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Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

May / June / July 2019

TERRI PROVENCAL Publisher / Editor in Chief Instagram terri_provencal and patronmag

When writing this note, Notre-Dame’s spire had crumbled to ash the day prior leaving the entire world grieving and longing to right the centuriesold cathedral. Of the hundreds of millions of euros pledged within hours of the devastating fire that engulfed the building, which French President Emmanuel Macron has vowed to rebuild, it was deeply apparent that those with a passion for art and culture remain the great caretakers for generations to come. Stepping up, among many generous donors, French art collectors François Pinault and his son François-Henri Pinault of Kering Group (Balenciaga, Boucheron, Yves Saint Laurent) pledged over €100 million; following suit, business rival LVMH Group (Celine, Dior, Givenchy, Louis Vuitton) CEO Bernard Arnault vouchsafed €200 million more. L’Oréal matched that €200 million gift. For creativity brings out the hopeful in everyone. This is the best of the arts. In Texas, the dust had yet to settle on Dallas Arts Month before we put the finishing touches on Patron’s Best of the Arts coverage. We had a tremendous time in April—Dallas Art Fair’s 11th installment, SOLUNA’s 5th go-round, Nasher Prize’s 4th honored laureate—nevertheless it was time to turn our attention to the vestiges of spring before heading into the season when things heat up but slow to a simmer. It’s the month of May in which galleries bring a renewed and final flourish before forging ahead with group shows during the summer months. The lack of public satiety for novelty is prevalent in galleries. Dealers bravely seek the next artist to satisfy appetites while invigorating the established. It’s here we begin our Best of the Arts coverage. Nancy Cohen Israel finds newly represented artists showing work at area contemporary galleries in New On View and delves into the strong female curatorial voices enthusiastically present within our major museums in Retelling the Story. We also take a closer look at the American-born, Paris-based textile artist Sheila Hicks, an octogenarian mounting a site-specific installation at the Nasher Sculpture Center opening on May 11, in Looming Large. And the late David Park, pioneer of the Bay Area Figurative Art Movement, gets his due at the Modern Art Museum of Fort Worth in June with a retrospective. Chris Byrne interviews Janet Bishop, Thomas Weisel Family Chief Curator and Curator of Painting and Sculpture at San Francisco Museum of Modern Art, about the exhibition in Park Placed. In Steve Carter’s Virtuosity in a Tiny Texas Town and Lee Cullum’s Tomorrow’s Talent, both writers share their encounters with musical prodigies highlighting the little known but nonetheless exceptional Round Top Festival Institute and the 2019 Cliburn International Junior Piano Competition, respectively. Endurance plays a role in these institutions as much as it does in Reviving a Park Cities Grande Dame, which tells the story of Gigi Potter’s prudently restored historic home. Our cover story places readers inside the home of art collectors Claire and Brian Gogel. Working with art advisor Anne Bruder, and with the advice of an important arts patron friend, the couple’s home brims with the work of female artists and artists of color, all at one point underrepresented in their field. Art is nothing without risks. Consider Christian Dior, first an artist selling his own sketches, a gallerist selling works by Picasso second, and most enduringly to grateful women everywhere, the fashion designer who founded the House of Dior. Kendall Morgan details the ingenuity behind the house’s survey Dior: From Paris to the World at the Dallas Museum of Art in J’Adore Dior. As French blood flows partially through my veins (my father remains quite proud of our Provence roots), I can’t help but take notice of the persistent influence of the City of Lights. “We are rebuilders,” French President Macron declared. We are rooting for you—Vive la Paris! – Terri Provencal



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FEATURES 52 BEST OF THE ARTS: MARK MAKERS Curators, gallerists, and artists changing the landscape in North Texas. By Nancy Cohen Israel 58 LOOMING LARGE Fiber artist Sheila Hicks mounts a site-specific installation at the Nasher Sculpture Center. By Danielle Avram 62 J’ADORE DIOR The enchanting Dior: From Paris to the World exhibit makes its mark at the Dallas Museum of Art. By Kendall Morgan 66 SHINING A LIGHT Claire and Brian Gogel’s art collection focuses on formerly underrepresented artists. By Nancy Cohen Israel 74 CHIC WAVE Get glam in summer’s hottest fashions. Photography by Richard Krall. Creative Direction by Elaine Raffel.



58 On the cover: Above the fireplace: Jadé Fadojutimi, A Flooded Fool, 2018, oil on canvas, Pippy Houldsworth Gallery, London; On the cocktail table: Matthew Ronay, Lamentation, 2017, Basswood, dye, flocking, steel, plastic and polycarbonate, Casey Kaplan Gallery, New York.

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DEPARTMENTS 8 Editor’s Note 14 Contributors 20 Noted Top arts and culture chatter. By Anthony Falcon Of Note 36 IN THE HEADLINES Contemporaries 36 PARK PLACED The Modern mounts influential Bay Area Figurative painter David Park’s retrospective. By Chris Byrne Studio 38 JIGSAWED HEART ON HIS SLEEVE AND ALL Benjamin Terry’s Long-Distance Puzzles of Love and Sentimentality. By Brandon Kennedy


Performance 40 TOMORROW’S TALENT The 2019 Cliburn International Junior Piano Competition cultivates brilliant young minds. By Lee Cullum 44 VIRTUOSITY IN A TINY TEXAS TOWN James Dick’s Round Top Festival Institute is a musical crown jewel of the Lone Star State. By Steve Carter Space 48 REVIVING A PARK CITIES GRANDE DAME A thoughtful restoration. By Peggy Levinson There 82 CAMERAS COVERING CULTURAL EVENTS 40


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Furthermore 88 NEW CULTURAL DIMENSION The stunning Latino Arts Project opening on Dragon Street. By Patricia Mora

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DANIELLE AVRAM is a curator and writer based in Dallas. She has held positions at Texas Woman’s University; Southern Methodist University; The Power Station and The Pinnell Collection; and The High Museum of Art. She has an MFA from the School of The Museum of Fine Arts and Tufts University, and a BA from the University of Texas at Dallas. In this issue’s Looming Large, she investigated the practice of Sheila Hicks, who will install a site-specific solo show in Nasher Sculpture Center’s Garden and Lower Level Gallery.

COSTA CHRIST is an architectural photographer whose work is predicated on the unorthodox practice of shooting interior images by strictly utilizing natural light. An SMU graduate, Costa and his wife Jackie operate Costa Christ Media, which has earned the trusted support of awardwinning designers, architects, builders, and realtors around the state. Employing his signature style for Patron, he captured the home and collection of Claire and Brian Gogel in Shining a Light.

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.

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. 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, including Ben Terry in this issue, for Patron’s Studio column.

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.” See his work in Chic Wave for Patron’s summer issue.

PEGGY LEVINSON often shares news of the latest trends in design as a former showroom owner and expert in the field. In Space, however, she delves into the art of lovingly preserving an historic home with integrity. In Well Preserved she interviews authorities including landscape architect Paul Fields of Lambert’s (celebrating their centennial), architect J. Wilson Fuqua, builder Robby Skinner, and homeowner Gigi Potter, who hails from a family of metal artisans deeply embedded in the fabric of Dallas for generations.

Lindsay Roche

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, 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.

STEVE CARTER spreads the word about Round Top Festival Institute, a unique music festival that’s been celebrating the arts for 49 years, deep in the heart of Texas, in Virtuosity in a Tiny Texas Town. Founded by concert pianist James Dick, the Festival Institute is a magnet for the world’s finest music students and faculty. “I had the honor of interviewing both James and notable alumnus Jason Thomas Aylward,” Carter says. “RTFI is a world-class jewel.”



NANCY COHEN ISRAEL is a Dallas-based art historian, curator, and lecturer. For the current issue, she enjoyed highlighting the contributions of female curators in the area as well as reporting on new artists joining local galleries. And in Shining a Light she had the opportunity to visit with art collectors Claire and Brian Gogel on the appeal of underserved artists. In addition to being a contributor to Patron, Nancy lectures at the Meadows Museum, where she will present a June series devoted to the Flemish influence on 15th-century Spanish painting.

LEE CULLUM is a journalist who concentrates on economic, foreign policy, and political issues in addition to hosting CEO on KERA-TVFM. A great love of hers, however, is the performing arts. This means nothing could be more satisfying than covering the upcoming 2019 Cliburn International Junior Piano Competition at SMU’s Meadows School of the Arts. These are astonishing young pianists, some of whom will have fantastic concert careers. All who come to Dallas to compete in late May will have extraordinary technique.

KENDALL MORGAN is a Dallas-based journalist whose work has appeared in The Nasher magazine and Patron among others. Throughout her career, Morgan examines the space where culture, art, fashion, and food align. Uniquely suited for the retelling of Christian Dior’s legacy, an art gallerist turned couturier, in J’Adore Dior she apprises Patron readers of this summer’s hot exhibition Dior: From Paris to the World on view at the Dallas Museum of Art through September 1, 2019.

ELAINE RAFFEL blames her obsession with designer fashion and opulent jewels on her years as creative head for the crème de la crème of retail: Neiman Marcus, Bergdorf Goodman, and Stanley Korshak. Chic Wave finds Elaine outdoors teamed up with photographer Richard Krall and stylist Molly Terry to present summer fashion and accessories from local stores at a spectacular home in Highland Park listed by Faisal Halum Real Estate of Briggs Freeman Sotheby’s.

M AY 1 9 – S E P T E M B E R 1



IMAGES (details): Gianfranco Ferré, Rove Hellébore, Dior Collection Haute Couture, Spring 1995, Photo © Paul Roversi / Art + Commerce

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 Danielle Avram Chris Byrne Steve Carter Lee Cullum Nancy Cohen Israel Brandon Kennedy Peggy Levinson Patricia Mora Kendall Morgan CONTRIBUTING PHOTOGRAPHERS Megan Gellner Shana Anderson Reverie Photo Co. Beckley & Co. Robert LaPrelle Marco Borggreve Rodger Mallison Sharen Bradford Mendoza Photography Bruno Tamytha Cameron Richard Krall Bret Redman Costa Christ Kristi Redman Harrison Evans Scot Redman Brian Forrest John Smith Exploredinary Fort Lion Studio Kevin Todora STYLISTS/HAIR & MAKEUP Phillip Anderson Samantha Landis Elaine Raffel Molly Terry 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

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CALIFORNIA C. 1970 MAY 10–AUGUST 11, 2019 Disappearing—California, c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein is curated by Philipp Kaiser and organized by the Modern Art Museum of Fort Worth. Support for the exhibition is generously provided by the Kleinheinz Family Endowment for the Arts and Education. Pictured: Jack Goldstein, The Jump, 1978 (film still, detail). 16 mm film, color, silent projection, and two black light tubes; 26 seconds. Courtesy The Estate of Jack Goldstein. © The Estate of Jack Goldstein


David Park: A Retrospective is organized by the San Francisco Museum of Modern Art. The exhibition is curated by Janet Bishop, Thomas Weisel Family Curator of Painting and Sculpture at SFMOMA. Support for the presentation of David Park: A Retrospective in Fort Worth is generously provided by the Kleinheinz Family Endowment for the Arts and Education. Pictured: David Park, Two Bathers, 1958. Oil on canvas. 58 x 50 inches. SFMOMA, Purchase through gifts of Mrs. Wellington S. Henderson, Helen Crocker Russell, and the Crocker Family, by exchange, and the Mary Heath Keesling Fund

Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215

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01 AFRICAN AMERICAN MUSEUM #Us Too: Black Women Artists continues through Aug. 10. Reflections Through Digital Soul will feature Andrew Scott’s sculptures through Jul. 15 and Carroll Harris Simms National Black Art Competition and Exhibition will be on view through Aug. 24. 02 AMON CARTER MUSEUM OF AMERICAN ART From Remington to O’Keeffe: The Carter’s Greatest Hits continues through Jun. 2. With the Help of Friends celebrates fifteen dynamic photographs ranging from the 1930s to the present day that were acquired over recent years by the Amon Carter. With the Help of Friends closes Jun. 2. 03 CROW MUSEUM OF ASIAN ART Immortal Landscapes: Jade and The Art of Lacquer continue through Jun. 23. Hands and Earth: Contemporary Japanese Ceramics showcases a range of shapes, glazes, and surface treatments. These ceramics reflect a duality of character, blending ingenuity with a dynamic relationship and deep respect for tradition. On display through Jan. 5, 2020. 04 DALLAS CONTEMPORARY Francesco Clemente: Watchtowers, Keys, Threads, Gates; Self Service: TwentyFive Years of Fashion, People and Ideas Reconsidered; Mario Sorrenti: Kate; and Yelena Yemchuk: Mabel, Betty & Bette remain on view through Aug. 18. Image: Yelena Yemchuk, Installation View of Mabel, Betty & Bette at Dallas Contemporary, 2019. Photograph by Kevin Todora, courtesy of Dallas Contemporary. 05 DALLAS HOLOCAUST MUSEUM Civil Discourse Series: Affirmative Action in College Admission on May 7 will discuss viewpoints of affirmative action in the college admission process. On May 21, at Lunch & Learn: Naming It - Holocaust Representation and Singularity, Dr. David Patterson, Hillel Feinberg Chair in Holocaust Studies at UTD, will speak. The Summer Survivor Speaker Series runs Jun. 2 through Jul. 21. On Jul. 9, the Human Rights Panel 2019 meets for a panel discussion.




