Best Of Modern In Dallas - edition.09 September 2021

Page 1

e.9 ‘21

// aia home tour - architect: m gooden design photo: parrish ruiz de velasco


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by Kendall Morgan

PHOTOGRAPHER

THE PEOPLE’S

From celebrities to ordinary Joes and Janes— Dallas-based photographer/director Stewart Cohen empowers through his lens. One can always tell when an image-maker looks at their subjects with an empathetic eye. The work feels warmer and more engaging as we recognize ourselves, our hopes, and our dreams in a fellow human’s visage. This is perhaps why Stewart Cohen has been able to build a decades-long successful career shooting film and video for clients including American Airlines, Dickies,

Fritos, Honda, Pizza Hut, and United Way. He might be selling a product or promoting a service, but his facility at finding every subject compelling is what sets his work above the rest. Legendarily born in an elevator during a Montreal snowstorm to an architect father and actress mother, Cohen moved to Texas just in time to attend college at the University of Texas in Austin. Although he initially planned to become a doctor or lawyer, an early love of photography he developed in high school led him to explore



the medium on the side. “If you’re on the pre-law track, you take a lot of electives, and I took a lot of photos because I enjoyed it. (During one of my classes), this guy my professor invited to speak threw out what the clients paid him to take his images. I always had a math head, and I thought, ‘Hmm, that’s as much as a doctor!’ So, I made my decision.” In the mid-1980s, the easiest way to get one’s feet wet in the industry was to serve as a photo assistant. Having met Texas Monthly creative director Fred Woodward through

his professor, Cohen’s talent impressed him enough to connect the budding shutterbug with one of the biggest names in the industry—legendary fashion photographer Helmut Newton. “Helmut called me and liked me, and the rest was history. I worked for him for about a year and learned a ton of what to do and what not to do. I lived in London and Monte Carlo, and it opened my eyes to international travel. I learned a lot about the business as well as how to be a good person from Helmut. He was always very charming



and self-deprecating.” Cohen was a working photographer when he decided to go back to school at the University of Southern California to study film. Post-graduation, he was torn between residing on the West or East Coast. Because his family still lived in Dallas, he decided the third coast was the ideal place for him to hang up his shingle.

I was able to do here is have my own studio and a staff, which I would not have been able to do in Los Angeles or New York. I got married in ’95, and she got a job in Texas in ’96. I said, “Two years max,’ but then we had kids, and the next thing you know, it’s 2021, and they’re in college. But it’s been great.”

“Dallas has always been on the map. It has a lot of talented people, and there are a lot of talented people who come from here. I don’t come from money, so what

Being located smack in the middle of the country has also allowed him to jet off to LA and back in a single day for castings, while our state tax-free economy means he



View our collection.


could pocket more than the competition for jobs. Cohen has successfully produced visually stunning work for clients across seven continents in the ensuing decades, spending a big chunk of his time on the road. Willingness to take risks has also been fruitful for his career. He licensed images before it was industry standard. When Getty Images took over the visual media industry, he invested in the one remaining agency the monolith didn’t own.

“These guys I knew asked if I wanted to band together and buy Superstock. I wanted to be a silent partner, but by 2019 I became the sole owner. I have about 12 employees in four different countries and four different states. We’re rebuilding the company and are licensing still photography, fine art photography, videos, and illustration. We manage about 20 million assets which is kind of frightening, but that’s my side hustle right now. There’s a huge tech play in that whole world right now, so we’re trying to grow that as well.”




Although Covid has altered his peripatetic lifestyle, Cohen has taken it in stride. He’s spent more time with his family and organizing his office, but his main focus remains his passion for his fellow humans. “I truly love people—they could be celebrities, they could be steelworkers. To me, I treat them all the same, and I treat them with respect. Give me anything you want with people, and I’m down. I’m just as comfortable on a factory

// kpmg // centrum observatory – photo: mesa

floor or with Jane Goodall. I engage people, I enjoy people, and I love meeting people.” Always looking for the next big idea, Cohen has published two books of imagery, including 2010’s “Identity: A Photographic Meditation from the Inside Out,” with subjects famous, infamous and unknown, including Erykah Badu, B.B. King, and the real “Girl from Ipanema” referenced in the iconic Getz/Gilberto Bossa Nova song.


