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STERLING RUBY AT NASHER SCULPTURE CENTER Margot Perot & J. Davis Hamlin’s Silver Linings Dallas Art Fair Collectors Preview

Plus: Marc Quinn’s Human Love



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The Spring Season | 2019 Fine & Decorative Arts | March 9-10 Urban Art | March 18 Asian Art | March 19 Photographs | April 6 Design | April 15 Consign by: February 4 Prints & Multiples | April 16 Consign by: February 12 Illustration Art | April 23 Consign by: February 18 Fine Silver & Objects of Vertu | April 24 Consign by: February 12 American Art | May 3 Consign by: March 1 Tiffany, Lalique & Art Glass | May 14 Consign by: March 4 Texas Art | May 18 Consign by: March 15 Modern & Contemporary | May 23 Consign by: March 21 European Art | June 7 Consign by: April 5 Fine & Decorative Arts | June 8-9 Consign by: March 29 Ethnographic Art: American Indian, Pre-Columbian & Tribal | June 25 Consign by: April 15 Visit for a complete calendar. Inquiries: 214.409.1444 | 1518 Slocum Street, Dallas 75207


Sam Francis (1923-1994) Blue Cross (detail), 1979 (SF79-322) Acrylic on prepared paper (painted in Santa Monica) Sold for: $52,500 | November 2018


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Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

February / March 2019

TERRI PROVENCAL Publisher / Editor in Chief

Sterling Ruby: Sculpture, curated by Nasher Sculpture Center Chief Curator Jed Morse, addresses the artist’s concern with the discordance between Modernist ideals and contemporary realities. Arthur Peña, who spent time with the artist in his labyrinthine studio south of Los Angeles, imparts, “it’s clear that Sterling has a talent for making the monumental, intimate.” Sterling Ruby is made possible with “major support” through the Dallas Art Fair Foundation in addition to the Hartland-Mackie Family, Cindy and Howard Rachofsky, and Christen and Derek Wilson, among others. This dovetails nicely with our next feature, Cultivated Counsel. Here we visit with seasoned collectors Geoff Green, Megan and Carson Hall, and Nancy Rogers. Each opened their homes to Patron to see their private collections and shared advice on acquiring artworks at the Dallas Art Fair along with their favorite exhibitors coming this April. Countless hours have been dedicated to the Dallas Museum of Art, Dallas Symphony, The Dallas Opera, and Dallas Black Dance Theatre, along with many other cultural institutions, by arts devotees Margot Perot and J. Davis Hamlin. Humble and gracious, each will receive their due for their volunteerism at the Silver Cup Awards Luncheon on March 18 from TACA (The Arts Community Alliance). Head of the Class explores the unique qualities of each patron as told through Lee Cullum’s one-on-one interviews with the honorees. Take a peek inside Park House, the years-in-the-making private membership club brought to you by founders Deborah and John Scott, and Megan and Brady Wood. The accomplished group tapped John Runyon of Runyon Arts to curate the permanent collection, loans from private collections, and the rotating exhibition which brings the work of emerging British painter Charlie Billingham to inaugurate the space. Located atop Highland Park Village, if you are not a member you will surely want to join. At the tail end of March, British artist Marc Quinn will be honored at this year’s MTV RE:DEFINE. I scheduled a call with the artist last month, who shared his concern for the global refugee crisis. Quinn’s concern is so great he has dedicated much of his recent practice to the making of Bloodcube, a monumental sculpture to be constructed from the blood of 2,500 refugees and 2,500 non-refugees. Scheduled to debut on the steps of the New York Public Library by the end of the year, Quinn’s two identically shaped cubes, accompanied by videotaped interviews of refugees and luminaries—think Bono, Jude Law, Sting, Anna Wintour—will present an unflinching look at the fight for survival. Recently, Chris Byrne caught up with Justine Ludwig who was part of a panel discussion at LongHouse Reserve in his East Hampton neighborhood. Ludwig, formerly of the Dallas Contemporary, acquaints us with her work as the Executive Director of Creative Time in New York City, in Dreaming Big. Dallas Art Fair’s Brandon Kennedy tells of a two-decade friendship with Ludwig Schwarz over art, music, and basketball in Off the Court Racket. The Dallas Museum of Art recently purchased and displayed a suite of eight abstract paintings by the local artist, who here offers a sneak peek into his studio. Elsewhere in the magazine, Steve Carter provides an insider’s look at Through the Lens, a photography competition juried and commissioned for the HALL Arts Hotel in A Day in the Life. Knowing photography tells the best stories, our fashion pages get radiant “through the lens” of Elizabeth Lavin with creative direction by Elaine Raffel. Update your spring wardrobe with Neon Lights. Finally, embrace the culturally rich tradition of Chinese New Year this February. In Furthermore, All Hail The Pig brings news of the collaboration between NorthPark Center and the Crow Museum of Asian Art. – Terri Provencal; Instagram terri_provencal and patronmag



Highland Park Village

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FEATURES 52 STERLING RUBY: SINCERITY AND HORROR Ruby’s sculptures tackle societal complexities at Nasher Sculpture Center. By Arthur Peña 60 CULTIVATED COUNSEL A master class on making the most of the Dallas Art Fair. By Nancy Cohen Israel and Terri Provencal 68 HEAD OF THE CLASS J. Davis Hamlin and Margot Perot receive TACA’s top honors. By Lee Cullum 74 CULTURE CLUB Park House activates an engaging art program and introduces Charlie Billingham in the first rotating exhibition. By Terri Provencal 80 UNDER THE SKIN WE’RE ALL THE SAME MTV RE:DEFINE honoree Marc Quinn takes on the global refugee crisis one drop of blood at a time. By Terri Provencal


84 NEON LIGHTS Illuminate your wardrobe with electrifying looks this spring. Creative Direction by Elaine Raffel. Photography by Elizabeth Lavin.


52 On the cover: Sterling Ruby, Sightseer, 2008, Formica, wood, and spray paint, 96 x 96 x 48 in. Photograph by Robert Wedemeyer. Courtesy of Sterling Ruby Studio. On the limited edition cover: Marc Quinn, Zombie Boy (City), 2011, bronze, 70.07 x 22.04 x 13.77 in. © Marc Quinn. Courtesy of Marc Quinn Studio.

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DEPARTMENTS 6 Editor’s Note 12 Contributors 22 Noted Top arts and culture chatter. By Anthony Falcon Contemporaries 38 A DAY IN THE LIFE Through the Lens photographically celebrates the Dallas Arts District and presages the arrival of HALL Arts Hotel. By Steve Carter 42 DREAMING BIG Justine Ludwig explores the realm of public art in her new role at Creative Time. By Chris Byrne Fair Trade 44 WHITE NOISE FILLS 214 PROJECTS The Dallas Art Fair debuts their new exhibit space with a solo show for Belgian artist Emmanuel Van der Auwera. By Jordan Ford


Studio 46 OFF THE COURT RACKET WITH LUDWIG SCHWARZ A guide to being rookie of the month in 21 seasons. By Brandon Kennedy Coveted 50 PORTRAIT OF ADAM LIPPES On dressing women and collecting art. By Terri Provencal There 92 CAMERAS COVERING CULTURAL EVENTS Furthermore 96 ALL HAIL THE PIG Crow Museum and NorthPark Center celebrate Chinese New Year. By Nancy Cohen Israel 44


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ABA & Associates

Competitor 1


Competitor 2 Data source: Multiple Listing Service (MLS). Data provided is per office.

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

CHRIS BYRNE is the author of the graphic novel The Magician (Marquand Books, 2013) as well as The Original Print (Guild Publishing, 2002). He is co-chair of Art21’s Contemporary Council and serves on the board of directors of Institute 193, Dallas Contemporary, Museum of Contemporary Art Detroit, and the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught. He is the co-founder of the Dallas Art Fair and was formerly chairman of the American Visionary Art Museum.


STEVE CARTER takes a look at the recently concluded Through the Lens: Dallas Arts District photography competition, and sneak previews the Dallas Arts District’s forthcoming HALL Arts Hotel. Selected by an esteemed jury, the competition and the hotel are linked. “Through the Lens was a fascinating, collaborative initiative,” Carter says, “and a lot of the winning images will be featured in the HALL’s permanent art collection. As always, the Arts District continues its ascent.”


SERGIO GARCIA is a Los Angeles– based photographer and the go-to source in the entertainment industry with a knack for capturing vivid actors, musicians, on-air personalities, and those seeking the unexpected. Tapping his prowess, Sergio was assigned to photograph Sterling Ruby and his Los Angeles studio in advance of his sculpture exhibition at the Nasher Sculpture Center this month, as seen on the cover and in this issue’s Sterling Ruby: Sincerity and Horror.

Lindsay Roche

John Sutton Photography


NANCY COHEN ISRAEL is a Dallas-based art historian who says, “Spring starts early in Dallas,” bringing with it the Crow Museum’s Chinese New Year celebration and the Dallas Art Fair. For the current issue, she enjoyed writing about these annual cultural highlights. In addition to being a frequent contributor to Patron, Nancy lectures regularly at the Meadows Museum and organizes art tours. In the latter capacity, she is currently working on a Texas Hill Country Art and Wine tour for the fall.

LEE CULLUM is a Dallas journalist and host of CEO, a series of interviews with business leaders for KERA-TV, who balances her work in business, public policy, and foreign affairs with a passion for the performing arts. As the longstanding emcee of the TACA Silver Cup Award Luncheon, Lee has keen insight into what it takes to earn this distinction. In this issue, she visits with both honorees, J. Davis Hamlin and Margot Perot, in Head of the Class.

ARTHUR PEÑA is an artist, writer, and educator. He is the founder of the grant-funded music label Vice Palace and the celebrated Dallas-based curatorial project One Night Only, which has presented ephemeral solo celebrations with Jay Stuckey, Nicole Eisenman, and progressive industrial musicians, Street Sects. His work has been nationally exhibited, including solo presentations at the Dallas Contemporary, EXPO Chicago, and Couples Counseling in Queens, NY. Peña’s studio is based in Dallas and the Bronx.

ELAINE RAFFEL is a Dallas freelancer who blames her obsession with designer fashion and opulent jewels on her years as creative head for the crème de la crème of retail: Stanley Korshak and Neiman Marcus online. Once again taking the advice of publisher/ editor Terri Provencal to heart—“push it at Patron”— she brought back photographer Elizabeth Lavin and stylist Nelly Adham, who partnered up with hair and makeup artist Sara Domi to showcase the vibrancy of spring fashion in Neon Lights.

BRANDON KENNEDY is the Director of Exhibitor Relations for the Dallas Art Fair, working with international galleries and assisting with programming for the April event. Kennedy curated The Anatomy of Disquiet at The Karpidas Collection, exploring the nature of Jungian thought and the collective unconscious through almost 80 artworks from their collection. He is an occasional artist, avid book collector, and peripatetic curator, who writes about local artists for Patron’s Studio column, including Ludwig Schwarz in this issue. JOHN SMITH holds a degree in architecture, bringing out the artistic side of that medium in his photography. Recognized for his work with architects, designers, and artists, he captures the distinct elements of each project, including recent portraiture of art collectors Geoff Green, Megan and Carson Hall, and Nancy Rogers, along with TACA Silver Cup Award honorees J. Davis Hamlin and Margot Perot, all featured in this issue. He also photographed the studio of Ludwig Schwarz and the private membership club Park House.



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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sara Hignite PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Chris Byrne Steve Carter Lee Cullum Nancy Cohen Israel Jordan Ford Brandon Kennedy Arthur Peña CONTRIBUTING PHOTOGRAPHERS Martin Albert Nathan Johnson Isabella Ballena Brad Linton Joseph Brewster Elizabeth Lavin Bruno DiAnn L’Roy Paul Chan Matt Murphy Simon Fowler John Smith Sergio Garcia Mike Vitelli Thomas Garza Robert Wedemeyer Han Jiang Jason Wyche STYLISTS/HAIR & MAKEUP Nelly Adham Sari Domi Elaine Raffel 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 SOCIAL @patronmag

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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2019, 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.



SMINK 1019 Dragon Street, Dallas, Texas 75207

Texas Art Auction Spring 2019

Bill Bomar (Am. 1919-1991), Scoreboard, c. 1940, oil and gold leaf on canvas 19 x 12 in. , $4,000 - $6,000

Christina Kercheville (Am. 1900-1985), Design, 1946, oil on canvasboard 24 x 18 in., signed on reverse: Mrs. F.M. Kercheville, $3,000 - $6,000 Zanne Hochberg (Am. 1931-2001), Blue Jazz, 1983, oil on canvas 60 x 70 in., signed lower right: Zanne Hochberg, $15,000 - $20,000

Sale date: Saturday, April 6, 2019, 12 noon, doors at 10 AM Preview: April 1 – 5, 2019 10 AM – 5 PM David Dike Fine Art presents the biannual Texas Art Auction this April. The sale will feature over 200 works by distinguished early Texas artists. Dallas art collector, John Stone has over 80 works from his private collection in the sale. Highlights in the sale include paintings by Dallas’s own, Otis Dozier, Olin Travis, Edward Eisenlohr and Merritt Mauzey. Other Texas Modernism is represented in the sale feature Seymour Fogel and Zanne Hochberg among many others. Auction and Preview Location: Wildman Art Framing, 1715 Market Center Blvd, Dallas, TX 75207 David Dike Fine Art, 2613 Fairmount St, Dallas, TX 75201 | P: 214-720-4044. email: | | Louis Murad TXS 13362

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Join us for thought-provoking discourse straight from the source. This popular series of lectures and presentations by artists, architects, historians, and critics is free and open to the public on Tuesdays from February 19 through April 16. Visit for more information on each talk. Lectures begin at 7 pm in the Museum’s auditorium. The museum galleries remain open until 7 pm on Tuesdays during the series (general admission applies). Café Modern serves cocktails and appetizers on Tuesday nights during the lecture series. Revisit these insightful lectures on the Modern’s YouTube channel or on our website at

Spring 2019 Schedule February 19 Artist Brad Tucker February 26 Artist Liliana Porter March 5 Artist K. Yoland March 19 Dr. Noah Simblist, artist lauren woods, and area stakeholders in conjunction with Reading Monuments March 26 FOCUS artist Analia Saban April 2 Founder of Glasstire, Rainey Knudson April 9 Artist Eileen Quinlan April 16 Art historian and coeditor of Art and Queer Culture, Richard Meyer

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

Analia Saban, Draped Marble (Fior di Pesco Apuano), 2015. Marble slab on steel on wooden sawhorse. Overall installation dimensions: 39 x 70 x 36 inches. White marble slab: 25 1/2 x 25 x 4 1/2 inches. Sawhorse: 37 x 70 x 36 inches. © Analia Saban. Courtesy Sprüth Magers

Follow the Modern

The best dreams happen with outdoor naps.    Shown: Some quality outdoor time on the Wave lounger.

Dallas 1617 Hi Line Dr. Ste. 100 214.748.9838 Austin 115 W. 8th St. 512.480.0436

One Night Only GALA





America’s hottest tenors sing beloved arias and Broadway favorites conducted by Carlo Montanaro

One Night Only! May 11 For gala VIP tickets, please contact Tracy Mott at 214.443.1063 or For concert tickets only, call 214.443.1000 or visit Concert tickets include admission to After Party.

SPECIAL EXHIBITIONS THROUGH MARCH 1 Enjoy special exhibitions at NorthPark Center featuring an installation by artist Yee I-Lann and Chinese-inspired landscape and visual displays.

SATURDAY, FEBRUARY 9 | NORTHPARK CENTER 11AM – 4PM Join NorthPark Center and the Crow Museum of Asian Art for a day of celebration with free inspired art activities, performances, giveaways and more. Visit and for additional information.



