PATRON's 2020 August–September Issue

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THE ART & DESIGN ISSUE




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KYLE CREWS , Allie Beth Allman and Assoc.

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

August / September 2020

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

Between the escalation of the COVID-19 pandemic and the Texas heat, we are spending much more time indoors. It’s good news for the planet, as our carbon footprint has been substantially reduced over these past months, as well as for the design community, as homeowners look to make those renovations put off for years. To that end, our cover story features a Modernist classic originally designed by Bud Oglesby shown in these pages as tastefully updated by Emily Summers, a longtime friend of the late Texas architect, and Chad Dorsey, who said their intent was “Making everything fresh again without changing the aesthetic.” Fresh feels especially good these days—in this issue find a few fresh takes to consider: a new open kitchen, contemporary game tables, decorative objects, purified air and smart footprints in Haciendas (a new development in West Dallas), and the Kips Bay Decorator Show House, which will teem with ideas when it opens in September. Over the course of publishing Patron, we have remained diverse in our coverage of people of color shaping the arts, from emerging to highly influential artists in the visual and performing arts, arts professionals, and people within our cultural institutions, but we know we can do better. And intend to. In this issue, read about a myriad of artistic voices all with the common goal of sharing their work for others to engage with, from Nitashia Johnson, to Simon Waranch, to Theodora Allen, to the South African artists of Ardmore, to Reinhard Ziegler and Susan kae Grant, and the uplifting story of Kambel Smith, who taps into the strengths of his autism through invented superheroes and detailed sculpture. During Dallas Contemporary’s conversation series, looking forward: art + change in dallas, Darryl Ratcliff said, “Culture can dismantle systemic racism.” He was joined by Terry D. Loftis, Carlson President and Executive Director of TACA; Vivian Crockett, Nancy and Tim Hanley Assistant Curator of Contemporary Art at the Dallas Museum of Art; and Dallas artist J.D. Moore, all there to confront racism within cultural institutions, envisioning a more inclusive future for the arts in Dallas. “Racism is no longer sustainable,” said Ratcliff, an artist, poet, writer, cofounder of Ash Studios, Creating our Future, Michelada Think Tank, and his newest culture platform, Gossypion Investments. “You’re not born to it; you’re reared to it,” added Loftis. Certainly these conversations are where we begin. And Crockett said change will require “Having a lot of uncomfortable conversations.” Diversity is at the fore of fashion too. Gucci, the always eminent forwardthinking house with Alessandro Michele at the helm, has reconsidered both environmental impact as well inclusion with its Off The Grid collection. Valentino’s Pierpaolo Piccioli, whose inclusivity approach is noted both on the runway and within collections, showed a more sensitive and romantic side to menswear this fall with patches of Inez and Vinoodh’s floral imagery. Check them out in Atelier. A final note: Throughout history, people have relied on journalists to report not only the watershed moments of the day, but also the inspiring news this magazine is dedicated to. As our city remains impacted by the pandemic, print journalism—from enthusiast magazines to the Dallas Morning News—suffers, and we need your patronage to overcome this unprecedented period. As I’ve written many times, we thank both our dedicated readership and loyal advertising community for supporting our commitment to the arts. Our next issue, in October, marks Patron’s ninth anniversary. Help us make it a memorable one. #blacklivesmatter #theartsmatter #supportprintjournalism #maskon – Terri Provencal

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CONTENTS 1

FEATURES 42 NATURAL INCLINATIONS For a Modernist classic, Emily Summers and Chad Dorsey remain true to Bud Oglesby’s architectural aesthetic. By Nancy Cohen Israel 50 RESTLESS RUMINATIONS Susan kae Grant and Reinhard Ziegler share Conduit Gallery in concurrent solo shows of recent photographic journeying. By Steve Carter 54 SURVIVOR CASTING Kambel Smith finds his voice through his own invented narrative and time spent with his dad. By Chris Byrne

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On the cover: Emily Summers, of Emily Summers Design Associates, and Chad Dorsey, of MORE Design + Build, thoughtfully renovated one of Bud Ogelsby's Modernist classics. Photograph by Dror Baldinger.

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CONTENTS 2

DEPARTMENTS 6 Editor’s Note 12 Contributors 18 Noted Top arts and culture chatter. By Anthony Falcon Contemporaries 30 SILVER LININGS Simon Waranch, a college senior and Booker T. Washington grad, finds inspiration through his glass practice and the people he meets. By Terri Provencal Studio 32 FOCUSED: NITASHIA JOHNSON A Dallas artist amplifies voices of Black millennials. By Darryl Ratcliff 34 MOONFLOWER IN THE CANYON The tidy, glowing edges of mythic dimensionality of Theodora Allen. By Brandon Kennedy

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Space 36 THE FUTURE OF MODERN LIVING IS HERE 38 MEET YOUR MATCH 39 OPEN RELATIONSHIP 40 WE ARE BECAUSE OF OTHERS By Terri Provencal Atelier 58 EQUIPOISED FOR ECOLOGY AND EQUALITY 60 THE MEN’S ROOM 62 ARCHITECTURAL ARBITERS

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63 DREAM WEAVER By Terri Provencal Furthermore 64 CLOSE TO HOME Kips Bay Decorator Show House to open this September in Dallas. By Peggy Levinson

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CONTRIBUTORS CHRIS BYRNE is the author of The Original Print (Guild Publishing, 2002) and the graphic novel The Magician (Marquand Books, 2013) which is included in the Rare Book & Manuscript Library, Columbia University; Rare Book and Special Collections Division, Library of Congress; Ryerson and Burnham Libraries, The Art Institute of Chicago; Thomas J. Watson Library, The Metropolitan Museum of Art. He is co-authoring the “Best Of” Frank Johnson’s comics for Fantagraphics with Keith Mayerson. He co-founded the Dallas Art Fair, was board chairman of the American Visionary Art Museum, co-chair of Art21’s Contemporary Council, and served on the board of Institute 193, Dallas Contemporary, MOCAD, and the American Folk Art Museum’s council.

John Sutton Photography

STEVE CARTER is a Denton-based arts writer and musician. Carter recommends Conduit Gallery’s current solo exhibitions from longtime Conduit artists Susan kae Grant and Reinhard Ziegler, each showcasing recent work. In this issue, Carter previews Grant’s Collective Ruminations and “On Earth, as in Heaven”: New Work by Reinhard Ziegler, directional shifts for both the photography-based artists. “I really enjoyed my studio visits with Susan and Reinhard,” Carter says. “I’ve come to expect the unexpected from them, and I wasn’t disappointed.”

LAUREN CHRISTENSEN has more than two decades of experience in advertising and marketing. She consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Christensen the perfect choice to art direct Patron.

NANCY COHEN ISRAEL is a Dallas-based writer, art historian, and educator. As regular contributor to Patron, she continues to be awed by the myriad creatives within our community. For the current issue, she enjoyed writing about Emily Summers’ and Chad Dorsey’s magnificent renovation of an iconic Bud Oglesby home. As the fall season gets underway, Nancy is looking forward to cohosting a virtual book club with The Wild Detectives and presenting a series of virtual gallery talks, all under the auspices of the Meadows Museum.

BRANDON KENNEDY recently joined galerie frank elbaz as a partner/director for the Dallas location of the Paris-based gallery. Previously, Kennedy served as director of exhibitor relations for the Dallas Art Fair. He is an avid book collector and peripatetic curator, having utilized both to present FREE DICK HIGGINS at 214 Projects last fall. In Moonflower in the Canyon, Brandon visits with LA painter Theodora Allen in anticipation of her September show at Gallery 12.26.

DARRYL RATCLIFF is an award-winning artist and poet based in Dallas whose work engages communities and mobilizes social issues. Ratcliff is the cofounder of Ash Studios, Creating Our Future, and Michelada Think Tank. He believes that Black Lives Matter and recently launched a new company, Gossypion Investments, to evolve the role of culture in society. In Focus: Nitashia Johnson, Darryl explores the fine-art photography practice of a local artist exhibiting on a national scale. In his spare time, Darryl enjoys both brunch and basketball.

PEGGY LEVINSON shares news of the latest trends and all periods of design with Patron readers, engaging her knowledge in the field as a former showroom owner. Because she is armed with specific expertise in all areas of design, when we heard that the famed Kips Bay Decorator Show House was coming to Dallas this year, we knew it was right up Peggy’s alley. In Close to Home, Peggy visits with the acclaimed Dallas-based designer Jan Showers, one of this year’s cochairs, who gives us the inside scoop.

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sophia Dembling PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Chris Byrne Nancy Cohen Israel Brandon Kennedy Peggy Levinson Darryl Ratcliff CONTRIBUTING PHOTOGRAPHERS Dror Baldinger Charles Davis Smith Sergio Garcia Nitashia Johnson Richard Klein Harmony Korine Pierre Le Hors Katherine McMahon Sean Poreda ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS patronmagazine.com amazon.com/patronmagazine One year $36/6 issues, two years $48/12 issues For international subscriptions add $12 for postage

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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2020, 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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MODERN ART MUSEUM OF FORT WORTH Through January 10

www.themodern.org



NOTED 02

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Due to the uncertainty of COVID-19 safety restrictions, please check the organization’s website for the most current opening hours and exhibition information. 01 AFRICAN AMERICAN MUSEUM Carroll Harris Simms National Black Art Competition and Exhibition will be on view at the African American Museum once the museum can reopen; the exhibition is expected to continue through Oct. 30. The competition and exhibition attract artists of African American descent from around the nation. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART The Carter is currently open and adhering to CDC guidelines. Make your visit to see American art through international eyes in Culture Shock: American Artists from Europe, 1913–1953, through Sep. 6. Opening Aug. 18, Acting Out: Cabinet Cards and the Making of Modern Photography offers the first-ever in-depth examination of the photographic phenomenon of cabinet cards. Also opening Aug. 18, Texas Made Modern: The Art of Everett Spruce resurrects Spruce’s career and his place in the history of American art. Featuring fifty works from fifty years, the exhibition traces the evolution of Spruce’s art. Both exhibitions continue through Nov. 1. Image: Howie, Detroit, MI, George Moore and Fred Howe, 1890s, collodion silver print, Robert E. Jackson Collection. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS While the museum is closed, audiences are encouraged to explore the collection online. When the museum reopens, expect to see Beili Liu: One and Another, featuring two monumental works from Austin-based artist and UT-Austin art professor Beili Liu, as well as Future Retrospective: Master Shen-Long. In these ever-changing times, the Crow asks visitors to keep up to date through their website and social media channels. crowmuseum.org 04 DALLAS CONTEMPORARY The museum is closed to visitors through the duration of the COVID-19 crisis, however, enjoy complimentary digital programming with #dcfromhome. Dallas Contemporary plans to mount a solo exhibition for Yoshitomo Nara this fall. Schedules for the previously planned Vivienne Westwood, Get A Life and Paolo Roversi, Birds will be announced at a later date. dallascontemporary.org 18

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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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05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM While the pandemic continues, the museum will host virtual events through Aug. and Sep., including discussions, screenings, and conversations. Stay up to date through the museum’s website and social channels. dhhrm.org 06 DALLAS MUSEUM OF ART Explore the DMA’s exhibitions and collection through the museum’s website. Flores Mexicanas: Women in Modern Mexican Art surveys representations of women in Mexican Modernism through Sep. 20. My|gration highlights the contributions of artists who immigrated to the US, examines how the movement of people is expressed through art, and illuminates ways cross-cultural connections inform artistic production, through Jan. 3, 2021. Through Oct. 11, Frans Hals: Detecting a Decade showcases two portraits of the same sitter over a ten-year span. Inspired by philosopher Gaston Bachelard’s concept of the psychological significance of rooms and houses, For a Dreamer of Houses presents contemporary artworks that evoke personal spaces and considers the politics of places we identify with, through Jan. 31, 2021. Dalí Divine Comedy showcases selections from Dalí’s most ambitious illustrated series: his wood engravings of the Divine Comedy, by the medieval Florentine writer Dante Alighieri, through Nov. 15. Rethinking the Myth of the American West celebrates the grandeur and explores the diversity of the American West while acknowledging a complicated history that has resulted in social, economic, and cultural adaptation for many, through Sep. 6. Image: Francisco Dosamantes, Three Women with Braids, n.d., lithograph, Dallas Museum of Art, Dallas Art Association purchase, courtesy of the Dallas Museum of Art. dma.org 07 FORT WORTH MUSEUM OF SCIENCE AND HISTORY Project Planet presents the most up-to-date information on what’s happening in our world and what humans might be able to do about it, through Jan. 3, 2021. Though the museum is closed, you can visit its website for fun interactive virtual events and activities. fwmuseum.org 08 GEOMETRIC MADI MUSEUM Currently slated at the GMM is Five in Motion featuring five women artists from Venezuela. The exhibition will remain on view through Oct. 11. The museum is currently open to the public and adhering to CDC guidelines. geometricmadimuseum.org