He followed it up with 2019’s “Seeing Red,” a whimsical collection of portraits of redheads photographed in a shadow box (an allusion to the incorrect theory that this follicularly rare populace is on the verge of extinction). He’s currently spending his spare time working on a project focusing on young women doing extraordinary things across the country. Anticipating it could evolve into anything from another monograph to a Netflix series, he says, “we’re shooting stills as well as videos to just kind of get into their heads. It’s really good finding people who have potential. I love being the champion of their story and sharing and empowering them. It goes back to telling stories about people, and what I’m doing there is going deeper.”


As Cohen looks back at his “super-fantastic ride,” he’s as hopeful for the future as he is proud of his past. “I feel somewhat liberated to try whatever I want to, be it in the stills space or live-action space. Technology has opened so many doors and opportunities that we just need to pick whether we are going to walk through door number one or door number two today? (It’s a) great problem to have.” find out more at scpictures.com



sacred spaces

by Kendall Morgan

// anila quayyum agha (b. 1965), a beautiful despair (cube), 2021, laser cut, lacquered steel turquoise, © anila aghaa


// anila quayyum agha (b. 1965), liminal space (Diamond), 2021, laser cut, lacquered steel saffron yellow, © anila agha

Anila Quayyum Agha brings her unique form of abstract beauty to the Amon Carter Museum of American Art. A dichotomy exists throughout each piece constructed by the Pakistani-American artist—the balance between masculine/feminine, public/private, and religious/secular permeate her body of work, from delicate embroidered and beaded drawings to her light-casting laser-cut sculptural installations.

Originally introduced to the Dallas art world during her 2016 Dallas Contemporary exhibition “Intersections,” Agha has also shown at Talley Dunn Gallery and the Rice University Art Gallery in Houston, where Carter curator Shirley Reece-Hughes first came in contact with the artist. “I saw her ‘Intersections’ cube, and I was just fascinated,” Reece-Hughes recalls. “I thought, that’s an artist I really want to engage with, let me find out more. I think abstraction


// anila quayyum agha (b. 1965), black tinted flowers, 2020, mixed media on paper (paper cutout, pastels, encaustic, silver embroidery), image courtesy of the artist and talley dunn gallery, © anila agha


August 28 - November 13, 2021

JEANINE MICHNA-BALES Standing Together: Inez Milholland’s Final Campaign for Women’s Suffrage

150 MANUFACTURING STREET, STE. 203, DALLAS, TX 75207 | 214.969.1852 | WWW.PDNBGALLERY.COM

Image: Ready for Battle, 2019

Artist Gallery Talk: Saturday, September 18, 2021 at 2 PM


// anila quayyum agha (b. 1965), liminal space (Diamond), 2021, laser cut, lacquered steel saffron yellow, © anila agha

is often intimidating to people, and she creates abstract work informed by her heritage, in knowing Islamic geometry, and being raised in Pakistan. I was fascinated by the way she applies such layers.” Throughout multiple conversations over the past three years, Agha refined what ultimately became “A Beautiful Despair” (also the title of the lacquered turquoise cube suspended in the exhibition’s entryway). Inspired by our current fractious political moment, negativity towards

immigrants, and climate change, the show critiques organized religion and the regime of Trump in a way that is both subtle and lovely. One can take a deep dive into the artist’s inspiration or merely enjoy the sculptures and drawings on paper for their craft and meditative quality— the choice is up to you. “One of the key things that comes from her Islamic heritage is the idea that mosques have typically done, which is that geometry puts an order to the chaos,” says


// anila quayyum agha (b. 1965), a beautiful despair (cube), 2021, laser cut, lacquered steel turquoise, © anila aghaa

