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LAUNDRY LIST: COLLECTOR’S PREVIEW

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

February / March 2018

TERRI PROVENCAL Publisher / Editor in Chief

Arts coverage is the backbone of what we do here at Patron, so when we have the opportunity to visit with multiple artists and collectors in a single issue we know we’re in for a treat. This issue finds us catching up with Marguerite Hoffman who graciously shared a sampling from her outstanding collection installed in the divine Garden Pavilion designed by the late Bill Booziotis. She tells arts writer Nancy Cohen Israel that she’s growing the breadth of female artists in her collection. “Often the work refers to women’s bodies or to the roles that are traditionally relegated to women.” One of these artists is Renate Bertlmann, whose Washing Day, 1976–2014, graces our cover, reminding all of the significance of the female voice. William Carr has been a Dallas Art Fair champion since its inception and serves as a director of the Dallas Art Fair Foundation. In Home Grown we visit with him and partner Michael Pappas to discuss their ongoing commitment and art that appeals to them coming to its 10th edition this April. Shannon and Dallas Sonnier are also Dallas Art Fair enthusiasts. Self-described as “new to collecting,” the Sonniers have enjoyed their recent acquisitions and shared works they are eyeing from among the fair’s upcoming exhibitors. In our Contemporaries and Studio departments we checked in with three artists, two Dallas-based—Otis Jones and Paul Winker (whom we’re grateful to have in our backyard)—and Bret Slater, a Southern Methodist University MFA graduate who began his career here before moving back to his native New York. Together they embody the life of an artist from emerging to represented to established, an ongoing investigation to produce new work. We were sorry to lose Alan Kagan and Eduardo Moncada who moved from Dallas to their beloved Santa Fe, but thrilled they opened their new mountainous home to Patron readers, instilled with distinguishing thumbprints from our hometown. Alan, a developer who worked with Far + Dang architects, created a modern dwelling that brims with art from local galleries. Peggy Levinson gives details in Santa Fe Modern. Enjoy the natural beauty of the Land of Enchantment, knowing Texas is underscored. Meanwhile, Lee Cullum shares the particulars of the magnanimous efforts of this year’s TACA Silver Cup Award Honorees, Julie Hersh and Don Stone. Awarded for outstanding arts leadership and volunteerism, the pair embodies TACA's mission: “Transforming lives through the arts.” Next, Lee describes the underpinnings of The Dallas Opera’s upcoming premiere of Dutch composer Michael van der Aa’s Sunken Garden. Integrating video and 3D technology, the opera examines an imagined barrier between life and death. One Step Beyond again commits to an artist from the area. Here, photographer Shayna Fontana integrates the work of Manila-born, Dallasbased sculptor Dan Lam whose Squishes, Drips, and Blobs fascinate in their otherworldly appearance. A cosmic treat, the images pay homage to early spring fashion. We hope readers will enjoy these stories as much as we did producing them. As always we look forward to the “laundry list” of things to see, do, and discover in the region. – Terri Provencal terri@patronmagazine.com; Instagram terri_provencal and patronmag

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CONTENTS 1

FEATURES 58 ABOVE & BEYOND Lobbying for the Arts, Julie Hersh and Don Stone are the 2018 TACA Silver Cup Award Honorees. By Lee Cullum 62 PRIVATE VIEW Marguerite Hoffman will welcome Dallas Art Fair exhibitors this April. By Nancy Cohen Israel 66 HOME GROWN Dallas Art Fair cultivates a new collector base. By Nancy Cohen Israel 70 SANTA FE MODERN The Land of Enchantment lures Dallas expats to their newly constructed dwelling with mountain views. By Peggy Levinson 80 ONE STEP BEYOND Dan Lam’s Squishes, Drips, and Blobs take fashion to the outer limits. Photography by Shayna Fontana

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On the cover: Renate Bertlmann, Washing Day, 1976–2014, 120 pieces of latex, hung on washing lines with pegs. Collection of Marguerite Steed Hoffman. Above: Jean-Michel Othoniel, Amber Lotus, 2016, mirrored glass, stainless steel, 51.17 x 51.18 x 51.18 in. Courtesy of Perrotin.


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DEPARTMENTS 10 Editor’s Note 16 Contributors Of Note 22 PEREZ PAINTS JOHNSON’S DALLAS 24 Noted Top arts and culture chatter. By Anthony Falcon Of Note 40 2.2.2 SEOUL-DALLAS-SEOUL Fair Trade 42 TÊTE-À-TÊTE Dallas-born, Manhattan gallerists Isaac Lyles & Olivia Smith are coming to Dallas Art Fair.

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Openings 44 SERENDIPITY’S SEASON For Dallas Artist Otis Jones, the stars are aligning—it’s about time. By Steve Carter Contemporaries 48 THE IMPORTANCE OF BEING EARNEST Bret Slater is authentic—to himself, his work, and those who’ve influenced him. By Terri Provencal Studio 52 VISUAL LITERACY Paul Winker’s paintings are inspired by images in today’s hierarchy of communication. By Justine Ludwig Performance 56 SPLENDOR IN THE GRASS Michel van der Aa’s Sunken Garden is rich with earthly delights. By Lee Cullum

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There 89 CAMERAS COVERING CULTURAL EVENTS Furthermore ... 96 THE DIVINE PANTER A graphic journey through Heaven and Hell. By Chris Byrne

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CONTRIBUTORS

STEVE CARTER In this issue, freelance arts writer Steve Carter profiles Dallas artist Otis Jones, who’s represented locally by Barry Whistler in Dallas and William Campbell in Fort Worth. “Otis has had some great things come his way in the last few months,” Carter happily reports. “New representation in New York, a solo show with that gallery, feature spots at the upcoming Dallas Art Fair, and more. And it couldn’t be happening to a nicer, moredeserving guy.”

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

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

PEGGY LEVINSON A former showroom owner and partner and home magazine design and style editor, Levinson lends her expertise to Patron to cover interiors, architecture, and furnishings. Santa Fe Modern transported Peggy, and now Patron readers, to the home of Eduardo and Alan Kagan, former Dallas residents who escaped to the mountains in New Mexico recently, but not without the art amassed through local galleries.

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NANCY COHEN ISRAEL A Dallas-based art historian, Nancy is an ongoing Patron contributor who writes for other national publications of note including Lilith. For this issue, she visited with internationally renowned collector Marguerite Hoffman who will open her Bill Booziotis-designed art space to Dallas Art Fair exhibitors this spring. Then, she checks in with two collecting couples, Shannon and Dallas Sonnier, and William Carr and Michael Pappas, on galleries and artists they are excited about exhibiting at Dallas Art Fair.

LEE CULLUM Lee Cullum is a journalist whose great pleasure it has been the past few years to write about the winners of TACA’s Silver Cup Award. These are always extraordinary people who can be called civilizing influences in Dallas, something more urgently needed now than ever, here and all over the nation. Julie Hersh and Don Stone exemplify the taste, integrity, and intelligence necessary for true cultural leadership. “They know that art means more than ornament, and cultural goes deeper than any opening night.”

JUSTINE LUDWIG Justine Ludwig is the Director of Exhibitions/Senior Curator at Dallas Contemporary. In recent years she has curated exhibitions at the Contemporary Arts Center in Cincinnati, the Tuft University Art Gallery, and the Museum of Modern Art in Rio de Janeiro. Ludwig holds an MA in Global Arts from Goldsmiths University of London. Justine explores the “winking works of Paul Winker” in Visual Literacy.

DANIEL NADELBACH A Santa Fe photographer, Daniel Nadelbach specializes in architecture and interiors, fashion, resorts, and hospitality. In Santa Fe Modern, Nadelbach’s photography illuminates the home of recently relocated Alan Kagan, and his husband Eduardo along with their views of the Jemez and Sangre de Cristo mountains. With multiple commercial resorts as clients, his expertise lends itself to capture the spirituality of the home residing in the Land of Enchantment, making us wish we were there.

SHAYNA FONTANA Shayna Fontana is a fashion and interiors photographer based in Dallas with her husband Rand Horowitz and toddler Oliver. Shayna’s work has appeared in national publications and on the cover of Patron along with numerous fashion and home features over the past four years. In this issue, Shayna collaborates with Vietnamese artist Dan Lam and stylist Carlos Alonso Parada to unveil early spring fashion. Check out these stylish looks juxtaposed with Dan Lam’s sculpture in One Step Beyond. ALLISON V. SMITH With a journalism degree from SMU, Smith worked as a photojournalist for 7 newspapers over 15 years before moving onto freelance. Her work is in the collections of the DMA, Modern Art Museum of Fort Worth, and Museum of Fine Arts Houston. "I am a longtime fan of Otis Jones. Last year we exhibited together at Barry Whistler Gallery. The works created a dynamic dialogue. During that time, I assigned myself to photograph Otis and his studio for an ongoing personal series of portraits of artists.”

JOHN SMITH An ongoing Patron contributor, Dallasbased photographer John Smith, in Above & Beyond, Private View, and Home Grown, trained his lens on seven arts patrons whose myriad interests enhance the cultural quotient in the area. He also covered Bret Slater installing his self-titled exhibition at Liliana Bloch Gallery. Smith enjoys bringing out the art of architecture in his pictures. He consults with numerous architects, designers, and artists to bring their vision to light.

KEVIN TODORA Kevin Todora is a photographer based in Dallas, Texas, who is called upon to cover exhibitions and artists. A fine artist, in 2013, he was the subject of a solo exhibition of photographic work titled birchpleeze at the Dallas Contemporary. He shows with Erin Cluley Gallery and has had two solo exhibitions there: Kevin Todora: new photographic work in 2015 and gaslight in 2016. He visited and photographed artist and friend Paul Winker in his studio in Visual Literacy.


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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Jay Falcon New Life

COPY EDITOR Paul W. Conant PRODUCTION Michele Rodriguez

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CONTRIBUTING WRITERS Chris Byrne Steve Carter Lee Cullum Nancy Cohen Israel Peggy Levinson Justine Ludwig Isaac Lyles Olivia Smith CONTRIBUTING PHOTOGRAPHERS Bruno Jason Kindig George Fiala Brad Linton Shayna Fontana Grant Miller Steven Foxall Daniel Nadelbach Sergio Garcia Allison V. Smith Thomas Garza John Smith Mike Hoban Kevin Todora

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Opening Reception February 17th, 5-8pm Exhibition is thru March 24th.

CONTRIBUTING STYLISTS Isabella Ferraro Jo Franco Sydney Lopez Carlos Alonso-Parada Jordan Smith Evan Wallis ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS patronmagazine.com One year $36/6 issues, two years $48/12 issues For international subscriptions add $12 for postage SOCIAL @patronmag

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FEBRUARY 4 – JUNE 3, 2018

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

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OF NOTE

PEREZ PAINTS JOHNSON'S DALLAS Enoc Perez pays homage to the late Philip Johnson with Liberty & Restraint.

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n January, Enoc Perez unveiled a new body of work that continues his examination of Philip Johnson’s modernist architecture. Paintings of eight Johnson-designed structures that helped define the cultural identity of Dallas/Fort Worth comprise Enoc Perez: Liberty & Restraint. Dallas Contemporary’s citywide exhibition brings the New York-based artist’s varied palette to depictions of Johnson’s surviving architecture in the region, including the Amon Carter Museum of American Art (Fort Worth; 1961), The Beck House (Dallas; 1964), John F. Kennedy Memorial (Dallas; 1970), Fort Worth Water Gardens (1974), Thanks-Giving Square (Dallas; 1976), The Crescent (Dallas; 1985), Comerica Tower (Dallas; 1987), and Cathedral of Hope (Dallas; 2010). Relocating from his native San Juan, Puerto Rico, to New York City in the mid-80s to study painting at Pratt Institute, Perez has focused much of his practice on architecture, specifically Johnson, including a series of paintings of the Pritzker Prizewinner’s Lipstick Building exhibited within the architect’s Glass House in Connecticut. “He was able to say whatever he wanted to with architecture. The Comerica Tower, that's a bank; that's about

power,” Perez comments. Applying an incremental paint-layering technique, Perez “strips his landmark subjects of their functionality and reintroduces them as art objects through repetition as if to suggest the accumulated passings of a daily commute.” In response to the outcome of the presidential election in November 2016, Perez extensively researched existing and destructed US embassies—from Baghdad to Beijing— for another series. The artist is also known for his portraits, still lifes, and nudes. Describing an untitled sculpture installed at ThanksGiving Square, Perez says, “It's all about our idea of America. And everything that was and is good and bad. It's the weirdest piece to put on an altar.” Perez was recognized in Dallas as MTV RE:DEFINE’s honored artist in 2016. Accompanied by public installations at the Johnson locations, Liberty & Restraint invites the viewer to examine their relationship to the urban landscape by challenging the boundary between interior and exterior, and between architecture and art. Liberty & Restraint will be on view at Dallas Contemporary through March 18 and within Johnson’s landmarks through June. Dallascontemporary.org P

From left: Enoc Perez, Comerica Tower Dallas, 2017, oil on canvas, 120 x 92 in.; Enoc Perez, Untitled, 2017, plaster and gold leaf, 39 x 14 x 19 in. Courtesy of the artist and Peter Blum Gallery.

