, she recalls. Covid had not receded when she arrived at Yale. She knew nobody, couldn’t look for an apartment, and wrote Flare in a hotel room.

But what a tour de force it is, luminous and powerful. There was a time when Jani was “afraid to use” trumpets, trombones, et al. “I didn’t know what to do with them,” she explains, “but not anymore. ... We are friends now. Trombones,” she adds, “can do anything, like a flute. I love the trombone.” The Dallas Symphony will perform Flare at the Meyerson in March, then again in Munich in June, during a European tour. Jani does not write on a piano, though she is a pianist. Nor does she write on a computer. “If it sounds good on a computer,” she notes, “it’s not necessarily good with an orchestra.... You should be able to imagine what you are doing.” Imagination is her watchword. Also intuition— “that is where the magic comes from,” Jani insists, not the “mathematical approach” relied upon by “male composers [who] dominated the 20th century.” She also wants to “create more mood while performing,” and suggests that lighting could help with that. “It is a time of change,” she says. “We must capture the change.... There is a lot to discover.” The remarkable trajectory of Anuj Bhutani began in Houston in

DECEMBER 2023 / JANUARY 2024

Anuj Bhutani is an emerging composer and performer who created The Endangered. Courtesy of Anuj Bhutani.

the house of two unmusical but distinguished medical parents—his father a gastroenterologist at MD Anderson, his mother an internist, now retired. He went to UT Austin, majored in psychology, and spent a semester in Wurzburg, not far from Sophia Jani’s Munich. There he uncovered in himself a call to music and felt this was something he had to try, though he had no background in it whatsoever. He couldn’t even read music, nor did he know the names of any composers until he went to Germany. So it was back to Houston to explain his decision to “reluctant but supportive” parents. He graduated from UT, then moved on to community college in Austin to start the long road to a different life. It took him, in time, to the University of North Texas College of Music. Since then, his life has been a whirlwind of action. Living now in Los Angeles, Bhutani has just spent three weeks at the Atlantic Center for the Arts in Smyrna Beach, Florida, working with Missy Mazzoli, who’s been called “Brooklyn’s post-millennial Mozart.” In the fall he created a work dramatizing the threatened world of birds for The Endangered, a voice-and-video spectacular produced by the Verdigris Ensemble at Dallas Contemporary. This is a choral piece, which is right for Bhutani, since he sings a lot himself. Now he is putting his bass-baritone on the line as a vocal performer, making 60

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his life a force multiplier with more talents than time but committed nonetheless to everything that comes his way. If it’s Verdigris, it must be artistic director Sam Brukhman, who started the choral group in 2017 and built it into a professional ensemble of rare taste and distinction. This natural musician of Russian-Ukrainian origin is finding the confidence to look beyond his tightly focused vision of flawless perfection to pursue a broader question: “How to create the next generation of culture in Dallas?” He tells me this when we meet one afternoon at my house to think about what comes next. He is “looking for tendencies, direction,” he says. To do that he is reading The Experience Economy by Joseph Pine II and James H. Gilmore, with a special interest in how to “be transported from what you have believed to what you can believe.” One answer that came to him was Bhutani’s The Endangered, a recently performed “mass [that] ... mixes sacred text with very secular text about animals” and features voices and instruments against a wall 110 feet long with visual projections of Gothic arches, the Dallas skyline, and five endangered species, some in motion, all generated by AI. “We’re an art museum. Is it okay to show AI imagery?” That was the question at the Dallas Contemporary when the Verdigris project

Verdigris Ensemble artistic director, Sam Brukhman. Photograph by Richard Hill.

Verdigris Ensemble performs The Endangered at Dallas Contemporary. Photograph by Richard Hill.

DECEMBER 2023 / JANUARY 2024

Verdigris Ensemble performs The Endangered with projections of a black-capped verio at Dallas Contemporary. Photograph by Richard Hill.