01 AFRICAN AMERICAN MUSEUM Slavery at Jefferson’s Monticello: Paradox of Liberty continues at the African American Museum through Feb. 15. Next, #Us Too: Black Women Artists runs Mar. 16–Aug. 10. 02 AMON CARTER MUSEUM OF AMERICAN ART From Remington to O’Keeffe: The Carter’s Greatest Hits continues through Jun. 2 in the main galleries. Renovations are underway to the Philip Johnson–designed museum to provide a richer viewer experience and protect its robust photography collection. 03 CROW MUSEUM OF ASIAN ART Avatars and Incarnations: Buddhist and Hindu Art closes Feb. 24. Our Asian Art Museum: The Crow at Twenty, Immortal Landscapes: Jade, The Art of Lacquer, and Jacob Hashimoto’s Clouds and Chaos all continue through Mar. On Feb. 9, join the Crow Museum at NorthPark Center for a celebration of Chinese New Year in honor of the Year of the Earth Pig. 04 DALLAS CONTEMPORARY Dallas Contemporary exhibits three separate shows through Mar. 31: Margarita Cabrera, It is Impossible to Cover the Sun with a Finger; Ian Davenport, Horizons; and Jeremy Scott, Viva Avant-Garde: A Jeremy Scott Retrospective. Image: Margarita Cabrera, Es Imposible Tapar el Sol con un Dedo (it is impossible to cover the sun with a finger), 2018. Photograph courtesy of the artist and Talley Dunn Gallery. 05 DALLAS HOLOCAUST MUSEUM Let Me Be Myself: The Life Story of Anne Frank follows the legend’s story and includes a bridge to the present through a gallery in which six young people of today address subjects like identity, exclusion, and discrimination, through Aug. Father Patrick Desbois will discuss his latest book In Broad Daylight: The Secret Procedures Behind the Holocaust by Bullets on Feb. 6. Loung Ung is the subject of the Netflix original feature film First They Killed My Father. On Feb. 28, Ung will be featured in the Upstander Speaker Series. Mar. 11–15 sees the Spring Break Survivor Speaker Series. The Civil Discourse Series returns on Mar. 19. 22



06 DALLAS MUSEUM OF ART Women + Design: New Works, composed of works by contemporary female designers, and Concentrations 61, the first US solo museum exhibition for Runo Lagomarsino, continue through Feb. 17. From Düsseldorf to Dallas: Postwar German Art in the DMA Collection brings together artworks by Gerhard Richter along with works by Polke, Struth, and Jörg Immendorff through Feb. 17. Ida O’Keeffe: Escaping Georgia’s Shadow shares the work by the lesser-known O’Keeffe through Feb. 24. Berthe Morisot, Woman Impressionist delves into the artist’s treatment of the modern figure through 70-some paintings, on view Feb. 24–May 26. Through Apr. 7, Modernity and the City explores European artists who captured the impact of industrialization on urban life in the early 20th century. Women Artists in Europe from the Monarchy to Modernism highlights female artists working between the late 18th and early 20th centuries through Jun. 9. Jonas Wood reveals the American painter’s fascination with psychology, memory, and the self. On view Mar. 24–Jul. 14. Image: Berthe Morisot, Self-Portrait, 1885, oil on canvas, Musée Marmottan-Claude Monet, Fondation Denis et Annie Rouart. Photograph courtesy Musée Marmottan Monet, Paris, France / Bridgeman. 07 FORT WORTH MUSEUM OF SCIENCE AND HISTORY From Feb. 19–23, the FWMSH invites patrons to Engineers Week featuring hands-on and challenging activities staged throughout the museum. 08 GEOMETRIC MADI MUSEUM Continuing through Apr. 21, solo exhibitions for Dallas-based artist Ricardo Paniagua and Paris-based Hernan Jara are on view. 09 GEORGE W. BUSH PRESIDENTIAL CENTER Mark your calendars for the Forum on Leadership on Apr. 11, which recognizes leaders who are tackling today’s most pressing challenges with civility and compassion. 10 KIMBELL ART MUSEUM The Lure of Dresden: Bellotto at the Court of Saxony displays works by


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the Venetian artist Bernardo Bellotto, known for his masterful view paintings, and will be accompanied by portraits and allegories of the elector and his queen, as well as view paintings of Venice and Saxony by Bellotto’s uncle and teacher Antonio Canaletto and Dresden court painter Alexander Thiele. Feb. 10–Apr. 28. 11 LATINO CULTURAL CENTER Retro-Mático 2: The Works of Jose Vargas explores a variety of themes, styles, and areas of interest that inspire the artist’s work, including music, fantasy, portraiture, the human heart, Mexican cultural and religious icons such as La Virgen de Guadalupe, Frida Kahlo, and personal journeys, through Mar. 30. 12 THE MAC Working Groups celebrates the permanent installation of the OccuLibrary project at The MAC, comprised of books on art, politics, economics, philosophy, and other subjects.  Independence presents a group exhibition that brings together Texas-based artists Helen Altman, Alicia Eggert, Letitia Huckaby, Liss LaFleur, and Leslie Martinez, who explore the overarching concept of time and the self in relation to society run through Feb. 23. Next, The MAC will show American Procession by Sandow Birk and Elyse Pignolet, and  Divine Ammunition by Al Farrow, Mar. 6–May 6. Image: Sandow Birk and Elyse Pignolet, American Procession, 2017, three panel, offset relief woodblock, printed in 20 panels on gampi paper, backed with sekishu kozo paper, with hand-painted gold embellishment, presented as three scrolls in custom linen box, 48 x 46 in. 13 MEADOWS MUSEUM The National Gallery of Art in Washington, DC, agreed to the loan of Fortuny y Marsal’s The Choice of a Model that inspired the exhibition dedicated to Fortuny and his world. Drawing from the Meadows’ rich holdings of works on paper and key loans from private and public collections, Fortuny: Friends and Followers on view Feb. 3–Jun. 2 showcases many of the friends, family, and followers who engaged with the popular Spanish painter’s work. Image: Jean-Léon Gérôme (French, 1824–1904), Tiger on the Watch, c. 1888, oil on canvas, 25 x 35.62 in. Museum of Fine Arts, Houston. Gift of the Houston Art League, the George M. Dickinson Bequest. Photograph © The Museum of Fine Arts, Houston. 14 MODERN ART MUSEUM OF FORT WORTH FOCUS: Dirk Braeckman presents the photographs of the Ghentbased artist whose imagery has a distinct stillness and quietude that 24



counter the whirl of today’s visual landscape. Images of empty, unidentifiable interiors, architectural details, oceans, and partially obscured nude figures are just some examples of the artist’s subject matter. The exhibition continues through Mar. 17. Los Angeles– based artist Analia Saban takes traditional artistic media, such as paint, marble, and canvas, and pushes their limits in inventive ways that merge scientific experimentation with art-making. FOCUS: Analia Saban displays Mar. 30–May 12. Image: Analia Saban, Walnut Wood Circuit Board #1, 2013, laser-sculpted wood, 24.75 x 35.5 x 2 in. © Analia Saban Courtesy Spruth Magers. 15 MUSEUM OF BIBLICAL ART In Creation, through Feb., contemporary Dallas painter Mary Tomás captures the quiet grace of natural forms creating restful interludes in which to contemplate ethereal scenes. Glass Matters: The Emergence of Simon Waranch continues through Apr. 16 NASHER SCULPTURE CENTER Sterling Ruby: Sculpture is the first museum exhibition to survey the great variety of sculptural work of one the most significant contemporary artists working today, on view Feb. 2–Apr. 21. The Great Create 2019, the annual family fundraiser supporting the Nasher’s education programs, will be held Feb. 5. Soundings: New Music at the Nasher will examine Rituals of War and Death on Mar. 1. The Nasher offers free admission Mar. 12–17 in celebration of 2019 Nasher Prize Laureate Isa Genzken. 17 PEROT MUSEUM The Art of the Brick, Feb. 23–Aug. 18, features LEGO® bricks used to construct works of art and structural marvels such as the Mona Lisa, the statue of David, and a T-Rex. Science in the Park will feature a Chemistry day on Feb. 2 and Nature on Mar. 2. Spring Discovery Camps, Mar. 11–15, will focus on Storybook Science and Medieval Adventures. On March 20, the National Geographic Speaker Series continues with underwater spelunker and environmental anthropologist Kenny Broad who uses his research to address climate change and freshwater resource management. 18 TYLER MUSEUM OF ART Lagniappe: Works by Letitia Huckaby highlights Huckaby’s ongoing exploration of faith, family, and legacy on view through Mar. 17. The exhibit features selected works created from 2009 to 2017 that span several of the artist’s different bodies of work including Bayou Baroque, The Dress Project, Flour, and LA 19 among others.

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Dana Rigg | 214.796.5509 |

Based on 2018 MLS Data, Sold Volume | An Ebby Halliday Company




01 AMPHIBIAN Set in a small map store, Lonely Planet is an intimate portrait of two friends navigating loss and an uncertain world, Feb. 1–Feb. 24. Rhea Butcher is a Los Angeles–based standup comic, actor, and writer originally from the Midwest who grew up skateboarding the mean streets of Akron, Ohio. Her blue-collar brand of cool has endeared her to audiences nationwide, and from Mar. 19–23 she comes to Fort Worth to share her stories. 02 AT&T PERFORMING ARTS CENTER Doktor Kaboom! offers on an educational tour of the modern scientific method, using humor while demonstrating spectacular applications of the physical sciences in Look Out! Science is Coming, Feb. 5–6. A famous scientist discovers a wonderful world full of creatures that light up the darkness and help him find the true meaning of love in Dino-Light on Feb. 9. Falsettos revolves around the life of a charming gay man named Marvin, his wife, lover, his son, their psychiatrist, and the lesbians next door. Feb. 12–17. The next installment of the Elevator Project sees 88 Keys Unlock Joan Miro’s Flamenco Dancer’s Heart onstage Feb. 14–16. Sarah Brightman will unveil her fifteenth full-length album, Hymn in Dallas on Feb. 23. The Chieftains bring their Irish sound to Strauss Square on Mar. 15. Carol Burnett: An Evening of Laughter and Reflection Where the Audience Asks the Questions runs Mar. 21–22. Virtuoso violinists Kev Marcus and Will B are Black Violin—a dynamic duo of high-energy, classically trained musicians will perform Mar. 23. Experience high voltage and raw talent in the tap dance with Tap Dogs on Mar. 24. Ali Wong’s The Milk & Honey Tour stops in Dallas Mar. 30 and Apr. 1. Image: Doktor Kaboom! Photograph by Martin Albert. 03 BASS PERFORMANCE HALL Brahms and Bruch runs Feb. 1–3. Grammy-nominated violinist Robert McDuffie joins the Fort Worth Symphony Orchestra and Mike Mills of R.E.M for a gala concert in Vivaldi Rocks on Feb. 9. Go behind the music of Frankie Valli and The Four Seasons in the true-life musical Jersey Boys, Feb. 12–17. Robert Dubac’s The Book of Moron stages Feb. 20–24. One Night of Queen performs Mar. 19. ’Til Death Do Us Part: Late Nite Catechism 3 is the latest class in the sinfully funny series onstage Mar. 27–31. Image: Corey Greenan, Eric Chambliss, Jonny Wexler and Jonathan Cable in Jersey Boys. Photograph by Joan Marcus. 04 CASA MAÑANA The Emperor’s New Clothes, Feb. 1–17, teaches the importance of outward appearance to the young Emperor Marcus the Third. Grease, a favorite rock-and-roll musical featuring the T-Birds and the Pink Ladies, runs Mar. 2–10. 26


05 CHAMBER MUSIC INTERNATIONAL CMI will perform Lament Corale, Fantasia, Cinq Pieces Breve, and conclude with Brahms’ A Major Piano Quartet on Feb. 16. Pianist Joyce Yang joins the Alexander String Quartet in a performance of three piano quintets in one evening, Schumann, Dvořák, and a newly commissioned work of Samuel Adams, Mar. 9. 06 CIRCLE THEATRE Thornton Wilder’s iconic Pulitzer Prize–winning drama Our Town runs through Mar. 9. Our Town follows the small town of Grover’s Corners through three acts: “Daily Life,” “Love and Marriage,” and “Death and Eternity,” and reminds viewers of the importance of love, loss, and living in the moment. 07 DALLAS BLACK DANCE THEATRE Cultural Awareness salutes Odetta Holmes and Nina Simone, the “Queen of American Folk Music” and the “High Priestess of Soul,” respectively, Feb. 15–17. Both DBDT and DBDT: Encore! perform with meticulous technique and artistry in Dancing Beyond Borders, featuring crowd-pleasing season highlights at Bass Hall in Fort Worth Mar. 16 and at the Eisemann Center Mar. 22. 08 DALLAS CHILDREN’S THEATER Continuing through Feb. 24, Ella Enchanted: The Musical follows Ella as she searches for her true voice while shedding her “gift” of obedience. The Secret Life of Girls takes an unflinching look into the world of mean girls and exposes the consequences that bullying creates. Feb. 15–24. Tuck Everlasting follows Young Winnie Foster as she discovers what secrets lay in the woods including the chance at eternal life, Mar. 22–Apr. 7. 09 THE DALLAS OPERA Manon Lescaut, which tells the story of a popular party girl and her whirlwind love affairs as she chases the life of luxury, starts off the 2019 leg of the season Mar. 1–9. As Puccini’s most popular work, La Bohème balances the heights of romance with the hard truth that happiness comes at a cost, Mar. 15–31. Image: Pumeza Matshikiza in La Bohème. Photograph by Decca / Simon Fowler. 10 DALLAS SUMMER MUSICALS The Book of Mormon ends its run at DSM on Feb. 3. Anastasia will come to Fair Park Feb. 19–Mar. 3. Set in Paris in the 1920s, Anastasia sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, she enlists the aid of a conman and an ex-aristocrat. Image: Original Broadway Cast




of Anastasia. Photograph by Matt Murphy. 11 DALLAS SYMPHONY ORCHESTRA John Adams Conducts John Adams celebrates the legendary composer through Feb. 2. Gospel Goes Classical on Feb. 7. ReMix: Alexander Kerr sees Concertmaster Alexander Kerr and co-Concertmaster Nathan Olson together, Feb. 8–9. James O’Donnell will perform the Opus 100 Organ Recital Series, Feb. 17. Tchaikovsky’s Violin Concerto will be performed by Karen Gomyo with Walton’s volcanic First Symphony and the tempestuous Beethoven Coriolan Overture, Feb. 28–Mar. 3. Pines of Rome brings romanticism to Dallas Mar. 7–10. Conductor Laureate Jaap van Zweden returns to the DSO to conduct Schumann’s Concerto for the Piano alongside Mahler’s First Symphony, Titan, Mar. 14–15. Hélène Grimaud performs Boléro Mar. 21–24. The Tony® Award–winning Hamilton star, Leslie Odom, Jr., performs with the DSO, Mar. 29–31. Image: Leslie Odom, Jr. Photograph by Nathan Johnson. 12 DALLAS THEATER CENTER Sweat takes an unflinching look at life in the industrial working class in 2000s Reading, Pennsylvania, as hard times threaten livelihoods and friendships through Feb. 10. Next, a pack of female warriors storm the stage in a play about a young soccer squad finding their place in the world in The Wolves, Mar. 6–Apr. 14. Twelfth Night will whisk audiences away to a world of scheming outlaws, daring rescues, unbelievable love triangles, and one unforgettable adventure, Mar. 29–Apr. 28. 13 EISEMANN CENTER Bumper Jacksons bring their unique sound to the stage on Feb. 1. The Book of Moron will split sides Feb. 9–10. Pat Hazell and Dena Blizzard bring their standup in My Funny Valentine Feb. 14–16. The Lunar New Year Gala takes place Feb. 17. The Screwtape Letters is set in an eerily stylish office in Hell, Feb. 23. The Best of the Second City returns Feb. 28–Mar. 2. Indie-alt-folk band The Hunts perform on Mar. 15. Stomp, the international percussion sensation, makes its Eisemann Center premiere, Mar. 22–23. Eisemann Extras 4 comes to life Mar. 31. The youngest teaches everyone that kindness and treating nature with respect is more important than getting what you want in Shh! We Have a Plan on Mar. 31. 14 KITCHEN DOG THEATER KDT’s regional premiere of You Got Older by Clare Barron opens the 2019 season on Feb. 14–Mar. 10. You Got Older asks: What happens when your life path leads you right over a cliff? In this irreverent and touching new play, reality and fantasy combine to form a dark comedy about falling apart as you’re failing to launch, 28