Reece-Hughes. “With her drawings, she might apply encaustic; she might apply wax, then she’s sewing into all of these drawings. She grew up with her mother doing sewing circles in Pakistan; it was one of the few forums where women could come together and speak their minds. The push and pull of the needle she thinks of almost like a push and pull of the tension of women’s lives.” Agha’s oeuvre’s inherent “craftiness” was negatively perceived when she moved to the United States just before 9/11. Having earned her undergraduate de-

gree in her home country, Agha had learned welding, woodcutting, drafting, painting, drawing, and sculpture. But, because finding raw materials was difficult, she “dumpster dived,” sourcing textiles from old bazaars. Deciding to major in fiber arts at the University of North Texas in Denton for her MFA, she was surprised at the feedback she received from her teachers about her chosen methodology. “Many of our professors don’t know where we come from, and they also encourage you to make work that is Eu-


// michael kenna,agha fifth avenue, new york, york, USA, 2006 // anila quayyum (b. 1965), this old new shade 1, 2020, mixed media on paper (graphite, encaustic, embroidery, mylar), image courtesy of the artist and talley dunn gallery, © anila agha


“fine mid century and modern design” Dallas 1216 N.Riverfront Blvd Dallas,TX75207

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// paolo roversi - audrey, paris 1996

// anila quayyum agha (b. 1965), captive shadow 1, 2020, mixed media on paper (charcoal, encaustic, embroidery, paper cutout), image courtesy of the artist and talley dunn gallery, © anila agha


ropean Western-style,” Agha recalls. “They talk about all the different movements and what happened in the arts since the beginning of time, but it’s always referencing the Western world and never the Eastern part of the world. A lot of my professors said, ‘Your handicraft is too good.’ I was often told my work was too crafty because I was doing it too well.” Nevertheless, she persisted, exploring the relief patterns she was drawn to through distressing, weaving, and

sewing on paper and fabric. The holes and shadows in her work had her looking to explore more three-dimensional materials. Moving to Indianapolis post-graduation to take a role as the associate professor of drawing at the Herron School of Art and Design, Agha learned about the city’s annual ArtPrize event in 2010. Fast forward four years and her first 6.5-foot wooden cube and light piece was chosen out of a field of more than 1,500 entries to win both the


// anila quayyum agha (b. 1965), red wave, 2020, mixed media on paper (graphite, encaustic, embroidery, mylar), image courtesy of the artist and talley dunn gallery, © anila agha


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// anila quayyum agha (b.1965), flowers (green triangle), 2018, mixed media on paper (cutout paper, encaustic, metallic threat, and beads on paper), image courtesy of the artist and talley dunn gallery, © anila agha

public vote ArtPrize for 2014 and the Juried Grand Prize (which she shared with artist Sonya Clark). Showcasing Moorish patterns taken from the Alhambra, that sculpture assured no one would ever look down on the beauty she created again.

‘I’m going to make things so beautiful, it’ll make people cry. The beauty pulls you in, and you’re just transfixed.”

Says Reece-Hughes, “I think in this country (beauty) is viewed as something banal and not as challenging as what an artist should express. She felt frustrated and said,

“Artists struggle a lot trying to find the right language or the right work that will be the continuation of their lifelong work,” she muses. “I think when I was able to make that

Her win gave Agha both the validation she sought and the money she needed to continue her practice.


first cube, I was able to use many of the facets of my own identity. I love pattern; I’m a woman. I’ve seen some really terrible and hard times. I’ve faced immigrant hatred. That particular work really fit the niche in all of my expertise, and I realized this project covers so many things yet is extremely elegant and layered. It creates an environment that’s extremely feminine, but it’s also welcoming.”

As she prepared for her Amon Carter Show, Agha drew on this aesthetic while referencing the fractious moment of the pandemic. Layered patterns she sourced from a trip to Morocco served as a foundation as the mix of shapes created a feeling of shifting ground or being underwater.


