PATRON's December/January Issue 2018–2019

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H O EL VE D R! This exhibition has been organized by the Meadows Museum and funded by a generous gift from The Meadows Foundation. Horst P. Horst (German, 1906–1999), Photograph of Salvador Dalí from Vogue, 1943. The Dalí Museum Archives, St. Petersburg, Florida. Horst P. Horst/Vogue © Condé Nast. Image Rights of Salvador Dalí reserved. Fundació Gala-Salvador Dalí, Figueres, 2018. Promotional support provided by


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Recently, my sister (who was in town visiting) and I were at a gathering together when she gestured to a young man and said, so casually I might have missed it, “He has it.” After a pause, she added, “Some people just do.” I knew exactly what she meant. On a glorious October day, I recalled that conversation when Ace Anderson strolled through the lobby of the Dallas Theater Center at the Dee and Charles Wyly Theatre. Minutes before, photographer John Smith and I had searched for a place to photograph the actor, disappointed that the main stage, covered with equipment, wouldn’t work. Greeting us with a smile, undoubtedly always on his face, and a fabulous jacket draped over one shoulder, we relaxed, knowing Anderson’s marvelous appeal would photograph beautifully, and headed outdoors. In the end, selecting from the images was difficult, so many there were to choose from, but at last we plucked the photo seen on this cover to herald Patron’s Performing Arts Issue. Anderson’s performances as a member of DTC’s Brierley Resident Acting Company are memorable to be sure. Who can forget his brave portrayal of Bertram Cates in Inherit the Wind? But he also serves as an artist working with Literacy Instruction for Texas (LIFT) through Public Works Dallas, which strives to create “ambitious works of participatory theater through longterm partnerships citywide.” Loving that about the arts, to that end we found five extraordinary individuals and one organization to highlight in Rising to the Occasion, all sharing a similar desire to help the greater good through inclusion. The Children’s Chorus of Greater Dallas, for example, boasts a 95 percent acceptance rate for those who audition. Joy Bollinger, the artistic director at the helm of Bruce Wood Dance, said of the company’s founder, “Bruce was true to himself, the human and humane.” We know Bollinger cherishes his wisdom. “Transforming lives through the arts,” TACA (The Arts Community Alliance), led by Carlson President and Executive Director Wolford McCue and a team of passionate experts, donates considerable funding and untold value to organizations both big and small. In TACA in Action, Lee Cullum spends time visiting four “small cells of creativity” nurtured by the organization including Soul Rep Theatre, Avant Chamber Ballet, Junior Players, and Fine Arts Chamber Players. Among the consummate, and first, performing arts staples in the Dallas Arts District, we always look to our beloved Dallas Symphony Orchestra to entertain. All are eager for the debut of Maestro Fabio Luisi; in the meantime we are thrilled with the January 2018 arrival of President and CEO Kim Noltemy. No stranger to diversity, Noltemy keeps her promises, bringing women to the podium and music to Southern Dallas. Read about DSO’s determined leader and the people she’s tapped to carry out her mission in Brave New Day. Lest we forget the season of gifting, and because all that glitters is sometimes gold, in a special jewelry feature, the great Richard Krall (accompanied by creative director Elaine Raffel and hair and makeup artist L. B. Rosser) captures the essence of Earth’s most desired precious metal in Gold Mine. The best gift of all, however, the spirit of inclusion, is alive all year and to find it look no further than the cultural diversity in the performing arts. Though you won’t find my sister performing onstage, you will find her cheering in an audience somewhere in Michigan. The eldest in a trio of girls, she too has “it.” A winning smile, an easy laugh like my mother, dedicating her life to the greater good—some people just do. – Terri Provencal; Instagram terri_provencal and patronmag


FEATURES 48 RISING TO THE OCCASION Local Talent Elevates the Cultural Quotient. By Steve Carter and Nancy Cohen Israel 56 TACA IN ACTION Transforming lives through the arts, The Arts Community Alliance bolsters promising performing arts organizations. By Lee Cullum 62 BRAVE NEW DAY Kim Noltemy, Dallas Symphony Orchestra’s First Female President and CEO, takes women to the podium. By Lee Cullum 68 GOLD MINE Unearth the planet’s most admired precious element at area jewelers. Produced by Elaine Raffel. Photography by Richard Krall.




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On the cover: Ace Anderson at the Dee and Charles Wyly Theatre. Photograph by John Smith.




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DEPARTMENTS 6 Editor’s Note 12 Contributors 22 Noted Top arts and culture chatter. By Anthony Falcon Contemporaries 40 ART21 IN THE 21ST CENTURY Tina Kukielski dedicates her life to the works and words of contemporary artists. By Chris Byrne Fair Trade 42 FAMILY VALUES David Totah helps collectors find the “visceral necessity to live surrounded with artworks.” Interview by Jill Magnuson Studio 44 THE SPACE BETWEEN THE WORDS AND OUR EYES Exploring the Mutability of Language and Form with Alicia Eggert. By Brandon Kennedy


Space 46 OUT OF THE BLUE Glacial shades arrive this winter. There 76 CAMERAS COVERING CULTURAL EVENTS Furthermore 84 PLAYFUL COMPANIONS Dallas Children’s Theater celebrates 35 years and announces Duet, a forthcoming sculpture commission by German-born artist Christian Moeller. By Patricia Mora



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CHRIS BYRNE is the author of the graphic novel The Magician (Marquand Books, 2013) as well as The Original Print (Guild Publishing, 2002). He is co-chair of Art21’s Contemporary Council and serves on the board of directors of Institute 193, Dallas Contemporary, Museum of Contemporary Art Detroit, and the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught. He is the co-founder of the Dallas Art Fair and was formerly chairman of the American Visionary Art Museum.

BRANDON KENNEDY is the Director of Exhibitor Relations for the Dallas Art Fair, working with international galleries and assisting with programming for the April event. This past year, Kennedy curated The Anatomy of Disquiet at The Karpidas Collection, exploring the nature of Jungian thought and the collective unconscious through almost 80 artworks from their collection. He is an occasional artist, avid book collector, and peripatetic curator, who writes about local artists for Patron’s Studio column including Alicia Eggert in this issue.



STEVE CARTER profiles a disparate trio of performing arts local luminaries: versatile arranger/ composer David Pierce, Dallas Theater Center resident acting company member Ace Anderson, and up-and-coming indie rockers MOTORCADE for this issue of Patron. “I’m constantly amazed and stimulated by the wealth of talent in the Metroplex,” Carter says. “And that’s one of the reasons why this issue is one of my favorites, and as a writer it’s a great sharing experience.”

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

RICHARD KRALL pursued an art degree as a painter; often working from photographs, Krall decided to focus on photography. Traveling to Paris, he quickly found himself in the employ of French Vogue, apprenticing to luminary photographers including Guy Bourdin, Helmut Newton, Norman Parkinson, Patrick Demarchelier, and Sante D’Orazio—an experience that, he says, afforded him “the unique opportunity to experience fashion photography from the inside.” Specializing in fashion and beauty, see his work in Gold Mine for Patron.

PATRICIA MORA has recently returned from a 14-month-long hiatus in beautiful Colorado. She is delighted to rejoin the Dallas arts community and writes in this issue’s Furthermore about a new sculpture by German-born artist Christian Moeller that is being acquired by the Dallas Children’s Theater. Mora was educated in the US and abroad, and has written for many newspapers and magazines, including the Dallas Morning News, The National Endowment for the Humanities, and The International Association of Art Critics.

NANCY COHEN ISRAEL is a Dallas-based art historian, curator, lecturer, and regular contributor to Patron. As an avid dance fan and ballet class regular, she enjoyed writing about Bruce Wood Dance and Danielle Georgiou Dance Group in Rising to the Occasion. She is equally excited to highlight the Children’s Chorus of Greater Dallas (also included in Rising to the Occasion), whose inspired training is producing the next generation of local vocal talent.

ELAINE RAFFEL is a Dallas freelancer who blames her obsession with designer fashion and opulent jewels on her years as creative head for the crème de la crème of retail: Stanley Korshak and Neiman Marcus online. Once again taking the advice of publisher/editor Terri Provencal to heart— “push it at Patron”— she pulled together a gold-standard group of creatives for this issue’s jewelry shoot: photographer Richard Krall, hair and makeup artist L. B. Roesser, and stylist Kristen Celko.

LEE CULLUM is a Dallas journalist and host of CEO, a series of interviews with business leaders for KERA-TV, who balances her work in business, public policy, and foreign affairs with a passion for the performing arts. “Pursuing this issue was a special treat, interviewing Kim Noltemy, the dynamo now running the Dallas Symphony [in Brave New Day], plus tracking down four fantastic troupes of high-octane performers that are emblematic of TACA in Action.”

JOHN SMITH holds a degree in architecture, which informs his photography. An ongoing Patron contributor, Smith brings out the artistic side of architecture through his photography. Renowned in the region for his work with architects, designers, and artists, he captures the distinct elements of each project along with portraiture including Ace Anderson on the current cover of Patron and Dallas Symphony Orchestra’s President and CEO Kim Noltemy, who is pictured across from the Meyerson Symphony Center at HALL Arts.


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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sara Hignite PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Chris Byrne Steve Carter Lee Cullum Nancy Cohen Israel Brandon Kennedy Jill Magnuson Patricia Mora CONTRIBUTING PHOTOGRAPHERS Kristina Bowman Jessica Craig-Martin Sharen Bradford Richard Krall Bruno DiAnn L’Roy Tamytha Cameron Anyika McMillan-Herod Roy Cox Jeff McWhorte Gary Donihoo Peter Serling Branton Ellerbee John Smith Sylvia Elzafon Sterling Steve Alisa Eykilis Fred Stucker Thomas Garza Kevin Tachman Megan Gellner Irwin Thompson Will Graham Noah Winston STYLISTS/HAIR & MAKEUP Kristen Celko L.B. Rosser Elaine Raffel ADVERTISING or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ REACH US SUBSCRIPTIONS One year $36/6 issues, two years $48/12 issues For international subscriptions add $12 for postage SOCIAL @patronmag 1019 Dragon Street | Design District




is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2018, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited. Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.



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01 AFRICAN AMERICAN MUSEUM A groundbreaking and widely acclaimed exhibition with a powerful message, Slavery at Jefferson’s Monticello: Paradox of Liberty is on view at the African American Museum through Dec. 31. 02 AMON CARTER MUSEUM OF AMERICAN ART Hedda Sterne: Printed Variations celebrates the artist’s exquisite variety of formal interests through prints, continuing through Jan. 27. From Remington to O’Keeffe: The Carter’s Greatest Hits continues through Jun. 2. Image: Frederic Remington (1861–1909), The Broncho Buster, 1909, Bronze, Amon Carter Museum of American Art, Fort Worth, Texas, Amon G. Carter Collection. 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM The Samurai Collection, the largest private collection of Japanese armor in the world, is the only museum outside of Japan to focus on the art of the samurai. Spanning from the ninth to late nineteenth century, the collection illustrates the sculptural beauty, mystique, and craftsmanship of Japanese armor. 04 CROW MUSEUM Avatars and Incarnations: Buddhist and Hindu Art; Immortal Landscapes: Jade; The Art of Lacquer; and Jacob Hashimoto’s Clouds and Chaos run through Apr. 7. 05 DALLAS CONTEMPORARY Ghada Amer: Ceramics, Knots, Thoughts, Scraps and Boris Mikhailov: Parliament are on view through Dec. 17. Ian Davenport: Horizons continues through Mar. 17. On Jan. 17, Dallas Contemporary will mount exhibitions for Margarita Cabrera and Jeremy Scott through Mar. 31. Image: Jeremy Scott. Photograph by Giampaolo Sgura. 06 DALLAS HOLOCAUST MUSEUM Let Me Be Myself: The Life Story of Anne Frank follows Frank’s story from her birth in Germany to her death at Bergen-Belsen concentration camp, and includes a bridge to the present through a section in which six young people of today address subjects like identity, exclusion, and discrimination, through Aug. 2019. A discussion following the screening of The Short Life of Anne Frank takes place on Dec. 13. 22


07 DALLAS MUSEUM OF ART Women + Design: New Works is composed of recent works by seven contemporary female designers on view through Feb. 17. An Enduring Legacy: The Eugene and Margaret McDermott Collection remains on view through Feb. 3. Continuing though Jan. 6, Cult of the Machine examines American visual culture and reveals how it was shaped in part by America’s love affair with new technology and mechanization from the 1910s to World War II. Günther Förg: A Fragile Beauty surveys the late artist’s career through Jan. 27. Ida O’Keeffe: Escaping Georgia’s Shadow reveals her own artistic identity through Feb. 24. Modernity and the City exhibits prints and drawings by European artists who captured urban life in the early 20th century from Dec. 1–Apr. 7. Women Artists in Europe from the Monarchy to Modernism highlights the DMA’s holdings of art by female artists working in Europe from the late 18th through early 20th centuries, Dec. 22–Jun. 9. Image: Lyonel Feininger, Mansion at the Beach (Villa am Strand), 1921, woodcut, Dallas Museum of Art, gift of Stuart Gordon Johnson by exchange; General Acquisitions Fund; and The Patsy Lacy Griffith Collection. 08 GEOMETRIC MADI MUSEUM Italian artists Reale Franco Frangi and Piergiorgio Zangara’s exhibition continues through Jan. 20. 09 GEORGE W. BUSH PRESIDENTIAL CENTER Deck the Halls and Welcome All: Christmas at the White House 2006 allows visitors a glimpse into the magical White House holiday celebrations of 2006. The exhibit will be adorned with re-creations and holiday decor, behind-the-scenes photos, and a replica of the Blue Room White House Christmas tree. The exhibition ends Jan. 6. 10 KIMBELL ART MUSEUM Balenciaga in Black, an exhibition of more than 100 pieces from the collections of the Palais Galliera and the Maison Balenciaga continues. Goya in Black and White explores the evolution of the artist’s graphic work in all media. The importance of black and white will be shown throughout the exhibition—not only literally, in black ink on white paper, but also figuratively, as in the oppositions of night and day, the balance between menacing shadow and hopeful light. Through Jan. 6.

