Patron's 2018 April/May Issue

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William N. Copley, The Cow-juice Cure, 1967, acrylic on linen, 45 x 58 inches, 114.3 x 147.3 cm Courtesy of the artist and Paul Kasmin Gallery. © The Estate of William N. Copley, LLC.


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April / May 2018

TERRI PROVENCAL Publisher / Editor in Chief

In an ever-evolving era when much is uncertain, 10 years of anything is an achievement; even more so when it’s landscape defining. For indeed that is what the Dallas Art Fair has become as it enters its 10th year this month. Since its entree in 2009, we’ve enjoyed more rigorous arts programming during the month of April than ever before, so much so that it’s now known as Dallas Arts Month. In homage to this milestone, A Decade of Art delves into the practice of ten disparate artists whose work will be displayed among this year’s exhibitors. From the narrative work of Faith Ringgold by way of Division of Labour Gallery (London), to press-shy Kirk Hayes, a trompe l’oeil dazzler showing with Conduit Gallery, there is a breadth of art to discover and collect for everyone. Setting the stage for the season, Dallas Arts Month begins with the Nasher Prize honoring “a living artist in recognition of a significant body of work that has had an extraordinary impact on sculpture.” In Material Matters, Auriel Garza highlights 2018 prizewinner Theaster Gates’ social practice and his inclusion as the first American artist in the burgeoning canon of Nasher Prize laureates. Not to be outdone, the month of May brings the gloriously diverse SOLUNA International Music & Arts Festival. While we look forward to exceptional artist collaborations from Jen Ray and Sarah Jaffe to Gregory Ruppe and Jeff Gibbons, we get misty knowing this celebration marks Jaap van Zweden’s final season as the Dallas Symphony Orchestra’s Music Director. Van Zweden will return, however, as Conductor Laureate and take up the baton for Mahler's Symphony No. 1, March 14–15, 2019. And SOLUNA will move to April next year to align with the Dallas Art Fair and Dallas Arts Month. Visual arts aficionados will love our featured home. In The Eagles’ Eye, by way of art advisor John Runyon, we explore Jennifer and John Eagle’s residence whose commitment to TWO x TWO for AIDS and Art is shown in their wonderful collection. John interviews the couple on their loyalty to the nonprofit affair and works they’ve acquired at the annual gala founded by Cindy and Howard Rachofksy. Fashion ushers readers to Brooklyn where Shayna Fontana tapped Liz Harlan from America’s Next Top Model to show the grit and glamour of the New York City borough, home to some of the top artists working today, like Arcmanoro Niles, also photographed by Shayna and featured in our fair coverage. Niles, who will exhibit with New York gallerist Rachel Uffner, tells us he’s looking forward to coming to Dallas this year as his friend Eric Fischl will be in town for his solo show, If Art Could Talk at Dallas Contemporary. Because we’ve sprinkled in two different covers, depending on which issue you're holding in your hands, we've featured either Rosemary Laing’s weather #6, whose work will be mounted by Galerie Lelong & Co., or Barbara Takenaga’s Atmosphere R, one half of a diptych to be installed in Gregory Lind Gallery’s booth; both exhibitors are at the Dallas Art Fair. We hope you enjoy the breadth of diversity in this issue and, as always, look to the arts to lead and make sense of it all. – Terri Provencal; Instagram terri_provencal and patronmag



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FEATURES 74 A DECADE OF ART: DALLAS ART FAIR’S MILESTONE EDITION Patron checks in with 10 artists of note, showing with new and returning exhibitors. By Danielle Avram, Steve Carter, and Nancy Cohen Israel 90 MATERIAL MATTERS With a canon steeped in social practice. multidisciplinary artist Theaster Gates is awarded the 2018 Nasher Prize. By Auriel Garza 96 THE EAGLES’ EYE TWO x TWO for AIDS and Art, an artful ecosystem, auction, and fundraiser, captures the attention of Jennifer and John Eagle and broadens their collection. By John Runyon 106 BREATHTAKING INCLUSIVITY SOLUNA International Music & Arts Festival enraptures with diversity. By Danielle Avram 112 IT HAPPENED IN BROOKLYN Liz Harlan dons eyebrow-raising looks in New York's beloved borough. Photography by Shayna Fontana




On the cover: Rosemary Laing, weather #6, 2006, C-Type photograph, 43.3 x 68.7 in. © Rosemary Laing. Courtesy Galerie Lelong & Co., New York. Alternate cover: Barbara Takenaga, Atmosphere R, 2017, acrylic on linen, 72 x 36 in. Courtesy of the artist and Gregory Lind Gallery.

112 14





DEPARTMENTS 12 Editor’s Note 18 Contributors 38 Noted Top arts and culture chatter. By Anthony Falcon Of Note 44 WHO WILL ENGAGE THEM? 2017 Moss/Chumley Award-winner Giovanni Valderas seeks to stimulate the Latinx community. By Terri Provencal Auction 58 WISE, BEYOND HER YEARS A female artist tackling American Consumerism comes to MTV RE:DEFINE. By Kenny Goss Openings 60 BASQUE MEMORIES Meadows Museum offers sweeping view of the work of Eduardo Chillida. By Nancy Cohen Israel


Fair Trade 64 BY WAY OF LONDON Josh Lilley returns to the 2018 Dallas Art Fair with a two-person show. By Jenny Mullen Contemporaries 66 MAKING THE OUTSIDER IN Curator Phillip March Jones champions self-taught artists. By Chris Byrne 68 PORTRAIT OF A TRAILBLAZER Dr. Mathilde Krim, amfAR’s Founding Chairman, is remembered at National Portrait Gallery. By Terri Provencal Coveted 70 ALL DOLLED UP Creative Director Albert Kriemler draws from the work of artist and architect Alexander Girard with a colorful new collection for Akris. By Kendall Morgan


There 122 CAMERAS COVERING CULTURAL EVENTS Furthermore ... 128 MIWA KOMATSU’S GUARDIAN DEITIES Shinto guardians inform a Japanese artist’s performance during Dallas Art Fair. By Danielle Avram

70 128 16


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DANIELLE AVRAM Danielle Avram is a curator and writer, and currently serves as the Gallery Director at TWU. She has held positions at SMU, The Power Station and The Pinnell Collection (all Dallasbased), and The High Museum of Art (Atlanta, GA). She has an MFA from the School of The Museum of Fine Arts at Tufts University (Boston, MA), and a BA from the UTD. Avram lends her art expertise to cover the multidisciplinary SOLUNA Music & Arts Festival and interview three artists whose work will be represented at the 2018 Dallas Art Fair.

CARLOS ALONSO PARADA Born in New Jersey, raised in Dallas, Carlos Alonso Parada’s fashion sense comes from a rich history of travel to Central and South America, along with internships on both coasts in New York and California. Always seeking the new, now, next, and with a love of both thrift and glam, Patron tapped Carlos to team up with Shayna Fontana to style spring looks for It Happened in Brooklyn.


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

CHRIS BYRNE Chris Byrne is the author of the graphic novel project The Magician (Marquand Books, 2013) as well as the book The Original Print (Guild Publishing, 2002). He is Co-Chair of Art21's Contemporary Council and serves on the Dallas Contemporary’s board of directors, the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught, and VisitDallas Cultural Tourism Committee. He is the co-founder of the Dallas Art Fair and was formerly Chairman of the Board of the American Visionary Art Museum.


NANCY COHEN ISRAEL A Dallas-based art historian, Nancy is an ongoing Patron contributor who writes for national publications of note including Lilith. She is also a frequent lecturer at the Meadows Museum. For this issue, she wrote about the magnificent work of Eduardo Chillida in Basque Memories. She also enjoyed writing about several artists (Alex Gardner, Rosemary Laing, Barbara Takenaga, and Yelena Popova) and their galleries coming to the Dallas Art Fair, and is looking forward to seeing their work in person. STEVE CARTER For April/May, freelance arts writer Steve Carter profiles four diverse artists whose works will be showcased at the Dallas Art Fair: painter Kirk Hopper (Conduit Gallery, Dallas), painter Arcmanoro Niles (Rachel Uffner Gallery, New York), sculptor Matthew Ronay (Casey Kaplan, New York), and ceramist Bruce M. Sherman (Nicelle Beauchene Gallery, New York). “I truly enjoyed working on these pieces,” Carter says. “I love all their work, and it was a treat to interview these four.”

SHAYNA FONTANA Shayna Fontana is a fashion and interiors photographer based in Dallas with her husband Rand Horowitz and toddler Oliver. Shayna traveled to New York to photograph artists Faith Ringgold, Arcmanoro Niles, Matthew Ronay, and Bruce M. Sherman whose work will appear at the 2018 Dallas Art Fair. While in Brooklyn, she teamed up with art and creative director Christine Kohler to produce It Happened in Brooklyn, featuring recent America’s Next Top Model contestant, Liz Harlan.

AURIEL GARZA Auriel Garza is an art historian and museum educator currently based in Fort Worth, Texas, where she works for the Kimbell Art Museum. She has a BFA with an emphasis in art history, theory, and criticism from the School of the Art Institute of Chicago and an MA in art history from Texas Christian University, where she wrote her thesis, “Setting the Stage: Theaster Gates through the Lens of Performance.”

JENNY MULLEN Jenny Mullen has actively sought out contemporary abstraction focusing primarily on painting and sculpture with some photography represented as well. The majority of the artists represented in her collection are women. She serves on the Nasher Sculpture Center's Program Advisory Committee, the Tate’s North American Acquisition Committee, and the Council of Fine Arts for the University of Texas at Austin. For Patron, she interviewed gallerist Josh Lilley on his return to Dallas Art Fair.

KENDALL MORGAN A gal-about-town and veteran Dallas-based writer and editor, Kendall Morgan covers art and style for local and national magazines, and is a frequent contributor to Patron Magazine. In this issue, she visits with Albert Kriemler, creative director of Swissbased brand Akris on his spring/summer 2018 collection, inspired by the work of late architecture, interiors, textiles, and furnishings designer Alexander Girard, in All Dolled Up.

JOHN RUNYON For two decades John Runyon has assisted in developing both private and public collections internationally. From 1994–2000 John co-owned and operated Turner & Runyon Gallery, afterward establishing Runyon Arts to assist collectors with curatorial consulting for both private and corporate collections as well as site-specific projects. This fall, John and his wife Lisa will celebrate alongside Howard & Cindy Rachofsky their 20-year history as volunteers and patrons of TWO x TWO. He acts as an art advisor to Jennifer & John Eagle whose collection is featured in The Eagles’ Eye. JOHN SMITH In The Eagles’ Eye, John Smith toured Jennifer and John Eagle’s stunning mid-century home designed by Edward Durrell Stone and restored by Russell Buchanen to capture artworks purchased from the annual TWO x TWO for AIDS and Art. Smith is committed to bringing out the art of architecture in his pictures. He consults with numerous architects, designers, and artists to bring their vision to light.


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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Jay Falcon COPY EDITOR Paul W. Conant PRODUCTION Michele Rodriguez INTERNS Avery Foshee Megan Gellner CONTRIBUTING WRITERS Danielle Avram Chris Byrne Steve Carter Auriel Garza Kenny Goss Nancy Cohen Israel Kendall Morgan Jenny Mullen John Runyon CONTRIBUTING PHOTOGRAPHERS Bruno Annie Leibovitz Tamytha Cameron Kim Lesson Nan Coulter Chris Luttrell Amanda W. Dotseth Ed Marshall Erica Felicella Tracy Martin Avery Foshee Guy Mendes Shayna Fontana Gabriel Sheffield Megan Gellner John Smith Rhi Lee Kevin Todora CONTRIBUTING STYLISTS & DESIGN Carlos Alonso Parada Jackson Heller Kohko Christine Kohler ADVERTISING or by calling (214)642-1124 REACH US SUBSCRIPTIONS One year $36/6 issues, two years $48/12 issues For international subscriptions add $12 for postage SOCIAL @patronmag is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2018, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited. Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.




W W W. M I N OT T I . C O M

SMINK 1019 Dragon Street, Dallas, Texas 75207

2018 Exhibitions ALEX CORNO

Iron and Graphite March 17 – April 21


March 17 – April 21


ANNE C. WEARY April 28 – June 2

VERA BARNETT June 9 – July 7

photo by Marino Ramazzotti

TRISH NICKELL June 9 – July 7



August 18 – September 29


October 6 – November 3


November 10 – December 8


December 15 – January 19

photo by David Collins

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Tom Hoitsma, Nightscape #22, Acrylic & Latex on Canvas, 84 x 73.5 in. Painting Courtesy of Craighead Green Gallery

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1011 Dragon St. | Dallas TX. 75207 214.855.0779 |

Dallas Residence — Architect: Patrick Ford - Photo by Danny Piassick


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Johannes Boekhoudt, La Economia, 2016, Oil on canvas , 48 x 60 in.

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This exhibition is co-organized by The Dalí Museum and Fundación Eduardo Chillida-Pilar Belzunce, in collaboration with the Meadows Museum, SMU, Dallas. Additional support for the Meadows Museum’s presentation is generously provided by The Meadows Foundation. Promotional support provided by Eduardo Chillida (Spanish, 1924 – 2002), Besarkada III (Embrace III) (detail), 1991. Iron. Museo Chillida-Leku, 1.991.041. © Zabalaga-Leku. ARS, New York / VEGAP, Madrid, 2017. Courtesy The Estate of Eduardo Chillida and Hauser & Wirth.




















interior design + art 214-522-0705

Photography by Dan Piassick Christopher Martin “Fortuna”, 2014 Acrylic on Acrylic Tanner Lawley, The Lawley Art Group, “ How Deep Is Your Love“ 2015, 60”x60”, Oil on Canvas

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01 AFRICAN AMERICAN MUSEUM The Souls of Black Folk and Facing the Rising Sun: Freedman’s Cemetery are ongoing at AAM. 02 AMON CARTER MUSEUM OF AMERICAN ART In Her Image: Photographs by Rania Mata shows the Lebanese-American’s four bodies of work tracking the development of female identity through portraiture ending Jun 17. A New American Sculpture 1914– 1945: Lachaise, Laurent, Nadelman and Zorach runs through May 13. Jan Staller: CYCLE & SAVED screens two short videos, Feb. 24–Aug. 19. Commanding Space: Women Sculptors of Texas continues through Nov. 18. Through Jul. 22, Ellen Carey: Dings, Pulls, and Shadows explores the artist’s interest in color, light, and her photographic process. Image: Ellen Carey (b. 1952), Pulls with Mixed & Off-Set Pods, 2010, dye diffusion prints (Polaroid). Courtesy of the artist and M+B Gallery, Los Angeles. 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM Crests and symbols of the warrior class and the powerful samurai clans that used them remain on view. The museum sponsors a Lunchtime Talk Thursdays at 1 p.m. and Public Tours every Saturday and Sunday at 1 p.m. 04 CROW COLLECTION OF ASIAN ART Fierce Loyalty: A Samurai Complete features the art and culture of the Japanese samurai and Earthly Splendor: Korean Ceramics from the Collection displays the museum’s Korean art collection ranging from stone sculptures to paintings through fall 2018. 05 DALLAS CONTEMPORARY On Apr. 12, the Dallas Contemporary will open Eric Fischl: If Art Could Talk, Harry Nurieve: 6 Fears, and Sara Rahbar: Carry me home. Fischl is known for depicting the dark, disturbing undercurrents of mainstream American life. Harry Nuriev is a young Russian architect and furniture designer currently working out of Brooklyn. Rahbar is known for her Flagseries in which traditional fabrics and objects were reworked as collages. 06 DALLAS HOLOCAUST MUSEUM Manzanar: The Wartime Photographs of Ansel Adams chronicles the internment of Japanese Americans during World War II, May 30– Aug. 14. Yom Hashoah: Holocaust Remembrance Day commemorates 38


the six million Jews who were murdered during the Holocaust and celebrates the lives of those who survived, on Apr. 8. iRead Book Club: The Secret Holocaust Diaries: The Untold Story of Nonna Bannister takes place Apr. 16. 1943: One Day in the Holocaust commemorates April 19, 1943, the focal point of the museum’s core exhibit. On May 3, the Upstander Speaker Series presents Christian Picciolini, founder of Life After Hate, a nonprofit that helps people disengage from hate and violent extremism. 07 DALLAS MUSEUM OF ART Spanning her 20-year career, Laura Owens displays over 60 works from the mid-1990s through today, through Jul. 29. Asian Textiles: Art and Trade Along the Silk Road presents fine examples of ornamental hangings and garments, through Dec. 9. Paris at the Turn of the Century features works on paper from the 1880s, 1890s, and early 1900s, in celebration of the French capital’s beauty, dynamism, and seedier aspects, through May 27. Berthe Morisot, Woman Impressionist continues to showcase one of the founding members of the French Impressionist movement, through May 26. The Power of Gold: Asante Royal Regalia from Ghana opens on Apr. 15, revealing the splendor of Asante regalia, through Aug. 12. Image: Laura Owens, Untitled, 2000, acrylic, oil, and graphite on canvas. Collezione Giuseppe Iannaccone, Milan © Laura Owens. 08 GEOMETRIC MADI MUSEUM African Ancestral Legacy continues with Kenyan artist Naomi Wanjiku Gakunga, through Apr. 22. 09 GEORGE W. BUSH PRESIDENTIAL CENTER Forum on Leadership, hosted by President and Mrs. George W. Bush, will bring together renowned thought leaders from across all sectors to examine solutions to today’s most pressing issues, from Apr. 18–20. First Ladies: Style of Influence examines the evolution of the role of first lady, and how first ladies have used their position to advance diplomacy and other social, cultural, and political initiatives. Through Oct. 1. 10 KIMBELL ART MUSEUM From the Lands of Asia: The Sam and Myrna Myers Collection continues through Aug. 19. This exhibition presents over 400 objects, with works representing key periods in the art history of China, Japan, Tibet, Mongolia, Korea, and Vietnam.





