Patron's 4th Anniversary Issue

4th ANNIVERSARY ISSUE Jackson Pollock’s Black Trajectory: A Dallas Museum of Art Exclusive Renaissance Man: Kehinde Wiley At The Modern The Nasher Presents Piero Golia and Alex Israel

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GIUSEPPE PENONE

BEING THE RIVER, REPEATING THE FOREST The artist’s first U.S. museum exhibition in more than 30 years

THROUGH JANUARY 10

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Giuseppe Penone: Being the River, Repeating the Forest is organized by the Nasher Sculpture Center and supported by Nancy A. Nasher and David J. Haemisegger.

Additional support provided by the National Endowment for the Arts and Texas Commission on the Arts.

MODERN & CONTEMPORARY ART

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one season...two world premieres From the composer of Moby-Dick, Jake Heggie, and four-time Tony Award winner Terrence McNally

Presenting Sponsor: The Eugene McDermott Foundation

Great Scott OCT-NOV 2015

Additional support from: Hoblitzelle Foundation, Carol Franc Buck Foundation, The National Endowment for the Arts, The Opera Fund, a program of OPERA America, and the Marnie and Kern Wildenthal Principal Artist Fund

American composer Mark Adamo’s witty and poignant holiday treat

Becoming Santa Claus DEC 2015

Underwriting support provided by Dr. and Mrs. Tom Mayer and Maile and Charles Shea in loving memory of Chloe Simone Shea Additional support from Haynes and Boone Foundation

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

October / November 2015

TERRI PROVENCAL Publisher / Editor in Chief

“An embarrassment of riches,” is how the always eloquent Jill Bernstein, Director of Communications and Public Affairs at the Dallas Museum of Art, described the October and November presentations of International Pop! and the unprecedented Jackson Pollock: Blind Spots.

Premiering at the Tate Liverpool in June, Gavin Delahunty, the DMA’s Hoffman Family Senior Curator, has been developing the Pollock show since 2010. At the time, he was still Head of Exhibitions and Displays at the Tate. Pollock’s black paintings as they were known, the earliest of which incited controversy when originally shown in 1951, will be on view beginning November 4th at the DMA, in the only stateside exhibition.

Patron dedicates the cover of its 4th Anniversary Issue to this defining artist in the Abstract Expressionist movement.

In complete contrast to the Pollock exhibition, the Modern Art Museum of Fort Worth offers kaleidoscopically vibrant works in Kehinde Wiley: The New Republic organized by the Brooklyn Museum. Infused with people of color, Wiley questions art historical canons of European and American portraiture with regards to class, race, and gender in an important and affecting exhibition featuring paintings, sculpture, and his new “stainedglass” paintings. Patron caught up with Kehinde Wiley and the Modern’s curator Andrea Karnes on the 14 prolific years in the artist’s career.

Piero Golia and Alex Israel imbue the Nasher Sculpture Center programming this October. Golia’s Chalet Dallas is sure to be a meeting spot before and after events during high arts season, while Alex Israel’s work explores the Hollywood movie industry. In Sightings: Alex Israel, opening October 24, the Los Angeles native will show new sculptures and paintings related to his first feature-length film, SPF-18, scheduled for release later this year.

On Southern Methodist University’s campus, Treasures from the House of Alba: Five Centuries of Art and Collecting continues through January 3 at the Meadows Museum. One-hundred-thirty works from three of the family’s private palaces is the final exhibit mounted in celebration of the Meadows Museum’s 50th Anniversary.

Arts writer, Steve Carter, visits with North Texas artists Letitia and Sedrick Huckaby in Family Affair. Represented by Valley House Gallery & Sculpture Garden, Sedrick’s self-portrait, Sedrick, Sed, Daddy, will be included in the Smithsonian’s National Portrait Gallery resulting from the Outwin Boochever Portrait Competition in March 2016, traveling to four venues—it just doesn’t get much better than that.

And, be sure to pick up our commemorative magazine celebrating NorthPark Center’s 50th Anniversary. Significant works among Nancy Nasher and husband David Haemisegger’s personal collection are made accessible to the public in this enduring shopping center. Our celebratory issue takes readers on a tour with Nancy Nasher while she visits five iconic sculptors in their New York studios.

With a scope worthy of any world-class city, the visual art found on these pages complete our fourth year of publishing Patron. Indeed, Jill, “an embarrassment of riches.”

–Terri Provencal

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CONTENTS 1

FEATURES 76 BRAVURA IN BLACK Jackson Pollock: Blind Spots opens at the Dallas Museum of Art this month—it’s the largest ever assemblage of his controversial, and overlooked, black paintings. “Blockbuster” barely begins to cover it.

By Steve Carter 84 BLACK BEAUTIES Kehinde Wiley’s marvelous métier shines at The Modern Art Museum of Fort Worth. By Terri Provencal 92 SPANISH ACQUISITION Treasures from the House of Alba Palaces Celebrate Meadows Museum’s 50th Anniversary. By Nancy Cohen Israel 96 GLANCING INWARDS FROM THE SET: A PHOTO-OP IN TWO PARTS The work of Piero Golia and Alex Israel at the Nasher Sculpture Center. By Brandon Kennedy

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102 QUIET BEAUTY No need for words. Imagine enjoying an evening without all the talk.

These precious finds from the area’s finest jewelers are statement-making enough. Photography by Steven Visneau

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4th ANNIVERSARY ISSUE Jackson Pollock’s Black Trajectory: A Dallas Museum of Art Exclusive Renaissance Man: Kehinde Wiley At The Modern The Nasher Presents Piero Golia and Alex Israel

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Cover: Jackson Pollock, Yellow Islands, 1952, oil paint on canvas, 56.5 x 73 in. Presented by the Friends of the Tate Gallery (purchased out of funds provided by Mr. and Mrs. H.J. Heinz II and H.J. Heinz Co. Ltd.), 1961 © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York.

©2015 Cartier

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CLÉ DE CARTIER New Collection

CONTENTS 2

DEPARTMENTS 8 Editor’s Note 16 Contributors 32 Noted Top arts and cultural chatter. By Elizabeth Kerin Of Note: Auction 49 AMERICAN VISTAS Wyly Collection selections go to auction. By Nancy Cohen Israel Fair Trade 50 SWISS MOVEMENT David Quadrini interviews Karolina Dankow of Karma International on her plans for the Dallas Art Fair.

Contemporaries 52 LIMINAL SPACE Dallas Contemporary’s current crop of solo exhibitions includes two Berlin-based Artists, Nadia Kaabi-Linke and Bani Abidi. By Steve Carter

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56 FAMILY AFFAIR Sedrick and Letitia Huckaby follow their respective muses and will continue to influence and inspire one another’s art. By Steve Carter Studio 60 THE HIDDEN Gregory Ruppe and Jeff Gibbons explore dystopian futures in a concealed space known only by the well-informed. By Justine Ludwig Performance 62 SHEER MAGIC Projection and Video Designer, Elaine J. McCarthy, casts a spell on The Dallas Opera productions. By Lee Cullum Sojourner 66 CUBA LIBRE The 12th Annual Havanna Biennial unveils a bright future for contemporary art. By Kendall Morgan

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Coveted 70 SCENE STEALER Mulberry offers an entrance-making bag in Oxblood. By Lisa Petty 72 WHAT LIES BENEATH The House of Harry Winston reveals its Secrets Collection.

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Space 74 AGE OF EMPIRES John Robert Clark returns with his Neoclassical collection. By Lisa Petty There 110 CAMERAS COVERING CULTURAL EVENTS Furthermore ...

120 CREATIVE FORCE FGI of Dallas honors Nancy Carlson. By Lisa Petty 12

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen GRAPHIC DESIGN Jimmy Gigliotti DIGITAL EDITOR Lisa Petty COPY EDITOR Paul W. Conant PRODUCTION Marty Yawnick EDITORIAL INTERN Elizabeth Kerin CONTRIBUTING WRITERS Steve Carter Nancy Cohen Israel Lee Cullum David Quadrini Brandon Kennedy Justine Ludwig Kendall Morgan Lisa Petty CONTRIBUTING PHOTOGRAPHERS Karen Almond Kim Leeson Kristina Bowman Kendall Morgan Tamytha Cameron Renato Remach John Cain Shawn Saumell Ant Clausen John Smith Bode Helm Steven Visneau David Leeson David Woo CONTRIBUTING STYLISTS Jennifer Bigham Shane Monden (Hair and Makeup) Gianni Santin ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com

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CONTRIBUTORS

STEVE CARTER Steve Carter’s cover story on the DMA’s groundbreaking Jackson Pollock: Blind Spots exhibition takes an in-depth look at the mystery of the artist’s seldom-seen black paintings. Carter also visits with two of the area’s best, painter Sedrick Huckaby and his wife Letitia; her work is photo-based. And don’t miss Carter’s illumination of two of Dallas Contemporary’s currently exhibiting artists, Nadia KaabiLinke and Bani Abidi.

PAUL CONANT With over 19 years of editing experience, Paul lends his vast knowledge to magazines, books, dissertations, and beyond.

In addition to work on local and national publications, other clients include Francis Collins (Seashell Prisoners), Victor Shane (In God We Trust), and Brenda V. Johnson (Transitional Journey).

He also enjoys editing the details of Patron.

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NANCY COHEN ISRAEL Nancy Cohen Israel is an art historian and Dallas-based writer.

For this issue, she was thrilled to have a sneak peek of Treasures from the House of Alba: 500 Years of Art and Collecting, currently on view at the Meadows Museum. Later this month, she will present a gallery talk on Northern European art from the Alba Collection at the Meadows Museum.

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JUSTINE LUDWIG Justine Ludwig is the Director of Exhibitions/Senior Curator at Dallas Contemporary. She has curated exhibitions at the Contemporary Arts Center in Cincinnati, the Colby College Museum of Art, and the Tufts University Art Gallery. Ludwig’s writing has been published internationally in such places as London, Dubai, and Mumbai. Her research interests include memory, architecture, cross-cultural translation, and the aesthetics of globalization.

LAUREN CHRISTENSEN With more than 18 years of experience in advertising and marketing, Lauren consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

SHAWN SAUMELL Between fine art exhibitions from Dallas to New York and working on new projects, Shawn Saumell provides professional services in photography, graphic design, and web design. For this issue, he visited the home of celebrated North Texas artists Letitia and Sedrick Huckaby, to shoot artist on artist.

GUEST CONTRIBUTOR, LEE CULLUM This esteemed journalist has spent much of her career covering politics, public policy, business, and economics. She adores opera, however, and has been a great fan of Elaine McCarthy ever since seeing her astonishing projections at the opening of Moby Dick.

Accordingly, it's only fitting Patron tapped her to write about McCarthy’s latest venture designing projections for the world premiere of Great Scott at the Winspear. In a Skype interview with Elaine, it became clear that this is an artist who knows how to use technology in the evocation of atmosphere.

JOHN SMITH Smith has spent the last 20 years bringing out the art of architecture in his photography. He consults with architects, designers, and artists to bring their vision to light. A frequent Patron contributor, John is called upon to photograph homes where art is at the forefront of design. In this issue, John photographed Piero Golia in Glancing Inwards from the Set, and also toured with Nancy Nasher to photograph several artists in their New York studios for NorthPark's 50th Anniversary publication.

BRANDON KENNEDY As the Director of Fine Arts and Design at Dallas Auction Gallery, Kennedy forges meaningful relationships with clients either handling a seasoned buyer's collection or introducing a novice collector to buying artwork in the secondary market.

He is an artist, writer, curator, and educator in both New York and Dallas and continues to be involved in book culture, speaking about artist's books and keeping tabs on the ever-changing collectibles scene.

For this issue, he investigates the socialminded structures and cause(s) célèbre of LA-based artists, Piero Golia and Alex Israel, to be presented at the Nasher.

STEVEN VISNEAU Born and raised in upstate New York, Steven is a fashion photographer now based in Texas. For the 4th Anniversary Issue of Patron, Steve collaborated with stylist Jennifer Bigham on a beauty story showcasing the finest jewelry offerings in the Dallas area.

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500 YEARS OF ART AND COLLECTING SEPTEMBER 11, 2015 -JANUARY 3, 2016 This exhibition is co-organized by the Meadows Museum and the Casa de Alba Foundation. A generous gift from The Meadows Foundation has made this project possible. It is part of the Museum’s Golden Anniversary, which is sponsored by The Meadows Foundation, The Moody Foundation, the Dallas Tourism Public Improvement District and the Dallas Convention & Visitors Bureau. Media sponsorship has been provided

by The Dallas Morning News.This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Francisco José de Goya y Lucientes (Spanish, 1746-1828), The Duchess of Alba in White, 1795. Oil on canvas. Colección Duques de Alba, Palacio de Liria, Madrid.

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From Left to Right: Michael Heinlen, Jane Politz Brandt, Craig Carpenter, & Justin Cohen

The Art Law team at Thompson & Knight congratulates Patron Magazine on four illuminating and insightful years of covering the arts in North Texas.

ADVOCATING THE ARTS www.tklaw.com Algiers | Austin | Dallas | Fort Worth | Houston | London Los Angeles | MĂŠxico City | Monterrey | New York | Paris

NOTED 08

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01 AFRICAN AMERICAN MUSEUM The Carroll Harris Simms: National Black Art Competition and Exhibition showcases the works of emerging black artists opening Nov. 5 through May 21. Walter Cotton: Texas Folk Artist opens Nov. 12. Cotton was a chauffeur and later the principal of the black school in Mexia. Donated to the African American by Rique Flato, Cotton’s colorful paintings depict examples of faith and Texas history. Through Mar. 5. In addition to the ongoing Souls of Black Folk and Facing the Rising Sun, the AAM presents Bayou Sculptors, with pieces created by artists who are native of the Bayou area of Houston or Louisiana.

Through Dec. 31. African Amedia is a satirical art exhibition to inspire people to look past stereotypes. Through Oct 31. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Laura Wilson: That Day, a collection of 71 photographs, takes us into the hard-bitten communities of the independent West.

Through Feb. 16. Spanning the 18th through the 1920’s, Tales from the American West: The Rees-Jones Collection offers a robust collection of the genre. Through Feb. 21. Muralist Esther Pearl Watson’s work, Pasture Cows Crossing Indian Creek, Comanche, Texas, Looking for the old Civilian Fort of 1851, North of Gustine and a mile west of Baggett Creek Church, captures the spirit of her Texas upbringing, through May 30. Opening Oct. 10, Self-Taught Genius: Treasures from the American Folk Art Museum, offers a novel exhibit that highlights the roles of folk and self-taught artists central 32

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

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to the history of America. Through Jan. 3. Image: Mary T. Smith (1904/5–1995), Untitled, 1976, paint on metal. Collection American Folk Art Museum, New York Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard Jr., 1998.10.47 Photo by Gavin Ashworth, New York. cartermuseum.org 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM The Samurai Collection welcomes a new exhibition entitled Inside the Armor, which takes a closer look at what is inside Japanese armor, making use of X-rays to reveal the hidden secrets behind the construction of these antiquities. The museum welcomes the community to the monthly Family Day Oct. 3 and Nov. 7. The museum sponsors a Lunchtime Talk every Thursday at 1 p.m.

Public Tours are every Saturday and Sunday at 1 p.m. Image: Kawari kabuto (elaboratelyshaped helmet) representing a cresting wave, Japan, Momoyama period, 1573–1615, iron, wood, papier-mâché, lacquer, lacing, Photographed by Brad Flowers, X-ray image

by Brookhaven College Radiologic Sciences Program, ©The Ann & Gabriel BarbierMueller Museum. samuraicollection.org 04 CROW COLLECTION OF ASIAN ART In Alexander Gorlizki: Variable Dimensions (a site-specific installation featuring drawings, sculpture, installation, video, and the applied arts) a glimpse into mind of a profoundly creative artist is on view. The show

explores world cultures revealing unfixed boundaries through biomorphic entities, with the artist’s particular fondness for the visual vocabularies of Mughal painting and Central Asian stitchery. Through March 20.

India: Art, Time, Place presents a selection of Indian art. The work of Korean site-specific sculptor, Jean Shin is exhibited in two selftitled shows: Jean Shin, Celadon Landscape (through Dec. 31) and Jean Shin: Inclusions (through Jan. 3). Benevolence and Wisdom: New Gifts from the Collection of Trammell and Margaret Crow features the works recently donated to the museum. Through Oct. 10, 2016. Image: Alexander Gorlizki (B. 1967) Rise and Shine, 2015, pigment and gold on paper. Courtesy of the artist and the Crow Collection of Asian Art. crowcollection.org 05 DALLAS CONTEMPORARY The museum continues to show the works of featured artists, including Bani Abidi’s An Unforeseen Situation, Nadia Kaabi-Linke’s Walk the Line, Adriana Varejao’s Kindred Spirits, Synchrodogs’ Supernatural, and Jason Willaford’s “Sorry, this will only take a minute.”

Through Dec. 20. DC is a non-collecting art museum that presents challenging ideas from regional, national and international artists. dallascontemporary.org 06 DALLAS HOLOCAUST MUSEUM Through Dec. 31, Holocaust by Bullets, YahadIn Unum—10 Years of Investigations based on 10 years of research and investigation by the French organization, Yahad-In Unum, chronicles a lesser-known side of the

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Holocaust. On Oct. 15, Lieutenant-General Roméo Dallaire, Canadian humanitarian, author, and retired senator will come to Dallas as the final speaker in the Dallas Holocaust Museum/Center for Education and Tolerance’s 2015 Upstander Speakers Series. dallasholocaustmuseum.org 07 DALLAS MUSEUM OF ART Opening Oct. 11 International Pop, organized by the Walker Art Center, chronicles the global emergence of Pop in the 1960s and early 1970s. Through Jan. 17. Nov. 20 welcomes Jackson Pollock: Blind Spots spotlighting a phase of the artist’s lesserknown work referred to as the Black Pourings.

Inca: Conquests of the Andes explores the effects of the dynamic nature of state expansion and imperial conquest on Andean visual arts. Through Nov. 15. A site-specific mural

by Indian artist NS Harsha offers a place for meditation on the first-level concourse.

Through Feb 21. Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art, is the first exhibit of art at the DMA from the renowned collection. Through July 31.

Image: Ed Ruscha, Standard Station, Amarillo, Texas, 1963, oil on canvas, 64.5 x 121.75 in.

Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; gift of James Meeker, Class of 1958, in memory of Lee English, Class of 1958, scholar, poet, athlete, and friend to all. © Ed Ruscha. dma.org 08 GEOMETRIC MADI MUSEUM Middle Eastern Influences: The Art of Liz Whitney Quisgard and Fariba Abedin opens

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Oct. 9. Inspired by Moorish architecture and Byzantine mosaics, New York artist Liz Quisgard creates a Thousand and One Nights vision through embroidered, abstract tapestries as well as columns.

Iranian-born Fariba Abedin emphasizes an exploration of color using geometric abstraction as a foundation. Her tints, shades, and tones create the illusion of volume, space, vibration, and transparency.