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NOTED: VISUAL ARTS

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09 GEORGE W. BUSH PRESIDENTIAL CENTER The special exhibit, Liberty & Laughter: The Lighter Side of the White House, presents a behind-the-scene look into the lighter side of life in the White House, through Oct. 4. The Bush Center will hold its annual Forum on Leadership on Sep. 24. Check the website for the most current information and date changes. bushcenter.org 10 KIMBELL ART MUSEUM The Kimbell is currently open to the public and following CDC guidelines. Mark your calendars for Queen Nefertari’s Eg ypt opening Nov. 15. In the meantime, visit the museum for their wonderful permanent collection. Image: Statue of the Goddess Mut, New Kingdom, 18th-20th dynasties, 1550-1070 B.C.E., limestone, 21.25 x 11 x 8.5 in. kimbellart.org 11 LATINO ARTS PROJECT This institution is designed to bring a greater understanding of Latino art, history, and culture through exhibitions and community programs. In partnership with world-class national and international institutions, the museum will return to featuring rotating shows of Latin American and Latinx artists after the COVID-19 crisis. latinoartsproject.org 12 LATINO CULTURAL CENTER The mission of the Latino Cultural Center is to provide the preservation, development, and promotion of Latino and Hispanic arts and culture. The center will resume programming in the fall. lcc.dallasculture.org 13 THE MAC Finding Our Way is a photographic installation designed to serve as the catalyst for conversations on women’s issues in Texas and photography as a medium of self-expression. The exhibition is on view indefinitely and can be viewed by appointment. the-mac.org 14 MEADOWS MUSEUM The Meadows Museum is now open to the public and currently showcasing Berruguete Through the Lens: Photographs from a Barcelona Archive, featuring early 20th-century photographs of works by Alonso Berruguete and his contemporaries from the Archivo Mas in the holdings of the Meadows Museum. Used solely for study purposes since their acquisition in 2003, this is the first time selections from the archive have been exhibited publicly. The exhibition is on view through Jan. 10, 2021. Image: Alonso Berruguete (Spanish, c. 1488–1561), Sepulcher of Cardinal Juan Pardo Tavera, 1561, Carrara white marble, Hospital Saint John the Baptist, Toledo, © 2019 Institut Amatller d’Art Hispànic. meadowsmuseumdallas.org 20

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15 MODERN ART MUSEUM OF FORT WORTH The Modern is currently open and following CDC guidelines. Mark Bradford: End Papers curated by Michael Auping, former chief curator at the Modern, focuses on the key material and fundamental motif the artist employed early in his career and has returned to periodically over the past two decades; on view through Jan. 10, 2021. Ruckus Rodeo will close Aug. 16. Image: Martine Gutierrez, Body En Thrall, p114-115 from Indigenous Woman, 2018, C-print mounted on Sintra, Edition of 2 plus 1 A.P., image: 69.75 x 104.62 in.; framed: 71.75 x 107.75 in. themodern.org 16 MUSEUM OF BIBLICAL ART Since its founding in 1966 by Mattie Caruth Byrd, The Museum of Biblical Art Dallas has greeted over 50,000 visitors annually as a beautiful space where Biblically themed art is exhibited. The museum is currently open and following CDC guidelines. biblicalarts.org 17 NASHER SCULPTURE CENTER While the museum is closed, patrons can still view curated art through the building’s front windows. Nasher Windows features new installations each week of the work of early- and mid-career North Texas artists. nashersculpturecenter.org 18 PEROT MUSEUM It may be dark within the walls of the Perot Museum during its temporary closure, but it’s “lights on” for learning as the museum launches Amaze Your Brain at Home!, a rotating wealth of brainpleasing fun for those at home over the weeks to come. Visit Amaze Your Brain at Home!, through the website. perotmuseum.org. 19 SOUTH DALLAS CULTURAL CENTER While currently closed to the viewing public due to the ongoing COVID-19 pandemic, South Dallas Cultural Center is dedicated to the vibrancy and diversity of the African diaspora. Get to know the institution's work through Black Culture Celebrated, a curated online blog covering the broad spectrum of cultural and artistic expression. sdcc.dallasculture.org 20 TYLER MUSEUM OF ART The museum is currently open and encourages patrons to visit while observing CDC guidelines. Organized by the Tyler Museum of Art, Bits & Pieces: Works By Al Souza features a variety of mixedmedia collages and assemblages from 2000–2010. The works, including the artist’s jigsaw puzzle assemblages, showcase his ability to masterfully combine various parts to create a dynamic whole; on view through Oct. 18. tylermuseum.org


DAVID DIKE FINE ART PRESENTS

Texas Fall Art Auction | October 3, 2020 DAVID DIKE FINE ART will be holding the Texas Fine Art Auction for the 24th year on Saturday, October 3. The sale will be a virtual auction and will feature over 365 lots of early Texas Art ranging from traditional to contemporary works. You may schedule an in-person preview anytime between September 14 – October 2 at Wildman Art Framing, 1715 Market Center Boulevard, Dallas, TX 75207. This exciting sale will be hosted live online by auctioneer, Louis Murad TXS 13362. There will be no in-person/audience bidding, however, phone, absentee and live online bidding will be available. Visit our website for details or call us.

Jennie Haddad (Am. 1906-1996), One O’Clock, 1957, oil on canvas 50 x 38, signed on reverse: Jennie Haddad ’57, $15,000 - $25,000

Seymour Fogel (Am. 1911-1984), Untitled, Red Lyrical Form oil on masonite 40 x 30, signed on reverse: Fogel, $6,000 - $12,000

Virtual Auction Date: Saturday, October 3 • Bidding to begin at 11:00 AM In-Person Preview: September 14–October 2 Preview Location: Wildman Art Framing, 1715 Market Center Blvd, Dallas, TX 75207 Live On-line Bidding, Phone & Absentee. Login and Join us! www.daviddike.com Auctioneer: Louis Murad – TXS 13362

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NOTED: PERFORMING ARTS

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01 AMPHIBIAN Amphibian Stage is currently offering interactive virtual events, including acting classes, and will screen recorded live performances of Cyrano on Aug. 1, Hansard Aug. 12 and 15, Present Laughter Sep. 2 and 5, followed by Jack Absolute Flies Again and Fleabag on Sep. 30 and Oct. 3. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER ATTPAC is hosting digital events through the duration of the COVID-19 pandemic. Currently slated are America: 50th Anniversary Tour on Sep. 19 and Dallas Yoga & Fitness Festival on Sep. 20. Both events are subject to change, but ticket holders will be notified in advance. attpac.org 03 BASS PERFORMANCE HALL BPH remains close due to the COVID-19 pandemic. However, the venue currently has performances slated for the Fort Worth Symphony Orchestra in Sep.; see the listing for the symphony. basshall.com 04 CASA MAÑANA Casa Mañana will return with Matilda the Musical, Oct. 30–Nov. 8. casamanana.org 05 CHAMBER MUSIC INTERNATIONAL Chamber Music International is a nonprofit arts organization that offers exceptional classical music through performances and music-education programs. Stay up to date on the 2020–21 season by visiting their website. chambermusicinternational.org 06 DALLAS BLACK DANCE THEATRE Dallas Black Dance Theatre employs a diverse, multiethnic troupe of dancers performing for audiences of all ages and backgrounds. Currently, DBDT invites viewers to visit #DBDT:AtHome, a series of educational and digital events from the DBDT dancers. dbdt.com 07 DALLAS CHILDREN’S THEATER DCT has cancelled in-person performances through the summer; however, viewers are encouraged to visit the company’s website for digital classes, performances, interactive activities, and performance updates. dct.org 08 THE DALLAS OPERA TDO Network brings a mixture of digital programming that educates, questions, and furthers classical music and the power of opera. With a diverse group of content creators from the opera industry, each series uniquely engages the community further than the live performance experience. dallasopera.org 22

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09 DALLAS SUMMER MUSICALS Dallas Summer Musicals will return with Jersey Boys Nov. 10–22. Image: Cast of Jersey Boys: The Story of Frankie Valli & The Four Seasons, photograph by Joan Marcus. dallassummermusicals.org 10 DALLAS SYMPHONY ORCHESTRA DSO is offering virtual conversations and performances during the ongoing COVID-19 crisis. The DSO will return with Dallas Black Dance Theatre and Project Unity in a concert to honor those who have lost their lives to racial violence and injustice. The Nov. 11 concert is a fundraiser for Project Unity, an organization founded by Pastor Richie Butler of St. Paul United Methodist Church. mydso.com 11 DALLAS THEATER CENTER Tiny Beautiful Things follows Sugar, an online advice columnist who uses her personal experiences to help the real-life readers who pour their hearts out to her. Rich with humor, insight, compassion, and honesty, Tiny Beautiful Things is about reaching when you’re stuck, healing when you’re broken, and finding the courage to take on the questions that have no answers. Dates are to be determined. dallastheatercenter.org 12 EISEMANN CENTER The Eisemann Center main lobby, ticket office, Forrest and Virginia Green Mezzanine Gallery, and administrative office are open to the public Monday through Friday; however, staged performances have yet to be determined. eisemanncenter.com 13 FORT WORTH SYMPHONY ORCHESTRA Asleep at the Wheel is set to take the stage Sep. 11–13. On Sep. 12, Wild, Wild West brings tunes like “Woody’s Round Up” from Toy Story, “Comin’ Round the Mountain,” and selections from Billy the Kid and Grand Canyon Suite. An “Italian” Rhapsody: Verdi, Rachmaninoff and Mendelssohn will play Sep. 18–20. LEGENDS: The Paul Simon Songbook features the legend’s hits Sep. 25–27. Performance dates are subject to change. fwsymphony.org 14 KITCHEN DOG THEATER While Kitchen Dog Theater’s doors are closed, supporters are encouraged to donate to the company through their website to aid the employees and actors. kitchendogtheater.org 15 LYRIC STAGE Lyric Stage will close its 2019/2020 season at the Majestic Theatre with the timeless magical fairy tale, Rodgers and Hammerstein’s Cinderella; however a date has yet to be determined. lyricstage.org


C ABI NE T C A RDS AND TH E M A K I N G

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16 MAJESTIC THEATRE Events at the Majestic Theatre have been postponed until further notice in accordance with Dallas County Declaration regarding COVID-19. majestic.dallasculture.org 17 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, including professional-development workshops, the nonprofit 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 18 THEATRE THREE Mark your calendars for The Rocky Horror Show on Oct. 1. theatre3dallas.com

AUGUST 18– NOVEMBER 1

19 TITAS/DANCE UNBOUND Mark your calendars for the return of TITAS/DANCE UNBOUND with Alonzo King Lines Ballet on Nov. 6. Image: Meredith Webster, Alonzo King LINES Ballet, photograph by RJ Muna. titas.org 20 TURTLE CREEK CHORALE Classic: The Songs that Made the TCC, an exclusive anniversary concert, will feature many crowd-favorite musical moments and memories that have defined the Turtle Creek Chorale, Aug. 1. turtlecreekchorale.com 21 UNDERMAIN THEATRE While Undermain’s doors are closed through the duration of the pandemic, the company is offering online streaming events, many free, throughout Aug. and Sep. Currently slated are free musical performances by Caftan through Aug. 19 and Open Classical Aug. 20–Sep. 5. undermain.org

cartermuseum.org/ActingOut

22 WATERTOWER THEATRE Based on a true story and inspired by interviews conducted by the playwright, Doug Wright, I Am My Own Wife tells the story of Charlotte von Mahlsdorf, an elegant and eccentric 65year old German transgender woman who survived both the Nazi onslaught and the repressive East German Communist regime, streaming through Aug. 2. Young Frankenstein, planned for an Oct. 22 opening, marks WTT’s next engagement. Image: Bob Hess in I Am My Own Wife, photographed by Jason Anderson. watertowertheatre.org