11 LATINO CULTURAL CENTER LCC will host Where Earth Meets the Sky, an Indigenous Futurism/ Sci-Fi performance on socialization and environmental destruction, Apr. 13–29. Cine de Oro presents Su Excelencia, a 1967 Mexican political-satire film directed by Miguel M. Delgado on Apr. 18, followed by El Callejón de Los Milagros on May 16, based on Nobel laureate Naguib Mahfouz’s Midaq Alley, involving four parallel episodes with overlapping characters. 12 MEADOWS MUSEUM Through Jun. 3, Memory, Mind, Matter: The Sculpture of Eduardo Chillida presents 66 works of sculpture, drawing, collage, gravitations, graphic works, and a small selection of artist’s books, representing a general view of the mature phase of this key sculptor of the post-war avant-garde. Co-curated by William Jeffett, curator of exhibitions for the Dalí Museum, and Ignacio Chillida, the artist’s son, the works in the exhibition come exclusively from the Museo Chillida-Leku in Hernani. Murillo at the Meadows: A 400th Anniversary Celebration continues through Dec. 2. 13 MODERN ART MUSEUM OF FORT WORTH New Works by Ron Mueck continues through May 6 and showcases seven major sculptures created between 2008 and 2018 including a new piece debuting in Fort Worth. FOCUS: Kamrooz Aram spans painting, sculpture, collage, and installation, investigating the complex relationship between Western modernism and classical non-Western art, on view through Jun. 17. Image: Ron Mueck, Woman with Shopping, 2013, mixed media, 44.5 x 19.25 x 13.38 in. Courtesy of the artist, Anthony d’Offay, London and Hauser & Wirth. Photography Patrick Gries © Ron Mueck. 14 MUSEUM OF BIBLICAL ART James Surls: Through the Thorn Tree displays 52 works spanning Surls’ artistic career, which relate to his faith and the human experience, through Apr. 7. Barbara Hines: Celebration of Survival is on display through Oct. Hines’ work is inspired by stories from the Torah and conveys her deep commitment to sharing the beauty of Israel and using art as a way to bring understanding and peace. 15 NASHER SCULPTURE CENTER In conjunction with Nasher Prize Month, Nasher Prize Laureate:

Theaster Gates Five Works on View continues through April 28. Through Apr. 29, First Sculpture: Handaxe to Figure Stone presents ancient handaxes and figure stones as works of art for the first time. A Tradition of Revolution presents a cross-section of the Nasher’s collection and sculptural innovations of the last 150 years within the context of concurrent philosophical, scientific, and societal shifts. From the beginnings of Modernism in the work of Rodin, Gauguin, and others to radical experiments of the present day, the exhibition will include several recent acquisitions. Together the Nasher Sculpture Center and Lismore Castle Arts, Ireland, commissioned Luke Fowler to create a new sound sculpture for both locations which draws on practices of focused listening and architectural acoustics to create a multi-channel sound installation. Both A Tradition of Revolution and Sightings: Luke Flower run May 12– Aug. 19. Image: Picasso, Head of a Woman (Fernande), 1909, plaster, 18.5 x 14.12 x 13.75 in. Raymond and Patsy Nasher Collection, Nasher Sculpture Center, Dallas, Texas. 16 PEROT MUSEUM Journey to Space, through May 6, takes guests as close to space as one can get from Earth. At 10,000 square feet, Journey to Space features two massive rotating labs that simulate what it feels like to be on the International Space Station’s Destiny module. The Perot Museum’s spring film lineup includes Dream Big 3D through May 24, Hurricane 3D through May 24, and Journey to Space 3D through May 6. Discovery Days: Earth on Apr. 14 celebrates the planet with mineral-testing experiments, energy-efficient circuits, weather patterns, and more. On May 12, explore what makes a human by looking at DNA at Discovery Days: Being Human. Adults can investigate the intriguing world of numbers while enjoying interactive activities, discussions, signature cocktails and more at Social Science: Formulate on Apr. 27. Sleepover dates are Apr. 13 for All-Boys Engineering, May 5 for AllGirls STEM, and May 25 for Pokémon. 17 TYLER MUSEUM OF ART Sticks and Stones: Works by Helen Altman continues through Jun. 11. The 15th Annual High School Art Exhibition, which will feature close to 85 junior and senior student artists from 12 schools in Tyler and surrounding areas runs Apr. 8–May 6. The juried competition awards an overall “Best in Show,” three “Merit of Honor” winners, and an audience-voted “Viewer’s Choice” award at the end of the run. APRIL / MAY 2018 39




01 AMPHIBIAN STAGE PRODUCTIONS Comedian and author Jacqueline Novak comes to the Amphibian for a two-week residency to develop her one-woman show How Embarrassing For Her from Apr. 13–21. We’re Gonna Die stages on May 5. This existential cabaret explores the rough moments of life with humor, insight, and pop music. Next, Cry Havoc!, a one-person play written and performed by U.S. Army veteran Stephan Wolfert, leads theatergoers on a journey to meet Shakespeare’s veterans using his own military experiences on May 8 and 11.

05 DALLAS BLACK DANCE THEATRE Rising Excellence features two movements: Kizuna, a sensitive contrast yet compelling work, blending the powerful athleticism with the delicate movements of Japanese heritage; and Chasing Shadows, exploring the relation of shadows with human instincts, Apr. 6–7. Spring Celebration, the 41st season finale, features a rousing score of hits by Sammy Davis Jr., Simply Sammy, pairing famed tap dancer Marshall Davis Jr. and DBDT dancers in an electrifying, theatrical experience, May 18–20.

02 AT&T PERFORMING ARTS CENTER Supermodel, entrepreneur, and CEO Tyra Banks comes to Dallas for her book release tour Perfect is Boring on Apr. 11. Created for the Elevator Project, ELEMENTAL explores the five classical elements of the world through song, dance, spoken word, and theatre, Apr. 20 –22. Tony Bennett, an entertainer equally committed to humanitarian ideals, performs Apr. 26. THE FREEDMANS is an homage to Dallas’ rich Black history of the late 19th and early 20th centuries onstage May 2–13 as part of the Elevator Project. A Night of Symphonic Hip Hop Featuring Wyclef Jean comes to the Winspear May 2. Stephen Karam’s The Humans takes place over the course of a Thanksgiving dinner, onstage May 8–20. Jersey Boys hits the stage May 22–27 and tells the true story of how four blue-collar kids became one of the greatest successes in pop music history. THE ALEXA DIALOGUES centers on a live conversation with Alexa, the voice-driven AI agent and the entanglements and complexities of human-AI relationships. May 24–26. Image: Elevator Dialogues 2017/2018, The Alexa Project presented by Therefore Art & Performance Group. Courtesy of AT&T Performing Arts Center.

06 DALLAS CHILDREN’S THEATER Yana Wana’s Legend of the Bluebonnet, the beautiful, original play that illustrates the power of heritage and the value of one’s own story, closes on Apr. 8. DCT will show Blue, a play in which a red sock turns a blue world upside down, introducing the idea of acceptance in a soft-hearted theatrical experience. Apr. 21–May 6. Next, Jungalbook shows an adaptation of Rudyard Kipling’s The Jungle Book stories, May 4–26.

03 BASS PERFORMANCE HALL Join Dixie as she travels the country throwing Tupperware Parties filled with outrageously funny tales, free giveaways, audience participation, and the most fabulous assortment of Tupperware ever sold on a theater stage. Apr. 4–8. Next, Dixie’s Never Wear a Tube Top While Riding a Mechanical Bull and 16 Other Things I Learned While I Was Drinking Last Thursday shares lessons learned after a hard night of drinking, Apr. 11–15. Pink Martini offers a multilingual, genre-defying journey, Apr. 14–15. Don Pasquale brings Hollywood glamour to Bass Hall, Apr. 28–May 6. Miguel Harth-Bedoya and the Fort Worth Symphony Orchestra close the 2017–2018 season with Rimsky-Korsakov’s Scheherazade, May 18–20. 04 CASA MAÑANA Madagascar: A Musical Adventure follows all of your favorite friends as they escape from their home in New York’s Central Park Zoo, through Apr. 8. Disney’s Beauty and the Beast Jr, the story of Belle and the Beast, runs Apr. 20–May 13. 40


07 THE DALLAS OPERA The ultimate smooth-talking womanizer, Don Giovanni, comes to the stage as sex and danger run rampant in Mozart’s enduring masterpiece, Apr. 13–29. Giovanni can talk his way into any bed and out of any hot water he may get into. However, after the murder of the father of one of his many lovers, Giovanni’s arrogance is at an all-time high—as is the number of his enemies. 08 DALLAS SUMMER MUSICALS Waitress features original music and lyrics by Sara Bareilles, and tells the story of Jenna—a waitress and expert piemaker, through Apr. 8. Next comes the fan-favorite Les Misérables running Apr. 24–May 6. Image: Charity Angel Dawson, Desi Oakley, and Lenne Klingaman in the National Tour of Waitress. Photograph by Joan Marcus. 09 DALLAS SYMPHONY ORCHESTRA Sutton Foster joins forces with the Dallas Symphony to bring Broadway to the Meyerson in a trio of concerts, Apr. 6–8. The effervescent Beethoven’s Symphony No. 2 comes to the stage Apr. 12–15. In honor of the Lay Family Organ’s 25th anniversary, the Opus 100 receives the royal treatment with Ken Cowan, Apr. 22. Louis Lortie’s breathtaking artistry returns with Mozart’s stormy and urgent Piano Concerto No. 2 in D minor, Apr. 26–28. Four Tango dancers, a bandoneon player, and the music of the Tango master Astor Piazzolla and Tango Caliente round out an evening of Argentine heat, May 4–6. DSO musicians perform Mozart’s Flute and Harp Concerto, Berg’s Violin Concerto, and Tchaikovsky’s Pezzo Capriccioso, May 10–11. In Music and the Brain, renowned scientists and researchers discuss the ability of music and the arts to heal the

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brain and body, May 12. Mexican artist Gonzalo Lebrija initiates a clash between traditional Mariachi and the music of Wagner in this world-premiere performance of Mariachi Wagner, May 15. From May 18–20, Jaap van Zweden conducts Wagner’s Die Walküre. Artist and professional figure skater Jennifer Wester explores how light and shadow affect movement in Breaking Shadows at the Cedars Union, May 19. Jaap van Zweden conducts Beethoven’s Ninth and the world premiere of Jonathan Leshnoff’s Violin Concerto No. 2 to close Jaap van Zweden’s Farewell Celebration Season, May 24–26. 10 DALLAS THEATER CENTER Apr. 20–May 13, The Trials of Sam Houston takes viewers to the eve of the state’s secession in 1861 when Governor Sam Houston is torn between loyalty to Texas and loyalty to the United States. The next play you will see at DTC is sealed in an envelope. The actor who will perform this play has never seen it. In fact, there is a new actor every performance, and they’ve only been told what is absolutely necessary. White Rabbit Red Rabbit is a performance that no one is allowed to talk about, May 30–Jul. 1. 11 EISEMANN CENTER Through May 5 the Richardson Symphony Orchestra will feature Mozart’s Symphony No. 41 in C Major, K. 551, Jupiter. Driving Miss Daisy shares the unlikely relationship between an aging, crotchety white Southern lady, and a proud, soft-spoken black man, Apr. 12–15. From Apr. 19–20, Amazing Grace the Musical tells of one man’s journey that ignited a historic wave of change that gave birth to the abolitionist movement. RSO will play Brahms’ Academic Festival Overture, Op. 80, Saint-Saens’ Havanaise, and Introduction and Rondo Capriccioso, Op. 28 with guest artist Bella Hristova; and Brahms’ Symphony No. 1 in C Minor, Op. 68 as part of their season finale, Apr. 7 and May 5. 12 KITCHEN DOG THEATER Under the shadow of a volcano, the citizens of Pompeii sing, dance, and tell jokes in this zany vaudeville show. It’s togas and tap shoes, centurions and sing-alongs in this timely satire of nationalistic hubris and narcissistic excess. POMPEii runs Apr. 19–May 6. 13 MAJESTIC THEATRE Student orchestras and choirs compete in the American Classics Festival, Apr. 6–May 12. Comedian, actor, and filmmaker Mike Birbiglia performs in The New One, Apr. 13. I’m With Her features Sara Watkins, Sarah Jarosz, and Aoife O’Donovan who will play songs from See You Around on Apr. 19. KXT 91.7 presents Charley Crockett with David Ramirez, Apr. 20. Lewis Black: The Jokes On US Tour hits the stage Apr. 26. “Weird Al” Yankovic performs Apr. 42


27. On Apr. 29, Kessler Theater presents Steve Earle and the Dukes: 30th Anniversary of Copperhead Road. Kathleen Madigan returns for Kathleen Madigan: Boxed Wine and Big foot on May 5. Whose Line is it Anyway is 90 minutes of improvised comedy and song based on audience input. National Ballet of Ukraine presents Sleeping Beauty, May 23. Dr. Jordan Peterson: 12 Rules For Life Tour—An Antidote To Chaos plays May 30. 14 TACA Mark your calendars for TACA’s annual Party on the Green, Oct. 5. 15 TEXAS BALLET THEATER Swan Lake is a fan-favorite mesmerizing tale of romance upended by an evil spell that continues to thrill, closing out TBT’s 17–18 season, May 25–Jun. 3. 16 THEATRE THREE The professional world premiere of the musical The Last One Nighter on The Death Trail is onstage Apr. 26–May 20. A troupe of vaudevillians in the early ‘30s wait behind a theater in Dallas for their opportunity to go on stage. However, it’s the prohibition era in the Bible Belt and the cops are cracking down on all unseemly behavior. 17 TITAS Command Performance delivers one of the most exciting performances of the year. Twelve artists from leading companies light up the stage with spectacular and unexpected performances, May 5. Image: Awaken, TITAS Command Performance, 2015. Photograph by Sharen Bradford, The Dancing Image. 18 UNDERMAIN THEATRE Undermain presents a series of readings of new plays examining the current American landscape. From Apr. 12–May 6, the series will focus on a different playwright and play with staged readings by an ensemble cast in Whither Goest Thou America? A Love Offering by Jonathan Norton which opens up the series, Apr. 12–15; next The Light Collectors by Blake Hackler mounts Apr. 19–22; Visible From Four States by Barbara Hammond stages Apr. 26–29; and Shakey Jake + Alice by Len Jenkin closes out the series, May 3–6. 19 WATERTOWER THEATRE Bread, by Dallas-born actress and playwright Regina Taylor, weaves a family drama of hopes, fears, thwarted dreams, and dark secrets against a backdrop of racial tension and social upheaval, Apr. 13– May 6. WTT will hold its 2018 Gala on May 11. Image: Elliot Sims in Bread at WaterTower Theatre. Photograph by Evan Michael Woods.


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DEC 12-16, 2018

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2017 Moss/Chumley Award-Winner Giovanni Valderas seeks to stimulate the Latinx community.

iovanni Valderas’ artistic practice, which pulls from his Guatemalan, Mexican, and American ancestry and addresses cultural misunderstandings, has been recognized with the 2017 Moss/Chumley North Texas Artist Award presented by the Meadows Museum of Southern Methodist University. Valderas graduated from the College of Visual Arts & Design at the University of North Texas with a Masters of Fine Arts in Drawing & Painting (where he has also instructed), and is currently the associate director at Kirk Hopper Fine Art. Of particular note, Valderas’ site-specific guerrilla installation, Casita Triste (Sad Little House), sheds a nuanced light on housing displacement challenging the gentrification of the Latinx community. In this series, the rampant redevelopment of his native Oak Cliff neighborhood plays a vital role. Here, Valderas engages this artistically underserved community with three-dimensional works comprised of newsprint, acrylic paint, and colorful tissue paper resembling deconstructed piñatas. In December, each Casita Triste was installed outdoors in construction zones, drawing attention to lost affordable housing in favor of urban renewal. His hot pink, fuchsia, lime green, and orange interpretations recall the brightly painted homes of the Latinx community.

The piñata-esque medium is something the artist has returned to, having first introduced it in text-based paintings using Spanglish idioms lost in their English translation “as a larger metaphor for society’s misunderstanding of cultures deemed as foreign.” Last fall, Valderas’ solo exhibition Tradecraft, mounted at the Galveston Arts Center, featured 48-inch letters spelling the phrase QUIÉN LOS PAR AR À translated as “Who will stop them?” Writes Valderas, “If I want my work to resonate within my community, I must come to them, utilizing the visual and cultural vernacular embedded within my site-specific and guerrilla installations, to engage and conceptually challenge my Latinx community.” He also received a micro-grant from the Nasher Sculpture Center to produce a body of work for Spanish-speaking areas designed to inspire political engagement during election season. He was selected for the public art project in New York City this spring, which provides an opportunity for artists to repurpose vacant billboards. For the month of April, two of Valderas’ mixed-media works, AY TE MIRO (2016) and APACIGUATE (2017) will be on view at the Meadows Museum. The artist will give a free gallery talk at the museum on Thursday, April 26 at 6:00 p.m. and

Clockwise from top left: Giovanni Valderas in Deep Ellum. Photograph by Megan Gellner; Giovanni Valderas (American, b. 1978), Casita Triste, 2018, Site specific, tissue paper, cardboard, glue, and poster board. Photograph by Giovanni Valderas; Giovanni Valderas (American, b. 1978), APACIGUATE, 2017, newsprint, acrylic paint, wood, mulberry paper, and duct tape. Photograph by Giovanni Valderas.










