Patron's 2018 August/September Issue

THE DESIGN ISSUE Hello, DalĂ­! Meadows Mounts Miniatures Getting Linear: Ian Davenport TWO x TWO Turns 20

GUCCI

BARTOLOMÉ ESTEBAN MURILLO, JACOB LAYING PEELED RODS BEFORE THE FLOCKS OF LABAN, C. 1665

PHOTOGRAPHED AT THE MEADOWS MUSEUM, SMU

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This exhibition has been organized by the Meadows Museum and funded by a generous gift from The Meadows Foundation.

Horst P. Horst (German, 1906–1999), Photograph of Salvador Dalí from Vogue, 1943. The Dalí Museum Archives, St. Petersburg, Florida. Horst P. Horst/ Vogue © Condé Nast. Image Rights of Salvador Dalí reserved. Fundació Gala-Salvador Dalí, Figueres, 2018.

Promotional support provided by

Dalí

Poetics of the Small 1929–1936

MEADOWS MUSEUM • SMU September 9– December 9, 2018 214.768.2516 • meadowsmuseumdallas.org

Pa

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

August / September 2018

TERRI PROVENCAL Publisher / Editor in Chief

Autumn gets surreal when an unprecedented exhibition opens in Dallas this September. Prompted by the demure-sized The Fish Man (L’homme poisson), 1930, which entered the coffers of the Meadows Museum in 2014, Dalí: Poetics of the Small (1929–1936) mounts September 9–December 9, 2018.

The Fish Man underwent extensive research at the Kimbell Art Museum and returns to join 20 additional Dalí cabinet paintings from all over the world. One such loan, from The Dali Museum in St. Petersburg, Florida, is The Weaning of Furniture-Nutrition, 1934, featured on one of Patron’s covers this month. A companion exhibit, Dalí’s Aliyah: A Moment in Jewish History, will present a set of lithographs donated to the Meadows by patrons Linda P. and William A. Custard in honor of Meadows Museum advisory council member Janet Pollman Kafka. This marks her 20th year as Honorary Consul of Spain in Dallas.

While Dalí shaped and interpreted his environments through painting, we have an opportunity to define our own through design. Simply, there is no better place to openly exude one’s personality than at home. In evidence, we bring you an unexpected residence nestled alongside Turtle Creek with a richly diverse art collection reflective of thoughtful homeowner and gallerist Scot Presley, and his husband, in Creekside Sanctuary. Peggy Levinson explores Scot’s personal connection with each artist he collects and his collaboration with interior designer Lee Lormand, as together they reimagined the essence of a 1970s’ townhome.

Continuing our design coverage, we shift our emphasis to home décor where we review some of the great design houses in the field today. In Space, Peggy Levinson interviews three disparate manufacturers including the inimitable Marcel Wanders on his new collection for Roche Bobois, Claud Cecil Gurney of the venerated de Gournay known for handpainted wallpaper, and relative newcomer Lee Broom on the release of his Observatory lighting collection. We also share the color trend in furnishings and accessories.

Further afield in London, Chris Byrne had the rare opportunity to call on Paula Rego, a figurative painter whose works are part of major exhibitions this summer at the Tate Britain and Royal Academy. Fine Lines finds Steve Carter’s coverage of British painter Ian Davenport’s 30-year survey exhibition opening September 30 at Dallas Contemporary. One more Londoner appears in this issue, artist Adam Ball who installed a spectacular piece in a Dallas home this summer.

Back home, Danielle Avram examines the “art-world superstars” who have been honored with the amfAR Award of Excellence for Artistic Contributions to the Fight Against AIDS through TWO x TWO, which celebrates its 20th anniversary this October.

Brandon Kennedy takes over Patron’s Studio column from Justine Ludwig, who began her post with Creative Time in New York this summer. In his first installment, Kennedy examines the practice of Shelby David Meier, a Dallas-based conceptual artist. One-part joke teller, read about Meier in The Last Man Standing Up With Props.

We reveal a taste of fall fashion in Drawing Attention. Shayna Fontana combines her photographs with stylist and artist Ruben Burgess Jr.'s drawings to create stimulating collaged works for Patron’s style feature. We hope you enjoy the interesting images.

As summer wanes and our son begins his first semester at college to study classical trumpet, my husband and I look to fill our time with exhibitions this fall as new empty nesters—at least for the time being.

– Terri Provencal terri@patronmagazine.com; Instagram terri_provencal and patronmag

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CONTENTS 1

FEATURES 58 CREEKSIDE SANCTUARY A 1970’s townhome is transformed into an idyllic space to live with art inside and out. By Peggy Levinson 66 DREAMING WITH DALÍ Meadows Museum presents jewels of early Surrealism.

By Nancy Cohen Israel 72 FINE LINES Ian Davenport’s survey exhibition tracks 30 years of the British painter’s career. By Steve Carter 76 LEGENDS OF THE FALL A look at the art giants honored over 20 years of TWO x TWO.

By Danielle Avram 84 DRAWING ATTENTION Ruben Burgess Jr. aka SartorialNoLift interprets Shayna Fontana’s fashion photography with his signature loose renderings.

Photography by Shayna Fontana. Drawings by Ruben Burgess.

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66

76 On the cover: From Creekside Sanctuary, Gregg Coker, Untitled Vessels; Deborah Ballard sculpture study; Michael O’Keefe, sculpture (on plinth). Interiors by Lee Lormand. Alternate cover: Salvador Dalí (Spanish, 1904–1989), The Weaning of Furniture-Nutrition, 1934, oil on wood panel. Collection of the Salvador Dalí Museum, St. Petersburg, FL (USA), 2018. ©2018 Salvador Dalí Museum, Inc. ©Salvador Dalí, Fundació Gala-Salvador Dalí, (VISDA), 2018.

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CONTENTS 2

DEPARTMENTS 10 Editor’s Note 16 Contributors 28 Noted Top arts and culture chatter. By Anthony Falcon Contemporaries 44 THE SINGULAR WORK OF PAULA REGO Among the acclaimed painters associated with the School of London, Dame Rego is having a banner year. By Chris Byrne Studio 46 THE LAST MAN STANDING UP WITH PROPS Shelby David Meier’s sideways nudge of the mundane.

By Brandon Kennedy Space 48 FUTURE ASPECT After four years, Adam Ball installs a custom artwork in a collecting couple's home. By Terri Provencal

46

50 FASHIONING WALLS Custom hand-painted papers, perhaps with sequins for the most discerning designers, are no problem for de Gournay. By Peggy Levinson 52 A HEAVENLY COLLECTION Lee Broom channels his theatrical prowess with celestial elements for his new observatory lighting collection. By Peggy Levinson 54 WANDERLUST Roche Bobois selects celebrated Dutch designer Marcel Wanders for a new collection. By Peggy Levinson 56 COLOR REIGNS Saturated hues evoke self-expression this fall.

50

There 92 CAMERAS COVERING CULTURAL EVENTS Furthermore ...

96 CHERISHED GROUND Salvador Dalí’s Aliyah lithographs mount at the Meadows.

By Nancy Cohen Israel

56 96 14

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CONTRIBUTORS

DANIELLE AVRAM Avram is a curator and writer, and currently serves as the Gallery Director at Texas Woman’s University. Because of her past positions at Southern Methodist University, The Power Station and The Pinnell Collection (in Dallas, TX), and The High Museum of Art (Atlanta, GA), Patron looks to Avram for her extensive knowledge and research of contemporary art.

In Legends of the Fall, Avram details the internationally recognized artists honored at the annual TWO x TWO for AIDS and Art. She has an MFA from the School of The Museum of Fine Arts and Tufts University (Boston, MA), and a BA from UTD.

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STEVE CARTER Freelance arts writer Steve Carter previews the upcoming Ian Davenport exhibition at Dallas Contemporary, opening on September 30. The show is a major survey of the iconic British artist’s last 30 years, featuring recent works as well as earlier pieces to help contextualize his artistic pilgrim’s progress.

“Davenport’s largescale paintings will really take advantage of Dallas Contemporary’s wide-open spaces,” Carter says.

RUBEN BURGESS JR. Followed by the most discerning creative insiders at his Instagram handle @SartorialNoLift, Ruben Burgess is a Dallasbased stylist and artist who has exhibited at The Goss-Michael Foundation. Known for his fashion illustrations he collages with fashion imagery, in Drawing Attention Burgess plays off photographs of fall looks. Here, his loose ink illustrations (By the way, he doesn’t lift his pen.) pair with Shayna Fontana’s images and extend the backdrop he painted exclusively for Patron’s fashion shoot.

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CHRIS BYRNE Chris Byrne is the author of the graphic novel 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 board of directors of Institute 193, Dallas Contemporary, Museum of Contemporary Art Detroit, and the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught.

He is the co-founder of the Dallas Art Fair and was formerly Chairman of the American Visionary Art Museum.

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

SHAYNA FONTANA Shayna Fontana is a Chicago-native who lives in Dallas with her husband Rand Horowitz and toddler Oliver. Patron calls on Shayna again and again for her unrestrained fashion imagery and collaboration. Always up for the inventive, Fontana worked with stylist and artist Ruben Burgess (whom she gave a key to her studio to paint the backdrop) in these pages. In Drawing Attention, she combined her fall fashion photographs and layered in his illustrations to create collaged frames for Patron.

NANCY COHEN ISRAEL A Dallas-based art historian, Nancy is an ongoing Patron contributor who writes for national publications of note including Lilith. She is also a frequent lecturer at the Meadows Museum. For this issue, she covered this fall’s concurrent exhibitions featuring Salvador Dalí’s work at the Meadows. In addition to writing about them, she looks forward to lecturing on Dalí’s Aliyah: A Visualization of Jewish History during the course of the exhibit.

PEGGY LEVINSON Patron calls on Peggy Levinson to share news of the latest trends in design as an expert in the field.

For the annual Design Issue she interviewed globally renowned designers Claud Cecil Gurney, founder of de Gournay; Marcel Wanders on his new imaginings for Roche Bobois; and Lee Broom on his Observatory collection available at Scott + Cooner. She also visits with interior designer Lee Lormand, known for his timeless aesthetic and special care with art collections, and our featured homeowner, Scot Presley, in Creekside Sanctuary.

BRANDON KENNEDY Brandon Kennedy will explore the studios and practices of local artists, taking the reins from Justine Ludwig. For his initial foray, he investigated the artwork of Shelby David Meier with its tongue-in-cheek styling and absurdist appeal. Kennedy curated The Anatomy of Disquiet at The Karpidas Collection, exploring the nature of Jungian thought and the collective unconscious. As the Director of Exhibitor Relations for the Dallas Art Fair, he works year-round with international galleries and assists with programming for the annual event in April.

Kennedy is an occasional artist and an avid book collector.

JOHN SMITH With a degree in architecture, ongoing Patron contributor and Dallas-based photographer John Smith brings out the artistic side of architecture in his pictures.

Renowned for his work with architects, designers, and artists, he captures their vision and projects through photographs.

He enjoyed his time capturing London artist Adam Ball’s recently installed work in Future Aspect.

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Jay Falcon COPY EDITOR Paul W. Conant PRODUCTION Michele Rodriguez INTERNS Megan Gellner CONTRIBUTING WRITERS Danielle Avram Chris Byrne Steve Carter Nancy Cohen Israel Brandon Kennedy Peggy Levinson CONTRIBUTING PHOTOGRAPHERS Jérôme Galland Henry Bond Josh Geyer Joe Budd Megan Gellner Simon Brown Prudence Cuming Lee Lormand Aubrie Pick Didier Delmas John Smith Dana Driensky Todd White Shayna Fontana CONTRIBUTING STYLISTS Ruben Burgess Jr. ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS patronmagazine.com One year $36/6 issues, two years $48/12 issues For international subscriptions add $12 for postage SOCIAL @patronmag

is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2018, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited.

Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.

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POP-UP September 10th – October 27th

NOTED 06

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01 AFRICAN AMERICAN MUSEUM A groundbreaking and widely acclaimed exhibition with a powerful message, Slavery at Jefferson’s Monticello: Paradox of Liberty is coming to the African American Museum, Sep. 22–Dec. 31. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Jan Staller: CYCLE & SAVED showcases two short videos by New York photographer-videographer Jan Staller, through Aug. 19. Commanding Space: Women Sculptors of Texas continues through Nov. 18. Multitude, Solitude: The Photographs of Dave Heath displays the artist’s deeply personal early work through Sep. 16. Hedda Sterne: Printed Variations celebrates the artist’s exquisite variety of formal interests and continues through Jan. 27. In Our Own Words features a portfolio of twenty-six vibrantly colored printed portraits by living artists, Daniel Heyman and Lucy Ganje. The two collaborated in portraying present-day members of North Dakota Indian nations, including those around Standing Rock, through Oct. 7. Image: Daniel Heyman (b. 1963), I Couldn't Tell if He was Crying, 2015–2016, woodblock, Amon Carter Museum of American Art, Fort Worth, Texas. cartermuseum.org 03 CROW COLLECTION OF ASIAN ART Fierce Loyalty: A Samurai Complete features the art and culture of the Japanese samurai through Oct. 24. Earthly Splendor: Korean Ceramics from the Collection displays the museum’s Korean art collection consisting of works ranging from stone sculptures to paintings through Sep. 9. Avatars and Incarnations: Buddhist and Hindu Art, Immortal Landscapes: Jade, and The Art of Lacquer mount Sep. 28. crowcollection.org 04 DALLAS CONTEMPORARY Eric Fischl: If Art Could Talk, Harry Nurieve: 6 Fears, and Sara Rahbar: Carry me home will continue through Aug 26. Fischl is known for depicting the dark, disturbing undercurrents of mainstream American life. Harry Nuriev is a Brooklyn-based Russian architect and furniture designer. Rahbar is known for her Flag series in which she reworks traditional fabrics and objects as collages. Next, DC will open three exhibitions including the work of Ghana Amer, Ian Davenport, and Boris Mikhailov, Sep. 30–Dec. 17. Image: Ghada Amer, Broken Dreams, 2014, 6 x 12.5 x 9 in. © Ghada Amer.

Courtesy Cheim & Read, New York. dallascontemporary.org 28

THE LATEST CULTURAL NEWS COVERING ALL ASPECTS OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW PERFORMANCES, GALLERY OPENINGS, AND MORE.