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11 LATINO CULTURAL CENTER Retro-Mático 2: The Works of Jose Vargas mounts on Jan. 18. Working from the late 1960s to the present, Vargas explores varied themes and styles, inspired by music, fantasy, dream states, portraiture, the human heart (el corazón), Mexican cultural and religious icons, Frida Kahlo, Day of the Dead imagery, spiritual beliefs, steampunk musical instruments, automobiles, and more. Retro-Mático 2 continues through Mar. 30. 12 THE MAC The MAC is a nonprofit organization that supports both emerging and established artists’ roles in society by providing a forum for critical dialogue with their audiences. 13 MEADOWS MUSEUM Murillo at the Meadows: A 400th Anniversary Celebration runs through Dec. 2. Dalí: Poetics of the Small, 1929–1936, the first exhibition on the artist to focus solely on his small-format works, runs through Dec. 9. Dalí’s Aliyah: A Moment in Jewish History features a complete set of 25 lithographs by Salvador Dalí through Jan. 13. 14 MODERN ART MUSEUM OF FORT WORTH Laurie Simmons: Big Camera/Little Camera, continuing through Jan. 27, features a major survey of the artist’s photographs spanning the last four decades, from 1976 to the present, along with a small selection of sculpture and two films. FOCUS: Njideka Akunyili Crosby / Counterparts displays collaged mirrored pairs of paintings by the Los Angeles–based artist and 2017 MacArthur Genius Fellow who draws upon her experience of moving from Nigeria to the US while maintaining ties to her family in Africa and building relationships in America. FOCUS: Dirk Braeckman presents the photographs of the Ghent-based artist featuring images of empty, unidentifiable interiors, architectural details, oceans, and partially obscured nude figures, Jan. 26–Mar. 17. Image: Njideka Akunyili Crosby, Home: As You See Me, 2017. Courtesy the artist and Victoria Miro, London. 15 MUSEUM OF BIBLICAL ART Glass Matters: The Emergence of Artist Simon Waranch continues through Jan. Warner Sallman’s The Faces of Christ has been extended through 24


Jan. by popular demand. Sallman is best known for his Head of Christ, which was designed in 1940 and has sold over 500 million copies that are used in churches of several Christian denominations, as well as for private devotional use. Image: Simon Waranch, Duro Study, blown glass, 7 x 8 x 8 in. 16 NASHER SCULPTURE CENTER Through Jan. 6, The Nature of Arp presents the achievements of Jean (Hans) Arp, one of the most important artists of the modern era. As a founder of the Dada movement during World War I, Arp pioneered the use of chance, spontaneity, and collaboration as artistic processes and developed a vocabulary of curving, organic forms. On Jan. 4, Soundings: New Music at the Nasher features Some Favored Nook based on the long-running correspondence between poet Emily Dickinson and abolitionist Thomas Wentworth Higginson. Image: Jean (Hans) Arp (1886–1966), Marital Sculpture, 1937 (executed with Sophie Taeuber-Arp), lathe-turned and sawed wood, 15.37 x 10.5 x 10.31 in. (Stiftung Arp e.V., Berlin/ Rolandswerth © 2018 Artists Rights Society [ARS], New York/ VG, Delfanne Photography.) 17 PEROT MUSEUM Ultimate Dinosaurs reveals exotic species that evolved in isolation in South America, Africa, and Madagascar through Jan. 6. On Dec. 8, A Day in the Life: Gemologist and Curator audiences can learn more about the limited-time AURORA art installations and unearth the field of gemology with Kimberly Vagner, Perot Museum Director of Gems and Minerals Center of Excellence. Winter Solstice Sunrise Celebration celebrates the shortest day of the year on Dec. 21 with a sunrise dance party, yoga amid the dinos in the T. Boone Pickens Life Then and Now Hall, solstice science, and more. On Jan. 5, the Winter Wonderland Sleepover will offer a wintery night of science. 18 TYLER MUSEUM OF ART This & That: Recent Acquisitions features more than 30 works acquired from the Blanton Museum’s disbursement of The Contemporary Austin’s collection. The exhibit also highlights recently acquired pieces for the Tyler Museum’s permanent collection including works by Otis Dozier, Michael Frary, Larry Graeber, and Julie Speed. Through Jan. 6.

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10 01 AMPHIBIAN The Dork Knight looks into one man’s obsession with movies about another man’s obsession with dressing up like a rodent and punching people. The Dork Knight traces the ups and downs of actor Jason O’Connell’s personal and professional life as seen through the prism of his love/hate relationship with the Batman movies, Dec. 6–Dec. 16. 02 AT&T PERFORMING ARTS CENTER Lisa Hartman Black joins her husband for A Clint Black Christmas on Dec. 3. Andrea Bocelli will play at the American Airlines Center as part of the Center Presents series on Dec. 5. SvaBhava represents the next installment of AT&T’s Elevator Project series, Dec. 6–8. Voice of Hope Ministries will host Sing! An Irish Christmas on Dec. 7. Peppa Pig Live! is back with an action-packed live show on Dec. 8. A Christmas Story, The Musical! is brought to you by the same songwriting team as Dear Evan Hansen and La La Land, onstage Dec. 12–16. One of the greatest Broadway hits, Chicago, comes to Dallas Dec. 18–23. Next, the Winspear Opera House transforms into a New York City block for A Bronx Tale, Dec. 26–Jan. 6. 03 BASS PERFORMANCE HALL A Clint Black Christmas stages Dec. 2. Michael Martin Murphey’s Cowboy Christmas combines poetry, music, and storytelling on Dec. 17. Mannheim Steamroller Christmas by Chip Davis lights up the stage Dec. 28. Robert Earl Keen and his band will perform tongue-in-cheek holiday favorites and new renditions of holiday hits laced in bluegrass Dec. 29. New Year’s Eve: My Sinatra rings in 2019 on Dec. 31. Shen Yun shares the divine culture of the Middle Kingdom, China, Jan. 7–8. A fan and critic favorite alike, The Book of Mormon will come to Fort Worth Jan. 22–27. The Very Hungry Caterpillar plays Jan. 30. Image: Robert Earl Keen by Nick Doll Photography. Courtesy of Bass Performance Hall. 04 CASA MAÑANA Twas the Night Before Christmas features parodies of some of today’s most popular holiday songs through Dec. 23. 05 CHAMBER MUSIC INTERNATIONAL On Dec. 8, four Taiwanese artists perform the contemporary Chinese/Taiwanese music of Bright Sheng and Tsang-Houei Hsu and then close the journey with a trip to Dvořák’s Bohemia. On Jan. 26


26, From Method to Madness and Golden Blues will feature work from cellist and composer Clancy Newman followed by a romp of Café Music and Chausson’s darkly romantic Piano Quartet at Moody Performance Hall. 06 DALLAS BLACK DANCE THEATRE The DBDT and DBDT: Encore! dancers showcase their skills as choreographers, creating holiday-themed works performed by their fellow dancers in Black on Black. The evening concludes with a live DJ and DBDT dancers in an after-party finale, Dec. 7–8. Image: Sean J. Smith. Photograph by Brian Guilliaux. 07 DALLAS CHILDREN’S THEATER Heading into the holiday season, DCT will showcase A Ghost Tale for Mr. Dickens through Dec. 23. The Snowy Day and Other Stories by Ezra Jack Keats, Dec. 8–Jan. 20, uses humor and combines wonderfully innovative shadow puppetry and live action to showcase Keats’ beautiful appreciation for diversity. Lone Star Circus® brings its unique brand of spectacle back for the holidays in Forever, Dec. 28– Jan. 1. Ella Enchanted: The Musical follows Ella as she searches for her true voice while shedding her “gift” of obedience, all while saving the prince, Jan. 25–Feb. 24. 08 THE DALLAS OPERA The Titus Art Song Recital Series Concert will play on Jan. 27. Save the date for Manon Lescaut which starts off the 2019 leg of the 18/19 season Mar. 1–9. 09 DALLAS SUMMER MUSICALS Elf the Musical tells the hilarious story of a human who thinks he’s an elf discovering his true identity, through Dec. 2. The Phantom of the Opera comes to Fair Park Dec. 19–Jan. 6 boasting many exciting special effects including the show’s legendary chandelier. The Book of Mormon brings its original brand of humor, Jan. 29–Feb. 3. Image: Derrick Davis and Eva Tavares in Phantom of the Opera. Photograph by Matthew Murphy. 10 DALLAS SYMPHONY ORCHESTRA John Williams and Friends will fill your holidays with selections from Harry Potter and Home Alone, until Dec. 2. Jazz at Lincoln Center Orchestra with Wynton Marsalis brings the Grammy winner to Dallas on Dec. 5. Dallas Symphony Christmas Pops will be performed Dec.





7–16. Big Brassy Christmas & Organ Extravaganza swings on stage Dec. 10 in Dallas and Dec. 11 in Frisco. Star Wars: A New Hope invites you to join Luke, Leia, and Han Solo from Dec. 20–22. The DSO’s annual New Year’s Eve celebration takes place on Dec. 31. The Second City Guide to the Symphony opens 2019 with humor and fun Jan. 4–5. DSO presents Mahler’s greatest symphony, The Song of the Earth, and Mozart’s Prague Symphony Jan. 10–13. Chopin’s dreamy Second Piano Concerto, performed by 22-year-old Jan Lisiecki, sets the stage for Dvořák’s magnificent ode to America, New World Symphony, Jan. 17–19. Finnish phenom Rajaton joins the DSO to perform ABBA’s greatest hits including Mamma Mia, Gimme! Gimme! Gimme!, Waterloo, and Dancing Queen Jan. 25–27. John Adams Conducts John Adams celebrates the legendary composer Jan. 31–Feb. 2. Image: Courtesy of the Dallas Symphony Orchestra. 11 DALLAS THEATER CENTER DTC’s A Christmas Carol reimagines Dickens’ classic tale of joy, redemption, and the spirit of Christmas through Dec. 30. DTC Playwright-in-Residence Will Power has crafted a daring script, loosely inspired by Muhammad Ali and Stepin Fetchit’s real-life friendship, that brings these two iconic figures together to shape their legacies against the backdrop of the Civil Rights Movement. A powerful exploration of what it is to be a black man in America, Fetch Clay, Make Man pulls no punches Dec. 5–Jan. 13. Sweat takes an unflinching look at life in the industrial working class of Reading, Pennsylvania, c. 2000, as hard times threaten livelihoods and friendships, Jan. 18–Feb. 10. 12 EISEMANN CENTER Jodi Crawford Wright joins the Richardson Symphony Orchestra in the Holiday Classics concert on Dec. 1. Join the Royale Ballet Dance Academy for Tchaikovsky’s The Nutcracker, Dec. 1–2. A Holiday Celebration of Hope & Unity will inspire audiences Dec. 11. Australia’s The Ten Tenors bring their harmonies to the stage Dec. 18. The Vocal Majority perform The Greatest Snowman Dec. 20–23. Herman’s Hermits will play their hits Jan. 11. In Dragons Love Tacos & Other Stories, Theatreworks USA presents its newest musical revue of beloved contemporary children’s books, including: Dragons Love Tacos by Adam Rubin; Interrupting Chicken by David Ezra Stein; The Dot by Peter H. Reynolds; Mercy Watson Goes for a Ride by Kate DiCamillo; and Cowgirl Kate and Cocoa: School Days 28


by Erica Silverman on Jan. 20. In a moving, yet humorous, look at growing up, David Harrell brings to life a story of his childhood in The Boy Who Would Be Captain Hook on Jan. 26. 13 KITCHEN DOG THEATER Save the date for You Got Older by Clare Barron, Feb. 14–Mar. 10. 14 LYRIC STAGE I Do! I Do! will open Lyric Stage’s new year of productions, Feb. 14–17. 15 MAJESTIC THEATRE Alegre Ballet Folklorico celebrates its 25th anniversary with a dance performance spanning two decades of work on Dec. 1. Martina McBride: Joy of Christmas performs Dec. 7. Rockefeller Christmas at The Majestic features jazz dancing, tap, singing, and Act II of The Nutcracker on Dec. 9. Enjoy soulful music with Jason Mraz and Toco Rivera Dec. 11–12. The Polyphonic Spree’s 16th Annual Holiday Extravaganza stages Dec. 15. Adam Conover will perform his Mind Parasites Live! on Jan. 10. Iliza: Elder Millennial Tour sees Iliza return to her hometown of Dallas on Jan. 25. Comedian Tom Segura brings laughs Jan. 26–Jan. 27. Image: Courtesy of the Majestic Theatre. 16 STAGE WEST THEATRE Beginning Dec. 27, SWT welcomes Everybody. In this modern, comedic, and heartfelt riff on the iconic medieval morality play, Everyman, fate decides the roles by lottery each night. As relationships, memories, and senses fade away, Everybody leads to the bittersweet truth that all eventually must face, and asks audiences to question what they will take and leave behind when it is time to go. Through Jan. 27. 17 TACA Mark your calendar for the 2019 TACA Grants Celebration on Feb. 4. 18 TEXAS BALLET THEATER The Nutcracker takes the stage through Dec. 2 as the Winspear Opera House is transformed into a Sugar Plum kingdom. The Nutty Nutcracker, on Dec. 14 at Bass Hall, presents an unconventional and