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06 01 ALAN BARNES FINE ART ABFA emphasizes new art as well as bringing 18th- and 19thcentury pieces to the market, exposing people to even more quality paintings. 02 AND NOW AND NOW will host a solo show for Kayode Ojo from Apr. 6– May 12. Ojo’s work references luxury, identity, politics, and celebrity culture. His work blends graphic design elements, photography, and sculpture. Dallas Art Fair Booth D7, Apr. 13–15. 03 ARTSPACE111 Continuing through May 5, The Law Of The Saddle, new works by Linda Blackburn and her adventures in the painting of Western Sagas, will be on display in the main gallery. In the studio gallery is Ty Wilcox’s Out Of Reverence Or Disregard, recent works on paper that explore man’s never-ending quest to push beyond what is possible. Image: Linda Blackburn, The Deed, 2017, watercolor on paper, 18 x 24 in. 04 BARRY WHISTLER GALLERY Linear Abstraction—7 Views explores the notions of what constitutes linear-abstracted works and will be exemplified through the work of seven different artists. Artists featured are Frank Badur, Alain Biltereyst, Nathan Green, Ellsworth Kelly, Matt Kleberg, Alicia McCarthy, and Kenneth Noland. Apr. 7–May 26. Image: Ellsworth Kelly, Blue/Yellow/Red, 1992, 3-color lithograph, 37 x 36 in. Edition of 80. 05 BEATRICE M. HAGGERTY GALLERY Dwelling: Paintings by Peter Ligon and Layla Luna runs through Apr. 28. Both artists share a common ground by articulating the architecture of dwelling spaces in their paintings through abstract and observational painting strategies. Opening May 4 is the regional graduate show, Onward Forward 2018. This year’s Juror is Holly Johnson, of Holly Johnson Gallery. 06 BEATRIZ ESQUERRA/COLOMBIA BEA will be in Dallas during Apr. with a Pop-up Exhibition in the Design District, Apr. 6–21. The exhibition will feature works by international master Fernando Botero, large-scale sculpture by established Colombian artists Hugo Zapata and Ricardo Cardenas, and noted painter Pedro Ruiz, alongside select work by three other gallery artists. BEA is hoping to make Dallas its second home in the US. You can also catch BEA at the 2018 Dallas Art Fair, Apr. 12–15 46


in booth F13. Image: Ricardo Cardenas, Periwinkle Wall Cloud, 2018, painted stainless steel, 23.8 x 68.1 x 12.6 in. 07 BEEFHAUS Beefhaus is a collective of artists based in Dallas interested in challenging notions of authorship and market structure, while questioning the forms of programming most often associated with other artist-run spaces, galleries, organizations, and institutions. 08 BIVINS GALLERY Bivins Gallery will participate in the 2018 Dallas Art Fair with a solo exhibition by Mary Hull Webster. Hull’s light-based artworks weave subtle allusions to technology, mysticism and spirituality, literature, film, theater, and the nightly news. To see Illuminations, visit Booth F21 at the Dallas Art Fair. 09 CADD CADD’s Third Thursday Happy Hour will be held at Galleri Urbane on Apr. 19 and Liliana Bloch Gallery on May 17. 10 CARLYN GALERIE Carlyn Galerie has established itself as a nationally recognized store devoted to the sale of fine American art glass, clay, fiber, metals, and jewelry. 11 CARNEAL SIMMONS CONTEMPORARY ART Dallas artist Jen Rose explores the conquest of biomorphic forms in Invasive Species, on view from Apr. 7–May 5. The solo show showcases vibrant works in porcelain that explore color, light, and translucency. 12 CHRISTOPHER MARTIN GALLERY Christopher Martin’s recent work explores the spatial relations associated with the allegorical number seven. Working on a ratio of seven-by-seven feet, Martin activates feelings and movement within his signature reverse-painting technique. 13 COLLECTOR HOUSE Founder Jennifer Klos is an independent curator, speaker, and board member of the Attingham Trust for the study of Country Houses and Collections and a member of the Association of Art Museum Curators (AAMC) and the Costume Society of America.

THE RESIDENT EXPERT 03 Her boutique art advisory firm specializes in the acquisition of modern and contemporary art, including fine and decorative arts. 14 CONDUIT GALLERY Three exhibitions open Apr. 7 through May 19 at Conduit. life itself features Annabel Daou’s and presents a new group of works dealing with surfaces and skeletal structures—preliminary and preparatory materials as residue. Illuminated Piñata features the work of Roberto Benavidez who is known for his vibrant and sculptural “Piñatas,” this time modeled after Bosch’s Garden of Earthly Delights. Lastly, New Paintings will showcase new work by Kirk Hayes in Dallas Art Fair booth F3, Apr. 13–15. Image: Roberto Benavidez, Illuminated Piñata No. 2 (Beaked Creature), 2017, mixed media, 32 x 9 x 19 in. Courtesy of the artist and Conduit Gallery. 15 CRAIGHEAD GREEN GALLERY No Holds Barred, In All I Do, and Feral continue through May 5. No Holds Barred features the work of abstract painter Brad Ellis. In All I Do features Kelsey Irvin’s multimedia work, which represents the collected memories from the combination of found objects and contemporary techniques. Tracey Harris’ Feral addresses gender roles and social norms with vulnerability and a sense of humor. Image: Brad Ellis, Dragnet, 2018, encaustic, oil, collage on panel, 48 x 60 in. 16 CRIS WORLEY FINE ARTS Robert Sagerman will show his meticulous abstract paintings in his solo show, Small Gestures, and the Fullness of Fields. Additionally, Maysey Craddock will show her abstract landscapes in her solo show Ephemeral Field. Both shows will be on display Apr. 7 through May 12. Dallas Art Fair booth F17B, Apr. 13–15. Image: Robert Sagerman, 20,209*, 2018, oil on canvas, 39 x 35 in. *Sagerman counts his brushstrokes, and uses the count as the title.


17 CYDONIA Penumbra marks Sydney Williams’ second solo show exploring the meaning of play in art. In her return exhibition, she develops her own version of a toy block set by making modified shapes using ceramics. Each of the hybrid shapes are then assembled together to make architecturally influenced sculptures and 3D landscapes. Apr. 19–May 19. Image: Sydney Williams, Prototype. Structure I, 2017, ceramics, 13.5 x 13.5 x 18in.

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

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16 18 DADA The Dallas Art Dealers Association is dedicated to promoting the highest standards of ethical practice within the profession and increasing public awareness of art and the role and responsibilities of reputable art dealers and nonprofit visual art spaces. 19 DAVID DIKE FINE ART David Dike Fine Art was established in 1986 in the Arts District of Uptown Dallas where it resides today. The gallery specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas Landscape painters. 20 DREXEL GALERIA/NUEVO LEON Committed to promoting the work of important contemporary artists of Mexico, Drexel Galeria returns to the Dallas Art Fair Apr. 13–15. 21 ERIN CLULEY GALLERY Francisco Moreno’s highly anticipated show, The Chapel and Accompanying Works, opens Apr. 7. The exhibition will run through May 19. On Friday, Apr. 13, Erin Cluley will host a onenight-only pop-up with Wheron in their annex space, featuring an art installation, painted works, and tattoo artists for lucky Friday the 13th ink. Dallas Art Fair booth F8, Apr. 13–15. Image: Wheron, Bi-narium, 2017, acrylic on MDF, 20 x 24 in.

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22 FORT WORKS ARTS Through May 5, artists Jesse Sierra Hernandez and Fabiola Valenzuela tackle cultural identity in Out Of Focus, exploring Latinx roots, sociopolitics, and personal claims of culture. My Eyes Are Up Here features figurative artists Kate Stipp’s and Megan Van Groll’s revelations about the female experience, and the emotional, psychological, and cultural forces that shape the lives of women. Adam Palmer shows a series of abstract installations and drawings in The Sentimental Circus in FWA’s satellite gallery.


Roberto Ugalde

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4500 Sigma Rd. Dallas, TX 75244 972.960.8935





23 FWADA Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art.


24 GALERIE FRANK ELBAZ Opening Apr. 5, Object Lessons: Jay DeFeo Works on Paper from the 1970s will run through Jul. 14. Curated by Paul Galvez, the exhibition showcases work from the latter years of DeFeo’s prolific career. Dallas Art Fair Booth F27B, Apr. 13–15. Image: Jay DeFeo, Untitled photocopy, 1979, 8.5 x 11.5 in., Estate no. E2964 © 2018 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York.


25 GALLERI URBANE Samantha McCurdy’s exhibition Personal Boundaries and Kristin Skees exhibition Close-Knit open on Apr. 7 and run through May 5. There is a one-night-only performance by Samantha McCurdy occurring during the opening reception.

Saturday, April 7 Opening Reception 5:30 - 8:30 PM Artist Performance 7:30 PM with composer Ryan Lynch.

2277 Monitor St. Dallas TX GALLERIURBANE.COM



Photo: Timothy Mahoney


26 GINGER FOX GALLERY Ginger Fox Gallery is in the heart of the Bishop Arts District. The contemporary art gallery features the art of Ginger Fox as well as many other local artists in a variety of mediums. 27 THE GOSS-MICHAEL FOUNDATION Selected Works from The Goss-Michael Collection are on view during Dallas Art Week—Apr. 8–15. Introducing strong, accomplished female figures in the international arts community alongside highlighted works from the 2018 MTV RE:DEFINE Honoree, Tracey Emin, CBE, The Goss-Michael Foundation presents this show in support of, and reaction to, the courageous voices uplifting the message of widespread female disparity across all industries. 28 HOLLY JOHNSON GALLERY Gael Stack: Tinies continues through May 5. Tinies is an exhibition of new work by Stack and features new oil paintings on paper. Next, HJG will open Purity, featuring new work by Geoff Hippenstiel. Purity will run Apr. 7–Jun. 16.

15 29 INMAN GALLERY/HOUSTON Inman Gallery will display the work of three nationally recognized artists at Dallas Art Fair: Tomory Dodge based in Los Angeles, Shaun O’Dell based in San Francisco, and Dario Robleto who lives and works in Houston. Visit Inman at Dallas Art Fair, Apr. 13–15. 30 JEN MAULDIN Courtney Miles’ Courtney: LOVE and Caroline Oliver’s New Paintings and Rainbow Road close Apr. 21. Full Circle featuring work by Erin McAllister opens Apr. 7 through May 5. McAllister’s meditation-based work represents a fluid deconstructed grid built by hand-and-eye coordination. Running Apr. 28–May 26, Image as Language features work by Ann Chisholm, centering on communication. June Covington displays May 12–Jun. 16. 31 KIRK HOPPER FINE ART KHFA will open an exhibition on Apr. 7 with artists Lois Dodd and Roger Winter. Winter is known for his figurative landscapes of hauntingly beautiful paintings of the mundane and unobtrusive that pay close attention to subjects seen in a glimpse. Dodd began her career in New York during the postwar art scene and was the only female founding member of Tanager Gallery. Her work is inspired by the rich character and natural beauty of the Northeast. Through Jun. 9. 32 KITTRELL/RIFFKIND ART GLASS Opening Apr. 7–29, the Jewelry Trunk Show features work from some of the gallery artists. Next, Introducing... will show two new artists to the gallery, Zachary Yuskanich and Ken Rosenfeld. The gallery will showcase Yuskanich’s blown and carved sculpture and Rosenfeld’s paperweights. Introducing… will run May 5–Jun. 3. 33 KRISTY STUBBS GALLERY Kristy Stubbs brings experience and expertise to the global art trade, often bringing notable artists to the US from abroad, and offers museum-quality paintings and sculptures.


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Artist Roy Tamboli, The Chalice, oil on panel, 47 x 37 in.


21 34 LAURA RATHE FINE ART Considered one of the great colorists, particularly known for his vibrant neo-expressionist paintings of rabbits, butterflies, and birds, Hunt Slonem: A Spring Affair runs through May 5. New works by Dallas porcelain artist, Lucrecia Waggoner, who uses a potter’s wheel to form clay into delicate vessels, mounts May 12. She incises, intricately carves, or leaves these vessels smooth before glazing, painting, or metal-leafing their surfaces. Lucrecia Waggoner: New Works runs through Jun. 16.

Artist Rick Lazes, Aquatic Squeeze, reverse painted melted plexiglass, 25 x 23 x 13 in.

35 LILIANA BLOCH GALLERY The Future’s Ecolog y is Bogdan Perzńyski’s second solo exhibition at Liliana Bloch, who will present two major works: 2018-TABLE, a continuing large-scale photographic installation, and Setting, a silent, single-channel video installation. The exhibition continues through May 5. Dallas Art Fair booth D8, Apr. 13–15. 36 LUMINARTÉ FINE ART GALLERY LuminArté Fine Art Gallery represents and promotes international and national mid-career artists, whose works are exhibited in private, corporate, and museum collections all over the world, all the while nurturing regional emerging artists. 37 MARTIN LAWRENCE GALLERIES In the Dallas Galleria, Martin Lawrence features work by Philippe Bertho, Erté, Marc Chagall, Robert Deyber, Frederick Hart, Keith Haring, Douglas Hofmann, Felix Mas, Takashi Murakami, Pablo Picasso, Andy Warhol, and others. 1110 Dragon Street | Dallas, TX 75207 | 214.727.5101 Hours: M-F 10-5, SAT 12-4 and by appointment



38 MARY TOMÁS GALLERY Light Received and Fluid feature new work by artist Roy Tamboli and sculptor Rick Lazes, respectively; free-flowing forms and metaphorical language highlight the work of these bold artists, through May 5. Color Play features artists Chalda Maloff, Tom Ortega, Ellen Soffer, and sculptor Bill Holmberg who express vibrant color combinations and playful themes, opening May 12 through Jun. 16. 39 PAUL KASMIN GALLERY/NEW YORK Paul Kasmin Gallery is committed to supporting an ongoing intellectual and visual dialogue with influential Modern and Contemporary artists, representing several generations of internationally recognized artists working in a variety of media.


Visit Paul Kasmin at Dallas Art Fair in their booth, Apr. 13– 15. Image: William N. Copley, The Cow-juice Cure, 1967, acrylic on linen, 45 x 58 in. Courtesy of the artist and Paul Kasmin Gallery. © The Estate of William N. Copley, LLC. 40 PHOTOGRAPHS DO NOT BEND Peter Brown: Hometown Texas continues through May 5. Peter Brown, and Joe Holley, a journalist known for his column, Native Texan in the Houston Chronicle, recently collaborated on the book, Hometown Texas. The book explores the land and people of this vast state of Texas: East, West, North, South, and Central. They illustrate, through stories and pictures, the place that shapes a person that defines them as Texans. Dallas Art Fair booth B10, Apr. 12–15. 41 POLLOCK GALLERY AT SMU An exhibition of work by M.F.A. candidate Gage Peer continues through Apr. 14. The Division of Art B.F.A. Qualifying Exhibition, the annual spring exhibition of B.F.A. candidates, opens May 5. The show will feature works in a wide-ranging variety of styles and media through May 19. 42 THE POWER STATION The Power Station presents painter and installation artist Adam Gordon in Sleep, opening Apr. 11 through May. On Apr. 13, Culture Hole features the work of Israel Lund. Brooklyn-based Lund produces paintings, prints, and zines that traffic in abstract imagery. 43 THE PUBLIC TRUST The Public Trust exhibits contemporary artwork by midcareer and emerging artists. The gallery’s program extends into publishing significant art publications, as well as limited-edition prints and other multiples. 44 THE READING ROOM Carolyn Sortor’s Plied Pipes is an intermedia installation with projected HD video at The Reading Room for a one-night-only presentation on Apr. 14. to Further Seasons, a group exhibition exploring images and texts about nature, curated by Lucia Simek, will open Apr. 28 and run through May 26. Image: Marjorie Schwarz, untitled (flowers3), 2014, water soluble oil on canvas, 16 x 20 in.

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39 45 RO2 ART The Women of Ro2 closes Apr. 7. Fari Rahimi: Shift at the Magnolia Theatre closes Apr. 10. Linda Dee Guy: Littoral Imaginarium and Shared Time: Then and Now display work by former students of Guy at The Cedars through Apr. 21. Opening Apr. 12 at the Magnolia, new work by Patricia Rodriguez displays through May 15. A group show at the Ro2 Downtown Pop-up will showcase the work of Adam Palmer, Austin Sparks, Rachel Fischer, and Betsy Gravhet from Apr. 21–May 26. From Apr. 28–May 26, new works from Bumin Kim and Kathy Robinson-Hays mount. Cathey Miller will close spring at the Magnolia from May 17– Jun. 19. 46 ROUGHTON GALLERIES Specializing in American and European paintings from the 19th and 20th centuries, the gallery is distinguished for its scholarship and research in both American and European art. 47 RUSSELL TETHER FINE ART RTFA manages estates and features renowned national and international artists, along with select artists from North America.

Saturday, May 12, 2018 Opening Reception, 5-8PM Artist Talk, 6:45PM

Artist in Attendance Exhibition on display through June 16, 2018

1130 Dragon St. Dallas, TX 75207 214.761.2000



48 SAMUEL LYNNE GALLERIES Pulling from their artist roster, Samuel Lynne presents a spring group exhibition through May. The gallery will feature all of their represented artists: Metis Atash, Lea Fisher, JD Miller, Hans Van de Bovenkamp, David Yarrow, John Henry, Philip J. Romano, James Gill, and Tyler Shields. 49 SITE131 SITE131 hails two artists from Europe for its FR AGMENTS running Apr. 11–Jun. 8. SITE131 welcomes its first resident artist, Manuel Burgener, who will build large-scale, open constructions from found industrial materials. Travis Lycar from Germany will show his jagged, halting, painted marks that fill oversized canvases. Conceptual California artist Puppies Puppies joins the exhibition, isolating the trigger apparatus from manufactured guns. 50 SMINK Endless City/Urban Grid presents a comprehensive exhibition of original works by Jake Fischer, Diane McGregor, Robert Szot, and Thel. The show explores the expression of the city as the

courtney miles HIL:LOVE H: 12 W: 12 inches


24 grid of streets, the massing of city blocks, and the very center of mankind’s notion of civilization. The exhibition continues through Jun. 16. 51 SOUTHWEST GALLERY The Beauty of the American Landscape is an exhibition of breathtaking paintings that explore the beauty of the United States through Apr. 14. Next, a solo show for Roberto Ugalde will run Apr. 14–May 14. And Kent Wallis will run Apr. 14–May 14.

caroline oliver RAINBOW ROAD


52 TALLEY DUNN GALLERY Mend, featuring works by Joseph Havel, will be on view through Apr. 21. Running congruently with Havel is the work of Kana Harada in an exhibition titled Sanctuary. Next, TDG will open an exhibition of new work from Tim Bavington in the main gallery and Helen Altman in the project gallery running from May 5– Jun. 16. Dallas Art Fair booth A1, Apr. 13–15.

54 WAAS GALLERY Women-focused, WAAS will exhibit during Deep Ellum Arts Festival, Apr. 6–8. Apr. 13–15, Brandy Michele Adams and Kirsten Joy Burch will lead The Art of Well Being workshop. BioGlitz creator, Saba Gray, flies from LA for EARTHX, Apr. 20–22 to educate on the contamination of glitter and its harmful effects on the environment. May 1 begins with another ToughTalk and Goddess Series workshop. 55 WILLIAM CAMPBELL CONTEMPORARY ART William Campbell Contemporary Art features Benito Huerta in Odd Ducks and Other Assorted Tales through Apr. 28. For the tenth year, William Campbell will exhibit at Dallas Art Fair booth F10, Apr. 13–15.

Rainbow Road, H: 40 W: 30 inches

53 VALLEY HOUSE GALLERY Retrospective for Spanish artist Miguel Zapata continues through Apr. 21 and includes work from all periods of his life. Zapata’s oeuvre explores the visual dialogue between opposing elements he sought to balance: beauty versus power, past versus present, and construction versus deconstruction, bringing these antithetical elements into harmonious coexistence. Dallas Art Fair booth A5, Apr. 13–15.