06 DALLAS MUSEUM OF ART Modernity and the City brings together prints and drawings by European artists through Jul. 7. Women Artists in Europe from the Monarchy to Modernism highlights the DMA’s holdings of artwork by female artists working in Europe between the late 18th and early 20th centuries through Jun. 9. Berthe Morisot, Woman Impressionist focuses on the artist’s treatment of the modern figure through May 26. Jonas Wood traces the artist’s fascination with psychology, memory, and the self through Jul. 14. America Will Be! Surveying the Contemporary Landscape, on view through Oct. 6, presents the ways in which contemporary artists engage with landscapes. Dior: From Paris to the World surveys more than 70 years of the House of Dior’s legacy, featuring over 100 haute couture dresses, accessories, photographs, original sketches, runway videos, and other more on view May 19–Sep. 1. Image: Jonas Wood, Night Bloom Still Life, 2015, oil and acrylic on canvas, Whitney Museum of American Art, New York, gift of Linda Macklowe, Courtesy the artist and Gagosian, photograph by Brian Forrest. 07 GEOMETRIC MADI MUSEUM Biennial: Origins in Geometry is a juried competition to recognize excellence in emerging visual artists deriving inspiration from geometric abstraction. Finalists will be featured in an exhibit Jul. 26 through Oct. 20. 08 GEORGE W. BUSH PRESIDENTIAL CENTER Through Oct. 6, Presidential Retreats: Away from the White House, features retreats Camp David in Frederick County, MD, Prairie Chapel Ranch in Crawford, TX, LBJ Ranch in Stonewall, TX, and Walker’s Point in Kennebunkport, ME. A panel of former US Secret Service agents will discuss protecting the POTUS on May 21. Today’s Geopolitical Flashpoints: A Conversation with Ian Bremmer & Niall Ferguson will take place Jun. 12. 09 KIMBELL ART MUSEUM Through 52 paintings, Monet: The Late Years will trace the evolution of Monet’s practice from 1913, when he embarked on a reinvention of his painting style that led to increasingly bold and abstract works, up to his death in 1926. Monet: The Late Years opens Jun. 16 and runs

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through Sep. 15. Image: Monet, Water Lilies, 1915-26, oil on canvas, Saint Louis Art Museum, The Steinberg Charitable Fund. 10 LATINO ARTS PROJECT Mexican Modern Sculpture: A Study of the Artists illustrates the aesthetics movement in Mexico, known as Escuela Mexicana de Escultura or Mexican School of Sculpture. These nine featured artists are clearly positioned within the historical context of the Post-Revolution era in Mexico after 1920. The show is focused on the revaluation and the exaltation of being Mexican; the nationalistic spirit of that time; and the ideals of the Revolution that both influenced and was influenced by the art. 11 LATINO CULTURAL CENTER Senior Line Dancing continues through Jul. 25. Opera in Concert presents Gimenez and Nieto’s amusing zarzuela El Barbero de Sevilla on May 2. Cine De Oro: Ni de Aquí ni de Alla plays May 15. On Jun. 15, join in on a game of Loteria!. Dallas Medianale, an exhibition of experimental film and video art, will hold screenings at the LCC in July. 12 THE MAC Three concurrent exhibitions, Sandow Birk & Elyse Pignolet: American Procession, Al Farrow: Divine Ammunition, and Boiling a Ship in the Sea by Kris Pierce run through May 4. The Video Association of Dallas’ Dallas Medianale, is a biennial exhibition of experimental film, video art, new media, intermedia performance, and installations curated by Charles Dee Mitchell. The exhibition will run May 18–Jul. 13. 13 MEADOWS MUSEUM Fortuny: Friends and Followers draws from works on paper as well as key loans from private and public collections in order to showcase many of the friends, family, and followers who engaged with the popular Spanish painter’s work. Fortuny: Friends and Followers runs through Jun. 2. Goya’s Visions in Ink: The Centerpiece of the Meadows Drawings Collection highlights the Meadows’ recent acquisition of Goya’s ink drawing, Visions, from his “Witches and Old Women” album. The exhibition runs through Nov. 3. Image: Mariano Fortuny y Marsal (Spanish, 1838–1874), Crouched Arab, c. 1871, oil on panel, 3.5 x 5 in. Meadows Museum, SMU, Dallas. Museum purchase with funds donated by Jenny and Richard Mullen and friends of the Meadows Museum, photograph by Kevin Todora.



14 MODERN ART MUSEUM OF FORT WORTH FOCUS: Analia Saban continues through May 12. Also through May 12, Spaces and Places: Works from the Collection gathers work by artists who address concepts of space and place. Disappearing—California, c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein will be on view May 10–Aug. 11. In 1971, Chris Burden disappeared for three days without a trace. That work, entitled Disappearing, gives its name to this exhibition, which examines the theme of disappearance in the works of Burden, Bas Jan Ader, and Jack Goldstein, contemporaries in 1970s Southern California. David Park: A Retrospective is the first major museum exhibition to present the expressive work of David Park from Jun. 2–Sep. 8. 15 MUSEUM OF BIBLICAL ART The Museum of Biblical Art exhibits biblical themed art in its eleven galleries and also contains The National Center for Jewish Art, an on-site art conservation lab, Via Dolorosa Sculpture Garden, and other major pilgrimage attractions. 16 NASHER SCULPTURE CENTER Sheila Hicks has been working almost exclusively with textiles throughout her decades-long career. For her exhibition at the Nasher, Hicks will create new, site-specific installations in the Garden and Lower Level Gallery. Building on her recent monumental outdoor interventions in Paris, Versailles, and New York City’s High Line, Hicks will activate the linear, manmade grid of the Nasher Garden by installing durable, color-fast, pigmented fiber along the garden’s architectural seams: walking paths, walls, and seating areas. May 11–Aug. 18. 17 PEROT MUSEUM The Art of the Brick runs through Aug. 18, and features LEGO® bricks used to construct works of art and structural marvels such as the Mona Lisa, the statue of David, and a T. rex. Biomedical scientist and inventor Zoltan Takacs collects snakes, scorpions, jellyfish, and other venoms from around the world. Using cuttingedge genomics, he creates combinatorial venom libraries to identify leads for novel medicines. See Takacs on May 1 as part of the National Geographic Speaker Series. The Perot will see the return of Summer Nights through the months of Jun., Jul., and Aug. 18 TYLER MUSEUM OF ART The 15th Annual High School Art Exhibition will end May 5. Next, Texas Birds will run May 5–Aug. 6 and Flooding will open May 15 and continue through Aug. 26. For more information, please visit


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01 AMPHIBIAN Babette’s Feast will be Amphibian’s most ambitious project to date, with a cast of 10 plus several acclaimed designers working on the production. A versatile ensemble of actors will bring this timeless adaptation to life May 3–23. Gutenberg! The Musical! is a two-man spoof, featuring a pair of aspiring playwrights in a splashy musical about printing-press inventor Johann Gutenberg. Jul. 12–Aug. 18. 02 AT&T PERFORMING ARTS CENTER Relationships are tested and the perfect ricotta recipe is found in the Elevator Project Series’ Pastry King through May 5. In City Dionysia, spectators partake in various activities including mask making and choral chanting that culminate into the storytelling of Euripides May 9–11. Cruel Intentions: The ’90s Musical pulls you into the manipulative world of Manhattan’s most dangerous liaisons: Sebastian Valmont and Kathryn Merteuil, May 22–26. Sanadora: Women’s Healing Theater, A Stage Trilog y runs May 23–25. Have a Conversation with Martha Stewart on May 29. The Play that Goes Wrong does it right Jun. 11–16. Beautiful features beloved songs written by Gerry Goffin, Carole King, Barry Mann, and Cynthia Weil, Jun. 18–23. Sex Ed reevaluates how we teach and talk about sex, Jul. 3–14. Spend an Evening with Jane Fonda on Jul. 8. Image: Cry Havoc, Sex Ed, courtesy of AT&T Performing Arts Center. 03 BASS PERFORMANCE HALL Follow Anastasia as she sets out to discover the mystery of her past May 28–Jun. 2. Les Misérables tells an enthralling story of broken dreams and unrequited love, passion, sacrifice, and redemption Jun. 25–30. In the 1960s a young man is caught between the father he loves and the mob boss he’d love to be. A Bronx Tale runs Jul. 23–28. 04 CASA MAÑANA The Wizard of Oz continues through May 12. The Producers skewers Broadway traditions and sets the standard for outrageous, in-yourface humor on Jun. 1–9. 05 CHAMBER MUSIC INTERNATIONAL Enjoy a journey through Jean Françaix’s String Trio, Johannes Brahms’ Piano Quartet #3, and Archduke Trio by Ludwig van Beethoven on May 11. 06 DALLAS BLACK DANCE THEATRE The Spring Celebration Series sees guest artist Ballet Hispánico on May 17–19. The BIG Dance will hit the stage Jun. 1. The Summer Intensive Professional Dance Workshop features classes for advanced dancers Jun. 24–Jul. 5. 24


07 DALLAS CHILDREN’S THEATER The Island of the Skog brings to life Steven Kellogg’s beloved illustrations and characters on May 3–25. Next, discover more about a bug’s life in Diary of a Worm, a Spider & a Fly on stage Jun. 14–Jul. 7. 08 THE DALLAS OPERA Sir John Falstaff fancies himself a ladies’ man and decides to seduce two wealthy women of the town, Alice Ford and Meg Page. Falstaff will close May 4. Metropolitan Opera stars Michael Fabiano, Bryan Hymel, and Matthew Polenzani will perform at the Dallas Opera’s One Night Only Gala on May 11. 09 DALLAS SUMMER MUSICALS Hamilton will come to a close May 5. Miss Saigon mounts May 14–26. Aladdin will make your wishes come true, so long as those wishes are unforgettable beauty, comedy, and breathtaking spectacle Jun. 6–23. Tony Award®–winning Broadway legend Betty Buckley stars in Hello, Dolly! Jul. 17–28. Image: Isabelle McCalla as Jasmine, Adam Jacobs as Aladdin, Aladdin North American Tour original cast, photograph by Deen van Meer. 10 DALLAS SYMPHONY ORCHESTRA The DSO celebrates giants of Broadway with favorites from Phantom of the Opera, Evita, West Side Story, and more on May 3–5. Beethoven’s dynamic Fourth Symphony and the Cello Concerto of Schumann will be heard May 9–12. The Violin Concerto by Brahms introduces contrasts of obsession, ecstasy, and desire, while the hallucinatory Symphonie fantastique conjures its spell May 16–19. Haydn’s The Creation proclaims the testament of his faith May 24–26. The DSO performs selections from Symphonie fantastique and Carmen on May 31. The 2019 Cliburn International Junior Piano Competition takes place May 31–Jun. 8. Scores from great science-fiction movies, Star Trek, 2001: A Space Odyssey, E.T the Extraterrestrial, and Star Wars, take audiences out of the galaxy Jun. 14–16. The DSO and the Perot Museum of Nature and Science have partnered to present the all-new National Geographic: Symphony for Our World Jun. 22–23. Image: Courtesy of Dallas Symphony Orchestra. 11 DALLAS THEATER CENTER Real Women Have Curves follows Ana as she and her coworkers struggle with things as personal as body image and as consequential as the threat of deportation through May 19. A world premiere from Dallas playwright Jonathan Norton, and set in Pleasant Grove, penny candy follows one family as they seek to balance their responsibilities to their community and to one another. Jun. 5–Jul. 14.


10 12 EISEMANN CENTER The RSO concludes its 57th season with an exciting program featuring pianist Joyce Yang on May 4. Leslie Jordan: Exposed comes to the stage May 29. Toby’s School of Dance presents two acts, Cinderella and A Trip Down the Red Carpet on Jun. 6. Dancing for a Cause will perform Jun. 22. Old Jews Telling Jokes features a lineup of comedians of bawdy humor Jul. 11–28. 13 KITCHEN DOG THEATER Wolf at the Door by Marisela Treviño Orta tells the dark story of Isadora, who finds strength to stand up to her abusive husband through May 5. Reykjavík is an exploration of honesty in relationships offering a glimpse into a cold, dark, magical, and sometimes violent world where everyone still hopes to find joy beneath the glow of the Northern Lights. Jun. 6–Jun. 30. KDT’s 21st Annual New Works Festival showcases some of the newest voices and visions in contemporary theater. Jun. 8–29. 14 LYRIC STAGE The Tony Award–winner for Best Musical, Best Composer, and Lyricist, Man of La Mancha comes Jun. 14–16. Man of La Mancha celebrates the perseverance of a dying old man who refuses to relinquish his ideals or his passion.

Saturday, May 11, 2019 Opening Reception, 5-8PM Artist Talk, 6:45PM Artist in attendance Exhibition on display through June 15th, 2019

1130 Dragon St. Dallas, TX 75207 214.761.2000



15 MAJESTIC THEATRE Joey Diaz stops in Dallas May 3. Lovett or Leave It presents the live version of the podcast May 4. The Gutfeld Monologues Live Classic Rants From The Five will come to the stage May 5. Chick Corea & Bela Fleck perform their banjos and more on May 8. La Semesienta presents the naughtier version of Cinderella on May 9. John Cusack makes his way to Majestic Theatre for a screening of Say Anything, live conversation, and audience Q&A on May 19. Jessie James Decker will perform May 31. Joe Jackson’s world tour stops in Dallas Jun. 1. Eddie Izzard will take the stage Jun. 8–9. 16 TACA Save the date for the 2019 TACA Party on the Green on Oct. 4. 17 TEXAS BALLET THEATER Pinocchio comes to life on stage May 17–26. Mark your calendars for The Sleeping Beauty opening Sep. 6.

19 18 THEATRE THREE Raptured: A Sex Farce at the End of the World happens sometime in the next two hours onstage through May 19. Two one-acts by another young female playwright round out Theatre Three’s 2018–19 season. Paired together, the plays explore gender and rebellion by examining the past and exploring the future. The first, Cinched, is set during a 19th-century high-class, noble dinner party. Fast forward several centuries to Strapped which introduces hardened warriors in a dystopian future. Jun. 6–30. 19 TITAS Command Performance features commissioned works created specifically for this gala performance; works by some of the world’s leading choreographers such as Twyla Tharp, Dwight Rhoden, Jessica Lang, Mia Michaels, Sonya Tayeh, Bridget L. Moore, and Wang Yuanyuan. Jun. 1. Image: Command Performance, Aqua Flora, photograph by Sharen Bradford, The Dancing Image. 20 TURTLE CREEK CHORALE You are Light focuses on the role music plays in shaping what we think and feel about ourselves and how we love others. Jun. 7–9. 21 UNDERMAIN THEATRE Whither Goest Thou America: A Festival of New American Play Readings presents a series of readings of new plays examining the current American Landscape. Each week of the series will focus on a different playwright and play with staged readings by an ensemble cast. so go the ghosts of méxico, part three, “a poet sings the daughter songs” will be the centerpiece production of the Whither Goest Thou America festival. This is the final installment in this three-play cycle exploring the US/Mexico drug wars through May 12. 22 WATERTOWER THEATRE Everything is Wonderful brings us face to face with a misunderstood community in an intricate examination of the complexity of forgiveness through May 12. The Ballad of Little Jo is a musical about one woman’s fearless journey to stake her claim on the American Dream, Jun. 7–30. Five Muslim women sip tea and share stories about faith, culture, and prejudice in this one-woman show, written and performed by Rohina Malik in Unveiled: A One Woman Play, onstage Jun. 12–30. Godspell continues to touch audiences with its messages of kindness, tolerance, and love onstage Jul. 18–28.