#ActingOutCarter

Benjamin J. Falk, New York, NY, William C. Crane (detail), 1880–1900, albumen silver print, Museum of the City of New York, Collection on Broadway Productions, L2020.11.7

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NOTED: GALLERIES

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39 01 12.26 GALLERY In The Great Outdoors, David Gilbert documents temporal yet epic scenes imbued with romance, desire, and dramatic light that he creates in his studio. Considering the myth of Tiresias and the two snakes, Gray Wielebinski’s Two Snakes confronts various forms that are heavily infused with machismo and Western ideas of masculinity Both through Aug. 22. A show for Los Angeles–based artist Theodora Allen opens Sep. 12. Image: Gray Wielebinski, 9 Baseball Cards, 2020, baseball cards, leather, nail polish, denim, thread, dimensions variable, nine parts, each 3.5 x 2.5 in. gallery1226.com 02 214 PROJECTS Dallas Art Fair–owned 214 Projects, an exhibition and project space at River Bend in the Design District, offers exhibitors the opportunity to present more ambitious gallery installations and special projects on a year-round basis. 214projects.com 03 ALAN BARNES FINE ART ABFA belongs to a family of British art dealers, conservators, and restorers whose roots reach back to London during the reign of King George III. The gallery currently has an online exhibition of Fine 19th & 20th Century British and American Watercolours through the summer. alanbarnesfineart.com 04 AND NOW AND NOW’s exhibition of Leslie Martinez multimedia paintings continues through Aug. 29. The gallery has not announced an exhibition for September as of press time. andnow.biz 05 ARTSPACE111 From Sep. 12–Oct. 17, AS111 will host Virtual Fall Gallery Night: To 40 More, which will present rostered artists as well as some artists who are new to the gallery. Image: David Patrick Dennis, Lucky Velveeta Beef, 2019, oil on canvas, 42 x 36 in. artspace111.com 06 BARRY WHISTLER GALLERY Considering the public health crisis, the gallery will be open by appointment only until further notice. Through Sep., Dandelion and Rose, a site-specific installation by Liz Trosper, may be viewed from inside or outside the gallery. barrywhistlergallery.com 07 BEATRICE M. HAGGERTY GALLERY Color and form take center stage in Pieced + Painted: Galen Cheney + Andrea Myers. Each artist manipulates materials and creates multilayered constructions and collages by piecing together elements of paint, fabric, and collage to explore the space between two and three dimensions. By appointment through Sep. 1. udallas.edu/gallery 24

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08 BIVINS GALLERY Bivins Gallery showcases a concentration on modern, post-war, abstract expressionist, and contemporary art. Additionally, the gallery shows established artists who were and are major figures in seminally historic art movements. The gallery also represents select emerging artists, artists’ estates, and possesses a resourceful secondary-market division. bivinsgallery.com 09 CADD Contemporary Art Dealers of Dallas (CADD) will return to regular scheduled events after the COVID-19 crisis. caddallas.org 10 CHRISTOPHER MARTIN GALLERY Christopher Martin Gallery presents the reverse-glass paintings and limited-edition works of Aspen-based American artist Christopher H. Martin. The gallery is open by appointment only throughout the duration of the crisis. Check CMG’s website for updates. christophermartingallery.com 11 CONDUIT GALLERY Conduit Gallery will open Exquisite Corpse, a collaborative groupexhibition fundraiser with an online preview Aug. 13 and a gallery exhibition through Aug. 22. The gallery will open three new exhibitions on Aug. 29, including “On Earth, As in Heaven”: New Work by Reinhard Ziegler, Susan kae Grant: Collective Ruminations, and Desireé Vaniecia: Been on My Way through October 10. Image: Desireé Vaniecia, It Ain’t Likely, 2019, Flashe on panel, 32 x 24 in. conduitgallery.com 12 CRAIGHEAD GREEN GALLERY The 27th installment of New Texas Talent continues through Aug. 22. CGG invites viewers to visit their website to find current information on their September exhibition, and to view their online series Behind the Scenes, which takes viewers inside artists’ studios. craigheadgreen.com 13 CRIS WORLEY FINE ARTS Cris Worley presents Patrick Turk’s Anthropocosmos, featuring sculptural collages that harmoniously intertwine all living things within the cosmos, through Aug. 15. Next, CWFA will present the third solo exhibition of acrylic-on-canvas paintings by Houstonbased artist Kristen Cliburn. This latest body of work, on view Aug. 25–Oct. 3, is a continuation of her distillation of the physical world into light and color. The show is viewable online and at the gallery by appointment. Image: Kristen Cliburn, currently untitled, 2020, acrylic on canvas, 45 x 41 in. crisworley.com



NOTED: GALLERIES

Kittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 75244 972.239.7957 n www.kittrellriffkind.com

35 29 14 CYDONIA Cydonia is a contemporary art gallery committed to working with artists whose practices reflect conceptual research. The gallery is currently closed through the duration of the public health crisis; check the website and social channels for updates. cydoniagallery.com 15 DADA Through Sep. 25, DADA member the Mesquite Arts Center hosts HEAD EAST—An Exhibition of Dallas Art Dealers Association Galleries. dallasartdealers.org 16 DAVID DIKE FINE ART The gallery specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas landscape painters. Save the date for the Fall Texas Art Auction, Oct. 3. daviddike.com Sprinkles Goblet by Conrad Bishop

17 ERIN CLULEY GALLERY In response to the global pandemic, the ECG Viewing Room offers a virtual exhibition space including architectural renderings, online viewing rooms, and a virtual storefront with capabilities to make online purchases. In the gallery, René Treviño’s Cosmos remains on view through Aug. 22. Additionally, Silver Linings, an in-depth, long-format digital initiative, highlights the gallery’s artists, sharing how they are spending time inside their studios. erincluley.com 18 EX OVO ex ovo is open by appointment during the global pandemic. Digital initiatives that will be brought to life on the gallery’s website are in the works. exovoprojects.com 19 FORT WORKS ART Existing somewhere between a gallery, a cultural center, and a museum, Fort Works Art strives to continually evolve into its own entity, free from the traditional labels of the art world. fortworksart.com

Quench Your Thirst...

in style!

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20 FWADA Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art along with biannual Spring and Fall Gallery Nights. Check the website for updates. fwada.com 21 GALERIE FRANK ELBAZ Since 2016, GFE has served as cultural exchange between Paris and Dallas, highlighting French artists Davide Balula and Bernard Piffaretti, and offers insight into the American



NOTED: GALLERIES

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43 scene, exhibiting artists such as Ja’Tovia Gary, Sheila Hicks, William Leavitt, Ari Marcopoulos, Kaz Oshiro, Mungo Thomson, and Blair Thurman. galeriefrankelbaz.com 22 GALLERI URBANE Galleri Urbane is monitoring the ongoing crisis and responding accordingly. Dates and exhibitions are subject to change with incoming information. Jessica Drenk’s exhibition Transmutations will run from Aug. 29–Oct. 3. The exhibition is Jessica’s first since 2017, features all new work, and introduces a number of new series. galleriurbane.com 23 GINGER FOX GALLERY Ginger Fox Gallery, which is open by appointment, features paintings by Ginger Fox and select emerging and midcareer artists. gingerfox.myshopify.com 24 HOLLY JOHNSON GALLERY Joan Winter: COLOR+LIGHT closes on Aug. 8. Back & Forth commemorates the gallery’s 15th anniversary and features many female artists represented by the gallery. Since the gallery’s opening in 2005, Holly Johnson has presented nearly 125 exhibitions. Through Aug. 22. Image: Margo Sawyer, Synchronicity of Color, 2020, copper, 77 x 34 x 6. hollyjohnsongallery.com 25 KIRK HOPPER FINE ART Sarah Hutt : My Mother’s Legacy and Kathleen Packlick: Misplaced Memory continue through Aug. 22. Next, Dallas Collects Roger Winter, exhibiting major paintings from Dallas collectors, will mount at the gallery Sep. 12–Oct. 16. In response to the pandemic crisis, KHFA is publishing an online magazine, Passage, as a forum for insights, dialogues, and connections. Image: Installation view of Sarah Hutt, My Mother’s Legacy and Kathleen Packlick: Misplaced Memory at Kirk Hopper Fine Art. kirkhopperfineart.com 26 KITTRELL/RIFFKIND ART GLASS Kittrell/Riffkind offers an array of sculpture, goblets, jewelry, scent bottles, paperweights, platters, wall art, and many other treasures, large and small. The gallery and studio features an ever-changing selection of innovative work by over 300 contemporary glass artists. kittrellriffkind.com 27 LAURA RATHE FINE ART By appointment only, LRFA will showcase Carly Allen-Martin and Audra Weaser in a summer exhibition through Aug. 22. AllenMartin is known for her vibrant, brightly hued abstract oil-andpastel paintings. Audra Weaser was raised in Southern California and lives and works in Los Angeles. Next the gallery will host Lucrecia Waggoner, from Aug. 29–Sep. 26. laurarathe.com 28

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28 LILIANA BLOCH GALLERY Tim Best continues his exploration of gender fluidity. Feelings of ’70s reminiscence are imbued in Best’s use of the Polaroid camera, the heyday of which concurred with the artist’s first recollections of sexual awakening. FLASH begins with the photographer projecting his gaze on the model and then suddenly turning it on the photographer, transforming him from subject to object. If you’re of legal age, experience FLASH in person, by appointment, Aug. 3– Sep. 5. Image: Tim Best, Self Portrait Coy Boy #2, 2017, Polaroid, 3.5 x 4.25 in. lilianablochgallery.com 29 MARTIN LAWRENCE GALLERIES MLG specializes in original paintings, sculpture, and limitededition graphics. The gallery is distinguished by works of art by Philippe Bertho, Erté, Takashi Murakami, Pablo Picasso, Andy Warhol, and many others. The gallery is currently open and adhering with CDC guidelines. martinlawrence.com 30 PHOTOGRAPHS DO NOT BEND Women We Have Known A Celebration of Women Artists celebrates the centennial anniversary of the passing of the 19th amendment, giving women the right to vote. The group exhibition features PDNB artists and will debut work by artists new to the gallery. The gallery is open by appointment only. pdnbgallery.com 31 SMU POLLOCK GALLERY The SMU Pollock Gallery is closed until further notice. To keep up to date on the gallery’s reopening, visit smu.edu/Meadows/ AreasOfStudy/Art/PollockGallery 32 THE READING ROOM This project space which, through occasional readings, installations, and performances, explores the many ways in which text and image interact, is currently closed through the duration of the public health crisis. thereadingroom-dallas.blogspot.com 33 RO2 ART Ro2 Art, a contemporary fine-art gallery located in The Cedars, represents a diverse group of emerging, midcareer, and established contemporary artists—many with ties to the North Texas region. The gallery regularly collaborates with organizations such as The MAC and Cedars Union and maintains an exhibition program within the Magnolia Theatre at West Village and other satellite venues. ro2art.com 34 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and research. roughtongalleries.com


