PATRON's 2024 April/May Issue

PICTURE PERFECT: Dallas Art Fair

A Surreal Modern

Sarah Sze

Plus, TACA’s Silver Stars & NorthPark Ambassadors

NANCY A. NASHER AND DAVID J. HAEMISEGGER COLLECTION.

FEATURING: HUMA BHABHA JONATHAN BOROFSKY ANTHONY CARO TONY CRAGG MICHAEL CRAIG-MARTIN MARK DI SUVERO JIM DINE LEONARDO DREW BARRY FLANAGAN TOM FRIEDMAN LIAM GILLICK ANTONY GORMLEY KATHARINA GROSSE

SIOBH Á N HAPASKA THOMAS HOUSEAGO KAWS ALAIN KIRILI ROY LICHTENSTEIN HENRY MOORE IVÁ N NAVARRO PAMELA NELSON AND ROBERT A. WILSON MIMMO PALADINO JOEL SHAPIRO FRANK STELLA LEO VILLAREAL HE XIANGYU

Sugar Free

Lower Alcohol & Sulfites

ERIN MATHEWS

Great spaces begin with architecture. Bernbaum/Magadini Architects, Dallas’s premier architecture firm, matches innovation with detail.

On view through November 3, 2024

Marking the 150-year anniversary of the first Impressionist exhibition, The Impressionist Revolution reframes one of art history’s best-known movements by highlighting its rebellious origin story and the revolutionary course it charted for modern art. Get to know Claude Monet, Edgar Degas, Berthe Morisot, Piet Mondrian, and Henri Matisse like you never have before.

The Water Lily Pond (Clouds) (detail), 1903. Claude Monet. Oil on canvas. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott in honor of Nancy Hamon, 2019.67.13.McD; Sheaves of Wheat, 1890. Vincent van Gogh. Oil on canvas. Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.80.

The Impressionist Revolution from Monet to Matisse is organized by the Dallas Museum of Art. This exhibition is co-presented by Texas Instruments and PNC Bank. Free General Admission to the Dallas Museum of Art is funded, in part, by the Robert Gerard Pollock Foundation. Additional support for the Museum is provided by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture.

life like no other group. In a spirit of collaboration that

this premier networking group continues to do what it does

A more expertly facilitated sale of your prized property. A more perfectly matched home for your

of the most admired and knowledgeable real estate professionals in Dallas

their

and their vast experience to work for you. Insider information, off-market properties, Dallas’ most exquisite estates—all leveraged for your benefit. Thinking of a change? Put the Masters of Residential Real Estate to work for you.

PLUG IN TO ONE AGENT. LIGHT A NETWORK OF 24. They bring this city to

has propelled some of Dallas’ most legendary real estate transactions,

best—connect people and properties. What does that mean for you?

next move. Twenty-four

come together to put

resources

SEATED : DORIS JACOBS, Allie Beth Allman and Assoc. EMILY RAY-PORTER, Compass RALPH RANDALL , Briggs Freeman Sotheby’s ERIN MATHEWS, Allie Beth Allman and Assoc. AMY DETWILER, Compass FAISAL HALUM, Briggs Freeman Sotheby’s JOAN ELEAZER, Briggs Freeman Sotheby’s SUSAN MARCUS, Briggs Freeman Sotheby’s

STANDING : BURTON RHODES, Compass BECKY FREY, Compass KYLE CREWS, Allie Beth Allman and Assoc. TOM HUGHES, Compass MICHELLE WOOD, Compass EMILY PRICE CARRIGAN, Emily Price Carrigan Properties CHAD BARRETT, Allie Beth Allman and Assoc. MADELINE JOBST, Briggs Freeman Sotheby’s RYAN STREIFF, Dave PerryMiller Real Estate SUSAN BALDWIN, Allie Beth Allman and Assoc. FRANK PURCELL, Allie Beth Allman and Assoc. JONATHAN ROSEN, Compass PENNY RIVENBARK PATTON, Ebby Halliday Realtors MARK CAIN, Compass STEWART LEE, Dave Perry-Miller Real Estate JACKIE MCGUIRE, Compass PHOTOGRAPHED AT 3808 POTOMAC AVENUE, DALLAS, TX

EDITOR’S NOTE

April / May 2024

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

This year marks the 100th anniversary of Surrealism, coined by the French poet André Breton and other minds of the era. Mining the genre, Reclining Mermaid by twin brothers Elliot and Erick Jiménez at Spinello Projects ushers in Dallas Art Fair’s 16th year on our cover. In Art’s Global Era, join me, Nancy Cohen Israel, and Darryl Ratcliff as we consider the practices of 10 artists whose work will be on view April 4–7.

Broadening the conversation, the Modern Art Museum of Fort Worth presents Surrealism and Us: Caribbean and African Diasporic Artists since 1940. Within the show, find a gallery dedicated to the Jimenéz brothers’ Blue Chapel, another stunning example of the trending movement Matthew Bourbon takes readers through the exhibition in A World Liberated.

Danielle Avram says she was a “relatively naïve first-year graduate” when she experienced the work of Sarah Sze for the first time at The Museum of Fine Arts, Boston. Twenty years later, Danielle tells of Sze’s self-titled exhibition on view at Nasher Sculpture Center in Slow Dance of Time

Patrick Martinez: Histories at Dallas Contemporary underscores the artist’s multidisciplinary oeuvre, including the neon work he is known for. A native of Los Angeles, Martinez creates works that consider the effect of time on the lived environment and, by extension, on the multicultural communities that live there, paralleled with Dallas’ own. Eve Hill-Agnus investigates. Plus, Charlie James Gallery offers another chance to see work by Martinez at Dallas Art Fair. Another fair exhibitor, Amanita partner Jacob Hyman, discusses his booth with John Runyon in An Unbridled Passion for Art

Admired writer and editor Rob Brinkley gives readers a tour of an Australian couple’s high-rise home and art collection, which includes local talent. Emily Summers Design Associates with Chris Angelle, an ardent art lover, appoints every inch of the home in Every Last Detail

Taking place at the Fairmont Dallas April 4–6, the Dallas Invitational checks in for a second year. AND NOW gallerist and founder James Cope visits with Eve about his organically grown “alternative affair” in Rooms With Views.

Speaking of views, Bernardo Saenger of Saenger Galería invited Patron to discover Yoab Vera’s exhibition at Casa Gilardi during Mexico City’s art week. Taking inspiration from the Mexican architect Luis Barragán's final project and the art within, Scent of Time embraces the vivid colors of the private home with accessories of the season. See Vera’s work at the Saenger Galeria Dallas Art Fair booth.

The NorthPark Ambassadors feature shows off a new group of inspiring difference-makers photographed by Adrien Broom at the Dallas Arboretum and Botanical Garden. Each earmarked a nonprofit to devote their time to.

In Contemporaries, the TACA Silver Cup Award Luncheon honors Sharon Young and Stephen Penrose, along with a special Tribute Award to Morton H. Meyerson. Lee Cullum highlights their outstanding arts volunteerism in The Cultivating of Artful Foundations

Peter Augustus Owen talks about his new foundation and artist residency premiering with Gabriel Rico, who is known for his equation sculpture in Artist + Residency + Community = Augustus Owen Foundation. John Zotos discovers Czech artist Vojtěch Kovařík, who mines Greek mythology in his “supra-scaled” paintings in For All Eternity, while Brandon Kennedy meets Madrid-based artist Miguel Sbastida, whose Future Reefs opens at The Power Station along with Kovařík’s Under the Weight of the World . Plus, Chris Byrne takes in The Morgan Library & Museum, New York’s centennial in Literary Giant

Lastly, for a few short minutes, Dallas becomes the largest city for optimal viewing when the Moon’s shadow eclipses the Sun, revealing its glowing corona. Scope out your spot in Out of Sight for some nifty ways to experience it.

–Terri Provencal

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

CONTENTS 1

86

92

98

FEATURES

76 ART’S GLOBAL ERA

10 standout artists from the US and abroad exhibit at Dallas Art Fair.

By Nancy

Cohen Israel, Terri Provencal, and Darryl Ratcliff

86 SLOW DANCE OF TIME

Nasher Sculpture Center presents three site-specific works by Sarah Sze that address the changing world.

By Danielle Avram

92 A WORLD LIBERATED

Surrealism and Us: Caribbean and African Diasporic Artists since 1940 documents a more complete history.

By Matthew Bourbon

98 REMIXING THE VISUAL VOCABULARY

At Dallas Contemporary, Patrick Martinez’s multifaceted solo exhibition encompasses a layered and rich hybridity.

By Eve Hill-Agnus

102 EVERY LAST DETAIL

Chris Angelle meticulously designs a home for a couple Down Under.

By Rob Brinkley

108 ROOMS WITH VIEWS

The Dallas Invitational marks its second year of broadening possibilities with 14 exhibitors.

By Eve Hill-Agnus

112 SCENT OF TIME

Drawing from the seasons, Yoab Vera’s exhibition engages with the vividly colored Casa Gilari by Luis Barragán in Mexico City, the Pritzker Prize–winner’s final project. Fashion accessories add texture.

Photographs by Ramiro Chaves; Creative Direction by Terri Provencal & Concepto

118 NORTHPARK AMBASSADORS

In its seventh year, the NorthPark Ambassador program merges fashion, art, and philanthropy with a new class of ambassadors photographed in the beautiful landscape of the Dallas Arboretum and Botanical Garden.

Photographs by Adrien Broom

VERONICA BEARD

CONTENTS 2

60

62

DEPARTMENTS

12 Editor’s Note

18 Contributors

42 Noted

Fair Trade

58 AN UNBRIDLED PASSION FOR ART

Amanita brings Andrew Piedilato to Dallas Art Fair.

Interview by John Runyon

Openings

60 FOR ALL ETERNITY

Vojtěch Kovařík mines Greek mythology in Under the Weight of the World at The Power Station. By John Zotos

Contemporaries

62 ARTIST + RESIDENCY + COMMUNITY = AUGUSTUS OWEN FOUNDATION

Gabriel Rico, known for his equation sculptures, will premiere as the first artist-in-residence. By Terri Provencal

64 LITERARY GIANT

The Morgan Library & Museum marks its centennial.

Interview by Chris Byrne

66 THE CULTIVATING OF ARTFUL FOUNDATIONS

Sharon Young and Stephen Penrose will each receive the TACA Silver Cup Award for active volunteerism in the arts, along with a tribute award to Morton H. Meyerson. By Lee Cullum

Studio

72 SEEKING HEALING THROUGH SOUND IN THE DEPTHS

The Conceptual Ecological Framework of Miguel Sbastida. By Brandon Kennedy

Atelier

74 A BRAND OF SUBSTANCE

Brunello Cucinelli discusses his philosophy on fashion, art, and humanistic capitalism. Interview by Anthony Falcon

Furthermore

128 OUT OF SIGHT

The Great North American Eclipse brings the Moon’s shadow to Dallas for prime views and engagement. By Terri Provencal

Assisting individuals with gem and timepiece liquidation for 60 years.

By appointment, in your home, your bank, or our salon at NorthPark Center.

For more information, please contact Michael Johnson at 214.369.6100.

Eiseman Jewels will feature one-of-a-kind estate pieces from its impressive Estate Jewelry collection, along with a curated presentation of the Pomellato collection at the Dallas Art Fair on April 5-7.

CONTRIBUTORS

DANIELLE

AVRAM

is assistant professor of contemporary galleries and exhibitions at UT Dallas and the director of SP/N Gallery. She is also a writer, curator, and project manager who has held positions at Texas Woman’s University; Southern Methodist University; The Power Station; and The Pinnell Collection, among others. In Slow Dance of Time she investigates the Sarah Sze exhibition at Nasher Sculpture Center.

MATT BOURBON

is a painter, art critic, and professor of art at the College of Visual Arts and Design at the University of North Texas. Following his October sitespecific exhibition, The Weather Inside at Blind Alley Projects, he mounted Transmission Voices at San Antonio College. In A World Liberated, he takes readers through Surrealism and Us: Caribbean and African Diasporic Artists since 1940, at the Modern.

CHRIS BYRNE

authored the graphic novel The Magician (Marquand Books, 2013), included in the Library of Congress. He coedited Frank Johnson, Secret Pioneer of American Comics Vol. 1: Wally’s Gang Early Years (19281949) and the Bowser Boys (1946-1950), (Fantagraphics, 2024). Paul Gravett, included the book in his “Top 15 Graphic Novels, Comics & Manga: December 2023.” Cartoonist Kayfabe named it “The comic medium’s most important discovery of the 21st century.”

LAUREN CHRISTENSEN

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

NANCY COHEN ISRAEL

is a writer, art historian, and educator at the Meadows Museum. Her spring agenda includes co-leading an art tour to the Netherlands and enjoying Dallas Arts Month. For the current issue she had the privilege of speaking with and writing about some of this year’s featured Dallas Art Fair artists, including Karen Gunderson, Stephanie H. Shih, and Ailbhe Ní Bhriain.

EVE HILL-AGNUS

is a writer, editor, and translator with roots in France and California. She has been a teacher of literature and journalism; a dining critic who also covered art and dance; and a freelance writer/editor of nonfiction, fiction, and poetry. Her recent joy has been translation, whether the translation of one language to another or of art into words. Eve previews the second edition of Dallas Invitational in Rooms With Views

ROB BRINKLEY

is a writer, editor, and creative director in the worlds of magazines, social media, short films, and books. He was the former editor of FD! and PaperCity, and he has written about design for national shelter publications and is the co-author of the Assouline book Domestic Art: Curated Interiors. He is the director of communications for Briggs Freeman Sotheby’s. Rob takes a look at a home designed by Chris Angelle in Every Last Detail

LEE CULLUM

is a journalist covering economics, politics, and public policy. Nothing brings her more pleasure, however, than writing about the arts. She is a senior fellow at the John Tower Center for Public Policy and International Affairs at Southern Methodist University. She has been a commentator on what is now the PBS NewsHour Lee highlights the achievements of the TACA Silver Cup Award recipients in The Cultivating of Artful Foundations

RAMIRO CHAVES

is an artist, photographer, and teacher based in Mexico City. His practice subverts disciplinary boundaries by establishing images and objects through the use of photography, drawing, painting, sculpture, and other media. His attempts take place at the insistent crossroads of studio work, educational practice, and documentation. The result is an idiosyncratic imaginary narrative made of multiple layers.

BRANDON KENNEDY

is an artist, book scout/collector, and freelance curator/writer. He is the proprietor of 00ps b00ks, a project charting the margins and overlaps of used/ rare/collectible art/books/culture and the persistent demands of commerce. The Leo (Libra rising) recently had an essay published in Pastures of the Empty Page (UT Press) charting the book scouting and smut peddling of a voracious Larry McMurtry.

DARRYL RATCLIFF

is an artist and poet with a writing and curatorial practice whose work engages communities and mobilizes social issues. He builds collaborative cultural projects that promote civic engagement. He is the founder of Gossypion Investments. In The Art Arena, Darryl writes about Elliot & Erick Jiménez, Austin Uzor, Michi Meko, Sergio Miguel, and Sherin Guirguis, whose works will be shown at Dallas Art Fair.

JOHN RUNYON is cofounder of Runyon Arts, a fullscale art advising and management firm with his wife, Lisa, driven by a firm belief in the transformative nature of art within any environment. Runyon procures and curates engaging multimedia experiences that reflect and enrich selected spaces. In this issue, he interviews Jacob Hyman about Amanita’s Dallas Art Fair program in An Unbridled Passion for Art

JOHN SMITH

flexes his degree in architecture to photograph homes of distinction. Years of experience provides him with an appreciation for his clients’ vision, including architects, interior designers, and artists. In this issue he photographed TACA Silver Cup Award recipients Sharon Young and Stephen Penrose, as well as Tribute Award honoree Morton H. Meyerson, in The Cultivating of Artful Foundations.

JOHN ZOTOS is a Dallas-based art critic and writer who has written about the arts in North Texas for the last 24 years and is a recent contributor to Patron. In For All Eternity, John investigates the work of artist Vojtěch Kovařík (b. 1993, Czech Republic) who mines Greek mythology through heroic figures within “suprahuman” scaled paintings in Under the Weight of the World, opening at The Power Station.

The DMA is offering FREE exhibition admission on the first Sunday of each month! Experience special exhibitions, dynamic on-site programs, and over 5,000 years of stunning permanent collection artworks—all at no cost!

Learn more at dma.org

Pergusa, 2019. Olivia Erlanger. Silicone, polystyrene foam, MDF, plywood, and Maytag washing machine. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2019.63.A–B. © Olivia Erlanger. Courtesy of the artist.

Terri Provencal

Lauren Christensen DIGITAL

Anthony Falcon SOCIAL

Caroline Millet COPY

Sophia Dembling

Michele Rodriguez CONTRIBUTING

Danielle Avram

Matt Bourbon

Rob Brinkley

Chris Byrne

Nancy Cohen Israel

Lee Cullum

Eve Hill-Agnus

Brandon Kennedy

Darryl Ratcliff

John Runyon

John Zotos CONTRIBUTING

Thierry Ball

Evie Marie Bishop

Beau Bumpas

Adrien Broom

Ramiro Chaves

Jeremy Daniels

Pablo Arellano Ramiro Garcia

Elad Debi

Joan Marcus

Lisa Petrole

John Smith

Kevin Todora

Charles White

DA LL A S ART FAIR

APRI L 2024

4 – 7

sixteenth edition

THE DALLAS SYMPHONY ORCHESTRA PRESENTS

MAY 1 - 5, 2024 | OCT 5 - 20, 2024

MORTON H. MEYERSON SYMPHONY CENTER

Wagner’s rarely-performed Ring Cycle is coming to Dallas. Experience all four of his world-famous operas, led by GRAMMY® Award-winning Music Director Fabio Luisi and performed by over 100 internationally renowned musicians, exclusively at the Meyerson.

Secure your seats for this monumental event at dallassymphony.org/ringcycle

Through August 18

The Nasher Sculpture Center’s 2024 exhibitions are made possible by leading support from Frost Bank.

Sarah Sze is made possible by leading support from Gagosian. Generous support is provided by the Dallas Art Fair Foundation and the Dallas Tourism Public Improvement District (DTPID). Additional support is provided by Betty Regard and Jenny and Richard Mullen. Above: Sarah Sze, Slow Dance, 2024; Installation detail from Sarah Sze, Nasher Sculpture Center, February 3-August 18, 2024. Paper, string, aluminum, mixed media, video projection, and sound, dimensions variable. © Sarah Sze; Photo by Kevin Todora, courtesy of the artists and the Nasher Sculpture Center

Stay in Harwood, Dallas

A bespoke collection of restaurants, art, bars, and cafés featuring a world of culinary experiences in the 19-city block Harwood District of Dallas, TX

BABOU’S

DOLCE RIVIERA ELEPHANT EAST

FIG & FAVOR

HAPPIEST HOUR

HARWOOD ARMS

HÔTEL SWEXAN ISABELLE’S LÉONIE

MAGNOLIAS: SOUS LE PONT

MARIE GABRIELLE RESTAURANT AND GARDENS

MERCAT BISTRO

NDA AMERICAN BRASSERIE

POCO FIASCO

POMELO

SAINT ANN RESTAURANT & BAR STILLWELL’S

TE DESEO

TEQUILA SOCIAL THE ANN & GABRIEL BARBIER-MUELLER MUSEUM

THE GROVE AT HARWOOD

When only the best will do.

Teresa Lanceta is a textile artist based in Mutxamel (Alicante), Spain, who recently won her country’s National Prize for Fine Arts. The Meadows Museum is pleased to present a selection of her weavings, painted and sewn fabric, and pencil drawings in this focused exhibition, the fi rst by a fi ber/textile artist in the museum’s nearly 60-year history.

Teresa Lanceta (Spanish, b. 1951), Arc del Teatre (El Raval Series)

Photo by Miguel Garcia Carceles, courtesy of Teresa Lanceta - 1 Mira Gallery, Madrid.

David Dike Fine Art Spring Online Auction

Texas, American & European Selections

Saturday, April 20, 2024 - 10:30am, CST

Auction Preview Open Daily Monday through Friday, 10am - 5pm April 1 - April 19, 2024

David Dike Fine Art

DAVID DIKE FINE ART will host the 2024 Spring Online Auction on Saturday, April 20. The sale will be an online auction showcasing over 225 lots of Texas, American & European Art ranging from early and traditional to contemporary works. This sale includes a special selection of over 75 Texas artworks offered to the public for the first time from the Heartland Security Insurance Group’s corporate art collection. Over the course of two decades, Jeannie Hibbs passionately curated this distinctive collection.

In this sale, David Dike Fine Art is excited to showcase a unique collection of American and European artworks. This group offers works that will be of interest to both emerging and mature collectors.

This sale will be conducted through the online bidding platform LiveAuctioneers.com. The full catalog will be available starting Monday, March 25 with online bidding opening that day. The timed online sale will close on Saturday, April 20 starting at 10:30 AM CST. The Auction preview will take place at David Dike Fine Art, April 1–19, Monday–Friday from 10 AM–5 PM.

Lindsay

Join us as the North Texas arts community gathers to celebrate the outstanding contributions of Sharon Young and Steve Penrose.

April

Billingsley & Marguerite Hoffman, Co-Chairs

Photo courtesy of Patron Magazine and Victoria Gomez

Honoring Sharon Young & Steve Penrose

Morton H. Meyerson Tribute Award Recipient

SURREALISM AND US

CARIBBEAN AND AFRICAN DIASPORIC ARTISTS SINCE 1940

Embrace the Marvelous

Surrealism and Us: Caribbean and African Diasporic Artists since 1940 is inspired by the history of Surrealism in the Caribbean with connections to notions of the Afrosurreal in the United States. The exhibition includes over 80 artworks from the 1940s to the present day, in a wide range of media such as painting, sculpture, drawing, video, and installation.

Through July 28

Surrealism and Us: Caribbean and African Diasporic Artists since 1940 is generously supported by the Crystelle Waggoner Charitable Trust, Bank of America, N.A., Trustee; Texas Commission on the Arts; the Andy Warhol Foundation for the Visual Arts; the Terra Foundation for American Art; and the Fort Worth Tourism Public Improvement District, with additional support provided by Frost.

Jiménez, Blue Chapel (detail), 2022. Archival photo print

Jiménez. Photograph by Elliot & Erick Jiménez, courtesy of Spinello Projects

When Luxury Meets Sanctuary.

Experience a deep sense of “all is well” when you renew your spirits on our eleventh-floor pool deck, overlooking Dallas’s Arts District. Unwind in the sun when you enjoy our poolside loungers or reserve a private space in our luxury cabanas. However you choose to rejuvenate we offer luxuriously warm accommodations.

