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PERFORMING ARTS ISSUE A Resounding Season ART-FILLED AERIE Sarah Jaffe’s Bad Baby Festive Jewels































Christopher Martin Gallery Dallas | Aspen | Santa Fe Christopher Martin | KLOVA | acrylic on honed acrylic | 96” x 96”

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December 2017 / January 2018

TERRI PROVENCAL Publisher / Editor in Chief

It’s time to raise the curtain on Patron’s Performing Arts Issue. Here, multiversed journalist Lee Cullum shares tales of the infinitely talented working in the region. Electrifying, intoxicating, dazzling, these words are often declared when describing the important work of each artist profiled in this year’s installment. First, Lee salutes Jaap van Zweden on his “farewell mission at the Dallas Symphony, where he has created a first-rate orchestra, before taking up his baton at the New York Philharmonic.” Next, in Clean & Classical, tenor Richard Croft talks of international stages and teaching voice at the University of North Texas. Setting the Stage describes six artists whose varied disciplines are enriching audiences everywhere, including playwrights David Lozano and Lee Trull, actresses Tiana Kaye Johnson and Shannon Kearns, conductor Nicole Paiement, and dancer Sean Smith. With her pleasing turn of phrase, we’re certain readers will enjoy Lee’s stories. No stranger to the stage, Sarah Jaffe and her Bad Baby album release are written of in Steve Carter’s Almost Effortless. Pictured in Shayna Fontana’s downtown photography studio, Jaffe juxtaposes self-styled looks with looks pulled by Carlos Alonso Parada. Nick Cave’s Soundsuit (featured on the cover) seemed a fitting acknowledgement of the plethora of talent described in this issue. Chicagobased, Cave is a sculptor, dancer, and performance artist himself who invites all to shed race, gender, and biases. When we learned of this home and collection replete with a Soundsuit we took a further peek inside. Presented to Patron by interior designer Linda Fritschy, we are privileged to publish this home in Living Figuratively. Covering the visual arts, Justine Ludwig probes the artistic practice of Lucia Simek in Studio titled in the artist’s own words: Being an artist is something you carry. Danielle Avram checks in with Dallas Art Fair’s Brandon Kennedy on Anatomy of Disquiet, a challenging exhibition he curated from works within the Karpidas Collection. And Nancy Cohen Israel visits with artist and arts enthusiast Gail Sachson and sculptor James Surls, both having moments in Dallas. In Portrait of a Lady, fine jewelry finds new nobility on model Nina Kong defined by the lens of photographer Nicollette Mollet. We hope you’ll enjoy these seasonable finds and stunning imagery. Finally, Chris Byrne examines a digital art installation imagined and created by David Niles in Outlandishly Victorian, But Not… A diptych screening inside the lobby at One Arts Plaza, courtesy of Lucy Billingsley, Niles’ Vic Noir is easily accessible on a stroll through the Dallas Arts District. Stop by for a visit this season—the screens are bedecked with outlandishly pleasant imagery. Make the effort to applaud those enhancing our senses. Until we meet again, we wish you the best ahead in the New Year. – Terri Provencal; Instagram terri_provencal and patronmag




FEATURES 52 SETTING THE STAGE Lee Cullum shares her back-stage pass to some of the top talent working in the performing arts in Dallas today. By Lee Cullum 60 ALMOST EFFORTLESS Dallas chanteuse Sarah Jaffe’s Bad Baby marks the latest chapter in her restless music history. By Steve Carter 64 LIVING FIGURATIVELY Great design, architecture, and a body of contemporary art punctuate a modern home. By Peggy Levinson 72 PORTRAIT OF A LADY Photography by Nicollette Mollet



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On the cover, inside the Pasquanelli home: Nick Cave (b. 1959), Soundsuit (#NC15.002), 2015, mixed media including ceramic birds, metal flowers, strung beads, fabric, metal, and mannequin, 95 x 36 x 36 in. ©Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York



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DEPARTMENTS 6 Editor’s Note 12 Contributors Of Note 20 TASTING TIME AND OTHER MUSINGS James Surls’s reflective work at the Museum of Biblical Art. By Nancy Cohen Israel 22 Noted Top arts and culture chatter. Fair Trade 36 A BROADER CONVERSATION Articulating the voice of Latin American artists, Sicardi Gallery will return to the Dallas Art Fair in April. By Anna Katherine Brodbeck Contemporaries 38 PULLING IMAGES FROM THE INSIDE OUT Curator Brandon Kennedy dissects the collective unconscious. By Danielle Avram


42 THE ENLIGHTENER Gail Sachson gets a standing ovation for participatory art instruction. By Nancy Cohen Israel Studio 44 LUCIA SIMEK “Being an artist is something you carry.” By Justine Ludwig Space 46 THE ITALIAN CONNECTION A tour of Poliform and Edra’s Milan studios. By Peggy Levinson Performance 48 TEN YEARS WITH THE MAESTRO Jaap van Zweden’s final season with the DSO. By Lee Cullum


50 CLEAN & CLASSICAL Tenor Richard Croft makes his way back to UNT. By Lee Cullum Audio 80 RADIO, RADIO! Denton’s New KUZU FM is community radio at its best. By Steve Carter Coveted 82 HOLIDAY SCANDAL Douglas Little and Dita Von Teese bring a revealing candle to life. By Terri Provencal There 84 CAMERAS COVERING CULTURAL EVENTS Furthermore ... 88 OUTLANDISHLY VICTORIAN, BUT NOT... David Niles’ Vic Noir digital art installation debuts at One Arts Plaza. By Chris Byrne

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STEVE CARTER This Performing Arts Issue finds freelance arts writer Steve Carter focusing on music. Carter profiles acclaimed Dallas singer/ songwriter Sarah Jaffe, whose recently released Bad Baby full-length is drawing raves. “Sarah had to break through some creative ennui to bring this one to life,” Carter says, “but Bad Baby is well worth the wait.” Elsewhere in this issue Carter goes behindthe-scenes with Denton’s new low-power FM station KUZU. “This is incredibly great free-form radio.”

DANIELLE AVRAM Dallas-based curator and writer, Avram is currently the Texas Woman’s University’s Gallery Director. She has also held positions at Southern Methodist University, The Power Station, and The Pinnell Collection in Dallas and The High Museum of Art in Atlanta. She has an MFA from the School of The Museum of Fine Arts and Tufts University and a BA from the UTD. Pulling Images From the Inside Out brought Avram to the Karpidas Collection where she found Brandon Kennedy who curated The Anatomy of Disquiet.


LAUREN CHRISTENSEN With more than 20 years of experience in advertising and marketing, Lauren consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

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


NANCY COHEN ISRAEL Dallas-based art historian, writer, and curator, Nancy Cohen Israel is an ongoing contributor to Patron. Her work has appeared nationally in art ltd. and Lilith, and she is also a frequent lecturer at the Meadows Museum. For this issue she enjoyed writing about local legends James Surls in Tasting Time and Other Musings, and Gail Sachson in The Enlightener, both of whom she has admired for decades.

SHAYNA FONTANA From the windy streets of Chicago, Shayna Fontana is a fashion and interiors photographer living in Dallas with her husband Rand Horowitz and toddler, Oliver. Shayna’s work has appeared on the cover of Patron in addition to numerous fashion and home features within the pages. Almost Effortless, featured in this issue, brought hometown indie singer/ songwriter Sarah Jaffe to Shayna’s downtown studio for a day of shooting.

LEE CULLUM A journalist with a passion for the performing arts, in this issue Lee writes about those who’ve made magic onstage in North Texas including Jaap van Zweden, on a farewell mission at the DSO, San Francisco's Nicole Paiement as Principal Guest Conductor at TDO, and tenor Richard Croft who imparts his artistry to vocal students at UNT. Actor Tiana Kaye Johnson and playwrights Lee Trull and David Lozano have made the DTC fertile territory for the juncture of drama and social justice, and Shannon Kearns breathes urgent life into her roles at the Undermain. PEGGY LEVINSON A former showroom owner and home magazine design and style editor, Levinson lends her design expertise to Patron. The Italian Connection shares her trip to Milan showrooms with Lloyd Scott and Josy Cooner. Living Figuratively finds Levinson inside a modern home designed by Linda Fritschy and SHM Architects. It’s there she meets homeowners Liz and Bruno Pasquanelli and visits with New York art advisor Simone Joseph.

SERGIO GARCIA With studios in Dallas and Los Angeles, Sergio Garcia is an established name in the photography industry with a knack for capturing vivid actor and executive headshots, along with tailored images that present a signature point-of-view of emerging entrepreneurs, on-air personalities, musicians, and more, who prefer to stray from the expected. In Setting the Stage, he brought his extensive experience and welcoming spirit, and even colored outside the lines to portray six immensely talented people working in the performing arts in Dallas.

NICOLLETTE MOLLET Graduating from The Art Institute of Dallas in 2013 with a BFA in Photography, Nicollette Mollet continues to build her successful photography business from the ground up. She specializes in fashion and beauty portraiture, as exemplified in this issue’s Portrait of a Lady, while balancing commercial work as well as her high school senior portrait photography business, SENIORS By Nicollette. With ambitions to continue growing and learning, she finds it personally fulfilling to help people see themselves in a new light.

JUSTINE LUDWIG Justine Ludwig is the Director of Exhibitions/Senior Curator at Dallas Contemporary. In recent years she has curated exhibitions at the Contemporary Arts Center in Cincinnati, the Tuft University Art Gallery, and the Museum of Modern Art in Rio de Janeiro. Ludwig holds an MA in Global Arts from Goldsmiths University of London. In Lucia Simek: “Being an artist is something you carry,” Justine explores the artist's system of communications.

JOHN SMITH Ongoing Patron contributor, Dallasbased photographer John Smith enjoys bringing out the art of architecture in his pictures. He consults with architects, designers, and artists to bring their vision to light. In these pages, Smith captures Dallas Art Fair’s Director of Exhibitor Relations, Brandon Kennedy, at The Anatomy of Disquiet exhibition he curated for Karpidas Collection and arts dynamo Gail Sachson inside her Dallas home brimming with art by local artists.


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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Jay Falcon COPY EDITOR Paul W. Conant PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Danielle Avram Anna Katherine Brodbeck Chris Byrne Steve Carter Lee Cullum Nancy Cohen Israel Peggy Levinson Justine Ludwig



CONTRIBUTING PHOTOGRAPHERS Bruno Mark Kitaoka Nan Coulter Nicollette Mollet Shayna Fontana Charles Davis Smith Sergio Garcia John Smith Celeste Hart Kevin Tachman Jason Kindig Kevin Todora CONTRIBUTING STYLISTS Walter Fuentes Frank Hollis Joseph Lacerte Carlos Alonso Parada Kate Yancey ADVERTISING or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ REACH US SUBSCRIPTIONS One year $36/6 issues, two years $48/12 issues For international subscriptions add $12 for postage


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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2016, 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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TEXAS REGIONALISTS, TRADITIONAL AND MODERNIST ART You will find them all, and much more at

The 22nd Annual Texas Art Auction Saturday, January 20, 2018

Wildman Art Framing, 1715 Market Center Blvd, Dallas, TX 75207 Preview: January 15-19 • Auction: January 20. Bidding starts promptly at 12 noon, CST Please call David Dike Fine Art with any questions on this exciting art event!









hough Colorado has been home for the past 20 years, James Surls is a recognized Texas legend. Art museums throughout the state and around the world have been showing and collecting his work for decades. His current exhibition, Thru the Thorn Tree, is on view at the Museum of Biblical Art, an institution whose strong commitment to visual arts is becoming increasingly recognized. Surls, who has been instrumental to prominent contemporary art institutions such as Houston’s Lawndale Art Center, says, “I am very pleased with the direction that the Museum of Biblical Art has gone, and I wanted to support it.”  Thru the Thorn Tree spans four decades and reflects the trajectory of his life. Surls made deliberate choices when selecting the 52 objects for the exhibition. “I look at my art as a self-portrait. A slice of the DNA is in there,” he says. The exhibition is therefore a microcosm of his enormous creative output. It includes his large

iconic sculptures, small graphite drawings, woodblock prints, and stone engravings with their hand-rubbed counterparts. “I picked the work for a reason,” he says, adding, “It is all content-laden. It is heavy on metaphor, meaning, and purpose.” The media in the exhibition run the gamut from complex works in bronze and wood to seemingly simple pencil drawings on paper. The works on paper blend Surls’s artistry with his poetry. “They’re quick. They’re almost like haiku, very pointed and specific,” he explains. Taste Time, he says, is about the ability to go back in time to reconnect to memories. Is this possible? “How do you taste time?” he asks. It is this line of questioning that he hopes his audiences will engage in when looking at his work.  For audiences familiar with Surls’s work, the current exhibition celebrates his varied virtuosity in a venue that seems appropriate to also exploring his inner being. –NANCY COHEN ISRAEL

James Surls, Taste Time, 2016, graphite on paper, 8 x 10 in. Image courtesy of James Surls.






01 AFRICAN AMERICAN MUSEUM The Souls of Black Folk and Facing the Rising Sun: Freedman’s Cemetery are ongoing. 02 AMON CARTER MUSEUM OF AMERICAN ART Nature/Culture explores the dichotomy reflective of how nature counterpoints and enlivens our built environment, through Dec. 10. On view through Jan. 14, Archiving Eden displays the work of North Texas photographer Dornith Doherty. Through Feb 11, Caught on Paper surveys popular outdoor subjects by bringing together more than 30 works from the Amon Carter’s permanent collection. The film Hugh the Hunter engages with issues of race, class, and the practice of hunting, through Feb. 18. In Her Image: Photographs by Rania Matar brings together four bodies of work by the Lebanese-American photographer that track the development of female identity through portraiture, running Dec. 23–Jun. 17. Image: Rania Matar, Siena, Brookline, Massachusetts, 2009, Inkjet print from the series: A Girl and Her Room. Courtesy of the artist and Carroll and Sons Gallery, Boston. 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM An exhibit examining crests and symbols of the warrior class and the powerful samurai clans that used them continues to display. The museum sponsors a Lunchtime Talk Thursdays at 1 p.m. Public Tours are Saturdays and Sundays at 1 p.m. 04 CROW COLLECTION OF ASIAN ART Hidden Nature: Sopheap Pich displays Cambodia’s celebrated contemporary artist’s large-scale sculpture Rang Phnom Flower, 2015, through Jan. 7. Styled with Poise: Figures in Japanese Paintings and Prints features depictions from townspeople to Japanese heroines, through Jan. 7. Ongoing exhibitions: Visualizing Afterlife, Paradise and Earthly Spheres in Chinese Art from the Ming and Qing dynasties; Sculpting Nature: Jade from the Collection; and Fierce Loyalty: A Samurai Complete. 05 DALLAS CONTEMPORARY Invisible Images: Asian Moving Images, McDermott & McGough: I’ve Seen the Future and I’m Not Going, and a solo show, Kiki Smith: Mortal close Dec. 17. On Jan. 13 shows open for Enoc Perez and Valerie Keane, and Mary Katranzou. 22