JEN MAULDI N GA LLE RY e m e r g i n g co n t e m p o ra r y a r t For current exhibitions visit us at: 408 N . B ISH OP AVE N UE | S UITE 10 3 DA LLA S, TE XA S 7 5 208 | 214.9 54.76 29

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44 AUCTIONS AND EVENTS 01 ART BALL 2018 000000000000000000000000000000000 Horizon--Now. New. Next: Art Ball 2018 takes place Saturday, Apr. 21 at the Dallas Museum of Art. The 53rd annual gala, chaired by Rebecca Enloe Fletcher and benefiting the DMA, features a seated dinner, a luxury live auction chaired by Brian Bolke and Faisal Halum, entertainment, and a festive after-party. For tickets visit 02 DALLAS ART FAIR Held annually at Fashion Industry Gallery (f.i.g.), the 10th anniversary of the Dallas Art Fair featuring nearly 100 prominent modern and contemporary galleries from across the globe, mounts this month. Apr. 12 marks the Dallas Art Fair Preview Benefit Gala. Fair days take place Apr. 13–15. 03 DALLAS AUCTION GALLERY On Apr. 11, Dallas Auction Gallery’s spring Fine & Decorative Arts Auction will offer a selection of European furniture, Chinese jade and ceramics, contemporary prints, rugs, and more. 04 HERITAGE AUCTIONS Auctions for Apr/May are the Illustration Art Auction, Apr. 24; Silver & Vertu Auction, Apr. 25; Timepieces Signature Auction, May 1; American Art Auction, May 4; Nature & Science Auction, May 5; Texas Art Auction, May 12; Tiffany, Lalique & Art Glass including Art Decor Auction, May 16; Modern & Contemporary Art Auction, May 24; and Online Prints & Multiples Fine Art Auction, May 29. Visit for more details and to view the full auction calendar.

SAMUEL LYNNE GALLERIES 1105 Dragon St. | Dallas, Texas 75207 | 214.965.9027



05 MTV RE:DEFINE Join hosts Kenny Goss and Joyce Goss for the seventh annual MTV RE:DEFINE Auction and Gala honoring artist Tracy Emin. Chaired by Maxine Trowbridge and Brooke Davenport, the event benefits the MTV Staying Alive Foundation and Dallas Contemporary and is presented by NorthPark Center, on Apr. 13.


CURATED at the Dallas Design Center Thursday, April 26 Join us for a tour of selected showrooms and curated art Host Showrooms: Codarus Culp Associates ID Collection RSVP:

Photographed at Codarus





rom the moment I walked into Chloe Wise’s studio I knew she would be an art superstar. I can think of very few times I’ve felt this way over the last 20 years. Working in varied disciplines from sculpture to painting, drawing, video, collage, and sometimes an amalgamation thereof, Wise captures the essence of American Consumerism in all its glory and gluttony by deconstructing the very elements that make consumerism so appealing, then offers a new frame of reference. She’s had several solo shows under her belt—Paris, London, Montreal—and we are thrilled to have one of her works in the MTV RE:DEFINE auction. Kenny Goss: You are a Canadian-born, multidisciplinary artist, living in New York with a preoccupation with Dutch Golden Age still lifes (pronkstilleven) but also Pop Artists Andy Warhol and Tom Wesselmann. How

have these artists and distinctly different genres influenced your practice? Chloe Wise: Dutch Golden Age painters used the still life as a morbid reminder of our human mutability and transience, a memento mori, but also as a celebration or ostentatious display of luxurious wealth and the deliciousness of the snacks of the earth. I think that pop artists returned to these themes, but in an almost satirical, yet somehow earnest, way, proclaiming: “Here is our American bounty of soup cans and burgers; this is how we identify

ourselves; let’s immortalize these mundane representations of consumerist Americana through paint, but in a way that is relevant to the zeitgeist.” I think that this impulse to turn to objects in our immediate surroundings as a placeholder for culture and humanity is something we return to as artists who are faced with the task of negotiating our surroundings. I am very inspired by the ability these artists have to turn the most ordinary items into an uncanny experience. KG: Tell us about the idealization of milkmaids in your paintings. Most are in states of nakedness. Is this fodder for sexism, or is there more a maternal element in these works? CW: I look at this fictional milkmaid throughout art history and 58 Multidisciplinary PATRONMAGAZINE.COM artist Chloe Wise


advertising, from Vermeer’s maid to the sexualized busty blond trope to La Vache Qui Rit (The Laughing Cow) to Heidi in the Alps. All of these images are woven together to create a collective unconscious fictional illustration that we as consumers hold on to, in order to justify and narrate our consumption of milk, something that the government reminds us is “part of a balanced breakfast” and Got Milk? implores us to participate in. I think about the way fiction, visual language, folklore, and advertising work together to influence our decisions. I also look at the way patriarchy uses the sexualization and infantilization of women to strike desire for an otherwise mundane product. My milkmaids are not inviting sexism by any means. They are instead questioning the viewer, demanding the viewer to acknowledge their preconceived perception of women idealized in this way, and confront their own internal sexism. As for the maternal, there exists connotations of motherhood and the abject in these works. The milkmaid trope is a projection of wholesomeness and the mother, as well as sexual availability and the objectified. The sitters are at once subject and object, and it is the viewer’s job to address their preconceptions. KG: Food appears frequently in your paintings and carbohydrates often appear grotesque and overindulgent in your work. Please describe. CW: Yes, there is a question of overindulgence and the abject in my work. I think that desire exists in the moment before consumption, and then repulsion exists in the odious moments before decay. That is the nature of transience. So my work, being fake food that is inevitably archival and will not rot, presents an issue, because how can there be desire if there is no fleeting, no melting, no rot, and no decay? The availability and abundance of the food in my work presents a lapse between desire and disgust. KG: At the same time, “better-for-you” food sources like Almond Breeze,

Lactaid, etc. frequently appear. Are you commenting on the familiarity of these products and their “healthy” benefits that come from good branding and advertising? CW: While we are being told that milk is wholesome and normal to consume, a large portion of the population is realizing that it’s pretty weird and gross to consume cow hormone serum. All of the non-dairy substitutes purport to present a morally sound and healthy alternative, yet we are also realizing that is not the case. Soy milk contains estrogen, almond milk requires insane amounts of water to produce, etc. These brands benefit from their branding and advertising which sells them as the ethical choice; however, we need to be more critical of the information we are being shown, as humans living in a media inundated society. KG: Vision of soft skin, Tabasco sauce; Everyone is Allotted One to Fifteen Public Breakdowns; Ain’t know challah backpack girl; Greeks on a leash—your titles are as inventive as your works. Do you have the title in mind before you begin working on a piece, or do these evolve? CW: These happen after the piece is invented, sometimes right before the show. I have an ongoing list of overheard quotes and thoughts that bleed into one long poem that I pull from. KG: Thank you for your donation to MTV RE:DEFINE’s Live Auction. Will you tell us a little bit about what you’ve selected? CW: I’ve given a drawing, which is more of a painting on paper, as I create these with ink and brush. I am always drawn to drawings because of the looseness and fluidity. KG: As you know, this year we are honoring Tracey Emin. What is her role in art history? Why is she especially relevant right now? CW: Her irreverent and iconoclastic nature is an inspiration to women and non-binary artists who are feeling emboldened by a growing movement. Her ability to use poetry, words, beds—delicate materials—to such a powerful end, is extremely moving. P

This page, from left: Chloe Wise, Still life with peach, president, 2017, oil on canvas, 72 x 60 in.; Chloe Wise, You'll go blind looking for it, 2017, oil on canvas, 72 x 60 in. Opposite (on right): Chloe Wise, Vision of soft skin, Tabasco sauce (detail), 2017, oil paint, urethane, foil wrapper, glass on mirror plinth, 51.62 x 16 x 15.74 in.

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Eduardo Chillida, Mural G-334, 1999, refractory concrete, 88.58 x 141.73 in.

Basque Memories L

Meadows Museum offers sweeping view of the work of Eduardo Chillida. uscious alabaster, sensuous iron, earthy clay, and dimensional works on paper are featured in the 66 works currently on view at the Meadows Museum in Memory, Mind, Matter: The Sculpture of Eduardo Chillida. The exhibition, encompassing the full range of Chillida’s media, underscores the enormous creative output of this self-taught, Basque artist. Born in 1924, Chillida arrived in Paris in 1948 where his work earned swift recognition. Through his representation by the Parisian Galerie Maeght he came into contact with other Modernist luminaries such as Georges Braque, Alexander Calder, Alberto Giacometti, and Joan Miró. Chillida returned to his native San Sebastián in 1951 where he worked for over a half century before his death in 2002. His work garnered early international attention. In 1958, Chillida was awarded the grand prize for sculpture by the jury of the Venice Biennale. In 1966, the Museum of Fine Arts in Houston mounted his first major museum retrospective, followed



over the next two decades by exhibitions at the Carnegie Institute in Pittsburgh and the Solomon R. Guggenheim Museum in New York. The current exhibition focuses on his later work. Upon his return to Spain, Chillida sought a new direction. In a region known for its blacksmiths, a neighbor’s foundry attracted Chillida’s attention and gave him a place to learn the necessary skills to work in iron and steel. Drawn to what he referred to as the black light of these workshops, Chillida’s work entered a new realm, antithetical to the Mediterranean light that had previously informed it. It also served as an entry point to a career devoted to experimentation. In the 1960s, Chillida discovered yet another kind of light while working in alabaster. “It is a material that has a nice relationship with light. You never know what you’ll find in the stone,” says Luis Chillida, who worked alongside his father for decades and now serves as the President of the Eduardo Chillida-Pilar Belzunce Foundation


Clockwise from top left: Eduardo Chillida, Elogio de la luz XX | In Praise of Light XX, 1990, alabaster, 31.89 x 47.24 x 23.62 in.; Eduardo Chillida, Lo profundo es el aire XXI | Deep is the Air XXI, 1998, alabaster, 10.63 x 12 x 7.09 in.; Eduardo Chillida, Locmariaquer IX, 1989, iron, 34.25 x 29.53 x 30.71 in.; Eduardo Chillida, Collage, 1987, cut paper, ink and glue, 9.33 x 13.94 in.; Eduardo Chillida working in Dutrou's engraving studio, St. Paul de Vence, 1976.

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in San Sebastián. These forms, with their airy negative spaces, integrated Chillida’s early architectural training and gave him another avenue of exploration. “He loved to change the way he was working,” Luis says, adding that, “in one minute it could be in alabaster, the next in iron.” Paper was another medium in which Chillida continually worked. The exhibition captures the breadth of his facility with it. From collages to drawings to books that were collaborative efforts with poets, philosophers, and other thinkers, Chillida explored the medium to its fullest. “Part of the purpose of the exhibition is to introduce people to the works on paper,” says Meadows/Mellon/Prado Fellow Amanda Dotseth. Chillida’s Gravitations series represented a breakthrough for the artist. “At this point, he discovered a new way of working,” Luis says. While the earlier collages used glue as a binder, Chillida discovered that by hand-stitching multiple sheets of paper together, he could create space between the layers, rendering a two-dimensional medium into a threedimensional work. The discovery was revelatory to him and created seemingly weightless, floating work. Nature served as a major inspiration for Chillida. He used trees in particular as a metaphor for his own life, rooted as it was in the Basque country but with branches, or arms, that extended throughout the world. In spite of that rootedness, the artist always lived in the moment. According to Luis, whenever asked, his father would state, “My favorite work is the one I am doing now.” Chillida in Dallas is a complementary exhibition, co-curated by Dotseth. It provides an in-depth look at the artist’s process in the creation of De música Dallas XV, Chillida’s towering, site-specific work commissioned by I.M. Pei for the Morton H. Meyerson Symphony Hall. This significant commission was made possible through the generosity of the late collector Frank Ribelin. That the two 15-foot-high cylinders and their arm-like extensions are solid adds to their monumentality. The title comes from a fourth century treatise of the same name written by St. Augustine and one that had a special meaning for Chillida. “He engaged with that text at various points over his career,” says Dotseth. She explains the significance and mysticism of the number three, which manifests itself in several ways in this work. Chillida was also the perfect choice for the concert hall since, as Dotseth says, “He always loved music. He engaged with music in a very philosophical way, long before this commission.” Preguntas (questions) would have been an equally apt exhibition title. Regardless of the medium in which he was working, the need to query remained an essential part of Chillida’s process. “He was always making questions of everything,” says Luis. As part of his acceptance into the Royal Academy of Fine Arts in Madrid, Chillida was required to give a speech. He titled his presentation Preguntas. If it is true that great art asks more questions than it answers, then the work of Eduardo Chillida remains legendary. P

A NEW AMERICAN SCULPTURE, 1914–1945 guggenhome

Lachaise, Laurent, Nadelman, and Zorach February 17–May 13, 2018 Free Admission #amoncartermuseum Above: Robert Laurent (1890–1970), Acrobat, 1921, carved wood, private collection A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach is organized by the Amon Carter Museum of American Art and the Portland Museum of Art, Maine. Local presentation is made possible by the Jill and Charles Fischer Foundation, Dr. and Mrs. Kenneth M. Hamlett, Jr., the Ann L. & Carol Green Rhodes Charitable Trust, Bank of America, N.A., Trustee, and Rosalyn G. Rosenthal. Foundation Support:

Government Support:

Opposite, top to bottom: Eduardo Chillida, Sin título/Untitled, 1966, alabaster, 10.83 x 14.37 x 11.61 in.; Eduardo Chillida, Lurra M-32 | Earth M-32, 1996, Chamotte clay, 14.57 x 16.34 x 3.74 in.; Eduardo Chillida, De Música Dallas XV | On Music, Dallas XV, commissioned for Meyerson Symphony Center. Photograph by Amanda W. Dotseth.

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Top: Brian Bress, Paperboy (on orange dashes), 2016, high-definition, single-channel video (color), high-definition monitor and player, wall mount, framed, 37 x 21 x 4 in., 25 min., 54 sec., loop. Bottom: Nicholas Hatfull, Smilla’s Feeling for Snow, 2017, acrylic on canvas, 67 x 51 in. All courtesy of the artists and Josh Lilley Gallery.



eturning to the Dallas Art Fair from London, Josh Lilley Gallery will present a two-person show pairing metaphysical painter Nicholas Hatfull’s dissociative metaphors of contemporary consumption with the collaged and painted photographic and video-based work of Brian Bress that explores fabricated space. Dallas native and arts patron, Jenny Mullen, shared a conversation with Josh Lilley on his frequent and rigorous gallery and fair programming along with his thoughts on exhibiting at the 2018 Dallas Art Fair. Jenny Mullen: As you’re returning for your fourth turn at Dallas Art Fair this month, in what ways have you seen the fair grow over the years, and what sets it apart from other art fairs that you do each year? Josh Lilley: I suppose in order to answer the question, it’s important to state that the gallery itself has grown during this time. Such progress has allowed us to be more strategic in what we bring, and to have a more specific level of expectations in what we hope to achieve. The caliber of the gallery has changed for sure, while it does seem that the fair has had more of an impact on the greater Dallas community at large. The city sets it apart from other fairs I do. It’s a town with a deep sense of hospitality, with curious and exceptional collectors taking an active role in the promotion and acquisition of contemporary art. JM: In what ways do you differentiate between the artwork you show at fairs and the exhibitions you have at your gallery? Will you be showing more of a representative cross-section of your program at the Dallas Art Fair, or are you looking to do something that is more project-based? JL: Well, art fairs give you a taste of the broader context of an artist’s work. We try to bring the best examples of an artist’s practice to fairs— because you have less scope to make an impression. For Dallas this year, we will be doing a more focused presentation of two artists’ works. JM: How has the rigorous schedule of participating in almost half a dozen art fairs annually changed the way you plan your program at your gallery in London? JL: It just means we have much more work to do. I will be doing 6–8 fairs this year. Art Basel Hong Kong and Frieze New York are on either side of Dallas. To make it work it requires real planning, from both the artists and, of course, myself and my staff. JM: What artists are you bringing to Dallas this year and what artworks are you most excited about presenting at the fair in April? JL: We are presenting paintings by Nicholas Hatfull, and framed video panels by Brian Bress. The new suite of paintings by Hatfull is immensely bold and confident, while the work Landscape Fruit Salad by Bress is an absolute standout. JM: Lastly, as a collector and long-time admirer of your gallery and program myself, what has your experience been in connecting with the collectors who frequent Dallas Art Fair? And what are your hopes in that area in looking forward to this year in Dallas?



JL: I used this word hospitality already, but it is palpable how welcoming and sincere the collectors I work with in Dallas have been to me, not least of all, yourself. Some of course have more resources and experience within the world of contemporary art than others, but there is a clear appreciation for the arts, and a genuine enthusiasm here that makes my job much easier. My hopes for this month? To place some of the extraordinary works we are bringing with existing and new collectors from Dallas and beyond. About Jenny Mullen: Jenny Mullen is a Dallas native and graduate of the University of Texas at Austin. For the past 16 years, Ms. Mullen has actively sought out contemporary abstraction, focusing primarily on painting and sculpture with some photography represented as well. In addition, a majority of the artists represented in her collection are women; a focus exemplified in the artists she follows with passion and precision. As an ardent admirer of the connections that art collecting fosters, Ms. Mullen most cherishes the wonderful friendships formed through dialogue and discussions with artists, fellow collectors, curators, and gallerists from all over the world. Additionally, she serves on the Nasher Sculpture Center's Program Advisory Committee, the Tate’s North American Acquisition Committee, and the Council of Fine Arts for the University of Texas at Austin. P

and C U R ATO R I A L S E R V I C E S




Brian Bress, Landscape Fruit Salad, 2018, High definition single-channel video (color), high definition monitor and player, wall mount, framed, 37 x 21 x 4 in. 30 min., 30 sec., loop. Courtesy of the artist and Josh Lilley Gallery.

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Curator Phillip March Jones champions self-taught artists. Phillip March Jones at Institute 193, 2017.