came up, according to Lucia Simek, deputy director. “We had some philosophical troubleshooting,” she reports in a phone interview. Brukhman convinced them that AI “opens up more opportunities for more people,” says Simek. Dallas Contemporary is always pursuing the philosophy of art, and nowhere more than in the current show by installation artist Bianca Bondi, who studied Lyndon Johnson’s Highway Beautification Act of 1965 to create “a dystopian landscape,” Simek recounts, with “native Texas plants ... furniture, appliances, salt crystals, dripping water, tubs of water ... It’s beautiful and a little scary.” In response to the exhibition, and in homage to Lady Bird Johnson’s pursuit of the cause, Verdigris gathered women composers to capture her initiative in Beautification, with performances scheduled December 1–3 at Dallas Contemporary. The performance will include light projections that mirror highway driving combined with archive audio of the first lady’s speeches. An artist herself, Simek was recruited by executive director Carolina Alvarez-Mathies to help Dallas Contemporary “fill programmatic holes in the city.” In the performing arts, one of those holes was filled when Hillary Coyle and Eric Mun got together and created American Baroque Opera. Putting “American” in their name was quite deliberate, says piano teacher Coyle, president and fundraiser of the group, when we meet in my living room. “We have great dreams,” which include spreading their art from Dallas to other parts of the country. With artistic director Mun—like Bhutani a graduate of UNT College of Music—conducting while playing the cello, this scrappy company is building an audience by word of mouth, says Coyle. They have “loyal

Lucia Simek. Photograph by Nan Coulter.

PATRONMAGAZINE.COM Courtesy of Dallas Contemporary.

American Baroque Opera performs Acis y Galatea by Antonio de Literes. Photograph by Karen Almond.

George Frideric Handel’s Rinaldo. Photograph by Karen Almond.

American Baroque Opera performs George Frideric Handel’s Rinaldo at Dupree Theater, Irving Arts Center. Photograph by Karen Almond.

DECEMBER 2023 / JANUARY 2024

The DASH Ensemble performed The Power of Collision as part of The Elevator Project. Courtesy of AT&T Performing Arts Center. Photographs by Ken Osadon.

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audiences,” adds Mun. “They come once, they come always.” They can look ahead now to Handel’s Giulio Cesare, set for next spring. Why the success of Baroque opera in Dallas? “Baroque music is rhythmic,” Mun explains, and it requires “actors who can sing rather than singers who can act.” So, it has theatrical flair. Also, ticket prices at America Baroque are attractive: $45 for general admission, says Coyle, and $15 for students. Moreover, the company is not afraid of risk. “Now is the time to take chances,” Mun declares. “They don’t want to see the same stuff. If we don’t take a chance, how can we expect the audience or donors to take a chance?” No stranger to risk, New York choreographer Gregory Dolbashian pitched camp in Dallas in the fateful month of March 2020. Covid was a hindrance, but not a permanent calamity. With business partner Lindsey Morgan he founded a program in Plano for preprofessional dance students that gives them training as artists part of the day plus supervision for online schooling, which they had been doing at home alone. He has kept his ties to New York, but in Dallas, Dolbashian relates late one afternoon at Ellie’s, he found another “base of operations,” that also encompasses the DASH ensemble he started in his home city 13 years ago. A product of the (Alvin) Ailey School as well as the Conservatory of Dance at SUNY Purchase College (State University of New York), Dolbashian dances less at the moment and does more teaching and choreography, especially at Dallas Black Dance Theater. Then there’s DASH, reassembled with local dancers plus some from New York to put on The Power of Collision this past summer as part of the Elevator Project in the Wyly’s Studio Theater. He calls it “hybrid contemporary dance with visual magic and illusion,” then observes that “all innovation is a twist on tradition.” You might say that the fire he incorporates into Collision is both innovative and traditional. Whatever you call it, this dance is destined to always create a sensation. Few, if any, of these efforts ever would have a chance without grants from TACA, The Arts Community Alliance. So the primary energies of president and executive director Maura Sheffler are directed always at keeping these artists afloat. She knows the demands of the work they do, having studied the violin in a prep program at the Peabody Institute of the Johns Hopkins University, at the Royal Conservatory of Music in Toronto, and at the Manhattan School of Music. A guy she met in Round Top, Texas, persuaded her to come to SMU’s Meadows School of the Arts, where he was studying double bass. She did. After getting her degree in violin, Sheffler did graduate work in arts and management and married the guy, Scott Sheffler, who sometimes plays in The Dallas Opera Orchestra as well as other symphonies in North Texas. As for Maura Sheffler, she describes, when we meet in her conference room at One Arts Plaza, the myriad things she is doing to keep hope alive for culture in Dallas. At the top of the list is an arts accelerator that gives six organizations a nine-month crash course in strategy and growth, free to them and funded by a donor. “Nobody has just one need,” says Sheffler, and you cannot “just do one thing [to get an audience] ... You have to do everything”—print, social media, radio, TV. Also, she stresses, for “getting new people ... you must have new resources.” And where do artists go for those? TACA, of course. P Maura Sheffler, TACA (The Arts Community Alliance) Donna Wilhelm Family President and Executive Director. Photograph courtesy of TACA.