Mind, body & spirits rejoice in the Arts Districts’ new home for luxury.

COCKTAILS

HONORARY CHAIRS

T.D. AND SERITA JAKES HELEN AND FRANK RISCH ALONG WITH

EVENT CHAIR

NOTED

THE LATEST CULTURAL NEWS COVERING ALL ASPECTS OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW PERFORMANCES, GALLERY OPENINGS, AND MORE.

on view through May 31, focuses on the 1920s and 1930s and features newspaper clippings, archival photographs, posters, and recordings of blues, jazz, and popular music of the period. Through May 30, Seeing a World Blind Lemon Never Saw presents a photographic series made by Alan Govenar from 2021–2023 exploring rural East Texas and littleknown places in Dallas, locations Blind Lemon visited or alluded to in his songs. aamdallas.org

02 AMON CARTER MUSEUM OF AMERICAN ART

Elizabeth Turk’s The Tipping Point: Echoes of Extinction marks the third installation in the Carter’s outdoor sculpture program , through May 1. Sculptor Leonardo Drew created a site-specific commission for the museum’s first-floor galleries that feature “planets” as central sculptural pieces surrounded by hundreds of smaller objects, emphasizing their interconnectedness. On view through Jun. 30. Through May 12, Trespassers: James Prosek and the Texas Prairie features more than 20 new works, including a new silhouette painting; watercolor portraits of plants collected across the state of Texas; and trompe l’oeil clay and bronze sculptures of wildflowers. Image: Henry Roderick Newman (1843–1917), Anemones, 1876, watercolor heightened with gum glaze over graphite on paper, Amon Carter Museum of American Art, Fort Worth. Purchase with funds provided by Ruth Carter Stevenson. cartermuseum.org

03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS

Through April 14, the Crow Museum presents Japan, Form & Function: The Montgomery Collection . More than 240 extraordinary works are presented, subdivided into themes and categories, throughout the galleries. crowmuseum.org

04 DALLAS CONTEMPORARY

From Apr. 3–Sep. 22, Who’s afraid of cartoony figuration? is a group exhibition examining an artistic language to engage identity politics, feminism, and social histories in the 21st century. Karolina Jabłonska, Sally Saul, Tabboo!, and Umar Rashid each dare to mix the levity of cartoons, comics, and commercial illustration with some of the most pressing issues of our day. Patrick Martinez: Histories, on view Apr. 3–Sep. 1, features sculpture, installations, multi-media paintings, and neon works. The exhibition transports

the collective artifacts, sentiments, memories, and energies of Los Angeles and comparable communities to Dallas. Image: Umar Rashid, Devastating Armaments Resistance Enterprise. Or, if we must die, let us be drunk and high. When one has given up and defeat is certain, it appears that the numbing of the senses can be a balm of sorts. It is not recommended, however. War is wealth. Is entropy an enterprise?, 2021, acrylic, spray paint, and mica flake on canvas, 72 x 72 x 1.5 in. Courtesy of the artist and BLUM Los Angeles, Tokyo, New York. dallascontemporary.org

05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM

Organized by the New York Historical Society, Walk this Way: Footwear from the Stuart Weitzman Collection of Historic Shoes, through Jul. 14, highlights how suffragists used fashion as a crucial part of their fight to win the vote. From silk boudoir shoes created for the 1867 Paris Exposition to leather spectator pumps signed by the 1941 New York Yankees, Walk This Way features more than 100 pairs of shoes dhhrm.org

06 DALLAS MUSEUM OF ART

He Said/She Said: Contemporary Women Artists Interject remains on view through July 21. Looking Forward: A New DMA presents an inside look into the museum’s redesign through Dec. 29. Through summer, Tiffany Chung: Rise into the Atmosphere marks the sixth iteration of the museum’s Concourse mural series. Through Aug. 3, Backs in Fashion: Mangbetu Women’s Egbe delves into the artistry of the egbe, a back apron garment fashioned by Mangbetu women. The Impressionist Revolution from Monet to Matisse showcases the story of impressionism and its influence on modern European art. Culled from the DMA’s collection, the exhibition explores the daring beginnings of these artists and their groundbreaking shows through Nov. 3. Through Jan. 5, 2025, From Munch to Kirchner: The Heins Collection of Modern and Expressionist Art celebrates the legacy of Marie “Elinor” Heins through the recent gift of 30 paintings, sculptures, and works on paper from her heirs. When You See Me: Visibility in Contemporary Art/History aims to broaden and complicate official histories and their corresponding visual strategies to allow for richer representations of those who have been traditionally excluded or erased; Apr. 7–Apr. 15, 2025. Image: Deborah Roberts, When you see me, 2019, mixed media and collage on canvas Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2020. © Deborah Roberts. Courtesy the artist and Stephen Friedman Gallery, London , and New York. dma.org

07 GEORGE W. BUSH

PRESIDENTAL LIBRARY AND MUSEUM

Freedom Matters uses rare artifacts and historical documents, interactive activities, and personal perspectives to examine the concept of freedom: where it comes from, what it means, what free societies look like, and the role of the individual in protecting and spreading freedom around the world, through Dec. 31. The Forum on Leadership—The Call of Freedom will be held on Apr. 18. bushcenter.org

08 KIMBELL ART MUSEUM

Art and War in the Renaissance: The Battle of Pavia Tapestries, on view Jun. 15–Sep. 15, will mark the first time that the entire cycle of seven large-scale tapestries has been on view in the US. The tremendous images, each about 27 feet wide and 14 feet high, commemorate Emperor Charles V’s decisive victory over French King Francis I that ended the 16th-century Italian Wars. kimbellart.org

09 LATINO CULTURAL CENTER

ART214 Biennial Juried Exhibition continues through Apr. 19. lcc.dallasculture.org

10 MEADOWS MUSEUM

The Meadows Museum presents works by a fiber/textile artist in its exhibition Meadows/ARCO Artist Spotlight: Teresa Lanceta . Widely recognized for her large-scale and intricately designed tapestries, Lanceta was recently awarded her country’s highest honor for visual artists: the Spanish National Prize for Fine Arts. The exhibition features a selection of her weavings, painted and sewn fabric, and pencil drawings through Jun. 16. Closing on Apr. 28, Meditating on Materiality in the Meadows Collections explores the characteristics of a given medium, highlighting the innovative ways in which modern and contemporary artists have approached their materials. meadowsmuseumdallas.org

11 MODERN ART MUSEUM OF FORT WORTH

Organized by curator María Elena Ortiz, Surrealism and Us is inspired by the history of surrealism in the Caribbean with connections to notions of the Afrosurreal in the US. Representing a global perspective, this exhibition is the first intergenerational show dedicated to Caribbean and African diasporic art presented at the Modern; through Jul. 28. Rebecca Manson: Barbecue defies viewers’ expectations of what clay can do by pushing the material to its most fragile and muscular places. Comprised of thousands of individually crafted ceramic leaves, flowers, a barbecue grill, and assorted detritus that swell into piles; it is a site-responsive installation, May 24–Aug. 25. Image: Rebecca Manson, Barbecue, 2024 (detail), porcelain, glaze, steel, adhesives, and glass, dimensions variable. © Rebecca Manson. Courtesy of the artist. Photograph by Evie Marie Bishop. themodern.org

12 MUSEUM OF BIBLICAL ART

The 6th Jerusalem Biennale: this heart will always keep beating remains on view through Apr. 30. Holocaust Heroes: Fierce Females features the work of New York artist Linda Stein and highlights women heroes who opposed the Nazi regime; through May 31. Profundidad: Dialogue Between the Lines, a solo show for Johannes Boekhoudt, remains on view. biblicalarts.org

13 NASHER SCULPTURE CENTER

A recent gift of 21 plaster sculptures and three bronzes by Jean Hans Arp makes its debut at the Nasher, alongside Arp’s Torso with Buds, the founding work of Raymond and Patsy Nasher’s collection of modern and contemporary sculpture, in Plasters and Bronzes by Jean (Hans) Arp, through Apr. 21. Sarah Sze invites viewers into a collection of new, site-specific works across three gallery spaces. Attuned to the built environment, Sze’s new installations integrate painting, sculpture, images, sound, and video with the surrounding architecture to create intimate systems that reference the rapidly changing world; through Aug. 13. Haas Brothers: Moonlight sees brothers Nikolai and Simon Haas install a series of dreamlike works highlighting the fusion of art, design, and technology. Their otherworldly sculptures will be installed in the museum and garden and outside on Flora Street, greeting museum visitors and passersby alike, from May 11–Aug. 25. Image: The Haas Brothers, Cyberzoid 1, 2023, 3D printed resin and automotive paint, 48 x 30.67 x 38 in. Photograph by Charles White, courtesy of the artists and Jeffery Deitch Gallery. nashersculpturecenter.org

14 PEROT MUSEUM

T. rex: The Ultimate Predator explores the remarkable features that allowed T. rex to dominate its competition, examines the sensory abilities and social behaviors of this powerful hunter, and reveals how the world’s most iconic dinosaur evolved from a superfamily that included more than two dozen species and spanned 100 million years. On view through Sep. 22. perotmuseum.org

15 SIXTH FLOOR MUSEUM

John F. Kennedy and the Memory of a Nation examines the life, legacy, and assassination of JFK within the events of November 22, 1963, and their aftermath. Marking the 60th anniversary of President Kennedy’s assassination, the museum sheds new light on the president’s final campaign with Two Days in Texas. The exhibition follows in the president’s footsteps as he made campaign stops in San Antonio, Houston, and Fort Worth before his untimely death in Dallas. On view through Jun. 16. jfk.org

16 TYLER MUSEUM OF ART

Organized by Texas A&M University Press, The Artistic Legacy of Buck Schiwetz continues through Apr. 14. Born in Cuero, Texas in 1898, Shiwetz spent his life creating, including stints in advertising and architecture. tylermuseum.org

LANDSCAPE DESIGN | CONSTRUCTION | GARDEN CARE

POOL CONSTRUCTION | POOL CARE AND SERVICE COLLABORATIVE PROJECTS

972.243.9673

CREATING PERSONAL SANCTUARIES

OVER 40 YEARS OF REDEFINING OUTDOOR SPACES

01 AMPHIBIAN

Marie and Rosetta takes audiences on an earth-shaking musical celebration by George Brant, directed by Egla Hassan; Apr. 5–28. A screening of 42nd Street will be held at the Modern Art Museum of Fort Worth on May 8 and 11. amphibianstage.com

02 AT&T PERFORMING ARTS CENTER

PNC Patio Sessions featuring The Kira Goidel Ktet brings the jazz on Apr. 4. Chicago hits Broadway at the Center Apr. 4–6, and Bruce Wood Dance celebrates its 14th Anniversary Performance & Gala on Apr. 6. Kristin Chenoweth performs on Apr. 7, followed by Total Eclipse of the Arts and Herbie Hancock on Apr. 8. A Gala Evening with Steven Isserlis with Metamorphosis Dallas Chamber Orchestra performs Apr. 10. Spend An Evening with Bernadette Peters on Apr. 11, the same day as PNC Patio Sessions with Lina Mapes and Malachi. MURROW by Joseph Vitale runs from Apr. 11–21. Sammons Lunch Jams—Dance spans Apr. 17–24, with Laufey’s Bewitched: The Goddess Tour on Apr. 18, alongside PNC Patio Sessions featuring La Pompe. Legends Dance Championship takes place on Apr. 20. Forgotten Space + Stu Allen perform on Apr. 27, with José González on Apr. 28. PNC Patio Sessions sees FAE and Clancy Bartusek on May 2 and the Wellness Series—Sound Bath Meditation from May 7–28. Flamenco Fever presents Tres Artes: Pintura, Poesia, y Pasion on May 11, and Pretty Boy Aaron plays on May 16. AAPI Family Weekend 2024 is on May 18, Ghosts: Do You Believe? on May 20, and Evergreen [To Grow] takes place May 23–25. Image: Broadway at the Center presents Chicago. Courtesy of AT&T Performing Arts Center. Photograph by Jeremy Daniel. attpac.org

03 BASS PERFORMANCE HALL

At Bass Hall from Apr. 11–14, Dixie’s Tupperware Party features Dixie Longate bringing laughter with her unique Tupperware uses, audience participation, and homespun wisdom. The UNT One O’Clock Lab Band Spring Showcase, part of the Popular Entertainment Series, is set for May 3. Chicago, part of the Broadway at the Bass Series, brings the classic tale of fame, fortune, and jazz to the stage May 10–12. basshall.com

04 BROADWAY DALLAS

Broadway Dallas presents Andrew Schulz: The Life Tour on Apr. 6 followed by Ledisi: The Good Life Tour on Apr. 7. Girl From the North Country, part of the Germania Insurance Broadway Series, mounts Apr. 9–21. Joe Satriani & Steve Vai: Satch -Vai Us Tour will take place on May 4. All are at the Music Hall at Fair Park. Hamilton, also part of the Germania Insurance Broadway Series, runs May 8–Jun. 9

at the Winspear Opera House Image: Joseph Morales stars in Hamilton. Photograph by Joan Marcus. broadwaydallas.org

05

CASA MAÑANA

Mary Poppins Jr. sees your favorite practically perfect nanny take center stage in this adventure based on the award-winning Broadway musical and classic Disney film; Apr. 20–May 12. casamanana.org

06 DALLAS BLACK DANCE THEATRE

DBDT presents Rising Excellence on Apr. 19–20, offering a glimpse into the future of dance with performances by their Encore company. Spring Celebration on May 17–18 marks the grand finale of the 47th season, featuring multifaceted artists and special guests

The DASH Ensemble in a showcase full of joy, passion, and finesse. dbdt.com

07 DALLAS CHILDREN’S THEATER

DCT presents The Magician’s Nephew, a dramatization by Aurand Harris from the story by C.S. Lewis, directed by Artie Olaisen, from Apr. 27–May 25. This prequel to The Lion, the Witch and the Wardrobe follows young Digory’s quest to save his ailing mother, leading to the accidental awakening of an evil queen. dct.org

08 THE DALLAS OPERA

Mark your calendar for La traviata , when Louisa Muller makes her Dallas Opera debut; Oct. 18–27. dallasopera.org

09 DALLAS SYMPHONY ORCHESTRA

The DSO’s April lineup begins with Brahms Requiem from Apr. 4-6, featuring Fabio Luisi and Matthias Goerne. See The Gould Family Organ Recital Series with Bradley Hunter Welch on Apr. 7, alongside a free Young Musicians & Young Strings Joint Recital. Simone Young conducts Also Sprach Zarathustra from Apr. 11–14, with Nathan Olson on violin. Hear the Dallas Symphony Children’s Chorus Spring Recital on Apr. 14. Troupe Vertigo presents a fusion of cirque, dance, and theater from Apr. 19–21, with a special DSO x Troupe Vertigo event for young professionals on Apr. 20. The May lineup starts with the Ring Cycle: Das Rheingold May 1–5, followed by Die Walküre May 2–5. Country Hits: Songs from Nashville from May 10–12. In This Circle on May 14 combines new compositions with Grammy Award–winning talent. The Rachmaninoff Rhapsody on A Theme of Paganini series runs from May 16–19, offering a blend of virtuosity and classical mastery. Prokofiev Piano Concerto No. 2 from May 23–26 promises riveting performances that challenge the bounds of pianistic skill. Image: Classical pianist Jan Lisiecki. Courtesy of Dallas Symphony. dallassymphony.org

A Next-Level Real Estate Experience

Dave Perry-Miller Real Estate epitomizes excellence in the Dallas-area real estate market. Our agents are renowned for professionalism and personalized service, and possess unmatched integrity and efficiency. As part of the No. 1 brokerage brand in North Texas, we can provide everything you need for a smooth transaction – whether that be expert guidance, the right connections or cutting-edge resources.

Trust us to exceed your expectations when it counts.

10 DALLAS THEATER CENTER

Dial M for Murder, from Apr. 5–28, is a suspenseful tale of jealousy, deception, and murder. This regional premiere, adapted by Jeffrey Hatcher and directed by Rachel Alderman, is a contemporary take on Frederick Knott’s classic that inspired Hitchcock’s cinematic masterpiece. Following, Fannie: The Music and Life of Fannie Lou Hamer, starring Liz Mikel, runs from May 2–19 at Bishop Arts Theatre Center. dallastheatercenter.org

11 DALLAS WIND SYMPHONY

Premieres & Farewells on Apr. 9 features Joseph Alessi, the principal trombonist of the New York Philharmonic, and David Maslanka’s Symphony No. 4, promising a finale of grandeur. A special guest appearance by Hollywood composer Julie Giroux will feature a world premiere of her piece written just for The Dallas Winds. Following, In This Circle, on May 14, brings to the stage new compositions by Quinn Mason and a performance by Hila Plitmann, rescheduled from January, for an evening of celestial music and radiant vocals. Image: Joseph Alessi is the principal trombone for the New York Philharmonic. Courtesy of the Dallas Winds. dallaswinds.org

12 EISEMANN CENTER

XJ Star Academy’s Annual Dance Performance takes place Apr. 3. 360 Allstars on Apr. 5 and The Sinatra Experience on Apr. 6 enhance the musical offerings. Bedtime Stories runs from Apr. 10–12. See Vocal Majority’s Together We Sing on Apr. 13. 123 Andrés celebrates El Día del Niño on Apr. 13. The Texins Jazz Band and Keyboard Conversations on Apr. 14 and 15, respectively, bring jazz and classical music to the forefront. Karen Morgan’s comedy tour on Apr. 18 and Chamberlain Ballet’s performances on Apr. 20 and 21 add diversity. The RSO’s season finale concert on Apr. 20, Ukulele Orchestra of GB on Apr. 24, and multiple shows of Compagnia TPO: Farfalle from Apr. 26–27 promise an eclectic mix. Red Door Dance Academy showcases on Apr. 27. May brings Tuzer Dance School on May 11, Studio 6A Dance Academy on May 12, along with Postcards & Snapshots. Hathaway Academy of Ballet concludes the season on May 25. eisemanncenter.com

13 FORT WORTH SYMPHONY ORCHESTRA

FWSO’s April lineup kicks off with Piano Stampede! and Storybook Cinderella on Apr. 14. Wagner’s Die Walküre is set for Apr. 19–21. Star Wars: The Empire Strikes Back is featured from Apr. 26–28, alongside Harry Potter Children’s Suite on Apr. 27. May begins with Beethoven’s Violin Concerto on May 3–5, followed by Lasting Impressions, an immersive orchestral experience, on May 11. Dvorák’s Eighth takes the stage May 24–26. An opportunity

to Meet Jennifer Higdon on May 30 precedes the season finale featuring Jennifer Higdon, Kevin Day, and Mahler 5 on May 31. fwsymphony.org

14 LYRIC STAGE

In Sweeney Todd, an unjustly exiled barber returns to 19th-century London seeking vengeance against the lecherous judge who framed him and ravaged his young wife. Sweeney Todd marks the end of the season Apr. 1–7. Image: Sweeney Todd . Courtesy of Lyric Stage. lyricstage.org

15 MAJESTIC THEATRE

Queen of the Night: A Tribute to Whitney Houston takes place Apr. 1, followed by Tony Hinchcliffe’s Fully on Groan Tour on Apr. 5. Steve Hackett–Genesis Revisited mounts Apr. 6, with Mike Birbiglia: Please Stop the Ride on Apr. 10. The Princess Bride: An Inconceivable Evening with Cary Elwes has matinee and evening shows on Apr. 14. Adam Ant’s ANTMUSIC 2024 with The English Beat is on Apr. 16, leading into performances by Kathy Griffin on Apr. 17, Amy Sedaris on Apr. 18, Desi Banks on Apr. 19, and Andres Cepeda on Apr. 20. Bianca Del Rio performs on Apr. 26, and the World Ballet Series: Swan Lake, with a live orchestra, has two shows on Apr. 27. Jose Gonzalez on Apr. 28 rounds out the month. May begins with Randy Rainbow for President on May 4, Matteo Bocelli on May 5, and Gary Clark Jr. on May 9. An Evening with Judge Reinhold & Screening of Fast Times at Ridgemont High is on May 11, Boney James on May 12, The Decemberists on May 14, Daniel Sloss: CAN’T on May 15, Nimesh Patel: Fast and Loose Tour on May 17. Natalia Jiménez closes the month on May 30. majestic.dallasculture.org

16 TACA

The TACA Silver Cup Award Luncheon honors two individuals for their outstanding volunteer leadership and contributions to the arts in North Texas. Sharon Young and Steve Penrose will be honored as the 46th TACA Silver Cup Award recipients on Apr. 25, with a special tribute award to Morton H. Meyerson. taca–arts.org

18 TEXAS BALLET THEATER

Texas Ballet Theater presents Beauty and the Beast, a captivating performance in which love triumphs over appearances, on May 3–5 and May 17–19. texasballettheater.org

19 THEATRE THREE

See The Seagull, Anton Chekhov’s masterpiece adapted by Blake Hackler and directed by Joel Ferrell, Apr. 4–28. This classic play set in a remote countryside home explores the lives of family, artists, and dreamers grappling with their realities and the gap between

14

their true selves and the lives they aspire to. Considered one of Chekhov’s greatest plays, The Seagull reveals the truth in devastation of living somewhere between the person you are and the life you dreamed for yourself. theatre3dallas.com

20 TITAS/DANCE UNBOUND

TITAS presents Vertigo Dance Company from Jerusalem on Apr. 12–13, showcasing their blend of modern dance and classical ballet in the new work, Makom. Command Performance on Apr. 27 will feature leading global dancers and companies performing works by renowned choreographers, including Twyla Tharp and Dwight Rhoden, making it a highlight event of the season. TITAS introduces Micaela Taylor and the TL Collective for their Texas debut on May 31–Jun. 1. Image: Vertigo Dance Company in Makom Photograph by Elad Debi. Courtesy of TITAS. titas.org

21 TURTLE CREEK

CHORALE

Turtle Creek Chorale performs Pages on May 19, a concert celebrating literature and addressing the backlash against books that challenge prevailing ideas and historical interpretations. The event will feature four ensembles presenting a diverse and powerful program designed to educate, inspire, and highlight the importance of books in shaping our identities. turtlecreekchorale.com

22 UNDERMAIN THEATRE

Undermain presents a regional premiere of The Persians by Aeschylus, adapted by Ellen McLaughlin, with preview performances May 2–May 26. This ancient Greek tragedy, the oldest surviving play in theater history, dramatizes the Battle of Salamis and focuses on the downfall of the Persian Empire, a tale of hubris and lamentation. undermain.org