"My curatorial work has always been a collaborative process. Working alongside artists, writers, and musicians, we have created projects that have been seen in galleries, art fairs, universities, museums, and even hospitals. I have largely focused on artists from society’s fringes whose talents have been historically undervalued, a result of demographics rather than a function of quality. In the coming years, I hope to continue to advocate on behalf of these artists, creating opportunities for them to share their work both here and abroad, in person and in print." –Phillip March Jones, March 8, 2018





h i l l ip March Jones is a ded icated and t i reless ambassador for outsider art, that genre of those selftaught makers who have limited contact with and access to commercial galleries and institutions. Jones was just sixteen years old on a family road trip when he convinced his parents to allow him to visit the rural Georgia home and studio of the Reverend Howard Finster. Commanded by God to “Make sacred art,” the Reverend had done that in abundance, and his Talking Heads album covers and talk show appearances had brought the outsider flavor to the mainstream. A native of Lexington, Kentucky, Jones graduated from Emory University in Atlanta but also attended Auburn in Alabama and the Sorbonne in Paris. (His French translating skills helped subsidize some early aesthetic endeavors.) In 2009, he started Institute 193, a small project space near the University of Kentucky with the intention of exposing contemporary artists of the interior who were unknown on the coasts. Two years later he became the inaugural director of the Souls Grown Deep Foundation. Souls Grown Deep was a labor of love for collector Bill Arnett, who had a missionary zeal to preserve, document, display, and promote the expressions of living self-taught African-American artists in the Southeast and elevate them to the level of the blue-chip insiders. He succeeded. Works from the foundation are now in the collections of the Metropolitan Museum of Art, the Guggenheim, and the Philadelphia Museum of Art. And former director of the Dallas Museum of Art, Maxwell Anderson, is currently the foundation`s president. Jones’ father grew up on Mayflower Drive in the Oak Cliff neighborhood of Dallas, and his family typically visited Texas twice a year. He became professionally engaged with the city through his work on the Baron and Budd PC Collection, the majority of whose artworks are from Texas and the surrounding states. He also organized Wunderkammer for the Conduit Gallery, a group exhibition that featured a “Cabinet of Curiosities” collaboration between artists from Dallas and Lexington. In 2015, the gallery exhibited Jones’ own Points of Departure: Roadside Memorial Polaroids. The installation was comprised of Polaroid photographs of “the anonymous memorials constructed by friends and family members” taken between 2006 and 2010 during the artist’s drives across America. A hardcover book with a selection of sensitively printed color reproductions was published by Jargon Society in 2012. Future projects of this important young curator include organizing the Atlanta Biennial with Atlanta Contemporary Art Center Curator Daniel Fuller. Since its inception in 1985, this exhibition has addressed vernacular traditions of the Southeast. For the 2019 edition, Fuller and Jones will visit Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, and Tennessee to seek out and exhibit a cross-section of “the most compelling, creative voices working around us today.” P



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PORTRAIT OF A TRAILBLAZER Dr. Mathilde Krim, amfAR’s Founding Chairman, is remembered at National Portrait Gallery.


earing two decades, Cindy and Howard Rachofsky’s TWO x TWO for AIDS and Art plays a prominent role in raising funds for amfAR, The Foundation for AIDS research. In January, the life of amfAR’s Founding Chairman Dr. Mathilde Krim slipped away at 91 years of age, but not without leading the charge in research and activism against a disease that has claimed some 25 million lives since its onset. In 1981, Dr. Krim was among the first to respond to the appearance of the then little-known Acquired Immunity Deficiency Syndrome (AIDS). A brilliant research scientist, geneticist, and virologist, she was well equipped to educate the community and determinedly assumed the medical research needed to treat the disease. Married to the prominent New York attorney Arthur Krim, founder of Orion Pictures and adviser to Lyndon B. Johnson, she used her influence to establish the first privately funded AIDS research initiative, AIDS Medical Foundation. Two years later, it merged

with a California-based research and education organization to form the American Foundation for AIDS Research (amfAR), which todate “has invested more than $450 million in its programs, spawning numerous significant advances in HIV prevention, treatment, and care.” In 2015, The Smithsonian’s National Portrait Gallery received two portraits of this outstanding humanitarian, one by Annie Leibovitz, which is currently on view in the institute’s In Memoriam space, and the other by Joyce Tenneson, gifted by amfAR. Decorated with 16 honorary doctorates and the Presidential Medal of Freedom in 2000, Krim is remembered globally and lives on among the ranks of “men and women who have made significant contributions to the history, development, and culture of the people of the United States,” the Portrait Gallery’s platform. “There is joy to be found in knowing that so many people alive today literally owe their lives to this great woman,” amfAR’s CEO Kevin Robert Frost said of her passing. P

Mathilde Krim by Annie Leibovitz, archival pigment print, 1998 (printed 2014). National Portrait Gallery, Smithsonian Institution; Gift of amfAR, The Foundation for AIDS Research, in honor of their Founding Chairman, Dr. Mathilde Krim © 1998 Annie Leibovitz.



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APRIL 13TH - APRIL 15TH PREVIEW BENEFIT Thursday, April 12th

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ALL DOLLED UP Creative Director Albert Kriemler draws from the work of artist and architect Alexander Girard with a colorful new collection for Akris.


t takes a designer who is as attuned to the art world as Akris’ Albert Kriemler to successfully translate another talent’s creative vision into three-dimensional, wearable clothes. A longtime collector—an early purchase was a Le Corbusier drawing— Kriemler feels that art “sparks the desire to create.” The fields of art, architecture, and photography continually serve as the impetus for the cerebral, clean-lined clothing he sends out on the runway each season. The work of Canadian multimedia artist Rodney Graham, outsider photographer Vivian Maier, and Cuban-American minimalist painter Carmen Herrera (among others), have all inspired Kriemler’s prints and silhouette over the years. Having developed his passion for art at the age of 19 on his first trip to New York City, the Swiss designer regularly visits exhibitions, drops by artists’ studios, and reads voraciously about the subject on his search for inspiration. Which is not to say Kriemler always assumes a particular work will immediately influence a collection—or even a single garment. “You cannot look at art and expect that it does something for you,” explains the designer, who has served as the creative director of his family’s label since 1980. “Inspiration is a gift; you cannot schedule it. And you need to earn the trust of artists to be able to work with them.” Luckily for fashionistas, Kriemler is skilled at recognizing good source material when he sees it. In 2016, a fortuitous trip to the Vitra Design Museum in Wiel am Rhein, Germany, gave him a lightbulb moment regarding the work of design visionary and architect Alexander Girard, the muse of his current Spring 2018 collection. “I visited the exhibition Alexander Girard—A Designer’s Universe (at the Vitra),” recalls Kriemler. “I was excited by the scope of his creativity and his unique sense of colors. Alexander Girard was a genius in enhancing people’s lives at home and at work with humor and the utmost attention to detail in every project and object. The joie de vivre in his designs is exhilarating.” Born in New York and raised in Florence, Italy, Alexander Girard first garnered fame for his textiles for Herman Miller in the 1950s. Hired to head the fabric division of the company, he worked closely with George Nelson and Charles and Ray Eames to create unique patterns and designs inspired by his obsession with primitive art. Although he moved on to create the legendary La Fonda del Sol restaurant in New York and brand Braniff International Airways, his mod-meets-folk aesthetic had fallen out of favor until the late nineties, when companies such as Vitra and Herman Miller reintroduced Girard’s happy graphics to a whole new generation of design lovers. Counting himself among their number, Kriemler approached the late designer’s grandchildren, Aleishall and Alexander Kori Girard, 70


Top: A fluid, playful Wooden Doll gown inspired by Alexander Girard folk art for the Akris Spring/Summer 2018 Ready-To-Wear collection. Bottom: Alexander Girard's iconic wooden dolls became bag charms for Akris this spring.

Akris Creative Director Albert Kriemler

“ In my modus operandi, I want the inspiration to be clearly readable in my

collection. I don’t want this to be abstract or purely intellectual. That is a question of respect and transparency. By intuition, I select a group of work which I feel inspired to work on, without knowing what will be the result.” –Albert Kriemler

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Top: Akris Intarsia top and side-slit silk pants. Left: Ai painted color block shoulder bag by Akris

When Luxury, Comfort, and Style Matter

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through an introduction by Vitra’s chairman emeritus, Rolf Fehlbaum. The Girards, who run the late artist’s studio in Berkley, met Kriemler in Santa Fe, New Mexico, where they dined at the Girarddesigned restaurant, The Compound, and viewed the artist’s 100,000 item-strong archives at the Museum of International Folk Art. Because Kriemler wants his inspirations to be “clearly readable in my collection,” Girardian totems such as his wooden dolls appeared both as set decorations, bag charms, prints adorning tailored suits, and diaphanous gowns. Trousers “bloomed” with three-dimensional details inspired by a Girard sculpture, while bags were transformed with Girard’s 1955 “Superstripe” artwork or a three-dimensional rubber relief based on the artist’s iconic Roman numeral sketches. Girard’s colorful canvases and sketches equally affected the textiles the designer selected. “My imagination translates the inspiration into fabric,” Kriemler says of his process. “When I see an image like Girard’s ‘Double Heart’ (pattern), I can see a knit or a jacquard. Translating a design like the fabulous ‘Mural’ sketch for a dress is much more than a literal process. It is about constructing the pattern in a way that it seamlessly fits the inspiration.” As much as fine art remains a foundation of Kriemler’s work, he doesn’t believe that fashion always deserves equal footing in status. However, as the two disciplines merge through collaborations like the Girard collection, the line between the fashion and art worlds blurs. “I can see that artists more and more use what fashion has to offer as a means to express themselves,” he explains. “So, I can sense that while years ago, fashion looked at art, and art did not look back, they are now increasingly looking at each other. The next generation might blur the boundaries entirely.” P

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A DECADE OF ART: DALLAS ART FAIR’S MILESTONE EDITION PATRON CHECKS IN WITH 10 ARTISTS OF NOTE, SHOWING WITH NEW AND RETURNING EXHIBITORS. Alex Gardner/The Hole Barbara Takenaga/Gregory Lind Gallery Claudio Parmiggiani/Simon Lee Gallery Kirk Hayes/Conduit Gallery Yelena Popova/Division of Labour Bruce M. Sherman/Nicelle Beauchene Gallery Rosemary Laing/Galerie Lelong & Co. Matthew Ronay/Casey Kaplan Arcmanoro Niles/Rachel Uffner Gallery Faith Ringgold/Pippy Houldsworth Gallery



Below: Alex Gardner, Auditions in the Frozen Food Section, 2017, acrylic on linen, 64 x 48 in. Courtesy of the artist and The Hole. Right: Los Angeles painter Alex Gardner in his studio. Courtesy of the artist and The Hole.


Alex Gardner exemplifies the art historical practice of synthesizing tradition while propelling his medium forward. The up-and-coming painter from the Los Angeles area creates tableaux that seem familiar but, as in a dream, remain elusive. While his ebony figures appear to interact with another, there is a mystery to their actions. “The figure seems to just be an object to manipulate in creating forms through a composition,” Gardner explains. Mannerism, the 16th-century movement defined by elongated, twisting figures, has been one of his inspirations. “I liked most of the 15th- and 16th-century art while in school. I was a sucker for the illusionism and also really appreciated the skill level,” he says, adding, “I loved how everything was so purposefully composed.” In another nod to Mannerism, Gardner plays with color, light, and shadow to great effect. His faceless figures, which only hint at gender, are uniformly clothed in short-sleeved t-shirts and boxers. In some works, these garments illustrate the full reflective value of white while in others they echo the background color. Kathy Grayson, the director of The Hole, the New York City gallery that represents Gardner, says, “I was drawn to the way

they were painted; layers of acrylic built up to paint the figure are rare and difficult. I was also drawn to their subject matter.” She was first attracted to the work after seeing it in an exhibition in Los Angeles. Gardner’s soft hues add to the dreaminess of his surfaces and act as a foil to the absorption and reflection of black and white, respectively. Gardner says, “The color serves a greater roll than narrative.” It is an age-old dilemma for representational artists to fuse their work with abstraction. Gardner manages to bridge this chasm. “Some of it is narrative and some of the works have had a narrative thread. Even though it’s clearly representational, the subject matter is very minimal and the narrative is meant to be abstract. Most of the work is supposed to serve as a singular representation of emotion and mood,” he says. Grayson adds, “When you get into his world and see the intensity of the body interactions he is carefully constructing, they are powerful works.” The Dallas Art Fair marks Gardner’s debut in Dallas. It is also the first year that The Hole is participating. They will also present the work of painters Jonathan Chapline and Eric Shaw. –Nancy Cohen Israel

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PATRONMAGAZINE.COM Barbara Takenaga in her New York studio. Portrait by Chris Luttrell, Block Doubt Photography.


t all begins with a dot. From this most simple mark, Barbara Takenaga conjures brilliant universes. Her meticulously crafted work pulsates with dynamic energy. “They started out as little paintings of hair spirals,” says the New Yorkbased artist. Rather than astronomy, it was the hair on Takenaga’s dog that served as her original inspiration. Tufts of fur became spirals. The addition of radiating lines furthered the cosmic feel of the work. Ultimately, the combination of elements created portals into unknown dimensions. Process is of utmost importance to Takenaga, who does not work from preliminary drawings. The painstakingly executed work is compelling in its intricacy. Of late, she says she is exploring abstract expressionist pours. “I did a whole series with background pours,” she says. In spite of the potential capriciousness of pours, Takenaga also adds, “I work off structure.” Much of her current work is bifurcated into what appears as a horizon line. “One of the things I tried was to put a dividing line in the painting. I didn’t intend for them to be a landscape, but that’s how they have evolved,” she says. Whether dividing earth and sky or reflecting the cosmos, the light in her work pulsates from within, pulling the viewer into the image.

Takenaga’s paintings and works on paper are perennial favorites at the Dallas Art Fair. This year, Gregory Lind Gallery, from San Francisco, will be featuring the work of this mid-career artist, along with that of Jake Longstreth and Anne McGuire. Takenaga began showing with Lind in the early part of this century when another one of his artists, Sarah Walker, organized the exhibition Radial Gradient. The exhibition, he says, “introduced seven artists who were retinal programmers. Each captured visual perception.” Lind has a keen interest in the relationship between science and art. “With Takenaga’s work,” he says, “one could be looking through a telescope or a microscope.” A pair of Takenaga’s larger paintings, which can work together as a diptych or individually, will be prominent in Lind’s booth at the fair. He will also be showing Takenaga’s works on paper, which resonate with a broad audience. “People love the immediacy of these drawings,” he says. Lind and Takenaga are veterans of the Dallas Art Fair. This will be the gallery’s third year to exhibit at the annual event. “I enjoy the Dallas Art Fair. It’s intimate enough. The people are very enthusiastic. And the museums in Dallas and Fort Worth are tremendous,” Lind concludes. –Nancy Cohen Israel

Barbara Takenaga, Atmosphere L, 2017, acrylic on linen, 72 x 36 in.; Barbara Takenaga, Atmosphere R, 2017, acrylic on linen, 72 x 36 in. Courtesy of the artist and Gregory Lind Gallery.

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Claudio Parmigianni. Portrait by Todd-White Art Photography. Courtesy of the artist and Simon Lee Gallery. Opposite: Claudio Parmigianni, Senza Titulo, 2017, glass, 35.37 x 27.5 in. Courtesy of Simon Lee Gallery.




Amidst the hustle and bustle of the Dallas Art Fair one will find the artistic embodiment of absence, stillness, and silence. Made by Italian artist Claudio Parmiggiani, the pieces are comprised of soot-laden boards and shattered glass panes, remnants of processes designed to erode physical barriers, exposing the nothingness in between. Born in Luzzara, Italy in 1943, Parmiggiani studied at the Istituto di Belle Arti di Modena, where he met famed painter and printmaker Giorgio Morandi, whose still lifes of bottles and vases continue to have a profound effect on Parmiggiani’s work. Associated throughout his career with both the Arte Povera and Conceptual Art movements, Parmiggiani resists substantial connection with either, preferring to retain a singularity about his work rather than categorical associations. In 1970 Parmiggiani began his well-known Delocazione (delocation) series. Inspired by dusty silhouettes created by objects set on shelves and placed against walls, the works are meditations on the voids left behind in the wake of loss, and our desire to retain some sense of presence in the face of absence. “Delocazione is a work born from the observation of an abandoned place inside a museum, where the only presences were the footprints of the objects I had removed,” he explains. “An environment of shadows: shadows of canvases removed from the walls, shadows

of shadows, like seeing another veiled reality behind a veil and another reality behind it and other veils, and so on, getting lost indefinitely, looking for an image and through that image the desire to glimpse oneself.” In order to create these pieces, Parmiggiani places objects in front of large boards, and fills the sealed room with smoke from burning tires. The thick, acrid air deposits smoke and soot across the surface, leaving ghostly traces of the objects—books, bottles (a nod to Morandi), small objects, window drapes—as if one is viewing the walls of a home after a fire, when only the shadowy figures of the past remain. Juxtaposing the smoky lushness of these panels is a series of “black mirror” works, featuring panels of black glass shattered in the middle, as if struck by a fist or a rock. Whereas fire can be seen as cleansing and sensual, jagged flecks of glass speak to fear and violence, the shattering of protective barriers against unknown predators. One thinks of windows, gunshots, robberies—all violations of personal safety and security. Yet the glass harkens back to the basic elements of creation, and the cyclicality of fire as a creator and destructor, as a force of life and death. And this is where Claudio Parmigianni wants to situate his viewers, in the quiet stillness in between moments, when the embers take their last breaths and the smoke disappears into the ether, leaving only the scent behind. –Danielle Avram

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Fort Worth artist Kirk Hayes in his studio. Portrait by Shayna Fontana.



Kirk Hayes, March 5, 2018. Photograph by Shayna Fontana.