DECEMBER 2023 / JANUARY 2024

A Bucolic Revolutionary The Kimbell Art Museum’s Bonnard’s Worlds displays his paintings of voluptuous perception. BY MATTHEW BOURBON

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he French artist Pierre Bonnard might too easily be dismissed as a painter of bourgeoise representations of a charmed and bucolic lifestyle. In some ways this is a fair criticism, but it misses much of Bonnard’s aesthetic shrewdness. Working mostly in Paris and then the south of France, Bonnard depicts casual scenes of friends and family sitting in private rooms or walking idyllic landscapes. His imagery can feel like a version of today’s social media darlings posting self-congratulatory images of their daily activities set amidst beautiful surroundings. But a close look at Bonnard’s Worlds, a stunning exhibition on view at the Kimbell Art Museum, reveals how the artist had a touch of revolutionary painting spirit embedded in his cheerfully colored canvases. A rightful heir to Postimpressionists such as Van Gogh and Gauguin, Bonnard is keen on painting a record of a moment not as a camera was once thought to document a passing instant in time, but as a painting, which builds a slower relationship to seeing and inhabiting our world of the senses. At his core Bonnard is a sensualist. His art is always trying to apprehend a felt experience via a dexterous rendering of light and color. In his best and often most complicated canvases, such as The Bathroom, 1932, Bonnard encourages the viewer to notice nuances like shimmering light dappling on tiled walls. In other cases, he implores us to recognize the variegated colors and textures of greenery seen through a window, or to appreciate fabric designs repeated upon upholstery and wallpaper. He often uses these same colors running hot or cool along bare skin.

DECEMBER 2023 / JANUARY 2024

While the exhibit has examples from all periods of Bonnard’s life, most of his work after the 1900s is markedly brighter and almost fussily modulated. Everything is depicted as scintillating surfaces reflecting the intensity of a southern sun rather than the often-grey Paris sky. Though Bonnard retained a dedication to the domestic themes and commercial patterns similarly seen in the work of his friend Édouard Vuillard, he finds his own method through a persistent application of pigmented layers that suggest a field of light. Look at The French Window (Morning at Le Cannet), 1932, to notice how edges blur and swaths of layered colors become his subject as much as the particularities of the people depicted. One might see this as a distant precursor to the amorphous color subtleties of Mark Rothko or the recently passed Robert Irwin, whose fascination with the ethereal properties of light and color muddled the boundaries between space and artwork. Bonnard and Irwin are generationally distant bedfellows sharing a deep curiosity about the psychological weight of perception. It’s a truism that all artists are in conversations with all other artists. But sometimes that conversation is palpable and concrete, as was Bonnard’s connection and correspondence with Henri Matisse. See how in The Work Table, 1926, Bonnard echoes the flat, upturned perspective and scrubby pale-blue often found in Matisse’s art. Both artists were enamored with the glow of southern France, and each consistently painted scenes of domestic life. More importantly, both men adopted the subject of one’s living quarters as a place from which to gaze into the garden and the realm beyond. What

Above: Pierre Bonnard, The French Window (Morning at Le Cannet), 1932, oil on canvas. Private collection. © 2023 Artists Rights Society (ARS), New York. Left: Pierre Bonnard, The Work Table, 1926, oil on canvas. National Gallery of Art, Washington, DC, collection of Mr. and Mrs. Paul Mellon. © 2023 Artists Rights Society (ARS), New York.

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the exhibition Bonnard’s Worlds reveals is how deeply the artist delved into what it means to see inside and outside simultaneously. This is evident in The Open Window, 1921, where the view inside to outside becomes the main topic, forcing the small head of Bonnard’s wife, and his cat to the bottom corner of the painting. It is perhaps not apparent at first glance, but what makes Bonnard’s paintings more than frippery illustrating the leisure class is the manner in which the artist unifies the material world as an integrated force. Look how in Basket of Fruit, 1946, Bonnard takes the most mundane of subjects and builds a complex symbiosis between every element within the work. The basket merges with the wall. The grapes bleed into the table and chair. It is no wonder that abstractionists of the 1950s would examine such a novel, painterly take on domesticity. They likely cared little for his subject of rooms and people, but instead valued how Bonnard allows all the things he depicts to oscillate between dissipation and binding. This strange confusion between traditional representation and a vaporous shower of color is not the only curiosity about Pierre Bonnard’s art. His toying with the geometry of structure within a painting is in some ways an opposite inclination. Look how the layered boxes in Nude in an Interior, 1935, feel like a version of Piet Mondrian’s careful arrangement of rectilinear shapes. In Bonnard’s painting, flat rectangles overlap in a carefully tuned composition. The brushy character of each box form is activated, creating a wall of visual noise that helps to coyly reveal a standing nude figure. In Dining Room in the Country, 1913, we see an intricate puzzle of angled