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NOTED

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

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01 AFRICAN AMERICAN MUSEUM The Souls of Black Folk from the Billy R. Allen Folk Art Collection, and the historical exhibit, Facing the Rising Sun: Freedman’s Cemetery, are ongoing at AAM. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Through Feb. 11, Caught on Paper surveys thirty popular outdoor subjects from the permanent collection. The film Hugh the Hunter engages with contemporary issues through Feb. 18. In Her Image: Photographs by Rania Matar brings together four bodies of work by the Lebanese-American photographer that track the development of female identity through portraiture, through Jun. 17. A New American Sculpture 1914–1945: Lachaise, Laurent, Nadelman, and Zorach runs Feb. 17–May 13 as the first exhibition to investigate the integral relationships between modernism, classicism, and popular imagery in the interwar sculpture of Gaston Lachaise, Robert Laurent, Elie Nadelman, and William Zorach. Jan Staller: CYCLE & SAVED showcases two short videos reflecting on a potent contradiction of contemporary material life, Feb. 24–Aug. 19. Darryl Lauster: Trace continues through Mar. 25. Commanding Space: Women Sculptors of Texas continues through Nov. 18. Image: Kana Harada, Foojin— God of the Wind, 2008, foam sheet and mixed media. Collection of Mr. and Mrs. William D. Armstrong. cartermuseum.org 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM An ongoing exhibit examines crests and symbols of the warrior class and the powerful samurai clans that used them. Public Tours are every Saturday and Sunday at 1 p.m. samuraicollection.org 04 CROW COLLECTION OF ASIAN ART Visualizing Afterlife, Paradise and Earthly Spheres in Chinese Art; Sculpting Nature: Jade from the Collection, and Fierce Loyalty: A Samurai Complete close Feb. 2. Earthly Splendor: Korean Ceramics from the Collection displays stone sculptures and paintings, furniture, chests, boxes, bronze mirrors, and decorative art, through 2018. Image: Vase, Korea, Gyeonggi province, Bunwon kilns. Joseon period (1392– 1912), 18th century, porcelain. Crow Collection. crowcollection.org 05 DALLAS CONTEMPORARY Enoc Perez, Mary Katrantzou, and Valerie Keane continue through Mar. 18. Through the citywide exhibition Liberty & Restraint, DC expands 24

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upon Perez’s Glass House exhibition by addressing the eight Philip Johnson-designed buildings in Dallas and Fort Worth. The desire to be everything showcases Keane’s abstract acrylic sculptures. Mary, Queen of Prints displays a body of work from fashion designer Mary Katrantzou. Image: Mary Katrantzou, Spring-Summer 2018 show. Photograph by Bruno. dallascontemporary.org 06 DALLAS HOLOCAUST MUSEUM An opening reception of Manzanar: The Wartime Photographs of Ansel Adams will be held Feb. 15 and chronicles the internment of Japanese Americans during World War II. Feb. 27, Lunch and Learn: Human Rights in North Korea brings Lindsay Lloyd, Deputy Director, Human Freedom from the George W. Bush Presidential Center. Spring Break Survivor Speakers begins Mar. 12–16, which presents the testimonies of Holocaust survivors, refugees, and hidden children. dallasholocaustmuseum.org 07 DALLAS MUSEUM OF ART Yayoi Kusama: All the Eternal Love I Have for the Pumpkins (2016) displays one of this artist’s signature Infinity Mirror Rooms through Feb. 25. Mexican artist Minerva Cuevas’s site-specific mural closes Feb. 11. Asian Textiles: Art and Trade Along the Silk Road presents fine examples of ornamental hangings and garments, through Dec. 9. Paris at the Turn of the Century features works on paper from the 1880s, 1890s, and early 1900s, celebrating the French capital, through May 27. From Mar. 25–July 29, Laura Owens presents the most comprehensive exhibition of her 20+-year career, featuring over 60 paintings and objects from the mid-1990s through today. Image: Laura Owens, Untitled, 1995, acrylic, oil, enamel, ink, and felt-tip pen on canvas. Collection of the artist. Courtesy of the artist/Gavin Brown’s Enterprise, New York and Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne. © Laura Owens. dma.org 08 GEOMETRIC MADI MUSEUM The MADI’s African Ancestral Legacy exhibit continues with Kenyan artist Naomi Wanjiku Gakunga. The exhibit features dances from Kenya with Nigerian artist Tunde Odunlade playing the drums. Tunde will speak about his art on Feb. 2 at the museum’s Arcadia Salon. geometricmadimuseum.org


NOTED: VISUAL ARTS

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09 GEORGE W. BUSH PRESIDENTIAL CENTER Hosted by President and Mrs. George W. Bush Apr. 18–20, the Forum on Leadership brings together recognized thought leaders to examine solutions to today’s most pressing issues. bushcenter.org 10 KIMBELL ART MUSEUM From the Lands of Asia: The Sam and Myrna Myers Collection opens Mar. 4 through Aug. 19. When Americans Samuel and Myrna Myers visited Paris in the mid-1960s, they became so enamored with the city that they decided to make their home there. The Myers assembled some 5,000 works of art that, together, offer a personal vision of the world of Asian art. This show will present over 400 objects with works representing key periods in the history of the art of China, Japan, Tibet, Mongolia, Korea, and Vietnam. Image: Bodhisattva, China, Song Dynasty, circa 1125, polychromed wood. kimbellart.org 11 LATINO CULTURAL CENTER Every third Wednesday of the month the LCC presents Cine de Oro featuring Cuando Quiere Un Mexicano, Feb. 21 and Maria Full of Grace, Mar. 21. Beginning Feb. 23, Gog and Magog: Two Clowns Trapped in Hell features two clowns in Hell’s Kitchen, and their only hope of escape is cooking the perfect meal for God, on view through Mar. 11. JUNTXS: A Border Arts Symposium uses film, comics, printmaking, and textiles. Artists Analise Minjarez & Sarita Westrup of Tierra Firme headline the exhibition using craft media and installation art to create portraits about their homes on the Texas-Mexico border, through Mar. 24. lcc.dallasculture.org 12 MEADOWS MUSEUM Opening Feb. 4, Memory, Mind, Matter: The Sculpture of Eduardo Chillida presents 66 works of sculpture, drawing, collage, gravitations, graphic works, and a small selection of artist’s books, representing the post-war avant-garde. Co-curated by William Jeffett, curator of exhibitions for The Dalí Museum, and Ignacio Chillida, the artist’s son, the works in the exhibition come exclusively from the Museo Chillida-Leku in Hernani. Image: Eduardo Chillida (Spanish, 1924–2002), Gravitación. Elogio del agua/Gravitation. In Praise of Water, 1987. Ink on paper and thread. © 2017 Zabalaga – Leku, Artists Rights Society (ARS), New York/VEGAP, Madrid. meadowsmuseumdallas.org

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13 MODERN ART MUSEUM OF FORT WORTH FOCUS: Nina Chanel Abney showcases Abney’s visually frenetic work through Mar. 18, and addresses pop culture, world events, and art history in compositions with flattened, simplified forms with themes relating to American society. Ron Mueck returns a decade later to the Modern from Feb. 16–May 6 to showcase seven major sculptures he created from 2008–18. FOCUS: Kamrooz Aram spans painting, sculpture, collage, and installation between Western modernism and classical non-Western art, on view Mar. 31–Jun. 17. Image: Kamrooz Aram, Ornamental Composition for Social Spaces 1, 2016, oil on canvas. themodern.org 14 MUSEUM OF BIBLICAL ART James Surls: Through the Thorn Tree continues through Apr. 7, displaying 52 works, which relate to his faith and the human experience. On Mar. 29, Surls will visit the Amon Carter Museum of American Art for a special Artist Lecture. Barbara Hines: A Celebration of Survival continues through Oct. 8. biblicalarts.org 15 NASHER SCULPTURE CENTER Esopus and Paper into Sculpture which relate to the sculptural qualities of paper, close Feb. 4. Through Apr. 29, First Sculpture: Handaxe to Figure Stone, presents ancient handaxes and figure stones as works of art for the first time. Traditionally understood as the longest used tool in human history, with examples dating back more than 2 million years, some handaxes are equally fascinating for their nonutilitarian, aesthetic qualities. nashersculpturecenter.org 16 PEROT MUSEUM On Feb. 2 Perot will host a Girl Scout Engineering: Robotics Sleepover that teaches girls how to solve problems with a focus on robotic engineering. On Feb. 17 the Perot hosts a sleepover, Grossolog y, a disgustingly fun night at the museum exploring the ickier side of science. On Mar. 16, the museum will take overnight guests behind the programming of Video Game Science Sleepover. On Mar. 21 as part of the National Geographic Speaker Series, the Perot will host astronaut Terry Virts in View From Above. perotmuseum.org 17 TYLER MUSEUM OF ART Contemporary Texas II: Selections from the Permanent Collection lets us see TMA's rich history and indelible place in the Texas art scene over the past few decades, through Feb. 25. tylermuseum.org

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01 AMPHIBIAN Cyrano is a swordsman, philosopher, poet, and raconteur— everything that the love of his life, Roxane, would want—but there’s one obstacle: he has the biggest nose anyone has ever seen. He partners with the handsome yet tongue-tied Christian to capture Roxane’s heart. They both fall for her, but one can’t succeed without the other. Feb. 9–Mar. 4. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Small Mouth Sounds shows how six strangers on a silent retreat in a woods connect with each other, through Feb. 4. We’re Gonna Die is a cabaret-style musical written by experimental NYC playwright Young Jean Lee celebrating the unifying nature of human mortality, Feb. 8–10. The National Tour of Beatlemania celebrates the 50th Anniversary of The White Album with concerts Feb. 9–10. On Feb. 10, Jeanne Robertson, a professional speaker who specializes in humor based on her life experiences, will perform. Riverdance – The 20th Anniversary World Tour comes to the Winspear, Mar. 20–25. The Fever, the latest work by 600 Highwaymen, tests the limits of individual and collective responsibility, and our willingness to be there for one another, Mar. 27–Apr. 1. attpac.org 03 BASS PERFORMANCE HALL Chicago is onstage Feb. 16–18, with six Tony Awards®, two Olivier Awards®, and a Grammy®. Next, the family-friendly Broadway spectacular, Finding Neverland, tells the incredible story behind one of the world’s most beloved characters: Peter Pan. Mar. 20–25. basshall.com 04 CASA MAÑANA Neverland is a retelling of the classic Peter Pan story, running Feb. 2–18. From Feb. 8–10, Michael Cunio brings his vocal styles to Casa for the grand opening of the Reid Cabaret Theatre. Featuring a thrilling score of pop rock hits, Jekyll & Hyde tells the saga of counterparts, Mar. 3–11. Madagascar: A Musical Adventure  follows escapees from their home in New York’s Central Park Zoo to the madcap world of King Julien’s Madagascar. Mar. 31–Apr. 8. casamanana.org 05 DALLAS BLACK DANCE THEATRE From Feb. 16–18, Cultural Awareness will reflect the time to embrace and celebrate cultures. Dance, poetry, and a brass band are used to mark the 12-year anniversary of Hurricane Katrina in Displaced, Yet/ Rebirth, choreographed by hurricane survivor Michelle N. Gibson. Dancing Beyond Borders, Mar. 2, marks a one-night collaboration between DBDT and the Eisemann Center. Next, Dancing Beyond Borders travels to W.E. Scott Theatre in Fort Worth on Mar. 10.  dbdt.com 26