CONDUIT GALLERY Although the genre of trompe l’oeil (literally “deceive the eye”) painting dates back to antiquity, in the hands of Fort Worth artist Kirk Hayes, the tradition is alive and well, and recalibrated to suit his nonpareil vision. Hayes, 60, has been represented by Conduit Gallery in Dallas for the past two decades, and three of his idiosyncratic paintings will highlight that gallery’s Dallas Art Fair booth. At first glance—no, make that repeated close-on studies—a Kirk Hayes painting looks like primitive grade-school collage: raw, hand-torn shapes of fiberboard crudely affixed to a plywood field, replete with bits of wrinkling tape, jutting staples, and ice-picked holes, with just enough shading to verify the third dimension. But Hayes’ technical virtuosity has done it again—what you’re seeing is all paint, oil, and spray enamel, on brown papercovered signboard. Every wood grain, knothole, shape, tape, blemish, and staple is an illusion, a masterful sleight-of-hand that’s confoundingly convincing. Kirk Hayes is a magician. One singular aspect of his take on trompe l’oeil is that he’s mimicking collage, rather than still life, relief, or perspective. His method is singular as well: he begins a painting by actually creating the collage that he intends to recreate in paint, a full-size

maquette. “It’s crazy, isn’t it?” Hayes concedes. Another singularity is that Hayes’ subject matter is decidedly un-heroic, non-classical, antithetical to the canvases of trompe l’oeil masters such as William Harnett and John Peto. “I didn’t particularly like them; I thought they were pretty boring,” the self-taught Hayes says. “But I was painting to learn how to paint, actually, so over the process I made progress pretty fast, and then I saw the possibility of what could be done with it, more so than just painting objects.” Hayes is an inveterate introvert, and there’s often an Everyman/Sad Sack irreverence that pervades his works, a sense of Sisyphean futility, dreams dashed—in short, the human condition. Michael Auping, former chief curator of the Modern Art Museum of Fort Worth, maintains that all of Hayes paintings are self-portraits, and the artist concurs: “Yes, they are selfportraits, and they’re embarrassing sometimes. You kind of put yourself out there, in a hidden way. Even if it doesn’t look like me, it’s me. But if you don’t recognize that, then that’s probably a good thing.” Pre-fair and post-fair, these paintings will also be on view at Conduit’s Project Room, April 7 through May 12. –Steve Carter

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Artist Yelena Popova and gallerist Nathaniel Pitt forged their working relationship over a shared interest in the Russian Avant Garde. “We talked for a long time about Constructivism, women in art, and the links to Bauhaus,” says Pitt, director of London’s Division of Labour. For the Dallas Art Fair, the Russian-born, UK-based Popova has created an installation that resembles a well-appointed living room. A comfortable chair sits in one corner. Sculpture adorns the walls. A large tapestry on the back wall serves as a focal point to the space. Popova’s work deals with balance, and in this arrangement, there is a sense of equilibrium. Upon closer inspection, the movement of a rapidly changing world becomes evident. Popova is primarily a painter, which initially attracted Pitt to her work. He says, “I was mesmerized by her deft language in painting, layered with new ideas whilst reflecting a history of modernism.” She was introduced to textiles during a recent residency at Cambridge’s Girton College. The fabric on the chair is a sample from her first tapestry. The jacquard wall tapestry, digitally woven in Belgium, is a screenshot of an earlier work, a code-generated computer performance called This Certifies That. “With these two tapestry pieces, I sense a new language is appearing in my work. I really enjoy the intensity of color, the interlocking guilloche lines, and the algorithmic quality of jacquard itself,” she says. The use of money as imagery has increased relevance in a transactional world. For Popova, using Euro notes as a source of inspiration has a special appeal. “I chose the Euro for its distinct circle of stars, which, when animated, produces a hypnotic effect,” she says. The echoing of the circles throughout the installation further suggests movement. With Brexit afoot, the work takes on a timely urgency. Additionally, the story of Leon Warnerke fascinates Popova. In the 19th century, Warnerke and a group of Russian anarchists attempted to destroy the international economy by flooding it with counterfeited banknotes that Warnerke created in his London photography studio. Inspired by her research on Warnerke’s practice, Popova has created a series of etchings, which will be presented at the fair. This year’s fair will be the first time that Popova’s work is being exhibited in Texas. Pitt is sharing his space with Copperfield, his partner gallery, and will also feature the work of Jane Bustin. Having been at the Dallas Art Fair in 2015, Pitt came away impressed. “I’ve been looking for an opportunity to return ever since,” he says. –Nancy Cohen Israel



Upper left: Yelena Popova. Portrait courtesy of the artist and Division of Labour . Lower left: Yelena Popova, This Certi ies That, 2018, jacquard woven tapestry, 68.89 x 55.11 in. Courtesy of the artist and Division of Labour.

Left: Bruce M. Sherman works in his Manhattan studio. Above: Represented by Nicelle Beauchene Gallery, Bruce M. Sherman is known for his anthropomorphic, ceramic vessels. Photography by Shayna Fontana.


NICELLE BEAUCHENE GALLERY For the last handful of years, ceramics has been enjoying a season in the sun, gaining long overdue respect in an art world which has sometimes relegated the medium to a one-down status. Happily, for the Dallas Art Fair, New York’s Nicelle Beauchene Gallery returns this year with new work by ceramist Bruce M. Sherman, a roster artist whose oeuvre is cutting edge, provocative, and endlessly delightful. Sherman practiced dentistry “on and off” for nine years, but his love affair with clay has been a constant for 50+ years, and for the last 15 of those, his full-time passion. “For a lot of years ceramics was sort of a second cousin; it was a craft,” he confirms. “I think it’s caught on more lately because people are discovering what a breadth of possibilities there is in clay.” Possibi l it ies, anyone? Sher man’s clay-f u l i mag i nat ion frequently takes him to an anthropomorphic Neverland, where his inscrutably beguiling sculptures may be composed of hands, lips, eyes, ladders, eggs, feet, cactus, birds, top hats, cylinders, high-contrast glazes, and the requisite connective tissue to pull it all together. “I don’t really work from sketches,” he says. “It’s very improvisational, sort of like listening while you’re playing music,

which I still do, improvisational piano. With clay I have to feel what’s needed next, let’s say after I put the legs on—what’s the next form? The piano has really helped me become more intuitive with the clay, just kind of listening to it, seeing where it wants to go.” Sherman likes to start his morning with piano practice before he hoofs it over to his studio, and it’s not unusual for him to be working six, even seven, days a week. Nicelle Beauchene first showed Sherman’s work two years ago, part of a group exhibit called The Faraway Inside. Featuring eight artists working in a variety of mediums, the favorable response to Sherman’s pieces was strong enough that the gallerist invited him to join her roster. IS, his first solo exhibition there, ran last spring and included a number of vessels, even a drawing, in addition to a dozen or so of his signature surreal sculptures. “My little figures are very intuitive; I have no idea what those things are going to be,” he says. “They sometimes have a certain compassion to them, or a certain humanness—they really do. I’m as surprised as anyone else.” –Steve Carter

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This page: Rosemary Laing installing The Flowering of the Strange Orchid. © Rosemary Laing. Courtesy of Galerie Lelong & Co., New York. Opposite: Rosemary Laing, weather #4, 2006, C-type photograph, 23.6 x 37.6 in. Edition of 6. © Rosemary Laing. Courtesy of Galerie Lelong & Co., New York.




Place, landscape, and belonging are major themes informing the work of Rosemary Laing. Galerie Lelong & Co., New York, is presenting the Australian photographer’s large-scale work from her weather series at this year’s Dallas Art Fair. Laing’s work may be familiar to local audiences through groundspeed (red piazza) #2, her work in the permanent collection of the Modern Art Museum of Fort Worth. “The weather series was made about a decade ago,” Laing says. It was in response to walk on a sea of salt, an earlier series, which was photographed at the former Woomera detention center. Housing asylum seekers until its closure in 2003, the infamous facility, as well as the desolate landscape surrounding it, affected Laing deeply. It led her to revisit Queensland, where her family settled in the mid-19th century. Laing says she returned “to reconnect with something better.” The dismaying environmental degradation she encountered there inspired the weather series. Feeling helpless to stem this destruction, Laing invented what she calls “a kind of no-place.” She staged the images in a rented studio, where she and her crew worked with stunt performer, Gill Stratham. Special effects created the air storm, enhancing its cinematic quality. To make the debris field, Laing used cut-up newspapers. Its effect, she says, is of “a location-less cyclone, or maelstrom.” She adds that the protaganist-performer “is buffeted by high winds and a storm of newspaper shards. It is ambiguous as to whether this influencing cyclone is climatic, or events, or both. She appears unable to determine her actions—her abilities have been impacted and altered,” Laing explains. “In the least,” she concludes, “what is necessary is to find an agility to weather the weather of this circumstance.” Galerie Lelong & Co. Director Dede Young says, “The idea of environmental change is especially compelling and timely in this body of work.” Young further states, “Rosemary Laing is one of the most celebrated artists working in Australia, but she is lesser known here.” Galerie Lelong & Co. introduced Laing’s work to American audiences in a solo exhibition, where it was immediately embraced. According to Young, “[Laing’s work] fits within Galerie Lelong & Co.’s ongoing commitment to showing a range of dynamic work by artists from across the globe that the Dallas Art Fair audience may not necessarily know.” The gallery, participating in the fair for the first time, will also feature work from its internationally renowned stable of artists. –Nancy Cohen Israel

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Represented by Casey Kaplan, New York, Matthew Ronay in his Long Island City studio, New York. Portrait by Shayna Fontana. Below: In the foreground: Matthew Ronay, Announcement | Incarnation, 2018, basswood, dye, gold leaf, flocking, shellac-based primer, steel, 19 x 23 x 21 in. Behind from left: Matthew Ronay, Condition, 2018, basswood, dye, gouache, flocking, plastic, steel, shellac-based primer, 23 x 21 x 18.25 in.; Matthew Ronay, Billow, 2018, basswood, dye, gouache, flocking, plastic, steel, shellac-based primer, 14.5 x 19 x 18.25 in. Photograph by Shayna Fontana.


Welcome to Planet Matthew Ronay, a fantastically surreal world of imagination, where the lingua franca is purely visual and ineffable, and the Rosetta stone has yet to be discovered. New York gallery Casey Kaplan will be bringing five new pieces by Matthew Ronay, the acclaimed Brooklyn-based sculptor, to the Dallas Art Fair, along with paintings by Italian artist, Giorgio Griffa. The handful of recent Ronay sculptures won’t comprise an installation as such, but the medium-size, pedestal-bound works are sure to cohere as an eye-rubbing terra incognita. Ronay’s meticulously crafted objects are created from fairly commonplace materials—basswood, dye, plastic, gouache, string, flocking, and steel, for instance—but the materials are alchemized in the cauldron of his imagination, emerging as absolute wonderments. Matthew Ronay’s work is sometimes characterized as being anthropomorphic, biomorphic, or erotic, but he maintains that the natural world is hugely influential on his process. “I think I have an intuitive understanding about nature,” he says, “and so a lot of the works that have been described as ‘foreign species,’ ‘alien,’ maybe ‘microscopic photography,’ is the feeling of someone who is close to nature, trying to be harmonious with the physical world, yet filtering through my unconscious.” There’s an occasional suggestion of the Dr. Seuss-ian, the Tim Burtonesque, the scant quarter-teaspoon of Ken Price, a trace element of Ron Nagle, but Ronay’s vision remains utterly proprietary, and immersion in that world is a baptism by discombobulation. And while there’s an absolute object-ness at work (and play) in



his oeuvre, Ronay’s creations are unswervingly gregarious, approachable, and inviting. “There’s another aspect of the work that I think touches on science fiction,” Ronay continues. “Some of the things look cybernetic, as if one part is organic and one part is machine in a sort of Cronenberg way, a machine that’s augmented, but not necessarily in a way that you’d normally think of.” Most of his sculptures begin as drawings, although there may not be a 3D intention at the outset. “My process for coming up with imagery is automatic,” he says. “I’m just letting my hand work on a piece of paper through a pencil or a piece of charcoal. And I think my imagination lies somewhere in this realm of the unconscious; if there’s any real talent in my imagination it’s that I’m able to relax and trust that my muscle memory and drawing skill lead me to discover new shapes…” –Steve Carter


While he’s only been represented by New York’s Rachel Uffner Gallery since February, 28-year-old Arcmanoro Niles will be front and center at the gallery’s Dallas Art Fair booth. How could he not be? Brooklyn-based Niles’ canvases are populated with life-size, glitter-bespangled figures who address viewers face-on, unflinching. And as the viewer is taking the measure of the orange-tinged subjects, imagining narratives for the mise en scène, there’s the inescapable realization that Niles’ people are checking out their audience with a quiet “what-the-hellare-you-looking-at?” curiosity. It’s conversation, not confrontation, and the engagement is compelling. “It’s important for me that I want you to feel like you’re a part of the scene, like you’re walking into it,” Niles acknowledges. “You shouldn’t feel like you’re looking from the sidelines; I want you to feel like they see you and they’re either inviting you in or making you feel like you’re not sure you should be there.” Niles grew up in a Washington D.C. suburb that he’s described as an urban “middle space” somewhere between impoverished and middle class. After finishing high school at D.C.’s Duke Ellington School of the Arts, he earned his BFA from Pennsylvania Academy of Fine Arts and MFA from New York Academy of Art. 2017 was a watershed year for Niles: he received a Joan Mitchell Foundation Painters & Sculptors Grant; Long Gallery Harlem presented Arena, his first solo exhibition in New York; he signed with Rachel Uffner Gallery; and 2018 began with his first solo exhibition there, Revisiting the Area. His more recent paintings are interior scenes, and one highlight is close to home. “There’s one of my grandfather in the kitchen, a place where he always relaxed and reflected on his life,” Niles says. Whether he’s painting his familiars back in D.C. or newer neighbors in Brooklyn, the through-line in his work is people, exploring the individual to uncover the universal. Niles adds, “I’m really interested in people, how they relate to each other, the way their environment and paths and everything they’ve been through influences how they act with each other. I want the viewer to feel like they’re going on a tour with me.” Rachel Uffner’s booth will also feature another recent addition to the roster, sculptor Sally Saul, Shara Hughes, and Leonhard Hurzlmeier; Hughes and Hurzlmeier are already familiar to fairgoers from their contributions to TWO x TWO for AIDS and Art. –Steve Carter

Top: Brooklyn-based Arcmanoro Niles. Bottom: On the left a work in progress; Arcmanoro Niles, Whats Left of me (Wild Heart), 2018, oil, acrylic, and glitter on canvas, 32 x 35 in. Photography by Shayna Fontana.

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Born in Harlem at the tail end of the Harlem Renaissance, Faith Ringgold grew up in a neighborhood populated by musicians, artists, writers, and poets. Duke Ellington and Langston Hughes lived just around the corner, and renowned saxophonist Sonny Rollins was a childhood friend. Ringgold’s own parents were creative: her mother a fashion designer and her father an avid storyteller, two elements that deeply influenced Ringgold’s own work. Ringgold attended the City College of New York in the 1950s, from which she received bachelor’s and master’s degrees. From the onset, she used her work to champion the experience of Black Americans, using her own life as a template to address larger issues. “My stories are about me and come from me and the life that I’ve lived,” says Ringgold. In the 1960s Ringgold became known for The American People Series, paintings depicting the brutality of the civil rights struggles of the time, as well as for her outspokenness against injustices plaguing Black and female artists. The 1970s brought about a shift to more deliberately African-inspired works, such as her Slave Rape series, which was painted on cloth, masks, and soft sculptures. The 1980s saw the beginning of Ringgold’s story quilts, which feature narrative paintings set in backdrops of traditional clothquilted patterns. Inspired by her mother’s fashion background and the fact that her great-great-great grandmother was a Southern slave who quilted, Ringgold adopted this traditional African-American craft as a way of blending the history of Black Americans with more contemporary stories about the Black experience. Her most famous quilt, Tar Beach, in the Guggenheim’s collection, tells the story of a young girl who, on a summer night in Harlem, flies over the George Washington Bridge. This piece also formed the basis of Ringgold’s first children’s book of the same name, which she wrote in 1991. She has since gone on to write 18 children’s books. Ringgold is still active today, at the age of 88. Her 19th children’s book, The Children Forgot to Play, is soon to be released; she is working on a new painting and a stained-glass commission for Yale University, and is currently collecting imagery of none other than Donald Trump, for a yet-to-be-determined project. Considering the current state of American politics in relationship to the time in which her career began, Ringgold remarks that, “we may be reliving some of that history from the 1960s. People close their eyes because it’s harder to live in the truth. Obviously I still have a lot of work to do.” –Danielle Avram Above: Faith Ringgold, Jazz Stories #5 Mama Can Sing Papa Can Blow You Put the Devil in Me, 2004, acrylic on canvas with pieced fabric border. 81.5 x 67.5 in. © Faith Ringgold, Courtesy of ACA Galleries, New York and Pippy Houldsworth Gallery, London. Below: Faith Ringgold, Little Joe, 1978, soft sculpture, 43 x 10 x 10 in. Photograph by Shayna Fontana. Opposite: Faith Ringgold seated in front of her work, Who's Bad?, 1988, acrylic on canvas with pieced fabric border, 79.5 × 92.5 in. Portrait by Shayna Fontana.

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With a canon steeped in social practice, multidisciplinary artist Theaster Gates is awarded the 2018 Nasher Prize.


s urban planning a form of sculpture? What about community activism or museum exhibitions? How about an assembly of master ceramicists, laboring over their wares and enjoying a live poetry reading set in a contemporary art gallery? Or how about a Japanese-inspired soul food dinner followed by a musical performance and politically charged conversation? The selection of Theaster Gates as the 2018 Nasher Prize Laureate would have us believe that, under the right circumstances, all of the above may be framed as sculpture. Each year an international jury composed of museum directors, curators, artists, and art historians gathers to select the Nasher Prize Laureate, an honor that comes with a $100,000 prize. Chicago-based, Theaster Gates is the first American to receive the prize, following prior prizewinners Doris Salcedo and Pierre Huyghe. Gates has unquestionably earned this recognition—“awarded to a living artist who has made an extraordinary impact on our understanding of sculpture as an art form.” His expansive oeuvre



includes everything from painting to grassroots fundraising, traditional ceramics to navigating the bureaucracies of city government, and filmmaking and performance to sharing a meal and being a good neighbor. Gates creates discrete objects, yes, but he also creates cultural space and critical opportunities for the exchange of ideas, knowledge, and resources in underprivileged communities. He’s probably best known for pioneering cultural space in formerly abandoned buildings in the poor and predominantly African-American neighborhood of Greater Grand Crossing located on Chicago’s South Side where Gates has lived since 2006. A professor of visual arts and the director of Arts + Public Life at the University of Chicago, Gates is also the founder and director of the Rebuild Foundation. Since 2009, the nonprofit has renovated over 30 buildings, providing free arts programming, community space, and affordable housing, studio, and live-work space in and around Greater Grand Crossing. What began as one artist’s mission to offer something beautiful

This page: Theaster Gates photographed on December 20, 2017, in Chicago’s South Side. Photograph by Nan Coulter. Opposite, from left: Currency Exchange CafÊ, 305 E. Garfield Boulevard in Washington Park neighborhood, Chicago, Illinois. Photographed on December 22, 2017, by Nan Coulter. Exterior (detail) at Archive House. Photographed on December 21, 2017, by Nan Coulter.