shapes that orchestrate our attention from inside a room toward the garden beyond. Everything in this painting is about geometry. Circles repeat. Rectangles echo. Sharp diagonals invite us outdoors, where the artist’s wife Marthe, returns our gaze. In many of Bonnard’s paintings the figure nearly disappears within the colorful illumination. This camouflaging of the human presence helps heighten the intensities of Bonnard’s chromatic depiction of trees, bushes, and receding mountains. In Southern Landscape with Two Children, 1916, we see a vista that is soaked in yellows, greens, and pale purples. The two children seem like frozen garden statues painted in the same orangey yellows as the surrounding foliage. This method of merging subject and background feels uniquely contemporary—think of artists like Francis Ruyter, who plays with background and foreground color in a similar, if flatter, fashion. Pierre Bonnard’s legacy is built in large part on his commitment to creating paintings that embody voluptuous perceptions. His biographical subjects may mirror or diverge from our own daily experiences, but their visual complexities prove they are more than cliché paintings of pretty gardens or intimate bathers. He creates a world of speckled light and firecracker colors not just to make something beautiful, but to envision our world as connected in a profoundly intricate play of parts and materials. His paintings speak of the transitory temperature of shifting moods and leave an indelible imprint of a felt moment, which though long passed, remains present in his surreptitiously adventurous paintings. P

DECEMBER 2023 / JANUARY 2024

This page: On the Casci Plaster ceiling medallion, Princess drop necklace featuring pear-shaped and round brilliant diamonds set in platinum by Harry Winston. Opposite: On the Casci Plaster low-relief silhouette, Winston Cluster bracelet featuring marquise, pearshaped, and round brilliant diamonds set in platinum. Winston Cluster chandelier earrings featuring marquise, pear-shaped, and round brilliant diamonds set in platinum. All at Harry Winston, Highland Park Village.

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An Outstanding

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Ceiling rosettes from Casci Plaster combine with jewels of the season. PHOTOGRAPHY BY CHRIS PLAVIDAL CREATIVE DIRECTION BY TERRI PROVENCAL STYLING BY ELAINE RAFFEL FLORAL BY CONCEPTO, CONCEPTOBOUTIQUE.COM

DECEMBER 2023 / JANUARY 2024

On the Casci Plaster ceiling rosette, Eiseman Jewels Collection 18k white- and yellow-gold six-strand emerald bead-and-diamond necklace with two white-gold stations set with round-cut diamonds. Eiseman Jewels Collection 18k white-gold fan-style earrings featuring emerald cabochon and beads along with diamonds. Exclusively at Eiseman Jewels, NorthPark Center. Silver calla lily by Concepto at conceptoboutique.com

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Draped over the Casci Plaster ceiling rosette, Lydia Courteille Vendanges Tardives 18k gold necklace with brown diamonds 8.41 ct, amethysts 63.35 cts, tsavorites 18.1 cts; Lydia Courteille 18k gold bracelet with amethyst 210.6 ct, sapphires 7.40 ctw, and brown diamonds 1.43 ctw; Lydia Courteille 18k gold ring with amethyst 8.05 ct, white diamonds .31 ctw, sapphires .74 ctw, pure sapphires 1.00 ctw. Exclusively at Grange Hall, Knox Henderson.