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35 SAMUEL LYNNE GALLERIES On Aug. 3, SLG will showcase new artwork by Tyler Shields, David Yarrow, and Metis Atash. The group exhibition will continue through Sep. 26. The gallery is open and encourages patrons to visit their website before visiting. Image: Metis Atash, Matryoshka XLarge “Bella” feat. Dolce & Gabbana, 2018, fiberglass sculpture, acrylic paint, Swarovski crystals (30,000 gems), 24 x 12 x 12 in. samuellynne.com 36 SITE131 Due to current health and well-being concerns, SITE131 is temporarily closed. FRESH FACES from The Rachofsky Collection, rescheduled to open Sep. 2020 to coordinate with the Dallas Art Fair, will open on a yet-to-be-determined date. site131.com 37 SMINK Established in 1989 as a showcase of fine design and furniture, SMINK has become a purveyor of fine products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com 38 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas the largest collection of fine 19th- to 21st-century paintings and sculptures. A solo exhibition featuring Nic Noblique is currently installed at the SWG through Sep. 30. The exhibition can also be viewed online. The gallery is open during the pandemic and adhering to CDC guidelines. swgallery.com 39 TALLEY DUNN GALLERY In response to the COVID-19 crisis, the gallery has launched Virtual Experience, an online directory of exhibitions, interviews, and articles. Talley Dunn will host Leonardo Drew this fall, although a date has not yet been determined. Image: Leonardo Drew, Number 198T, 2019, paint, wood and plaster, 50 x 70 x 24 in. Photograph by Kevin Todora. To stay up to date visit talleydunn.com 40 VALLEY HOUSE GALLERY Through Aug. 15 the gallery will host Lindy Chambers: Obscura and Luke Sides: A Gluttonous Past. Next, Figuratively Speaking is an invitational exhibition about people seen through the artist’s eye, from Aug. 29–Oct. 3. Until further notice, VHG is open by appointment only. Image: Deborah Ballard, “Not-So-Perfect World IV”, 2019, bronze and stainless steel, 78 x 32 x 18 in., edition 1/5. valleyhouse.com 41 WAAS GALLERY WAAS presents a dedication to the South Dallas communities at large with a public mural produced by local artists Brandy Michele

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Adams and Brooklynd Turner. Mindful Murals are visual meditations created by pairing thought-provoking words with beautiful, iconic, and metaphoric imagery as a way of repurposing spaces and creating new ones to inspire acts of kindness, equality, and wisdom in communities. waasgallery.com. 42 WEBB GALLERY Webb Gallery strives to preserve the human spirit though art and design and threads together the common aesthetics of art, antiques, people, places, music, literature, and objects. Mark your calendars for the gallery’s exhibition of new work by Panacea Theriac and Mark Todd in fall 2020. webbartgallery.com 43 WILLIAM CAMPBELL CONTEMPORARY ART Bicameral Endeavors is a group exhibition by gallery artists that celebrates diversity of media, techniques, and styles highlighting the unique creative approach of each artist, through Aug. 29. In these ever-changing times, stay up to date on Sep. exhibitions and events by visiting the gallery’s website. Image: Lloyd Martin, Folio (7), 2016, oil on canvas, 60 x 66 in. williamcampbellcontemporaryart.com AUCTIONS AND EVENTS 01 CULTURE PLACE As an extension of the Dallas Art Fair brand, Culture Place offers the sale of artworks throughout the year, augmented with artist studio visits, conversations, and other online programming. The website is currently focused on Texas galleries, and collectors can easily search by gallery, artist, title, or price, and make their purchase directly through the platform. Invited galleries will refresh their artworks every 60 days, and new galleries will be added. cultureplace.com 02 DALLAS AUCTION GALLERY DAG is currently accepting consignments for their Winter/Spring 2020 Auction. dallasauctiongallery.com 03 HERITAGE AUCTIONS Slated Aug. auctions are the Urban Act Auction on Aug. 12, Photographer Monthly Auction on Aug. 19, Fine & Decorative Arts Monthly Online Auction on Aug. 20, Friday Night Jewels Online Auction on Aug. 18, the Prints & Multiples Online Auction on Aug. 26, and The Curated Home Signature Auction on Aug. 29. In Sep., HA will mount the Texas Art Signature Auction on Sep. 4, the European Comic Art Signature Auction on Sep. 11, the Photographs Signature Auction on Sep. 15, the Design Signature Auction on Sep. 15, the Urban Art Monthly Online Auction on Sep. 15, the Fine & Decorative Arts Monthly Online Auction on Sep. 17, and the Rare Books Signature Auction and the Illustration Art Signature Auction on Sep. 25. ha.com

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SILVER LININGS

Simon Waranch, a college senior and Booker T. Washington grad, finds inspiration through his glass practice and the people he meets. BY TERRI PROVENCAL

Above, from left: Simon Waranch, Reticello Forms, 2020, blown and mirrored glass, 16 x 10 x 10 in. Available at Sandra Ainsley Gallery; 10 x 9 x 9 in. (Sold); 19 x 10 x 10 in. Available at Sandra Ainsley Gallery; 17 x 14 x 14 in. Available at Craighead Green Gallery. Below, from left: Simon Waranch, Pink Reticello Form, blown and mirrored glass, 13 x 5 x 8.8. Available at Craighead Green Gallery. Simon Waranch, Human, 2019, blown glass. Collection of the Imagine Museum.

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S

imon Waranch knew what he wanted to do from a very young age: he wanted to be an artist. At just twenty-one, the artist, who is based in Dallas and Detroit, where he attends the College for Creative Studies, is already part of the art conversation in both cities and beyond. He attributes much of his success to the people who supported his earnest effort to become an artist early on, including his dad. ““The most important lesson my dad taught me is to find something that you love, do that, and the money will come,” says Waranch, adding, “From the beginning my dad pushed me to look beyond the obvious paths, instead to be creative and find what makes me happy.” Earning a spot at the acclaimed Booker T. Washington High School for the Performing and Visual Arts was a game changer for him. “Prior to Booker T., I was in a small, private Jewish day school called Levine Academy, and I was always kind of the weird kid. I wasn’t really around people I could connect to.” The arts magnet gave him the freedom to explore and experiment with different mediums during his visual arts studies. “At Booker T., being surrounded by people that were so talented and so motivated pushed me to motivate myself. I loved the freedom and passion of being around other students that loved what they were doing.” A trip to Italy, where he witnessed glass blowing for the first time, was a pivotal moment. When he returned to Dallas, he learned that Carlyn Ray had just opened Dallas Glass Art. Stimulated by the Italian masters he’d observed, Waranch started taking classes. “Pretty quickly they asked me to be an apprentice and work there during high school.” So began his career working in glass. “They took me on when I had interest but no skills. But over a couple of years her team turned me into someone who was ultimately teaching, demonstrating, and working production for them.” While Ray was an early mentor, he had his first art show when he was nine after applying to exhibit at D Magazine’s Art Slam, helmed by John Sughrue at the Fashion Industry Gallery. “When I arrived to set up it was incredibly funny because it was intended to be for


CONTEMPORARIES adult artists. But I had been accepted and they graciously allowed me to exhibit.” Ever since, he says, “John has given me invaluable advice on what I should be doing in the short and long term.” Outside of Dallas, the Canadian-American glass artist Laura Donefer has been the “most influential” glass artist he’s met thus far. “I was her teacher’s assistant at the Corning Museum of Glass. Laura taught me to always go beyond and reflect yourself in the glass.” And in 2019, the Glass Art Society held a conference in St. Petersburg, Florida, where Waranch was seated next to a woman he hadn’t yet met. A conversation ensued, and he showed her images of his glass works. She bought three on the spot and asked him to ship them to her museum. “I realized then that seated next to me was Trish Duggan, owner of one of the most prestigious glass museums in the world: the Imagine Museum.” A few months later, at a glass auction in Detroit, he gave her a recent catalogue from one of his shows. “A couple of days later she texted me that she liked 12 of the pieces and asked me to send them to the museum.” In a persistence-pays-off story, Waranch reached out directly to developer Craig Hall, whom he admires deeply, when he first read there would be a new Arts District hotel a couple of years ago. When he got no response the first time, “I tried emailing him again, reminding him of my Booker T. background, my overall art bio— including that I was in art school in Michigan where he was from, hoping that this double connection would work—and suggested that a Booker T. graduate should have art in his hotel.” That did the trick. The new HALL Arts Hotel and HALL Arts Residences both have the emerging artist’s work in their collections, including a commission this summer for the residences. On the heels of these successes, he came back to Dallas for spring break in March only to learn days later that the College for

Creative Studies was closing in-person classes due to COVID-19, and he would no longer have studio access. “For the last six years I had blown glass practically every day. It was very hard for me in the beginning. But throughout my life, every time something gets in my way, I look at it from the perspective of what I can do with the circumstances before me.” The necessary pivot gave way to exploring other disciplines. “This COVID-19 period has given me the time to work on digital fabrication and 3-D modeling. I have also been working with assemblages of glass using silicone as a tool to merge glass together and also as a paint. I have been doing a lot of detail surface engraving on a variety of glass pieces too.” These rewarding experiences have shaped and supported his still-blossoming practice. In the last twelve months alone, Waranch has had exhibitions at the Longview Museum of Fine Art, Longview, Texas; Museum of Biblical Art, Dallas; and at Craighead Green Gallery, where he is locally represented. “Having people that support and believe in me has absolutely allowed me to pursue my art.” P

Clockwise, from left: Simon Waranch, Texture Study. HALL Arts Hotel Collection; Simon Waranch; Simon Waranch, Sculpture 1, 2020, stainless steel, 29 x 22 x 15 in., prototype for a future 10-foot sculpture.

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Dallas-based artist Nitashia Johnson.

FOCUSED: NITASHIA JOHNSON A Dallas artist amplifies voices of Black millennials. BY DARRYL RATCLIFF PHOTOGRAPHS BY NITASHIA JOHNSON

N

itashia Johnson has already overcome more in her first two decades on this Earth than many will in a lifetime. This summer, the young Dallas-based multimedia artist and designer was featured in a New York Times project called Surfacing that highlighted work by 27 Black photographers across the country, including luminaries such as Carrie Mae Weems and Dana Scruggs as well as other notable emerging artists such as Miranda Barnes. Johnson’s work highlights the beauty of the Black body and the beauty of nature. Last fall, Johnson had a solo exhibition at the South Dallas Cultural Center called The Self Publication that featured devastatingly gorgeous portraits of young Black people. Like many great artists, Johnson has a unique ability to pull out her subjects’

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inner world. Her use of natural light often imbues the Black people she shoots with an ethereal glow, and it is stunning to see such fine and empathetic portraits of Black millennials. Johnson thinks a lot about mental health—her own and everyone else’s. In our interview, we talk about her childhood, the effects of COVID-19, and her passion for helping young people. “My mom got caught up in the war on drugs, my dad got deported back to Nigeria when I was a kid,” she says. “My aunt, my grandma, my older sibling—they had their own obligations, and it was just hard to take on two additional kids. I remember bouncing around a lot.” Johnson’s voice is incredibly steady as she recounts some of the traumatic details from her childhood, calmly and matter-of-factly,

Nit dig


STUDIO as if she has long since made peace with her journey. “I have seen a lot of stuff, lived in hotel rooms, the projects, went to a ton of different schools. It shifted my perspective of the world. I don’t fault my parents for anything that happened; the world can catch you at a bad moment and break your spirit.” she says. Even though Johnson’s mother is not part of her life, she is grateful to her for starting her on the path to becoming an artist. “My mom was a really good artist. We would doodle on the back of the DART bus, and I thought that was cool and started to create ever since. So I want to thank her for that gift,” Johnson says. From there Johnson started making drawings and giving them to her friends. She then went on to Booker T. Washington High School for the Performing and Visual Arts, Texas Women’s University for undergrad, and the Rhode Island School of Design for a master’s in teaching art and design. Then came another breakthrough: becoming one of five artists (out of over 6,000 applicants) for Sony’s prestigious Alpha Female Creator-in-Residence program. Recently Johnson has been using her lens to document the effects of COVID-19 in Dallas for the New York Times. “We are all going to be affected by the pandemic, especially young people. The young kids who are stripped away from their friends, who are seeing their peers in cages, they are seeing racial tensions at a high point. They are getting hit pretty hard, and as older generations we have to protect them,” Johnson declares. One way she is doing this is by an out-of-school program she has started called The Smart Project. Johnson wants to provide free digital and visual arts–based training to Dallas area youths. “My main reasons for helping kids, for helping amplify the voices in the Black community, are my actual experiences as a youth and knowing that there are kids who don’t have resources. My inspiration is to help others express themselves and learn their importance,” Johnson says. She is currently working on developing lessons that can be done at home and is looking for partners and sponsors to share The Smart Project with more area kids and youths and help spread their stories. Given all that Johnson has personally been through and all that is going on in the world, no one would blame her for being pessimistic. Yet Johnson has chosen to use her creative talents to help the world, tell stories from Black communities, and help kids and young people survive and process their trauma. “I hope the world can see the beauty of this place and why it is not necessary to fight each other,” she says. “I believe there is goodness in this world—you just have to search for it.” P

Nitashia Johnson, First Session. The Smart Project provides free visual and digital-based education and training for Dallas youths.