02 and what you might find instead. 15 LYRIC STAGE I Do! I Do! tells the story of a marriage. It is an intimate and nostalgic work by Harvey Schmidt and Tom Jones. At its core, it is a story of two soul mates navigating the perils of life, Feb. 15–17. 16 MAJESTIC THEATRE Jesse Cook takes the stage Feb. 1. The Fab Four: The Ultimate Tribute plays Feb. 2. Ángela Aguilar comes to Dallas on Feb. 21. Patton Oswalt, the award-winning stand-up comedian brings laughs to the Majestic Feb. 22. Bert Kriescher’s second show is on Feb. 23. The MeatEater Podcast with Steven Rinella stops in Dallas on its Live Tour Feb. 28. Rock and Roll Hall of Famers Dave Mason & Steve Cropper join together onstage for a Rock & Soul Revue Mar. 2. KXT 91.7 Presents Jeff Tweedy on Mar. 3. Michael Carbonaro brings his brand of magic and improv on Mar. 15. The Beach Boys surf into Dallas on Mar. 20. Puddles Pity Party is here with his heartfelt anthems and a suitcase full of Kleenex on Mar. 21. A Bowie Celebration: The David Bowie Alumni Tour features an unforgettable evening of Bowie songs with world-class vocalists on Mar. 22. Snap Judgment is the storytelling phenomenon coming to Dallas Mar. 29. 17 OCHRE HOUSE THEATER Springing from the tall tales of the American West, a new story has been discovered and brought to light. It is the story of Doom McCoy, a humble cowboy, born during a wild astrological event, who could ride his horse through time and space. Doom McCoy & The Death Nugget is a spiritual and cosmic journey through the life of America's lost legend. Feb. 9–Mar. 2. 18 TACA Celebrate the announcement of the 2019 TACA Grant Award Recipients for the Arts General Operating Grant Program. The 2019 TACA Grants Celebration is a free, public event that features performances by TACA Grant Recipients, as well as drinks and light bites in the lobby of TACA’s home in One Arts Plaza on Feb. 4. The 2019 Silver Cup Award Luncheon honors recipients Margot Perot and J. Davis Hamlin on Mar. 18. 19 TEXAS BALLET THEATER Texas Ballet Theater will present mixed repertoire performances Mar. 1–3 at Bass Performance Hall in Fort Worth. This performance includes William Forsythe’s In the Middle, Somewhat Elevated together with Christopher Bruce’s Ghost Dances and TBT company dancer Andre Silva’s 11:11. Next, the company will

THE RESIDENT EXPERT 10 perform Four Last Songs, Twilight & Esmeralda, and L at Bass Hall, Mar. 29–31. 20 THEATRE THREE The Manufactured Myth of Eveline Flynn follows Eveline as she loses her connection to her family, friends, and reality, through Feb. 24. Next, Foxfire tells the story of Annie Nations, a 79-year-old widow who faces more problems than there are mountains in her hometown of Appalachia. Mar. 14–Apr. 7. 21 TITAS Dorrance Dance, an award-winning New York City–based tap dance company, comes to Dallas on Feb. 1. Next, Beijing Dance Theater will perform Feb. 8. Kyle Abraham’s A.I.M will entwine a sensual and provocative vocabulary with an emphasis on sound, human behavior, and all things visual in an effort to create an avenue for personal investigation, Mar. 1–2. Ezralow Dance is a movement-based ensemble and the creative home for Daniel Ezralow’s expansive and eclectic body of work. The group, known for its explosive physicality, originality, and humor, will perform Mar. 29– 30. Image: Beijing Dance Theater in Hamlet. Photograph by Han Jiang. 22 TURTLE CREEK CHORALE Blinded: Turtles Rock Out plunges into the world of Aerosmith, Meatloaf, Bon Jovi, Queen, The Rolling Stones, The Who, the Eagles, and much more. Mar. 15–17. 23 UNDERMAIN THEATRE An Iliad, directed by Katherine Owens, opens Feb. 6. This modern-day retelling of Homer’s classic revives the landmark production from 2012. Poetry and humor, the ancient tale of the Trojan War and the modern world collide in this captivating theatrical experience. An Iliad continues through Mar. 3. 24 WATERTOWER THEATRE Guadalupe is living in the guest room of her son-in-law Steve’s home while she works to translate the children’s books her deceased daughter has written in English to Spanish. Overcome with grief and separated by a language barrier, the unlikely housemates struggle to communicate until they begin watching the same television show. Guadalupe in the Guest Room runs Feb. 22–Mar. 17.


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01 ALAN BARNES FINE ART With over 150 years of family history within the international art markets, Barnes is a sixth-generation English art dealer committed to sharing his expertise with his clients.

08 CADD Join the CADD Bus Tour on Feb. 9. Ro2 Art hosts Third Thursdays on Feb. 12 followed by Galleri Urbane on Mar. 21. The CADD FUNd will take place on Mar. 20 at The MAC.

02 AND NOW Oshay Green, Shelby David Meier, and Paul Winker are featured in Marmalade through Feb. 16. Next, a show for Olivia Erlanger, David Flaugher, and Isabel Legate mounts at the gallery.

09 CARLYN GALERIE Carlyn Galerie is devoted to the sale of fine American art glass, from blown, fused, slumped, lampworked, and cast, along with fiber art and jewelry.

03 ARTSPACE111 From Feb. 7–Mar. 23, this Fort Worth gallery will mount solo exhibitions for artists Peter Harrington and Jeffrey Poole. Opening Mar. 30, a solo show for Woodrow Blagg will be on view through May 4.

10 CARNEAL SIMMONS CONTEMPORARY ART Shiny and New, a group show featuring Texas-based artists Josephine Durkin, Ender Martos, Juan Alberto Negroni, and JM Rizzi, all new to the Carneal Simmons gallery roster, will continue through Mar. 9. Image: Ender Martos, Glares of Contemplation, 2018, monofilament and colored mirrored Plexiglas, 41.5 x 33 x 4.5 in.

04 BARRY WHISTLER GALLERY Monumental I will continue through Mar. 9. This large-scale group exhibition features Matt Kleberg, John Pomara, Allison V. Smith, and others. Image: Allison V. Smith, Tumbleweed, 2018, Marfa, Texas, Chromogenic color photograph, 60 x 60 in. 05 BEATRICE M. HAGGERTY GALLERY Natura Naturata: Nature Already Created featuring immersive installations by artists Arron Foster and Taryn McMahon shows through Feb. 26. Coinciding with Texchange, juergen strunck prints: no secrets, on view Mar. 6–Mar. 30, will feature both the prints and the working tools used by the Distinguished Professor Emeritus of Printmaking and Drawing. Image: Juergen Strunck, CCK-10, 2016, ink on Japanese fiber, chine collé on cotton fiber, 16 x 12 in.

11 CHRISTOPHER MARTIN GALLERY With two additional galleries in Aspen and New York, the Dallas gallery exhibits work by Christopher Martin, Jim Keller, Michael Sirvet, and Brandon Reese. 12 CONDUIT GALLERY Three solo exhibitions for Roberto Munguia, Soomin Jung, and Japanese sculptor Hidenori Oi close Feb. 16. Next, Conduit will open three new exhibitions, featuring Robert Jessup, Susie Phillips, and Keer Tanchak, with a reception for the artists on Feb. 23. Through Mar. 21. Image: Susie Phillips, Big Bowl of Red, 2018, oil on paper, 17.25 x 15 in.

06 BLUE PRINT GALLERY Blue Print dedicates its space to mid-career and emerging artists of Texas, featuring a variety of contemporary abstract paintings, works on paper, fine art photography, and sculptures.

13 CRAIGHEAD GREEN GALLERY Sewn Landscapes, Together, Persistent Blues, and Parallel Plane close Feb. 8. Photographer Kenda North and painters Bryson Davis Jones and Krista Harris each have shows on view from Feb. 16–Mar. 22. The gallery will close out the month of March. with three solo exhibitions for Carlos Ramirez, Scott Simons, and Jay Maggio running Mar. 30–May 3.

07 BIVINS GALLERY Chosen, a group exhibition curated by the Bivins Gallery team, delves into the gallery archives with each member selecting artwork that had an impact on them. Many works on view have never before been seen, while others have a historical exhibition history. Through Mar. 31.

14 CRIS WORLEY FINE ARTS In his third solo show with the gallery, Timothy Harding’s new body of work, New_drawings_1-21c, will be on display through Feb. 9. Next, Triggered will be Shannon Cannings first solo show at Cris Worley, featuring realistically rendered candy-colored toy guns in oil, highlighting the normalization of violence at



30 a young age. Trig gered runs Feb. 16 –Mar. 23. Image: Shannon Cannings, I Want Candy - Blue, 2018, oil on canvas, 40 x 60 in. 15 CYDONIA Through Feb. 9, Marman and Borins’ The Fourth Wall presents multi-media work along with a new film and script that provides context for sculptures functioning as props and characters. Survival Politics serves as a reflection of Giovanni Valderas’ Casitas Triste project. Various mediums including photo documentation, sculpture, and archived remnants of the guerrilla-style project will be presented Mar. 23–May 18. 16 DADA The Dallas Art Dealers Association will present their annual Spring Gallery Walk on Mar. 30. 17 DAVID DIKE FINE ART David Dike Fine Art was established in 1986 in the Arts District of Uptown Dallas where it resides today. The gallery specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas Landscape painters. 18 ERIN CLULEY GALLERY In Memory Screen, new ink drawings and paintings by Nic Mathis translate his personal notebook doodles and notes into personal artifacts and figurative works through Feb. 16. Image: Nic Mathis, Untitled (puppet 1), 2018, ink, acrylic and marker on paper, 34 x 24 in. 19 FORT WORKS ART I Wanna Be a Cowboy, an exhibition showcasing original graphite-on-mylar drawings and limited-edition prints by Fort Worth artist Marshall Harris, is on view through Feb. 20. 20 FWADA Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art.




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


21 GALERIE FRANK ELBAZ Works by museum-exhibited fiber artist Sheila Hicks mount this spring. Stemming from the long tradition of modern art which links abstraction to multiple disciplines, Hicks revisits traditional artisanal textile, blurring the boundaries between painting and sculpture with her woven and textile work. 22 GALLERI URBANE Liss LaFleur’s Tutti Frutti and Stephen D’Onofrio’s Material Research  continue through  Feb. 16. A Romantic Gesture and The Love Lives of Stones mounts Feb. 23–Mar. 23. A Romantic Gesture presents Benjamin Terry’s paintingbased installation at the gallery for the first time. The Love Lives of Stones highlights Melinda Laszczynski’s recent ceramic work. Image: Benjamin Terry, Untitled (Blue), 2018, paint, wood, and glue, 22 x 16 in. 23 GINGER FOX GALLERY Mixed Media Abstracts by Ginger Fox  will be featured alongside other series in the gallery through Mar. 31. Mixed Media Abstracts represents the negative space and randomness in life and suggests that what we believe is missing is as integral as the space that we fill. 24 THE GOSS-MICHAEL FOUNDATION Steward of one of the leading contemporary British art collections in the US, The Goss-Michael Foundation mounts shows for international artists on a rotating basis and Texas-based artists as part of its (FEATURE) program.

John Geci 32


25 HOLLY JOHNSON GALLERY Moonlight on the River, Stuart Arends’ first exhibition with the gallery, continues through Mar. 16. The penumbra tow, a solo exhibition of new work by James Buss, will be on view from Feb. 16–Apr. 27. Thinking of a Place is an exhibition of new encaustic paintings by Raphaëlle Goethals opening Mar. 30 and will remain on view through May 25.


A Journey Through the Seasons


4500 Sigma Rd. Dallas 972.960.8935

Fine Art n Sculpture n Custom Framing n Glass





26 KIRK HOPPER FINE ART The group exhibition One Plus One Equals Three, highlighting selected works by Romare Bearden, Roy Fridge, Marty Greenbaum, David McManaway, Robin Ragin, Nancy Willis Smith, and Roger Winter closes Feb. 26. Under Pressure: Print Survey of Benito Huerta will be on display Mar. 6–Apr. 6.

provides art placement and interior design consultation.

27 KITTRELL/RIFFKIND ART GLASS Birds of a Feather, a group show featuring bird imagery from two dozen contemporary artists working in glass, exhibits Feb. 9– Mar. 3. Next, a show introducing the glass works of Deanna Clayton, SaraBeth Post, and Dean Chism, Mar. 9–Mar. 31.

33 MARY TOMÁS GALLERY Focus 2 features the newest gallery artists Winter Rusiloski, Shawn Saumell, Roy Tamboli, Tom Ortega, Fred Villanueva, Thomas Zanz, and more through Mar. 23. Civil, a solo exhibition by Dawn Waters Baker, opens Mar. 30 and highlights new works inspired by the artist-in-residency program of the National Parks Arts Foundation through May 4. Image: Dawn Waters Baker, Emancipation Proclamation, 2018, oil on canvas, 55 x 55 in.

28 KRISTY STUBBS GALLERY Kristy Stubbs features artists of the 20th and 21st centuries such as Alexander Calder, Jim Dine, Jean Dubuffet, Paul Fryer, Damien Hirst, Joan Mitchell, Frank Stella, and James Surls. 29 LAURA RATHE FINE ART Featuring new work by Dylan Gebbia-Richards and Christy Lee Rogers, Changing Tides closes Feb. 9. Marking its sixth year in the Dallas Design District, LRFA presents a group anniversary exhibition featuring new works from distinguished gallery artists such as Hunt Slonem, Zhuang Hong Yi, Meredith Pardue, Stallman Studio, Lucrecia Waggoner, Carly Allen-Martin, Gavin Rain, and more. Feb. 16–Mar. 23. 30 LILIANA BLOCH GALLERY Myra Barraza’s Predicament of the Subject and Randall Garrett’s work featured in the foyer will conclude Feb. 9. Lynne Harlow’s solo exhibition Golden is an exploration of the shared sensations of two seemingly dissimilar cities: Los Angeles and Istanbul. In conjunction with the 2019 Southern Graphics Council International Conference, the work of David Newman is on view in the foyer. Harlow’s and Newman’s shows run concurrently from Feb. 16–Mar. 23. Image: David Newman, Oversight, 2016, lithograph, 16 x 20 in. (image); 27 x 31 in. (framed). 31 LUMINARTÉ FINE ART GALLERY LuminArté represents international and national mid-career artists, and regional emerging artists. In addition, the gallery 34


32 MARTIN LAWRENCE GALLERIES Specializing in original paintings, sculpture, and limited-edition graphics, in Feb. Martin Lawrence will begin to take bids for their Spring Auction slated for late March.

34 MERCADO369 Latin American artists are well represented in this Oak Cliff jewel. Nine galleries offer sculpture, jewelry, textiles, and home décor from Mexico to Argentina. For Valentine’s Day, the gallery offers an intimate experience surrounded by culturally rich Latin American art, champagne, a candle-lit dinner, and smooth sounds on Feb. 14. 35 PHOTOGRAPHS DO NOT BEND Houses for Sale is a survey of domiciles that offer comforts of home, even in the most questionable settings. PDNB Gallery artists and some artists new to the gallery will be featured through Mar. 2. Next, Keith Carter: Fifty Years will be on view Mar. 9–May 4. 36 POLLOCK GALLERY On Mar. 22 the 2019 M.F.A. Thesis Exhibition will open. The exhibition is the culmination of two years of intensive work by Southern Methodist University M.F.A. candidates in the Division of Art and features works in a wide-ranging variety of styles and mediums. The 2019 M.F.A. Thesis Exhibition will continue through Apr. 13. 37 THE POWER STATION born in a beam of light, a solo show for New York–based artist Rochelle Goldberg, features her sculptural installations and will continue



22 through Apr. 14. Goldberg’s work is structured by the logic of “intraction”—the artist’s term for an unruly set of relations in which the boundary between one entity and another is continually undermined. 38 THE PUBLIC TRUST The gallery’s program extends into publishing art publications, limited edition prints, and other multiples combined with exhibitions that include painting, drawing, sculpture, new media, and site-specific installations. 39 THE READING ROOM Curated by Caroline Elbaor, The Potential Wanderer by Houston-based Francis Almendárez continues through Mar 2. Blending video, installation, performance and sound, the exhibition explores identity issues of a secondgeneration immigrant. 40 RO2 ART Aimee Cardoso’s Trappings of Divinity and Justin W. Archer’s All Is Becoming will be on view at The Cedars location through Feb. 10. It Came from Beyond the Border 3 featuring the work of Angel Cabrales closes on Feb. 23 at Ro2 Art Downtown Pop-Up. Two solo shows for Scott Winterrowd and Gillian Bradshaw-Smith will be on display Mar. 23–Apr. 20 at The Cedars location. 41 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and research. 42 SAMUEL LYNNE GALLERIES Valentine’s Day LIV E Painting features a painting performance by Reflectionism founder and artist JD Miller. Miller’s newest body of abstract landscapes will be on view opening Feb. 16. Next, SLG will hold an exhibition for Michael Kalish on Mar. 30.

Come be a part of this annual event, where JD Miller creates one of his 3-Dimensional masterpieces right before your eyes!

