Patron April/May 2017 Issue: Dallas Art Fair

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SHOW BUSINESS: Dallas Art Fair Mai-Thu Perret at Simon Lee SOLUNA GETS DREAMY An Arty Mid-Century Home Plus: Inspired Accessories



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April / May 2017

TERRI PROVENCAL Publisher / Editor in Chief

The progressive art world is one of inclusion, and that’s what we cherish most during high arts season. Stretching quotidian boundaries, unlimited visual arts and performances, and often a combination of the two, are ripe and ready for you when the azaleas are in full bloom. Unlikely places become a haven for art with an ever-growing focus on participatory events like that of Decolonize Dallas, a citywide exhibition Justine Ludwig tells of, created by Michelada Think Tank. A national initiative largely helmed by Darryl Ratcliff and Carol Zou in Dallas, the group’s artists are “agitators of cultural equity.” Partake in their Super Fantasy Mercado, an artist-curated popup shop where Justine describes, “Visitors become active participants, as they take part in the performative act of consumerism, while simultaneously supporting the local creative community.” In the two months leading up to Dallas Art Fair, we feel like we are already immersed in the robust programming, receiving advances and imagery from venerated local gallerists, institutions, and international exhibitors. This year was no exception with news of the coming of London’s Simon Lee Gallery to Dallas Art Fair’s 9th iteration. Dallas Art Fair Director Kelly Cornell says, “The addition of many new, globally recognized dealers, such as Simon Lee Gallery, adds to the vibrant lineup for Dallas Arts Week.” We asked Jeremy Strick to catch up with Mai-Thu Perret on her practice and ceramic work to be displayed by Simon Lee in She runs horses in lightning, a title borrowed from a red-orange, crescent-shaped piece by the artist. Plus, we checked in with a few Dallas collectors who shared top picks from this year’s exciting roster of art dealers in Acquiring Minds. And Gail Sachson writes of Mary Vernon as this year’s Dallas Art Fair Artist Honoree. We are thrilled Dallas Symphony Orchestra added a music and arts festival to our cultural mix. Beginning in May, SOLUNA will undoubtedly be just as magical as the two previous annual festivals. Danielle Avram’s beautiful prose describes the contemporary art installations and performances as “a series of hallucinatory, participatory events that dance between reality and the sublime” in Of Mystical Masterful Measure. A Pedigreed House takes us inside a midcentury modern Arch Swankdesigned home snatched up by the lovely Shayna Fontana and her husband Rand Horowitz. Shayna photographed chez Fontana-Horowitz, complete with interesting art and original mid-20th-century furniture, along with a cameo of their adorable son Oliver. Shayna also captured the work of Dallas-based artists and fanciful accessories from some of the biggest fashion houses in Local Color. In our departments, To Wrest the Grid From its Support, Brandon Kennedy delves into the oeuvre of Timothy Harding who designed the drawing for Patron on Dallas Art Fair Preview Gala swag bags. Cornwall-based artist Sarah Ball gives voice to immigrants in Kindred, a narrative series of dimunitive, expertly rendered paintings at Conduit Gallery described in “Give me your tired, your poor...” Public Profile shares the art riches bestowed to Dallas by highly respected, though refreshingly press-shy, Tim Headington. In Master Class we learn of Dallas Symphony’s Principal Trumpet, Ryan Anthony, and his distinguished musician friends all coming together on one stage to perform during CancerBlows, a three-day program raising funds and awareness for multiple myeloma research. Nancy Cohen Israel describes the work included in View from the Art Village: 50-Year Retrospective, an exhibition at University of Dallas she curated. This issue is all about participation. Fill your dance card with the rich cultural offerings this spring. And join Patron at our first annual Curated at Dallas Design Center at select showrooms on April 27. Be seeing you. – Terri Provencal; Instagram terri_provencal and patronmag



Andreea Diaconu by Terry Richardson -

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FEATURES 78 SHE RUNS HORSES IN LIGHTNING In their first appearance at Dallas Art Fair, the esteemed Simon Lee Gallery will offer ceramic work by Mai-Thu Perret. By Lee Escobedo with interview by Jeremy Strick 82 ACQUIRING MINDS Local collectors share insights on available work at the Dallas Art Fair’s 9th edition. By Nancy Cohen Israel 88 OF MYSTICAL MASTERFUL MEASURE Dreams and Illusions define the work of contemporary artists collaborating with Dallas Symphony Orchestra. By Danielle Avram 96 A PEDIGREED HOUSE A midcentury home by Arch Swank and reimagined by Bodron+Fruit blends seamlessly with art and original furnishings from design icons. By Peggy Levinson


104 LOCAL COLOR The work of Dallas-based artists shine, paired with statement-making accessories. Photography by Shayna Fontana



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On the cover: Mai-Thu Perret, Again this thousandyear-old eggplant root, (2016), glazed ceramic, Part one: 28.37 x 22.62 x 1.62 in. Part two: 28.37 x 5.75 x 2.12 in. Overall dimensions: 28.37 x 28.37 x 2.12 in. Courtesy of Simon Lee Gallery.




DEPARTMENTS 10 Editor’s Note 18 Contributors 34 Noted Top arts and culture chatter. By Shelby Gorday Of Note 40 THE BID IS WITH YOU Auction Highlights from Heritage Auctions and Dallas Auction Gallery. Openings 52 GIVE ME YOUR TIRED, YOUR POOR… Sarah Ball’s “Immigrant” series headlines Kindred. By Steve Carter Contemporaries 56 TO WREST THE GRID FROM ITS SUPPORT Timothy Harding’s Manipulated Structures. By Brandon Kennedy


58 GLOWING GOLD UD graduate art program celebrates 50 years. By Nancy Cohen Israel 60 A PAINTERLY STREAM OF CONSCIOUSNESS 2017 Dallas Art Fair Artist Honoree Mary Vernon likes to surprise us. By Gail Sachson Fair Trade 62 FROM THE CITY OF THE BIG SHOULDERS Shane Campbell Gallery comes to the Dallas Art Fair. By James Cope Studio 64 MICHELADA THINK TANK A call to arms in the quest for cultural equity. By Justine Ludwig Urbanscapers 66 PUBLIC PROFILE Tim Headington’s commitment to placing art in the community is legendary. By Steve Carter


Performance 70 MASTER CLASS Ryan Anthony blows his trumpet for cancer research. By Terri Provencal Space 74 MODERN HERITAGE 21st-century architecture enriches the new Neiman Marcus at The Shops at Clearfork. By Peggy Levinson 76 SHOW OFFS Venerable showrooms offer exciting contemporary art. By Peggy Levinson There 112 CAMERAS COVERING CULTURAL EVENTS Furthermore ... 120 TRANSATLANTIC ALLIANCE Marlborough Contemporary crosses the pond. By Chris Byrne






F O R I N F O R M AT I O N , C O N TA C T L E A A N N E L A U G H L I N AT 2 1 4 . 2 6 9 . 9 5 3 5 O R L L A U G H L I N @ H A L L G R O U P. C O M | H A L L A R T S R E S I D E N C E S . C O M

PUBLISHER | EDITOR-IN-CHIEF Terri Provencal ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Shelby Gorday COPY EDITOR Paul W. Conant PRODUCTION Michele McNutt CONTRIBUTING WRITERS Danielle Avram Chris Byrne Steve Carter Nancy Cohen Israel James Cope Lee Escobedo Justine Ludwig Peggy Levinson Gail Sachson Jeremy Strick

Salton Sea, 2016

CONTRIBUTING PHOTOGRAPHERS Maris Hutchinson Sasha Arutyunova Shayna Fontana Bruno Jeremy Lock Kristina Bowman André Morin Anthony Chiang John Oakley QC Cong John Smith Gary Donihoo Kevin Todora Rick Kern Jason Voinov Thomas Garza

The Changing Salton Sea

CONTRIBUTING STYLISTS Brad Baker (Lighting) Carlos Alonso Parada Kristen Richter (Set Designer) Joslyn Taylor Mary Sze

Large Photographs by Gary Faye

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DANIELLE AVRAM Dallas-based curator and writer Danielle Avram is currently the Gallery Director at TWU. She has held positions at SMU, The Power Station, and The Pinnell Collection in Dallas and The High Museum of Art in Atlanta. She has an MFA from the School of The Museum of Fine Arts at Tufts University and a BA from the UTD. In this issue she previews the 3rd annual SOLUNA festival, featuring performances and interactive installations from local and international artists and composers. 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 the 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.


STEVE CARTER Springtime is a great time for viewing public art, and in this issue freelance arts writer Steve Carter profiles businessman and philanthropist Tim Headington and his passion for conspicuous art here in Dallas—The Joule collection, Forty Five Ten, the iconic downtown Eye by Tony Tasset, and other sites all reflect his visionary largesse. Carter also looks at the immigrant-inspired Kindred, a timely show of new works by British artist Sarah Ball on view at Conduit Gallery.

LEE ESCOBEDO Lee Escobedo is a writer, critic, and curator whose work can be found in ArtDesk, Berlin Art Link, The Dallas Morning News, Glasstire, and Patron. He was the 2017 Co-Programmer for the Artist Circle at The Nasher Sculpture Center and the founder and director of the Dallas Music Experience at the Dallas Art Fair. For this issue he wrote about Mai-Thu Perret showing with Simon Lee Gallery at this year's Dallas Art Fair. Included in the piece is an interview between Perret and Nasher director, Jeremy Strick.


LAUREN CHRISTENSEN With more than 19 years of experience in advertising and marketing, Lauren consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

NANCY COHEN ISRAEL An art historian and Dallas-based writer, Nancy is a regular contributor to Patron whose work has appeared nationally in art ltd. and Lilith. For this issue she was delighted to write about View from the Art Village, University of Dallas’s Braniff Graduate School’s 50th anniversary exhibition, which she also curated. She also enjoyed visiting with some of the area’s newest art collectors and learning about their previous acquisitions made at Dallas Art Fair and favorite works coming to this year’s 9th installment.

PEGGY LEVINSON A former showroom owner and magazine and style editor, BRANDON Levinson is a design KENNEDY industry expert. In Brandon Kennedy this issue, Peggy is an artist, curator, writes: “I loved talkand writer based in ing to the architect Dallas, Texas. This past fall, he joined the and designers of the Dallas Art Fair as the new Neiman Marcus Director of Develop- in Fort Worth—it makes shopping ment and Outreach more fun when you after working for realize all the design several years in aucthat goes into a tion houses. For this issue, Kennedy wrote successful store. In about the recent work Dallas, the house in Perry Heights has an of Fort Worth artist incredible roster of Timothy Harding and his continual ex- talent—built by Arch Swank, remodeled by ploration of the grid Bodron+Fruit, and and geometry while remaining somewhat landscaped by Ray reluctant to adhere to Entenmann. What a pedigree!” its limitations.

SHAYNA FONTANA From Chicago, Shayna is a fashion and interiors photographer living in Dallas with her family. In Local Color, Shayna combined her brilliance with stylist Carlos Alonso Parada to capture the hottest spring accessories melded with the work of contemporary Dallas-based artists at The Box Company. She also photographed her own revamped mid-century home she shares with her husband and son.

JEREMY LOCK Lock is an accomplished military veteran receiving the Bronze Star Medal for distinguished service in Iraq. As a seasoned photojournalist, his work has been widely published in books, National Geographic, Time, The New York Times, The Washington Post, and others. His work has also earned multiple awards from prestigious organizations including World Press Photo, National Press Photographers Association, and Oasis. In Master Class, Lock trained his lens on DSO’s principal trumpet Ryan Anthony, the co-founder of CancerBlows and legends Doc Severinsen, Arturo Sandoval, and Lee Loughnane.

JUSTINE LUDWIG Justine Ludwig is the Director of Exhibitions/Senior Curator at Dallas Contemporary. In recent years she has curated exhibitions at the Contemporary Arts Center in Cincinnati, the Tufts University Art Gallery, and the Museum of Modern Art in Rio de Janeiro. Ludwig holds an MA in Global Arts from Goldsmiths University of London. In Studio, Justine explores Luke Harnden’s Technological Occult.

JOHN SMITH An ongoing Patron contributor, Dallasbased photographer John Smith has spent the last 20-some years bringing out the art of architecture in his photography. He consults with architects, designers, and artists to bring their vision to light through stunning imagery. In Acquiring Minds, John photographed collectors Molly Bruder, Laura and Michael Doak, and Gowri and Alex Sharma in their homes with art purchases made from previous editions of Dallas Art Fair.

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Where to see us: Upper left: Brian Cobble at The Grace Museum, Abilene Lower left: Sedrick Huckaby at the Dallas Art Fair, Booth A5 Upper Right: Mary Vernon at Neiman Marcus, Downtown Dallas Lower Right: Valton Tyler at the Amon Carter Museum, Fort Worth

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01 AFRICAN AMERICAN MUSEUM The annual L. G. Foster, Jr. Distinguished Lecture returns on Apr. 1 with a scholar in African American history and culture. On Apr. 8, see the Design Treasures: An African American Architectural Tour. The South Dallas Children’s Choir’s Spring Concert is Apr. 15. The Southwest Black Fine Arts Show runs Apr. 21–23. The 32nd Annual African American Museum Gala and Auction takes place May 6. The Souls of Black Folk, featuring work from the Billy R. Allen Folk Art Collection and Facing the Rising Sun: Freedman’s Cemetery are ongoing exhibitions. 02 AMON CARTER MUSEUM OF AMERICAN ART Invented Worlds of Valton Tyler runs through Apr. 30. Video installations in David Ellis: Animal run through Jun. 4. Avedon in Texas: Selections from In the American West displays Avedon's photographs through Jul. 2. Homer and Remington in Black and White shows through Jul. 2. Between the Lines: Gego as Printmaker runs through Aug. 6. Fluid Expressions: The Prints of Helen Frankenthaler displays through Sep. 10. Abstract Texas: Midcentury Modern Painting runs through Oct. 8. Trace displays Darryl Lauster’s tablets through Mar. 25, 2018. Gabriel Dawe’s Plexus no. 34 remains on view. Image: Helen Frankenthaler (1928–2011), Beginnings, 2002, silkscreen, © 2016 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York / Lincoln Center for the Performing Arts Inc., List Posters and Prints. 03 ANN & GABRIEL BARBIERMUELLER MUSEUM An exciting exhibition continues to examine 34


crests and symbols of the warrior class and the powerful samurai clans that used them. Thursday Lunchtime Talks and weekend Public Tours are ongoing at 1 p.m. 04 CROW COLLECTION OF ASIAN ART Wisdom of Compassion: The Art and Science of Iwasaki Tsuneo continues through Jun. 11. Landscape Relativities: The Collaborative Works of Arnold Chang and Michael Cherney runs through Jun. 25. Divine Pathways: South and Southeast Asian Art highlights Hinduism, Buddhism, and Jainism influences, through Jun. 25. Ongoing exhibits include Visualizing Afterlife, Paradise, and Earthly Spheres in Chinese Art; Sculpting Nature: Jade from the Collection, from the Ming and Qing dynasties; and Fierce Loyalty: A Samurai Complete, featuring Japanese samurai. 05 DALLAS CONTEMPORARY April 8 shows three solo exhibitions for women artists: Ambreen Butt, a Pakistani American artist whose work explores her bicultural identity; Mexico City-based Pia Camil; and Canadian-born painter Keer Tanchak. Image: Keer Tanchak, For Denis Castellas, 2016, oil on aluminum. Courtesy of the artist. 06 DALLAS HOLOCAUST MUSEUM The museum presents Opening Night of Wiesenthal on Apr. 5 in partnership with AT&T PAC. One Day During the Holocaust pinpoints the museum’s core exhibit on Apr. 19. Yom Hashoah, Holocaust Remembrance Day, is Apr. 23. Lunch and Learn returns May 2 with Alain Ruvuga and Experiences in Burundi.

The Upstander Speaker Series continues May 10 with Dr. Mehnaz Afridi. The Civil Discourse Panel discusses Criminal Justice on May 25. The special current exhibit, Filming the Camps—From Hollywood to Nuremberg, continues through Jul. 31. 07 DALLAS MUSEUM OF ART Carey Young: The New Architecture closes Apr. 2. México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde continues its only US stop through Jul. 16. Young Masters 2017 features work created by students from Dallas-area high schools, through Apr. 16. The largest public presentation of Islamic Art opens in The Keir Collection of Islamic Art Gallery, Apr. 18. Daumier’s Political and Social Satire features work by Honoré Daumier, through Apr. 23. Fashion designer, Iris van Herpen: Transforming Fashion shows May 21– Aug. 20. Visions of America: Three Centuries of Prints from the National Gallery of Art opens May 28. Modern Opulence in Vienna: The Wittgenstein Vitrine and Passages in Modern Art: 1946– 1996 go through May 28. Waxed: Batik from Java runs through Sep. 10. Shaken, Stirred, Styled: The Art of the Cocktail runs through Nov. 12. Image: Rosa Rolanda, Self-Portrait (Autorretrato), 1952, oil on canvas, Museo de Arte Moderno, INBA, Mexico City, © 2017 Courtesy of El Instituto Nacional de Bellas Artes Y Literatura. 08 GEOMETRIC MADI MUSEUM Benini: Alla Geometria shows through Apr. 23. John Henry’s large-scale sculptures for public places are on view beginning Apr. 28. Image: Benini, Gods No More, 1987, 48 x 48 in.