Through January 3. Image: Liz Whitney Quisgard, Bizarre Bazaar No. 5, 48 x 288 in. geometricmadimuseum.org 09 KIMBELL ART MUSEUM Opening Nov. 8 in the architecturally significant Renzo Piano Pavilion, Gustave Caillebotte: The Painter’s Eye is a selection of the Impressionist’s work, spanning the whole of his career. Through Feb. 14. Castiglione: Lost Genius. Masterworks on Paper from the Royal Collection opens Nov. 22 in the Louis Kahn Building. This exhibition of drawings and prints by Giovanni Benedetto Castiglione aims to reinstate the 17th-century master as one of the greatest graphic artists of the Baroque. On view through Feb. 16. The Kimbell also hosts Friday Evening Lectures selected Fridays at 6 p.m., and a featured Symposium opens to the public Nov. 7 to accompany the Caillebotte exhibit. kimbellart.org 10 LATINO CULTURAL CENTER The Women’s Chorus of Dallas will be performing the evening of Oct. 13. The Women’s Chorus of Dallas promotes the

strength, diversity, and empowerment of women. The Dallas Mexican American Historical League will present a multimedia historical exhibition, The Untold Story: A Tribute to Dallas’ Mexican American Veterans and their Families through Oct. 17. dallasculture.org/latinoculturalcenter 11 MEADOWS MUSEUM An exhibit comprised of 130 masterpieces, Treasures from the House of Alba: 500 Years of Art and Collecting included works by Fra Angelico, Titian, Goya, Rubens, Rembrandt, Ingres, and Renoir continues through Jan. 3. The museum also continues to house a spotlighted exhibition for Infanta Margarita in a Blue Dress: A Masterwork by Velázquez from Vienna, one of the artist’s final portraits, executed one year before his death. This featured work will show through Nov. 1. meadowsmuseumdallas.org 12 MODERN ART MUSEUM OF FORT WORTH In a stunning exploration that questions art historical cannons, Kehinde Wiley: The New Republic continues through Jan. 10. El Día de los Muertos: The Life of the Dead in Mexican Folk Art will show Oct. 3 through Nov 7 at Artes de la Rosa. The exhibit will feature life-size papier-mâché fashioned after Diego Rivera’s symbolic mural. In FOCUS: Joyce Pensato American cartoons and comic book characters are used to create portraits that vacillate between menacing, amusing, fretful, and enthusiastic. Through Jan. 31. themodern.org OCTOBER / NOVEMBER 2015

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13 MUSEUM OF BIBLICAL ART Mysteries, Signs and Wonders features paintings by renowned artist, Barbara Hines. Through April 3. In partnership with Holy Trinity Greek Orthodox Church of Dallas, Orthos Doxa is a collection of Greek Orthodox treasures whose roots trace back to the early first century. The museum also boasts a collection of works by Gib Singleton, housed in their Via Dolorosa Sculpture Garden. biblicalarts.org 14 NASHER SCULPTURE CENTER Giuseppe Penone: Being the River, Repeating the Forest explores intimate, sensate, and metaphysical connections with nature.

Through Jan. 10. In partnership with architect Edwin Chan, Piero Golia’s Chalet Dallas transforms the corner gallery into a gathering space. Opening Oct. 24, Sightings: Alex Israel exhibits works reflecting the images and cultural quirks of his native Los Angeles. Through Jan. 31. In the Speaker Series, Alex Israel offers discourse on Oct. 24 followed by author Edmund de Waal on Nov. 21. Image: Giuseppe Penone, Pelle di

grafite—Palpebra (Skin of Graphite—Eyelid), 2012, graphite on black canvas, installation view, Marian Goodman Gallery, New York, 2015. Photo © Archivio Penone. nashersculpturecenter.org 15 NATIONAL COWGIRL MUSEUM Grace & Grit: Visions of the West by Terri Kelly Moyers is the first exhibit in the new Anne W. Marion Gallery at the National Cowgirl Museum and Hall of Fame. Through Nov. 8. On Nov. 5, four cowgirls will be inducted at the 40th Annual National Cowgirl Hall of Fame Induction Luncheon at the Amon G. Carter, Jr. Exhibits Hall Round Up Inn at the Will Rogers Memorial Center. cowgirl.net 16 PEROT MUSEUM Creatures of Light: Nature’s Bioluminescence opens Oct. 31 and exploring Earth’s amazing organisms producing light. Through Feb. 21. 3D Films in the Hoglund Foundation Theater, A National Geographic Experience presents wild weather, sea monsters, dinosaurs and mysterious places in 3D. Walking with

Dinosaurs: Prehistoric Planet 3D explores the world of dinosaurs 70 million years ago.

Other featured films include: Wildest Weather in the Solar System 3D, Jerusalem 3D, and Wonders of the Arctic 3D. Films run through Jan. 14.

Image: Tsuneaki Hiramatsu slow-shutter speed photos produce stunning images of firefly signals. © Tsuneaki Hiramatsu. perotmuseum.org 17 TYLER MUSEUM OF ART Ansel Adams: Early Works opens Oct. 11 focusing on his small-scale prints from the 1920s into the 1950s. This exhibit features his early portfolio Parmelian Prints of the High Sierras as well early prints of icon works such as Monolith, the Face of Half-Dome and Moonrise, Hernandez, New Mexico through Jan. 3. The Granite Sculpture of Candyce Garrett spotlights more than 20 of her recent smaller-scale pieces. Often abstract in design but conveying simple, relatable themes, her granite work draws much of its inspiration from expansive landscapes of the Southwest desert. Through Jan. 17. tylermuseum.org

GUSTAVE CAILLEBOTTE: IMPRESSIONS OF THE WORKING-CLASS

Gustave Caillebotte, The Floor Scrapers, 1875, oil on canvas, 40.1875 × 57.875 in., Musée d'Orsay, Paris. Gift of Caillebotte's heirs through the intermediary of Auguste, Renoir, 1894

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Gustave Caillebotte’s (1848–1894) career began with failure. His depictions of working-class men in his paintings like the shirtless workers in The Floor Scrapers were considered vulgar by high society with some demands for the artist to turn his paintbrush to nudes. The Impressionists declined this viewpoint and invited him to join their group where he became an integral part by helping organize exhibitions, often financing them. A wealthy man, he also became a major patron, purchasing work from his friend’s exhibitions.

Setting loose a new artistic current, Caillebotte and his colleagues hastened French art into the modern era. Caillebotte’s artworks differed from that of many Impressionists, however, whose “loose brushwork and unmixed colors” were their signature. Instead, his “tight handling of paint and subdued palette” became his hallmark.

Gustave Caillebotte: The Painter’s Eye is on view at the Kimbell Art Museum, Nov. 8 through Feb. 14. Mark this one on your calendar. P

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01 AT&T PERFORMING ARTS CENTER The Tony Award-winning Matilda the Musical about a precocious girl changing her own destiny, is onstage at the Winspear through Oct. 4. Strauss Square Uncovered presents Straight Tequila Night & the Clinton Years the evening of Oct. 7. A Divine Evening with Charles Busch steals the spotlight at Wyly Theatre Oct. 29–31. Herrick Entertainment and Threesixty Entertainment present Peter Pan 360 innovatively performed Nov. 11–Dec. 6. Image: “When I Grow Up,” The Company of Matilda The Musical National Tour. Joan Marcus. attpac.org 02 BASS PERFORMANCE HALL Marc-Andre Hamlein takes the stage as a true avatar of the piano the evening of Oct. 6. Live & Let Die is a symphonic tribute to Paul McCartney Oct. 9–11. Kinky Boots synthesizes the hits by pop icon Cyndi Lauper from a gentlemen’s shoe factory in Northampton to the glamorous catwalks of Milan, Oct. 27–Nov. 1. basshall.com 03 CASA MANANA Fiddler on the Roof follows the story of a family in a tight-knit Jewish community and a father seeking to instill traditional values in Czarist Russia, through Oct. 4. casamanana.org 04 DALLAS BLACK DANCE THEATRE DanceAfrica is a celebration of African rhythms, ancient and new, showing at Dallas City Performance Hall Oct. 2–3. November heralds Director’s Choice, showing Nov. 6–8 at the Wyly Theatre. Behind the Scenes is an annual series that opens to the community Nov. 23–25. dbdt.com 05 DALLAS CHILDREN’S THEATER Fancy Nancy: The Musical presents the comical tale of Nancy auditioning for the school play based on the popular children’s books, 36

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through Oct. 25. The Ghosts of Sleepy Hollow is an adapted synthesis of Washington Irving’s works by Philip Schaeffer. Onstage Oct. 16–30. Valentine Davies’ popular Miracle on 34th Street shows Nov. 20–Dec. 20. dct.org 06 THE DALLAS OPERA Sponsored by NorthPark Center, the First Sight Fashion Show and Luncheon hits the runway Oct. 29, presenting signature looks by Mulberry. The First Night PrePerformance Dinner and After Party Oct. 30 heralds TDO’s season opening with Great Scott, a world premiere by Jake Heggie and Terrence McNally. Through Nov. 15. Opening Nov. 6, Giacomo Puccini’s immortal Tosca mounts through Nov. 22. All at the Winspear Opera House. Image: Great Scott. dallasopera.org 07 DALLAS SUMMER MUSICALS Rodgers & Hammerstein’s The Sound of Music, directed by Jack O’Brien, takes the stage Nov. 3–22. dallassummermusicals.org 08 DALLAS SYMPHONY ORCHESTRA Texas Instruments Classical Series presents maestro Jaap van Zweden conducting the DSO to perform Ravel Piano Concerto Oct. 1–4, Brahms Symphony No. 1 Oct. 8–11, followed by Bruckner Symphony No. 5 Oct. 15–18. Stuart Chafetz conducts as Ashley Brown sings in Come to the Cabaret Oct. 23– 24. Halloween Organ Spooktacular takes place Oct. 31 with Bradley Hunter Welch. Oct. 29–31 welcomes conductor Yan Pascal and guitarist Pepe Romero for Concierto de Aranjuez. The Cello Concerto by Dvořák with soloist Daniel Müller-Schott is onstage Nov. 5–8. The DS Chorus is featured in The Damnation of Faust, Nov. 12 and 14. Holst The Planets is conducted by Simone Young, with Karen Gomyo performing the First Violin Concerto by Philip Glass on Nov. 19– 22. Tchaikovsky’s The Nutcracker in Concert

takes the stage Nov. 27–28. Image: Jun Märkl, ©Jean-Baptiste Millot. mydso.com 09 DALLAS THEATER CENTER MOONSHINE: That Hee Haw Musical bottles the spirit of an iconic television series into an original musical comedy through Oct. 11 at the Wyly Theatre. DTC presents The Mountaintop, the Broadway hit that tells the tale of Martin Luther King, Jr.’s last day on earth and casts insight upon societal strengths and frailties. Plays through Nov. 15. The beloved A Christmas Carol opens at the Wyly Theatre, Nov. 25– Dec. 26. dallastheatercenter.org 10 FORT WORTH OPERA A family-friendly production of The Barber of Seville will be presented in partnership with Imagination Fort Worth with three public performances onstage Oct. 16-18 at the Rose Marine Theater. Adapted from the beloved opera, this new work takes the familiar sounds and themes and updates them for the 21st century with singing in English and Spanish. fwoopera.org 11 KITCHEN DOG THEATER The Dumb Waiter, by Harold Pinter runs through Oct. 10. The Totalitarians transports the audience to the world of Nebraska on the brink of revolution. The dark comedy prompts political discourse and an analysis of modern relationships. Nov. 20–Dec. 19. kitchendogtheater.org 12 LYRIC STAGE Grand Hotel takes the stage in the Carpenter Performance Hall Oct. 30–Nov. 8 featuring a full orchestra playing the original Broadway score to accompany the tale of 1920’s extravagance in the world’s most luxurious and mysterious hotel. Image: Catherine Carpenter Cox and Steve Barcus in Grand Hotel. lyricstage.org

NOTED: PERFORMING ARTS

12 13 MAJESTIC THEATER The month of October welcomes Lavell Crawford, The Decemberists, Joe Jackson, C.C. Catch & Bad Boys Blue, UB40, The Tenors, and Al Di Meola. November brings Chris Cornell, Puscifer, Robert Cray Band, Lewis Black, Giada de Laurentiis, Leon Bridges, and Tommy Emmanuel to the stage. majestic-theater.com 14 TACA The Nasher Sculpture Center will host 2015 TACA Perforum: A Conversation to Advance the Performing Arts Oct. 19, gathering experts from across the country to engage Dallas organizations on issues facing them. taca-arts.org 15 TEXAS BALLET THEATER Dracula, is a spellbinding masterpiece choreographed by Ben Stevenson to accompany the musical masterpieces of

01 Franz Liszt, arranged by John Lanchbery, Oct. 16–18. texasballettheater.org 16 THEATRE THREE Cotton Patch Gospel, an entertaining and inspiring tale of a modern-day Jesus in rural Georgia, continues through Oct. 4. Fix Me, Jesus is an original new comedy written

by Helen Sneed. Runs through Oct. 11. A newcomer causes havoc among five women in a small Kansas town in Picnic by William Inge showing Oct. 29–Nov. 22. theatre3dallas.com 17 TITAS Kyle Abraham is a synthesis of urban funk and modern dance, showing Oct. 29–30 at the Dallas City Performance Hall. A thoughtful and provocative collaboration between Anish Kapoor and composer Nitin Sawhney, Akram Khan Company takes the stage Nov. 6–7. titas.org

18 TURTLE CREEK CHORALE The TCC performs a selection of pieces in a showcase entitled Heartland at the Dallas City Performance Hall. The Partners in Harmony chorus joins TCC to perform Gershwin, Rodgers & Hammerstein, Bob Dylan, Woody Guthrie, Peter, Paul & Mary, and more. Oct. 30–Nov. 8. turtlecreek.org 19 WATERTOWER THEATRE Creep is the world premiere of Dallas playwright-composer Donald Fowler’s original musical thriller about “Jack the Ripper.” Oct. 2–25. November welcomes Sexy Laundry to the stage—the touching and hilarious story of Henry and Alice, married for 25 years, trying to find a way to spice up their dormant love life with a weekend in a swanky hotel room. Nov. 20 through Dec. 13. watertowertheatre.org

DALLAS HOUSTON

www.ariastonegallery.com

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01 ALAN BARNES FINE ART Matthew Alexander opens with a reception Nov. 19 through Dec. 21. With clients like The Royal Family and Paul McCartney, the gallery offers 18th–19th-century works as well as contemporary pieces. alanbarnesfineart.com 02 ALAN SIMMONS ART + DESIGN The gallery transitions this fall to Carneal Simmons Art, a consultancy and gallery specializing in contemporary art of all media. The gallerists have procured art for projects around the world, including the art collection for the new UT Southwestern William P. Clements Jr. University Hospital. alansimmons.net 03 AND NOW The gallery continues to show the works of three New York-based artists: Elizabeth Jaeger, Ann Greene Kelly, and Aidan Koch, through Oct. 17. andnow.biz 04 ARTSPACE 111 Winter Rusiloski will show in the main gallery while Exhibitionists Fort Worth will be displayed in the Studio B space with a dual opening reception the evening of Oct. 16.

Through Nov. 27. pARTy continues through Oct. 9. artspace111.com 05 BARRY WHISTLER GALLERY Tom Orr's Tightrope will feature two installations that utilize Orr’s optical abstraction and visual balance, continuing through Oct. 10. Andrea Rosenburg's New Work opens Oct. 17 running through Nov. 28. Of various sizes her paintings and drawings offer an increased saturated color palette. barrywhistlergallery.com 06 CADD Contemporary Art Dealers of Dallas will again celebrate creativity and community 38

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with a Sunday Soup Supper on Oct. 18th at 3015 Trinity Groves. CADD FUNd 2015 will be a fun, fast-paced evening of sharing innovative ideas about potential artistic projects. caddallas.net 07 CHRISTOPHER MARTIN GALLERY Christopher Martin’s paintings seek to develop form, path, and color as inspired by organic forms. He describes his methodology as “Organic Expressionism,” in which he seeks to create an aesthetically engaging composition whose compositions encapsulate the tension between the calm and excitement in natural beauty. christopherhmartin.com 08 CIRCUIT 12 CONTEMPORARY Featured in the 2015 Personal Structures– Venice Biennale, the solo show The Story With No Ending for Simon Bilodeau runs through Oct. 12. Jupiter Island, a group show featuring work from Robert Andrade, Debra Barrera, William Binnie, Kayla Lewis, Soo Shin, Jenyu Wang, and Hyoungsang Yoo, opens Oct. 17. Through Nov. 14. Mysterious Muck mounts Nov. 21, exhibiting the works of Evan Gruzis, Matthew Craven, Mathew Zefeldt, Nin Chanel Abney, and more. circuit12.com 09 CONDUIT GALLERY Diedrick Bracken’s hearts, hands, and other members, Robert Barsamian’s New Paintings, and Anthony Sonnenberg’s Fat Equals Flavor run through Oct. 10. Three exhibits open on Oct. 17: Ted Larson’s Still Life features new sculptural works made from recycled material. Lance Letscher’s be my life’s companion is a series of collage artworks.

Lily Hanson’s The Once Over Twice offers her mixed-media sculptures. Image: Lily Hanson, The One Over #7, 2015, foam, wood & hardware, 20 x 27 x 4 in. conduitgallery.com

11 10 CRAIGHEAD GREEN GALLERY Susan Sales, Marla Ziegler, and Thom Jackson show through Oct. 10. Sales’s Past Presents Future features recent paintings inspired by a collage technique. Jackson offers recent photographs shot in Texas.