S A MU EL L YNNE G ALLE R I E S 1105 Dragon St. | Dallas, Texas 75207 | 214.965.9027





48 43 SEAN HORTON (PRESENTS) SH(P), a project of art dealer Sean Horton, will occupy a Mission Revival storefront in Oak Cliff. To keep up-todate on SH(P) visit 44 SITE131 Through Mar. 15, Plugged-in Paintings features largescale digital paintings produced from electronic media, a blending of analog and digital images impacted by imperfections caused by glitching or forms of manipulation. Co-curated by painter John Pomara, transmedia artist Dean Terry, and director Joan Davidow, with artists Matthew Choberka, Chris Dorland, Lucas Martell, John Pomara, Lorraine Tady, Dean Terry, Liz Trosper, and Zeke Williams. 45 SMINK SMINK represents artists such as Diane McGregor, Gary Faye, Dara Mark, Robert Szot, and Zachariah Rieke. 46 SOUTHWEST GALLERY Southwest will hold a solo exhibition for Jun Hao. Hao, who holds a BFA from Tianjin Academy of Fine Arts, works primarily in oils with a focus on picturesque photorealistic landscapes.  47 TALLEY DUNN GALLERY Anila Quayyum Agha’s Itinerant Shadows opens on Feb. 9 and continues through Mar. 23. Agha’s world-renowned work plays with light, pattern, and shadow.


1531 Dragon St | 214-914-4126 | GINGERFOXGALLERY.COM



48 VALLEY HOUSE GALLERY M ichael O’Keefe develops h is work from t he unpredictable ways his innovative methods and unconventional tools create figuration. Michael O’Keefe: Recognitions will be on view Feb. 9–Mar. 16. Next, David A. Dreyer’s exhibition at Valley House will feature the artist’s geometric abstract paintings inspired by nature and the cumulative act of drawing. Mar. 23–Apr. 27. Image: David A. Dreyer, Stellar Jay’s Window from Night Birdsong, 2018, oil, charcoal, graphite, and chalk on canvas, 48 x 54 in.

04 49 WAAS GALLERY WAAS cultivates evolution within the creative community in an effort to bridge cultural gaps through communication and awareness. It also strategically empowers creatives to redefine gender norms through education, exhibits, and events. 50 WEBB ART GALLERY Cured, a show featuring Adam Young, Michael Hall, and Aaron Michalovic opens Feb. 24. The exhibition will be on view through Apr. 28. 51 WILLIAM CAMPBELL CONTEMPORARY ART Bernd Haussmann’s As the Rain is Falling continues through Feb. 16, featuring the artist’s nonrepresentational compositions of colorful, textural elements that abut and overtake, emerge and recede, and eventually coalesce within the picture plane. Image: Bernd Haussmann, As the Rain is Falling IV (2744), 2018, ink and mixed media, 60 x 48 in. AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY The Fine & Decorative Arts Auction featuring Part II of the John W. Lolley Art Glass Collection will take place on Mar. 20. 02 HERITAGE AUCTIONS Upcoming auctions include Comics Auctions Feb. 21–23, Special American Watches Feb. 25, Rare Books Signature Auction Mar. 6, Fine Art & Decorative Arts Mar. 9–10, Texana Auction Mar. 16, Entertainment Auction Mar. 16, the Urban Art Signature Auction Mar. 18, Asian Art Signature Auction Mar. 19, and the Movie Poster Signature Auction Mar. 23–24. 03 MTV RE:DEFINE The 8th annual MTV RE:DEFINE 2019, in partnership with The Goss-Michael Foundation and MTV Staying Alive Foundation, will honor British artist Marc Quinn. The gala and auction, chaired by Sami Abboud and cohosted by Joyce Goss and Kenny Goss, will be curated by Jonny Burt and Joe Kennedy of Unit London and take place on Mar. 29 at The Statler Dallas.

Saturday, February 16, 2019 Opening Reception, 5-8PM

Artists in Attendance Exhibition on display through March 23, 2019

1130 Dragon St. Dallas, TX 75207 214.761.2000




A DAY IN THE LIFE Through the Lens photographically celebrates the Dallas Arts District and presages the arrival of HALL Arts Hotel.

Barbara Brands, Wet and Wild, 2018


he nonpareil Dallas Arts District is a living wonder, as new tenants, organizations, facilities, neighbors, and visitors continue to arrive. It’s a constantly evolving arts hub; so capturing its essence is akin to catching lightning in a bottle. Fortunately, however, the recent Through the Lens: Dallas Arts District juried photography competition has done exactly that, and the 91 winning images from 52 local photographers and four organizations form a miraculous mosaic that illustrates the neighborhood’s artistic multiverse. Even the photographers themselves are a metaphor for the diversity of the district, with 1,050 total submissions running the gamut from amateurs, hobbyists, and students of all ages to seasoned professionals. Winners received a $500 stipend, an invitation to the competition-concluding gala, and their work

Nikola Olic, Bird Mirror Triangle, 2018




Image caption

will be included in the upcoming coffee-table hardbound, Through the Lens: Dallas Arts District; they’ll also receive a copy of the book. That tome will be available at Arts District gift stores, and select photos from the competition will be in the art collection of the new boutique HALL Arts Hotel, opening this fall. Publication is synched with that opening, and a copy of the book will be placed in each of the rooms. Another “win” is that proceeds will benefit the Dallas Arts District Foundation’s grants program, which endows smaller non-profits. Like so many projects in the neighborhood, collaboration was a key to the success of the competition. In this case the Dallas Arts District, HALL Group, two handfuls of corporate sponsors, not to mention the photographers, worked together on the initiative, which launched last April and concluded in September 2018. A list of the seven jurors who adjudicated Through the Lens is a true Who’s Who of arts players: Dallas Museum of Art Director Agustín Arteaga; Nasher Sculpture Center Director Jeremy Strick; Sam Holland, Dean of SMU’s Algur H. Meadows School of the Arts; and Dallas philanthropist/art collector Howard Rachofsky. Art curator and consultant Patricia Meadows and Shore Art Advisory’s

Top: Ashley Mendoza, Willows through the Hep, 2018; Bottom: David Worthington, Arts District Pano, 2018.



CONTEMPORARIES 2 0 18 I 2 0 19 S E A S O N in association with AT&T Performing Arts Center




Paul Sokal, Dancer #1, 2018


Virginia Shore were Co-Chairs, while Mayor Michael S. Rawlings served as Honorary Chair. “Everybody who was on the jury is busy busy,” Co-Chair Patricia Meadows attests. “HALL Group’s VP of Marketing, Kymberley Scalia, had the brilliant idea of not trying to get us all together, but rather just sending us all the entries and letting us jury on our own. The photographers did a wonderful job of capturing the vibrancy, the excitement, the activity—their photography is just beautiful.” The 91 chosen images include skylines, cityscapes, nature shots, interiors, exteriors, children at play, performers, artists at work, and more, a brilliantly illuminating cross-section of views and experiences. “It’s a day in the life of the Arts District,” Meadows continues. “You can go to theater, dance, to Klyde Warren Park, to the food trucks, the DMA, the Crow, the Nasher—it’s a wonderful District.” Entrepreneur Craig Hall of HALL Group has been invested, both business-wise and philosophically, in the Dallas Arts District for decades; in 1995 he bought the land where HALL Arts Hotel is being built, with an eye to the future. “We knew that the market wasn’t ready right away, but we knew that one day we’d want to build a hotel,” he says. “Part of what we’re trying to do with HALL Arts Hotel, and do generally as a citizen of the Arts District, is to bring the Arts District together and to enhance the knowledge about what a great jewel this is for the city of Dallas. Another goal is to increase the walkable—I want to see more people out on Flora, walking on a regular basis.”





214.8 8 0.02 02 OR VISIT AT T PAC .O R G / T I TA S



TTS1801-181226 Kyle Abraham / Ezralow / Pilobolus Patrons Magazine-4x11.indd 1

12/26/18 2:23 PM

HALL Arts Hotel itself promises to be a jewel. Located at 1717 Leonard Street, the hotel will feature 173 guest rooms, 10 guest suites, two restaurants, 6,000 feet of private event space, a heated rooftop pool, and much more, not the least of which is the world-class art collection. Through the Lens Co-Chair and longtime HALL Group art advisor Virginia Shore is curator of the hotel’s public space collection, while Patricia Meadows is curator of the photographic piece; those works, culled from the competition, will be installed in guest rooms and some hallways. Icing the underconstruction cake, sister project HALL Arts Residences is set to open in early 2020. Another symbiotic “win” of the melding of Through the Lens and the HALL Arts Hotel is their symbolic relevance for the neighborhood. Lily Cabatu Weiss, Executive Director of the Dallas Arts District, enthuses, “What’s so great about the Through the Lens competition and the coffee-table book is that it’s a statement about where you are; it’s a sense of place. On a lot of fronts this tells visitors that the Arts District and HALL Arts Hotel are very special locations in the city of Dallas. I think that we’re going to have 24/7 life in the Arts District with this hotel. And I don’t think it’s just going to be for visitors—you could have a staycation right in your own city.” P




Joseph Haubert, Morton H. Meyerson Reflection, 2018








Justine Ludwig at the Creative Time Gala, 2018. Photograph by Mike Vitelli for BFA, Courtesy of Creative Time.

Kara Walker, A Subtlety, 2014, Photograph by Jason Wyche. Courtesy of Creative Time. Courtesy of Creative Time.



till mourning the loss of this Dallas art darling to New York City, Chris Byrne checks in with Justine Ludwig, the former Deputy Director and Chief Curator at Dallas Contemporary and Creative Time’s new Executive Director. Chris Byrne (CB): Can you describe your work with Creative Time during the last year? What’s been the most exciting aspect of relocating to New York? Justine Ludwig (JL): The past six months I have focused on laying a foundation for my tenure as Executive Director at Creative Time. It has been about envisioning the future of the organization and setting us up to successfully realize that vision. Reorienting to think about working within the public realm and addressing the entire city as potential site for projects has been the big shift for me. It is a completely different way of approaching curatorial practice and thinking about community building. You do not have the same restraints you have while working in a white cube space when working in public art. It is an opportunity to dream big and think outside of the box. Additionally, within the realm of public art there is the opportunity to address issues of accessibility and equity directly. Living in New York so far has been a wonderful adventure. My father is a native New Yorker and I grew up coming here, but acclimating to living in New York is something completely new to me. I have enjoyed exploring the city with fresh eyes. CB:  The nonprofit has presented many diverse installations, including  Joshua White and Gary Panter’s D.I.Y. light show as well as Kara Walker’s first large-scale public sculpture. Can you discuss how you identify and choose a new project? JL: At its heart Creative Time is a socially engaged public arts organization. Due to that, pressing socio-political issues are often the focus of our programming. We look to artists that have a sustained and committed investment in these issues. We also look for an organic marriage between project and site. Where the project takes place is of great importance to us. We revel in siting projects in unexpected parts of NYC or disrupting expected quotidian rhythms. Additionally, we focus on creating opportunities for artists to think about their practice differently, perhaps work in a new medium or engage with a new audience. There is no formula. Often the process is highly intuitive and calls for a leap of faith. CB:  Recently, Creative Time facilitated its first international commission with artists Lara Almarcegui, Isabel Lewis, and Recetas Urbanas. Are there any other new initiatives that you’ll be involved with in the year ahead? JL: We have just initiated an emerging artist open call for artists living in the New York City area. The idea is to realize an ambitious project by an artist that has previously not taken on a major public works project or received substantive institutional support. I cannot wait to start reviewing proposals next week! This year marks the 10th anniversary of the Creative Time Summit. The Creative Time Summit is an annual convening for thinkers, dreamers, and doers working at the intersection of art and politics. Functioning as a roving platform, the Summit brings together artists, activists, and other thought leaders engaging with today’s most pressing issues. Presenting a critical range of perspectives, the Summit provides strategies for social


change in local and global contexts. I have been a follower and admirer of the Summit for the past decade and this year we have the amazing opportunity to speak to the program’s legacy and also to look to its future. In conjunction with this anniversary we are publishing a book with Routledge titled Making Another World Possible. The book offers a broad look at a vast array of socially engaged cultural practices that have become increasingly visible in the past decade in diverse fields such as visual art, theater, activism, architecture, urban planning, pedagogy, ecology, and others. It includes commissioned essays from noted critics, practitioners, and theorists in the field, as well as key examples that allow insights into methodologies, contextualize the conditions of site, and broaden the range of what constitutes an engaged culture. I am honored to be contributing the framing essay State of Siege to the publication as well as the epilogue. CB: This past fall, you returned to oversee “Exposure” during EXPO Chicago. Are you working with emerging artists on any other curatorial projects? JL: I firmly believe that it is important to support artists at all phases of their careers. When I imagine the art world I want to be a part of, it is one that is diverse and equitable. In order to support that vision, providing platforms to emerging artists is of the utmost importance. The open call is in service of this imperative. CB: When can we look forward to seeing you in Dallas? Do you have plans to work with any local museums or artists in the near future? JL: Dallas occupies a very special place in my heart. It is the home to a vibrant creative community as well as many individuals that I love. One of the exciting things about Creative Time is that while the organization is based in New York, we have taken on projects across the United States such as Paul Chan’s Waiting for Godot in New Orleans and Jeremy Deller’s It Is What It Is: Conversations About Iraq. Creative Time also has a connection to Dallas—in 2009 the organization received SMU’s Meadows Prize. I see Dallas as the ideal site for some of Creative Time’s initiatives and, on a personal note, I am always looking for reasons to come back to Texas. P

Creative Time Summit Venice Biennale, 2015. Photograph by Isabella Ballena. Courtesy of Creative Time.

Paul Chan, Waiting for Godot, 2007. Photograph by Paul Chan. Courtesy of Creative Time.

Back by popular demand, Undermain Theatre Presents:

An Iliad







The Dallas Art Fair debuts their new exhibit space with a solo show for Belgian artist Emmanuel Van der Auwera.

his March, as part of an expanding outreach initiative, the Dallas Art Fair will launch 214 Projects, an exhibition and project space adjacent to their new offices at River Bend in the Design District. This additional venue will allow Dallas Art Fair exhibitors to present more ambitious gallery installations and special projects on a year-round basis outside of their typical presence during the second week of April. For their inaugural exhibition, 214 Projects will present White Noise, Belgian artist Emmanuel Van der Auwera’s first solo exhibition in the United States. This project is realized with the full support of Harlan Levey Projects of Brussels, Belgium, who has been an exhibitor with the Dallas Art Fair since 2015. Dallas collector Jordan Ford speaks with the artist and provides a preview of the ambitious and challenging work that will open 214 Projects this spring. Jordan Ford (JF): We first met when you attended last year’s Dallas Art Fair with Harlan Levey Projects, and I’m thrilled that your first solo exhibition in the US will be here at 214 Projects. To start, what is the jumping-off point for the title of your show, White Noise? Is there a reference to the familiar ambient background containing “all audible frequencies of vibration” that we recognize from older television sets? Or is it possibly something more or less personal, maybe perhaps novel, to your own work?

Emmanuel Van der Auwera (EVDA): It’s nice to hear from you. I’m pretty thrilled, too! Both of your questions are on point. Yes, a reference to “white noise” as signal processing is absolutely there and yes, it’s not there alone. White Noise is also the title of a 1985 book by Don DeLillo. My last solo exhibition, Everything Now is Measured by After, also borrowed from the American author. JF: You are presenting two distinct bodies of work in the same venue, yet both contain a certain austere quietness. It may be difficult to be taken in all in one glance. How has your experience presenting them allowed you to create the initial intimate interactions with the artworks themselves? EVDA: These two bodies of work developed parallel to each other. I’ll present a third type as well, which was made while I was first starting the Memento and VideoSculpture works that you’re referring to. All three are driven by many of the same questions or ideas and were developed in dialogue with each other. They share a documentary approach to thinking about the aesthetics of mass media and certain elements of my methodology. In many ways, there were always intimate interactions between them and often the decisions made with regard to one influenced my thinking about the others. JF: In these works, both the newsprint memento series and the video sculpture from military battlefield footage, you frame the sourced material by obscuring information as well as revealing previously unseen images. What has this process

Promotional image for Emmanuel Van der Auwera’s White Noise at 214 Projects, Dallas, 2018. Courtesy of the artist and Harlan Levey Projects.



Emmanuel Van der Auwera, Memento 11 (Barcelona), 2018, newspaper and 3mm aluminum offset plate mounted on aluminum frame, 56.3 x 39 in. Courtesy of the artist and Harlan Levey Projects.