01 214 PROJECTS Check the website for pop-up exhibitions this summer at 214 Projects, a gallery curated by the Dallas Art Fair. 02 500X GALLERY Line, a solo exhibition debuting new works by Michelle Thomas Richardson, will close on May 5. Opening May 11 are two shows featuring the work of Joanne Cervantes and Ross Faircloth. Both exhibitions will continue through Jun. 2. Hot and Sweaty, 500X’s annual open call exhibition, will run Jun. 8–Jun. 23. 03 AFTERIMAGE GALLERY For over 47 years, the gallery dedicates it space solely to photographic works. The gallery recently relocated to Fairmount Street above David Dike Fine Art. 04 ALAN BARNES FINE ART Alan Barnes Fine Art is an intimate gallery offering over 150 years of family history within the international art markets. Barnes is a sixth-generation English art dealer who is wholly committed to sharing his expertise with his clients. 05 AND NOW AND NOW will open a solo show displaying the work of New York artist Oto Gillen through May 25. The work of Brian Fridge mounts Jun. 1–Jul. 13, followed by a solo show for Sophie Giraux, Jul. 20–Aug. 31. 06 ARTSPACE111 With Works on Paper|Texas Drawings, Woodrow Blagg exhibits graphite works on paper that herald the symbiotic relationship between the Texas rancher and their environment on display through May 4. A Watercolor Group Exhibition mounts May 9–Jun. 15 and the gallery’s 6th Annual Artspace111 Juried Exhibition runs Jun. 21–Jul. 27. 07 BARRY WHISTLER GALLERY Monumental II features Jonathan Cross, Linnea Glatt, Terrell James, Tom Orr, and Jay Shinn, and continues the previous exhibition theme in Monumental I, this time with an emphasis on sculpture through May 11. Sam Gummelt: Palo Pinto will exhibit paintings and drawings Jun. 1–Jul. 27. Paul Black: Carol will show black-and-white photographs Jun. 1–Jul. 27. Image: Sam Gummelt, Hillsboro VII, 1977, pastel on rag board, 32 x 32 in. Courtesy of the artist and Barry Whistler Gallery. 28


28 08 BEATRICE M. HAGGERTY GALLERY Through May 5, Of a Feather showcases the relationship between birds and the artists who love them. The exhibition includes artists Kathy Boortz, Isabelle Du Toit, Billy Hassell, and Mark Messersmith and celebrates a very contemporary expression of these winged creatures. For summer, BMHG will host their Summer Show May 10–Aug. 1. 09 BEAUDRY GALLERY Beaudry is a gallery and full-service frame shop displaying abstract art as well as modern realism, from cutting-edge emerging artists to established veterans. 10 BLUE PRINT GALLERY Blue Print dedicates its galleries to established, mid-career, and emerging artists of Texas displaying paintings, prints, drawings, and more. 11 BIVINS GALLERY International States of Mind, a group show of newly represented, internationally acclaimed artists including David Datuna, David Drebin, Cristóbal, Russell Young, and Layer Cake will run through Jul. 28. 12 CADD On May 16, CADD Third Thursday Happy Hour will be held at Craighead Green Gallery. On May 18, Mary Tomás Gallery and Valley House Gallery will host the CADD Bus Tour followed by the Jul. 20 tour at host galleries Holly Johnson Gallery, Erin Cluley Gallery, and Carneal Simmons Contemporary Art. 13 CARNEAL SIMMONS CONTEMPORARY ART Unfolding the Sun featuring the multi-disciplinary sculptural work of Carmen Menza examines the human through Jun. 8. Rainbow Riot at the Snowflake Ball displays David Willburn’s narrative abstractions about finding solace in the margins through Jun. 8. Tethered Reflections pairs artists Ender Martos and Jen Pack on view Jun. 29–Aug. 24. Image: Ender Martos, Arctic Aurora, aluminum, monofilament, and colored Plexiglas, 2018, 50 in. dia. 14 CHRISTOPHER MARTIN GALLERY Christopher Martin Gallery presents original reverse-glass paintings and limited edition works of the Aspen-based artist, in addition to the work of mid-career sculptors Jim Keller, Brandon Reese, Michael Sirvet, and Gregory Price in the Dallas gallery.

THE RESIDENT EXPERT 50 In addition to a second location operated in Aspen, the gallery recently opened a third location in New York City. 15 CONDUIT GALLERY The Ones After The Physical Ones, Bertillon, and The Models will close May 18. Three solo show May 15–Jun. 22. In Collateral/Innocents, Robert Barsamian’s works reference how casualties are sometimes reduced to abstract figures, or statistical representations of an event. Threshold continues Billy Hassell’s preoccupation with birds as a statement on climate change. In Suspicious Packages, David Canright’s new work presents a series of pastel drawings of curious objects haphazardly wrapped in a variety of materials and tied off with rope. Image: David Canright, Suspicious Package #9 (Playground–Phoenix), pastel, 22 x 22.5 in. 16 CRAIGHEAD GREEN GALLERY CGG will hold a group show May 11–Jun. 14. The gallery will host three solo shows for Carolyn Brown, Toni Swarthout, and Michelle O’Michael from Jun. 22–Jul. 26. 17 CRIS WORLEY FINE ARTS Adrian Esparza: Dual mounts dramatic linear constructions derived from Mexican sarapes on view through May 4. Adela Andea will unveil an immersive installation of LEDilluminated sculptures and pendulous plastic formations inspired by visions of the Northern Lights, May 11–Jun. 15. 18 CYDONIA Survival Politics, continuing through May 18, reflects on Giovanni Valderas’ Casitas Triste project. Various mediums including photo documentation, sculpture, and archived remnants of the guerrilla-style project are presented to elucidate displacement. Check the website for summer show information.


19 DADA The Dallas Art Dealers Association is an affiliation of established, independent gallery owners and not-forprofit art organizations in the metroplex. The 2019 Art Scholarship Awards and Exhibition at One Arts Plaza

Jan2019-PatronAd-ErinMathews-HalfPage.indd 1


29 1/17/19 2:02 PM


2315 will be on view May 5–24. The juried exhibition features artists from among Booker T. Washington High School’s best visual art seniors. 20 DAVID DIKE FINE ART Modern Cowboy by Jon Flaming opens May 2. In Modern Cowboy an important American icon is reimagined through a combined process of digital design and oil paint through Jun. 28. Image: Jon Flaming in his studio photographed by Stewart Cohen. 21 ERIN CLULEY GALLERY Chul-Hyun Ahn’s but like, yeah and Catherine MacMahon’s Lines continue through May 4. Next, Two for One, a solo show for Zeke Williams, opens May 11 and remains on view through Jun. 8. From Jun. 15–Jul. 13, the gallery will exhibit work by Taylor Barnes. The Annual Summer Group Exhibition runs Jul. 20–Aug. 24. 22 FORT WORKS ART No Filter, a show featuring the work of artists Kyle Steed and Lisa Krannichfeld, runs through May 4. Chaos and Cosmos displays a solo show by portrait photographer Kate Simon running May 8–Jun. 29. Simon will take over both floors of the gallery mounting images from her 30+ year career. Check the website for news of summer shows. Image: Kate Simon, Mirror Self-Portrait.

Robert Mickelsen “Bubblicious”

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



23 FWADA Comprised of museums and art galleries, the Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art. 24 GALERIE FRANK ELBAZ Through May 29, the gallery will present Accrochage, a group show of rostered artists. Ketuta Alexi-Meskhishvili, Ja’Tovia Gary, Sheila Hicks, and Mungo Thomson will all be on display. Check the website for news of summer shows. Image: Sheila Hicks, Phare Double, 2016, cotton, silk, razor clam shells, 9.5 x 6.25 in. Courtesy the artist and Galerie Frank Elbaz.

SW GALLERY 4500 Sigma Rd. Dallas n 972.960.8935

W W W. S W G A L L E R Y. C O M Fine Art n Sculpture n Custom Framing n Glass




25 GALLERI URBANE Jason Willaford’s After A Long Pause... featuring new vinylbased constructions and Dallas newcomer Christopher Paul Dean’s Reconfigured exploring deconstruction and reconstruction of readymade materials close May 25. Exhibitions running Jun. 15–Jul. 20 include Abby Sherrill’s Moody Swatch in Gallery 1 and Sam Mack’s Pass in Gallery 2. Image: Abby Sherrill, Swatch, 26.5 x 22.5 in. 26 GINGER FOX GALLERY Now located in the Design District on Dragon Street, Ginger Fox exhibits select emerging and mid-career artists. Currently, the gallery collection focuses on Abstract Scrapers by Ginger Fox. 27 THE GOSS-MICHAEL FOUNDATION Marc Quinn: History and Chaos continuing through Aug. 16 celebrates the world-renowned British artist’s recognition as the 2019 MTV RE:DEFINE honoree. 28 HOLLY JOHNSON GALLERY Thinking of a Place displays new encaustic paintings morphing the expressive and the minimal by Raphaëlle Goethals through May 25. Antonio Murado: Velvet Room displays May 11–Jul. 20. Velvet Room displays three large-scale works influenced by the techniques and visual elements of 17th-century Baroque Spanish painting. Image: Antonio Murado, Stanza III, 2015–2016, oil on canvas, 114 x 78 x 2 in. 29 KIRK HOPPER FINE ART In Lovesick Erin Stafford’s intent is to connect the viewer with tactile sensations that evoke memories of the past, while providing the opportunity to escape into dream-like visions, on view through May 18. Next, Shaun Roberts and Arely Morales will mount at the gallery May 25–Jul. 13. 30 KITTRELL/RIFFKIND ART GLASS Through May 5, Introducing.... highlights new gallery artists including Alison Chism’s figurative sculpture, Mariel Bass’s blown sculpture, Deborah Johnson’s art glass portraits, and complex vessels from John Geci. Pretty Women features female imagery in contemporary art glass, on view May 18–Jun. 18. The 25th Goblet Invitational mounts Jun. 22–Aug. 4.



38 31 KRISTY STUBBS GALLERY Working primarily in the secondary market, Kristy Stubbs is a private art dealer representing the work of top 20th- and 21stcentury artists since 1974. 32 LAURA RATHE FINE ART Inner Light, a solo exhibition featuring the porcelain work of Lucrecia Waggoner, will open May 11 and remain on view through Jun. 22. For LRFA’s Summer Show the gallery will exhibit Carly Allen-Martin and Audra Weaser from Jun. 22–Jul. 27. Image: Installation view of Lucrecia Waggoner’s porcelain sculptures. 33 MARTIN LAWRENCE GALLERIES On May 22, Martin Lawrence will present Kerry Hallam. Next, the gallery will exhibit work by Takashi Murakami opening Jun. 22. 34 MARY TOMÁS GALLERY Dawn Waters Baker’s Civil runs through May 4. Find Mary Tomás at KAABOO Texas in the Premier Galleries Section at AT&T Stadium, May 10–12. A group show will showcase large works by gallery artists in B.I.G., May 18–Jun. 15. Cuba Soul features the work of Cuban-born and based artists curated by artist Ro Diaz. Jun. 22–Jul. 27. Image: Ellen Soffer, Purple Wave, 2017, oil on linen, 48 x 60 in. 35 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. The gallery hosts monthly Art Talks Series and other events. 36 PHOTOGRAPHS DO NOT BEND Keith Carter: Fifty Years, on view through Jun. 15, coincides with the release of his new book, Fifty Years, which highlights his prolific career as one of the most celebrated photographers today. Highlights 2019 presents a review of PDNB’S offerings at The Photography Show and the Dallas Art Fair in April. Jun. 22–Aug. 31. 37 POLLOCK GALLERY The 2019 M.F.A. Qualifying Exhibition is the culmination of two years of intensive work by M.F.A. candidates in the Division of Art and features works in a variety of styles and mediums. May 3–18.


07 38 THE PUBLIC TRUST Misty Keasler returns for her second solo show with the gallery, May 18–Jun. 22, and features a new body of photographs titled Low Lands. In The Public Trust: 15 Years, the art gallery commemorates its 15th anniversary with a group exhibition celebrating the gallery’s commitment to evolution and innovative programming. Jun. 29–Jul. 31. Image: Misty Keasler, Little White Wedding Chapel, 2018, archival pigment print, 42 x 42 in. 39 THE READING ROOM TOXIC, an exhibition of letterpress broadsides by A. Kendra Greene based on environmental concerns, will be on view May 18 through Jun. 22. 40 RO2 ART Xiao Lu Liu: Intimate Oddness closes May 14. AKIR ASH Ojuse - Duty closes May 11 at the Downtown Pop-Up. In the permanent gallery in The Cedars, Carol SwensonRoberts’ Garden of Earthly Delights continues through May 25 alongside Cheryl Finfrock’s One Supper, Three Stories. Joachim West’s new series of drawings and paintings display alongside Thor Johnson’s new work in the small gallery through Jun. 1–29. Jeanne Neal exhibits paintings in oil and mixed media in the main gallery alongside New Orleans–based work by Kai Martin in the small gallery, Jul. 6–Aug. 3. 41 RON HALL GALLERY Ron Hall represents the work of Julio Larraz on 2615 Fairmount Street. Find the Ron Hall Gallery on Instagram @ronhallgallery 42 ROUGHTON GALLERIES Featuring 19th- and 20th-century American and European paintings for 40 years, the gallery is distinguished for its scholarship and research including the Virtual Catalogue Raisonné© for the Complete Works of French academic painter Leon Bazile Perrault, French Post-Impressionist Edouard Leon Cortes, American Impressionist Guy Carleton Wiggins, and American-Armenian artist Hovsep Pushman.