Ziegler, as an artist and teacher, exhibits her latest body of low-fired clay. Opening Oct. 17, Joey Brock, Heather Gorham, and Jay Maggio highlight all three artists’s recent paintings and Gorham’s sculpture. craigheadgreen.com 11 CRIS WORLEY FINE ARTS Robert Lansden’s solo show, Metamorphosis, opens Oct. 17 through Nov. 14. Lansden’s meticulous line drawings, geometrically weave time, chance, and ambiguity. Harry Geffert’s latest solo exhibition, First Light, opens Nov 21 and explores obsession with the natural world through his unmatched ability to replicate its delicate details in fine bronze casting. Through Jan. 2. Image: Harry Geffert, First Light (detail), 2015, cast bronze, 48 x 114 x 3 in., photo by Teresa Rafiai. crisworley.com 12 CYDONIA GALLERY Alicja Bielawska: Reference Points for Potential Constellations continues through Oct. 31, exploring the ontological rift between object and abstraction. This contemporary art gallery seeks to showcase artists whose vocabulary resounds with international relevance. cydoniagallery.com 13 DALLAS ART DEALERS ASSOCIATION DADA is an affiliation of established, independent gallery owners and non-profit art organizations in the Dallas metropolitan area. DADA offers the Edith Baker Art Scholarship to Booker T. Washington High School seniors pursuing the study of visual arts. dada.org

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NOTED: GALLERIES

28 14 DAVID DIKE FINE ART As the presenter of the Annual Texas Art Auction, the gallery space is in preview mode for the Jan. 23 event. DDFA specializes in late 19th- and early 20th-century American and European art with an emphasis on the Texas Regionalists. Image: DeForrest H. Judd (Am. 1919-1993), Red Boats, 1952, oil on masonite, 24 x 30 in. daviddike.com 15 ERIN CLULEY GALLERY The work of Dallas-based artist Francisco Moreno is exhibited in Slates through Oct. 17. erincluley.com 16 FWADA The Fort Worth Art Dealers Association stimulates interest in the visual arts through educational initiatives, scholarship programs, and art competitions. fwada.com 17 GALLERI URBANE Two solo shows mount in October, that of Los Angeles artist Andrea Marie Breiling and Dallas artist, David Willburn. In November, Refraction in the Line of Sight, a collection of the work of Jessica Snow, is simultaneously shown with the work of Jeffrey Deli. galleriurbane.com 18 GALLERIE NOIR Gallerie Noir curates the synthesis of fine art with interior design. This Dragon St. showroom offers paintings, sculpture, photography, and art installations that are revitalized within residential spaces. gallerienoir.com 19 THE GOSS-MICHAEL FOUNDATION As one of the leading contemporary British art collections in the United States, the gallery dedicates its programming to renowned contemporary artists, including Tracey Emin, Damien Hirst, Sarah Lucas, Marc Quinn, and Michael Craig-Martin. g-mf.org 40

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48 20 GRAY MATTERS GALLERY Gray Matters Gallery is a project space and curatorial workshop that provides a platform for creative projects not viable at larger institutions. vancewingate.squarespace.com 21 HOLLY JOHNSON GALLERY Rendition, an exhibition of recent collage works and altered book pages by Dallas artist Matthew Cusick, continues through Nov. 14. His collage materials include: medical records, insurance bills, comic books, and old discarded texts. Image: Matthew Cusick, 2015, inlaid text, maps, and acrylic on panel, 40 x 64 in. hollyjohnsongallery.com 22 JM GALLERY A juried exhibition of sculpture by members of the Texas Sculpture Association were selected by a panel of three distinguished judges—Mark LaRoe, Jed Morse, and Gail Sachson. A select work will be awarded Best in Show at an event to be held on Oct. 16, in conjunction with Aurora. jmgallery.org

PEDRO BOREGAARD szorcollections.com

23 KEVIN PAGE 3D GALLERY Showing technology enabled art and design artifacts, the gallery opens PhotoTXcetera Photography and Digital Arts Festival Oct. 17, featuring 3D-enabled works by Irby Pace, Stewart Cohen, Scott Harben, Guy Reynolds, and Kevin Page. Opening Nov. 21, Holograms Take Over the World! features art works created wholly through the medium of augmented reality. kevinpage.com 24 KIRK HOPPER FINE ART Robert Birmelin’s At Street Level/Beloved Chaos and Martin Delabano’s Change will display through Oct. 3. Keri Oldham’s Labyrinth and The Devil Within and Without, a collection of works curated by Keri Oldham and Colette Robbins, open Oct. 10–Nov. 14. kirkhopperfineart.com OCTOBER / NOVEMBER 2015

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14 25 KITTRELL/RIFFKIND ART GLASS This North Dallas spot, Kittrell/Riffkind Art Glass offers a host of glassworks, including interesting sculptures, goblets, jewelry, paperweights, wall art, and other handmade collectables from over 300 contemporary glass artists. kittrellriffkind.com 26 KRISTY STUBBS GALLERY A private art dealer, Kristy Stubbs Gallery offers experience and expertise in the global art trade, often bringing notable artists to the U.S. from abroad. The gallery presents a number of museum-quality Impressionist, Modern, and contemporary paintings, as well as sculptures. stubbsgallery.com 27 LAB ART TEXAS

By Way of Dallas is a group show featuring photography by Dallas is Dallas and a collection of local street artists including Sour Grapes and Blue the Great. Through Nov. 5. Nov. 14 marks the greatly anticipated opening of Tyler Shields. labarttexas.com 28 LAURA RATHE FINE ART Meredith Pardue debuts her latest series entitled VERITAS: Truth in Light and Shadow, exhibited through Oct. 10. Spectrum is a group show by Gian Garofalo, Gavin Rain, and Jason Young opening Oct. 17 with an artist exhibition and reception. New Works is a group show with Matt Devine, Judith Foosaner, and Alberto Murillo, opening Nov. 21 through Jan. 2. Image: Jason Young, Cotton Candy Flux, resin on aluminum, 26 x 21 in. laurarathe.com 29 LILIANA BLOCH GALLERY The gallery welcomes the work of ceramicist Du Chau whose work is inspired by his childhood in Vietnam. Chau’s installation combines ceramic work with wire, resulting in a silently contemplative environment.

Through Oct. 10. lilianablochgallery.com

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36 30 LUMINARTE FINE ART GALLERY The Fourth Annual Islamic Arts Revival Series, a collection juried by Salma Tuqun of the Victoria and Albert Museum, UK, opens Oct. 3. A sneak preview of 4,287 Days, an art video event preceding the Aurora Festival, opens Oct. 8. Large and Small thing: big canvases and gem sculptures synthesizes the work of Keiko Gonzalez and Trent Mann beginning Nov. 7. luminarte.com 31 MARTIN LAWRENCE GALLERIES A reception is scheduled Oct. 23 for François Fressinier, a modern master figure artist, where he will show his new works. martinlawrence.com 32 MARY TOMÁS GALLERY Don’t ______ the _______. is a solo exhibition for Kenn Kotara, opening Oct. 17. Kotara explores a theorized version of language using the cellular geometry of Braille while utilizing a variety of materials to create bas-relief images as an art form.

Through Nov. 14. Core features new works by the gallery’s stable group of artists.

Opening Nov. 21 through Feb. 2016.

Image: Kenn Kotara, s_v_n, hand-punched braille, copper on wood, 86.5 x 84 in. marytomasgallery.com 33 MODARTISTS GALLERY This Design District gallery features the work of several North Texas artists including Alison Jardine, Carmen Menza, Tamara White, Judith Seay, Laura Abrams, and more. modartistsgallery.com 34 MUZEION This Dragon St. space offers museumquality antiquities and contemporary art.

Currently, Pre-Columbian Textiles, a collection of textiles and feathers that have maintained their vibrant colors, natural threads, and unique, historical designs are on view. muzeiongallery.com OCTOBER / NOVEMBER 2015

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SOLO EXHIBITION

K E N N K O TA R A “Don’t_______ the_______.”

October 17 - November 14, 2015

11 35 PHOTOGRAPHS DO NOT BEND Elliot Erwitt exhibits through Nov. 14.

Pictures of Me celebrates the life and times of curator, Burt Finger, opening Oct. 15 with a gallery talk led by Finger. Through Dec. 30. Keith Carter’s work will display Nov. 21 through Dec. 30. pdnbgallery.com

111 0 D r a g o n S t r e e t | D a l l a s , T X 7 5 2 0 7 214.727.5101 | www.marytomasgallery.com Hours: M-F 10-5, SAT 12-4 and by appointment

“CORE” Group Exhibition November 21, 2015 February 13, 2016

36 THE POWER STATION Through Oct. 9, this space welcomes the works of Rodney Graham, Jill Magid, Mark Manders, K.r.m. Mooney, Lais Myrrha, R.H. Quaytman, and Alona Rodeh in a group exhibition entitled Emergency Measures.

The collection, curated by Gregory Ruppe and Noah Simblist, grapples with the range of ways that emergency measures can be signaled. The work of Oliver Mosset opens with a reception the evening of Oct. 23–Dec. 18. Image: Oliver Mossett, O, 2013, polyurethane on canvas, unique. powerstationdallas.com 37 THE PUBLIC TRUST The Public Trust is an independent and contemporary gallery located on Monitor St. trustthepublic.com 38 RE GALLERY Oct. 11 marks the closing reception of Michael Wynne’s The Shabby Years and Brush Muscle’s Dirty Roads Salon. Brad Tucker (a selftitled show) opens Oct. 16 with a reception and closing Nov. 15. Butch Anthony’s work exhibits Nov. 20 through Dec. 20. regallerystudio.com 39 THE READING ROOM Through Oct. 3, OCCIPUT features a collection of short films, images, and objects by Lucia Simek, whose concepts of insecurity and instability are seen through the lens of nature and the sublime. On Oct. 24, the annual Book Swap, features book trades, micro-readings, and conversation. thereadingroom-dallas.blogspot.com

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42 40 RO2 ART Strange Places: Cathey Miller & Mark S. Nelson runs through Oct. 18 at Ro2 Art Downtown, followed by Daniel Birdsong: The Raconteur, a collection of etchings and engravings, opening Oct. 24. Through Nov. 18. Belgian artist, Peggy Wauters’s exhibition of miniature paintings opens Nov. 21 through Jan. 3. Ro2 ART at the Magnolia Theatre will continue Nancy Ferro’s Adaptive Reuse, Too. Through Oct. 20, followed by Sharon Neel-Bagley’s Boiling Crash opening Oct. 22.

Through Dec. 11. ro2art.com 41 SAMUEL LYNNE GALLERIES Bernie Taupin’s exhibition, Anarchaeolog y (an-ahr-kee-ol-uh-jee) will close on October 23. Curated by Karen and Michael Bivins, the exhibition reflects Taupin’s journey with influences from art history, rooted in traditions of Mark Rothko, Clyfford Still, and Barnett Newman. Pop artist, James Gill, is welcomed to the gallery Nov. 21. samuellynne.com 42 SMINK Two Trees In The Garden depicts modernday and historical references to the two trees described in the Book of Genesis, the Tree of the Knowledge of Good and Evil and the Tree of Life. The show includes work from Timothy Hearsum, Abigail Mayfield, Turner Mark Jacobs, Thel, and Zachariah Rieke. Running through the end of the year.

Image: Zacheriah Rieke, Painting 26, 2010. sminkinc.com 43 SOUTHWEST GALLERY A two-day western art show and sale mounts on Oct. 23–24, called Traveling the West, which offers a selection of works from more than 175 of America’s top artists. Kent Wallis OneMan Show opens Nov. 14 with an opening reception. Kent’s paintings blend romantic realism with impressionism. swgallery.com OCTOBER / NOVEMBER 2015

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NOTED: GALLERIES

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32 44 TALLEY DUNN GALLERY The gallery continues to display the glass works of the famed stained-glass artist CHIHULY in a self-titled show and Ted Kincaid’s Monday’s Romance is Tuesday’s Sad Affair on view through Oct. 24. Francesca Fuch’s work will be displayed in the project gallery whilst new paintings by Xiaoze Xie will take the main gallery Oct. 30 through Dec. 12. Image: Ted Kincaid, Variation on a Waterfall by Church 4, 2015, solvent-based inks on canvas. talleydunn.com 45 UNT ARTSPACE DALLAS Through Oct. 17, Permanence/Impermanence is a collection of works that challenge our expectations of what is constant and what is mutable. Featured artists include: Marian Belanger, Anna Collette, Susan GoethelCampbell, Terry Evans, and Aspen Mays.

The space also presents the monthly Saturday Series, taking place Nov. 17. gallery.unt.edu 46 VALLEY HOUSE GALLERY David Everett’s Almanac and Jim Woodson’s Desert Tempo Recollections close Oct. 3. Alex Corno’s sculptures are on view in Works, Milano-Dallas. Corno is known for his abstracted forms in an exploration of the dynamism of sculptural language. Opening reception Oct. 10. Through Nov. 7. A selftitled show opening Nov. 14 presents the rhythmically vibrant plein-air paintings of Henry Finkelstein. Through Dec. 12. valleyhouse.com 47 W.A.A.S. GALLERY Acid Rain by visual artist Caroline Oliver takes the floor Oct. 2. The exhibition will remain on view through Oct. 31. The gallery features paintings, sculpture, installation art, murals, new media, digital and more. waasgallery.com

44 48 WILLIAM CAMPBELL CONTEMPORARY ART Cecil Touchon’s Beyond Words is in collaboration with Fort Worth Art Dealers Association’s Fall Gallery Night. The exhibition continues through Oct. 10. Otis Jones opens Oct. 17 followed by the work of Billy Hassell in Nov. Image: Otis Jones, Blue Rectangle with 2 circles Far Apart. williamcampbellcontemporaryart.com 49 ZHULONG GALLERY Erika Blumenfeld: Light of the Midnight Sun will show through Oct.17 and will be followed by the works of Azuma Mokoto in a show entitled SHIKI: Landscape and Beyond displayed Oct. 23 through Dec. 5. zhulonggallery.com AUCTIONS 01 DALLAS AUCTION GALLERY The Fall Fine Art Auction, Nov. 4, will feature Sam Wyly’s collection, including works by Andy Warhol, Gilbert Stuart, Pablo Picasso, Norman Rockwell, Frederic Remington, Frank Tenney Johnson, and many more.

Catalog available on Oct. 21. dallasauctiongallery.com 02 HERITAGE AUCTIONS October features 20th and 21st Century Design auction on Oct. 10. American Indian Art auction will be held Nov. 6 followed by Texas Art Nov. 7. Silver & Vertu auction takes place Nov. 12 followed by the Photographs auction Nov. 13, Modern & Contemporary Art Nov. 14, American Art Nov. 16, and Lalique & Art Glass Nov. 23. ha.com

SELF-TAUGHT GENIUS Treasures from the American Folk Art Museum October 10, 2015–January 3, 2016

More than 100 works of art are on view in this groundbreaking exhibition that highlights the roles of folk and self-taught artists as figures who are central to the shared history of America. Admission is free.

Ralph Fasanella (1914–1997), Subway Riders (detail), 1950, collection American Folk Art Museum, New York, gift of Ralph and Eva Fasanella, courtesy MTA Arts & Urban Design Self-Taught Genius: Treasures from the American Folk Art Museum is organized by the American Folk Art Museum, New York.

The exhibition and national tour are made possible by generous funding from the Henry Luce Foundation, as part of its 75th anniversary initiative.

Local presentation is sponsored by the Kleinheinz Family Foundation for the Arts and Education.

#ACMgenius

OCTOBER / NOVEMBER 2015

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AUCTION

BY NANCY COHEN ISRAEL

AMERICAN VISTAS Selections from the Wyly Collection go to auction.

“T

homas Hart Benton is the story of America,” says art collector, philanthropist, and entrepreneur, Sam Wyly.

“I grew up with horses and mules and the Mississippi River, so Benton speaks to me.” On November 4, Dallas Auction Gallery brings Thomas Hart Benton’s mural study of A Social History of Missouri to auction along with several other works from Wyly’s collection. The completed murals are in the Missouri State Capitol. As added significance, Benton said, “If I have any right to make judgments, I would say that the Missouri mural was my best work.” Also going on the block is Benton’s Cotton Landing along with approximately two dozen works by American, French, and British artists, as well as a selection of ceramic pieces by Spaniard Pablo Picasso.

While a broad collection, the work by American artists clearly speaks to Wyly. Of the Cotton Landing gouache he says, “This is what I saw growing up on a cotton farm in Louisiana.”

His Louisiana childhood is a frequent point of reference. This is especially true of the John James Audubon illustrations.

“Audubon painted a lot of these pictures on the Mississippi River where I grew up,” he explains, adding, “We knew a lot of the people who had plantations where he stayed to paint. Audubon was a local phenomenon.” He relates that these families bought Audubon’s books, which were bound as portfolios. Eventually, some illustrations were removed and sold individually.

In addition to art, the auction also boasts a number of significant documents, including a Peter Force edition of the

Declaration of Independence. Also included is a Civil War Union Irish Brigade flag, belonging to a regiment that fought in significant battles, including at Antietam.

While Wyly’s roots are in Louisiana, Texas has been home for the past six decades. Two paintings each by Frank Tenney Johnson and Frederic Remington reflect that Western spirit. “Texas is cowboys and ranchers. It’s still part of the culture today,” says Wyly. Remington’s Herd at Night is an ethereal nocturnal scene, originally commissioned by Theodore Roosevelt. It was part of a serialized chapter in The Century Magazine, a publication to which Roosevelt was a regular contributor. Other landscapes include N.C. Wyeth’s large charcoal drawing, The Mississippi Steamboat, another reference to Wyly’s southern roots. Norman Rockwell’s painting Easter appeared on the March, 1918, cover of Leslie’s Illustrated Weekly Magazine. It depicts a profound humanity even in the throes of war.

Five outstanding ceramic pieces by Picasso will also be included in the auction. Wyly explains that one of his daughters is an artist and was instrumental in bringing that work into the family. After studying art history, she went to Vallauris, where Picasso produced much of this work. There she labored in a workshop alongside a former Picasso studio employee.

At this point, Wyly has run out of wall space as have his six children. He has high hopes for the work attending the auction, saying, “I’d like to see people who like the same kind of stories as I do to buy this work.” P

From left: Thomas Hart Benton, A Social History of Missouri: Mural Study for the Jefferson City Capital Building (Pioneer Days and Early Settlers), 1935, tempera on masonite, 18 x 31.5 in. Estimate: $200,000–$300,000.00; Pablo Picasso, Vase Deux Anses Grand Oiseau, 1949, 20.675 x 14.25 x 12 in. Estimate: $250,000– $350,000.00; Norman Rockwell (American 1894–1978), Easter (Soldier Watering Tulip), 1918, oil on canvas, 27 x 24 in. Estimate: $300,000–$500,000.00

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PRESTON ROAD AT NORTHWEST HIGHWAY ThePlazaAtPrestonCenter.com

ANTèKS CURATED APPLES TO ZINNIAS BACHENDORF’S BAG‘N BAGGAGE BENEFIT COSMETICS BETTY REITER THE BIZ C A LY P S O S T. B A R T H C A R L A M A R T I N E N G O B O U T I Q U E C A S T L E G A P J E W E L R Y C O R N E R B A K E R Y C A F É D O U B L E R H A N N A I S U L HILLSTONE J.MCLAUGHLIN JOS.A.BANK KENDRA SCOTT KID BIZ LUBLU KIRA PLASTININA LUCKY DOG BARKERY LUCY MAL MALOUF MATTHEW TRENT MEL CREWS MONTANA SALON NEW BALANCE DFW OCCHIALI MODERN OPTICS ORVIS PARK PLAZA SALON PICKLES & ICE CREAM POCKETS MENSWEAR R+D KITCHEN RIFFRAFF SPRINKLES CUPCAKES SPRINKLES ICE CREAM SWOOZIE’S TACO DINER TOM THUMB TOOTSIES TRUE FOOD KITCHEN YLANG 23

DRESSINGDALLAS DRESS & CLUTCH TOOTSIES FUR STOLE & SHOES CARLA MARTINENGO BOUTIQUE JEWELRY & WATCH BACHENDORF’S HIS RING MATTHEW TRENT SUIT POCKETS MENSWEAR HIS SHOES JOS.A.BANK PHOTOGRAPHY CINDY JAMES

SWISS MOVEMENT DAVID QUADRINI CATCHES UP WITH NOMADIC GALLERIST KAROLINA DANKOW ABOUT HER ZURICH-BASED GALLERY, KARMA INTERNATIONAL, EXHIBITING AT THE 2016 DALLAS ART FAIR.