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06 DALLAS CHILDREN’S THEATER The Very Hungry Caterpillar Show leaps from the page to the stage in a display of color and artistry through Feb. 25. Teen Scene Players present Screen Play, Feb. 9–18. In her new play, Linda Daugherty explores the blurry lines between real life and life online. Yana Wana’s Legend of the Bluebonnet comes to DCT Mar. 23–Apr. 8. This beautiful, original play illustrates the power of heritage and the value of one’s own story. dct.org 07 THE DALLAS OPERA From Feb. 9–17, The Ring of Polykrates features a loving wife, a job promotion, an inheritance, and William Arndt. Arndt is about to discover just how quickly the tables can turn. Next, the line of reality is endlessly blurred in Michel van der Aa’s Sunken Garden. A filmmaker’s obsession with the disappearance of a young girl leads to the discovery of a walled garden, which is the barrier between life and death. On view Mar. 9–17. dallasopera.org 08 DALLAS SUMMER MUSICALS The Color Purple gives an exhilarating new spirit to this Pulitzer Prize-winning story through Feb. 4. Next, On Your Feet!, presented Feb. 27–Mar. 11, follows the humble beginnings of Emilio and Gloria Estefan, the crossover sensation at the top of the pop music world, only to almost lose it all. Then, Waitress features original music and lyrics by Sara Bareilles about Jenna—a waitress and expert piemaker, who dreams of a way out of her small town and loveless marriage, Mar. 28–Apr. 8. Image: Adrianna Hicks (Celie) and N'Jameh Camara (Nettie) and the North American tour cast of The Color Purple. Photograph by Matthew Murphy, 2017. dallassummermusicals.org 09 DALLAS SYMPHONY ORCHESTRA Jaap Van Zweden conducts Brucknew 8 & The Labèque Sisters, Feb. 2–3, followed by Rachmaninoff Symphony No. 2, Feb. 8–10. In honor of the Lay Family Organ’s 25th anniversary, the Opus 100 Series receives the royal treatment with Isabelle Demers on Feb. 11. Tchaikovsky 6 Pathétique confronts the artist’s struggle with a depth of feeling matched only by its exquisite lyricism, Feb. 15–18. Jaap Van Zweden conducts Mahler’s Symphony No. 2, Resurrection, Feb. 23–25. On Mar. 2–3, enjoy a complimentary glass of wine or beer and the overture to The Barber of Seville. From Mar. 8–11, Lise de la Salle, international French pianist, performs Beethoven’s most poetic Concerto No. 4. Denzal Sinclaire’s superb voice brings back the music of Nat King Cole with the DSO in The Nat King Cole Songbook, Mar. 16–18. The complete Brandenburg Concertos–six baroque masterpieces–spotlights the superlative musicians of the DSO, Mar. 22–25. mydso.com


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NOTED: PERFORMING ARTS

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10 DALLAS THEATER CENTER Feb. 2–Mar. 4, Mary Shelley’s 200-year-old horror story comes to life in Nick Dear’s adaptation of Frankenstein. Next, from Mar. 9– Apr. 1, following the success of DTC’s 2016 production of All the Way, The Great Society continues an examination of power, morality, and change in LBJ’s turbulent presidency in the second part of Robert Schenkkan’s epic theatrical event. dallastheatercenter.org

15 TEXAS BALLET THEATER Henry VIII and Seven Sonatas is the gripping saga of six queenly consorts and their fiery monarch, playing at the Bass Performance Hall, Mar. 2–4. Next, TBT will showcase Mozart Requiem and Martinu Pieces, a moving work that pays tribute to the bond among those who gave up their dreams to fight for what they believe, Mar. 29–31, at Bass Performance Hall. texasballettheater.org

11 EISEMANN CENTER On Feb. 2, Randy Noojin returns with Seeger, a multimedia solo show about America’s beloved folksinger/activist, Pete Seeger, that tells of his personal struggles for free speech in America. On Feb. 10, Bone Hill: The Concert, inspired by Martha Redbone’s family history in the Appalachian Mountains, comes to the Eisemann. PostSecret: The Show is an immersive, poignant journey through humor and humanity of personal stories, from Feb. 15–18. From Mar. 3–5 the Richardson Symphony Orchestra will feature Mozart’s Symphony No. 41 in C Major, K. 551, Jupiter. eisemanncenter.com

16 THEATRE THREE Ending Mar. 4, I Love You, You’re Perfect, Now Change will delight audiences with the joys of falling in and out of love. Next, She Kills Monsters tells the story of Agnes Evans as she leaves her childhood home in Ohio following the death of her teenage sister. Mar. 8– Apr. 11. Image: Dr. Jekyll and Mr. Hyde at Theatre 3. Left to right: Michael Federico, Natalie Young, Jeremy Schwartz. Photography by Jeffrey Schmidt. theatre3dallas.com

12 KITCHEN DOG THEATER Six Characters in Search of a Play, created by and starring Del Shores, runs Feb. 1–4, about six one-of-a-kind characters he has met who haven’t made it into one of his plays, films, or TV shows. The Royale features Jay “The Sport” Jackson, a talented, charismatic, AfricanAmerican boxer who dreams of being the undisputed heavyweight champion of the world in 1905, Mar. 1–18. kitchendogtheater.org

17 TITAS A group of washed-up superheroes join forces to create a nonprofit think tank but get caught up in the politics of branding and group dynamics. Fighting evil isn’t what it used to be in Trip the Light Fantastic: The Making of SuperStrip, Mar. 9–10. The brainchild of famed dancer and choreographer Benjamin Millepied, L.A. Dance Project has established itself as a force to be reckoned with. Mar. 30–31. Image: L.A. Dance Project, Photograph by Ryan Schude. titas.org

13 MAJESTIC THEATRE KXT 91.7 presents José González on Feb. 2. The Fab Four return to the Majestic Theatre on Feb. 3. Comedian Ron White will definitely smoke a cigar and drink scotch onstage the weekend of Feb. 16–17. Influential speaker Rob Bell comes to town with special guest Peter Rollins, Feb. 21. Bianca Del Rio, the alter ego of seasoned comic Roy Haylock, is a self-professed “clown in a gown” who hits the stage Mar. 2. KXT 91.7 presents Noel Gallagher’s High Flying Birds on Mar. 6. Jon, Jon, Tommy, Dan, and special guests will bring the podcast series Pod Save America for a live, no-bs conversation about politics, the press, and the challenges posed by the Trump presidency, Mar. 12. Image: José González. Courtesy of Majestic Theatre. majestic.dallasculture.org

18 TURTLE CREEK CHORALE Anthems: The Songs that Shaped the Movements, Mar. 23–25, presents the music that helped form the progressive, even rebellious, messages of peace and reason. Springtime brings the anthems of past and present to talk of peace and harmony. turtlecreekchorale.com

14 TACA Celebrated annually, the TACA Silver Cup Award Luncheon serves as a unique opportunity to celebrate two individuals for their outstanding volunteer leadership and contributions to the arts in North Texas. Gathering the region’s civic and cultural leaders, this year’s Silver Cup Awards will honor Julie Hersh and Don Stone on Mar 20. taca-arts.org

20 WATERTOWER THEATRE Through Feb. 18, Pulitzer Prize-winning dramatist Quiara Alegría Hudes takes a poignant look at the way war permeates young men’s lives in a play spanning three generations of the same Puerto RicanAmerican family in Elliot, A Soldier’s Fugue. Detour is WTT’s four-day festival about new plays created by local and national artists, Mar. 1–4. watertowertheatre.org

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19 UNDERMAIN THEATRE Discover the humor and heartbreak of one of the world’s greatest plays by Anton Chekhov, revealed through the lyricism of one of the leading voices in contemporary theatre: Sarah Ruhl. Three Sisters is the story of women contending with disillusioned life in a small Russian town. A complex lattice of stories works itself out in this classic of world drama. Feb. 7–Mar. 4. undermain.org


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NOTED: GALLERIES

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01 500X GALLERY Texas’ oldest, artist–run, cooperative galleries hosts one of the region’s most anticipated annual student juried competitions from Feb. 24–Mar. 11. College Expo 2018 is open to all artists over the age of 18 living in Texas, who are currently enrolled as students. James Talambas’ solo exhibition runs concurrently upstairs. 500x.org 02 ALAN BARNES FINE ART In Matthew Alexander’s In the Footsteps of the Impressionists, Alexander has retraced the steps and examined an array of familiar subjects known to the masters of the Impressionism era. Through Mar. 3. alanbarnesfineart.com. 03 AND NOW The group exhibition with Brian Fridge, Pierre Krause, Michelle Rawlings, and Jeff Zilm continues through Feb. 10. Image: Jeff Zilm, Untitled (2018), acrylic on UV inkjet print on canvas, 52 x 39 in. andnow.biz 04 ARTSPACE111 Sussie, featuring artists Daniel Blagg, Dennis Blagg, Nancy Lamb, John Hartley, and Cindi Holt, and A Fascination with Color, featuring the work of Sherri Coffee, close Feb. 3. Opening Feb. 8, City Symphony features work from Daniel Blagg, Maureen Brouillette, Pat Gabriel, William Grainer, and Kim Owens, through Mar. 17.  artspace111.com 05 BARRY WHISTLER GALLERY Masters of Some is a group exhibition that runs through Feb. 17. Next, the gallery presents Plot Lines from Linnea Glatt, Feb. 24– Apr. 1. barrywhistlergallery.com 06 BEATRICE M. HAGGERTY GALLERY In What Remains, artists Rachel Meginnes and Kelly O’Briant confront loss and an uprooted sense of place in this exhibition curated by Kathryn Gremley, Director of Penland Gallery in North Carolina, Feb. 1–Mar. 2. Image: Rachel Meginnes, Lay Bare, Lay Bear, 2017, deconstructed quilt, cotton batting, hand-stitching, acrylic, 81 x 72 in. udallas.edu/offices/artgallery 07 BEEFHAUS Beefhaus is a collective of artists interested in challenging notions of authorship and market structure, while questioning the forms of programming most often associated with other artist-run spaces, galleries, organizations, and institutions. beefhaus.org 30

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23 08 BIVINS GALLERY World’s Fair (2015), an original sculpture by Enoc Perez, displays at Bivins Gallery in conjunction with the Dallas Contemporary’s exhibition Liberty & Restraint. Inspired by and exhibited at Philip Johnson landmarks throughout DFW, World’s Fair celebrates the Crescent, which was designed by Johnson in 1985. Perez’s significant work will coincide with the group show Collective Vision running through Jun. 6. bivinsgallery.com 09 CADD 3rd Thursday Happy Hours take place Feb. 15 at Mary Tomás Gallery and on Mar. 15 at Valley House Gallery. CADD FUNd 2018 – Sunday Soup Supper on Mar. 4 celebrates creativity and community in a fun, fast-paced evening of sharing innovative ideas about potential artistic projects. This year’s CADD FUNd will be awarded to a current or recent B.A, B.F.A., M.A., or M.F.A. graduate or candidate from an institution within 100 miles of Dallas. Three jurors will select six finalists. Members of the audience will have an opportunity to ask questions and vote for their favorite project. caddallas.net 10 CARLYN GALERIE Carlyn Galerie has established itself as a nationally recognized store devoted to the sale of fine American art glass, clay, fiber, metals, and jewelry. carlyngalerie.com 11 CARNEAL SIMMONS CONTEMPORARY ART Shadows and Reflections: Works from the Estate of Gregory Miller features the work of Gregory Miller from Feb. 10–Mar. 24. carnealsimmons.com 12 CHRISTOPHER MARTIN GALLERY Christopher Martin’s recent work explores the spatial relations associated with the allegorical number seven. Working on a ratio of seven-by-seven feet, Martin activates feelings and movement within his reverse-painting technique. christophermartingallery.com 13 CONDUIT GALLERY The gallery closes a trio of shows featuring Lance Letscher, Reinhard Ziegler,  and Maja Ruznic on Feb. 17. Next, Conduit will open Ted Larsen: All In All, Stephen Lapthisophon: scotoma, and introduce Marco Querin in the Project Room Feb. 24; each will run through Mar. 31. Image: Ted Larsen, Among The First, 2017, salvage steel, marine-grade plywood, silicone, vulcanized rubber, hardware, chemicals, 11 x 11 x 3.5 in. conduitgallery.com