WWW.SAMUELLYNNE.COM | 214.965.9027





43 SAMUEL LYNNE GALLERIES Metis Atash returns to Samuel Lynne May 11 with an exhibit of her new collection of Swarovski crystal Punk Buddhas, Elephants, and Skulls through Jun. 15. Atash’s original Buddha sculptures will be displayed along with new Punk Buddha Families. Samuel Lynne Galleries opened a second location in Chicago’s vibrant River North District featuring work by JD Miller and Lea Fisher this summer. 44 SEAN HORTON (PRESENTS) Closing May 18 is a group show, Bushwick Rodeo, curated by Wallace Whitney of CANADA Gallery. In Casual Encounters, May 24–Jun. 29, the fine line between painting and sculpture is blurred in the work of New York–based artist Justin Adian, who produces abstract wall reliefs. 45 SITE131 Simply Bold Abstractions mounts through Jun. 14. Berliner Sati Zech shows irregularly shaped paintings; Colombian Nathalie Alfonso’s brazen charcoal strokes and strong erasure marks add drama to the space; American-Pakistani Harris Chowdary adds dimension with invented aluminum sculptures; Chicagoan Tony Lewis uses graphite powder to draw charming bulbous shapes and interlocking text imagery; and Texan Jason Koen’s concrete rectangles line the walls. Site 131 is closed Jul.–Aug. 46 SMINK Founded in 1989, SMINK is a showroom and fine art gallery open to the public. SMINK represents artists such as Diane McGregor, Gary Faye, Robert Szot, and Zachariah Rieke. 47 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas’ largest collection of fine 19th- to 21st-century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles. 48 TALLEY DUNN GALLERY fresh offers important editioned works and multiples by worldrenowned artists, including Helen Frankenthaler, Alex Katz, Ellsworth Kelly, Louise Nevelson, Richard Serra, and others; concurrently editioned works by conceptual artist Analia Saban are on display. From Jun. 15–Aug. 3 the gallery mounts work by Matthew Sontheimer, Helen Altman, and Natasha Bowdoin. 34


20 49 VALLEY HOUSE GALLERY The gallery will present an exhibition of work by Jim Woodson on May 4. Next the gallery will host an exhibition for Otis Huband on Jun. 15. Huband’s work will be on view through Jul. 20. 50 WAAS GALLERY Conscious Design is a collaboration with artists to create spaces for art while embodying a well mind. Shamsy’s Cocoon installation is nestled inside the Green Room allowing viewers to center and ground while being immersed among the plant world. The exhibition pairs Shamsy’s 35mm photography, lithographs, cyanotypes, and shamstone sculptures with a collection of plants sponsored by Ruibal Plants of Texas through Jun. 30. Image: Shamsy Roomiani, Green Goddess, 2018, digital collage fine art print, 17 x 17 in. 51 WILLIAM CAMPBELL CONTEMPORARY ART WCCA will display the work of Judy Youngblood May 11 through Jun. 22. Following Youngblood’s exhibition, the gallery will hold a group show for rostered artists through Jul. AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY Part III: John W. Lolley Art Glass Collection Auction and the Fine & Decorative Arts Auction will take place on May 8. 02 KAABOO TEXAS KAABOO Texas is a three-day entertainment and arts experience featuring world-class music (The Killers, Sting, Lynyrd Skynyrd, and more), comedy, taste-making cuisine, craft libations, contemporary art, and personal indulgences at AT&T Stadium, May 10–12. 03 HERITAGE AUCTIONS The auctions scheduled for HA include the American Art Auction May 3; Lalique & Art Glass Signature Auction May 14; Historical Manuscripts Auction May 14; Texas Art Signature Auction May 18; Modern & Contemporary Signature Auction May 23; Decorative Arts Signature Auction Jun. 7–8; European Art Signature Auction Jun. 7; European Comic Art Auction Jun. 8; Ethnographic Art American Indian, Pre-Columbian and Tribal Art Auction Jun. 25; and the Urban Art Signature Auction Jul. 22–23.




uction mania is happening all over the art-enthused globe, so it’s nice to have the Dallas-birthed Heritage Auctions making international headlines. Consider G. Harvey Jones’ world record for When Cowboys Don’t Change, an oil on canvas selling for over $516,000 through Heritage Auctions, or the sale of the 10.5-inch tall Companion Karimoku Version from 2011 by KAWS for $65,500, yet another world record realized by Heritage. The pop-art darling known as KAWS, aka Brian Donnelly, is indisputably aflame everywhere. Remember news of the auction-smashing $14.7 million painting sold by Sotheby’s on April Fool’s Day this year? A gavel-smasher, The Kaws Album features “The Kimpsons,” introduced by the artist in the early 2000s, riffed from The Simpsons Album, originally subverted from The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album cover. Take note, Dallas—Heritage often includes work by KAWS among their lots. For those who weren’t able to make it to Heritage Auctions’ 11th installment at the Dallas Art Fair, where the house previewed selections from their upcoming auction of original Modern & Contemporary Art, pieces can be viewed by appointment or online at, prior to the auction in Beverly Hills on May 23. “[Dallas Art Fair] was a great opportunity to see our existing collectors, but

also to welcome new art buyers and sellers to become more familiar with our services,” said Dallas-based Frank Hettig, Vice President of Modern & Contemporary Art. “We reach out to clients all over the world, but are very proud to be headquartered in Dallas, and are especially committed to helping locals.” Of special interest in the upcoming auction is a mixed media piece, Stone with Easel, by Mary Bauermeister. “We’ve noticed a marked increased interest in female artists from the 1960s,” observed Hettig, “and we’re very excited to be offering this important work. The work has impeccable provenance: John Wayne Enterprises consigned the artwork, which carries a pre-auction estimate of $20,000-$30,000. Measuring 62 x 40 x 5. 5 inches, this special work dates to about 1969–70 and is comprised of stones, wooden objects, casein tempera, glue [and a child’s shoe] on particleboard coated with sand.” Two important, beautiful, and very large pieces by artist Charles Arnoldi, the famed American painter, sculptor, and printmaker, are included in the auction as well: Tight Lips, 2010 (est. $20,000– $30,000) and Ballast, 2007 (est. $15,000–$25,000). “Watch closely,” stated Hettig, “as we may achieve a world auction record for Tight Lips, at 60 x 128 inches.” P

Serge Poliakoff (1906–1969), Composition abstraite, 1958, gouache on paper, 19.25 x 25.5 in. Signed lower right: Serge Poliakoff. Estimate: $40,000–$60,000; Charles Arthur Arnoldi (b. 1946), Tight Lips, 2010, acrylic on canvas, 60 x 128 in. Estimate: $20,000–$30,000; Mary Bauermeister (b. 1934), Stone with Easel, 1969–70, stones, wooden objects, casein tempera, glue, and child’s shoe on particle board coated with sand, 62.75 x 40 x 5.5 in. Estimate: $20,000–$30,000




The Modern mounts influential Bay Area Figurative painter David Park's retrospective. BY CHRIS BYRNE

David Park, Four Men, 1958, oil on canvas, 57 x 92 in. Whitney Museum of American Art, New York, Purchase, with funds from an anonymous donor.


his June, David Park: A Retrospective, organized by the San Francisco Museum of Modern Art and curated by Janet Bishop, Thomas Weisel Family Curator of Painting and Sculpture at SFMOMA, presents work by the founder of the Bay Area Figurative Movement at The Modern Art Museum of Fort Worth. At one point engaged in Abstract Expressionism in the postwar years, Park famously abandoned his abstract canvases in the East Bay dump and ultimately returned to the human figure. On view through September 22, 2019, Patron contributor Chris Byrne discusses the late artist with Janet Bishop. Chris Byrne (CB): It’s exciting that the Modern Art Museum of Fort Worth will be hosting David Park’s first major retrospective in over 30 years. How did the show come about? Janet Bishop (JB): We thought that Park’s work would resonate with today’s audiences. There is such an authenticity to it, and he was just so good at wielding a brush. Park is a towering figure in the Bay Area and there is a smattering of his paintings from the 1950s in museum collections outside California. But, as you said, the work has not been seen in depth for a very long time. And his pre–Bay Area Figurative work, from the 1930s and 1940s, is almost never exhibited. Park’s style shifted every few years for most of his career. Yet his interest in people was remarkably consistent, and we wanted to show that thread. So you’ll see domestic scenes and bathers painted with tiny brushes in a social realist style at the beginning of the show.



And then at the end, you’ll see those same subjects executed with large, wildly expressive, wet-into-wet brushstrokes that show the extent of Park’s love for paint and his capacity for conveying human emotion. CB: Was there a time when Park’s work was considered retrograde or out of fashion?  JB: Park’s career wasn’t helped by the fact that he died so young, at 49, when he was at the height of his powers as a painter and had just started showing in New York. The reception to it, both during and after his lifetime, is a big topic. His first, post-abstract figurative canvas is Rehearsal, from 1949–50, which pictures the jazz band for which he played piano. When it was  first  publicly  displayed in 1950, it was interpreted as a gag. It took several years for Park’s own community to get what he was doing, but he was such a charismatic guy and so widely respected as a painter, that other artists started to develop their own figure-based practices, which coalesced into the Bay Area Figurative art movement. On a national level, responses ranged from enthusiasm to a sense that these guys had somehow copped out by turning away from abstraction. CB: Can you describe Park’s methodolog y? He and his community of artists participated in traditional life drawing classes.  JB: Yes, Park both taught life drawing and, for most of the 1950s, engaged in weekly drawing sessions with his artist buddies that were held in one another’s studios. In those sessions, they sketched

OPENINGS hired models, both male and female, and sometimes sketched each other. Even though his work was figurative, he almost never painted directly from a model. But the drawing sessions were so important, both in terms of his ongoing engagement with the figure, but also for the camaraderie. The friendships within the group ultimately had a big effect on the various participants’ respective practices. Richard Diebenkorn, for instance, once said that if he’d been intending to continue as an abstract painter during that time, he was consorting with the wrong company! CB: Were his monumental figurative canvases developed directly from these studies or were they reinterpretations? JB: In a few cases, there’s a direct connection between something he drew and the composition of a painting, such as the great Bather with Knee Up, which was based on the drawing of a family friend who posed for the group. But the relationship was typically more indirect. Park had a deep appreciation for human form, an incredible visual memory, and an expansive imagination. His compositions for paintings generally evolved directly on the canvas. If he didn’t like something, he didn’t hesitate to scrape it away or paint over it. CB: The exhibition will feature a gallery dedicated to the other Bay Area artists who returned to the figure including Elmer Bischoff, Richard Diebenkorn, Manuel Neri, and Nathan Oliveira... JB: I’m excited that the exhibition includes a gallery devoted to the Bay Area Figurative drawing sessions held by Park and his peers, placing Park into a creative context that meant a great deal to him. When he was working on canvas, Park was almost always in his studio alone. CB: I understand that the exhibition will include works from the phase when the artist was experimenting with a non-objective vocabulary. JB: Park painted abstractly for a few years after the war, when abstraction was the dominant mode of painterly expression among progressive American painters. He got some recognition for that work, but it never felt authentic to him. There’s a great quote where he describes his abstract efforts as those of “a hard-working guy who was trying to be important.” It’s exciting to be able to bring together all of the known surviving examples of his non-objective paintings in this show. Visitors to the exhibition will have a much better sense of what he was reacting to when he abruptly switched to a new figurative style.  CB: In 1949 and 1950, he literally jettisoned his abstract paintings into the city dump and went back to figuration. Is this analogous to Philip Guston’s return to representational imagery, informed by gestural abstraction, during the last ten years of his life? JB: Park and Guston both bucked the tide by switching to figurative painting when it was out of vogue. They painted  what they wanted to paint, without a need to conform. One of the galleries at The Modern will show Park’s abstract paintings on one side, and his first new figurative paintings on the other. So visitors will be able to see the relationships in color, composition, and paint handling in canvases from the late 1940s and early 1950s, before and after the big shift. Park didn’t let loose as a gestural painter until later in the decade. His late 1950s figurative canvases clearly connect to Abstract Expressionist gestural abstraction but are far more expressive than anything he was able to achieve himself as an abstract expressionist. He had found Abstract Expressionism so constraining, but it ultimately set him free. CB: Park’s students range from everyone from fellow abstractionist–turned– brushy realist Richard Diebenkorn to the future Earthworks pioneer Walter De Maria. Can you expound on his inspirational teaching methods? JB: For someone who dropped out of boarding school without graduating and only took a few college level art classes, it’s amazing

that Park ended up being such a gifted educator. I wish you were in the Bay Area, as the Anderson Collection is hosting a conversation on this very topic on April 25, before their great 1959 painting Four Women ships to Fort Worth for the show. It will include Park’s former student Tom Holland. Park had a genuine wish to connect with his students, a very open attitude, and encouraged his students on their own paths. He spent a lot of time looking at work in progress with his students, discussing what could make a painting better. And, importantly, he didn’t feel a need to maintain traditional barriers between faculty and student. This no doubt had to do with the fact that many of his students at the California School of Fine Arts in the late 1940s, including Diebenkorn, were returning vets, studying on the G.I. Bill. So, they were older and more mature than typical undergraduates. CB: Several years after the artist’s death in 1960, the Bay Area artists Peter Saul and Zap Comix founder Robert Crumb created perhaps the most uniquely American approach to the figure. Do you have any sense of how Park would have responded to their work? JB: Interesting question. Park had a great sense of humor, and his correspondence to friends and family is peppered with very funny, sometimes satirical drawings. I suspect he would have an appreciation for their work, as different as it is from his own.  CB: Do you attribute Park’s influence on the renewed interest in figurative painting within contemporary art?  JB: I’ve been heartened to learn that there’s a broad range of contemporary artists who are passionate about Park today, not only figurative painters, but Jeff Wall, for instance, who is best known for his photograph tableaux, and Alicia McCarthy, who paints loose, colorful, pattern-based abstractions. P

David Park, Rehearsal, ca. 1949-50, oil on canvas, 46 x 35.75 in. Oakland Museum of California, Gift of the Anonymous Donor Program of the American Federation of Arts.




Jigsawed heart on his sleeve and all Benjamin Terry’s Long-Distance Puzzles of Love and Sentimentality. BY BRANDON KENNEDY

Artist Ben Terry with his artworks from left: onion, 2018, paint, wood, and glue, 24 x 20 in.; untitled (bubblegum), 2019, 21 x 14 in.; untitled (schmeckles), 2019, 21 x 14 in.; untitled (remix), 2019, 21 x 14 in.


alking through Galleri Urbane’s doors with a small, rolledup area rug under one arm, the artist immediately offered his hand once beyond the threshold while angling the tapestry awkwardly in my direction upon greeting one another. Dallas-based painter Benjamin Terry was installing A Romantic Gesture, his first at the Design District gallery, and was deep into the process of altering the space domestically with an assortment of attendant objects: arrangements of dried flowers of various color-matched hues; a wall soonto-be completely covered in a thoroughly decadent, floral-patterned fabric wallpaper; a black candelabra on a lobe-shaped shelf high above; a burgundy, Victorian loveseat on a small, Persian rug with a white, longhaired Persian cat keeping watch from a nearby corner. I started keeping tabs like Freud as the metaphors and associations piled up while Terry broke down the overall concept and components of the show. Simply put, the artwork and décor tableaux added up to a not-sosubtle biographical glossary of his romantic and currently geographically challenged relationship. His fiancée Danielle was working as an educational director at an art center in Vermont. Between them they shared three cats—one, a Sphinx—as well as a genet: a small, spotted cat-like creature from Africa with a ringed tail and nocturnal, solitary disposition. The latter currently resides in an outfitted closet in the Northeast while the Sphinx lives with Ben in Dallas. Counting the glazed longhair in the main gallery space and the three similar examples I spotted in Ben’s studio a few weeks later, we were up to a count of seven, undependable but needy feline onlookers, both real and kiln-fired.



Ben Terry, Dream Team, 2018, paint, wood, and glue, 48 x 72 in.