23 WATERTOWER THEATRE

Satchmo at the Waldorf, Apr. 17–28, sees a one-man, three-character play set in 1971. Portraying Louis Armstrong, his manager Joe Glaser, and Miles Davis, the actor navigates Armstrong’s final public performance at New York’s Waldorf Astoria Hotel, just months before his death. watertowertheatre.org

Look Again

01 12.26

Aglaé Bassens: Do Not Disturb along with a solo show for Claudia Keep run Apr. 5–May 11. Opening May 18, Kesewa Aboah and Karla García feature untitled solo exhibitions, on view through June 15. From Apr. 4–7, 12.26 will participate in Dallas Art Fair in booth D11. Image: Aglaé Bassens, Sun Struck , 2023, oil on canvas, 47.25 x 71.25 in. Photograph courtesy of the artist and 12.26 Dallas, Los Angeles. gallery1226.com

02 500X GALLERY

500X Gallery is one of Texas’ oldest artist-run cooperative galleries. Through Apr. 14, the gallery will host their annual College Expo: 2024. 500x.org

03 ALAN BARNES FINE ART

Alan Barnes Fine Art specializes in 19th - and 20th - century American and European paintings. From old masters to impressionist paintings, drawings, and watercolors. The Barnes family art heritage dates to the reign of King George III. alanbarnesfineart.com

04 AND NOW

Sophie Giraux fills the gallery Apr. 3–May 18. Additionally, the gallery will participate in the Dallas Invitational Apr. 4–Apr. 6. Phillip Gabriel highlights the gallery from May 25–Jun. 22. andnow.biz

05 ARTSPACE111

Jon Flaming: Big Bold Texas spotlights the gallery through Jun. 6. artspace111.com

06 BARRY WHISTLER GALLERY

Jay Shinn: New Paintings and Sculpture will be on view Apr. 5–May 11. Next, Lorraine Tady: New Works on Canvas fills the gallery May 18–Jun. 22. Image: Jay Shinn, Bijou Wave, 2024, acrylic on panel, 80 x 58 x 1.5 in. barrywhistlergallery.com

07 BEATRICE M. HAGGERTY GALLERY

Rocky Horton and Thomas Sturgill fill the gallery space through Apr. 25. Next, Life and Death on the Border 1910-1920 will highlight the gallery from May 5–Oct. 15. This exhibit, a collaboration between the Mexican American Museum of Texas and the University of Dallas’ Latin American Studies, explores the decade of violence on the Texas-Mexico border. udallas.edu/gallery

08 CADD

Formed in 2007 to promote contemporary art in Dallas , the Contemporary Art Dealers of Dallas regularly host happy hours, bus tours, scholarships, and other events supporting artists and galleries in the North Texas area. caddallas.org

09 CHRISTOPHER MARTIN GALLERY

The gallery showcases Christopher Martin’s signature reverse acrylic paintings and the works of more than 25 artists working in painting, photography, mixed media, and sculpture. Among the represented artists are Rodeo photographer Steve Wrubel; abstract painter Jeff Muhs; mixed-media artist Toni Martin; geometric painter Jean-Paul Khabbaz; and marble sculptor Paul Bloch. christophermartingallery.com

10 CONDUIT GALLERY

From Apr. 13–May 18, Billy Hassell presents new paintings showcasing Texas’ flora and fauna, emphasizing vibrant colors and symbolic imagery. W. Tucker reveals spontaneous works crafted with his non-dominant hand, employing various media on found objects to create unique characters. In the Project Room, Carson Monahan’s paintings merge classical beauty with modern stories, drawn from his life experiences across cities and nature, and his background in fashion design. From Apr. 4–7 find Conduit at Dallas Art Fair in booth F3. Image: Carson Monahan, Untitled, 2024, oil on canvas, 24 x 18 in. conduitgallery.com

11 CRAIGHEAD GREEN GALLERY

An exhibition featuring Mark Smith, Brad Ellis, and Rich Bowman opens Apr. 6 and continues through May 18, followed by a group show running from May 25–Jul. 13. craigheadgreen.com

12 CRIS WORLEY FINE ARTS

Cris Worley Fine Arts features Fieldwork: Flows, Thickets, Clearings, Strata by Robert Sagerman, and Wonder Dawn by Raychael Stine; both exhibitions run through May 4. Find Cris Worley at the Dallas Art Fair from Apr. 4–7 in booth F17B. Image: Raychael Stine, Cosmos Cosmos 3 (twilight wonder jammer with black hole), 2023, oil and acrylic on canvas, 33 x 44 in. crisworley.com

13 CVAD, UNT COLLEGE OF ART AND DESIGN GALLERIES

Everybody’s Bolos brings the unique voices of 30 artists to bear on the bolo tie. The exhibition was co-organized and co-curated by Ana M. Lopez, professor of studio art: metalsmithing and jewelry, at UNT; Brian Fleetwood, assistant professor of studio art at the Institute of American Indian Arts, Santa Fe, NM, and citizen of the Muscogee Nation of Oklahoma; and Hannah Toussaint, metalsmith and craft artist, UNT alum, and current MFA candidate at the University of Georgia, Athens, Ga. On view through May 10. cvad.unt.edu

14 DAISHA BOARD GALLERY

Antonio Lechuga and collegiate artist Narong Tintamusik’s exhibition closes on Apr. 6. LA–based artist Edwin Marcelin will fill the gallery next, Apr. 6–May 11. daishaboardgallery.com

15 DAVID DIKE FINE ART

David Dike Fine Art specializes in late 19th- and 20thcentury American and European paintings with an emphasis on the Texas regionalists, Texas landscape, and mid-century modern painters. daviddike.com

16 ERIN CLULEY GALLERY + CLULEY PROJECTS

Through May 4, the galleries will showcase works by Karen Gunderson and Anika Todd. Erin Cluley will participate in Dallas Art Fair, Apr. 4–7 in booth F26. erincluley.com

17 FERRARI FINE ART GALLERY

Ferrari Gallery hosts DGFA Spring Art Day on Apr. 6, offering a chance to meet artists and enjoy talks. Cecil Touchon’s solo exhibition opens Apr. 13, featuring a VIP reception, dinner, and artist talk. Celebrate Mother’s Day with brunch on May 12, including mimosas, limitededition prints for mothers, and art raffles. Eric Breish’s opening reception is scheduled for May 18, showcasing his abstract work. ferrarigallery.net

18 FWADA

Fort Worth Art Dealers stimulate interest in the visual arts through educational programs, art scholarships, exhibitions of noteworthy art. FWADA also sponsors an annual show featuring submitted artworks from member institutions, the summer Selections exhibition. fwada.com

19 GALLERI URBANE

Galleri Urbane presents Jason Willaford’s solo show Taking Liberties, showcasing his bright, mosaic-like surfaces built with thick impasto. Following this, a solo exhibition by Saskia Fleishman opens on May 11. Find Galleri Urbane at Dallas Art Fair, Apr. 4–7 in booth B6. galleriurbane.com

20 GREEN FAMILY ART FOUNDATION

Some Dogs Go to Dallas , featuring artworks from the collection of Pamela and David Hornik, continues through May 12. The exhibition highlights the Horniks’ love for dogs through diverse art spanning various eras and techniques, emphasizing the enduring human-animal bond. greenfamilyartfoundation.org

21 HOLLY JOHNSON GALLERY

Eric Cruikshank’s An Echo, through Jun . 15, emphasizes the emotive qualities of place without direct imagery, inviting viewers to project their emotions onto the Scottish landscape–inspired palette. William Betts’ A Man, A Plan, The Full Moon—Yucatán, on view through May 4, reflects on his connection to Mérida and Yucatán, utilizing

NOTED: GALLERIES

proprietary software to create stencil paintings from childhood and recent photos. hollyjohnsongallery.com

22 KEIJSERS KONING

Brent Birnbaum’s solo exhibition continues through May 4, marking a return to his Dallas roots. Birnbaum’s work, utilizing found objects from childhood such as Pound Puppies and neon letters from Toys “R” Us, explores the formal elements of sculpture while evoking nostalgia. keijserskoning.com

23 KIRK HOPPER FINE ART

Kirk Hopper Fine Art presents Adriana Carvalho’s Empty Panties through May 4, followed by Jeremiah Johnson and Duyen Nguyen’s exhibitions from May 11–Jun. 15. kirkhopperfineart.com

24 KITTRELL/RIFFKIND ART GLASS

Kittrell/Riffkind hosts Rob Stern’s solo exhibition Apr. 13–May 11. Next, Thomas Scoon’s solo exhibition opens May 18–Jun. 15. kittrellriffkind.com

25 LAURA RATHE FINE ART

LRFA’s Primavera, featuring Carly Allen Martin and Janna Watson, continues through May 4. Michael Schultheis and Audra Weaser’s exhibition runs from May 16–Jun. 15. laurarathe.com

26 LILIANA BLOCH GALLERY

Shawn Mayer: CONTENTment will be on display through Apr. 6, along with Gabrielle Constantine: Selected Works Sally Warren’s exhibition opens May 18. Image: Shawn Mayer, We’re so glad that you’re here, 2023, inkjet printed on carpet, 24 x 36 in. lilianablochgallery.com

27 LONE GALLERY

Lone Gallery showcases La Misma by Cruz Ortiz, also featuring works by Jonas Criscoe, Bradley Kerl, and Gabo Martinez, through Apr. 27. Cruz is expanding his style by incorporating the clay of the Yanaguana River to create sculpture and paintings with clay. Miles Glynn, with new works by Ryan Scheer, Hank Lumen, and collaborations between Fort Guerin and Jason Lohmeier, follows from May 11–Jun. 29. Image: Bradley Kerl, Sunspots, 2022, oil on canvas, 84 x 72 in. lonegallery.com

28 MARKOWICZ FINE ART

Located on Oak Lawn in the Dallas Design District,

Thomas Scoon ONE MAN SHOW

JAY SHINN / SOMEWHERE BETWEEN NOW AND THEN

APRIL 5 - MAY 11, 2024

IMAGE: Sentinel 3, 2023, Acrylic on canvas, 66 x 32 in.

315 Cole Street #210

Dallas, TX 75207

214.939.0242

NOTED: GALLERIES

29 MELIKSETIAN | BRIGGS

Curated by Luana Hildebrandt, Closer to Illusion , opening Apr. 5 through May, brings together painting, sculpture, and works on paper from a diverse group of artists that explore the universal nature of human experience and contemplate the nuanced interplay between illusion and reality. The gallery will participate in Dallas Art Fair Apr. 4–7 in booth C4. Image: Christiane Lyons, Maria: Arrangement in Genuine Naples Yellow Light and Genuine Naples Yellow Dark , 2023–2024, oil on canvas 72 in. x 48 in. meliksetianbriggs.com

30 PENCIL ON PAPER

Chris Arnold’s Finding My Way continues through May 31, with an opening reception on Apr. 6. Concurrently, Randall Garrett’s All My Relations is on view through May 24. At the Dallas Art Fair, PoP Gallery debuts with works by Abi Salami, Elyse Hradecky, and Jessica Vollrath from Apr. 5-7 in booth C3. Image: Jessica Vollrath, Tell them you are my sister, 2023, oil on canvas, 50 x 50 in. pencilonpapergallery.com

31 PHOTOGRAPHS DO NOT BEND

Through May 4, Diving Deeper, a group show, reveals treasures from the archives of PDNB Gallery. pdnbgallery.com

32 POLLOCK GALLERY AT SMU

Located in the Meadows School of the Arts at Southern Methodist University, the MFA Qualifying Exhibition, featuring a wide range of styles and media, continues through Apr. 13. smu.edu/meadows/areasofstudy/art/pollockgallery

33 THE POWER STATION

Vojtěch Kovařík: Under The Weight Of The World opens on Apr. 3 along with Miguel Sbastida: Future Reefs, which is organized by Picnic Curatorial Projects in the garden annex at The Power Station. Both exhibitions will continue through May. powerstationdallas.com

34 RO2 ART

Jerome Witkin & Robert Weiss: Wonderful Demands, a twoperson exhibition that serves as a retrospective of New York–based Witkin’s painting career and recent works by Weiss, mounts Apr. 6–May 11. Exhibitions by Ron English, Wheeler Brothers, and Bill Haveron on view from May 18–Jun. 22. ro2art.com

Markowicz Fine Art marks a commitment to sharing art with new audiences. markowiczfineart.com

35 SAENGER GALERÍA

Appearing at the Dallas Art Fair in booth F4, Saenger Galería, located in the Tacubaya neighborhood of Mexico City, will present work by Robert Janitz, Mark Hagen, Haruna Shinagawa, and Yoab Vera, who recently had an exhibition at Casa Gilardi by the late prize-winning Mexican architect Luis Barragán. saengergalería.com

36

SAMUEL LYNNE GALLERIES

Samuel Lynne represents a select group of artists, each with a unique vision and message within the contemporary art world. Work by Brandon Boyd will hang in the gallery until Apr. 13. samuellynne.com

37 SITE131

Construction site: 3 in 3D, a sculpture exhibition by Alicia Eggert, Jeffrey Lee, and Kasey Short, will be on view Apr. 3 through Jun. 8. Curated by John Pomara, it runs concurrently with the Dallas Art Fair. site131.com

37 SMINK

A showcase of fine design and furniture, SMINK is a purveyor of quality products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com

39 SOUTHWEST GALLERY

For over 50 years, Southwest Gallery has provided Dallas with the largest collection of fine 19th- to 21st- century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000 -square-foot showroom. swgallery.com

40 SWEET PASS SCULPTURE PARK

Dark Study by Anika Todd opens Apr. 27, and Terra Femme by Courtney Stephens runs congruently through Jul. 13. Todd’s installation, inspired by Austin’s historic moonlight towers, explores the complexities of presence and technology through a sound-activated, artist-made tower. Stephens Terra Femme reclaims the narratives of female travel filmmakers from the early- to mid-20th century, offering a contemplation on the female gaze. sweetpasssculpturepark.com

41 TALLEY DUNN GALLERY

Eye Candy by Julie Bozzi, and The Library by Linda Ridgway are on view through Apr. 6. The gallery will then hold an

NOTED: GALLERIES

exhibition for fiber artist Gabriel Dawe through the remainder of April and May. talleydunn.com

42 TUREEN GALLERY

Made Up Men by Danny McDonald and Kyle Thurman runs Apr. 3–May 18. Next, Skirmishhh by Natani Notah runs May 25–Jul. 13. Find Tureen Apr. 4–7 at Dallas Art Fair Booth C9. Image: Danny McDonald, The Dark Secret, 2022, mixed media, 12.2 x 12.99 x 7 in. tureen.info

43 VALLEY HOUSE GALLERY

Henry Finkelstein’s Paintings continues through Apr. 27 and showcases his work that focuses on color, light, air, and the character of places. The gallery returns to their booth F14 for the Dallas Art Fair on Apr. 4–7. valleyhouse.com

44 VARIOUS SMALL FIRES

VSF will host Joshua Nathanson in the gallery from Apr. 3–May 25. The gallery will participate in the Dallas Invitational Apr. 4–6 at the Fairmont Dallas. vsf.la

45 THE WAREHOUSE

For What It’s Worth: Value Systems in Art since 1960, curated by Thomas Feulmer and Lisa Le Feuvre, continues through Jun. 29. The exhibition features 80 artists exploring value systems in response to contemporary challenges. thewarehousedallas.org

46 WEBB GALLERY

Nudists to the Left, Textiles to the Right, featuring African American quilts, carnival banners, and artwork by Dennis Nance, Judy Vetter, Krissy Teegerstrom, Ricky Bearghost, and Bruce Lee, through May 19, explores the concept of textiles as a medium for artistic expression. webbartgallery.com

47 WILLIAM CAMPBELL CONTEMPORARY ART

WCCA presents Justin Adian: Reverb at 4935 Byers Avenue, and Harmony Padgett: No Words from Thin Skies and James Marshall: The Morphology of Being at 217 Foch Street; both exhibitions continue until May 18. Additionally, the gallery will exhibit in booth F10 at the Dallas Art Fair, Apr. 4–7. williamcampbellcontemporaryart.com

AUCTIONS AND EVENTS

01 ART BALL 2024: MOMENTUM Co-chaired by Andy Smith and Paul von Wupperfeld, Art

Ball 2024: MOMENTUM benefits the Dallas Museum of Art with an evening of dinner, drinks, and a live auction. All proceeds support the DMA's diverse exhibitions, encyclopedic collection, and educational programming.

02 DALLAS AUCTION GALLERY

Specializing in fine art, jewelry, luxury goods, antiques, and the decorative arts. Reyne Hirsch recently acquired the auction house. dallasauctiongallery.com

03 HERITAGE AUCTIONS

HA’s upcoming auctions include: Urban Art Showcase on Apr. 3, Olive Jar Treasures Luxe Jewels Showcase on Apr. 4, Historical Manuscripts Signature on Apr. 5, Depth of Field: Photographs Showcase on Apr. 10, Fine & Decorative Arts Showcase on Apr. 11, Prints & Multiples Signature on Apr. 16, another Prints & Multiples Showcase on Apr. 17, Illustration Art Signature on Apr. 23, another Urban Art Showcase on May 1, In Focus: Dali Showcase on May 2, Spring Fine Jewelry Signature on May 6, another Fine & Decorative Arts Showcase on May 9, Texas Art Signature on May 11, American Art Signature on May 15, another Prints & Multiples Showcase on May 15, Design Signature on May 23, and Hip-Hop Showcase on May 26. ha.com

04 DALLAS ART FAIR

Dallas Art Fair returns Apr. 4–7 with 93 participating galleries. North Texas galleries participating are 12.26, Conduit, Cris Worley Fine Art, Erin Cluley and Cluley Projects, Galleri Urbane, Keijsers Koning, Meliksetian | Briggs, Pencil on Paper, Sputnik Modern, Tureen, Valley House Gallery, and William Campbell Gallery. dallasartfair.com

05 DALLAS INVITATIONAL

Founded by James Cope, founder and director of AND NOW, from Apr. 4–6, 14 galleries will participate in the Dallas Invitational within hotel rooms at the Fairmont Dallas hotel. dallasinvitational.com

06 THE OTHER ART FAIR

Experience an art fair unlike any other. Saatchi Art’s The Other Art Fair brings 130 game-changing artists, thousands of original artworks, and a few curious encounters to their Dallas edition. Each fair offers something fresh, something you’ve not seen before— and this time will be no different. Prepare yourselves for artworks starting at $100, immersive installations, performances, DJs, and a flowing bar, May 9–12 at Dallas Market Hall. Image: Cortney Herron, Choosing Rest, oil on canvas, 30 x 20 in. theotherartfair.com

214.649.4375

jeanne.milligan@alliebeth.com

jeannemillligan.com

06

An Unbridled Passion for Art

Amanita brings Andrew Piedilato to Dallas Art Fair.

INTERVIEW BY JOHN RUNYON

Tommaso Rositani Suckert and Caio Twombly founded Amanita in Florence in 2021. They were soon joined by Jacob Hyman and Garrett Goldsmith. Following a successful pop-up in October ’21, at what was once CBGBs, called the birthplace of punk rock, the group made the Bowery their permanent New York City home.

John Runyon visits with Jacob Hyman on the history of Amanita and his plans for Dallas Art Fair here:

John Runyon (JR): Your stellar reputation precedes you. We are excited about your participation in the 2024 Dallas Art Fair. How did Dallas and the art fair get on your radar? What other fairs have you participated in?

Jacob Hyman (JH): Since our beginnings, we have maintained somewhat of a resistance to the fair circuit. Perhaps naively, we haven’t been so interested in exhibiting our artists in the more sterile, commercial environments of the fairs. It’s not to say that we resist the market in any way (in fact the opposite), but rather we have felt it remiss to consume a body of work during a brief and rigid fair presentation.

That said, understanding the opportunity that fairs present to our artists, we have carefully revisited this idea. We have become interested in fairs with more intimate scale and geographic intention. Our first fair presentation was this past fall at Artissima in Turin, which proved to be a great success. I was pleased by its smaller footprint and keen, engaged audience.

In thinking about the American fairs, we were drawn to the

Andrew Piedilato, Notebook Paper, 2009, alkyd, oil, acrylic on canvas, 99 x 96 in. Photograph by Dario Lasagni. Courtesy of the artist and Amanita.

Installation view from Andrew Piedilato’s solo show Nine Paintings (2009 - 2022) at Amanita. Photograph by Dario Lasagni. Courtesy of the artist and Amanita.

Dallas Art Fair for similar reasons, with positive testimony from colleagues, collectors, and other artists. We were urged also by our associate director, Lauryn-Ashley Vandyke, who proudly hails from Texas, and so it was somewhat serendipitous. We are very excited for our US fair debut in Dallas.

JR: Your gallery has an interesting history. Can you share with readers how the gallery was founded, and the partners involved?

JH: What makes Amanita singular in some capacity is that we are many. The gallery was initially founded in 2021 by two of our partners, Caio Twombly and Tommaso Rositani Suckert, with the intention of highlighting contemporary art within the robust historical backdrop of Renaissance Florence. From an early age, Caio began working with artists and mounting exhibitions throughout New York and Italy. Tommaso too has a background in art and design, producing furniture through his venture Malaparte Design.

At the time of our genesis in Italy, I was finishing my master’s in art history at Columbia University while also working at Gagosian, where I worked for a number of years prior to opening Amanita in New York. After the first couple of shows in Florence, I soon began collaborating on projects and placements for Amanita. With a need to tighten the organizational and logistical aspects of our quickly growing gallery, we were joined also by our good friend Garrett Goldsmith, who has a background in finance and who also helped develop Malaparte Design with Tommaso. Together, the four of us now own and operate the business, each with a specific role. We all share an unbridled passion for art, a serious commitment to the artists with whom we work, and a never fully satiated desire to tell stories and to realize the current state of things in our ever-developing world.

JR: What prompted the opening of your space in New York in 2022? Have you enjoyed the New York experience?

JH: In the fall of 2021, just a few months after the Florence gallery had opened, Caio and I organized a group exhibition in New York centered around boxing and painting. We installed a boxing ring in a makeshift gallery space in Soho where we exhibited a variety of paintings and hosted a number of fights. The boxing ring served as sculptural and performative context for the exhibition’s thesis. The

show was a great success, and given each of our individual ties to New York City, we knew that we had to be here.

Less than a year later, we opened our 3,500-square-foot gallery space in the heart of the Bowery. We chose to take a leap with such a large space so that we could realize the grand ambitions of our artists. With an even larger basement space, we have had the great opportunity of hosting artists in our studios downstairs. Our space is dynamic and expansive, allowing for a range of exhibition potentials and various engagements with our artists. Our Bowery gallery feels like home and has allowed us to grow in urgent and necessary ways. We are never leaving New York.