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sat down at Abbots Habit, my neighborhood coffee shop in Venice, with Swiss gallerist Karolina Dankow to discuss her Zurich gallery, Karma International, along with her recent Los Angeles project. A short time ago she had been asked to participate in the Dallas Art Fair in 2016. Our friend Fabian Marti, a Swiss artist who used to frequent my Venice Beach art space, joined us. We had a lively discourse about the idea of all galleries developing a culture and how her gallery expanded from a non-profit in Zurich to what it is today.

David Quadrini: You were invited by the Dallas Art Fair to participate for the first time this year. As you know the Dallas Art Fair (in the grand tradition of Texas art) is an invite-only affair and has a pretty stable list of exhibitors each year comprised of a lot of great galleries. Were you surprised to be invited? How did you get on Chris Byrne’s radar anyway?

Karolina Dankow: It was truly serendipitous to receive an invitation from co-founder Chris Byrne to exhibit at the Dallas Art Fair because we were already interested in pursuing it. We’ve partaken in art fairs like FRIEZE NY and Art Basel Miami. After these and our L.A. pop-up, it seemed like the next logical step was to explore wider parts of the country— Dallas in particular with its history and status within the contemporary art scene was very intriguing to us. We like that many galleries who have participated in the Dallas Art Fair have come back every year, and we are friends with many of the gallerists.

We’ve known John Riepenhoff from The Green Gallery for many years and stayed with him in Milwaukee when he was organizing the Milwaukee International with the Reeder Brothers. I remember this is also when I first met you, David.

Our gallery, Karma International, was established by me and my partner, Marina Olsen, in 2008 in Zurich, Switzerland. Before that we ran it as a non-profit for more or less a year. In January 2015, we additionally opened a temporary showroom in LA in order

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to expand our connections in the U.S., which has always been important to us. And, we represent a couple of U.S. artists like Carissa Rodriguez and Sergei Tcherpnin from New York who were part of the last Whitney Biennial. K8 Hardy, a photographer and performance artist also based in New York, was born and raised in Texas and comes back here a lot. We also work with the legendary Judith Bernstein who was a founding member of the Guerilla Girls and continues to be one of the most powerful feminist voices.

Furthermore, we work with Pamela Rosenkranz who represented Switzerland at the Venice Biennale and spends a lot of time in the States.

DQ: I remember you were in Dallas a couple years ago. What impressed you about the place and why do you want to come back?

KD: The first time I came to Dallas was in 2013 to view a show at The Power Station, which Emanuel Rossetti, Stephan Tcherpnin, and Tobias Madison did together with a few other collaborators.

For the show they flooded the mezzanine level of the building with water, which slowly dripped through the slab of the concrete floor to the ground level below where it was captured and retained in various handmade vessels made of flash metal that functioned as instruments. The show, entitled Drip Event, was accompanied by a set of musical events and performances. I was and continue to be very impressed with Alden Pinnell, the owner of the Power Station, and his curator, Rob Teeters. They handled a rather precarious situation of flooding their exhibition space with so much humor and grace. The project was a huge undertaking and logistically quite challenging. Thousands of liters of water were pumped into the building, the process leaving permanent damage, which they knew was likely, but accepted it without further ado.

DQ: What are you bringing to the Dallas Art Fair?

KD: We’ll do a solo presentation with the Norwegian artist, Ida Ekblad. She’s only 36 years old, but she has a respectable career, which includes shows at the New Museum in NY, the Rubell

FAIR TRADE

BY DAVID QUADRINI

Family Collection, the Zabludowicz Collection in London, the Delacruz Collection in Miami, the National Museum in Oslo, and the Venice Biennale. Ida is a sculptor, painter, and poet who’s always had her own and very unique approach. Ida does not follow trends but stays very true to herself, which makes her an outstanding and honest artist. In 2008 we invited Ida Ekblad to do a show in Zurich.

This is how most of our artist relationships started: First there was the common love for art and the friendship on a personal level. This was followed by collaboration. I believe that this is still the secret why the gallery works so well. It’s primarily founded on the basis of friendship and mutual respect.

DQ: Can you tell me more about the history of your gallery?

KD: Marina and I studied art history at the University of Zurich and both wrote our PhD with the same professor. During her studies, Marina had worked in New York for Gavin Brown and Anton Kern. Back in Switzerland, she was assisting Gianni Jetzer who, at the time, was running Kunsthalle St. Gallen. Later Gianni would become the director of Swiss Institute in NY, and now is curator at the Hirschhorn Museum in Washington, DC. I, on the other hand, earned money to finance my studies as a freelance writer. I would write for the daily Swiss newspaper NZZ but also for international art magazines such as Flash Art or Frieze.

Our jobs were very much rooted in the contemporary art scene (while University put a strong emphasis on the historical part); Marina and I became interested in working with each other. At the time, I lived in a flat shared with seven people, which had a huge attic space filled with useless junk. I invited Marina to my place and asked her if she wanted to curate a show there with me. Immediately

she said “Yes,” and shortly after we did our first show with LAbased artist, Chris Lipomi. Chris had been traveling in Europe at the time, and he agreed to spend two weeks in Zurich and to create his whole show there. He made a wonderful spatial installation where he transformed the whole attic into a dense jungle; he painted the floor of the space, and sculptures were hanging from the ceiling. We even made a catalogue for this show—it would become the first of many publications that accompanied our exhibitions.

Whilst preparing this show, Marina and I realized that our project had no name. We tried to come up with something that would capture the spirit, and all of a sudden I got a text message from our artist friend, Annelise Coste, saying: “Why not Karma International”? She had combined of our first names—Karolina and Marina to form KARMA. We loved the name because it’s funny, but has a lot of truth to it. Running a gallery, we now understand that the name has a resemblance with a spiritual practice: whatever you put out there comes back to you.

David Quadrini is an artist and curator, sometimes gallerist, and former Dallasite who now lives and works in Venice Beach, California. Quadrini maintained Angstrom Gallery in the Fair Park area from 1995 through 2012, where he did projects with artists from all over the world, and in Los Angeles from 2005 to 2010. Angstrom was a laboratory that brought a lot of great artists to the public awareness like Jeff Elrod, Erick Swenson, Mark Flood, Susie Rosemarin, Jeff Zilm, Ryan Trecartin, Olivier Mosset, Jack Pierson, Justin Lowe and Jonah Freeman, and Daniel Johnston. Currently, Quadrini is working with Suzanne Weaver, the former Nancy and Tim Hanley Associate Curator of Art at the Dallas Museum of Art, so he will be in Dallas quite frequently again. P

Left: Ida Ikblad, Liar Liar, 2015, acrylic, puff paste, airbrushed ink, and plastisol on linen, 66.875 x 51.125 in. Right: Ida Ikblad, this is what happens when i don't go right to sleep, welded metal, tire rim, puff paint on fabric 45 x 50 x 4 in. Works are courtesy of the artist and Karma International Zurich and Los Angeles. Opposite: Karolina Dankow and David Quadrini.

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BY STEVE CARTER

DALLAS CONTEMPORARY’S CURRENT CROP OF SOLO EXHIBITIONS INCLUDES TWO BERLIN-BASED ARTISTS, NADIA KAABI-LINKE AND BANI ABIDI.

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Above, left and right: Nadia Kaabi-LInke, Altarpiece, 2015, silk paper, wax, Chinese ink (Encre de Chine), acrylic (Lascaux), varnish (Lascaux satin), wood frame coated in 24K gold leaf, 98.20 x 177.30 x 2.5 in.

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he international feel of Dallas Contemporary is now in full bloom, with four of its five concurrent solo exhibitions featuring artists from outside the United States. “There are a lot of different curatorial voices that are happening simultaneously here, and I think that perspective has become more pointed now that I’m on staff,” says DC’s Director of Exhibitions/Senior Curator, Justine Ludwig, with a quiet laugh. “But I think it’s something that’s always existed within the DNA and desires for the institution—that we create this strong dialogue between local, national, and international and put them in the context of each other.” Those types of juxtapositions are a consistent genius stroke of the museum’s programming, and few do it better. Two current examples are Walk the Line, multimedia artist Nadia Kaabi-Linke’s exhibition, and An Unforeseen Situation by video artist Bani Abidi; it’s the first solo museum show in the U.S. for each of these Berlin-based artists. “There’s a very elegant subtlety to their work,” Ludwig continues. “They create unbelievably poignant, moving pieces; they have a similar sensibility, but they’re creating drastically different work, and that’s the thing that I find fascinating.”

Nadia Kaabi-Linke, born in Tunis, Tunisia in 1978, brings six projects to Dallas Contemporary, providing a thumbnail representation of her eclectic, evolving practice. The installations, “No one harms me unpunished” and “Impunities” date to 2012; “Stretched Perm,” 51 prints with hair on paper, was created in 2014; and 2015’s “Bicycle,” “The Altarpiece,” and “Walk the Line” complete the show. The linchpin of the

CONTEMPORARIES

Both images below: Nadia Kaabi-Linke, Bicycle (detail), 2015, graphite on paper, 100 x 357.08 in., © Nadia Kaabi-Linke Photography JMCA. Courtesy Cristina Guerra Contemporary Art, Lisbon

exhibition is “Walk the Line,” a conceptual performance piece that’s both Texan-timely and universal. “Nadia has a string that’s as long as the border between Texas and Mexico that’s being walked and wrapped around these two columns here in the gallery,” Ludwig explains. Different individuals from the community are doing the walking and wrapping, and the piece is being videotaped for future shows. Ludwig adds, “It’s quite exciting; this will become part of her oeuvre and shows in different contexts, because this is an issue that people live with in different places around the world.”

Kaabi-Linke’s work deals with community and traumatic memory, and Impunities is a case in point. For this piece, she interviewed victims of domestic violence, then, using forensic methods, took physical records of their scars; those were then sealed into glass panes. “It’s a project that she’s done in different manners in different cities, where she’s worked with members from these communities—battered women’s shelters or support groups,” Ludwig says. “She gains their trust and allows them to take ownership of this traumatic experience in their life through documenting the scars.” The installation is a haunting commemoration—tragedy as transfiguration. “The Altarpiece” is a mixed-media, triple-panel work with religious undertones amidst echoes of WWII. “It’s a wall rubbing from the Boros Collection building in Berlin, which was a

Nadia Kaabi-Linke, No One Harms Me Unpunished, 2012, steel, brass, thistles, © Nadia Kaabi-Linke Photography JMCA. Courtesy Cristina Guerra Contemporary Art, Lisbon

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All on page: Funland- Karachi Series II, 2014, multichannel videoinstallation, dimensions variable

Nazi bunker,” Ludwig says. “It’s covered in holes and marks of explosion; it’s something people walk by every day, but they don’t really realize or think about what it is. It’s the same thing she’s dealing with in Impunities…she’s saying we have to come to grips with our history—with the realities of our societies.”

Born in Karachi, Pakistan in 1971, Bani Abidi often works with video, performance, and photography, and her exhibition, An Unforeseen Situation, is a brilliant introductory primer. One of two installations, “Funland (Karachi Series II)” features ten videos with a single soundtrack; the images deal with Karachi’s history, documenting metropolitan sites in a nostalgic, impressionistic narrative. Justine Ludwig offers, “It’s a completely immersive video installation that you walk through; you’re seeing the videos on projection screens on both sides. These are Karachi landscapes quite often devoid of human presence...many are very important or iconic places within the city and community.” It’s a subjective, surreal travelogue, remembrances of things past.

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CONTEMPORARIES

Abidi’s other piece, “An Unforeseen Situation,” is a new work commissioned by DC; it’s two fictional videos showing in the museum’s black box space. Abidi’s inspiration was a recent real occurrence in Pakistan in which the Punjab Ministry of Sports created a series of world-record-breaking feats, including bizarre events such as seeing who could break the most walnuts with his or her head; the goal was to create national heroes. Art imitating life, Abidi’s videos springboard from there. Ludwig says, “They’re based in the real, but there’s a slightly surreal aspect. She’s scripted this piece, and there’s an overlapping of fiction and reality.”

Challenging, enigmatic, personal, and universal, Nadia KaabiLinke’s Walk the Line and Bani Abidi’s An Unforeseen Situation are on view at Dallas Contemporary through December 21, and they’re a great fit. “Art creates this sort of liminal space where we can engage directly with these things that we perhaps don’t want to, and might prefer to look away from,” Ludwig notes. “But within the context of art, and beauty specifically, we become more comfortable in dealing with the subject matter.” Explore the liminal space. dallascontemporary.org P

Above and below: Funland- Karachi Series II, 2014, multichannel videoinstallation, dimensions variable

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Letitia and Sedrick Huckaby in their home.

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isiting recently with artists Sedrick and Letitia Huckaby at their Fort Worth home, it was easy to imagine them finishing each other’s sentences.

And although they don’t, you know they could; their camaraderie, mutual respect, and admiration are evident throughout our conversation. And while they may not agree about everything, no one’s ego ever gets the upper hand. “I had a professor at Lesley University, an artist there in Boston, who told me not to marry another artist,” Letitia recalls. “She said artists are selfish and they need their own time to get their stuff done, and that stuck in my head. But I want to disagree with her at this point and say I think it’s the best thing, because Sedrick understands what you need to do to get the work done; he knows how much goes into it, and so we try and support each other in that. I think it’s better to be with someone who understands the process of what it takes to make the work.”

Sedrick, looking up from a print he’s fine-tuning there at the kitchen table, says, “If she’s doing great, then that’s great for me—that’s like a victory for us. And if I’m doing great, that’s a victory for us. We kinda look at it that way. I can help her out—put my stuff down for awhile if she has a show coming

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up, because I want to see the best thing happening.”

That family spirit of cooperation infuses everything they do—from the sharing of ideas, the divvying up of household responsibilities, all the way to their thematic inclination as artists: it’s all about family, community, and ultimately, love.

Sedrick’s 2014 exhibition at Valley House Gallery, Sedrick Huckaby: Everyday Glory was epic, featuring 200+ portraits of his immediate family, neighbors, and acquaintances—oils, pastels, drawings, and lithographs. And photo-based artist Letitia’s recent show at Liliana Bloch Gallery, Bayou Baroque, documented life at the Sisters of the Holy Family Motherhouse in New Orleans. Her photographic portraits of the Christian community of consecrated women there, a congregation dating back to 1842, are printed on fabric or vintage sack. Would collaboration on a project be a possibility for the two artists?

“We have worked on a couple of pieces together, and I do think we influence each other’s work a lot,” Letitia answers.

“Sometimes I think Sedrick’s compositions look a little photographic—he would never admit that, but I think it’s me wearing off on him,” she laughs. “I tend to think painters go too far with their work.” Sedrick replies, “She’s a ‘less is more’

CONTEMPORARIES

BY STEVE CARTER

FAMILY AFFAIR

MARRIED FOR 10 YEARS, SEDRICK AND LETITIA HUCKABY FOLLOW THEIR RESPECTIVE MUSES WHILE CONTINUING TO INFLUENCE AND INSPIRE ONE ANOTHER’S ART.

Clockwise from top center: Letitia Huckaby, Sister Mary, 2014, pigment print on fabric, 23.5 x 35 in.; Letitia Huckaby, Sister Canice and Sister Canisius, 2014, pigment print on fabric, 66.5 x 32.5 in.; Leticia Huckaby in her home—here she is pictured with an untitled work of pigment print on silk; Letitia Huckaby’s Jesse perched above the corner shelf.

Artist Letitia Huckaby is represented

by Liliana Bloch Gallery in Dallas.

OCTOBER / NOVEMBER 2015

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and I’m a ‘more is more.’ We do influence each other. I’ve literally painted some of her quilts in my paintings, and then I’ll see her work and see certain ideas and think, ‘Man, that’s really great.’ She doesn’t look at it like I look at it.”

While Sedrick is a Fort Worth native, Letitia’s a selfdescribed “army brat” who moved around frequently as a child—Oklahoma, Texas, Germany, and many more; her mother now lives in New Orleans, and Letitia visits often.

Her interest in photography dates back to her journalism studies at the University of Oklahoma, but her passion for the art really caught flame when she encountered the work of photographer Christopher James and a series he’d done on “death hotels” in India. “There was so much power in those images, I said, ‘that’s it!’,” Letitia remembers.

Consequently she applied to study under James at Lesley University College of Art and Design in Boston, completing her BFA there in 2001; her MFA in Photography is from UNT. Does her background in journalism tend to inform her art? “I believe so,” she acknowledges, “and I think that’s why I start with the photo first—because it’s just ingrained in me to get the image, and to tell the story. I just think I’m telling the story in a different way now.”

Sedrick, who earned his BA at Boston University and his MFA at Yale, and who’s now an Assistant Professor of Art at UTA, continues to paint portraits; his recent works explore new approaches to very familiar subjects. “I’m trying to do a large family portrait by doing individual portraits of the members of the family and then putting them together to create a unity of pictures that makes a family portrait,” he explains. “I’m starting with my own family, but I’m thinking about doing other families that way. By putting the pictures together like that I can make

interesting statements, because each is done individually and they can be different sizes and shapes. I can play around with spacing, and the expressive possibilities of moving individuals around, and how that says something about the whole.” Letitia and their daughter Hallie are his next subjects.

Looking forward, Letitia’s next series that takes her to Alabama’s Gulf Coast, where she’ll document Mobile Bay’s “Jubilee” phenomenon—it’s the celebrated annual event in which shrimp, crab, flounder, and other sea life mysteriously beach themselves, to the delight of seafoodharvesting crowds arriving in droves with their ice chests.

Her next stop may be Italy, to take portraits of, and teach photography to, the discriminated-against Roma children.

A friend recently told her about the plight of the Roma, and the seed for that series was planted.

For his part, Sedrick’s working toward his next show at Valley House, expanding his family focus. “I’m interested in talking about the dynamics of contemporary families, and the issues we face just holding it together in contemporary times,” he says. Sedrick’s self-portrait, Sedrick, Sed, Daddy, will be included in the Smithsonian's National Portrait Gallery resulting from the Outwin Boochever Portrait Competition in March 2016, traveling to four venues.

Meanwhile, the next generation of Huckabys, nineyear-old Sunny and six-year-old Hallie, are already creating.

Hallie’s an aspiring thespian, and Sunny’s been painting, drawing, and inventing since he was three. “We’re trying to catch up to Sunny,” Sedrick says with a laugh, Letitia adding, “Yes, he still has the title of ‘most productive.’” It’s all in the family. P

Left: Sedrick Huckaby in his home pictured with a work in progress. Right: Sedrick Huckaby, Sedrick, Sed, Daddy, 2014, oil on canvas on panel, 72 x 48 in.; photo courtesy of Valley House Gallery.

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CONTEMPORARIES

Sedrick Huckaby, A Dialogue with an Unknown People, 2015, ink on paper. Top: Two Men Standing; Center Left: Two Women in Black; Center right: Two Young Women; Bottom: Four Young Men. The Amon Carter Museum of American Art awarded Sedrick Huckaby the museum’s Davidson Family Fellowship, “which he used to respond artistically to photographs in the museum’s collection documenting the black communities of eastern Kansas between 1875 and World War I” (from the Amon Carter Program, August 2015/January 2016). As a Davidson Fellow, Sedrick was invited to study an African-American collection of photographs at the Amon Carter. From his study of the collection, Sedrick made ink sketches of the black-and-white photographs—most were unidentified—neither the names of the sitters nor the photographers’ names were recorded. Then, Sedrick paired his ink sketches of the Amon Carter photographs (mostly taken between 1875 and WWI) with his ink sketches of his own family photographs, dated from the 1960’s, 1970’s, and later. He paired the early and later photographs by attitude, pose, clothing, etc.