T H A N K YOU Dallas Children’s Advocacy Center thanks our generous sponsors, and all who shared in this unforgettable evening of art and advocacy, where inspiration was put into action. Your generosity will better the lives of countless children in the year to come. PRESENTING








Julie and Kevin Linderman Tonya and Todd Ramsey

Kim and Evan Wyly


Art for Advocacy November 9, 2019 at GDT CO-CHAIRS

L I N D S AY A N D G E O R G E B I L L I N G S L E Y | C A R LY A L L E N - M A R T I N A N D B L A K E M A R T I N

Carneal Simmons Contemporary Art Conduit Gallery Craighead Green Gallery Cris Worley Fine Arts Laura Rathe Fine Art




10:08 AM

NOTED: PERFORMING ARTS 2 018 I 2 019 S E A S O N in association with AT&T Performing Arts Center

“Dorrance...pushes the boundaries of Tap!” New York Times







DORR ANCE DA N C E F E B R U A R Y 0 1 2 0 19 Winspear Opera House




Beijing Dance Theater’s HAMLET



hilarious twist on the holiday classic. From Dec. 7–24, The Nutcracker moves to Bass Hall. 19 THEATRE THREE Solstice: A New Holiday Adventure captures the meaning of the holiday season by featuring the return of last year’s favorite mischievous Solstice characters, the beloved Stuart and Paulette, from Dec. 6–30. The Manufactured Myth of Eveline Flynn follows the title character as she loses her connection to her family and friends, and her grasp on reality slowly slips away, Jan. 31–Feb. 24. 20 TITAS TITAS returns Feb. 1 with Dorrance Dance, an award-winning tap dance company based out of New York City. 21 TURTLE CREEK CHORALE TCC’s traditional holiday concert, Shimmer & Shine, will feature everything you have come to love over the years—heartwarming favorites, new and thrilling musical experiences, some goosebumps, and signature TCC humor, Dec. 14–16.



F E B R U A R Y 0 8 2 0 19 Winspear Opera House



22 UNDERMAIN THEATRE The Lady from the Sea by Henrik Ibsen closes Dec. 2. Ibsen’s classic continues his exploration of the imbalances of marriage and a woman’s need for freedom. It is haunting and delightfully real in its display of this world and the otherworld, with both containing an intoxicating desire to be set free. Next, An Iliad, directed by Undermain Artistic Director Katherine Owens, opens Feb. 7. 23 WATERTOWER THEATRE Boy, like most children, has an unyielding imagination. But when the rigidness of growing up begins to stifle it, Boy sets out in search of a home to call his own. Back by popular demand, The Great Distance Home moves to the Main Stage this holiday season, running through Dec. 16. In 2019, Dark Circles Contemporary Dance moves to Addison Theatre Centre for a Winter Series featuring three world premieres centering on gay identity in America, Jan. 24–27.


37 01 ALAN BARNES FINE ART Alan Barnes Fine Art is a uniquely intimate gallery offering over 150 years of family history within the international art markets. Barnes is a sixth-generation English art dealer who is committed to sharing his expertise with his clients. 02 AND NOW Through Dec., And Now mounts new work by Noah Barker and Wyatt Niehaus. Oshay Green, Shelby David Meier, and Paul Winker take part in a group show in Jan. 03 ARTSPACE111 Urban Alterations and Obsession close Dec. 1. Next, Ron Tomlinson’s Once We Were Strangers opens Dec. 6 and runs through Feb. 2. 04 BARRY WHISTLER GALLERY Dan Rizzie: Bird on a Blade opens Dec. 1 and features a culmination of Rizzie’s collaboration with musician Rosanne Cash. Together, they created a book with Cash’s song lyrics and Rizzie’s images. The exhibition continues through Jan. 5. Image: Dan Rizzie, Bird on a Blade, 2018, mixed media collage on paper, 16.125 x 14.25 in. 05 BEATRICE M. HAGGERTY GALLERY Sacred Transmitted features stained-glass window designs from the archives of the Emil Frei & Associates’ award-winning liturgical stained glass and fabrication studio in St. Louis, Missouri. Featuring over 80 works on paper, this exhibition showcases the scope of their artistic production over a century through Jan. 27. 06 BLUE PRINT GALLERY New work by established, mid-career, and emerging artists of the region, from contemporary abstract paintings and works on paper to fine art photography and sculptures, are rotated here.

22 of member galleries. The Third Thursday Happy Hour will be held at Holly Johnson Gallery and Cris Worley Fine Arts on Dec. 20 and Carneal Simmons on Jan. 17. 09 CARLYN GALERIE Carlyn Galerie has established itself as a gallery dedicated to fine American art glass, clay, fiber, metals, and jewelry. 10 CARNEAL SIMMONS CONTEMPORARY ART While Carneal Simmons takes a winter exhibition break, the gallery will feature selections from several artists through Jan. 11 CHRISTOPHER MARTIN GALLERY The Dallas gallery displays work by Christopher Martin, Michael Sirvet, and Gregory Price. 12 CONDUIT GALLERY From Dec. 1–Jan. 5, Dallas-based artist Jeff Gibbons exhibits an installation of mixed-media sculptures. Also on view, Marfabased painter Michael Roch’s Roman Candle features large-scale paintings. Opening Jan. 12, three solo exhibitions spotlight Roberto Munguia, Soomin Jung, and Japanese sculptor Hidenori Oi in the Project Room. On view through Feb. 16. Image (detail): Roberto Munguia, Thaumat, 2018, acrylic on Yupo, 48 x 55 in. 13 CRAIGHEAD GREEN GALLERY Peter Burega’s New Works, Abhi Ghuge’s Easy Does It, and Anders Moseholm’s The Time and Space in Between continue through Dec. 28. Three shows featuring Todd Carpenter, Pearl Dick, and Rebecca Shewmaker mount Jan. 5 and run through Feb. 8. Image: Abhi Ghuge, Untitled, woodblock on printed paper, 40 x 36 x 18 in.

07 BIVINS GALLERY Psychedelic Robot, the gallery’s immersive art-centric creation, will be touring through Europe and Asia in 2019. For more information, follow the project on social media.

14 CRIS WORLEY FINE ARTS New York–based artist Marc Dennis displays subtly suggestive hyper-realistic florals, and R usty S cruby’s photo tessellations are inspired by family memories. On view through Dec. 29. Opening Jan., Timothy Harding will display a new body of work in his third solo show at the gallery through Feb. 9.

08 CADD On Dec. 1, CADD’s Bus Tour will take patrons on a private tour

15 CYDONIA Marman and Borins’ The Fourth Wall presents multi-media work DEC 2018 / JAN 2019



Kittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 972.239.7957 n

04 including a new film and script that provide context for sculptures functioning as props and characters. The duo’s paintings serve as backdrops for the setting. The Fourth Wall concludes Feb. 9. 16 DADA The Dallas Art Dealers Association is an affiliation of independent galleries and nonprofit art organizations dedicated to promoting the highest standards of ethical practice within the profession and increasing public awareness of art. 17 DAVID DIKE FINE ART David Dike Fine Art, established in 1986 in Uptown, specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas Landscape painters. 18 ERIN CLULEY GALLERY but like, yeah features new prints, paintings, and sculptures by Fort Worth artist Rachel Livedalen. This exhibition is an attempt to make sense of our cultural history and an ode to the things Livedalen loves and desires. Dec. 1–Jan. 5. 19 FORT WORKS ART Self Timer and Traces continue through Dec. 8. Next, FWA will present a two-person exhibition titled Chameleon featuring Fort Worth artists Jay Wilkinson and Austin Fields. Dec. 12–Jan. 12. 20 FWADA Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art.

ALEX BERSTEIN “S apph ire E xpanse”



21 GALERIE FRANK ELBAZ How to Bump into a Sculpture featuring the work of Davide Balula, Isabelle Cornaro, and Rachel Harrison, curated by Paul Galvez continues through Jan. 26.


4500 Sigma Rd. Dallas, TX 75244 n 972.960.8935 n

Ru s si a n I m p r e s sion i s m


SATURDAY, NOVEMBER 17, 5-8PM 11.17.18 - 12.29.18




22 GALLERI URBANE Gail Peter Borden will present Diverse Fields, an exhibition focusing on new multi-panel resin compositions that have evolved from previous installations at the gallery. Loring Taoka is back for his second show this year, titled I’m Going Hunting. Both continue through Dec. 29. An exhibition for painter Stephen D’Onofrio, who explores the relationship between physical spaces and the objects people fill them with, mounts Jan. 6–Feb. 9. Image: Stephen D’Onofrio, Deconstructed Still Life, 2018, oil on canvas, 50 x 60 in. 23 GINGER FOX GALLERY The gallery collection focuses on Abstract Scrapes by Ginger Fox through the holiday season.



24 THE GOSS-MICHAEL FOUNDATION One of the leading contemporary British art collections in the US, founded by George Michael and Kenny Goss in 2007, the collection holds many important contemporary artists including Tracey Emin, Damien Hirst, Sarah Lucas, Marc Quinn, and Michael Craig-Martin. 25 HOLLY JOHNSON GALLERY New Paintings by Kim Squaglia, through Dec. 26, spans historic references from Surrealism to midcentury modernism to dense-patterned ornamentation through delicately rendered biomorphic forms, webs, and tendrils that create spaces with cavern-like depths. Jackie Tileston: Instructions for Dissolution features new paintings and works on paper through Jan. 26. Moonlight on the River, the first exhibit for Stuart Arends at the gallery, is on view Jan. 5– Mar. 16. Image: Jackie Tileston, Scenes from the Ethnosphere, 2018, mixed media on linen, 60 x 48 in.




26 KIRK HOPPER FINE ART Reckoning, Dec. 8–Jan. 12, is an exhibit for artists Annabel Livermore and Mary McCleary in cooperation with



13 Moody Gallery, Houston. Curated by Susie Kalil, Reckoning brings together two independent artists who live and work in isolation outside the art mainstream. Both produce layered, ambiguous narratives that address the core issues of today. Livermore’s luminous, visionary paintings and McCleary’s illusionistic mixedmedia collages both skewer and reimagine the “hot zone” topics of the real world. 27 KITTRELL RIFFKIND ART GLASS The annual Ornament Extravaganza! is a celebration of shape, color, and the holiday season. The exhibition continues through the month of Jan. 28 KRISTY STUBBS GALLERY Celebrating 25 years in Dallas, Kristy Stubbs will commemorate the occasion with an exhibition of sculpture by Texas-born artists including James Surls, Jesús Moroles, David Bates, and Lee N. Smith III alongside paintings by London-based artists Alisa Lee, Purdey Fitzherbert, and Damien Hirst through Jan. 29 LAURA RATHE FINE ART Meredith Pardue: Bold as Love closes Dec. 29. Opening Jan. 5, Dylan Gebbia-Richards & Christy Lee Rogers: New Works pairs two artists through Feb. 9. Gebbia-Richards’ technique of isolating drips and splatters of wax, pigments, and other colors allow elements of playfulness and exploration to seep into his installations. Rogers, from Kailua, Hawaii, builds elaborate scenes of coalesced colors and entangled bodies that exalt the human character as one of vigor and warmth, while also capturing the beauty and vulnerability. 30 LILIANA BLOCH GALLERY Ann Glazer: BIG DR AWINGS fills the gallery through Dec. 30 with a series of collages that trace lines of thought with paper, tape, and cloth. Her experimentation with process evokes personal narratives of everyday life. Mayra

1105 Dragon St. | Dallas, Texas 75207 | 214.965.9027

DEC 2018 / JAN 2019



Dylan Gebbia - Richards Christy Lee Rogers

48 Barraza will open up the new year with Predicament of the Subject alongside Randall Garrett’s work featured in the foyer. Jan. 5–Feb. 9. Image: Mayra Barraza, Predicament of the Subject 2, 2017, oil paint on canvas board, 7 x 5 in. 31 LUMINARTÉ FINE ART GALLERY LuminArté embraces the local art community by showcasing regional artists as well as offering workshops and continuing education opportunities. 32 MARTIN LAWRENCE GALLERIES A companywide exhibition featuring a vast collection of Erté’s graphic works, including plates from his most popular collections, runs through Dec. Liudmila Kondakova will open For the Love of Paris on Jan. 12.