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05 DALLAS HOLOCAUST MUSEUM Manzanar: The Wartime Photographs of Ansel Adams chronicles the internment of Japanese Americans during World War II through Aug. 14. Summer Survivor Speakers Series dates are Aug. 8, Aug. 12, Aug. 22, Sep. 2, Sep. 9, and Sep. 16. Let Me Be Myself: The Life Story of Anne Frank opens Sep. 13 and will explore the life of Anne Frank and her legacy. Peace Day Dallas 2018 celebrates International Day of Peace on Sep. 23, and the museum will offer free admission and the chance to hear Holocaust Survivors speak about their experiences. dallasholocaustmuseum.org 06 DALLAS MUSEUM OF ART The Power of Gold: Asante Royal Regalia from Ghana continues through Aug. 12. Asian Textiles: Art and Trade Along the Silk Road continues through Dec. 9. Through Sep. 9, The Guerrilla Girls features the work of the anonymous collective of female artists who create protest art to expose gender- and race-based discrimination in the art world and beyond, and Body Ego displays works by more than ten female artists in the DMA’s collection and considers how abstract sculpture represents the human body. Cult of the Machine, from 1910 to WWII, is a tour-de-force presentation including key paintings by American Precisionists such as Charles Sheeler, Georgia O’Keeffe, and Charles Demuth on view Sep. 16–Jan. 6. Word and Image: Works on Paper from the 15th–20th centuries focuses on artists who blurred the boundaries between art and text through Oct. 21. An Enduring Legacy: The Eugene and Margaret McDermott Collection of Impressionist and Modern Art is dedicated to the single largest benefactors in the museum’s history, the late Margaret and Eugene McDermott. An Enduring Legacy is on view through Feb. 17. Image: André Derain, Fishing Boats at L’Estaque, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc. dma.org 07 FORT WORTH MUSEUM OF SCIENCE AND HISTORY Grossolog y: The (Impolite) Science of the Human Body and Animal Grossolog y runs through Jan. 6, 2019. Live at the Noble: Texas Sky Tonight and Live at the Noble: Our Amazing Solar System continue through Aug. fwmuseum.org 08 GEOMETRIC MADI MUSEUM Linear Abstractions shows the art of SK Sahni of India and Hernan Jara of Ecuador and Paris through Oct. 21. geometricmadimuseum.org

NOTED: VISUAL ARTS

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09 GEORGE W. BUSH PRESIDENTIAL CENTER First Ladies: Style of Influence examines how the role of the first lady has evolved over time, and how first ladies have used their position to advance diplomacy and other social, cultural, and political initiatives, through Oct. 1. bushcenter.org

15 MUSEUM OF BIBLICAL ART Barbara Hines: Celebration of Survival is on display through Oct. Hines’ work is inspired by stories from the Torah and conveys her deep commitment to sharing the beauty of Israel and using art as a way to bring understanding and peace. biblicalarts.org

10 KIMBELL ART MUSEUM From the Lands of Asia: The Sam and Myrna Myers Collection ends Aug. 19. This exhibition presents over 400 objects selected from this remarkable collection amassed over 40 years with works representing key periods in the history of the art of China, Japan, Tibet, Mongolia, Korea, and Vietnam. kimbellart.org

16 NASHER SCULPTURE CENTER A Tradition of Revolution presents a cross-section of the Nasher’s collection and sculptural innovations of the last 150 years within the context of concurrent philosophical, scientific, and societal shifts. A Tradition of Revolution and Sightings: Luke Flower close Aug. 19. The Nature of Arp provides a look at the achievements of Jean (Hans) Arp (1886–1966). As a founder of the international Dada movement during World War I, Arp pioneered the use of chance, spontaneity, and collaboration as artistic processes and subsequently developed a vocabulary of curving, organic forms that was to become the lingua franca for several generations of artists. Sep. 9–Jan. 6. Image: Jean (Hans) Arp, Torso with Buds, 1961, bronze, 73.87 x 15.5 x 15 in. © 2018 Artists Rights Society (ARS), NY / VG Bild-Kunst, Bonn. nashersculpturecenter.org

11 LATINO CULTURAL CENTER On Aug. 3, Hip Hop choreographer Rennie Harris touches on morality, spirituality, and community in his newest work: Lifted. On Aug. 15, Cine de Oro presents Cuando Quiere Un Mexicano. Join the LLC for their next installment of Cine de Oro featuring El Bolero de Raquel on Sep. 19. lcc.dallasculture.org 12 MEADOWS MUSEUM Murillo at the Meadows: A 400th Anniversary Celebration continues through Dec. 2. At the Beach: Mariano Fortuny y Marsal and William Merritt Chase runs through Sep. 23. Dalí: Poetics of the Small, 1929– 1936 is the first exhibition on the artist to focus solely on his smallformat works. Dalí: Poetics of the Small, 1929–1936 will run Sep. 9– Dec. 9. meadowsmuseumdallas.org 13 THE MAC The MAC supports the artist’s role in society by providing a forum for critical dialogue with their audiences. the-mac.org 14 MODERN ART MUSEUM OF FORT WORTH Takashi Murakami: The Octopus Eats Its Own Leg features vibrant anime-inspired characters by Japanese artist Takashi Murakami, who blurs the boundaries between high and low culture, ancient and modern, East and West. The Octopus Eats Its Own Leg continues through Sep. 16. Image: Takashi Murakami, Kaikai Kiki, 2005, oil, acrylic, synthetic resins, fiberglass and inox, in two parts, 83.75 x 41.5 x 26 in. ©2005 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. themodern.org

17 PEROT MUSEUM Ultimate Dinosaurs reveals rarely seen, exotic species from the other side of the world that evolved in isolation in South America, Africa and Madagascar through Jan. 6. Discovery Days take place on Aug. 11 (Magic) and Sep. 8 (Animals). Summer Nights ends Aug. 2 with Wizarding Science. Dates for Sleepovers are Aug. 17 (Special Needs), Aug. 31 (Dino Fest), and Sep. 14 (Girl Scouts Computer Science). 3D Movie Screenings include Flying Monsters 3D (through Sep. 3), Galapagos 3D: Nature’s Wonderland (through Sep. 3), Museum Alive 3D (through Sep. 3), Waking the T. rex 3D (Sep. 7, 2018–Jan. 6, 2019), Oceans: Our Blue Planet 3D (Sep. 7, 2018–May 23, 2019), and America’s Musical Journey 3D (Sep. 7, 2018–May 23, 2019). perotmuseum.org 18 TYLER MUSEUM OF ART David Bates: Selected Works From Texas Collections, organized by the Tyler Museum of Art, presents a look at the work of celebrated Dallas-based artist David Bates. David Bates: Selected Works From Texas Collections continues through Sep. 9. tylermuseum.org

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18 02 01 AMPHIBIAN King Liz by Fernanda Coppel tells the story of successful sports agent Liz Rico. She takes on client Freddie Luna, a high school basketball superstar with a troubled past. Coppel’s story of gender, race, and class is high energy and full of heart. King Liz runs through Aug. 5. The 2018 Phib Comedy Series brings Aparna Nancherla to the stage Aug. 13–17. Her sense of humor is dry, existential, and absurd. National Theater Live screens Julie at the Modern Art Museum of Fort Worth, Sep. 26–28. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Potted Potter: The Unauthorized Harry Experience–A Parody by Dan and Jeff takes on the ultimate challenge of condensing all seven Harry Potter books into seventy hilarious minutes. Aug. 9–12.

One-night-only events include Ladysmith Black Mambazo, Aug. 16; An Evening with Lyle Lovett and His Large Band, Aug. 19; and Pink Floyd Laser Spectacular, Aug. 25. Image: Scene from Pink Floyd Laser Spectacular. Courtesy of AT&T Performing Arts Center. attpac.org 03 BASS PERFORMANCE HALL Love Never Dies, Andrew Lloyd Webber’s spellbinding sequel to The Phantom of the Opera, comes to Bass Hall Aug. 7–12. Texas singer/ songwriter Lyle Lovett returns on Aug. 18. The 2018–2019 Fort Worth Symphony Orchestra season opens with an all-Tchaikovsky program. Experience the Capriccio Italian and the emotionally turbulent Symphony No. 6, Pathétique, Sep. 14–16. Next Ben Folds returns for a performance Sep. 22. basshall.com 04 CASA MAÑANA Stephen Sondheim’s and Hugh Wheeler’s Sweeney Todd is a theatrical treat that will simultaneously shock, awe, and delight, Aug. 3–5.

In turn-of-the-century New York, professional meddler and matchmaker Dolly Gallagher Levi decides she’s going to marry off miserly, half-a-millionaire, hay & feed dealer, Horace Vandergelder.

Hello, Dolly! is certain to thrill, Sep. 8–16. casamanana.org 05 CHAMBER MUSIC INTERNATIONAL CMI presents pianist, Joyce Yang on Sep. 8. The evening will be filled with the sounds of Rachmaninoff, Liszt, Leoš Janáček, and a new work by Elizabeth Younan written especially for Ms. Yang. chambermusicinternational.org 06 DALLAS BLACK DANCE THEATRE Mark your calendar for DBDT’s DanceAfrica 2018. The two-day event features vibrant performances at Moody Performance Hall, Oct. 5–6. The DanceAfrica Marketplace takes place on Oct. 6 and features free mainstage performances and fun games for children at the Annette Strauss Artist Square. dbdt.com 30

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07 DALLAS CHILDREN’S THEATER The world premiere of Treasure Island: Reimagined will be onstage at DCT, Sep. 22–Oct. 21. Friendship, betrayal, and adventure are front and center in this bold world premiere. And Jim Hawkins, Ben Gunn, and Long John Silver will do just about anything to be the first to claim the buried treasure. Image: Dallas Children's Theater’s Treasure Island Reimagined! Still by Linda Blase. dct.org 08 THE DALLAS OPERA Mark your calendars for Oct. 12, opening night of The Dallas Opera season, featuring The Flying Dutchman. dallasopera.org 09 DALLAS SUMMER MUSICALS Love Never Dies, The Phantom Opera Returns runs through Aug. 5. Next, DSM presents School of Rock Aug. 15–26, at the Music Hall at Fair Park. Based on the hit film, this hilarious new musical follows Dewey Finn, a wannabe rock star posing as a substitute teacher who turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. dallassummermusicals.org 10 DALLAS SYMPHONY ORCHESTRA Featuring visually stunning imagery and groundbreaking special effects, the action-packed adventure of Jurassic Park pits man against prehistoric predators in the ultimate battle for survival, Aug. 31–Sep. 2. Tony® Award-winner, a star of stage and screen and classically trained soprano, Kristin Chenoweth joins the DSO for an evening of her favorite Broadway show tunes, love songs, and classical repertoire for the 2018 DSO Gala Concert and AfterParty, Sep. 15. mydso.com 11 DALLAS THEATER CENTER The Winter’s Tale brings Shakespeare’s tale of mystery and magic to life. Featuring Public Works Dallas’ signature blend of professional actors, community members, and special guests, this musical adaption will explode with authentic performances that come together to tell Shakespeare’s beloved fable of hard-won joy and the promise of renewal, Aug. 31–Sep. 2. In Steel Magnolias, Sep. 28–Oct. 21, Truvy Jones’ salon in Chinquapin, Louisiana, is a place where women gather to swap stories, share gossip, and of course, style their hair. But when tragedy strikes, the community comes together in a bond more powerful than hairspray. dallastheatercenter.org 12 EISEMANN CENTER The King Lives!, a tribute to Elvis, starring Kraig Parker live in concert with the DFW Pops Orchestra and the Royal Tribute Band, is onstage Aug. 18. Pegasus Theater opens Sep. 14 and runs through Sep. 30. Feel-good productions, Spectacular Senior Follies stages Sep. 20–23. Who’s Bad, a Michael Jackson tribute band, takes the stage Sep. 28. eisemanncenter.com

Th a n k y ou t o ou r ge n e rou s s p ons or s

TACA Lexus Party on the Green Chairmen

Ann Mahowald and Ann Whitley Wood Honor ary Chairmen

Mickey and Bill Lively

Join the party on Friday, October 5, 2018 6:30 p.m.

Elaine D. and Charles A. Sammons Park at the AT&T Performing Arts Center

Tickets: $350

The TACA Lexus Party on the Green is a fun, casually chic evening with proceeds benefitting TACA and the North Texas cultural community. This evening features local chefs presenting signature dishes, a silent auction, a wine cork pull, and live entertainment by TACA Grant Recipients.

Melinda and Johnson

For information or to purchase tickets to Party on the Green, please call 214.520.3926 or visit our website at taca-arts.org.

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13 KITCHEN DOG THEATER The NYC-based company, The One-Minute Play Festival (#1MPF) returns to Dallas for its fifth year in partnership with KDT for a marathon evening of one-minute plays

by Dallas’ established and emerging playwrights and directors. The 5th Annual Dallas One-Minute Play Festival will be performed Aug. 11–13, at the SMU Meadows School of the Arts, Bob Hope Theatre. kitchendogtheater.org 14 LYRIC STAGE Lyric Stage opens its 26th season Sep. 21–23, at Majestic Theatre with Disney’s Newsies. Set in turn-of-the-century New York City, Newsies is the tale of Jack Kelly, a charismatic newsboy and leader of a band of teenaged “newsies.” When titans of publishing, Joseph Pulitzer and William Randolph Hearst, raise distribution prices at the newsboys’ expense, Jack rallies newsies from across the city to strike. lyricstage.org 15 MAJESTIC THEATRE Joaquín and Lucía Galán, better known as Pimpinela, are an Argentine duo renowned for their performances of romantic musical pieces and original singing style. The pair takes the stage Aug. 2. KXT 91.7 Presents Gillian Welch at Majestic Theatre on Aug. 23. A special screening of The Wizard of Oz takes place Aug. 26. American comedian Hannibal Buress will perform in Dallas, Sep. 13. KXT 91.7 Presents Punch Brothers on Sep. 14. Amos Lee comes Sep. 25. The Decemberists arrive Sep. 27, and explore new sounds with a new producer on their inspired eighth studio album, I’ll Be Your Girl. majestic.dallasculture.org

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16 OCHRE HOUSE THEATER OHT presents the world premiere of Mousey, a new dark musical written and directed by Carla Parker. Things have gone rotten in the world of toys. Mrs. Mousey begins to suspect that there is more to life than just being a toy and launches into the dangerous journey that questions the very existence of their innocent lives. Puppetry, original music, and dance create a riveting story of the loss of innocence and awakening. Aug. 18–Sep. 8. ochrehousetheater.com 17 TACA Mark your calendars for TACA’s annual Party on the Green, Oct. 5. taca-arts.org

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18 TEXAS BALLET THEATER The most beloved fairy tale of all time, Cinderella, takes the

07 stage at the Winspear Opera House, Aug. 24–26, to find her Prince Charming. Experience the mystery, deceit, and romance as the Queen of the Nile comes to power. Cleopatra will twist a tale of love and deceit at Bass Performance Hall, Sep. 28–30. Image: Carolyn Judson as Cinderella. Photography

by Steven Visneau. texasballettheater.org 19 THEATRE THREE Enjoy a double feature at Theatre Three with Heisenberg and Actually, Aug. 2–26. These two plays are produced together to spark a conversation as it relates to sex, desire, and the ages of man and woman. Next, Once tells the story of following your dreams without fear, and the power of music, Sep. 13– Oct. 7. theatre3dallas.com 20 TITAS Camille A. Brown & Dancers debuts Aug. 24–25. Next, Diavolo uses dance to explore the relationship between the human body and its architectural environment. Artistic Director Jacques Heim steers Diavolo’s diverse team of dancers, designers, choreographers, and engineers to create visceral and awe-inspiring works that reveal how we are affected emotionally, physically, and socially by the spaces we inhabit.