DECEMBER 2023 / JANUARY 2024

On the Casci Plaster ceiling rosette, Nan Fusco Aquaprase ring with diamond and tanzanite bezel in yellow gold; 4 ct princess-cut faceted green beryl with white topaz in yellow gold; pear sphene- and-diamond wrap snake ring in yellow gold; natural malachite and azurite moon with double diamond bezel on yellow gold paper clip chain. All Nan Fusco at @carefullycuratedluxury. Silver calla lilies by Concepto at conceptoboutique.com

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On the Casci Plaster ceiling rosette, deBoulle Collection Overlapping Band of sparkling diamonds 2.28 ctw and bands of vibrant emeralds 1.40 ctw are interwoven and crafted in this 18k yellow gold ring. Serpent Coil Bracelet complete with glowing emerald eyes, pave diamonds 5.84 ctw adorn the head and tail in 18k gold. In Greek mythology the Basilisk was king of the serpents. Glowing emerald eyes, pave diamonds 6.70 ctw adorn the head and tail, set on an oversized curb chain in 18k yellow gold. Exclusively at deBoulle, Preston Road. Silver calla lilies by Concepto at conceptoboutique.com

DECEMBER 2023 / JANUARY 2024

Howard Rachofsky, Cindy Rachofsky

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THERE 24TH ANNUAL TWO x TWO FOR AIDS AND ART GALA AND AUCTION PRESENTED BY SAKS PHOTOGRAPHY BY BRUNO, SNAP THE PICTURE, TAMYTHA CAMERON, AND KEVIN TACHMAN

Kevin McClatchy

TWO x TWO presented by Saks

Gene Jones, Jerry Jones, Melissa Ireland

Cornelia Guest

Brian Bolke, Marguerite Hoffman

Georgina Hartland, Dzhamal Yunusov, Khadijah Yunusov, Dana Arnold, Mike Arnold, Meghan Looney

Nicole de la Torre

Jason Derulo

Lisa Runyon, John Runyon

DECEMBER 2023 / JANUARY 2024

THERE: THERE 24TH ANNUAL TWO x TWO FOR AIDS AND ART GALA AND AUCTION PRESENTED BY SAKS PHOTOGRAPHY BY BRUNO, SNAP THE PICTURE, TAMYTHA CAMERON, AND KEVIN TACHMAN

Agustin Arteaga, Carlos Gonzalez-Jaime

Thomas Keller

Danielle Hunter, Suzanne Droese, Leigh Anne Clark, Moll Anderson, Ceron

María Berrío, T. Ryan Greenawalt

Kaleta Blaffer Johnson, Bach Mai

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Jason Wu, Deborah Metrick, Marc Metrick

Kasey Lemkin, Christen Wilson

Dirk Nowitzki, Jason Kidd

Prabal Gurung

Ken Fulk

A PRIVATE DINNER WITH CINDY RACHOFSKY & LISA RUNYON CELEBRATES THE OPENING OF THE NEW GUCCI BOUTIQUE AT NORTHPARK CENTER PHOTOGRAPHY BY KAITLIN SARAGUSA FOR BFA.COM

Suzanne Droese, Nancy Rogers

Fred Perpall, Abi Perpall

Ceron, Todd Fiscus

Lisa Runyon, John Runyon, Melissa Ireland, Cindy Rachofsky, Howard Rachofsky

Nancy Nasher, Isabelle Haemisegger, David Haemisegger

Gucci Dinner in NorthPark Center Park Garden

Moll Anderson, Charlie Anderson

Ivonne Inocencio, Larissa Hubeler

Kasey Lemkin

DECEMBER 2023 / JANUARY 2024

THERE 2023 DALLAS SYMPHONY GALA AND AFTER PARTY AT MEYERSON SYMPHONY CENTER PHOTOGRAPHY BY KRISTINA BOWMAN AND SYLVIA ELZAFON

Lisa and Clay Cooley

Heather Wright, Jamie Klepfer

Mary McDermott Cook and Dan Patterson

Kim Noltemy, Fabio Luisi, Isabel Leonard, Emanuel Ax

Stef Curtis, Kate Bogart

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Jeffrey Rich and Jan Miller

Roger and Marena Gault

Hal and Diane Brierley

Greg and Kim Hext

DALLAS CONTEMPORARY 45TH ANNIVERSARY GALA AND AUCTION PRESENTED BY HEADINGTON COMPANIES AND SEWELL AUTOMOTIVE PHOTOGRAPHY BY BECKLEY, TAMYTHA CAMERON, CELESTE CASS, AND EXPLOREDINARY