“In Morocco, there was this abundance of vertical and horizontal pattern upon pattern upon pattern. In ‘A Beautiful Despair,’ I utilized some of that idea in the tightness of the pattern. I wanted it to be really tight because, over the year of the pandemic, I realized how important community is and how lonely I felt and how bereft I feel when I’m not able to see people physically and touch them. I kind of wanted to make it really tragic and joyful simultaneously because there is the hope that’s always going to be alive. I like the contradictions. I think you can’t appreciate the joy without the pain.” Currently serving as the Morris Eminent Scholar in Art at Augusta University in Georgia in tandem with her artistic practice, Agha is mining this same philosophy for upcoming shows at the Center for Art in Wood in Philadelphia and Sundaram Tagore Gallery in Chelsea, New York. As her reputation grows, she hopes to continue to bring the viewer along in her quest to expose the light inside the darkness of everyday life. “I’m always interested in creating metaphors or crossing boundaries or borders. Much of the work is about life and death and contradictions. There’s so much I see around me that makes me want to continue to make the work that I do because I feel like you can address a lot of very heavy subjects matter with a lot of delicacy.” Anila Quayyum Agha: “A Beautiful Despair” is on view at the Amon Carter Museum of American Art in Fort Worth through January 9, 2022.


MODERN SPACES

5006 Shadywood Lane // $6,400,000 FAISAL HALUM c: 214.240.2575 fhalum@briggsfreeman.com

312 Mathey Court // $574,000 JEFF MITCHELL c. 214.478.8009 jeffrey.mitchell@compass.com

1717 Arts Plaza #1903 // $1,579,000 LYN WILLIAMS c. 214.505.4152 lyn.williams@compass.com

3713 Commerce St // $500,000 LORI ERICSSON c: 214.235.3452 lericsson@davidgriffin.com


AIA DALLAS HOME TOUR

by H. Haberman

// aia home tour - architect: m gooden design photo: parrish ruiz de velasco


AIA Dallas Home Tour returns in-person and virtual If you are anything like me, you are pretty much over having to experience life in the virtual world of Zoom and Instagram. That’s one reason I am so excited to attend this year’s AIA Dallas Tour of Homes, October 23-24. After having been exiled to a virtual platform last year, this year the annual tour will be both in-person and virtual. Combining the best of both worlds, this 15th annual architect-curated tour will feature homes beyond the DFW area with virtual visits to locations in Denton and Tyler. “AIA Dallas celebrates the beauty and diversity of architecture in Texas homes,” says Michael Malone, FAIA, committee co-chair and founding principal at Malone Maxwell Dennehy Architects. “This year’s collection features diverse housing options in terms of style and size.” This years homes are all executed by Dallas architects and showcases homes in Preston Hollow, Oak Cliff, Lake Highlands, Lakewood and Turtle Creek, as well as Tyler and Denton. The three virtual tours include Five House, (a rusticmodern pool casita in Denton), Sugar Creek (a modern home in a wooded setting outside of Tyler, TX), and Gold Crest (a high rise on Turtle Creek Boulevard, whose original design was by notable Dallas architect George Dahl). Virtual tickets will include digital access to these three homes, and an hour-long video walk-through led by the architects. The self-guided tour is Saturday October 23, and Sunday October 24, 10 a.m. to 5 p.m. A variety of // fitzpatrick architects photo: craig blackmon, faia


mod.artists gallery

// photo: parrish ruiz de velasco

jona ramirez | cubensis oil on canvas | 48 x 36 inches


// architect: james e. manning photo: carmen marenco

ticketing options are available to accommodate interests. Tour tickets are $45 for the in-person-only tours, and $45 for the three virtual tours. A combined all-access pass to all ten homes (in-person and virtual) is $75. Tickets are on sale now at www.hometourdallas.com. The separately ticketed Premiere Party is the Thursday before the tour (October 21) and is held at a Forest Hills home which is not on the tour. Tickets are $125 and include hors d’oeuvres, open bar, meet-and-greets with

the tour architects at the Premiere Party, and a combined in-person and virtual ticket to the tour. All ticket holders will also have access to an app that provides an enhanced experience with specific content for each home, maps, insights from the architects and more. For those attending in-person the homes include several must-see locations.


Engage Educate Experience Enjoy

The Dallas Architecture Forum is for everyone who wants to experience inspired design. The Forum presents an award-winning Lecture Series that brings outstanding architects,interior designers, landscape architects and urban planners from around the world, as well as Symposia, Receptions at architecturally significant residences, and Panel Discussions on issues impacting North Texas.