06 DALLAS HOLOCAUST MUSEUM On Dec. 12, DHM will hold a discussion on The Electoral College as part of their Civil Discourse Series. Fighting for the Right to Fight: African American Experiences in World War II explores how the war served as a catalyst for the Civil Rights Movement, through Jan 26. 07 DALLAS MUSEUM OF ART Yayoi Kusama: All the Eternal Love I Have for the Pumpkins (2016) features one of Kusama’s signature Infinity Mirror Rooms, through Feb. 25. Truth: 24 frames per second brings together 24 pioneers of film and video and over six decades of work focused on pressing contemporary themes, such as race relations, political unrest, sexual identity, and the media, through Jan. 28. In her first US solo museum presentation, Mexican artist Minerva Cuevas created a site-specific mural in the DMA’s first-level Concourse Gallery on view through Feb. 11. Opening Dec. 16, Asian Textiles: Art and Trade Along the Silk Road draws from the DMA’s collection of ornamental hangings and garments, through Dec. 9, 2018. Image: Coat (chapan), Uzbekistan, early 20th century, silk and cotton. Dallas Museum of Art, gift of Sally R. and William C. Estes, 2005.70. 08 GEOMETRIC MADI MUSEUM The painted wood reliefs of Elvira Daeter and Joel Froment are exhibited in Poetic Densities, through Jan. 21. Daeter is a Dutch artist who paints in a constructivist, abstract, geometric style. French artist Froment has been a MADI artist and the President of MADI International. 09 GEORGE W. BUSH PRESIDENTIAL CENTER At the George W. Bush Presidential Center, visitors will discover All Things Bright and Beautiful, showcasing gorgeous flowers and colorful murals, behind-the-scenes photos, Mrs. Bush’s holiday dress, BarneyCam videos, and more, through Jan. 7. 10 KIMBELL ART MUSEUM Casanova: The Seduction of Europe explores the 18th century through the eyes of one of its most colorful characters, Giacomo Casanova (1725–1798), bringing together paintings, sculpture, works on paper, furnishings, porcelain, silver, and period costume, through Dec. 31. Highlights from the Permanent Collection remain on view in


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the Louis I. Kahn building and the Renzo Piano Pavilion. 11 LATINO CULTURAL CENTER Curated by Victor Armenta, La Frontera of Education: DCCCD Art Exhibition displays the work of art professors teaching at the Dallas County Community College District campuses, through January 6. Join the LLC every third Wednesday of the month for Cine de Oro featuring a game of Loteria Dec. 20 and Por Mis Pistolas Jan. 17. 12 THE MAC The MAC is a nonprofit advocate for creative freedom presenting artists the opportunity for experimentation and the presentation of art in all disciplines, and provides a forum for critical dialogue through education and innovative programming. 13 MEADOWS MUSEUM Zurbaran: Jacob and his Twelve Sons, Paintings from Auckland Castle is on view through Jan 7. Thirteen paintings offer a visual narrative of Jacob’s deathbed act of bestowing a blessing on each son, foretelling their destinies and those of their tribes. Murillo at the Meadows: A 400th Anniversary Celebration is a yearlong exhibition of the 400th birthday of Bartolomé Esteban Murillo (1617–1682) that exhibits his extraordinary holdings at the Meadows together with paintings by his Sevillian contemporaries. Image: Bartolomé Esteban Murillo (Spanish, 1617–1682), Saint Justa, c. 1665, oil on canvas. Meadows Museum, SMU, Dallas. Algur H. Meadows Collection. Photo by Michael Bodycomb. 14 MODERN ART MUSEUM OF FORT WORTH FOCUS: Katherine Bradford, known for her vibrant palette, fauxnaïf style, and eccentric compositions, runs through Jan. 14. Figures from the Collection on view Dec. 9–Jan. 28 presents varied artists’ perspectives on people and their surroundings including paintings, photographs, videos, prints, and drawings from Pablo Picasso, Milton Avery, Francis Bacon, Chuck Close, Carroll Dunham, Ron Mueck, Philip Pearlstein, Thomas Ruff, Cindy Sherman, Laurie Simmons, Andy Warhol, and Carrie Mae Weems. Opening Jan. 27, FOCUS: Nina Chanel Abney will display her energetic paintings, through Mar. 18. Image: Ron Mueck, Untitled (Seated Woman), 1999,


Silicone, acrylic, polyurethane foam, and fabric. 25.25 x 17 x 16.5 in. Collection of the Modern Art Museum of Fort Worth, Museum purchase acquired in 2000. 15 MUSEUM OF BIBLICAL ART Barbara Hines: A celebration of Survival honors the heroes, victims, and survivors of the Holocaust with a message of redemption and forgiveness, through Oct. 8. James Surls: Through the Thorn Tree spans four decades in the East Texas-born artist’s career through sculpture, drawings, and more, through April 7. 16 NASHER SCULPTURE CENTER Tom Sachs: Tea Ceremony presents the artist’s distinctive reworking of chanoyu, or a traditional Japanese tea ceremony, running through Jan. 7. The DR AMASTICS: A Punk Rock Victory Twister in Texas features work by Nathan Carter through Jan. 28, in a fantastical cornucopia of color, form, and gesture. Opening Jan. 27, First Sculpture: Handaxe to Figure Stone is the first museum exhibition to present ancient handaxes and figure stones as works of art, through Apr. 29. Image: The DR AMASTICS: A Punk Rock Victory Twister in Texas by Nathan Carter. Photograph: Kevin Todora. Courtesy of the artist, Casey Kaplan, and Esther Schipper. © Nathan Carter. 17 PEROT MUSEUM Winter Wonderland Sleepover, Jan. 6, offers a night of winter and holiday fun with a flurry of experiments, film, and wonderlandinspired photos. Festival pajamas are encouraged. Experimental, Jan. 26, investigates chemistry, biology, physics, zoology, geography, astronomy, botany, and travel throughout the museum. On Jan. 17, National Geographic explorer Albert Lincomes will speak on the combination of digital technology and on-the-ground exploration to solve both historical and modern mysteries. 18 TYLER MUSEUM OF ART Andy Warhol: Screen Prints & Snapshots runs through Jan. 7. Contemporary Texas II provides a rare opportunity to view some of the most celebrated works from the Tyler Museum’s permanent collection to offer a glimpse into the museum’s storied history and its indelible place in the Texas art scene. Dec. 10–Feb. 25. DECEMBER 2017 / JANUARY 2018 23




01 AMPHIBIAN The Amphibian’s National Theatre Live screenings that take place in the auditorium of The Modern Art Museum of Fort Worth will feature Rosencrantz & Guildenstern Are Dead by Tom Stoppard, through Dec. 2; Who’s Afraid of Virginia Woolf? by Edward Albee, Jan. 10–13; and Follies by Stephen Sondheim, Jan. 24–27. 02 AT&T PERFORMING ARTS CENTER Dr. Seuss’ How The Grinch Stole Christmas! The Musical features sets by John Lee Beatty and costumes by Robert Morgan, and the music and book of Mel Marvin and Timothy Mason, Dec. 5–17. On Dec. 19–31, two worlds collide with The King and I. Lightwire Theater’s newest production, A Very Electric Christmas presents Max’s Holiday Adventure! The story follows lost bird Max, as he tries to make his way home on Jan. 1. Small Mouth Sounds follows six strangers in the middle of a woods as they embark on a silent retreat, but their vows of silence collide with their human need to connect. Jan. 31–Feb. 4. Image: The Grinch played by Philip Bryson, Cindy Lou Who played by Avery Sell. Courtesy of Dr. Seuss’ How The Grinch Stole Christmas! The Musical. 03 BASS PERFORMANCE HALL Something Rotten! follows brothers Nick and Nigel Bottom, stuck in the shadow of the Renaissance rock star known as “The Bard” as they set out to write the world’s very first musical. Something Rotten! is pure Broadway fun and an ode to musicals, Jan. 17–21. 04 CASA MAÑANA Santa Claus: A New Musical returns to the stage. When Santa announces he’s retiring after a thousand years, the search is on for someone to fill his boots. Henchy the Elf is disappointed when Santa has someone different in mind, and plans to sabotage Christmas, through Dec. 23. 05 DALLAS BLACK DANCE THEATRE The Black on Black performance showcases the choreography skills of DBDT and DBDT: Encore! company members as they create dance works for their peers to perform. Attendees will also enjoy an after-hours party with music, light bites, and cocktails, Dec. 8–9. 06 DALLAS CHILDREN’S THEATER DCT’s holiday specials include Frosty and Friends as well as A Charlie Brown Christmas through Dec. 23. Lone Star Circus: Cirque Joyeux, Dec. 28–Jan. 1, presents thrilling daredevils, electrifying jugglers, mesmerizing acrobats, hilarious clowns, and endearing four-legged performers. The Very Hungry Caterpillar Show, created by Jonathan 24


Rockefeller and based on the four Eric Carle books, leaps from the page to the stage in a display of color and artistry, Jan. 19–Feb. 25. 07 THE DALLAS OPERA Korngold. His life and Legacy features the music of Viennese “wunderkind” Erich Wolfgang Korngold who dazzled classical music circles before reinventing the Hollywood soundtrack. Korngold’s life, music, and legacy inspire the Jan. 14 celebration at Temple Emanu-El in the Stern Chapel. 08 DALLAS SUMMER MUSICALS Irving Berlin’s White Christmas features a timeless tale of joy and goodwill with classic Irving Berlin songs, dancing, and lots of snow at the Music Hall in Fair Park. Performances stage Dec. 5–10. 09 DALLAS SYMPHONY ORCHESTRA The annual Christmas Pops concert features the Dallas Symphony Chorus and favorite holiday songs, Dec. 1–17. The Christmas Pops concert presents the Children’s Chorus of Greater Dallas on Dec. 2. From Dec. 4–19, the Big Brassy Christmas & Organ Extravaganza’s annual tradition continues with Christmas classics performed by members of the DSO’s Brass and Percussion sections, as well as the Lay Family Concert Organ. On Dec. 6–7, Preservation Jazz Hall Band puts a French Quarter spin on holiday music from the heart of New Orleans. Home Alone: Holiday Movie in Concert features a beloved comedy classic and the renowned composer John Williams’s delightful score performed live to picture by the DSO, Dec. 21–22. New Year’s Eve is the DSO’s annual farewell to Auld Lang Syne, with glorious music by the Strausses and a champagne toast to ring in the New Year, Dec. 31. Behzod Abduraimov returns to the DSO Jan. 11–13, to perform the Rachmaninoff Piano Concerto No. 2. Nicola Benedetti brings the towering splendor of Beethoven’s Violin Concerto Jan. 18–21. Cirque de la Symphonie is a new show filled with acrobats, contortionists, strongmen, and tumblers for an evening of high-flying adventure, Jan. 26–28. 10 DALLAS THEATER CENTER A Christmas Carol returns to the Wyly Theatre in a reimagining of Dickens’s enduring classic where the audience is surrounded by the actors as magical ghosts flying above, scary ghosts bursting out of the floor, and snow falling on everyone, through Dec. 28. DTC’S Fade features Lucia, a young Mexican-born novelist, beginning her dream career as a television writer in L.A. Fade poses tricky questions about identity and community, on view Dec. 6–Jan. 6.

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11 EISEMANN CENTER Collin County Ballet Theatre, Tuzer Ballet, and the Royale Ballet Dance Academy kick off the holiday season with Tchaikovsky’s The Nutcracker, Dec. 1–17. Contemporary Ballet Dallas presents Holiday at the Ballet, Dec. 8–9. CBD and the School of CBD Youth Performing Ensemble stage Clara’s Dream, featuring favorite dances within Act II of The Nutcracker. The Forgotten Carols stage performance tells the story of Connie Lou, a nurse whose life is changed when Uncle John, a new patient she is attending, recounts the story of Christ’s birth as told by little-known characters in the nativity story, on Dec. 11. North Side Story by the Vocal Majority is a Christmas sing-off between the elves from Santa’s workshop and the Penguins from the South Pole, Dec. 21–24.





12 LYRIC STAGE The regional premier of Daddy Long Legs at the Majestic Theatre begins Jan. 19–21. The heartwarming Cinderella story tells of a witty and winsome young woman and her mysterious benefactor.





13 MAJESTIC THEATER Ricardo Montaner comes to the Majestic Theater on Dec. 1. The Texas Theatre and the Majestic Theatre will present an unlikely four-part Holiday Series featuring Eyes Wide Shut on Dec. 3 at the Texas Theatre, National Lampoon’s Christmas Vacation at the Majestic Dec. 8, The Shining at the Texas Theatre Dec. 10, and on Dec. 21 the Majestic screens Frank Capra’s holiday classic It’s a Wonderful Life. On Dec. 9, bring toys and food donations to The Polyphonic Spree’s 16th Annual Holiday Extravaganza. Tommy Emmanuel returns on Dec. 16 with his Classics & Christmas tour. On Dec. 17, The Colors of Christmas, hosted by Grammy Award-winner Peabo Bryson, delivers a collection of R&B and soul artists to the sounds of the holiday season. Bela Fleck & Brooklyn Rider take the stage Jan. 14. Image: Brooklyn Rider; Photography by Erin Baiano. 14 TACA The annual Grant Awards Celebration will be held on Jan. 22 to announce the grants given to local performing arts organizations of all sizes and artistic genres, including theater, music, dance, and collaborative partners. Last year’s Grant Awards Celebration announced a record-tying $1.3 million in grants raised and distributed throughout 49 local arts organizations. 15 TEXAS BALLET THEATER The Nutty Nutcracker is a riotous parody that is sure to keep the audience laughing on Dec. 15. Then take a journey along with


C O M PAG N I E H E R V É KO U B I J A N U A R Y 2 0 2 0 18 W in s pear O per a Hou s e



17 Clara to a dreamscape of heroic battles and breathtaking beauty in the holiday classic The Nutcracker at the Bass Performance Hall, Dec. 20–23. Image: Texas Ballet Theater, The Nutcracker. Photography by Steven Visneau. 16 THEATRE THREE Solstice: Stories & Songs for the Holidays celebrates the beginning of winter with tales and storytellers inspired by the coldest and shortest days of the year, Nov. 24–Dec. 17. Dr. Jekyll & Mr. Hyde is a new and shocking version of Robert Louis Stevenson’s classic tale of depravity, lust, love, and horror. The many facets of Hyde’s personality are portrayed by different members of the cast, running Jan. 18–Feb. 11. 17 TITAS Two years ago, Compagnie Hervé Koubi debuted in Dallas with TITAS Presents and garnered a standing ovation. The French male company with Algerian dancers is a unique masterpiece in the TITAS season. They are fearless, powerful, and masculine, and the stunningly beautiful dance company will return on Jan. 20 in Compagnie Hervé Koubi. Image: TITAS Presents France’s Compagnie Hervé Koubi. Photography Michel Cavalca. 18 TURTLE CREEK CHORALE Snowflakes, Dec. 7–10, is a one-of-a-kind holiday show filled with all the expected yuletide comforts sprinkled with plenty of surprises throughout in this TCC experience. 19 UNDERMAIN THEATRE John follows a young couple in Gettysburg, Pennsylvania, near the site of the bloodiest battle of the Civil War at an eerie bed and breakfast run by an eccentric innkeeper. See what horrors await, through Dec. 3.