JR: Please share with us your plans for the Dallas Art Fair. What excites you most about works you will exhibit at the fair?

JH: I’m really looking forward to what will be our second presentation with Andrew Piedilato. We mounted our first exhibition with Andy in the winter of 2022 in New York, which featured nine paintings of epic proportions circa the last two decades. In Dallas we will be presenting six new paintings by Piedilato made over the last 18 months in his tranquil Berkshires studio.

I first met Andy while I was working at Gagosian. At the time he was a leading art technician for the gallery, having worked previously at Cheim & Read. Andy, in his early 50s, had exhibited for years on both coasts at some of the country’s most storied gallery programs, such as Patrick Painter in LA and Ivan Karp’s OK Harris gallery in New York. Andy has a distinct, often jaded, view of painting. When I first went to his studio in Brooklyn, it was filled with work from the last 20 years, as he withdrew himself from the art world. I was compelled by his candid approach to image making and his bold ambitions when it comes to scale and dimension. The paintings are multivalent, at times frenetic and chaotic, and at others calm and highly considered. Needless to say, Andy no longer works at Gagosian.

Andy’s practice is slow and laborious. He makes only a handful of paintings each year, so it is particularly exciting to be showing this group of recent work. It will be great to see these paintings consume our audiences within the confines of our mid-sized booth in Dallas. P

Andrew Piedilato, Lower Collapse, 2020, alkyd and acrylic on canvas, 89 x 101 in. Photograph by Dario Lasagni. Courtesy of the artist and Amanita.

FOR ALL ETERNITY

Vojtech Kovarík mines Greek mythology in Under the Weight of the World at The Power Station.

BY JOHN ZOTOS PHOTOGRAPHS BY MATEJ DOLEZEL

Vojtěch Kovařík (b. 1993, Czech Republic) has already had an extraordinary career, with a stream of sixteen exhibitions dedicated solely to his work between 2018 and 2023 held in venues on an international level—yet he’s barely thirty years old. Next, he will have his first exhibition in Texas at The Power Station, a local kunsthalle well known for contemporary art projects featuring emerging artists. The show will open in April—just in time for the Dallas Art Fair and its related programming held all over town.

Kovařík’s engagement with contemporary figuration offers a unique version of the style that homes in on classicism. Particularly in this case, ancient Greek mythology provides the source material. His idiosyncratic and allegorical pieces contrast refreshingly with current trends in figurative painting that predictably tend to directly address politics and current events.

Kovařík comes from a family of artists, and an early interest in ancient art led to a style of painting wherein his figures are rendered with sculptural features, similar to sculptures he studied during trips to Greece. Figures in his paintings are bathed in a wide range of colors, in either oil or acrylic, that heighten the artist’s care in creating texture and dynamic volume, often with the addition of sand, within the strict boundaries of two-dimensional painting on canvas.

Titled Under the Weight of the World, the exhibition refers to the Greek myth of the titan Atlas, who was condemned to carry the world on his shoulders for all eternity as a type of punishment. It serves as a metaphor that engages with the idea of our struggles in life, which the artist sees as a timeless theme of vital importance that resonates in our contemporary world as it did in poems and plays passed down to us from the ancient world. Struggle and anxiety are visible in the paintings such that his figures are under a kind of duress, compressed into awkward, sometimes isolated positions.

Why Greek mythology? In his retrieval of this ancient mythos, Kovařík explains, “It’s about the gods. My paintings are drawn from big stories, so they need big canvases.” Even more importantly, he relates, “I believe in Europe—we are, everyone, part of these traditions because Greek mythology is foundational for our civilization.” These big stories carry weighty themes, thus Kovařík uses a large-scale format bordering on the muralist tradition. In fact, the artist has expressed an admiration for the style, which emerged in Mexico during the mid-20th century in the work of Diego Rivera, among others.

To this monumentality Kovařík brings a lofty attitude

This page: Vojtěch Kovařík, Leandros and Hero, 2024, 236 x 118 x 3 in., acrylic, sand, iron, and oil on canvas. Courtesy of Mendes Wood DM and the artist. Opposite, clockwise from top: Vojtěch Kovařík in his studio; Vojtěch Kovařík, Hermes, 2024, 78.7 x 59 x 11 in., Acrystal, acrylic, and varnish over iron frame. Courtesy of Mendes Wood DM and the artist; Vojtěch Kovařík, Leandros and Hero, 2024, 236 x 118 x 3 in., acrylic, sand, iron, and oil on canvas. Courtesy of Mendes Wood DM and the artist; Vojtěch Kovařík, Athena and the Olive Tree, 78.8 x 78.8 x 2.4 in., acrylic and oil on canvas. Courtesy of Mendes Wood DM and the artist.

in how he views his process. “My view of working is like a combination of my own life, subconsciousness, and Greek myths. Thanks to this combination I transform into my own little world, my own allegory of life, my dream landscape.”

At least ten paintings will be on view, along with some ceramic pieces and drawings. As a centerpiece for the exhibition, a monumental painting titled Leandros and Hero will dominate the gallery space, reaching about 20 feet in height. Depicted are mythological characters whose tragic love story was most likely first told in the writings of the Roman poet Ovid, who borrowed the details from Greek mythology. Since then, the story has served as an inspiration for several works of art, theatrical plays, and operas.

Hero was one of Aphrodite’s princesses; she lived at the top of a tower and was forbidden to interact with men. As in all tragic love stories, she and Leandros fell in love. Living on opposite sides of the ocean, they devised a way to see each other that obliged Leandros to swim across the ocean when she lit a lamp in her tower as a signal. This worked pretty well for a while, until

one night, during a dangerous storm, the light was accidentally lit, and Leandros drowned on his way to Hero. His body washed up on the shore where Hero clearly saw it the next day and threw herself down to her doom, their bodies intertwined for all eternity. Kovařík depicts them on the shore, but alive, both muscular, Leandros in shades of brown, Hero in light blue.

Cast in a cold-cured ceramic laminate is a six-foot tall bas-relief that features Hermes, the messenger of the gods, his oversized body parts compressed, as they are cropped on all sides. In Athena and the Olive Tree, an androgynous version of the god straddles the tree in an imposing six-by-six-foot canvas.

These pieces and others with a similar treatment of the Greek myths lend a timeless gravity to an exhibition unlike what The Power Station has brought to Dallas before.

Two months after this opening, Vojtěch Kovařík will be the subject of an exhibition in Prague at the prestigious Kampa Museum—yet another example of how Dallas plays a part in the global contemporary art conversation, as well as a good reason the see Vojtěch Kovařík: Under the Weight of the World. P

ARTIST + RESIDENCY + COMMUNITY = AUGUSTUS OWEN FOUNDATION

Gabriel Rico, known for his equation sculptures, will premiere as the first artist-in-residence.

BY TERRI PROVENCAL

The art scene has “gone bonkers” since he left and returned says Peter Augustus Owen, a Dallas native who worked for Perrotin in Asia and was formerly associate publisher of ArtAsiaPacific magazine in Hong Kong.

When he returned home, he opened Peter Augustus in Exposition Park in 2021 before relocating the gallery to the Dallas Design District. The gallery focused on emerging and mid-career artists from the Asia-Pacific region, several of whom held their first solo shows in North America. Since closing the gallery, Peter has turned his attention to the Augustus Owen Foundation he recently established with his husband, Bradford Owen, aimed to promote cross-cultural dialogue through the arts and social sciences.

“The foundation grew from the idea of having an artist’s residency. In general, and for international artists, Dallas lacked a residency program,” says Peter, adding the plan is to host two resident artists per year. Gabriel Rico is the foundation’s inaugural artist-in-residence. Peter met him in Hong Kong at Perrotin, which also has galleries in New York, Seoul, Shanghai, Tokyo, Paris, and

Installation view of Gabriel Rico’s solo exhibition CONSIDER HOW LONG YOU HAVE BEEN DOING THE SAME THING! Photograph by Mengqi Bao. Courtesy of the artist and Perrotin.

Portrait of Gabriel Rico. Courtesy of the artist and Perrotin.

Los Angeles. “The residency will be a mix of artists at Gabriel’s level as well as emerging artists.”

Choosing Rico was a decision that came not just from knowing him and his strong connections with Dallas collectors, but also because, “He’s not just a paint-on-canvas artist—he pushes the limits on what sculpture is and what art can be.” Using disparate found, collected, and manufactured materials, Rico creates sculptures that reflect on humanity’s relationship with the environment derived from his architectural degree and interests in science and philosophy. His materials often include neon, taxidermy, ceramics, branches, and personal relics from his past in order to create a formulation or equation with a precise geometry. “Gabriel will be spending his time in Dallas at the residency searching for materials and objects to use in pieces in the future. He will also be working on a new equation work. Very exciting that items from Dallas will be incorporated into future pieces.” The residency is in a pedestrianfriendly area and a short stroll to Knox Street.

Kelly Cornell, director of Dallas Art Fair, is an advisory board member who believes the residency will “allow for collaboration between our practicing Dallas artists and galleries, and the comingling that can occur within these opportunities. Artists immersing themselves in new environments create exciting

and energetic work, particularly with Gabriel Rico, to see how his treasure hunting of found objects plays out in Dallas.” Cornell is joined by Emily Edward, associate curator at Dallas Contemporary, and Thomas Feulmer, curator at The Warehouse, as residency advisors.

Timed with Dallas Art Fair, on Friday, April 5 beginning at 11 a.m., the Nasher Sculpture Center’s chief curator, Jed Morse, will lead an in-person conversation with Rico. This will be a continuation of the virtual discussion that began between the artist and curator in April 2021.

In addition to the residency, the Augustus Owen Foundation Award will be presented to a BAFA graduate of the Hong Kong Art School (HKAS). The recognition will be awarded to a student who has excelled in the area of artistic research. The school program is presented in Hong Kong by the Royal Melbourne Institute of Technology. “It is also my alma mater!” enthuses Peter.

“The crux of the Augustus Owen Foundation and residency is bringing people here,” Peter emphasizes. In addition to private curator- and artist-led tours, “We plan to bring some important figures from the areas of economics, business, as well as authors, for talks in Dallas. It’s a chance to connect them with the local community.” P

Gabriel Rico, The second cause is meant to be an explanation of the first (2/2 WP from the series Excessive butter), 2022, cotton yarn on wooden board coated with beeswax, 39 x 39 x 2 in. Courtesy of the artist and Perrotin.

Gabriel Rico, VI (mural from the series Reducción objetiva orquestada (2016 - 2021), 2021, mixed media, neon. 139 x 167 x 35 in.

Photograph by Diego G. Argüelles. Courtesy of the artist and Perrotin. Peter Augustus Owen. Photograph by Beau Bumpas.

LITERARY GIANT

THE MORGAN LIBRARY & MUSEUM MARKS ITS CENTENNIAL.

INTERVIEW BY CHRIS BYRNE

Through May 4, a major exhibition dedicated to the life and career of the Morgan Library & Museum’s first librarian, Belle da Costa Greene, is on view, marking the public institution’s centenary.

Here, Chris Byrne visits with director Colin B. Bailey, who was the senior curator at the Kimbell Art Museum in the ’90s, on the enduring success of the Morgan and its extraordinary holdings.

Chris Byrne (CB): Congratulations on the Morgan’s 100th anniversary—what can we look forward to this year?

Colin B. Bailey (CBB): Visitors this year can expect a series of exceptional exhibitions and expanded-access programs, among other celebrations. Exhibitions this year include a two-gallery exhibition on the life of Beatrix Potter, an installation on artist Walton Ford, and perhaps most notably, an exhibition celebrating the life and contributions of our first librarian and director, Belle da Costa Greene. The Morgan will also hold a free public day of celebration on Sunday, May 5, 2024, for all visitors, and is now offering free

admission to all college students on the first Sunday of every month.

CB: This past year I viewed several noteworthy postwar exhibitions at the Morgan, including Georg Baselitz: Six Decades of Drawings , Bridget Riley Drawings: From the Artist’s Studio, and Entrance to the Mind: Drawings by George Condo

CBB: From late 2022 to 2023, the Morgan held four exhibitions dedicated to the work of living artists. Three of these exhibitions featured drawings from artists working in the postwar era, though each of these artists has vastly different origins, as well as highly unique responses to their time. These exhibitions include Georg Baselitz: Six Decades of Drawings, celebrating a gift from the artist to the Morgan of fifty drawings, organized in collaboration with the Albertina Museum in Vienna, as well Entrance to the Mind: Drawings by George Condo, celebrating the Morgan’s acquisition of twentyeight of the artist’s drawings. The Morgan also notably organized the exhibition Bridget Riley Drawings: From the Artist’s Studio, the first exhibition devoted to the artist’s drawings in over twenty years.

CB: In 2021, the museum acquired twenty-eight drawings by Condo, spanning the artist’s entire career...

Clockwise from left: J. Pierpont Morgan Library East Room. Photograph by Graham Haber; The Morgan Garden, evening view looking north. Courtesy of the Morgan Library & Museum, New York. © Brett Beyer, 2022; George Sand (1804–1876), Les dames vertes, autograph manuscript, ca. 1858, later bound in goldtooled green Morocco leather by Riviere & Son. The Morgan Library & Museum, purchased by J. Pierpont Morgan, 1896.

CBB: The Morgan is very fortunate to have acquired twentyeight excellent drawings by George Condo made over the last forty-five years, the earliest of which date to his teenage years. Acquiring drawings by an artist like Condo, who does not establish a hierarchy between drawing and painting, is particularly well-suited to the Morgan’s collection, which emphasizes drawings and the creative process. In these works by Condo, it is possible to see the development of an artist’s process, not just for the production of a single work or group of works, but over the course of his lifetime. These drawings allow us to see the artist’s improvisatory spirit and central preoccupations with mental states emerge over the course of his career.

CB: You’ve mentioned that drawings have always been an important part of your scholarship, allowing you to see and think about the process...

CBB: Drawings are central to my scholarship and how I think about the creative process. Many drawings, unlike paintings, are preparatory, unfinished, or simply used as a space upon which to experiment. There are practical reasons for this—for one, paper is less expensive than canvas—but these characteristics of drawings make them especially interesting for the study of process.

CB: Do you feel that the intimacy of autographs/manuscripts also allow us to get close to a historical figure?

CBB: There is nothing like the intimacy of studying historical, literary, music, and artistic manuscripts to provide insight into an artist, writer, or composer’s life and times. Even as more and more research material becomes digitized, allowing broader access to archival materials, the experience and opportunity of chance encounters onsite is absolutely unparalleled.

CB: Highlights from the Morgan’s collection are too numerous to mention. They include three copies of the Gutenberg Bible (the first European book printed with movable type); Johann Sebastian Bach’s autograph Der Herr ist mein getreuer Hirt , BWV 112 from April 8, 1731; William Blake’s farsighted book America: A Prophecy, 1793 (one of fourteen known copies); and Henry David Thoreau’s collection of journals (1856)...

CBB: We’re pleased this year to present our 100 Collection Highlights in celebration of our 100th year as a public institution, which includes items from each of our various departments, spanning from 4,000 BC to the present. Many of these highlights are accompanied by videos in our Collection in Focus series, allowing us to share our most exemplary items even with people far from home. P

The lionesses at the original entrance to J. Pierpont Morgan’s Library. Courtesy of the Morgan Library & Museum, New York. © Brett Beyer, 2022.

Sharon Young

THE CULTIVATING OF ARTFUL FOUNDATIONS

Sharon Young and Stephen Penrose will each receive the TACA Silver Cup Award for active volunteerism in the arts, along with a tribute to Morton H. Meyerson.

BY LEE CULLUM PHOTOGRAPHS BY JOHN SMITH

This year, TACA’s Silver Cup Award and special tribute are going to a threesome with glorious houses. Each home is supremely expressive of the people who live there, whether two men whose wives are gone from this world, now on their own—Steve Penrose and Morton H. Meyerson—or the radiant Sharon Young who, with her husband Michael, has assembled a collection of contemporary art that seizes the current moment and tells us, as Joan Didion put it, who and what we are.

The first thing I see in pulling into Sharon’s driveway is a yard sign for a Texas State House candidate. Maybe there are others, but that’s the one I notice. Along with her cultural commitments, Sharon cares deeply about government and policy that promotes access and equity towards social issues, including the arts. Art is life and life is possible only when strong-minded citizens make it so.

Sharon Young is indeed a strong-minded citizen, but you wouldn’t know it, since humility is a watchword for her, along with integrity. Her convictions are immediately apparent, nonetheless, in the first work I see once inside. By Italian artist Giuseppe Penone, it is a wall-filling assemblage of laurel leaves, dried and deliberately monotone, a backdrop for a pair of lungs, bronzed, assertive, with something to say about nature and human health.

An elegant photograph by Robert Mapplethorpe catches my eye as we make our way to sit and talk about her, though this is not her favorite subject. I learn that Sharon was born in Atlanta and lived in various places, including New Orleans, before alighting, by chance, in Dallas and meeting Michael Young. He changed her life and no doubt she changed his. At that time Michael was a collector of Texas art, and together they embarked on a great new quest for the art of their time—and of our time too.

For Sharon art was a revelation, “opening up my soul, my intellect, in a different way,” she says. “It was like drinking from a firehose and loving every minute of it. [Art] tapped into a part of myself I had not been aware of.” Stalwarts at the Dallas Museum of

Art such as Cindy and Howard Rachofsky, Marguerite Hoffman, and Deedie Rose knew talent when they saw it. They persuaded Sharon to chair various benefits at the DMA as well as serve on the board. Variations on that theme occurred at the Booker T. Washington School for the Visual and Performing Arts and the Nasher Sculpture Center as well as Planned Parenthood. (Janie McGarr got her involved in that.) The main thing, though, Sharon tells me, is that the arts “created a community for me.”

Michael suggested they join forces to launch Quadrant Capital Partners. He had been global head of real estate for CIBC World Markets in Canada for almost ten years, but commuting to Toronto and New York was growing less attractive all the time. So, once again, they started something new. Michael is the Big Idea generator for Quadrant, as he was for CIBC, Sharon explains, while she works strategically and pragmatically to assess risk and viability. Sharon had worked in a variety of businesses and disciplines, but an MBA from SMU some years before had “dramatically expanded” her perspective and focused her interests. For the past 20 years, they have leveraged their complementary talents to build Quadrant.

Sharon is not one of those people who confuses motion with action but even so, she is always on the move, preparing for the next thing, unbeknownst to her perhaps, but germinating in the recesses of her ever-responsive psychology. Politics, business, art— they are all of a piece in her mind, all part of a creative, coherent whole that governs what she requires of herself.

“I am grateful to those who invited me in and taught me, through their friendship and generosity, the tremendous value of art and culture in their lives and to our city,” she writes in an email. “The collaboration and community that collectors and patrons have created here in Dallas is unlike anything in other major art centers and the envy of many collecting communities. I am fortunate to be a very small part of such a wonderful thing.”

Stephen Penrose pictured with art gathered from a lifetime of travel.

Stephen Penrose

“We look forward to celebrating Sharon Young and Steve Penrose at this year’s TACA Silver Cup luncheon. The special annual event allows TACA and all arts supporters in our city an opportunity to shine the spotlight on two exceptionally worthy arts patrons. We can think of no better examples of selfless and steadfast support and volunteerism than this year’s honorees.”

–Maura Sheffler, Donna Wilhelm Family President & Executive Director

If ever there were a low-key corporate guy, quietly confident, always in tune with the times, instinctively drawn to the good life, it’s Stephen Penrose. When I arrive at his house, he’s at the front door, waiting to show me through a long, open, airy room that seems to expand with every step. It is filled with art from Malaysia, Tokyo, and other spots around the world where he worked in finance and management for Exxon Mobil. There is no clutter, only a careful accumulation of things, which, after all, as novelist Elizabeth Forsythe Hailey has said, “contain people” as well as places and serendipities of every dimension.

We settle down for tea, his in what must be his favorite mug: white porcelain, tall as a beer stein, and painted with musicians mainly playing strings, from what I can see. His younger daughter, Kate Penrose, played cello when they lived in London (it was in Britain that he found the mug) and plays still, in a community orchestra, alongside her work as an epidemiologist at the City University of New York.

Steve Penrose grew up with his bags packed, ever ready for the next adventure. His early years were spent in Lebanon where his father, president of the American University in Beirut, gave his family a fascinating life. A veteran of the OSS during World War II, Steve’s dad was a flourishing expert in the Middle East by the 1950s, especially the Palestinian problem, which he warned could erupt into bad trouble in the region or, worse, the world. But he died young, of a heart attack. So Steve and his two sisters moved to Claremont, California, where their mother became dean of students at Scripps College, moving six years later to the administration of Harvard’s School of Public Health.

Then Steve landed at Phillips Exeter Academy in New Hampshire, followed by Swarthmore, The Fletcher School of Law and Diplomacy at Tufts, and a PhD in international affairs. His dream always was the Foreign Service, a natural avenue for the son of an internationalist academic/diplomat whose own father was the first president of Whitman College in Washington State. Steve III was ten when he lost his dad, but by then he long since had imbibed the enchantment of the world and wanted to work in as many parts of it as possible.

Diplomacy was not his ticket to a traveling life, however. That turned out, unexpectedly, to be Standard Oil of New Jersey. Before long renamed Exxon, the company offered Steve a job in the treasuries department in Houston and, eventually, also a seat on the board of the Houston Grand Opera. His only previous brush with music had been as a guide at Tanglewood, the Boston Symphony’s summer home, where once he drove Van Cliburn to a concert, arriving early, which irritated the introverted pianist who, it can be surmised, didn’t want the distraction of saying too many hellos before he performed.

Steve emphasizes that his progress into art has been gradual. When he and his late wife, Eleanor, retired to this city, the first boards he took on were those of CASA, a nonprofit agency that operates within the court system to help abused children, which he chaired, and the Dallas Zoo, where he was treasurer, his usual role everywhere he went, including The Dallas Opera. As board president of The Dallas Opera Foundation and Dallas Theater Center Endowment Fund he maintained his commitment to minding the money, making sure it was well spent—or better still, not spent at all except for good reason.

It was Kirstin Chavez, a blooming mezzo-soprano, who first attracted Steve seriously to opera. She worked as a babysitter for the Penrose family in Kuala Lumpur, where they were with Exxon, and she was with her parents, English and music teachers from Albuquerque. The Penroses followed Chavez’s career from Suzuki in Madame Butterfly at The Dallas Opera to Carmen in Queensland, Australia.