Sep. 14–15. Image: Still from Diavolo. Courtesy of TITAS and the AT&T Performing Arts Center. titas.org 21 TURTLE CREEK CHORALE On Sep. 9, Tower Arts Concert: The Turtle Creek Chorale hits the stage at Highland Park United Methodist Church as part as the Highland Park United Methodist Tower Arts Series. Mark your calendars for After Dark, TCC’s annual fundraiser coming this fall. turtlecreekchorale.com 22 UNDERMAIN THEATRE How is it That We Live or Shakey Jake + Alice traces the lives of two lovers through the years from their first kiss to their last goodbye and everything in between. On the road in an indelible American landscape, Shakey Jake + Alice shares their poetic quest as they dance to the end of love. Sep. 13–Oct. 7. undermain.org

MULTITUDE, SOLITUDE The Photographs of Dave Heath On view through September 16, 2018 Explore the poetic images of one of the most original photographers of the last half of the twentieth century—Dave Heath.

Free Admission #DaveHeath Above (detail): Dave Heath (1931–2016), Kansas City, Missouri, 1967, gelatin silver print, The Nelson-Atkins Museum of Art, Kansas City, Missouri Gift of the Hall Family Foundation 2011.67.23 This exhibition has been organized by The Nelson-Atkins Museum of Art, Kansas City, Missouri. In Fort Worth, the exhibition is supported

by The Pangburn Foundation and in part by a grant from the Arts Council of Fort Worth.

23 WATERTOWER THEATRE Hand to God makes its regional debut at WaterTower Theatre.

Texas native Robert Askins thrusts theatergoers into a surreal church basement, where a young man’s foul-mouthed hand puppet—that may be possessed by the devil—wreaks havoc and exposes hypocrisy with ruthlessness and sidesplitting humor, Aug. 3–26. watertowertheatre.org AUG / SEPT 2018 33

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15 01 500X GALLERY Established 40 years ago, Texas’ oldest artist-run cooperative gallery will feature an all-members’ show from Aug. 18–Sep. 2. Individual solo and project-space exhibitions will take place monthly from September onwards. 500x.org

two dozen artists on the roster through Sep. 15. Audiences have the opportunity to engage in the dialogue created through the juxtaposition of works by a diverse array of artists, whose works can be found in the permanent collections of MoMA, the Guggenheim, and the Smithsonian, among many others. bivinsgallery.com

02 ALAN BARNES FINE ART Alan Barnes Fine Art is moving back to Uptown and will open an exhibition in September featuring the return of popular British impressionist Matthew Alexander. alanbarnesfineart.com

09 CADD CADD‘s Third Thursday Happy Hour is on Sep. 20 at Carneal Simmons Contemporary Art. caddallas.net

03 ANDNOW A solo show for Michelle Rawlings mounts Sep. 8. A Dallas native, Rawlings is a conceptually driven artist working with painting and digital-based media whose interests lie in the history of painting, image culture, feminism and identity politics, and the expression of subjective experience via images and the online world. andnow.biz 04 ARTSPACE111 Opening Sep. 8, Long Form Life will feature the work of Devon Nowlan. The exhibition will be on display through Oct. 6. artspace111.com 05 BARRY WHISTLER GALLERY Group show NEW EDITIONS features lithographs by Jay Shinn, etchings by Danny Williams, photographs by Allison V. Smith, and ceramic works by Jonathan Cross through Aug. 4. JOHN WILCOX: ARENA Paintings, Drawings, and Studies (1982–2012) opens Sep. 15 and continues through Oct. 13. John Wilcox’s deductive and iconic works will be featured in this survey exhibition. barrywhistlergallery.com 06 BEATRICE M. HAGGERTY GALLERY An exhibition on book arts with guest curator Eileen Wallace shows Aug. 25 through Sep. 23. Wallace is an author, lecturer, and artist with research interests in the innovative use of letterpress in printmaking and book arts today. udallas.edu/gallery 07 BLUE PRINT GALLERY Blue Print has dedicated its gallery to established, mid-career, and emerging artists of Texas, featuring a variety of artwork from contemporary abstract paintings and works on paper to fine art photography and sculptures. blueprint-gallery.com 08 BIVINS GALLERY Bivins Gallery Group Show: Summer 2018 features works by more than 34

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10 CARLYN GALERIE Carlyn Galerie is devoted to the sale of fine American art glass, clay, fiber, metals, and jewelry. carlyngalerie.com 11 CARNEAL SIMMONS CONTEMPORARY ART Carneal Simmons’ group exhibition Blazing continues through Sep. 1. carnealsimmons.com 12 CHRISTOPHER MARTIN GALLERY With two additional galleries in Aspen and Santa Fe, the Dallas gallery will exhibit BUZOKU: New reverse paintings by Christopher Martin, steel casts and bronzes by Jim Keller, metal sculptures by Michael Sirvet, and stoneware works by Brandon Reese. christophermartingallery.com 13 CONDUIT GALLERY Matt Clark and Jackson Echols’ Telos closes Sep. 1. Next, an exhibition for Jules Buck Jones titled Humid Futures will show alongside W. Tucker’s I am this big / I am this small, and Drew Liverman’s work in the Project Room, Sep. 8–Oct. 13. Image: W. Tucker, tiny car, 2017, oil stick, paper & cement, 1 x 3 x 2 in. conduitgallery.com 14 CRAIGHEAD GREEN GALLERY Juried by CADD, The 25th Annual New Texas Talent Exhibition opens Aug. 4 and runs through Sep. 1. An exhibition for David Crismon, Jeri Ledbetter, and Danna Ruth Harvey opens on Sep. 8 and continues through Oct. 6. Image: Jeri Ledbetter, Trovati II, 2017, mixed media on board, 48 x 80 in. craigheadgreen.com 15 CRIS WORLEY FINE ARTS Anna Elise Johnson’s Second Sight and Patrick Turk’s Trip Hardererrr continues through Aug. 18. CWFA celebrates Harry Geffert with the first posthumous solo exhibition, a retrospective tribute titled, Look Up There, on display Sep. 8 through Oct. 6. Image: Harry Geffert, Summer Shower, 2017, cast bronze with powder coat, 48 x 84 x 2 in. crisworley.com

THE RESIDENT EXPERT 13 16 CYDONIA Summer Works on View features artists Alicja Bielawska, Elodie Blanchard, Alan & Michael Fleming, and Sun You through Aug. 19. Battle Cry, a non-commercial solo exhibition featuring the Guerrilla Girls will open on Sep. 7 and run until Oct. 28. cydoniagallery.com 17 DADA The DADA presents the 2018 Fall Gallery Night on Sep. 8, featuring special exhibitions from member galleries. dallasartdealers.org 18 DAVID DIKE FINE ART David Dike Fine Art was established in 1986 in the Arts District of Uptown Dallas where it resides today. The gallery specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas Landscape painters. daviddike.com 19 ERIN CLULEY GALLERY Erin Cluley Gallery presents MEXICO, Aug. 25–Oct. 7. The exhibition features works from or inspired by Mexico and works by Mexican artists. Image: René Treviño, Death and Zero, 2017, acrylic, embroidered lace and rhinestones on metallic leather, 37 x 28 in. erincluley.com 20 FORT WORKS ART Spectrum marks the return of Riley Holloway for his second solo exhibition at Fort Works Art through Aug. 25. fortworksart.com 21 FWADA Fort Worth Art Dealers Association’s Fall Gallery Night will be held Sep. 8. fwada.com 22 GALERIE FRANK ELBAZ Wallace Berman Visual Music opens on Sep. 8. A group show featuring artists from the gallery’s roster will also open on Sep. 8 and continue through Oct. galeriefrankelbaz.com 23 GALLERIE NOIR Gallerie Noir presents Matthew Brinston, a Dallas-based artist, through Labor Day. The solo exhibition displays Brinston's new loose and large-scale works in this design, art, and furnishings studio. gallerienoir.com

ERIN MATHEWS 214.520.8300 ERIN@ERINHOME.COM ERINHOME.COM

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19 24 GALLERI URBANE Bread & Butter, a group exhibition curated by Adrian Zuniga, continues through Aug. 25. On Sep. 8 in Gallery one, a solo show of new large-scale work by Heath West called VILLAS will open alongside Slightly Altered, a solo show of new work by Ukrainian artist duo Synchrodogs.

Both shows will be on view through Oct. 6. Image: Heath West, Haus Wittgenstein, 2018, oil and acrylic on linen, 79 x 66 in. galleriurbane.com 25 GINGER FOX GALLERY Floral Abstraction continues through Aug. 18 at the Dragon Street gallery. Fox's floral abstracts are textured and vibrant, bringing dimension to the canvas. While they vary in mood, the abstract component imparts a sense of motion to each piece. gingerfox.myshopify.com

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

Artist in Attendance Exhibition on display through October 6, 2018

L A U R A R AT H E F I N E A R T 1130 Dragon St. Dallas, TX 75207 214.761.2000 LauraRathe.com

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26 THE GOSS-MICHAEL FOUNDATION Profound Identities: Beauty and Subjugation from The GossMichael Collection is an exhibition of works curated by international art advisor Filippo-Tattoni-Marcozzi, selected to expose, inspire, confront, and reflect upon the use and abuse of the female body in contemporary art.

Through Sep. 14. g-mf.org 27 HOLLY JOHNSON GALLERY Color Light Space: New Paintings by Eric Cruikshank and Reflexion: James Lumsden end Aug. 11. Paper Skies features Eric Cruikshank through Sep. 29. The Scottish native’s work exploits the subtleties of color, light, and space with a palette tied to the Scottish landscape. Due to drastic weather differences during the past seven years, Dornith Doherty began The Flood Project addressing the changes within the Trinity River basin north of DFW. Photographing areas numerous times from 2015 to present, to track changes in the landscape during floods and their aftermaths, initiated Doherty’s Deluge. Sep. 1–Nov. 10. Image: James Lumsden, Reflex (5/14), 2014, acrylic on canvas, 23.5 x 23.5 in. hollyjohnsongallery.com

NOTED: GALLERIES ONE OF A KIND Exhibition

24 28 KIRK HOPPER FINE ART Prohibitor—Summer Group Show ends Aug. 18. Keri Oldham’s newest series, Night Fortress, depicts haunted-house-looking fortresses and female warriors that draw on medieval art, folk stories, and quilting traditions. The artist is interested in how fear is intimately linked with our sense of “home,” safety, and origin stories. Night Fortress runs Aug. 25–Sep. 22. Image: Keri Oldham, Deadly Night Fortress, 2017, watercolor on paper, 47 x 43 in. kirkhopperfineart.com 29 KITTRELL/RIFFKIND ART GLASS The 25th Goblet Invitational, featuring drinking vessels from over 70 artists nationwide, ranging from functional to fantasy, ends Aug. 5. One of a Kind is an exhibit of work created especially for Kittrell Riffkind’s 28th Anniversary Celebration by 50 favorite artists. The opening reception is Sep. 29, and the exhibit continues through Oct. kittrellriffkind.com 30 KRISTY STUBBS GALLERY A venerable private art dealer, KSG offers museum-quality paintings and sculptures. stubbsgallery.com

Celebrating 28 Years!

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

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31 LAURA RATHE FINE ART Summer Showcase featuring new work by Katherine Houston closes Aug. 30. Zhuang Hong Yi: In Full Bloom opens Sep. 8 and runs through Oct. 6. Brilliantly colorful and richly textured, the work of Zhuang Hong Yi has a remarkably physical presence. Most notably known for his ‘flowerbed’ paintings, Zhuang uses delicate rice paper that he painstakingly paints and folds into hundreds of tiny flower buds. He then embeds them into the canvas, as if he has just planted a garden in bloom. Image: Zhuang Hong Yi, 18VI-008, mixed media on rice paper, 40 x 40 in. laurarathe.com 32 LILIANA BLOCH GALLERY Simón Vega: Hot Capsules from the Cold War opens Sep. 8. Vega will present works from Tropical Space Proyectos (2011–ongoing), a series of sculptural objects, installations, photographs, and drawings which comment, through an ironic and humorous take on the

Igor Samsonov

Offering Fine Art and Framing in Every Style

S O U T H W E S T

G A L L E R Y swgallery.com

4500 Sigma Rd. Dallas, Texas 75244 n 972.960.8935 n

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Artist Winter Rusiloski, Orion’s Swing, oil on canvas, 59.5 x 71 in.

CONTEMPORARY ART

27 Space Race, on the effects of the Cold War in Central America. Simón Vega: Hot Capsules from the Cold War closes Oct. 13. lilianablochgallery.com

Artist Shawn Saumell, detail: Displace, archival UV pigment on brushed aluminum, 21 x 85 in.