Terry often makes initial pencil drawings in a notebook, which he then consults to draw directly with a Sharpie onto ordinary plywood, then sets about to cut out the repeated scalloped curves, arcs, and puzzled geometries with a jigsaw, only to reassemble them again with glue and exposed wood edges. They are precise but jagged compositions, evoking draperies and tiles, patterns found in nature, and often evoke a homespun look in their lack of precision and curious design choices. The groupings of painted objects are mostly symbolic: the wedding couple, the “death ’til we part” bit, the wedding party, love letters, a family heirloom. It’s charm and camp alike, with plenty of cats and flowers to activate the spaces between. Terry continued to stress the “distance of longing” as he spoke about the artwork and his initiative “to take the romantic gesture head-on instead of talking around it.” I enjoyed the simple, repetitive lines of his reassembled reliefs and went back-and-forth as to whether the assembled narrative of props was totally necessary. I settled on the presence of an honest but hokey awareness, much like a forced, toothy smile at a stranger’s gushing news of their impending nuptials. Back at Terry’s studio space at the Shamrock Hotel, the works hung up and scattered about were less fussed-over and more playful in their palette and overall structure. Pennants, rainbows, canopies, and lunar charts could’ve all played a part in the way in which the prevalent patterns and hues read to a viewer. There was an enjoyable frivolity and absurd joy that rang forth from these less-confined forms, as if the formality of a wedding has finally loosened its bowtie on the dance floor. These works were shown soon thereafter at an open studio event before they were shipped off to the West Coast for their offering at an art fair. However—and most importantly—there was a very recent update from the artist regarding his betrothed and the exciting news of her giving notice at her job; the couple will reunite in Dallas in a month’s time. Now that bit of news really ties up nicely the narrative arc of A Romantic Gesture ringing true. I can almost hear the peal of wedding bells, or at least an imminent choir of meowing cats in an abode shared by a together-again, happy couple. P

Galveston, 2001, Enamel, plaster, and asphalt on wood, 70.5 x 48 inches


315 Cole Street Suite 120 Dallas, TX 75207 | 214.939.0242 Ben Terry, artworks from left: untitled (bubblegum), 2019, 21 x 14 in.; untitled (schmeckles), 2019, 21 x 14 in.; untitled (remix), 2019, 21 x 14 in.



Alim Beisembayev, 17, of Kazakhstan, performs during the preliminary round of the Van Cliburn International Junior Piano Competition and Festival, in Fort Worth, Texas, Sunday, June 21, 2015, photograph by Rodger Mallison. Courtesy of The Cliburn.


The 2019 Cliburn International Junior Piano Competition Cultivates Brilliant Young Minds. BY LEE CULLUM


t’s not cut-throat, like the big Cliburn,” says Jacques Marquis, president and CEO of the Van Cliburn Foundation, soon to mount the International Junior Piano Competition at SMU’s Meadows School of the Arts. “Everybody can play everything. The kids are so good, so young. We don’t launch careers. We put an atmosphere around them and let them grow. We give them an international perspective and vision, and do everything we can to open their minds to the real life of touring [while] practicing every day. They are like a big sponge.” All this “raw talent,” as Jacques puts it, 24 competitors in all, plus 14 additional participants in the festival, ages 13 to 17, will pitch camp on or about May 31 in dormitories on the campus, the better to create a real community. Friendships are likely to last well beyond the final concert on June 8, 2019, when the top three winners will play at the Meyerson Symphony Center with the Dallas Symphony Orchestra, conducted by Ruth Reinhardt, a winner herself who’s well on her way to an important career at the podium. “We want the surrounding to be perfect for the musicians,” Jacques insists. With Ruth Reinhardt and the DSO in the Meyerson it will be. There will be master classes and chamber groups for the visiting prodigies (many having begun serious piano study sometimes as young as age four, according to Jacques, and no later than nine) along with sessions on stagecraft, social media, and how to meet donors after the show. For fun, they’ll hit venues such as NorthPark Center and Klyde Warren Park, where the final round will be simulcast, and host families will also make sure the kids sample some Texas eateries. But the main attraction is music. For that, Jacques Marquis has assembled a jury from around the world. “I chose the jury members,” he



Van Cliburn Foundation President and CEO Jacques Marquis, photograph by Reverie Photo Co.


tells me at his office in downtown Fort Worth, “and I want them nice.” Moreover, he adds, “they give all their comments to the kids afterwards.” The idea is to be as helpful as possible. That’s what nice means. The chairman of the jury this year is pianist Alessio Bax, who came to the Meadows School on a scholarship from Bari, in the Adriatic heel of Italy, when he was 16. He joined the faculty at 20, and now is artist-in-residence while also playing 100 concerts a year around the world. He will preside over six jurors, including composer Lowell Liebermann. The first thing he must do is set the ground rules, the ethics of the operation, Alessio explains over lunch in New York where he lives with his wife, Lucille Chung, also a pianist/artist-in-residence at Meadows, and their four-year-old daughter Mila, who speaks English, Italian, and French and, of course, plays the piano in a special music school. “Some jurors want to know as much as possible about a pianist,” he says, “while some want to know nothing.” All this must be worked out before the young players, culled from 230 applications across 32 countries, hit Dallas, ready for action. I meet a veteran of the Junior Cliburn one afternoon in the lobby of the Rosewood Mansion on Turtle Creek. It is Clayton Stephenson, winner of a Jury Discretionary Award four years ago when he was 15, back in Dallas to perform at a Cliburn event that night. He started playing the piano when he was seven with a garden-variety teacher in Brooklyn who was more “a babysitter,” he admits, than anything else. “I was a troublemaking kid,” Clayton confesses, “and my mom wanted me to sit for an hour.” She was an accountant, supporting the household pretty much on her own since Clayton’s father was not a lot in evidence in their life. He died two years ago. Clayton couldn’t even sight-read music at that point, but pretended to, while actually playing by ear. There “were no Hanon Exercises, no Chopin,” he continues. Instead, “I played songs I liked…easy beginner’s [stuff]…I didn’t really know about my piano abilities…I never really considered myself to be good.” But astonishingly good he was, and that was impossible to miss. After two years, Clayton switched to a new teacher, near Chinatown on Brooklyn’s 8th Avenue. The barely budding pianist remembers the teacher “was very strict, traditional.” But that was exactly what was needed to catapult Clayton Stephenson into Juilliard’s Pre-College at the age of ten, and then to Harvard where he is now a sophomore majoring in economics (his mother wants some grounding for him) while pursuing a Master of Music degree at the New England Conservatory. The Junior Van Cliburn was his first big competition. With no piano at home, he prepared by practicing at Juilliard. What he loved most about that time in Fort Worth, staying at TCU, was this: “They treat you like artists, not children.” His goal now? To compete in the next big Van Cliburn in 2021. While Clayton Stephenson loves the Romantics—Chopin, Liszt, and Beethoven, but he is not yet playing Bach—Alim Beisembayev, who at 17 scored first place in the inaugural Junior Cliburn, definitely revels in Bach, plus Mozart, Schumann, the Russian composers, and Debussy, whom he calls “incredibly creative.” Beethoven too, of course, who cannot be ignored. All this I learn in a phone interview with him, speaking from London where he’s been studying since he was 12, going back to Kazakhstan to visit his family only for the holidays. Alim first left home at 10 for a music school in Moscow. Currently at the Royal Academy of Music, he mentions his interest in contemporary works, which are “quite important,” he says, but “very difficult” to play with a chamber group. That’s because they are “not as straightforward as classical music, less harmonic…but much more fun to do.”

Above: Youlan Ji, 16, of China, takes a bow after she performs with the Fort Worth Symphony Orchestra under the direction of Mei-Ann Chen during the final round of the Cliburn International Junior Piano Competition and Festival, in Fort Worth, Texas, Sunday, June 28, 2015, photograph by Rodger Mallison. Courtesy of The Cliburn. Below: Pianist Alessio Bax serves as this year’s chairman of the jury, photograph by Marco Borggreve. Courtesy of Arts Management Group.




Clayton Stephenson, 16, of the United States, performs during the preliminary round of the Cliburn International Junior Piano Competition and Festival, in Fort Worth, Texas, Monday, June 22, 2015, photograph by Rodger Mallison. Courtesy of The Cliburn.

It can’t have been easy for his parents, not musical themselves, to let their only child go so far away, quite possibly never to return. “They thought it was good for me to get outside the line,” he tells me, “to go to London, learn the language and a new culture.” As for the United States, he has been here three times, and always for the Cliburn, which is adept at return engagements for its star performers. Another star returning to Fort Worth this spring, to perform with Clayton Stephenson, is Youlan Ji, third-place winner of the 2015 Junior Cliburn. She started music lessons at four, taught by her mother, now a piano teacher at the Central Conservatory of Music in South China. Her father played an indigenous instrument with two strings and a bow—it makes “a mellow sound… like a cello,” she notes—in a traditional Chinese orchestra in Beijing. He wanted Youlan to learn it, and she tried “for a couple of days.” That was enough. Like Alim, she goes home once a year, usually in early summer, then hurries back to Aspen for the music festival. Come fall, it’s back to Juilliard where she has been studying since the seventh grade. Also an only child, she talks to her parents once a day, on FaceTime. It is in New York that we meet for lunch during her spring break. Off for two weeks, she has been sleeping late and taking a painting class. “It was really fun,” she says, whipping out her phone to show me a landscape she did with tall, stylized tree trunks standing in puddles of pink leaves in an abstract river of blue. It is startlingly sophisticated, bristling with wit, and very impressive. Artistry in one field, it seems, spills over into others. But for Youlan, music, of course, comes first. And music is making its way into more and more homes in China. “Everyone has a piano in the house,” Youlan reports. “When I was there, I could hear three neighbors practicing.” Is the government, I ask, involved in this? Her answer: “The government is definitely encouraging it.” 42


Sam Holland, Algur H. Meadows Dean and Professor of Music. Courtesy of Southern Methodist University Meadows School of the Arts.

To the favorite composers already listed above, Youlan adds Rachmaninoff, Ravel, and Haydn. But her number one is Bach. “Bach is very, very profound,” she declares, “and he is very romantic… Mozart [however] is the first music I felt I had a personal connection to. It is very intimate, and not as intimidating as Beethoven.” Youlan makes a specialty of four-hand piano, two players at the same keyboard, a dazzling showstopper at concerts for Alessio Bax and Lucille Chung. It’s demanding, though. “You must be a hundred percent synchronized,” she points out. “It’s easier with strings, not so exact. The piano is harder because of the attack.” She loves the collaboration of chamber music, too, where “breathing together is important. It’s a natural motion [that’s essential to hitting] the beat together.” There’s more: “Breathe more, a teacher will say. A person who never pauses for breath is too fast and runs the notes together. The pace of the music gets too agitated too soon. We get too excited and sometimes we forget to play the music. We rush a lot.” Youlan Li would resist rushing. She’s too intelligent not to pace herself in what she’s playing and in where she’s going, which is all the way to a PhD. What’s too often missing, though, is the opportunity to perform with an orchestra. That’s one reason The Cliburn was so spectacular for her. Like Clayton Stephenson, she hopes to make it to the big competition. And when she does, Youlan, like Clayton, will be a formidable presence, round after round. I stopped by Dean Sam Holland’s office at the Meadows School to see if he is ready for what’s coming the end of May. Yes, certainly he is, with Caruth Auditorium all set for everything but the finals and upgraded practice pianos at the ready for the whiz kids about to arrive. According to Holland, every participant is a “potential student for Meadows.” He notes, “The level of the competition is stratospheric, [with] uncannily mature musicianship.” P

Th a n k you to ou r gen erous sponsor s

TACA Lexus Party on the Green Chairman

Kim and Nevin Bannister

Join the party on Friday, October 4, 2019 6:30 pm Elaine D. and Charles A. Sammons Park at the AT&T Performing Arts Center Tickets: $350 For information or to purchase tickets to Party on the Green, please call 214.520.3926 or visit our website at

Round Top Festival Institute Concert Hall


James Dick’s Round Top Festival Institute is a musical crown jewel of the Lone Star State. BY STEVE CARTER




Round Top Festival Institute Founder James Dick

Conductor Christian Arming, courtesy of Mendoza Photography

Jason Thomas Aylward





Cloister Stairs and garden

hile it’s located only four hours south of Dallas, the Round Top Festival Institute is a world away. Nestled in the tiny (population: 90) town of Round Top, a few miles off U.S. 290 between Austin and Houston, the Festival Institute has enriched the artistic lives of countless students and visitors since its inception in 1971; this summer season marks its 49th year. The internationally acclaimed concert pianist James Dick is RTFI’s Founder and Artistic Director, and his vision has grown from a 10-day festival for 10 piano students into a sixweek orchestral festival that currently draws around 100 of the world’s crème de la crème music students and nearly 50 renowned instructors and conductors as faculty. Today the Festival Institute boasts 30+ concerts in its June/July summer season, and also hosts an August-to-April Concert Series, the International Guitar Festival, the Theatre Forum, the Poetry Forum, the Herbal Forum, for a total of more than 50 events annually. With an “Old World” atmosphere imparted through its restored historical buildings from La Grange and Hempstead, its lushly curated grounds, and its magnificent, acoustically marvelous 1,000-seat Festival Concert Hall, Round Top Festival Institute is a 210-acre oasis for music and the arts. Only in Texas, there’s nothing else like it anywhere. Pianist James Dick’s stellar career took off in the 1960s, when, within a single year, he was a top winner in the Tchaikovsky, Busoni, and Leventritt international competitions; he’s been concertizing ever since. But with time on his hands in the summer months he thought he’d like to teach, recalling his own students and festivals that he

The Menke House was built in 1902.