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THE HIDDEN

Gregory Ruppe and Jeff Gibbons explore dystopian futures in a concealed space known only by the well-informed.

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long the Trinity River, in a neighborhood of unremarkable, seemingly abandoned, industrial buildings, there hides a room where dystopian futures are explored. This is the studio of Jeff Gibbons and Gregory Ruppe. In this space, also shared by Jesse Morgan Barnett and Kris Pierce, experimentation flourishes. Investigation into esoteric subject matter is the driving force behind the collaborative practice of Gibbons and Ruppe, which first began in 2013. There is something otherworldly about the work. The studio bakes in the Texas heat. You begin to feel hallucinatory. It is a fitting state to experience their work. You see piles of televisions and a worn-out leather sofa; the stale smoke of spent cigarettes seems to still hang in the air. In many ways the artists’s space resembles a fallout shelter.

Gregory Ruppe is a Houston native, but has made Dallas city his base since graduate school (aside from short hiatuses in Tokyo).

Jeff Gibbons hails from Detroit, Michigan. He, like Ruppe, came to

Above: (on the right wall) 108 Mº 3, glass-masking paint and talc on stretcher, 48 x 66 in.; 108 Mº 1, glass-masking paint and talc on stretcher, 48 x 66 in., 108 Mº 2, glass-masking paint and talc on stretcher, 48 x 66 in. To the left, two tank pieces and instruments installation: 'Dry again?' said the Crab to the Rock-Pool. 'So would you be,' replied the Rock-Pool, 'if you had to satisfy, twice a day, the insatiable sea.’, metal, wood, aquarium, acrylic, hydrophones, speakers, tactile transducers, water pumps, wind chimes, funeral bell, pvc, water, amplifiers, instrument strings, and microphone stand, variable dimensions. Bottom right: Jeff Gibbons and Gregory Ruppe, Untitled, 2014, looped animation. Opposite: (above): Untitled (Excerpt from Necrotic Black Black Swimming Pool with a Heavy Mossy Surface Film), animated video, 20 min., edition of 3. Opposite: (below): the artists perform at a press announcement in the screen at the Nasher Sculpture Center on tanks that serve as drone instruments. All images courtesy of Jeff Gibbons and Gregory Ruppe.

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STUDIO

BY JUSTINE LUDWIG

Dallas for his education, and, as with many of the choices in his life, he followed his gut and has been based in the DFW area since.

During Gibbons’s brief residency at CentralTrak, the pair began what would become their collaboration.

In a large rectangular fish tank, a small replica of an iceberg floats in luminescent anti-freeze. The base of the tank is rigged with a microphone and strings—a drone instrument created for a performance at the Nasher Sculpture Center earlier this year. Wires precariously dip into the tank evoking some innominate science experiment. The work originally took inspiration from a video of a sole lobster in a tank at a grocery store. It is ethereal and seductive as it is off-putting—a commonality among much of the duo’s art.

Projected next to the tank is a video utilizing a Google Earth map of Detroit. The image is fractured with glitches as we move through the digitally rendered landscape of what used to be one of America’s great cities before failing industry brought about financial ruin. Over this image a gentle animated snow falls. The video, completely devoid of human presence, implies a mass extinction.

Close by, piles of what appear to be rocks sit atop each other.

The work, originally created for Ruppe’s exhibition Hyper-pacing on the River Sanzu, is, in fact, comprised of cast-off materials such as motor oil, hair, and cardboard. Inspired by stones stacked along the mythical river Styx, these sculptural forms function as placemarkers. Evoking a multi-dimensional network, disparate localities and events connect.

A television across the room plays Gibbons’s video of looped low-resolution porn. The video focuses on a single vignette, the image of a woman partially undressing and then dressing, all shot from a vantage point typical of surveillance cameras. Her jerky and repetitive movements instill the feeling that we are not watching a human being, but rather an android. More unnerving than arousing, the work seems to point to a digital future of technologically mediated interactions.

Throughout the studio are a series of macabre black-dripping paintings. They appear as if minimalist color-field paintings have somehow begun to melt. Gibbons and Ruppe created these works from glass-masking paint used to block out windows. There is no

substrate in these works—it is simply paint pulled over stretcher bars. Originally the work was taut, but, overnight, gravity had its say and pulled the paint toward the floor.

Gibbons and Ruppe contemplate the possibilities of the now, the extremes of our consciousness, and the unknowable beyond.

The resultant works inspire a desire to see the world differently, to find the sublime within the quotidian. They appear to tap into environmental vibrations, taking on shamanistic roles.

Currently, Gibbons is writing a sci-fi novel in which many of his past works of art become characters or plot-driving objects. This reaffirms the artist’s shared interest in world building, finding ways to take familiar moments, such as a lobster in a tank, or the decaying landscape of Detroit, and out of this, create something completely other.

Gibbons and Ruppe are now looking for a venue to house an ambitious new project. They have plans to transform the climate of a gallery space and build a giant ice sphere within, using parts from refrigerators and allowing the block to grow freely—a living work of art. They have taken a similar piece before, but on a much smaller scale, due to fears surrounding the possibility of ruining the architectural integrity of the space it was shown in. Fitting in perfectly with their oeuvre, this piece would meditate on human excess and our power over the elements. P

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BY LEE CULLUM

SHEER MAGIC PROJECTION AND VIDEO DESIGNER, ELAINE J. MCCARTHY, CASTS SPELLS ON THE DALLAS OPERA’S PRODUCTIONS.

E

laine J. McCarthy is a genius. It is she who made a sensation of Moby Dick, the monumental opera by Jake Heggie that first opened at the Margot and Bill Winspear Opera House, to which it will return next year. Before then, on October 30, McCarthy and Heggie will join forces again for the world premiere of Great Scott, commissioned by the companies of Dallas and San Diego.

Suffused with talent, radiant singer Joyce DiDonato, among the most sought-after mezzo-sopranos in the world; baritone Nathan Gunn; conductor Patrick Summers; director Jack O’Brien; set designer Bob Crowley with costumes by Catherine Zuber; not to forget the unforgettable librettist Terrence McNally—the best of breed in every case—are who will destine Great Scott for great success. But the one to watch, for unalloyed

Elaine J. McCarthy’s work on Tchaikovsky’s Iolanta. Photography by Marty Sohl for The Dallas Opera. Small elements can have big impact, such as this rose image used in Iolanta.

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PERFORMANCE

magic and surprise, is Elaine McCarthy. Count on her to make the entire production spellbinding, and of the moment, no matter what the era portrayed.

That’s what happened in Moby Dick. The wizardry began when director Leonard Foglia told her he didn’t want to see a boat on stage. Apparently he was leery of looking like Bully Budd, another opera based on a novel by Melville. “Really?” she thought, explaining all this to me on Skype from Santa Fe where she was doing Cold Mountain, a new work also directed by Foglia.

It’s not easy to have a story of the sea with no boat. But, she noted with relish, “I’ve got to do the boat.”

Remembering that “field of stars” where she drew the ship and “then it was coming at you,” she admitted, “We all felt really proud when we finished it.” By that she meant the whole of Moby Dick, which, as a novel, to her has “a haunted element to it… It’s an epic tale about what it means to be American, what it means to be a country.” Ahab “was obsessed with the white whale,” and she and the production gang “felt like Ahab’s crew,” with “Jake Heggie and Gene Scheer (librettist), our Ahab.” Short of time, they were obsessed with delivering a spectacular show for its creators. And they did.

McCarthy raved about the Winspear people. “Everybody was behind us on Moby Dick, including the janitor,” she related.

“I was working non-stop—the middle of the night, all day.”

Always she felt the support.

And when she returned for Tristan and Isolde, that same cleaning man exclaimed, “Elaine! You’re back! What are you going to thrill us with this time?” She not only thrilled the audience, she saved the enterprise, about to be scrapped for lack of funding.

Though she created an arresting, abstract setting (not a set) with her projections for Tristan, McCarthy warned that her work “does not save money by replacing scenery.” Instead she must “find the right language for the story.” And the treatment must be subtle. “I hate it when I walk into a theater and I see a screen,” she lamented. Projections should be made of sterner stuff—more creative, designed to dazzle.

This she certainly did at the Winspear with Everest, a new opera by Joby Talbot with a book by Gene Scheer and a fantastic set by Robert Brill, whose white cubes filled the proscenium and gave McCarthy a chance “to go into a fine art museum and project onto sculpture.” (No screens in sight.) She managed with two projectors “from the front that converged one on top of the other [hitting] upstage left with a little snow and upstage right with dark clouds…layering…It feels like a painter on a sculptural canvas.”

McCarthy and Brill were together again for Cold Mountain. It was “like an art camp, an artists’ retreat,” she observed. But it was weird. Since Santa Fe does five operas a season in repertory, it was necessary to rehearse the tech aspects of her show from 11:30 at night after one opera ended until 2:00 a.m. when the stage had to be set for the next evening’s production.

In three technical rehearsals, scenic moves had to be settled, cues established, and McCarthy’s six projectors focused. She had started out with four, covering the stage, but then Foglia asked her to “fill the theater with stars.” This required two more projectors—six in all, which she will use in Dallas as well, for Great Scott.

Top and middle: Strong architectural elements in stock images gave a sense of entrapment and foreboding to the Castle Keep where Princess Iolanta lived. Bottom: Marty Sohl for The Dallas Opera

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McCarthy and associate Austin Switser had one week when they couldn’t get on the stage at all. So they took over a dining room and turned it into a studio. There they switched on a workshop of the opera recorded with piano and singing, then timed “fade sequences” and logged everything, creating files to be “outloaded” by crew members when the two emerged. “It’s interesting to me to figure out the engineering of something so complex,” she explained.

As for Great Scott, “It’s in my system percolating,” she promised.

“I’ve handed off a digital stack to Max Bowman at SMU who helped with Tristan. He’ll get the ball rolling. He’ll put it into an organized list.”

What possibly could be in that organized list to produce an effect that is so transporting, so mesmerizing? It’s all in a discipline, called projection design, which encompasses not only design and engineering, as declared, but also arts, photography, architecture, lighting, sound, scenery, image-creation software, motion graphics, film, and theater.

When Elaine McCarthy got started, there were hardly more than five people working in this field in the world. She stumbled into it by happenstance and a habit of being alert to opportunity and loath to accept second best.

She grew up in Arlington, near Boston, in a family of technologists and teachers. Her father, son of an Irish firefighter, went to MIT and became a metallurgist, working in material sciences. Her mother had aspirations to be an actress, but when that didn’t happen, she went into speech and language pathology and worked miracles with deaf students and students with Down syndrome in a public school. “Sign language would not do,” McCarthy emphasized. Reading lips was the aim. So effective was her mother’s method that many of her charges grew up to be doctors and other professionals.

McCarthy wanted to be an architect, but in junior and senior high she got involved in student government and thought “Maybe public service was more my calling.” So she went to Catholic University in Washington and majored in political science. Even so, her heart was still in architecture. So she left school and found a firm that would take her on to help with drafting.

Two eye images are used to create the final effect for Iolanta. Elaine J. McCarthy’s work on Tchaikovsky’s Iolanta. Photography by Marty Sohl.

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The image of starry constellations that joined to become the three-dimensional outline of a sailing ship, The Pequod, made a breathtaking opening during The Dallas Opera’s 2010 world premiere of Jake Heggie and Gene Scheer’s Moby Dick. Image by Elaine J. McCarthy. Photography by Karen Almond for The Dallas Opera.

PERFORMANCE

Clockwise from top left: Elaine J. McCarthy working on projections for Cold Mountain; photo by Ken Howard for The Santa Fe Opera. Opening scene of Everest; photography by Karen Almond for The Dallas Opera. Clifton Forbis as Tristan in the company’s February 2012 production of Richard Wagner’s masterpiece, Tristan und Isolde; projections by Elaine J. McCarthy; photography by Karen Almond for The Dallas Opera.

That gig ended when McCarthy cooled on being an architect, but her next stop was truly pivotal. She joined the MIT Media Lab as a secretary, and there she worked with professors pursuing projects such as “Pixar, speech recognition, and newspapers of the future.” There were fabulous lunches on Fridays, and everybody came, from visiting scientists to the secretary—Elaine McCarthy.

No viewpoint was tossed aside. Each one was valued.

She found MIT exhilarating. So were two theater groups she joined, one of which took her to the Edinburgh Festival as stage manager. There she carried projectors and got a glimmer of what she wanted to do. After that, her course was clear: She applied to the Tisch School of the Arts at New York University, starting there at the age of 25. She will return this fall, to teach. “‘What are you thinking about? What are you interested in?’ Those are the questions that matter in Boston,” confided McCarthy, who admires the “life of the mind.” But New York was “a culture shock. There its ‘whom do you know?’ And ‘What are you wearing?’”

None of this seems to faze her any more, if ever it did. She and her husband, Randolph Briggs, a projection design manager who set up a facility at the Metropolitan Opera, try hard to give their nine-year-old daughter, Elizabeth, a sense of real work in the real world, even if it is the theater. When McCarthy was doing Wicked, she took her daughter to the production-in-progress. “I wanted her to see people working hard,” said McCarthy, “in a place of business.”

“Did Elizabeth come with you to Santa Fe?” I asked. No. She preferred Harry Potter Camp, though she says she wants to be a projection designer like her mom. The separations are “not easy,” McCarthy admitted. “We miss each other desperately.” But she has made the most of her downtime in Santa Fe, from 6:00 a.m. to 10:00 p.m. “I sit, work, contemplate.”

So the magic of Elaine McCarthy comes from a deep place, fortified by engineering, of course, but generated in the mysterious realm of spirit and imagination. I can’t wait to see what she does with Great Scott. P

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WRITTEN AND PHOTOGRAPHED

BY KENDALL MORGAN

CUBA LIBRE

THE 12TH ANNUAL HAVANA BIENNIAL UNVEILS A BRIGHT FUTURE FOR CUBAN ART.

A

llusive and metaphorical, Cuban contemporary art is more than meets even the most well-trained eye.

With the loosening of boundaries between our two countries and—if not quite an open-door policy, at least a cracked-door one—it’s easier than ever for Americans to explore the perspectives of the Cuban artist, even if what you see may leave you with more questions than answers.

As part of a tour of the 2015 Havana Biennial hosted

by Dallas gallerist Erin Cluley and her partner, tour leader Tearlach Hutcheson, I found myself unpacking both literally and figuratively for months, going over gathered images and artists to discover what could be in store for the future of Cuban art.

In existence since 1984, the Havana Biennial remains uniquely Cuban in that it takes place every three years— Cubans are known for moving in their own unique time zone. In this, its 12th iteration, the Havana Biennial built

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upon its theme from the 2012 edition, exploring “the social imaginary” through events spread across the city, extending the experience to the Cuban people who otherwise might not engage with contemporary art. With installations along the Malecón, bookshops and historical buildings, and graffiti art and projections on the streets of La Habana Vieja, the people of the city moved through a month-long series of exhibitions even if they never made it out to the 16th century double-fortress on Havana Harbor that housed the largest concentration of art in the city.

Tour organizer Sarah Bingham Miller (former manager for the arts exchange group, the American Friends of the Ludwig Foundation of Cuba and current co-founder and director of Cinelandia USA), who has been traveling to Cuba since the early 2000s, says, “This year the organizers did a great job of reaching out to average people and making them understand it was open to them.”

SOJOURN

DAY AT THE MUSEUM A guided tour of the collection at the Museo de Bellas Artes gave historical insight into the history of the country’s contemporary art scene. Spanning from the “new figures” of the 1960s through the Hyperrealism of the ‘70s, ‘80s kitsch and the more subtle, cynical work of the 1990s, the collection is unrivaled in its depth, and a large selection of works are due to travel to America in the fall of 2016 in a cultural exchange with the Bronx Museum.

There may be a controversial undertone running through every decade—the existentialist ‘60s cartoons that originally ran in the Cuban Communist newspaper Granma, a piece with five microphones aimed at a faceless crowd that clearly refers to Castro—yet the museum remains uncensored, and Fidel himself was the very first visitor upon its re-opening after a 2001 renovation.

THE NEXT GENERATION Recalling nothing less than the school in Fame, ISA (Instituto Superior de Arte) is the breeding ground for the next generation of talent, explained Miller, our guide. “They really only take 12 or 15 kids a year in the visual arts; it’s a competitive portfolio review. It’s so small that graduates don’t have to worry like we do here about getting representation.”

The school was never finished, but the visual arts and music wings are a prime example of Cuban modernist architecture.

Art students work virtually exposed to the elements in kilnlike spaces with open windows and skylights, but no central air, crafting everything from sculptural representations of Jesus facing national hero José Martí to paintings that paired Homer Simpson with his Cuban cartoon compatriot.

The work is taken seriously, and the school is a stop on most Biennial visitor tours. Executive Director at the Bronx Museum, Holly Block, has been placing Cuban artists in American residencies since the mid-‘90s, and she says this next generation of Cuban artists may be the most interesting yet.

“You have a whole group of artists that are going to be these transitional artists between what’s before and what’s now.”

THE CURATOR’S EYE And once those artists graduate, they’d do well to catch the attention of Luis Miret Pérez, director of Galleria Habana.

Arguably the nucleus of the Havana art scene, the gallery was founded in 1962. Perez joined in 2004. Like most of the work we’d seen until that moment, its show Crack (which ran during the Biennial) takes a particularly Cuban look at the aftereffects of the financial crisis, which is to say, a most ambiguous one.

Works have a message, but you have to dig for the meaning.

After a backroom tour featuring greatest hits from some significant talents, we were off to the studio of Santiago Rodríguez Olazábal who rolls out canvas after canvas in his courtyard, each one influenced by his dreams and the deities of the Yoruba religion, Ifá.

As with many American gallerists, there’s always a bit of handholding in the process to get the work out. Said Pérez as he watched Rodríguez Olazábal stretch out a piece of a blind woman grasping for two bull horns on the floor, “They suffer to do all that. Sometimes I call him, and he says: ‘I was working five hours on one piece so intensely. Because I wanted to keep my dream there, I can’t talk to anybody.’” But as curators, like Pablo Neruda, said, “We should be an open book. We’re listening, but mostly looking—it’s a visual art.”

Above (from left): The famous iron sculpture of Che Guevara anchors the Plaza de la Revolución; a bust of a Santero (Santeria priest) surrounded by portraits adorned the lobby of the music school at ISA; a sculpture of Cuban hero José Martí outside one of the buildings at the Instituto Superior de Arte. Opposite: One of the few works that alluded to the relations between Cuba and the United States, Reynerio Tamayo’s Superman painting played with the legend of Gulliver’s Travels.