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09 GEORGE W. BUSH PRESIDENTIAL CENTER Portraits of Courage: A Commander in Chief’s Tribute to America’s Warriors displays 66 paintings by President George W. Bush through Oct. 1. Freedom Hall offers a cultural display on a 360-degree LED screen. 10 KIMBELL ART MUSEUM Through Jun 25, see The Color of Light, The Treasury of Shadows: Pastels by Louis I. Kahn from the Collections of his Children and Louis Kahn: The Power of Architecture. A Modern Vision: European Masterworks from The Phillips Collection opens May. 14. Image: Library, Phillips Exeter Academy, Exeter, New Hampshire, Louis Kahn, 1965–72 © Iwan Baan. 11 LATINO CULTURAL CENTER The LCC’s monthly movie screening, Cine de Oro, continues Apr. 19 and May 17. Roberto Munguia’s work is showcased in Maestro Tejano: Roberto Munguia, through Apr. 1. Louder Than a Bomb: Youth Slam Poetry SemiFinals are held Apr. 8. The 14th Annual Hecho in Dallas begins Apr. 14. Senior Line Dancing continues Apr. 27 and May 25. Dallas Dreams Big is an interactive concert experience, May 30. 12 THE MAC Alicia Eggert: Partial Visibility runs through Apr. 9, with an Art Talk and performance on Apr. 6. The MAC hosts its second Dallas Medianale, a series of performances and installations by Texas-based and national artists, including an exhibition by L.A.-based artist, Eve LaFountain, Apr. 28–May 27, and performances by Kristin Reeves, Therefore,

and Limited Hangout on Apr. 28. 13 MEADOWS MUSEUM Picasso’s Dream and Lie of Franco: The Spanish Civil War in Print features Pablo Picasso’s work, from Apr. 2–Jul. 2. Between Heaven and Hell: The Drawings of Jusepe de Ribera shows through Jun. 11. 14 MODERN ART MUSEUM OF FORT WORTH FOCUS: Stanley Whitney displays his abstract work through Apr. 2. FOCUS: Katherine Bernhardt showcases the artist’s vibrant paintings, Apr. 8 –Jul. 9. An industrial landscape series continues in Donald Sultan: The Disaster Paintings through Apr. 23. Mounting May 28, Doug Aitken: Electric Earth examines Aitken’s work across many mediums. Highlights from the Permanent Collection runs through Aug. 20. Image: Katherine Bernhardt, Untitled, 2016, 72 x 60 in., acrylic and spray paint on canvas. Courtesy of the artist and CANADA LLC. 15 MUSEUM OF BIBLICAL ART Heroine of a Thousand Pieces: The Judith Mosaics of Lilian Broca continues through Apr. 22. Glass artwork by local artist Brad Abrams continues in Traditions and Transitions through Apr. 28. 16 NASHER SCULPTURE CENTER Pierre Huyghe: 2017 Nasher Prize Laureate presents an active marine ecosystem and a living sculpture by the artist through Apr. 30. Target First Saturdays are Apr. 1 and May 6. Pushing the boundary of traditional printmaking, Richard Serra: Prints continues through Apr. 30. Soundings continues with

Jörg Widmann’s Solo Clarinet Recital on Apr. 7, Widmann’s Complete Cycle of Five String Quartets on Apr. 8, and the North American premiere of Widmann’s song cycle, Das Heisse Herz, on Apr. 9. The Great Create returns Apr. 23. The Ultra-seeing Film Series presents Synesthésie on Apr. 30 and The Mandala Pattern on May 21. NSC celebrates Manuel Neri: Recent Acquisitions from the Artist’s Trust, through Jul. 16. Image: Pierre Huyghe, La déraison, 2014, artificial stone casting, heating system. On loan from The Rachofsky Collection. 17 PEROT MUSEUM First Thursday Late Night explores Nanotechnology on Apr. 6 and Archaeology on May 4. Celebrate Earth Day and engage with meteorology at Discovery Days, Apr. 8 and May 13. Do a Sleepover Apr. 21 and May 26 or a special girls-only Sleepover May 13. Create explosive experiments at Social Science on Apr. 28. The National Geographic Speaker Series continues May 4 with Mireya Mayor. Watch a 3D film in The Hoglund Foundation Theater, A National Geographic Experience: Electropolis 3D and Extreme Weather 3D, through May 25; Wild Africa 3D, through Sep. 4. Rediscover Maya: Hidden Worlds Revealed, through Sep. 4. 18 TYLER MUSEUM OF ART See the 13th Annual High School Art Exhibition Apr. 2–30. Brickstreet Antholog y: Photographs by Robert Langham continues through May 14. Double Take: Works by Ed Blackburn opens May 14. Don't forget First Friday and Family Day monthly. APRIL / MAY 2017





01 AMPHIBIAN Bernard Shaw’s classic, Saint Joan, follows the life of a country girl’s mission to drive the English from France. Presented by National Theatre Live Apr. 12 and 15. In The Trap by Kieran Lynn, Clem and Tom have financial troubles and decide to break into Tom’s employer’s office and clean out the safe, Apr. 28–May 21. Comedian-inResidence Aparna Nancherla shares her whimsical act May 29–Jun. 3. National Theatre Live screens Hedda Gabler on May 31 and Jun. 3. 02 AT&T PERFORMING ARTS CENTER Multi-Grammy winner, Gladys Knight, sings at the Winspear Opera House on Apr. 2. Wiesenthal, Apr. 5–8, tells the true story of Simon Wiesenthal, a man who devoted his life to bringing Nazi war criminals to justice. The Complete Works of William Shakespeare presents unabridged staged readings of Love’s Labours Lost, Apr. 9–10; The Tempest, May 7–8; and Sonnets, May 28. The comedy of Penny Arcade: Longing Lasts Longer comes to Dallas on Apr. 15. The latest work by 600 HIGHWAYMEN, The Fever, is performed in collaboration with the audience, Apr. 25–30. David Sedaris brings his wit to the stage Apr. 28. #hearhere returns with American storyteller Garrison Keillor on May 9. The Branford Marsalis Quartet joins musical forces with vocalist Kurt Elling on May 10. Test your imagination with New York’s surprise hit of the season Into the Woods, May 16–28, with an Industry Night, May 23. Join the circus-style adventure as Air Play brings life to the air that we breathe, May 25–27. Image: The Company of Into the Woods. Photography by Joan Marcus. 03 BASS PERFORMANCE HALL The Cliburn presents composer Gabriela Lena Frank on Apr. 1. The Fort Worth Symphony Orchestra performs 007 The Music of James Bond, Apr. 1–2. The orchestra 36


continues with Prokofiev Cinderella Suite, Apr. 7–9. The Fort Worth Opera hosts their Grand Opening Night Concert on Apr. 15. The opera’s performances of Carmen, Voir Dire, and Cruzar la Cara de la Luna run Apr. 22–May 7. The UNT One O’clock Band returns on May 12. Kholodenko Plays Brahms is presented by the FWSO May 12–14. The Fifteenth Van Cliburn International Piano Competition holds the Preliminary Round May 25–28 and continues with the Quarterfinal Round May 29–30. 04 CASA MANANA Red R iding Hood, a new musical of Red’s journey through the forest, runs through Apr. 2. Black Violin performs Apr. 7. Disney’s The Little Mermaid comes to Casa Mañana, Apr. 21–May 14. 05 DALLAS BLACK DANCE THEATRE DBDT: Encore! presents the Rising Excellence series on Apr. 7–8 at the Dallas City Performance Hall. DBDT performs their Spring Celebration series May 19–21 at the Wyly Theatre. 06 DALLAS CHILDREN’S THEATER Tomás and the Library Lady shares how reading can help you escape, through Apr. 2. Blue brings color into your family, Apr. 21– May 7. Join James Henry Trotter in Roald Dahl’s James and the Giant Peach, May 5–27. Image: Roald Dahl's James and the Giant Peach. Photography by Mark Oristano. 07 THE DALLAS OPERA Opera Insights, presented by The Dallas Opera Guild, hosts a panel discussion for Norma on Apr. 9. TDO brings Norma's love triangle, Apr. 21–May 7. One of Mozart’s earliest works, Bastien and Bastienne, is performed Apr. 22. The Dallas Opera Guild 29th Annual Vocal Competition semi-finals are Apr. 29 followed by the finals April 30. Douglas Cuomo’s critically acclaimed opera, Arjuna’s

Dilemma, faces life’s biggest questions on May 4. A concert performance of Everest is presented on May 5. Take a magical ride on May 6 with The Magic Piano. 08 DALLAS SUMMER MUSICALS Tony Award-winning musical Kinky Boots continues to lift your spirits through Apr. 9. The 2017 Dallas Summer Musical High School Musical Theatre Awards are May 18. The producers of the world’s biggest magic show, The Illusionists, have teamed up with the award-winning puppeteers from War Horse to bring you the circus spectacular Circus 1903, May 23–Jun 4. Image: CIRCUS 1903 Cast. Photography by Jose Leon Photography. 09 DALLAS SYMPHONY ORCHESTRA The Dallas Symphony Chorus and the Children’s Chorus of Greater Dallas perform with the DSO in St. Matthew Passion, through Apr. 2. DSO On the Go brings the music of Percy Grainger to Park Cities with Irish Tunes from Country Derry on Apr. 2. Jaap van Zweden conducts Shostakovich and Beethoven on Apr. 6–8 and Elgar’s The Dream of Gerontius, May 26–27. Relive your favorite anthem band with the Music of Journey Apr. 21–23. Celebrate spring with Vivaldi Four Seasons and Beethoven 6 Apr. 27–30. The Mambo Kings take you on a Latin jazz journey May 5–7. The DSO Family Series presents Mozart’s Magnificent Voyage on May 13. DSO On the Go presents Beethoven, Strauss, and Brahms in Frisco on May 13. The third annual Nancy A. Nasher and David J. Haemisegger SOLUNA International Music & Arts Festival opens May 15 and continues through Jun. 4. Join the DSO for A Musician’s View on May 15. 10 DALLAS THEATER CENTER Lust, murder, and fury all collide in Electra, Sophocles’s tale of family betrayal, Apr. 4– May 21. Experience the Scopes Monkey Trial in Inherit the Wind, May 16–Jun. 18.

18 DTC’s Centerstage Gala Revolution & Revelry The Stars of Hamilton is on May 6. 11 EISEMANN CENTER The Taj Express: The Bollywood Musical Revue brings the music of India and Bollywood on Apr. 9. Keyboard Conversations returns with Virtuoso Variations on Apr. 17. Enjoy the comedy that comes from living in a small Texas town in Greater Tuna, on Apr. 21. Mo Willem’s children’s books come to life in Elephant & Piggie’s: We are in a Play! on Apr. 30. The Richardson Symphony’s All Tchaikovsky Season Finale concert will feature pianist Michael Brown on May 6. The Richardson Community Band performs A Musical Rainbow on May 7. The Hathaway Academy of Ballet performs May 27–28. 12 KITCHEN DOG THEATER Trevor, by Nick Jones, tells the story of a 200-pound chimpanzee and his trainer, and the threat of their separation. The heart-wrenching play is inspired by true events and runs Apr. 14–May 6. 13 LYRIC STAGE Lyric Stage presents a world premiere of Quanah, a historic Texas tale told through the words and music of Grammy Award-winner Larry Gatlin. Performances are Apr. 28–May 7 in the Irving Arts Center’s Carpenter Performance Hall. 14 MAJESTIC THEATER Yuridia shows off her talent on Apr. 2. Sebastian Maniscalco offers his quick-witted comedy on Apr. 13. BAP performs Apr. 14. Morrissey stops during his US tour on Apr. 15. Little Dragon shares her music on Apr. 25. Food’s mad scientist is back with his new tour, Alton Brown Live: Eat Your Science, on Apr. 29. Brandi Carlile and her band hit the road with their new album on Apr. 30. Canadian guitarist, Jesse Cook, performs in One World on May 2. Paula Poundstone brings her comedy May 19.


EXPERT ERIN MATHEWS direct 214.520.8300


15 TACA The 2017 TACA Lexus Party on the Green is hosted at Sammons Park at the AT&T Performing Arts Center on May 12. APRIL / MAY 2017




06 16 TEXAS BALLET THEATER Alice in Wonderland begins at Bass Performance Hall May 19–21 and continues at the Winspear Opera House Jun. 2–4.


MARCH 2 – OCTOBER 1, 2017 See a vibrant collection of oil paintings by President George W. Bush - and the stories of the warriors they represent - honoring the sacrifice and courage of America’s military servicemen and women.

17 THEATRE THREE Susan is a young, wealthy New Yorker that discovers a new religious cult. The socialite is eager to spread the word in Susan and God, Apr. 20–May 14. Nat and Diane take shelter from masses of attacking birds in an isolated house but find there isn’t much comfort inside. The Birds begins in Theatre Too on May 25. 18 TITAS The modern dance company, Alvin Ailey American Dance Theater, hosts two performances on Apr. 1 at the Winspear Opera House. Che Malambo makes their Texas debut with a performance featuring rhythmic footwork, stomping, drumming, and whirling boleadoras on Apr. 14–15. Command Performance delivers one of the most jaw-dropping performances of the year on May 13. Image: Alvin Ailey American Dance Theater's Jamar Roberts. Photography by Andrew Eccles. 19 TURTLE CREEK CHORALE Music from the movie Titanic will be at the City Performance Hall, May 5–7. 20 UNDERMAIN THEATRE Undermain returns to the work of award-winning playwright Jackie Sibblies Drury with her latest play. Really tells the story of three people’s lives intertwining through the art of photography as they search for the truth of their common history, Apr. 12–May 6.

For more information call 214 - 346 -1650 or visit Located on the SMU campus in Dallas, Texas just off US Highway 75.



21 WATERTOWER THEATRE WaterTower takes the third U.S. President, the author of A Christmas Carol, and the author of War and Peace, locks them in a room with no exit, and has them hash out their views of Scripture and the true meaning of existence in The Gospel According To Thomas Jefferson, Charles Dickens, And Count Leo Tolstoy: Discord, running Apr. 14–May 7.


02 01 ALAN BARNES FINE ART ARTS Revisited features a group of artist alumni from Booker T. Washington High School for the Performing and Visual Arts Apr. 6–14, with an opening reception on Apr. 6. A portion of the proceeds will benefit the Visual Arts Department at Booker T. Washington. 02 AND NOW Dustin Peavy’s solo show continues at AND NOW in April. Works by Josh Tonsfeldt are on view beginning April 29. AND NOW is an exhibitor at Dallas Art Fair, Apr. 6–9. Image: Dustin Pevey, Is this a matter of fact, 2015, oil on canvas, 36 x 50 in. 03 ARTSPACE111 Dallas-based artist Matt Clark opens a show on May 11 featuring new work that explores abstract elements through a signature colorful palette. 04 BARRY WHISTLER GALLERY A heralded Dallas artist and instructor, John Pomara will exhibit new work Apr. 1–May 13. Barry Whistler Gallery is an exhibitor at Dallas Art Fair, Apr. 6–9. 05 BEATRICE M. HAGGERTY GALLERY Featuring over 40 artists who are alumni of the Braniff graduate program at the University of Dallas, View from the Art Village: Fifty-Year Retrospective runs through Apr. 29. 06 BEEFHAUS Artist Shelby David Meier opens a solo show titled The Difference Between A Duck, Apr. 1–22. Meier has a second opening on Dallas Art Fair weekend. Cassie Phan’s solo exhibit, I here you, will be on view Apr. 29– May 27.

07 07 BIVINS GALLERY Jack Whitten: Earlier Works, Apr. 1–May 6, delves into paintings and works on paper created during a 5-year period in the late 1960s that mirror the social and political turmoil of the period. Opening May 20, Where the Rub Her Meats the Rode showcases the signature wit of William T. Wiley. The artist will be in attendance for the opening, and the exhibit continues through Jul. 8. Image: Jack Whitten, Untitled, c. 1968, oil on canvas, 10 x 13 in. 08 CADD The Contemporary Art Dealers of Dallas’s (CADD) Third Thursday Happy Hour will be hosted by 500X Gallery on Apr. 20. 09 CARLYN GALERIE The Treestump Show features turquoise inlay cutting boards on Apr. 10. Find funky clothing at the Elizabethan Clothing Trunk Show, April 26. Beautiful assortments of glass flowers are featured in Bouquets for Mom just in time for Mother’s Day, May 1–14. 10 CARNEAL SIMMONS CONTEMPORARY ART Intersecting Planes: Modern Works from the Estate of Duayne Hatchett will feature a variety of modern artworks from the late artist Duayne Hatchett. New work from an Arlington-based artist will be featured in Facets: Contemporary Sculpture by Art Fairchild with an opening reception on Apr. 1. Through Jun. 17. 11 CHRISTOPHER MARTIN GALLERY Selections of works by Christopher H. Martin and sculptures by Michael Enn Sirvet are currently on display. Martin abstracts his own observations of nature using his signature reverse-painting technique applied to the back of acrylic panels. At first

glance, Martin and Sirvet’s works display a rational balance, and an undeniable harmony. 12 CIRCUIT 12 CONTEMPORARY The gallery will continue to exhibit new paintings by Howard Sherman in his solo show Shifting Fancy of the Crowd through May 6. Circuit 12 opens Shit Sucks, a group show featuring new works by Nick van Woert, Kristoff Wickman, Amber Renaye, REVOK, Kris Pierce, and Jimmy Baker, May 13–Jul. 31. 13 CONDUIT GALLERY Gabriel Dawe in Plexus 37 dissects the largest exhibit space at Conduit. Kindred displays Sarah Ball’s small-scale paintings sourced from the early 1900’s documentation of Ellis Island immigrants. Ellen George’s wall-mounted sculpture expresses her interest in the botanical world in April. All three shows open Apr. 1 and run through May 13. Artists Robert Jessup, Susan Barnett, and Soomin Jung open exhibits May 20. Conduit is an exhibitor at Dallas Art Fair, Apr. 6–9. 14 CRAIGHEAD GREEN GALLERY Carlos Ramirez’s In My Garden explores abstract paintings that engage nature through memory. Orna Feinstein, a Texas printmaker and sculptor, returns with Grids, Layers, and Lines, marking the 20th anniversary of her exploration of the tree trunk. Daniel Angeles’s A Series of Layers features watercolors of animal characters and objects entrenched in his emotional state. All three shows open with a reception on Apr. 1 and run through May 6. A group show opening May 13 features work from all gallery artists including newest artists, Tom Hoitsma and Anders Moseholm.