The Fountain Garden

Aerial view of Round Top Festival Institute's Concert Hall




himself had attended. So in 1971 he launched the dream that became Round Top Festival Institute. While it’s evolved and grown precipitously over its almost five decades, it remains an intimate, nurturing community. “We have a human scale here,” Dick says, “which lets us present new things. We’ve commissioned new repertoire, and performed it, and helped it along. Composers come here in residence too, so we’re doing a lot of valuable reaching out to make things happen—I’m very proud of that.” There’s lots to be proud of. Students who’ve auditioned and been accepted into the summer institute attend tuition-free, thanks to the festival’s tireless fundraising efforts. And there’s the giving back to the community—when the Festival Institute began, local schools had no music programs, but now, thanks in part to RTFI’s efforts and influence, schools offer band, orchestra, and chorus. One outstanding aspect is that the students work with several different conductors; it’s a real-world preview of a professional career with an orchestra. Dick explains, “That’s one of the good things here—we don’t just have one conductor. Students may have eight conductors during the summer, each with different ideas about interpretation in music, and the repertoire will always be different every week. They have to begin Monday night with new repertoire, and Saturday night they perform.” The shadow of the RTFI is long, with alumni on six continents, playing with the world’s major symphony orchestras—the New York Philharmonic, Los Angeles Philharmonic, Singapore Symphony Orchestra, and many others. And some alums return to teach. An example is Jason Thomas Aylward: trumpeter, conductor, composer, and more, he’s a musician for all seasons and a strong advocate for the Festival Institute experience. Aylward attended in 2017 and returns this summer as an assistant conductor. “I had never been to Texas prior to this,” he says, “and I came down to this tiny little town with this huge, grandiose, beautiful, eighth-wonderof-the-world concert hall and I was absolutely blown away. And to be met with such an astounding, world-renowned storied faculty—I was really a little awestruck when I first got there, getting to be a part of this as a student.” This summer he’ll be conducting Lutoslawski’s Double Concerto for Oboe, Harp, Strings and Percussion, Stravinsky’s The Soldier’s Tale, and the annual patriotic concert on June 30; that program includes Aylward’s own pastoral composition, On the Shoulders of Running Water. “The patriotic concert is one of the most charming and exciting events of the year,” he enthuses. “I’m really thrilled to be doing that one.” Never resting on his laurels, James Dick isn’t slowing down, and planning for next year’s repertoire and conductors is already underway. “The summer Festival Institute is the wonderful coming together of nearly 30 events, including master classes, chamber music concerts, orchestra concerts, young person’s concerts, patriotic concerts, all these things melding together in the summer,” Dick says summarily. All that, along with the rest of the year’s events, offers myriad opportunities for growing with the arts, in a truly unique setting. “It’s what life is about, isn’t it?” Dick adds. “We can spend life very quickly by doing not too much—I like to do a lot. I like to make it worthwhile, and of substance too.” P



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PHOTO CREDITS: Header photo MOMIX, - photo by Todd Burnsed; 1. Photo by Ayodele Casel; 2. A Million Voices, Photo by Rob Latour; 3. Ballet BC dancers Kirsten Wicklund, Darren Devaney, Alexis Fletcher in workwithinwork, photo by Michael Slobodian; 4. Photo by Max Pucciarelli; 5. Delfos, photo by Mar tin Garcia; 6. Cendrillon, photo by Olivier Houeix; 7. Photo by YIN Peng; 8. Alvin Ailey American Dance Theater’s Chalvar Monteiro, photo by Andrew Eccles; 9. Photo cour tesy of KMP Ar tist Management; 10. RUBBERBAND, photo by Mat Doyon; 11. Photo by Takao Komaru





214.88 0.0202





Gigi Potter comes from a family of metal artisans who set up shop in 1922.




A recessed garden fronts the historic home built in 1939.



SPACE The character of the original home is well preserved.


hen an older home is extensively remodeled in the ultra-valuable Park Cities, the purpose and ultimate hope is to keep the integrity of the original structure but add the things that families are looking for now—bigger kitchens and more casual living areas. Says Robby Skinner, president of Sleepy Hollow Homes and member of the Park Cities Historic and Preservation Society, “We are committed to preserving the fabric of the community by keeping these old homes and making them livable for modern standards so that they will stand the test of time and hopefully not be torn down by a next owner.” Which is exactly the case of the Potter home in Volk Estates. Gigi Potter grew up there from her early teenage years and recalls neighbors living with them in times of need along with both sets of grandparents; it was paramount to preserve the home where she had built such fond memories while continuing to create new ones. She enlisted the considerable talents of architect Wilson Fuqua to draw new architectural plans, builder Robby Skinner to lead the construction, and Paul Fields of Lambert’s Landscape to make sure the new gardens would complement the style of the home. The home on Turtle Creek was originally built in 1939 by Womack and Cozzo, with an addition by architect Overton Shelmire completed in 1960; the property was acquired by the Potter family in 1972. Other than a swimming pool and driveway, the house remained the same as its 1970s incarnation until the recent remodel. The most substantial change is the orientation of the home on the lot. “When this house was first built, Lovers Lane was a dirt road. In fact, most of the property was surrounded by pastures,” says Robby Skinner, “so the orientation really didn’t matter.” Gigi remembers that there were a couple of stop signs on Lovers Lane. Architect Wilson Fuqua directed the Potter remodel with a respect for the house and how it related to the property. By 50


reversing the driveway side, he was able to create a family room and large kitchen that opened up to a long porch and an expansive yard. “After changing the front door location [which was hard to find], I felt like the house was too low on the property. We added the sunken garden in the front to make the house seem taller. Kind of like wearing high heels or standing with shorter people.” Fuqua is one of the preeminent architects of Park Cities and Preston Hollow historical home remodels. He’s a preservationist at heart with special interest in architectural history; his careful respect for the homes and their environment reflects that. “On any project, remodel or new construction, it’s important to remember that there is no great architecture without a great patron. Gigi Potter was a great patron in wanting to keep and improve the character of her home.” Paul Fields, president of Lambert’s Landscape, worked closely with Fuqua and Skinner to create a more open and inviting space. “By moving the pool and relocating the driveway, we could, in effect, keep the people on one side and the cars on another. We took out a small, closed Japanese garden to create a classic garden and pool space.” The owner wanted a Southern plant palette to complement the home – hydrangeas, boxwood, and azaleas. The outcome is a project that seamlessly integrates new areas with the old. There is a personal and poignant twist to this story—the Lamberts and the Potters happen to be great friends. In fact, Lambert’s employee Junior Mora is celebrating his 50th year with the company and remembers when he used to drive around Mr. Potter and Mr. Lambert in one of Potter’s many classic cars— maybe Hugh Hefner’s Lincoln or a 1959 white Cadillac convertible. One can’t mention azaleas without mentioning Lambert’s. Joe Lambert planted the first azaleas in Dallas in 1933 as a request from a Lakewood resident who had seen the showy blooms in Portland, Oregon. “The next year, the azaleas bloomed so extravagantly that

police had to direct traffic in front of the house!” says Paul Fields. The continuation of the azalea story is abundantly and beautifully evident each spring as Turtle Creek and other Dallas streets are lined in a pink profusion of blooms. As Lambert’s celebrates their centennial anniversary this year, there is no way to discuss Park Cities preservation without talking about the vast influence Lambert’s has made in shaping and preserving the look of some of the most beautiful and most valuable neighborhoods in Dallas— beyond just azaleas. At one time, half the homes in Park Cities were painted Lambert green. Legend has it that Mr. Lambert and his daughters took different paint cans and mixed the color in the backyard to create a hue that would complement the gardens. There are still quite a few examples of Lambert green in Dallas. The most interesting and certainly the most dramatic way that Joe Lambert shaped Dallas, however, was by saving Turtle Creek. At one time, the Highland Park city planners had decided to fill in the messy creek that ran through the city and create a park on top of the land. Lambert’s and a group of concerned citizens mounted a campaign to save and beautify Turtle Creek. If Joe Lambert helped shape the look and charm of the lawns and parks of the Park Cities, Henry Potter was his counterpart in building and architecture. He started Potter Metal Works in 1922 with iron lanterns and expanded the collection from there. He was responsible for all the decorative ironwork in Highland Park Village, which creates the charming Mediterranean look that is timeless even today. His artistry is also still evident in some of the grand old churches like Highland Park United Methodist on Mockingbird Lane and Highland Park Presbyterian on University Drive. Both of these visionaries helped create the Park Cities of today. It is so fitting that Gigi Potter is restoring her family home and keeping much of the ironwork originally created by Henry Potter, and Paul Fields is continuing Joe Lambert’s lasting legacy in University Park. P


Historical details are honored throughout the home.

CONTEMPORARY ART 1531 Dragon St. | 214-801-3211 |





Emerging and established artists find new representation at local galleries. BY NANCY COHEN ISRAEL

Clockwise from top left: Gracie DeVito, Mezzo Grappa, 2017–2019, oil, acrylic, sand on canvas, 52 x 58.5 in., courtesy of the artist and 12.26; Gary Komarin, Teal on Creme and Pink, 2019, enamel paint on paper, 34 x 24 in., courtesy of Laura Rathe Fine Art; Ben Marcin, Camden, NJ, 2011, courtesy PDNB Gallery; Jan Kransberger, Longing, pate de verre, 14 x 8 x 4.5 in., courtesy of Kittrell Riffkind Art Glass.




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



PATRON BEST OF: GALLERIES degradation. Over the past year, Gary Komarin has entered the roster at Laura Rathe Fine Art. The gallery is drawn to his distinctive technique, with its painterly lines and unique iconography. Lisa Schulte recently joined Samuel Lynne Galleries. Her contrasting media of found wood and white neon work harmoniously to illustrate environmental adaptation. Ginger Fox Gallery recently relocated from its former home in the Bishop Arts District and now joins Dragon Street stalwart Christopher Martin Gallery. Two of the longest operating contemporary art galleries of Dallas, Barry Whistler Gallery and Conduit Gallery, swelled their programs with newly represented artists this year. Matt Kleberg’s recent success at the TWO x TWO for AIDS and Art auction prompted Barry Whistler Gallery to add the Brooklyn-based artist with Texas roots to the roster. Whistler was drawn to his architecturally influenced geometric abstractions rendered in oil stick on canvas. Conduit Gallery often serves as a laboratory for new work, particularly in the Project Room. The gallery has been especially enthusiastic about the work of Gabo Martinez, who recently showed in this space. The Houston-based artist was born in Guanajuato, Mexico, in a town known for the production of adobe bricks. With the feel of the earth in her veins, Martinez hand builds

clay vessels which she then incises with her own poetry. The sense of straddling two worlds comes through in the work of Ori Gersht, a newcomer to Talley Dunn Gallery. He composes traditional still lifes which he then photographs. Subsequently, using a camera and a gun on a timer, he captures the moment of impact when the gunshot shatters the formerly intact composition. Gersht’s blending of traditional subject matter with current technology makes his work as timeless as it is timely. The venues devoted exclusively to photography, Afterimage Gallery and Photographs Do Not Bend Gallery (PDNB), continue to take on new artists. Nikola Olic, Sarah Hadley, and Darcie Sternenberg are recent additions to Afterimage. The Serbian-born Olic focuses his lens on the built environment in a way that defies notions of traditional architectural photography. Similarly, Ben Marcin’s documentary work at PDNB chronicles buildings as they fall into permanent decay. Far North Dallas is also home to a thriving gallery scene. Here, Valley House Gallery and Sculpture Garden has been an important venue for contemporary art for close to 60 years. Miles Cleveland Goodwin, whose poignant work The Shawl was recently on view at Dallas Art Fair, joined the esteemed artist list this year. Nearby,

Clockwise from left: Sky Brick series: Mill Creek Sky, 2018, mixed media on lucite, 6.75 x 6.75 in., courtesy of William Campbell Contemporary Art; Matt Kleberg, Peregrine (Icon in Bold), 2018, oil stick on canvas, 60 x 48 in., courtesy of Barry Whistler Gallery; Simón Vega, Gemini Capsule, 2018, mixed media, used objects, plants, courtesy of Liliana Bloch Gallery, photograph by Kevin Todora.



Southwest Gallery shows a wide variety of work produced by artists from around the world. Several years ago, Kittrell/Riffkind Art Glass moved into a dedicated space within the same building, continuing the vibrant program that they established in the 1980s. In the past year, they have begun showing the work of Mariel Bass, Dean Allison, Deborah Johnson, and Mary Mullane. Dean Allison’s elegant portraiture rendered through traditional casting techniques attracted the gallery with its balance of the traditional and contemporary. And always worth the trip from Dallas, in Fort Worth, William Campbell Contemporary Art recently added Michelle Benoit to its roster. Using recycled acrylic that she layers into geometric squares, Benoit creates small gems. The Campbells are attracted to the purity of the work and its nature-inspired palette. Working across media and tackling a wide range of issues, these new additions promise to further the vibrancy of the local gallery scene. P

Clockwise from left: Ori Gersht, Lilium candidum D04, 2018, archival pigment print, edition 1 of 6,47.5 x 39.5 in., Courtesy of Talley Dunn Gallery; Miles Cleveland Goodwin, The Shawl, 2019, oil on canvas, 40 x 30 in. courtesy of Valley House Gallery; Sherry Owens, Mother Nature Throwing Up Her Hands, 2017, crepe myrtle, bailing wire, paint, dye, wax, 77.25 x 43.25 x 23 in., photograph by Harrison Evans, courtesy of Cris Worley Fine Art; Lisa Schulte, Poetry & Spirit, wood and neon, 34 x 40 x 17 in., courtesy of Samuel Lynne Galleries.




RETELLING THE STORY Women in curatorial roles bring advanced perspectives to their collections. BY NANCY COHEN ISRAEL


he current zeitgeist coupled with the rediscovery of work by women and artists of color through the ages is reinvigorating the art historical canon. With women in curatorial positions at every museum in the area, the voices of previously underrepresented artists are finally being heard.   The past year has seen curatorial changes at all of the area’s museums. At the Dallas Contemporary, the newly appointed Senior Curator, Laurie Ann Farrell, arrived with a broad goal. “Rather than framing decisions through a specific lens, the Dallas Contemporary aims to be inclusive. Our curatorial reach strives to unearth new voices, or reframe recognized voices with new stories to tell,” she says. Over the past year, the Dallas Museum of Art has added or promoted several women in curatorial positions. Nicole R. Myers was recently promoted to The Barbara Thomas Lemmon Senior Curator of European Art. Myers co-organized the critically acclaimed, international traveling blockbuster, Berthe Morisot, Woman Impressionist. In addition, she recently devoted an entire gallery to Women Artists in Europe from the Monarchy to Modernism, culled from the museum’s permanent collection. The DMA further widened its scope with last summer’s announcement of Heather Ecker as the first Marguerite S. Hoffman and Thomas W. Lentz Curator of Islamic and Medieval Art. Her re-installation of the Islamic gallery reflects her scholarly interest in the interconnections between these cultures.  The museum opened the season with Cult of the Machine, curated by Sue Canterbury, The Pauline Gill Sullivan Associate Curator of American Art. The exhibition, focused on American culture from 1910 until World War II, celebrated the early modernists and their

faith in a technology-driven future. And with Anna Katherine Brodbeck’s recent promotion as the Hoffman Family Senior Curator of Contemporary Art, she made a conscious commitment to acquire and exhibit the work of traditionally underrepresented artists. Work by several mid-career artists selected through the Dallas Art Fair Foundation Acquisition Fund, overseen by Brodbeck, is currently featured in the exhibition America Will Be!: Surveying the Contemporary Landscape. Brodbeck has been collaborating with Michelle Rich, the recently appointed Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas, to organize exhibitions featuring the work of Native American and Latin American artists. Among the most overlooked contemporary artists are those of Native American and First Nations heritage. In righting this oversight, the DMA recently acquired work by Brian Jungen and Jeffrey Gibson. According to Brodbeck, “This is part of an expansion of the Contemporary department to include work by artists of indigenous descent who are at the forefront of current trends.” The creation of the Jorge Baldor Curator of Latin American Art at the DMA continues to move the needle forward with the exhibition of contemporary artists from this culturally diverse region. Civic leader and philanthropist Baldor has been quietly funding the museum’s Latin American initiatives for several years. He sees the establishment of this position as a way to incorporate historical and contemporary work by artists from North America, the Caribbean, and Central and South America. This endeavor will be further enhanced by the Stanley and Linda Marcus Endowment for the Acquisition of Latin American Art. 

