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y definition, the contemporary art world is constantly evolving. The number of artists represented by the everexpanding local gallery scene reflects an increasingly diverse artistic community. Below is a sampling of some of the newest artists added to gallery rosters. The recent opening of River Bend in the Dallas Design District brings a concentration of galleries to yet another part of this thriving area. In March, 214 Projects inaugurated its space with Emmanuel Van der Auwera: White Noise, presented by Brussels-based Harlan Levey Projects. Erin Cluley Gallery relocated to this center the following month, presenting installations by Chul-Hyun Ahn and Catherine MacMahon, both of whom are new to her program. MacMahon’s use of thread and steel rods references traditional women’s work and craft, an aspect that drew Cluley to the series. In addition to these artists, Cluley shows work by Riley Holloway and Taylor Barnes. River Bend also includes the first to brave the new area, James Cope’s AND NOW, which opened with work by Oto Gillen this April. Sisters Hannah and Hilary Fagadau mounted a sneak peek of 12.26, their forthcoming fall gallery, in the farthest corner at Dallas Art Fair in April—a booth fairgoers had to be persistent to find. And found they were. Works by Gracie DeVito, featured in Patron’s previous issue, were all but gone prior to the evening’s Preview Benefit. Miya Ando and Caroline Andrieu are the fresh faces added to The Public Trust’s programming. Their representation coincides with the gallery’s new space on Irving Boulevard. In the past year on Monitor Street, Galleri Urbane welcomed Danielle Lawrence, Liss LaFleur, and Benjamin Terry to their exhibiting artists. Lawrence deconstructs conventional painting elements by deftly reassembling stretcher bars, canvas, and paint to create an entirely new language of art making. Other materials, such as paper and clay, are often incorporated, blurring the line between painting and sculpture. Next door, Liliana Bloch Gallery brought Pedro Velez, Simón Vega, Alicia Eggert, and Nathalie Alfonso to her lineup. Bloch’s exhibitions often present deeply intellectual perspectives. Such is the case with Nathalie Alfonso, the first performance artist to enter Bloch’s stable. Bloch is drawn by the way Alfonso can use her body as a medium and the social justice concerns addressed in her work. While Holly Johnson Gallery maintains a relatively fixed stable of artists, in the past year she has brought Stuart Arends and Eric Cruikshank to her program. Johnson has long admired the small cube-like structures for which Arends is known. After visiting the artist in his studio in New Mexico, Johnson decided to bring his previously unseen watercolors to the gallery. Though she has been a fixture on the DFW art scene for decades, it has been some time since Sherry Owens has had local gallery representation. She, along with Steven Charles, are the newest artists at Cris Worley Fine Arts. Worley is drawn to the purity that Owens brings to her sculpture, fashioned from her signature crepe myrtle branches. On Dragon Street, Craighead Green Gallery recently began representing the work of Rebecca Shewmaker, Otto Duecker, and Jeff Uffelman. Shewmaker intricately stitches her sewn landscapes, giving them a jewel-like quality. At Mary Tomás Gallery, Shawn Saumell’s shimmering surfaces, achieved through a nontraditional use of photography, belie his explorations of environmental

Stuart Arends, Stanza del Amore 26, (side view), 2016, 15 x 9 x 4.25 in., courtesy of Holly Johnson Gallery; Nikola Olic, Blue Green Mile, 2016, photograph, courtesy of the artist and Afterimage Gallery



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