APRIL / MAY 2017




Fine art and the decorative arts transcend period and the hands through which they pass. Here we’ve rounded up a few lots sure to quicken the pulse this spring available through Dallas-based companies Heritage Auctions and Dallas Auction Gallery. 02 JASPER JOHNS Untitled (Red, Yellow, Blue) demonstrates the artist’s fascination with grisaille and primary colors. This extraordinary metamorphosis of print into painting attests to Johns’ versatility in multiple media and his methodical probing of a particular theme. Image: Jasper Johns (American, b. 1930), Untitled (Red, Yellow, Blue), 1998, acrylic over etching on paper, 9.5 x 12.5 in. Estimate: $150,000– $250,000. Courtesy of Heritage Auctions. Modern & Contemporary Art Signature 02 Auction–May 5, New York. 01

01 ROBERT MOTHERWELL Nemesis, 1981–82 is a striking, confrontational canvas that bears witness to Robert Motherwell’s long relationship with both the color black and gestural drawing. One of the most significant Abstract Expressionist painters, Motherwell used the color black, not as the absence of color, but rather as a significant hue in its own right. Image: Robert Motherwell (American, 1915–1991), Nemesis, 1981–82, acrylic on canvas, 60 x 44 in. Estimate: $500,000–$700,000. Courtesy of Heritage Auctions. Modern & Contemporary Art Signature Auction–May 5, New York. 04 ANDY WARHOL Dallas Auction Gallery’s Fine & Decorative Art Auction, May 24, will feature works by Maxfield Parrish, Andy Warhol, Pablo Picasso, Lui Liu, along with antique English and Continental furniture, accessories, art glass, and silver collections. Image: Andy Warhol, Letter to the World (The Kick) from Martha Graham, color screenprint, 1986. Signed and numbered in pencil on verso, "AP 21/25 Andy Warhol". Courtesy of Dallas Auction Gallery


05 SAM MALOOF Cited by the New York Times as “a central figure in the postwar American crafts movement,” Sam Maloof was a furniture designer and woodworker. Image: Sam Maloof rosewood long-tailed rocking chair, 46.5 x 26.75 x 47.25 in., Circa 2001. Estimate $20,000–$30,000. Courtesy of Dallas Auction Gallery DAG’s Fine and Decorative Art Auction, May 24 in Dallas. P




03 03 PABLO PICASSO Throughout Picasso’s career, he embarked on a profound and complex experimentation with Édouard Manet’s painting Le Déjeuner sur l’herbe, which was based on an engraving by Marcantonio Raimondi, after Raphael, titled The Judgement of Paris. Picasso’s confrontation with the work and its themes began in 1954. Drawings, engravings, and ceramics inspired by Le Déjeuner sur l’herbe ensued through 1970. Under the gavel during Heritage Auctions Modern & Contemporary Prints & Multiples Signature Auction–April 10, Dallas. Image: Pablo Picasso (1881–1973), Le Déjeuner sur l’herbe, 1962, Linocut in colors on Arches paper, 20.75 x 25.25 in. (image). Estimate: $100,000–$150,000. Courtesy of Heritage Auctions.

Showcasing modern and postwar contemporary art, the sparkling new Bivins Gallery is bright with light and bold with color. Karen and Michael Bivins represent historically relevant established artists, cutting-edge emerging talent, key secondary market works, and estates of important legacy artists.



W I L L I A M T. W I L E Y




Jack Whitten | Untitled | 1968 watercolor on paper | 12.5" x 11.25”

Robert Graham (1938-2008) | Untitled | 2008 cast bronze on gold leaf brick base | 9” x 5” x 5"

William T. Wiley | Godsword | 2007 acrylic & charcoal on canvas | 60.5" x 59.75"

EX HI B I T I O N | A PR I L 1 - M AY 6 , 2 0 1 7


E XH I B I TI O N | M AY 20 - J ULY 8, 2017

EARLIER WORKS Main gallery

Sculpture and works on paper Featured throughout gallery

WHERE THE RUB HER MEATS THE RODE Main gallery solo exhibition




April 1, 5-8 PM

Artist and legacy management

May 20, 5-8 PM | Artist in attendance

3 0 0 C R E S C E N T C O U RT, S U I T E 1 0 0 , DA L L A S , T E X A S 7 5 2 0 1 | 2 1 4 . 2 7 2 . 2 7 9 5 | B I V I N S G A L L E RY. C O M | A RT @ B I V I N S G A L L E RY. C O M


Kittrell/Riffkind Art Glass Gallery

May 13th

“From the Garden”


15 CRIS WORLEY FINE ARTS Simeen Farhat’s second solo exhibition at Cris Worley, Blood Shot is Blood Loved, runs Apr. 1–May 6. The artist uses the words of various texts to invent calligraphy-like abstract forms out of cast and pigmented resin. Working from staged photographs, artist Kelli Vance paints psychological narratives of female figures in her second solo show at the gallery, Sappers and Miners, May 13–Jun. 17. CWFA is an exhibitor at Dallas Art Fair, Apr. 6–9.

Susan Rankin

16 CYDONIA Elise Eeraerts creates a three-part installation consisting of porcelain sculptures composed of individual modular units, flat two-dimensional replicas of the sculptures, and finally, scaled representations of these sculptures in print. Surfaces, Eeraerts’s first American solo exhibition, continues through Apr. 22. 17 DADA The Business of Art offers a panel discussion at the Latino Cultural Center, Apr. 1. The Spring Gallery Walk is Apr. 22. The 2017 DADA Scholarship Awards and Exhibition returns May 11 to give young artists from Booker T. Washington High School the opportunity for recognition, exhibition, and scholarships. The exhibition is open May 6–Jun. 27 at One Arts Plaza. 18 DAVID DIKE FINE ART The 15th Annual CASETA Symposium and Texas Art Fair is Apr. 28–30 at the Fort Worth Community Arts Center. The symposium features ten renowned speakers with presentations on Early Texas Art. Art Dealers will bring rare early Texas art for the art fair portion of the event.

4500 Sigma Rd. Dallas, Texas 972.239.7957 n 42


19 ERIN CLULEY GALLERY Nic Nicosia creates interior portraits of homes where his work already resides but with added elements such as sculpture and drawings. The exhibition is Nicosia’s first with the gallery and his first solo exhibition in Dallas in five years. Nic Nicosia: at home on time opens Apr. 1. Image: Nic Nicosia, livingroom #1 with 7 thoughts 3.20.2016, 2016, archival inkjet print on Hahnmülle 100% rag paper, 24 x 36 in. Courtesy of the Artist and Erin Cluley Gallery, Dallas.

“Color Combinations” O pens A pril 8 - May



Meet Nic & Paul

...Steel meets Canvas meets Glass meets steel

1-5 pm



4500 Sigma Rd. Dallas, TX 75244 972.960.8935


LOCAL MASTERS Opening May 13 - June

john Cook




20 FWADA To fulfill its mission to stimulate interest in the visual arts through educational programs, art scholarships, and art competitions, Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art. 21 GALERIE FRANK ELBAZ This esteemed Parisian gallery has a temporary space across from Dallas Contemporary on Glass St. On Apr. 1 the gallery opens PARIS TEXAS, curated by Paul Galvez, featuring artists Francis Alÿs, Davide Balula, Julie Cook, Robert Rauschenberg, Ed Ruscha, and Blair Thurman. Galerie Frank Elbaz is an exhibitor at Dallas Art Fair, Apr. 6–9. Image: Robert Rauschenberg, Grass Hotel (Urban Bourbon), 1994, acrylic on aluminum, 61 x 45 in. 22 GALLERIE NOIR Gallerie Noir is an interior design showroom and art gallery known for its understated chic style with an eclectic edge, currently showing Katy Hirschfeld, Camomile Hixon, Tatiana Gerusova, Daniel Diaz-Tai, and Lyle Owerko. 23 GALLERI URBANE Stephen D’Onofrio’s solo show, Ready for Print, opens April 1 in Gallery Two, and runs through May 6. Anna Kunz returns with Heroes for Ghosts, open Apr. 1–Jun. 17 in Gallery One. Both shows will have an afternoon reception on Apr. 1. Marion Wesson’s new solo exhibition, Cluster Fail, mounts May 13–Jun. 17 in Gallery Two. Image: Anna Kunz, REBOP, 2017, site specific in window, acrylic on layered fabric, 88 x 59 in. Courtesy of the artist. 24 THE GOSS-MICHAEL FOUNDATION Billy Childish’s work in mountain view house continues to display through Apr. 28. Image: Billy Childish, Alaskan Fishing Boat, 2015, oil and charcoal on linen, 96.1 x 72.04 in. Courtesy of Carl Freedman Gallery, London. 25 HOLLY JOHNSON GALLERY Wi l l iam Bet ts explores t he nuances and t he possibilities of technology as an aesthetic generator. His paintings in Color Space are a visual representation of this technological process, Apr. 1–Jun. 10. Joan 44


41 Winter’s Edge of Light explores the relationship between the visible and the invisible, through Apr. 29. Michelle Mackey’s paintings in New Atmospheres explore time and memory through abstracted architectural imagery, May 13–Jul. 29. Image: William Betts, Spectrum, Color Space Series, 2017, acrylic on canvas, 60 x 60 in. Courtesy of Holly Johnson Gallery. 26 JM GALLERY The work of highly acclaimed photographer Jeremy Lock is showcased in a collection of aerial landscapes and portraits through Apr. 15. Local photographer and teacher Frank Lopez curates an exhibition of work by photographers who explore the limits of technology and chemistry through experimental processes that challenge our notions of how images can be made. May 13– Jun. 24. 27 KIRK HOPPER FINE ART FUN curated by Benjamin Terry brings together artists Sterling Allen, Michael Blair, Benjamin Edmiston, Bradley Kerl, Allison Reimus, and Jonathan Ryan Storm, Apr. 1–May 6. Through traditional and expanded modes of painting, these artists make work that beckons from across the room, and forces you to smile. Jorge Alegría returns in Supernova, a solo exhibit featuring detailed depictions of an alternate universe locked in a struggle of order and chaos, May 13–Jun. 17. 28 KITTRELL/RIFFKIND ART GLASS All In The Family shows work from contemporary glassmakers with family connections through Apr. 2. From the Garden, a group show featuring all things from the garden, showcases artists Loy Allen, Mary Mullaney, Susan Rankin, Kathleen Elliot, Margaret Neher, and others, May 13–Jun. 4. 29 KRISTY STUBBS GALLERY Kristy Stubbs and G Cella offer years of experience and expertise in the global art trade, often bringing notable artists to the US from abroad. A venerable private art dealer, KSG offers museum-quality paintings and sculptures. 30 LAURA RATHE FINE ART Works by Sydney Yeager and Udo Nöger in From Within display through May 6. Though diverse in technique and medium, the artists share an interest APRIL / MAY 2017



DAVID YARROW 21 in exploring abstract forms that appear to organically emerge both from within and upon the surface of each work in displays of color and light. Porcelain installation artist, Lucrecia Waggoner, returns May 13–Jun. 17 with Stardust, featuring intricately mapped compositions that mimic elements derived from nature and abstract visions of landscapes. 31 LEVEL GALLERY LEVEL Gallery has joined ARTSY, one of the strongest growing databases and platforms for collecting art. 32 LILIANA BLOCH GALLERY Liliana Bloch features work by Vince Jones through May 5 and opens a show for Sally Warren that will run May 13–Jun. 17. Gelatin Silver Print | 71 x 70 in. | Edition of 12

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



33 LUMINARTÉ FINE ART Globally acclaimed artist Albena Hristova draws attention to Faces of the Earth, to remind us that we are part of something bigger, through May 6. 34 MARTIN LAWRENCE GALLERIES Experience a first look at François Fressinier’s newest original paintings, featuring his signature figurative and symbolic work in oil and mixed media joined with the tradition of collage to emphasize the beautiful form of women’s faces, May 15–Jun. 15. 35 MARY TOMÁS GALLERY Four artists, Chong Chu, Juan Alberto Negroni, Ellen Soffer, and Thomas Zanz, express their individual artistic language that comment on heritage, personal stories, or country of origin in a group show titled FRESH, Apr. 1–May 6. Join Mary Tomás Gallery for The DADA Spring Gallery Walk and artist talk on Apr. 22. 36 PHOTOGRAPHS DO NOT BEND Jeanine Michna-Bales’s exhibition, Through Darkness to Light: Seeking Freedom on the Underground Railroad, runs

23 through Apr. 15. Coinciding with Michna-Bales’s show, TRUE SOUTH, a group exhibition of photographs depicting people and places of the South, runs through Apr. 15. Concurrently with the DMA’s exhibition, México 1900–1950, PDNB will exhibit photographs of the influential Mexican surrealist painter and icon, Frida Kahlo, through May 31. PDNB is an exhibitor at Dallas Art Fair, Apr. 6–9. 37 THE POWER STATION The Power Station presents Steven Parrino’s first institutional show in the US, titled Dancing on Graves. The show features paintings, sculptures, videos, and works on paper, Apr. 5–Jun. 16. Culture Hole presents Mathis Altmann April 7 and Lucky Dragons May 13. Image: Steven Parrino, Dancing on Graves, 1999, Floor Installation, video monitor. Courtesy of The Power Station. 38 THE PUBLIC TRUST The Public Trust is a contemporary art gallery in the developing Monitor St. gallery area that presents challenging shows like its Soliloquy series, inviting viewers to consider one work of art by a prominent artist. 39 THE READING ROOM A book exhibition by Chicago-based Deb Sokolow, Conspiracies, Minimalism, and the Philly Cheesesteak Sandwich, continues through Apr. 22. Olivia DiVecchia’s Dig/ Site, a photo- and text-based exhibition, opens May 13.

AVEDON IN TEXAS Selections from In the American West Through July 2 #avedonintexas

Free Admission

Richard Avedon (1923–2004), Boyd Fortin, thirteenyear-old, Sweetwater, Texas, March 10, 1979, gelatin silver print mounted on aluminum panel, © The Richard Avedon Foundation

40 RO2 ART Yuni Lee: Balance and Anita Kunz: Paintings continue through Apr. 15. At Ro2 Art at the Magnolia, Carroll Swenson-Roberts’s work in Temple of Small Wishes continues through Apr. 20 and Alison Proulx opens Choosing Heroes on Apr. 20. April 22–May 20 brings Erica Stephens’s The Serpent is Come and Barbara Horlander’s Pink on the Inside. Every Day by Ray-Mel Cornelius displays May 27–Jun. 25. Mark Ross’s solo show opens May 27. Ro2 Art is an exhibitor in Dallas Art Fair, Apr. 6–9. APRIL / MAY 2017






24 Pup, 6.5 x 12 x 5.25 inches, Calder Foundation Number A05582


41 ROUGHTON GALLERIES Roughton Galleries reinvigorates the celebration of its holdings with its newest exhibit, Texas Modernists, Apr. 5–May 30. This dynamic collection features a suite of 30 pieces from four of Texas’s most important 20th and 21st century artists: Margaret Putnam, Otis Huband, Mark Lavatelli, and Dan Rizzie. Image: Mark Lavetelli, Deep Ellum Night, oil on canvas. Private Collection. 42 RUSSELL TETHER FINE ART My Sacred Environment, opening Apr. 4, is an exploration of African history, religion, and environment through the art of Harvey Johnson to promote healing and understanding. Sculpture, drawings, letters, and jewelry, never before available from Alexander Calder and the Calder Foundation, open Apr. 4. Works from the estate of June Mattingly continue at the gallery. 43 SAMUEL LYNNE GALLERIES In April, Samuel Lynne will showcase David Yarrow’s photography throughout the gallery. A May group exhibition features eight of the gallery’s represented artists: Lea Fisher, JD Miller, Hans Van de Bovenkamp, David Yarrow, James Gill, John Henry, Philip J. Romano, and Tyler Shields.

Walk Together Children, Acrylic and oil on canvas, 35.75 x 35.5 inches

RUSSELL TETHER Fine Arts Associates, LLC

13720 Midway Road, Suite 110 Dallas, Texas 75244 M-F:9-5 & by Appointment




44 SITE131 SITE131 opens its spring exhibition, to align with the Dallas Art Fair, on Apr. 1–May 27. Featuring Jaime Tarazona from Bogota, Columbia; Nina Katchadourian from the US; and Cam Schoepp from Texas, UNEXPECTED gathers talents from Texas and abroad. 45 SMINK Opening Apr. 1, PURE LIGHT, the changing Salton Sea features photographs by Gary Faye. Mounting May 13, Dara Mark: New Work will be on view.


46 SOUTHWEST GALLERY Color Combinations, Combinations, a celebration of painting, sculpture, and art glass through Southwest Gallery’s 50 years, features new works by gallery artists Paul Walden, Nic Noblique, and Tom Philabaum, Apr. 8 from 1:00–5:00 p.m. A two-man show featuring new work by two of America’s finest plein air painters, John Cook and John Pototschnik, opens May 13. 47 TALLEY DUNN GALLERY The group show, Material Presence, featuring work by Tara Donovan, Leonardo Drew, Maya Lin, Louise Nevelson, and Fred Wilson, continues through Apr. 29. Talley Dunn Gallery is an exhibitor at Dallas Art Fair, Apr. 6–9. 48 UNT ARTSPACE DALLAS Shiny Ghost features the work of UNT Alumna Rachel Cox, a visiting faculty member, through Apr. 29. 49 VALLEY HOUSE GALLERY Mark Messersmith showcases narratives packed with animals, plants, and insects that express his concern for their shrinking world in Pay the Thunder No Mind— Listen to the Birds, and Hate Nobody, through Apr. 29. John Hartell’s Retrospective continues through Apr. 29. A professor of painting at SMU, artist Barnaby Fitzgerald opens his eighth solo exhibition with Valley House, titled Arias, running May 6–Jun. 10. Valley House is an exhibitor at Dallas Art Fair, Apr. 6–9. 50 WILLIAM CAMPBELL CONTEMPORARY ART Frank Tolbert’s work continues to display in The Texas Bird Project through Apr. 29. Luther Smith will showcase his work at William Campbell beginning with an opening reception on May 4. WCCA is an exhibitor at Dallas Art Fair, Apr. 6–9. Image: Otis Jones, Green with 2 Lines Removed, 2014, mixed media, 45 x 36 in.

Artist Juan Alberto Negroni, detail: Untitled 2, mixed media, collage on paper, 57.5 x 40 in.