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IN THE ARTIST’S STUDIO The light-dappled space of Alex Hernández Dueñas, Adrián Fernández Milanés, and Frank Mujica Chávez was the perfect setting for their disparate disciplines. Dueñas moves from sculpture to abstract cutouts to architectural renderings etched onto glass, while Fernández Milanés specializes in photography with a pointillist bent, complementing Chávez’s hyper-realistic drawings. It was easy to see that the ambitious trio was among the new, press-savvy generation of young Cuban artists. As Dueñas said, “Working together was the perfect way to develop our careers in the national scene.

If somebody comes to see my work and sees Adrian’s and Frank’s work at the same time, that’s the point.”

In contrast to the work of Cuba’s Millennials, artist Ibrahim Miranda was firmly in what they call “the ‘90s generation.”

Allowed to work around the world, the trained printmaker did residency in Finland, Switzerland, North Carolina, and Boston, and his pieces, which have been shown at the Brooklyn Museum, explored layers of folkloric and animal imagery and maps. Isla Laboratorio o 7 Maravillas, depicting the seven wonders of the world relocated to a Cuban map, commented on both the Cuban artist’s love affair for their country and their innate isolation from the rest of the world.

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THE FREE ZONE La Cabaña, the all-Cuban Zona Franco, was the nucleus of the Biennial, a one-stop shop of sorts to see some 250 participating artists. Inside the airless tunnels, one could find everything from the disastrous to the sublime—a floor of smashed mirrors (a hazard to cross in sandals) was an art school disaster; a glowing installation by Rachel Valdéz Camejo entitled Infinite Composition, a soothing success.

You’d also discover most of the artists exhibited at Galeria Habana. If there’s one thing that Cuban artists seem to realize, there’s no such thing as oversaturation of the market. Being omnipresent meant a better opportunity to get your work seen, and better yet—bought. The most successful collection of works proved to be a Muestra De Arte Cubano Contemporeano satellite show. Also curated by Luis Miret Pérez, the pieces seemed to be more self-referential than what we found at the Biennial, commenting on the drug trade, religion, consumerism, and war. But that, of course, is only at first glance. Says Susan Delson, the New York editor of Cuban AmericanNews.org of Cuban art in general, “The artists in the ‘80s were very forthright in use of art as a forum for the discussion of issues. The succeeding generations in terms of their strategies use metaphor and allusion.”

SOJOURN

A BRIGHT FUTURE As relations continue to thaw, the possibility of not just viewing Cuban art, but also building a collection of work, becomes tantalizingly close for collectors. Unlike other markets, Cuban art is still relatively affordable, and even the biggest names can be had for a fraction of the prices of the American contemporary market.

Erin Cluley feels the younger generation’s awareness of the growing connection between the U.S. and Cuba makes them a perfect fit for her gallery. Cluley plans on organizing a fall 2016 exhibition of the work of four early career Cuban artists. “They’re smart and they’re open to the U.S. market, and I think my collectors will respond. Even since returning from the trip I’ve had enquiries—it’s still not that easy to find young contemporary Cuban artists in the U.S.; there’s an exoticism (to the work).”

Howard Farber, founder of the Farber Foundation, a private organization dedicated to promoting and fostering

awareness of contemporary Cuban art and culture, has been collecting Cuban art since 2001. A former collector of American modernist art and the record holder of the single largest art sale of contemporary Chinese art, Farber sees something special in Cuba, what he calls “a whole market of possibilities and future.”

Farber effuses, “It hasn’t even started yet—Cuba is like the Wild West. I feel almost like it’s insider trading in a way, and it’s a no-brainer to me. I’ve been around a long time, and I’m putting my money where my mouth is, but I can’t buy everything.” He recommends reading up on the country’s contemporary artists, exploring what decade you respond to, and deciding what you want to spend before you travel to the country. “It’s fun—the artists are very open, they’ve been waiting for 50 years. It’s not a one-week window; it’s the beginning of the future, and I think you’re going to see wonderful work coming out.” P

Above (from left): The entrance of the Zona Franca (Free Zone) at the San Carlos de la Cabaña Fortress in Havana; colorful snorkels hang from the ceiling in “A Need for Other Airs” by Arles del Rio; only at second glance is The Merger’s metal sculpture visible as a revolutionary battle, Cuban icons included.

Opposite (from left): Works by artist Santiago Rodríguez Olazábal reveal the artist’s dreams and nightmares; Artist Alex Hernández Dueñas surrounded by his pin-up portraits in the studio he shares with Adrián Fernández Milanés and Frank Mujica Chávez; Ibrahim Miranda’s vivid prints explore layers of folkloric and animal imagery and maps.

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COVETED

BY LISA PETTY

SCENE STEALER

British brand Mulberry offers an entrance-making bag in Oxblood.

P

remiering this season at NorthPark Center, the Alligator Bayswater by Mulberry is a seductive star of international pedigree. One of but three of a kind, this British stunner’s counterparts grace Bond Street and Madison Avenue in an Atlantic-spanning fall debut for the iconic luxury brand. Exclusive and captivating, the Bayswater represents the latest in a legacy of unparalleled excellence.

Founded in 1971 by Roger Saul, Mulberry’s peerless reputation originates within its manufacturing flagship in Somerset. There, among rolling hills dotted with trees sharing a certain notable name, some 700 dedicated craftsmen and women transform the finest materials into signature leather goods. Each features unmistakable Mulberry elements—buckles, fobs, locks—which nod to classic British style while asserting a modern sensibility. Indeed, at the heart of this English luxury brand is the compelling interplay of perfect beauty and flawless form. In the business, they call it chemistry.

As the scene is set, the Alligator Bayswater makes its entrance. Deep, gleaming Oxblood draws admiring gasps. Hints of soft gold captivate. This rare, enviable handbag plays unabashedly to each adoring admirer—and yet, secrets remain in reserve. Slip loose two buckles for greater interior capacity; a spring lock operates with the touch of a fingertip. And the rave review? Pure, masterful, unadulterated drama.

Direct inquiries regarding the Mulberry Alligator Bayswater to Mulberry Dallas at NorthPark Center. P

Alligator Bayswater Handbag by Mulberry in Oxblood. Available exclusively in Dallas at the Mulberry Boutique in NorthPark Center.

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CELEBRATING

30 YEARS

OF ‘I DO’

THE PLAZA AT PRESTON CENTER - 214.234.0002 - YLANG23.COM

COVETED

BY TERRI PROVENCAL

S E I L T A TH H W NEA BE

t llec s co t e r . ec it s S s e ar c h s l e a R re ve I DS s to n n f o r A n i tio yW H ar r F o un d a f o e se Hou fAR, Th e h e, T h am rpris hip wit u s to er s it ted a par tn m m Co an d

O

n his way to the private vault concealed within his office walls, Harry Winston carried spectacular diamonds hidden deep inside his pockets. A man distinguished for his ability to decipher a rough diamond’s veiled brilliance by simply holding it in his hands, he was a bit of an enigma. His biggest secret of all was actually his own identity due to an ironclad clause in his insurance policy.

Appearing in photographs as a mysterious silhouette, the clause forbid him from ever showing his face to the public.

With his likeness shrouded in secrecy, his name became recognizable instead for the brilliance and beauty of extraordinary jewels. Leaving behind an enduring legacy that continues in each of the House of Harry Winston’s creations, a new fine jewelry collection presents an assemblage in homage to its founder, fittingly christened Secrets by Harry Winston. Celebrated designs and techniques are presented in this collection through distinctly different themes. The “secret” beneath the brilliance of each lustrous gem crafted in platinum and set with exceptional diamonds, is yet another Harry Winston Secret Combination diamond bracelet set in platinum

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io n

hidden gem, waiting to be discovered.

In Secret Cluster, the House’s eminent motif—the Winston Cluster—offers a series of surprises, from a delicate perfume bottle entwined within an intricate web of pavé diamonds; to a precious locket concealed beneath a bouquet of round, pear, and marquise-shaped stones; to an exquisite emerald hidden behind a sculptural cluster bracelet. In Secret Wonder, medallions precisely set with a starburst of round and pearshaped diamonds, rotate to an opus of sapphires, diamonds, and aquamarines revealed on the other side; while Secret Combination creates a varying array of bracelet and necklace styles, through detachable strands of fancy-cut diamonds.

With its founder deeply committed to philanthropy, Harry Winston is now the first company to partner with amfAR, The Foundation for Aids Research, and will serve as the presenting sponsor for all 27 gala events across the globe for three years— just in time for TwoxTwo AIDS For Art, benefiting the Dallas Museum of Art and amfAR. Perhaps some of the bejeweled at the Rachofskys’s home will be adorned in Secrets? P

Introducing

Alex Corno

Works, Milano-Dallas

October 10 – November 7, 2015

Valley House Gallery & Sculpture Garden 6616 Spring Valley Road, Dallas, Texas

972-239-2441

www.valleyhouse.com

70+ page catalogue Inaugural exhibition in the United States

SPACE

BY LISA PETTY PHOTOGRAPHY BY KLIK

AGE OF EMPIRES

Ending a year-long hiatus, and thrilling those who covet his Neoclassical collection, John Robert Clark Antiques has returned.

John Robert Clark is known for exquisite museum-quality Neoclassical antiques.

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rom the picture window at 1316 Slocum Street, a pair of late 16th century marble busts beckon, hinting at the gilded treasures within. Clark himself labels the 2,500-square-foot space a “gallery,” and believes in the appreciation of antiques as fine art. That should not imply, however, a typical gallery experience for his guests.

To the contrary, the proprietor asserts, “If you’re doing the same thing as everyone else, why do it?”

A natural storyteller, avid traveler, and passionate expert in his field, Clark spins a unique experience from every tour. The provenance of a pair of porphyry urns is transformed through his words into a thrilling tale spanning Egyptian mines, Roman ruins, and the Palace of Versailles. The lineage of a lapis lazuli-studded clock, crafted for a certain Bourbon prince, captivates with details of post-Revolution France. Each story cultivates an individual's appreciation.

Yet another unique difference is revealed in Clark’s courting of the unexpected. For example, he thrills to the thought of pairing one of his romantic European treasures with a piece of modern art. Or, “Why not,” he wonders, “invite a pair of my Georges Jacob chairs to dinner at a contemporary table?” After all, in the words of this jovial host, “I want everyone to feel comfortable. No intimidation.” P

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Beauty Rose, 72"x96�, 3D Oil Print on canvas Photo credit: Kevin Page 3D Gallery

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BY STEVE CARTER PHOTOGRAPHY BY ANT CLAUSEN

BRAVURA IN BLACK JACKSON POLLOCK: BLIND SPOTS OPENS AT THE DALLAS MUSEUM OF ART THIS MONTH—IT’S THE LARGEST EVER ASSEMBLAGE OF HIS CONTROVERSIAL, AND OVERLOOKED, BLACK PAINTINGS. “BLOCKBUSTER” BARELY BEGINS TO COVER IT.

Opposite: Jackson Pollock, Number 5, 1952, 1952, enamel on canvas, 56.25 x 31.75 in., The Modern Art Museum of Fort Worth, Fort Worth. Museum purchase made possible by a grant from The Burnett Foundation © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York. This page (left): Jackson Pollock, No. 2-B, 1952, oil on canvas mounted on panel, 23 x 7.25 in. McNay Art Museum, San Antonio, Texas. Mary and Sylvan Lang Collection © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York. Right: Jackson Pollock, No. 2-A, 1952, oil on canvas mounted on panel, 7.25 x 11.25 in. McNay Art Museum, San Antonio, Texas. Mary and Sylvan Lang Collection © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

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Jackson Pollock, Number 14, 1951, 1951, enamel paint on canvas, 146.4 × 269.2 in. Purchased with assistance from the American Fellows of the Tate Gallery Foundation, 1988.

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n its August 8, 1949 issue, Life magazine famously devoted nearly three pages to the then 37-year-old abstract expressionist, Jackson Pollock. The article’s subheading rhetorically asked an unsuspecting American public, “Is he the greatest living painter in the United States?” By the end of the first paragraph, Life had declared that Pollock “…has burst forth as the shining new phenomenon of American art.” It could be argued that lavish praise can be as damning as faint praise, but despite the encomiums heaped upon Pollock by the uber-intelligentsia of the New York critical elite, not to mention Life, his artistic practice continued to evolve beyond the celebrated “drip period” paintings that made his reputation. Enter the black paintings. Between 1951 and 1953, Pollock made a radical move to the elemental, removing most traces of color from his palette and using black enamel almost exclusively. Recalibrating his application methods, he developed a technique that involved pouring paint, squirting it from basting syringes, using sticks and dried paint brushes.

Critical response was mixed; collectors were confused, sales were abysmal. The 50+ black paintings, or “black pourings,” almost became a footnote to a blazing roman candle of a career, relegated to second-class citizenship in Pollock’s oeuvre.

Until now. November 20 marks the opening of the Dallas Museum of Art’s Jackson Pollock: Blind Spots, a monumental survey of the black paintings—31 of them, the largest collection ever assembled. Gavin Delahunty, the DMA’s Hoffman Family Senior Curator of Contemporary Art, is curator of the exhibition, and the museum is the show’s only stateside venue; it premiered at Tate Liverpool in June and runs there through October 18, and it’s garnering stellar reviews. The series hasn’t always fared so well. Delahunty notes that when the earliest black paintings first showed at New York’s Betty Parsons Gallery in 1951, “The reception was poor, poor being maybe an understatement. [Gallerist] Charles Egan, an important person in that scene at the time, 78

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famously said, ‘Good show, Jackson, but could you do it in color next time?’ And this was the man who in 1949 was in Life magazine as the greatest artist in American history, and two years later only two of his paintings sold, one for a discounted price of $1500, a 50% discount, which was unheard of. Pollock was devastated because he felt that this was a real breakthrough moment for him…”

Besides the 31 black paintings in the exhibition, several of Pollock’s classic drip paintings from 1947–1950 are included to help contextualize the dramatic departure the black series represents. Equally revelatory is the inclusion of five of the artist’s six rarely seen sculptures, and nineteen of his works on paper that are contemporaneous with the black paintings. Delahunty has been developing the show since 2010; at the time he was Tate Liverpool’s Head of Exhibitions and Displays. Before leaving for the DMA in January 2014, he deputized Tate Liverpool Assistant Curator Stephanie Straine to work with him on the Pollock exhibition. “She was my eyes and ears and person on the ground, and especially when I left to come to Dallas her role became even more important,” he raves. “She’s a talented, brilliant academic and curator, and I couldn’t have done it without her.”

Gavin Delahunty attributes his long fascination with the black paintings to two events. While working on an exhibition of the works of German artist Charline von Heyl some years ago, he became acquainted with contemporary female artists Jacqueline Humphries, Amy Sillman, Rachel Harrison, and others, “And they were all telling me that they were really interested in these black paintings by Jackson Pollock,” he recalls. “So that was one light-bulb moment: some of the best things I’ve ever learned in my life have been from artists—when artists say something like that, you listen.” Coincidentally, Tate Liverpool has one of the black paintings, Number 14, 1951. Thoroughly intrigued, Delahunty decided to hang the work there in one of its galleries.

Epiphany ensued.

“It’s an enormous painting and it’s incredibly powerful and it’s a stunning work,” he enthuses. “One evening when the whole museum was closed I found myself sitting in front of this painting on my own, in the dark practically, just staring at it. And I thought, “What happened to these paintings?

Where are they? Why don’t we know more about them?” And that was it. I thought, “You know, I’ve got to do a show about this.” I was literally on the floor with my legs crossed just staring at this painting for hours and thinking, “This is a masterpiece…” I made the conscious decision to put everything I know about Pollock to one side, everything I know about aesthetics to one side, and also logical progression to one side. And the simple plan was to amass as many of these paintings as possible and put them on display, letting the audience decide, letting the world see them for the first time in a way that I believe they should be seen.”

The black paintings are revolutionary in Pollock’s oeuvre on several scores, beyond the lean palette and experimental application. Another element is the artist’s use of untreated raw canvas. This departure from traditional practice borders on alchemy—paint as surface, rather than paint on surface.

“It’s about paint and substrate,” Delahunty explains, “And the best painters are those artists who can merge and synthesize those two things. Pollock did it by pouring the paint and dripping the paint and flicking the paint on to the unprimed cotton surface so it soaked in—they became one. So it was like modernism with an underlying capital M, but also doing something completely new because it was no

Exterior of the Tate

Gavin Delahunty and Stephanie Straine

Clockwise from top left: Jackson Pollock, Untitled, c. 1949–50, painted terracotta, 4.25 x 8 x 5 in. Collection Gail and Tony Ganz, Los Angeles ©2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, 1949, wire dipped in plaster and paint, 3 in.

The Museum of Fine Arts Houston. Gift of Louisa Stude Sarofim in memory of Alice Pratt Brown, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York. Jackson Pollock, Stone Head, c. 1930–33, tone, 4.25 x 2.99 x 2.75 in. Collection of Jason McCoy, New York, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

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Clockwise from top left: Jackson Pollock, Black and White No.15, 1951, enamel paint on canvas, 142.2 × 167.6 in., Museum Ludwig, Cologne. Jackson Pollock, Cathedral, 1947, enamel and aluminum paint on canvas, 71.5 x 35.06 in. Dallas Museum of Art, gift of Mr. and Mrs. Bernard J. Reis, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York.; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, 56.5 x 66 in. The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) ©2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York; Hans Namuth, photograph of Jackson Pollock painting Autumn Rhythm; Number 30, 1930, which appeared on the Museum of Modern Art Bulletin, volume XXIV, number 2 1956–57, n.d., black and white photograph. Opposite: Jackson Pollock, Number 3, 1949: Tiger, 1949, 1949, oil, enamel, metallic enamel, and cigarette fragment on canvas mounted on fiberboard, 62 x 37.25 in., Hirshhorn Museum and Sculpture Garden. Gift of Joseph Hirshhorn, 1972, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York.

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longer about the application of paint, but the seepage and soakage and the way that it saturated.”

Another befuddlement for many critics was the perception of a less abstract abstraction, compared to the drip, or “all-over” paintings that precede the black period. “It’s the figure, it’s the figure—that’s the thing that bothered the critic, Clement Greenberg,” Delahunty continues. “The allover paintings caused for a change in direction about how we actually view, how we optically look at a painting. Pollock’s all-over paintings have no beginning and end, and that’s what makes them brilliant. There was no clear figurative element apparent in the all-over paintings, although Pollock himself would say that the figure was always present, it was always in the painting, albeit under cover of these veils.”

Helen Harrison, a noted Pollock scholar and director of the Pollock-Krasner House and Study Center in East Hampton, New York, argues, “At the time they were painted they were actually very well-received by the critics.

People who were writing about art liked them because they seemed to be more intelligible. It was imagery that was at least visible, and understandable, even if it was somewhat grotesque. In the case of the imagery itself, Pollock said that it looked back to his earlier work, which is in many ways true. He didn’t really talk about why he was doing it, but he did mention in a letter to his collectors Alfonso Ossorio and Edward Dragon that he’d been ‘drawing on canvas in black.’

It was kind of graphic expressions, because he’s not using the colors anymore.”