Emmanuel Van der Auwera, VideoSculpture XIV (Shudder), 2017, HD video, 4 LCD screens, and glass, 81 x 46 x 1.2 in., edition of 2. Courtesy of the artist and Harlan Levey Projects.

taught you about how the collective “we” consumes information through selective media? How have you come to understand this through the lens of both consumer and curator? EVDA: I’m very interested in how, why, and what information is destined for obscurity. That’s a broader theme in my practice. While making these works, I continued collaborations with neuroscientists and technologists, learning to use eye and facial tracking software in my work and investigating the ambiguity between consumer and creator in a bilateral media arena like we’re experiencing today. With or without knowing, our data and experiences shape the images that shape us. Even this idea of a collective “we” is changing constantly. “We the people…” has perhaps always been as divisive as it is unifying. Today we’re in a situation where agency is increasing and, to combat this, forms of oppression are vigorously reappearing. JF: You seem to be making the viewer commit to a particular position or angle to see the elements of the work. The experience of the artwork elicits complicit positioning to watch the pieces of the sourced media in focus. How does this layering through filters, angles, and reflections change the initial nature of the content? How do these methods of breaking down the established forms of media ultimately reveal what is being re-presented? EVDA: I do hope that the work reinforces the idea that viewing is not a passive activity where we simply consume and digest. I’ve provided some positions that are more natural than others, but the aim is to liberate a viewer from a single perspective, not to box them into one. If you’re trying to look at something, especially something that isn’t there to begin with, you need to assume different positions/ perspectives and make some effort to read on different levels. Looking is easy. Seeing is hard work. As subject matter, I’ve taken rather voyeuristic material to question political images and how they move through media. Your question is part of what interests me. We don’t see the thing, but do see an image that represents it. Suddenly what is being represented is more important than the actual thing…

How to cope with this when the representation is not random, but a very specific and carefully crafted construct born with inherent intent? JF: Last, what do you hope to see from the American audience? Are there cultural revelations possible from this new set of eyes and ears to your work? Do you have a cheat sheet that allows a viewer to best absorb your viewpoint? EVDA: Cultural revelations are always possible and sometimes meaningful. If a new audience gives my work their time and attention, I’m very pleased. People are busy. I’ve shown works in Dallas before as well as in Chicago and Miami with my gallery Harlan Levey Projects, and the audience in the US has been fantastic each time. I feel lucky to have this opportunity and hope people will come and exchange with the work and ideas it brings them. In the show, the three types of work are linked by their use of found footage, approach to documentation, and investigation of emotional responses as they differ between viewing and acting. How to act and process media today, how to measure reality, is a topic that seems infinite in the way that climate change does and even more pressing as it forms consensus for the challenges and perceived threats collective society faces. P

ABOUT THE INTERVIEWER: Dallas-based hotelier Jordan Ford is a collector of contemporary and emerging art, with a focus on supporting young artists. Be it painting, video, photography, or sculpture, Ford seeks artwork that challenges perception and initiates dialogue.



OFF THE COURT RACKET with Ludwig Schwarz


Ludwig Schwarz in his studio with a new body of work.






oon after getting hired as the preparator at the McKinney Avenue Contemporary in Dallas more than two decades ago, I met an artist freshly returned from a stint in New York, accompanied by a refreshingly perplexing body of work that caught me off guard with a wry smile and a relentless persistence. During the course of installing Ludwig Schwarz’s first solo exhibition at The MAC (along with the artist and curator Tom Moody), we wedged a jam box inside the gallery wall playing a loop from the band Boston’s Feelin’ Satisfied, which inquired, then promptly suggested: “Oh are you feelin’ satisfied, come on let us give your mind a ride.” Accompanying this muffled aural possession of the galleries were two functionally deficient bed sculptures: one, a partially crated twin mattress addressing the viewer like a hash brown escaping its paper sleeve (whose title humorously denied the potential spilling of seed en Español); the second being a barebones metal bedframe placed appropriately on the floor, with only a flimsy, mattress-sized piece of plywood laid there, not ready to support anything given the chance. I was confounded and smitten all at once; a feeling that mostly proves elusive both in art and life, even more so at first glance. Ludwig Schwarz had reeled me in and closed the cooler and we were headed to unknown shores, even as there were eight or so tablecloth-sized, garishly colored abstractions now lining the walls. I had tried unconvincingly to get them to wrap the row of paintings tightly around the corner, instead of breaking them up in a standard, formal dialogue on facing walls. In the smaller gallery, amid a wall of faded, holey “Classic Rock” concert tees on wire hangers, hung one much-worn souvenir that had been altered with bones from previously eaten chicken drumettes jutting out rhythmically from its bottom edge, like a carnivore’s bizarre fringe. A lone, off-white rubber ball sat on the floor in the far corner, slowly beckoning a welcoming listener by inserting an unfortunate earworm Sharpie-d in script along its presented belly: “Desperado.” “Why don’t you come to your senses?” mouthed my radio brain. Ludwig and I have been fast friends since that time; we have eaten and taken libations together, played in and watched numerous games of basketball, pushed musical tastes on one another, watched each other fight for love, but mostly laughed during pauses at the absurdity of it all. I dropped by his Exposition Park studio just to kick the tires one day this summer. There was a fleet of ten human-sized canvases ambling through the hallway and across the length of the long wall, performing various states of completion. Ludwig had asked me over to see them specifically and I was at a loss, not quite able to grasp the vocabulary as of yet, looking for assistance among the troves and stacks of previous works whose familiarity I craved. I poked around a bit at what I thought was going on both within the grouping and in regard to a few individual works, but ultimately offered no real insight. Cut to the fall when word began to circulate that a suite of paintings by Ludwig had been purchased by the Dallas Museum of Art. Originally exhibited in Desktop at Conduit Gallery in 2016, the eight color-saturated abstractions differ mostly in palette and composition and are only loosely bound by some muted cloudlike fields (typically read as background) and several hard-edge

Above: Studio view. Below: Yet-to-be-titled works in transition.

patterns and shapes (read as cutaways, covers or objects). I erroneously assumed it was the same grouping I had seen a few months back and was unable to properly digest then, which left me feeling like I had really missed out on something. In early December, we decided to meet up again to watch a Mavs game on TV, as it had been a while for me and there was a Slovenian rookie signed this summer that had everybody talking. I arrived at the bar downstairs from his studio aptly named for the neighborhood. It was completely barren, silent, and the screens dark. I texted Ludwig the news and walked to the craft beer bar on the corner, knowing he’d be less than thrilled. He was a little late and explained that he had been eating a field greens salad in his car. Even though we’d convinced the bartender to put the game on, we soon departed for a local dive where we knew it’d be on with less fussy beer options. The 19-year-old rookie sliced through half-court, bouncing around like a young stallion testing his speed and gallop as he angled toward the basket. He was, as Ludwig had informed me,




From left: Untitled (I voted), 2016; Studio entrance in Exposition Park.

Rookie of the Month for his first two straight months playing in the league. Meanwhile, the elder statesman of the franchise was rehabbing after ankle surgery and facing a delayed return. There were rumors, but he remained on the bench in street clothes as his eventual retirement sat upon the horizon of the season. We closed out the game with a short trip to another bar, looking for sound to go with the visuals, then rounded out the evening talking about the best bagels in the ’hood. I returned to Ludwig’s studio a few weeks after the home team’s win to take in the group of paintings once more. Since my last visit, there was a pair of chair sculptures present: a broken wooden cane-seater saddled with a net of six-pack holders and twine in its seat and a standard black folding model draped with more than a dozen AC adaptors resting in a semi-circle on the floor. I could see little changes here and there in the large canvases spread across the studio, but also noticed since the unveiling of the DMA purchase the not-so-subtle differences between the two bodies of work. The density and tension held in the eight at the museum had drifted off-screen in the newer, larger works, leaving the viewer bathed in background noise, patchy formations, and unsettling negative space. Objects and patterns became smaller and slowly moved out toward the edges as well. I gestured to them, still looking for an answer, to which Ludwig simply replied, “boredom.”



I had taken a photo of the wall label for the paintings’ brief debut at the museum and was surprisingly touched while reading a lengthy quote by the artist outlining a personal moment (gulls on a ferry, windswept wifey hair, the works) that was tangentially related to the concept behind Desktop. I reread the passage and then called to double-check on those song lyrics sampled for his first solo show at The MAC. I reached him driving around a massive cemetery with little luck trying to locate the funeral he was planning on attending with his wife Marjorie (a wonderful artist in her own right). I heard him softly bark inquiries from his rolled-down car window. Somewhat embarrassed for both of us, I quickly let him go after getting the chorus affirmed and looked again at the photo of the eight compositions lining the ramp at the museum. They were in the same order as originally displayed at Conduit Gallery, the two that had hung on a smaller wall at the gallery were simply tacked onto the right side. The slight incline leveled out at the handrail at left and the repetition produced by the tight hang felt like the blip of billboard details barely noticed on the freeway. I have often tried to remember such moments glimpsed while driving but always forgot them nonetheless, wondering all the while if Ludwig had ultimately found his destination or if he had simply moved on down the road. P

April 11 -14

Presented By

Preview Benefit Sponsored By

Thursday, April 11th 6:00 PM - 10:00 PM

Fashion Industry Gallery 1807 Ross Avenue Dallas, Texas 75201






Top: Angèle Watson, Military Officer, Officer oil on canvas; Below: Adam Lippes; Right: Adam Lippes Spring 2019 Collection.



hen many of today’s luxury brands opt toward ofthe-moment maximalist designs, Adam Lippes chooses elegance. Lippes keeps his silhouettes fluid and the simplicity reflects his earlier days at Oscar de la Renta in his appreciation of the way a woman likes to dress. His client is not a trend chaser—she cares about the fabric, the way the materials feel and wrap around the body, the color palette, and the inspiration behind the design. She’s not just buying for now, she’s buying timeless. Lippes makes clothing to wear season after season with comfort, style, and ease. Each piece in his collection has its own story and is designed with the feminine form in mind. “We all personally love Adam’s collection at Forty Five Ten, and so many of our clients love him and his collection, too. A lot of our art collectors wear him. He brings an artist’s eye to very elegant pieces that are equally perfect for lunch or evening openings,” extols Kristen Cole, President and Chief Creative Officer at Forty Five Ten. The elegance of Lippes’ 2019 Spring/Summer collection reflects just that suppleness. Known for his store visits each season, one might meet the designer while he’s in town for a trunk show at Forty Five Ten, or if you’re lucky you might find him scouting the “great antique stores” in the Design District or wandering through area museums. He wants to know his clientele. He is much like his mentor Oscar de la Renta in that way. Once an apprentice for the legendary couturier, four years since de la Renta’s passing he still inspires Lippes every day. “He had an understanding of a woman and how to dress a woman. He was very proud of me.” Known for entertaining in his renovated Brooklyn Heights home, Lippes grew up surrounded by art—his father is an art collector, as was de la Renta. Lippes chaired the Art Party for the Whitney Contemporaries program in 2010. (Kristen Cole served as a co-chair of the same event at the New York museum last month.) Lippes has an impressive antique and art collection that includes paintings by Kenneth Noland and Milton Avery. He’s recently turned his collecting attention from Color Field painters to portraiture from the late 1800s and on. “I like the odd-looking portrait and the inherent way the picture follows you.” He divulges that he isn’t necessarily concerned with whom the portraits are painted by or how significant they are. “It's a freeing way of collecting.” Adam Lippes could be described as an artist in his study of pattern and fabric (on which he collaborates and places great import) and even draping, but he doesn’t consider himself one. He refers to a pink garment that is just the shade of nude that Milton Avery might have used. “We are more like architects than artists.” No matter the description, each piece in his collections offers “unhurried” elegance to any wardrobe. He describes the number one trait of Dallas woman as generous of spirit and time. “They open their arms to me.” P

the forty-first annual


Margot B. Perot &

J. Davis Hamlin Monday, March 18, 2019 12:00 NOON ¡ FA I R MON T DA L L A S


Jennifer and Peter Altabef Carol and Don Glendenning C o -Ti t l e S p ons or s

Join us as the North Texas arts community gathers to celebrate the outstanding volunteer leadership and contributions of Margot B. Perot and J. Davis Hamlin. To purchase tickets, please call 214.520.3930 or visit our website at

This page: Sterling Ruby photographed by Sergio Garcia in his Los Angeles studio. Opposite: Sterling Ruby, DOUBLE VAMPIRE (6254), 2017, fabric and fiberfill.








Courtyard view of Ruby’s LA Studio.


fter a warm greeting from Tyler, the manager of Ruby’s sprawling, gray warehouse studio just south of Los Angeles in Vernon, California, I begin my journey through what Ruby calls his “studio for life.” An assistant works on the floor in the first space, surrounded by mounds of cloth, reams of fabric, and crisp light from endless windows. Colorful quilts from Ruby’s personal collection are splayed across the floor with a few soft figural sculptures lying beside them. The next room is lined with massive, hazy, sprayed paintings and bustling with people packing and crating work. I walk outside and into the back building that houses the ceramics studio where multiple small, heart-shaped sculptures are laid out. Ruby is inspecting a fresh crop and promptly begins our conversation with thoughts on the ever-shifting nature of perfecting ceramic glazes. “It’s really a matter of always trying to get it, knowing that you’re never going to get it, and having surprises. Sometimes they work out and sometimes they don’t.” Ever one to reassess his output when something isn’t working, Ruby has found a way to resuscitate failures of the studio. We walk to an adjacent room where one of his modestly sized Basins is resting on



a pedestal. “This sculpture was a mix of older and newer pieces. The basin is new, but everything that’s inside of it is work that had blown up over the course of a 10-year period.” The exploded pieces have been resurrected through the simple acknowledgment that their purpose had not been destroyed, merely shifted. “It’s nice to have older things laying around,” Ruby says, motioning to tubs full of ceramic shards, “to always remind myself that things have to change.” Staring down into the Basin, this enclave of a broken world, where time has been flattened and pink and red glazes pulse with guttural life, I was met with a sense of empathy for the bodily remnants sacrificed to the fires of the kiln. While his Heart and Basin works may reference the interior of the body, the exteriors of Ruby’s ceramic pieces and bronze casts are layered with imprints from fists and fingers pushing and kneading into the clay, imbuing the surfaces with an undeniable human quality and softening the visceral impact of the work. Sterling and I walk out and around the back of the warehouse, across a graveled lot that doubles as a personal outdoor sculpture park. We pass a graveyard of large rusted metal scraps, a black

In the background: Sterling Ruby, SCALE (4635), 2013, steel, paint, wood, cardboard, yarn, and mixed media, 161 x 95 x 92 in. In the foreground: Sterling Ruby, STOVE, 2013, stainless steel, 212.5 x 62 x 71 in.



Sterling Ruby, THE POT IS HOT, 2013, urethane, wood, metal drum, and spray paint 192 x 44.5 x 69 in. Collection of Christen and Derek Wilson. Photograph by Robert Wedemeyer. Courtesy of Sterling Ruby Studio.

Sterling Ruby, The Cup, 2013, foam, urethane, wood, and spray paint, 92 x 115.5 x 88 in. Nancy A. Nasher and David J. Haemisegger Collection. Photograph by Robert Wedemeyer. Courtesy of Sterling Ruby Studio.



Sterling Ruby, Consolidator, 2008–2009, urethane, wood, and spray paint, 69 x 92 x 253 in., Photograph by Robert Wedemeyer. Courtesy Sterling Ruby Studio.

Sterling Ruby, Laying Figure, 2013, fabric and fiberfill, 48 x 163 x 48 in. Photograph by Robert Wedemeyer. Courtesy of Sterling Ruby Studio.



burned-out van, and enter back into the studio through a giant sliding bay door. Along the way, keeping a steady pace and accompanied by his mellow and warm demeanor, it’s clear that Sterling has a talent for making the monumental intimate. “I’ve always tried to look at things and deconstruct them to the point where they can be simplified, that they can be very immediate. It doesn’t have to be something that you really need to break down and analyze; you can have a very gut reaction to it.” Ruby further collapses the immediacy of our response by not imposing hierarchical meaning to any of his materials; wood, Formica, resin, weathered metal or cast bronze hold just as much emotional impact to the artist as the studio detritus and street trash dangling in SCALE. There is an authentic sincerity in the directness of how Ruby handles various media and an intuitive sensitivity in his understanding that material can carry nuanced readings, allowing us to have precious moments within what is an otherwise aesthetically austere oeuvre.

Walking through the space, we approach the immensely foreboding STOVE, standing starkly in his pristine industrial studio. The surface is covered in thick beads of melted metal that mend its many parts. “I know that weld will look like a scar. I think that there is always a conglomeration of real life and what you want to emulate through materials. Sometimes that has to do with bodies and war and…” Ruby trails off looking up at the stainless steel chimney. If we view Sterling Ruby: Sculpture (open through April 21 at the Nasher Sculpture Center) through this lens, then the potential horrors of humanity play out through a sense of the body: Ruby’s iconic poured-urethane drips coagulate to a standstill, the elongated form of TROUGH morphs into a gravesite and headstone into which Laying Figure could find eternal repose. The body encountered under perceived trauma triggers a primal reaction and piques our morose curiosity. Exhumation Standing’s calcified corpse looms over the viewer, pulling us closer to examine

Sterling Ruby, This Generation, 2007, wood, urethane, spray paint, denim, fabric, and fiberfill, 61 x 94 x 60 in. Photograph by Robert Wedemeyer. Courtesy of Sterling Ruby Studio.