SHAWN SAUMELL November 11 through December 23 One Arts Plaza, 1722 Routh Street, Suite 106

Top to Bottom: Placid, Friend or Foe and Terrene by Shawn Saumell



20 WATERTOWER THEATRE The Great Distance Home is a multidisciplinary theatrical event where audiences will be immersed in a story of joy, love, and the warmth of returning home after a long absence, Dec. 1–17. Pulitzer Prize-winning dramatist Quiara Alegría Hudes takes a poignant look at the way war permeates young men’s lives in Elliot, A Soldier’s Fugue. Elliot is a Marine Corps hero back from Iraq with an injured leg and a Purple Heart. His Pop was wounded in Vietnam; his flute-playing Grand-pop fought in Korea. In a fugue-like form, different wars and tales are strung together as his mother, Ginny, seeks to reconcile the disparate parts and heal emotional wounds, Jan. 26–Feb. 18.




01 ALAN BARNES FINE ART ABFA is an intimate gallery offering over 150 years of family history within the international art markets. 02 ANDNOW A group show curated by Cloud Burst Advisory and Eli Ping which includes artists Anna Sophie, Ben Morgan-Cleveland, Oliva Erlanger, Doris Guo, Whitney Claflin, and many others, closes Dec. 2. In December, a solo show for Ann Greene Kelly will mount. 03 ARTSPACE111 Opening Dec. 7 in the main gallery is a group show titled Sussie, featuring Daniel Blagg, Dennis Blagg, Nancy Lamb, John Hartley, Cindi Holt, and more. Featured in The Studio, A Fascination with Color presents the work of Sherri Coffee. Both exhibitions close Feb. 3. 04 BARRY WHISTLER GALLERY It’s Only Black and White… But I Like It is a group exhibition, featuring black and white works by 25 artists, including Richard Serra, Claes Oldenburg, Sam Francis, as well as Allison V. Smith, Otis Jones, Andrea Rosenberg, and others. The exhibition opens Dec. 2 and runs through Jan. 6. 05 BEATRICE M. HAGGERTY GALLERY Nick Bontrager and Adam Fung’s site_midnight_sun>>orangegreengrey will feature films, objects, and images in response to this unique color palette created by both the light phenomena and the unique landscapes of Iceland, through Jan. 19. 06 BEEFHAUS Beefhaus is a collective of artists interested in challenging notions of authorship and market structure, while questioning the forms of programming. 07 BIVINS GALLERY Tom Holland: Birds and Water, a solo exhibition for the renowned Bay Area-painter, closes Dec. 2. Ricardo Paniagua: Miracles, Prophecies, and Revelations opens Dec. 9 and is on view through Jan. 20. Paniagua is known for his trompe l’oeil constructions and dream-inspired canvases. 08 CADD CADD’s Third Thursday Happy Hour will be held on Dec. 21 at Conduit Gallery and on Jan. 18 at Cris Worley Fine Arts and Holly Johnson Gallery.

26 09 CARLYN GALERIE Carlyn Galerie has established itself as a nationally recognized store devoted to the sale of fine American art glass, clay, fiber, metals, and jewelry. 10 CARNEAL SIMMONS CONTEMPORARY ART Carneal Simmons seeks to advance artistic excellence to enrich the quality of life for individuals and communities at large through the placement and exhibition of contemporary art. 11 CHRISTOPHER MARTIN GALLERY Christopher Martin's recent work explores the spatial relations associated with the allegorical number seven. Working on a ratio of seven by seven feet, Martin activates feelings and movement within his signature reverse-painting technique. Also featuring stonework by Brandon Reese and glass sculptures by Gregory Price. On display from Dec. 5–Jan. 12. 12 CIRCUIT 12 CONTEMPORARY Builders, a group exhibition curated by Benjamin Terry, runs through Dec. 30. Builders brings together artists Katie Bell, Matt Kleberg, Keith Allyn Spencer, Benjamin Terry, Marilyn Jolly, and Brad Tucker. Each artist acknowledges the tropes of abstractionists throughout history, while forging their own visual language within the contemporary dialogue of painting. 13 CONDUIT GALLERY Vincent Falsetta’s New Paintings and Jeff Baker’s Gridlocked 1 open Dec. 2. Falsetta uses brushes, cardboard, spreaders, palette knives, and dry wall spatulas to achieve virtuosic abstract paintings that cascade in and out of multi-colored striations of paint. Baker’s photographs document Manhattan’s Lower East Side and tell its story through the layered wash of the brick walls, backdoors, and entryways. Through Jan. 6. The work of Austin-based collage artist, Lance Letscher, will be on view Jan. 13 through Feb. 17. Image: Vincent Falsetta, Untitled EK 16-3, 2016, oil on canvas, 63 x 50 in. 14 CRAIGHEAD GREEN GALLERY Through Dec. 30 the gallery exhibits Thom Jackson in On the Road, Gary Schafter in Time Pieces, and Marla Zeigler in Nexus. In On the Road, a collection of images investigates the idea of “cool” where Jackson’s eye captures young lovers on an escape through the Texas landscape. In Time Pieces, Schafter explores the cognitive fissures created by representation and time. Marla Ziegler presents a new ceramic series of communications between groups of crafted DECEMBER 2017 / JANUARY 2018 27


Kittrell/Riffkind Art Glass Gallery

45 objects. Opening Jan. 6, work by Suzanne Kelly Clark, Arturo Mallmann, and Tyler Butcher mounts. Image: Thom Jackson, Kate and Matt at the Gate, archival pigment ink on cotton paper, 45 x 30 in. 15 CRIS WORLEY FINE ARTS Isabelle Du Toit’s solo exhibition, Trace, featuring dramatic realistic wildlife paintings, runs through Dec. 30. In Jan., Ruben Nieto’s vibrant “comic abstractions” will be featured in Savoring Lichtenstein. David Fokos’ solo exhibition of black and white photography will also be on view Jan. 6–Feb. 10. 16 CYDONIA A Present Abstract, featuring paintings, drawings, sculptures, and photography by Mark Dudiak, Niall McClelland, Jade Rude, Jon Sasaki, Derek Sullivan, and Jim Verburg mounts Dec. 16. Each artist employs abstraction as part of his conceptual framework. 17 DADA The Dallas Art Dealers Association is dedicated to promoting the highest standards of ethical practice within the profession and to increasing public awareness of art. 18 DAVID DIKE FINE ART Save the date for the 22nd Texas Art Auction on Jan. 20 featuring over 400 lots of turn-of-the-century to mid-century Texas art. Highlights include several sculptures by the late Dallas artist Octavio Medellin, along with DeForrest Judd, Bill Komodore, and Otis Dozier as well as early 20th-century painters, Julian Onderdonk, Paul Schumann, and Frank Reaugh. Bidding starts at noon at Wildman Art Framing. Image: Seymour Fogel (Am. 1911–1984), Abstract [Figural] Composition, 1948, oil on canvas, 50 x 34 in.

4500 Sigma Rd. Dallas, Texas 972.239.7957 n 28


19 ERIN CLULEY GALLERY Hung salon-style, high- and lowbrow artwork and objects offer a glimpse into the life of a collector in Stanley Light: Great Minds and Psychic Weirdos on view Dec. 2–Jan. 6. Gary Goldberg will exhibit new large-scale felt tapestries that depict an evolution of photographic images taken from the richly layered walls and facades of Oaxaca, Mexico, made by artisans using a felting process; the works are imbued with references to landscape and Mexican mythologies. Jan. 13–Feb. 23. 20 FORT WORKS ARTS Through Dec. 30, DUETS 2.0 is a reemergence of Duets: A Comparison of Realities, showcasing seven sets of artists working




4500 Sigma Rd. Dallas, Texas 972.960.8935




22 in similar mediums, themes, or styles to explore comparative works. Laura Wilson: Photographs in the West investigates Wilson’s vision of Western culture through her extensive travels in Montana and her adopted home region of West Texas. The exhibition will run Jan. 3–Feb. 4. Image: Laura Wilson, Longhorn, photography, 40 x 28 in. 21 FWADA Stimulating interest in the visual arts through educational programs, art scholarships, and art competitions, Fort Worth Art Dealers Association organizes, funds, and hosts art exhibitions. 22 GALERIE FRANK ELBAZ Plastic Surgery: to look like you, featuring the work of Andy Coolquitt, Guillaume Leblon, and Matthew Wong, continues through Jan. 27. The exhibition explores the slippery dialogue between representation and abstraction as well as activating the viewer’s own co-presence, and addressing each subject as an object. Image: Matthew Wong, Scenes From a Floating World, 2017, oil on canvas, 96 x 72 in.

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

Artists in Attendance Exhibition on display through February 10, 2018

1130 Dragon St. Dallas, TX 75207 214.761.2000



23 GALLERIE NOIR This ever-evolving eclectic and chic design showroom is dedicated to the presentation of contemporary art in a variety of media and genres. 24 GALLERI URBANE Jessica Drenk: States of Matter, Rachel Hellmann: Doubling the Cube and the 3rd Annual GIFT EDIT, a curated group show of small works featuring select and new gallery artists continue through Dec. 29. New works by Caroline Lathan Stiefel open Jan. 6 along with Introducing: Arden Bendler Browning. Both shows run through Feb. 10. 25 THE GOSS-MICHAEL FOUNDATION Drawn from the permanent collections of G-MF and the Texas Fashion Collection at UNT, the works in On Bodies aim to engage in contemporary discussions about identity and promote artistic

interior design + art

18 intervention as a means for confronting others’ perspectives of current social issues, focusing on the perceived roles of women and minorities in today’s society. On Bodies continues through Feb. 2. 26 HOLLY JOHNSON GALLERY Drawing: Attn, an exhibition of new ink drawings by John Adelman, runs through Dec. 23. Margo Sawyer’s REFLECT, a floor installation that converses with the architecture through a play of light and reflection moving throughout the space, continues through Feb. 10. Wherefore and Hence: includes recent paintings by David Aylsworth, Jan. 6–Mar. 24. Image: David Aylesworth, Wherefore and Hence, Therefore and Ergo, 2017, oil on canvas, 48 x 48 in. 27 JEN MAULDIN GALLERY Located in the Bishop Arts District, Jen Mauldin presents work by emerging Texas-based contemporary artists. Hobbes Vincent: At the Circus opens Dec. 1 and runs through Jan. 26. Vincent is a Dallas-based artist known for his surreal sculpture that tells vivid stories. 28 JM GALLERY Shawn Saumell returns with two bodies of work, a ply and in a moment…for a moment, which asks viewers to reconsider the understanding of photography and perception. With a ply, Saumell photographs tissues suspended in space. Disassociated from its original context, the physical reality of the tissue transforms into something else. in a moment…for a moment explores the notion of time and evokes the ephemeral nature of time and memory. On view through Dec. 23. 29 KIRK HOPPER FINE ART Through Dec. 23, Intimate Interrogation – Alejandro Diaz-Ayala, Carlos Donjuan, and Miguel Donjuan features three artists known for exploring themes of portraiture by incorporating visceral mark-making, playfulness, imagery, and subversiveness that reflect on their upbringing and the consequences associated with the marginalization of their community and the stigma it

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


DECEMBER 2017 / JANUARY 2018 31



14 carries. Ann Wood's exhibit Deathbeds is on view Jan. 6–Feb. 10.

Artist Fred Villanueva, detail: Picasso Face Series, mixed media saturated on paper, 17 x 11 in.

30 KITTRELL RIFFKIND ART GLASS Ornament Extravaganza! offers a celebration of shape and color in time for the holiday season. The show continues through the month of December. 31 KRISTY STUBBS GALLERY Kristy Stubbs brings years of expertise to the global art trade, often bringing notable artists to the US from abroad. A private art dealer, KSG offers museum-quality paintings and sculptures. 32 LAURA RATHE FINE ART Robert Mars & Stallman presents new work by mixed-media artist, Robert Mars, and painter/sculptor artist duo, Stallman on display through Dec. 30. Opening Jan. 6 is Cassandria Blackmore & Michael Schultheis: New Works. Cassandria Blackmore creates colorful abstract works from shattered and reconstructed reverse-glass paintings. Michael Schultheis builds his compositions through successive layers of mathematical notations and geometric forms that collectively appear suspended in ethereal spaces. Through Feb. 10. 33 LILIANA BLOCH GALLERY Through Jan. 2, Liliana Bloch Gallery will host the work of Alicia Henry in the exhibition Witness. The Yale graduate’s work in Witness explores gender, race, and cultural and societal differences that affect individual and group responses to traumatic events. Next, Liliana Bloch will present a solo show for Bret Slater opening Jan. 6 and continuing through Feb. 10. Image: Bret Slater, Erf, 2016, acrylic on canvas, 75 x 75 x 1.5 in.

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



34 LUMINARTÉ FINE ART GALLERY Keiko Gonzalez’s Soft Machine is on view through Jan. 27. The exhibition references the William Burroughs novel—an abstract piece of writing, a collage of thoughts—which resemble Gonzalez’s own collage of images that are continuously and vibrantly renewed, always through the lens of painting. 35 MARTIN LAWRENCE GALLERIES Martin Lawrence will exhibit Erté—The Father of Art Deco with an opening reception on Dec. 14.

hobbes vincent 20 36 MARY TOMÁS GALLERY Twelve: The Best of 2017, is a group show that highlights gallery artists who contributed to MTG exhibitions in 2017. The exhibition runs through Jan. 20. Image: Kenneth Schiano, Little Demon II, 2017, dry pigment, wax on panel, 32 x 34 in.


37 PHOTOGRAPHS DO NOT BEND John Albok: Revisited reveals the soul of the city that was Albok’s home through photographs of the Great Depression era mixed with uplifting images of children, parades, and lovers in Central Park, through Feb. 10. John Herrin features photos taken after Hurricane Ike hit Houston. Herrin’s flower arrangements took on a different character during the long power outage. Group show Flora explores the dialogue between visual art and science. Both John Herrin and Flora close Dec. 30.

D E C E M BE R 1 ST - J AN U ARY 20 T H

38 THE POWER STATION CALVIN MARCUS: the inner is the outer of the other, featuring casted pink PVC pipes, explores the internal structure of bodies as well as the sum of parts in relation to the whole, and closes Dec. 15. 39 THE PUBLIC TRUST The Public Trust exhibits contemporary artwork by midcareer and emerging artists. The gallery’s program extends into publishing significant art publications. 40 THE READING ROOM Waterloo, an exhibition of drawings by Angela Kallus of pocket-sized, mass-produced books, continues through Dec. 9. Book Swap takes place on Jan. 13 from 3–7 p.m., featuring book trades, micro readings, and conversations to invert the inherently private nature of reading into a public, participatory event. 41 RO2 ART Joshua Goode’s Pegagus Armor mixes fact with fiction through Dec. 2. Monster Star, featuring portrait artist Patty Rooney who turns her attention towards female Hollywood stars, runs through Dec. 19. Mark Burt’s Through the Dark Place opens Dec. 9 through Jan. 6. A solo show by Geoganne Deen will run in the Small Gallery congruently with Burt. Brian Scott’s Nuptials and Xiao Lu Liu’s Arrested Identity are on view Jan. 13–Feb. 10. Opening Jan. 11 at the Magnolia Theatre is Lisa Graziotto’s Twelve Nights and will run through Feb. 13.

JEN MAULDI N GA LLE RY 4 0 8 N. BIS HO P AV E NUE | SUITE 103 DA L L A S, T E X A S 7 5 2 0 8 | 214.954.7629 www. je nma ul d

DECEMBER 2017 / JANUARY 2018 33



46 42 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and research. 43 RUSSELL TETHER FINE ART RTFA manages estates along with select artists from North America.