Nitashia Johnson, Surfacing Project, Protest, photograph.

Nitashia Johnson, Surfacing Project, Protest, photograph.

Nitashia Johnson, Surfacing Project, The Elements, photograph.

Nitashia Johnson, Vernard, The Self Publication, Volume 2, 2019. All photographs courtesy of Nitashia Johnson.

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Theodora Allen in her LA studio with From the Watchtower (Double Moth no. 4), 2020, oil on linen, 58 x 45 in.

MOONFLOWER IN THE CANYON

The tidy, glowing edges of mythic dimensionality of Theodora Allen. BY BRANDON KENNEDY PHOTOGRAPHS BY SERGIO GARCIA

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y pressing the glowing thorax of a housebound dragonfly, the mid-morning silence of the cul-de-sac in sunny Pasadena was lightly broken by a doubling of tones. The lit-up doorbell’s buzzer felt like a sly, knowing nod to the beginning of a studio visit with painter Theodora Allen at her house, perched in the quiet hills of her hometown, last November. The lithesome Allen greets me with her sweet, elderly chihuahua, Mimi, just behind her. We descend into her studio on the lower level while her companion remains upstairs. The space is warm and welcoming, wooden paneling and cabinetry with windows facing the back. We settle in at a table that functions as her desk, surrounded by books and the accoutrements of artmaking. Conversation refracts off stacked tomes featuring artists of the 19th century Arts and Crafts movement, Vienna Secession, Art Nouveau, ’60s California counterculture, the Pre-Raphaelites. We pause to remember poet and songwriter David Berman, his recent suicide, and his unique ability to tangle with emotional depth and sidelong introspection

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regarding contemporary life with both humor and grace, a gift we both embraced and will miss. Atop the stack lies a slim, elegant volume from 2013: Saint Laurent’s fall ready-to-wear invitation in the form of an artist’s book with 49 illustrations of paintings by Allen, tapped for the opportunity by Hedi Slimane while she was still in her second year of the MFA program at UCLA. The year following her graduation, her first major solo show was at LA’s powerhouse Blum & Poe, which continues to represent her. Across the studio, some larger paintings are in process with new elements of large bolts, decorative moth screens, and blooming Datura motifs. Her signature blue hues are met with a new steely grey of the fasteners and metal plates, the milky white of flowering side scrolls, and a gentle rigidity amidst the tension of nature and the advancements of man. Columns and barriers flanked by the trumpet night blooms seeking a pollinator whose form is etched into the decorative screen.


STUDIO To acquire the illuminated imagery, Allen’s medium is oil on linen, with occasionally an addition of watercolor. There is no white pigment present in Allen’s mark-marking process, but rather “a slow adding and removal of opacity, allowing for a precise detailing of the evidence of the process.” As the elements take space, a twinkling of the linen’s weave occurs, calling variances into stars of the fabric or reflections on the surface of water. The artist reveals that she “never has a finished plan, I’m just adding density as I go.” Lying flat on a worktable is a medium-sized primed canvas with large moth wings spread like cards face-up; later, a full moon will grace the center in a window, with the blue-laced wings pinned to the slate of the background structure. This work, From the Watchtower (Double Moth, No.4), would become the centerpiece of her solo exhibition at Gallery 12.26. With the grouping of seven works shown in Light Pollution at Gallery 12.26 in Dallas this September, the painter pares back to the essentials of the passing of a day, a candle’s orbital glow, mirrored pairs of moth’s wings, and spatial bodies ranging from atomic to celestial. A pair of head-sized rectangle canvases show overexposed candle flames enclosed within crimson rings, falling and rising with the hours. All framing devices alternate with gradation, and they grow near and retract from similar architectural elements. An atom and a planet are presented similarly, albeit in a square format. “A balancing act between opposites” Allen remarked. The lunar and lepidopteran image I saw in process at Allen’s studio is the largest, modestly melancholic, and the most visually complex in the show. It reads like a readied pair of lungs about to release a breath that could cause all of its elements to scatter easily into the wind. Rings intertwine with partitioning frames and infinity connects everything. The moon is seen twice, through a window, from a watchtower. An eclipse occurs within a top-edge portal, positioned between twinning infinities with an hourglass grasping it all. Cyclical and never-ending yet touching the contained and the finite. We ascend back to the ground floor living area as Theo rattles

Theodora Allen, Monument, No. 2, 2018, oil paint and watercolor on linen, 67 x 57 in.

off a host of interests and inspiration while scooping up Mimi. Medicinal plants, indigenous people, visionary sacrament, remedies, destabilizers. She wants to show me the view from back deck, imagining a glimpse of the sun as it sets beyond the Pacific. As it is just nearing midday and smog persists, I can only picture the illusion and instead inquire about a local landmark that Theo mentioned in passing. “Suicide Bridge” looms unseen directly behind us, houses on the hill just obscuring that accidental provocation of essential architecture. Theo sometimes roams the arroyo below, looking for fauna and flora, including the nocturnal flowers of the native Datura. The plant is both toxic and seductive, causing hypoventilation, arrhythmia, hallucinations, psychosis, and even death if taken internally. Back up on the bridge, a litany of structural additions have taken place as statistics warrant further protection from the enticement of joining the ranks of those who have met the cosmic unknown once their feet leave the 1912 concrete arch bridge for the last time. Curb, rail, balustrade, chain link barrier, air, arroyo. AUTHOR’S FULL DISCLOSURE: I fell under the spell of Theo’s work several years ago when I first saw a transfixing canvas of hers at the MTV RE:DEFINE auction. Last year, while visiting Mexico City’s premier art fair, Zona Maco, the booth of New York blue-chip gallery Kasmin beckoned me hither with a cobalt talisman entitled The Egg. Echoing both an illuminated manuscript and a tarot card, a complex phalanx of repeated symbols (horror vacui) cap the top, with the ovum resting below. Within dwell a poisonous perennial (Atropa Belladonna) onto which a dragonfly alights (hence, a buzzer delights!). Before I hit the hotel bed that night, a text that Theo had written about the artwork had been directed my way via email. “Don’t have the language in the moment, gather your thoughts later.” She later explained at her studio, stating that she has a practice of writing a text following the completion of each painting. She adds, “Language is generated and evolves from work to work.” Similar to an ancient religious text spanning love, death, nature, and the cosmos, I had it encased in a brushed bronze inset bedside, asking the first and last questions of the day. To the eyes, the mind, and beyond. RIP MIMI. P

Theodora Allen, Infinitude (Moon Window), 2019, oil on linen, 40 x 34 in. Courtesy of the artist, Gallery 12.26, and Blum & Poe, Los Angeles/New York/Tokyo.

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THE FUTURE OF MODERN LIVING IS HERE Smart footprint, air-purifying systems, and green space? Welcome to Haciendas. BY TERRI PROVENCAL

Haciendas is a new West Dallas project from Oaxaca Interests LLC, designed by Lake Flato architects and the landscape design firm Hocker.

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hen great minds think alike and share a common healthy-living goal that also reduces environmental impact, today’s homes get interesting. An exciting partnership between Austin-based Lake Flato architects, Dallas-based developer Oaxaca Interests LLC, and the landscape design firm Hocker resulted in Haciendas, a community of Texas-modern homes with wellness at the core. To boot, clean air advocate Garrett Boone, cofounder of the Container Store and Oaxaca Interests advisory board member, consulted on the project. With shelter-in-place highly recommended, homeowners are rethinking the way they live. Do we really need this much indoor space? Wouldn’t it be better to have larger outdoor areas to enjoy? This new residential development in West Dallas offers fully functional living areas, ultraviolet-light air-purifying systems, fresh air exchange and elimination of potentially toxic materials, a private courtyard, and, yes, beautifully landscaped green space. Appealing to first-time buyers, empty nesters, or those just desirous of clean living, the residences are 1,550–1,850 square feet situated on 5,000–7,500-square-foot lots. Brent Jackson, Oaxaca’s founder, concentrates on urban development within a three-mile radius of downtown, with a predilection for West Dallas. His first foray into the neighborhood began with the development of Sylvan/Thirty, a mixed-use project complete with a butcher and baker and coffeemaker, which a decade later has become a family-centric epicenter in the neighborhood.

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“We focus on strategic and community-based regions, and we look holistically at an area of interest,” Jackson says. He says he fell in love with Lake Flato’s work while staying at the Hotel San José in Austin with his bull mastiff. “I have an appreciation for those that focus on design and aesthetics and space-making,” he explains. He earned his BFA studying painting and sculpture before his master’s degree in business administration, both from the University of Texas at Austin. The project’s lead architect, Lake Flato’s Grace Boudewyns, says Jackson “brings us in on the big-picture ideas.” To prepare for the job, she first looked to the bungalows in the area to inform Haciendas’ design. “The goal is for them to blend into the other homes so they wouldn’t stick out on a typical street.” With the residences’ great setback appeal, she says, “The biggest move we made was reducing the footprint of the house to maximize the lot size.” Natural light from large windows in every room and an open floor plan maximizes the interior space, making the homes appear larger. “Our firm has a very holistic approach to sustainability.” Accentuating the indoor-outdoor experience, frequent Oaxaca collaborator, landscape architect David L. Hocker, brought his award-winning sensibilities. “We used native species that are very hardy and able to endure extreme climates,” Jackson says. “The consumer sees this as an invaluable part of the concept.” Haciendas’ convenient location, just about a mile or two from downtown and the Dallas Design District, completes the package. P


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Haciendas home primary bedroom view.

The open floor plan adds a sense of space to the modest interior footprint of the home.

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MEET YOUR MATCH Teckell tackles classic games with modern ingenuity.

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ired of binge-watching? More time spent at home doesn’t need to feel endless. Tonight it’s game on with a luxury recreational table from Teckell, available through Scott + Cooner. This swanky Italian brand marries art and design with a selection of indoor pieces fashioned to elevate tabletop games to an ultramodern sport. Cue up for family night with the unrivaled T1.2 Gold Limited Edition nine-foot pool table. Versatile and eclectic, it wins big with its impressive novel system of interchangeable magnetized side walls and sophisticated hand-stitched leather. Choose from a host of worsted-wool playing-field colors that even Pantone would envy. All Teckell tables are created using modern design technology through CNC manufacturing, delivering matchless precision. Distinguishing features include table legs made of clear tempered crystal with doublebevel edges, and a solid oak ebonized base with a shiny stainless-steel structure. Each table comes with a complete Teckell biliardo set, and when not in use, these tables bring minimalist style to any living area. For table-soccer fans, the brand’s 90° Minuto Foosball Table offers an unexpected spin on the timeless pastime. Dreaming of the high seas? The slender Canaletto wood legs and structure evoke sailing yachts, while the handsome crystal playing field redefines contemporary furnishings. Players will love scoring in goals made with polished stainless-steel frames, and handcrafted white or black nets add to the charisma. Corner ramps keep the ball in play until the last minuto.–Terri Provencal

Above: Teckell Biliardo Collection T1.2 Gold Limited Edition nine-foot pool table in chocolate. Below: Teckell 90° Minuto Foosball Table. Both available through Scott + Cooner.

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OPEN RELATIONSHIP A SieMatic kitchen embraces favorite living areas within a family home.

An open kitchen concept from SieMatic’s PURE Collection enriches a family home. Photograph by Sean Poreda.