Steve also sought out Cecilia Bartoli in Salzburg and Barcelona and took a boat trip with an English chamber orchestra. His other daughter, Meg Miller in Plano, is mad for musical theater. So when he says, as he did to me, that he knows nothing about music, don’t believe him. Today his favorite operas are The Magic Flute and Norma , but it all “depends” he says, “on the production, the voices [which] must blend.” Steve reminds me of Lyndon Johnson, who used to say, “When somebody tells me he’s just a country boy I reach for my wallet.”

Morton H. Meyerson

Special Tribute Award

Mort Meyerson’s Power House, once the home of Dallas Power and Light, has the front door barricaded against an overbearing tower about to rise across the street, but once inside I find the atmosphere could not be more welcoming.

The first thing I spot is a score by Bach with small metal pins for notes. “Marlene [his wife, an extraordinarily original woman who left all our lives much too soon] gave me that for my birthday,” he recalls, explaining that she was in love with the visual arts while his passion always was music, from the age of four, when he started piano lessons. It was this devotion that brought him to head the effort to find the current, elegant conductor of the Dallas Symphony Orchestra, Fabio Luisi.

We sit down at a large irregular slab of wood that Mort found in Santa Fe. Now a table, it holds a tray on which he has laid out still and sparkling water plus a bowl of chocolate-covered caramels. He has been deaccessioning, he tells me, selling a house he had in Bozeman, Montana, and giving away 80 percent of the

stuff—shoes, suits, cups, saucers, et al—he’s collected over the years. That has been more difficult, he says, than he expected. His daughter Marti has redone the house in Dallas. Born with her mother’s fantastic eye for art, she has left untouched a few things Mort loves, such as a hanging set of painted metal plates and a Japanese bamboo basket, then added works that are edgy but seem somehow to soften the brick walls and make them friendlier than they were meant to be.

I have not seen Mort in a long time, so he brings me up to date. He has had two bouts with cancer, he says, and as a result thinks a lot more about the here and now than he used to, and looks ahead less, though he is going to China in April for the board meeting of a biotech company he helped start. Everyone there will be Chinese except Mort. He also has been asked to sing bass, as he sometimes does, with the Dallas Symphony on its European tour in June. He’s considering it. So his life certainly is not devoid of plans.

Morton Meyerson in his home, pictured with Mark Dorrance’s 12 Cycle Series.

Mort is a believer in the endangered liberal arts, a humanist who majored in philosophy and economics at the University of Texas at Austin. Then he learned to write computer code in the US Army and made of it a life work, principally at EDS, founded by Ross Perot. When asked to preside over the building of the Meyerson Symphony Center, named for him by Ross Perot, who made a large contribution to honor the people who built his company, Mort was astonished, since he knew nothing about architecture and even less about acoustics. But “architecture in my mind,” he realizes, “is frozen music” which is itself “sound and vibration”—not so different from a computer.

Mort Meyerson sees unity everywhere he turns, paradoxes that resolve themselves into new and surprising epiphanies. I stay longer than I should, drinking in the insights of a philosopher-engineer who has worked hard to know what he knows and distill it into wisdom. P

Where hospitality is a ne art.

Houston’s acclaimed Lancaster Hotel rede nes modern hospitality. From its collection of over 200 works by noted contemporary Texas artists to its prime location in the heart of Houston’s award-winning Theater District, The Lancaster Hotel is the perfect escape for a patron of the Arts.

Now serving Afternoon Tea.

Book your stay at www.thelancaster.com

SEEKING HEALING THROUGH SOUND IN THE DEPTHS

The Conceptual Ecological Framework of Miguel Sbastida.

BY BRANDON KENNEDY

Everything is vibration, ripple to tsunami. The curve of a manned wave to the impact of rising carbon dioxide levels. Recreational beauty to climate disaster, whether graphed in line or noted in number, all resonate in both wave and form.

The genesis of Future Reefs, the spring exhibition at The Power Station (Dallas), gained amplitude as visiting artist Miguel Sbastida kept crossing paths with artful boardsman Gregory Ruppe in Galveston. Their working spaces were adjacent in the Gulf shore town, and being that they were both artists, surfers, and of a certain ecological mindset, Sbastida and Ruppe quickly found common ground. Over several weeks, Ruppe watched Sbastida conceptualize, plan, and implement his exhibition Voice of Coral for the Galveston Artist Residency (GAR) Gallery, which ran from late November to early February. Soon enough, the ongoing conversation led to future exhibition planning.

Two large suspended sonic sculptures comprised of squiggly networks of steel tubing with inset speakers, cascading cabling, and floor-bound tech fill the GAR Gallery. Mimicking unfinished coral structure, their partial armatures appear to float with jellyfish

aplomb amidst the crackling audio textures and Gulf-hued walls.

For the source sound, the conceptual, research-based artist worked with scientists at the National Oceanographic and Atmospheric Administration (NOAA) in Galveston. Sbastida explains the process, stating, “Scientists there are doing field recordings of underwater coral soundscapes and using their findings to study the health system of the reef. By measuring and identifying the different sounds, called ‘rhythmics,’ they learn which creatures live there and can also assess the health of that specific reef.” By using these field recordings, the artist then represents the hope for a healthier habitat in the future, emulating the sounds of the past: thriving coral reef ecosystems. As Sbastida notes, “coral reef restoration through sound and enrichment technology.”

In a smaller connected gallery, a gridded swathe of figures accumulates atmospheric carbon pollution data monthly since historically recorded, with data the artist acquired from NOAA. It registers as a staggering receipt but can also easily wash over submerged eyes, freely churning the viewer into the undertow of an ever-warming, toxifying ocean.

Above and inset (detail): Miguel Sbastida: Voice of Coral, installation view. Courtesy of the artist and Galveston Artist Residency.

Sbastida also has a writing practice that poetically complements the rigor of data and thoughtful lyricism of his forms. In the written statement about his latest reef project, the artist supposes dialogue with his deep-water ecosystem subject, wondering about how much they’re aware of their surroundings and regenerative powers while also somewhat apologizing for the Anthropocene age. Sbastida’s forms, audio, and language all work together to balance the tension between the didactic and the poetic, the ecological and the personal.

Ruppe founded PICNIC in early 2020 with collector and Power Station founder Alden Pinnell. Beyond the expanding scope of investigating one-of-a-kind board shapes, PICNIC has an artist-chic streetwear merch shop and a curatorial practice that utilizes and engages both the local and the communal. However, this is Ruppe’s first large-scale curatorial project at The Power Station under the PICNIC umbrella, though they implemented an annex space a year ago. Alongside the art component, every time an iteration of the Sbastida’s reef project is staged, the exhibition venue donates a portion of the budget to Reef Renewal USA to help fund coral restoration and research; viewer donations are also welcomed. At The Power Station this April, Future Reefs will build upon what Sbastida executed and learned while in Galveston. Sbastida’s conceptual underpinnings and physical/sonic forms will adapt and evolve to the new surroundings of the industrial presentation of the Dallas venue as he looks to perhaps frame the data in an altogether different variation.

In anticipation, imagine the amplified sounds of a coral chorus merging with the exhibition’s opening-night conversation framed by ecological activism—or at least the potential for such in both the individual and the community.

As Sbastida frames it when speaking of the necessity of emotional proximity in dealing with these pressing issues: “We created this distancing from the world…it’s one of the legacies of science, because… [we] needed this space between this object and subject in order to be objective.” [But now I’m asking] How can I inhabit this? How can I embody this? How can I make this embodied knowledge right?” P

Miguel Sbastida in his studio. Courtesy of the artist.

A BRAND OF SUBSTANCE

Brunello Cucinelli discusses his philosophy on fashion, art, and humanistic capitalism.

INTERVIEW BY ANTHONY FALCON

As one would expect, Brunello Cucinelli is an aesthete— an avid lover of history, philosophy, Greek culture, and art. The esteemed creative director and executive chairman, who turned 70 last September, still drives his eponymous brand’s mission with an assured yet gentle hand from Solomeo, where he lives with his wife, Federica.

Patron caught up with the King of Cashmere here:

Anthony Falcon (AF): How would you describe the “Cucinelli look,” and how do you see that look evolving through the next decade?

Brunello Cucinelli (BC): I would describe the Brunello Cucinelli look as “gentle luxury.” I use the terms “gentle” and “gracious” often when speaking about brand, our style, or the growth of the company because it embodies a certain attitude that I believe most of our clients share. Cucinelli is a modern luxury lifestyle brand. We connect with people in all different moments of their lives because our focus remains on ready-to-wear, from day into evening. This is a brand of substance for people who are interested in quality, craftsmanship, an ethical behavior towards production, and the desire to wear items that will last for generations.

There is a special individual behind this kind of taste, and I am very proud of the great community that we have been able to create around the globe, thanks to the shared values between the brand and its ambassadors.

My family and I are all involved in the creative process of our product. I’ve always believed that staying modern and relevant with our taste was going to be key to remaining desirable. People invested in Brunello Cucinelli are interested in pieces that clearly speak of excellent quality and innovative craftsmanship.

AF: Do you think the principles of linear minimalism are reflected in your approach to the work environment and lifestyle, beyond just the design of the clothes?

BC: Each season we innovate our collections, but certainly, clean lines and elegance have been a part of our aesthetic. I wouldn’t say we are synonymous with minimal style, as many of our items, especially our Opera knitwear, express an elaborate taste with several accents, from sequins to different yarns that make texture a key component of our look. Our styling for both men and women is unique to our brand and is often layered, with rich details and accessories to complement the overall feel of each outfit. As it pertains to the work environment, our goal has always been to create a culture of integrity and respect for everyone. We believe people in our factory who have the most repetitive roles should always work in the most beautiful spaces. A space with natural light and an appreciation for architecture and beauty will always ignite more creativity and harmony while working. We founded the company on the ideals of human dignity and fair profit, and we continue to live by these principles as the company looks to the future.

AF: In what way do the arts influence your work and brand ethos? Could you provide specific examples?

BC: Providing specific examples is like defining beauty, which in my opinion is a difficult goal. What I can do is observe that proximity to

Brunello Cucinelli. Courtesy of Brunello Cucinelli.

Above: Brunello Cucinelli Spring/Summer 2024 women’s collection. Courtesy of Brunello Cucinelli.

Inset: Mending and reknitting. Courtesy of Brunello Cucinelli.

beautiful things and art heightens the sensibility applied to my work. The search for beauty has always had an impact on humanity. In my opinion, beauty is at its purest form when found in nature and in many depictions of art from the past, especially in the Renaissance.

AF: In your text “My idea of Humanistic Capitalism and Human Sustainability” you speak of the importance of beauty, culture, and art. In your opinion, what role do the arts have in creating a sustainable society?

BC: When I look at the past, I understand to what an extent ancient people owed their awareness of their dignity to art and the great monuments erected by their leaders.

AF: Your allusions to Leonardo da Vinci and other great thinkers suggest a strong interest in the intersection of art and science. How does this philosophy manifest itself at the crossroads between your work and daily life?

BC: If history teaches us anything, it is that the boundary between art and technology is not as clear-cut as the rationalists thought. From the Renaissance, and from the workshops of artists, I learned that the craftsman and the artist produce excellence when they are able to unify both skills. In the same way today, art and science through technology innovation often overlap, but what I think matters is to find a balance that starts with a focus on the human experience.

AF: You describe beauty as a path to wisdom. How does this belief influence the aesthetic choices of your fashion line?

BC: I would go even further, as the ancient Greeks believed: beauty is truth. But I fear the attempt to understand how this belief is transformed into aesthetics could render the creative result a little less brilliant.

AF: Sustainability in the environment is one of your core values. How do you incorporate these principles into your business practices, especially in areas like sourcing and manufacturing?

BC: By painstakingly verifying that each supplier respects the ethical environmental principles that I set myself as the basis for my activity as an entrepreneur and fashion designer.

AF: You talk about economic sustainability and have outlined several policies within your company, such as respecting strict working hours and guaranteeing above-average salaries. How have these practices affected the company’s productivity and employee satisfaction?

BC: Nothing is ever “imposed” by us in the sense that is usually

given to this term. I took inspiration from Saint Benedict, who thought that one should be a lovable father and a strict abbot. Our employees respect our values and follow the practices that will ensure a prosperous work environment for all—the rest follows from that.

AF: You have spoken of the wonders of contemporary technology, particularly artificial intelligence. How do you reconcile the use of these technologies with your philosophy of sustainable growth and respect for human dignity?

BC: Everything, in my opinion, can be traced back to the meaning of the human being and their role in creation. I don’t believe a robot can be moved to sincere tears as a human being can. As long as we continue to believe in the relevance of the concrete human experience, I am not afraid of progress and will aim to take its more favorable side into my life and company.

AF: Pericles’ address to the Athenians is one you admire. How has this speech influenced your business ethics and how you conduct yourself as a business leader?

BC: More generally, I am fascinated by Greek culture, and by the sophrosyne culture that for centuries governed the life of the Hellenes. I find it brilliant, in Pericles’ speech, that he limits himself to explaining what was done in Athens without judging or wanting to set himself up as a model. I always try to follow this example. P

Left: School of craftsmanship. Courtesy of Brunello Cucinelli.

Above: Bespoke tailoring. Courtesy of Brunello Cucinelli. Left: Solomeo skyline, the headquarters and home of Brunello Cucinelli. Courtesy of Brunello Cucinelli.

Color and pattern selection. Courtesy of Brunello Cucinelli.

Brunello Cucinelli Spring/Summer 2024 men’s collection. Courtesy of Brunello Cucinelli.

Art’s Global Era

10 STANDOUT ARTISTS FROM THE US AND ABROAD EXHIBIT AT DALLAS ART FAIR.

BY NANCY COHEN ISRAEL, TERRI PROVENCAL, AND DARRYL RATCLIFF

Zach Meisner MICKEY, Chicago

“Simply put, no one else is doing what Zach Meisner does,” says Mickey Pomfrey, principal of Chicago’s MICKEY gallery, who has been working with the artist for over a decade. “I think it is an important continuation of the history of light and space; using materials in novel ways, he is able to achieve works that question the nature of perception and elude description.”

Meisner’s sculptural reliefs—he refers to as “stretchovers,” —are created by applying hued liquid medium in alternating horizontal and vertical strokes on a pane of glass, resulting in a semi-transparent skin he stretches over a wooden apparatus of his own construction. Illusionary, color and light play a critical role in the artist’s three-dimensional receptacles, inviting the viewer to investigate their humble stature, materiality, and the tension between image and object from different points of view.

The artist believes the smaller scale is essential to his amoebic and geometric forms. At Dallas Art Fair, find his labor-intensive untitled work like the 6.75 x 4.75 x 5.50-inch sculpture that mimics the mottled effects of turquoise through an acrylic-on-walnut structure, or the 10-inch-high graniteappearing work with a wooden tongue.

The artist grew up in Taos, New Mexico, where from an early age, he was a Burton- and Oakley-sponsored competitive snowboarder. He is the son of an industrial paint contractor he assisted at various times in his life. He once worked in the studio of Larry Bell, whom he cites as an early influence. An artist associated with the Light and Space movement, Bell investigates the reflective properties in his own work.

Meisner received his BFA in studio art at the School of the Art Institute of Chicago and his MFA at the University of Texas at Austin, where he is currently assistant professor of practice, first-year core program in the art and history department. He received the Louis Comfort Tiffany Foundation Award in 2017, and he is a 2014 fellow in visual arts at the Luminarts Cultural Foundation, Chicago. –Terri Provencal

Clockwise from left: Zach Meisner, untitled, 2022, acrylic paint/medium stretched over acrylic and on MDF with walnut, 10.50 x 5.37 x 2.25 in. Zach Meisner, untitled, 2022 acrylic on walnut, 6.75 4.75 x 5.50 in. Zach Meisner in his studio.

Robert Peterson Albertz Benda, New York City

Robert Peterson’s last art class was in seventh grade. “I never envisioned myself becoming an artist,” he says. In 2012, however, fate came knocking when an injury requiring surgery prevented him from returning to work—he, his wife, and their three children had been homeless twice previously. Having studied fashion design at Parsons School of Design in New York for three semesters, instead of surrendering to misery, he pulled out “his stuff from Parsons” from the back of the attic in his Oklahoma home and began creating. Determined to support his family, he eventually picked up a paintbrush and an artist he became.

Fate intervened again when a mutually gratifying meeting in Miami introduced him to Thorsten Albertz. “In the sea of Black talent that rose to fame over the last couple of years, the art market focused on celebrating artists discussing cultural and ethnic identity,” states Albertz. “Amidst this wave of recognition, Robert Peterson stood out to me as an artist truly and uniquely celebrating Black identity. Robert celebrates not by referencing Eurocentric art history, and he does so not by narrating invented storylines. He does so by depicting the everyday African American from his immediate surroundings in their immediate settings, with an immediacy and intimacy that is unprecedented.”

At Dallas Art Fair, visitors to the Albertz Benda booth will see Still Standing , a portrait of two Black men set against a Rothko-esque background. “For me the story is the ability to still stand despite everything and everyone the world has thrown against you,” Peterson explains. With undulating tones and colors, his work pays homage to Black skin through paint’s sensual qualities in a palette uniquely his own. “I formed a palette heavy in blues, greens, purples, oranges, and gold.” Look closely at Back to black . The gold and blue emphasize the sinewy curves of a man at peace with himself, staring, perhaps, at the future. “I want to show that it’s cool to be a little bit soft. It’s cool to be loved,” says Peterson.

Last year, the United States Postal Service released a stamp depicting his painting of The Autobiography of Miss Jane Pittman author Ernest J. Gaines, the 46th in the Black Heritage series. USPS acquired Peterson’s painting.

Through a lived life, it’s no surprise Peterson’s portraits of Black men and women convey a deep sense of contemplation while remaining sanguine. “I have to paint my truth,” the artist says. –Terri Provencal

Above: Robert Peterson [American, b. 1981], Back to black, 2024, oil on panel, 20 x 24 in. Below: Robert Peterson, Still standing, 2024, oil on canvas. 72 x 48 in. Both images courtesy the artist and Albertz Benda, New York, Los Angeles. Right: Robert Peterson in his Oklahoma studio. Courtesy of the artist.

Austin Uzor TAFETA, London

TAFETA is a contemporary art gallery located in London with a project space in Lagos, Nigeria. It was founded by Ayo Adeyinka in 2013. The gallery focuses on showcasing contemporary art from Africa and its diaspora, with an emphasis on promoting emerging and established artists from these regions. The artists they are bringing to the Dallas Art Fair are Bunmi Agusto, Alain Josephine, Niyi Olagunju, Enam Gbewonyo, Austin Uzor, Babajide Olatunji, Victor Ekpuk, Nkechi Ebubedike, and Nelson Makamo. Their artists have received lengthy critical reviews in the New York Times, Forbes, and The Art Newspaper —to name just a few. It is even more amazing that one of the artists they are showing is actually based in Dallas after receiving an MFA from the University of North Texas: Austin Uzor.

Austin Uzor’s artistic journey is a captivating narrative woven with threads of displacement, adaptation, and a deep connection to the landscapes of both Nigeria and Texas. Born and raised in Nigeria, Uzor’s move to the United States in 2016 marked a significant turning point in his artistic trajectory. His exploration of the Texas landscape, with its sprawling vistas and vanishing horizons, became a central theme in his work, blurring the lines between memory, time, and place.

His paintings dissolve the lines between figurative and abstraction, often reading as abstraction at first glance, then revealing meticulously painted horses in the piece His Imperial Majesty. His ability to have figures, people, and objects seemingly emerge and dissolve into the background of his pieces is notable, giving an almost surrealist quality to the work. Yet the scraping, layering, and treatment of the painting’s surfaces feels rooted in traditional abstraction—a fitting unique style for an artist so profoundly shaped by different worlds. –Darryl Ratcliff

Above: Austin Uzor, His Imperial Majesty, 2023, oil on canvas, 30 x 40 in. Courtesy of the artist and TAFETA. Below: Austin Uzor, Redeemer's guilt; young pallbearers, 2023, oil on canvas, 68.10 x 68.10 x 1.20 in. Courtesy of the artist and TAFETA. Above, right: Austin Uzor in his studio. Courtesy of the artist.

Sherin Guirguis Luis De Jesus Los Angeles

Luis De Jesus Los Angeles, founded by its namesake in 2006, is a contemporary art gallery known for its commitment to supporting innovative and boundary-pushing artistic practices, often featuring artists who explore themes of identity, politics, and social commentary. This year Luis De Jesus will be presenting works by Evita Tezeno, Vian Sora, Tristram Lansdowne, Melissa Huddleston, and Sherin Guirguis.

I recently had the pleasure of visiting Dallas’ own Evita Tezeno at her studio to preview works she will be presenting at the Dallas Art Fair—and she has not lost her fastball. The artist, who was profiled in Vogue and won the prestigious Guggenheim Fellowship last year, is working through her layered, signature style while also considering an exciting foray into sculpture.

However, Luis De Jesus is brimming with talent, and another artist to consider is Sherin Guirguis.

Guirguis is an Egyptian American visual artist known for her multidisciplinary research-driven practice that explores themes of identity, culture, and migration, particularly through the lens of the Egyptian diaspora. Guirguis was born in Luxor, Egypt, and later moved to the United States, where she currently resides and works.

Guirguis’ work often incorporates traditional Egyptian art and craft techniques, such as Islamic geometric patterns and mashrabiya (wooden lattice screens), into contemporary forms. Guirguis’ new mixed-media abstract paintings are a continuation and expansion of A’aru // Field of Reeds, which the artist recently produced during her artist residency at the Shangri La Museum of Islamic Art, Culture & Design in Hawaii. Using ink, watercolor, gouache, and gold leaf on layers of hand-cut paper, Guirguis draws inspiration from communal gatherings that she participated in during the Covid lockdown, where she and a group of BIPOC female creatives read Farīd ud-Dīn Attar’s 13th-century Sufi epic poem, The Conference of the Birds. These works are captivating, with skilled manipulation of a flowing green ink into dynamic, patterned shapes that are reminiscent of peacock wings.

–Darryl Ratcliff

Above: Sherin Guirguis, Untitled (Bennu), 2023, mixed media on hand-cut paper, 72 x 90 in. Collection of MOCA, Los Angeles. © Sherin Guirguis. Courtesy of Luis De Jesus Los Angeles. Below: Sherin Guirguis, Untitled (Sa), 2023, mixed media on hand-cut paper 72 x 60 in. © Sherin Guirguis. Courtesy of Luis De Jesus Los Angeles. Left: Sherin Guirguis. Photograph by Hesham El-Saifi. Courtesy of the artist.