Punk Buddha Dots of Happiness | Mixed Media | 17 x 12 x 7.5 in.

44 SAMUEL LYNNE GALLERIES John Henry displaying an expansive body of work, with sculpture gathered from all over the country, will conclude on Dec. 23. This winter SLG will highlight gallery artist Metis Atash. The gallery will have ten of Atash’s Punk Buddha sculptures on display. 45 SITE 131 THE GRID: order in a disordered world through Dec. 16 gathers talents from Ghana, Germany, and the US, defined by patterned work from Atta Kwami, Christopher Dunlap, Laszlo Thorsen-Nagel, and Brandon Araujo. FEAR OF CHANGE: true scenes & flat screens, a video and photography exhibit, opens Jan. 13, featuring art couple Rachel Monosov and Admire Kamudzengerere, Roee Rosen, and Rodrigo Valenzuela, through Mar. 24. Image: Rachel Monosov and Admire Kamudzengerere, Lake Chivero, Aug 31, 1972, archival print, 8 x 12 in. 46 SMINK Through Dec. 22, work by Robert Szot, a well-known force in the Brooklyn art scene, is on view. Szot’s practice embodies a strong, crisp abstraction that curtails any sweetness and strives for balance in form and color. Image: Robert Szot, Calliope, 2017, oil on linen mounted on panel, 50 x 38.5 in.


47 SOUTHWEST GALLERY On Dec. 2, SWG will hold an exhibition and auction for gallery artist Clinton Broyles, featuring his new works from 2017. The trompe l’oeil paintings of Broyles are in high demand, thus all paintings are sold by Draw Box.

1105 Dragon St. | Dallas, Texas 75207 | 214.965.9027

48 TALLEY DUNN GALLERY Two solo exhibitions for artists Rima Canaan Lee and Leonardo



33 Drew close Dec. 16. Rococo on the Edge focuses on Lee’s newest photography series. Leonardo Drew displays the artist’s sculptures primarily comprised of found and reclaimed wood. Opening Jan. 13, the work of Sam Reveles will be on view through Feb. 24. 49 VALLEY HOUSE GALLERY Henry Finkelstein returns for his 8th solo exhibition with Paintings featuring large, boldly colored canvases painted onsite in Brittany, France, where he returns each summer to paint its lush vistas. John Cobb: Reclamation includes recent on-site paintings of central Texas. Both exhibitions will be on view Dec. 9–Jan. 20. Henry Finkelstein will give an artist talk on Dec. 9, and John Cobb will give an artist talk on Jan. 13. 50 WAAS GALLERY On Dec. 1, the gallery will host Brown Girls Do Ballet’s We Assemble calendar, which showcases diversity in the arts and features twenty-one dancers from across the country. Purchase calendars at the event and bid on prints during a silent auction. WAAS will also screen BGDB’s mini-documentary titled We Assemble. 51 WILLIAM CAMPBELL CONTEMPORARY ART Robert McAn’s Ways of Looking features new works by the multimedia artist and continues through Jan. 20. AUCTIONS 01 DALLAS AUCTION GALLERY Mark your calendars for the Fine Jewels Auction, Mar. 21. 02 HERITAGE AUCTIONS The holiday season begins with the Holiday Fine Jewelry Signature Auction, Dec. 4 and the Holiday Luxury Accessories Signature Auction through Dec. 5 & 6. On Dec. 8, HA will present the European Art Signature Auction followed by the Estates Signature Auction, Dec. 9. Holiday Prints & Multiples Modern & Contemporary Art Auction takes place Dec. 12. Visit to view the full auction calendar.

DECEMBER 2017 / JANUARY 2018 35



Committed to articulating the voice of Latin American artists, Sicardi Gallery will return to the Dallas Art Fair in April.

Gabriel de la Mora, Sound Inscriptions on Fabric at The Drawing Center, New York. Photography by Martin Parsekian.


icardi Gallery is a pioneer promoter of vanguard art from Latin America in the United States. Founded by María Inés Sicardi in 1994 in Houston, she was joined by partners Allison Armstrong Ayers and Carlos Bacino in 2000 (the gallery will change its name at the end of 2017 to Sicardi | Ayers | Bacino). Their program includes ten exhibitions a year, many with corresponding publications, and their artists are featured in critically acclaimed museum exhibitions and biennials around the world. As the market for Latin American art in the United States has grown over the past twenty years, Sicardi has maintained its presence at the forefront with its rigorous programming. Sicardi represents both the post-war masters of kinetic art from Latin America, such as the Venezuelans Carlos Cruz-Diez, Gego, and Jesús Rafael Soto, and subsequent generations of politically engaged and conceptually driven artists, including León Ferrari, Oscar Muñoz, Liliana Porter, and Miguel Angel Ríos. Katherine Brodbeck, Assistant Curator of Contemporary Art at the Dallas Museum of Art, speaks to Allison Ayers about the gallery and the state of the field of Latin American art in the US today. Katherine Brodbeck: You are returning to the Dallas Art Fair after a few years’ absence. What are you most looking forward to as you return this year? Allison Ayers: We are looking forward to reconnecting with our roots. While we travel and work quite a bit in Latin America and other countries with our artists and their projects, we are Texan. We have participated in many fairs worldwide over the years and it



will be nice to return to a fair that not only exhibits good modern and contemporary art from around the world, but also promotes and supports a place that we call home. People often think we are from Latin America and we say, “No, we’re from Texas.” KB: Can you speak a bit about how the market for contemporary Latin American art has changed over the last five years? AA: I think that it’s interesting that there is a perception that the contemporary Latin American art market has only recently changed. In 2001, the Museum of Fine Arts, Houston created its Latin American department so that a broader awareness of this market began to develop. The Blanton Museum started collecting much earlier (1988), but it was not until their curator, Mari Carmen Ramirez, moved to the Museum of Fine Arts, Houston to found the Latin American Art Department and the International Center for Art of the Americas (ICAA) that things really began to change. Suddenly, major institutions were not only collecting artwork from modern and contemporary artists from Latin America, but also creating major exhibitions to showcase the work. The market has grown steadily for at least fifteen years and it’s only in the past five years or more that the international art world perceived this as an established market. KB: Marco Maggi is currently included in the Nasher Sculpture Center’s Paper Into Sculpture  exhibition. Like many advocates for art from Latin America, I spend a lot of time debating the merits of group shows that place art from the region within its specific geographic context. How much more work do you think needs to be done in granting exposure for art from Latin America and educating the general public on the historic and socio-political


conditions from which it emerged? AA: I think this question is interesting and is a conversation we have at the gallery all the time. To limit these artists geographically is to ignore their awareness of and connection to art and artists the world over. I do think sometimes when people hear Latin American it conjures a certain perception. Therefore, it’s imperative that these artists are included in shows like the Paper into Sculpture so that the artists are placed in the broader conversation in which they are a significant part.  KB: What other shows featuring the artists represented by Sicardi, upcoming or from the past couple years most excite you?    AA: Our Mexico City-based artist, Gabriel de la Mora, had a solo exhibition at the Drawing Center in New York in 2016, Sound Inscriptions on Fabric. Marco Maggi represented Uruguay at the Venice Biennale in 2015, and Liliana Porter is in Venice now in a curated section there in 2017. Magdalena Fernandez’s Rain at the Houston Cistern from 2016–2017 was the inaugural project for the Buffalo Bayou Park Cistern, in collaboration with the Museum of Fine Arts, Houston. We are also very excited to present the exhibition of Home: So Different, So Appealing: Art from the Americas since 1957 at the MFAH which opens November 15th and will include four of our gallery artists. I really hope that people take the time to see it. ABOUT THE INTERVIEWER: Anna Katherine Brodbeck is the Nancy and Tim Hanley Assistant Curator of Contemporary Art at the Dallas Museum of Art. She is the curator of the Concentrations series, the museum’s series of project-based solo exhibitions representing emerging artists, and the annual mural in the Concourse gallery. She is cocurator of Truth: 24 frames per second (October 22, 2017–January 28, 2018), a time-based media survey and upcoming project Laura Owens (March 25–July 29, 2018), organized by the Whitney Museum of American Art. Prior to joining the DMA, she served as the associate curator for Hélio Oiticica: To Organize Delirium (2016– 2017), co-organized by Carnegie Museum of Art, Pittsburgh, the Art Institute of Chicago, and the Whitney. P

Thomas Glassford, Afterglow, Sicardi Gallery installation view 2014.

Carlos Cruz-Diez, Autonomía del Color 1, 2017, installation view at Sicardi Gallery.

Three Sisters

DECEMBER 2017 / JANUARY 2018 37

PULLING IMAGES FROM THE INSIDE OUT Brandon Kennedy curates the collective unconscious in an exhibition for the Karpidas Collection.


n the early twentieth century, Carl Jung rose to prominence with the founding of analytical psychology. Jung, who had studied under Sigmund Freud, refuted Freud’s idea that the unconscious was a singular entity created by an individual’s sexual repression and trauma. Instead he posited the theory of a “collective unconscious,” a synchronistic structure populated by shared instincts and archetypes—universal patterns and imagery— that are to be interpreted through individual experiences. Jungian psychology centers on “individuation,” the process of uniting the personal and the collective unconscious for the purpose of selfrealization. In other words, a person must rectify the archetypes that dominate their unconscious mind in order to fulfill their true potential.



Jung’s theory of the collective unconscious forms the basis of Anatomy of Disquiet, currently on view at the Karpidas Collection. Curated by Dallas Art Fair Director of Exhibitions Brandon Kennedy, the exhibition features 75 works from the collection, ranging from 1974 to 2015. Kennedy, who has been providing tours of the Karpidas gallery over the past year, was inspired by Jungian theory because of its connection to the Grecian sanctuary located within the front room of the gallery. Adorned with six paintings of Greek gods and goddesses by David Salle, the sanctuary is informed by the idea of the collective unconscious, which Jung believed to be the source of all mythologies. Because Jung’s theory believes the psyche to be comprised of images, Kennedy eschewed traditional curatorial emphases such as style,



Opposite: Curator Brandon Kennedy stands next to Urs Fischer, Naked Arrest, 2014, bronze. On the wall left to right: Ed Ruscha, Voice Box, 1987, oil on canvas; Andy Warhol, Knives, 1981–82, silkscreen ink and synthetic polymer on canvas; Jim Shaw, Dream Object (a large hand-drawn comic on raw, unstretched canvas), 1995, acrylic on unstretched canvas; Paul Thek, Exploding Bowl of Cherries, 1974, acrylic on newsprint (top); Ed Ruscha, Holy Con-Man, 2009, acrylic on museum board paper (bottom); Elad Lassry, Desert, 2010, silver gelatin print with wooden frame; Nick Lowe, Knight with Shield in Black Woods, 2009–10, India ink on paper with archival linen tape. Photography by John Smith. This page: Mike Kelley, Extracurricular Activity Projective Reconstruction #4 (Boss Vampire); #18 (Morose Ghoul); #15 (Goth Dance) — three works, 2004–05, Piezo print on rag paper and chromogenic print. Photography by Kevin Todora.

form, and medium when selecting pieces for the exhibition, focusing primarily on his gut reaction to database images of the collection. “I was looking for images that were confrontational, images that were unresolved. Maybe there was a sense of anxiety, despair, or unease,” he says. “The majority of the works [in the show] are figural in some sense. I’m normally not drawn to such works, but there was such an intense concentration of it that I was forced to reckon with it, and therefore I started seeing all of these images that I had a personal connection to.” Anatomy of Disquiet is a mixture of dark surrealism, sardonic humor, the monstrous, and the sublime. Densely hung, the installation is aggressively in-your-face; with none of the white-walled hierarchy curators generally employ to assert the importance of a singular piece.

It mirrors information consumption in the digital age, where eyeballs skip so rapidly from one thing to the next the brain doesn’t have time to thoroughly or accurately process it. The effect is disorienting, almost disturbing, as horror and humor collide, and words like “Go,” “Antagonistic,” and “Sanity” scream out from the walls. One of the first pieces viewers encounter is Urs Fischer’s Naked Arrest (2014), a nearly life-size bronze sculpture of a police officer arresting a nude hippie. Modeled in clay, the sculpture lays bare its origins; one can see how it was formed by bags of clay being thrown against the wall and then kicked and scraped into shape. The outline of an electrical outlet can be seen along the bottom of the flattened front, while the imprints of shoe heels and cupped fingers mar the backside.

DECEMBER 2017 / JANUARY 2018 39


Left to right: Nicole Eisenman, Blue Night, 2015, oil on canvas; John Baldessari, Prima Facie (Third State): Antagonist/Endearing, 2005, archival digital photographic print and acrylic on canvas; Marlene Dumas, Measuring Your Own Grave, 2003, oil on canvas. Photography by Kevin Todora.

Nicole Eisenman, Divers, 1998, oil on canvas; Barbara Kruger, Untitled (Belief + Doubt = Sanity), 2008, c-print; Anne Collier, Open Book #10 (Lips), 2014, c-print. Photography by Kevin Todora.



“When I first spotted Naked Arrest in the collection, I knew precisely where I wanted to place it. I loved the idea of the viewer being confronted with a handmade clay-turned-castbronze sculpture of a nude “hippie” being escorted out of the space immediately upon entering the first gallery,” Kennedy explains. It’s a comically jarring image to encounter mere steps inside the door, particularly when flanked by nearly twenty works, including Barbara Kruger’s Untitled (Belief + Doubt = Sanity) (2008) and Andy Warhol’s Knives (1981–82). Almost directly across hangs Measuring Your Own Grave (2003) by Marlene Dumas, in which an anonymous figure bends facedown, arms outstretched to each side, as if succumbing to death in the face of inexplicable insanity. Mike Kelley’s infamous photographs Manipulating MassProduced Idealized Objects (1990) and Nostalgic Depiction of the Innocence of Childhood (1990), which feature performance artists Bob Flannagan and Sheree Rose defiling stuffed toys in the nude, are also nearby. Kennedy thinks of Kelley as “the spiritual guide of this exhibition,” and says the exhibition “was somewhat influenced by Kelley’s catalog from his 1994 show he curated, entitled The Uncanny.” Four more of Kelley’s works are included, including the standout drawings Bobo Cuck (from The Poltergeist) (1979) and Caught (1984), which underscore Kelley’s knack for combining text and image into blistering accounts of humanity’s antievolution. Bobo Cuck features drawings of a monkey and a ventriloquist’s dummy, while Caught is a diptych of a man with his hand stuck in a donkey’s ass and his other hand stuck in a pie. The pairing suggests a sense of powerlessness against our own subconscious, yet acquiescence to this powerlessness, for it provides us with the perfect scapegoat for our indefensible waking actions. Another highlight is a wall of female forms, anchored by Laurie Simmons’s Walking Hourglass (1989) from her series Walking & Lying Objects. Works by Elad Lassry, Lisa Yuskavage, Paul McCarthy, Jeurgen Teller, and Wilhelm Sasnal hang closely together in a display that succinctly captures the spectrum of feminine dynamics, spanning the lush fecundity of a pregnant form to notions of idealization, surveillance, and claustrophobia. Around the corner Cindy Sherman’s grotesque Untitled #26 (1992) serves as sort of a blunt closing note, its reductive brutality of a menstruating female groin tied with ribbon to its male counterpart a reminder that the physiology of being a human can be considered the ultimate surreality. Ultimately, Anatomy of Disquiet is meant to be unsettling and not easily understood. The title, a mash-up of two books— Fernando Pessoa’s The Book of Disquiet and Robert Burton’s The Anatomy of Melancholy—alludes to the exhibition’s function as the dissection of worrisome things in a worrisome time. Kennedy likens his curatorial approach to this show as “the dismantling of a bound volume and the reconfiguration of loose pages in a new form.” It’s an apt metaphor for our current climate, in which the linearity of the day (wake up, eat, work, sleep) is now perpetually disrupted by a growing number of darkly unsettling occurrences that have rendered moot the tipping point from sanity to insanity, as they are now seemingly one and the same. Walking through the gallery, it’s impossible not to think of the world outside as our collective unconscious laid bare: our deepest, darkest, most horrifying, and fantastical fears and desires come to life. P

WILD SPACES, OPEN SEASONS Hunting and Fishing in American Art October 7, 2017–January 7, 2018

Free Admission #CaughtAtTheCarter Iconic works by Thomas Cole, Winslow Homer, and Andrew Wyeth are featured in this major exhibition of paintings and sculpture that demonstrates the aesthetic richness and cultural importance of hunting and fishing in America. Winslow Homer (1836–1910), A Huntsman and Dogs (detail), 1891, oil on canvas, Philadelphia Museum of Art, Philadelphia, Pennsylvania, The William L. Elkins Collection, 1924 This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The local presentation is supported by BNSF Railway Foundation, Christie’s, Collectors Covey, Fort Worth Promotion and Development Fund, Joan and Walker Friedman, Karen and Tim Hixon, Julie and Scott Kleberg, Kleinheinz Family Foundation for the Arts and Education, Luther King Capital Management, Beth and Ron Parrish, Martha M. and J. Kent Sweezey, and Wells Fargo.