For current exhibits visit us at 1110 Dragon Street | Dallas, TX 75207 | 214.727.5101 Hours: M-F 10-5, SAT 12-4 and by appointment

APRIL / MAY 2017




25 AUCTIONS 01 ART BALL 2017 All That Glitters Art Ball 2017 takes place Saturday, Apr. 22 at the Dallas Museum of Art. The 52nd annual gala, chaired by Ann and Lee Hobson and benefiting the DMA, features a seated dinner, a luxury live auction, entertainment, and a festive after-party. For tickets visit


APRIL 1 - MAY 6 AFTERNOON OPENING APRIL 1 11:11 AM - 1:11 PM GALLERI URBANE 2277 Monitor St. Dallas, TX 75207 50


02 DALLAS ART FAIR From Friday, April 7–Sunday, April 9, prominent national and international art dealers and galleries will exhibit painting, sculpture, works on paper, photography, video, and installations by modern and contemporary artists at the 9th annual Dallas Art Fair located at FIG (Fashion Industry Gallery). 03 DALLAS AUCTION GALLERY The Fine Jewels Auction, May 3, features diamond jewelry; signed pieces by Seaman Schepps, Julius Cohen, Henry Dunay, and Tiffany; timepieces; colored gemstones; and a selection of Hermes couture items. The Fine & Decorative Art Auction, May 24, features works by Maxfield Parrish, Andy Warhol, Pablo Picasso, and Lui Liu; antique English and Continental furniture and accessories; art glass; and silver collections. 04 HERITAGE AUCTIONS Heritage Auctions will offer Study for Triple Self Portrait by Norman Rockwell in its May 3 American Art Signature Auction. In addition to this iconic image, the sale will feature works by Thomas Moran, Birger Sandzén, Milton Avery, Thomas Hart Benton, and many others. The full calendar includes auctions of Modern and Contemporary Art, Modern and Contemporary Prints and Multiples, Asian Art, American Art, Texas Art, European Art, Photographs, Illustration Art, Fine Silver and Objects of Vertu, 20th and 21st Century Design, and others.


Featuring stars of Broadway’s smash hit Hamilton: The American Musical: Sydney James Harcourt and Elizabeth Judd. Want a chance to see Elizabeth Judd in Hamilton on Broadway? Enter the Centerstage 2017 Hamilton raffle on our website! Visit or call 214.252.3915 for ticket information.

Clockwise from top left: Sarah Ball, Immigrant Series Moroccan, 2016, oil on gessoed panel, 7 x 5 in.; Sarah Ball, Immigrant Series Scottish, 2016, oil on gessoed panel, 7 x 5 in.; Sarah Ball, Immigrant Series French, 2016, oil on gessoed panel, 7 x 5 in.; Sarah Ball, Immigrant Series Russian Soldier, 2016, oil on gessoed panel, 7 x 5 in.; All images courtesy of the artist and Conduit Gallery.






Sarah Ball’s “Immigrant” series headlines Kindred, her current Conduit Gallery exhibition, and not a moment too soon.

Above, left to right: Sarah Ball, Immigrant Series Albanian Soldier, 2016, oil on gessoed panel, 7 x 5 in.; Sarah Ball, Immigrant Series Laplander, 2016, oil on gessoed panel, 9.5 x 7 in. Both images courtesy of the artist and Conduit Gallery.

APRIL / MAY 2017



Sarah Ball, Immigrant Series Indian, 2016, oil on gessoed panel, 7 x 5 in. Courtesy of the artist and Conduit Gallery.


hile it may be a blatantly euphemistic understatement, it’s safe to say that the United States of America, edition 2017, finds itself in “interesting times.” And, as of this writing, nowhere is that more evident than in the interconnected arenas of immigration, migration, and refugee resettlement. So, call it timeliness, call it zeitgeist, or call it prescience on the part of Conduit Gallery and British artist Sarah Ball, but Ball’s just-opened Kindred is a spellbinding, don’t-miss exhibition that speaks volumes about the American experience, actual and mythical, past, present, and possibly future. Featuring 30+ meticulously painted immigrant portraits, as well as a series of drawings, it’s a show for the season; it runs from April 1 through May 13. Sarah Ball, born in 1965 in South Yorkshire, now living in Cornwall, observes trenchantly, “‘Immigrant’ is a word that has always been loaded with a meaning and weight beyond the dry dictionary definition. The word is a weapon, a political pawn, to the point that one might forget that we are dealing with human beings.” The artist says she’s continually fascinated with themes of identity, and typically works from historical photographs; her previous solo show at Conduit, 2015’s Accused: Part III, was comprised of paintings extrapolated from police mugshots. But this time out, Ball’s focus is on the faces of immigrants, sourced from photographs of new arrivals at Ellis Island in the early 20th century. The photos were shot by amateur photographer Augustus F. Sherman, a registry clerk at Ellis Island from 1892 to 1925. Ball’s paintings, most of them a diminutive 9.5 x 7 inches, are haunting realizations of her subjects addressing the viewer head-on with dignity, equanimity, and a shy curiosity. “I’m always looking around for photographs,” the artist says, “and when I came across these it just felt so relevant, with the words and language and rhetoric that are going around at the moment. It felt like it was just poignant to what’s happening now.” The subjects of the paintings are adults and children alike, and hail from everywhere: India, Russia, France, Lapland, Norway, Holland, and beyond. Augustus Sherman, while a self-taught photographer, nonetheless had an intuitive sense of staging—he posed his subjects against plain walls, and often asked them to don their traditional ethnic costume, their “Sunday best.” Ball says, “I think Sherman just



Sarah Ball, Immigrant Series Italian, 2016, oil on gessoed panel, 7 x 5 in. Courtesy of the artist and Conduit Gallery.

seems to capture something. What’s different to me is the look of the people and how it relates to what’s happening today. There’s no background view in the majority of them, no context really; it makes you concentrate on their clothing or the look on their faces—there’s nothing to detract from that, and that really appeals to me.” Another key aspect of Ball’s artistic invitation to engage her viewers is the small scale of the paintings. The works have a seductive magnetism that draws audiences into a one-on-one conversation, a dialogue of identities between observer and observed, intimate and universal. It’s a relationship analogous to the notion that if you want someone to really listen to you, try whispering. “For me it feels very natural to work at that scale,” the artist acknowledges, “although I am beginning to experiment with some larger pieces. A lot of times the subjects I’m drawn to are very quiet images—the draw for me is that they are often a very quiet thing, and it just feels (like) the most natural scale. And I also love the fact that you have to go in—you have to step in to the painting to really see it.” Close inspection of the oil-on-board paintings reveals another astonishing piece of Ball’s aesthetic: the surfaces are immaculately brushstroke-free, her subjects seemingly emerging from a world away, as if conjured through some arcane alchemy. Her technique involves gesso prepping of the board, building up multiple thin layers of paint with very small brush strokes, sanding between the layers, and a varnish topcoat for a cohesive finish. The portraits speak eloquently of her technical mastery. Small wonder Ball was named Welsh Artist of the Year in 2013, among many other accolades. “We’re living through a period of mass immigration now,” the artist adds, “and the immigrants in the 1900s were met with just as much fear and xenophobia. They were considered to be backwards and they were examined for illiteracy, whether they were criminals, or whether they had money…I just feel that things have slightly moved on. I’m pretty sure that Brexit only happened because people played that immigration card to the point that they started believing it and became very fearful of something. So it feels like it hasn’t changed, in a way.” As ever, Lady Liberty and Emma Lazarus have the last word: “Give me your tired, your poor, your huddled masses yearning to breathe free…” The time is now—encounter your Kindred at Conduit Gallery. P APRIL / MAY 2017





THE GRID FROM ITS SUPPORT I Timothy Harding’s Manipulated Structures

Upper: Timothy Harding, 87" x 75" on 60" x 50", 2016, acrylic on canvas, 66 x 53 x 18 in. Lower: Timothy Harding, 87" x 75" on 64" x 52", 2016, acrylic on canvas, 67 x 54 x 13 in. Both courtesy of the artist and Cris Worley Fine Arts.



nitially, Timothy Harding’s explorations with undulatingmesh forms began with graphite on paper grids, spilling off the wall or out from a corner, sometimes even gently leaning into one another on the floor as rolled-edged polygons. Some were lit by a scattered grouping of fluorescent tubes and bulbs on the ground below whose cords and forms were then integrated into the work’s overall composition. Eventually, these installations gave way to singular works of acrylic on canvas, at once both meticulous and curious in their precision and method. When I first visited his studio last winter after seeing his “buckled” paintings earlier the same year, he was already pushing elements of those forms back into installation again, never quite content with the permanent state of an art object, its relationship to the architecture of display, or even the combination of components involved at any one time. Regardless, I circled back and asked about his process regarding the “paintings,” which marries a fastidious and punchy hard-edge abstraction with tablecloth-pulling type of visual ploy. Harding performs this final transformation by gently flipping the fully painted canvas over and removing it from its original support stretcher, which was pulled conventionally taut during the painting process. He then downsizes to a smaller stretcher with a similar horizontal-to-vertical ratio, and tweaks and tugs the surface from behind, arranging the larger painted surface into a sculptural relief of sorts. When questioning Harding about this element of his systematic process, he admitted to enjoying the prospect of “flying blind” and “not having to make decisions.” Instead of safety-pinning the back of a model’s outfit for a photoshoot (to appear more custom and form-fitting), this inversion sees the artist pushing the painted canvas toward the front instead, into folds, peaks, and valleys, eventually letting the paint cure into a yet unforeseen, invented topography. The unprimed edges of the canvas typically stray into the frontal view of one of Harding’s works, creating both a visual and physical tension between the smaller stretcher support and the plentiful canvas, the downward-pull of gravity when drying, and the furrowed surface of the picture plane. The simpler compositions sometimes capture the brash color schemes of the 1980s (I’m thinking skateboard deck palettes or a teenager’s summer apparel.), while other examples can call to mind the sedate tile-

and-grout combos of suburban homes. 2016 proved to be a breakthrough year for Harding, as he had his first solo commercial gallery show, SKIN, with Cris Worley Fine Arts and was also awarded one of the inaugural Nasher Sculpture Center Artist Microgrants. When faced with the prospect of planning for his exhibition, Harding viewed the opportunity as creating a dialogue between objects within the space of the gallery and not simply creating standalone artworks. Harding used the funds from the Nasher to buy a desktop vinyl cutter, thus freeing him from the arduous handtaping-off involved in his designs. A rumpled surface can easily be read as a discard or post-utility, and when the formal elements of its surface are accomplished by a means of such a meticulous nature, there’s a certain sense of the absurd or a refusal that comes into play. Furthermore, when I brought up the topic of color choices and how it plays into the equation, Harding stated that he only started reintroducing color back into his compositions about two years ago. When speaking about color, he also mentioned being struck by artist/writer David Batchelor’s Chromophobia (Reaction Books, 2000). An introductory quote aptly defines the book’s titular anxiety and possibly clues us in to a fact of the same for the artist: “…As with all prejudices, its manifest form, its loathing, masks a fear: a fear of contamination and corruption by something that is unknown or appears unknowable. This loathing of colour, this fear of corruption through colour, needs a name: chromophobia…” After a reluctant reintroduction of multiple hues a few years back, Harding now simply stores premixed colors in yogurt containers, pulling them down for use in an artwork when the timing and combination is right. Yet, almost all the artist’s palettes read as monochromatically sound or garishly balanced somehow, not alerting us to the amount of potential unease of decision-making beforehand. After a successful solo showing of his painted structures in the spring of 2016, Harding decided to combine the playfulness of his all-over paper installations with the medium and colorful palette of his work exhibited at Cris Worley. In the gallery of Tarrant County College (South Campus), Harding presented “paintings as elements of an installation” in his exhibition Loop. He laid one large green grid painting on the floor faceup as the central element around which other painted canvas nets, random studio detritus, and multiple paintings affixed to wooden supports (mimicking the form of haphazard totems or makeshift medical stretchers) about which various lights and their cords were strewn. While not exactly reading as a cohesive unit or a grouping simply divisible into commercial objects, the installation reiterates Harding’s palpable unrest and continual curiosity about objects and their presentation. As Harding has recently been involved with the commission of a screen-printed bag design for a collaboration between Patron and the 2017 Dallas Art Fair, I inquired about the process and how it compared with his other artistic practices. “It’s not intuitive like the paintings, it’s not ‘do something and then react to it,’ as the design is all laid at once,” Harding stated. “I’m curious as to how it will inform the next group of artwork I make,” he added. Harding was headed later that week to his first artist residency at Vermont Studio Center, and he already told me that he wasn’t packing his vinyl cutter for the trip. Almost certainly, change is in the works. P

interior design + art

Photography by Dan Piassick Markus Linnenbrink, “HELLOONEWORLD”, Epoxy Resin on Wood


APRIL / MAY 2017






University of Dallas graduate art program celebrates 50 years.

s recently as the middle of the twentieth century, only three venues actively showed contemporary art in this area: Valley House Gallery, Chapman Kelly, and the University of Dallas in Irving. When the Catholic university opened its doors in 1956, the art department consisted of one full-time faculty member, a Cistercian monk named Philip Szeitz. The now legendary Kelly served as a part-time instructor. In 1961, Szeitz hired a graduate school buddy from the University of Wisconsin, Lyle Novinski, as a full-time professor. Under Novinski’s five decades of leadership and the long-serving hires with which he grew the program, UD’s art department became a training ground for several generations of trailblazing artists who have shaped the art scene in North Texas and beyond. University of Dallas has been a pioneer in many ways. In 1958, it became the first racially integrated school in Texas. It was also the first co-ed art department of any Catholic school in the nation. And when the Braniff Graduate School opened in 1966, it became the first graduate art department in the state. In late March, the University’s Beatrice M. Haggerty Gallery commemorated their half-century milestone with the opening of the exhibition, View from the Art Village: 50-Year Retrospective on view through April 29. According to Novinski, there is no “UD style.” This allows for a tremendous amount of creative leeway. The conscious decision made in the early days of the department to reject silos for each discipline created an atmosphere that encouraged the constant flow of ideas across media. As a result, many of these artists work in or incorporate a variety of media in their work. One of the hallmarks of the faculty members and graduates



is that they actively contribute in their disciplines as artists and leaders. The exhibition features the work of over 40 artists, many of whom are regionally and nationally prominent. “When our students leave, they continue to grow,” Novinski says. Among those participating, including Nancy Ferro, Linnea Glatt, Linda Gossett, Lucas Martell, Rachel McClung, Roberto Munguia, Andy Myers, Bob Nunn, Michael Obranovich, Nancy Rebal, Albert Scherbarth, Ann Stautberg, and Terri Thornton, are fixtures in the local art world. Dr. Joshua Parens, Dean of the Braniff Graduate School, speaks about the art department, saying, “We understand how the arts liberate the spirit.” Three of the six artists from the first graduating class, Jim Roche, Juergen Strunck, and Jack Mims, are also participating. Roche received his Master of Arts and Master of Fine Arts at the university. The censorship of both of his graduate exhibitions is legendary in the art department. His infamous 1968 MA show was shuttered after three hours, due to its sexually charged content. Regardless, Roche only has positive things to say about the school. “It was an excellent program and I never forgot how strong it was. We were encouraged to just go forward,” he says. And forward he went. In 1976, Roche’s work was included in the 37th Venice Biennale. Since then, it has been on view at prominent museums across the country. Jack Mims served as a surrogate leader of the Oak Cliff Four, a group of artists that included Roche and another UD alum (and exhibition participant), George Green, who were pioneers on the nascent local contemporary art scene in the early 1970s. The work of Laray Polk, another UD grad and the wife of Mims, is also included in the exhibition.

Shortly after graduation, Strunck joined the faculty and transformed the printmaking department into an internationally recognized program that he guided until his retirement in 2014. Similarly, the late Heri Bert Bartsch grew the sculpture department during his decades-long tenure. The ceramics department began blossoming with Dan Hammett’s arrival in 1974. He is the only one of the original four still teaching. Among UD’s earliest supporters were a small but dynamic group of Dallas collectors that included Stanley Marcus and Jim and Lillian Clark. The Clarks hosted graduate seminars in their home amid their collection that included work by Mondrian, Arp, and Dubuffet. It was, however, the patronage of Patrick and Beatrice Haggerty that physically transformed the campus. Mrs. Haggerty was especially responsible for the growth of the art department from a single-room studio to the five buildings, cloistered in a wooded area of the campus, all designed by O’Neil Ford, that comprise the Haggerty Art Village today. “What has been nice to see is how excited and thrilled all the artists are about this exhibition. They all want to come back and celebrate,” says Christina Haley, Haggerty Gallery Interim Curator. “They came on scholarships and it changed their lives.” P Above: Andy Myers, Remembrance, 2017, plaster and wood, 30 x 14 x 9 in. Opposite, left to right: Nancy Rebal, NEWS (after the Bayeux tapestry), 2017, terracotta, acrylic and India ink, 23 x 10 x 19 ft. Jack Mims, Study for The Pearl Diver, 2003, mixed media, 16.5 x 24.5 in.

APRIL / MAY 2017




Above, from left: Mary Vernon, Still Life with Don Pedro de Barberana, 2009, oil on gessobord, 30 x 30 in.; Mary Vernon, Iliad, 2012, oil and ink on gessobord, 36 x 36 in. Mary Vernon, Still Life with Tiger and Fox, 2010, oil and paper on gessobord, 36 x 36 in. Opposite: Mary Vernon in her studio.