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arit Bentov Schwarz, SieMatic San Francisco’s project manager and designer, received an open invitation to create a client’s dream kitchen. “The homeowners requested an open design that would adjoin the family room, dining room, and backyard,” says Schwarz. Essentially, the kitchen would become the home’s epicenter, fashioned for family conversations and entertaining. To achieve this, Schwarz cooked up a design with a modern feel that was not too contemporary to align with architect Jeff Alan Gard’s vision, an infusion of rich natural light informed by the architecture. They selected from SieMatic’s PURE Collection meant for gourmands seeking German precision, impeccable quality, and concept design fluid with the architecture. The completed project was a hit. This ID International award-winning design has counters topped with Neolith from Fox Marble and cabinets finished with a wood grain laminate in graphite grey. “The sink façade and the island have no handles, to achieve the modern and smooth look. We added black handles for the appliances [Miele and Subzero] and pantry façade,” says Schwarz. You can work in the kitchen with a view of the entrance to the home and the backyard, making this design a breath of fresh air.–Terri Provencal

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WE ARE BECAUSE OF OTHERS A Zimbabwean artist creates a circular community with Ardmore ceramics available at Elements. BY TERRI PROVENCAL

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n a small farming community, in 1985, an arts ecosystem germinated. Fée Halsted, a newly married Zimbabwean ceramicist, brought promise with her when she moved to be with her husband on Ardmore farm in the foothills of Drakensberg Mountains in KwaZulu-Natal, South Africa. There she trained ladies to help her model and paint pottery. One early apprentice was Bonnie Ntshalintshali, the housekeeper’s daughter, who had polio and couldn’t work in the fields. By 1990, Ntshalintshali and Halsted worked synergistically and won a prestigious prize, the Standard Bank Young Artist Award. Soon word spread and others came to Ardmore hoping Halsted would teach them the ceramic trade too. Ed Pascoe, an antique dealer since the ’70s, was educated in African studies and bought antiques in South Africa every few years. In 2008, at an antique show in Johannesburg, he discovered Ardmore Ceramics and bought 40 pieces. The pieces were immediately snatched up by his discerning clientele upon his return home, so he placed a second order for 100 more. “My love

Above: A stunning urn and wallpaper exemplify the detailed intricacy of Ardmore. Below: Ardmore leopard bowl.

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of ceramics all my life fueled my enthusiasm,” he says. He is now the US distributor for Ardmore. Today, under the motto We Are Because of Others, Ardmore employs about 85 Zulu, Zimbabwean, and Sotho potters in the Midlands of KwaZulu-Natal. They are given training, materials, and a studio to work in. What began as women’s empowerment project is now an empowerment project for the community, reflecting reinvented traditions, rhythm, and color. Flaunting detailed intricacy, each piece is typically made by two or three artists. The pieces are individually thrown on a potter’s wheel, sculpted, then hand-painted—all by artists who have not had any previous formal art training. “This talent is all natural talent that Halsted has cultivated and developed,” says Pascoe. “Fée is an amazingly creative, resourceful businesswoman, even though where she lives has shades of second- and third-world countries and there are frequent power outages.” She’s lost many of her artists to AIDS, including Ntshalintshali, who had a museum named after her, and Wonderboy Nxumalo, who used monkeys as symbolism for his AIDS-awareness works. “Despite all the adversity, she has survived and developed this business. Hundreds of families live off this work and they are making 20 times more than their neighbors working in the farms and fields.” Connie Sigel, the founder and owner of Elements, was in South Africa in 2014. “I had read about Ardmore in a few art publications more than 20 years ago and was immediately mesmerized by the complexities of the handmade and exquisitely painted ceramic art. Many years later, on a trip to Cape Town, I made my first purchase of Ardmore.” This summer she met Pascoe at his Aspen trunk show, was reminded of the beauty of Ardmore, and placed an order for a September trunk show. While Ardmore’s emphasis has been exclusively on African animals for their wildlife collection, Pascoe commissioned a new line to release for the first time at Elements called Cats of the World, featuring panthers and jaguars from North and South America, bobcats from the US, and leopards, lion, and cheetahs. “Connie has a great eye, knows quality and knows her customers. Elements is a perfect place for Ardmore to be,” Pascoe enthuses. Ardmore ceramics are found among numerous collections, including Museum der Kulturen, Basel, Switzerland; American Folk Art Museum and the Museum of Arts and Design, New York; Wiener Museum of Decorative Arts, Florida; and the South African National Gallery in Cape Town. Halsted’s daughter collaborated with Hermes to produce limited-edition scarves over the years, and today the Ardmore Design division makes housewares of all kinds, including tablecloths, table runners, placemats, pillows, and wallpaper for Cole & Son. “I love the fact that every work of Ardmore art supports not only the artist but often their immediate and extended family as well,” says Sigel. “It is a true community collaboration unlike any other, and I am so honored to help promote this legacy of South African artisans.” P This page, above: Giraffes towering over Acacia trees in the Bushveld of South Africa inspire the Ardmore artists. Below: Ardmore sable antelope teapot.

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For the home originally designed by Enslie “Bud” Oglesby, Emily Summers Design Associates and More design + build teamed up to preserve the late architect’s original intent for a modern, light-infused family home. Beneath the staircase: Kevin Box, Rock Paper Scissors; Right: Mark Mackinnon, La Grande Roue, Paris No. 2. Photograph by Charles Davis Smith. 42 PATRONMAGAZINE.COM


NATURAL INCLINATIONS

For a Modernist classic, Emily Summers and Chad Dorsey remain true to Bud Oglesby’s architectural aesthetic. BY NANCY COHEN ISRAEL PHOTOGRAPHY BY DROR BALDINGER AND CHARLES DAVIS SMITH

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Rare vintage Paul Evans sculpture-front console (1967); Harvey Probber rosewood dining table; Holly Hunt chairs; Jean de Merry Lumiere chandelier. Photograph by Dror Baldinger.

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ight, line, and livability are among the timeless elements that define the architectural style of the late Enslie “Bud” Oglesby. With deference to his iconic design, Emily Summers, of Emily Summers Design Associates, and Chad Dorsey, of MORE Design + Build, undertook the renovation of one of his late Modernist classics. “It was so wonderful to work with a Bud Oglesby design,” Summers says. She had a special friendship with Oglesby, formed when she worked at the Dallas Museum of Art in the early 1990s. “He had lunch there every single day. We got to be friends. He was such a humble, elegant architect. He left us with a lot to work with,” she muses. Oglesby, whose creative influence set a standard in Dallas for decades, designed this home for his sister and her family in the late 1970s. The current homeowners are only its second inhabitants and

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were enthusiastic participants in its transformation. According to Summers, “They have an adventurous spirit.” She and Dorsey combined the clients’ tastes with Oglesby-inspired details in such a way that honored the architect while bringing the house up to date. “The house hadn’t been modernized and was kind of bulky. We thought about what he [Oglesby] would have done,” Dorsey says. The intention was, he adds, “Making everything fresh again without changing the aesthetic.” Aside from modernizing the bathrooms and kitchen, they made only a few other major changes. One of the significant alterations, however, included detaching the staircase from the wall and sheathing it in glass. A bank of small windows was replaced with a glass wall. The resulting view is punctuated by a privacy wall that Dorsey added to the exterior. Beyond the scenic, it also provides an aesthetic function. “The serpentine wall mimics


Custom mural by John-Paul Philippe through Barry Whistler Gallery; Elson & Company rug; Crafts sofa; Image caption. vintage 20th-century armchairs; Troscan cocktail table; vintage Harry Balmer for Laurel Lamp Co. Brutalist table lamps, 1960s; vintage game-table chairs by Vladimir Kagan. Photograph by Dror Baldinger.

the second floor catwalk,” Dorsey explains. The result is a continuous curvature of line that extends through the home’s atrium. This particular design element, of reflecting the exterior in the interior, is a hallmark of Oglesby’s architectural vision. Summers continued this echoing in the living area. Limestone flooring seamlessly transitions to the infinity pool beyond the windows. Overlooking Turtle Creek, the pool was another addition to the home. Within, Summers plays with the notion of lying by the pool, albeit from indoors, by installing a Jim Zivic hanging chaise in one corner of the living room. The stainless-steel frame suspended by jewel chains cleverly creates a visual link between interior and exterior while also providing an anchor in this spacious area. The living room presented a unique quandary. “The biggest challenge of the house became the biggest opportunity,” Summers

says. One long, uninterrupted wall stretches across the length of the room. “It was hard to imagine the amount of artwork it would take to make it a special opportunity,” she adds. To bring unity to the space, the team commissioned Dallas-based artist John-Paul Philippe, represented locally by Barry Whistler Gallery, to create a large-scale, site-specific mural. “John-Paul’s work was an important solution to unify the space. The feeling of this mural lends itself to the house. The curved spaces reflect the stairway,” Summers explains. Dorsey concurs, adding, “His inspiration and watching his process was really unique in that space. It anchors the entire room.” While the sinuous architecture is echoed in the mural, the room’s furnishings play off its palette. The sitting area directly beneath it, with its creamy couch and vintage armchairs on a deep-blue rug, complements Philippe’s work. Each end table is accented by a

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Shadows play throughout the day on this modern home. Photograph by Charles Davis Smith.

Jean Prouve Potence lamp; Jens Risom A-Chairs with Hella Jongerius for Maharam fabric; custom blackened steel-and-lacquer cocktail table by Emily Summers Design Associates; artwork through Christopher Martin Gallery. Photograph by Charles Davis Smith.

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Jim Zivic leather-link hanging chaise (2012). Photograph by Charles Davis Smith.

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Charles Eames lounge chairs for Herman Miller; Pamela Sunday for Studio Van Den Akker table lamps; custom shagreen-and-oak nightstands by Emily Summers Design Associates. Photograph by Charles Davis Smith.

Athens Silver Cream marble’s striated patterning enhances the primary bath; rug by The Rug Company. Photograph by Charles Davis Smith.

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Royal Botania outdoor lounge furniture offers a place to enjoy the landscape architecture by Mesa Verde. Photograph by Charles Davis Smith.

vintage 1960s Brutalist lamp designed by Harry Balmer for Laurel Lamp Company. “I’m a particular fan of Brutalist lamps,” Summers says. An adjacent seating area, with its blue marbled-covered sofas, creates a bookend to the room. Oglesby’s clean design made it an ideal house for the homeowners’ art collection. “The great architects leave you art walls that are well lit,” Summers says. Oglesby’s trademark use of abundant natural light makes the home particularly conducive to sculptural work. Tracey Emin’s neon work I Will Wait For You pops against the pristine white walls. For the wall opposite Emin’s work in the entry hall, Summers acquired Brie Ruais’ Mapping Studio Floor, Abrons (Jackson Pollock Palette on my Floor), comprising 53 glazed ceramic pieces. As Ruais’ work is drawn directly from nature, this installation, too, echoes the connection to the natural world just beyond the front door. Summers is particularly drawn to ceramics as a medium. In addition to its elegance and ability to withstand natural light, she also cites the accessibility of the material as part of its appeal. Nearby, Kevin Box’s sculpture Rock Paper Scissors nestles perfectly under the curved staircase. The large boulder at the base grounds the work to the earth while the scissors delicately balance a soaring,

stainless-steel crane in flight, creating an airy, upward energy in the space. Photographer Mark MacKinnon’s La Grande Roué, Paris No. 2 repeats the circular motif created by the architectural elements. Throughout the home, there are fusions of art and design. A console by Paul Evans, the Brutalist-inspired, mid-20th-century American designer, sculptor, and artist, serves as a focal point in the dining room. “This is one of the most spectacular of Paul Evans’ pieces,” says Summers, adding, “We did everything to highlight this incredible work.” Placed against a wall of windows in the dining room, the console, crafted in 1965, seemingly floats in the room. The myriad geometric forms on its doors create a dynamism that is echoed in the Jean de Merry Lumiere chandelier installed over the Harvey Probber rosewood dining table. The smoothness of the table is a sensory foil to the textured console. With their light touches, Summers and Dorsey organically paid homage to Oglesby’s signature aesthetic while adapting it to a new century. “The original house shines through with new updates that take it to the next level,” says Dorsey. As for the homeowners, they are the fortunate heirs to a Modernist treasure as fresh and contemporary today as when it was built 40 years ago. P

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Artists Susan kae Grant and Reinhard Ziegler. Photograph by Richard Klein. Photographs courtesy of the artists.