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Gail Sachson, lecturer, artist and guide, surrounds herself with work by local artists she also calls friends.


oes Lifetime Achievement mean it’s…over?” Gail Sachson asked in a recent email exchange. Anyone who knows this sprightly dynamo knows that answer. It will take a lot more than a lifetime achievement award to slow her down. The aforementioned honor was the Obelisk award, granted in November by the Dallas Business Council for the Arts. Sachson is a graduate of the organization’s 1989 Leadership Dallas class. And she has, indeed, spent a lifetime contributing to the cultural life of the city as an educator, advocate, and artist.  Her educational credentials began as a third grade teacher in the New York City public schools. After a short stint in Chicago, she and her husband, Richard, moved to Dallas in the 1970s. Her



popular tour program, Ask Me About Art, was born over 40 years ago in the unlikeliest of places. “I taught preschool at the Jewish Community Center on Tuesday and Thursday and went to SMU as an MFA student on Monday, Wednesday, and Friday,” she explains. As a student in Roger Winter’s painting class, she began exploring Abstract Expressionism. Visits to galleries further inspired her. “I created a program called Ask Me About,  and on Tuesday and Thursday, I took my kids to the galleries,” she adds. Always ahead of the curve, when Alexander Calder came to Dallas in the ‘70s to paint an airplane for Braniff, she was invited to watch. Sensing an opportunity to translate this experience for preschoolers, she says, “I bought balsa planes for my little ones and we painted our


BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JOHN SMITH Calder airplanes. I was encouraging children to explore the world around them.” These early experiences led her to write and publish the book Ask Me about Jackson Pollock in 1978. The Pollock-Krasner Foundation in New York owns a copy of it.  The transition to working with adults sprang from these lessons. When packing up her young charges for the day, she says, “I would pin tags on them that I meticulously made by hand. On the front, it said ‘Ask Me About’ whatever we were studying. On the back I wrote a laboriously detailed answer. That’s how it happily morphed into an adult education service. The parents starting asking me for information.”  Sachson’s devotion to art education paralleled the rise to prominence of the Dallas art world. She conceived and taught at SMU through the Young Artists Program and at the Modern Art Museum of Fort Worth. She also taught at the Dallas Museum of Fine Arts in Fair Park before it decamped to downtown in 1984, becoming the Dallas Museum of Art. Her current roster of programs, which includes classes, tours, and workshops, among many other activities, keeps her busy. However, it is through her committed involvement with Booker T. Washington High School for the Performing and Visual Arts, that she remains engaged with young artists. “Booker T. keeps me young,” she says. She currently sits on the President’s Council and chairs the committee overseeing the Senior Scholarships. Sachson also sits on the committee for the Booziotis Best Design Award. The late architect’s company, Booziotis & Company Architects, was heavily involved with the school’s 2008 expansion. The award Booziotis created is offered to juniors in the Visual Arts Conservatory. It gives them an opportunity to conceive and create a site-specific work for installation behind the Routh Street reception desk during their senior year. The work greets visitors to the school and remains in place through the student’s senior year. “The work should speak of the energy of the school,” Sachson says.

The process is rigorous. “We interview [the students], hear them explain the work, and then meet about them,” she adds. Interview questions inquire if the work can be fabricated on time and in a cost-effective manner. The student whose work is selected receives money for materials and a stipend. Sachson calls the gallery at Booker T. one of the best-kept secrets in town. The work of the school’s students can be found throughout her home, alongside that of more established artists. A fervent supporter of local talent, Sachson’s collection includes the work of Kana Harada, David Bates, Rusty Scruby, Jesús Moroles, Timothy Harding, Dan Lam, Susan kae Grant, Harry Geffert, James Surls, Jay Sullivan, Paul Greenberg, and Pamela Nelson. She says, “It’s always so rewarding to know the artists, support the artists, and let them know that you believe in them.”  Within the past 15 years, Sachson has also devoted considerable energy to public art. For nine years, she served as the Chair of the Dallas Cultural Affairs Commission as well as the Vice Chair of the Public Art Committee. “I loved being at City Hall, where you felt like you were an integral part of the city,” she says. For the past 22 years, Sachson has also maintained a home in Aspen, where the work of many friends, including Jay Shinn, Shane Pennington, David Dreyer, Andrea Rosenberg, and others, keeps her company. “I wanted quality, credible, provocative artwork that makes me smile. It is like having friends over, knowing there is this rich relationship,” she says.  After speaking of her far-reaching involvement throughout Dallas, she adds, “And I still make art.” Colorado provides the perfect respite for her to follow her own creativity. “Anderson Ranch is a home away from home. It reminds me of the excitement, enjoyment, escape, and enlightenment of making art and the joy of discovering an innate talent,” she says. Fittingly, the art she creates is installed next to the work of her Dallas friends. P

FOCUS: Katherine Bradford Through January 14

Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 Follow the Modern Katherine Bradford, Pool, Red Rim, 2017. Acrylic on canvas. 72 x 60 inches. Courtesy of the Artist and CANADA, New York.

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Lucia Simik: “ Being an artist is something you carry.”

Lucia Simek, “A house is not a machine for living, Honey,” 2017, marble, brass, wood. Photograph by Nan Coulter.



hroughout her practice, artist Lucia Simek explores systems of communication—a suitably poetic investigation as she serves as the Manager of Communications at the Nasher Sculpture Center. Simek describes the impetus behind her practice as, “impasse and exile—the inability to be heard, while tasked with speaking.” It is in these spaces of obstruction that she finds great potential energy—creating sensual works ripe with possibility. A marble beehive has sprouted legs. Seductive, yet unusable, it sits in Beefhaus’s gallery. This is the centerpiece of Simek’s most recent exhibition, Cleaver, a two-person presentation with Cassandra Emswiler Burd. The work, A house is not a machine for the living, Honey, spawned from a story of inheritance and responsibility. During a trip to the United Kingdom, Simek’s host offered her honey for her tea. Served in the form of a honeycomb, the sweetener came with a story. Recently, her host had decided to reinstate beehives at her familial estate. In doing so, the host discovered that the



grandson of the family’s original beekeeper had kept a part of the decommissioned colony alive, seeing this as his hereditary charge. The original colony, still thriving under the stewardship of the beekeeper’s grandson, was reintroduced to the country estate and Simek was able to enjoy the fruits of their labor. Inspired by the single-minded focus of the beekeeper, Simek explored the form of the beehive—specifically the modular Longstroth hive. This 1852 beehive design changed the landscape of beekeeping as it introduced moveable frames to the hives, allowing easy access to honeycomb. Designed for the highest level of ease and efficiency, the Longstroth hive controlled the social structure of the bees while streamlining output for swift monetization. The hive is described as having a portico entrance and integrated floor; Simek was especially taken by the language used to articulate the design and how similar it sounded to a human home. Simek took this structure, one she sees as an antecedent to modernist architecture, and recreated it in precious, albeit


impractical, marble. Initially A house is not a machine for the living, Honey reads as a model for a luxury villa, but it is a perfect one-to-one replica of a functional beehive. The structure precariously lounges upon legs reminiscent of those of a bee, but derived from furniture design. In another work in Cleaver titled My word, those teats, Simek presents a braille edition of Playboy on a marble slab accompanied by a delicate painting on silk. In the context of the iconic men’s magazine, the raised points of braille are reminiscent of nipples or goose bumps resulting from sexual arousal. Taken as a whole, Simek’s contributions to Cleaver are about communication. Simek’s infatuation with language extends from the written system of the visually impaired to the elaborate dance communication of the honeybee. Simek’s work is always deceptively minimal. Each piece is marked by an economy of gesture. In a site-specific installation that has been on view for four years at Dallas Contemporary, the artist had the words “Declare Impasse” installed in triplicate vinyl across the bathroom mirrors. These words establish a contradiction and negotiation. What does it signify to proclaim a state of stagnation? Declare Impasse is a mantra, pointing to the power of potential. Simek is an expert in capitalizing upon moments of rupture. In her 2015 exhibition at The Reading Room, she presented shattered pieces of marble. This work was a result of happenstance. Originally the sculpture was an architectural model of an ice hut based on designs by Salomon August Andrée, who led an unsuccessful balloon expedition to the North Pole. Andrée died en route and never saw his structure built. Simek’s model for Andrée’s shelter was shattered on its way to being shown in Iceland. The poetic nature of this destruction was not lost on the artist. The broken slabs were transformed into a new work— each piece neatly placed on the ground next to each other. Titled The Beginnings of a Hut (Is this ambition?), the piece becomes a conversation around one’s aspirations and the possibilities born from failure. All of Simek’s works are deeply personal and perhaps none so much as Occiput, a two-channel video work, which dominated The Reading Room exhibition. The video is comprised of intimate documentation of a Western-bound road trip taken with Simek’s three children captured by smart phone. Inspired by grief and the dissolution of a relationship, the video offers three minutes of profound intimacy—shadow puppets and bathing bodies surrounded by boundless landscape. Writer, curator, Nasher media-maven, but artist first and foremost, Simek sees the studio as a mental space, one unavoidable and constantly occupied. Being an artist is something lived, with all of life’s complexities serving as inspiration. As Simek communicates it, “Being an artist is something you carry.” Though never losing momentum, Simek declares impasse. P

Lucia Simek, My word, those teats, 2017, hand-painted silk scarf, marble, Playboy in Braille. Photograph by Nan Coulter.

Lucia Simek, You are not, 2015, digital print. Courtesy of the artist.

Lucia Simek, OCCIPUT (still), 2015, two-channel video. Courtesy of the artist.

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At the fore of contemporary living trends, Poliform offers a range of materials for designers and their clients.



An innermost tour of Poliform’s and Edra’s Milan showrooms, courtesy of Lloyd Scott and Josy Cooner.

raveling with the charming and indefatigable ladies, Lloyd Scott and Josy Cooner of Scott + Cooner, to a furniture show in Italy is to experience Italian furniture design at its finest. From the high-tech industrialized Poliform factories outside of Milan, which produce elegant forms with luxurious finishes and perfect details, to the Edra headquarters outside of Florence, creating highly engineered works of functional art, the trip is a visual feast. “I have such respect for both companies and the long traditions of family-owned companies making beautiful furnishings and invigorating the economies of their communities,” says Lloyd Scott. Night and Day—surely Cole Porter wasn’t thinking about home furnishings when he wrote his iconic song in 1932, but the esteemed Italian furniture company Poliform has made good use of the meaning with the expansion of their collection to create a complete concept home wall-to-wall. Life in the Poliform home is covered from a frothy cappuccino available in a fully integrated kitchen, and dining around a circular walnut table with a spinning



marble tray for antipasto. Enjoy cocktails sitting on a sumptuous sofa in the living room and finally undress in a perfect closet before climbing into a bed designed with “the pursuit of comfort” in mind, all courtesy of Poliform’s artistry. “Poliform owns the market in furniture, kitchens, and closets with their ability, strength, and impeccable level of design,” Josy Cooner apprises. Poliform has been primarily known for coveted closets and wall systems featuring beautiful wood finishes and luxurious leather with architectural elements like self-closing drawers and no-touch lighting for over seventy years. The Poliform Varenna kitchen shares the same attention to detail and engineering with special emphasis on the furniture nature of the cabinetry. The new Trail kitchen system in lacquer, wood, and glass is noted for integrated handles with no visible hardware. An Italian would no sooner leave their kitchen upon relocating than they would leave their grandmother’s armoire, so it too will travel on the moving van along with the sofas and chairs to a new home. They’ve taken that same level of artistry and functionality to


create the Mondrian sofa inspired by the artist with multiplesized cushions, arms, and backrests with built-in tables and shelves. The Laze bed envelops you in the softness of the upholstery, while the Mad Queen armchair by Marcel Wanders has one soft continuous line. The Standard lounge seems to float with the thinnest of silhouettes, creating an enveloping shell. The Quid is a modular wall system in matte-lacquered colors, black elm, and glass that can be configured for use in any room in the house. Scott describes, “If Poliform adopts the personality of Milan and Northern Italy with its precise attention to detail, efficiency, and elegance, Edra has the personality of Florence—inventive, whimsical, and glamorous.” Edra is the epitome of functional art with engineered innovation and handmade craftsmanship. Unconventional finishes and materials disguise the precise engineering science that goes into making each piece. The Vermelha chair is made of 500 meters of rope woven directly onto the frame of tubular steel—forty-five hours goes into the weaving. The Gina chair looks like the spun sugar on a crème brulee. It’s actually a seethrough embroidery made of extruded polycarbonate. The Edra Pack sofa, which won the grand prize at the Milan Salone di Mobili, is a remarkable marriage of art and engineering with a little social consciousness thrown in. The generous upholstered base evokes an ice floe. A giant polar bear lies on its side atop, which can be adjusted for sitting or lounging on all sides. “Edra has a level of creativity that is almost magical,” Cooner enthuses. One of the highlights of the trip was a visit to an exhibit by the La Triennale di Milano, which featured decades of Italian design. Among the iconic pieces on view, like an original Olivetti typewriter/calculator and an Ettore Sottsass bookcase, an old wooden bicycle was displayed. The inventor was a guy from Vinci named Leonardo dating back to 1493. Both Edra and Poliform continue this storied ancestry and illuminate the innovative concept of Italian design. P

Edra received the Salone del Mobile Milano award for Best Product 2017 with this glacier-like sofa and its lounging bear.

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Maestro Jaap van Zweden conducts the Dallas Symphony.