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Bon Aire Drive In Old Lake Highlands, the Bon Aire home is the result of an eight year collaboration between the architectural firm Zero 3 and owner featuring many one-of-a-kind finds in the homeowners collection. This home is modern in design but heavily influenced by the many artifacts and historical materials and details that reflect the owner’s taste and lifestyle. Throughout the house are architectural artifacts — doors, windows, columns, shutters, and light fixtures, some used for their intended purposes and others repurposed. The Bon Aire Residence is both comfortable and modern, yet full of history that makes it a perfect backdrop for the homeowners and their hobbies, collections, and passions. // photo: zero3

Lyre Lane Located in Lakewood, the home is on a corner lot with mature trees. The terrain enables the house to appear to be one story in the front, much like the other homes in the neighborhood, but allows for a garage and an extra room on a lower level. The Lyre Lane Residence, designed by James E. Manning, blurs the separation between inside and outside by focusing on an inner courtyard. Here a mature Japanese maple provides shade and a focal point. The shared spaces face the back of the lot, toward the nearby creek, and are screened from view from the street. The kitchen is bathes in sunlight and the bedrooms are close enough to hear the babbling creek. // dallas arts district walking tours

// photo: carmen marenco


Manett Street The Knox-Henderson area is the setting for the Manett Townhomes. Designed by Modern Living Dwellings, their contemporary style balances well with both the commercial area to the south and residential area to the north. They are comfortable and casual and provide an idea live/work environment. Their linear layout maximizes views and natural lighting, bringing the outdoors in. The townhomes feature museum-quality walls and strategic lighting to highlight the owners’ art. They are wired for state-of-the-art home automation and AV technology.

// photo: wade griffith photography

Stonegate Stonegate designed by PM-AD Architects, draws inspiration from FrankLloyd Wright’s Usonian designs. Usonian homes are known for their flat roofing, passive solar heating, natural light, visual continuity between the interior and exterior. The large windows and doorways effortlessly merge the outside with the inside of the home. The residence is an energy-positive home producing five times more energy than it consumes. Sustainability was the primary consideration during design and construction, and the project is pursuing quadruple certification: LEED v4.2 Platinum, LEED Zero Energy, EnergyStar, and Green Built Texas. // photo: full package media


CADDALLAS.ORG 2020 MEMBERS 500X Gallery Carneal Simmons Contemporary Art Conduit Gallery Craighead Green Gallery Cris Worley Fine Arts Erin Cluley Gallery Galleri Urbane Marfa+Dallas Holly Johnson Gallery Kirk Hopper Fine Art PDNB Gallery RO2 Art Talley Dunn Gallery Valley House Gallery & Sculpture Garden


The Strait Lane Residence designed by DGA Douglas Guiling, is in a prestigious but quiet neighborhood just south of the Hockaday School. A creek running just to the east of the home creates a wonderful natural setting. Large windows, outdoor living areas, and interactive balconies connect the interior to the nature outside. Influenced by Frank Lloyd Wright and Louis Kahn, the home utilizes large overhangs, architect-designed details, and an experience that provides moments of discovery and framed views.

// photo: shoot2sell

Wickmere Mews

// rock, paper, scissors, shoot! - hdr architecture photo: charles davis smith photographer

Strait Lane

Perched on high ground west of the Trinity River, the Wickmere Mews townhome designed by DSGN Associates, provides a sweeping view of downtown Dallas. This single-family residence serves as a bookend to the adjacent townhouse development but maintains its own style. This modest-size lot challenged the architect to use the space efficiently. The home is designed to accommodate the owner’s impressive collection of contemporary paintings. Organized around a centrally located U-shaped staircase, it uses a steel and wood material palette. The bedrooms and living spaces are maximized to bring in exterior light and frame the skyline view to the east and a roof deck provides a spectacular 360-degree view of Dallas. // photo: barry snidow


Five House Denton, Texas Architect M Gooden Design created this accessory dwelling on a strict five-foot planning grid, which is how its name was derived: Five House. It embraces the historic midcentury modern main residence on the property, originally built in 1949. The two structures are connected by entertainment decks and a linear pool. The cabana-like living room and kitchen open directly onto the pool terrace. Operable louvers and shades can be used to create a more private experience. The pitched ceilings and clerestory windows create an open and comfortable experience. It’s simplicity of form, complementary proportions, and planning efficiency make Five House a one-of-a-kind experience. // photo: parrish ruiz de velasco