A PAINTERLY STREAM OF CONSCIOUSNESS 2017 Dallas Art Fair Artist Honoree Mary Vernon, Professor of Painting and Drawing at SMU, Meadows School of the Arts, likes to surprise us.


he likes to make us smile. Her twinkling, troublemaking eyes are a giveaway. Her grayish white, spiky hair, a confirmation. Projecting an assured stance and an engaging “Dennis the Menace” smile, she heard a fan say, “She is a work of art herself.” Mary Vernon is a painter who brazenly and unexpectedly paints a curious cheetah into a traditional garden landscape, Spode china in a forest, and flowers as big as a house. Her vivid imagination and uncensored recollections energize and embellish the serenity of what might be an all too perfectly composed scene. She seduces us to imagine a bizarre narrative, but titles her work with just enough information for identification, such as Coffee Cup with Rabbit. Disdaining “bossy” descriptive titles, she prefers to stand back and startle us. We delight in her creative carelessness with paint, her attention to line, and her quirky sense of humor, and remain delightfully puzzled. Although a world traveler, Vernon draws first and foremost upon her memories of the Pecos Valley of southern New Mexico, where she grew up. Through her paintings, we are welcomed into her personal world of stream of consciousness—mountains, landscapes, Chinese temples, f lower gardens, dogs, deer,



antelopes, and rabbits. Her lively remembrances of home and travels around the globe to China, Japan, and Chile, where she was the US State Department Visiting Artist, are communicated with fluid brushstrokes, which morph into wolves, sensuous, quivering lines, and accidental drips which decide to be tree trunks. “The materials call the shots,” says Vernon. “These paintings tell the story of their own making. Paint knows so much more about painting than I do.” She notes, “The landscape taught me what to look for… It was invented as a vehicle for a concept,” and the animals which appear, often incongruously, are “characters in a play who come down to the floodlights and take center stage.” They speak for the joy of the painting, for the artist discovering the painting. A devoted Vernon collector says, “Mary Vernon’s art makes me happy. It brings me joy. It makes me feel like I have a new lease on life.” Vernon’s art will make a lot more people happy when, as the 2017 Dallas Art Fair Honoree, twenty of her oil paintings on panel will grace the windows of the downtown Neiman Marcus flagship store for one month beginning March 20th. The fashionable frocks will be chosen to compliment Vernon’s colorrich fine art. “It will be my first drive-by art exhibition,” Vernon

Mary Vernon photographed by her student Luis Nanini.

says with a smile. Vernon was selected to be honoree because of her impact on the local arts community, the honors, awards, the leadership roles she has assumed, and the rich legacy she leaves. She will be retiring from a fifty-year teaching career at Southern Methodist University this year. She was chair of the Art Department from 1987–1995 and has been honored with the prestigious Meadows Foundation Distinguished Professorship and the Moss/Chumley North Texas Artist Award. Mary Vernon may be retiring, but she is certainly not retreating. “Now I get to do my real job, painting in my studio.” It will be a busy retirement for Vernon. The Grace Museum in Abilene will mount a major show of her work September 15, 2017. Valley House Gallery, which represents her locally, will be showing her work at the Dallas Art Fair and installing her one-person show in their North Dallas gallery September 20 of this year. Works can be seen locally at Cafe 43 at the George W. Bush Presidential Center, The Clements Hospital Art Collection at Southwestern Medical School, Meadows Museum, and the Dallas Country Club. The Art in Embassies program recently purchased a work for installation in Africa. Vernon may have fans worldwide, but the strongest voices are from those she has mentored while teaching. Juan Alberto Negroni, one of the 2017 SMU/MFA students under her charge and her graduate assistant, says, “Mary Vernon has been such a wonderful light to follow. Her words are precise, strong, and full of confidence, experience, and transparency. Being close to her and being able to watch her teach is nothing but a winning experience where every word and every second counts.” Vernon stresses the importance of attention in drawing, in teaching, and in life. The windows at Neiman Marcus will surely get our attention, and passers-by will go on with their day a lot happier because of Mary Vernon’s art. P

APRIL / MAY 2017



FROM THE CITY OF THE BIG SHOULDERS Blowing in from the Windy City, Chicago-based gallerist Shane Campbell comes to Dallas Art Fair.


nitially operating as a project space in Oak Park—a village on the West Side of Chicago where Frank Lloyd Wright once lived—Julie and Shane Campbell began by showing art in their family home. Primarily exhibiting the work of contemporary American artists, Shane Campbell Gallery opened its first Chicago storefront art space in September 2006. Six years later they added a new location in a Mies van der Rohe apartment in Lincoln Park, expanding exhibition options for gallery artists by once more offering a domestic space for the presentation of art while serving as a guest house for visiting artists and collectors. In July 2015, the gallery moved its primary exhibition space to an 8,550-square-foot, bowstring-truss building in Chicago’s South Loop, renovated by Urban Lab that quadrupled the exhibition space for its artist roster. James Cope: What was the impetus for starting your own gallery? Shane Campbell: My wife and I hatched the plan to open a gallery shortly after meeting in college. Once we resettled in Chicago after grad school, we showed work in our home in an effort to bring art we deemed interesting from outside Chicago. This project slowly grew into a commercial gallery in 2006 and is now located in the South Loop of Chicago. We continue to focus on exhibiting the work we want to see by artists who have an enduring effect on our lives. JC: As New York City is commonly considered the center of the “art world,” what advice can you offer gallerists or artists trying to operate in other cities? SC: Galleries and artists can continue to define themselves as not New York or they can create their own reality. Many of us get into art because of the supposed freedom it offers, but we quickly get in line whenever a hierarchy presents itself, so my advice is to follow your bliss and be vigilant in your convictions.

From left: Joanne Greenbaum, Untitled, 2016, oil, acrylic, Flashe, and marker, 60 x 50 in. William J. O'Brien, Untitled, 2015, colored pencil and ink on paper, 40 x 26 in. Alma Allen, Not Yet Titled, 2016, Bronze, 16 x 10 x 8 in. Lisa Williamson, Untitled, 2016, acrylic on collaged mat board, 36 x 24.75 x 0.13 in.; all images courtesy of the artist and Shane Campbell Gallery; photography by Evan Jenkins. Bottom: Gallerist James Cope.



JC: You are showing Michelle Rawlings, a Dallas-based artist who recently had a solo show at ANDNOW. What drew you to Michelle’s work? SC: I first saw Michelle’s paintings in person in Raster Gallery’s booth at NADA Miami in 2015. Their compressed size and saturated color absorbed me into her world, crafted from waypoints navigating the drift of everyday life. JC: How do art fairs help a gallery and its artists? SC: Art fairs are the social nodes of the art world that enable us to binge on culture and dish on the social machinations of the art world until we come together again at the next venue. They are critical for galleries and artists alike in accruing cultural capital within a compressed period of time. JC: What will you be showing at the Dallas Art Fair? SC: We will be showing new work by Lisa Williamson, Kim Fisher, William J. O’Brien, Mimi Lauter, Alma Allen, and Joanne Greenbaum. JC: What do you look forward to most about visiting Dallas? SC: The brisket at Lockhart Smokehouse. P

ABOUT JAMES COPE James Cope is the owner of AND NOW, a Dallas-based contemporary gallery. Prior to opening his gallery, he served as Director of Sales for Marlborough Chelsea and Associate Curator of The Goss-Michael Foundation. Among other projects, James advises private collections and continues to curate exhibitions worldwide.; Instagram @a_n_d_n_o_w.





nequality in the arts has always existed. The highest values, representation, and exhibition history have been unequivocably awarded to white men. So, how do you change a biased system, long established, since the advent of art history? How do you increase awareness and take on deep systemic issues? What is the role for artists in influencing societal change? Since 2014, Michelada Think Tank has sought to address these exact concerns. Its network of activists, artists, and educators stage events surrounding issues that people of color face both inside the art world and outside of it. The group, consisting of Noé Gaytán, Mario Mesquita, Shefali Mistry, Darryl Ratcliff, and Carol Zou organize workshops, discussions, and exhibitions that bring to light issues concerning representation and cultural equity. The group is represented in Los Angeles, San Diego, Dallas, and New York—all deeply diverse cities who face a swath of separate, but connected, issues when it comes to social justice. Michelada Think Tank works contextually as a means to achieve their goals. Two of its members, the outspoken, multidisciplinary creatives, Ratcliff and Zou, are Dallasites. They have labored tirelessly to better the city they

call home. Working closely with a wide range of community members and institutional partners, they have organized alternative education workshops that address such issues as displacement, allyship, and the very means for cultural practitioners to survive and thrive. Their events have bolstered a sense of community in Dallas and attempt to provide opportunity and inspire critical discourse. Michelada Think Tank’s next project is an ambitious city-wide exhibition titled Decolonize Dallas. Staged within sites not frequently visited by the local art-going crowd in Dallas such as Southwest Center Mall, Buckner Train Station, and the West Dallas Community Center, the project aims to problematize the history of Dallas and its more glossedover aspects of identity. It is with deep intentionality that the project exists outside of the context of the Arts District. Decolonize Dallas brings attention to the city’s fraught colonial history. As Michelada Think Tank elucidates, “Dallas is not Dallas, it is occupied former Mexico. Mexico is not Mexico, it is occupied former Wichita land. Uptown is not Uptown, it is occupied former Freedman’s Town.” The wide array of events and exhibitions comprising Decolonize Dallas means to

Above: Super Fantasy Mercado I installation at Vikon Village Flea Market, Garland TX., November 12–27, 2016, a fully functional pop-up art goods boutique carrying works by several artists and designers. Courtesy of Super Fantasy Mercado. Opposite: Members of Michelada Think Tank (clockwise): Darryl Ratcliff, Carol Zou, Noe Gaytan, Mario Mesquita, and Shefali Mistry. Courtesy of Michelada Think Tank.



culminate in a conversation that employs arts and culture as a tool by which challenging, but necessary, issues may be brought into the light. Working with poets, filmmakers, and graphic designers, the project takes on such issues as consumerism, gentrification, and police brutality in unexpected manners. Decolonize Dallas tells a story of the city through the lens of historical violence, culminating in an unavoidable legacy for the metroplex. The formats taken on by the artists in Decolonize Dallas exist in contrast to the expected white-cube exhibition. For example, at the Southwest Center Mall, artists Brent Ozaeta and Ha Mai are creating a pop-up store called Super Fantasy Mercado. The fully functional shop will offer affordable goods by local artists and designers, while simultaneously serving as an art installation. The project functions in an already familial framework that harkens to such exhibitions as Gabriel Orozco’s recent recreation of an Oxxo bodega at Kurimanzutto Gallery in Mexico City; or Christine Hill’s Volksboutique, a hybrid art installation/thrift store in Berlin. In Super Fantasy Mercado, visitors become active participants, as they take part in the performative act of consumerism, while simultaneously supporting the local creative community. As such, the project also perfectly suits the city that birthed both Neiman Marcus and the modern mall model that is the NorthPark Center. Decolonize Dallas is uniquely aware of context. It is a project finetuned to the city it occupies. Decolonize Dallas is an investment in Michelada Think Tank’s long game. Their mission is nothing short of transformation—to turn a critical eye to the systems that we as a community have come to take for granted. The project introduces a vocabulary and framework through which to begin talking about larger issues that often go unnoticed. It is part of a multi-year plan for the group to evoke real change in Dallas. The enviable aspiration of Ratcliff and Zou is for Dallas to become a model for what a culturally equitable city looks like. In order for this to occur, Michelada Think Tank calls for a diversification of funding sources, greater investment in the local arts community, and deeper awareness of the challenges faced by people of color. It is a project invested in and driven by potential. As Zou states, “In Dallas there has been a lot of change over the past two years, but even more work remains to be done.” Perhaps it is about time we, collectively as a community, all roll up our sleeves and get to work. P


in association with AT&T Performing Arts Center




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APRIL / MAY 2017

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Oilman, developer, film producer, and more, Tim Headington’s commitment to placing art in the community is legendary. From the Fallen Figures series, Daniel Arsham, Hammock, EPS foam, plaster, gauze, 45.25 x 117.6 x .67 in. Courtesy of the artist and Galerie Perrotin © André Morin





Anthony Howe, Lucea, outside of the new Forty Five Ten.


he term “Renaissance Man,” bandied about all too casually in most cases, could have been coined for Oklahoma-born Dallasite, Tim Headington, inarguably an example of that rarified ideal. Well known as an oilman, developer, hotelier, and movie producer, he’s lesser known for his graduate degrees in psychology and theology, his induction into the Oklahoma Hall of Fame, his co-founding of the nonprofit Headington Institute, and the list goes on. For all his accolades and accomplishments, Headington’s a famously private man, so it’s paradoxical that his deeply held commitment to public art is a major aspect of his polymath personality. The eclectic art collection at The Joule, including midcentury mosaics by Millard Sheets rescued by Headington from the Mercantile Dallas Building teardown, Tony Tasset’s monumental Eye sculpture, Anthony Howe’s spellbinding Lucea outside Forty Five Ten, Daniel Arsham’s newly installed Moving Figure, and the DMA’s recently acquired Sam Gilliam masterpiece, Leaf, are just a few pieces in the montage of his passion for public art. Headington’s primary arena is downtown Dallas, the part of the city that captured his imagination when he was young. “I remember loving the buzz of it all, the buildings, the sounds,” he says. “And today that’s the aim: to recapture and maximize that vibrancy. Our public art projects are both manifestations of and focal points for all that dynamism. The short version is that I love this city, and I love how public art engages the community, its people, and places.” Art advisor John Runyon has worked closely with Headington for ten years; their first project was curating the art collection for The

Joule, a Headington hotel. With its proximity to the Arts District, appointing The Joule with a world-class collection of contemporary art was a genius stroke, a singular finishing touch. “The vision was that The Joule would be the place to congregate, eat, sleep, and entertain, and with John’s help that vision has become a reality,” Headington says. “As we continue with new projects downtown, the art that will live in those places remains a central facet…” Runyon’s admiration for Headington is palpable. “Number one, he’s a very generous and gracious person that loves Dallas,” he says. “He truly wants to reshape downtown, and I think he’s been the catalyst for that. He understands that it’s a journey, not a race.” They agree that Dallas is increasingly an arts destination, and public art is an adjunct manifestation of that reality. “Having art in the hotel where visiting museum board members are staying, and having public work is a natural fit, and it’s adding to the experience and the theme of our growth,” Runyon says. And it was he who introduced Headington to the work of Daniel Arsham, the New York multidisciplinary artist whose Moving Figure was unveiled late last month in the Design District. The sculpture is Arsham’s largest public artwork to date, and its mischievous surreality is already turning quizzical heads; the painted cast-aluminum piece is 18 feet high and adorns the outside of Headington’s new three-restaurant complex at 1617 Hi Line Drive. Headington says, “It’s in the tradition of what Daniel does so well—it exists within its architectural context, in tandem with it. The sculpture has a dramatic presence that piques your curiosity,

APRIL / MAY 2017


Juergen Teller, Food No. 15, Hotel II Pellicano and Food No. 102, Hotel Il Pellicano, installed at Mirador inside Forty Five Ten.

compels you to stop and look around, and experience the place you’ve walked into.” Arsham adds, “For me the thing is to have the work feel and really be part of the existing architecture. When that happens there’s a question about where the artwork stops and where the architecture begins. It doesn’t necessarily jump out at you immediately, and there’s an uncanny sense about it.” Another recent large-scale work lives outside the new Forty Five Ten flagship store downtown. Anthony Howe’s Lucea is a hypnotic, kinetic sculpture, a mesmerizing visual conundrum that’s quickly become a landmark. Headington explains, “It’s kinetic, it draws your attention, and not just because it’s 25 feet tall. That was the idea with Forty Five Ten, to have that same


The lobby at The Joule features mosaics by Millard Sheets rescued from demolition.

experience of place, of it being a destination, not just a means to an end.” Anthony Howe says Headington bought Lucea soon after it was posted on his website—the stars were aligned: “Tim had this round pedestal-type shape, and he saw the dimensions of the sculpture and realized that it would be a perfect fit. It was just meant to be. I was hoping they’d turn that big eyeball so that it’s looking at my sculpture,” he ends with a laugh. Headington’s inaugural largesse benefiting the Dallas Museum of Art was announced last November when he gifted Sam Gilliam’s Leaf to the museum. Situated in the Hanley Quadrant Gallery, rubbing elbows with Jackson Pollock, Bridget Riley, and Kenneth Noland, the 3D “Drape” painting is a coup for the collection. Gavin Delahunty, Hoffman Family Senior

PATRONMAGAZINE.COM Sam Gilliam, Leaf, 1970, acrylic on canvas, Dallas Museum of Art, gift of Timothy C. Headington.


View of Tasset's Eye from within The Joule Hotel bar.

Curator of Contemporary Art, enthuses, “It’s a hybrid work in that it moves optically between the experience of painting and the bodily experience of sculpture. It’s tangible—it’s on and off the wall.” Delahunty enjoyed working with Headington; in exploratory conversations about many contemporary artists, Headington eventually asked if they owned a Sam Gilliam. “Tim said, ‘Let’s find one together, the right one,’” Delahunty recalls. “He’s very modest, but he knows his stuff.” As a philanthropist, Headington’s been a major supporter of TWO x TWO for AIDS and Art and MTV RE:DEFINE; he speaks glowingly of the causes. “Howard and Cindy Rachofsky and Marguerite Hoffman have been friends of mine for many years, and it’s been an honor to work with them and so many others to support both the DMA and AIDS research through TWO x TWO. And Dallas Contemporary has an incredible slate of original programming, and brings some very cuttingedge exhibitions to the city before they have a chance to filter through to our other great institutions.” Later this month, the Dallas Art Fair’s closing “Eye Ball” event utilizes one of Headington’s most memorable gifts: Tony Tasset’s Eye. “It’s become such an iconic feature of downtown Dallas that we saw fit to create a celebratory moment around it,” Headington says. “With the international art world convening for the fair, we enjoy hosting a final send-off that has people remembering Dallas in ways they probably didn’t expect to.” Private man, public art. P MAY Tony Tasset, Eye, 2010, fiberglass, steel, paint,APRIL 30 ft. / dia.



Ryan Anthony, Principal Trumpet at the DSO and co-founder of CancerBlows, photographed by award-winning photographer, Jeremy Lock.