TEN YEARS with the







ow did we ever live without Jaap van Zweden in Dallas and how ever can we carry on without him? This dazzling Dutchman has transformed the Dallas Symphony from a provincial orchestra into a powerhouse strong enough to propel him to the podium of the New York Philharmonic. As we bask in reflected glory, it’s hard not to feel anxious about his replacement, knowing how easy it is to misjudge a maestro. It’s happened before. The Dallas Symphony has had three superb conductors since World War II: Antal Dorati, Georg Solti (all too briefly), and Jaap van Zweden. It is Jaap, however, as everybody calls him, who has had the most enduring impact. With a longer tenure than the other two, a more mature city, and above all, the Meyerson, he has taken the assets he found here and built from them an orchestra ready for the big league. Nor is he blasé about the enormous privilege of working in a great hall. “Every day that you walk in this hall is a joy,” he said by e-mail, “and a huge gift for the musicians... You get used to it, and you think it is normal; it is not.” No doubt he is only too well aware that he is leaving the Meyerson to lead a world-renowned orchestra, but in an old barn of a hall renamed for David Geffen where a $500 million overhaul has been tabled in favor of truncated, phased improvements. At least the New York Philharmonic will not have to be a vagabond band, playing in makeshift quarters for two years or more during the elaborate rebuilding project that once was in the works. As for music, Jaap will probably do more Philip Glass with which he led off the current New York season. “He is not played enough,” the maestro noted. Jaap will continue to commission new work, with plans to be revealed in mid-February. He did a lot on that front in Dallas, including new work by Christopher Rouse and Conrad Tao plus the haunting August 4, 1964 by Steven Stucky, who sadly has died since then. Jaap remembers him “as a composer who really went deep into his music and…could touch the soul, the American soul.” The soul music of Jaap van Zweden, while hard for him to choose, finally settles around Wagner. “Die Walkure, that is a centerpiece,” he said. “Wagner is a world on itself when you start to rehearse it. You think, my God, what kind of music is this? Legend. It is about nature. It is about jealousy. It has all kinds of things that we know in the world. And you get addicted to it—as a listener. It is hard to get out of that world. I want to go back to Wagner all the time.” P

Where the art of living meets the art we live with.

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UNT Professor of Voice, Richard Croft in Amsterdam. Courtesy of Richard Croft.




s a tenor, Richard Croft knew he had to go one way or the other—German or Italian. “My heart resonated,” he explained, “in the classical era.” So he made a career of singing all the Mozart operas, especially Idomeneo. Handel has been important too. A year ago he did Jeptha with the Dutch National Opera and fell in love with Amsterdam, now his favorite city. “I feel like I’m at home, personally, philosophically, musically. It was very healing.” Richard Croft is more honest than most about the need to heal. The pivotal epiphany came to him in Berlin when he was playing in Billy Budd and went to see The Damnation of Faust. This updated production chronicled “the rise of young Adolph Hitler... There were Nazis on the street. People on trains and taken away. I could see people passing their pain along without dealing with it.” Suddenly he understood: “Forgive everyone… Then I am free. And all of the rage and resentments that I once thought I had turned to the realization that, in fact, rage and resentments had me. Once I recognized that…I was myself again.” That was last May. By summer he was in England singing the lead in Mozart’s La Clemenza di Tito at Glyndebourne. It was an opera about forgiveness, a synchronicity that sealed the revelation of Faust in Berlin. Richard Croft grew up in Cooperstown, New York, sang his way through a campus of the State University of New York and an apprentice program at the Santa Fe Opera, then did hard labor in New York mixing cement in Central Park before finally winning the Council Auditions at the Met where he and his brother Dwayne Croft, a baritone, would sing, eventually, together. Richard debuted in Don Giovanni in Nice and that set him “off and running in Europe,” with engagements everywhere, from Berlin and Vienna to Paris and Milan. It’s been a life on the road, settling only now into some semblance of normalcy at the University of North Texas where he teaches voice in his own studio furnished with a piano, music stand, and acoustics he is trying to modify, somehow, with panels on a brick wall. For all his success singing music of the 18th century, Richard Croft hit an extraordinary moment in his career as Gandhi in Satyagraha by Philip Glass. “It was a fantastic experience to play Gandhi,” he said. “You must strip away and open yourself and surrender to Gandhi, to get into a meditation.” Historical events were recreated on the stage all around him, but Gandhi, a maker of history, was not taking part in them. Instead he was singing prayers from the Bhagavad Gita. Croft has returned to yoga as well as to UNT, which he left for five years after an earlier stint there frustrated his dual desire to stay anchored while in full sail. He is still performing, though, as elegantly as ever. Keeping it “clean and classical” has served him well, saving his voice from the strain of projecting over big and daunting orchestras. Living in the world of Baroque means he “still sings like a much younger man.” P


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setting the stage



“We must continue to create, to experiment. We can’t rely only on the past.” So says Nicole Paiement, Principal Guest Conductor of The Dallas Opera. Never content with the tried, once true, but now in her view too often tired, this maestro laments that “we’re forgetting to invent new musical instruments. We have electronic sounds, blended with the orchestra,” but why not “music concrete, made of real sound,” like tapping a table or slamming a door “which a percussionist can play,” or sometimes it’s recorded. Nicole Paiement, one of the most glamorous women on the podium, arrived at The Dallas Opera early in the tenure of general manager and inventive impresario Keith Cerny to lead The Lighthouse at the Wyly. A chamber work by Peter Maxwell Davies, it first premiered in 1980 and fits Nicole’s commitment to art of our own time. Petite, elegant, suffused with style—all apply to her. But the word that really sums her up, if any one word can, is authoritative. Reviewers write invariably of the precision she evokes from orchestras, but it is authority, honed from fanatical reading and rereading of the score, that makes that precision possible. Nicole grew up in Montreal and debated the virtues of music versus architecture at Ottawa, then McGill, University. Her decision, influenced by a musical family, landed her at the Eastman School of Music in Rochester, New York, for a PhD. Next came the University of California at Santa Cruz where she directed ensembles and met her husband, Brian Staufenbiel, a tenor who sang under her baton and later turned to the role of creative designer at Opera Parallèle in San Francisco, founded by Nicole and devoted, of course, to making championship seasons for new composers. She has done the same for The Dallas Opera, conducting commissioned works like Everest by Britain’s Joby Talbot, which she took this fall to Kansas City, lugging a score that weighs nine pounds, and rare inventions such as Death and the Powers from Tod Machover’s Media Lab at MIT. In March she will lead The Sunken Garden, a miracle of multifaceted imagination by Michel van der Aa, audacious genius of the Netherlands. Paiement once told an interviewer that she loves to do Handel and Mozart. No doubt that’s true. But she’s too much the adventurer to live for long in the safety of the sure. A pure Pied Piper, she was born to soar among the unexpected and the unexplored. She was born also to be in charge. Architecture, no matter how much she searches for the shapes of Gaudi in her music, would never have contained her restless intellect or her drive to convert ideas into atmosphere and visions into sound, bringing the world of opera with her on the magic carpet of her life.



Maestra Nicole Paiement is the Principal Guest Conductor of The Dallas Opera.

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Sean J. Smith is a company dancer and choreographer with Dallas Black Dance Theatre.


“Dance is live art.” You could call that the motto of Sean Smith, dynamo of Dallas Black Dance Theatre. Canadian, like Nicole Paiement, he’s a creation of the west, having grown up in a small town near Vancouver, while she brings with her always a touch of eastern, Francophone Montreal. Both have crafted original lives. Both have electrified Dallas audiences with exceptional flair and style. Sinuous and insinuating, Sean Smith dances like a cat, but he’s no precious creature of Persia or Siam. Smith in action has the look of a leopard, or a jaguar. Working from a base of classical ballet, he can muster the moves of a gymnast with the intensity of a lover obsessed, possessed, unable to pull apart from the passion of the moment, that stretches into many moments, for the whole of an evening. He is a dancer you don’t forget. Trained in Vancouver, Toronto and, finally, at the Alvin Ailey in New York, Smith had nothing inevitable about him except a lot of raw talent, unsupported at first by circumstances unless you count a childhood response to the dancing he saw on television and a sister who felt the same. But he did have the pluck to go after grants and scholarships that make his trajectory now look meant to be. Maybe, in the signs of astrology, but not necessarily in Abbotsford, British Columbia, where diverse groups were many, especially from Southern Asia, but Blacks were few, and it was easy for someone like Sean Smith to feel like an outlier. But who’s to say that didn’t fuel his propulsive ascent from student to striver to star? Not only does Smith dance with the stamina of a longdistance runner, he also choreographs, and this year he became one of two rehearsal assistants at DBDT. Easily bored, he also has immersed himself in tap dancing, an early enthusiasm. He joined with the African-American Repertory Theater to act as a tap dancing interlocutor in Fly, a dramatic account of the Tuskegee airmen, from the university of the same name in Alabama, who integrated the Air Force during World War II. La Traviata is his favorite opera. “I love that music,” he said, and he has choreographed to it. His reigning genius, however, is Mozart. “His sonatas are so simple, so brilliant, so childlike, so pure. Mozart is it for me.”




Shannon Kearns will never have a role to equal the lead she played in The Testament of Mary by Irish master Colm Toibin. Not just the leading character, she was the only character, except for a couple of guards lurking nearby, pretty much in silence. Holding the stage alone for ninety minutes with no intermission, she delivered a tour de force seldom seen in any theater anywhere. The Undermain was gutsy to do it, since nobody takes on the Mother of God without strong complaints from those who object to subjecting scriptural truths to an imagination as fertile and forceful as Toibin’s. But it worked. Laura Bush was there for the first preview. So was Colm Toibin himself, slouching in his seat on the first row. Was Shannon Kearns nervous? Did she try to tune them out? Not at all. “I tried to share the work with them with as much authority as I could,” she recalled. And she has the authority of someone who had “grown up Catholic” but now is immersed at the Center for Spiritual Living in “the oneness” of the world with the life of the universe, the “infinite unknown.” Kearns feared at first that she never could make it as an actor because she was from such a small town, near Rochester, New York. Nonetheless, after Bucknell University on a scholarship she went on to a theater program at the University of Tennessee and also had a year in London. Next came Dallas where she moved in pursuit of a relationship that didn’t last. Collin College did, however. Kearns has been teaching there for 17 years— improvisation, movement onstage, and introduction to theater. It has supported her work at the Undermain Theatre, where Katherine Owens, founder and artistic director and Bruce DuBose, founder and executive producer of the theater, took her in and made her a mainstay of the always serious and energetic effort there. Next spring Kearns will play Masha in Chekhov’s Three Sisters, a part once performed by Olga, fabled wife of the playwright. In the last scene Masha plants a lingering farewell kiss on a brief love, artillery officer-philosopher Vershinin, then breaks into sobs. “She is not being fed,” explained Kearns. “She craves the food of understanding.” Moreover, “she is silent a lot.” It’s nothing like Mary, who, though more agonizingly distraught, has a lot to say, much of it of profound importance. Playing her “grew my ability, grew my resilience, grew my heart,” said Shannon Kearns. “It was the best experience I have ever had.”

Shannon Kearns is an Undermain company member who has appeared in numerous productions including her in TheDECEMBER Testament of Mary. portrayal as Mary 2017

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Few could have guessed when Deferred Action by David Lozano and Lee Trull first opened last year to respectful acclaim at the Dallas Theater Center, in association with Cara Mia Theater, that it now would be a premier play of the hour, produced at SMU’s Ignite/Arts Dallas, the University of North Texas, and the Latino Cultural Center as well as in Houston and Los Angeles, with interest bubbling up in El Paso and Santa Fe and from as far afield as Providence, Rhode Island. That’s because Deferred Action for Childhood Arrivals, inaugurated by President Obama to permit kids brought to the U.S. by their parents to remain in the country for another two years, subject to renewal, and grant them the right to work with no fear of deportation, is about to expire. Only Congress can prevent 800,000 one-time kids, now quite grown up and established in careers, being sent to countries they have never known in March (or maybe a few months later, depending on the whim of the White House). This issue was hardly in the air when David Lozano, Executive Artistic Director of Cara Mia, approached DTC’s Kevin Moriarty about doing something together. Lee Trull, then Director of New Play Development at DTC, was assigned the project, which changed continually, over the many months they wrote it as circumstance shifted along with theatrical emphasis. This was an issue play, but it still required characters,

image caption


David Lozano is the co-playwright of Deferred Action and Executive Artistic Director at Cara Mía Theater.


plot, and cohesion. Though deep into the politics of 2016 by the time their work appeared onstage, neither Trull nor Lozano saw coming the outcome of that astonishing election even though they inserted into their drama a right-wing candidate for president with a startling twist. This pair of playwrights made an especially effective combination for Deferred Action. David is the son of a Dallas bilingual newspaper-owning family who did time at the University of California at Santa Clara before graduating in humanities from UT Dallas, and Lee left his home town of Arlington to major in musical theater at Sam Houston State University. Then, as an actor, he made himself indispensable to every theater in Dallas from Kitchen Dog to Second Thought, and finally, to the Brierley Resident Acting Company at DTC. The two of them came to the Dreamers’ story from different directions, though both are animated by a passion to make the theater not only relevant but also useful. Together they have captured an American moment and made of it compelling theater that has a lot to say about the current state of the nation.

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Dallas native Tiana Kaye Johnson is a member of the Brierley Resident Acting Company at Dallas Theater Center.




Lorraine Hansberry once wrote a play called To Be Gifted, Young and Black. She might have been talking about Tiana Kaye Johnson, who, years later, would perform in that same work. At 27, and not long out of Prairie View and Southern Methodist University’s Meadows School of the Arts, Tiana is one of the brightest new lights in the Diane and Hal Brierley Resident Acting Company at Dallas Theater Center. She did Hair in October and now is looking ahead to the holidays when she will play Mrs. Fezziwig and Mrs. Dilber in A Christmas Carol, directed by Lee Trull, also featured in this piece. In the spring she’ll turn to Coretta Scott King and a secretary in The Great Society. Tiana Kaye Johnson is versatile and she is committed to the sober, though sometimes delirious, assessment of America currently underway at Kevin Moriarty’s DTC. At Hair, Tania asked herself repeatedly, “What are they hearing in the audience? Are they there to enjoy songs they remember?” Or are they looking for more, as she is? “Pressing times make it so urgent,” she told me, that she “dive deeper into civil rights history,” and hope her audience will follow. “My parents start with civil rights and work back to slavery,” she said; “they start with hope.” Tiana was born at Parkland (her mother always points that out, she said) and grew up in Oak Cliff. She first “saw the north side of town” when she went to William B. Travis Middle School. “I discovered Chipotle and Jamba Juice— things of the north.” She wanted to go to Booker T. Washington High School for the Performing and Visual Arts, but her father said no. She should go to the Town View Law Magnet and prepare herself for that far better-paying profession. So she did. But the life of a lawyer was not for her. Dance was. And in time it led her to the theater. But actor, Tiana explained, “is not the first of my identities, though it is encompassed in it. I’m black. I’m a woman. I’m an artist. I’m an activist.” She is indeed an activist, via art. She loves the talk-back sessions after every play. “It’s not always fruitful,” she admitted, “but it’s always fascinating and a gift to hear what people felt. It’s important to listen to what people are saying.” You can find “glimmers of hope: whites willing to admit the mistakes of the past. With the admission of slavery we can both change through it.” Next April, Tiana takes a break to marry Harrison Blair at a wedding in Jamaica. “He’s not a theater person” but, obsessed instead with politics, he did see All the Way (about LBJ) last season “four or five times.” No doubt his fiancée insisted on a talk-back. P

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Dallas chanteuse Sarah Jaffe’s Bad Baby marks the latest chapter in her restless musical journey.


inger and songwriter Sarah Jaffe has been a force on the area music scene for the past decade, and now well into an enviable career, her chameleonic star continues to rise and mutate. While her early recordings reflected her folk/ acoustic roots, 2012’s The Body Wins and 2014’s Don’t Disconnect celebrated her penchant for experimentation: acoustic guitars gave way to synthesizers, electric guitar, drums real or electronic, and Jaffe took over as bassist. Along the way her idiosyncratic regional twang modulated, and a versatile, urbane voice emerged, signaling her growth as singer and songwriter. Sarah Jaffe doesn’t stand still. And nowhere is this more evident than on her most recent fulllength, Bad Baby (Kirtland Records), a stunning mood-shifting collection that’s another departure, a project emphasizing a spirit of collaborative exploration. “I’d always done my records in parts,” Jaffe explains, “like I’d work with the producer and get a certain amount done and then bring in musicians as we went, depending on what I was hearing for each song. But with Bad Baby I wanted to approach it as a band, have the same players I’ve played with live for a long time to play on the entire record.” Her bandmates include keyboardist Scott Danbom, guitarist/multi-instrumentalist Don Cento, and drummer/ percussionist Matt Pence; on this outing, Jaffe herself alternates between guitar, bass, and synths. Producers were Pence (CentroMatic, Jason Isbell, Telegraph Canyon) and Scott Solter (Spoon, The Mountain Goats, John Vanderslice), with Jaffe co-producing two of the cuts. The result is an atmospheric songscape that’s both synth-pop confection and revelatory confession, with a vivifying, tangible esprit de corps.