Saturday, January 5, 2019 Opening Reception, 5-8PM Artist Talk, 6:45PM Artists in Attendance Exhibition on display through February 9, 2019

1130 Dragon St. Dallas, TX 75207 214.761.2000



33 MARY TOMÁS GALLERY Focus features an in-depth look at selected gallery artists and their unique process of communicating through art making. The show exhibits works by Masri, Kenneth Schiano, and Blair Vaughn-Gruler along with sculptors Rick Lazes and Russell Whiting. Focus continues through Jan. 34 MERCADO369 Latin American artists are well represented in this Oak Cliff jewel. Nine galleries offer sculpture, jewelry, textiles, and home décor from Mexico to Argentina. 35 PHOTOGRAPHS DO NOT BEND Delilah Montoya: The New Warriors and Paul Sokal: Before iPhone continue through Dec. 29. The New Warriors features large prints on aluminum that serve as striking reminders of her powerful document Women Boxers: The New Warriors, published in 2006. Before iPhone takes a look back at objects from our not-too-distant low-tech cultural past.

12 36 THE PUBLIC TRUST Status and Obsolescence: New Work by Shelter Serra continues through Jan. 5. Shelter Serra is a New York–based artist whose work explores notions of mass consumption and cultural identity. Serra’s multidisciplinary practice transforms the most mundane objects alongside highly recognizable branded products into objects of aesthetic contemplation. 37 THE READING ROOM aaaaaaaaaaaaaaaacc

The Potential Wanderer, an exhibition by Houston-based Francis Almendárez opens on January 19. Blending video, installation and performance, Almendárez addresses questions of family within the context of migration. The exhibition is curated by Caroline Elbaor and continues through March 2. Image: Francis Almendárez, Untitled, 2018, video still.

38 RO2 ART In Dec., Ro2’s Cedars gallery will host David Van Ness and Daniel Birdsong along with Holiday Extra, featuring small works and favorites for gifting. At the Magnolia Theatre, Ro2 mounts Michelle Thomas Richardson’s mixed-media paintings and textiles through Dec. In Jan., Justin Archer will present his large sculptures and an installation in the Main Gallery. The Downtown Pop-Up gallery on Commerce will feature Angel Cabrales’ sculptures.

Italian Wall Lucca, 2018, Mixed media collage with chine colle on paper 14 x 11 ¼ in.


39 ROUGHTON GALLERIES Featuring f i ne 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and actively supports research in both American and European art. 40 SAMUEL LYNNE GALLERIES Lea Fisher’s exhibition featuring her Self-Portrait series continues through Dec. SLG will be traveling to Los

315 Cole Street Suite 120 Dallas, TX 75207 | 214.939.0242

DEC 2018 / JAN 2019




25 Angeles for the LA Art Show, Jan. 22–27. Interested parties may contact the gallery for tickets. 41 SEAN HORTON (PRESENTS) With curator and critic Joseph Wolin, Sean Horton (presents) will produce a series of two-person exhibitions coupled with a critical essay. The first pair, Claire Fontaine (Paris, France) and Leo Gabin (Ghent, Belgium), will present a collective practice as the product of a single sensibility. Jan. 11–Feb. 16. 42 SITE131 Clay & Things continues through Dec. 14. Next, Plugged-in Paintings will feature large-scale digital paintings produced from electronic media in a blending of analog and digital images impacted by imperfections caused by glitching or forms of manipulation. The show, running Jan. 19– Mar. 15, is co-curated by painter John Pomara, transmedia artist Dean Terry, and Joan Davidow, with artists Matthew Choberka, Chris Dorland, Lucas Martel, John Pomara, Lorraine Tady, Dean Terry, Liz Trosper, and Zeke Williams. 43 SMINK R ieke: New Work, featuring Zachariah R ieke’s new paintings, continues through Dec. 15. 44 SOUTHWEST GALLERY Through Jan., Southwest Gallery will show new paintings by Russian Impressionists and 30 new works by Don Sahli.




45 TALLEY DUNN GALLERY Ori Gersht, concerned with the relationships between history, memory, and landscape, often adopts a poetic, metaphorical approach to explore the difficulties of visually representing conflict and violent events or histories. On view through Jan. 19, in New Orders Gersht approaches this challenge not simply through his choice of imagery, but by pushing the technical limitations of

H O S P I TA L I T Y . R E S I D E N T I A L . C O M M E RC I A L


46 photography, questioning its claim to truth. 46 VALLEY HOUSE GALLERY Malou Flato’s Recent Paintings closes on Dec. 8. An exhibition of work by the late Spanish artist Miguel Zapata will be on view Dec. 15 through Jan. 26. Image: Miguel Zapata, Sobre la Mariana de Austria del Meadows Museum (Velazquez ), 2013, mixed media on paper, 9.5 x 8.25 in. 47 WAAS GALLERY Continuing through Jan. 5, Holly Jolly Pop-Up presents five fun holiday-themed halls. To purchase your tickets online visit 48 WILLIAM CAMPBELL CONTEMPORARY ART The Signal Series, Dec. 7–Jan. 12, will feature paintings and mixed-media drawings by Mark Smith that stem from curiosity and a simple idea: What if we could visualize the signals, patterns, bursts of energy, and the beautiful movement of waveforms that are made in time and space as we communicate with each other? Image: Mark Smith, Signal #3, 2018, hardwood with high-density pigment, 32 x 32 in. AUCTIONS 01 DALLAS AUCTION GALLERY Mark your calendars for the Fine Jewels Auction set to take place after the holiday season. 02 HERITAGE AUCTIONS Winter auctions slated include the Holiday Fine Jewelry Auction Dec. 3, the Hong Kong Heritage Week Signature Auction Dec. 9–10, European Art Auction Dec. 7, Fine & Decorative Arts Auction Dec. 7–9, Weekly Prints & Multiples Fine Art Auction Dec. 12, Photographs Fine Art Auction Dec. 19, and Online Prints & Multiples Auction Jan. 24.

MK Semos

Jen Mauldin


888.585.2950 DEC 2018 / JAN 2019





ina Kukielski is the Executive Director and Chief Curator of Art21, a nonprofit organization dedicated to inspiring a more creative world. She previously held curatorial positions at the Whitney Museum of American Art in New York City and the Carnegie Museum of Art in Pittsburgh, and has independently curated art projects around the world. She was a cocurator of the acclaimed 2013 Carnegie International with Daniel Baumann and Dan Byers that featured the work of Nicole Eisenman, Rodney Graham, Zanele Muholi, Pedro Reyes, and Henry Taylor among others. She has curated museum exhibitions with Cory Arcangel and Antoine Catala (both at the Carnegie Museum) and Sadie Benning, Corin Hewitt, Omer Fast, Taryn Simon, and Sara VanDerBeek (all for the Whitney) as well as numerous group shows including a recent exhibition called Difference Engine co-curated with Arcangel at Lisson Gallery, New York. Chris Byrne (CB): In 2013, you co-curated the 56th edition of the Carnegie International and I understand that you lived in Pittsburgh for three years in preparation for the exhibition. Is there one memorable anecdote about your time at the Carnegie Museum of Art which you’d like to share? Tina Kukielski (TK): The most recent edition of the Carnegie International—the 57th—opened a few weeks ago and it was a special opportunity to be back in Pittsburgh seeing old friends and visiting some of my favorite works in the museum’s collection. Artists, gallerists, and curators love their quinquennial visit to Pittsburgh because it is always surprising to see the contemporary art that quietly resides in that city. The collection at the Carnegie is a veritable history of the international exhibitions since their beginning in 1896, creating a palimpsest of curatorial voices from the past including those of me and my co-curators five years ago. It was thrilling to see works from our show like Nicole Eisenman’s plaster figure sculptures and Phyllida Barlow’s towering assemblages occupy the galleries alongside the new works commissioned for the

most recent edition by curator Ingrid Schaffner. Highlights for me were Yuji Agematsu’s found object calendars as well as Art21 artist El Anatsui’s commission on the museum’s facade and the opus of soon-to-be Art21 artist Alex Da Corte in his neon room displaying 57 magnificent video vignettes with Da Corte performing characters like Mr. Rogers and the Pink Panther [Art21’s video with Da Corte came out in late November 2018]. Lenka Clayton and Jon Rubin were also well represented with an inviting project about the Carnegie International’s past where visitors are welcome to take an artwork home. So go to Pittsburgh to get your free artwork. CB: You organized the first museum survey and artist monograph of the New Zealand outsider artist Susan Te Kahurangi King at the Institute of Contemporary Art, Miami. How did that experience change your work as a curator? TK: When I returned to New York and began as director of Art21, I was also working simultaneously with King and her family. Complicating the project was the geographical distance between us, a circumstance made doubly challenging by the fact that the artist didn’t talk. King stopped speaking as a young child growing up in Auckland, and now, 60 years later, she is what is called nonverbal. The irony of the situation tickled me: at the same time that I was taking on the stewardship of an organization built on the dissemination and broadcast of artists’ voices, I began working with an artist who didn’t vocalize her words. What did it mean to be an artist without spoken language? Of course, King had a voice; it was embedded in the beauty, wisdom, and mystery of her drawings. Allowing myself to recognize this was the real challenge. The test as a curator and director is pushing yourself to think beyond established binaries, as I had the opportunity to do in working with King. I borrowed from something Jack Whitten shares in his final interview captured in an Art21 film released earlier this year where he proposes we opt for a third track, discarding the limiting binary

From left to right: Dan Miller of Creative Growth Art Center. Production still from Art in the Twenty-First Century, “San Francisco Bay Area.” © Art21, Inc. 2018; Olafur Eliasson. Production still from Art in the Twenty-First Century, “Berlin.” © Art21, Inc. 2018.





of this/that in favor of a more of a fluid one: “neither this/nor that.” CB: In 2016, you became Art21’s Executive Director and the current season is your first with completely new content. Can you reveal some of the programming highlights? The segment dedicated to Tom di Maria and Creative Growth Art Center was unexpected, but really great. TK: This year is my first go at being an Executive Producer for our award-winning TV series Art in the Twenty-First Century, which aired on PBS and online earlier this fall. It was a proud moment to work closely with the Art21 team to tell the stories of twelve innovators, and—in a series first—a non-profit center, including artists like Olafur Eliasson, Zanele Muholi, Lynn Hershman Leeson, Katy Grannan, Robin Rhode, and Nathalie Djurberg among others. The series was divided into three parts based on the places where the artists live and work: Johannesburg, Berlin, and the San Francisco Bay Area. Previously we have worked with artists in Mexico City, Los Angeles, Chicago, and Vancouver. We have a lot of places left to go and many more artists we would like to include in the program. The place-based approach to storytelling has brought new energy to the longest running program about contemporary art on television. Having worked with King was the impetus for inviting the artists of Creative Growth Art Center to be featured. Tom di Maria, the Executive Director at CGAC, introduces the principles that drive the Oakland-based nonprofit to support artists with developmental, mental, and physical disabilities. This segment explores the humanity in artmaking and reestablishes what it means to be an artist, and we were fortunate to have worked with artists like William Scott, Dan Miller, and Monica Valentine on such a powerful story (warning, it’s a tearjerker). CB: It was exciting to debut the launch of Art21’s new streaming experience this past summer in East Hampton... TK: Definitely an exciting moment for all of us at Art21. This summer we were delighted to launch a new channel of curated

streaming video on contemporary art, at no better place than the Elaine de Kooning House in East Hampton. Continuing in the tradition of delivering inspirational, thought-provoking video content to audiences worldwide, is designed for audiences seeking to watch Art21-curated video content immediately without having to choose a starting point. Upon visiting the channel, viewers drop in on an in-progress live stream crafted from Art21’s television and digital series. Each film in the stream is curated by Art21 staff. CB: Are there other planned initiatives? TK: Always! Art21 has published a book for the first time in several years, addressing what it means to “be” an artist and designed with our educator community in mind. The book is aptly called Being an Artist. John Baldessari argues in the volume’s first chapter that “art making is essentially about making a choice.” Through interviews with 43 artists previously featured in our films, the book explores the hard decisions that artists make every day, decisions that reaffirm their choice to devote their life to art and their trust in that choice. Since coming to Art21, I have gleaned two things about what being an artist means. The first is that, sometimes, somebody calls you an artist and the moniker sticks. The second is that being an artist is tantamount to naming oneself such. Otherwise said, it can be an honor self-anointed, despite others’ best interests for you and your livelihood. Whatever truth one ascribes to this explanation, being an artist might not be an easy path, yet it is distinctly human to be one. To be an artist is a bedrock decision, and once made, there is little going back. As LaToya Ruby Frazier reminds us, in her interview in our new book, “It’s a 24/7 job.” Art21 is similarly unceasing in its purpose: to give audiences the permission to be artists. Hearing directly from artists about their choices allows others to make such choices, too. At Art21, we celebrate that choice. P

From left to right: Katy Grannan. Production still from Art in the Twenty-First Century, “San Francisco Bay Area.” © Art21, Inc. 2018; Zanele Muholi. Production still from Art in the Twenty-First Century, “Johannesburg.” © Art21, Inc. 2018.