From left: Anna Katherine Brodbeck, Hoffman Family Senior Curator of Contemporary Art, at the Minerva Cuevas Fine Lands press preview; Curator Jacqueline Chao at the Crow Museum of Asian Art, photograph by Suzanne Oshinsky; Andrea Karnes, Senior Curator at The Modern, courtesy of the Modern Art Museum of Fort Worth.



At the Nasher Sculpture Center, Catherine Craft and Leigh Arnold serve in the roles of Curator and Assistant Curator, respectively. In the past year, Craft curated the comprehensive exhibition The Nature of Arp. Arnold oversaw the installations of Nasher Prize winners Theaster Gates and Isa Genzken. She is also the driving force behind the annual Nasher Prize Graduate Symposium. Curator of the Crow Museum, Jacqueline Chao, is broadening perceptions of Asian art. The museum’s mission, she explains, is to introduce visitors to work dating from antiquity to the present and spanning the Asian diaspora. Chao is also working to equalize a gender imbalance. She says, “We are proud to be currently featuring dynamic and innovative artworks by Japanese women in Hands and Earth: Contemporary Japanese Ceramics. Women have traditionally played only a minor role in Japan’s long history with clay.” The exhibition includes the work of trailblazing women, Koike Shoko and Futamura Yoshimi, as well as pieces by Hashimoto Machiko and Shingu Sayaka, emerging female ceramists whose natureinspired creations are becoming internationally recognized. Amanda Dotseth, the recently appointed curator at the Meadows Museum, is keen to broaden the museum’s scope of Iberian artists to include work by and for women as well as art by Spanish Jews and Muslims. She also has a keen interest in reexamining the art historical omissions of women, saying, “In my particular area of expertise, medieval art, wherein the names (and therefore gender) of makers are usually unknown, I make a point in my teaching and writing to acknowledge that ‘anonymous’ was often a woman. We shouldn’t assume a maker was a man simply because we don’t know.”

In Fort Worth, at the Kimbell Art Museum, Jennifer Casler Price, who has been with the museum for 20 years, recently had a title change to Curator of Asian, African, and Ancient American Art. She joins Kimbell veteran Nancy Edwards, Curator of European Art and head of academic services, as part of the curatorial team. While the museum recently added Anne Vallayer-Coster’s Still Life with Mackerel to its collection, its programming vision remains rooted in its mission. “From its inception, the Kimbell has acquired works of art of exceptional quality to build a small but superlative collection—exercising connoisseurship broadly and deeply and looking beyond a narrow canon to recognize excellence,” Edwards explains. At the Amon Carter Museum of Art, Kristen Gaylord was recently named Assistant Curator of Photographs. She joins Maggie Adler and Shirley Reece-Hughes as part of the female force of curators. Gaylord’s scholarship has focused on several female artists. Andrea Karnes, Senior Curator of the Modern Art Museum of Fort Worth, keeps museum goers apprised of contemporary art trends. She works alongside Associate Curator Alison Hurst, whose current FOCUS exhibition features the work of Analia Saban. The Los Angeles–based artist pushes the limit of traditional artistic media through a combination of scientific experimentation and craftsmanship. Under the leadership of these women, the art historical discourse of this century is being written. Through their efforts it will be a greater tome, made richer through its story of diversity and inclusivity. P

From left: Curator Catherine Craft and Assistant Curator Leigh Arnold at Richard Serra: Prints at Nasher Sculpture Center; Kristen Gaylord, Courtesy of Amon Carter Museum of American Art; Dallas Contemporary’s new senior curator Laurie Ann Farrell in front of a wallpaper work by Trenton Doyle Hancock, photograph by Chia Chong; Nancy Edwards, Curator of European Art, Kimbell Art Museum, photograph by Robert LaPrelle; Dr. Amanda W. Dotseth, Curator, Meadows Museum, SMU, photograph by Tamytha Cameron.



This page and opposite: Sheila Hicks, Migdalor, 2018, installation view. Courtesy Magasin III Jaffa, photography by Noam Preisman.

LOOMING LARGE Fiber artist Sheila Hicks mounts a site-specific installation at the Nasher Sculpture Center. BY DANIELLE AVRAM




or over 60 years, artist Sheila Hicks has carried around a small, wooden square. Originally intended to be a stretcher for a future painting, Hicks instead chose to turn it into a miniature loom by adding nails along two sides. The 12.25-inch device has accompanied her on travels across the globe: through Mexico, South America, Europe, Asia, and India. While Hicks also utilizes a sketchbook, she ultimately turns her observations into small, thread-based sketches, which she calls minimes. To date, she has made well over a thousand of these pieces. Incorporating locally sourced fibers and occasional found objects with various weaving techniques and color studies, the minimes serve as both a literal and metaphorical travelogue, a document of material and technical experiments, bound together by a personal narrative informed by their location of origin. They also serve as the basis for Hicks’ larger, installation-based works, which will occupy the lower level gallery and garden of the Nasher Sculpture Center from May 5 to August 18. The exhibition brings together the artist’s signature colorful poufs and wall hangings with a site-specific outdoor installation. While a recent spate of highprofile exhibitions has given Hicks the aura of a late-career artist finally getting her due, her place in the lexicon of contemporary art has long been established. Her whimsical, public-pleasing gestures are the result of a dogged, decades-long study of color, form, and material, and an almost obsessive desire to narrate personal experiences through textiles. “Sheila is part of a generation of artists working in fiber since the 1960s who used the material to create woven, three-dimensional works that liberated fiber from the loom and thereby elevated the medium from its historically low position in art historical hierarchies,” says Nasher Assistant Curator Leigh Arnold. “Her impact can be seen on many contemporary artists working today who are interested in antiform, soft sculpture, or those interested in excavating various media typically associated with craft or design and bringing it into the realm of high art.” Hicks’ fascination with fibers began as a child. A Nebraska native, she grew up in a tradition of knitting and weaving, and would often worry thread as a way to pass the time while waiting for her father to come home. Her family moved frequently, living in Iowa, Oklahoma, Louisiana, Florida, Texas, and Michigan, before settling in Winnetka, Illinois. Hicks initially studied to be a painter, attending Syracuse University from 1952 to 1954 before receiving undergraduate and graduate degrees from the Yale School of Art and Architecture in the late 1950s. While at Yale, Hicks studied under famed abstract painter and color theorist Josef Albers, and modernist architect (and Kimbell Art Museum designer) Louis Kahn, both of whom extensively influenced her ongoing experiments with color, structure, and space. She studied pre-Columbian art with historian George Kubler, who introduced her to early Andean textiles, sparking her fascination with marrying the domestic pastime of her youth with her academic studies. In a 2015 interview with Frieze magazine, Hicks recalled: “I began teaching myself how to weave because I was interested in how the pre-Incas structured thought with threads, with lines. The work I discovered that the tribes in the Andes were doing—without a written language—blew my mind. They were engineering in three dimensions and creating their own materials; every tribe did its own thing and there was infinite variety.” During her time at Yale, Hicks also crafted her talismanic loom, and it accompanied her on her many travels: a Fulbright to Chile, a tour through South America, a grant to study in Paris, and a lengthy sojourn to Mexico, where she lived from 1959 to 1964. While in Mexico, Hicks established a weaving studio and befriended architect Luis Barragán, whose translation of traditional Mexican architecture into colorful



Artist Sheila Hicks at her Paris home. Courtesy of Galerie Frank Elbaz.

Sheila Hicks, Ligne de vie. © Centre Pompidou Philippe Migeat.



modernist buildings further inspired her own interest in merging tribal weaving practices with contemporary art. In 1960, the Museum of Modern Art acquired and exhibited Blue Letter, a double-sided minime upon which Hicks had inscribed hieroglyphs by varying each row of weft, the threads that run widthwise in a swatch of fabric. The moment heralded her breakthrough into the American art world, and she was included in a number of fiber-based exhibitions across the country over the next few years. Hicks relocated to Paris in 1964, where she has since resided. Bringing her ancestrally rooted techniques to the bastion of high fashion, high art, and high design, Hicks found herself caught between the old guard and the new. In 1967 she was included in the prestigious Biennial of Tapestry in Lausanne, where her Chileaninspired linen tapestry was met with both applause and derision. As Hicks recounted in a 2011 New York Times article, “For some I was persona non grata, and for others I was the heroic pirate. But the architects were coming. I was getting the work.” And come they did. While continuing to expand her artistic practice, Hicks landed one public commission after another, employing a squadron of studio assistants to achieve monumental woven works of varying complexity. She worked as a textile designer for Knoll; created bas-relief tapestries for the Ford Foundation in New York and embroideries for the first-class cabins of Air France; helped the Moroccan government revamp the country’s rug-making industry; and worked in India for fifteen years, creating textiles for Air India, hotels, and government buildings. In doing so, Hicks continually blurred the lines between art, craft, and design, between weaving as a practical endeavor and one of poetic expression.

But it is the monumental institutional installations that have defined public awareness of her career. She has exhibited around the world, participating in the 2012 São Paulo Biennial in Brazil and the 2017 Venice Biennale. Recently she mounted an exhibition at the Palace de Versailles, a 60-year retrospective at the Centre Pompidou in Paris, and a sprawling spectacle along New York City’s High Line. There she swathed the pedestrian bridge in noodle-y, ribbon covered pipes that resembled oversized pieces of thread. Snaking along the ground and jutting into the horizon, they called to mind the urbane, the cultural, and the sublime: resembling everything from electrical pipes to traditional hair wraps, to rainbows and sunsets. At the Nasher, viewers can expect a similar sensory-filled experience that highlights the museum’s architecture, allowing viewers to engage with the space in wholly unique ways. Inside, visitors can recline on vibrantly colored, oversized fiber bales, while knotted works dot the walls, and tendrils cascade from the ceiling. Final details of the outdoor installation remain a mystery, but it stands to reason that Hicks will employ strategies similar to New York and France, using textiles to both define and burst through prescribed boundaries, allowing them to trace a narrative that moves from earth into the heavens, from the humble to the transcendent. To consider the breadth of Hicks’ career is to weave a narrative as complex as one of her tapestries. She is an artist, a storyteller, a craftswoman, a laborer, raising the voices of the long dead and the disenfranchised alongside the storied and celebrated. For Sheila Hicks, thread is more than a simple substrate. Thread is a language, a way of passing along ideas and experiences. Thread is connectivity and life. Thread is anything but quiet. Thread is a revolution. P

Sheila Hicks, Migdalor (detail), 2018, photograph by Noam Preisman. Courtesy of Magasin III Jaffa.



Look 19, Christian Dior by Maria Grazia Chiuri, Haute Couture Spring-Summer 2018. Courtesy of Dior.



J’ADORE DIOR The enchanting Dior: From Paris to the World exhibit makes its mark at the Dallas Museum of Art. BY KENDALL MORGAN

From left: Marc Bohan adjusting a toile over a model. Courtesy of Dior; Look 49, Christian Dior by Maria Grazia Chiuri, Haute Couture Spring-Summer 2017. Courtesy of Dior; Christian Dior draping fabric over model Sylvie, 1948. Courtesy of Dior.



Portrait of Gianfranco Ferré, c. 1990. Courtesy of Dior.


lthough only at the helm of his fashion house for 10 years, legendary couturier Christian Dior’s influence on fashion has assured his legacy will last well into the 21st century. After all, what style setter doesn’t have an iconic Dior saddle bag on their wardrobe

wish list? Celebrating more than 70 years of the French fashion house’s enduring legacy, Dior: From Paris to the World arrives at the Dallas Museum of Art on May 19 and runs through September 1, 2019, after wrapping up a blockbuster reign at the Denver Art Museum. Tracing the history of the house through more than a hundred couture dresses—as well as photographs, sketches, runway videos, and a visual display of the designer’s atelier—the exhibit will give museumgoers a deeper look at fashion as an art form. The concept of fashion as art is not such a stretch, particularly in Dior’s case, considering he was an art gallerist before he became a legendary couturier, showing the work of Jean Cocteau, Dalí, Giacometti, Miró, and Picasso, among other boldface names. Although a concurrent Dior show was staged in 2017/2018 at the Musée des Arts Décoratifs in Paris and is currently on view at the Victoria and Albert Museum in London, From Paris to the World is unique in its heightened focus honed by the Denver Art Museum’s Avenir Foundation Curator of Textile Art and Fashion, Florence Müller. Müller has made a career of exploring Dior’s archives through multiple exhibitions staged across Europe and Asia from the 1980s onward. Still, she was somewhat taken aback by the fevered response to the show from the public. “The history of Christian Dior is one of the most important in fashion history, but still, I was surprised,” she recalls. “We had an idea it would be big in Denver,

Gianfranco Ferré, Robe Hellébore, Dior Collection Haute Couture, Spring 1995. Photo ©Paolo Roversi/Art + Commerce.



but it was beyond what we imagined. The story of Christian Dior is one of hope and happiness following the detriment of World War II, and I believe that is something that people can grasp and relate to—it speaks to people.” Over two years in the making, the exhibit proved a challenge simply because of the breadth of the house’s archive. Poring over thousands of objects, Müller pulled off what she calls “an amazing feat” of winnowing down the work into a show she has staged chronologically. The displays move through Christian Dior’s hyper-feminine post-war “New Look” to Yves Saint Laurent’s haute couture– gone-beatnik years (1958–1960), past more commercial collections by Marc Bohan (1961–1989) and Gianfranco Ferré (1989–1996) onto John Galliano’s (1997–2011) over-the-top bias-cut gowns and Raf Simon’s (2012–2015) cleverly constructed silhouettes. The exhibition culminates in an exploration of present-day work by Maria Grazia Chiuri, the first female designer of the house. While examining the voluminous skirts and nipped waists that put Dior on the map, it’s hard to recall that his early garments had more than their share of detractors. In fact, it took the designer winning the esteemed Neiman Marcus Award in 1947 for ladies across the United States to embrace the Dior direction. Dior’s close ties with the store’s Stanley Marcus get a special spotlight in the DMA’s iteration, and their long friendship is illustrated through photographs and other ephemera drawn from Southern Methodist University’s fashion archives. Marcus and Dior “developed this real friendship that’s something we’ll be exploring more,” says the DMA’s Margot B.

Look 31, Christian Dior by Maria Grazia Chiuri, Haute Couture Fall-Winter 2017. Courtesy of Dior.