33 LUMINARTÉ FINE ART GALLERY LuminArté Fine Art Gallery presents select works from Albena Hristova, Gina Rossi, and sculptor Robin Antar from Aug. 11–Oct. 13. luminarte.com 34 MARTIN LAWRENCE GALLERIES Founded in 1975, Martin Lawrence specializes in original paintings, sculpture, and limited-edition graphics. The gallery is distinguished by works of art by Philippe Bertho, Erté, Keith Haring, Douglas Hofmann, Liudmila, and many others. martinlawrence.com 35 MARY TOMÁS GALLERY Creative Arts Center Annual Juried Membership Exhibition showcases select artists working in varied disciplines, and R ADAR IV debuts emerging talent, Aug. 4–Sep. 1. Solo shows for Winter Rusiloski and Shawn Saumell mount Sep. 8–Oct. 6. In Ethereal Horizons, Rusiloski displays new work that integrates components of memory and figurative elements into landscapes of the loose narratives of abstraction within the majestic space of movement. Saumell assembled found objects into imaginative environments and photographed them as a means of understanding something beyond the familiar in Paradise Lost. marytomasgallery.com 36 MERCADO369 Latin American artists are well represented in this Oak Cliff jewel. Nine galleries offer sculpture, jewelry, textiles, and home décor from Mexico to Argentina. mercado369.com

www.marytomasgallery.com

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37 PHOTOGRAPHS DO NOT BEND Summer Group Show featuring gallery artists runs through Sep. 1. Next, Elliott Erwitt will mount a solo show Sep. 8– Nov. 10. pdnbgallery.com

JERI LEDBETTER ALL’APERTO

41 38 THE POWER STATION The Power Station provides a platform for contemporary art projects in Dallas. powerstationdallas.com

DAVID CRISMON NEW WORKS

39 THE PUBLIC TRUST The Public Trust exhibits contemporary artwork by midcareer and emerging artists. The gallery’s program extends into publishing art publications, as well as limited-edition prints and other multiples. trustthepublic.com 40 THE READING ROOM Yellow Tablets, an exhibition of large, incised, plaster tablets

by Dallas artist Thomas Feulmer, will open Sep. 8 and continue through Oct. 6. The text carved into the tablets are all of the lines by Obi-Wan Kenobi from the first three Star Wars films, which serve as poetic lessons for a young man growing up. thereadingroom-dallas.blogspot.com 41 RO2 ART In the Cedars, the 6th Annual CHAOS show runs Aug. 4– Sep. 8. Opening Sep. 15, Alexander Paulus returns for his second Dallas show, Trophy Life; and in the small gallery, Brian K. Jones will revisit his iconic Big Tex character from the series Meanwhile... Back in Dallas. At the Magnolia location, She Came from Outer Space continues into Sep., with a Joshua Chambers exhibition opening Sep. 13. At the downtown pop-up, Nathan Porterfield's show continues through Sep. Image: Alexander Paulus, Higher kick hierarchic scale, oil and acrylic on canvas, 36 x 48 in. ro2art.com

DANNA RUTH HARVEY TH E SPARROWS

OPENING SEPTEMBER 8, 2018 5 PM - 8 PM ON VIE W: 9.8.18 - 10.6.18

42 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and actively supports research in both American and European art. roughtongalleries.com 43 RUSSELL TETHER FINE ART RTFA manages estates and features renowned national and international artists, along with select artists from North America. russelltether.com AUG / SEPT 2018 41

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44 SAMUEL LYNNE GALLERIES Tyler Shields’ The Color of Impact opens Aug. 4. The exhibition will feature Shields’ new Paint and Masters series, which is a new direction technically and conceptually for the artist. Next, an exhibition for David Yarrow, photographer and international brand ambassador for Land Rover, Nikon, TAG Heuer, and Tusk Trust, opens Sep. 8 and will feature new works from the artist’s latest travels abroad. samuellynne.com 45 SITE131 Clay & Things runs Sep. 14–Dec. 14 and gathers energetic ceramists for SITE131’s fall exhibition including Texas couple Eric and Morgan Grasham’s idiosyncratic clay composites, Julia Jalowiec’s jolly figurative groupings, Jessica Kreutter’s mysterious global composites, Shelby David Meier’s stacked porcelain plates, Brian Molanphy’s wall-hung invented shapes, and Angel Oloshove’s brilliantly colored globes. site131.com

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972•233•3838

Please call for studio appointments.

Jerry Skibell Dallas, Texas skibellart.com

My Backyard

46 SMINK SMINK presents the group show STR ANGE BEAUTY on Sep. 8, a group show that will continue through Oct. 6. sminkinc.com 47 SOUTHWEST GALLERY The Annual Summer Art Festival features 15+ artists making art and jewelry. Trunk Shows, live music, food, and games ensue Aug. 18–19. Igor Samsonov introduces the renowned Russian artist on Sep. 15 with work that is modern, yet remains classical. He draws from Van Gogh and Matisse in his use of color and Vermeer in his use of light. His paintings are rich with symbolism and tell stories—some well-known, and others created by Samsonov himself. Through Oct. swgallery.com 48 TALLEY DUNN GALLERY Celebrated Dallas-based artist David Bates mounts a solo show at Talley Dunn Gallery on Aug. 25 through Oct. 13. talleydunn.com

Across the Pond

ART THAT TURNS HEADS.

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Hello There Head

49 VALLEY HOUSE GALLERY Closing Aug. 11, Miles Cleveland Goodwin: Horseshoe Bend presents narrative and soulful compositions of the artist’s life and the essential nature of animals and land. Lloyd Brown: Cross Country runs Aug. 18 through Sep. 29. In Brown’s examination of America, viewers will see small-town intersections, train crossings, and rural stretches of road, in paintings made after he traveled across the United States on Highway 50. valleyhouse.com

Flowers in Red and Black Pot

50 WEBB GALLERY Lone Stars: A Celebration of Texas Culture in Art continues through Aug. 26. Co-curated with Jay Wehnert, author of Outsider Art in Texas: Lone Stars, the exhibit features a large collection of renowned outsider artists with a few surprises. Each of the included artists has mastered working in their physical world yet in a world they created through art. Thank You, Please DriveThru features the work of Camp Bosworth and opens Sep. 16. webbartgallery.com 51 WILLIAM CAMPBELL CONTEMPORARY ART JT Grant’s exhibition titled, walking the horizon, opens Sep. 8. JT will showcase new works of skyscapes, tulips, and the figure. walking the horizon closes Oct. 13. williamcampbellcontemporaryart.com

972•233•3838

02 HERITAGE AUCTIONS Summer auctions slated include the Fine Art Auction Aug. 7–30, Nature & Science Auction Aug. 18, Real Estate Auction Aug. 21, and Americana & Political Auction Aug. 25. Moving into the fall, Heritage presents the Asian Art Auction Sep. 11, Books Auction Sep. 13, Fine & Decorative Arts Auction Sep. 22–23, Animation Art Auction Sep. 22, Fine Art Auction Sep. 24–26, and the Luxury Accessories Auction Sep. 30. ha.com

Jerry Skibell Dallas, Texas skibellart.com

01 DALLAS AUCTION GALLERY The Fine & Decorative Arts Auction will be held Sep. 26. dallasauctiongallery.com

Please call for studio appointments.

AUCTIONS AND EVENTS

AUG / SEPT 2018 43

THE SINGULAR WORK OF PAULA REGO AMONG THE ACCLAIMED PAINTERS ASSOCIATED WITH THE SCHOOL OF LONDON, DAME REGO IS HAVING A BANNER YEAR.

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his summer, Dame Paula Rego’s work is included in All Too Human, Bacon, Freud and a Century of Painting Life at Tate Britain, London; The Great Spectacle at The Royal Academy in London; as well as Paula Rego and Rebecca Scott: Female Trouble at Cross Lane Projects in Kendal, England. In October, a major retrospective of Rego’s work will be on view at The Musée de l’ Orangerie. Her figurative works combine autobiographical elements from her adolescent years in fascist Portugal from which she escaped to attend Slade School of Fine Art in London. During a recent interview, Dame Paula told me she is looking forward to reencountering all these pictures from various stages of her life.

when you were younger?

PR: Goya, Ensor...Ribera. The Prado is full of the most marvelous paintings. It’s my favorite museum.

CB: You don’t align yourself with Balthus?

PR: Not at all. I liked his brother’s work very much, Klossowski. I saw an exhibition of his enormous drawings at the Whitechapel Gallery, and I felt as if I were surrounded by angels.

CB: You are often mentioned together with Balthus, but you’ve always batted that suggestion aside. Do you see any similarities?

PR: No. It’s not what I do at all. He does very beautiful girls. I like more violent things.

CB: Your girls are more likely to be murdering than seducing.

Chris Byrne: In June, I had the opportunity to view Chaim Soutine’s PR: Yes. Flesh at the Jewish Museum and noted that the Tate Britain’s All Too CB: I also visited a survey of Ivan Albright paintings coincidentally Human exhibition dedicated a portion of its first gallery to his paintings, also entitled Flesh at the Art Institute of Chicago. Do you think this overtly and anecdotally connecting their influence on Francis Bacon. artist’s particular obsession with the visceral becomes the starting Would you acknowledge the same influence on your work or are there point for all figurative work and the depiction of the human condition in narrative painting? other more important precedents such as Beckmann and Balthus?

PR: No, absolutely not. My work is more haptic. Things happen in Dame Paula Rego: Beckmann.

CB: This was not an early influence though; who were you keen on the making of them. I was not familiar with Ivan Albright’s work. It’s

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CONTEMPORARIES

BY CHRIS BYRNE pretty gruesome.

CB: It’s my understanding that Ivan Albright also created elaborately staged tableaux from which to paint. How did pastel become your medium of choice?

PR: It’s like drawing with colour. It makes a definite mark, not floppy like a brush. I never rubbed it. I use colour on colour. There is no fudging; it’s definite. With pastel, the surface offers resistance and you can push and scratch. And everything is drawn, not just the outlines. But I didn’t start using it till I did the Dog Woman Series in the early 90s. Paint is supposed to be expressive isn’t it?

The paint marks itself, but I didn’t get on with that. It’s not what I wanted.

CB: Do you still consider The Angel, 1998, to be among your best works?

PR: Yes I do. It’s very important because of the anger and the caress.

It’s a religious painting. She exists to protect and avenge women. I loved doing the paintings of the Virgin for the presidential palace.

I thought they were some of the best things I’ve done.

CB: You’ve stated that, “It’s important to have a story.” How did a literary work like The Crime of Father Amaro come to inspire your pictures?

PR: It has everything in it that I knew about very well in Portugal.

The way society works and hypocrisy and young girls getting pregnant, unmarried women. We’ve all been there.

CB: I also read an interview in which you cite Martin McDonagh’s 2003 play, The Pillowman, as changing your life. What did this drama reveal to you?

PR: It was the little girl wanting to be Jesus. At one stage in the background of the play there is another scenario played out. A frieze of people acting in little cubicles. A nightmare tale with wicked parents and a pillow man and a little girl who wants to be Jesus. I thought it was true and it gave me lots of ideas. I got a good picture out of it.

CB: It seems as if your family has always provided an audience for your work. Your son-in-law, the artist Ron Mueck, recently exhibited six major sculptures (created between 2008 and 2018) at the Modern Art Museum of Fort Worth. How has your personal relationship developed since his involvement with your studio practice?

PR: Many years ago I asked him to make a Pinocchio for me, which I used as a model. He also gave me some models he’d finished with—a dog and a stork, and I make use of them in my pictures. It was very kind of him. I admire his work very much. The Modern (Fort Worth) owns the sculpture of my mother, which is marvelous.

Very like her, made a couple of years before she died. She used to sit just like that. I haven’t asked him to make anything else since then. He is busy in his own studio, but my granddaughter Carmen has made models too, like those wonderful flying mermaids. And Lila makes some, or I find things to buy or hire. I hired a stuffed eagle once; it cost me a fortune. P

This page, top to bottom: Paula Rego, Looking Out, 1997, pastel on paper mounted on aluminum , 70.5 x 51 in. Paula Rego, The Rest on Flight into Egypt, 1998, pastel on paper mounted on aluminum. Opposite, from left: Paula Rego, Angel, 1998, pastel on paper mounted on aluminum; Paula Rego, Girl with Gladioli and Religious Figures, 1997, pastel on paper mounted on aluminum. All images © Paula Rego. Courtesy of Marlborough Fine Art.

AUG / SEPT 2018 45

BY BRANDON KENNEDY PHOTOGRAPHY BY MEGAN GELLNER Conceptual artist Shelby David Meier in his studio.

THE LAST MAN STANDING UP WITH PROPS

Tony Matelli's Sleepwalker finds a permanent home in Dallas.

Photograph by Anthony Falcon

SHELBY DAVID MEIER’S SIDEWAYS NUDGE OF THE MUNDANE.

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man finds himself last among the living, or so he believes.

He looks around nervously, wipes his brow, laughs quietly to himself. He then takes full advantage of the situation, organizing a cavalcade of carnage that one can only employ with no audience or obvious repercussions. He moves objects and exploits opportunities both large and small. However, he soon grows lonely. He craves companionship or commiseration or even clapping. His birthday arrives, and he has no one to celebrate with, kickstarting his eventual downfall. Just before enacting his earthly exit, he sees a bra hanging by an unexpected campfire, sniffs it and passes out. Hope has arrived.

The preceding passage is a somewhat thorough synopsis of the first episode of the television comedy Last Man on Earth, relieved of the tension and resolution of the last few scenes. The spirit of the series and its initial premise has a particular affinity with the artwork of Shelby David Meier. He told me so himself recently in his overheated studio while smiling with gently darting eyes. I took it to be the truth.

Sprawled across a disheveled work area, there are several broken arcs of smallish, plastic toy hares frozen in a leaping posture, their front paws seized upon their neighbor’s shoulders as if ensnared in a perpetual Watership Down or a broken mandala of regeneration. An article from The Economist, “Teaching Robots Right from Wrong,” lies underneath the prospective mock-up with sketchbook and X-Acto cutting mat below. This is a testing and experimental ground that is always taken up when Meier meets an object of inquiry or interest.

Once found, play renders the readymade purpose null, as he fishes for loose connections, finding its eventual, ineffable form.

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Slip-cast Styrofoam cups, coiled clay rudimentary bongs on a plywood angle shelf, hand-thrown and seductively glazed coffee steins, ceramic casts of sketchbook pages complete with hanging tabs that mimic the stylings of Chinese blue-and-white porcelains…

These handheld vessels and slabs have all of the trappings of an avant-garde coffee klatch gone awry, thrown onto the potter’s wheel in earnest and performing their utilitarian duties while yet relieved of the weightiness of an objet d’art.

A few years back, Meier was invited to participate in a curated evening of amateur comedy at the Nasher Sculpture Center in which he approached the stage at his given time, turned away from the crowd and played back a YouTube recording of Jimi Hendrix’s revelatory Woodstock Star-Spangled Banner from his cell phone, fed through the pick-ups of a strapped-on electric guitar. Once the feedback faded back into our collective consciousness and eventually left the loudspeaker, Meier picked up his well-thumbed copy of David Foster Wallace’s Infinite Jest. Removing the bookmark from somewhere in the middle where he had last left off, Meier just started reading. Once he tired after a few pages of the massive tome, he closed the book and left the stage.

On a typical weekend mid-morning, it’s not uncommon to be met by a line winding out of an eating establishment’s door on a commercial street, all in the name of brunch. It’s another thing altogether, to willingly engage in an artist’s performance of “OMELLETE BAR” (sic) in a darkened “sitting room only” cell of sorts. Once picking up your dining accoutrements and accompanying beverage, the participant descended downstairs to the ground level, then once in

STUDIO A work table offers fodder for future work.

line, waited for the ding of a bell, only then to descend down on rickety rungs, one-by-one. Taking a seat, you give your order to Doug, the man positioned behind the sneeze-guarded ingredient containers. His hotplate had an accompanying fan to dispel its effects and rounded out the act with a call bell and tip jar. Given the nature of the exercise, one halfway expected the artist to perform the role of the chef, but I only discovered Shelby upon my exit as I took my dirty dishes to the busing tub.

The ambiance at The Power Station was bare bones at best: weeping makeshift and uneven hulking walls—(We’re inside part of an installation by Adam Gordon after all.)—a zigzagging of outdoor light strands with maybe three lit bulbs each. Table settings scream low-rent Italian (checkered plastic tablecloths and folding chairs), but the piped-in songs of Edith Piaf eventually work through the candlelit gloom.