DECEMBER 2017 / Ellery JANUARY 2018Five61 Chanteuse Sarah Jaffe in striped top at Forty Ten on Main.

On the producers Pence and Solter, Jaffe rhapsodizes, “Matt is like a scientist; his brain works in this very scientific manner—I love the way he thinks about music. I’m mainly about exploration, not really knowing what I’m doing, but diving in anyway. Matt approaches things totally opposite from the way I do. And Scott’s amazing—he was very therapeutic, giving melodic and instrumentation ideas, like an ambience, an atmosphere. He was a huge part of the process, all his buttons, bells, and whistles… they’re a massive part of the record.” The first song the band undertook at The Echo Lab studio in Argyle was “Freaking Out,” an album highlight. Working from a primitive home-recorded demo, Jaffe, Danbom, and Pence fleshed out the song in a fourhour session that left Jaffe elated. “It was almost effortless,” she recalls. “It was like, ‘cool, we have our first song—it’s gonna be fun!’” A key ingredient of the collaboration of songwriter/band/ producers was trust. Guitarist Don Cento says that Jaffe basically gave band members exploratory carte blanche in delving into the material there in the studio: “There was a lot of communication, a lot of throwing ideas back and forth. I usually do a lot of homework, but I went in cold—I didn’t want to show up with too many preconceived notions; it really was a communal effort.” The first song he played on was “Shit Show,” which closes the album. Another highlight, the song has an infectiously deliberate plodding feel, off to work, a study of resigned surrender. “The basic arrangement for that one came together pretty quickly, and that felt really good,” Cento continues. “We were all listening to each other, all contributing.” Fiona Brice’s (Placebo, Vashti Bunyan, Midlake) canny string arrangement adds a dramatic, gestural element; her 8-piece section also enhances three other



ASOS faux fur; vintage tee; Gabriela Hearst velvet pant and Prada booties at Forty Five Ten on Main.

"I’m main ly about exploration, not really knowing what I’m doing, but diving in any way."

–Sarah Ja f fe

Wool beanie (Sarah's); Maison Margiela earring at Forty Five Ten on Main; ASOS blouse and pants; Dries Van Noten velvet coat at Forty Five Ten on Main.

songs, “Between,” “As Ever,” and “Freaking Out.” With a 13-song collection this strong and diverse, it’s hard to ferret out favorites. Opener “Synthetic Love” sets a brooding tone with a trance-inducing four-chord progression; electronica ephemera and doom-laden Spaghetti Western-isms season the song’s long build. The album is a tension/release study in contrasts, and the next songs, “Between” and “No Worries” provide welcome relief. Somewhat Prince-esque, “No Worries” is an earworm built around a guitar/ bass unison, peppered with industrial electronica fx. The title cut has a dense synth-built texture which thins suddenly at the first chorus, a brilliant arrival moment in the song’s arc. “This/That” is a melodic synth-pop wonder with a sonic palette recalling 80s MTV evergreens. And “Not Dead” is a droning steady-state that’s heavy on reverse tape effect and acoustic guitar; its multi-tracked mantra, “I’m not dead yet,” sounds a wakeup call, a note-to-self manifesto. One of the album’s most autobiographical reveals is “Doctor’s Orders,” chronicling a chapter of writer’s block. “It was superbly depressing,” Jaffe laughs. “There wasn’t anything horrible going on in my life, but I felt like a piece of s--t... I wasn’t creating anything.” A meeting with producer and friend John Congleton turned the page. “He told me, ‘You need to get up every day at the same

time, get dressed like you’re going to an office job, go to your home studio and work for a certain amount of time. You have to start compartmentalizing your life because there’s no structure.’ It’s hard to punch a clock when there’s no clock to punch.” The song grew from his advice (hence the title), and from a loop that Jaffe took into the studio; it became the song’s spine. “And when Matt started playing his drum part, it literally blew my mind,” Jaffe says. “I couldn’t believe what he was doing, it opened Pandora’s box…” What’s next? Jaffe anticipates more collaborative exploring with The Dividends, her side project partnership with Grammy-winning producer S1. And Bad Baby touring continues this month when Jaffe and company go out with Cindy Wilson of The B-52s fame. In past years Jaffe’s toured with Norah Jones, Cyndi Lauper, the Polyphonic Spree, and other luminaries, and she’s ecstatic about the upcoming shows with Wilson. “Her new album is so good; I’m so glad this opportunity was presented to me,” Jaffe enthuses. “I get such satisfaction from making music with my band. There’s something about all of our dynamics together that feels really kinetic. And I’m grateful that I’m not still making the same record over and over again, that I’m still learning and still excited enough about music to not repeat myself, you know?” P

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Nick Cave (b. 1959), Soundsuit (#NC15.002), 2015, mixed media including ceramic birds, metal flowers, strung beads, fabric, metal, and mannequin, 95 x 36 x 36 in. ©Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York.


Floating staircase detail by Mark Hoesterey of SHM Architects.

Mark Hoesterey designed the modern home with landscaping by David Hocker.




Above: The family shares daily meals at a Saarinen table and chairs beneath Flos lighting from Scott + Cooner. Below: Roche Bobois sectional with lounge chair by Thayer-Coggin from Contempo Designs, as are the coffee table and rug. Above the fireplace hangs an abstract by Dallas-based artist Anne Raymond.




ost great home projects involve a talented team— usually an interior designer, architect, art advisor, landscape designer, and, most importantly, those that make the decisions—the homeowners. The couple wanted a modern home but with a lively family it couldn’t be too stark or precious. For their team they chose Mark Hoesterey of SHM Architects they knew of from projects he had done on their street, and became acquainted with designer Linda Fritschy and immediately recognized her knowledge, decisiveness, and an eye compatible to their own aesthetic. Fritschy brought in New York art consultant Simone Joseph, and landscape designer David Hocker completed the team. The result is an architectural delight seamlessly melding inside and outside living with art selections that reflect the family's personality.

Walk into the resulting light-filled home and you are immediately roused by a larger-than-life figure by sculptor, dancer, and performance artist Nick Cave. Cave confronts the topic of identity and the state of the world by focusing on what he calls a dream state, which allows us to ponder where we have been, where we are, and where we are going. Cave denounces racial profiling, unfettering race, gender, and outlier within his intricate multi-media Soundsuits he first created in response to the Rodney King beating in LA. Advisor Simone Joseph comments, “Nick Cave’s Soundsuit, an exquisite example of his famed body of work, complements the collectors affinity towards figures in transformation, a dominant theme in their collecting. Their home is an idyllic, welcoming place that blurs lines of indoor and outdoor, allowing for guests to wander and explore. Playful, yet impeccably constructed, the Soundsuit is a guest’s first greeting,

Daniel Arsham, Selenite Eroded Broken Figure, 2016, Selenite, volcanic ash, hydrostone/Selenite, cendres volcaniques, hydrostone, 67.75 x 22.5 x 13 in. Edition unique. Courtesy of the artist and Galerie Perrotin.

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Anchoring the living room: Richard Dupont, Anthropometry 4,5,6 (installed as 4,6,5), 2013, hand-cut collage, mounted on museum board on panel; courtesy of the artist. Glass cocktail table from Bright Group with Acte 1 sectional from Ligne Roset and Lazar Bolo swivel chairs from Contempo Designs. A custom rug from Abrash, Alison Berge hanging lamp, and round side table from Holly Hunt complete the living room.

enticing with its intricate drawing in the bodice and armature. One gets lost, as the birds feel active against the window leading into the backyard. The details of design and beading on the bodice and moments that hang from it are like a drawing in motion. Nick Cave’s Soundsuit invites everyone to look, feel, and experience, without prejudice.” Just around the corner on a wall facing the kitchen and family room, another figure, seeming to emerge from outside, titled Selenite Eroded Broken Figure is by sculptor Daniel Arsham. Arsham uses things that we already know and disrupts them in ways to provoke wonder and intrigue. The partial figure reflects indoor/outdoor living and a busy household coming in and out of the family room. The kitchen, always the center of a house, has a Saarinen table with chairs from Scott + Cooner and a light fixture by Flos.



The family room, like the other living areas, is furnished in neutral, family-friendly tones. Says Fritschy, “They wanted a modern home, but not a ‘white box.’ This home was planned for entertaining, and everyone in this family is sincere and inviting, so the colors in the house were selected to support their lifestyle and personalities. We chose welcoming shades of warm gray for the base of our color scheme throughout the house.” In the dining room are paintings by artists that the client became familiar with through his parents. “They loved to shop for art in New Mexico, so I grew up with art appreciation. Our aesthetic is different now, but I’m still attracted to form,” he says. Facing the entry is a painting by Daniel Namingha, a Santa Fe artist inspired by the spirit of the universe in Hopi symbolism. To the side is a figurative painting by Paul Pletka, a neo-surrealistic artist inspired by his fascination with the Native

Above: Dan Namingha, LA Tierra IX, 2000, acrylic on paper hangs at the end of the Cattelan Italia Eliot dining table and Frag side chairs from Contempo Designs; Flos light fixture; Abrash custom rug; sheers by Kravet. Above the buffet: Paul Pletka, Coyote barks at the Moon and watches his Daughters, 1984–1985, acrylic on linen, 54 x 72 in. Ajax W. Axe, The Bad Ancestor, 2015, burlap, concrete, barbed wire, plaster, bullet casing, steel casing, 38 x 16 x 12 in. stands near the window. Left, hanging at intervals in the hallway: Brie Ruais, Muscle Memory 2, 2014, glazed ceramic, hardware. Courtesy of the artist and Nicole Klagsbrun Inc. A lithograph by Paul Pletka, Grus Americana I, 1978, hangs at the end of the hallway.

American culture. The standing sculpture across from it is Ajax W. Axe’s The Bad Ancestor, acquired in a gallery in Aspen, a raw figurative statue punctuated with nails that seems derivative of tribal mentality. In the living room a triptych of figures by Richard Dupont governs a graceful fireplace wall designed by Mark Hoesterey. When Joseph first saw these works, she recognized a sense of playfulness in their aesthetic and their attraction to the form of the human body as part of the social frame. Anthropometry is a hand-cut collage mounted on museum board in three massive panels in which human figures reveal how scanned information is pieced together via small polygons that are like cells in computer imaging. Says architect Mark Hoesterey, “The fireplace and art

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This page: Stella sits on one of two Aaron chairs by American Leather. Grayson Perry’s Map of Days hangs above. On the table: Maskull Lasserre (b. 1978), Shaman Anatomy, 2014, wood, re-carved South American shaman bust, 5 x 5 x 20 in. Courtesy Maskull Lasserre and Junior Projects LLC, New York. Opposite, left to right: A fragment from Loris Greaud’s Unplayed Notes Museum installation at Dallas Contemporary. In the master bath: Cindy Sherman, Untitled, 1980/2012, 2 gelatin silver prints © 2017 Cindy Sherman. Courtesy of the artist and Metro Pictures, New York.

image captions go here.



composition were a balance of using steel and cut stone in order to provide a linear fireplace that grounds the art but doesn’t compete with it. The cantilevered stone hearth serves as a base for the entire composition while functioning as a traditional raised hearth for sitting and conversation.” This fireplace setting seems to stand alone due to the walls of glass doors that can be opened completely to the landscape by David Hocker. Metal-plated ceramic forms by Brie Ruais hang on the walls leading to bedrooms. Ruais uses her hands and body to push clay into abstract, organic forms that serve as striking and captivating records of her actions. Ruais explains, “For me, the work [is] about what happens when one’s body is overcome by a physically demanding process. We are forced to remember that making something sometimes requires the laborious use of the body.” In juxtaposition, at the end of the hall hangs another work by artist Paul Pletka. Leading into the master bedroom is a print of Grayson Perry’s Map of Days. The British artist, a Turner Prize-winner and crossdresser, explores his sense of self in relating to society—map as selfportrait, and the walled city as a metaphor for a body’s skin. He draws on his troubled childhood, life as a married transvestite, and social issues of the time as these themes relate to his audience. The

Aaron chairs are by American Leather and the mask sculpture is by Canadian Maskul Lasserre, who brings a distinctly workmanlike approach to his art—in this case forging a South American tribal mask with a skull in a surreal reflection on the beauty and violence of everyday life. Both of these works were purchased at the Dallas Art Fair. A disconnected hand in stainless steel on a white marble square stands between two windows sheered in ethereal silver gray. The homeowner acquired this piece by conceptual installation artist Loris Greaud when he had a show at Dallas Contemporary. Greaud took over the museum to install his Unplayed Notes Museum in which rehearsed guests ultimately destroyed the entire exhibition in a choreographed movement. In the master bath hangs a diptych by Cindy Sherman. In it Sherman is dressed as both doctor and nurse—the doctor peering knowingly at the viewer while the nurse gazes vacantly into space, in a stark black-and-white environment. “We are attracted to the natural form, adorned or not, moving or stationery. To me it means we are always human, whether happy or sad, and the natural form represents both the here-and-now and the afterlife. It is both figurative and abstract,” the homeowner describes. P

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Hair and makeup by Walter Fuentes, Campbell Agency; Assistant Stylist, Frank Hollis; Model, Nina Kong, Kim Dawson Agency. Arunashi, pearl, emerald, and diamond necklace and Arunashi, Mogul Cut72 diamond earrings from Forty Five Ten on Main; Rosie Assoulin, wrap top from Forty Five Ten on Main. PATRONMAGAZINE.COM

Portrait of a Lady “She had an immense curiosity about life, and was constantly staring and wondering,” –Henry James

Left to right: Retrouvaí, one-of-a-kind long emerald-cut Gypsie Earrings, 14K yellow gold, mix of tourmalines. ARK, Moonstone Saturn Ring, 18K yellow gold, detailed in moonstone, all from Ylang 23, Plaza at Preston Center; Johanna Ortiz, Bordeaux dress from Forty2017 Five Ten Main. DECEMBER / on JANUARY

2018 73



This page: Sutra, 18K white gold and black rhodium earrings with pave white and black diamonds, 3.36 ctw. Roberto Demeglio’s Giotto collection, necklace set in 18K white gold with 5 rows of black diamonds and spotted with white diamonds, weighing 18.16 ctw. all from Eiseman Jewels, NorthPark Center. Vintage sheer lace dress from ShopBoaVintage, Lulu B’s. Opposite: Cactus de Cartier earrings, 18K yellow gold, diamonds. Cactus de Cartier ring, 18K yellow gold, emeralds, carnelians, diamonds. Cactus de Cartier bracelet, 18K yellow gold, emeralds, diamonds. All from Cartier, Highland Park Village. Khaite, velvet dress from Forty Five Ten on Main. DECEMBER 2017 / JANUARY 2018 75

This page: Harry Winston, Sparkling Cluster earrings, featuring diamonds, sapphires, and aquamarines set in platinum. Harry Winston, Sparkling Cluster necklace, featuring diamonds, sapphires, and aquamarines set in platinum. Harry Winston, Aquamarine and Diamond Cluster ring, featuring 9.68-carat pear-shaped aquamarine and diamonds set in platinum. All from Harry Winston, Highland Park Village. Johanna Ortiz, velvet off-shoulder bodysuit from Forty Five Ten. Opposite: William Noble, 18K white gold, tsavorite and diamond earrings with 32 ctw. tsavorite and .75 ctw. of diamonds. William Noble, 18K white gold and diamond necklace with over 61 ctw. of diamonds. William Noble, 18K white gold five-row diamond-cuff bracelet with over 10 ctw. of diamonds. All from William Noble, Highland Park Village. Dries Van Noten, one shoulder Lurex top, Forty Five Ten on Main.