Karen Gunderson

Erin Cluley Gallery, Dallas

Black, we are taught, absorbs light. Through Karen Gunderson’s deft handling, however, it is luminous. For the past 30 years she has depicted the natural world exclusively through black paint. Using only a few shades, her canvases reveal undulating water, shimmering moons, and trembling mountains. In capturing light, the works feel dimensional. “Working with light is almost as important as working with paint,” she explains.

Erin Cluley, who represents Gunderson locally, concurs, saying, “When I saw Karen’s work for the first time, I was drawn to the way in which the light was an incredibly important aspect of the work. Her commitment to this approach and the use of black paint was unique and profound to me.”

For Gunderson, who turned 80 last summer, the black paintings follow a trajectory set forth in her earliest works. Constructions from the 1960s, crafted in plexiglass, incorporated mirrors, chrome, and steel to capture light. The primary imagery in these were clouds. In the 1970s, Gunderson moved from the Midwest to New York City,

where she became immersed in that dynamic art scene. Before long, the clouds began migrating onto canvas. A turning point came in the mid-1980s with the painting Memory. Made in honor of a friend who was dying of AIDS, here the palette begins to drain of color. Gunderson cites this as the transitional work that ultimately augured the black paintings.

This spring, in addition to being featured in Cluley’s booth at the Dallas Art Fair, her work will also be the subject of a retrospective at Cluley’s Design District gallery. And while in town for these events, Gunderson will be in conversation at the Nasher Sculpture Center with Maggie Adler, curator at the Amon Carter Museum of American Art.

Gunderson is looking forward to being back in Dallas. “I want to put together a beautiful show and for Erin to have that,” she says. The feeling is mutual. “This survey exhibition will be a big moment for her, and I’m thrilled and honored to be hosting it in the gallery,” concludes Cluley.

–Nancy Cohen Israel

Left: Karen Gunderson, Flowing Tides, 2024, oil on linen, 40 x 40 in. Courtesy of the artist and Erin Cluley Gallery.

Above: Portrait of Karen Gunderson, courtesy of the artist.

Ailbhe Ní Bhriain

Kerlin Gallery, Dublin

Ailbhe Ní Bhriain’s work is a balance between the contemporary and the historical. Through her background in printmaking, she was introduced to the transformational progression of images as they moved from plate to acid bath to paper. This evolution of imagery has remained of particular interest, ultimately leading her to the seemingly antithetical media of film and computer-generated imagery with tapestry. She was drawn to the latter for its tactile qualities as well as the notion of weaving as the earliest form of binary code. “In effect, the Jacquard loom operates like a very early computer,” she explains.

Though based in Cork, Ní Bhriain works collaboratively with a Flemish weaver. Through the weaver’s expertise, Ní Bhriain’s worked and reworked images are once again transformed, this time through cotton, silk, and wool, linking a traditional method of picture making with contemporary digitally manipulated imagery. She says, “The images refer to our attempts at protecting and preserving ourselves through photography, architecture, technology, and this kind of interesting moment where these are colliding with ancient,

destructive forces that we paradoxically unleashed through our efforts at legacy.”

For this year’s Dallas Art Fair, Dublin-based Kerlin Gallery will present one of Ní Bhriain’s monumental tapestries, Interval I . “The Interval series combines idle group portraits with images of underground caves and destroyed architecture. They are all brought together and then meticulously rendered on the loom as strange amalgam environments. I’m trying to draw the ancient mythology and contemporary threats into some kind of dialogue,” she notes.

According to gallery director Darragh Hogan, “Ailbhe is emerging as one of the most vital artists in the country with an approach that seems particularly Irish. A love and deep-rooted respect for craft and a history of storytelling come together in her elaborate and finely woven work with an ease that eludes many others.” Finally, he says, “Every year we try and bring something outstanding and ambitious to Dallas, and to date the audience has responded well. I feel the imagery, complexity, and detail in Ailbhe’s tapestry will resonate with many in Dallas.” –Nancy Cohen Israel

Ailbhe Ní Bhriain in her studio. Courtesy of the artist.

Ailbhe Ní Bhriain, Interval I, 2023, jacquard tapestry, cotton, wool, silk, Lurex, edition of 3 + 2AP, 116.1 x 155.9 in. Courtesy of the artist and Kerlin Gallery.

Sergio Miguel

Deli Gallery, New York City, Mexico City

Deli Gallery, based in NYC and Mexico City, champions emerging artists, fostering artistic careers regardless of their market value, academic background, exhibition history, race, sex, color, or orientation. This open and diverse approach hasn’t hindered the gallery from being featured in Artforum, Art in Review, BOMB Magazine, and the New York Times highlighting its contributions to the contemporary art scene.

This community-oriented space founded by Max Marshall is showing two artists at the Dallas Art Fair: Sergio Miguel and Andrea Smith.

Sergio Miguel, a Mexican painter based in Los Angeles, captivates audiences with his radical reinterpretation of the ángel arcabucero motif, a popular figure in 17th-century colonial Peru. Miguel’s solo debut showcased a hybrid style that blends elements of Baroque art with photo-studio glam, resulting in a distinctly contemporary portrayal of winged women wielding ornate guns. Inspired by his Mexican heritage, time spent in Chile, and the German New Objectivity movement, Miguel infuses his work with rich cultural influences and personal experiences. His paintings often feature elements such as the ubiquitous red tile floor found throughout Latin America, evoking nostalgic memories of familial spaces. Miguel draws inspiration from iconic figures like Frida Kahlo, Pier Paolo Pasolini, and Naomi Campbell, admiring their strength, individuality, and defiance of societal norms.

As a queer artist, Miguel is committed to representing underrepresented communities, including queer individuals, in his work. He explores themes of identity and selfexpression through portraits of friends, each painting serving as a reflection of biographical stories and personal anecdotes. His works for the art fair show figurative images of young children on the beach holding a variety of sea serpents and dragons. They are forlorn, eerie, even slightly surreal—suspended in an old style and fantasy that somehow feels fresh and new. –Darryl Ratcliff

Sergio Miguel. Courtesy the artist and Deli Gallery, New York, Mexico City.

Sergio Miguel, Joaquín, 2024, oil on canvas, 36 x 23.25 in.; 38.50 x 25.75 in. (framed). Courtesy of the artist and Deli Gallery, New York, Mexico City.

Sergio Miguel, Pedro, 2024, oil on canvas, 36 x 23.25 in.; 38.50 x 25.75 in. (framed). Courtesy of the artist and Deli Gallery, New York, Mexico City.

Sergio Miguel, Alfonso, 2024, oil on canvas, 36 x 23.25 in.; 38.50 x 25.75 in. (framed). Courtesy of the artist and Deli Gallery, New York, Mexico City.

Michi Meko

DIMIN, New York City

DIMIN is a new contemporary art gallery led by Robert Dimin located in the Tribeca neighborhood of New York City. If one recognizes the name Dimin, it is because Robert was a partner in the highly respected Denny Dimin Gallery, which shuttered soon after his departure. In fact, the recent art world exposé Get The Picture, by New York Times best-selling author Bianca Bosker, was mostly researched at Denny Dimin by an undercover Bosker. The now-eponymous DIMIN picks up where the previous gallery left off, showing talented artists to critical acclaim.

One artist to look out for is Michi Meko, an acclaimed American contemporary artist renowned for his multidisciplinary approach and poignant exploration of identity, culture, and societal issues. Hailing from Atlanta, Georgia, Meko’s work focuses on the African American experience, particularly in navigating public spaces within the American South, while remaining buoyant in them. Meko completed an artist residency at the internationally renowned Artpace in San Antonio in 2023, where he mounted an exhibition entitled While I’m Here…A Different South

Formally, Meko’s artistry transcends traditional boundaries, seamlessly blending painting, sculpture, installation, and found objects to create visually stunning pieces. There is an inky, wave-like quality to his paintings—one feels both at sea and in the heavens simultaneously. It is a bit kinetic, energetic

brushwork and mark making, the black acrylic dome of his Artpace installation now being echoed in tondos. Drawing from his personal experiences and rooted in the African American narrative, Meko’s artworks pulsate with vibrant colors, intricate textures, and rich symbolism, inviting audiences to delve into the complexities of his narratives. There is also a nice placeness to his landscapes—this isn’t the white beaches of Miami but the murky swamps and lakes and coasts of the wetlands. Meko’s utilization of symbols such as naval flags, nautical elements, and romanticized Southern objects, adds layers of meaning, inviting viewers to navigate through his narratives with curiosity and introspection. –Darryl Ratcliff

Above: Michi Meko: While I’m Here...A Different South, 2023. Artpace, San Antonio, Texas.

Below: Michi Meko. Courtesy of the artist and DIMIN, New York.

Stephanie H. Shih

Alexander Berggruen, New York

Dr. Pepper, 7-11, and Funyuns are Texas icons. For Stephanie H. Shih, they also offer inspiration for the work she is presenting with Berggruen Gallery at this year’s Dallas Art Fair. “I like to ground the work in the location where it is being seen because I want viewers to feel that extra pang of recognition,” says the Brooklyn-based artist. Each handbuilt, hand-painted stoneware construction is the result of methodical research, making it almost possible to form a site map of where she has shown her work.

Shih is particularly interested in how cultures overlap as well the effects that migration has on one’s identity. “My practice overall is focused around my identity as an Asian American in the diaspora,” she notes. The daughter of Taiwanese parents, she adds that rather than being pulled between two worlds, she sees, “the unique identity that comes out of being the child of immigrants.”

As the work she is bringing to Dallas attests, food serves as a central theme. By focusing on it, she says that she is tapping into something that is not only universal but also culturally specific. “Food holds a special place in Chinese and Taiwanese culture. It really is threaded through our society in a way that I think is very unique,” she explains. Using food as a springboard also allows her to connect with a wide audience. According to her gallerist, Alex Berggruen, “These offer points of connection for a wide variety of people of different backgrounds, different origins, and different walks of life. I always enjoy seeing how visitors connect with various aspects of her work, often from a very personal, gut reaction.”

This will be the first time Shih’s work is being shown in Dallas and the second year that Berggruen will be at Dallas Art Fair. While the gallery will feature the work of seven artists, Bergguen notes, “Stephanie stands out as a single ceramicist and sculptor.” –Nancy Cohen Israel

From above: Stephanie H. Shih, Funyons Onion Flavored Snack , 2024, ceramic, 2 x 5.50 x 7 in. © Stephanie H. Shih. Courtesy of the artist and Alexander Berggruen, New York. Photograph by Robert Bredvad; Stephanie H. Shih, Oh Thank Heaven for 7-Eleven, 2024, ceramic, 7 x 9.50 x 8 in. © Stephanie H. Shih. Courtesy of the artist and Alexander Berggruen, New York. Photograph by Robert Bredvad; Stephanie H. Shih, Dr. Pepper, A Lift for Life!, 2023, ceramic, 8.50 x 9.50 x 6.50 in. © Stephanie H. Shih. Courtesy of the artist and Alexander Berggruen, New York. Photograph by Robert Bredvad.

Stephanie H. Shih. Photograph by James T Bee. Courtesy of the artist.

Elliot & Erick Jimenez Spinello Projects, Miami

Spinello Projects, founded in 2005 in Miami, Florida, by Anthony Spinello, is one of the most important galleries in the country right now. After stellar reviews from both The Armory Show and PhotoFairs in New York last year, Spinello Projects dominated Art Basel as the lone Miami-based gallery represented in the hometown fair. For Dallas Art Fair, Spinello is presenting the collaborative work of twin brothers Elliot and Erick Jiménez.

For a preview of their work Blue Chapel, visit the Modern Art Museum of Fort Worth, where they are included in Surrealism and Us: Caribbean and African Diasporic Artists since 1940, curated by María Elena Ortiz. The Jiménez brothers exemplify the interesting and complex relationships of the diaspora in that Caribbean region through their work, which often draws influence from Santeria. Santeria, or Lucumí, grew up in the shadows of Cuba from the religious practices of the enslaved Yoruba peoples that were concealed in the images of Catholic saints out of fear of religious persecution.

In Spinello Projects’ booth see Reclining Mermaid— shadowed, glowing, referencing water and the Black Madonna, the Virgin of Regla; and Yemaya, the orisha of the ocean. However, the sitters are obscured, leaving viewers to guess who is being depicted and what race or gender they are.

This deep duality is rendered in stark and stunningly beautiful images that emerge from the immaterial world that the brothers have become so skilled at capturing. “The shadowy figures we depict maintain a commanding presence regardless of their identities, often revealing only their eyes,” the artists describe. “This artistic choice reflects the historical existence of Lucumí, a religion often shrouded in obscurity. Although our primary aim is to conceal, we utilize anonymity as a form of empowerment, diverging from the historical context in which Lucumí adherents concealed.”

Raised in a Cuban biracial family and as bilingual speakers they say, “We’re constantly navigating the duality of our identities. A duality that also comes from being raised in a different country than our family, but at the same time retaining much of a culture that comes from elsewhere. This dual perspective guides our exploration of these themes that have shaped us.” They are showcasing untold stories and bringing the magnetism of the shadows into the light.

–Darryl Ratcliff

Elliot & Erick Jiménez self-portrait. Courtesy of the artists and Spinello Projects.

Above: Elliot & Erick Jiménez, Vase of Red Dahlia Bulbs, 2024, archival photo print, 44 x 60 in., edition of 5 + 2AP. Courtesy of the artists and Spinello Projects. Right: Elliot & Erick Jiménez, Reclining Mermaid, 2023, archival photo print, 44 x 65 in., edition of 5 + 2AP. Courtesy of the artists and Spinello Projects.

This page: Sarah Sze, Slow Dance, 2024, installation view, paper, string, aluminum, mixed media, video projection, and sound, dimensions variable. © Sarah Sze. Photograph by Kevin Todora. Courtesy of the artist and Nasher Sculpture Center. Opposite: Sarah Sze. Photograph courtesy of Thierry Bal.

Slow Dance of Time

Nasher Sculpture Center presents three site-specific works by Sarah Sze that address the changing world.

BY DANIELLE AVRAM

Ifirst encountered the work of American artist Sarah Sze at The Museum of Fine Arts, Boston. At the time I was a relatively naive first-year graduate student, and witnessing Sze’s installation was nothing short of magical. Beginning with a collection of everyday items—a box of tissues, a desk lamp, a single flower in a plastic water bottle—nestled alongside the wall of a pedestrian walkway, the piece grew into a series of miniature biospheres comprised entirely of everyday materials before culminating in one large piece from which a single plumb bob dropped to the floor below, swaying above a bed of flower petals.

It’s been over twenty years since I saw that piece, and I still think about it all the time.

Time, as I now know, is a constant theme in Sze’s work. Time in all its iterations: fleeting moments, memories, histories—art, shared

and personal—are constantly at play within the artist’s installations. She is famously known for her site-specific works that grow in and around existing architecture, usually incorporating the various items—such as ladders, paint cans, metal clips, etc.—that are used to install the works themselves. This particular mode of working largely culminated at the 55th Venice Biennale in 2013, when Sze represented the United States.

Following this achievement the artist loosened the creative reins, incorporating more painting (she holds a BA in painting and architecture from Yale University) and experimental forms of video into her structures. This past summer Sze reached an apex for this body of work with her massive exhibition, Timelapse, at the Solomon R.Guggenheim in New York City, which utilized the exterior, interior façade, atrium, and top floor of the museum’s iconic spiral

structure as backdrops for a series of immersive environments. Like a spring bubbling from the ground up, the exhibition flowed from the exterior to the top floor, leading viewers through a web of delicate sculptures, exploded paintings, and swirling videos, ending with the reinstallation of the artist’s masterful 2016 work, Timekeeper, a visual atomic bomb colliding the natural, mechanical, and sensorial worlds.

With her current exhibition at the Nasher Sculpture Center, simply titled, Sarah Sze, the artist has embarked upon another chapter in her career. Instead of the usual sprawling, networked structures, Sze has chosen to create three separate but visually connected pieces in different areas of the museum. Sze explained

her approach to this exhibition during a recent talk with Nasher Chief Curator Jed Morse:

“I was always interested in the space in between things. It was really important to me that there were three different locations in the Nasher. They would be very different, but then you’d have a memory of something from one to the next so that you would start to collect an internal narrative and have your own relationship with the work…it would become a kind of journey, or travel, or a pilgrimage that is surprising in different ways, but the language has this kind of interiority.”

The exhibition draws viewers in with Cave Painting , a photographic sculpture comprised of numerous hand-torn images.

Suspended by dozens of threads, the piece obstructs the view to the Nasher’s garden, challenging viewers to orient themselves within the landscape by imagining what could exist on the other side of the windowpane. The threads suspending the images extend onto the floor where they are grounded by a collection of objects—paint bottles, sticky notes, balls of twine—that were used to create the piece. This provides a sense of the work being in process, as though the artist has simply walked away for a moment, while also blurring the delineation between where the “museum” ends, and the “art” begins. This is an idea Sze continues throughout the show, conflating subject, environment, and the viewer as a way to generate connective possibilities across the entirety of the exhibition.

The downstairs gallery contains Love Song , which features a spindly tree made from armature wire with a metallic tripod base, its branches adorned with paper cutouts of leaves. Nestled within

This page and opposite: Sarah Sze, Cave Painting, 2024, installation view, inkjet prints on paper mounted on Tyvek, string, clamps, aluminum, and mixed media, dimensions variable. © Sarah Sze. Photograph by Kevin Todora. Courtesy of the artist and Nasher Sculpture Center.

opposite: Sarah Sze, Love Song, 2024, installation view, inkjet prints on paper, steel

aluminum wire, clamps, plywood, turntable, tripod, mixed media, and video projection. © Sarah

Photograph by Kevin Todora. Courtesy of the artist and Nasher Sculpture Center.

the tree is a rotating totem of projectors that cast a series of images onto the gallery walls, their shift in content and color signaling the change in seasons. The tree’s branches appear as shadows intermingling with the images, remaining static as the world changes around them.

The effect is so visceral that viewers are warned of the potential to feel overwhelmed or dizzied by the experience. Sze has spoken about the influence of Japanese gardens on her work, and I continue to find myself thinking about Love Song as an ode to the static natural elements in our lives: each ring of a tree and layer of rock or soil carries memories of the era during which it was created. The ultimate timekeepers.

With 722 hand-torn pieces of paper acting as miniature screens, Slow Dance is the artist’s most ambitious video work to date and a truly breathtaking achievement. Two gently sloping hammocklike shapes comprised of lengths of string run from the ceiling on either side of the gallery into the middle, where each is tethered to the floor, once again anchored by materials used to create the piece. Affixed to the strings with dollops of hot glue, the papers are gently cradled as the projections move through a series of images and color shifts: shades of black-and-white, blue, orange, red. Each

piece of paper is then cast as a light-ringed shadow onto the floor and wall, turning the structures into two three-dimensional shapes, the hollow of which resembles the arc of a swaying pendulum or a shallow vessel—a timekeeper and memory catcher in one.

Sze has always been interested in upending expectations, and with this exhibition she largely eschews many of the Rube Goldberg-esque trappings that audiences have come to expect. It’s a pared-down, unplugged version of an artist who already knows how to make “things,” and who is increasingly focused on the space in between and the perception of those “things.” During her Nasher talk, Sze spoke about the relationship between language and objectification, stating, “When you name them [objects] they mean nothing; that doesn’t describe an installation. It’s really their relationship to each other, to architecture, to your personal history, to art history.” Although the works have individual titles, it’s worth noting that Sze chose to title the exhibition after her own name, acknowledging that she’s at the stage of her career wherein she is a brand, and with that comes a set of expectations. In that sense, Sarah Sze, is a reclamation of her name, her style, her way of thinking—all of which are imbued with meanings that can change over the course of time. P

A WORLD LIBERATED

SURREALISM AND US: CARIBBEAN AND AFRICAN DIASPORIC ARTISTS SINCE 1940 DOCUMENTS A MORE COMPLETE HISTORY.

BY MATTHEW BOURBON

Above and below: Arthur Jafa, Love is the Message, The Message is Death, 2016, video (color, sound), 7 minutes, 25 seconds. © Arthur Jafa. Courtesy of the artist and Gladstone Gallery

History is necessarily an incomplete story. Our past is recorded, as the famous proverb suggests, “by the victors.”

To acknowledge this limitation and obvious bias is to be open to the different lenses from which we can interpret and narrate a period in time. Our desire to know must always be combined with an ethos of reevaluating information and adding to or editing a given historical story to make the topic richer and fuller, much like scientists who rectify previous errors or incompleteness by adjusting their understandings with subsequent experimentations. Rewriting our histories is an act that allows us to see from a wider, more holistic, and hopefully incrementally more accurate perspective. The groundbreaking exhibition Surrealism and Us: Caribbean and African Diasporic Art since 1940, on view at the Modern Art Museum of Fort Worth, offers just such a rethinking.

The show reframes the standard tale about surrealism through a deliberate focus upon the contributions of Black and Caribbean artists. The curator, María Elena Ortiz, has expertly gathered a wide sampling of artists whose work is involved with the surrealist tradition of subverting rational depictions of the world. The usual canonized story is that surrealists adapted the approach taken by Dada artists, who delved into non-rational or absurdist activities and representations to rebuke the thinking that led to the horrors of World War I. This impulse to undercut the status quo and to acknowledge murky inner psychologies was taken up by more than

just European artists. Appreciating the narrowness of the surrealist story, this exhibition is meant to expand our understanding by both documenting a wider representation of artists who worked in the surrealist visual language but also elucidating the reasons that some artists adopted surreal imagery.

Ortiz argues that the works she’s included in the show are both a protest against the violence and brutalities of the world, but also examples of a rarified and sanctified space for artistic autonomy and political reimagining. Surrealism in this context is a practice from which to direct and envision a world different, a world liberated from the constricted histories previously told.

In some fashion, all art is built within an unrestricted space of free experimentation. For this show, however, the Martinique thinker and writer Suzanne Césaire (1915-1966) is a touchstone for a reconfigured sense of surrealism as an act of political freedom. Césaire writes:

Such is surrealist activity, a total activity, the only one that can liberate humankind by revealing to it the unconscious, one of the activities that will aid in liberating people by illuminating the blind myths that have led them to this point

When we examine some of the work in the show, like that of Haitian painter Préfète Duffaut, we see an art as utopic dreaming. His painting La Lune Habitée, 1964, is a kind of fantasy landscape of a port town mirrored in a floating moon world rising into the pale blue sky. The mountainous landscape of Haiti is reflected into an idealized and fictive domain that embodies Césaire’s notion

April Bey, I Will Never Ask ANY OF YOU for Respect, I Will Demand It, 2023, jacquard woven textiles digitally designed, crushed velvet, glitter, resin, metallic thread on panel, 60 x 48 in. Tern Gallery. Photograph by Evie Marie Bishop. Courtesy of the Modern Art Museum Fort Worth.