AND NOW 27 14 CRAIGHEAD GREEN GALLERY Through Feb. 10, Tyler Butcher, Empty Kingdoms; Suzanne Kelley Clark, Natural Flow; and Arturo Mallman, Dystopian Dreams remain on view. Next up, Kendall Stallings, Dichotomy and Analog y; Tom Hoitsma, Deconstructed Landscapes; and Russ Connell, Nice to Meet You open Feb. 17 and continue through Mar. 24. Image: Tom Hoitsma, Aspen #2, acrylic and latex on canvas, 83 x 74.5 in. craigheadgreen.com 15 CRIS WORLEY FINE ARTS Works by Ruben Nieto and David Fokos will be on display through Feb. 10. Later in the month, Celia Eberle presents her installation, Moss Grotto, where mythology meets modern, on display Feb. 24–Mar. 31. Additionally, Kristin Cliburn unveils her newest gradient paintings in Electric Lights in the Fog on display Feb. 24–Mar. 31. crisworley.com 16 CYDONIA A Present Abstract, a collective show curated by Alex Bowront, will run through Feb. 10. The exhibition contains works of drawing, sculpture, and photography by Niall McClelland, Jade Rude, Jon Sasaki, Derek Sullivan, and Jim Verburg. Cydonia will take a Spring Break through Mar. cydoniagallery.com 17 DADA DADA Spring Gallery Walk, Mar. 31, starts the spring art season off with highlights including special exhibitions, art talks, and workshops. dallasartdealers.org. 18 DAVID DIKE FINE ART David Dike Fine Art was established in 1986 in the Arts District of Uptown Dallas where it resides today. The gallery specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas Landscape painters. daviddike.com 19 ERIN CLULEY GALLERY Gary Goldberg’s new body of large-scale felt tapestries runs through Feb. 23. Opening Feb. 24, Kalee Appleton, Glancing Backward, explores the objectivity of photographs, specifically, formulaic photographic backdrops used in mainstream studios of the 19th century such as rugged mountain terrains or romanticized forest paths. The exhibit runs through Mar. 31. Image: Kalee Appleton, Southwest (Pink & Green), 2017, archival inkjet print with wood frame, 24 x 20 in. erincluley.com

MICHELLE RAWLINGS

2025 IRVING BLVD, SUITE 201 I DESIGN DISTRICT I ANDNOW.BIZ

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NOTED: GALLERIES

Kittrell/Riffkind Art Glass Gallery

Mark Abildgaard

4500 Sigma Rd. Dallas, Texas 75244 972.239.7957 n www.kittrellriffkind.com

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20 FORT WORKS ARTS Laura Wilson: Photographs in the West, an exhibition exploring Wilson’s vision of Western culture through her extensive travels in Montana and her adopted home region of West Texas, continues through Feb. 4. Next, the gallery opens its space to every artist that comes to its doors—on a First Come, First Serve basis with a mission to offer an esteemed platform for displaying artwork. First Come, First Serve runs Feb. 10– Mar. 17. fortworksart.com 21 FWADA Through educational programs, art scholarships, and art competitions, Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art. fwada.com 22 GALERIE FRANK ELBAZ From Feb. 3 through Mar. 31, the Dallas gallery presents a group show featuring roster artists: Davide Balula, Sheila Hicks, Kaz Oshiro, Bernard Piffaretti, Mungo Thomson, and Blair Thurman. galeriefrankelbaz.com 23 GALLERI URBANE New works by Caroline Lathan, Stiefel Arden, and Bendler Browning run through Feb. 10. Opening Feb. 17, Loring Taoka: Counteract and Jeffrey Cortland Jones: New Clear Dawn run through Mar. 24. Image: Jeffrey Cortland Jones, Ruined (conflict), enamel on acrylic, 11 x 14 in. galleriurbane.com

Myths, Religion & Tall Tales Opening Saturday, February 10th Continues through March 4th

“KINETICS” March 10 - April 7

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24 GINGER FOX GALLERY In the heart of the Bishop Arts District, this contemporary art gallery features the art of Ginger Fox as well as many other area artists in a variety of mediums. gingerfox.com 25 THE GOSS-MICHAEL FOUNDATION Drawn from the permanent collections of The Goss-Michael Foundation and the Texas Fashion Collection at the University of North Texas, On Bodies aims to engage in contemporary discussions about identity and promote artistic intervention as a means for confronting perspectives of current social issues, focusing on the perceived roles of women and minorities in today’s society, through Feb. 23. g-mf.org


MARK WHITMARSH

DENNIS JOHNSON

COLOR ME

CONTEMPORARY Febr uar y - March

PAUL WALDEN

TONY SALADINO

SOUTH WEST

GALLERY

4500 Sigma Rd. Dallas, TX 75244 972.960.8935

www.swgallery.com


NOTED: GALLERIES

Otis Jones, Oval, 2016, Acrylic on linen, 12 x 9 x 3 inches

03 26 HALEY HENMAN CONTEMPORARY ART Located on Hardwick St., Haley Henman exhibits art by emerging and experienced artists and fine art photographers in North Texas. The gallery supports the development of represented artists by exhibiting works in the gallery, and encourages their exhibition in community art associations and other galleries beyond the area. haleyhenman.com 27 HOLLY JOHNSON GALLERY Margo Sawyer’s Reflect is on view through Feb. 10. Wherefore and Hence includes recent paintings by David Aylsworth on view through Mar. 24. Taking cues from the Abstract Expressionists’ tradition of gesture, Aylsworth approaches his canvases without premeditation. Gael Stack: Tinies opens Feb. 24 and runs through May 5. Tinies is an exhibition of new work by Stack featuring oil paintings on paper. Image: David Aylsworth, Small Amount of Onomatopoeia, 2017, 38 x 46 in. hollyjohnsongallery.com

Linnea Glatt, Touch, 2017, Fabric on paper, 42 x 42 inches.

LINNEA GLATT PLOT LINES FEBRUARY 24 – MARCH 31

315 Cole Street Suite 120 Dallas, TX 75207 | 214.939.0242

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28 JEN MAULDIN Hobbes Vincent’s At the Circus runs through Feb. 17, featuring a nearly life-sized horse lifted by a demure bronze man with a little help from small cranes. SPIN a Master of Fine Arts in Art Thesis Exhibition by Courtney Googe runs Feb. 4–Mar. 17. Courtney Miles’ Courtney: Love and Caroline Oliver’s New Paintings open Mar. 24. Miles returns for her second solo show featuring oil painting portraitures of love. Oliver’s abstract paintings blend ethereal delicacy with grit and often give the allusion of hanging canopies. Image: Hobbes Vincent, The Horse, 2017, bronze, steel, and epoxy plaster, 150 x 96 x 36 in. jenmauldingallery.com 29 KIRK HOPPER FINE ART Ann Wood’s exhibition Deathbeds closes Feb. 10. Opening Feb. 24, new work by Salvadorian artist Eduardo Portillo will be on display through Mar. 31. Portillo creates asymmetrical stretchers with varying edges and angles and stretches canvas over them, treating them as topological compositions that protrude from the wall. kirkhopperfineart.com


loring taoka

28 30 KITTRELL/RIFFKIND ART GLASS From Feb. 10–Mar. 4, Myths, Religion & Tall Tales will display sculptures exploring the stories we tell. Opening Mar. 10, Kinetics will feature glass sculptures in motion, through Apr. 1. kittrellriffkind.com

COUNTERACT

31 KRISTY STUBBS GALLERY Kristy Stubbs brings vast experience to the global art trade, often bringing notable artists to the US from abroad. A private art dealer, KSG offers museum-quality paintings and sculptures. stubbsgallery.com

FEB 17 - MAR 24

32 LAURA RATHE FINE ART Cassandria Blackmore & Michael Schultheis: New Works features Blackmore’s colorful abstracts from shattered and reconstructed reverse-glass paintings and Michael Schultheis’ compositions built through successive layers of mathematical notations and geometric forms that collectively appear suspended in ethereal spaces, through Feb. 10. The Fifth Anniversary Exhibition runs Feb. 17–Mar. 24. Opening Mar. 31, Hunt Slonem: New Works displays the artist’s vibrant neo-expressionist paintings of rabbits, butterflies, and birds, through May 5. Image: Cassandria Blackmore, Ble Kítrinos, reverse-painted glass, 40 x 40 in. laurarathe.com 33 LILIANA BLOCH GALLERY Bret Slater’s self-titled solo show continues through Feb. 10. The Fourth Book opens Feb. 17–Mar. 24, featuring the work of Michael Corris who plays with social and political satire in visual art, illustration, graphic design, and cartooning. lilianablochgallery.com 34 LUMINARTÉ FINE ART LuminArté Fine Art Gallery represents international and national mid-career artists, whose works are exhibited in private, corporate, and museum collections worldwide, all the while nurturing regional emerging artists. luminartegallery.com

GALLERI URBANE 2277 Monitor St. Dallas TX 75207 GALLERIURBANE.COM

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19 35 MARTIN LAWRENCE GALLERIES Founded in 1975, MLG specializes in original paintings, sculpture, and limited-edition graphics. MLG will hold two Spring Auctions on Mar. 16 and 25 that feature work from the Dallas gallery. martinlawrence.com 36 MARY TOMÁS GALLERY 2.2.2. Seoul-Dallas-Seoul features artists from Seoul, Korea and Dallas, Texas, including: Chong Keun Chu, Hyun Ju Chung, Lisa Ehrich, Rick Maxwell, Sun Doo Kim, and Keun Joong Kim. Artist and professor of Art at Brookhaven College for the Arts, Dallas, TX, Chong Chu curates the exhibition imbued by the artists’ symbolic themes of nature, cosmic and spiritual vision, shape and form, and cultural experiences, Feb. 17–Mar. 24. marytomasgallery.com 37 PHOTOGRAPHS DO NOT BEND Peter Brown: Hometown Texas opens Feb. 17–May 5. PDNB artist, Peter Brown, and Joe Holley, a journalist known for his column, Native Texan, recently collaborated on a book released last fall, Hometown Texas. The book explores the land and people of this vast state through stories and pictures. pdnbgallery.com 38 POLLOCK GALLERY Opening Feb. 3, Let's See Action focuses on artists active within Japan and abroad over the past 10 years. The group show considers the uniquely cooperative and internationally oriented approach to the creation and dissemination of contemporary art that has been a characteristic of Japanese art practice, post-war to present day. Participating artists include: Shimon Minamikawa, Ei Arakawa, Richard Aldrich, Chim↑Pom, XYZ Collective, COBRA, Soshiro Matsubara, Futoshi Miyagi, Maki Katayama, Tobias Madison, and Matthew Lutz-Kinoy. Let's See Action runs through Mar. 10. smu.edu/Meadows/AreasOfStudy/Art/PollockGallery 39 THE POWER STATION Yuji Agematsu is known for photographing the streets of NYC. Through Mar. 9, Agematsu’s work is displayed at The Power Station in an exhibition titled Day by Day. powerstationdallas.com 40 THE PUBLIC TRUST The Public Trust exhibits contemporary artwork by midcareer and emerging artists. The gallery’s program extends into publishing significant art publications, as well as limited-edition prints and multiples. trustthepublic.com 36

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41 THE READING ROOM The Reading Room will feature the work of Houston-based multimedia artist Iva Kinnaird, Feb. 17 through Mar. 24. The exhibition will explore the labor, anxiety, reaction, and unintended comedy involved in the feedback loop of making art. thereadingroom-dallas.blogspot.com 42 RO2 ART Brian Scott’s Nuptials and Xiao Lu Liu’s Arrested Identity end Feb. 10. Lisa Graziotto’s Twelve Nights concludes Feb. 13. Dallas artist Benjamin Terry’s exhibition will be on view Feb. 17– Mar. 17 as will that of Michelle Thomas Richardson, another Dallas native. Littoral Imaginarium opens Mar. 24 and runs through Apr. 21 in Ro2’s large gallery, showcasing the work of printmaker Linda Dee Guy. In the small gallery, the work of Guy’s students over her 40-year-career at TCU will run concurrently. ro2art.com 43 ROUGHTON GALLERIES Featuring 19th- and 20th-century American and European paintings, the gallery is distinguished for its scholarship and actively supports research in both American and European art. roughtongalleries.com 44 RUSSELL TETHER FINE ART RTFA manages estates and features renowned national and international artists, along with select artists from North America. russelltether.com 45 SAMUEL LYNNE GALLERIES On Feb. 14, SLG presents their annual Valentine’s Day Special Event, featuring a live painting performance by founding Reflectionist artist, JD Miller. For the month of Mar., SLG presents a group exhibition featuring their entire artist roster: Metis Atash, Lea Fisher, JD Miller, Hans Van de Bovenkamp, David Yarrow, John Henry, Philip J. Romano, and Tyler Shields. samuellynne.com

Artist Sun Doo Kim, To Show The Star – Paju, ink and color powder on Jang Ji, 57 x 39 in.