Gold Crest Turtle Creek Blvd. The 1965 high-rise with it’s wrap around balconies, designed by legendary Dallas Architect George Dahl is one of the most significant buildings on Turtle Creek. WELCH | HALL Architects took the buildings iconic design as inspiration for the fourth floor residence. The apartment is just above the tree line with a view of the Turtle Creek Parkway, the Uptown skyline, and Frank Lloyd Wright’s Kalita Humphreys | Dallas Theater Center. // kong crushes hunger - stantec photo: charles davis smith photographer

// photo: cliff welch, faia

The renovation stripped the unit down to its original state to allow for maximum use of the overall volume. A minimal material palette features oak flooring, cypress millwork, white walls, and sheer fabric along the perimeter glass.


Sugar Creek Tyler, TX Located in a wooded setting near the fast-growing city of Tyler, this home designed by Fitzpatrick Architects, has a strong connection to the outdoors. It uses modern aesthetic and technologies, while also reflecting the rural East Texas vernacular through form and materials. The design of the home optimizes energy consumption and minimizes maintenance. The home has a steel framework structure allows for large volumes of space. It’s generous sweeping overhangs provide shaded areas for entry and entertaining as well as solar protection for the large windows that connect the interior to the exterior.

// photo: craig blackmon, faia

Kessler Parkway

Sugar Creek also features a new commissioned sculpture by award-winning Dallas photographer and architect Craig D. Blackmon, FAIA.

// “rock’em sock’em hunger” - muckleroy & falls photos: charles davis smith photographer

WELCH | HALL Architects, This small simple farmhouse, moved to its current site in 1940 in the Kessler area of Oak Cliff, was run-down and in need of new life. It sits alone, across Kessler Parkway from the rest of the neighborhood, at the foot of the Coombs Creek Trail, tucked into the greenbelt, under the trees, barely beyond the shadows of Interstate 30. The home is a blend of styles, with Texas Regional Vernacular features but officially designated as a Colonial Revival. Despite its historic nature, the home has many commonalities with Modernism.

// photo: cliff welch, faia


// manett

street photo: wade griffith photography

The self-guided tour is Saturday October 23, and Sunday October 24, 10 a.m. to 5 p.m. A variety of ticketing options are available to accommodate interests. Tour tickets are $45 for the in-person-only tours, and $45 for the three virtual tours. A combined all-access pass to all ten homes (in-person and virtual) is $75.

Tickets are on sale now at hometourdallas.com.

// strait lane photo: shoot2sell


modern

cravings // connery sofa, contemporary with a strong architectural appeal and pure lines reminiscent of the mid-century american spirit. available. smink

// sengu, designed by patricia urquiola offers delicate design with simple geometries for cassina. available. cassina

// cora pendant - the lustrous finish and warm illumination by karl zahn. available. scottcooner


your modern

calendar

Modern events and activities make for fun around the Metroplex. WALKING TOURS Discover the Arts District + Explore the Main Street District Ad Ex

ANILA QUAYYUM AGHA + SCOTT & STUART GENTLING Amon Carter Museum of American Art

TOGETHER The MAC

THE BOOK SMUGGLERS Dallas Holocaust and Human Rights Museum

BETYE SAAR Nasher Sculpture Center

JEAN-MICHEL BASQUIAT: “SAM F” Dallas Museum Of Art

PETER HALLEY, ILYA & EMILIA KABAKOV, SHILPA GUPTA, RENATA MORALES Dallas Contemporary

HO TZU NYEN Crow Collection


modern

art galleries

Modern art, exhibits, around the Metroplex. ALEXANDRE HOGUE Kirk Hopper Fine Art

JEANINE MICHNA-BALES PDNB Gallery

LLOYD BROWN + AMY WERNTZ Valley House Gallery

FAVIO MORENO + NARONG TINTAMUSIK + DWAYNE CARTER Plush Gallery

EXPO 2021 500X Gallery

TERRELL JAMES Barry Whistler Gallery

AMY BESSONE 12.26

FRESH FACESG Site 131

LETITIA HUCKABY Talley Dunn Gallery