Meier is keen on playing with the choices we refuse to make unless immediately having to do so. You’re in a line, there are ten ingredients and countless combinations to be lodged in an eggy base, three beverages to consider and a handful of featureless tables at which to dine. When asked by the hired chef as to what type of omelet I wanted, I replied “Denver.” To my chagrin, I then had to give a run-down of the key ingredients of the only culinary choice I ever learned from my father as he always ordered the same damn thing.

Back in the studio for a second visit, I notice two large, clear plastic tubs of brightly colored foam fruits and vegetables, dormant remnants of the artist’s contribution to the Nasher’s “The Great Create” this past spring. He invited the participating children to connect these food forms with wooden skewers, creating a loose geodesic network of faux-organic building blocks. The kids took to the task with rampant enthusiasm; Meier only needing to occasionally redirect a structural concern for sake of keeping it up throughout the duration of the event.

A group of five “leaners” are loitering line-up style against the inside studio wall. A version of Stack of Cherries is among them, a straight line of foam fruit with stems akimbo, an endless column of sorts. The next offender consists of a green and orange halftoboggan with heads of garlic stapled in the eyeholes; the crutch on which it rests color-matches the pumpkin hue and adds a lamentable sigh. Red comb and wattle of a leghorn chicken mask sits high up on a post, hastily wrapped in woodgrain contact paper and rising above the rest. The profile of Halloween’s Michael Myers nondescript features line up below on a support wrapped in climbing rope with small loops protruding from the eyeholes and entrails falling below.

At far right, a golden Wiffle Ball sits atop a tapered marbled pool cue. These are not bounty hunters, common criminals, nor their coveted loot, but rather sly explorations into complex reads of pop consumerism, identity swapping round-robins and in-jokes waiting for new and willing contestants.

As Meier is quick to remind, Andy Kaufman considered himself a “song and dance” man, not a comedian per se. He didn’t tell jokes, he simply made people laugh. Meier looks to begin to seriously ponder a similar question: “Why can’t sculpture at least attempt to do the same?”

For the last few weeks, I’ve incorporated one of Meier’s steins into my morning coffee ritual, filling it with piping brown caffeine, a slug of honey and half-and-half. It has a nice heft to it and a pleasant slateblue glaze cascading down. I gaze out the window while still waking up, taking the first blown-on sip of the day and halfway expecting it to slowly dribble down my chin. There’s no punchline here, so I text him and order the remaining three to round out the set. P

Terracotta "vases" and found objects picked up on the artist's walks.

Yes/no sticks for later use.

AUG / SEPT 2018 47

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BY TERRI PROVENCAL PHOTOGRAPHY BY JOHN SMITH

FUTURE ASPECT

After four years, Adam Ball installs a custom artwork in a collecting couple's home.

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Adam Ball with Aspect, 2018, hand-cut paper, acrylic, and graphite powder, 48 x 144 in.

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ome things are worth the wait as evidenced by a winning bid for a live auction of custom artwork offered by UK artist Adam Ball. Won by Selwyn Rayzor and Richard Moses during the 2014 edition of MTV RE:DEFINE, the timing marked the future. The couple had recently purchased a modernist estate called the Stretto House, designed by Steven Holl in 1989, and had tasked Max Levy to design an addition which would take some time. They were, therefore, in no hurry to receive their ensuing creation from Ball.

Fast-forward to 2018, Adam Ball is in Dallas to install Aspect, the title of the work for the completed addition. “They gave me an exciting opportunity to make a site-specific new piece for their beautiful home, and trusted in me to make a piece that essentially they’d never seen before,” Ball said of Rayzor and Moses.

London-based, Ball is no stranger to Dallas. He has attended and donated to RE:DEFINE a few times, and with fresh-faced good looks and a faithful smile he’s made a lot of friends here.

On one such occasion, at his solo show, The Space Between Us at The Goss-Michael Foundation, the collectors had acquired one of Ball’s light-boxes largely derived from lab-produced slides of the artist’s own DNA. Ball, who carefully considers his work before onset, says his subject matter is “derived from many sources, both via images I create myself and by collaborating with others. I’ve recently worked with laboratories, chemists, and pharmacists to access images I couldn’t otherwise make.” With a great deal of latitude from these collectors, he created a float-mounted graphite-onpaper work to emphasize movement, color, and the shadows it casts at different times of the day. The work required precision: “Once I’ve finalized the drawing, I start cutting with a surgical scalpel, which is a labor-intensive, slow process. Color is then sprayed in many layers onto the back, and raw pigment and graphite powder are added to the front using muslin and brushes, to gradually add a surface patina to the paper. As the pigment is not fixed, it has a tendency to get everywhere, with varying amounts of control and success. After a day in the studio doing this, my two-year-old daughter refuses to hug me!”

Ball doesn’t seem to mind the passage of time some projects take. A “legacy moment,” in his career has finally arrived after seven years of creation. This September, the artist will install his first permanent public outdoor sculpture in Cambridge.

Appointed by HOK International in 2011 when his son was just five months old, he was chosen to create an original work for the outside of the new Royal Papworth Hospital, the center for heart and lungs in the UK. Working closely with HOK he designed a light box that would ultimately form the exterior walls of the Royal Papworth next to the main entrance, backlit by an LED lighting system programmed to change color during the course of the year.

He also sought input from the hospital surgeons and staff to affirm and reflect their ongoing medical advancements. At one-story high and 50-feet wide, Ball’s Until the day you feel good will stand astride patients and staff alike fostering a positive and encouraging experience.

Walking through the corridor where Aspect is hung on pins, void of attachments in the middle to bring light and movement, it’s easy to see why his work is perfectly earmarked as a welcoming beacon for the hospital. Gesturing to Aspect, Ball said, “I want this piece to feel energy.” P

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AUG / SEPT 2018 49

BY PEGGY LEVINSON

FASHIONING WALLS CUSTOM HAND-PAINTED PAPERS, PERHAPS WITH SEQUINS, FOR THE MOST DISCERNING DESIGNERS, ARE NO PROBLEM FOR DE GOURNAY. Claud Cecil Gurney. Photography by Aubrie Pick.

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laud Cecil Gurney, founder of design house de Gournay— the French origin of the family name, talks about inspiration, what’s next for his company in decoration and fashion, and learning to obey his daughters.

Peggy Levinson: You were one of the first Europeans to open small artisan studios in rural China. How has that scene changed now?

Claud Cecil Gurney: There is some activity in Jingdezhen where we have our porcelain studio, but most of the competitors are Chinese-owned.

We are still the only Western firm selling hand-painted wallpapers, which owns its own studio and controls its own quality and offers western-style service, so we believe that we are still unique.

PL: How do you address the contemporary movement in architecture? I have seen marvelous installations of very modern art on de Gournay panels.

CCG: We are just painters and paint whatever our clients require. In any décor there is still and always will be room for art. Depending on style we can use subtle monochromes or vibrant primary colors.

PL: De Gournay is known for having complete custom capability. How do your designers proceed with, say, if I wanted custom panels depicting Texas?

CCG: We have probably treated most themes before. We could conduct

De Gournay Namban design. Photography by Jérôme Galland.

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research of Texas in 1800 or Texas in 1900, or we could do something contemporary. We can also create a geographical or an historical ‘map’ painted onto parchment paper.

PL: Do you have any favorite projects you’ve done here in Dallas?

CCG: We have a well-established presence in Dallas through our representation with Culp Associates. It’s a marvelous city full of talented interior designers, each with a unique perspective on décor. It would be hard to pick just one.

PL: Do you plan on introducing more collaborations with fashion houses like the one you did with Aquazurra?

CCG: Many are asking us every day. My daughter Hannah loves to consider all the possibilities but has a talent for choosing those who are ‘of the moment’ and who have something to offer us.

PL: How is design and fashion intertwined—especially where de Gournay is concerned?

CCG: We no longer really distinguish—our wallpapers tend to be painted on flat surfaces and stuck to a wall, but our fabrics could be curtains or wallpapers or dresses. By the way, the Von Trapp family would have looked better up a tree dressed in one of our fabrics and certainly much more fashionable!

Colors and texture from fashion tend to lead into interiors.

We are doing more and more embroidery on our wallpapers.

Sequins and beads and jewels and feathers and porcelain flowers are all finding their way onto walls to inspire and delight.

PL: How is the direction changing with your daughters Hannah and Rachel Cecil involved?

CCG: I am slowly becoming an obedient father—something I should have learned years ago. Training fathers is even more difficult than training children!

PL: What is your next project?

CCG: I hope to set up a de Gournay ‘Centre of Excellence’ in India, within an old colonial building in the middle of North Calcutta. I also hope that 2019 will finally see the opening of our showroom in Kyoto. Both Japan and India have a huge impact on our design and inspiration. P

Coco Coromandel on black painted xuan paper.

Photography by Philippe Le Berre.

Anemones in Light on grey-painted xuan paper.

Photography by Simon Brown.

De Gournay Amazonia design in standard colorway on custom pinkpainted xuan paper. Photography by Mariam Medvedeva.

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BY PEGGY LEVINSON

A HEAVENLY COLLECTION LEE BROOM CHANNELS HIS THEATRICAL PROWESS WITH CELESTIAL ELEMENTS FOR HIS NEW OBSERVATORY LIGHTING COLLECTION.

British Designer Lee Broom. Photograph by Fernando Lombardi. Above: Eclipse Chandelier 3 Piece available at Scott + Cooner

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ombining classicism and modernity and a flair for the dramatic, British designer Lee Broom ushers in the second decade of his eponymous studio with the release of Observatory, a new lighting collection.

Observatory intertwines linear space with spherical orbs, in four cosmic designs—Eclipse, Aurora, Orion, and Tidal—that utilize LED Technology for Broom’s most innovative work to date.

The accomplished designer has received a host of awards including the Queen’s Award for Enterprise presented by Her Majesty the Queen and British Designer of the Year. Found globally on most every design hot list, we checked in with Broom on his background in fashion, theatre, and the Observatory’s recent launch at Scott + Cooner.

Peggy Levinson: Much has been written about your theatrical background— how did that shape this particular collection?

Lee Broom: It really shapes all my collections—not in a purposeful 52

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way, but as part of my childhood, my subconscious.

PL: What about fashion? Many fashion designers morph into home design. What is the commonality?

LB: Of course, style and trend play into it, although trends move much faster in fashion. Home furnishings are an investment and important for a much longer time. I think of lighting as jewelry to the room. Much in the same way that accessories can make an outfit.

PL: Which fashion designer would you like to see do a home collection?

LB: I think Thom Browne would do an interesting collection with inspiration from mid-century design. And, Tom Ford—he is so exceptionally creative in whatever he does, whether it is fashion or film. And I loved the Gucci showrooms he did while designing their collections.

PL: In furnishings, you tend to gravitate toward lighting. Why is that?

LB: In the beginning, I tended to design more furniture. Lighting seemed to be such a technical challenge with different ratings that

must apply, but when I got over that challenge, I am now more drawn to lighting. Even my furniture usually includes some element of light. I guess I’m like a magpie—drawn to bright things. And also, with my background in drama, lighting is such a major part of theatre. Even in the dressing rooms, you encounter theatrical lighting.

PL: You recently had a wonderful reception at the Scott + Cooner showroom here. What were your views, and where would you like to see your lighting in Dallas?

LB: We weren’t really there long enough to see much, but I understand that Dallas has extraordinary stores. I’ve seen images of the Forty Five Ten store in downtown and I look forward to visiting there on my next trip. Dallas has some marvelous properties, and the grand scale would lend itself to my collection (which is) contemporary but with a classic edge.

For example, Orion is composed of two bars of light. But it can be used in multiple combinations vertically or horizontally to fill a really large space. You don’t find that kind of scale in New York or London.

PL: If you needed quick inspiration, where would you go to find that— anywhere in the world?

LB: I would probably go to the Metropolitan Museum in New York. I’ve been there many times and haven’t seen half of it. I get inspiration from ancient sculpture, history, and architecture.

PL: Your recently introduced Observatory Collection has a celestial, otherworldly feeling. Is that a response to our world today?

LB: Maybe subconsciously, but I think there are two inspirations. One is experimenting with different shapes of light—its shades and auras. Two was a recent experience I had looking at stars in the Cotswolds. I spend so much time in cities; I don’t think I’ve ever seen the kind of blanket of stars you can see in the country. For me, it is the ultimate sensory experience. P

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P h o t o g r a p h y b y C a n Tu r k y i l m a z Paul Mannes, Cris Worley Fine Arts, “P-40”, 2012 C o u r t n e y M i l e s , J e n M a u l d i n G a l l e r y, “ W a l k i n g S e r i e s ” , 2 0 1 8

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BY PEGGY LEVINSON

WANDERLUST Roche Bobois selects celebrated Dutch designer Marcel Wanders for a new collection.

Clockwise from top left: Canapé Montgolfière sofa upholstered in fabrics from the Globe Trotter collection, designed by Marcel Wanders for Roche Bobois. Dojo single- or doublesided bookcase with four mobile panels available in 34 colors.

Wonder Buffet two-door cabinet with a lacquered exterior with glossy finish, and screen-printed interior featuring the exclusive illustrated motif and integrated lighting in central display case. Chess cocktail table and side tables made in solid wood or in fibreglass and lacquered polyester resin. Portrait, from left: Nicolas Roche, Marcel Wanders, and Gabriele Chiave, © Didier Delmas.

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caught up with Marcel Wanders recently. He was in Budapest but he had to think about it for a moment to remember where he was, because Wanders, though based in Amsterdam, travels constantly. He is acknowledged as one of the top interior designers in the world, and along with his own collection, Mooie, he has collaborated on product design with the best names in the business. His new collection for Roche Bobois is inspired by antique hot-air balloons worthy of Jules Verne’s Phileas Fogg.

Peggy Levinson: How did you choose this collaboration with Roche Bobois?

Marcel Wanders: Roche Bobois gave us the opportunity to do something different, and our feel and our philosophies are perfectly aligned. Some modern design collections look all the same, that to me is about styling, not design. This kind of styling is less inclined to look at the lightness of life, which is what I do.

PL: What does Montgolfière mean to you? I know the Montgolfier brothers invented the first hot-air balloon in 1783; are they the inspiration for the whole collection?

MW: For me, the iconic image of the Montgolfière balloon is a metaphor for traveling. In this special project, we wanted to create a world. We started with one idea, which led to many more ideas, because the world is many ideas. We started with a graphic of all our ideas—a flower, a picture, a shoji screen.

The Montgolfière sofa with its balloon-like arms anchored to little feet is like an irrational start leading to a very logical object—a sofa in this case.

PL: How did you come up with the exhilarating design for the interior of the cabinet?

MW: It comes from the graphic, which began and inspired the collection. I travel a lot so I want to live lightly—I like cabinets empty. This cabinet is empty and also filled with miracles.