RESTLESS RUMINATIONS

Susan kae Grant and Reinhard Ziegler share Conduit Gallery in concurrent solo shows of recent photographic journeying.

BY STEVE CARTER

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he photographic visions of Conduit Gallery artists Susan kae Grant and Reinard Ziegler are worlds apart in many ways, but the two have much in common: both are restlessly creative, their work has evolved over the decades, exploring new possibilities with each series; she taught at Texas Woman’s University for years, he taught at Southern Methodist University; and as colleagues, gallery-mates, and friends, their mutual admiration goes way back. Now, with a tandem opening on August 29, each has a solo show at Conduit Gallery: Susan kae Grant’s Collective Ruminations and “On Earth, as in Heaven”: New Work by Reinhard Ziegler run through October 10. “Susan and I spent a lot of time talking about each other’s work as it was evolving,” Ziegler reveals, “and a lot of it is kind of metaphysical and deals with matters of the spirit, and matters of the heart.”

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Clockwise from left: Susan kae Grant, Diamond, 2020, archival inkjet print 42.5 x 31 in.; Root, 2020, archival inkjet print, 42.5 x 31 in.; Respirator, 2020, archival inkjet print, 31 x 42.5 in.; Shelter, 2020, archival inkjet print, 42.5 x 31 in. Courtesy of Conduit Gallery.

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Clockwise from left: Reinhard Ziegler, One set apart, 2020, 34 x 34 in., archival pigment print; What you’re waiting for is already happening, 2020, 34 x 34 in., archival pigment print; Cosmology simplified, 2020, 34 x 34 in. archival Pigment Print; Devotion’s reward, 2020, 34 x 34 in. archival pigment print. Courtesy of Conduit Gallery.

Grant’s imaginings have long embraced a shadowland of intrigues, and she’s arguably best known for her ongoing Night Journey project: highcontrast vistas of a dreamlike terra incognita that are phantasmal, exotic, foreign, and familiar. With Collective Ruminations the artist turns toward the light with a white-on-white aesthetic that quietly heralds a new direction. Having said that, the exhibition’s 12-plus images are a product of many of Grant’s go-to methods and strategies, including countless hours of in-studio scene building, patterning, lighting, fabrication, and manipulation. But with these works she also brings documentary elements from outdoors into the mix, including location-shot trees from the US. Europe, and Asia. “I don’t enjoy working on location,” she admits. “But I think about these trees as representing pathways, road maps, blood vessels, stability; they have roots and a sense of grounding…” The seeds of this series are numerous, including Grant’s retirement from teaching, the deaths of her parents and father-in-law, her fascination with the near-death experience and its association with white light, and her lifelong interest in meditation, among many others. “I just really started looking at who am I in the world and thinking about how do we find places of peace?” she says. “And what I started thinking about the most is that no matter how much you get peaceful, there’s all these things, these ruminations, these ideas that cloud into your mind.” On a visit to the British Library in London, Grant took a photograph of a white sculpture against a white wall, and that image sparked an avalanche of white-on-white exploration. “To me it just started imbuing this place of beauty, vulnerability, tranquility, a sense of peace,” she remembers. “That’s where it all started.” Another key element at play is Grant’s utilization of appropriated illustrations from dictionaries, encyclopedias, and historical sources. Essentially, she’s curated her own language of pictographs, with each line drawing bringing a surface meaning to the work as well as a deeper symbolic significance. Spiders, bugs, plants, snakes, coat hangers, pollen, body parts, and more—Grant says, “I call them icons, or symbols, that are the interruptions in our thought and peace. And the title of the show, Collective Ruminations—they’re the things we ruminate about, worry about, think about.” The contemplative series is a whispered-shadow triumph of self-reflection, universality, metaphor, and meaning. Reinhard Ziegler’s “On Earth, as in Heaven” comprises 16 large-scale color landscapes that invite close engagement; each of the works features a seductive trompe l’oeil portal that shuttles viewers into a realm beyond, skewing the physical world with a metaphysical window. Usually the province of poets and philosophers, musings on the eternal and temporal are rarely attempted in photography, but Ziegler’s ambitious gambit pays off. The series began on a vacation trip to Carmel-by-the-Sea, California. Ziegler was so gobsmacked by the natural beauty that he knew a return journey was inevitable, with gear and assistant in tow. “Once I settled down from the sheer gorgeousness of the place, I was, like, ‘now what?’” he says. “It’s beautiful, but we’ve seen it all before.” So eschewing the facile temptation of wish-you-were-here postcardishness, he opted for the road less traveled, with spectacular results. The philosophical and titular underpinnings of the show derive from a small book on the Lord’s Prayer that someone had recommended to the artist. As an avid reader of philosophy, theology, and science, self-described nerd Ziegler sought to infuse the series with a spirit of the transcendent. “And here I am looking at this sublime beauty in Carmel, which looks kind of like heaven to me, but it’s Earth,” he recalls. Fully immersed in the work, the artist’s cup runneth over. “It was, like, look at this, look at this! I realized I was having this rare gift of repeated transcendent moments.” With their digitally colorized geometric fields, the works feature incredible detail, thanks in no small part to the uncanny expertise of Susan kae Grant, who printed them in her studio. The resulting three-dimensionality, as the “pop” of the manipulated masking jumps out from the real world, is a subtly surreal seduction. “The hope is that viewers will pause, take more time, appreciate the details, and think, ‘I’ve never seen it that way,’” Ziegler enthuses, adding, “It’s going to be fun—we’re both taking some pretty big leaps.” P

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SURVIVOR CASTING Kambel Smith finds his voice through his own invented narrative and time spent with his dad. BY CHRIS BYRNE

Opposite: Kambel Smith at the Outsider Art Fair, 2019, Metropolitan Pavilion, New York City. Photograph by Darian DiCianno. ©BFA 2020.

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n 2019 Kambel Smith had one-person exhibitions at the Atlanta Contemporary Art Center, Atlanta, Georgia; the Elaine de Kooning House, East Hampton, New York; and I had the pleasure of presenting his work at the Outsider Art Fair, New York City. His work was also featured in One Day You’ll See: A History of Afrofuturism, curated by Brian Chidester at the Brooklyn Print & Photo Fair, Brooklyn, New York. This past fall the artist had concurrent one-person exhibitions at Fleisher/Ollman and Marlborough, New York City and London respectively. Smith’s work is included in the collections of the American Folk Art Museum, New York City; the Pennsylvania Academy of the Fine Arts, and the West Collection in Philadelphia. I had a chance to speak with Kambel’s father, Lonnie Smith, about his son's journey to becoming a nationally acclaimed sculptor. Chris Byrne (CB): What was Kambel like as a child? Lonnie Smith (LS): Kambel was a violent and disruptive child. He didn’t speak much, but when he decided to speak, his broken sentences were laced with profanities. We were in the military, so the day care was forced to tolerate his behavior; they were overwhelmed and illequipped to handle him, which made things difficult for our family. By the time I was discharged, his behavior had gotten worse, and once again he baffled civilian school systems that weren’t equipped to

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handle him. Finally his psychologist suggested electroshock therapy as the only solution. After rejecting his doctor’s advice, I spent years trying to find a solution. CB: When did he begin to draw and make sculpture? Can you describe the first character he created? LS: One day I found dozens of crumpled pieces of paper hidden in an air vent in his bedroom. The papers were drawings of a superhero he created. The hero was a gold ribbon with muscular arms and legs, and he had an array of weapons. His mission was to save children from evil humans who didn’t understand them. These were the first drawings I’d seen from him; they were highly detailed and precise. I figured he had to be practicing, so I searched for more. I never found any other drawings, but the ones I found started a chain of events that put him where he is today. CB: That led you to develop a story about the origin of autism. How did he and his brother Kantai contribute to the daily narrative? LS: [Kambel] and I weren’t very close; I assumed it was because he couldn't communicate. His hero made me realize that he was trying to communicate—the problem was I wasn’t listening. His hero taught me to listen with my eyes. I created stories about his drawings and how his hero would save children. We called him Survivor; he was the first autistic superhero. Kambel would sit at the kitchen table waiting for me to come home from work, and every day I had to have a new


Clockwise from top left: Kambel Smith, Chrysler Building, 2020, cardboard, duct tape, spray paint, ink, graphite, and foam board, 132 x 24 x 32 in. Photograph by Joseph Hu; Kambel Smith, New York Flatiron, 2020, cardboard, duct tape, spray paint, graphite, and papier-mâché, 57.5 x 39.5 x 22 in. Photograph by Joseph Hu; Kambel Smith, Lady Liberty, 2020, cardboard, packing paper, duct tape, foil paper, spray paint, ink, graphite, and papiermâché, 147 x 34 x 35 in. Photograph by Joseph Hu; Kambel Smith, Times Square, 2020, cardboard, duct tape, spray paint, gouache, ink, graphite, and foam board, 81.5 x 42 x 28 in. Photograph by Joseph Hu.

Contemporary. Peter Doroshenko. Courtesy of Dallas

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Kambel Smith, Atlanta Contemporary installation view.

story to tell. The stories helped build a friendship that’s deeper than father and son while helping me better understand him and autism. It wasn’t long before he stopped just listening to the stories and started drawing the scenes I described. We collaborated on hundreds of stories and eventually were able to publish our first book—a proud day for both of us. Shortly after I began to understand Kambel, his younger brother, Kantai, was diagnosed with autism. Kantai contributed as a cool character consultant. I figured that was a good way for him to get to know the story, and it would keep us all on the same page. CB: You were committed to recognizing and fostering their unique talents... LS: Kambel’s artistic talents developed from drawing the scenes and characters of our stories, and to this day we create more. Kambel quickly moved from drawing to oil painting, amassing a collection of over 500 pieces. Cardboard sculpting kind of found Kambel when we ran out of room and couldn’t afford to buy canvas. For a while he fell into a depressive state, until he decided to grab boxes from the trash and build his first cardboard masterpiece: The Philadelphia Museum of Art. It took over ten years to discover Kantai’s unique talent, but when he accidentally displayed his photographic memory and amazing hand-to-eye coordination, I knew that coding would be a good fit. To better help him I attended college and received an associate degree in web design and coding. Following our story theme, last year Kantai published his first Android game app in the Google Play store, and he continues to code animated marketing videos to promote our four novels.

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Kambel Smith, The Realm of Nevaeh, 2019, foam board, acrylic, ink and paper, 42 x 59.5 x 48 in. Photograph by Pierre Le Hors. Courtesy Marlborough, New York and London.


CB: You also have arranged local exhibitions of Kambel’s work for several years. Did you feel buoyed by the reception of his work during the 2019 Outsider Art Fair? The New York Times’ critic Holland Cotter called his large-scale architectural models a “stop-and-stare surprise.” LS: I felt vindicated because the world that wouldn’t accept him now praises the world he’s creating. CB: And the American Folk Art Museum in New York, Pennsylvania Academy of Fine Arts, and West Collection in Philadelphia purchased works... LS: Kambel’s success is a tribute to his dedication, patience, attention to detail, and perseverance. It’s my duty as a father, responsibility as his advocate, and my absolute pleasure as a human being to be blessed with the responsibility of raising two amazing “Autisarians” (Editor’s note: An Autisarian is a person born with superhuman abilities due to the disorder known as autism). CB: When I’ve had the chance to visit, I’ve seen how dedicated Kambel is to his work. Can you describe his methodolog y? How does he typically begin a new piece? LS: Kambel is in search of and triggered by detailed, odd shapes that are difficult to recreate. He seems to have a knack for choosing the right sculpture at the right time. Frankly, I don’t think I’ll ever totally figure him out. CB: What projects can we look forward to? LS: Kambel is currently working on a sculpture of Rodeph Shalom, the oldest synagogue in the Western hemisphere, designed by Frank Lloyd Wright. P Kambel Smith, Divine Lorraine, 2018. Photograph by Katherine McMahon. Collection of the American Folk Art Museum, New York City.

Kambel Smith, Pennsylvania Academy of the Fine Arts, 2019. Photograph by Claire Iltis. Collection of the Pennsylvania Academy of the Fine Arts, Philadelphia. Courtesy Fleisher/Ollman.