Sterling Ruby, Sightseer, 2008, Formica, wood, and spray paint, 96 x 96 x 48 in. Photograph by Robert Wedemeyer. Courtesy of Sterling Ruby Studio.

its welded “scars” only to push us back with the abject notion that we see our own decaying body reflected back at us. Comprised of rebar and urban waste, the contorted ambiguous mass appears to have been pulled from the rubble of our contemporary ruins, colors from its rainbow patina disrupt the grave power of its mangled surface. Like Exhumation Standing, the towering scale of Elliptic Umbilic/ Fait Accompli forces us to reposition our bodies in relation to the object. The congealed entity threatens to engulf us, forging tension between our bodies and the spatial connection created by the sculpture’s presence. From the massive to the domestic, the works’ unrelenting shifts in scale keep us on edge as we are constantly having to negotiate our physical and psychological grounding. Much like Mike Kelley and Chris Burden, whom Ruby studied under, Sterling’s work exudes an unadulterated sense of its maker. “For me, the artists who I’ve found most influential were definitely channeling their own trials and tribulations, and there was sincerity in that effort.” Ruby’s sculptures convey this effort and have the power to transport us to a very dark space, the flame of a welding

torch not only guiding our way but the path of the artist as seeker of personal truth. “It’s a total outlet, which I have always argued for in regard to art. I think a lot of artists don’t think that art should be an outlet, or they don’t think that art should be something that isn’t completely seen from A to Z.” Ruby’s work has the undeniable capacity to conjure a somber, apocalyptic sense of the world, one in which the monolithic Sightseer has outlasted us all. The spray painted surface reads as if the work were incinerated along with everything else on a scorched earth, its unflinching square eyes surveying an unknown ominous landscape. However, in the ether of making, the busied body steadies Ruby’s mind. An unwavering belief in the value of creative labor feeds his pursuit. “It’s not just making a sculpture or a painting, maybe it’s working on an architecture project or maybe it’s working with a textile mill and seeing through the development of a different denim. It might take months, but the emotional place that it gets you to in the end is really special. It’s revelatory. I think that’s still, for me, very, very important. I wouldn’t be an artist if I didn’t feel that way.”P



Nancy Rogers with Jonas Wood, Pink Plant Patio Landscape Pot, 2016, oil and acrylic on canvas, 118 x 90 in.






n April, collectors near and far will make the annual pilgrimage to the Dallas Art Fair, using the opportunity to enjoy the well-heeled likeminded scene, check in with their favorite exhibitors, and, most importantly, expand their collections with contemporary artworks. Facing nearly 100 exhibitors representing hundreds of artists can be intimidating; however, the diverse collectors on these pages—Nancy Rogers, Megan and Carson Hall, and Geoff Green—offer guidance on how best to simplify the experience, relax, and purchase wisely.

Left to right: Stanley Whitney, Dream Walking, 2018, oil on linen, 72 x 72 in. © Stanley Whitney. Courtesy Lisson Gallery; Clare Woods, Meeting and Parting, 2018, oil on aluminum, 59.05 x 39.4 in. © Clare Woods. Courtesy of Simon Lee Gallery, London; Thilo Heinzmann, O.T., 2018, oil, pigment on canvas behind acrylic hood, 54.5 x 58.437 x 3.375 in. © Thilo Heinzmann / ADAGP, Paris, 2018. Courtesy of the artist & Perrotin.




Top: Ugo Rondinone, the logical, 2018, bluestone, stainless steel, concrete, sculpture, 61 x 23 x 15.5 in., plinth: 12 x 29 x 29 in., overall: 73 x 29 x 29 in. © Ugo Rondinone, Courtesy of Sadie Coles HQ, London; Bottom: Michele Abeles, 12H, 2018, dye sublimation print, UV print on Plexi, acrylic paint, 63.87 x 48.37 x 1.5 in. © Michele Abeles. Courtesy of Sadie Coles HQ, London. Photography by Robert Glowacki.



The meticulously groomed and gracious philanthropist Nancy Rogers has “tremendous pride in Dallas.” She believes, “Cultural institutions are the lifeblood of the city and Dallas/Fort Worth has become a legitimate arts destination built by pride and teamwork.” She plays a key role in that civic pride as countless institutions and events benefit from her exceedingly generous and unwavering benefaction. “I believe in supporting cultural endeavors and institutions, especially those in my community.” She does that and more, donating sometimes anonymously to countless philanthropic endeavors. She says her love of art collecting began through her affiliations with the Dallas Museum of Art and the Aspen Art Museum, located in the luxe ski town where she enjoys a second home with her husband Richard Rogers. “My museum involvement rewards me with an education that has developed my own collection. Museums are a great conduit for general information about artists, history, and culture.” The plentiful fundraisers have bolstered her collection with acquisitions made through the Aspen Art Museum’s ArtCrush and TWO x TWO for AIDS and Art—benefiting both amfAR, The Foundation for AIDS Research, and the DMA—which she chaired for two years consecutively. The latter institution is one of three beneficiaries of the Dallas Art Fair. The other two, the Dallas Contemporary and the Nasher Sculpture Center, also count Nancy among their patrons. Each year, prior to attending the Dallas Art Fair, she collaborates with her art advisor John Runyon, founder of Runyon Arts, who requests images from galleries of works by artists he considers as possibilities to add to her collection. “John will reserve some items in advance and together we navigate the fair in an efficient way. Art fairs can be overwhelming and exhausting. I find that preparation is key to my enjoyment and survival of the fair,” Nancy advises. It’s no surprise she gravitates toward art that offers a positive narrative. “Most of the works I own and live with are inclusive and present the possibility of interpretation.” She adds, “Generally, the artwork we own offers a positive message and viewing experience.” One such exemplary work in her collection is a neon piece by Tracey Emin acquired at the Dallas Art Fair from Lehmann Maupin Gallery. Emin wears her heart on her sleeve through her multidisciplinary practice and most of her pieces are autobiographical. “The work spells the narrative ‘Just Let Me Love You’ in the artist’s cursive handwriting. It projects this beautiful message from about 15 feet off the floor in a gallery room in my home.” For this year’s Dallas Art Fair, she looks forward to visiting with prestigious exhibitors Sadie Coles HQ and Lisson Gallery. Each is a firsttime exhibitor at the fair. “Both are world-class galleries from London and I am excited to see what they will bring to Dallas. Of course, I look forward to seeing longtime regulars of the fair, Galerie Perrotin and CANADA.” An experienced collector, her home is brimming with fine examples of today’s blue chip artists from large-scale works by Jonas Wood and Laura Owens acquired through the live auction at TWO x TWO (both were the artist honorees the two years she chaired the event) to Takashi Murakami, who just had a retrospective at the Modern Art Museum of Fort Worth, and she offers sound guidance for beginning collectors: “Seek advice from an advisor, museum professional, or seasoned collector.” Aside from the actual art purchases, Nancy takes advantage of the opportunity for learning and connecting with interesting people. “What gives me the most pleasure are the friendships formed and the common goals we share on the journey to make Dallas better.”

Clockwise from top left: Sarah Lucas, Red Sky Bha,, 2018, c-print, site size: 58 x 44 in., frame size: 59.88 x 45.13 x 2.38 in., edition of 3 + 1 A/P. Š Sarah Lucas. Courtesy of Sadie Coles HQ, London; John Henderson, Type,, 2016, copper, electrotype, 24 x 18 in. Courtesy of the artist & Perrotin; Paola Pivi, The eyes of high,, 2018, cast iron, engine, Struthio camelus feathers, 54.5 x 58.44 x 3.38 in.; Jim Lambie, Metal Box (Delhi), 2018, aluminum and polished steel sheets, gloss paint, 24.63 x 24.63 x 6.25 in. Š Jim Lambie. Courtesy Sadie Coles HQ, London.



Collector Geoff Green seated in front of three collage paintings by Deborah Roberts. Courtesy of Luce Gallery. Represented by Erin Cluley Gallery.

GEOFF GREEN Follow the Fund. Geoff Green and his wife, Sheryl Adkins-Green, use this as part of their strategy when navigating the Dallas Art Fair. The fund referred to is the Dallas Art Fair Foundation Acquisition Program. It uses grant money from the foundation and private donations to acquire work for the permanent collection of the Dallas Museum of Art. While the fund has tripled since its inception in 2016, Geoff emphasizes that the DMA is still on a relatively limited budget, though one that it will stretch as far as it can. Using the $150,000 allotted last year, the museum added seven pieces to its collection. The museum staff charged with making these acquisitions, Geoff suggests, do so in a thoughtful manner as opposed to an emotional whim. With deep connections in the art world, he sees the museum buying the work of truly up-and-coming artists. Among the artists whose work the Greens have purchased at the Dallas Art Fair are Derek Fordjour and Deborah Roberts. The couple has watched the careers of both artists soar. Geoff says of the fair, “You can get the work of people who are really going places. I’ve met 64


Left to right: Derek Fordjour, Sunset on York Boulevard, 2018, acrylic, charcoal, oil pastel on newspaper mounted on canvas, 60 x 42 in. Courtesy of Luce Gallery; Hugo McCloud, Untitled - Consumption stacks, pink, 2018, plastic merchandise bags on wood panel, 73 x 49 in. Courtesy of Luce Gallery; Stephen McKenna, Palm Tree Pillar, 2013, oil on canvas, 70.9 x 47.2 in. Image courtesy of Stephen McKenna Estate and Kerlin Gallery, Dublin.

Anne Lindberg, the reaching sun, 2017, graphite and colored pencil on mat board, 40 x 216 in. Image courtesy the artist and Carrie Secrist Gallery.

with both of these artists and that’s what makes it so special.” In the case of Roberts, the couple eventually visited her Austin studio, where they added some of her earliest work to their collection. In addition, they have commissioned new pieces from her. Since first discovering Roberts’ work, they have been delighted to see it turn up in publications such as The New York Times Magazine. While they enjoy having these works on paper in their home, Geoff says, “When you see it in print, it’s a validation.”   The Greens are also inspired by the diversity of artists on view at the Dallas Art Fair. The majority of the artists in their collection are African American. They are therefore especially appreciative that they can grow their collection of artists of color locally. Geoff is encouraged that these artists are represented by major galleries, an indication of their bright futures. Works acquired over two decades of travel and a decade spent visiting the fair form the core of the Greens’ collection. They began buying art on frequent visits to Montreal, which is where they discovered the work of Sébastian Maltais. Though they own several of his paintings, their large encaustic portrait of Billie Holiday is an

acquisition that resonates strongly for them. The couple relocated from New York to Dallas about ten years ago. They immediately jumped into the local art world, with Sheryl serving on the DMA Board and Geoff’s current involvement on the board of the Dallas Contemporary. “It opened up a whole new world to us,” Geoff says. That world encompasses the galleries they enjoy frequenting. Locally, this includes Erin Cluley Gallery, Talley Dunn Gallery, and Cris Worley Fine Arts. They also look forward to the art fair return of Luis de Jesus Gallery from Los Angeles as well as international stalwarts such as Beatriz Esguerra Art, Luce Gallery, and Pippy Houldsworth Gallery. While they are drawn to the international nature of the fair, they also appreciate how manageable it is on many levels. “The neat thing is that the Dallas Art Fair provides an entrée for anyone to afford,” Geoff explains.  Another part of their strategy is to get to the fair early. They regularly attend the Patron Preview, where they are among the first to see the art and can visit with other patrons. Finally, Geoff recommends, “Find something that speaks to you. If you really like it, buy it.” 



MEGAN & CARSON HALL For those who work in the art world, the Dallas Art Fair’s springtime return promises the dual possibilities of cultivating new collectors while simultaneously growing personal collections. Such is the case for art advisor Carson Hall and his wife, Megan. Art is bred into Carson’s DNA. The son of Ron Hall, an international art dealer, Carson grew up attending art fairs and, beginning in high school, working in the booth alongside his father. Native Texans, Carson and Megan met as students at Texas Christian University. Megan enthusiastically embraced collecting as their relationship grew. “Carson brought some paintings into the relationship. Once we got married, we started collecting together,” she says. Their first acquisition, Seascape I, is a work on paper by Roy Lichtenstein. They were drawn to it for different reasons. Carson explains that his early loves were the midcentury movements, notably Pop Art, Abstract Expressionism, and Color Field painting. The Lichtenstein, published in 1965, includes the artist’s distinctive Ben-Day dots, appealing to that Pop aesthetic. After bringing it home, he relates, “Megan said, ‘What is this?’” Her love of the beach, however, made it a work they could both admire. Ultimately, she asks, “What can

Top: Anne Lindberg, Parallel 43, 2014, graphite and colored pencil on mat board, 80 x 60 in. Acquired from Carrie Secrist Gallery; Bottom: Merlin James, Untitled, 1985, charcoal on paper, 11.6 x 16.5 in. Acquired from Kerlin Gallery.



we live with that makes us happy?” She adds, “I cannot live in a museum. The work has to be easy and livable.” Since then, they have amassed a collection reflecting venerated midcentury artists. Pieces by Color Field painters including Helen Frankenthaler, Kenneth Noland, and Adolph Gottlieb hang alongside the work of Abstract Expressionist icons such as Jasper Johns and Willem de Kooning as well as legendary Pop artist Andy Warhol. But the collection hardly ends with these 20thcentury luminaries. The Halls have developed relationships with and collected the work of living artists such as Teresita Fernandez, Bridget Riley, and John Holt Smith. They enjoy incorporating contemporary artwork among the midcentury masters. “It’s been fun to pepper in up-and-coming artists,” Carson says. Through

Megan and Carson Hall. Behind from left: Helen Frankenthaler, Mexican Dance, 1988, oil on canvas, 85.25 x 43.50 in., signed lower right; Sam Reveles, Cill Rialaig 1, 2013, gouache on paper, 21.25 x 40.87 in., acquired from Talley Dunn Gallery; Kenneth Noland, Circles, 1958, oil, sand, powdered glass, and textured silica magna, 24 x 24 in., signed and dated verso: Kenneth Noland ’58.

the past decade, they have made several acquisitions at the Dallas Art Fair from a geographic spectrum of galleries. Locally, they acquired their Sam Reveles from Talley Dunn Gallery. Anne Lindberg’s work came from Chicago’s Carrie Secrist Gallery. And they look forward to the return of international gallerists Simon Lee Gallery and Kerlin Gallery, representing Gary Simmons and Merlin James, respectively. (The Halls also own artwork by both of these artists.) In addition to making professional connections, the couple treasures the relationships they have forged over years that have blossomed into true friendships. But the greatest pleasure of collecting, they agree, is the ability to share the work with their two young children. “When you’re around it, you appreciate it more,” Megan notes. 

The Halls are invested in the local art community in myriad ways. In 2015, they were tapped to revive the DMA Forum, an educational group for new collectors at the Dallas Museum of Art. In addition, they currently serve on the Director’s Council of the Modern Art Museum of Fort Worth as well as on the Dallas Art Fair’s Host Committee. Both agree that the best way to approach the fair is to take time going through it and to ask questions. They encourage new collectors to get to know the galleries and, if possible, to meet the artists. This deliberate strategy is one Carson follows for every acquisition he makes, whether it is for a client or his family. Most importantly, he advises, “Research the artists. Do your homework. Make sure it’s something you really think you’ll love.” P





t was no surprise when J. Davis Hamlin and Margot Perot were selected by The Arts Community Alliance’s membership, comprised of venerated arts leaders and advocates throughout Dallas, as this year’s Silver Cup Award honorees. It was only a matter of time before these two humble guardians of the arts were asked to step out from behind the curtain and take their bow. Volunteering their time, energy, enthusiasm, and philanthropy behind the scenes to countless institutions—the Dallas Opera, Dallas Symphony, Dallas Black Dance Theatre, and Dallas Museum of Art in the Dallas Arts District alone—either of them could have been the inspiration for the words in TACA’s mission statement: The transformative impact of the arts and their ability to ignite intimate conversations that demonstrate respect, offer exploration, examine personal challenges, celebrate diversity, and tender hope, joy, understanding, and laughter.



J. Davis Hamlin donates his time and business acumen to Dallas Black Dance Theatre, the Dallas Symphony, and The Dallas Opera.