PL: You’ve designed some extravagant interiors—who are your clients?

MW: I’ve designed hotels and then been asked to design the owner’s home. These are people who are interested in the world, a little quirky, and have a great appetite for excitement.

PL: Will you continue to design products for the Globe Trotter collection, finding inspiration from other countries as you have Paris, China, and Japan?

MW: Of course. We hope to have new novelties in the collection for a launch in Los Angeles in September.

PL: You describe your collection as “post-postmodern contemporary Renaissance of humanity.” How are you bringing back humanity with this collection? What does this mean?

MW: Modernism suggests we can find answers with the brain.

Being human is not only rational—computers and robots are rational, and they act quicker. Humans have humor, curiosity, and a connection to the past. In our world today, if you look at life and culture holistically, we need to have humanistic answers.

PL: Your list of collaborations is like a who’s who in hotel and product design. If you could collaborate with any company in the world who would it be?

MW: NASA! Or maybe Tesla; yes, I would like to work with Elon Musk. P

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7/11/18 5:39 PM

COLOR REIGNS Saturated hues in design evoke self-expression.

From left: Color and pattern collide with Osborne & Little's Cubiste wallcovering, George Smith's Bulgari sofa, covered in JAB Space Velvet fabric with yellow silk pillows by Sabira, alongside Christopher Porney's Rue Jacob Side Table with Urban Flower arrangement. An amber-colored Venetian glass "shell" sits atop a cocktail table by Joseph Saia beneath a Bebe Matawi Chandelier from Emanuel Morez. All available (except for floral) to the trade at ID Collection, interiordesigncollection. com. Custom floral arrangement by Lauren Lightfoot at Urban Flower at Grange Hall. Arden Bendler Browning, Forgotten History, 2017, Flashe, acrylic, acrylic medium, acrylic ink, and acrylic gouache on panel, 60 x 60 in., available at Galleri Urbane, galleriurbane.com. Add some zest to your home with Benjamin Moore paints from left in Gentleman’s Gray, Caliente, Cherry Wine, and (opposite) Texas Rose, available at Texas Paint & Wallpaper and Elliot’s Hardware. Majestic and magnificent, Nymphenburg Porcelain’s Blue Peacock with underglaze painting is available exclusively in Dallas at Grange Hall, ufgrangehall.com.

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SPACE

This page clockwise: Loretta Side Chair from the Hable for Hickory Chair Collection is defined by chamfered edges on the solid maple frame that continue toward a tightly upholstered seat, available to the trade at Hickory Chair, hickorychair.com. The Porcelain Newton Lamp by Arteriors lures with soft, round lines and scalloped ribbing; the reactive glaze naturally forms a speckled texture, creating varying hues of blue. The Olsen Lamp vaunts a bright aquatic hue crafted from porcelain, arteriorshome.com. Minotti’s Tape collection offers seating in light silhouettes and a couture-detail piece of ribbon that holds the light bronze-colored metal feet, customizable in a range of leather and fabric coverings, available at Smink, sminkinc.com. Two exquisite mineral specimens exclusively through Arkenstone the Fine Mineral Gallery (from left): Chrysocolla PS Azurite from Live Oak Pit and Fluorite Pyrite from the Shangbao Mine, China, irocks.com. Lrnca’s handpainted terracotta clay-based glazed-ceramic vase, available at the Nasher Sculpture Center Store, nashersculpturecenter.org.

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BY PEGGY LEVINSON PHOTOGRAPHY BY LEE LORMAND

CREEKSIDE SANCTUARY

DESIGNER LEE LORMAND WORKS WITH SCOT PRESLEY TO TRANSFORM A 1970S' TOWNHOME INTO AN IDYLLIC SPACE TO LIVE WITH ART.

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Opposite: Devon Nowlan’s Leaving Nothing Behind welcomes from the entrance. This page from left: Four pastel graphics

by Jerry Cabrera are installed opposite a Deborah Ballard sculpture maquette which sits on a Ligne Roset bench. Norman Kary, For Dante, 1997, hangs above. Above: Marla Ziegler’s Strix, a glazed-clay sculpture installation, is mounted above the stair landing. Below: Norman Kary, Inseparable Friends, 2009, is a collage painting.

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David Crismon, Deconstructed Histories: Napoleon and Frank Brown, Double Exposure make an impressive statement in the living room above the custom sectional with a custom rug from Truett Fine Carpet beneath.

W

hen the thermometer hovers around 100 degrees in Dallas, it’s easy to see that art consultant and gallerist Scot Presley and his husband have the best of both worlds. Their summers are spent at their home in the idyllic ocean-side art community of Provincetown, Massachusetts.

“Our lives in Ptown are very simple, we reduce our square footage by at least one-third, and we are connected to the community and live a small-town routine. We rarely drive; it’s very refreshing.” It’s also home to their year-old On Center Gallery, which recently mounted The Big D Art Slam, a showing of Dallas artists in conjunction with VisitDallas, a nonprofit promoting business and tourism in the area. “I was thrilled to be able to give these great Texas artists a voice in New England. And because Ptown is such a tourist destination, we reach a national and international audience—names like Allison V. Smith, Pamela Nelson, Thom Jackson, Heather Gorham, Jay Maggio, and others.”

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The rest of the year spent here in Dallas is no slouch either; we are visiting their marvelous light-filled home backing up to and overlooking Turtle Creek. With renovation plans by Paul Pedigo of Larson Pedigo Architects, and the help of their friend and designer Lee Lormand, this red brick townhome built in the 1970s has been transformed into a modern, airy art gallery onto itself. Salmon carpet and brown wood paneling have given way to polished white oak floors and white walls for art.

You already know this is an interesting home when through the glass front door you see a nearly human-size painting by Devon Noland, Leaving Nothing Behind—a favorite of Presley’s because it resembles and reminds him of his grandfather. The entry hall opens with Verb Series, four pastel graphics by Jerry Cabrera, a find from Craighead Green’s New Texas Talent annual show. Presley worked at the gallery for 15 years and was manager for the last 10 years. “Kenneth (Craighead) and Steve (Green) taught me so much about art and awakened my passion for collecting—we are still

People-less Park by Gregory Horndesky hangs above the dining table, by Molteni from Smink.

The Filter of Preconceived Notions by Susan Sales hangs below the window.

Image caption.

Deborah Ballard’s Celebration, a bronze sculpture, seemingly heralds the beauty of Turtle Creek.

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Gary Ruddell’s He Walked Away hangs over an antique telephone desk on the dividing fireplace wall.

From left: The open kitchen designed by Lee Lormand has a waterfall-edge peninsula made of Neolith, which is a natural sintered-stone composition. Heather Gorham, XOXO!, 2016, depicts the homeowners’ Chihuahuas Lulu and Rosa. Right: Heather Gorham, All Will All Blow Over in Time.

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Gregg Coker, Untitled Vessels; Deborah Ballard figure is on the Saarinen table and the sculpture on the plinth is by Michael O’Keefe.

great friends,” says Presley.

On a Ligne Roset bench resides a sculpture by Deborah Ballard from Valley House Gallery. A sculptor who specializes in the human form, this is from her Celebration 7 series and one of three Ballards they own. Above, an assemblage by Norman Kary portrays the artist’s response to a local children’s tragedy. The light fixture is Sorenthia by Studio Dunn. Leading up the stairs, a series of glazed-clay works by Marla Ziegler are mounted.

What were once three regular windows in back is now a wall of windows overlooking the pool, grounds, an unmistakable Deborah Ballard bronze sculpture, and the limestone walls of Turtle Creek. “We raised the ceilings three feet to accommodate their expanding art collection. We opened the kitchen to the whole living space but then divided it strategically with a fireplace open to both areas and furniture placement to bring the vast scale into an intimate, livable environment,” says Lormand. “We wanted to keep the home as a light, neutral gallery space, but make it warm

and inviting for living and entertaining.”

Another favorite, Deconstructed Histories: Napoleon by David Crisman, is in the living room. A narrative by Frank Brown from the venerated Edith Baker Gallery, which closed in 2004, evokes the greens and blues of the outdoors. Lee Lormand took their old black leather sofas and redesigned them into a chic mohair-covered sectional. The chairs are from Ligne Roset and a large custom rug from Truett Carpet connects the dining room. The dining table is

by Molteni from Smink and the colorful People-less Park painting is

by Gregory Horndesky. The Tapestry of Color by Susan Sales hangs beneath a rectangular window in the dining room.

Separating the living and den areas is a fireplace wall with a charming telephone desk—a fond reminiscence of Presley’s from when he was five playing telephone at his great grandparents’ home in Oklahoma. A solitary figure titled He Walked Away by Gary Ruddell hangs above.

The open kitchen designed by Lormand has a waterfall island

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On the second level, a gallery wall features works bought at auction and gifts from artists.

Susan Sales, Lipstick and High Heels, is above the console.

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The master bedroom boasts views of Turtle Creek and curated art selections. Photographs by Vanessa Marsh flank the bed.

made of Neolith, which is a natural sintered-stone composition impervious to heat and cold. A Heather Gorham painting leans against the wall. Above the fireplace (also Neolith finished like blackened steel) is another Heather Gorham, All Will All Blow Over in Time, or, as Presley refers to this painting (another one of his favorites) “boy with hair on fire.”

A Saarinen table in the den area is Presley’s office when he’s in town. Nearby on a table, the Lady in Blue figure is by Deborah Ballard—the third in their collection. The grand Untitled Vessels is

by Gregg Coker. “I gaze at this painting all the time and always see a new shade of blue I haven’t noticed. The colors and the images of the boat are a grounding force for me,” says Presley. The marblelike (actually colored plaster) sculpture on a pedestal is by Michael O’Keefe also from Valley House Gallery.

Upstairs, a gallery wall showcases works bought at auction as well as personal gifts from artist friends including an untitled work of a figure walking by Ursula O’Farrell and a red etching by

BJ Davis. A higher view of Turtle Creek brings in natural light, and shadows play in the master bedroom. A Susan Sales painting Lipstick and High Heels is on a console in the bedroom. The bedroom furnishings are from a previous residence, repurposed by Lee Lormand. Sedrick Huckaby’s work is also among their collection along with photographs by Vanessa Marsh. “She (Marsh) designs sets to look realistic and uses toy figures as she does here in On the Beach,” adds Presley in another comment showing his deeply personal attachment to their art collection.

“When I leave Ptown, I miss it, but I love going (back) to Dallas to the wonderful home that my husband and I built together.

After being away for months at a time, there is nothing like that feeling of walking into our house and seeing Turtle Creek in our backyard. I always get a rush from it. Being away from Dallas or Provincetown makes me appreciate both places more each time I make the change. Lucky for us we get to live by the water in both places.” P

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dreaming with “T

dalí

MEADOWS MUSEUM PRESENTS JEWELS OF EARLY SURREALISM.

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he Meadows is the only museum in Texas with a painting by Salvador Dalí,” states Dr. Mark Roglán, the Linda P. and William A. Custard Director of the Meadows Museum. That painting, The Fish Man (L’homme poisson), 1930, entered the collection in 2014. As part of its due diligence, the museum sent it to the conservation studio at the Kimbell Art Museum in Fort Worth. The discoveries made there inspired the exhibition Dalí: Poetics of the Small, on view at the Meadows this fall.

The scope of the exhibition focuses on Dalí’s small, early Surrealist paintings completed between 1929 and 1936. According to Claire Barry, the Director of Conservation at the Kimbell, under the microscope, L’homme poisson revealed previously unknown preparatory work as well as compositional changes. This discovery, Roglán says, “made us realize how limited the scholarship was on these works.” The Meadows organized this exhibition of 21 paintings as a way to expand upon this research.

Loans are coming from private collections and public institutions across the United States and Canada as well as the UK, Spain, and France. “Some of the private loans are not well known and haven’t been seen often. One of the surprises of the exhibition will be some of those paintings,” says William Jeffett, Chief Curator of Exhibitions at The Dalí Museum in St. Petersburg, Florida. Six of the paintings on view are from this institution. Dallas will be the only venue for this unique showing.

Among the major works coming are The Accommodations of Desire (c. 1929,

Metropolitan Museum of Art), The Angelus (c. 1932, private collection), and The Weaning of Furniture-Nutrition (1934, The Dalí Museum, St. Petersburg, Florida). “Every year of this time period is represented,” Roglán notes.

Dalí was as multi-talented as he was prolific. In addition to painting, he was also an accomplished printmaker (as evidenced by the concurrent exhibition on view in the downstairs galleries, Dalí’s Aliyah: A Visualization of Jewish History) as well as a jewelry designer, sculptor, poet, set designer, and filmmaker. The title of the exhibition comes from The Poem of Small Things, which he wrote in 1928 and sent to his friend, poet, and playwright Federico Garcia Lorca. According to Shelley DeMaria, the Meadows Museum Curatorial Assistant and co-curator of the exhibition, “It references the little things that populate his canvases in the late 1920s.” She adds, “In 1927–28, he did a lot of experimentation.

He did a lot of reading and writing. At this time, there are abrupt shifts in his work. There is an evolution. He refines it and develops his own personal iconography that he utilizes year after year.” She also points out that more than half of Dalí’s paintings from this time period are small works.

The Dutch 17th century painter Johannes Vermeer specifically

plays an important role in the development of Dalí’s iconography, as does the work of other Old Masters. Growing up in Catalonia, Dalí had little access to these paintings. An uncle’s gift of Gowans’ Art Book Masterpieces of De Hooch and Vermeer opened an avenue for his exploration that continued throughout his career. Roglán says, “Vermeer appears even in the earliest paintings that he made as a teen.” He adds, “These influences are part of his identity as an artist in a very unique way. He was very outspoken about being part of that tradition.” DeMaria concurs, saying, “His precise, perfect style is in line with those of the Dutch Masters he so admired.”

In the 1920s, Dalí met Joan Miró. In many ways, Miró became his mentor and made important introductions for him. Through his connection to Miró, Dalí met Pablo Picasso on his first trip to Paris in 1926. Three years later he returned and, again with Miró’s intercession, he met with the Surrealists, led by André Breton, as well as with Camille Goemans, the gallery owner who gave him his first exhibition in Paris later that year.

Miró’s work also fueled Dalí’s imagination. “He incorporated ideas from Miró such as ‘How do you take painting and do something different? How do you stay attuned to what is going on?’” explains DeMaria. To keep current, Dalí read art journals

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BY STEVE CARTER

FINE LINES Ian Davenport's survey exhibition tracks 30 years of the British painter's career.

A

cclaimed English painter Ian Davenport may, or may not, need an introduction to area art cognoscenti. Prior to next month’s opening at Dallas Contemporary, a major career survey exhibition, the 52-year-old artist has only shown twice in Dallas: the first occasion was a group show at Turner & Byrne Gallery in 1992, followed by a solo exhibition there two years later. And although the Dallas Museum of Art purchased his Poured Lines: Mixed black, white, and greys in 1994, it’s not always on view.