Kambel Smith, Lou Ruvo Center for Brain Health, 2019, acrylic, ink, paper, foam board, 44 x 100 x 96 in. Photograph by Pierre Le Hors. Courtesy Marlborough, New York and London.

Kambel Smith, Guild House, 2019, cardboard, foam board, gouache, oil paint, charcoal, 33 x 88 x 36 in. Photograph by Pierre Le Hors. Courtesy Marlborough, New York and London.

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EQUIPOISED FOR ECOLOGY AND EQUALITY Gucci promotes global well-being through social and environmental stability. BY TERRI PROVENCAL

Lil Nas X stars in Gucci’s Off The Grid advertising campaign with Gucci Off The Grid shoulder bag and men's Gucci Off The Grid high-top sneaker. Creative Director: Alessandro Michele; Art Director Christopher Simmonds; Photographer/Director Harmony Korine; Makeup, Thomas de Kluyver; Hair Stylist Alex Brownsell. Photograph courtesy of Gucci.

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ith its 100th anniversary within striking distance, the iconic Italian luxury brand Gucci has added to its Gucci Equilibrium digital platform in June with a website refresh and a new Instagram profile: Instagram. com/GucciEquilibrium. The move furthers the mission of Gucci Equilibrium, which was launched in 2018 as a vehicle committed to reducing environmental impact and fostering inclusivity. Simply put: treating our planet and each other better. Speaking directly to social influencers within #GucciCommunity, the forward-thinking maison has already evolved: Reducing their EP&L (Environmental Profit & Loss) by 21 percent year over year; protecting 1,102,000 hectares of forestlands; expanding the use of recycled raw materials and organic fibers in its collections; incorporating responsibly sourced precious metals like ethical gold in hardware and jewelry; extending sustainable processes and manufacturing efficiencies, such as Gucci Scrap-less for leather and Gucci-Up for circularity; and switching to green energy. With this enlightened ethos, Gucci Off The Grid marks the first collection from Gucci Circular Lines, promoting circular production with an environmental leave-no-trace spirit. All things being equal, the pre-fall 2020–2021 collection comprises genderless

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footwear, luggage, accessories, and ready-to-wear, all created using recycled, organic, bio-based, sustainably sourced materials, including the regenerated nylon ECONYL®. With a we’re-all-in-this together attitude, creative director Alessandro Michele launched the campaign by tapping activist and environmentalist Jane Fonda and American rapper Lil Nas X to build a treehouse in a forest of skyscrapers. Joining the eco-friendly team, King Princess, Miyavi, and David de Rothschild also helped them build the urban-forest home. It’s all circular. Bolstering the brand’s revolution, last summer CEO Marco Bizzarri announced a new executive role titled Global Head of Diversity, Equity & Inclusion and appointed Renée Tirado (who previously held a similar role with Major League Baseball) to lead this urgent charge. This June, through Gucci’s North America Changemakers Impact Fund, Gucci donated to the National Association for the Advancement of Colored People (NAACP), Campaign Zero, and Know Your Rights Camp to support those organizations’ critical work in advancing justice and stamping out discrimination. Fundamentally, the next century of Gucci begins with unifying voices, sustainability at its core, and a pursuit of fostering respect for our planet and people. P


ATELIER

Clockwise from left: Gucci Off The Grid billfold wallet, Gucci Off The Grid baseball hat, men's Gucci Off The Grid 1977 high top-sneaker, Gucci Off The Grid backpack, Gucci, NorthPark Center. Below: Jane Fonda stars in Gucci’s Off The Grid advertising campaign with tote bag and women’s Gucci Off The Grid 1977 sneaker. Photographs courtesy of Gucci.

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New Valentino men’s boutique in Highland Park Village. Below: Valentino Want Want Viscose V-neck sweater in ferro/black, long leather coat with V-logo embroidery in black, double-wool cargo pants in black, You You technical nylon waist satchel in white/white, leather VLTN buckle boot in black. All available through Valentino, Highland Park Village. Photographs courtesy of Valentino USA.

THE MEN’S ROOM Valentino expands its Highland Park Village footprint with a space dedicated to men’s ready-to-wear, accessories, and fragrance. BY TERRI PROVENCAL

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hen Valentino opened in November 2017, ladies swooned over the sumptuous boutique concept developed by the brand’s creative director, Pierpaolo Piccioli, together with David Chipperfield Architects. This June, the house expanded the store’s footprint to introduce a 690-square-foot men’s haberdashery. The architecture presents a sense of intimacy with a continuation of the grey Venetian terrazzo floors we fell in love with three years ago, along with black metal shelving, undulating white gypsum panel walls, Carrara marble-and-glass display cases, green velvet panels, and indulgent carpet. Here, ready-to-wear, accessories, and fragrance band together within a self-governing state, appealing to both elegant and sporty men. However, Piccioli discards the traditional stylebook in favor of mixing tailored jackets with sportswear, flirting with Inez and Vinoodh’s floral imagery and the bold text of Palais de Tokyo–exhibited Melanie Matranga in an unfettered display of selfexpression. Looks this year are fluid for spontaneity seekers, emphasizing romantic tailoring and classical style in jackets, coats, and suits, all crafted with precision and the finest detailing, while commando-soled shoes ground the wearer. Sneaker lovers will also rejoice. P

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ATELIER

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Clockwise from left: Valentino Flowersity 1 inlaid single-breasted wool coat in black/multicolor; Valentino Flowersity 2 inlaid single-breasted wool coat in black/multicolor, stretch wool boxy jacket in navy, viscose VLTN Tag V-neck sweater in rosa, stretch-wool slim trouser with long belt in navy, leather VLTN buckle boot in black; Valentino Flowersity 1 embroidered double-wool/cashmere coat in black/multicolor, viscose VLTN Tag V-neck sweater in flame orange, stretch-wool slim trouser with long belt in black, leather tote with Flowersity 1 print in black/multicolor, leather VLTN buckle derby in black; Valentino Leather VLTN buckle derby with Flowersity 1 print in black/multicolor. All available through Valentino, Highland Park Village. Photographs courtesy of Valentino USA.

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ATELIER

ARCHITECTURAL ARBITERS Albert Kriemler’s Akris Fall/Winter 2020 collection celebrates the work of Robert Mallet-Stevens. BY TERRI PROVENCAL

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aying homage to late and living artists and architects, Swiss creative director and designer Albert Kriemler looked to the Modernist designs of Robert Mallet-Stevens (1886–1945) to interpret the Akris Fall/Winter 2020 collection. Mallet-Stevens, a redefining Parisian architect and designer, resisted ornamentation in favor of sleek lines and geometric structures, found throughout the collection. Like Kriemler, the Frenchman was passionate about collaboration and called on like-minded artists and artisans of the day to produce his projects. He helmed L'Union des artistes modernes, UAM (The French Union of Modern Artists), which emphasized design over décor and eschewed the Societé des artistes décorateurs, known for favoring the fine and applied arts. His 1920s Rue Mallet-Stevens buildings, which combined disparate movements from Cubism to Art Deco, paved the way to French urban architecture. Upon the release of the collection in Paris in March, Kriemler said, “Ideas emerge from joint thinking and from sustained, significant conversations by partners in thought. Like Mallet-Stevens buildings, my collections would be entirely different—would in fact never have come to be—without our exceptional tailoring and embroidery, fabric, and print collaborators.” P Above from left: Akris Noir silk stretch Cubiste cutout gown with organza structured cube skirt; Akris Carmin leather jacket with structured shoulder and wide-leg pant with cuff paired with the Carmin cashmere silk turtleneck pullover; Akris plum double-face wool Cubiste cutout dress with slits. Center: Akris Camelia and Noir tweed jacquard stand-collar long coat with leather trim and trapezoid closure; Carmin and Noir Jardin velvet devoré stand-collar tunic; Carmin and Noir Jardin velvet devoré wide-leg pant with cuff; Ai medium shoulder bag in Noir shearling. Below: Akris knit dress with square intarsia pattern. Photographs courtesy of Akris.

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ATELIER

DREAM WEAVER Daniel Lee exaggerates Bottega Veneta's signature intreciatto for the Cassette collection. BY TERRI PROVENCAL

Bottega Veneta Chain Casette bags in Swimming Pool and Racing Green.

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ince its birth in 1966 in Vincenza, Veneto, Bottega Veneta has been synonymous with Italian design perfection. Exceptionally refined and instantly recognizable, the house’s hallmark intreciatto weave brings identifiable style and last-for-a-lifetime appeal to its leather goods. When creative director Daniel Lee took the helm, he held true to these traditions while updating the house for today’s consumer. For his first collection, released in autumn 2019, Lee exaggerated the weave, and one of the standouts from that release is the Padded Cassette bag in maxi intreciatto. For the pre-fall 2020 collection he’s added a chunky cascading chain that makes the crossbody ultramodern while harkening to the brand’s core. The bag may also be carried by hand. Dive into two padded layers of soft Nappa leather in Swimming Pool—or Racing Green, which is especially zippy. Find it at Bottega Veneta, NorthPark Center. P

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FURTHERMORE

CLOSE TO HOME Kips Bay Decorator Show House to open this September in Dallas. BY PEGGY LEVINSON

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fter nearly five decades of inspiring thousands of design-minded visitors and launching the careers of hundreds of designers, not to mention raising millions of dollars for underserved children in New York, the famed Kips Bay Show House is coming to Dallas this year. The Show House, as always, will support Kips Bay Boys & Girls Club along with two local nonprofits benefiting children: Dwell with Dignity and Crystal Charity Ball. “We have such a vibrant design center and community that Dallas was the perfect place for Kips Bay to expand outside of New York and, lately, Palm, Beach,” says Jan Showers. The decision was made October 2019, and at that time the Kips Bay Corporation enlisted Jan Showers and Christopher Peacock as cochairs of the event; Dallas designers Chad Dorsey and Jean Liu are vice chairs. “It is a game changer for Dallas because an event of this caliber and complexity needs a structure involving national sponsors and a team of facilitators to make everything come together,” says Showers. “Those of us who live here know the exceptional caliber of art and design; now Dallas will be recognized on a national level for being a center of design,” says Jean Liu. The idea is daunting: find a suitable house to be a showcase to hundreds of visitors for a month, find designers who each may spend $100,000 and countless hours of their time, and count on the help and contributions of local showrooms and artisans. After considering hundreds of properties to find the one that would fit the unusual needs of a monthlong show house, had owners who were willing to disrupt their own lives and most importantly, is a beautiful classic residence that would be worthy of the donation of a major design overhaul, the committee finally found the perfect home in May. The house at 5828 Woodland Drive was built in 2003 but evokes a centuries-old ivy-covered French chateau and will be the perfect venue to showcase the best in design and decoration. “The process of choosing designers was very labor intensive,” says Jan. “We had over 100 submissions, each of which submitted 12 images, and we narrowed the list down to 27. I personally spent four entire days looking at each designer’s submission as well as studying their websites and portfolios.” About one third of the selected designers are from Dallas with others from Houston, Austin, San Antonio, Oklahoma City, California, and New York. The design talent in this home will be extraordinary. Chad Dorsey says, “Working on this first Kips Bay Show House is such an honor, and bringing designers from around the country will be a great experience in a year we’re all looking for new inspiration and excitement.” The much-anticipated event will be open to the public from September 25 to October 25, at which point each designer must remove all improvements and take the walls back to white if that’s the owner’s preference. But we expect that the lucky owners will be delighted with a lacquered dining room by Jan Showers, a living room designed by Cathy Kincaid, and a custom kitchen by Chad Dorsey. Famed designer Mark D. Sikes from New York is even rumored to be recreating the famous La Fiorentina room originally done by Billy Baldwin. Not to mention, landscape design by Paul Fields of Dallas’ own lauded Lambert’s Landscape Company. P

Above: Jan Showers is this year's chair of the Kips Bay Decorator Show House. Photograph by Stephen Karlisch. Below: This study, designed by Jan Showers, will be featured in Glamorous Living. Photograph by Lisa Petrole.

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