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Artist Keun Joong Kim, Natural Being 17-11, oil on canvas, 28.6 x 23.9 in.

CONTEMPORARY ART

46 SITE131 SITE131’s Fear Of Change: true scenes & flat screens, an exhibition of video and photography featuring talents of international art couple Rachel Monosov and Admire Kamudzengerere, Roee Rosen, and Rodrigo Valenzuela, closes Mar. 24. Image: Rodrigo Valenzuela, New Land No. 5, 2017, toner, acrylic, chalk on canvas, 74 x 97 in. site131.com

www.marytomasgallery.com 1110 Dragon Street | Dallas, TX 75207 | 214.727.5101 Hours: M-F 10-5, SAT 12-4 and by appointment

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NOTED: GALLERIES

hobbes vincent

3014 47 SMINK Passing On Winter, the group show is on view through Feb. 10. Stream, New Work by Margaret Fitz gerald opens Feb. 17–Mar. 31. Margaret continues to delve into abstract composition, creating work brimming with clues and references to socio-political problems and their place in the landscape. Image: Margaret Fitzgerald, New Life, 2017, oil on linen, 72 x 72 in. sminkinc.com 48 SOUTHWEST GALLERY Color Me Contemporary explores shape, form, and color with new pieces by Paul Walden, Mark Whitmarsh, Tony Saladino, and Dennis Johnson through Mar. 3. Opening Mar. 3, The Beauty of the American Landscape exhibits resplendent paintings, through Apr. 14. swgallery.com The H

orse,

H: 15

0 W:

96 D

: 36 in

ches

JE N M AULD IN GA LLERY e m e r g i n g co n t e m p o ra r y a r t For current exhibitions visit us at: www.jenmauldingallery.com 4 08 N . B IS H O P AV E N UE | S UITE 103 DA L L A S, T E X AS 7 5 2 0 8 | 2 1 4 . 95 4.7 629

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49 TALLEY DUNN GALLERY The works of Sam Reveles will be on view through Feb. 24. Opening Mar. 10–Apr. 21 are exhibitions featuring works by Joseph Havel and Kana Harada. talleydunn.com 50 VALLEY HOUSE GALLERY Opening Feb. 3, Inside Looking Out features the interior views of friends’ homes by artist Cindi Holt. Her previous paintings depicted rooms in The White House and the Texas Governor’s Mansion. Through Mar. 10. Miguel Zapata: Retrospective displays Mar. 17–Apr. 21. One of Zapata’s three portraits of the King of Spain resides in the entrance of the Meadows Museum, and his equestrian portrait of George Washington hangs in the Bush Library. valleyhouse.com 51 WAAS GALLERY WAAS is dedicated to co-creating exciting, relevant, and innovative work from significant artists hailing from local and international markets. waasgallery.com. 52 WILLIAM CAMPBELL CONTEMPORARY ART Opening Feb. 10, WCCA will feature Arno Kortschot and Peter Stephens. On view through Mar. 17, the show will display Kortschot’s sculptures, which combine bright colors or repeat a number of objects together, while Stephens’ paintings explore the landscapes and patterning in the cosmos. williamcampbellcontemporaryart.com


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TO THE

AUCTIONS & EVENTS 01 DALLAS AUCTION GALLERY The Fine Jewels Auction on Mar. 21 will include several local collections of estate jewelry and fine timepieces. dallasauctiongallery.com 02 HERITAGE AUCTIONS HA will hold a flurry of auctions from Feb.–Mar. including Online Prints & Multiples Auction Feb. 27, Online Photographs Auction Feb. 28, Books Signature Auction Mar. 7, Fine & Decorative Arts Auction Mar. 10, Estates Auction Mar. 10–11, Texana Grand Format Auction Mar. 17, Asian Art Auction Mar. 20, Entertainment Auction Mar. 24, Luxury Accessories Signature Auction Mar. 25–26, Jewelry Signature Auction Mar. 26, and the Online Prints & Multiples Auction Mar. 27. Visit HA.com/Art for more details and to view the full auction calendar. HA.com

Fifth Anniversary Exhibition

03 DALLAS ART FAIR Mounted annually at Fashion Industry Gallery (f.i.g.), save the date for the tenth installment of the Dallas Art Fair, featuring nearly 100 prominent galleries from across the globe, Apr. 12– 15. dallasartfair.com 04 MTV RE:DEFINE Join hosts Kenny Goss and Joyce Goss for the seventh annual MTV RE:DEFINE Auction and Gala honoring artist Tracy Emin. Chaired by Maxine Trowbridge and Brooke Davenport, the event benefits the MTV Staying Alive Foundation and Dallas Contemporary and is presented by NorthPark Center, Apr. 13. mtvredefine.com

Saturday, February 17, 2018 Opening Reception, 5-8PM

05 TO INFINITY: THE ART OF MASTER SHEN-LONG The Crow Collection of Asian Art and NorthPark Center present a special exhibition in conjunction with Chinese New Year. To Infinity: The Art of Master Shen-Long features a new artwork by international multidisciplinary artist Master Shen-Long that celebrates the power of all beings to create their universe. On view through Mar. 10 on Level One between Neiman Marcus and Dillard’s at NorthPark Center. northparkcenter.com

Artists in Attendance Exhibition on display through March 24, 2018

1130 Dragon St. Dallas, TX 75207 214.761.2000 LauraRathe.com

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OF NOTE

Keun Joong Kim

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

972-807-9255 1426 N Riverfront Blvd | Dallas, Texas 75207 www.guggenhome.com

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Sun Doo Kim


DAVID YAR ROW

2.2.2

SEOUL–DALLAS–SEOUL

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pening Feb. 17, Chong Chu, a painter and Professor of Art at Brookhaven College of the Arts, has gathered some friends and colleagues for a group show at Mary Tomás Gallery including two artists from Seoul, Korea. “I visited Korea through an exchange workshop program between the Chung Ang University in Korea and the Brookhaven College in Dallas as art faculty. There I met Sun Doo Kim and Keun Joong Kim,” Chong Chu describes. Now the two Korean artists will visit and teach at Brookhaven as part of the exchange. “I think these two artists are exemplary in the Korean contemporary art world. ” Sun Doo Kim expresses the meaning of life through the cosmic visions and dream states present in his work. Kim refers to himself as a landscape painter, believing “it is an essential genre in this day and age. We are constantly driven far away from nature, and nature suffers at the cost of human desire.” Kim explores contemporary aesthetics using the jang ji technique, narrowing the gap between ink and color, and line and shape, drawing life’s awareness through the aesthetics of lines. Kim’s works are part of public collections at National Museum of Modern and Contemporary Art, Seoul Museum of Art, Sungkok Art Museum, Ho-Am Art Museum, Kumho Museum of Art, and more. Keun Joong Kim reveals, by means of the flower borrowed from Korean folk art, the oppressed inner consciousness. He believes that humans live as split subjects with the dichotomist framework of good and evil. Translating the traditions of folk art to Korean pop art, his work offers a pathway to recovery of the genuine self or natural being. Chong Chu defines, “He seeks himself through his medium.” Kim received his MFA from the Graduate School of Culture and Fine Arts University, Taiwan, and currently works as Professor of College of Art, Painting, Sculpture at GaChon University, Seoul, Korea. The show’s curator, Korean-born, Dallas-based painter, Chong Chu, attaches past memories to his abstract markmaking as he explores the symbolism of ongoing expansion of the natural world in regard to faith and grace. Chu received his MFA degree from Tyler School of Art at Temple University, Philadelphia, PA, and works as a Professor of Art at Brookhaven College of the Arts. His wife, Hyun Ju Chung integrates inspiration and celebration of her native Korean culture and personal experiences in America. The intercultural encounter is revealed in her painting style where recurring symbols underneath layers of rich color and gestural pattern intimate a universe in harmony. Dallas-based ceramicist Lisa Ehrich, Chair Faculty at Brookhaven, and Brookhaven’s Executive Dean, Rick Maxwell, a sculptor who works with wood, joins these four Korean-born artists. The exhibition runs through Mar. 24. marytomasgallery.com P

Gangsta | Archival Pigment Print | 64 x 52 in.

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

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tête-à-tête Dallas-born Isaac Lyles and Olivia Smith discuss starting up their Manhattan galleries and exhibiting at Dallas Art Fair.

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WITH ISAAC LYLES AND OLIVIA SMITH PORTRAIT BY OLIVIA DIVECCHIA

saac Lyles: We’re both Dallas natives. How did you get into art and was there something in Dallas that led you to it? Olivia Smith: Visual art has always been the most important thing in my life, but SMU Meadows School of the Arts really shaped me as an artist and interdisciplinary thinker. I also learned quite a bit through internships at Big Thought and the Creative Arts Center of Dallas, and as a docent for The Rachofsky House. My very first introduction to contemporary art was visiting a Neil Jenney exhibition at Craighead Green Gallery, which left quite an impact on me as a high school student. OS: And what about Dallas shaped you and your interest in art? IL: My father David Lyles co-founded the short-lived but important Dallas Artisans Guild. Spending time in artists’ studios and experiencing the alchemy and labor of creation had a formative effect on me. It was that profound sense of community as well as exhibitions at the Dallas Museum of Art, particularly Bill Viola: The Crossing and the Sigmar Polke: Recent Paintings and Drawings exhibitions that opened up the world to me. I knew that I wanted to pursue art history and that art was an intellectual and social pursuit, one that affects and enriches life. IL: Now as a director of one of the Lower East Side’s most interesting galleries, what excites you about returning to our birthplace and exhibiting at the Dallas Art Fair? OS: It’s been exciting to watch the art scene develop in Dallas while I’ve been in New York. I attended the first edition of the Dallas Art Fair ten years ago as an SMU student. A few years later, I saw Chris Byrne give a lecture about the fair at the Dallas Contemporary. I have attended the fair many years since, always with the hope that I could participate in some way. It’s important to me to connect with Dallas since I believe in the future growth of the arts in my hometown.  OS: What attracted you to New York? Did you know you wanted to work in galleries and eventually open your own? IL: After stints living in Berlin, London, and Mexico City, I knew I wanted to go where the adventure was and rub elbows with the best of my generation. I worked with amazing people: the curator Antony Elms, Mike Egan (of Ramiken Crucible, whom I met at UT Austin), Derek Eller, and Jack Tilton before the chorus of “you should open your own gallery” was loud enough for me to hear. On May 31, 2015, I opened Lyles & King in the Lower East Side. OS: Do you think being from Dallas makes you stand out in the New York art world?

This page, above: Bill Saylor, Humboldt Hangout, 2017, oil on hemp, 84 x 60 in. Courtesy of Magenta Plains. Below: Chris Hood, The Past is the Future Repeating, 2017, alkyd on canvas, 80 x 64 in. Courtesy of Lyles & King. Opposite: Olivia Smith, director of Magenta Plains and Isaac Lyles, owner of Lyles & King. Photograph by Olivia Divecchia.