A first-generation member of the phalanx of creatives who’d soon gain renown with the Young British Artists, young lion Davenport came roaring out of Goldsmiths College of Art in London in 1988. That year he was among 16 artists featured in the seminal Damien Hirst-curated Freeze exhibition—Davenport was all of 22 at the time. A short three years later he was the youngest-ever nominee for the Turner Prize, and to date he’s had well over 40 solo exhibitions in Europe, Asia, and the Americas. All this said, Ian Davenport finally returns to Dallas on September 30, with an as-yet-to-be-titled exhibition at Dallas Contemporary, curated by the museum’s Executive Director, Peter Doroshenko.

This page: Ian Davenport, Giardini Colourfall, Swatch Pavilion, 57th Venice Biennale, 2017, 149 x 551 in., acrylic on aluminum mounted onto aluminum panels, Courtesy of the artist and Waddington Custot Galleries, Photography

by Todd White. Opposite: Ian Davenport, La Mer (After Bonnard), 2018, acrylic on aluminum mounted on aluminum panels, 118 x 118 x 39 in., Courtesy of the artist and Waddington Custot Galleries, Photography courtesy of Ian Davenport Studios.

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Top: Ian Davenport, Untitled Circle Painting: Blue/Pale Grey/Blue, 2005, household paint on medium-density fibreboard, 72 x 72 in., Courtesy of the artist and Waddington Custot Galleries, Photography by Prudence Cuming Associates; below: Ian Davenport, Untitled, 1989, oil on canvas, 84.25 x 84.25 in., Courtesy of the artist and Waddington Custot Galleries, Photography by Prudence Cuming Associates.

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“This is Davenport’s first institutional exhibition, creating a context for his thirty-year career in painting, while also highlighting recent or just-completed works never before shown in North America,” Doroshenko offers. “The only challenge in organizing the exhibition has been to hone in on what paintings to include after so many years of studio production.” About two-thirds of the 30+ works are recent, including large-scale vertical line-based poured paintings and playful Splat works that Davenport’s been producing lately.

1988’s Paint Pot is the earliest painting in the show: a still life of a drip-spangled paint can, it’s a harbinger of later works, in which drips, pours, keen calculation, and chance all conspire to create.

“My earlier paintings were much less about color and more about material and form and structure, and were much more limited in their color palette,” Davenport says. “As I’ve developed I’ve felt much more comfortable about how I can use color, which I think is self-evident in the show.”

“Self-evident” is absolutely spot-on—Davenport’s recent works are astonishing, celebratory abstracts of intense highgloss color, linearity, idiosyncratic method, and occasional threedimensionality, all underwritten by his restless, exploratory nature. “A lot of these ideas come through research in the studio and studio accidents,” he explains; “things that I saw happening as I was working and just developed and made into something. I’m very keen on that idea of studio accidents—that’s a key element for me in how this body of work evolves.” The Puddle Paintings, for

Ian Davenport, Paint Pot, 1988, 31.25 x 49.38 in., Courtesy of the artist and Waddington Custot Galleries, Photography by Prudence Cuming Associates.

instance, grew out of the artist’s Poured Lines series, in which liquid paints are poured or syringed at the top edge of a tilted painting surface, typically a sheet of aluminum or stainless steel. Noticing the pools of paint drying at the bottom of the surface post-pour, Davenport’s “Puddle Paintings” were born. “They spread out onto a floor piece, so they’re kind of sculptural paintings in a way,” he says. “The paint oozes out onto the floor, exploring a kind of liquid mass. They actually look like they’re still wet and they’ve been made in the space.” His carefully choreographed color palette, coupled with the aleatory element of gravity’s whims, are philosophical opposites, but here intentionality and randomness make exciting bedfellows.

Davenport’s color choices are another fascinating aspect of his work. He often borrows the palette from a masterpiece, or sometimes, pop culture—he’s as likely to be inspired by The Simpsons as he is Pierre Bonnard or Hans Holbein. A case in point is 2013’s Colourfall: Ambassador, which owes its distinctive coloration to Holbein’s The Ambassadors (1533). Davenport says, “In the Holbein there’s a very particular, strange green in the background, lots of odd grays and pinks, some very deep browns and reds—quite strange combinations of colors that you wouldn’t necessarily gravitate towards if you were making a painting. Having a source to work from actually pushes you to make much more interesting combinations of colors.”

Davenport’s Splat paintings are some of the most recent works, and their inspiration again attests to the mysterious power of chance. While conducting a children’s workshop, the kids commandeered Davenport’s painting syringes and turned them on each other as weapons. “They just started squirting each other in the face and sort of bombing each other,” he recalls, “and I thought, ‘that’s just so much fun, that’s lovely—that’s actually very interesting. Mark-making that way is quite punky, and very energetic, something that I could do myself.’” Months of experimentation later, voilà—“Splats.”

Curator Peter Doroshenko has the last word, enthusing, “It will be a visual confectionery experience like no other.” Ian Davenport is at Dallas Contemporary, September 30 through December 17. P

Ian Davenport, Poured Painting: White, Black, White, 1999, household paint on medium-density fibreboard, 5 panels, each 96 x 72 in., Courtesy of the artist and Waddington Custot Galleries, Photography by Henry Bond.

Ian Davenport. Courtesy of Ian Davenport Studios.

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BY DANIELLE AVRAM

LEGENDS OF THE FALL

A LOOK AT THE ART GIANTS HONORED OVER 20 YEARS OF TWO X TWO.

T

he legendary art event, TWO x TWO, celebrates its 20th anniversary this October.

In honor of this momentous achievement, we look back at the artists honored each year with the amfAR Award of Excellence for Artistic Contributions to the Fight Against AIDS—art-world superstars whose contributions have enabled the event to continue supporting two very worthwhile causes.

1999 The legend is set. Started in 1999 by Howard and Cindy Rachofsky as a way to raise money for AIDS research while bolstering the Dallas Museum of Art and the then-burgeoning Dallas contemporary art scene, the benefit has raised over 75 million dollars to date while adding a considerable number of pieces to the museum and numerous local private collections.

2000

Robert Rauschenberg Arguably the most famous and influential artist to ever emerge from the Lone Star State, Port Arthur native Rauschenberg was the first TWO x TWO honoree, having been active in amfAR since its inception in 1985. In 1997, the artist was the subject of a massive retrospective organized by the Guggenheim Museum, New York.

The exhibition was so sprawling in scope that when it travelled to Houston the following year, it dominated three museums: the Menil Collection, the Contemporary Arts Museum, and the Museum of Fine Arts. So profound is his impact on contemporary art and his legacy as a homegrown hero that Glasstire founder Rainey Knudson named the Texas-based art criticism site after one of his sculptures.

Robert Rauschenberg, Glacial Decoy Series: Etching I, 1979, etching and photoetching on Swiss hand-made paper, 23 .5 x 16.75 in., from an edition of 22, published by Universal Limited Art Editions, West Islip, New York. Š Robert Rauschenberg Foundation and Universal Limited Art Editions, West Islip, New York.

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2001

Julian Schnabel

Schnabel was honored a year after the release of his award-winning film, Before Night Falls, which was based on the life of Cuban writer Reinaldo Arenas, who was imprisoned by the Castro regime in 1973, and died after an intentional drug overdose following a three-year battle with AIDS. The subject of a 2014 retrospective at the Dallas Contemporary, Schnabel spent his teen years in Brownsville and obtained his BFA from the University of Houston prior to cementing his reputation as one of contemporary art’s most boldly divisive and difficult-to-contextualize artists.

Julian Schnabel, Saint Sebastian (Portrait of Neri Benelli), 1997, oil, enamel, and resin on canvas, 108 x 102 in. Courtesy of the artist. Photograph courtesy of Pace Gallery.

2002 Ed Ruscha

A painter who rose to prominence in the early days of the Pop Art movement, Ruscha is best known for his paintings that deftly mix deadpan, California-inspired landscapes and atmospheric backgrounds, with blunt, tongue-in-cheek statements that echo absurdist sentiments about American culture. In 2013 the Harry Ransom Center at the University of Texas, Austin, acquired the artist’s personal archives, including documents, photographs, and sketches. Bro, Sis, Ruscha’s contribution to TWO x TWO, is a reworking of the artist’s 1987 painting, Brother Sister. The shift in the title and the ship’s positions from one painting to the next suggest a playful, yet ominous, transference of power.

April Gornik, Tree Sky, 2003, charcoal on paper, 50 x 38 in.

Courtesy of the artist and Danese/Corey, New York.

2003 April Gornik Ed Ruscha, Bro, Sis, 2001, acrylic on linen, 24 x 36 in. © Ed Ruscha.

Courtesy of the artist and Gagosian.

A longtime supporter of causes such as AIDS research, Planned Parenthood, and environmental advocacy, Gornik also has a longstanding connection to Dallas, having exhibited at John Runyon’s former gallery in 1997. Known for her evocative, large-scale landscape portraits, Gornik is an institutional stalwart and has work in the collections of the Dallas Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, and the Smithsonian, among others.

She and her husband, artist Eric Fischl, are in the midst of acquiring a historic former Methodist church in Sag Harbor, which they plan to convert into an arts center that will offer residencies to four artists at a time, and include a public space for programs and exhibitions.

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Joel Shapiro, Untitled, 2000–2003, bronze, 13.5 x 15.75 x 5.5 in. cast 3 of 4, edition of 4. © 2018 Joel Shapiro/Artists Rights Society (ARS), New York.

Courtesy of the artist.

Joel Shapiro

2004

Most people may be unaware of their familiarity with, and continual proximity to, the work of famed sculptor Joel Shapiro. The post-minimalist’s architectural forms and blocky, humanoid figures populate public spaces across the globe, including over 20 states. Shapiro was the subject of a 2016 solo exhibition at The Nasher Sculpture Center, and his colorful piece, 20 Elements, an homage to Jean-Baptiste Carpeaux’s monumental marble sculpture La Danse, is currently on view at NorthPark Center. Whether lightweight and lofted into the air, or solidly executed in hundreds of pounds of bronze, Shapiro’s sculptures are captivating in their ability to retain an effortless lyricism while staying true to their materiality.

2005

Cecily Brown

At first glance the paintings of Cecily Brown appear to be lushly frenetic abstractions, thick with pigment and gestural brushstrokes. Upon closer inspection the canvases reveal themselves to be comprised of orgiastic figures, situated within hazily pastoral scenes, as though Francis Bacon’s nightmarish figures have crawled into a Willem de Kooning landscape. Brown confronts her male predecessors head on with their own tactics, subverting expressionistic machismo by introducing an unflinchingly feminist reclamation of sexuality, violence, and ecstasy.

Cecily Brown, Bedlam Vacation, 2005, oil on linen, 85 x 89 in. © Cecily Brown.

Courtesy Paula Cooper Gallery, New York.

2006 Tom Friedman

Tom Friedman has made a career out of being difficult to pin down. While his trademark sense of humor often gives him away, his choice of materials and methodologies is so varied, it’s surprisingly easy for even the most discerning of eyes to be fooled into mistaking his works for that of another artist. Still, amongst Friedman’s many material choices—paper, Styrofoam, light, dust, Playdoh, toothpicks, and even his own feces—stainless steel cast from crumpled aluminum is easily the most attributable. Last year Friedman unveiled Huddle, a 10-foot-by18-foot sculpture commissioned for the grounds of The Star, the Dallas Cowboy’s Frisco-based complex. With this sculpture Friedman joined the ranks of one of the art world’s most unexpected and exciting collections of public works.

Tom Friedman, Small Dog, 2006, yarn and wheat paste, 15 x 37 x 24 in.

Courtesy of the artist and Stephen Friedman Gallery, London.

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,

2007

Elizabeth Peyton

Elizabeth Peyton, Joe (Joe Montgomery), 2007, oil on board, 12.12 x 9.12 in.

Jim Hodges, Movements (Variation III), 2008, mosaic mirror glass, 84 x 60 in.

Courtesy of the artist and Stephen Friedman Gallery, London.

2008

Jim Hodges

Moving to New York City in the midst of the 1980s’ AIDS epidemic has had a profound impact on the practice of Jim Hodges. Comprised of materials such as folded paper, fine metal chains, gauzy fabrics, and gold leaf, his works are delicate forays into the ethereal and transient—memento mori to those who have come and gone and those who must cope in the wake of loss. A 2014 survey exhibition at the Dallas Museum of Art titled, Give More Than You Take, included a number of works that directly address Hodges’ personal experiences with the disease—the loss of friends and colleagues, such as Felix Gonzalez-Torres—gently reminding viewers of the fragility of life and the importance one can continue to have in this world after passing onto the next.

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2009 Peter Doig

Peter Doig, Untitled, 2008, oil on linen, 18 x 27.75 in. © Peter Doig. Courtesy of the artist.

2010 Christopher Wool

Like Hodges, Turner-nominated artist Peter Doig has made a career out of the ethereal, although his work skews away from sentimentality thanks to a hefty dose of magical realism tinged with ominous serenity. Doig’s painted landscapes are influenced by photography, film, and art history, as well as his upbringing in Canada, featuring hazily depicted environments blanketed by an otherworldly stillness.

The artist relocated to Trinidad in 2002, and is often compared to Paul Gaugin, another tropical expat inspired by the lush tranquility of island life.

However, unlike the famous French artist’s lascivious regionalism, Doig is inspired by the unease of living on the periphery—the shimmering edge of the horizon and the unknown that lies just beyond.

For over 30 years Christopher Wool has been creating monochromatic works ranging from stenciled letters on white canvases to gestural strokes resembling hastily executed, half-erased graffiti. Wool’s stripped-down aesthetic is reminiscent of his years spent in the 1970s’ punk, graffiti, and film scenes of New York’s East Village, his works echoing the dissidence of the era with their blistering messagerie and sweat-drenched eye-makeup application. While many artists of his age morph into elder statesmen, Wool retains a bracing immediacy and grim nihilism that feel pertinent in today’s political and cultural climates.

Christopher Wool, Untitled, 2009, silkscreen ink on linen, 126 x 96 in. © Christopher Wool. Courtesy of the artist and Luhring Augustine, New York.

2011

Mark Grotjahn

By now the antics of Mark Grotjahn following the 2011 TWO x TWO gala are as infamous as the amount netted by that evening’s auction of his work. Active since the mid1990s, Grotjahn has made a career out of bold moves—both in and out of his studio—as demonstrated by his complex geometric paintings and willingness to grab the art world and the art market by the horns. This past spring the artist made headlines when he publicly turned down an award from the Museum of Contemporary Art, Los Angeles, citing a lack of diversity amongst recent awardees, all of whom were white, male artists. While Grotjahn’s work has placed him amongst the most influential artists of his generation, his outspokenness has been equally as important.