DEC 2018 / JAN 2019


FAMILY VALUES David Totah helps collectors find the “visceral necessity to live surrounded with artworks.”


avid Totah, who emerged from finance to follow his lifelong passion under the tutelage of a family of art dealers and collectors, founded TOTAH, a modern and contemporary art collaborative space in Manhattan’s Lower East Side returning to Dallas Art Fair in 2019. Jill Magnuson (JM): David, I know you grew up surrounded by artists and family in the art business, but that was not your original path. What prompted the moment you decided to open your own gallery and why the US? David Totah (DT): Opening the gallery was the natural evolution in a path I embarked on when I was 19 years old while studying at the Wharton School at Penn. Even though I was set to work in finance, the sudden death of my uncle Edward (who ran the gallery in London then) prompted my decision to actively take part in the art world, not as a profession but a significant source of interest and stimulation. I started educating myself with devotion, reading a lot, visiting galleries, museums, and attending auctions in New York for over 20 years. Looking back at those early years, it feels as if I was unconsciously laying the ground for what appears so clearly today to be my real vocation. I grew up in Europe, but ever since my college years in Philadelphia I had no doubt about wanting to build my life in the US. I founded my first business in finance at 29 in New York. A few years down the line I decided to shift my activities towards what truly ignited my enthusiasm. I started showing a mix of established and emerging artists in our offices; it was straight line from that point on. Opening the gallery was a way for me to open up to the world and share my vision and my artistic sensibilities. JM: I almost hesitate to describe your space as a gallery; it appears you

are addressing it more as a cultural hub, a nexus for artistic revelation and connections. How do you translate that experience for those who might not walk through your physical space? DT: You’re right, my intention from the beginning was to open a space which would transcend limitations of the traditional definition of a gallery. I wanted a place where like-minded people would converge; I am a strong believer in the power of alchemy when it comes to art and creativity. Our shows and various projects are a way for us to broadcast a subtle message. With our artists, books, website, press releases, videos, and social media we aspire to trigger the curiosity of those who haven’t walked through our space yet. It’s not easy to translate that experience, making abstraction of its physicality. We aim to share that experience with the community that has been forming around our activities; art is meant to be felt, and the context is crucial. The way our space is built including the projection and special projects room downstairs feels intimate and warm. Our intention is to create a point of encounter that exudes a very defined identity meant to inspire and welcome an audience who yearns for an energy that feels familiar and nurturing. JM: You have spoken often of intuition and how that instinct has helped shape your program today. How do you inspire collectors to trust their feelings while exploring new realms, perhaps with works and artists quite unfamiliar to them? DT: The only path I can think of to inspire others is to express and share enthusiastically what truly inspires me. I am a passionate collector and voracious for art with which I feel a deep and often unexplainable connection. I love to help collectors in finding that

Above left to right: David Totah with David Austen, Animal at Night, 2010, oil on flax canvas, 66 x 60 in.; Aleksandar Duravcevic, Fragments, 2017, graphite on clay paper, 30 x 40 in.




same visceral necessity to live surrounded with artworks, which end up acting as guardians of their identity at home. True collectors are hunters and I like to respect that dynamic. In other words, my job is to present our artists while working to expand our audience and then let things happen organically. Once the initial contact takes place and a collector is interested in a work, I enjoy telling the story behind it and who the artist is. Taking the time and exploring a collector’s sensibilities is a very important part of the process for me. Ultimately, one of the most rewarding aspects of what I do is seeing the collector walk out thrilled by his newly discovered bounty. During our first show, I discovered how much I love creating books on our artists and how essential it is to help collectors understand and familiarize themselves with the oeuvre of the artist and his or her universe. JM: Contemporary art is often bold and not always popular with all, but can speak truths and ideals that transcend the art form. Do you find that challenging or compelling within the art market and its audiences today? DT: One must always question if those spoken truths are triggered by genuine motives by the artist and how they relate to his or her own life, whether or not the impact of the work and the work itself will stand the test of time and continue to be relevant once the context and trend has passed. Great artists are often messengers, and art should make us feel or think for ourselves; it should be a slow, individualistic process. We are living in the era of obvious and instant gratification, and through pervasive medias the general audience is constantly given what it wants: the sensational. It sells. To me, the truth is most often found in what a smaller minority needs: more authenticity – a word overused, yet poorly applied in today’s giant art-marketing machine. JM: Last year was your first year at the Dallas Art Fair. What surprised you most about the experience? DT: Yes, Dallas was our first fair [ever]; it was an intuitive decision, which ended up being extremely rewarding. Taking part in the fair was a way for us to export our aesthetics into unfamiliar territory; we liked that challenge. I knew Dallas counted a sophisticated collector base and I love Texans, they are warm and enthusiastic. Brandon [Kennedy] has done a great job infusing his impressive artistic sensibilities, running it in a very personable way, creating an intimate environment, which is quite rare for a fair. P


Luca Pancrazzi, Sparkling forest 1, 2018, acrylic on canvas, 40 x 60 in.

ABOUT THE INTERVIEWER: Jill Magnuson is the Director of External Affairs of the Nasher Sculpture Center, home to one of the most renowned collections of modern and contemporary art in the world. Prior to the Nasher, she oversaw communications and events for the building and opening of the AT&T Performing Arts Center and ran a communications agency dedicated to civic and cultural clients. She is also a huge fan of TOTAH and looks forward to his return to Dallas.


An annual exhibition of well-priced artworks that make the perfect gift for you and yours. With pieces starting at $250, there is something for everyone. Visit The Gift Edit exhibition in person or acquire work online: Through December 29th

2277 Monitor St. Dallas TX 75207 | 325-226-8015

DEC 2018 / JAN 2019



The Space Between the Words and Our Eyes

Exploring the Mutability of Language and Form with Alicia Eggert


like an unexpected entrance to define an introduction and steer a conversation without any planning whatsoever. Pulling in alongside the jagged row of parked cars on the left (and correct!) side of the rather nondescript auto repair shop in north Denton, I gathered my belongings after parking, spotted the “ARTIST” placard mounted on the metal door to my right, and stepped out of my hatchback into the sunlight. Beyond the opening sway of the door, a steady stream of classic R & B wafted past the large storage racks, files, and orderly stacks of materials and boxes as you enter Alicia Eggert’s studio. The central studio floor was taken up by an artwork that was fulfilling its performative role, having just arrived back from a show at the University of Arkansas, and rhythmically inflating one side of its words in ALL CAPS, “NOW” in black and “THEN” in white (with contrasting stitching), both six-foot tall, sans serif, in a two-minute off/on constant cycle, then and now sucking the life out of the other and then puffing themselves up (with the dual generator box dividing their pronouncements), while testing for any damage or operational issues. After being led in by her studio assistant Tucker, I fell two paces back and was immediately confronted with the “W” in “NOW” becoming fully formed and approaching my height, blocking my path and introduction temporarily. Everywhere you look in Eggert’s studio you encounter text in various forms; photographed documentation of sculptures/ installations/performances (whose lenticular format mimics both a kinesthetic viewing art stroll and a neon flicker); the newest work just picked and hung for inspection, a cherry red reflective vinyl rectangular sign with “NOWHERE” inset within a highway sign border and format, flicking on and off the various combinations of its parts; the preceding flaccid nylon forms of NOW/THEN 44


(2018), both echoing and mocking the sign above while lying defenseless on the floor just below; A-HA in acrid yellow neon, which was installed not as intended but still legible above the artist’s desk at almost six feet across in ALL CAPS. This work originally hung in the space above Liliana Bloch’s gallery entrance door as a wry commercial beacon with twin waves of enlightenment and humor crashing upon its coastal rocks. Just around the corner where we sit and chat while looking at and discussing the subtle variations of font and medium, an artifact of institutional signage, a “blade” of faux wood-grained plastic, rests in a brass receiving base, projecting 90 degrees into the room. The object is commonly known as a corridor sign; this one custom-engraved and revealing the white below in ACSS (all caps sans serif) with “NOW” on one side and “THEN” on the opposite. Between Now And Then (2008) posits both the question of the physical object, the gentle dislodging of intended context, and the greater question of the unknown measurement of the space that separates the two words and concepts. This simple assisted readymade gesture from 10 years ago, which Eggert states “divides time and space,” also marks both for her as it represents a turning point in her work and a focus purely on the textual form. For the fifth edition of the AURORA festival this November— newly clustered around City Hall in downtown Dallas—Eggert utilized a grassy hill in front of the Convention Center to install her All the Light You See Is from the Past (2017), a white neon ACSS work in three lines, flashing in three sequences of illuminating all the words, then only “All You See Is Past,” and finally with all the words going dark. The illuminated rumination rests affixed to a steel scaffolding measuring 15 by 15 feet and six feet deep. Eggert had previously installed the artwork on a different billboard-style frame on top of a building on the boundary of a gentrifying Philadelphia


neighborhood previously scheduled for demolition. Instead of Eggert being able to film the eventual destruction of both at once, the developers ended up renovating the property and then purchasing the artwork. Apparently, nothing lights up the night sky like unexpected advertising for a previously unforeseen investment opportunity in the near future. The letters that make up Forever (2016) rest in the corner stacked on top of one another, facing out yet upside down, seven eight-foot-tall blue-painted plywood forms. The horizontal supposition was installed on a similar but larger structure than the AURORA installation and was secured by sandbags during its three-week run. The artwork was originally inspired by the ever-changing fog conditions that routinely affect the small, uninhabited island off the coast of Lubec, Maine, the northeasternmost point of the contiguous United States. A video documenting the gestational fog obscuring, then revealing the installation clocks in at just under 20 minutes and is entitled On A Clear Day You Can See Forever (2016–17). This footage resulted in an installation at The MAC in Dallas, the year after the original installation, projected onto a wall in an open industrial loft replete with a gently sloping carpeted viewing hill and fog machines intermixed with the distant sound of waves and the occasional fog horn. In an ironic yet absurd twist, the exhibition was eventually shut down by the fire marshal; no smoke, no fire, just a fog machine and code compliance. The studio soundtrack had reached the playlist’s end and the nearby sounds of a jazz set drummer cycling through improvisational fills and flourishes had started to shimmer through before the prerecorded popular songs ended and were now fully in bloom by themselves. In 2013, Eggert and her former collaborator/partner Mike Fleming toured the United Kingdom in a specially outfitted small-cab flatbed rented truck with You are (on) an island (2011– 13), a work that had been made two years before as a static neon work and which had now been adapted onto a painted wood billboard frame and secured to the vehicle. For two weeks they toured around the UK at the invite of Neon Workshops in West Yorkshire in northern England. After thoroughly documenting the mobile billboard’s travels, they produced a limited-edition artist’s book showing the artwork both on and off the truck, moving and stationary, being worked on, with active viewers, and with the “on” both on and off in its crisp white neon in Georgia serif typeface (designed in 1993 by Matthew Carter and Tom Rickner). I circled back on Wikipedia and checked in on the story behind the unassuming font commonly used to ensure readability and elegance at a low resolution or when printed small. The namesake “Georgia” apparently refers to a tabloid headline (pun intended) with tongues firmly in cheeks from the Microsoft-employed designers: “Alien Heads Found in Georgia.” According to Eggert, the “a” in the Georgia font is the least durable and the first to break under stress (which happened while touring this work around the UK), which potentially leaves the sentence that inspired its name without a letter at both its beginning and end were it travelling somewhere in northern England on a flatbed truck in winter conditions having previously been rendered in neon in the typeface of Georgia. P

Opposite from left: Alicia Eggert, Forever, 2016; Letters that comprise Forever rest in the corner stacked on top of one another, facing out yet upside down. This page from top: Alicia Eggert in her Denton studio; Above and Beyond, 2017, a sculptural steel staircase the artist made in collaboration with Joshua Williams.

DEC 2018 / JAN 2019




NORDIC FEATHERED FRIENDS Flock to the Nasher Sculpture Center Store where Oiva Toikka’s limited-edition glass birds for Iittala take Finnish design to inspired new heights.

BLUE Glacial shades arrive this winter for the season of gift giving.


Embellish your walls with The Deep Blue Sea wallcovering rendered by artist Carolyn Ridsdale exclusively for Look Walls on Dragon Street.


From Akris, the Serge Long Jacket in cotton denim stretch paired with wool cotton stretch pant is available at Akris, Highland Park Village.


Jerry Skibell, a Lubbock-born, Dallas-based artist—who, tapped by his teacher, began his artistic career drawing murals for his childhood classroom—stays active in his printmaking studio rendering etchings, monotypes, and linocuts like My Neighbor’s House. Studio visits welcome.




Here’s your chance to take a seat home from Chef Bruno Davaillon’s dining room. The Easton Dining Chair by And Objects features hand-wrapped navy blue leather with brass feet. Available for purchase in bespoke sizes.


Cozy up to winter with Akris’ double-breasted long coat in Toscana lamb fur and suede featuring a lapel collar and zipped side slit over a silk cord devoré gown. Available at Akris, Highland Park Village.

FROM THE HEAVENS Gael Stack’s layered canvases with haunting ethereal figures and words invite viewers into her cobalt dreams. Find Stack’s Forget-me-nots No. 8, 2013, oil on canvas, 84 x 64 in., at Holly Johnson Gallery.


Made up of faceted PVC triangles, how fitting to find Issey Miyake’s Bao Bao bag at the newly revamped and relocated Crow Museum Lotus Shop.


Made in Italy by Kartell, Philippe Starck’s iconic Louis Ghost Armchair gave birth to Lou Lou, made expressly for children.