J. Davis Hamlin It’s a sumptuous Sunday morning when I arrive at Davis Hamlin’s house to find him fit, welcoming, and ready to forgive my late arrival, due to tacking west to get east—like Columbus—while avoiding virtuous but vexing street repairs popping up in unexpected places. A lot about Davis Hamlin is unexpected, too. But that can wait. First, there’s the lovely setting of his sitting room, with French doors that form a glass wall across the back, revealing a radiant view of Turtle Creek flowing a few feet away and an earthy stone bridge across it. Riders on bicycles are forever falling in, Davis notes. And over the years he has had to rescue numerous soccer balls, as well as small children. It’s a pleasant place to be as we talk about his love of the musical arts and the TACA Silver Cup Award about to be bestowed on him in March. “My mother was quite the opera lover,” he explains. She required that he, plus his older brother and sister, listen to the Met on the radio every other Saturday. “I didn’t realize how much I liked it until I was 15,” he admits. This was in Danville, Virginia, where Davis grew up. Simultaneously we both recall the folk song, “It’s a mighty rough road from Lynchburg to Danville, For the line has a threemile grade.” Called The Wreck of the Ol’ 97, this is a true story about a railroad man who sees a catastrophe coming but cannot throttle down in time to save himself or the situation. There’s a cautionary ending: “So come all you ladies, you must take warning, From this time on and learn, Never part on harsh words with your true and loving husband, For he may leave you and never return.” It sounds operatic and might have been if Puccini ever had visited Virginia. He did write a couple of Davis Hamlin’s favorites though— La Bohème and Tosca. Davis also is a fan of Wagner, which means he must have been pleased when the Dallas Symphony did Die Walküre in concert last season. It is the Dallas Symphony after all, that has first call on his affections. He’s done everything on the board— finance, audit, and personnel, where as vice president he “knew too much about the players and it was distracting” during concerts. He has served on the search committee for several conductors though was not involved in the latest coup, Fabio Luisi. Morton Meyerson chaired that effort, and while Davis was not with him in this project, the two of them have worked together many times on many fronts. They both joined Ross Perot’s Electronic Data Systems “within six months of each other,” Davis relates. But not before he had spent seven years at IBM, having studied economics at the University of Virginia, served in the Navy, then returned to UVA for graduate work in electrical engineering. He was supposed to go to the Virginia Military Institute like his father and brother, but he got tired of living in Jimmy Hamlin’s shadow. So Davis started a family tradition of his own, sending two of his three sons to UVA’s elegant campus, much of it designed by Thomas Jefferson, along with five of eleven grandchildren—so far. Right out of graduate school he married Winborne Leigh, known as Winnie, herself having just earned a Master’s in English at Johns Hopkins. Together they plunged into life at IBM in Lancaster, South Carolina, and Atlanta, also Poughkeepsie and White Plains, New York. That’s where Davis was working, as a systems engineer, when Ross Perot heard that he was just right to help with a project

in Brooklyn. Mitch Hart of EDS made the call, inviting Davis to Dallas. Reluctantly, since the Hamlins had two babies and a new house in White Plains, he agreed to come. Ross met the plane at Love Field and off they went to his house where Margot Perot, also a TACA Silver Cup Award winner this year, was on the front lawn, playing soccer with Ross Jr. and his sister Nancy. An offer to join EDS soon followed, in Brooklyn. Not Brooklyn, Davis responded, he would rather return to the South. How about Atlanta? Atlanta it was. Winnie took down the new drapes in White Plains and off they went to a soaring enterprise where they flew high for 28 years. Though a technical guy, Davis in time became chief financial officer. “Handle Wall Street” were Ross Perot’s instructions. Ross insisted that Davis was perfect for the job since he had won the Jaycees’ BS Award in South Carolina. It all seems so tidy, with everything put right, until Davis shows me his metal and woodworking shop in the garage. It’s impossible to take it all in: filling every inch where two cars could be and spilling out onto the driveway, near the deck he built himself, are an air compressor to fix flat tires, a table saw, a circular saw, a lathe which “takes square things and makes them round.” Before I can get my bearings Davis, alive now with the enthusiasm of utter enchantment, hurries me upstairs to his office, where it’s even wilder, more madly congested, surely what physicists would recognize admiringly as pure chaos, precursor to pure creativity. Amidst a 3D printer, a rowing machine, free weights, a white drone, a splendid sword from Japan, a desk somewhere beneath an avalanche of papers (“my finances” he says), photographs of Naval vessels, a gunmetal gray model of the USS Wisconsin on which he was an officer, a collection of small, exquisitely carved canoes, several CDs, a spear from an African safari, a heavy round nautical clock, and a UVA flag, I spot at least four eagles, in brass and white plaster, some quite imposing as they are meant to be since they are emblematic of Ross Perot, his company, his ethos. “Eagles don’t flock,” he always said. “You have to find them one by one.” “This is me,” exclaims one of those eagles, gesturing at the bedlam that surrounds us. This is Jefferson Davis Hamlin, more complex than I at first had understood. We leave his cluttered lair and return to the order of the sitting room where I discover that behind me as I earlier had sat on the sofa without noticing, is a commanding portrait of Lt. General John Thompson Brown in full Confederate regalia. The great-grandfather of Davis, he was wounded in battle and left for dead when an African-American woman—a slave soon to be declared a citizen—discovered he was breathing, dragged him to her cabin, plugged a wound in his neck with a hard-boiled egg and saved his life. “I cry a lot,” Davis confides; “I didn’t used to.” Well don’t we all? There is a lot to weep about, even in a life as exemplary as that of this son of two planets: the Old South and new-world technology. His contradictions are our contradictions. The resolutions he pursues— from the action and introspection of the shop to the reassuring rhythms of music—are resolutions we pursue as well. Davis Hamlin did not set out to be a lighthouse. But that is exactly what he is.

"With thoughtfulness, decisiveness and grace—without seeking recognition—Davis Hamlin has worked diligently for decades behind the scenes to guide strong oversight and stewardship of several Dallas arts organizations. At the end of the day he believes that music and the arts have an enduring impact on Dallas citizens." –Wolford McCue Carlson, President and Executive Director of TACA, The Arts Community Alliance 70


Margot Perot Everybody loves and admires Margot Perot. She is “solid as a rock,” says Davis Hamlin, once of EDS and currently her co-winner of the TACA Silver Cup Award. She “never changed,” said Morton Meyerson at the 20th anniversary celebration of Perot Systems which he once ran as he did EDS. Margot sees “people and situations in the best possible light,” adds photographer Laura Wilson. “I am honored to have been her friend for so many years,” Roger Horchow chimes in. There is about Margot Perot an aura of uncomplicated kindness, genuine good will, and contentment as a matter of habit, buttressed by discipline and savvy, but not an excess of those lest they cloud the natural sunshine of her disposition. In Margot Perot it’s impossible to discern any of those little foxes that spoil the vines. For her the vineyard always is in bloom, if only in the imagination of her heart. She is, after all, a realist. And when it comes to the question of foxes and hedgehogs, my bet, with nothing approaching proof, is that Margot is a hedgehog, who knows, not many things as foxes do, but one big thing, like the hedgehog conceived of and, I suspect, preferred by Isaiah Berlin. If true, that one big thing, hidden from the world around her, has governed her life. Margot Perot was the baby of her family, born in Pittsburgh to a father whose first wife died in the flu epidemic of 1918, leaving him with a five-year-old daughter. He remarried and four more girls arrived, the last being Margot, adored by all as the youngest always is. She would have four daughters of her own, plus first-born Ross Perot Jr., reversing the pattern since he, in some respects became the idol of the household. At least, she admits, those hired to help with the children thought “he could do no wrong,” while Nancy, Suzanne, Carolyn, and Katherine were admonished “to clean up their rooms.” Margot grew up mainly in Greensburg, Pennsylvania, where her family moved, then went to Goucher College in Baltimore. While there she chanced to meet a midshipman 30 minutes away, in Annapolis, at the US Naval Academy. She was a sophomore, he a senior. His name was Ross Perot from Texarkana and Margot was getting really interested when he graduated and shipped out on a destroyer. They didn’t see each other for 10 months, but letters flew back and forth across the oceans. She wonders now what to do with them. Does she want anybody else to read all that? “I might edit them,” she muses. It would be a pity if they were not part of the Perot archive, somewhere. “He went around the world,” she points out, “and had great observations.” The Korean War was just ending, and a truce was about to be signed. The guys on board were nervous about being so close to what still was a war zone. Maybe, she speculates, that was why they flocked to church services Ross was required to lead. He “thought he might be another Billy Graham” she says, except that once the truce was official, attendance dropped off, a lot. No evangelical career for Ross Perot, she wryly observes. But he had other duties, such as looking after the sailors when at liberty, on shore. The youngest officer on board, he was spotted, early on, as a leader. Margot has her own band of adherents. For years a dozen women flocked to her house for strenuous exercise, four days a week. The group now is eight, she reports, though ten send their checks to pay the trainer. Laura Wilson, long a mainstay of the group, also found a yoga instructor for her and Margot, for a fifth day. Margot Perot has created a home for friendship as well as family and for art as well as the active life. On the walls are masterpieces

by Renoir, Monet, and other glories of Impressionism. One of them was serendipitously important to Rick Brettell, director of the Edith O’Donnell Institute of Art History at UT Dallas. “I had just finished a book about Pissarro and the French town of Pontoise…” he wrote in an email. “The publisher asked me which painting I wanted for the cover. I told them a view of Pontoise which was in a private collection I knew nothing about. They told me no, because they would need to contact the owner. Imagine my surprise when Margot showed it to me on a tour of her home. She said yes immediately…” Margot has said “yes” to many people many times, including iconic Dallas women such as Margaret McDermott, Ruth Altshuler, Caroline Hunt, and Annette Simmons, who appear in photographs in her sitting room along with Roger Staubach and Troy Aikman, at various civic events. Then there’s a picture of Ross, Margot, and their daughter Katherine, covered with campaign buttons, during his history-making run for president in 1992 when he won an astonishing 19 percent of the vote. Family brides dominate the piano, and here and there and everywhere are shots of the 16 Perot grandchildren. Amidst the monumental French art also is an appealing piece by David Bates, who lives in Dallas, and a lovely watercolor of the coast of Bermuda, a favorite Perot retreat. This, Margot explains, was a gift to her from Ross Jr. With an obvious taste for elegance, Margot gravitated, inevitably, to the Dallas Museum of Art where she was a volunteer, a docent, and, in time, chair of the board. “Her strong backing of Decorative Arts” has been essential to the DMA, wrote cultural leader Caren Prothro in an email, and she has “supported curatorial services” that have done much to advance “collections and education.” Moreover, Margot presided over a 100-hour extravaganza staged when Bonnie Pitman was director to celebrate the museum’s 100th birthday and asked trustees to join her in greeting everyone at the front door. “She was an amazing chair for 100 hours,” emailed Pitman. “Gracious, creative, and supportive of the staff who worked and people who came. I could not have done it without her.” Music is as vital to Margot as the visual arts. Currently a vice chairman of the Dallas Symphony and mainstay of the Dallas Opera, she explains that her mother, like that of Davis Hamlin, loved opera and always timed her visits to the young Perots to coincide with the fall season mounted in those days by the phenomenal Larry Kelly and featuring such greats as Maria Callas, Joan Sutherland, and Plácido Domingo, whom Margot has gotten to know. She sang in an octet in college and also as second soprano in the Goucher chorus, where oratorio and works of the 19th century were the order of the hour. Then there was singing at home, often from the same Rodgers and Hart Song Book that sits now on the music rack of her piano. Margot has been known, too, to join a vocal group clustered around the piano at Roger Horchow’s, with his accompaniment keeping everyone in key. Wandering into the spacious room where Margot has her desk, I spot a model of the Perot Museum of Nature and Science, a fantastic building by Thom Mayne with so much excitement inside that you had better get out of the way when kids come rolling in at 10:00 a.m. She keeps her laptop neatly on a table and nearby, behind a door that can be closed, the pleasant clutter of a busy life. She opens that door briefly and pulls out a small photograph, maybe one inch by two, of three little girls, stair-stepped in ages, dressed pretty much alike, all of them admiring a baby in frothy white with a bonnet to match. That baby is Margot with her sisters. “I look at it every day,” she says. P



Margot Perot's arts stewardship is well-regarded through her volunteerism with the Dallas Symphony Orchestra, The Dallas Opera, and the Dallas Museum of Art.

"Margot Perot’s quiet and informed leadership has made an extraordinary difference in a breadth of performing and visual arts organizations over the past several decades. Intuitively she understands in a city as diverse as Dallas that the arts can bring people together like nothing else." –Wolford McCue Carlson, President and Executive Director of TACA, The Arts Community Alliance 72


Image caption here and opposite.




Entrance to Park House featuring Tony Oursler, Cam-Camo-Crush, 2014, film, video, aluminum, acrylic paint, one LCD screen, 42.5 x 43 x 2 in.


t’s early February last year when I first visit with Deborah Scott regarding the buzzed-about Park House, a private social membership club that just opened in Highland Park Village in December. Deborah, a globetrotting New Zealand native living in Dallas, is one of four admired founders among a group which also includes her husband John, the much-loved former President and CEO of Rosewood Hotels, Megan Wood, an orthopedic hand surgeon, and her husband Brady Wood, who is one-half of the genius behind WoodHouse, an entertainment, hospitality, and advisory firm he helms with his brother Brandt—the creators of José on Lovers Lane.




Top row, from left: Matt Kleberg, Soapbox, 2017, oil stick on canvas, 20 x 16 in.; Allison V. Smith, Giant. McCamey, Texas, 2016, chromogenic color photograph, 30 x 30 in.; Samantha McCurdy, Turmeric and Double Nude, 2018, wood, spandex, and latex, 24 x 9 x 8 in.; John Pomara, Divorce Court, 2007, oil on enamel on aluminum. Bottom row, from left: Kristen Skees, Radiant II, 2016, archival inkjet print on Hahnemühle photo rag paper; Maximilian Schubert, Untitled, 2018, resin, fiberglass, and oil paint; Danielle Kimzey, Grouping Pairs, 2016, gouache on panel; Nan Coulter, August 21, 2017, 2017, archival inkjet print; Paul Winker, Untitled, 2017, acrylic and enamel on canvas, 33 x 25.5 in.

Allison V. Smith, Giant. McCamey, Texas, 2016, Chromogenic color photograph, 30 x 30 in.

Left to right: Hans-Jörg Mayer, Why Not, 2017, acrylic on canvas, 50 x 40 in.; Bruce Nauman, Soft Ground Etchings - Yellow, Coral, Lavender, 2007, three color etchings, 29.5 x 39 in. each, collection of John and Lisa Runyon.



Top, above dining table: Fernando and Humberto Campana, Sushi Mirror (T Grand Green), 2012, pictures, wallpapers, mirrors, frames, silver mirror, carpet, rubber, EVA and fabrics, structured aluminum and stainless steel. Below: David Korty, Commission, 2018, paper, flashe, and ink on canvas.



“The seed of Park House was planted when long-time biking buddies, John and Brady, were mountain biking the hills of Aspen one summer eight years ago,” Deborah shares. The “need for a comfortable, dynamic venue to gather, work, and dine,” was the order. That seed became a reality when, scouting locations a few years later, Brady Wood glanced up at the top floor of Highland Park Village above Starbucks and Chanel at what would ultimately become the club’s future location. Meanwhile, while living in London, the Scotts were actively joining and researching successful private social club models such as 5 Hertford Street, Annabel’s, The Arts Club, and the seven London Soho Houses. “The Arts Club in particular is a favorite of ours and has an amazing permanent collection in addition to many rotating exhibits each year, some solo and other grouped by gender, medium, or subject. We were also inspired by their interior design—comfortable, chic and elegant—a perfect background for their art to shine.” Which makes sense, as the founders are immersed in the arts. “[Art] was a strong driver in the overall decor of the club and ensuring that the spaces felt personal.” Four people can be three people too many in decision making, so the couples tapped John Runyon of Runyon Arts to curate the permanent collection as well as design and implement a multi-layered art program. “We’ve been working with John since the 90s when we owned the Green Room and he had his gallery in Deep Ellum next door,” says Megan Wood. “Working with someone we knew and trusted was a no brainer,” she notes.

Occupying the entire top floor, with three private dining rooms and event spaces, four bars and lounge areas, an outdoor patio (with a developing artist-inspired water feature by Sarah Crowner), and fresh views of Dallas, the club is vast and needed a lot of art. Knowing both couples for many years, Runyon combined their “collective energy” in his edits: “It was clear to me that an austere or minimal art presentation was not going to work for this group or this setting. Their opinions and input were integral to the development of this collection.” Park House’s art program is essentially three-pronged. The permanent collection boasts commissioned works by Dallasbased artists Nic Nicosia, hanging in the main dining room, and Francisco Moreno, who painted the ceiling in the Peacock Parlour along with a salon-style wall that includes works from local artists and gallerists. “We definitely wanted to have something that represented Dallas and a connection to the local art community. Danielle Kimzey was my neighbor and I used to babysit her. Allison V. Smith took the photograph Giant, 2016, which had been the Coyote Drive-In that Brady owned,” says Megan. Other local artists include John Pomara, Paul Winker, and Nan Coulter, whose August 21, 2017, a portrait of Margaret McDermott watching the eclipse, is bound to spur recollections of the late grande dame of the arts.