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FAIR TRADE

IL: I think it does, because I try to approach each gallery visitor with grace and friendliness—traits that I specifically attach to the kinder world of Dallas—traits that are rare in New York. What about you? OS: Before opening Magenta Plains, my co-founders and I discussed our values: integrity, hospitality, accessibility, and curiosity. Those are qualities I grew up with culturally in Dallas. IL: Can you talk about Magenta Plains? The name, the program, and the gallery’s vision?  OS: For me, the name Magenta Plains is visually expansive, full of possibilities. One of the core missions of the gallery is to bring greater attention to significant art and artists regardless of age or career, presenting context and meaning for the development of new ideas as well as to preserve older generations of artists’ work. We are thrilled to announce our roster of artists this spring! OS: How did your gallery Lyles & King develop, and how do you select which artists to exhibit? IL: I began the gallery with the belief in the importance of experiencing art in the flesh. In a world all-too-digital, exhibition-making (“Ausstellungsmacher” is how Harald Szeemann described himself) has become much more important. I represent artists because I believe in the process of building an oeuvre in time, I believe that I can foster that for artists, and I want collectors to know that I stand fully behind my artists. I choose artists to exhibit first and foremost by being passionate about the work and confident in the artist’s vision and therefore future. Secondly, I’m working to build an international program characterized by dynamism and difference. Issues of the body, experience, and technology are themes that course through many of our shows. IL: What about the Dallas art scene do you think is most exciting?

OS: I love to meet with collectors in Dallas because they are receptive and open-minded. It’s especially exciting to see the recent developments in private institutions like The Power Station, Karpidas Collection, and The Warehouse. I hope young artists who attend art school in Dallas will stay in the city, continue to thrive, and keep forging new territory. IL: I agree with you and want to add the amazing curators Justine Ludwig and Alison Gingeras at the Dallas Contemporary, along with TWO x TWO for AIDS and Art, which I attended for the first time in the fall. I think Dallas’ community of patrons, curators, and collectors, along with the Dallas Art Fair, have generated something special, and something that you and I are proud to be a part of and proud to return to. ABOUT THE INTERVIEWERS: Olivia Smith is director of Magenta Plains, a contemporary art gallery founded in 2016 on the Lower East Side of New York City. Prior to co-founding Magenta Plains, Smith directed Exhibition A, where she worked in collaboration with over 250 artists to produce and distribute new limited-edition art. Smith graduated from Highland Park High School and received her B.F.A. from SMU Meadows School of the Arts in Studio Art, Art History, and English in 2011. magentaplains.com Isaac Lyles is the owner of Lyles & King. Many of their gallery artists are in the collections of Centre Pompidou, Paris; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Hammer Museum, Los Angeles; San Francisco Museum of Art, San Francisco; Museum of Modern Art, Warsaw; and others. Lyles & King exhibitions have been featured in Artforum, Art in America, ArtNews, The New York Times, The New Yorker, Artnet, and others. lylesandking.com P

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BY STEVE CARTER PORTRAIT BY ALLISON V. SMITH

Otis Jones with Four Bone Circles, 2016, acrylic on canvas on wood, 59.5 x 41.5 x 4 in. Photograph by Allison V. Smith. of Barry Whistler Gallery. 44 Courtesy PATRONMAGAZINE.COM


OPENINGS

SERENDIPITY’S SEASON For Dallas artist Otis Jones, the stars are aligning—it’s about time.

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t seventy-one, Dallas artist Otis Jones has been around the block more than once—enough to have seen it all. An influential and well-respected luminary in the Texas art firmament for decades, he’s been represented in Dallas by Barry Whistler, Gerald Peters, Holly Johnson, again Barry Whistler, and in Fort Worth, for over 20 years, by William Campbell Contemporary Art. His footprint is international as well; Jones is repped by Copenhagen’s Sunday-S Gallery and Zürich’s annex14. But 2017 was a benchmark year in the septuagenarian’s career, distinguished by several confluent milestones, and setting the stage for even better things in 2018. The short list: last summer Jones was picked up by New York gallery Marc Straus; in September Straus showed three of his paintings at Expo Chicago and sold them all within an hour. Then in October, Sunday-S Gallery’s solo exhibition of new works sold out before it even opened. This month, February 16 marks the opening of Jones’ first solo exhibition with Straus, and at Dallas Art Fair 2018 Jones will be shown by both William Campbell and Barry Whistler; he’s Whistler’s featured artist. “It’s all very serendipitous,” Jones says, “and I couldn’t have made it happen this way if I’d tried. But I’m very happy that it’s all coming together the way it is.”

Clockwise from top left: Otis Jones, Blue Square, 2009, mixed media on canvas laid on wood panel, 24 x 24 x 3.5 in. Courtesy of the artist and William Campbell Contemporary Art; Otis Jones, Blue with Ivory Oval, 2015, acrylic oil stick on linen laid on wood panel, 11.5 x 9 x .5 in. Courtesy of the artist and William Campbell Contemporary Art.

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Otis Jones’s studio with Red Oxide Circle with Red and Black, 2016, acrylic on linen on wood, 44.5 x 45 x 4 in. Photograph by Allison V. Smith. Courtesy of Barry Whistler Gallery.

Serendipity? Gallerist William Campbell weighs in, “We’ve been selling his work and supporting him as much as we can, but until you get that opening, whatever it is, you’re just out there working. Otis has been doing what he does for a long time, and now new eyes have seen it.” And Barry Whistler adds, “Otis is getting his deserved attention—not that it wasn’t happening before, but there’s a certain momentum that seems to be happening now. I’ve always identified with his clean-line aesthetic and abstraction; I think he hits those on the head. And I see some folk art in there too, that rough edge.” That roughness is a key aspect of Jones’ aesthetic, which reveres the “hand” in the work, the revelation of the method, and the unabashed “objectness” of the work. There’s no sleight of hand, there’s only hand. “They’re all objects, no matter what, even an illusionistic painting,” Jones says. “As somebody once said, ‘I don’t paint the banana, I make the banana.’ That’s kind of appropriate, because I’m trying to make something out of nothing, and it feels handmade; it has an identity as an object in the world. It’s still painting, but it’s very physical.” That physicality is the essence of the paintings, from the nakedly exposed stapling, to the subtly

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imperfect, overly thick plywood foundations, to the layers of paint, abraded paint, and more paint. “I’m building the geology of the piece,” Jones explains. “A little bit of the history is revealed in the painting, and I hope I’m imbuing the work with a little bit of my soul.” Serendipity definitely played a part in New York gallerist Marc Straus’ discovery of Jones. The artist recalls, “The phone rang one morning and it was a guy from Marc Straus. He said, ‘I’ve seen your work on Instagram and I love it; I think Marc would love it, and we want to show you.’” Jones visited the Marc Straus website and was a bit perplexed by what he found there. “My first thought was, ‘where do I fit in?’ I called the guy back and he said, ‘Well, that’s the point—you don’t quite fit in, and we like that.’” Meanwhile, halfway across the world, Marc Straus and gallery partner Tim Hawkinson were in Brussels, visiting art fairs. At one of them Marc spotted two small paintings that stopped him in his tracks. “I knew the DNA of the work immediately,” he says. “I knew I’d never seen it, I knew it was American, that it would’ve been an older artist, and this quirky,


OPENINGS

Otis Jones, Natural Circle with Black and Red Circles, 2017, acrylic on canvas on wood, 28 x 28 x 3 in. Courtesy of the artist and Marc Straus Gallery, New York.

Otis Jones, Green with 2 Gray Lines, 2014, acrylic on canvas on wood, 46 x 36 x 3.5 in. Courtesy of the artist and Marc Straus Gallery, New York;

unusual work clearly had a relationship to the 70s, West Coast art, Minimalism, and Color Field art, and I decided to find out who the artist was. Quite coincidentally our other partner and Director, Ken Tan, had separately found him—it was like the three of us all converged at the same time.” Straus first showed Jones as part of his gallery’s summer group exhibition, The White Heat. Jones flew to New York for the opening and met with the partners. Negotiations ensued, new price points were settled, and a deal was struck. When Straus took three paintings to Expo Chicago in September, it couldn’t have gone any better. “They sold in an hour,” Straus says, “and the people who ran the fair, and others from another prestigious fair, all told me that Otis was the ‘find’ of the week.” Jones’ inaugural solo exhibition at Marc Straus opens on February 16, and Straus himself is thrilled. “I think Otis has created his own identifiable language, and it could only be an artist who’s lived through and crossed these different eras. Yet the work is absolutely fresh; it’s work of the moment.” The untitled show will present 8–10 recent works, large and small. “I want a little bit of a mix,” Jones says, “and have it installed in a very sparse way. The paintings need room to operate.” Straus observes, “His works hold a lot of space, they have a lot of power—he’s really making extraordinary work.” And the work cont inues. Further down the road in September of this year, Jones and rising star Bret Slater will exhibit together in a two-man show at annex14 in Zürich. The two have shown together several times over the years, and their “mentor/mentee” relationship (Slater was once Jones’ studio assistant), has blossomed into a peer-to-peer mutual admiration. “We’re kind of an odd couple, in a sense,” Jones acknowledges. “I’m this codger and he’s this babe in the woods, you know? [Slater is 40 years his junior.] I consider him my colleague, and in the end, I’ve learned from him as well.” To everything there is a season, and this serendipitous season belongs to Otis Jones. P

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CONTEMPORARIES

The Importance of Being Earnest

BRET SLATER IS AUTHENTIC—TO HIMSELF, HIS WORK, AND THOSE WHO’VE INFLUENCED HIM.

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n the 5th day of January, Bret Slater was still wrestling with a title for a large painting. Leaning against a wall at Liliana Bloch Gallery, the work awaited installation for his solo show opening the next day. Titles mean a great deal to the artist, which he says are “about things I’m experiencing. A lot of the time it’s influenced by music I’m listening to while I’m working, and things that I’m vibing— maybe even characters from books I’m reading.” Slater says Herman Hesse, the late Nobel Prize-winning novelist, poet, and painter, is one of his all-time favorites. An excerpt from Hesse’s Demian accompanies Slater’s exhibition. But there are also titles borrowed from the old British rock band, T. Rex, like Spaceball Ricochet. “His titles are really good, funky, and just so fresh,” says gallerist Liliana Bloch. This is the artist’s first time showing with Bloch who says they’ve been talking about doing a show together for a year and

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a half. “I’ve always been very intrigued by his work and have followed his career for several years now.” A native New Yorker, Slater received his MFA from Southern Methodist University and was once a Dallas-based art darling, beguiling collectors at every level with his small-scale works, first exhibited by the muchmissed Marty Walker Gallery and later with Holly Johnson. It’s been a couple of years since he’s had a show here, and it’s good to have him back. Effortlessly earnest, we’ve missed his arresting tattoos, inexhaustible energy, and mostly his work. Through February 10, Bret Slater displays the demure paintings for which he is known, though void of the remembered bright colors, in addition to three large canvases. The show is described as a “dynamic shift in both scale and technique for the artist.” While all the paintings are uniquely Slater, the sizeable canvases are something he’s just come back to over the past couple of years. “You get to miss making larger work.” He reveals previous attempts were


BY TERRI PROVENCAL PHOTOGRAPHY BY JOHN SMITH

From left to right 1–3: Brooklyn-based artist Bret Slater installing Gutter Gaunt Gangster at Liliana Bloch Gallery; Bret Slater, Harvest, 2017, acrylic on canvas, 46 x 46 x 1.50 in. On the floor: Bret Slater, The Spaceball Ricochet, 2018, acrylic on canvas, 10.25 x 1.5 in.