An influential player of extraordinary virtuosity, Ryan Anthony blows his trumpet for cancer research along with a few legendary friends.


ith an enduring career as a soloist, educator, chamber musician, former member of the Canadian Brass ensemble, and Dallas Symphony Orchestra’s Principal Trumpet since 2008, Ryan Anthony will blow his heart out for a different reason this May. That’s when a burgeoning musical event brings legends Arturo Sandoval, The Tonight Show’s Doc Severinson, Lee Loughnane from Chicago, Rashawn Ross from Dave Matthews Band, and former trumpet players from Canadian Brass to the Morton H. Meyerson Symphony Center stage for a benefit concert called CancerBlows. Ryan co-founded CancerBlows with his wife Niki to raise funds for multiple myeloma research, a rare cancer of the bone marrow and blood the Anthony family is all too familiar with, for he was diagnosed with the disease himself in 2012. But Anthony is a man who always adapts and impresses with his flexibility, as any virtuoso must do. While performing with the world-renowned Canadian Brass, he was on the road 200 days a year, but cries from his young daughter, “Daddy don’t go,” spurred a life change in 2003. He left the ensemble and quickly became one of the most sought-after trumpet players in America. Over the years Anthony did a lot of guest principal work with Andrew Litton, but “Jaap Van Zweden made it official,” in 2008, naming him Principal Trumpet of the Dallas Symphony Orchestra. And with Niki’s creative talents, Anthony found a way to adapt

APRIL / MAY 2017



Clockwise from top left: Doc Severinson of The Tonight Show proclaimed “The greatest trumpeter in the world,” by Johnny Carson. Musician, composer, and vocalist, Lee Loughnane was one of the founding members of the band, Chicago. A Cuban jazz trumpeter known for bringing Latin influences to American jazz, Arturo Sandoval was a protégé of Dizzy Gillespie.



once again in 2012 and become even stronger with the unimaginable news. During his treatment, The Ryan Anthony Foundation, a nonprofit organization using music to promote cancer research, was realized. “Cancer and music do not discriminate,” shared Anthony who now remains in remission after a stem cell transplant and great medical care. The inaugural CancerBlows: Thirty Trumpet Legends concert took place in 2015 and raised over $1 million in cash and in-kind donations benefiting the Baylor Health Care System Foundation cancer programs and the Multiple Myeloma Research Foundation channeled through The Ryan Anthony Foundation. Anthony says of the famous musicians, “Everybody wanted to return.” So a new concert was the order along with events in other cities using the same formula. For Dallas, in addition to the CancerBlows: The Legends Return Concert and The After-Party, this year’s three-day program includes a much larger educational component and master classes held at Booker T. Washington High School for the Performing and Visual Arts. Live streaming of the Legends Concert will broadcast into a dozen cancer treatment centers. “This was Nancy Nasher’s idea. Nancy requested streaming,” he says of the philanthropist who serves as coHonorary Chair with her husband David Haemisegger. “It’s a great program.” As major sponsors, Nancy and David will install portraits of the legends captured by Jeremy Lock during the 2015 event at NorthPark Center. “His portraits of world-renowned musicians alongside the patients they are directly impacting are incredibly powerful. Jeremy, an award-winning military photo journalist, has used his talents across the globe and we are honored to provide a platform for his work while simultaneously promoting all the good CancerBlows is doing to eradicate this disease,” said Nancy Nasher. Just a decade ago, multiple myeloma was a death sentence with

a life span of three to five years. While the cancer is considered incurable and terminal, recent advances in research have greatly expanded the life span of newly diagnosed patients. In 2015, three new drugs were approved for treatment of multiple myeloma by the FDA, increasing treatment options by 20 percent. Armed with hope for the future, approximately 2,000 guests will experience the concert, and some-300 guests will be included in The After-Party festivities. CancerBlows will return to Dallas on May 10. D’Andra Simmons-Lock and Anne Stodghill will serve as co-chairs. Anthony says he’s been astounded by the support and enthusiasm from these famous musicians from the onset of his diagnosis. “Multiple players—all star soloists—are sharing the stage standing shoulder to shoulder to make a statement.” P

Ryan Anthony is also notable for his performances as a member of Canadian Brass.

APRIL / MAY 2017




The Texas sun and innovative technology play to 21st century architecture at the new Neiman Marcus at The Shops at Clearfork.


rchitect Billy Lawrence of Alamo Architects described the new Neiman Marcus at The Shops at Clearfork on Edwards Ranch in Fort Worth as a “21st-century store built with Texas flair.” The exterior is sheathed in sand-colored, precast, concrete panels that take inspiration from the woven, jacquard patterns found in fabric, and some of the panels are embedded with quartz crystals that glisten in the intense Texas sun. Deep overhangs offer relief from the rays and give a nod to Prairie architecture. The neutral interior colors are flooded with both color-corrected LEDs and natural light, softly diffused by sheer curtains. Memory Mirrors in the dressing rooms and Memory Makeovers in cosmetics make for a high-tech experience in an opulent surrounding. Whereas most stores utilize windows as show windows to interplay with street traffic in order to keep the customer’s focus inside, Neiman Marcus uses windows to create an atmosphere of light and air that gives a decided residential feel to the store. The interactive fragrance corner is a jewel box with sunlight from the windows, creating colored prisms from the multi-colored perfume bottles. Another interesting use of windows is in the intimate lingerie department. Sheer curtains take inspiration from the soft fabrics of lingerie, and give the whole shopping experience that of being in a world-class spa.

Throughout the store, luxurious fabrics in silk, mohair, and cotton are juxtaposed with the use of raw metal finishes. Interiors designed by CallisonRTKL take inspiration from the Western history of Fort Worth. Charred-wood finishes and steel construction rebar create texture on the banks in The Man’s Store; the display cabinets in the Precious Jewels Salon are made from powder-coated metal resembling the continuous lines found in branding irons. Benches and bolsters are covered in bold patterns and cowhides, and leather and suede-wrapped panels create room dividers. In the café and Cusp, Dallas artist Richard Bettinger took inspiration from patterns of light and created photographic murals loosely depicting hay, marble, and tumbleweeds. Architect Billy Lawrence spoke of the importance of art in the Neiman Marcus heritage, starting with its cofounder. “Herbert Marcus felt that with all the merchandise, the customer needed a rest for the eye. In any store you will see a painting on an important visual site line, prominently displayed with no merchandise in front of it.” And son Stanley Marcus’s legend lives on—ninety percent of the art brought over from the previous store was handpicked by the discriminating legend. The relocated collection combines with new work by artists with strong regional ties, including John Holt Smith, Carol Benson, Charlotte Smith, Matt Clark & Jackson Echols, Marcelyn McNeil, and Eric Stevens. P

Top row from left: John Holt Smith, Vertical Wildflower Sequence 6; Neiman Marcus at The Shops At Clearfork; Memory Makeovers in Cosmetics. Bottom from left: The Fragrance Room; custom mannequins at the entrance of Neiman Marcus; The Man's Store.



Col e Morgan




Dallas Design Center's Culp Associates and George Cameron Nash offer exciting contemporary art by Brad Ellis and Cole Morgan.


ack in the day, the high-end design showrooms that sold hand-carved, exquisitely finished chairs, plush down-filled sofas, and European-milled, hand-printed fabrics also sold paint-by-number art. Yes, a client would come in with fabric samples and choose a “sofa painting” based on what went with the fabrics. Thankfully, that’s all different now. These showrooms now mostly sell fine art in keeping with the furnishings they offer. But, they can take all different approaches to the art they sell. One owner, George Cameron Nash, buys art that he and his husband, Mark Williams, like. Mostly bright, involved abstracts appeal to them. And judging from client responses, others like them, too. Kelly Hardage, owner of Culp Associates, began showing art in his showroom from Craighead-Green Gallery. Currently the encaustic works of Dallas artist, Brad Ellis, are on display. Ellis was recently selected for inclusion in the U.S. State Department’s Art in Embassies Program. His encaustic and collage painting, Dash #2, is displayed in the Ambassador’s residence in Kampala, Uganda, and is featured on the cover

Above: Brad Ellis, Translations Red, and Translations Green installed at Culp Associates in Dallas Design Center. Right: Brad Ellis, Fragments from Earth #1, encaustic, oil, and rocks on panel, 58 x 46 in. Both courtesy of Craighead Green Gallery. Photography by John Oakley.




of the exhibition catalogue. “I approach each new painting with the same consistency that I’ve employed for many years now, which I refer to as “Pattern, Rhythm, and Process,” Ellis describes of his multi-step method. “The unpredictability and potential sense of discovery is very exciting and one of the main reasons why I do what I do.” In 1990, Nash and Williams were walking up Canyon Road in Santa Fe when a painting caught their eye. “Chinese red being my favorite color, I was taken in,” says George. We looked at it for three days and finally bought it on lay-away.” That was the basis for a long and profitable friendship with Cole Morgan and his wife Rina. They soon went to Antwerp to visit the artist, and a showroom exhibition was planned. “I find Cole Morgan’s work to be wonderfully abstract, full of mystery, tension, and striking, dramatic color—all waiting to get discovered.” Cole Morgan’s take on his work, ”From the realist drawings of cowboys and landscapes in the ‘70’s and ‘80’s, to the abstract paint and mixed media works since then, I have yet to find the shoe that fits. I suppose this natural curiosity is what helps me to maintain my investigative edge.” Santa Fe artist Kathleen McCloud explains his work this way, “It is as if Morgan, after many years in a black-and-white realist world of tell-all images, is relishing both color and the question. Like all urgent notes and brilliant doodles, his works capture ideas at their inception.” Kenneth Craighead absolutely sees the benefit of showing fine art in a showroom. “It is a true reflection of what the art might look like in an actual home. The art is being viewed in this professional setting many times by the homeowner and their designer, offering a great opportunity to show the diversity of hanging contemporary art both in traditional and more modern environments.” For Hardage, showing fine art in his classic modern showroom makes all the sense in the world. “Fine furniture deserves fine art—anything less is a disservice to the client and to the home.” P

Above: The venerable George Cameron Nash showroom displays the work of Antwerp-based artist Cole Morgan. Above left: Cole Morgan, ABC Blue, 2017, 25.59 x 25.59 in. Courtesy of the artist. Photography by Anthony Chiang.

APRIL / MAY 2017



She runs horses in lightning

In their first appearance at Dallas Art Fair, the esteemed Simon Lee Gallery will offer ceramic work by Mai-Thu Perret.


allas, be still, the women of New Ponderosa Year Zero see your leisure, your conspicuous consumption, and they will not fight for you. The work of the fictional female inhabitants of artist Mai-Thu Perret’s militant conclave guild will be present, at least in spirit, this month. Perret’s Crystal Frontier narrative, which works as an umbrella for multimedia and multi-disciplinary storytelling for the fictional feminist freedom fighters is more timely under the current Trump leadership. The idea of resistance, as a political notion and a constant vigilance, has become imperative, it seems. Returning to Dallas since last year’s Sightings exhibition at the Nasher Sculpture Center, the work of Perret will be included in Simon Lee’s booth at the Dallas Art Fair. “For Dallas Art Fair, we will present a focused group of works by six gallery artists from different generations: Angela Bulloch, Claudio Parmiggiani, Gary Simmons, Jim Shaw, Mai-Thu Perret, and Toby Ziegler,” said Julia Kelly-Kennedy, Artist Liaison at Simon Lee Gallery. “All of the

works exhibited reflect on the idea of shifting states and transition and the role that perception plays in our relationship to the real. Whether materialized in paint, soot, or ceramics, all the works exhibited embody time and the ephemeral.” For her show at the Nasher, Perret exhibited life-sized figurines, faceless mannequins, dressed in camouflage and wielding colorful plastic guns, silent and stoic, ready for battle. Peering into the spaces, the front glass wall was obscured with a layer of material, abstracting and veiling the collectives’ well-laid plans inside. Jeremy Strick, Director of the Nasher Sculpture Center, spoke with Perret about expanding the dynamics and scale of the artist’s performances, the way “insurgency” is complexly incorporated into her work (at times even existing free from the female Kurdish rebels that heavily inspired the work), and where Perret’s practice is heading. Jeremy Strick: I think the work that you produced for the Nasher was somewhat unusual in the way that it sort of directly addressed an actual contemporary situation. Is that right? Mai-Thu Perret: Unfortunately it seems like it’s even more sort of a situation in that it hasn’t yet appeared at all. That’s actually why we thought it would be a good idea to show these figures again. Because we just thought under the current context it would be interesting to see how they would be read. I imagine people would read them differently today than they even would a year ago. JS: So this is a situation of the Kurds and the Kurdish fighters and all of the issues all around us. This is something you have continued to follow. M-TP: I continued to follow it, but I mean in a way I think looking at these figures that this sort of feeling of insurgency is something that you can extrapolate outside of this particular Kurdish narrative. As in where we exhibit the works without explaining what the origin is or what the standing point or inspiration for this was. It could very easily be of the women, or American women or European, which I find quite interesting in a way. You think of the Women’s March that just took place. We did an artist’s talk at the gallery in London, and it actually happened on the very day that this March took place; it was two days after inauguration day. At the beginning it felt weird because Above: Mai-Thu Perret, She runs horses in lightning, 2016, glazed ceramic, 19.25 x 54.37 x 2 in. Courtesy of Simon Lee Gallery, London. Below: Mai-Thu Perret, On the coral pillow, two streams of tears. Half longing for you, half resenting you, 2016, glazed ceramic, 20.12 x 15.37 x 4 in. Courtesy of Simon Lee Gallery, London.



Here and below: Sightings: Mai-Thu Perret, 2016, Nasher Sculpture Center, Dallas, Texas, installation view. Photography by Kevin Todora. Courtesy of Nasher Sculpture Center.

APRIL / MAY 2017


Mai-Thu Perret: Zone installation view at Simon Lee Gallery, London. Courtesy of Simon Lee Gallery, London.

I thought everyone wanted to go to the march, and I wanted to go to the march, not necessarily be at the gallery talking about the work, but it worked out so that everyone, I think, went to the march and then came to the talk. It was quite fascinating in a way to sort of read it in this particular context and to see how the people of London saw it, more in terms of current politics. JS: I imagine it can be a curious experience for an artist to have work, not only that addresses a particular situation, but then to have that situation evolve in such a way that it seems to put new focus or new meaning into the work. M-TP: It’s pretty great for the work; I’m not sure it’s really great for…I mean I think it’s pretty depressing in terms of the world that we live in and, you know, our future basically. I’m both fascinated and horrified. I think lots of people, lots of artists, and lots of people in the culture would feel the same. But it is true that in these particular works…their meaning keeps on evolving as events evolve. It’s quite strange. JS: I can imagine it might have been a good, and even a useful feeling, for those who participated in the Women’s March to then come to your talk and experience the show and somehow to have that sense of, not closure, but perhaps a moment for another kind of reflection. M-TP: Yes, it was very interesting the questions that were asked and what we talked about, because it was this constant going back



and forth between engagement and the idea of retreat or having to protect yourself from current events or current news, and at the same time the sort of drive to be in touch or talking about the current historical or political situations. So like engagement and at the same time a desire for autonomy or disengagement. I think that was really interesting, to me, to see because this is something I think about a lot in the work anyway. I thought about it before the current political turn. This whole thing with the Crystal Frontier that I have been working on for quite a long time, it’s also a story about stepping out and being more involved in a way. So it was very interesting to see how people brought it up in a very sort of natural way; it was a very interesting conversation. JS: I can imagine. Again, so thinking about your show in Dallas, you spent quite a bit of time here in a number of visits. What was the significance of the show to you? How was your experience? Were there any certain particularities to the experience both before and upon the selection? M-TP: I guess for me, the specificity of the Nasher collection and the environment that the show was set in. I think it would have been a very different show had I made it for a very different museum. I think it is hard if you are invited to produce something new for a place like this and a place with such an outstanding and specific collection, not to react to it and not to want to work to somehow connect or talk

to specific works that were there. I guess for me that was sort of a very strong thing for the work. I found it interesting to be able to come back to the same place a number of times, in terms of how I interacted with the work. In effect there was a time of planning the show, there was a time of coming to realize the show, there was the opening, and then there was a time to be in the space again and work with it again in a different way with the performances, which I thought was a really great experience because usually you open the show and then you leave. And if you come back, there is another exhibition usually, so I think that was quite special. JS: That was very important for the Nasher. You say in most instances, with an artist there is a very intense period of preparing the show and installing it, and then the work remains but the artist is gone. To have you return and produce a new work in the space offered a whole other opportunity for engagement and thinking about and rethinking the work in the exhibition. It was marvelous. M-TP: Yes, and also the fact that we ended up working with local people, and you know some of them whom I am actually still in touch with. It also, I think, helped me from a personal point of view, made me meet more people, and have a better idea of what the city was like, than had I just come to install the exhibition. That was very interesting. JS: In terms of the work that will be exhibited at the Dallas Art Fair, was there any reflection upon your Dallas experience in terms of what will be seen at the fair? M-TP: Simon Lee is coming and they will bring some ceramics. I think it’s a nice compliment to what was at the Nasher to see smaller wall-based works. When I did the Nasher show, I really wanted to avoid having lots of things on the wall. Also because in a way I think I was playing with what was going on upstairs, and I thought it was nice to sort of remain within this convention of sculpture. I guess the large covered painting kind of broke that. Still, my original idea was the figures and the sculptures, and then the wall work was thought up as a backdrop in a sort of way. So it is nice to be able to show some of these ceramic works that are a regular part of what I do that wasn’t featured in the Nasher show. JS: I am curious about titles of your work. One is ceramic and the title is “again this thousand-year-old eggplant root,” which is sort of a black field with the eggs on the side. And then the other work is the fan, the red-orange fan, “she runs horses in lightning.” M-TP: I have always found the space of the titles was something completely wonderful and often under used. I mean there are artists who have great titles, but I have always thought this was a great place that could go somewhere else completely than maybe the work that was on display or that can really orient how you read a work or how you think about it. So I think it is fundamental aspect of an artwork. For the ceramic pieces because it is such a process-based practice, and I made quite a lot of them, but at the same time I really didn’t want them to be just untitled. When I began, it wasn’t the first year with ceramic, but I think in 2008 or 2007 I decided that I would use a book as a kind of repository, a place in which I would find my titles. I have this book that’s called Zen Sand: The Book of Capping Phrases for Kôan Practice. It’s a book that is like cheat phrases, for Zen monks or students of Zen, and they are basically little phrases, mini poems, almost like haikus, that the students could learn by heart and could respond to a query by the teacher. The query would be a kôan and then they would respond by using one of these lines. This

book is enormous and has endless lists of these great small lines, so I select them from the book, basically. And I like the randomness of it, I like the sort of serendipitous Zen-like magic of it, and of course I think it works very well with this sort of semi-abstract nature of these works as well, but it helps focus the mind on the work, but then at the same time it’s not overly descriptive, and it helps not to close down the reading of the pieces. And then with these particular works I was thinking a lot about the shaped canvas when you are painting and how you could play with the ceramics to do things that work in that fashion, but because it is ceramics it reads completely differently than if it were a painting on the wall. JS: I found a sort of art historical reference in these works, transformed into a different medium and different dimension. M-TP: I think it’s very much about very classic modernist abstraction, like Barnett Newman or Ellsworth Kelly, but I think when it becomes ceramic, it becomes somehow so much more earthy. There is a physicality to it that is utterly different than what you would get from canvas. I have always loved abstract painting, while having a lot of problems while making proper abstract paintings. I started out making paintings and always having a very hard time with the result. And so, I think in a way sort of funneling that insecurity or feeling of failure basically into a different material has always been a successful way for me. So whether it’s a tapestry or a ceramic, it sort of enables me to deal with these kinds of art historical, classic modes in a way that I would find too problematic to try to replicate or deal with in actual canvas and paint.

With the Dallas Art Fair in its ninth year, it has established itself into one of the country’s premier fairs, highlighting Dallas Arts Week, the busiest time for the North Texas arts community. With the inclusion of Simon Lee Gallery in this year’s fair roster, Perret’s work will return to a city that championed her last major museum show. It’s an additional sign of how much the fair has grown in size and scope, incorporating performance with a mid-career artist, whose work is outside the box of the fair’s commercial paradigm. P

This page: Mai-Thu Perret, Again this thousand-year-old eggplant root, (2016), glazed ceramic, Part one: 28.37 x 22.62 x 1.62 in. Part two: 28.37 x 5.75 x 2.12 in. Overall dimensions: 28.37 x 28.37 x 2.12 in. Courtesy of Simon Lee Gallery, London.