Tate Liverpool’s Stephanie Straine brought her expertise on Pollock’s works on paper to the exhibition as assistant curator, and sees many connections between those and the black paintings; most of the drawings included in the show date from 1951. “I was interested in how Pollock’s experimental and material-led approach to drawing at the start of this particular year seems to have inspired or cleared the way for the new poured-enamel technique that was to revolutionize his painting practice in the summer months,” Straine says. “These works on paper…seemed to have opened up a completely new conception of drawing for the artist, through their use of staining and image transfer; he would work on top of a stack of paper, allowing his mark-making to soak through to under-sheets on which he then worked up new drawing compositions. Pollock’s black paintings were created by applying (and often specifically soaking) industrial black-enamel paint directly onto unprimed canvas, producing a figure/ground relationship that I would argue was strongly influenced by these preceding drawings. While they are far more abstract than the paintings that followed (with the Goya-esque return to representation in parts), it’s clear that their technical influence was profound. These drawings play a hugely significant role in the exhibition, and I certainly believe that they are an under-recognized element of his practice that deserves a place in the grand narrative of Pollock’s career.”

The exhibition will be broadly chronologically installed, with earlier paintings paving the way to the black series.

A fascinating aspect of the installation is that the DMA is scaling the dimensions of its galleries to recreate the spaces where the black paintings were first shown. Delahunty says, “You’re going to experience the black paintings in this very intimate, personal way—it’s going to be Pollock, up close

and personal.” While Jackson Pollock: Blind Spots is a bravura exhibition and a DMA milestone, the museum has a long history with the artist, dating back to 1950. That year the DMA added Pollock’s “Cathedral” (1947) to its collections, becoming one of the first museums in the world to acquire his work; it’s a masterpiece. Stanley Marcus, then a Board member, was instrumental in convincing the painting’s owner, New York collector Bernard Reis, to donate the work. It remains a definitive cornerstone of the institution’s contemporary collection.

It’s unfair to single out highlights in an exhibition of this magnitude, but a subjective sampling hints at the show’s diverse breadth. The haunting Number 5, 1952 suggests a figurative element, and although it’s a tautly complex composition, the negative space of the unprimed canvas is the antithesis of the signature all-over swirlings of the drip paintings. Number 12, 1952 is grounded in black, but here Pollock’s judicious use of color creates a mythic atmosphere that could be viewed as something of an asymmetrical Rorschach. Dating back to the drip period, Number 3, 1949: Tiger, 1949 is a brilliant all-over work—ripe with color,

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motion, and rhythm, it’s a maelstrom of complexity and action, a bold visual dance that only Pollock could have choreographed. Untitled (1956) is a late work, a sculpture made in the last year of Pollock’s tragically short life. Fashioned of plaster, sand, gauze, and wire, it’s a conundrum of pure abstraction, seemingly without programmatic implication.

Absolute sculpture, absolutely.

The exhibition closes with two forward-looking canvases, the DMA’s own A Portrait and a Dream (1953) and Yellow Islands (1952); they’re an apt denouement to the experience. Yellow Islands is a notably experimental work: Pollock began the painting working horizontally, before turning it on its end to let gravity make its own surrealist aleatoric contribution, and touches of crimson and yellow foreshadow the artist’s upcoming transition back into color. Delahunty says, “I wanted the show to finish on a very high note and on a note of experimentation, and I think both these paintings do that. A Portrait and a Dream has overshadowed Yellow Islands because it’s so explicitly figurative on the right hand side, and there’s this schizophrenic aspect to it, where it’s two paintings spliced into one, and its scale and magnificence.

“But Yellow Islands is quite a complicated painting, for the way it was made both horizontal and vertical. I immediately jump to think about artists like Carl Andre and the moment where he decided ‘Sculpture has been erect for millennia; I’m going to topple that.’ Those are the real moments of genius—those are like sea-change moments in the ostensibly linear narrative of art history, and I think that with the black paintings Pollock was creating a sea-change moment, but the wave of that change is only crashing upon us now.” Jackson Pollock: Blind Spots, at the Dallas Museum of Art, November 20, 2015 through March 20, 2016. dma.org. P

Top: Jackson Pollock, Yellow Islands, 1952, oil paint on canvas, 56.5 x 73 in. Presented by the Friends of the Tate Gallery (purchased out of funds provided by Mr. and Mrs. H.J. Heinz II and H.J. Heinz Co. Ltd.), 1961 © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York. Bottom: Installation shot of Jackson Pollock: Blind Spots at Tate Liverpool, June 2015

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Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, 58.5 x 134.75 in., Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

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BY TERRI PROVENCAL

BLACK BEAUTIES KEHINDE WILEY’S MARVELOUS MÉTIER SHINES AT THE MODERN ART MUSEUM OF FORT WORTH.

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fraternal twin, the youngest of six children reared by a single mother in South Central Los Angeles, Kehinde Wiley grew up in an academically rich environment disparate to his economically challenged home. Both parents attended the University of California.

His father, Isiah Obot, an Ibibio tribesman from Nigeria, was an architecture student, the first member of his family to go to college, while his mother Freddie-Mae Wiley studied African linguistics. Obot returned to Nigeria before the birth of Kehinde (translated from the Yurobo language meaning “the last to come”) and his twin brother Taiwo (the “firstborn”). The children wouldn’t reconnect with their father for two decades.

With Freddie-Mae Wiley’s strong commitment to her children’s learning, she enrolled the 11-year-old twins, Kehinde and Taiwo, into free art classes at California State University. They studied landscape and painted from live models. She also made certain her children visited local museums along with the Huntington Library’s art galleries where Kehinde’s exposure to Euro-American fine art had

a lasting influence. These early stimuli are much of what inspired this major-American artist into a giant of a figure on an international scale through his portrayal of people of color.

In Mid-September, the Modern Art Museum of Fort Worth opened the Brooklyn-initiated show Kehinde Wiley: The New Republic, highlighting the artist’s remarkable 14-year career. Here the artist has confronted and radically changed the tradition of European and American portraiture. Early works, depicting urban young men cast from the streets of Harlem, introduce contemporary society to race and class issues. Following the completion of his MFA in 2001 at Yale, a serendipitous encounter with a crumpled NYPD mugshot he plucked from the street during his artist’s residency at the Studio Museum in Harlem deeply informed his work.

Wiley pinned the mugshot to his studio wall depicting a 20-something African-American male citing his list of infractions and social security number. Stimulated, Wiley produced the Conspicuous Fraud Series, returning the subject’s dignity through his paintings partially by eliminating the

Kehinde Wiley (American, b. 1977), Anthony of Padua, 2013, oil on canvas, 72 x 60 in. (182.9 x 152.4 cm). Seattle Art Museum; gift of the Contemporary Collectors Forum, 2013.8. © Kehinde Wiley. (Photo: Max Yawney, courtesy of Roberts & Tilton, Culver City, California.)

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Kehinde Wiley (American, b. 1977), Morpheus, 2008, oil on canvas, 108 x 180 in. Courtesy of Roberts & Tilton, Culver City, California; Sean Kelly, New York; Galerie Daniel Templon, Paris; and Stephen Friedman Gallery, London. © Kehinde Wiley

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official information from the mugshot. This unlikely find—a mugshot discarded on the street—would indubitably give rise to the artist’s portraiture as it is today. Wiley describes the mugshot in an interview with Eugenie Tsai, the John and Barbara Vogelstein Curator of Contemporary Art at the Brooklyn Museum: “I began thinking about the mugshot itself as portraiture in a very perverse sense, a type of markmaking, a recording of one’s place in the world in time. It made me begin to think about portraiture in a radically different way.”

In later portraits, the art-historical canon is questioned even further when Wiley borrows from works by renowned masters—Titian, Van Dyck, Manet, Peter Paul Rubens, and more—reimagining and replacing the portraits with young black men garbed in urban gear. An effect that is nothing less than dramatic in combination with the dislocation of the figures, he allows his sitters to select from historical works to inspire their own rendering.

Michael Jackson’s likeness appears in a painting titled Equestrian Portrait of King Phillip II (Michael Jackson). In this 2010 oil on canvas, the artwork borrows the moniker of the painting by Peter Paul Rubens of the same title sans Michael Jackson. Of the painting, Wiley describes the selection process with the late Jackson, “A series of images were going back and forth. That painting actually combines the Rubens’s painting, which we both loved, with about three or four others. Which makes sense—Michael led a full and multifarious life. We have him going through what he loves about art history and me subjecting his opinions to my own, and what comes out in the wash is this third object that bears a little bit of both of our marks, a little bit of our own aesthetic tendencies.”

Andrea Karnes, The Modern’s curator, explains, “Wiley’s choice of subject matter can make us see history in a new light, and recognize its omissions throughout time.”

Often larger than life, the backgrounds of the paintings are frequently decorative and ornate encircling the subjects in a

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sensual way. “Wiley’s point is to call attention to absence in the canon of art history. He refers to paintings of the past to highlight African-American men and people of color in a way that history has neglected. The subjects are regal and contemporary, and the contrast is alluring.”

In the artist’s Down series, dramatic figures recline, drawn from European historical sculpture and paintings. In repose, the paintings depict sleep, death, and objectification.

Morpheus is a personal favorite in this series. “So much of what Morpheus was about was the opposite of those tall, erect, powerful men that you see in so many paintings going against the type, going against the chest-beating strength, and going against the wielding of swords and riding of galloping horses. What’s on the other side of the heroic? On that other side is a whole other tradition of paintings that concentrate on the fallen: on fallen angels, fallen soldiers.

On the other side of heroic beauty is a type of pathos and type of pathetic tenderness in painting,” Wiley says of the

work on view at The Modern. To the eroticism of these paintings, Karnes expounds: “In Morpheus, the openness and vulnerability of the model is seductive.” He notes, “I think Wiley’s unique take on his subjects partially stems from him being a black, gay man who appreciates the beauty in other black men. In addition to the emotional tone of his sitters, the subtleties of skin color, and the fetishizing of his subjects and their attire, it’s no less than incredible.”

In contrast to Morpheus, appearing in his military-jacket, Anthony of Padua adorned with a Black Panther’s patch is selfassured, while the look is no less come-hither. The painting, based on Jean-Auguste-Dominique Ingre’s stained-glass window of Saint Anthony at the chapel of Chappelle Saint Ferdinand, Porte des Ternes, Paris, while still seductive, opposes vulnerability and replaces it with power. “I see a great mix of sensuality, beauty, vulnerability, pride, and heroism in each of Wiley’s male sitters. These characteristics are also found in the European source paintings that inspire

This page: Kehinde Wiley, Equestrian Portrait of King Philip II (Michael Jackson), 2009, oil on canvas, 128 x 112 in. The Olbricht Collection, Berlin. ©Kehinde Wiley.

Opposite: Kehinde Wiley, Judith and Holofernes, 2012, oil on linen, 120 x 90 in.; Purchased with funds from Mr. and Mrs. Gordon Hanes in honor of Dr. Emily Farnham, by exchange, and from the North Carolina State Art Society (Robert F. Phifer Bequest), and with funds from Peggy Guggeheim, by exchange, 2012.6 L ©Kehinde Wiley

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him. What he chooses to play-up or play-down is part of his own creative license, but the overriding message is to prompt us as viewers to see people of color in a way we have not seen them in fine art before, and to consider the reasons why,” Karnes notes.

While Wiley’s works are mostly comprised of black men, in An Economy of Grace the artist dedicates his canvases entirely to the female figure. Dressed in haute couture, the portraits differ from the hallmark urban wear in the artist’s male portraits. “The street clothes said a lot about American urban culture, and when doing the project on women I wanted to look at the ways in which women have been aestheticized over history,” says the artist of the Givenchy gowns on his sitters. “In fact, I wanted to turn up the volume on that.

I wanted to be able to go toward beauty itself. Oftentimes women’s physical being is being related simply to beauty as the value in painting, which is something that I believe was deeply problematic. To that regard I wanted the work to be

self-aware. To have it be decadently beautiful. You think about that decadence in fashion. Givenchy’s Riccardo Tisci is famous for being friends with any number of artists and has a very sensitive eye toward what artists are up to today.”

The Modern exhibition presents 60 works by Kehinde Wiley. The New Republic encompasses newer works in stainedglass and paintings from The World’s Stage, highlighting people of color in other countries. For an exhibition that is profoundly committed to highlighting race, gender, and diversity, Karnes concludes, “Diversity is absolutely important in any community. This exhibition, as Kehinde’s work invariably does, will speak to a lot of people in North Texas on many levels. I have noticed that youth and teens, for example, are immediately drawn to Wiley’s paintings for his depictions of street fashion and hip-hop culture, and for its relatability to kids who are thrilled to see “real” people, and to contemporary subject matter in great works of art hanging on the museum walls.” P

This page, from left: Kehinde Wiley (American, b. 1977), Conspicuous Fraud Series #1 Black Eminence, 2001, oil on canvas, 79.25 x 79.25 x 3.25 in., framed. ©Kehinde Wiley; Kehinde Wiley (American, b. 1977), Arms of Nicolas Ruterius, Bishop of Arras, 2014, stained glass, 54 x 36½ in. Courtesy of Galerie Daniel Templon, Paris. ©Kehinde Wiley. Opposite: Kehinde Wiley, Mrs. Waldorf Astor, 2012, oil on linen, 72 x 60 in.; Private collection Los Angeles, courtesy of Sean Kelly Gallery, New York. ©Kehinde Wiley

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SPANISH ACQUISITION

TREASURES FROM HOUSE OF ALBA PALACES CELEBRATE MEADOWS MUSEUM’S 50TH ANNIVERSARY.

Leandro Bassano (Italian, 1557–1622), The Forge of Vulcan, c. 1590–1610, oil on canvas. Colección Duques de Alba

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BY NANCY COHEN ISRAEL

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ive hundred years is a long time to collect art. But Spain’s Alba family has been doing so continuously for five centuries. This fall, as the culmination of its 50th anniversary celebration, the Meadows Museum is hosting Treasures from the House of Alba: 500 Years of Art and Collecting.

Having the exhibition in Dallas is an incredible opportunity. According to Dr. Mark Roglán, The Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts, “One of the things that the Duke of Alba always stresses is that the Meadows Museum is such a cultural embassy for Spain in the US. It justified the collection coming to the US for the first time.”

The exhibition has been drawn from three of the Alba family homes: Liria Palace in Madrid, Las Dueñas Palace in Seville, and Monterrey Palace in Salamanca. From these vast holdings, Fernando Checa, the exhibition’s curator, selected 140 objects. Checa is one of the most highly regarded scholars in Spain.

Currently a professor of Art History, he served as the director of the Museo del Prado from 1996 to 2001.

Elisabetta Sirani (Italian, 1638–1665), Virgin, 17th c., oil on canvas.

Colección Duques de Alba

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Bartolomé Esteban Murillo (Spanish, 1617–1682), Portrait of Don Juan Antonio de Miranda y Ramírez de Vergara, 1680, oil on canvas. Colección Duques de Alba

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Roglán says, “He’s done a great job of selecting from the vast treasures of the Alba palaces. He looked into paintings but also tried to represent the lasting interest of the Alba family in sculpture, tapestries, porcelains and vases, furniture, and book and archival material.”

One of the most distinguished families in Spain, the House of Alba traces its roots to the twelfth century.

The earliest document in the exhibition dates from 1263. The family’s role as collectors began in earnest in the 16th century and continues today, with the most recent painting in the exhibition dating from 1929. The family also has a long history of literary patronage.

One of the earliest collectors was Fernando Álvarez de Toledo, III Duke of Alba. Don Fernando participated in military campaigns with Charles V. He also served as the Governor General of the Spanish Netherlands. As a result of his time in the north, he became interested in contemporary Flemish art. Another military campaign, this time in Italy, brought him into contact with contemporary Italian artists, including Cristoforo Passini, whom he commissioned to paint frescoes at his fortress at Alba de Tormes, in Western Spain.

The Alba Family Bible is one of the early treasures in the exhibition. Dating from the early 15th century, it was the first Bible to be translated from Hebrew into Castilian. This 513-page illuminated manuscript features miniatures of its patrons, don Luis de Guzmán and Rabbi Mosé Arrajel, who directed local Jewish scribes in Toledo in its creation.

Centuries of acquisitions and marriages have shaped the collection. In the early 18th century, Jacobo Francisco Fitz-James Stuart married Catalina Ventura Colón de Portugal, 9th Duchess of Veragua and a direct descendant of Christopher Columbus. As a result, more than half of the world’s material relating to Columbus belongs to the Alba family. Three of these documents will be in the exhibition. In the late 18th century, another fortuitous marriage, between the Alba and Berwick families, further expanded the collection.

While it is a cliché to say that a particular exhibition is a once-in-a-lifetime opportunity, in this case, it is true. None of the Alba palaces are open to the public, and much of the work is drawn from their private living quarters. According to Roglán, even specialists have never seen many of these works. This includes Leandro Bassano’s Forge of Vulcan, ca. 1590–1610, which has been in the family’s possession since the 17th century. The monumental painting has been cleaned specially for this exhibition.

María Cayetana de Silva, 13th Duchess of Alba, is one of the better-known Alba patrons, largely as a result of the many portraits of her painted by Francisco Goya.

Goya’s iconic The Duchess of Alba in White is one of the many highlights of the exhibition. Other art treasures

include work by Italian masters such as Fra Angelico and Titian, Flemish painter Peter Paul Rubens, Dutch masters Rembrandt van Rijn and Jacob van Ruisdael, French painters Louis-Michel van Loo and JeanAuguste-Dominique Ingres, and the German Albrecht Dürer. The work of Spanish masters includes El Greco, Bartolomé Esteban Murillo, Jusepe de Ribera, Diego Velázquez, Federico de Madrazo, and Raimundo de Madrazo. There is also work by several female artists, including Lavinia Fontana, Isabella Bozzolini, and Elisabetta Sirani. Among other accomplishments, Sirani established an academy of art for women in 17th century Bologna.

More recently, Cayetana Fitz-James Stuart, 18th Duchess of Alba, who passed away last November, favored French Impressionism, British 18th and 19th century painting, and early 20th century Spanish art.

Included in the exhibition are paintings from her collection by Sir Joshua Reynolds, George Stubbs, Pierre-Auguste Renoir, Joaquín Sorolla, John Singer Sargent, and Ignacio Zuloaga.

While it is easy to become tangled in the different branches of this extensive family tree, Roglán is

reassuring as he mentions the amount of didactic material that will greet visitors. From videos featuring the new Duke, Carlos, speaking about the collection, to photographs and timelines, the museum provides several points of reference. The exhibition is organized by collector in order to give visitors a sense of each generation’s connoisseurship.