Above: Kenny Rivero, Olafs and Chanclas , 2021, oil on canvas, 72 x 72 in. Collection of Michael Sherman. © Kenny Rivero. Photograph by Ed Mumford. Courtesy of the artist and Charles Moffett, New York. Below: Details of Kenny Rivero, Olafs and Chanclas

Above: Zak Ove, La Jablesse (The Devil Woman), 2013, mixed media, 86 x 22 x 17 in. Jessica McCormack Collection. Photograph by Evie Marie Bishop. Courtesy of the Modern Art Museum Fort Worth. Below: Wangechi Mutu, Histology of the Different Classes of Uterine Tumors, 2006, digital prints and mixed media collage (individually collaged print elements and glitter), 12 works, 23 x 17 in. each. Courtesy of the artist and Vielmetter Los Angeles. Photograph by Evie Marie Bishop. Courtesy of the Modern Art Museum Fort Worth.

of surrealism as antidote to troubled histories. In Duffaut’s case a religious intent is always present in his art, and like much religious work, it intrinsically embraces a grand intent of liberation.

In a more current example, we see a series of collaged heads created by Wangechi Mutu, crafted upon medical pages identifying different classes of uterine tumors. Mutu cobbles together the text and imagery printed on the pages with reshuffled photographic body parts. What Mutu envisages are playful portraits that are serious, ridiculous, and guttural, as if she’s trying to transform the cancerous into a complex living being. There’s a rebellious attitude to the work coupled with a curious identification with tumorous illness that ultimately feels both political and personal.

Artist Zak Ové is a dynamic and authoritative sentinel figure. Like Mutu’s faces, the figures Ové stitches together create a new wholeness. Ové’s La Jabless (The Devil Woman), 2013, is a freestanding creature that is roughly human height. The figure is fashioned

from a wide range of materials, including twisting driftwood, ropes, tangled textiles, bells, and metal spikes. One side of the face gazes off to the right—like Michelangelo’s David, it’s a formidable guardian. On the opposite side of the face is a metal mask. The wall text suggests that the figure is meant to evoke Caribbean folklore about a siren luring unsuspecting men into the forest to perish. There is certainly something forceful about the gaze of the figure combined with the stiffly layered body that is simultaneously hollow and abundant. The adamancy of the character reads as menacing or perhaps protective, but either way, it retains a self-determined and powerful presence.

Unforgettable in this gathering of disparate artists is the celebrated video Love is the Message, The Message is Death by Arthur Jafa. In the syncopated film, images are spliced together, making a tone poem about the Black experience; it’s both painful and ecstatic. The moving video plays on contrasts, with brutal racial violence sitting

Ja’Tovia Gary, Citational Ethics (Zora Neale Hurston, 1943), 2023, neon, engraved obsidian, wood base, overall: 75 x 77 x 65 in., stool: 19 1/2 x 13 x 13 in., vanity: 31 x 40 x 26 in., mirror: 30 x 41 x 9 in. Rennie Collection, Vancouver. © Ja’Tovia Gary. Photograph by Steven Probert. Courtesy Rennie Collection, Vancouver, and Paula Cooper Gallery, New York.

Elliot & Erick Jiménez, Blue Chapel (Rejection, Acceptance, Advocacy, Interdependence), 2022, archival photo prints on canvas in artists’ custom frames, 52 x 42 x 6 inches each, set of 4, unique. © Elliot & Erick Jiménez. Photograph by Elliot & Erick Jiménez. Courtesy of Spinello Projects.

next to performances of all kinds; intellectual heroes adjoin dancing and athletic movements that coil from horrible distress to joyful crescendo. Jafa purposefully uses both familiar historic moments paired with anonymous images. Natural sounds, spoken words, and music combine as the fractured narrative pulls the viewer along like a conductor imploring us to ingest the substance of suffering and perseverance as realities undeniable in both the present experience and the fraught history of the United States.

The Cuban artist José Bedia also stands out in this large exhibition with a fascinating pyramid of works on paper that include a series of flat black silhouettes harkening back to Indigenous representations of humans and animals. Bedia uses this vernacular visual language to cinematically evoke the story of José Antonio Aponte, a figure of Cuban defiance to the ruthless realities of slavery in Havana. Aponte was convicted, hung, and decapitated for his resistance. Bedia builds a dynamic and moving monument to the man and to his stalwart insistence on freedom and human dignity.

Similarly, artist April Bey leans into a representation of Afrofuturism, where she portrays a figure as a superhero armored in soft textiles and crushed velvet held together by metallic thread. The gaze of the woman is utterly self-possessed and resolute. The title is a battle cry that underpins the intent and value of the whole exhibition: I Will Never Ask ANY OF YOU for Respect, I Will Demand It.

What this work and the myriad of others on display prove is that our connection to the past and our inhabitation of the present are manifestly enhanced by shining light on both the beauty and the bitter pain encapsulated within all our collective history. P

Préfète Duffaut, La Luna Habitue (Inhabited Moon), 1964, oil on Masonite, 24 x 26 in. Milwaukee Art Museum. Gift of Richard and Erna Flagg.

José Bedia, Jubilo de Aponte, 2017, mixed media on handmade paper, 106 x 143 in. Photograph by Evie Marie Bishop. Courtesy of José Bedia Studio and Lyle O. Reitzel Gallery, © José Bedia.

REMIXING THE VISUAL VOCABULARY

At Dallas Contemporary, Patrick Martinez’s multifaceted solo exhibition encompasses a layered and rich hybridity.

BY EVE HILL-AGNUS

There will be neon. Neon cacti, among other markers of a visual vocabulary shaped by place. After all, this has always been a hallmark of Patrick Martinez’s work. When Martinez was slated to open his solo exhibition, Patrick Martinez: Histories, at the Dallas Contemporary, it was clear there would be samplings of a Texan iconography. But Martinez grew up in Pasadena, so his work was most shaped by LA, which offered itself up for him to borrow the riches of its aesthetic, visual vernacular.

There is something of the magpie or mosaic-maker in Martinez. What does it mean to borrow social, cultural, and physical artifacts of placehood and whereness and place them at the nexus of a new dialogue, rich in both history and hybridity? In his diverse practice, the viewer finds a wealth of mimesis, like a trove of keys to unlock references. Nested among these references are nods to the ordinary bakeries that make the sheet cakes that Martinez reprises as cake portraits of figures like Angela Davis, Malcolm X, or Filipino labor organizer Larry Itliong. Diverse mixed media, often gleaned from hardware stores, find their way into the eight- or 12-foot bas-relief wall paintings which reinterpret landscape and incorporate tile, stucco, latex house paint, window security bars, tarp, or vinyl signage. (A

new work, at 50 feet long, is the largest to date; this show is similarly his largest to date.) Within their thickly encrusted surfaces, you find Southern California’s bougainvillea and other botanicals that fit a palette thickly larded with pinks, mauves, and turquoise, the colors of neon signs and spray paint—both urban and familiar. Everywhere in his oeuvre, the viewer encounters a palimpsest of LA paraphernalia, its essence, flora and fauna, braided with Mesoamerican iconography such as the feathered serpent or jaguar, which Martinez has lifted from a Mayan archeological site in Central Mexico.

Driving at night from his downtown studio to his home in East LA along Whittier Boulevard for years, Martinez noticed the neon signs: TAX, ATM, names of all sorts. Now those signs, re-envisioned, bear slogans: “Hate Cannot Drive Out Hate, Only Love Can,” “Hope Lives in Darkness,” or “No Body Is Illegal.” In another series, Martinez reprises scholastic Pee Chee folders on wooden panels, reissuing midcentury Americana and nostalgia with comments on youth, authority, and injustice. A football player takes a knee. Youth are not running track or shooting hoops but being chased by cops.

Martinez comes from the richness of a mixed background both in life (Filipino, Mexican, Indigenous) and in his art trajectory, which

Portrait of Patrick Martinez. Photograph by Johanna Brinckman.

Patrick Martinez, Fleeting Bougainvillea Landscape 1, stucco, 2023, neon, acrylic paint, spray paint, tarp, latex house paint on panel, 84 x 96 x 60 in. Photograph by Joshua White.

Patrick Martinez, Feathered Serpent in Nopales, 2024, stucco, neon, mean streak, ceramic, acrylic paint, spray paint, latex house paint, ceramic tile, and tile adhesive on panel, 60 in. x 120 in. Photograph by Yubo Dong (Of Studio).

Patrick Martinez, Hidden Warriors (Night Moves), 2024, stucco, acrylic paint, spray paint, stucco patch, and latex house paint on panel, 60 in. x 60 in. each. Photograph by Yubo Dong (Of Studio).

started with graffiti before art school. His approach is informed by easel painting, but the artist has been vocal about wanting to push the definition of painting, to find new ways of saying what must be said.

In general, Martinez operates like a visual DJ—remixing— creating sets relative to the contemporary moment. He is not pursuing any form of documentary journalism and yet his work is “sampled” from real buildings, real facades. Speaking for and through shared stories, he evokes the real and imagined narratives— and ghosts—of a city.

With his neon signs he intended to salvage a discredited aesthetic and mix it with the language he desired to see. In this way, his work can be seen as embodying Homi K. Bhabha’s idea of the third space, a collective place full of influences but also of intentional projections. A space in which the individual can carve out a unique identity in relation to others and the current moment. Touching on this ephemeral temporal mix, curator Rafael Barrientos Martínez, who executed a project envisioned by former Dallas Contemporary adjunct curator Pedro Alonzo and who has worked with Martinez and his Los Angeles gallery, Charlie James Gallery, sees Martinez as making “living-history paintings.”

“He is actively reacting to issues—social justice issues, socioeconomic issues—that are happening in this moment, and he’s creating works about it. So the works really feel like statements that need to be seen here and now,” says Barrientos Martínez, a specialist in Chicano art.

A here and now that is full of urgency. The artist harnesses the familiar and yokes it with the necessity and importance of a

new package and message. Pieces may resemble the wall of a shop that has been reincarnated through many iterations, but the upshot is starkly of the “now” and unafraid of innuendo, of epithet, of baggage. Unafraid, also, of hope.

In Dallas, Martinez will insert his neon works, notably Brown Owned or Colored Allowed , into willing brown-owned businesses or nonprofit organizations and public spaces. In spilling into neighborhoods, he will extend his social justice efforts but also collapse the division between the source and the gallery wall. He has been doing this, for example, through site-specific murals at neighborhood basketball courts in California, but this is the first time he will circle his neon back to its origins (in storefronts) with room to negotiate identity, race, and diaspora.

It is as though in the wide-open space of the prairie he has found a perfect place to underscore the interconnectedness of underrepresented communities.

He is, as Barrientos Martínez suggests, “proposing that these landscapes are any landscape that is occupied by Latinx [and] BIPOC individuals in the United States.” The new works— such as Feathered Serpent in Nopales which he is creating for the exhibition—in fact, seem even more works of a borderland.

In this sense, Martinez is also a bridge builder.

Allow yourself to be taken in by his wall-length, encompassing landscapes that swirl with color and form. They woo and command attention. They suggest that the overlooked must be seen. To see is to attend, which is a form of care. In that regard, whatever body of his work you look at, the exhibition is an ode and act of protest: a form of love. P

Patrick Martinez, Jaguar Guardian, 2024, stucco, neon, mean streak, ceramic, acrylic paint, spray paint, latex house paint, banner, tarp, rope, stucco patch, ceramic tile, and tile adhesive on panel 60 in. x 120 in. Photograph by Yubo Dong (Of Studio).

EVERY LAST DETAIL

CHRIS ANGELLE METICULOUSLY DESIGNS A HOME FOR A COUPLE DOWN UNDER.

BY ROB BRINKLEY PHOTOGRAPHS BY LISA PETROLE

Chris Angelle is a little obsessed with the details. In the bluest powder room in all of Dallas—it’s a dazzler of a hue, somewhere between cornflower and cerulean, lacquered on the walls in nine glossy coats—the interior designer felt that the tiny room needed one final touch.

Blue toilet tissue.

He found it, from a secret source, and now bright-blue paper unspools in a bright blue powder bath, and all is right with the world.

Angelle’s meticulousness and his mastery at mixing colors, shapes, and textures have resulted in a sky-high haven in the Dallas Arts District for a family who lives mainly in Australia. The canvas was blank: a spanking-new unit in a glassy tower, with CinemaScope views of Downtown, Uptown, and far beyond. The husband and wife purchased the home, then asked people in the building whom they should engage to design it. The job ultimately went to Emily Summers Design Associates, the firm that had devised the tower’s public spaces and all the finishes in its residences. At the time, Angelle was working for Summers, a fixture on Architectural Digest ’s

In the living room: GP Drapery; custom Lawson-Fenning sofa; Fort Standard case piece; &Tradition white chair; Roman Thomas lamps, vintage stools in Kufri fabrics; Rosemary Hallgarten rug.

prestigious AD100 list, and knew the building inside and out. After a stalled start because of the Covid pandemic and ultimately on his own as Chris Angelle Design—he still works with Summers on projects—Angelle set to work in turning the empty aerie into a home worth traveling 9,000 miles for.

The temptation might’ve been to give the owners a little touch of Down Under in the colors, furnishings, and art. Angelle had the opposite idea: “Let’s make it very American.” He didn’t mean stars, stripes, and eagles: He turned to the Shakers for inspiration, intrigued by the utopian sect’s spare, elegant furniture designs and exquisite handcraft. Here, that came through as pale woods, natural leathers, and an economy of line for all the tables, chairs, credenzas, and beds. Angelle designed clean-lined pieces of his own and had them handmade in Brooklyn, in Los Angeles, in Texas. He hunted and gathered sleek furniture by contemporary superstars and stirred in lean, lithe lamps. He played simple geometric shapes against each other: circles, squares, and ovals. The effect, at first glance, is simple and serene.

But the colors, accessories, and art? Pow and wow. The living room’s brilliant blue rug. The kitchen’s lime-green stools. The dining room’s circular red painting by David-Jeremiah. (It was a key piece in Angelle’s inspirational presentations to the owners, who surprised him by eventually buying the actual work.) Angelle is especially passionate about art, having worked at Hilliard Art Museum all through college and as an artist himself. The clients admired a collection he curated for another Emily Summers project and asked him to guide them, too. Now, works by young American artists, including Don Dudley, Michelle Rawlings, Zach Bruder, and Yana Payusova, enliven this home away from home—a cozy antidote to the couple’s more formal life in Australia. After all, says Angelle, “This is Texas. It needs to be cool, relaxing, and easy.”

Above: Case piece by Fort Standard; Lucrecia Waggoner porcelain installation through Laura Rathe Fine Art. Below, from left: Finer details are the hallmark of interiors designed by Chris Angelle. A vintage lamp sits atop a desk by Skram; shelves by USM; Herman Miller chair.

ANGELLE STYLE TALK

Interior designer Chris Angelle talks artists, inspirations, and how he creates his rooms.

Rob Brinkley (RB): How and where have you learned so much about art?

Chris Angelle (CA): A gorgeous art museum opened in Lafayette, Louisiana, during my freshman year of college, and I was so lucky to get one of the student positions there. I worked there for six years, all through design school and architecture grad school, and I learned about every possible art medium—and the behindthe-scenes drama of the art world. Being submersed in that environment every week directly informed the way I design today. My love of art has only grown stronger since.

RB: Which artists are you gravitating to now?

CA: Danica Lundy in New York is, hands down, my favorite living artist. It’s rare to see someone producing something so unique and original. I get lost in her paintings. I also love Christopher Culver in New York and Hayley Barker in Los Angeles.

RB: Describe the decor and art in your own home.

CA: I paint and draw, so the art is almost entirely my own. The decor is all about happiness and entertaining.

RB: What makes you buy another artist’s work for your own home?

CA: I’ll really only buy something for myself if the artist is supernew to the market, and I feel like they will take off. The moment

BDDW ceramic wall collage; console by Ochre; floral by Chris Angelle.

John Riepenhoff, Skies (proper motion), 2022, hangs adjacent to the B&B Italia table with floral by Chris Angelle in Georg Jensen vessels; Carl Hansen & Son chairs.

bulthaup kitchen; Workstead lights; custom Moroso bar stools; floral by Chris Angelle.

David-Jeremiah’s I Drive Thee enjoys pride of place in the dining room adjacent to a B&B Italia dining table with Georg Jensen vessels and floral by Chris Angelle; Danish chairs through Carl Hansen & Son.

their prices climb out of that realm, I lose interest in owning one for myself—I guess because the hunt is over. And I can’t help but compare the prices now to what they once were.

RB: Name some interior designers—from any era—whose work you love, and why.

CA: I’ve learned so much about amazing designers from the past, working for Emily Summers. But there’s no one better right now than Pierre Yovanovitch in Paris and New York. Everything he executes is studied and considered, all while being effortlessly cool. Studio Volpe in San Francisco and Workstead in New York are two interior design firms who execute really gorgeous architectural details.

RB: What is your design process?

CA: I spend the first few meetings just chatting with the clients and

A framed Kvadrat textile hangs above the bed; tables by De La Espada; Stephen Burks chair; floral by Chris Angelle.

Dani Tull, Beautiful horses come out of the sea, 2022, and Unlikely Hero, 2023, hang above a bed by Molteni&C; bench by The Future Perfect; side tables by Baxter; lamps by The Urban Electric Co.

Zach Bruder’s Mantle, acquired through Magenta Plains, hangs above a dresser by De La Espada with floral by Chris Angelle.

getting to know them. I then like to have some time in the spaces on my own. Before I do anything on paper, I stew on ideas in my head for a few days. By that point I usually know what the spaces feel like, and then I’ll sketch, grab some books for inspiration, and get started. Most projects take over a year, so it’s design, meet, execute, and repeat, until the install.

RB: Where do you find some of the more unusual furnishings in your projects?

CA: I can’t answer that! I’m constantly looking everywhere at everything all the time. It’s so fun that it doesn’t even feel like work.

RB: What fashion brands do you wear most?

CA: If I think it’s a badass piece, and it’s my size, and it’s made in Italy, and it has made it to final markdown, I’m buying it—regardless of the brand. Although now that my favorite fashion designers, Miuccia Prada and Raf Simons, work together at Prada, all is right in the jungle.

Right: Don Dudley, #141, 2019, from Magenta Plains, hangs above a dresser by Egg Collective alongside a vessel by Haas Brothers and a lamp by Blackman Cruz; chairs by Magniberg; rug by Christopher Farr.

Left: The powder room features inimitable lacquered blue walls by Baxter Painting, The Urban Electric Co. light; mirrors by Sabine Marcelis.

ROOMS WITH VIEWS

THE DALLAS INVITATIONAL MARKS ITS SECOND YEAR OF BROADENING POSSIBILITIES WITH 14 EXHIBITORS.

BY EVE HILL-AGNUS

James Cope, the discreet owner of AND NOW gallery in the Design District, didn’t set out to be an art fair organizer. But in December 2022, during Art Basel Miami, he polled gallerist friends who had been hinting at a growing interest in the scene in his city and asked whether, if he built something, as the modern-day aphorism goes, they would come. Dallas’ position in the art world is prominent enough that a venue in addition to the Dallas Art Fair seemed utterly possible. And so arose the idea of the ultra-collegial, B-side-style Dallas Invitational, which Cope envisioned as an alternative affair—“a place or forum for likeminded galleries and artists to come together and exchange ideas.”

“It dawned on me: Maybe I could start a little something,” he says.

Planned and launched in three months, from January to April 2023, the inaugural two-day weekend event took place in the Fairmont Dallas hotel, where Cope had rented out an entire floor, directly across the street from the Dallas Art Fair. “Let’s come together,” he had told his gallerist friends, who that year numbered 13. “You get a room and bring some work, and [we’ll] see if it works.”

For this model, there was precedent in the edifice of New York’s Gramercy Park Hotel, home in the ’90s to a rollicking art fair organized by dealers who longed to try something new. It was “scrappy in a punk, artistic way,” Cope says of the inspiration. It was a place, like Cope’s Fairmont venue, where collectors and gallerists could sink into couches and talk shop—a fair with a “more chill,”

laid-back vibe, and to each gallery its room, its bed-and-bathroom universe.

The galleries came. They sold well.

“Last year was like a beta test or a soft-opening fair,” without branding or press outreach, Cope says. “I wanted to see— would this thing work? I didn’t have any expectations or motives for it to be something more than that.” Yet the feedback was that it should not only be repeated but extended—from two days to three—and scheduled to overlap more perfectly with its larger sibling, the Dallas Art Fair.

Two defining characteristics of the Dallas Invitational are its low participation price for galleries (a fraction of the cost of booths at top fairs like Frieze or Basel), and the fact that it is free and open to the public. The former concern—which levels the playing field and allows for differences in cachet and scale—touches Cope particularly, as a gallerist who fully empathizes with small galleries that struggle to fund their participation in the fair circuit.

Staying small remains a deliberate choice. “There will be 14 galleries [this year]. But I could easily have made it a 60-gallery fair,” Cope says. “I could have easily taken two or three extra floors. Maybe that’s what the fair becomes, but right now it’s just me. [And] it’s very much an organic thing: You plant something, you tend to it, and you see it grow,” noticing “how the thing works and adapts,” thinking all the while about sustainability and longevity.

As for benefits to the city, such a fair, in its democratizing élan,

Left: Shaan Syed (b. 1975), Disintegrating Split Double Minaret (10), 2021, oil on canvas, 54.75 x 39.75 in. © Shaan Syed. Courtesy the artist and Vardaxoglou Gallery, London. Above: Betsy Bradley (b. 1992), Mermaid, 2024, acrylic, spray paint, rainwater on voile, 22.97 x 26.75 in. © Betsy Bradley. Courtesy the artist and Vardaxoglou Gallery, London.

Clockwise from above left: Matt Bollinger, Blue Thistle, 2023, Flashe and acrylic on canvas, 20 x 16 in. Courtesy of François Ghebaly; Leslie Martinez, Untitled, 2024, acrylic, sumi ink, used studio rags, canvas scraps, used studio clothing, plastic film stuffing, paper fragments, dried paint chips, modeling paste on canvas, 42 x 36 x 9 in. Photograph by Evan Sheldon. Courtesy of Leslie Martinez and AND NOW, Dallas; Sharif Farrag, Garden Jar (Blue Dog's World), 2019, glazed porcelain, 6.5 x 9 x 9 in. Courtesy of François Ghebaly. Patricia Iglesias Peco, Luminile VII, 2024, oil on paper, 20 x 26 in. Courtesy of François Ghebaly.