APRIL / MAY 2017


ACQUIRING MINDS Local collectors share insights on available work at the Dallas Art Fair’s 9th edition.


ach April, the Dallas Art Fair transforms the cultural landscape in North Texas when galleries from around the world join local stalwarts, bringing area audiences a cornucopia of exceptional contemporary art. This annual spring migration to Dallas, now in its 9th iteration, has also generated a new group of collectors energized by what they are seeing. Patron checked in with a few of them about their prior Dallas Art Fair acquisitions and invited them to share notes on available works of interest from the 2017 exhibitors. Molly Bruder has contemporary art encoded in her DNA. She is the daughter of Becky Bruder, a former art advisor and one-time business partner with Dallas Art Fair co-founder Chris Byrne. Over the past 10 years, she has come to appreciate the regular visits to museums and galleries she made as a child in the company of her mother. The early exposure paid off for Molly and her sister Anne, who followed in her mother’s art-enthused footsteps. Anne currently resides in New York, where she works for Worth Art Advisory. Newly engaged, Bruder says that she and her fiancé enjoy acquiring work by younger artists. She credits her sister with bringing her to art fairs in Miami and Basel, as well to the local event. At last year’s Dallas Art Fair, they bought Margaux (Maggie) Ogden’s Mass Sext from Johannes Vogt Gallery of New York. “We were drawn to the whimsicality of it, and we just had a visceral reaction to it,” she says. This year’s fair will be especially meaningful for Bruder. “We want to treat ourselves to a piece of art together. We are excited to buy our first piece as a soon-to-be-married couple,” she says. There are several galleries they look forward to visiting at the fair, including

CANADA Gallery from New York. Bruder is specifically interested in Katherine Bernhardt’s painting, KB2016-135. She says, “I love all of Katherine’s work. We purchased two of her pieces at the Dallas Art Fair last year, and I have continued to follow her ever since. Her work is playful and refreshing to the eye.” The couple is also eyeing two paintings from other New York galleries. These include Sarah Dwyer’s Cattywampus from Jane Lombard Gallery and Austin Eddy’s AE016 from Taymour Grahne Gallery. Bruder says, “Sarah Dwyer is one of my favorite abstract painters working today. I love her use of color and surfaces, and Cattywampus is particularly reflective of that. She has a lot of energy and movement in her paintings, which I am always attracted to.” Regarding Eddy’s work, Bruder says, “I admire his use of outsider artist language to create an abstract painting. I am drawn to his bold shapes and colors, and he has a distinct style.” Bruder is also looking forward to visiting Jessica Silverman Gallery to see TP2 Eastbound by Hugh Scott-Douglas. “I am intrigued by the medium he uses to print trade routes onto his canvas,” she says of his work, which is comprised of a UV-cured inkjet print and digitally printed polyester resin on canvas. As part of this year’s fair, the Bruder sisters and several cousins are hosting a private cocktail reception for young art patrons and collectors. As she explains it, “My sister, my cousins, and I grew up around art, and we would love to share that enthusiasm with others. The Dallas Art Fair is a wonderful starting point for looking at art. The best thing about it is its intimate size, as compared to other art fairs, which provides a wonderful opportunity to meet these great gallerists.”

From left to right: Katherine Bernhardt, Untitled, 2016, acrylic and spray paint on canvas, 72 x 60 in., courtesy of CANADA, New York; Austin Eddy, Flying-Fingers, City-Face, (Bubble Gum Bubble), 2016, oil stick, Flashe on paper on canvas, 59 x 44 in., courtesy of Taymour Grahne Gallery; Sarah Dwyer, Cattywampus, 2016, oil on linen, 55.91 x 51.97 in., courtesy of Jane Lombard Gallery; Hugh Scott-Douglas, TP2 EASTBOUND, 2016, UV cured inkjet print, digitally printed polyester resin on canvas, 53 x 40 in., courtesy of the artist and Jessica Silverman Gallery. Opposite: Molly Bruder acquired Margaux (Maggie) Ogden’s Mass Sext, 2016 from Johannes Vogt at the 2016 Dallas Art Fair.




molly bruder

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Gowri and Alex Sharma with an outstanding untitled work by Nabil Nehas purchased from Dubai-based Lawrie Shabibi Gallery at Dallas Art Fair.

alex & gowri sharma 84


“Early on we started making the Dallas Art Fair a hooky day on Friday,” says Gowri Sharma. She and her husband, Alex, have an eclectic collection that began with traditional Indian work. At this point, it spans continents, artists, and media, many discovered at the fair. And the process of learning about new work is as exhilarating as its discovery. They are also excited to see new work each year, especially with the continuing influx of galleries from abroad. The Sharmas are careful collectors. “We often start with a small piece by an artist and live with it. Then we think, ‘Oh, if we can just get a big one,’” Gowri says. In some cases, the big one still manages to make it home with them. Such is the case with the work by Nabil Nahas that they purchased at last year’s art fair from the Dubai-based gallery, Lawrie Shabibi. “We both fell in love with this,” Gowri says. “It’s a piece of art that takes you to a different place,” she says of the work. Its provenance is equally exciting. “Contemporary Middle Eastern art is so new. It’s so ground floor,” says Alex. In previewing available work, Gowri says, “I wanted to show the range and variety available.” There are six works in particular that the Sharmas are drawn to. Among them is Pietro Ruffo’s Migrazioni 6 (Asia) from Galerie Italienne Paris. Of this work, Gowri says, “I like the detail of the drawing inside, the curious butterfly-like shape, and the variety of materials used. After looking at it for some time, it occurred to me that the shape of the splayed part is that of a globe, with the meridian lines creating the grid. I initially thought this was a

small piece until I read that it was over 91 inches long.” Another work, Triple Oscillation by James Clar, represented by Jane Lombard Gallery, also appeals to Gowri, who says, “It is static and dynamic at the same time. The interplay of the color choices and positions add another layer of dimension to it.” Tim Van Laere Gallery, from Antwerp, is featuring two other works that attract the Sharmas: Little Voices by Peter Rogiers and The Lonely Boat by Ben Sledsens. “There is something theatrical about the poses of each figure and their relationship to each other. The juxtaposition of the rough human/animal-like figures to the smooth and elegant Corten steel base makes for a very interesting complete sculpture,“ says Gowri. Of The Lonely Boat, she says, “This beautiful moody piece seems familiar since it has elements in it that reference some of the great modern artists.” Lundgren Gallery in Palma is bringing Rannva Kunoy’s History. Gowri says, “I love the ethereal quality of this painting due to the way the paint has been applied and worked on. The color reminds me of an old x-ray.” Alex adds, “Her painting seems to contain so much. It could be a very interesting exercise trying to peel back the layers and figure out the metaphor and allegory contained within.” The Sharmas have attended art fairs all over the world, but are most impressed with this one. “There is a camaraderie in Dallas. It’s a testament to what Chris (Byrne) and John (Sughrue) have done,” they conclude.

Clockwise from top left: Ben Sledsens, The Lonely Boat, 2016, oil, acrylic, chalk and spray paint on canvas, 86.61 x 76.77 in., courtesy of Tim Van Laere, Antwerp. Pietro Ruffo, Migrazioni 6 (Asia), 2016, ink and cut outs on canvas laid on panel, 47.6 x 91 in., courtesy of Galerie Italienne Paris. Rannva Kunoy, History, 2016, acrylic on linen, 70.87 x 55.91 in., courtesy of Lundgren Gallery and the Artist. Peter Rogiers, Little voices I, 2016, black patinated bronze, Corten steel, 51.18 x 60.79 x 31.29 in., unique, courtesy of Tim Van Laere, Antwerp. James Clar, Triple Oscillation, 2016 LED lights, filters, 74.8 x 74.8 in., courtesy of Jane Lombard Gallery.

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Beginning with their first wedding anniversary, Laura and Michael Doak have been buying art together rather than exchanging gifts. This year marks their eighth anniversary. But their collection reflects more than anniversary gifts. Inspired by Picasso’s quote, “Art washes from the soul the dust of everyday life,” the couple enjoys spending time visiting galleries and auction houses. Dallas Art Fair, they say, also provides “a very efficient means of seeing lots of art and galleries.” Having recently returned to this area after several years of living on the East Coast and abroad, last year was the couple’s first year to attend the Dallas Art Fair. They went with their friends Bill Carr and Michael Pappas, whose encouragement was infectious. It was there that Laura saw Line of Reason by Yamini Nayar in the booth of San Francisco-based Gallery, Wendi Norris. One of its interesting aspects is its process. “She builds a diorama using found objects. You can see some things that are familiar but very abstract. She takes an aerial photo of the diorama. She then destroys the original diorama and rebuilds it,” Laura explains. The new rendering, which she then photographs again, creates a new, dimensional abstract work. “I think this is the most interesting, thoughtful work we have bought,” Michael adds. Commenting on work at this year’s fair, Laura says, “One work that stood out will be on display at Tim Van Laere Gallery. It is a charcoal work called Robert Always Resisted Giving Any Kind of Explanation, by Rinus Van de Velde.” They are also fans of Ronchini Gallery, where Michael looks forward to seeing the work of Gianpietro Carlesso. He says, “Carlesso’s Curvature series contemplates infinity, and this piece in marble looks stunning. Sculpture is even tougher than two-dimensional artworks to assess

through an image, so we can’t wait to see it in person.” Laura looks forward to seeing the work of Paolo Serra, also at Ronchini. From Taubert Contemporary, the couple looks forward to Methadone by Beate Geissler and Oliver Sann. “Methadone provides immediate visual interest—bright, cherry red, viscous, and beautiful. But beneath this interesting image, one confronts its darker title, which is timely with the epidemic of opioid addiction in our country. And as we understand it, the artists—who are a couple—created the piece in reflection of our dependence on oil and fossil fuels,” they say. “Among more established artists, we will take a look at Ellsworth Kelly’s Color Square 2 at Talley Dunn Gallery and Tracy Emin’s Its different when you Are in Love at Lehmann Maupin. In the case of Kelly, it is a typically minimalist, five-color lithograph. In the 1990’s era of Young British Artists and Charles Saatchi’s collection, Emin was one of the first young artists we became aware of. These days, she is part of the firmament, and this neon piece is characteristically confessional and intimate,” Michael explains. For the Doaks, the thrill of discovering and acquiring new work is just the first step. Part of the pleasure they derive is in rotating their collection, allowing them to create new experiences in different environments. From there, Michael says, “We are always thinking about what to discover and learn about next.” In speaking with these collectors, they appreciate the top-flight exhibitors and breadth of strong work at Dallas Art Fair, noting its tremendous benefit to the city. They also emphasized the importance of local institutions—Dallas Contemporary, Dallas Museum of Art, and Nasher Sculpture Center—all beneficiaries of Dallas Art Fair and organizations vital to the cultural life in the area. P

Clockwise from left: Geissler & Sann, Methadone, 2016, inkjet print, framed, 39.4 x 47.2 in., courtesy of Taubert Contemporary, Berlin; Ellsworth Kelly, Color Squares 2, 2011, 5-color lithograph, Edition of 60, 9 x 33 in., courtesy of Talley Dunn Gallery; Rinus Van De Velde, Robert Always Resisted Giving Any Kind of Explanation, 2016, charcoal on paper, 66.93 x 66.93 in., courtesy Tim Van Laere Gallery, Antwerp. Tracy Emin, Its different when you Are in Love, 2016, neon, edition of 3, 36.95 x 118.11 in., photo: EPW Studio/Maris Hutchinson. Copyright Tracey Emin. All rights reserved, DACS 2016, courtesy of Lehmann Maupin, New York and Hong Kong. Gianpietro Carlesso, Curvatura Quindici, 2011, Lasa marble, 17.32 x 42.13 x 27.56 in., courtesy of the artist and Ronchini Gallery.



michael & laura doak

Michael and Laura Doak with Line of Reason by Yamini Nayar acquired from Gallery Wendi Norris at Dallas Art Fair.

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OF MYSTICAL MASTERFUL MEASURE Dreams and Illusions define the work of contemporary artists collaborating with Dallas Symphony Orchestra.


combination of the Spanish words for sun (sol) and moon (luna), Dallas Symphony Orchestra’s annual SOLUNA festival brings together music, performing, and visual art to create an immersive, holistic experience. Now in its third year, the 2017 Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival debuts May 15 with a program based around the theme, “Dreams and Illusions.” Featuring a roster of international and local participants, the festival places the viewer front and center in a series of hallucinatory, participatory events that dance between reality and the sublime.



Left: Arnold Chang and Michael Cherney, After Mi Fu, 2010. Right: Henri Scars Struck at Le Grand Palais by Charles Kessous.

WE KNOW YOU’VE GOT SOUL On May 16, the Crow Collection of Asian Art opens We Know You’ve Got Soul, a soundscape installation by Grammy Awardwinning French composer and pianist, Henri Scars Struck. Struck, who has worked with the likes of De La Soul, Madonna, and Alicia Keys, is known for his original soundtracks—highly sought after in the fields of music, fashion, and visual art—and his sitespecific soundscapes, which have been displayed at the Chateau De Versailles, Notre Dame De Paris, and National Geographic Museum in Washington, DC. At the Crow, Struck presents a composition inspired by the journey of the soul through life and the afterlife, taking visitors through various stages—earthly life, death, purgatory, and beyond—as they traverse the galleries. Beginning on the first floor, the piece is grounded by the collaborative works of Arnold Chang and Michael Cherney, which blend photography and painting to

create imaginative landscapes that call to mind historical Chinese painting, mythology, and the notion of witnessing “heaven on earth.” Further into the museum, visitors will encounter works from the permanent collection that speak to positive and negative judgment in the hereafter, culminating in the final gallery, which contains an exhibition about the afterlife. As visitors move through the space, Struck hopes that they will take the time to disconnect from the chaos of daily life and think about their own spiritual beliefs: “I hope that visitors walking through the Crow can forget their problems, reset their minds, and enjoy the exquisite artwork before they look at it on their smartphones, and maybe ask themselves, without any pretension, what they would change in their lives if they knew with certainty that an afterlife is real.”

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Colours by Nominoë will be on display from May 16 to 21 at Nasher Sculpture Center. Courtesy of Light Cone.

The University of Texas at Dallas School of Arts, Technology and Communication, in conjunction with French experimental film preservation and distribution non-profit, Light Cone, present Ultra Seeing: The Mandala Pattern at the Nasher Sculpture Center, featuring a screening of abstract films by legendary experimental filmmakers Jordan Belson, Bruce Conner, Adam R. Levine, Joost Rekveld, and James Whitney; a live performance by Denton-based artist Martin Back; and an immersive installation by French collective Nominoë. Belson’s kaleidoscopic images are set to music by visionary sound artist Henri Jacobs, while the poetic footage of Bruce Conner is augmented by the hypnotic pulse of Terry Riley’s In C. Back resurrects his own 2005 piece, Performance For No One, with a live cinema performance in which he manipulates various pieces of recorded video footage in real time via a digital computer and external hardware tools, simultaneously affecting image and sound. The artist likens his performances to that of a DJ scratching a record, manipulating existing material through a series of studied and intuitive actions. Inspired by pioneering experimental video artist Steina Vasulka, whose investigations into analog and digital processes sought to establish an electronic syntax that could then be altered through mechanical and physical interactions with the body, Back’s work is a dance between man and machine, a continual regurgitation and recontextualization of information to form a new visual and auditory language.




DREAMSPACE Two other local artists, Frank and Lee Dufour, will showcase an interactive audiovisual installation at the Meyerson Symphony Center. The duo, known collectively as Agence 5970, specialize in works that explore the collision of perception and representation, combining their separate professional experiences into a wholly unique expression of the dynamics of time, space, memory, and dreams. Frank is a professor at The University of Texas at Dallas, in the School of Arts, Technology & Emerging Communication, who specializes in sound design and interactive digital art, while Lee has a background in trend scouting, creative marketing, and brand consulting for luxury markets such as fashion, health and beauty, and home décor and textiles. Together, the two create immersive, audience-driven installations that marry technology with the physical presence of the body through reactive and recursive systems in which the viewer affects the audiovisual content. Agence 5970 has staged two previous productions in Dallas. The first, Acoustic Shadows, at the Dallas Museum of Art, was based on a modern interpretation of the myth of Orpheus, whose failed attempt to rescue his wife Eurydice from the Underworld resulted in him losing her forever. The second, DREAMARCHITECTONICS, at the Dallas Contemporary, explored the structure of oneiric time as it relates to movement and memory, positing that dreams are influenced by the physical movement of the dreamer’s body, creating a fleeting mental and physical feedback loop that echoes upon waking. For SOLUNA, the pair will present a further examination of this phenomenon with DreamSpace, a series of short, non-linear, dream sequences affected by audience input. The experience is designed to create the sensation of attempting to recall a dream, making “the viewer aware of the fragile and fugacious sensation of space and movement occurring in dreams by infusing into the performance space a state of reverie, or meditation, favorable to the exploration of the temporal structure of dreams.” The production consists of a large-scale video projected onto the architectural feature in front of the Meyerson Symphony Center and a three-dimensional sound system that defines the interactive space. Agence 5970 also commissioned fashion designer, Charles Smith II, to create wearable poetry for dancers from The Bruce Wood Dance Project, which audience members will read aloud. As the texts are spoken they are analyzed according to the acoustic and temporal signature of the reader’s voice, thereby affecting the visual and musical output to create a space in which the imaginary and the real enter into an intriguing dialogue.

Both images: DreamSpace, stills from an interactive audio-visual installation. Courtesy of Frank and Lee Dufour.