The second part of the program includes loaned work from club members and galleries, of which Runyon says he is particularly proud. “We requested specific works that fit the curated program and they all graciously accepted. Now the lenders and club members can share and enjoy the artwork in this special environment, while providing visibility to these works. This adds another element of camaraderie and intimacy to the club.” The loans include Yasumasa Morimura’s Self Portrait (Actress) After Marlene Dietrich 1 from The Rachofsky Collection; a suite of six screen prints by Ed Ruscha, News, Mews, Pews, Brews, Stews & Dues from the collection of Christen and Derek Wilson, produced by the artist in the early 70s during an extended stay in London; and Lisa and John Runyon’s Soft Ground Etchings: Lavender, Coral, Yellow by Bruce Nauman. On loan from the Baldwin Gallery in Aspen, Tony Oursler’s CamCamo-Crush is the observing eye that greets you when you step off the elevators. The third part of the arts program is the rotating exhibition space in the hallway leading to the club’s offerings. It’s here amid the dust and progress of pre-opening that I meet London’s Charlie Billingham—the inaugural featured artist. At first glance, Billingham is someone who one might imagine shyly observes the wry humor in life. Quiet, and at once kind, his

Left to right: Nic Nicosia, AM PM II, 2018, graphite on Arches cold press; Nic Nicosia, 24 Hours (Second by Second), 5.29–6.27.2018, graphite on paper.



Top, from left: Charlie Billingham, Mrs. Pepys, 2018, oil on linen; Charlie Billingham, A Well Deserved Break, 2018, oil on linen; Charlie Billingham, Blockbuster, 2018, oil on linen; Charlie Billingham, Untitled, 2018, oil on linen. Courtesy of the artist and TravesĂ­a Cuatro. Bottom, from left: Charlie Billingham, Royal Rumble, 2018, oil on linen; Charlie Billingham, No Offence, 2018, oil on linen; Charlie Billingham, Strawberry Split, 2018, oil on linen. Courtesy of the artist and TravesĂ­a Cuatro.



Charlie Billingham, Tight Rope, 2018, oil on linen. Courtesy of the artist and Travesía Cuatro.

practice is inspired by Regency-era satirical prints. Choosing this artist for the inaugural exhibition, Runyon reveals, “I saw reproductions of Charlie’s work in digital and print publications, but the real impact came from a first-hand interaction with the works at an art fair I attended in New York last year. Charlie block-stamped the walls and installed his work directly on top of his repeating imagery.” Shown by Travesía Cuatro in Madrid, “I had never seen anything like it. The English connection and the playfulness seemed just perfect for the inaugural Park House exhibit and our Park House art committee agreed.” Deborah Scott concurs, “I loved that he was from London, the inspiration for much of the Park House experience, and that he works in such a dramatic, colorful way.” Billingham’s early stimulus took the form of eight George Cruikshank prints, “from his Monstrosities series, which show groups of people in London in the early 19th century in exaggerated fashionable clothes.  They were hung around the house and from a young age they had a great impression on me.” Though, “It wasn’t until later in my life when I studied at the Royal Academy Schools that I started to research and look into them and other prints from that period in more detail, and to use sections in my art.” For Park House, Billingham block-printed the corridor with painted bows reminiscent of a formal living room atop which the paintings are mounted. “There is a long history of using bows and ribbons as motifs in wall decorations and I believe it works well with paintings.”  Not at all akin to the outsized personalities cropped and distorted in his works, he illuminates, “Most of the paintings

in Park House are from sections of drawings and prints by Thomas Rowlandson—I was looking at crowds and scenes of fighting and brawling.” In evidence, fists in Royal Rumble, and what appears to be a boxing match in No Offence, display such fracases, as does the scuffle in Tight Rope where an arm thrusts into one side of the canvas to pull the braid of a man who runs out the other side. Sagging britches beneath big bellies and other exaggerations in A Well Deserved Break, Strawberry Split, and Untitled, are equally lively. “Paintings, especially ones made out of oil paint, are made of fat, so the more corpulent parts of the body lend themselves as good subjects,” expands the artist. “We see Park House as a place to nurture art talent through our rotating exhibitions,” Deborah Scott says. “Charlie is a humble, sweet guy who came into the middle of a construction zone with dust flying, went to Home Depot to buy his supplies, and got to work over a three-day period to stamp the walls and position his art. We then put his works back in storage, covered the walls in foam wrap, he returned to London, and construction started again. When we were ready to reveal his art, it was a quick transformation from a dusty hall into the beautiful space you see now with the marble floors and his stunning, humorous works to welcome you into Park House.” The artist will “return to Dallas for a celebration of the space and the exhibit.” Runyon concludes, “Park House is a place to socialize, work, and relax. In total, the collection provides a high energy, multimedia backdrop for all of these scenarios. There are discovery opportunities throughout the entire club. The artwork projects playful sexy sizzle in certain locations and quiet, non-objective respite in others.” P




all the same

MTV RE:DEFINE HONOREE MARC QUINN TAKES ON THE GLOBAL REFUGEE CRISIS ONE DROP OF BLOOD AT A TIME. Marc Quinn, Zombie Boy (City), 2011, bronze, 70.07 x 22.04 x 13.77 in. © Marc Quinn. Courtesy of Marc Quinn Studio.


arc Quinn has been coming to Dallas since the early 90s when his “blood head” sculpture Self, a cast of the artist’s head created from 10 pints of his own blood, entered the Rachofsky Collection. “I generally find Dallas to be one of the most interesting communities in the US and, in fact, the world. It’s a community I want to engage with and support as well,” shares Quinn, who will be fêted as this year’s MTV RE:DEFINE honored artist on March 29. Quinn (b. 1964) is a contemporary British artist, and among the preeminent YBAs (Young British Artists), who investigates “what it is to be a person living in the world” through his museumcollected artworks exhibited internationally at notable institutions such as the Tate, the National Portrait Gallery, and Amsterdam’s Stedel ijk Museum among others. Addressing mank ind’s relationship to nature driven by human desire, the perplexities



of identity and beauty, and the urgency of social issues of today, Quinn’s practice spans sculpture, painting, and installation. Considering him the ultimate humanitarian, Dallas’ very own humanitarians, Joyce Goss and Kenny Goss, selected him for the award. “Marc personifies a man who is truly committed to philanthropy and support for MTV RE:DEFINE and other important causes.” The duo are the co-founders of the auction and gala, now in its eighth year, which benefits the MTV Staying Alive Foundation and for the first time this year will award financial support to a postgraduate fine arts student from one of the world’s premier fine arts scholastic programs as they transition to the professional world. Marc Quinn is happy to support their efforts. “Kenny and Joyce have been really close friends of mine for a while now, both through their collection and they had a show for me in their old space.”

Marc Quinn, Self, 2006, artist’s blood, stainless steel, Perspex, and refrigeration equipment. © Marc Quinn.




Visualization of Bloodcube housed in its Norman Foster-designed pavilion [outside the New York Public Library]. Photograph: Marc Quinn studio/Human Love Worldwide/Norman Foster Foundation.

Marc Quinn. Courtesy of Marc Quinn Studio.



The self-titled survey took place in 2009 at The Goss-Michael Foundation in partnership with the Rachofsky Collection. On being honored this year he emphasizes, “It’s a great thing to receive in Dallas. I’ve made a special new piece, which will be debuted at the auction, based on hands holding each other. It’s from a whole new series about the different ways of communicating with each other. It’s about the human touch. The sculpture looks like something from a classical civilization as well as space age.” Quinn, who consistently donates artworks to RE:DEFINE and attends the event regularly, sat next to Nancy Nasher and David Haemisegger at the seventh annual gala held at NorthPark Center last year. “I went to actually visit Nancy Nasher’s parents’ home with Howard [Rachofsky] at the same time I installed Self in the 90s, but I didn’t meet Nancy until much later. It was so great to finally meet her through the Nasher Sculpture Center. Then I went to NorthPark, which is an extraordinary idea to put museumquality art into the reach of ordinary people…this is something I’m really interested in. If you put great art in front of people who are not interested in art, you awaken their interest in art.” The last couple of years have been demanding of the artist as he tackles Bloodcube, a project he began with a sketch drawn on the wrapper of a bar of chocolate on a plane trip from China to London. Quinn was inspired to do something about the crisis in 2015, “when there was the first hit of refugees coming from Syria.” The project, drawn from the blood of 5,000 people, both refugees and non-refugees, will open late this year on the steps of the New York Public Library, which since 1895 makes knowledge

and education accessible to all. It’s also a location selected by the artist because he wanted an architecturally significant site that many people would see. Comprised of two identical metric ton cubes of blood, the public sculpture will be housed in a pavilion designed with Norman Foster and his foundation. “It’s a massive logistical undertaking; and we’ve been working on it (me and my team) for two to three years. It’s really about the idea of blood. Your blood, my blood, and refugees’ blood; it’s all the same. Under the skin we’re all the same.” Each cube will be one of solidarity with equal parts refugee and non-refugee blood collected. Indistinguishable between one another, donated blood has been collected from mega-celebrities like Sir Paul McCartney, Kate Moss, Bono, Sting, and Jude Law, among others; each has recorded a video that will be screened publicly on billboards and elsewhere in host cities. The other half of the blood comes from resettled refugees who tell poignant stories, via video recording, of their journeys, most forced from their homes seeking asylum, usually to nations right next door that may be in bad shape as well—two of the most prominent are models Angok Mayen and George Okeny. Bono, a longtime activist of human rights who uses his talent and fame to address inequalities, said this in his video: “I’m Irish. If America had closed its door to the Irish during the famine 150 years ago, I wonder what would have been our fate.” Like the refugees, the Bloodcube project is a work of migration that will travel from New York to the non-Western world through Europe and eventually Lebanon, which has the most refugees per capita of any country. “Every time I install it I want it to bring out a different aspect.” All of the monies raised from the artwork will be donated. Quinn created the nonprofit organization Human Love to be the distribution vehicle for funds raised through the project. He is working closely with the International Rescue Committee who will distribute 50 percent of the money, while the other 50 percent will be dispersed by Human Love’s board of trustees to other displacement-focused organizations. People can donate $25,000 to the charity and guarantee their blood will be included in the cube, giving Dallas denizens a unique opportunity to participate. “Now more than ever we need to emphasize that shared humanity. We’re human beings; the refugee is not alien. They’re the same as us with hopes and dreams. They might be great artists, writers, minds, and souls who will enrich the world one day.” Quinn returns to Dallas at the end of March to receive his richly deserved MTV RE:DEFINE honor. It’s a city he feels comfortable in. “So many people in Dallas are doing incredible things in the arts sphere…which, really, I can’t think of another place that compares with it.” P Top: Marc Quinn, Sky, 2006, human placenta and umbilical cord, stainless steel, Perspex, and refrigeration equipment, 80.68 x 25.56 x 25.56 in. © Marc Quinn. Photograph by Stephen White. Courtesy of Goss-Michael Collection; Middle: Marc Quinn, Nicolas Grogan - Insulin (Diabetes), 2005, polymer wax and drugs, 14 x 74.43 x 33.06 in. © Marc Quinn. Photograph by Stephen White. Courtesy of Goss-Michael Collection. Bottom: Marc Quinn, Emotional Detox: The Seven Deadly Sins VI, 1994–1995, Edition of 2, cast lead and wax, 33.87 x 21.67 x 15.75 in. © Marc Quinn. Courtesy of Goss-Michael Collection.






Image caption.

NEON LIGHTS Illuminate your wardrobe with electrifying looks this spring.

This page: Carolina Herrera halter gown with ruffle hem at Carolina Herrera, Highland Park Village. Opposite: No. 21 dress at Elements; Temple St. Clair 18K yellow gold Tolomeo pendant featuring eight concentric rings on axis set with sapphires and round brilliant cut diamonds on an 18K yellow gold multi-color sapphire necklace with round bezel-set stones, at Eiseman Jewels, Northpark Center; Cathy Waterman multi-sapphire fringe earrings from Ylang 23. Styling by Nelly Adham, RR&Co; Hair and makeup by Sari Domi, Kim Dawson Agency; Model: Laura Persons, The Campbell Agency.





Tom Ford pink feather skirt at Tom Ford, Highland Park Village.

Maison Margiela silk crewneck bodysuit and shiny tech-taffeta pleated trousers; Neous Opus ball heel slide. All at Forty Five TenFEBRUARY on Main.

/ MARCH 2019


Akris silk scarf with portrait print; messenger bag in 3D Portrait; yellow envelope clutch in cervocalf leather at Akris, Highland Park Village.



Roberto Cavalli red romper /atMARCH Roberto Cavalli, FEBRUARY 2019 NorthPark 89 Center.

Adam Lippes double-face merino turtleneck and wide-leg duchess silk culottes at Forty Five Ten on Main; Versace floral print slides at Versace, NorthPark Center.



Versace blazer and floral pants, Versace, NorthPark Center; Goshwara 18K gold Gossip earrings set with two emerald-cut blue topaz and two emerald-cut peridot surrounded by round pink sapphires at Eiseman Jewels, NorthPark Center.




Brandon Kennedy, Lindsay Roche

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Kara Goss, Randall Goss

4152 Cole Avenue Suite 103 Dallas, Texas 75204 214.252.9604 Lynn McBee, Joyce Goss, Shelle Sills







Yee I-Lann, Through Rose-Coloured Glasses, installation of inkjet prints. Courtesy of the artist.


hythmic thumping of drums and clashing symbols announce the arrival of the Lunar New Year. The Crow Museum of Asian Art has traditionally welcomed Chinese New Year in the Dallas Arts District. Last year, NorthPark Center approached the museum about expanding the event into the shopping center. Attendance estimates suggest a tripling of the crowd size. According to Alyssa Arnold, Director of Programs and Engagement at the Crow Museum, “It was a trial at NorthPark. It turned out to be amazing.” And so it is that on February 9, NorthPark Center, in conjunction with the Crow Museum, will welcome the Year of the Pig. The venue change is consistent with the museum’s evolution. As part of its 20th anniversary celebration, the institution unveiled an expansion with a new name reflecting its broad mission and diverse constituency. This growth includes partnerships such as the one with NorthPark. Arnold says, “It offered us a new opportunity to rethink our festival.” She adds, “It’s in a shopping center, which is more typical of what you see in Asia.” According to Andrea Devaldenebro, Director of Tourism at NorthPark, “Many of our international retail brands have been celebrating Chinese New Year individually for many years. In continuing our support



of the arts, community and commerce, we feel a partnership with the Crow Museum through their Chinese New Year celebration is a natural collaboration to create more awareness about the festival and develop special experiences for our visitors.” Festivities highlights include traditional lion and dragon dances. Other live performances will include martial arts demonstrations and musical performances. The day will also feature mind-body classes, craft projects, and cultural education activities. Social artist Jin-Ya Huang’s interactive work The Wishing Tree will return as part of the continuing partnership between the Crow and Make Art with Purpose. Working in conjunction with the staff at the museum, NorthPark’s curatorial team has organized Through Rose-Coloured Glasses, a site-specific installation by Malaysian artist Yee I-Lann, on view through February. “The most exciting aspect of having this event at NorthPark is seeing so many of our visitors participating in and learning about the many rich traditions of the Chinese culture,” says Kristen Gibbins, Executive Director of Marketing and Strategy. She notes, “a record-breaking crowd of more than 100,000 visitors attended last year’s celebration. We look forward to growing our partnership and offerings each year through this very special collaboration.” P


Westlake - Quail Hollow | $9,500,000 Kelly Marcontell | 972-743-9171 / Susan Gilchrest | 817-718-1242



Dallas - Glen Abbey | $7,995,000 Cindy O’Gorman | 972-715-0190


Dallas | $3,925,000 Kay Weeks | 214-676-8230

Old Preston Hollow | $3,900,000 Shelly Seltzer | 214-507-0581



Turtle Creek | $3,550,000 Martha Morguloff | 214-354-5266 / Danna Morguloff-Hayden | 214-533-3217


©2019. Equal Housing Opportunity.

Uptown | $3,325,000 Alan Levy | 214-535-1777

Profile for Patron Magazine

Patron's 2019 February/March Issue