not, in his mind, successful. “But for my first solo show with Marty (Walker) I did have a larger work painted thickly on raw canvas. That was successful, but a different technique.” The artist is influenced by pop culture, but also describes his paintings as “inanimate souls.” He says, “The small scale of the paintings, their materiality, and their color all relate. They all connect to a certain physicality of a certain kind of thing. Where does painting meet this rubber action figure that I treasured as a kid and carried in my backpack? Where do painting and that kind of affinity meet for a toy as a kid? It’s the handheld space, like the experience of reading a book. I think books may impact me more than any other kind of media. Maybe. It’s all this content in this one physical shell.” The artist could certainly maintain a fruitful career dedicated entirely to his 10-inch-and-under misshapen, modern color fields with paint overlapping the edges. Solo

shows across the globe have mounted each year since he graduated from SMU—Italy, Belgium, and Switzerland. The artist’s application of acrylic mixed with medium to create conceptual, yet approachable, rubbery, soapy-like objects are highly collected, but that alone would be too confining for him. “I thought for years about how I could make large paintings again. And my whole working space, my whole mental working zone, became like this box in front of me, and it was just too small. It became like confining myself. I needed to break open again. I wanted to use my body and my arms and legs to make work. I want to make big things. I want to break out of this small shell.” While he dabbled in going large, he was not feeling the same intimacy, then something ancillary stirred him. “In 2014, I was giving a talk for the series Artists on Artwork at The Met on Kenneth Noland and Paul Feeley. They are two of my first

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CONTEMPORARIES

Bret Slater, Dhotie, 2018, acrylic on canvas, 40 x 40 x 1.75 in. installed above gallerist Liliana Bloch and the artist; Bret Slater, Rise, 2015, acrylic on canvas, 6.25 x 1.25 in.; Bret Slater, Lil’ Mexico, 2017, acrylic on canvas, 5 x 4 in.

favorite painters and a lot of their buddies: Helen Frankenthaller, Morris Louis—the Color Field painters,” he says excitedly. “I was giving this talk about painting in general and as I’m talking it hit me: That’s how I can make large work; it’s to just make paintings in the same way they made paintings with watereddown, stained acrylic on raw canvas. And it could work, and I could use my own compositions.” He said he had resisted their methods “out of respect and desire to let that be its own moment in history and to always strive for originality.” So, after the talk, the young artist peacefully succumbed to the old adage that nothing is original. “You have to come to this realization, I think, as a maker that you can’t be a maker and be 100% original. It’s just not possible. There is no completely pure format. Everything you’re doing has a foregrounding in history already. And that’s a difficult thing to deal with as a contemporary

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A NEW AMERICAN SCULPTURE, 1914–1945 guggenhome

Lachaise, Laurent, Nadelman, and Zorach February 17–May 13, 2018 Free Admission #amoncartermuseum Above: Robert Laurent (1890–1970), Acrobat, 1921, carved wood, private collection

artist. You have to wrestle with that.” Slater is nothing if not soulful. Everything around him affects him, and his palette is more subdued this time around. He’s a thinker, though an extroverted one with an easy smile. “Two years later I decided to embrace it and try to make these large works. The materials are the same but used differently with a lot of water instead of medium, and applied differently.” He gestures to the matte-brown and purple-stained painting he had struggled with titling. “These are stained with a brush.” The work, relieved of the same texture, is still instantly recognizable as the artist’s. “I think it’s going to be Gutter Gaunt Gangster after lyrics from a T. Rex song.” On the opening day of Slater’s show, the late T. Rex frontman, Marc Bolan, would have been proud. P

A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach is organized by the Amon Carter Museum of American Art and the Portland Museum of Art, Maine. Local presentation is made possible by the Jill and Charles Fischer Foundation, Dr. and Mrs. Kenneth M. Hamlett, Jr., the Ann L. & Carol Green Rhodes Charitable Trust, Bank of America, N.A., Trustee, and Rosalyn G. Rosenthal. Foundation Support:

Government Support:

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BY JUSTINE LUDWIG PHOTOGRAPHY BY KEVIN TODORA

VISUAL LITERACY

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Paul Winker’s paintings are inspired by images in today’s hierarchy of communication.

crudely outlined snake appears to float over the inky black backdrop of space. Like a localized x-ray, a pink fleshy lump is clearly visible within the serpentine form. The image is graphically simple, appearing as an unexplained biology diagram or perhaps an illustration of some forgotten idiom. In another painting, a hand cursor points to Earth—establishing a connection between icons—the hand of God and that present digitally with which we peruse the Internet. Third, a diptych offers a smiley and frowny face as contemporary comedy and tragedy masks. These are the winking works of Paul Winker. Winker mines the meme and emoji-filled landscape of contemporary visual language. In doing so, he creates works that feel uniquely grounded in the now. The artist’s oeuvre draws from the contradictory nature of how images are approached today—being so loaded, yet simultaneously taken for granted. For a population so constantly bombarded with pictures, many lack the knack for decoding them. Winker sees his attempts to rectify this as the responsibility of the artist in present times—drawing parallels

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that are often as inspired as they are obvious. For the artist, 2017 was a year of reflection. Winker focused primarily on introspection and experimentation. His 2016 closed with a major presentation at The Box Company, Dallas. In the spring of 2017, he partnered with Pierre Krause for the show Bible Study curated by Danielle Avram at Texas Women’s University in Denton, intuiting, even co-opting, some of Krause’s autobiographical themes and rhythms. Both shows, in their own way, offered an exploration of childhood, growth, and the human imperative to communicate. Winker’s commitment to making art began at an early age. In kindergarten Winker had a friend who was constantly drawing— creating elaborate images of air balloons and insects. This creative fervor lit a fire in Winker. He too wanted to be able to invent realities and tap into the potential of imagination. The freedom of childhood creativity continues to inspire him. Winker actively, even classically, clings to this frame of openness often lost in adulthood. Winker’s gestures intentionally appear naïve—all squiggle lines and simple mark-making. They speak to the elemental need


STUDIO

Above: Artist Paul Winker in his studio. Opposite: Paul Winker, Big Bang,/2017, enamel2018 on canvas, FEBRUARY MARCH 53 18 x 27 in.


STUDIO

Above: Paul Winker, Scratch Off, 2016, enamel on canvas, 39 x 19 in.; Below: Paul Winker, Untitled (know your worth), 2016, enamel on canvas, 67 x 35 in.

to express one’s self and be understood. Winker’s codified marks are reminiscent of Keith Haring’s symbolic language found in the artist’s early diaries and are inspired by the primacy of images in today’s hierarchy of communication. As emojis, stickers, and gifs become accepted avenues of interaction and expression, the artist’s work draws a line back to the earliest modes of communication such as the Lascaux cave paintings. Winker considers his works as expressions of experience and understanding distilled to their most essential elements. The artist initially creates his images on a track pad— instinctively dragging his finger over the surface. The digital image is then printed full size, which is then traced and cut out. Winker uses this template to assemble his work. Painting on a flat surface he builds up thick layers of enamel house paint. One could call this his calling card. The resulting image protrudes from the surface of the canvas—lending a seductively smooth and rich physicality to each painting. This technique is heavily inf luenced by Winker’s past experience with creating stencils for street art. In this process, images are manipulated digitally to heighten contrast, then printed and cut out by hand. The exchange between digital and physical platforms is central to Winker’s practice. They speak to the translation and tension between the different realities we constantly find ourselves bouncing between. 54

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In Winker’s studio there hangs a large canvas that reads “fuzzy math.” This Bush-era phrase employed to discredit everything from statistics on global warming to election results was in many ways the buzzword precursor to “fake news.” It is a phrase that through repeated use has becoming meaningless. In Winker’s presentation it is now an icon. Monumentalized and untethered to circumstance, Winker highlights how communities place weight on the familiar even when it is not understood. The painting evokes, even mocks, contemporary outrage and controversy. Now Winker is turning his attention to investigating the iconic painting Olympia by Édouard Manet. Winker seeks to unearth the tension between historical presentation and contemporary understanding. The famed painting was seen as scandalous upon its unveiling due to its overt sexuality. Now it exists as one of the greatest hits of art history 101. Winker’s interpretation of the painting focuses in on Manet’s model, Victorine-Louise Meurent. Meurent was a celebrated painter in her own right and was a regular subject for Manet, having also posed for Dejeuner sur L’Herbe and The Railway. Removing her surroundings, the reinterpretation becomes about the sexualization and anonymity of a woman now written out of history. While breaking new ground, Winker still speaks to the role of visual literacy, promising his most thematically complex work yet. P


interior design + art

PHOTOGRAPHY BY DANNY PIASSICK Photography by Dan Piassick Katherine Houston, “Silver Spaces”, Acrylic on Acrylic

MARY ANNE SMILEY, RID, ASID maryannesmiley.com 214.522.0705

Above: Paul Winker, Something For Everyone, 2017, enamel on canvas, 55 x 77 in., image courtesy of AND NOW. Below: Paul Winker, To The Core, 2017, enamel on canvas, 19 x 19 in.

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Splendor in the Grass Michel van der Aa’s Sunken Garden is rich with earthly delights.

Sunken Garden, Katherine Manley and Claron McFadden.

BY LEE CULLUM

From left: Sunken Garden, Katherine Manley; Claron McFadden and Katherine Manley. Photography by Mike Hoban.

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PERFORMANCE

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unken Garden has nothing in common with Eden. Nobody there is as sexy as Eve. Amber comes close, but she’s too desperate to really qualify. There is another woman, however, who comes to resemble a serpent, only worse. Nor is it a Paradise Lost. How could it be? This was never really a Paradise Found, though some dreamed it might be. The Dallas Opera’s US premiere of Sunken Garden is instead a way station between life and death, a place, though misleadingly lush, that you’d rather not visit lest you never get out alive. A cross between the Bhagavad Gita and the Book of Revelation with a dash of Hitchcock’s Vertigo, it is a work of mad originality by Michel van der Aa, a stratospherically modern Dutch master to whom those sources, though lurking somewhere in the subterranean, universal unconscious that grounds his music, would seem as irrelevant as John Philip Sousa. Michel van der Aa is a genius whose adventures in high technology teeter always on the edge of invention at war with the sane, netherworlds that riddle the real, art in collusion not with science but alchemy. Sunken Garden has it all: video to propel the plot, 3-D glasses that rush the action right inside your line of vision, and a full orchestra led at The Dallas Opera by Nicole Paiement, Principal Guest Conductor and expert at meshing Michel’s electronic music with instruments in the pit, creating a combination that is whole and wholly mesmerizing. Three characters sing on stage, and two on film. One of them, Kate Miller-Heidke, is an Australian pop star who trained in opera. Two of the others, soprano Miah Persson and baritone Roderick Williams, performed in Blank Out, van der Aa’s big success at New York’s Park Avenue Armory last fall. Six actors appear in video interviews in Sunken Garden, filling in the blanks of a weird story by British novelist David Mitchell. In Blank Out, Miah Persson, a Swedish star with a radiant bell-like voice, portrayed a blonde innocence, yielding unaware to unwelcome knowledge of life and death. In Sunken Garden she plays the far more complex, dramatically demanding Dr. Marinus, who shows up in all of Mitchell’s books, sometimes male, sometimes female, and sometimes as a psychiatrist as in this opera. At first the doctor looks like the villain of the piece. But she isn’t. The villain is Zenna, a deceptive lady bountiful who dispenses lots of money for Toby’s documentary. In February, production people will arrive at The Dallas Opera with electronics, wires, copious computer files of scenery and music to help Drew Field, Technical Director and Head of Artistic Operations, mount the spare, then lavish but ever complex production envisioned by Theun Mosk, Dutch wunderkind of theatrical design. Except for the ravishing garden itself, two big aluminum boxes frame the action on film, truly the room where it happens, while the trio of singers do their part, in and out of the projected melodrama. Some screens rise, others drop. Projectors fly in and out. All the while, Drew Field stands backstage, on the left, keeping a watchful eye, set to send help if baritone Roderick Williams runs into trouble moving the boxes around as he throws his voice into the role of a hapless documentarian, trying to make a movie about two missing people, trapped, it turns out, in the garden, a place, remember, you don’t want to go, no matter how glorious. Sunken Garden, as an opera, is as convoluted as Il Trovatore, as emotionally inconclusive as The Tales of Hoffman, and as riveting as the best of Hans Christian Andersen. For all the wonders of technology that it deploys—and there are plenty—it still comes across as elegant storytelling, capable of transporting an audience to places it has never been before, or perhaps remembers only too well. As astonishing as the show itself is the creative energy clustered currently in the Netherlands. Michel van der Aa, Theun Mosk, director Ivo van Hove (Belgian, but working in Amsterdam), architect Rem Koolhaas—all exude fresh, unfettered inspiration. Why? I asked Michel when we spoke by phone. “The Dutch from the get-go,” he explained, “are a traveling bunch of people. They always look abroad, not internally, but across the border.” There’s more: “We used to have, and have again, a government that invests quite well in the arts, with subsidies for artists. So there’s soil for the arts to grow. You can be original.” P

Above: Sunken Garden, Kate Miller-Heidke, Roderick Williams. Photograph by Mike Hoban. Right: Michel van der Aa. Photograph by Priska Ketterer.