“enables younger, cool galleries to bring younger, emerging work— challenging work, experimental work—and to expose a different type of aesthetic” to a Dallas audience, Cope argues.

Many of the galleries have a highly conceptual or largely international program, perhaps highlighting sculpture, video, or alternative media in addition to painting. For other fairs, a list of specific works must usually be sent in advance and approved. For the Dallas Invitational, built around invitations rather than applications, the system works around trust in a gestalt. “It’s more the vision and the ethos of the actual gallery itself” which cements its place, Cope says. Synergies are thus inevitable.

This year, the small, curated roster includes C L E A R I N G gallery (New York, Los Angeles, Brussels)—showing the surrealist, symbolist landscapes of Brooklyn-based Robert Zehnder—and LOMEX, a “young, very cool, hip” gallery in Tribeca, doing “very avant-garde, cutting edge, new, weird work,” Cope says. François Ghebaly (Los Angeles, New York) “shows a lot of difficult sculpture and video,” Cope says. Hannah Hoffman Gallery (Los Angeles) will bring the velvety, subtle oil and oil pastel compositions of LA–based Elana Bowsher and the striking, almost synesthetic collage work of establishment-challenging, established, multidisciplinary artist Rochelle Feinstein. This is the first US art fair for young London-based Vardaxoglou Gallery; they will present new and unseen works spanning 1959 to 2024 by artists Betsy Bradley, Lewis Brander, Robyn Denny, Sebastian Lloyd Rees, Niamh O’Malley, Tanoa Sasraku, Richard Smith, and Shaan Syed, who have a strong involvement in contributing to the conversation of British art. Among other works is one from Sasraku’s Terratypes series of wall-

hanging sculptures, which incorporate earth pigments foraged from the United Kingdom and Ghana, both places of familial history. All bring perspectives—and works—that might be challenging to show (and sell) in a traditional art fair. But at the Invitational, “it’s a different context. It’s a different type of collector,” Cope says.

The art dealer-turned-ad hoc art fair impresario rejects the idea that he is in competition with the city’s larger, more established fair. “The Dallas Art Fair is hundreds of galleries. It’s David and Goliath. It’s not even about that,” he says. Rather, he sees it as a case of increased diversity and a rising tide raising all boats.

The positive effect can be seen to ripple outward. “I’m employing art handlers. The Fairmont rents more rooms. It all means more hotels, more people. [There are] the art-shipping companies. Dallas is making more money; more tax dollars are coming into the city,” Cope points out. “It might be small, but still, it’s doing something. For the ecosystem of the art world, it’s giving opportunities and money to people in Dallas.”

In addition, Cope has programmed collector-dealer dinners and tours at prominent collectors’ homes. For him, an art fair should be a living ecosystem.

Cope’s life and attention have shifted now that he has undertaken what amounts, part of the year, to a full-time job. He has had to learn the logistics of “how you actually create, manage, and run a fair; how you deal with shipping, with each gallery’s request for things.” Again, he sees this as part of a greater good. Ultimately, he says, “I think it shows the strength and the growth of Dallas.” More specifically: Was Dallas ready to host a second art fair? All evidence suggests that yes, it was. P

Elana Bowsher, Plume II, 2024, oil and oil pastel on canvas 16 x 20 in. Courtesy of the artist and Hannah Hoffman, Los Angeles.

Rochelle Feinstein, Mind Mapped, 2024, collage, acrylic, fabric, mylar on panel, 24 x 18 in. Courtesy of the artist and Hannah Hoffman, Los Angeles.

SCENT OF TIME

DRAWING FROM THE SEASONS, YOAB VERA’S EXHIBITION ENGAGES WITH THE VIVIDLY COLORED CASA GILARDI BY LUIS BARRAGÁN IN MEXICO CITY, THE PRITZKER PRIZE–WINNER’S FINAL PROJECT.

FASHION ACCESSORIES ADD TEXTURE.

PHOTOGRAPHS BY RAMIRO CHAVES CREATIVE DIRECTION BY TERRI PROVENCAL & CONCEPTO

Sunlight bounces off yellow walls through vertical apertures. Gucci, Jackie small shoulder bag in pink patent leather. Available at Gucci, NorthPark Center and gucci.com; Yoab Vera, Semana Serenata: Sentir Trasatlántico (rumbo a México Lindo y Querido), 2024, oil, oil stick, and concrete on canvas and walnut wood, polyptych 9.8

Courtesy of the artist and Saenger Galería. Floral by Concepto, conceptoboutique.com

Yoab Vera, Horizontes Temporales: Cielito Lindo (Bolero), 2024, oil, oil stick, and concrete on canvas, 71 x 51 in. Courtesy of the artist and Saenger Galería. Akris, medium Ai Messenger bag in poppies print on canvas patchwork. Available at Akris, Highland Park Village. Carla Fernández assorted Molinillo bangles used as vase, Carla Fernández, Mexico City and carlafernandez.com; Floral by Concepto, conceptoboutique.com

In the courtyard, Yoab Vera, Horizontes Temporales: De la vista nace el amor (La Jacaranda de Barragán), 2024, oil, oil stick, acrylic, and concrete on canvas, 74.8 x 90.5 in. Courtesy of the artist and Saenger Galería. saengergaleria.com; RomoHerrera, limited-edition Flamingo necklace in oxidized silver, German silver, and copper by Eduardo Herrera; RomoHerrera limitededition Coral Reefs Dream necklace in silver; RomoHerrera diadems in silver. Available at romoherrera.mx.

Clockwise from top left: Yoab Vera, Calendar Varieties of Presence: March 1902. To Luis Barragán (b. 09-03- 1902), 2024, oil, oil stick, acrylic, and concrete on canvas, polyptych 59 x 55 in., 31 elements of 7.87 x 9.84 in each. Courtesy of the artist and Saenger Galería.; Yoab Vera, Recuerditos Cotidianos: The Scent of Time (to Byung Chul Han), 2024, oil stick and concrete on canvas, 15.3 x 18 in. Courtesy of the artist and Saenger Galería. Carla Fernández, small painted Tecuán bag in black. Available at Carla Fernández, Mexico City and carlafernandez.com; Floral by Concepto, conceptoboutique.com; Carla Fernández, small painted and signed Tecuán bag in red with mirrored eyes. Available at Carla Fernández, Mexico City and carlafernandez.com; Floral by Concepto, conceptoboutique.com; Yoab Vera, Horizontes Temporales: De la vista nace el amor (La Jacaranda de Barragán), 2024, oil, oil stick, acrylic, and concrete on canvas, 74.8 x 90.5 in. Courtesy of the artist and Saenger Galería.

NORTHPARK AMBASSADORS

In its seventh year, the NorthPark Ambassador program merges fashion, art, and philanthropy with a new class of advocates, photographed in the beautiful landscape of the Dallas Arboretum and Botanical Garden.

These creative and inspired individuals share their passion for their chosen organizations.

PHOTOGRAPHS BY ADRIEN BROOM

KIMBERLY SCHLEGEL WHITMAN

GENESIS WOMEN’S SHELTER & SUPPORT

The author of nine books on entertaining and a selfproclaimed “porcelain and tablescape addict,” Kimberly Schlegel Whitman is an ongoing NorthPark Ambassador. The author of A Loving Table has been drawn to NorthPark Center since she was a tot. She fondly recalls enjoying mouth-watering popovers at lunches with her mother at Neiman Marcus. “NorthPark is such a nostalgic place for me, but it also holds such excitement for the future because of all of the wonderful community events they continue to support. In addition to this important work, the shopping center also offers the most far-ranging selection of brands and eateries. There is truly something for everyone.”

In her role as ambassador, her current focus is on the Genesis Women’s Shelter & Support, which has provided

safety, shelter, and support to victims of domestic violence for over 30 years. “Their mission to completely eradicate domestic violence will continue to have an incredibly positive impact on our city. Home is such a special place to me, and I believe that it should be a safe place for women and children everywhere. Next year, my sister, Krystal Schlegel Davis, and her mother-in-law, Gail Davis, will be co-chairs of the annual luncheon fundraiser.”

Passionate about many shops within NorthPark, she also notes that Buckyball by Leo Villareal is her personal favorite artwork within the Nancy A. Nasher and David J. Haemisegger Collection. “It always makes me smile when I see NorthPark shoppers of every age staring up and enjoying the twinkling lights in CenterPark Garden.”

Kimberly

LORA FARRIS AND MARJON HENDERSON

CATTLE BARON’S BALL

With nearly two decades of service between them, Lora Farris and Marjon Henderson are perfectly poised to lead the Cattle Baron’s Ball in 2024.

A Dallas native, Lora Farris is the VP of events and hospitality for the Multiplier Agency. From managing hospitality programs at the World Cup to running point at the annual Dallas Cowboys and North Texas Food Bank’s Taste of the Cowboys, Lora helps clients take the phrase “host with the most” to new heights.

As co-chair of the Cattle Baron’s Ball she says, “Our committee goes above and beyond to support the fight against cancer. As our organization looks toward the next 50 years, we are challenging the community to help us reach a landmark goal of $100 million raised since our inception.”

When she’s not helping clients, you may find her shopping. “NorthPark Center has always been my go-to for milestone moments. From shopping for the allimportant first-day-of-school outfit with my mom to homecoming, proms, and graduation, [the shops] are always fashion-forward, and it is one of my favorite spots in Dallas!”

Marjon is a 20-year veteran of Neiman Marcus, where she oversees brand experience and special events as well as the iconic Fantasy Gifts. A community activist, she is a 10-year member of the Cattle Baron’s Ball. “To be a part of, and now lead, such a powerful group of women in our community to fundraise for a cause that touches every person is truly an honor.”

It’s no surprise that her first and favorite memories of NorthPark are trips to Neiman Marcus. “I would travel to Dallas to see my grandparents, and I had a very special cousin who would take me to NorthPark to shop.” When she isn’t working, Marjon spends time with her two small children and husband. This Land is Your Land by Iván Navarro is helping create new family memories. “My children love the water towers, and I love watching them interact with all of the incredible artworks that are steps away from my home away from home, Neiman Marcus.”

Lora Farris and Marjon Henderson are wearing Alexander McQueen from Neiman Marcus. Available at NorthPark Center.

CHERYL JOYNER

THE CRYSTAL CHARITY BALL

Cheryl Joyner, a true champion for children's charities in Dallas County, has been a Crystal Charity committee member since 2015 and will serve as the chairman of The Crystal Charity Ball in 2024. No stranger to community experience, Cheryl served as president of the Junior League of Collin County as well as on the boards of Jesuit College Preparatory School and Cristo Rey Dallas.

As to her enduring relationship with NorthPark Center, she recalls, “When we first moved to the Dallas area, we were told that

NorthPark was a destination we must visit. Our children were one and four years old, and they absolutely loved seeing the ducks and turtles in the indoor pond. Thirty years later, NorthPark remains a favorite place for our family to shop, dine, and be entertained.” She especially enjoys seeing CLEAN SLATE by KAWS, featuring the artist’s iconic Companion figure with a sleeping child in each arm. “I can definitely relate to carrying two tired children after a busy day of shopping.”

ALLISON BRODNAX

Dallas Arboretum and Botanical Garden

Moving to Dallas 11 years ago, Allison Brodnax’s first memories of the city include NorthPark Center. “I had never seen a mall with such exquisite landscaping. I was in awe of the beauty and the stunning art collection.” Her favorite stores are ZIMMERMANN, Neiman Marcus, Alo Yoga, and Vuori, and her favorite artwork is Ad Astra by Mark di Suvero. “I admire how the massive sculpture is elegant and effortless while also totally captivating.”

Allison grew up in Vancouver and moved to San Diego at 13 years old. She worked at the San Diego Symphony for five years. “When I moved to Dallas, I was thrilled to earn a dream job at the Dallas Symphony Orchestra, as director of volunteer services,

for 10 years. I now enjoy volunteering for the Dallas Arboretum and Botanical Garden. Last year, we celebrated the 40th anniversary of the Women’s Council of the Dallas Arboretum and Botanical Garden.”

During Covid, she says, “My husband and I brought our children (then one and three years old) to the Arboretum every weekend. In October, they marveled over the pumpkin display, and the holidays were punctuated by visits to the Christmas Village. On other visits, Tucker and Pepper would play in The Rory Meyers Children’s Adventure Garden for hours. Whenever I have out-of-town guests, I bring them to my two favorite places: the Arboretum and NorthPark.”

Allison Brodnax is wearing ZIMMERMANN and Eiseman Jewels. Available at NorthPark Center.

HAMILTON A SNEED

Dallas Theater Center

Stylish and dynamic, Hamilton A Sneed will channel his talents to chair the Dallas Theater Center’s 40th Annual CENTERSTAGE gala on May 4. Hamilton serves on the Tony award–winning theater company's board and can often be seen in head-to-toe Ferragamo.

“Dallas Theater Center is a place where everyone is welcome, the art on the stage is transformative, and the work off the stage is inspired and connected. Through its department of public works, DTC reaches into the community, touching the lives of the young and old. One of the most important programs, and one that I am most passionate about, is Project Discovery, DTC’s flagship

education program that welcomes middle and high school students to experience a season of plays, supported by teacher development, pre-show student workshops, and post-show conversations.”

Hamilton recalls performing during the holidays with his elementary (Charles Rice) and high school (Lincoln High School & Humanities Communications Magnet) choirs at NorthPark Center, and he says, "It’s where I bought my first pair of Ferragamo shoes at about 14 or 15 years old, at Neiman Marcus.”

A true team builder, he finds inspiration in Jonathan Borofsky’s Hammering Man. “There’s just something so ‘all of us’ in it. I could sit and watch it for hours.”

Hamilton A Sneed is wearing Ferragamo. Available at NorthPark Center.

With one of their first dates at the Dallas Symphony Orchestra, Laura Harris-Means and Patrick Means’ love story came full circle as they tied the knot at the Meyerson Symphony Center last year. The two will continue their relationship with the symphony as they proudly serve as chairs for the Dallas Symphony Orchestra’s annual gala. The organization will celebrate an incredible milestone of 125 years in its upcoming 24/25 season.

Patrick believes “very few things connect people from all walks of life the way music does,” adding, “Just as important is the impact learning to play an instrument has on our youth. That’s why I support their commitment to educational programs and community outreach.”

Patrick’s wife, Laura Harris-Means, an Emmy and Associated Press award–winning journalist, co-anchors NBC 5 Today weekday mornings. She also helped start NBC 5’s literacy initiative, Reading With You, which encourages children to read at least one book a

week throughout the summer.

Laura too is an advocate of the DSO. “What I love most is that under the direction of CEO Kim Noltemy they have made a big effort to make the symphony a place for everyone—from programs that provide instruments and music lessons to students at no cost to free concerts in and around the Dallas area.”

When Laura first moved to Dallas, someone said to check out “the big mall off the highway. I eventually figured out that it was a place full of art, culture, and beautiful landscaping, and bustled with a diverse crowd. It’s my go-to whether I need a facial or just want to see the ducks near David Yurman.” Patrick remembers a promise he made to Laura on a date: “If she helped me furnish my home after moving to Dallas, I would repay her with a gift. Well, the moment we were finished shopping for my home furnishings, we made a beeline to NorthPark Center!” And their six-year-old, Jonathan, “loves the LEGO Store and Paciugo Gelato.”

LAURA HARRIS-MEANS AND PATRICK MEANS

Dallas Symphony Orchestra

Patrick Means is wearing his own suit. Laura HarrisMeans is wearing Alice & Olivia from Neiman Marcus and Eiseman Jewels. Available at NorthPark Center.

LEE MICHAELS

Dallas Holocaust and Human Rights Museum

Lee Michaels and her husband Paul have trekked to the summit of Kilimanjaro, Everest Base Camp, and Patagonia in recent years. With a law degree from SMU, she practiced corporate law for 15 years for various firms and corporations, including Baker Botts, L.L.P.; Gardere and Wynne, L.L.P.; A.H. Belo Corporation; and Hicks, Muse & Co. The couple has two daughters, Kate and Lindsey.

Lee has been the director of the Dallas Holocaust and Human Rights Museum since 2017 and was recently named board chair. DHHRM is celebrating the 40th anniversary of its founding and the fifth anniversary of its new building downtown. In 2019, the mission of the museum expanded to include human rights.

“Learning about the Holocaust has always been important to me, and Dallas has been fortunate to have a museum teaching its lessons.” Creating awareness through her ambassador role with NorthPark Center she says, “We are teaching people to be upstanders, standing up to hate and indifference.”

Her favorite memories of NorthPark, “were the hours I spent there when my children were babies, pushing them around in their strollers and letting them watch the ducks and slide down the planters.” She’s also drawn to the art collection. “I love the colorful 20 elements by Joel Shapiro. I had the honor of joining an art walk with Nancy Nasher recently and thoroughly enjoyed learning more about all the incredible works.”

Lee Michaels is wearing Scanlan

CHRIS YOUNG

Texas Rangers Baseball Foundation

If you can catch Chris Young at NorthPark Center, you will likely find him at Neiman Marcus, Eataly, or Bread Winners Café and Bakery. He has been the Texas Rangers executive vice president and general manager since 2020. The franchise’s 63-year drought without a World Series Championship ended on November 1, 2023, when the Rangers defeated the Arizona Diamondbacks in the fifth and deciding game.

Chris starred in both baseball and basketball over two seasons each at Princeton University, earning Ivy League Rookie of the Year honors as a six-foot-ten center in basketball and a pitcher in baseball in 1999, the first male athlete in Ivy League history to win those honors in two sports. He is a native of Dallas and a 1998 graduate of Highland Park High School, where he earned

All-State honors in both basketball and baseball in his senior year.

As a NorthPark Ambassador, he shines a light on the Texas Rangers Baseball Foundation, which he says is especially meaningful to him “because it gives underprivileged children opportunities in two areas that have significantly impacted the lives of me and my wife, Liz: education and sports. Education lasts a lifetime, and the lessons learned on the athletic field are also extremely impactful.” Chris and Liz have a daughter, Catherine, and two sons, Scott and Grant.

“My favorite thing about NorthPark is that it is not only a world-class shopping center, but it is also a museum. I have great appreciation for the amazing art that is constantly on display, as well as the impeccable condition and detail of the facility.”

Chris Young is wearing his own suit.

MADISON AND JOHN ISNER

Isner Family Foundation and Children’s Health

John Isner is a former professional tennis player, ranked as high as world No. 8. Known for winning the longest match in Wimbledon history (11 hours, 5 minutes) in 2010, he has turned his focus to his family and the Isner Family Foundation after retiring. His wife, Madison, is a talented jewelry designer and devoted mother. Born and raised in Dallas, Madison finds joy and fulfillment in her role as a mother and her creative and philanthropic pursuits.

“The Isner Family Foundation stands as a beacon of hope and support, driven by the profound realization of the importance of healthcare for our own four children,” says Madison. As parents, the Isners understand firsthand the paramount significance of ensuring the well-being of future generations. Through their foundation, they are dedicated to extending a helping hand to those who may not have access to adequate healthcare, aiming to alleviate the burden on families facing financial constraints. “Five years as a foundation is a huge milestone for us.”

“NorthPark Center holds a special place in my heart, having been a cherished part of my childhood in Dallas,” Madison says. “From joyful family outings to exciting adventures with loved ones, NorthPark has been a backdrop for countless memorable moments. It’s during the magical Christmas season that NorthPark truly comes alive, creating unforgettable experiences. Each visit to NorthPark is not just an outing, but a journey filled with nostalgia, laughter, and the warmth of cherished memories.”

John

OUT OF SIGHT

The Great North American Eclipse brings the Moon’s shadow to Dallas for prime views and engagement.

BY TERRI PROVENCAL

On Monday, April 8, from 12:23 p.m. to 3 p.m., swarms of humans will descend on Dallas, the largest city in the path of totality of the Great North American Eclipse. How will animals react to the celestial event?

The Dallas Zoo educators will be on hand at Birds Landing, Goat Yard, and Simmons Hippo Outpost to observe their behavior during a daylong celebration complete with Space Popcorn, Eclipse-eroni pizza, and house-made moon pies. Your solar viewing glasses will be needed to witness total coverage, which lasts only a few minutes, from 1:40 to 1:44 p.m.

Kit Sawers, president at Klyde Warren Park, has partnered up with Choctaw Casinos & Resorts to put together an eclipse-aganza for optimal viewing of this rare phenomenon. From 11 a.m. to 3 p.m., enjoy the Central Standard Band and the Perot Museum TECH Truck for hands-on STEM eclipse activities. The Perot Museum of Nature and Science will host 20 astronomers for a sold-out event. The Dallas Arboretum and Botanical Garden offers a weekend of activity with astronauts, astronomers, and astrophysicists leading up to and including the day of twilight.

A Picnic Curatorial Projects zine, Eclipse Picnic, will feature work “from a collection of artists—some regional some international— that we’ve worked with through The Power Station and Culture Hole who, in some way, commune with the eclipse,” says Gregory Ruppe. Regional artists include River Shell, Jesse Morgan Barnett, Lucia Simek, Terri Thornton, and Oshay Green. For a lasting memento, purchase a copy at Dallas Art Fair and The Power Station.

is a collection of thoughts translated through images and words as we humans tend to do, from old friends and new ones; reflections on a celestial event known as a solar eclipse. This will be the last total solar eclipse until 2044, the last total blotting of the Sun for another twenty years, and what will things look like then? What will life be like on our little round planet? Let’s all stare into the sun, and wonder.

—Picnic Surf Shapes and Curatorial Projects

There are several invitation-only, and sold-out events that will offer spectacular views, and some that would seem ideal, like at a defunct motel on a bluff. Instead, a group show, opening April 5, ISSAWEB, organized and curated by Oshay Green and Greg Meza, will feature mid-career North Texas artists in “Lamontes Belly,” a temporary project space within the empty motel rooms, continuing through June 30 by appointment only. Overlapping and including Eclipse Picnic ’s aforementioned regional artists, work by additional artists—Michael Mazurek, Jeff Gibbons, Gregory Ruppe, Marjorie Norman Schwarz, Ludwig Schwarz, Erika Jaeggli, Luke Harnden, Stephen Lapthisophon, Xxavier Carter, Tamara Johnson, Frances Bagley, David Quadrini, Michael Wynne, Alison Starr, Keer Tanchak, and Jeff Zilm—will be featured. “We were inspired by not only their work but also their contribution and support of the DFW community,” says Green.

The art of human creation is in full bloom at this historical moment. P

Anthony Falcon, Untitled (Eclipse), 2024.

Picnic Zine Issue No.4 Eclipse Picnic