Mark Grotjahn, Untitled (In and Out of the Darkness Face 43.01), 2011, oil on cardboard mounted on linen, 88.38 x 48.38 in. © Mark Grotjahn. Courtesy of the artist. Photograph courtesy of Douglas M. Parker Studio.

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2012

Richard Phillips

Back in 1997, then relatively unknown, artist Richard Phillips was given his first solo show outside of New York City, at the former Dallasbased gallery of art consultant John Runyon. Cut to 2014 when Phillips was given his first US solo exhibition at the Dallas Contemporary, complete with the long-term installation of his polarizing sculpture Playboy Marfa in front of the building.

In 2015 Phillips joined the Contemporary’s board of directors, of which he is still a part. Phillips credits the city as having a major impact on his career, and, in turn, his large-scale photorealistic paintings of celebrities, models, and power figures have had a major impact on the growth of the Dallas collecting scene, the contemporary art world, and the contemporary art market.

Richard Phillips, Lindsay V, 2012, oil on canvas, 94.5 x 78 x 1.5 in. Courtesy of the artist.

2013

Luc Tuymans

Widely hailed as one of the greatest living realist painters, Belgian artist Luc Tuymans creates haunting, washed-out scenes, portraits, and still lifes reflective of the darker side of humanity. Tuymans first gained notice in the mid-80s with his painting, Gas Chamber, which depicts an empty and eerily monochromatic view of a gas chamber at Dachau, the notorious Nazi concentration camp. Since then, the artist has cemented his place as a contemporary Flemish master, basing his paintings off of pre-existing imagery so as to cast a thin veil between subject and viewer, creating an unsettling out-of-body experience as if viewing one’s own life from a distance. In 2010 the Dallas Museum of Art held Tuymans’ first ever US retrospective, an eponymous exhibition of over 75 paintings dating back as early as 1978.

Luc Tuymans, Mr. Sagawa, 2013, oil on canvas, 45.60 x 62.25 in. © Luc Tuymans. Courtesy the artist and David Zwirner.

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2014 Wade Guyton

Since the early years of the new millennium, Wade Guyton has made works that navigate the use of digital technologies as tools of artistic production. Guyton’s practice involves using found material that he feeds through digital scanners and printers, blending images, shapes, and letters (U and X are recurring motifs) in order to create a vocabulary that speaks to the technological hybridization of the artist’s hand and the inherent information lags and breakdowns involved in digitization. Recently Guyton has adopted a decidedly more elegant methodology, reworking photos taken in his own studio with an iPhone camera. Rather than herald the mechanization of the artist’s practice, these works investigate the artist’s studio as a source material, both as a space for the transference of ideas into objects and as an object in and of itself.

Wade Guyton, Untitled, 2008, Epson ultrachrome inkjet on linen, 93 x 55 in.

Courtesy of the artist and Petzel Gallery, New York.

2015

Ellsworth Kelly

Honored just two months before his death at age 92, legendary color-field painter and minimalist sculptor Ellsworth Kelly had a longstanding relationship with Texas.

His works are in a number of private and museum collections, and Kelly executed public commissions for the Museum of Fine Arts, Houston, the Morton H. Meyerson Symphony Center, and the Dallas Museum of Art. In 2015 the Blanton Museum of Art at the University of Texas, Austin, was gifted with the artist’s design for a white stone building adorned with colored glass windows and black and white marble panels. Titled Austin, but lovingly referred to as the “chapel” (a nod to the structure’s shape and serene interior but also the Rothko Chapel in Houston), the building opened on the UT grounds earlier this year, and stands as the artist’s final work and only building.

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Ellsworth Kelly, White Form, 2012, painted aluminum, 80 x 71.75 x 4 .25 in., edition of 2. Dallas Cowboys Art Collection. Artwork: © Ellsworth Kelly Foundation.

2016

Laura Owens

While a host of TWO x TWO honorees have made calculated processes and signature aesthetics a part of their practice, painter Laura Owens has built a career out of being exuberantly unwilling to stop experimenting with all the medium has to offer. The subject of a mid-career retrospective at the Dallas Museum of Art earlier this year, Owens has a reputation for incorporating a plethora of materials and methodologies—painting, embroidery, screen-printing, digital technology, trompe l’oeil, found imagery, and art history—into her works, removing the tortured burden of painting’s role as the apex of “fine” art and turning it into a lightweight, malleable medium for the digital age. In doing so, viewers can sense that perhaps the most important part of Owens’ practice is simply allowing the opportunity for art-making to be fun.

Laura Owens, Untitled, 2016, Flashe, oil, acrylic, and screenprinting ink on canvas, 108 x 84 in. Courtesy of the artist; Gavin Brown’s enterprise, New York, Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne.

2017Jonas Wood Like his mentor and former boss, Laura Owens, the works of Jonas Wood exudes a kind of airy quirkiness. His landscapes and interiors are predominantly curious reworkings of found images, his aesthetic a mash-up of David Hockney-style collage and South Park-esque animation. Plants and pottery feature heavily in Wood’s work, whether as singular subjects or decorative elements set in larger architectural spaces.

The collapsing of these elements into each other gives his work a slight Surrealist quality, the reduction of forms and dimensionality rendering recognizable scenes at once humorous and unsettling.

Jonas Wood, Pink Plant Patio Landscape Pot, 2016, oil and acrylic on canvas, 118 x 90 in. Courtesy of the artist; Anton Kern Gallery, New York, NY; David Kordansky Gallery, Los Angeles, CA; Gagosian; and Shane Campbell Gallery, Chicago.

2018

Dana Schutz

Dana Schutz first gained attention in 2002 with her “Frank” series, featuring portraits of a fictional man painted as though he and Schutz were the last two people on earth. Her rise coincided with a shift in contemporary art that injected the ethos of postmodernism with a measure of personal responses to the burgeoning image/information glut of the Internet. Last year Schutz became the unexpected subject of controversy when her painting Open Casket, based on a photograph of Emmett Till, a black teenager lynched in the American South in 1955, was protested for its inclusion in the Whitney Biennial. Although unintentional, the piece sparked a necessary dialogue about cultural appropriation in the art world and the usage of imagery depicting the suffering of others in the era of viral videos of police brutality, immigration reform, and the #MeToo movement. As a result, many museums are now taking steps to rectify the distance between artist, institution, and viewer, underscoring the inherent need for art to be in an ever-constant state of evolution. P

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Drawing A t ten t ion

RUBEN BURGESS JR. AKA SARTORIALNOLIFT INTERPRETS SHAYNA FONTANA’S FASHION PHOTOGRAPHY WITH HIS SIGNATURE LOOSE RENDERINGS. PHOTOGRAPHY BY SHAYNA FONTANA STYLING AND DRAWINGS BY RUBEN BURGESS JR.

This page: Akris Reversible Fruits of Vienna jacquard cotton-lurex parka at Akris, Highland Park Village; Clyde hat from Ten Over Six; Vada Jewelry silver disk earrings at Traffic; Comme des Garçons lace shirt at Traffic; Rachel Comey belt at Ten Over Six. Opposite: Vada Jewelry earrings from Traffic; Ben Taverniti, Unravel Project jacket at Traffic; Hanh Merriman shirt at Forty Five Ten; Ann Demeulemeester pant and belt at Traffic; Prada shoe available at Forty Five Ten. Illustration by Ruben Burgess Jr. of SartorialNoLift. Hair and makeup by Sandra Saenz. Assistant Stylist: Paul Anferne. Lighting by Justin Osborne. Model: Audrey at Wallflower Management.

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Maison Martin Margiela cut-out button-up shirt, Forty Five Ten; MM6 Maison Martin Margiela turtleneck, Traffic; MM6 Maison Martin Margiela pant, Traffic; leather belt, Vagabond Vintage. Illustration by Ruben Burgess Jr. of SartorialNoLift.

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Tom Ford wool tuxedo jacket with crystal button, black lycra leggings, Pussy Power slingback, Disco hoops earrings, black leather headband, available at Tom Ford Highland Park Village, tomford.com. Illustration by Ruben Burgess Jr. of SartorialNoLift.

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Vada Jewelry earrings from Traffic; Ben Taverniti, Unravel Project jacket from Traffic; Hanh Merriman shirt from Traffic; Ann Demeulemeester pant and belt; and Prada leather slingback available at Forty Five Ten.

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Prada leather slingback available at Forty Five Ten.

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This page: Vada Jewelry necklace and bracelet, Traffic; Rachel Comey jacket, Ten Over Six; Ann Demeulemeester belt, Traffic; pant available at Vagabond Vintage; Rachel Comey shoe, Ten Over Six; off-white ‘Sculpture’ Bag, Traffic. Opposite: Re-designed vintage blazer with lace corset

by Dillon Camp; Comme des Garçons Harness dress, Blank Canvas; sweater by MM6 Maison Martin Margiela available at Traffic. Illustration by Ruben Burgess Jr. of SartorialNoLift.

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Aurel Schmidt and Spencer Sweeney float during Beach Painting Club.

Photography by Josh Geyer

THERE BEACH PAINTING CLUB AT THE ELAINE DE KOONING HOUSE PHOTOGRAPHY BY JOSH GEYER AND KATHERINE MCMAHON

Eddie Martinez, John Riepenhoff, Amber Renaye

Melissa Brown

Sam Moyer, Bridget Finn

Bobby Taubman, Tyson Reeder

How is it That We Live

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Sam Moyer

Scott Reeder, Mary Heilmann

or Shakey Jake + Alice

DALLAS THEATER CENTER CENTERSTAGE GALA AT WYLY THEATRE PHOTOGRAPHY BY DANA DRIENSKY

Brett Levy, Krista Weinstein, Michelle Lockhart

Andy Smith, Jeff Woodward

Barbara Van Drie, Melinda Johnson, Julie Hersh, Karen Travis

Glen Davison, Deborah McMurray

David and Stephanie Russakov, Kevin Moriarty

Sophie and Eric Zuckerman, Angela Hall

AUGUST / SEPTEMBER 2018

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THERE 2018 DADA SCHOLARSHIP & AWARDS EXHIBITION AT ONE ARTS PLAZA PHOTOGRAPHY BY MEGAN GELLNER

Joeli Schilling, Cathy Drennan, Shara Jeyarajah, Brittney Delpey, and Chase Domke

Proud parent embraces daughter

Sandi Schwedler, Alexis Patterson

2018 DADA Edith Baker Art Scholarship Finalists

TA K A S H I MURAKAMI JUNE 10 –SEPTEMBER 16 MODERN ART MUSEUM OF FORT WORTH

3200 Darnell Street, Fort Worth, Texas 76107 • 817.738.9215

www.themodern.org

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© Takashi Murakami/Kaikai Kiki Co., Ltd.

Steve Green, Connor Coleman, Kenneth Craighead

Edith Baker, Roger Andres

FURTHERMORE

BY NANCY COHEN ISRAEL

CHERISHED GROUND

Linda B. and William A. Custard bestow Meadows Museum with Salvador Dalí’s Aliyah series in honor of Janet Pollman Kafka.

A

liyah means to ascend. The Hebrew word is applied to émigrés to the State of Israel as well as to individuals called upon for an honor in a synagogue. In the context of this fall’s exhibition, Dalí’s Aliyah: A Visualization of Jewish History at the Meadows Museum, both meanings resonate.

In 1966, Stephen Shore of Shorewood Publishers in New York commissioned Salvador Dalí to create a body of work in preparation for the 20th anniversary of the founding of the State of Israel. Using gouache, watercolor, and India ink, Dalí depicted the ancient and contemporary story of the Jewish people in a suite of 25 works on paper.

They were reproduced as limited-edition lithographs in 1968, in time for Israel’s birthday. Each set of the 250 editions included a letter from David Ben-Gurion, Israel’s first prime minister. The Meadows recently added one of the few remaining complete sets to their collection.

In the series, Dalí interweaves Biblical passages with contemporary Jewish history to create a visual narrative that alternates between the devastation of European Jewish life brought about by the Holocaust to its eventual revival and, finally, to modern Statehood. Dr. Mark Roglán, the Linda P. and William A. Custard Director of the Meadows Museum, says, “Dalí wants to illustrate a moment in Jewish history. He does so in a powerful and striking way.”

While Dalí often worked in series, this is the first complete set of his works to enter the museum’s collection. “We had complete suites by Goya and Picasso but not Dalí. The opportunity to have a suite in such great condition is priceless,” says Roglán.

The Aliyah series came as a meaningful gift to the museum as a way to honor one of its most dedicated supporters. According to Linda Custard, the chair of the Meadows Museum Advisory Council, her

husband, Bill, came across the work at auction and wanted to buy it for the museum. With additional funding provided by the Meadows Foundation, the Custards decided to donate the series in tribute to the Honorable Janet Pollman Kafka in recognition of her 20 years of service as Honorary Consul of Spain. Custard explains, “It comes through our friendship, our mutual devotion and love of Spain, as well as our love of the Meadows and of Mark Roglán.” Kafka, who has devoted much of her life to the museum’s mission, says, “It was a very humbling gift.”

The women forged their friendship in 2001 while planning inaugural festivities for the current building. Custard cites Kafka’s important guidance for bringing King Juan Carlos I and Queen Sophía of Spain to Dallas for this event. She says, “This is a joyful honoring of Janet and all her good work.”

Kafka’s contributions to Dallas in the service of Spain are myriad and reflect her mantra in the quote by Dalí, “Those who do not want to initiate anything produce nothing.” She is also an active supporter of Israel through her involvement with the Friends of Israel Initiative.

Founded in 2010 by Former Spanish Prime Minister José María Aznar and supported by former heads of state, she explains, “The common thread is that it is people who believe that Israel has the right to exist as a sovereign nation.”

This will be the museum’s inaugural exhibition for the series, which was acquired in 2017. “We wanted to wait for the right moment,” Roglán explains. As this year marks Israel’s 70th birthday, the timing was impeccable. It also marks the 50th anniversary of the creation of this suite. “It will be a major celebration of a work of genius,” Custard concludes. P

From left: Salvador Dalí (Spanish, 1904–1989), “Yea though I walk through the valley of the shadow of death I will fear no evil" (Psalm 23.4), plate 3, from Aliyah, 1968, lithograph on Arches paper; Salvador Dalí, On the Shores of Freedom: The Eliahu Golomb brings "illegal" immigrants, plate 11, from Aliyah, 1968, lithograph on Arches paper; Salvador Dalí, A Moment in History: David Ben Gurion reads the Declaration of Independence, May 5, 1948, plate 15, from Aliyah, 1968, lithograph on Arches paper. All © 2018 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. Meadows Museum, SMU, Dallas. Museum purchase thanks to a gift from Linda P. and William A. Custard and The Meadows Foundation in tribute to the Honorable Janet Pollman Kafka, Honorary Consul of Spain, for her twenty years of service. Photographs by Kevin Todora.

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