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and culturally useful to his neighbors, namely a multipurpose community space in which one might for instance host a dinner, tend a garden, play music, study, or create a work of art, has since grown into a bona fide cultural district. Members of the local community participate in the renovation and programming of these spaces, and the foundation and Gates’ studio now formally employ some 60 individuals. There exists at the core of his practice a remarkable sort of artworld ecology. Many of his more traditional works—the objects he hangs on walls or exhibits on pedestals—are created using materials salvaged from his renovation projects and/or businesses and community spaces recently shuttered in and around his neighborhood. Part of the proceeds from the sale of these works is then funneled back into Gates’ studio and urban renewal projects. One might argue that his most impressive sculptural achievement is his ability to leverage his celebrity and studio practice as a means to generate and direct resources to underserved communities. According to the Nasher’s Assistant Curator, Leigh Arnold, “With a strong focus on the material aspects of memory, history, and place, Nasher Prize 2018 Laureate Theaster Gates has established a new paradigm for sculpture…” In celebration of the Nasher Prize, the museum presents five works that demonstrate these interests, drawing particular attention to the artist’s biography and unique approach to exploring both history and cultural memory. One of the most powerful and mysterious works on view is The Steeple, which combines a ceramic coil pot with a smooth white plaster top that tapers to a narrow point. The Steeple is unmistakably handmade and recalls the artist’s training in ceramics both at Iowa State University and in Tokoname, Japan. At an early stage in his career, working in this material instructed the artist on how to create something beautiful, lasting, and functional from what is essentially dirt and water. Gates considers the medium to be philosophically indispensable from his regenerative art practice and returns to it often.



The Steeple refers to the sculpture’s resemblance to an ornamental church spire. Due to its luminous and narrowing white top, the object appears both sacred and dangerously sharp. It resembles both a dunce cap and the white hoods worn by members of the Ku Klux Klan. The connection recalls how many of the group’s violent and terrorizing attacks on African Americans senselessly co-opted religious symbols. Religion and spirituality are very important themes for Gates. By the age of 14, he served as choir director for his local Baptist Church in Chicago. Gates also studied religion both at Iowa State and the University of Cape Town, where he earned a second graduate degree. Another work, titled Squirt, likewise harkens back to the artist’s biography. The title refers to the rich gooey black tar that erupts in a dramatic vertical slash across the painting’s dark rubber surface. Gates has a special relationship to tar as a material. His father was a professional roofer; growing up, Gates would often assist his father in handling the material on the job. Upon retirement, Gates’ father gifted him the tools of his profession. He subsequently used them to create a series of wall-based tar paintings such as this one. Squirt recalls black monochrome paintings by such artists as Mark Rothko and Ad Reinhardt. It also recalls Lucio Fontana’s Spatial Concept series, which likewise consists of monochrome paintings emblazoned with dramatic slashes. These familiar forms of modernist abstraction take on new meaning given Gates’ personal connection to his materials. In his hands, blackness is explored not merely as a color choice but a lived property. By absorbing the materials of manual labor and transforming them into high art, Gates calls into question the value we ascribe to manual versus artistic labor while paying tribute to the artist’s father and the workingman more generally. The Nasher installation also includes two works from Gates’ Civil Tapestry series, which the artist creates using decommissioned fire hoses. Dirty Red presents strips of fire hose stitched together edge

From left: Theaster Gates, The Steeple, 2016, glazed ceramic & plaster, 53 x 13.25 x 14 in., Nancy A. Nasher and David J. Haemisegger © Theaster Gates. Theaster Gates, Squirt, 2013, wood, tar, and rubber. Courtesy of the artist © Theaster Gates. Theaster Gates, Civil Tapestry Composite – circle study, 2012, decommissioned fire hose and wood. Courtesy of the artist © Theaster Gates. Below: Theaster Gates, Dirty Red, 2016, decommissioned fire hose and wood, Lune Rouge Collection © Theaster Gates. All photographs by Kevin Todora Photography

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Theaster Gates, Square Work. 2000s with a little bit of the 60s, 2015, bound Jet magazines, steel. Courtesy of the artist Š Theaster Gates. Photo: Kevin Todora Photography

to edge and arranged vertically in a monumental wooden frame. The material bears evidence of its previous use, exhibiting numerous abrasions, snags, holes, and stains. Arranged in a powerful spectrum ranging from a dull gray pink to a vibrant dark red, the material calls to mind scarred flesh and the colors of blood and violence. The title adds to the tension, referring to a racial epithet used to demean people of a particular skin tone. Dirty Red also recalls the stripe paintings by artist Frank Stella, but again, where those works were primarily concerned with exploring formal issues of abstraction, the materials Gates chose bear historical significance. In addition to dousing countless blazes, fire hoses were once used to violently suppress peaceful demonstrators during the Civil Rights Movement. The juxtaposition is telling. While the



predominantly white-male narrative of modernist abstraction was being forged in white-cube galleries, the very basic human rights of Black Americans were being challenged and vehemently denied. Dirty Red draws attention to these strangely abutting histories. Square Work. 2000s with a little bit of the 60s recalls the artist’s strategic use of archives both in his exhibitions and revitalization projects in Greater Grand Crossing. These revitalization projects maintain a core interest in both preserving and disseminating Black cultural material for the benefit and empowerment of Black people. In the Stony Island Savings Bank, Gates has installed portions of the Johnson Publishing Archive as a public resource. The archive includes books and periodicals acquired from the Chicago-based publishing magnate, including complete runs of their

publications, Ebony and Jet magazines. Since the time of their founding in the late 40s and early 50s, respectively, these publications celebrated Black cultural production and Black thought to an unprecedented degree, especially during deeply segregated times in American history. In Square Work, Gates repurposes beautifully bound volumes of Jet magazines and arranges them side-by-side in seven neatly stacked rows set in a square steel frame. Displayed as they might appear on a personal bookshelf, the gleaming black volumes date to the 2000s, while a single yellow example in the upper left corner dates to the 1960s. Seeing Jet magazine bound like a scholarly journal with beautifully gold-leafed titles makes a strong visual statement that champions the preservation of Black culture for the ages. These works could not exist without the laureate’s personal experiences and nuanced approach to history, memory, and place. Hamza Walker, a close friend of Gates and the Director of LAXART, says, “Theaster wants to make place. He wants to make beautiful places. He’s a resident materialist when it comes to object-making, and I can’t think of those objects without thinking about the context of the place, a place for them.” Gates’ strategies for urban renewal through creative placemaking have recently been exported to other cities struggling with a lack of cultural space in poor and predominantly African-American communities. He has helped spearhead revitalization projects in cities such as Akron, Ohio; Omaha, Nebraska; and Gary, Indiana. One might argue that this ripple effect also falls under the umbrella of the artist’s sculptural practice. I’ve followed the practice of Theaster Gates for a long time, especially alongside that of other social-practice artists, such as Minerva Cuevas, Tania Bruguera, and Rick Lowe. What draws me to the work of these artists is the promise that their art could yield tangible, positive results in the lives of real people with little or no connection to the art world. My belief is that sculpture has the capacity to do much more than sit on a pedestal, that it is affecting and interacts with and shapes the minds and lives of its audience. The Nasher Prize being awarded to an artist like Gates is heartening in verifying the importance of his expansive approach to sculpture, which generates discrete art objects but also fosters real human interaction, changes lives, improves neighborhoods, and turns refuse into meaningful, beautiful works of art. P

Library (detail) at Archive House. Photographed on December 21, 2017, by Nan Coulter.

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THE EAGLES’ EYE TWO x TWO for AIDS and Art, an artful ecosystem, auction, and fundraiser, captures the attention of Jennifer and John Eagle and broadens their collection.

John and Jennifer Eagle; Above the fireplace: Mark Bradford, Cross Hatch, 2009, mixed media and collage on canvas; The Haas Brothers, Clarice, 2016, Hex stool in brass tile. Both acquired PATRONMAGAZINE.COM from TWO x96 TWO. Opposite: Kwon Young-Woo, Untitled, 1984, gouache and Chinese ink on Korean paper, 33.625 x 27 in. (framed), acquired from TWO x TWO.



wenty years ago I attended my first TWO x TWO. Little did I know that the event would take on a life of its own and become the gold standard for fundraising. Of course, none of this would have been possible without the generosity and sacrifice of TWO x TWO founders, Cindy and Howard Rachofsky. Two decades later Cindy and Howard remain an inspiration. To date the event is responsible for raising over $75 million and remains for amfAR, The Foundation for AIDS Research, the largest fundraiser in the United States. Meanwhile, Dallas Museum of Art has added over 250 major works of contemporary art to their permanent collection with TWO x TWO proceeds donated to their Contemporary Art Acquisition Fund and exhibitions. It too is the largest annual fundraiser for the museum. These are remarkable statistics; however, there are countless stories to share about lives that have been touched, friendships formed, significant art acquired, and the evolution of a TWO x TWO ecosystem. I have had the privilege of collaborating with Jennifer and John Eagle as their art advisor for over ten years. In a recent conversation, we discussed the Eagles’ ongoing interest and commitment to TWO x TWO.

John Runyon: Cindy and Howard Rachofsky have made an indelible commitment to elevating the arts in Dallas. Your own contributions to the arts and TWO x TWO are considerable including donations to the event and art acquisitions. What keeps you so devoted to this particular auction and gala in a sea of so many? Jennifer Eagle: It’s the perfect storm. Cindy and Howard are dear friends, so it is our absolute pleasure to support their efforts. Add to that the contemporary art element, a beautiful week of events with like-minded friends, and the interesting, talented people that support two organizations we believe in, our own Dallas Museum of Art and amfAR, makes TWO x TWO an easy investment. John Runyon: Please describe your collection and how your collecting path may have changed over the past two decades. Jennifer Eagle: Our collecting habits have evolved considerably. While we continue to buy what we like and want to live with, our collection has certainly been enhanced through our relationship with you, John. In fact, Howard was the bridge-builder in helping us find the perfect art advisor who has also become a true family friend. The real joy is in learning and discovering new artists, young or old, that weren’t before familiar. It’s a constant evolution. John Runyon: Since inception, you have acquired over 50 artworks in

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On the wall: Tara Donovan, Untitled (Mylar), 2007, Mylar and glue; On the dining table: Roxy Paine, Scumak Orange, 1999, LLD Polythylene. Acquired from TWO x TWO.



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On the marble floor: Roni Horn, Untitled ("What if you get stranded in a place where pears and winter are variants of each other?"), 2012, solid cast glass, 2 pieces; On the wall: Marcia Hafif, Pale Paintings: Scumble: reds 1 to 12 of 12, 2008, oil on canvas. Below: Andy Warhol, Shoes, 1980, screenprint. Acquired from TWO x TWO. Opposite: El Anatsui, Ink Splash, 2010, aluminum and copper; On the table: Joel Shapiro, Untitled, 2000 –2003, bronze. Acquired at TWO x TWO.



support of TWO x TWO, not to mention many of the non-art experiences and travel packages. What drives you to maintain this steady flow of support? John Eagle: Obviously, we’re not counting, but have to say we’ve been lucky in our acquisitions from TWO x TWO. There are great opportunities at this event if you pay attention, and each year just gets better and better. Also, not just the two of us but our whole arts community is proud to support the artists and dealers who attend and are contributors to the event. John Runyon: TWO x TWO creates a unique energ y for established collectors and opens doors to new collectors. Do you feel that TWO x TWO has exposed you to a breadth of artists you wouldn’t have otherwise discovered? John Eagle: Absolutely. Not only have we been exposed to artists we’d not yet discovered but also to those that we may not have had access to. We both love the thrill of finding a new work that we fall in

love with. It keeps your mind open to new thoughts and experiences. John Runyon: And how is the event helpful to the attendees with limited collecting experience? Jennifer Eagle: We were collecting before TWO x TWO began but have certainly been more active in the last 20 years. We just may be the poster children for TWO x TWO. Buy a ticket. Show up. Bid on some art. You’ll definitely learn something and hopefully go home with a new treasure. You’ll be inspired and possibly catch the art addiction we all willingly share. You’ll meet dealers and artists and a gaggle of Dallas friends that travel anywhere and everywhere looking for the next art adventure. John Runyon: At the 2009 TWO x TWO, you acquired Mark Bradford’s painting titled Cross Hatching eight years before he was chosen as the official representative for the United States at the 57th Venice Biennale, and two years prior

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Elizabeth Peyton, Joe Montgomery, 2007, oil on board. Acquired from TWO x TWO. Outdoors: Ken Price, Yogi, painted bronze composite.

to his exhibition at the Dallas Museum of Art? Please describe your introduction to Bradford’s work at TWO x TWO. Jennifer Eagle: We already admired Mark Bradford’s work and were so excited a piece was in the 2009 auction. We decided we would be the winning bidders weeks before the event. Several friends were also enthusiastic bidders, which was no problem for John, who is never shy about bidding in a live auction! This also led to another Mark Bradford acquisition a few years later. We met the dealer at TWO x TWO and one thing led to another. John Runyon: You now own the works from four Korean postwar artists who are prominent members of the Dansaekhwa Movement acquired at TWO x TWO’s 2015 auction. They are Chung Chang-Sup, Ha Chong-Hyun, Kwon Young Woo, and Park Seo-Bo. Is this the first time you were introduced to the Korean Dansaekhwa Movement? John Eagle: Yes. These Korean artists and the Dansaekhwa Movement were not on our radar. We knew nothing about Korean art at the time, which is one more example of the reach of this event. We experienced them grouped together in a beautiful installation on the gallery wall facing the dining room of The Rachofsky House. Any one is special on its own but placed all together they just sing. It’s true Jennifer has been known to buy the whole wall every now and then. John Runyon: TWO x TWO folklore is that you and John have inadvertently bid against each other in the heat of battle, contributing further to the TWO x TWO bottom line. Can you describe this scenario? Jennifer Eagle: Thank goodness for a good cause, or two. One year



a friend who could not attend asked John to bid for him in the live auction on the Charles Ray. He just knew it was his since he engaged my husband. We were probably seated at different ends of the table. John hit his maximum bid and had to explain to him the next day that I outbid them both. This precious baby bird has a good home at the Eagles’ house. John Runyon: Jenn, you also bid blindly on a work by Artist Honoree Jim Hodges that the artist concealed beneath brown-paper wrappings in a box inside a Nancy Gonzalez crocodile tote. Can you describe this experience and what you discovered after your successful bid? Jennifer Eagle: This was a unique and clever addition to the auction. Of course, a new Nancy Gonzalez tote, in white crocodile I might add, is a no brainer. However, shopping the artist collaborations, I immediately knew which one I would bid on. There are no words to describe the wonderful, sensitive, relevant, thoughtful, Jim Hodges. I guess I just tried, didn’t I? While the other bags were painted or designed on the outside, Jim’s was completely left blank. Instead the tote was filled with a box wrapped in brown paper tied with twine. Totally nondescript. I opened this with Cindy on Sunday afternoon to find the most beautiful works on paper, one with silver leaf and the other with gold leaf, all crumpled in their wonderful way. Right now they are in a Plexiglas box in our master bedroom. Beautiful. John Runyon: In a fundraising environment you both enjoy the healthy competition of a live auction, especially causes to which you are deeply connected. Do

Image captions

Above: Sarah Morris, Robert Towne (Los Angeles), 2006, household gloss on canvas. Acquired from TWO x TWO. Below from left: Liz Larner, Untitled, 2001, steel, watercolor, paper, wood, and paint; Tim Gardner, Gordon Passed Out in a Ditch, 2006, watercolor on paper. Both acquired from TWO x TWO.

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Above the fireplace: Adolph Gottlieb, Pictograph (Indian Red), 1942, oil on board; On the table: Jim Hodges, Untitled, 2012, charcoal, 24K gold leaf, Japanese silver leaf with Beva on paper. Acquired from TWO x TWO.



you discuss a strateg y before the auction? Are there any notable stories to share? Jennifer Eagle: My strategy is usually to have John sit on his hands! He loves an auction and loves to win! That said, yes, we do seriously talk about works that fit in our collection and what we’re planning to bid on. We have come away with great pieces that we live with every day and it’s also satisfying to know that our support has a meaningful impact for two important organizations. John Runyon: Many of the TWO x TWO works you’ve added to your collection were selected among live auction lots including Mark Bradford, Ugo Rondinone, and Charles Ray, and/or were the honored artist that year, in the case of Joel Shapiro and Elizabeth Peyton. What are some of the memorable experiences and exciting moments for you as a collector and supporter of TWO x TWO? Jennifer Eagle: Elizabeth Peyton was the honored artist in 2006 when I co-chaired TWO x TWO with Catherine Rose. She and Gavin Brown were seated at our table and the live auction began. John was discreetly bidding against a friend and fellow tablemate. No one knew who the second bidder was, including me. We took it home and hung it immediately since we were hosting the brunch to honor her the next day. It has never been in storage. This lovely piece actually opened our eyes to other figurative works we now own. John Runyon: TWO x TWO is a unique fundraising event. The obvious beneficiaries are Dallas Museum of Art and amfAR. Can you describe how TWO x TWO has benefited others and the community? John Eagle: In hosting our out-of-town guests, TWO x TWO has really put Dallas on the map. It is so rewarding to share our vibrant arts community and so many impressive personal collections with those that may find it a real surprise. Surely, many gallerists have decided to invest and participate in the Dallas Art Fair as a result of their visit to TWO x TWO. Of course, the Rachofskys lead the charge, but they have created a team of supporters through camaraderie and a family atmosphere. John Runyon: Have you been able to establish relationships with the artists and gallerists spurred by introductions via TWO x TWO? Jennifer Eagle: Definitely. Having dealers in town and getting to know your collection and how you live with art has been invaluable in

the opportunity to acquire new pieces outside the event. John Runyon: The Dallas Museum of Art unveiled the Eagle Family Plaza in 2016 and the corporate offices at amfAR have a plaque on their wall engraved with your names. How do you feel that these organizations have benefited from the past two decades of TWO x TWO for AIDS and Art? Jennifer Eagle: Obviously, these two organizations benefit financially from TWO x TWO but there is more to it than that. Dallas is on the esteemed list of international cities hosting events for amfAR and actually raises the most funds outside of the Cannes Film Festival, even though proceeds are split 50/50! The flow from artist and gallery to the Dallas Museum of Art Contemporary Acquisition Fund and then right back around in the form of acquisitions from these same contributors is a direct benefit for everyone. John Runyon: The Rachofskys lead the charge, but they have created a team of supporters through camaraderie and a TWO x TWO family atmosphere. How do you describe their gift of leadership and inspiration? Jennifer Eagle: Cindy and Howard are two of the most generous people we know. They are the bridge-builders who bring us all together and know no limits when it comes to personal relationships. We have met so many people from all over the globe through their friendship and made many lifelong friends along the way. To say their commitment is an inspiration is an understatement. To install your entire house with works for auction, plan and execute a beautiful week of parties replete with tents that brim with food, wine, and newly imagined decor each year all while living there and remaining the ultimate, gracious hosts, the Rachofskys are nothing short of sainthood. P

Left (from left to right): Yayoi Kusama, Untitled, 1953, gouache on paper; Bruce Conner, Inkblot Drawing, 1992, pen and ink on paper. Acquired from TWO x TWO; Ewan Gibbs, New York, 2008, pencil on paper; Irma Blank, Ur – schrift ovvero Avant – testo, 1998, ballpoint pen on paper. Right: Charles Ray, Handheld Bird, 2006, cast stainless steel and acrylic, polyurethane. Acquired from TWO x TWO.