Perot Senior Curator of Decorative Arts, Sarah Schleuning. “It makes a great connection between how much of a frontrunner Dallas was to new fashion and new ideas.” Also fresh to Dallas are 32 dresses not on view in the Denver show, as well as new staging created by architect Shohei Shigematsu for OMA. Formerly drawing on the curvature of the feminine form for his set, he has added the ordered lines of 18th-century French gardens, an homage to Dior’s love of gardening and floral motifs. “Shohei is always inspired by the unique qualities of the museum in which the exhibition is being presented,” says Müller. “The large vault and cross that is the Dallas Museum of Art play into the exhibition design narrative. This gave Shohei the idea of a pattern, a design similar to a French garden that is replicated in the design of the museum as well.” With its subtle additions and Texan twist, the show is sure to uphold its blockbuster status. And this rare opportunity to see the intricacy and imagination behind the seams should thrill even the most casual of fashion fans. What Sarah Schleuning hopes the viewer will take away from Dior: From Paris to the World is an appreciation of what true talent and attention to detail can bring to a life’s labor. “I think the thing that’s really impressed me as I’ve delved into the show and the work is the incredible respect for Christian Dior’s ideas—he built this foundation of craftsmanship and the cuts and these incredible lines that have continued to hold up. Even though they are referenced in different ways by different people, they’re always deeply rooted in the tenets of Christian Dior. And creativity with craftsmanship is a powerful aphrodisiac.” P

Look 28, Christian Dior by Maria Grazia Chiuri, Haute Couture Spring-Summer 2018. Courtesy of Dior.



Claire and Brian Gogel. Above: Frank Bowling, Fishes, Wishes in Summertime Blue, 2016, acrylic on canvas, Hales Gallery, London; Left: Mateo Lopez, Xue, 2016, plaster and gold leaf, Casey Kaplan Gallery, New York.

SHINING A LIGHT Claire and Brian Gogel's Art Collection focuses on formerly underrepresented artists. BY NANCY COHEN ISRAEL PHOTOGRAPHY BY COSTA CHRIST



Above the fireplace: Jadé Fadojutimi, A Flooded Fool, 2018, oil on canvas, Pippy Houldsworth Gallery, London; On the cocktail table: Matthew Ronay, Lamentation, 2017, Basswood, dye, flocking, steel, plastic and polycarbonate, Casey Kaplan Gallery, New York.


arenthood can forge paths to new and unexpected places. Through their youngest son’s artistic interests, Claire and Brian Gogel discovered a new world. “His creativity sparked our journey into art collecting,” enthuses Claire. Art classes developed his particular appreciation of Pop Art, leading the family to museum visits domestically and internationally. Claire explains, “We began collecting as a result of wanting to understand the art world and [to be able to] guide him as parents.” Over the past few years, the Gogels have amassed a collection reflecting the current cultural moment and its celebration of diversity. Visits to the 2017 Whitney Biennial and, later that year, to Soul of a Nation: Art in the Age of Black Power at the Tate Modern served as early inspirations. It also introduced the Gogels to the work of Henry Taylor and Deana Lawson, both of whom are now represented in their collection. From these experiences, they were moved by the power of art to address social issues. It made a lasting impact that continues to guide their collecting, focusing them on the work of female artists and artists of color. 

Theaster Gates, overlay study horizontal, 2014/2015, wood, roofing substrate and tar, Regen Projects, Los Angeles.



From left: Jonathan Gardner, Cloud Room, 2017, oil on linen, Casey Kaplan Gallery, New York; Jochen Klein, Untitled, n.d., oil on canvas, Galerie Buchholz, New York. Opposite page top: Rashid Johnson, Untitled Anxious Men, 2018, white ceramic tile, black soap, and wax, Hauser & Wirth, New York. Opposite page below: Amy Sillman, SK 20, 2017, acrylic, ink, and silkscreen on paper, Gladstone Gallery, New York; Amy Sillman, SK 49, 2017, acrylic, ink, and silkscreen on paper, Gladstone Gallery, New York; Rebecca Warren, Los Hadeans (II), 2017, hand-painted bronze on painted MDF pedestal, Matthew Marks Gallery, New York.





From left: Deana Lawson, Signs, 2016, Inkjet print, edition 3/4, Sikkema Jenkins & Co., New York; Tony Lewis, color, color, 2015, graphite on paper, Massimo de Carlo, London; Frank Bowling, Vase, 1985, acrylic on paper, Hales Gallery, London; Kara Walker, Bitter Pill, 2017, Chine-collé, collage, and mixed media on paper, Sikkema Jenkins & Co., New York.

The first work the Gogels acquired was a painting by Jochen Klein, the late German artist who died from AIDS. This moody abstracted depiction of the English Garden in Munich first attracted the Gogels for its aesthetics. They soon discovered that the garden served as a protest site for LGBT equality and that it was of particular significance to Klein. “Our first acquisition cemented the importance of an artist’s story as a factor in our decision to acquire a piece,” says Claire.



They are guided in their collecting by the Dallas-born, New York–based art advisor Anne Bruder. Claire credits Bruder with sharpening their eye and introducing them to work that supports their vision. “Anne does an outstanding job of focusing our collection to reach the essence of what’s most important to us,” she explains. Bruder’s suggestions have included work by the 2018 Nasher Prize Laureate Theaster Gates. His overall study horizontal is installed alongside selections by Rashid Johnson and Frank

On the table: Shio Kusaka, ink 16, 2015, stoneware, Blum & Poe, Los Angeles. From left: Glenn Ligon, Study for Negro Sunshine #129, 2018, oil stick, coal dust, and gesso on paper, Luhring Augustine, New York; Deana Lawson, Ring Bearer, 2016, Inkjet print, edition 3/4, Sikkema Jenkins & Co., New York; Amy Sillman, SK 20, 2017, acrylic, ink, and silkscreen on paper, Gladstone Gallery, New York; Amy Sillman, SK 49, 2017, acrylic, ink, and silkscreen on paper, Gladstone Gallery, New York; Deana Lawson, Signs, 2016, Inkjet print, edition 3/4, Sikkema Jenkins & Co., New York.

Bowling, also recommended by Bruder. These monumental acquisitions are striking statements installed in the Gogels’ airy and serene great room. The library features contemporary artists whose practices address racial identity. This cozy enclave is lined with artwork by Deana Lawson, Tony Lewis, Kara Walker, Glenn Ligon, and another work by Frank Bowling. Bruder speaks eloquently of the Gogels as collectors, sharing, “Claire and Brian are interested in how artists grapple with their

own identities, which frequently involves explorations of gender, race, and sexuality. They are also attracted to artists who have worked for decades as outsiders and were overlooked until late in their careers as well as artists who confront the scars of history head-on. Unlike many collectors, they seek out art with difficult themes and are willing to challenge themselves.” The Gogels are inspired by the early modernist collection at the Nasher Sculpture Center, particularly those of Alberto



Left: Virginia Jaramillo, Pink Line, 1973, oil on canvas, Hales Gallery, London; Right: Sam Gilliam, Construct, 2018, acrylic on rice paper, David Kordansky Gallery, Los Angeles; Katherine Bradford, Summer Party, 2017, acrylic on canvas, CANADA Gallery, New York; Birgit Jurgenssen, Untitled (Self with Little Fur), 1974–1977, vintage color photograph, Alison Jacques Gallery, London; Ellen Gronemeyer, scorpions, 2017, oil on canvas, Anton Kern Gallery, New York; Henry Taylor, Untitled, 2007, acrylic and tape on canvas, Blum & Poe, Los Angeles; Nicole Eisenman, Born in Flames, 2017, ink and watercolor on paper, Anton Kern Gallery, New York; Claire Tabouret, Portrait with tears, 2017, acrylic on canvas, Night Gallery, Los Angeles. Below: Andy Robert, Remember Her Beauty Salon, 2018, oil on linen, two panels, Hannah Hoffman Gallery, Los Angeles.



Giacometti. A dear friend and deeply regarded art collector steered them to the work of Rebecca Warren whose sculpture has a similar appeal to that of Giacometti in the abstraction of figuration. Her contemporary bronze sculpture, Los Hadeans (II), is reminiscent of this earlier sculpture that they admire at the Nasher. Claire relates that Matthew Marks Gallery, who represents Warren, sought to have this particular piece placed in a museum collection. And so, Claire says, “We decided to buy it as a promised gift to the Dallas Museum of Art. We feel this is a great way to give back to the art community in Dallas.” The acquisition of Warren’s work opened the door to collecting a broad range of media. The Gogels also have a small but strong collection of contemporary Japanese ceramics, which includes work by Shio Kusaka and Takuro Kuwata. In addition, the Gogels have acquired pieces that may be familiar to local museum goers. Katherine Bradford’s Summer Party, shown at The Modern in Fort Worth in her 2017 FOCUS exhibition, now serves as a focal point in their home. As on any journey, it is fellow travelers who enhance the experience. In addition to Bruder, Claire cites TWO x TWO founders Cindy and Howard Rachofsky with opening their eyes to a broad array of artists. “Dallas is unique because significant local collectors share their wisdom and ideas with new collectors like us,” she says. The Gogels are now regular attendees at the event which benefits amfAR The Foundation for AIDS Research and the Dallas Museum of Art. Moreover, their involvement with the Contemporary Arts Initiative at the DMA, with its unique access into artists’ studios and collectors’ homes, furthers their art education. When working with galleries, the Gogels prefer to buy work on the primary market. “We enjoy directly supporting the artists and the galleries that represent them,” Claire says. T he couple’s home is nest led i n a heav i ly forested neighborhood. Picture windows frame lush green surroundings. For interior designer Christopher Ridolfi of William-Christopher Design, the challenge was to seamlessly balance the natural environment outdoors with the significant art collection inside. “Fabrics, rugs, and all color choices were kept neutral to let the art, architecture, and nature be the initial stimulus encountered when entering the home,” Ridolfi explains. He also stresses the importance of less being more in this environment, stating, “We knew that we would be working with a more minimalist point of view. The generous scale of the rooms dictated larger, bolder forms. Big shapes led to fewer pieces, and that meant each piece needed to be of the highest quality. This enabled us to work with fine woods, bronze, and rare stones to create the balance.”  As the saying goes, travel is a journey, not a destination. For the Gogels, the sojourn continues, with their own tastes being continuously honed. “Our collecting process is fairly specific now. We work closely with Anne to establish a list of artists whose work we’d like to own and focus on trying to acquire specific pieces that speak to us,” Claire concludes. P

Top, from left: Samuel Levi Jones, Prison Industrial Complex, 2018, Indiana Law Book covers on canvas, Galerie Lelong, New York, TWO x TWO for AIDS and Art; Joyce Pensato, The Doudz Batman, 2017, enamel and metallic paint on linen, Petzel Gallery, New York; Ellen Berkenblit, I Don’t Object if you Call Collect, 2017, oil, paint stick, and charcoal on calico, Anton Kern Gallery, New York. Below: Joyce Pensato, The Doudz Batman, 2017, enamel and metallic paint on linen, Petzel Gallery, New York.



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Carmen jumpsuit, Elements; Celine sunglasses, Black Optical





Home listed by Faisal Halum Real Estate, Briggs Freeman Sotheby’s,; photography assistant, Phillip Anderson; hair and makeup by Samantha Landis, Seaminx; model, Rachel Finninger, The Campbell Agency; Akris Veritas parka in fine net, sleeveless blouse in techno-grid fine net, long A-line skirt in fine net with short lining, Akris, Highland Park Village; Dita Conique sunglasses, Black Optical



F.R.S. For Restless Sleepers Kakia jacket and pant, Tootsies, Plaza at Preston Center; Ray Ban sunglasses, Tootsies; Jacquie Aiche fishtail earrings, Ylang 23, Plaza at78 Preston PATRONMAGAZINE.COM Center; Benincasa Milano 90 shoe

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Madeira resin bracelets, Nasher Sculpture Center Store; Geoffrey Henning dress, Rich Hippie



Geoffrey Henning dress, Rich Hippie; Dita Conique sunglasses, Black Optical; Claudia LobĂŁo hoop earrings, Tootsies



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Isaías Cervantes Rodríguez, Baile de Salvadoreños, ca. 1952.

José L. Ruiz, Cabeza de Mujer, 1956.

Alberto de la Vega, Pancho, ca. 1956.


Juan Leonardo Cordero, Maternidad, 1937.

The stunning Latino Arts Project opening on Dragon Street.



allas has one of the most expansive Hispanic populations in the country, and the city’s cultural institutions were among the first in the US to recognize the compelling need for diversity to be presented in exhibitions. Thus, the Design District is fortunate, indeed, to be the locus for an exciting new venue that, in its inaugural exhibit, will bring into sharper focus a variety of sculptural work from various regions within Mexico, including Ciudad de México, Guanajuato, Jalisco, Nuevo León, and Puebla. The Latino Arts Project was born when entrepreneur Jorge Baldor and arts advocate Carlos Gonzalez-Jaime joined forces to bring to Dallas a one-of-a kind pop-up museum solely devoted to presenting Latino artists. Additionally, the space will also serve as a gathering place to host monthly symposia so that viewers can more deeply explore the diverse range of artwork created across Latin America as well as its historical import. The Latino Arts Project will be ushering in an array of visual luxuriance with its inaugural show, Mexican Modern Sculpture: A Study of the Artists, opening May 5 and running through September 22, 2019. Curated under the aegis of arts scholar María Estela Duarte, known as one of the foremost authorities in Mexican sculpture, this exciting exhibition is the culmination of an astonishing fourteen years spent searching for heretofore unknown and undiscovered pieces that represent the work of nine artists who rose to fame in the decades spanning 1920 to 1950 before falling from view. In fact, were it not for this extraordinary project, their work would likely



have fallen into obscurity and been lost to future generations and art devotees. Among the artists in the initial show are Juan Leonardo Cordero, Guillermo Toussaint, Carmen Carrillo de Antúnez, Isaías Cervantes Rodríguez, Abraham Jiménez López, Fidias Elizondo, Manuel Centurión, José L. Ruiz, and Alberto de la Vega, all 19thand 20th-century artists who are no doubt new to Dallas audiences. This presents both a momentous time in the arts community and a marvelous opportunity to explore outstanding works from the Instituto Nacional de Bellas Artes y Literatura and the Secretaría de Cultura of Mexico, promoting new insight and understanding of Latino art, history, and the unique mythos that informs cultures that enjoy such a vivid dialogue with our own. The first show is comprised of a variety of stunning work that conveys a distinct notion of the Mesoamerican identity with regard to familial, political, and educational issues. It is also particularly interesting to note explorations of European movements, including the Art Deco era, evident in some of the work. Astonishingly, the Latino Arts Project will be the only venue in the United States to feature the exhibit, organized by the Museo Casa Estudio Diego Rivera y Frida Kahlo in Mexico City. This is nothing less than a new iteration of the global plurality that constitutes our world and the Latino Arts Project is an ideal way to find ingress into it. Dallas is fortunate, indeed. P All images courtesy of Latino Arts Project.



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Preston Hollow | $1,950,000 Joe Kobell | 214-802-4433

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