Jordan Jones Munoz, Gene Jones

Jacquelin Sewell Atkinson, Peggy Sewell, William Atkinson

Joyce Goss

Brian Bolke, Christen Wilson, Carolina Alvarez-Mathies, Faisal Halum

Nancy Rogers and Brandon Maxwell

Will Boone, Alexis Kerin, Lucia Simek, Alden Pinnell

TK Wonder, Ciprianna Quann

Tramaine Townsend

Emily Edwards, Chloe Chiasson

Gregory Siff

DECEMBER 2023 / JANUARY 2024

THERE THE CULTIVIST SUMMER SERIES AT THE ELAINE DE KOONING HOUSE AND STUDIO PHOTOGRAPHY BY PHILLIP LEHANS

Frank Benson’s “Human Statue Series (Sky Room)” 2005–18

Katia Meade, Anastasia Chernikova, Batoul Farran

Yulia Dultsina

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Kambel Smith’s Capital Building, 2016

Marta Radzyminski

The Cultivist guest with bulldog purchased by Maurizio Cattelan

Frank Benson, Elizabeth Fiore

Karen Bacon, Jane Kim

Frank Benson, The Cyclist (maquette), 2023

WELCH ARCHITECTURE RECEPTION WITH PATRON MAGAZINE AND BENTLEY DALLAS IN PRESTON HOLLOW PHOTOGRAPHY BY VICTORIA GOMEZ

Jared Gaspar, Micah Davis

Vince Poscente, Brad Hillinger

Debora Hunter, Temple Shipley

Cliff Welch, Donna Welch, Candy Brown, Ike Brown

Chris Stewart

Robyn Menter, Candy Brown, Lauren Shipley, Sierra Ruiz

Dylan Welch, Lindsey Liuzzo

Kay Jones, Michael Dewberry

Neil Fisher, Janelle Alcantara

Elaine Kartalis, Joyce Goss

DECEMBER 2023 / JANUARY 2024

FURTHERMORE

Altered Objects of the Readymade A boat rendered inoperable highlights Robert Grosvenor’s exhibition at The Power Station. BY ANTHONY FALCON PHOTOGRAPHS BY KEVIN TODORA

Above and inset: Robert Grosvenor, Untitled, 2023, fiberglass, aluminum and polyurethane paint, 40 x 64 x 190 in. Courtesy of Karma and The Power Station.

Robert Grosvenor, installation view, mezzanine level, The Power Station.

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rom the notable stone-and-concrete path behind The Power Station calling for flat-soled shoes, Robert Grosvenor’s new exploration of the readymade features an altered object that challenges everyday perceptions. Within a metal-framed garage, a boat stripped of movement evokes futuristic qualities. (Can it run without a motor?) At once bleak (its vestiges evoke a dark future) and sensuous in its alluring shape, the impractical boat, also void of a steering wheel, serves as a striking example of Grosvenor’s craft. By removing its functional elements, he challenges viewers to perceive it purely as a visual object, untethered from its conventional use. This piece embodies Grosvenor’s fascination with objects that suggest speed and movement, such as cars, bikes, motorcycles, scooters, and boats. In his 80s now, the artist has been a treasure hunter since the mid-1960s, which spurred this desire to tinker with readymade objects, rooted in an investigation of form. This setup here—reminiscent of Grosvenor’s studio, which is composed of several garages—creates a unique spatial experience. The viewer is invited into a confined space where the relationship with the sculpture becomes more intimate and introspective. Beyond sculptural works, Grosvenor’s artistic expression extends to photography. On display are his playful photographs of snow mounds in a supermarket parking lot, altered with vibrant flocking. These images, displayed on the mezzanine level, recall the sensation of seeing cosmic entities through a telescope. Through his manipulation of pulsating colors against the starkness of the snow, the images are transcendental, though the viewer also observes his keenness for spatial dynamics. Grosvenor’s practice raises essential questions about the nature of art and sculpture. His amended forms, devoid of their original functions, invite viewers to reconsider intention. Along with acceleration, he examines themes of containment. Consider the boat here, as well as his Untitled, 2018, work on view at the 57th Venice Biennale of 2022, of an orange scooter placed inside a gilded shipping container. Grosvenor’s approach to art is not about providing explanations or narratives but about the visual appeal of his creations. He sums up his philosophy simply: “Everything I do, it’s because I like the way it looks.” This statement encapsulates his artistic journey—a journey marked by an exploration of form, color, and the transformation of the mundane into the extraordinary. His work reorients our interpretation of sculpture and photography, urging us to find beauty and strangeness in everyday forms and places. In partnership with Karma, The Power Station’s exhibition of Grosvenor’s work will be on view through March 2, 2024. P

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