Since many of these works have never been seen publicly, the Meadows Museum has organized an ambitious program of lectures, gallery talks, and symposia. There will be two major symposia, one of which is being co-sponsored with The Edith O’Donnell Institute of Art History at the University of Texas at Dallas. And in honor of Columbus Day, on Saturday, October 10, the museum will host Discover Spain! As part of the celebration of Spanish culture, Spanish food and wine will be available for sampling, including foods made from the estates of Casa de Alba. There will be music and dance programs, gallery talks, children’s activities, and Spanish films presented by the Dallas Film Society. Roglán concludes by saying, “This is a great way to bring our whole country to Dallas and to highlight Spanish culture.” P

Left: Rembrandt Harmenszoon van Rijn (Dutch, 1606–1669), Jan Six, 1647, etching, drypoint, and engraving. Colección Duques de Alba. Right: Unknown Greek Sculptor, Head of a Female Divinity. 5th c. BCE, marble. Colección Duques de Alba

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GLANCING INWARDS FROM THE SET

A PHOTO-OP IN TWO PARTS THE WORK OF PIERO GOLIA AND ALEX ISRAEL AT THE NASHER SCULPTURE CENTER

Left: Piero Golia is a Los Angeles-based artist who collaborated with architect Edwin Chan on the Chalet Dallas installation at the Nasher Sculpture Center. Photography

by John Smith. Right: Alex Israel at Beverly Gardens Park in Santa Monica, California. Photography by Bode Helm

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BY BRANDON KENNEDY PORTRAITS OF THE ARTISTS BY BODE HELM AND JOHN SMITH

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o adapt the guise of fashion and not-to-be-missed status, some secrecy and planning are a must. The same may sometimes be said of the contemporary art scene, at once adopting the methods of the seasonal model in establishing a provocative pushand-pull of what’s ahead of the curve, while making us feel like it all was well worth waiting for in the end. Shortly thereafter, the promise fulfilled and appetite sated, we move on to the next choice offering, just as hungry, if not more.

The two artists exhibiting at the Nasher Sculpture Center this October currently reside in Los Angeles—Piero Golia (a transplant) and Alex Israel (a native)— both interested in mining aspects of conversation, architecture, and viewer interaction.

Whether scripted or not, somewhat of a cool detachment resides within their works while operating at opposite ends of scenesetting and overall environment.

The information I had initially gathered was relating what had occurred before in similar situations, not to be replicated exactly at the Nasher nor really shared as to what each iteration would hold. Furthermore, it was to be gleaned that a little mystery—or even potential exclusivity to take part in some aspects of the future events—was part of the overall idea: A desire for taking part in the unfolding of the unknown in luxurious surroundings as in the case of Golia or for basking in the soft-core glow of La La Land’s vapid

gaze with regards to Israel.

The word “chalet” can conjure up snow-capped eaves, boozy rescue hounds, and things generally worlds apart from the environs of LA or Dallas. Throw in the promise of exclusive contemporary art happenings and world-class architect Edwin Chan.

Golia set the chalet concept in motion last year in Hollywood in the storage area of an artist-run space over a period of many months and claims to have amassed massive credit card debt to fully realize the project. The reviews and magazine mentions spoke directly to the off-the-beaten-path location and coolness factor of even just knowing about it, preferably before you read it in their pages. Then the laundry list of participating A-list artists, musicians, a pair of Alpacas, celebrities, dancers, endless Veuve Clicquot, dealers, and art professionals started making the rounds and giving it the allure and cachet so demanded by such a scene.

All this will shift once the chalet lands in Dallas at the Nasher this October. The day-in, day-out workings of the sumptuous surroundings built within the corner gallery of the museum may just keep the chance visitor peering in curiously from the safe confines of the doorway, but the big to-dos and late nights may be for members only, I would presume. For an idea presented by the artist “as a tool to create community,” and which has been

This page: Piero Golia, Chalet Hollywood, 2013, conceived to “build a community out of L.A.’s notorious vastness.” Photography by Joshua White. Opposite: A partially installed Chalet Dallas in the corner gallery at Nasher Sculpture Center;

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branded in their press materials as “a legend in the making” and “an intimate gathering spot for influential and creative minds,” it seems the die has already been cast.

While writing this article, I found the same roll call of bluechip artists in the Hollywood version is advertised for the Dallas rendition as well: Mark Grotjahn, Pierre Huyghe, Christopher Williams, et al. Granted, we should all be so lucky to have such remarkably talented friends to outfit our latest relational aesthetics clubhouse, but I admit to being a little disappointed at the lack of a later unforeseen reveal. After all, the brochure spoke of “magnificent artworks, along with the most refined materials, make the chalet a monument to its time…” I want to be genuinely surprised and take part in a temporary community that harkens back to the “legendary salons…of Lorenzo De Medici and Gertrude Stein’s Paris apartment.” I really do.

Alex Israel weathers us with airbrushed ‘80s lingering pastel skies, sometimes jagged, scalloped, or curved, alluding to the architectural details from which their contours were cut. Hung like paintings, leaning against the wall and sometimes freestanding, they beg for an object to be placed before them or the viewer caught in the act. Occasionally, the LA native provides “props” on horizontal plinths as the Hollywood set motif dictates. Otherwise, a passing participant will suffice, activating the twilight-toned objects carved of negative spaces, preferably with a glass of Chardonnay in hand.

The backdrop as object, props as art substitutes, viewer as actor.

Selfies won’t be resisted, Instagram flooded.

In other artistic incarnations, Israel applies photographic vinyl images of varied flora and interspersed parking meters to the white

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walls of a gallery, inviting the mundane just inside for a very minor provocation. Other sculptural attempts have found a few single candy-colored sunglass lenses of differing hues resting against white walls in a barren room. These oblong ovoids elevated by fashion’s seasonal cues skirt celebrity anonymity while they’re scaled just above the viewer’s heads. And yes, there is product placement too—Freeway Eyewear, with the designs aptly named for the cursed numbered thoroughfares that tangle through the City of Angels, ready for purchase at a registered domain name near you.

The super-stylized self-portraits seem to borrow from campy illustrator, Patrick Nagel and Maui Jim aesthetics. As fixed formulaic profiles, complete with manicured beard and ever-present eyewear, they are available in a variety of color combinations, with some even outfitted with a photographic landscape detail or odd movie set prop. A painted stencil on the wooden verso of the work reads “Made at Warner Bros. Studios.”

In the end it’s all about appearances anyhow, or is it just because we have to design the set and book the talent before they waltz in already playing the part? We can all appreciate the disaffected nerdy chic of Joan Didion with her white Corvette and constant cigarette, but few can unlock the dread and psychosis of her So Cal stories with a slight nod in YouTube talk-show format. B-list actors, aged stars, wannabes, and faux-celebrities, back a set of looming tinted tablets, Van der Rohe repro chairs, and an opening montage of LA locales and predictable theme music, replete with sax solo. P

Opposite: Alex Israel, Installation view at Carl Kostyál Gallery, Stockholm, 2013. Above: Alex Israel, Self-Portrait (City Lights), 2014, Acrylic and bondo on fiberglass, 96 x 84 x 4 in. Private Collection. Photo courtesy of the artist. © Alex Israel

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Cartier Paris Vague ring, 18k rose gold, black jade, diamonds. Available exclusively at Cartier Boutique, NorthPark Center. Model: Abby B., Wallflower Management 102Nouvelle PATRONMAGAZINE.COM

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NO NEED FOR WORDS. IMAGINE ENJOYING AN EVENING WITHOUT ALL THE TALK. THESE PRECIOUS FINDS FROM THE AREA’S FINEST JEWELERS ARE STATEMENT-MAKING ENOUGH.

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Norman Silverman 18k white gold diamond necklace with 24 pear-shaped diamonds weighing 17.63 carats total weight, 215 round diamonds weighing 35.95 cts. Available exclusively at Bachendorf’s. Opposite: Jaquet Droz Heure Celeste piece, J005024530, limited edition #7 of 8, self-winding mechanical movement, double barrel, 22k white gold oscillating weight, indications, off-centered hours and minutes, 28 jewels, 68-hour power reserve, 28,800 v.p.h., 18k white gold case, set with 272 diamonds (1.04 cts.), water resistance to 100 feet, black lacquer dial, 18k white gold spheres, set with 308 diamonds (1.69 cts.), hands 18k white gold, rolled-edge handmade grey satin strap, 18k white gold ardillon, set with 24 diamonds (0.15 ct.). Diamonds: IF to VVS1, Full cut, D to G. Available exclusively at Tourbillon Boutique, NorthPark Center; 18k white gold graduated diamond earrings, 3.87 cts.

Available exclusively at Eiseman Jewels, NorthPark Center.

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Kunzite and diamond earrings in 18k white gold available exclusively at William Noble Rare Jewels; Gem Cuprian tourmaline and diamond cocktail ring, set in platinum. Available exclusively at William Noble Rare Jewels, Highland Park Village; 18k white gold diamond necklace, 36 inches, 26.35 cts. Available exclusively at Eiseman Jewels, NorthPark Center.

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Irene Neuwirth 18k rose gold earrings with two tanzanite stones, a triplet of faceted Rose of France teardrops, three brilliant-cut diamonds; Irene Neuwirth 18k rose gold earrings, faceted fire opals 10.42 cts.; Irene Neuwirth 18k yellow gold ring, Columbian emerald .65 ct., bezel pave diamonds. All available exclusively at Ylang 23, Plaza at Preston Center.

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This page: Platinum diamond bracelet, 17.95 cts.; 18k white gold, fancy-color sapphire and diamond bracelet, sapphires 26.19 cts., diamonds 1.39 cts. Both available exclusively at Eiseman Jewels, NorthPark Center. Opposite, top: 18k white gold sapphire and diamond dome ring, sapphires 8.46 cts., diamonds 1.22 cts. Available exclusively at Eiseman Jewels, NorthPark Center; Bottom: deBoulle Collection Peony Ring features large, lively pink sapphire petals 23.71 cts., encircling a yellow sapphire center surrounded by diamonds .49 cts. in 18k yellow gold. Available exclusively at deBoulle. Frosting on pages courtesy of Chef Gianni Santin, the cofounder of Haute Sweets.

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Treasures from the House of Alba Gala at the Meadows Museum.

Photography by Tamytha Cameron

THERE

TREASURES FROM THE HOUSE OF ALBA AT THE MEADOWS MUSEUM PHOTOGRAPHY BY TAMYTHA CAMERON

His Excellency Carlos Fitz-James Stuart, 19th Duke of Alba, Terry Kafka

Jeanne Marie Clossey, David Nichols, Kimberly Schlegel Whitman

Richard Barrett, Dr. Mark Roglan

Ross Perot, Margot Perot

Mayor Mike Rawlings

Janet Kafka, Cayetano Martínez de Irujo y Fitz-James Stuart, 5th Duke of Arjona, Stacey McCord

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THERE

BOLD BRASH BEAUTIFUL

LAURA WILSON: THAT DAY AT AMON CARTER MUSEUM OF AMERICAN ART PHOTOGRAPHY BY STEVE WATSON

WORLD PREMIERE

KYLE ABRAHAM/ ABRAHAM.IN.MOTION

Luke Wilson, Laura Wilson, Andrew Wilson, Owen Wilson

Oct 29.30 2015 • Dallas City Performance Hall

Susie Green and Rose Anne Cranz

DALLAS DEBUT

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MAY 7 2016 WINSPEAR OPERA HOUSE

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Dennis Darling, Laura Wilson

ART MEETS FASHION AT NORTHPARK CENTER PHOTOGRAPHY BY KRISTINA BOWMAN

Nancy Nasher, Elliot Cattarulla

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THERE Contemporary Art Dealers of Dallas Present,

KEVIN PAGE 3D GALLERY OPENING ON DRAGON PHOTOGRAPHY BY RENATO RIMACH

CADD FUNd 2015 Sunday, October 18, 5:30 - 8:00 pm 3015 AT TRINITY GROVES 3015 Gulden Lane Dallas, TX 75212 Contemporary Art Dealers of Dallas celebrate creativity and community with a Sunday Soup Supper on October 18th at 3015 at Trinity Groves. CADD FUNd 2015 will be a fun, fast-paced evening of sharing innovative ideas about potential artistic projects. CADD FUNd 2015 will make possible a high-impact idea that needs the support of the Dallas-Fort Worth arts community.

Kevin Page in 3D

The idea for the annual CADD FUNd was inspired by similar events throughout the United States. Over the past several years, numerous organizations have taken the basic premise of a Sunday soup dinner - collect creative proposals, invite the public to pay, eat, and listen, and then democratically vote for a winner - and adapted it to their own local purposes.

During the event on October 18th six finalists will present short proposals for original and yet-to-be-realized new projects. The finalists will be selected by jurors Justine Ludwig, Director of Exhibitions and Senior Curator at The Dallas Contemporary; Jed Morse, Chief Curator at the Nasher Sculpture Center in Dallas and Michael Mazurek, Dallas artist and Curator at the Goss-Michael Foundation. The audience will have an opportunity to ask questions and then vote for their favorite project. After a short recess the winner of CADD FUNd 2015 will be announced!

The amount awarded to the CADD Fund Winner is solely dependent on ticket sales

Lea Fisher, Kevin Page, Cherie Boettcher and Linda Page

Connie Garms, Letisa McKenzie, Pam Carvey

Tickets are $40 per person RESERVE YOUR SEAT TO VOTE - BUY YOUR TICKET TODAY! VISIT www.caddallas.net FOR MORE INFORMATION AND TICKETS ABOUT CADD Contemporary Art Dealers of Dallas (CADD) is a non-profit membership organization of galleries formed in 2006 for the purpose of promoting the advancement of contemporary art on all levels. Members are committed to represent the highest standards of contemporary art, while recognizing the importance of integrity and responsibility in working with artists, collectors, museum professionals, and the cultural community of Dallas. Proceeds from CADD events assists with the CADD Scholarship and CADD Educational Programs.

Ramon Longoria, Jan Strimple, Dan Strimple

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Kevin Page 3D Art

BY WAY OF DALLAS AT LAB ART TEXAS PHOTOGRAPHY BY RENATO RIMACH

Bryan Blue, Erykah Badu

Tammy Cotton Hartnett, Jodie Shelton

Joonbug

The Sour Grapes Crew

Adam Persiani, Iskander Lemseffer, Eric Rosiak

OPENING SEPTEMBER 20

Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 www.themodern.org

SU N DAYS A R E F R E E !

This exhibition is organized by the Brooklyn Museum and made possible by the Henry Luce Foundation and the National Endowment for the Arts. Promotional support for the Modern Art Museum of Fort Worth provided by WFAA and the Star-Telegram. Right: Shantavia Beale II, 2012 (detail). Oil on canvas. 60 x 48 inches.

Collection of Ana and Lenny Gravier. Courtesy Sean Kelly, New York. © Kehinde Wiley.

(Photo: Jason Wyche)

Follow the Modern

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THERE

CLÉ DE PEAU BEAUTÉ AT THE HANDY RESIDENCE PHOTOGRAPHY BY JOHN CAIN

Jamie O’Banion

Lynn McBee

Christen Wilson, Tina Craig

Lip Reader and Anna-Sophia van Zweden

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Annelise Peterson Winter

KEHINDE WILEY AT THE MODERN ART MUSEUM OF FORT WORTH PHOTOGRAPHY BY DAVID WOO

Shouldn’t all interiors be artistic?

Kehinde Wiley, Andrea Karnes

George Lazarus, Julie Lazarus, Dr. Peter Lazarus

Joanie Wyll & Associates, Inc. Interior Design Kim Darden, Marla Thompson

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OCTOBER / NOVEMBER 2015

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NORTH TEXAS GIVING DAY PHOTOGRAPHY BY KIM LEESON AND DAVID LEESON

Dallas Black Dance Theater at Dallas Donation Station at NorthPark

CO-CHAIRS: MARK & DIANNE LAROE HONORARY CHAIRS: VICKI BARTHOLOW, MELISSA DEAKINS, JANET PETERS

BalletFolklorico at Dallas Donation Station at NorthPark

Designed with Delight.

TIS THE SEASON FOR CELEBRATION! Join us for a fun evening of art, trees and cheer as Artreach-Dallas hosts THE PARTY, a showcase and auction of magnificent 7.5 foot holiday trees, one-of-kind designed wreaths and beautiful table-top art created by some of the top artists and designers in North Texas.

Charlie Stubbs, McKinley Tyler and Luke Norell of McKinney Christian Academy

Six thirty to eight thirty in the evening Thursday, November 19 129 Leslie in the Dallas Design District Catered by Wendy Krispin THE PARTY will include wine, hors d’oeuvres, silent auction, Polaroid booth, DJ, and astrologer Leighton Haverty.

Shane Frame and Alexa Burkhart of Rogers Middle School

Tickets are $75 per person.

Call 214.219.2006 ext. 302 to purchase.

Artreach-Dallas provides access to the arts to low-income families, at-risk youth, the disabled and elderly citizens in the Metroplex.

Fort Worth Academy Dancers at Dallas Donation Station at NorthPark

OCTOBER / NOVEMBER 2015

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FURTHERMORE

BY LISA PETTY PHOTOGRAPHY BY ALLISON V. SMITH

CULTURED LUMINARY

Fashion Group International of Dallas honors Nancy Carlson as Arts Patron of the Year.

T

he anticipated annual Fashion Group International of Dallas Night of Stars Gala draws local and national fashion, design, and media industry professionals for an unmatched evening of honors. Expanding in scope with each passing year, the event welcomes internationally acclaimed celebrities and esteemed guests. The new Art Patron of the Year award, established in 2014, continues the trend of elevation for Night of Stars. In advance of this year’s event on November 13, Patron Magazine spotlights the 2015 Art Patron of the Year, Nancy Carlson.

Without doubt, Carlson embodies the spirit of this award, which was created to recognize an individual who has made outstanding contributions to the local art community. A Partner at Carlson Capital, L.P., her continuing impact on the arts in the Dallas area spans myriad influential posts. She is a member of the board and past Board Chair of TACA (The Arts Community Alliance), as well as a member of the board of the Dallas Theater Center and the Board of Governors of the Texas Ballet Theater. An Emeritus Board member of the Dallas Children’s Theater, she received the organization’s Rosewood Award in 2009. Carlson also serves on the Executive Board of the SMU Meadows School of the Arts.

When queried as to key milestones of which she is most proud, Carlson humbly expressed, “Although I am not taking any of the credit for it, I am very proud of TACA’s huge increase in funding for the arts in Dallas over the last few years, and its expansion of valuable services to the arts groups it supports.” The evolution of the epicenter of our city’s arts community also strikes a chord with this honoree.

“The Arts District downtown has really transformed our city, and what is going on in the beautiful buildings is even more amazing.” As a trustee, Carlson also states, “I love that the Dallas Museum of Art is now free to the public, because art is truly for everyone.”

A crowning moment among Carlson’s many achievements also involved our city’s eponymous museum. In April of this year, she successfully chaired Art Ball 50: Self-Portrait, benefiting the Dallas Museum of Art and celebrating the event’s 50th anniversary. The record-breaking event gathered hundreds of guests in memorable attire. “The Self-Portrait theme really allowed everyone to interpret it their own way,” Carlson recalls. “I thought Capera Ryan’s dress, which was printed with her photograph, but looked abstract at first, was genius. Cindy Rachofsky’s dress also stood out in my mind.”

Known for her own enduring yet fanciful style, this Art Patron of the Year personifies the FGI Dallas philosophy that “fashion is art and art is fashion.” The Fashion Group International of Dallas Night of Stars Gala takes place Friday, November 13. P

Nancy Carlson will be honored on November 13 at FGI’s Night of Stars Gala.

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