Collect these multi-patterned blue and white Japanese porcelain bowls perfectly suited for morning cereal, lunchtime soup, and evening ice cream. DEC 2018 / JAN 2019


Dallas Theater Center Diane and Hal Brierley Resident Actor Ace Anderson at the Dee and Charles Wyly Theatre. Photograph by John Smith.







allas actor Ace Anderson is on a roll. At only 27, he’s into his third season as a member of Dallas Theater Center’s Brierley Resident Acting Company, he’s performing in five upcoming DTC productions, he’s teaching as part of DTC’s Public Works Dallas Literacy Instruction For Texas (LIFT) initiative, he’s a spoken-word poet, and somehow he’s finding time to run The Striped Heart, his graphic design company. An innate can’t-stop drive has Anderson bouncing all over the creative map. “I can’t just do one thing,” he acknowledges. “If I start to work on another project, like writing poetry, it’ll help me with my acting because I’ve gotten to release in a different way. It gives my brain more space to create and problem solve in the other things I’m working on.” Anderson was determined to become an actor as early as sixth grade, and he understands the importance of teachers and mentors; he counts among his own renowned choreographer Bill T. Jones, with whom he worked on HBO’s Masterclass series some years ago. No wonder Anderson is giving back through

the Public Works Dallas LIFT program. “What I’ve learned in working with students is that there is so much power in eradicating impossibilities,” he says. Between his teaching and acting in Public Works Dallas productions, he’s convinced that the arts can enhance every life, regardless of social status. “I’m very devoted to spreading art,” he continues. “My job now is to spread art as vastly as I can, through whatever means I can, showing people that there are boundless possibilities in creativity.” Anderson’s upcoming productions include DTC’s perennial A Christmas Carol, the Pulitzer Prize–winning Sweat, Shakespeare’s Twelfth Night and As You Like It, and the world premiere of Penny Candy by Dallas playwright Jonathan Norton. “I’m really excited that in Penny Candy I’m playing a Jamaican character for the first time,” he says. “My family is Jamaican, I’m first generation American, and I get to speak in patois, which I’ve never done on stage. I’m hoping my grandparents can make it out to see it.”

DEC 2018 / JAN 2019


DANIELLE GEORGIOU Danielle Georgiou Dance Group performs ensemble-based, experimental dance theater. Over the past seven years, Georgiou’s innovative work has earned her critical accolades and a devoted audience. While Georgiou’s background is in dance, her performers include musicians, actors, and singers, as well as dancers. She says, “They want to do something out of the box and are willing to experiment and contribute. Our work is truly collaborative.” Georgiou’s choreography is dependent upon buy-in from her cast. Working from a roster of 15 to 20 performers, she will invite any number of them to participate, depending on the project. After presenting her concept, she asks them, “What do you want to add?” This successful formula includes training within the disciplines, making the work a cohesive whole. Inherent in the process is a degree of trust. Georgiou says, “We build a family environment with the company that allows us to do this type of work.” Georgiou met partner and co-producer Justin Locklear after her first season. “When we met, we immediately started working together. He is my constant editor and my conscience,” she says. She

credits Locklear with developing the text-based work. In December, Georgiou will be the choreographer for Stage West’s regional premiere of Everybody. Inspired by 15th-century morality plays, the work changes nightly as each performance includes a lottery, wherein one cast member is selected to represent Everybody facing the journey at the end of life. This dynamic presentation plays to Georgiou’s strengths. In her own work, she says, “I want to present performances that make people think. I want it to start a conversation.” Dallas native Georgiou is a first-generation Cypriot-American. Though she grew up ensconced within this small community and was raised biculturally, she offers that she never really fit into either culture. “Underlying most of my work is trying to find my identity,” she says. With support from the Office of Cultural Affairs, DGDG has found a place within the local cultural landscape. “I love making work in Dallas. This is my home and my creative home,” offers Georgiou. And the city is richer for her visionary contributions.

Danielle Georgiou in 9 cents per copy. Photograph by Alisa Eykilis.



Laurie Simmons

Outside Studio Sounds included MOTORCADE in the October 2018 lineup. Photograph by Branton Ellerbee.

MOTORCADE If you’ve been tuned in to KXT 91.7 in the last year or so there’s a better-than-good chance that MOTORCADE has already driven its way into your consciousness. The Dallas band has been in serious rotation since their first single, Recover, slipped into the hands and heart of Gini Mascorro, the station’s resident ’80s-era Anglophile. It was love at first hear. With echoes of early MTV staples like New Order, Depeche Mode, The Jesus and Mary Chain, and others, MOTORCADE’s self-titled first album (Idol Records) is an 11-song collection of original earworms that transports listeners to another time and place, a distillation that’s strangely familiar yet shining new. MOTORCADE, comprised of bassist John Dufilho, James Henderson, guitar and keyboards, singer Andrew Huffstetler, and Jeff Ryan, drums, is something of a lowercase s supergroup: the quartet’s collective CV reads like a who’s who of local noteworthies, including Baboon, The Deathray Davies, The Baptist Generals, and St. Vincent, to name-drop a few. James Henderson is the primary songwriter, but all contribute ideas, lyrics, and the occasional middle

eight. Henderson cut his teeth on early MTV, admitting, “That was totally my wheelhouse. I just loved that style, the atmosphere that all those people achieved on their recordings. Those records are evocative, they put images in your head, and I just wanted to produce something like that.” MTV-weaned drummer Jeff Ryan enthuses, “This was a really fun record to make—it’s just right up my alley.” This year has been a great one for the group, with national airplay and national acclaim. At 2018’s South by Southwest, Chicago critic heavyweights Greg Kot and Jim DeRogatis happened upon the band’s showcase and promptly flipped. Kot named the album one of his top picks of the year, and both critics crowed on Sound Opinions, their syndicated NPR show. John Dufilho adds, “I guess we did something right at SXSW because they’ve been talking us up since then; it’s been a good thing.” And get your New Year in gear with MOTORCADE, The Tomorrowpeople, and Cryptolog in concert at the Kessler Theater on January 5, a KXT Local Show event. P

DEC 2018 / JAN 2019


CHILDREN'S CHORUS OF GREATER DALLAS Artistic excellence and diversity are the pillars underpinning Artistic excellence and diversity are the pillars underpinning the Children’s Chorus of Greater Dallas. Now in its 22nd season, it draws students from across the economic spectrum, educational gamut, and North Texas area. Enjoying his sixth season, Adith Srinivasan is among the more than 500 young singers currently participating in the CCGD. He says, “It is such a hard-working organization and it’s all about perfection.” Srinivasan, a homeschooled 11th grader, says the chorus offers a social connection as well as a sense of camaraderie. “Music is such a unifying force and it gets rid of cliques,” he says. And in an age when his peers are busy cultivating their individual brands, he sees the power of collaboration. “We all have a different sweet spot that we enjoy. When everyone combines ranges, together it becomes a unique whole. This creates a bond and trust with other singers.” The CCGD is comprised of eight choirs, which are led by a team of professional music educators. And though there is a 95 percent acceptance rate of those who audition, these young artists are expected to comport themselves in a professional manner. According to Executive Director Megan Heber, “We are teaching these children to be musicians.” Since 2013, the CCGD has served as the official children’s chorus of the Dallas Symphony Orchestra, which they accompanied in the fall performance of Carmina Burana. In December, the Greater Dallas Youth Orchestra will feature the CCGD in their holiday concert. Winter and spring concerts will be devoted to showcasing each of the choruses. Most of the group’s performances take place at the Morton H. Meyerson Symphony Center. While demanding, an 80 percent annual retention rate suggests that these students enjoy the challenge. “I love all of it, from the rehearsal process to getting up on a stage, even if it’s just for 15 minutes,” Srinivasan says. While music is the medium, CCGD offers broader life skills. Artistic Director Cynthia Nott says, “We are creating better human beings, who are creative. We give them a big project and then break it down to make it manageable. That is the theme of life.”

The Children’s Chorus of Greater Dallas in rehearsal. Photograph by Jeff McWhorte.



DEC 2018 / JAN 2019


Joy Bollinger and Brock Henderson in My Heart Remembers choreographed by Bryan Arias. Photograph by Sharen Bradford.

JOY BOLLINGER As legacy is inherent in the dance world, it is fitting that Joy Bollinger has assumed the role of artistic director of Bruce Wood Dance. Bollinger, a long-time company member, succeeds Kimi Nikaidoh, who took its helm following founder Bruce Wood’s untimely death in 2014. Nikaidoh’s new role is as artistic advisor. The company stays true to Wood’s original choreography as much as possible. It is one in which Bollinger is well versed. As a former company dancer, she has performed in over 50 of Wood’s works. Prior to becoming artistic director, she oversaw the restaging of his bold repertoire. One of the challenges, she realized, was that Wood often shifted the work during rehearsal based upon his dancers. In working through this, she realized, “Simple is better. Usually we can strip something down closer to what he would have wanted.” The company will follow this compass as it moves forward. “Whoever restages the work has performed it and ideally was in a cast with Bruce,” Bollinger explains.



In assembling his company, Wood looked beyond the stereotypical ideal of a dancer. “Bruce loved older dancers and those of different shapes and sizes,” Bollinger says. It is a tradition that continues among the roughly dozen company members. The current season welcomed four new dancers as well as one new apprentice. Eric Coudron, another former company member, succeeded Bollinger as the rehearsal director. Bruce Wood Dance is clearly in good hands. They received widespread acclaim at the prestigious Jacob’s Pillow dance festival last summer. As part of their current season, they will perform at the SOLUNA International Music & Arts Festival. Plans are also afoot to commission new work in the coming year. And Bollinger, who has already choreographed several new works for the company, plans to create another one for the spring season. Through all this, Bollinger says, “The mission is still exactly the same. We want to keep our hands on Bruce’s work. There is a timeless character to his choreography that doesn’t date itself. Bruce was true to himself, the human and humane. It will always work because it was genuine.”

DAVID J. PIERCE What do you call the guy who does it all, musically speaking? Arranging, composing, writing lyrics, trombone, accordion, leading bands, singing, producing, teaching, creating and developing musical events, all the while brainstorming his next project? In the case of Denton’s David J. Pierce, let’s just say Musician, with an accent on versatile. Best known to many as the musical mastermind behind little D’s annual Cirque du Horror and Holiday Lighting Festival extravaganzas, to others for his arranging alchemy for Ricki Derek, Tim DeLaughter, Elle King, Sarah Jaffe, and more, to others as the leader of his old-school Latin dance band El Nuevo Mi Son or his retro/“anachro,” genre-confounding The Hip Van Winkles, Pierce is a musical Renaissance dude, and it’s hard to pinpoint a greatest strength when he excels at them all. Pierce’s musical omnivorousness dates back to his earliest years in Corpus Christi and his mother’s influence. Her eclectic taste embraced everyone from Willie Nelson to The Beatles, ABBA to Freddy Fender, mariachi, and Linda Ronstadt, and Pierce would

focus on “sweetening” the arrangements on those recordings. “I remember a London Symphony Christmas album we had,” he recalls, “and I listened to that cassette so much that I actually wore it out. I started listening to stuff like that; I didn’t listen to Top 40.” His ears were drawn to the big band sounds of Duke Ellington, Count Basie, and Maynard Ferguson, so it’s no surprise that he was attracted to University of North Texas’ College of Music. Pierce earned a degree in Music Education, but he owes much of his informal education to jam sessions with students from all over, a melting pot of international dimensions. “I really got into different composers from all over the world,” he says. “I listened to a lot of the old Cuban and Puerto Rican greats like Cachao, Eddie Palmieri, and salsa stuff that was happening in the ’70s, like Héctor Lavoe, Willie Colón, Rubén Blades. Duke Ellington did change my life, but so did many other people.” Just around the corner, check out Pierce’s arrangements of yuletide classics, live, when A Merry Little Christmas Show with Ricki Derek hits venues in Grapevine, Fort Worth, and Dallas. P

David J. Pierce rehearses Cirque du Horror. Photograph by Megan Gellner.

DEC 2018 / JAN 2019


TACA IN ACTION Transforming lives through the arts, The Arts Community Alliance bolsters promising performing arts organizations.

Junior Players perform Big Fish at Moody Performance Hall. Photograph by DiAnn L’Roy.





t was the week of the rain—one of them anyway—and I set forth to find TACA in action. That was not hard to do since TACA (The Arts Community Alliance) is everywhere, funding not only mainline arts, but also small cells of creativity that energize the atmosphere and make possible the underpinnings of civilized society, so fragile, so hard to build yet absurdly easy to destroy. One thing became apparent: all roads lead back, it seems, to Sammons Center for the Arts, everybody’s home at one time or another, and to Moody Performance Hall, a veritable Jack that has found an indispensable place in the midst of giants and beanstalks. The goal of the groups at Sammons is to perform at Moody. Back to those rainy afternoons…Rosaura Cruz has just moved her Junior Players into High Point Center on Greenville when I track her down. In small but almost tidy offices, boxes barely unpacked, with Megan Carfa, Phillip Slay, and Abby Stigler at work on development, programs, and marketing respectively, the executive director—Cruz herself—is sipping tea to ward off the effects of allergies. They slow her hardly at all, though. Brightly animated, she describes her life at Junior Players, starting at Bryan Adams High School, when Junior Players introduced her to Shakespeare. Imbibing the Bard, she acted in A Midsummer Night’s Dream, Much Ado About Nothing, and Twelfth Night, and then played both Rosalind and Celia in As You Like It, alternating with another student, night after night.