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This page: Buccellati, Carlotta Cocktail Ring, 18K yellow gold 91 ctw. round brilliant diamond. Buccellati, Brilliant Diamond Carlotta Dangle Earrings, 18K yellow gold and 2.90 ctw. round diamond. Buccellati, Ladies Eliochron Quartz Watch, 18K yellow gold with 34mm Shiny Black Alligator Strap. All exclusively from de Boulle. Rosie Assoulin, gold gown from Forty Five Ten. Opposite: Sue Gragg, 18K yellow gold and yellow diamond loop earrings. Sue Gragg, 18K white gold, white diamond, and yellow diamond ring. Sue Gragg, 18K yellow gold and yellow diamond ring-hand bracelet, all from Sue Gragg; Natasha Zinko, patent bustier from Forty Five Ten on Main. DECEMBER 2017 / JANUARY 2018 79



KUZU board members and show producers. Rooftop (from left): Richard Oram, Mateo Granados, Ashley Bender, Sashenka Lopez, Rob Buttrum, Sean Starr, Jeremy Berg, Nathan Williams, Bruce Burns, Randal Minick, Julie McKendrick. Street level (from left): Christopher Walker, Sarah Alexander, Katey Margolis, Reid Robinson, Dwayne Ray, Mariel Tam-Ray, Erin Findley, True, Scott Williamson, Peter Salisbury, Martin Iles, Lily Taylor, Josh Prisk, Michael Briggs, Heather Grace, Mike Miller, Rachel Weaver, Alexander Hughes, Alberto Lopez





enton, defining the top of DFW’s Golden Triangle, is anything but definable. Home to the University of North Texas and Texas Woman’s University, it’s an urbane microcosm, a pan-cultural cauldron of ideas—not your typical bedroom community. UNT Music’s Jazz Studies Division has an international footprint that’s made Denton virtually synonymous with jazz; truth be told, the music scene has been diverse and inclusive for decades. And now for the first time ever, Denton’s eclecticism finally has an aural echo reflecting its multitudinous voices: it’s the recently launched KUZU 92.9, a low-power FM station that’s entertaining, challenging, and refreshingly eye-rubbing. It’s Brave New Radio, with the intimacy of a three-mile broadcast radius and the wide-open infinity of streaming direct to the world. Like its hometown, the station’s scope is hard to define, but KUZU website’s “Program” link quickly disabuses the notion that Denton is jazz-only. A partial list of genres, proclivities, and anomalies represented in the 30+ programs includes: “World, Funk, Hip Hop, Avant-garde, Honkytonk, Breakcore, Classical, Reggae, Noise, Local, Interview, Indie, Rockabilly, Talk, Post-punk, Underground, Experimental Electronic, Ambient, Extreme Metal, Extreme Miscellaneous, Field Recordings, Outsider Music, Occult & Spiritual, Border Radio, Homemade Recordings, Confessions & Apologies, Soundtracks, Pranks & Gaffes, Moments of Silence, Burger Rock, Alt-folk, Post-emo, Chillwave, Deathgaze, 60’s Garage, Psychedelia, Bubblegum, Sound Collage, Minimum Rocknroll, Latter-day Folkpunk, Junior Varsity College Rock, Industrial, Musique Concrete, New Beat, No Wave, New Wave, Free Jazz, Techno, Indigenous Music across the Americas” and more. It’s a towering babble of diversity, a welcome antithesis to certain winds of zeitgeist. Four years in the making, KUZU officially launched on July 22, and according to Peter Salisbury, station mastermind/factotum and Chair of the Board of Directors, it’s a work in progress. “We’ve got a long ways to go before we’re a true reflection of the community,” he says. “There are a lot of genres that aren’t well represented yet, like hip hop; we’ve got a lot of programming to add. We’d like to get a senior show going, and we want to reach young kids and have a kids’ music hour.” He foresees a time when children could tour the station, have a workshop session, learn about sound waves and radio signals, and even get some training. “We’re not here to placate; we’re here to educate,” he adds. “We want our DJs to be digging into those B-sides and playing stuff that people aren’t used to hearing. I think it’s going to create a great cultural entity, an arts incubator that will help inspire others.” And speaking of B-sides, one of the joys of KUZU is this listener’s moment: “What the h— are they playing now—who is that?” A music recognition mobile app is de rigeur, or as Baptist General’s bandleader Chris Flemmons quipped happily, “My Shazam is bleeding!” Threading a needle from Spot to Mahmoud Ahmed, Radioactivity to Runa Laila, Neon Indian to Sparks, Hasil Adkins to Yma Sumac, without missing a beat, it’s Radio Free Everything/Anything. KUZU producer Scott Williamson hosts Sunday night’s “The Miracle Witness Hour,” specializing in the obscure, the deep cut. His playlisting is akin to free association, as if he’s in “shuffle” mode. “I’m playing roulette with it basically,” he admits. “I’m just trying to make something cohesive out of what I would want to hear on the radio. I like my radio to have a spirit of adventure, not just be a computer algorithm spitting out an approved-upon selection of songs. I want to keep finding and hearing new things, having my mind blown by something weird that I’d never hear otherwise.” Listener Emily White is an excited fan-advocate of the station who enthuses, “It’s an overwhelming joy to have KUZU—I get to hear the music I like and I get to hear my on-air friends talking about it… It’s like working in a record store when you’re in high school. It’s being surrounded by everything you enjoy about the musical culture of Denton, manifesting in one more medium.” White recently applied to bring her own show to the mix, and indications are promising. “I’ve been told I’m in and I can’t believe it!” she crows. “I feel like I’ve just won Miss Texas, except I get to be on KUZU instead, which is much better!” P

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Holiday Scandal Artistic accomplices Douglas Little and Dita Von Teese define Scandalwood.


allas has a love affair with creative ingenuity and decadence, and there are no better exemplars than Douglas Little and Dita Von Teese, who’ve both made multiple appearances in the area. Little, an artist, visual interpreter, fragrance alchemist, and founder of Heretic Parfums, discovered his muse in Ms. Von Teese, a fêted burlesque artiste with multiple brands to her name including fragrance and haute couture. The clever pair partnered up to create the ultimate heady experience with Scandalwood, a fragrance line that includes a unisex eau d’parfum and the world’s first Striptease Candle. Little cultivated the scientifically advanced candle following three years of research, using thermal-reactive ink that disappears when heated. Scandalwood uses this heat-sensitive ink, which depicts Dita Von Teese clad in a sultry black evening gown that gradually disappears when the candle is lit then reappears when the candle cools. Little deeply developed the artisan fragrance, which combines a come-hither blend of Mysore sandalwood, sweet coriander, Orris butter, Bulgarian rose, and labdanum. Dallas is a city that loves firsts, along with this twosome, befittingly Scandalwood debuts downtown at Forty Five Ten this month. We caught up to Douglas Little prior to the launch. Patron: Heretic Parfums has really taken off. We already love the Dirty Ginger fragrance you launched at Forty Five Ten. How did you come up with the brand name Heretic? Douglas LIttle: Heretic means someone that has an opinion directly opposed to what is generally accepted. I like to go against the grain. P: What does it mean to be an all-natural fragrance? DL: Our fragrances are inspired by poisonous plants as a direct reaction to the mass-market fragrances that are made. They are not for everyone with an odor profile of natural materials opposite to that of synthetic fragrance. I have to educate people on what naturals are—the fragrances are unusual, feral.

Fragrance is about creating a feeling of pleasure. For 180 years the perfume industry has separated the perfumer from the consumer. I wanted to raise the veil. Now that consumers are interested in the artistry behind these products, the veil is starting to fall away. It’s about understanding and appreciating what comes together. I wanted to create a product that was not only chic but had an edge to it. And we are in this incredible revolution of people wanting authenticity. I want authenticity. As a heretic I would be remiss in saying I wouldn’t experiment with a synthetic. But if I’m going to work with a synthetic product, I’m going to tell you about it. P: You have a sense of theater about you. I imagine that’s what draws you to Dita Von Teese and vice versa. What was it like collaborating with her? DL: Dita to me is a muse, not a film star—she is a beauty icon. What she does is about creating beauty. She was someone I felt deeply familiar with. I discovered her in 2002 and became obsessed, and we became friends. Our allure of working together is to be able to create surprise and intrigue with fragrance. I helped Dita develop her fragrance Erotique. When her perfume contract had expired, I was launching my new company Heretic and asked, Would you consider helping me with this? I have this idea but I don’t know if I’m going to technically be able to do it. The technology had existed for use in the medical industry. It’s a heat-sensitive ink that reacts when it reaches its sterilization point. P: Tell us about Scandalwood. DL: Sandalwood is a favorite scent of Dita’s. It’s this idea of a boudoir baroque, telling a story of dangerous flowers, poisonous flowers—night flowers. And Dita is the epitome of feminine elegance who embodies this idealized refinement, vintage beauty, and a love for extraordinary elegance. The public wants to understand her beauty secrets. P: Inserting a periphery question here. Recalling your work Eye of the Beholder at TWO x TWO in 2016, what did the “eye” mean to you? DL: That piece was very special Artist, entrepreneur, and fragrance master Douglas Little founded Heretic. Photograph by Mahdavi.



to me because I feel we live in a culture where people are so beauty-obsessed. Growing up as a redheaded male, I wrestled with that a lot…what it means to be attractive. Eye of the Beholder was speaking to the physical representation—the eye was a representation of yourself seeing yourself. Ultimately, you can’t find beauty if you can’t find beauty in yourself. P: You have such a strong visual aesthetic; how does that translate to fragrance? DL: Fragrance is an invisible world. Completely invisible. When perfume is sprayed it becomes invisible. It’s about creating fantasy and storytelling. P: Dita describes you as “longtime friends, birds of a feather when it comes to our eccentric aesthetics…” Will you continue to collaborate with Ms. Von Teese? DL: We plan to debut our next fragrance in 2018. It’s going to be an exploration of floral. It’s going to be provocative and fun. Its been a lifelong dream that this collaboration would happen. P


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Scandalwood Candle offers a revealing glimpse of Dita Von Teese. Courtesy of Heretic Parfum.

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Nasiba Hartland-Mackie at TWO x TWO for AIDS and Art Gala Photography by Kevin Tachman


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Outlandishly Victorian, But Not...

David Niles’ Vic Noir video digital art installation debuts at One Arts Plaza.


avid Niles’ latest project in Dallas, Vic Noir,  has been installed at One Arts Plaza on Routh Street. The piece was commissioned by real estate developer Lucy Billingsley who became acquainted with Niles’ work via his state-ofthe-art video projections at the George W. Bush Freedom Hall. Niles began his career in Manhattan in the late 1960s as an architect, but voraciously moved on to learn the job skills required for live theater, sound recording, film, and television production, often collaborating on technologies that didn’t exist yet and which we now take for granted. Based in Paris from 1969 to 1987, he opened the first High Definition Television studio in 1984 and was given the Chevalier des Arts et des Lettres by the French government. He made hundreds of commercials and music videos. Since 2006, he has enjoyed concentrating on what he calls “kinetic architecture”— large grids of LED screens in building lobbies delivering fantastic imagery through a multi-media spectacle. The most complex is the Comcast Center in Philadelphia, which utilizes artificial intelligence to continuously and subtly alter the programming. Of course, it was The People, the centerpiece of the George W. Bush Presidential Center, that provided most denizens of the region their first exposure to Niles’ work. After travelling to the designer’s Palm Beach studio, Billingsley observed that “to watch David at work is to see the imagination unleashed. His in-depth scientific knowledge merges with his sense of beauty, movement, and music. His creations can only happen because he is an expert in all these areas. He creates magical worlds that make us laugh, wonder, and smile.” 

The final installation took close to a year to complete and entailed weeks of preparatory photography involving the classically trained Parisian dancer Marine Rosse. An integral part of the experience is the musical score, which was composed, performed, and recorded by Niles. Eight audiovisual sequences, which are roughly two minutes each, emanate from a pair of floor-to-ceiling high-definition video screens on either side of the elevator banks in the One Arts Plaza lobby. Here a series of surreal and theatrical images morph into each other, creating an ambient environment. An indoor chamber fills with water, out of which a woman leaps to perform a dance in Victorian costume. The camera slowly scuttles up darkened tree trunks to reveal bodies writhing about inside translucent fabric cocoons suspended from the branches. Women soar into a bright blue sky with drifting clouds and a jagged black and white field scrolling up the screen. There’s a vast vista of intergalactic space as seen from the rings of Saturn before returning to the modern world, where the female character negotiates a backdrop of rotating metal gears, and finally the closure of a classical marble promenade. David Niles does not talk about the meaning of his work—he operates visually and accordingly, there’s nothing literal about Vic Noir  (though it hints at literature). “It’s this idea of liberating Victorian dress. I love the idea of contrast,” Niles says. It strives to be otherworldly and outlandish without the intention of illustrating anything specifically Victorian. When you pause for a moment and truly look, everything suddenly seems out of the ordinary. P

David Niles, Vic Noir (stills), on view in the lobby at One Arts Plaza.



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Patron's Performing Arts Issue: December 2017/January 2018  
Patron's Performing Arts Issue: December 2017/January 2018