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ow in its fourth year, SOLUNA, Dallas’s annual international music and art festival, is breaking even further from the confines of “traditional” music, art, and performance, incorporating a bevy of new locations and collaborations. From the glossy interior of NorthPark Center to an icecovered parking lot in South Dallas, from female mariachis to an army of dancers and drummers, the festival is aiming for new levels of inclusivity and experimentation. Anchored by the final performances of Dallas Symphony Orchestra conductor Jaap van Zweden, this year’s SOLUNA is sure to be a spectacle unlike any other.



Jen Ray in her studio. Photograph courtesy of Ed Marshall Photography, NYC.

JEN RAY AND SARAH JAFFE: EYES AS BRIGHT AS DIAMONDS On April 11, North Texas musician Sarah Jaffe partners with visual artist Jen Ray in the world premiere of Eyes as Bright as Diamonds. Featuring Jaffe and a squad of female performers from Booker T. Washington High School, Haltom High School, and Southern Methodist University, the performance blends music and vocals with tap and ballroom dancers, a drumline, and a color guard, to create a larger-than-life spectacle on the radial staircase of the Morton H. Meyerson Symphony Center lobby. Known for her fantastical images of beautifully savage women— futuristic warriors in a male-less world—the formerly Berlin-based Ray has long used live performance to break her characters out of their two-dimensional habitats. Featuring women in various states of dress and undress, Ray’s characters are brazen and unapologetic: militantly anarchistic, fishnet-wearing, axe-wielding huntresses that are the very embodiment of the phrase, “smash the patriarchy.” Ray’s performances often revolve around a central figure that rallies her troops with a vocal call to arms, and Jaffe occupies this role in Eyes as Bright as Diamonds, rounding out Ray’s visuals with her chameleonic style. “As the project came into focus, I knew that the key element would be the female singer,” said Ray. “When Sarah and I met, we knew she would be the perfect fit. She has been an amazing collaborator, helping to shape the work with her music and staging.” Jaffe describes the experience of crafting the performance as empowering, stating, “Outside of creating in the studio, I get my deepest fulfillment through collaboration, and this is like collaboration on ecstasy. In short, this is a group of bad ass women all coming together to help Jen’s vision for this project come into fruition.”

Sarah Jaffe, Bad Baby album cover © Kirtland Records. Photograph by Lindsey Byrnes.

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Sebastien Leon, artist sketch for Patron of the Diffracted Symphony.

SEBASTIEN LEON: THE DIFFRACTED SYMPHONY One of Dallas’s truly unique experiences, NorthPark Center has long placed an emphasis on exposing visitors to a hefty dose of world-class art alongside their retail therapy. In recent years the institution has expanded its art programming even further through collaborations with the Dallas Contemporary and the hosting of guided collection and exhibition tours. During SOLUNA, NorthPark Center will add an additional piece to the mix: a large-scale sound sculpture by Los Angeles artist Sebastien Leon titled, The Diffracted Symphony. Inspired by the shape of a whale’s ribcage, the piece is symbolic of humanity’s devastating impact on the natural world, as we industrialize the Earth beyond the point of no return. Overpopulation, pollution, climate change, manufacturing, and the draining of natural resources have resulted in falling biodiversity levels, with species and ecosystems disappearing at an alarming rate in the wake of commercialization.



Calling to mind the carcass of a beached whale, Leon’s piece plays a heavily altered version of Verdi’s Requiem, as performed by the Dallas Symphony Orchestra, with each rib of the sculpture programmed individually, yet playing together like instruments. “They play a requiem because it is a funeral mass, and I approached it as a mass for the environment, and particularly for bio-diversity,” says Leon. The whale, being the largest mammal on Earth, is the ultimate emblem for the genius of creation. It is this very symbol that I wanted to portray as being endangered, calling for our help.” One can hope that as visitors encounter the sea of cars and concrete outside the doors of NorthPark, they take time to reflect on the simple ways in which they can alter their lives for the sake of preserving the world beyond. It’s not the first time the shopping center has used art to shine light on a humanitarian cause, and it surely will not be the last.

JEFF GIBBONS AND GREGORY RUPPE: GRUBNIK + SUZANNE In 1893, during the golden age of the Belle Époque, composer Erik Satie began a torrid and short-lived romance with painter Suzanne Valadon. Although the affair lasted a mere six months before Valadon abruptly left, it had a devastating effect on Satie, who would never fully recover from the breakup. Satie and Valadon’s relationship partially inspired Grubnik + Suzanne, an immersive, operatic installation by Dallas-based studio mates and collaborators Jeff Gibbons and Gregory Ruppe. Part science fiction, part historical manipulation, the performance revolves around Grubnik, a tree in the Nasher Sculpture Center’s garden, and Suzanne, played by vocalist Liz Tonne. Grubnik, whose moniker is derived from a mash-up of Gibbons’ and Ruppe’s names, is outfitted with a real-life device that measures the tree’s bioelectric current. The current is then transformed into audible sounds that are derived from a database of English language phonemes prerecorded by the artists, resulting in Grubnik “speaking” in a language that may or may not sound like human language. Tonne, a vocal artist whose work explores the possibilities of the human voice, specializes in creating improvisational noises that sound like a blend of folkloric chants, electronic feedback, and animalistic cries. Gibbons and Ruppe are careful not to divulge too much about the performance in advance, but say that it will take the form of an attempt at a conversation between the principle characters that doesn’t follow the rules of linear time or space. Says Gibbons, “I think we’re really just trying to affect ourselves somehow through manipulating things in ways that seem to mirror our own internal and relational struggles. We are trying to fold things in on things mostly for our own amusement, which expands out in interesting ways.”

Jeff Gibbons and Gregory Ruppe, Studies for Grubnik + Suzanne, I, II, III, & IV. Courtesy of the artists.

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Jaap van Zweden conducts the Dallas Symphony Orchestra. Photograph © Tracy Martin.

JAAP VAN ZWEDEN: WAGNER’S DIE WALKÜRE In his final season with the Dallas Symphony Orchestra, conductor Jaap van Zweden chose none other than Wagner’s operatic masterpiece, Die Walküre, as his swan song. “Wagner is one of my favorite composers. I think he combines the roller coaster of emotions of Mahler and the beauty and the light of Bruckner,” says van Zweden. “I thought this was a moment in history that we should do a big opera at the DSO.” The second of the four works that comprise Wagner’s cycle Der Ring des Nibelungen (The Ring of the Nibelung), Die Walküre tells the story of Siegmund and Sieglinde, two humans, and Brünnhilde, a mythic warrior woman called a Valkyrie. The opera’s best known excerpt is “Ride of the Valkyries,” a musical passage that has become synonymous with tongue-in-cheek grandiosity and excess, famously appearing in everything from Apocalypse Now to an episode of Looney Tunes.



Earlier this year, van Zweden told Patron, “Wagner is a world on itself when you start to rehearse. You think, my God, what kind of music is this? Legend. It is about nature. It is about jealousy. It has all kinds of things that we know in the world. And you get addicted to it—as a listener, as a player.” Indeed, no other composer has cemented quite a place in popular culture as Wagner. A hyperbolic figure known for his megalomaniacal tendencies, Wagner’s legacy stretches far beyond the world of classical music, informing theatre, film, popular music, and even politics. As the ultimate bastion of the phrase “bigger is better,” it stands to reason that Wagner makes the perfect exit music for van Zweden’s departure from a city known for being BIG, ensuring that this composer will certainly go out with a bang.

JENNIFER WESTER: BREAKING SHADOWS On May 19, a South Dallas parking lot will be transformed into a skating rink a t T h e C e d a r s U n i o n for Breaking Shadows, a performance by artist and professional figure skater Jennifer Wester. Wester, who has skated for over two decades and represented Team USA from 2005 to 2010, has long incorporated the sport into her artwork, but the practice she calls “SoundSkate” is fairly new, having made its world premiere in Holland at the end of 2017. “This project is the culmination of many thoughts and ideas coming together for me after over two decades of skating and almost a decade of formalized artist practice,” she says. “My work has constantly found a centering on facets of my personal world experience that I find easy to overlook or under-explore, such as the way our cellular functions affect our ability to interpret lines, our awareness of the sounds that affect our balance and coordination

system, the way shadows and reflections affect our movements, and the temporal diary of balance created by the fine line etchings that get left behind from blades cutting across the ice on skates.” Viewers can expect to see Wester perform—dressed in black, with blades on both her feet and her hands—against a projection, with lighting designed specifically to highlight the fluidity of her movements in and out of the shadows, the music derived from the sounds of blades cutting into the ice. The experience is designed to “challenge each viewer to have to consider the way their perspectives shift around what they, at any given moment, choose to have in focus.” It’s a fitting testament to the ideology of SOLUNA itself, which aims to break down boundaries between mediums, providing viewers with opportunities to experience art, performance, and music as wholly immersive, borderless entities.

Interdisciplinary artist, Jennifer Wester, at work in preparation for her "Breaking Shadows" performance at The Cedars Union for SOLUNA. Photograph © Erica Felicella.

GONZALO LEBRIJA: MARIACHI WAGNER The music of Richard Wagner typically calls to mind images of grandiose Teutonic figures: men in horned helmets and women in metal breastplates, thundering down mountainsides to the clash of cymbals, the thundering of drums, and the trumpeting of horns. Guadalajaran artist Gonzalo Lebrija intends to turn this image on its head with his Mexican-infused performance called Mariachi Wagner. Starring a Dallas-based all-female mariachi group, Rosas Divinas, who will perform a score adapted from Wagner in the style of traditional mariachi music, Lebrija’s rendition blends phonic and visual elements from Latin America and Europe. Known for photographs, sculptures, videos, and installations that “freeze” time—a car suspended nose down on the surface of a lake, a tennis ball photographed in midair, a male figure leaning forehead-first against a wall—Lebrija’s works preserve quiet, often

surreal, moments that hover in the slippage between movement and immobility. A recent solo exhibition at Marfa Contemporary was titled, La Sombra del Zopilote, alluding to the Mexican saying, “Life is like the shadow of a vulture; it passes quickly and will not take the same place again.” Lebrija’s roots inspire many of his works, and Mariachi Wagner expands upon the potential for music to bridge cultures. Given Wagner’s widespread influence within the worlds of classical music and theatre, and broader Western culture, Lebrija sees it as a vessel through which to “imagine impromptu relationships between languages, codes, symbols, and forms. Music functions as a bridge that transcends the frictions generated by tangible borders: hegemonic power, temporality, romanticism, and vulnerability.” P

Opposite, bottom: Gonzalo Lebrija, Mariachi Wagner 3, 2017, Digital Print, 100 x 150 cm, Ed. 5 + 2AP.

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IT HAPPENED INLiz Harlan BROOKLYN dons eyebrow-raising looks in New York's beloved borough.

This page and opposite: J Junya Watanabe Jacket over a Jacquemus La Bomba dress, Forty Five Ten on Main; Fenty Puma by Rihanna Ankle Boots, Neiman Marcus at NorthPark Center. Model, Liz Harlan; Makeup, Kohko; Hair, Jackson Heller; Lighting, Mitchell Wojcik.

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This page and Valentino Sheer Top, Valentino Cargo Skirt, Valentino Red Velet Dollybow Pumps, Valentino Boutique at Highland Park Village. 114opposite: PATRONMAGAZINE.COM

Model: Liz Harlan; Makeup: Kohko; Hair: Jackson Heller; Light Tech: Mitchell Wojcik

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This page and opposite, left to right: Roberto Cavalli Body Suit and Long Skirt in Iridescent Tiffany Fabric, Roberto Cavalli High Heel Sandals in Leather with Stud Detail, Roberto Cavalli at NorthPark Center. (B/W image) Valentino Sheer Top, Valentino Cargo Skirt, Valentino Red Velvet Dollybow Pumps, Valentino Boutique at Highland Park Village. Gucci Embroidered Chunky Cable Knit Cardigan, Gucci at NorthPark 116 Center. PATRONMAGAZINE.COM

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This page: Noir Kei Ninomiya Comme Des Garรงons coat, Forty Five Ten on Main. Opposite: Tom Ford Metallic V-Neck, Tom Ford Boutique at Highland Park Village; Christopher Kane Pom Pom Cardigan wrapped around the waist, Forty Five Ten on Main; Tom Ford Metallic Boyfriend Pants and Tom Ford Mesh Pumps, Tom Ford Boutique at Highland Park Village. PATRONMAGAZINE.COM

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This Page: Akris Navy Jumpsuit, Akris at Highland Park Village; Sea of Sound Red and Black Asylum Shirt, Sea of Sounds Design. Opposite: Valentino Military Green Denim Jacket, Valentino Boutique at Highland Park Village; MĂşsed Ride or Die Sweatshirt from MĂşsed NYC; Valentino Military Green Denim Pants and Valentino handbag from Valentino Boutique at Highland Park Village.

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Skylar Grey UNICEF Gala Photography by Cooper Neill/Getty Images



Joyce Goss

Moll Anderson, Jan Miller

Skylar Grey, Brooke Burke-Charvet

Caryl Stern, Rob Lowe, Sheryl Lowe

Opening May 5 Ro2 Art in The Cedars Bumin Kim: land • scape and Kathy Robinson-Hays: traveling light

Bumin Kim, Rainy Season , 2017, thread and acrylic on wood panel, 46" X 36"

Kathy Robinson-Hays, Wrap me in the Landscape (detail), 2017, acrylic on silk organza & wire , 29 x 16 x 3 in.

Ro2 Art in The Cedars - 1501 S Ervay, Dallas, TX 75215



Sarah Ferguson, Duchess of York


Kimberly Chandler

Downtown Pop-Up | SIDESHOW


Eduardo Chillida Belzunce, Susana Álvarez San Martín

Jeremy Strick, James Clay, Jan Clay

Luis Chillida

Mark Roglán, Linda Custard

J.M. Tasende, Amanda Dotseth

Emma Jiménez, Cristina Fernández de Luz, Luis Chillida, Joaquín Achúcarro, Janet Kafka

Astonishingly life-like. You just can’t look away!



MODERN ART MUSEUM OF FORT WORTH 3200 Darnell Street, Fort Worth, Texas 76107 Support for the presentation New Works by Ron Mueck in Fort Worth is generously provided by the Kleinheinz Family Endowment for the Arts and Education, Kelly Hart & Hallman LLP, the Dee J. Kelly Foundation, and Southwest Bank. Drift, 2009. Mixed media. 46 7/16 × 37 13/16 × 8 1/4 inches. The Collection of John & Amy Phelan. © Ron Mueck. Courtesy the Artist, Anthony d’Offay, London and Hauser & Wirth.

Follow the Modern

APRIL / MAY 2018



Ashley Campbell

Ashley Tatum

Cara Owens, Mark Hiduke

Tim Flannery, Jo Marie Lilly

Clarice Tinsley, Stephen Giles

Laree Hulshoff


Sheryl Maas, Carlos Souza



Brooke Davenport, Tina Craig, Elisa Summers

Nasiba Adilova, Jamie O'Banion


Raquel Raies

Tiffany Derry, Tre Wilcox

Jane McGarry, Cynthia Smoot

Megan McFarland

Marc Lyons

Tyrone Crawford, Dallas Cowboys

BENITO HUERTA Odd Ducks and Other Assorted Tales March 24th - April 28th, 2018 Benito Huerta, Exile Off Main Street, 2012-2018, Oil on velvet, tar, and plywood, 63” x 99”

APRIL / MAY 2018



Miwa Komatsu will perform Spiritual Guardians for the Dallas Art Fair Preview Benefit celebrating the 10th Anniversary.




Shinto guardians inform a Japanese artist’s performance during Dallas Art Fair.

ooking at the work of Japanese artist Miwa Komatsu, one would hardly expect that she began her career as a copperplate printmaker. Having first gained attention for her printmaking prowess while a student at the Joshibi College of Art and Design, the press quickly dubbed Komatsu as “too beautiful” to be taken seriously as an artist. Struggling to find her creative footing, Komatsu was inspired to change her aesthetic trajectory after a trip to Izumo-taisha, the oldest Shinto shrine in Japan. Eschewing the delicate and laborious copperplate process, Komatsu began painting in colorful acrylics, trading fine-point etching tools for brushes and her hands. Born and raised in the mountainous region of Nagano, Komatsu spent her youth surrounded by animals and nature, which spurred a fascination with and respect for the cycles of life and death. A reverence for the natural world is enhanced by Komatsu’s belief in the Shinto religion, which focuses on the practice of rituals in order to establish a connection between present-day Japan and its ancient past. Shinto also emphasizes the interconnectivity between all things, through which flows a sacred essence, or “kami.” “There are spirits and guardian deities around us. I am hoping that my works could create an opportunity to link with people and those spirits,” she says. “Painting is my prayer.” Animals, Shinto guardians, and biomorphic forms feature prominently in Komatsu’s work, which she has taken to creating in live settings so as to better transpose the energy of her surroundings



onto canvas. “Drawing is the part of the Shinto rituals which is the way to connect with the local guardian angels,” she explains. “While I am painting live, I receive the energies of people from my back, soak it up, and transform it into the moving force.” During these live performances, Komatsu dons a white hakama, the traditional uniform of a female Shrine attendant. As she applies paint to the canvas—with a brush, her hands, direct from the tube, or even throwing it from a distance—the hakama becomes covered in a myriad of colors, the smudges and spatters not only a residue of her performance, but a work unto themselves. Kamatsu often saves each hakama, exhibiting it alongside the painting or gifting it to collectors. Fiery dragons, horned Komainu—lion-dogs that guard Shinto shrines—and a host of otherworldly creatures take shape as the artist paces back and forth in front of the canvas, never staying in one spot for too long. While in Dallas, Komatsu will perform for a live audience, creating a painting inspired by the energy of the city. In describing her approach to preparing for her performance at the art fair, Komatsu says, “To communicate with the guardian angels in Dallas, I would start with the meditation to warm up my third eye. I will simply follow my soul and spirit to create the work extemporaneously, without any sketch in advance.” It remains to be seen what mythical beasts she will be able to summon amidst the backdrop of art-world bacchanal, but it stands to reason that if anyone can channel the divine in the middle of Dallas, it is surely Miwa Kamatsu. P

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Fashion Industry Gallery 1807 Ross Avenue, Dallas, Texas 75201