She fell in love with theater and pursued it, along with criminal justice, at the University of North Texas. Today Cruz leads Junior Players into schools all over the city, recruiting teachers to take drama, dance, percussion, graphic design, playwriting, even culinary arts to kids who otherwise might never know them and suffer, as a result, an impoverishment of the mind that, given a chance, thrives on the elegance of true invention. Her work doesn’t stop in the classroom. Junior Players mounts a musical every winter in Moody Hall, with American Idiot coming up in January. That very afternoon she will send out notices to 60 students culled from 200 auditions in 10 schools. Called to El Centro College, they will compete for 26 spots in the ensemble. That’s only part of the picture. There’s also Playwrights Under Progress (PUP) to prepare for. That’s when Junior Players and Kitchen Dog Theater present a reading of six plays chosen from 70 or 80 submissions by DISD students in a week-long festival at Booker T. Washington High School for the Performing and Visual Arts’ Brierley Experimental Theater. Scripts are due in April, with the festival in June, followed in July by another musical, this one produced with the University of Texas at Dallas, featuring students from UTD and DISD, as well as recent alums of Junior Players. As we talk, I notice on the conference room table a box of red envelopes, stamped, addressed, and ready to go. These are thank

Junior Players In The Heights at Moody Performance Hall. Photograph by DiAnn L’Roy.

DEC 2018 / JAN 2019


you notes from the executive director to patrons of Junior Players for their help on North Texas Giving Day. Chances are, given the indefatigable effort of Rosaura Cruz, those donors will be inspired to do even more next time. Same week, another rainy afternoon. This time I go to Houndstooth, a small coffee house on North Henderson. Already there, waiting for me, are Katie Cooper, founder and artistic director of Avant Chamber Ballet, and Fernanda Oliveira, a Brazilian choreographer at Colorado Ballet. She has been in Dallas for two days and will stay the week, preparing dancers in Cooper’s company to perform a new work created just for them. A former dancer herself, Katie Cooper likes to commission new pieces from women and will produce this one, by the regal Oliveira, at Moody Hall in February. With a mailbox at Sammons Center, Avant Chamber Ballet has been at it for five years, honoring classical dance, en pointe, with live music— increasingly rare—but done in a way that is intimate, unimposing, stressing clarity of detail possible only in the immediately personal. Balanchine and Wheeldon—the greats are there, but so is Verdigris, a vocal ensemble assembled in North Texas a couple of years ago by Sam Brukhman. Marrying the medieval to the modern world, these captivating voices can be heard at Moody Hall in early December, performing the little match girl passion, a Pulitzer Prize– winning composition by David Lang. Visualizing the sounds will be Avant Chamber Ballet, in what is sure to be one of the most riveting productions of the season. Suddenly, there at the Houndstooth, as we three are talking, seated at a tall table on high stools, an attractive, down-to-earthlooking guy, wearing a windbreaker against the rain, appears from nowhere, and joins right in. This is David Cooper, husband of Katie and music director of the ballet company, which he helped her assemble. A cyclone of energy, David also is principal horn with the Dallas Symphony. Today he is full of recent reminiscences about his year with the Berlin Philharmonic: the way musicians “listen to each other… feed off each other,” or the time when Hungarian conductor Ádám Fischer replaced a late cancellation and led Dvořák’s Symphony no. 9, not no. 7 as planned. “He showed us the tempo and got out of the way,” David recalls. “The whole orchestra was on fire. Everyone was in the zone.” David Cooper is definitely in the zone at the moment, but perhaps that’s where he always lives. I ask how he met Katie, and he happily recounts how he was playing principal horn with the Fort Worth Symphony and she was running a Pilates studio having returned from a year and a half in Greece to help her sister, who taught yoga there. He traded Katie concert tickets in return for Pilates lessons, indispensable, he explains, to the core breath support needed for his work. You could say that David’s music is genetically inspired, since his grandmother and his uncle both played horn in the Symphony of Lansing, Michigan. As for his life with Katie, “We don’t have kids,” he says, “but we have a ballet company [and] our family will keep on growing.” Katie adds, “Dance is so accessible, so relatable. There’s nothing to understand. There’s no wrong way to experience dance.” Still in search of TACA in action, and the sun has appeared! A good omen, no doubt, for my meeting with the trio of dynamos who run Soul Rep Theatre Company. We gather at Ascension in the Crescent Court and order a late lunch of tortilla soup for them and molten chocolate cake for me with a scoop of vanilla ice cream

Dancer Natalie Kischuk for Avant Chamber Ballet. Photograph by Will Graham.



Dancer Emily Dixon Alba performs in the little match girl passion for Avant Chamber Ballet. Photograph by Will Graham.

DEC 2018 / JAN 2019


Alexis Williams and Rene Miche'al in Soul Rep's signature production, THE FREEDMANS, May 2018, Elevator Project Performance. Photograph by Anyika McMillan-Herod.

on top—outrageous, but one must celebrate the return of the sun. I remember with embarrassing consternation being so entranced by the gang from Avant Chamber Ballet that I never offered them anything at Houndstooth. Making up for it today, I learn, as we dig in, as much as I can about these three founders: managing director Anyika McMillan-Herod, who also does development for St. Philip’s School; co-artistic director Guinea Bennett-Price (she moonlights— no, daylights—teaching at Booker T.); and Tonya Davis-Holloway, the only paid administrator at Soul Rep as well as the other artistic director. We could have met at Sammons, always open to them though they’re headquartered currently at the South Dallas Cultural Center, but Ascension seemed like fun, especially since we were expecting more rain and would need to cheer each other up. Renewed by blue skies, however, they recall for me how they met as students at Booker T., class of ’89. Back in Dallas after college—Prairie View A&M University for Davis-Holloway and McMillan-Herod, who also did a stint at California Institute of the Arts, and Howard University in Washington, D.C., followed by Texas A&M University in Commerce for Bennett-Price—all with degrees in theater, they decided to start their own, in 1996. Why not? “Black theater was gone when we returned,” Bennett-Price explains, lamenting the loss of the African American Rep Company, but recollecting that Davis-Holloway declared, “We can do this ourselves.” And they did. But marriage and kids intervened, and that brought on a 10-year hiatus. Now they are back, though, with four regional premieres this season at the South Dallas Cultural Center, plus a collaboration with Dallas Children’s Theater. Soul Rep got a big break last year when the Elevator Project chose



the company to perform at the Dee and Charles Wyly Theatre. They produced The Freedmans and realized once again that “we belong in the Arts District,” as Bennett-Price insists at lunch, “next to the Moody.” Having served on the original committee for the Dallas Arts District, Bennett-Price is in firm possession of the original plan to build there a black-box theater seating 200 to 300 people. The Moody happened instead, and that’s nothing to regret. It’s an indisputable asset, as this mini-tour of mine makes clear. But that still leaves the promise of a small, intimate space unfulfilled. The Wyly Theatre has the Studio Theatre, and the Winspear, Hamon Hall. Then there are two Horchow venues, one at the Meyerson Symphony Center, the other at the Dallas Museum of Art, but, important as they are, none quite function in the way this black box would, offering classes, rehearsal space, and all kinds of artistic services along with dramatic productions. The Soul Rep women are right. Once again, why not? Why not a home for Soul Rep and other small groups whose arts would add a lot to a district that has always advertised variety as well as vitality and verve? Oh yes, before we leave, we celebrate Bennett-Price’s birthday with chocolate cake for her. Another sunny day, and I land, finally, at Sammons Center. There, the Fine Arts Chamber Players are holding forth on the third floor, arranging free concerts of impeccable quality for Saturday afternoons at DMA’s Horchow Auditorium; shaping up Basically Beethoven, a summer festival at the Moody; and maintaining a schedule of music lessons, also free, in area schools. I spot several small violins on shelves overhead as founder and artistic director Rogene Russell, until recently principal oboist with the Dallas Opera Orchestra, describes

how they search for talent and how she found it, a bonanza, quite by chance, teaching at Onesimo Hernandez Elementary, near Love Field. It was career day and she was demonstrating life on the oboe when, to her surprise, she noticed that one boy, a fifth grader, was recognizing everything she played. Later she met his school counselor, who had been helping the boy, named Quinn Mason, do his homework in her office, while she listened to classical music on WRR. He listened too, and was spellbound by what he heard. It wasn’t hard for that counselor to persuade Rogene Russell to rally her resources at Fine Arts Chamber Players on behalf of Quinn Mason. They made sure, over many years, that as Mason moved from Hernandez to Thomas J. Rusk Middle School to North Dallas High School, he had a cello, a strings teacher, CDs, books, a laptop, and software, plus plenty of exposure to their concerts at the DMA, and a stint in a youth orchestra. Determined not only to train him as a cellist, Russell sought also to instill in this prodigy the value of money as it relates to the value of music. She devised “Beethoven bucks,” she tells me, faux dollars that he would give to the teacher who then would send them to FACP for payment. “If he lost the Beethoven bucks,” she explains, “then no lesson. [I wanted him to know] that when you take a lesson it costs money.” From Richland College, Mason progressed inexorably to music

studies at Texas Christian University, Southern Methodist University, University of Texas at Dallas, and well beyond. Now, at 22, a recognized composer with an eye on conducting, he has written works compelling enough to win him a commission with the Dallas Symphony, set to premiere next year. His String Quartet no. 8 was heard last summer at Basically Beethoven. More will come in this remarkable trajectory into outer spaces most can never dream of, much less attain. “It has been a total joy for our organization to be able to support it,” Russell sums up. But nothing stays summed up forever, or even for long. Nobody knows that better than Emily Guthrie, executive director of Fine Arts Chamber Players. A versatile supporter of the arts, from Second Thought Theatre to Kitchen Dog Theater, she now presides over development, grant writing, communications, and whatever else it takes to keep chamber music aloft and flourishing. Well versed in serving an audience, she learned a lot, she remembers, from an early experience, opening Paciugo Gelato Caffè on Lovers Lane. Italian ice cream is not so different from Italian music, all music really. Both are born to bring a touch of Venus to a world that thinks this is a planet, or a line of clothing, not the mythical goddess of love, desire, and beauty. It is the aim of TACA to keep that Venus alive. P

Fine Arts Chamber Players Basically Beethoven Festival at Moody Performance Hall. Photograph by Noah Winston.

DEC 2018 / JAN 2019



BRAVE NEW DAY Kim Noltemy, Dallas Symphony Orchestra’s First Female President and CEO, takes women to the podium.


im Noltemy Day” was declared by the mayor of Boston a year ago when Noltemy left that city’s fabled symphony to run the Dallas Symphony Orchestra. Indeed Kim Noltemy Day might well have been trumpeted at the Meyerson Symphony Center when she arrived in January. Brimming with ideas, steeped in 21 years of experience in live music, both classical and pop, she promises to do for new conductor Fabio Luisi what Deborah Borda did for Esa-Pekka Salonen and Gustavo Dudamel as CEO of the Los Angeles Philharmonic and, now, for departing Dallas maestro Jaap van Zweden in his new arena, the New York Philharmonic. Before van Zweden even officially arrived, Borda had canceled a US tour, deciding instead to emphasize home base—“Phil the Hall” was the motto. She also had called off a gut-wrenching renovation that would have torn the innards out of David Geffen Hall at a cost rapidly rising to $600 million, or maybe $900 million, putting the players on the streets for two seasons at least, searching like vagabonds for a place to perform. In her spare time, Borda quickly raised $50 million, a good-will gesture toward curing the orchestra’s chronic deficit. Fabio Luisi, like van Zweden, is a conductor of the first rank, in line at one point to succeed James Levine as music director of the Metropolitan Opera. Getting him to Dallas is a fantastic coup, and a lot of the credit must go to the taste and intelligence of Morton Meyerson, chair of the search committee. There’s a good chance, however, that Kim Noltemy also figured in Luisi’s decision. No conductor, no matter how gifted, can do everything. Without a strong president to raise money, negotiate contracts, weigh critical choices and indeed, fill the hall, maestros are in danger of making music that never gets across the footlights to a wider world.



Dallas Symphony's President & CEO Kim Noltemy at The Artisan located in the KPMG Plaza at HALL Arts which overlooks the Meyerson Symphony Center. Photograph by John Smith.

DEC 2018 / JAN 2019


From left to right: The maestro during Fabio Luisi Conducts the Dallas Symphony Orchestra; DSO’s forthcoming Music Director Fabio Luisi at a press conference announcing his appointment. Photography by Sylvia Elzafon.

Noltemy knows how to do all of that. In a nation of too many lightweights who think they are heavyweights, she is the real thing. She grew up in Boston, majored in East Asian Studies at Smith College, where she learned to speak Japanese, then worked in Tokyo, honing her expertise in international marketing. Back home again, she pursued a career in tourism and trade, helping the State of Massachusetts organize business missions to Europe and Japan. This involved foreign tours for the Boston Symphony Orchestra (BSO) in the heady years of conductor Seiji Ozawa. Noltemy found sponsors and in return got them tickets to the symphony, then as hard to come by in cultivated Boston, she says, as “tickets to the Super Bowl.” Unschooled in music except for a childhood fling with the flute—“I was not very good,” she admits—Noltemy took a flier on a marketing job with BSO. By then it was harder than in the Ozawa era. “Everything was changing,” she explains, pointing to the dominance of sports and rock stars and the growing power of the Internet to reach an audience.