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TRAVELING LADY Much like its inspiration, nineteenth century journalist Nellie Bly, a Colombian-born artist, Jessica Mitrani’s film-meets-liveperformance opus, Traveling Lady, has toured the globe. Bly, known for her 72-day trip around the world, during which she famously carried nothing but the clothes on her back and a small bag filled with toiletries, serves as the source material for Mitrani’s piece about an ever-changing figure on a journey of physical, psychological, earthly, and cosmic, self-discovery. Mitrani says she is attracted to Bly in that “she represents the idea of a portable femininity. The allure of being mobile while still retaining the essential, ideal packaged femininity is something you can see in the pages of fashion magazines today. After discovering this photograph [of Bly], I created a universal “manual” for traveling. The manual I conceived contains rules and instructions for movement. The performance is based on the aesthetics and ideas



emerging from this invented manual.” Traveling Lady features Spanish actress Rossy de Palma performing against a surreal, black-and-white collaged landscape swirling with images of a Bly-esque figure (also played by de Palma) moving through time and space, outfitted with costumes that reference Mitrani’s ongoing fascination with fashion as a social and aesthetic construct of femininity. Since 2014, the piece has been shown in various locations and iterations, both with and without the performers. Mitrani anticipates that the SOLUNA performance of Traveling Lady will take on a new meaning for this particular audience, given the current political tenor of the country, and rampant governmental misogyny. Still, she hopes that the biggest takeaway from the performance is “to keep the freedom of spirit of Nellie Bly and to question the expectations that our own time imposes on us.”

All images: Traveling Lady, 2014, Jessica Mitrani, Florence Gould Hall, New York, for Crossing The Line. Photo by Sasha Arutyunova.

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PIA CAMIL On April 7, the Dallas Contemporary will open an exhibition by Mexico-City-based artist Pia Camil, whose work addresses issues of commerce and trade, particularly the hidden, human-driven exchange of wearable, factory-produced goods between the United States and Mexico. Curated by Justine Ludwig, the Contemporary’s Director of Exhibitions and Senior Curator, the exhibition will showcase a mixture of new and old works. Included are selections from Espectacular, her series of hand-dyed and stitched canvases that reference the billboards and posters of Mexico’s urban landscapes; “espectacular,” is the colloquial Spanish term for “billboard.” The term also refers to the English “spectacular” or “spectacle,” with the canvases serving as

metaphorical stage curtains that operate as physical barriers within the gallery, forcing viewers to “perform” as they navigate under or around them: performer, shifting to observer, and back again. Elements of the Camil’s 2015 exhibition, Skins—curated by Ludwig at the Contemporary Arts Center, Cincinnati—will also be on display. In this body of work the artist utilizes wall-mounted wooden slats similar to those found in retail displays, to recreate the forms of Frank Stella’s iconic Copper Paintings of the 1960s. The original intent of the slats is underscored by the inclusion of garments and ceramic pieces modeled after jewelry displays, which hang from hooks or sit on shelves. The confluence of fine art and commerce speaks to art as a commercial venture (with the artist a

Top: Pia Camil, installation view, The Little Dog Laughed, 2014, courtesy of the artist. Lower: Pia Camil, A Pot for a Latch, 2016, metal grid panels with donated objects from the public, 3m x 3m, photo: Maris Hutchinson / EPW Studio. Courtesy of the artist.



producer of commodifiable goods), as well as the visual aesthetics of retail spaces and the predatory nature of displays. Tactility is a large focus of Camil’s work, whether through the actual rubbing of fabric against skin or the passing of object from hand-to-hand, her concern is grounding the seemingly abstract in reality. For SOLUNA Camil will rework her 2016 interactive performance, Divisor Pirata, in which participants don a massive tarp made of t-shirts sourced from open-air markets in economically depressed areas of Mexico. Camil deliberately selects mass-market shirts that are produced in Mexico for distribution in the United States, each emblazoned with a slogan, graphic, or logo that speaks to the irony of using a commercially produced item to convey a message

about a person’s individuality and/or belief system. Although the shirts are distributed in the U.S, they eventually make their way back to Mexico via clothing donation, resale, or smuggling, where they then make their way back into the local economy. The journey of each t-shirt—between countries and people— is placed front and center as the tarp is worn and walked through the streets, further heightened by the knowledge that they have been transformed into a roving, politically woke, art object. It’s a physicalization of SOLUNA’s theme, “Dreams and Illusions,” rendering transparent invisible economies and people, and the illusiveness (or illusion of) the American dream. P

Pia Camil, Entrecortinas. Performance at OMR Gallery, Mexico, 2014.

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A PEDIGREED HOUSE A midcentury home by Arch Swank and reimagined by Bodron+Fruit blends seamlessly with art and original furnishings from design icons.





and Horowitz and Shayna Fontana had a fond appreciation for Perry Heights, a charming historic single-family neighborhood close to downtown. But they were also drawn to modern design, so when a rare midcentury modern house actually became available in Perry Heights, they immediately called. Something about the line of the roof and the exact placement on the lot made them think an architect must have done this. Little did they know they were buying one of the few Arch Swank homes left in Dallas. Swank was a protégée of O’Neil Ford, worked with the master in the late thirties, and then went on to design some buildings of Parkland Hospital, two Neiman Marcus stores, and Stanley Marcus’s residence among others. Not only did their house have the prestige of being built by a master architect, they realized the great Ray Entenmann—known as the father of local Japanese landscape architecture—had designed their backyard. The Harvard-trained Entenmann, at one time the director of the Modern Museum of Fort Worth, studied under garden master Kinsaku Nakane where he learned the principles of a Japanese garden—that it be organic, simple, and neutral, that it integrate the landscape, not

stand out from it. Horowitz and Fontana retained the original design—they just enhanced the landscaping around the setting. It is a peaceful haven for them to entertain, read near the fountain, and offers an official playground for their two-year-old son Oliver. The bones of the 1954 house were good, but a previous owner had added some extra layers, and they wanted to restore it to the original design, but update it for today’s living. They interviewed many of the talented local architects but Bodron+Fruit stuck out as having a special appreciation for architectural preservation. And for them, it was an honor to work on a house done by one of Dallas’s more notable modern architects. Says Fruit, “Before Swank had his own firm, he was partners with O’Neil Ford, and they did one of my favorite houses in Dallas—the Bromberg house. One of the things that Swank might have picked up from Ford was the importance of craft and detail to a design. This house has a fantastic serpentine brick wall out front that is only one brick wide.” Bodron+Fruit approached the house as they do all of their remodel projects. Says Fruit, “First, we study the house and all of the original documentation. We were lucky to have Swank’s original drawings to

This page: The late master gardener Raymond Entenmann designed the backyard’s original landscape with outdoor furniture by Richard Schultz and Philippe Starck. Opposite: Rand Horowitz, Shayna Fontana, and their son Oliver look out from the living room.

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This page: (above) The staircase with original metal banister, fronted by a vertical element designed by Svend Fruit; Moon Pendant lighting by Verner Panton. (below) Helen Frankenthaler’s Dream Walk lithograph hangs over the Como sofa by Giorgio Soressi; coffee table by Adrian Pearsall. Opposite: The living room with Richard Serra’s Reversal I and II are installed above an Edward Wormley sofa; original Hans Wegner chairs; coffee table by Michael Coffey.



go by and provide details. Second, remove all of the subsequent remodelings, finishes, and work that have been done to the house to get back to the original intent. Third, come up with a design that honors that original intent and also brings the house up to today’s standards.” They recognized the importance of maintaining the exterior design, but opened up the second floor by raising the roof 18 inches, thus allowing for lots of natural light in a tree-houselike setting. Although the walls were taken down to the studs, the footprint remained almost the same. Downstairs, important elements were retained, like the curved metal banister and original windows, but an interesting vertical architectural detail both opens up the staircase and leads you into the living room. Shayna Fontana is a professional photographer and Rand Horowitz is a developer, but they share an interest in modern design. He got a little intense in being true to midcentury originals

and wanted only to purchase original manufactured designs from icons like Georg Nelson, Hans Wegner, Finn Juhl, and Edward Wormley. “Shayna softened the home and brought warmth with more unique finds and bohemian found art.” In the living area, highly textured rugs on the wood floors complement the sleek finishes on furniture and surfaces. A seating arrangement of an original Edward Wormley sofa, Hans Wegner chairs, and a Michael Coffey table is framed by a vintage Moroccan rug. The abstract painted column table is by Renaldo Sanguino. Local wood artisan Dan Phillips designed both the wall unit in the den and the dining table. The dining room rug is by textile artist Jan Kath. Both Horowitz and Fontana have a strong interest in the arts, and are using their home as an opportunity to take art collecting seriously. Their first acquisition was the Ed Ruscha Drops in the living room. “He’s our personal favorite and put us

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Above: Ed Ruscha’s Drops installed above a Cassina chair. Below: Sexy Sixties Snug, acrylic on spandex and wood by Dallas-based artist Samantha McCurdy; dining chairs by Finn Juhl from Collage; custom dining table by Dan Phillips; Jan Kath rug.



Above: John Baldessari’s Keys (with intrusion) is situated over a bench from Motley in Los Angeles. Below: A custom wall unit in the den designed by Dallas furniture maker Dan Phillips.

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This page from top: Master bedroom with a vintage oil on canvas painting, artist unknown; Eero Saarinen chair from Sputnik Modern; ceramic rabbit by George Sellers. Below: Oliver’s room with a pendant lamp by Poul Henningsen for Louis Poulsen from Collage; an original Herman Miller lithograph poster. Opposite: Outdoor sitting area with Bubble Club sofa and armchair by Philippe Starck for Kartell.

on the ‛collecting’ trajectory,” says Rand. Particularly timely are the Richard Serra paintings in the living room. They visited the Gemini G.E.L. studio in Los Angeles and actually watched them produce some of the featured Paintstik work. “We were already fans of Serra’s sculpture work and really loved the Reversals series. Again, we are amateur collectors so it was pretty cool seeing this series on exhibit at Nasher.” A Moon Pendant by Verner Panton lights the entry. The painting is by John Anthony Baldessari, an American conceptual artist known for his work on found photography. Sexy Sixties Snug, a sculptural painting in the dining room is by local artist Samantha McCurdy—the couple chose the colors. The den, with custom



cabinetry by Dan Phillips, has Helen Frankenthaler's Dream Walk over the sofa. The light-filled master bedroom on the second floor has a tree-house atmosphere with the extra space created with the remodel. A vintage abstract is over the bed; the long chest across has a ceramic rabbit by George Sellers and a graphic painting by John-Paul Philippe, whose design aesthetic has been at the forefront of the Barney’s New York store concept design and interior art throughout the United States and Japan. An original Herman Miller lithograph poster is over Oliver’s bed. We have a budding art collector in the making. P

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LOCAL COLOR The work of Dallas-based artists shine paired with statement-making accessories.



On location at The Box Company; Stylist: Mary Sze; Lighting: Brad Baker; Set Designer: Kristen Richter. This page: Phillip Denker, Squeeze Board, 2015, Laminated PVC foam, react-text, 77 x 56 x 1 in. Courtesy of the artist and Circuit 12; Gucci leather cherry pump at Forty Five Ten on Main; Gucci Lilith snakeskin top handle bag at Gucci at NorthPark Center. Opposite: Kevin Todora, one eye jack, 2016, direct inkjet on MDO, 45.5 x 29.5 in. Courtesy of the artist and Erin Cluley Gallery; Thom Browne crab motif clutch at Forty Five Ten; Thom Browne detachable strap mini tote at Forty Five Ten. In table of contents: Luke Harnden, Untitled, 2014, acrylic on canvas, 40 x 30 in. Courtesy of the artist and Barry Whistler Gallery; Marc Jacobs 80's interlock courier bag at Forty Five Ten; Fendi mini bag bug charm at Stanley Korshak.

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Paul Winker, Upstream, 2014, acrylic and enamel on canvas, 48 x 48 in. Courtesy of the artist; Christian 106 PATRONMAGAZINE.COM Louboutin python Madame Menodo at Neiman Marcus and Christian Louboutin at Highland Park Village

Zeke Williams, Flower Disaster (blue, black, grey), 2017, acrylic on canvas. Courtesy of the artist and Erin Cluley Gallery; YSL LouLou metallic handbag at Neiman Marcus; YSL ruffle pump at Forty Five Ten

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Francisco Moreno, Rojano, 2016, acrylic on canvas 76.5 x 53.25 in.Courtesy of the artist and Erin Cluley Gallery; Prada Vernice Fiori pump at Neiman Marcus; Loewe denim patchwork clutch at Forty Five Ten.



Carlos Don Juan, Untitled Pyramid, 42 x 49 in. Courtesy of the artist and Kirk Hopper Fine Art; Fendi peekaboo red bag at Stanley Korshak; Fendi Strap You shoulder strap at Stanley Korshak.

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This page: Timothy Harding, 64" X 52" on 48" X 36", 2015, acrylic on canvas, 53 x 40 x 10 in. Courtesy of the artist and Cris Worley Fine Art; Miu Miu satin and metallic platform and leather bucket bag at Forty Five Ten. Opposite: Giovanni Valderas, Ay Te Miro (See You Later), 2016, wood, acrylic, mulberry paper, 36 x 48 in. Courtesy of the artist; Maison Margiela silver dramatic boot at Forty Five Ten.



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Fendi Dallas Grand Opening at Highland Park Village Photography by Rick Kern




Brooke Davenport

Capera Ryan, Courtney Smith

Lucy Wrubel, Todd Fiscus, Ceron

Jane Aldridge, Tina Craig

Krystal Schlegel, Amy Havins, Lynsey Eaton, Courtney Kerr

Lisa Cooley, Tanya Foster

Emily Summers, Caroline Summers

Stephen Summers, Elisa Summers

Jan Strimple, Susan Posnick

APRIL / MAY 2017




Magnolia scene with Booker T. Washington

Regina Taylor

Kimi Nikaidoh, Katie Cooper, Alex Karigan Farrior

Dean Fearing, Wanda Gierhart

Remy Jaster, Dennis Coleman

Becky Young, Wolford McCue


3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 Left: Donald Sultan, Early Morning May 20 1986, 1986. Latex and tar on tile over Masonite. 96 x 96 inches. Private collection, New York Right: Katherine Bernhardt, Untitled, 2016 (detail). Acrylic on canvas. 90 x 120 inches. Courtesy of the Artist and CANADA LLC



Donald Sultan: The Disaster Paintings February 19–April 23

FOCUS: Katherine Bernhardt April 8–July 9


Bill Hutchinson

Rob Dailey, Brian Bolke

Celia Rogge, Jim Showers and Jan Showers

Muffin Lemak, Julie Hawes

Moll Anderson

George Cameron Nash, Kimberly Williams, Mil Bodron

Mary Ella Gabler, Jason Needleman

Kenneth Craighead, Richard Losch

Kurt Anderson, Gonzalo Bueno

APRIL / MAY 2017




Kimberly Schlegel Whitman

Dan Faber, Kathleen Wu

Don Winspear, Ellen Winspear



Lynn McBee, Allan McBee, Capera Ryan

Tim Goss, Joyce Goss

Nancy A. Nasher, Christen Wilson

Chris Byrne

Kristen Gibbins, Rachel Roberts

Charlie Anderson, Moll Anderson


Kristin Kline

Ben Fischer, Laree Hulshoff

Michael Tregoning, Julie Tregoning

Jo Marie Lilly

Barbara Daseke, Brian Bolke

Will Kline, Luke Kline

APRIL / MAY 2017





Jane McGarry, Tiffany Derry

Dawn Greiner

Bonnie Shea, Nathan Shea

Ben Abbott, Scott Murray

D’Andra Simmons-Lock, Jeremy Lock

Suzanne Warner

Georgia Lyons, Marc Lyons

Lili Boulogne, Jamie Jo Boulogne




Kip Tindell

Jessica Nowitzki

Joyce Goss, Lynn McBee, Gowri Sharma

Mark Haidar, Caryl Stern

APRIL / MAY 2017





Beloved by Dallas collectors, Marlborough Chelsea has evolved into Marlborough Contemporary in a pond-crossing partnership with its London counterpart.


n 1946, Marlborough Fine Art was founded in London by Frank Lloyd and Harry Fischer. A second gallery was opened on 57th Street in 1963. Additional venues in Barcelona, Madrid, Monaco, and Santiago followed, and it ultimately became the very embodiment of the “blue chip” gallery. Marlborough Chelsea, which opened in 2007, has become Marlborough Contemporary, connecting its London and New York spaces, which are overseen by Max Levai and Pascal Spengemann. This internationally aligned program includes New York Director Nichole Caruso, formerly of Wallspace Gallery, and Leo Fitzpatrick, who will continue to guide the adjacent Viewing Room gallery. Ed Spurr will also join Marlborough Contemporary as a Director in London from his previous position at Matthew Marks Gallery. The London space’s inaugural exhibition of new work by Sarah Braman will open on April 27th. This month, the New York gallery opened The Exile at Home, a survey of paintings by the late R.B. Kitaj—whose solo show premiere was at Marlborough’s London gallery in 1963—and I recently met with Pascal and Max to discuss the upcoming events within the two spaces. Max, Pascal, and Sarah Braman will be participating in the Dallas Art Fair this month. Chris Byrne: Can you tell me about this particular R.B. Kitaj show? Is this his first exhibition for Marlborough Contemporary in New York? How was your interaction with curator Barry Schwabsky? Pascal Spengemann: Doing a Kitaj exhibition has been on our minds since the beginning. The work seems so current and fresh

while also maintaining a complexity and strangeness that makes it compelling. Barry was the perfect choice to do this. As an American who has lived in London, he has such a unique feel for this body of work, and his deep interest in London School artists made him an ideal fit. CB: Will this be an ongoing approach by the gallery, considering that unlike many younger galleries, you are able to access historic postwar pieces? PS: Our mission emerges from the interests and passions that we are feeling at the moment, rather than some mandate to utilize the historical material available to us. That said, there is some very cool stuff back there, and we are excited to reveal it when the opportunity arises. CB: What is Sarah Braman planning for London? Her work is currently on view at NorthPark Center in Dallas, and you also collaborated with the artist on the public project Broadway Morey Boogie, a group exhibition of outdoor sculpture in 2014. PS: Sarah has been a consistent source of inspiration to us. She bridges the high church of American Minimalism to a very vernacular, humanized feel that we embrace wholeheartedly. As our first Marlborough Contemporary show in London, she sets the tone for what to expect there. CB: How do you foresee the exhibition schedule developing between London and New York? Will it be connected to Marlborough’s other galleries? ML: Our inaugural season in London will give important artists their first solo presentations in that city. And in New York we are quite excited about forthcoming exhibitions of new work by Julius Von Bismarck, Lucas Ajemian, Anne Neukamp, and Ivana Bašić. P

R.B. Kitaj, The Exile at Home, curated by Barry Schwabsky at Marlborough Contemporary. On View: March 4–April 8, 2017.



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