She made Boston one of the first orchestras to sell tickets online and offer podcasts for education. Noltemy’s rise at BSO was inexorable, with “more and more responsibility” for Boston Pops and Tanglewood, the symphony’s summer home, and, finally, as chief operating officer. There’s nothing mysterious about her success. “I get things done,” she explains, “I get a lot of things done every day.” That is immutably true. No sooner had Noltemy promised a female Principal Guest Conductor than Gemma New appeared to take up the post next season. After conducting the Christchurch Youth Orchestra in New Zealand as a teenager, she moved on to study physics, mathematics, and music in college, then more music at the Peabody Institute in Baltimore where she founded and directed the Lunar Ensemble, premiering 30 compositions. Then fate and formidable talent sent her sailing from one important assignment to another —New Jersey, Los Angeles, Ontario, Saint Louis, and now Dallas, all the while doing guest appearances across Europe.

I meet Gemma New in a conference room at the Meyerson one rainy afternoon when she is spending the day getting to know circles within circles at the orchestra and sizing up her role in the emerging order there. I find her to be a quiet beauty—young, blonde, fragile, of high value, like porcelain. I remember, however, that porcelain can be strong enough to cover floors, and New, for all her modest demeanor (a welcome relief in a world of frenzied self-promotion) is strong enough, as I could see watching her on YouTube, to keep 80 instruments aloft and soaring together. She comes to life in conversation, explaining musical programs she has arranged, but declines to talk about the plans for her first performance with the DSO a year from now. This will be worked out later that afternoon with Peter Czornyj, Vice President of Artistic Operations. Whatever they decide, Gemma New can be relied upon to “unlock secrets in the score,” as she has said she loves to do. More secrets, more scores, are in the works in the office of Kim Noltemy, where ordered calm suggests that she acts, not in a fever of activity which some might think necessary to accomplish so much so soon, but with sure deliberation based on insights settled long ago and now updated daily as a matter of course. Noltemy has pledged to commission 20 new works over 10 years, half of them by women composers, one of whom, Pulitzer Prize winner Julia Wolfe, has already been named Composer-in-Residence for two seasons. An opera-inconcert will be scheduled every year, certainly a savvy decision since in Fabio Luisi Dallas has one of the foremost opera conductors in the world. Next season will feature Salome, always exciting even without the actual dance of the seven veils. In addition, she has signed on with LiveNote to offer moment-by-moment commentary on smartphones, iPads, et al. during selected concerts this season.

Top: Gemma New conducts. Photograph by Fred Stucker. Below: Gemma New is the newly named Principal Guest Conductor of the DSO. Photograph by Roy Cox.

DEC 2018 / JAN 2019


Above: Principal Horn David Cooper. Photograph by Sylvia Elzafon. Right: Composer-in-Residence Julia Wolfe. Photograph by Peter Serling.

Noltemy has given much thought to Southern Dallas, with her most compelling proposal directed toward finding a way for more children to have not only music lessons but instruments as well. Principal horn David Cooper was thrilled when Noltemy leapt on his idea to start a horn camp for kids and pursued it right away at Red Bird Mall, dovetailing nicely with Mayor Mike Rawlings’ Grow South initiative. Ever the expert marketer, Noltemy means to liven up the Meyerson with post-concert gatherings where people can mingle with the musicians as well as each other. She’s working with the Office of Cultural Affairs to upgrade the food served before the show, and that’s essential. The lowest bidder can’t be counted on to deliver the highest culinary offerings, which too seldom are presented now—except for the bread pudding, truly a welcome comfort. The toughest trouble at the DSO is the deficit, called “structural” since it cannot be blamed on cycles or on acts of God. The fault, as Shakespeare said, is not in their stars but in themselves; not that they are underlings, but that their ambition outpaced their income. So



Noltemy’s deficit is chronic, just like Deborah Borda’s at the New York Philharmonic. The New York Times recently reported that in 2015–2016 Jaap van Zweden was the highest paid conductor in the country at $3.6 million. Noltemy confirms this, adding that his compensation has ranged from $5 million scaling down to $2.3 million as his Dallas commitments taper off. She also confirms that Fabio Luisi, as might be expected, operates in the same league. The truth is that this is what quality costs. So, how to pay for it? Noltemy and her board chairman, Sanjiv Yajnik of Capital One Financial Services, hope to attract more corporate support, which should be theirs by obvious obligation, and uncover new funding sources as well. It’s a song sung countless times before, as one leader after another has sought “to broaden the base of the symphony.” This time, however, Noltemy has a firmer, more realistic, impresariominded grasp of the situation. Her approach? Generate not just donations, though that’s important, but more earned revenue, including ticket sales, food and beverage, retail, and rental of facilities. “The DSO

"I get a lot of things done every day..." –Kim Noltemy, President and CEO, Dallas Symphony Orchestra

is underperforming at 30 percent,” she points out, when earned revenue “should be 40 percent” of total intake. In Boston, she says, “earned revenue is 54 percent.” Moreover, she adds, “I know how to make that happen, and it can mean $1 million more a year.” Additional help can be expected from Sanjiv Yajnik, a turnaround artist who, when he took over a Capital One business staggering through the Great Recession, was handed a mandate to shut it down. Instead, he converted Financial Services into the second largest area in the bank. Trained as an engineer in his native India, Yajnik worked for Mobil all over the world, then Pepsi, before joining Capital One. He brought a love of music to the DSO board two years ago, along with a background playing the drums and guitar in a band while growing up. He has a cousin who’s a famous singer in India, and his son, Shiv, a student at St. Mark’s School of Texas, is a formidable pianist and composer at age 15, having performed his own work at Moody Performance Hall last summer. His daughter, Dr. Tanya Yajnik, also musically gifted, has not neglected her voice or the piano while at Yale’s Graduate School of Public Health. Sanjiv Yajnik is no executive simply fulfilling his civic duty at DSO. He has a passion for the project. Noltemy lives downtown in the old Dallas Power & Light building, now converted to loft apartments. As a Bostonian, she “wanted some history,” she notes, and the Art Deco décor works perfectly for her. What’s more, “the windows will open.” Her daughter Amanda, an

architecture major newly graduated from Brown University and now working in Boston, has been to visit. So has her son Alex, who started a learning company in China while getting a master’s in international education at Stanford University. Currently in Nanjing, he will probably move his business to Beijing soon, she expects. Both are African American and, according to Noltemy, were especially impressed by the diversity of people they saw at the Dallas Museum of Art. That’s exactly what Kim Noltemy wants for the Dallas Symphony— people from everywhere, and especially young people. Like Deborah Borda, she hopes to attract a younger audience to regular concerts, not just programs designed specifically for them. That means we can expect an infusion of youthful energy with the arrival of invigorating new work Noltemy and Luisi are commissioning, including Caravan: A Revolution on the Road, featuring master of the jazz trumpet Terence Blanchard and his band; hip-hop choreographer Rennie Harris and company; and out-of-sight projections by Andrew Scott of the School of Arts, Technology, and Emerging Communication (ATEC) at the University of Texas at Dallas. The world premiere will be next April 9 at the Majestic Theatre. What I want, declares Kim Noltemy, is “a timeless symphony” where everybody can have “great music and a great night.” My bet is she will, as she says, “make it happen.” P

Executive Board Chairman Sanjiv Yajnik. Photograph by Sylvia Elzafon.

DEC 2018 / JAN 2019



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DEC 2018 / JAN 2019


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DEC 2018 / JAN 2019


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DEC 2018 / JAN 2019


Howard and Cindy Rachofsky at TWO x TWO for AIDS and Art Twenty Years. Photography by Kevin Tachman


Meghan Looney

Oliver Barker, Howard Rachofsky

Armie Hammer, Elizabeth Chambers Hammer, Nasiba HartlandMackie, Thomas Hartland Mackie, Dana Arnold, Michael Arnold, Whitney Wolfe Herd, Michael Herd

Nancy Rogers

Alan Cumming, Cindy Rachofsky, Bill Roedy

Ryan Johnson, Dana Schutz

Howard Rachofsky, Alexandra Roedy, Bill Roedy

Clay Smith, Ellen Smith, Susan Kaminski, Bob Kaminski, Ryan Beal

Tim Headington, Jeny Bania

John Eagle, Jennifer Eagle, Megan Wood, Brady Wood

Brian Bolke, Faisal Halum

Melissa Ireland, Will Cromley, Michael Patrick




Catherine Rose

Joe Cole, Kristen Cole

Francisco Moreno, Manny Alcala

Nancy Rogers, Kathleen Hutchinson



Drew Ireland, Melissa Ireland

Todd Fiscus, Ceron, DJ Lucy Wrubel

Claire Bergeal, Niamh Coghlan, Darragh Hogan

Cindy Rachofsky, Howard Rachofsky, Laura Cunningham, Thomas Keller

Harlan Levey, Tammy Cotton Hartnett, Dr. Agustín Arteaga

Elsbeth Weempe, Jane Weempe, Joyce Goss, Barbara Buzzell

John Eagle, Josy Cooner, Jennifer Eagle

Eric Maas, Sheryl Maas


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Brandon Kennedy, Roger Kobes

Marlene & John Sughrue

LAURIE SIMMONS: Big Camera/Little Camera Through January 27 MODERN ART MUSEUM OF FORT WORTH 3200 Darnell Street Fort Worth, Texas 76107

Follow the Modern

Lead support for the presentation of Laurie Simmons: Big Camera/Little Camera at the Modern Art Museum of Fort Worth is generously provided by Harper’s BAZAAR, Jimmy Choo, and The Andy Warhol Foundation for the Visual Arts. Additional support is provided by the Kleinheinz Family Endowment for the Arts and Education, Baldwin Gallery, and Salon 94, New York. Pictured: Still from The Music of Regret, 2006. 35mm film (transferred to HD Cam). Dimensions variable. Courtesy of the Artist






Lindsey Collins, Amanda Shufeldt, Agustín Arteaga, Catherine Marcus Rose

Francesca Massey, Bella Massey

Chad Vose, Sharon Young, Selwyn Rayzor, Gayle Stoffel, Paul Stoffel

Robert Cavalli at NorthPark

Jennifer Karol, Lynn McBee

Ronaldo Sosa, Maria Garcia

Brooke Hortenstine, Rebecca Enloe Fletcher, Ellen Marsau Burger

Joyce Goss, Fabio Crippa, Natalie Lo




DJ Lucy Wrubel

Tammy Gonzales, Victor Parra – Art by Hatziel Flores

Dark Circles Contemporary Dance

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Marcie Haley

Peter Doroshenko, Roksolana Karmazyn, John Pomara, Caroline Elbaor

Rosa Langley



Hendrika Rhoad, Manuel Huerta, Caroline Elbaor, Hannah Fagadau

Renee Brady, Joe Flores, Teresa Moeller

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Roy Maddox, Jorge Esteban, Ricky Martin

Michelle Boals, Ryan Anthony, Niki Anthony

Jessica Nowitzki, Kimberly Schlegel Whitman

Lisa Segert, Bob Segert




Christian Moeller’s Duet figures, designed for Dallas Children’s Theater, are tall and graceful, inviting multiple readings.



Dallas Children’s Theater celebrates 35 years and announces Duet, a forthcoming sculpture commission by German-born artist Christian Moeller.


t’s lights. It’s costumes and concept. And it’s all-consuming allure. In short, it’s the magic of theater—and while this is a fascination to which almost any adult readily succumbs, it’s also one of the more formative experiences that shape a child’s imagination. Thus, Dallas Children’s Theater (DCT) is an extraordinary venue that provides top-tier talent for multiple generations. To quote audience members, “It’s real theater.” And soon it will also enjoy the addition of a convivial work by Christian Moeller, a noted German artist currently based in Los Angeles. When contacted regarding the project, Moeller stated, “I have never had the opportunity to work in the context of a children’s theater, so it was a true pleasure to develop this concept.” He added, “The resulting proposal was two sculptural figures—friendly, playful companions [to be installed] on the grounds of a wonderful performance environment dedicated to nurturing the creativity of our children.” The artist fully understands the importance of enhancing the grounds of the DCT, and he has proven himself to be remarkably adept at constructing precisely the kind of structure that, like the theater, works on multiple levels. Moeller’s work, Duet, is a bright red biomorphic piece that features a mother-and-child motif that, for many, takes on the characteristics of giraffes. For others, the shapes are said to intimate the contour of snails; in either case, the pieces gently sway to create a feeling of familial nuzzling. The work is literally—and figuratively—moving, but it comes with a price tag that is hardly insignificant.



Co-founder of the theater, Robyn Flatt, notes, “We started with only $500 in seed money in 1984, so we’re used to challenges. And this is another one. The cost of Duet comes to $500 thousand when installation and maintenance are included.” This is daunting for any nonprofit, especially one that travels the globe to perform in places as distant as Shanghai. If that isn’t impressive enough, DCT also distributes thousands of gratis tickets to disadvantaged youth. Add to all of this the organization’s many educative endeavors and the laudable achievement of giving 30,000 (and counting) children the momentous experience of being onstage, and it’s nothing short of miraculous that the enterprise is not only surviving but thriving. That being said, DCT is avidly seeking donors, even though their current operating budget has now climbed to over $4 million. While this may seem lavish, Flatt will let you know that it’s not nearly enough. “There’s so much we’ve done, but there is so much more we need to do. This new sculpture is something we’re thrilled about. And it’s a valuable addition to the arts community as a whole.” She pauses before adding, “TIME magazine may have given us one of the top five slots in children’s theater in the country, but I want to see us at number one.” After speaking with her, I have zero doubt this will happen. The woman is a juggernaut of energy and enthusiasm. And if it begins to seem as if the whole DCT enterprise should be shrouded in a golden nimbus, you’re right on track. So, give lavishly and enthusiastically. P



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