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BY LEE CULLUM PHOTOGRAPHY BY JOHN SMITH

ABOVE & BEYOND

Lobbying for the Arts, Julie Hersh and Don Stone are the 2018 TACA Silver Cup Award Honorees.

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ast September, Julie Hersh and Don Stone were chosen as the 2018 TACA Silver Cup Award recipients. Established by former mayor Annette Strauss in 1976, each year, TACA (The Arts Community Alliance) has honored one man and one woman for “outstanding contributions to the arts.” Patron checks in with this year’s honorees described by TACA Carlson Executive Director and President, Wolford McCue, as “truly exemplify(ing) the spirit of the award.” Julie Hersh is a powerhouse. You might not know that from reading her book, Struck by Living: From Depression to Hope. I spent most of a night with it after she gave me an updated copy the afternoon we met for this interview. I already had a first edition but had not given it as much time as it deserved, fearing to go too deeply into it would be a downer. That turned out to be true, and not true. Hersh is an advocate for searing honesty, and happy endings, never contrived but wrested in deadly combat with noonday demons, as one writer called them, chemicals madly out of balance in her brain, unresolved consequences of sensible choices not always affirmed by irrational sense. That she not only survived but also prevailed, her life infused with meaning and her days with purpose, testifies to her impressive strength, buttressed by the stamina of a thoroughbred and the integrity of a saint. Julie married into a Jewish family that eventually included two children as well as her husband Ken. She remained an outlier, estranged from her Catholic upbringing but drawn to it nonetheless. Now she enjoys hearing Rabbi David Stern at Temple Emanuel, but also turns up at St. Rita’s, which holds for her the consolation of ritual. Her insights are laced with Christian concepts, such as “dying to something bigger than yourself…I love the idea of sacrificing yourself for something,” she explains. Julie almost sacrificed herself to suicide, three times, believing her personal world would be better off without her. No one in her household agreed, and Ken fought hard to get her into electroconvulsive therapy. It worked, the first time, and again, when she relapsed. Returning to life, she is the Hersh Foundation’s president and helped to guide its initial grant to the Center for Depression Research and Clinical Care at UT Southwestern. It is pushing for

primary care physicians to handle 95 percent of the cases, which they can do if they only know what to look for. “We need a smoke alarm,” she asserts. “We don’t want to wait until the building is on fire.” Julie Hersh pivots easily from science to stagecraft and currently chairs the board of the Dallas Theater Center. A high moment of last year, of course, was going to New York with Artistic Director Kevin Moriarty and Managing Director Jeffrey Woodward to receive the Regional Theatre Tony Award, about as big a deal as they come. It was conferred on DTC “not for a single production,” Julie notes, “but for a body of work.” The most significant aspect of the effort in 2017, in her view, was the inauguration of Public Works Dallas, an enormously ambitious project that embraces community centers from Literacy Archives in Vickery Meadow to Bachman Lake Together to Jubilee Park and Community Center. Actors from the downtown realm of Moriarty fanned out into these neighborhoods for a year, encouraging free expression in people of multiple languages, origins, experiences, and aptitudes. It all culminated in a grand extravaganza at the Wyly, with 200 participants, ages seven to 91, performing in a musical production of The Tempest, directed by the master himself (Kevin Moriarty), all in Shakespearean English. It was a riot of strenuous, delirious effort; unalloyed discovery; and achievement. “People really stretched,” says Julie, “to overcome obstacles,” some as basic as figuring out how to use public transportation to get to the Arts District from neighborhoods they never had left before. “It’s all about stretching.” “Stretching” is a word she uses a lot, admitting that she stretched herself to write Struck by Living. “I was worried about the impact on my family,” she tells me, “afraid it would reflect badly on Ken and his career (by then in accelerated orbit at NGP Energy Capital Management, a group of funds he founded, and later set aside to run the George W. Bush Presidential Center) and the kids.” As for Rachel and Daniel, “The opposite happened. They became much more aware and open, able to spot problems in their friends.” Julie has found her own voice, speaking at gatherings such as Music and the Brain at the DSO’s SOLUNA and even starting lessons in singing, picking up an old pleasure from her childhood. (She has had to leave them off for now, with so much going on, but

“Julie Hersh asks the right questions, attacks critical challenges, and pushes for innovative responses.” –Wolford McCue, Carlson President Executive Director, TACA

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Julie Hersh is president of the Hersh Foundation and the board chair of Dallas Theater Center.

Chanteuse Sarah JaffeFEBRUARY / MARCH 2018 59on Main on in striped Ellery top at Forty Five Ten Main.


A retired, vice chairman of Federated Department Stores, Don Stone stays busy advocating for numerous art organizations in Dallas.

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“Don Stone is a visionary, an extraordinarily generous donor, a Renaissance man of Dallas.” –Wolford McCue, Carlson President Executive Director, TACA hopes not forever.) She exercises regularly, running with a group of Catholic women and another at the Cooper Clinic, as well as in marathons, now cut in half. She meditates daily and also every day does a “gratitude list.” It’s important, she relates, “to stop and focus…I love light and shadows, [so I feel grateful] for the way light is shining through the leaves on the trees, making a shadow.” Gratitude, she stresses, should be “specific.” When it comes to culture, theater comes first for Julie Hersh, who would love to write a play, but she also enjoys music and the visual arts. In her house the pictures on the walls are happy, as she points out: a whimsical hanging by Pamela Nelson; a painting by Toni Truesdale of a faintly surrealistic Hispanic woman in blue inspired by Hildegard of Bingen, a twelfth century Benedictine abbess, said to be an “artist, writer, physician, mystic” (not unlike Julie Hersh herself); and in her dining room, a large picture in vibrant blues and oranges by Cecie Borschow of Santorini where the Hershes spent the first night of their honeymoon. On the table are architectural drawings of an apartment in the Vendome where Ken and Julie are moving later this year. So the art is happy, but is Julie Hersh happy? Probably yes, certainly more than before. Amidst the sobering aspects of her story she can be radiantly witty. But I suspect that instead of happiness she is seeking and finding a peace that is as productive as it is reassuring. A character in Turgenev once said before she took her life, “I was never able to simplify myself.” Julie Hersh, a complicated combination of Irish and Polish, poetry and science, South Bend and San Francisco, prayer and inner power, is doing just that. Don Stone seems as uncomplicated as Julie Hersh is complex, but isn’t that often the case with men and women? He worked his way steadily up from the men and boy’s basement department of Foley’s in Houston to running Sanger Harris in Dallas to presiding as vice chairman over much of Federated Department Stores, now Macy’s Inc., the parent company in Cincinnati, and director of Fossil Inc. from 1993 to 2013, while Julie zigged and zagged through severe disturbance—a “crooked straightness” Robert Frost called it—to arrive safely on the shore of triumphant self-fulfillment. Both of them love London, however. Julie and Ken and their children lived there for a year—the happiest of her life, she wrote—and when Don “was smart enough to take early retirement,” as he puts it, he and his wife, Norma, a formidable adventurer, decamped to a flat in London. There they stay each spring and fall, for the 90 days they can live in Britain without unpleasant taxes. “It was by far the best investment we ever made,” he tells me, “though we did not intend it as an investment.” On Berkeley Square in Mayfair, the Stones’ apartment has zoomed in value as surrounding properties have been swept up by Middle Easterners, Greeks, and Russians searching for a place “to park their money.” A house near them, he says, “has been redecorated three times, but nobody is living in it.” Norma and Don go out almost every night in London, doing theater, opera, concerts, and dance. (“If you’re tired of London,” he paraphrases Samuel Johnson, “you’re tired of life.”) They spend the summer in Aspen and the rest of the year in Dallas, where he holds forth still on the board of the Dallas Symphony, which he chaired in the early 1980s, then took part in planning the Meyerson, including

the hiring of architect I.M. Pei and acoustician Russell Johnson. Those were heady days in Dallas, especially for the symphony, when all the major corporations invested in the orchestra. That is less true today, Don laments, then argues that “no one has seduced CEOs…They’ve got to get involved and enjoy being involved.” The economic crash of 2008 “gave them an excuse,” he says, “to cut back.” Moreover, he believes the board chair must enforce “discipline”—a word he uses as often as Julie Hersh does “stretching.” When he led trustees of the orchestra in Cincinnati, he insisted they sign an agreement at the beginning of each season, committing to do what they said they would do: “give or raise money, bring in new people, go to the green room after every concert to greet the conductor.” In Dallas he thinks it’s vital that board members vow to “pay their pledges in the calendar year” for which they were made. “I have no musical knowledge at all,” says Don, “but I love contemporary music.” Don and Norma established the Norma and Don Stone New Music Fund at the Dallas Symphony Foundation. He hopes the new conductor (when the DSO at last names a replacement for Jaap van Zweden) will take a strong interest in music of our own time and, especially, American composers. “Living composers,” he points out, unlike painters or sculptors “need an orchestra to know what they’ve done. You don’t have to like it. Just listen to it.” Don listens with admiration to Voices of Change, and he has a lot of praise for the Dallas Black Dance Theater. “Zanetta Drew is the best executive director in town,” he declared. “They never spend money that they don’t have.” Don and Norma also support the Fine Arts Chamber Players, and they created a fund there to pay tuition for “highly talented kids,” one of whom is currently learning to be a composer at TCU and another, from a Somalian family, is pursuing piano at UT Austin. Don deplores that “there is no music education in the [public] schools. It falls between the chairs and there’s nothing to catch it.” One bright spot for young musicians, he noted, is the Greater Dallas Youth Orchestra. “They have discipline,” he says approvingly: “miss [too many] rehearsals and you’re out.” Discipline comes easily to Don Stone. It’s not hard at all for him to eschew television and read instead, drawing on rich and varied resources in the beautiful library of the apartment he shares with Norma on Turtle Creek, not far from the Hershes’ new experiment in urban living. While he immerses himself in a book, he can glance up from time to time at elegant works on paper by Picasso, Matisse, Calder, and Miro. A more recent acquisition is a sculpture by Lorenzo Quinn, son of the late actor Anthony. It’s a book in bronze with a pair of lovers inside half-open pages. Of course, Don Stone is too disciplined to lose himself to email either. He wants nothing to do with it. That’s Norma’s thing. “She sits up until 3:00 in the morning doing email,” he says. Maybe that’s not so bad. She can keep him in touch with a world he prefers to know only selectively. After years in retailing, at the mercy of the buying public, he deserves, no doubt, a civilizing respite. There’s no better place for that than books and music, but you’ll also find the Stones at and supporting many of the numerous “big and small” theaters around town. “I really like what they are doing.” P

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PRIVATE VIEW

MARGUERITE HOFFMAN WILL WELCOME DALLAS ART FAIR EXHIBITORS THIS APRIL.

From left: Mark Bradford, A Truly Rich Man is One Whose Children Run into his Arms When his Hands are Empty, 2008, media collage on canvas, Sikkema, Jenkins & Co., New York; Cy Twombly, Coldstream, 1966, oil-based house paint, wax crayons on canvas, Greenberg Van Doren Gallery, New York; Marguerite Steed Hoffman seated below Peter Doig, Mal d'Estomac, 2008, distemper on linen, Michael Werner Gallery, New York. All courtesy of Collection of Marguerite Steed Hoffman. Architecture and design by Dallas-based Architect, Bill Booziotis; All interior/ 62by Andrée PATRONMAGAZINE.COM furniture design Putman.


BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JOHN SMITH

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Renate Bertlmann, Washing Day, 1976–2014, 120 pieces of latex, hung on washing lines with pegs. Collection of Marguerite Steed Hoffman.

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hile the Dallas Art Fair has opened the door to a growing number of collectors, the city’s stalwarts continue to play an active role. In addition to being among the first to walk through each April installment during the Patron Preview, many of them generously open their homes and collections during that weekend. This year, prior to the public opening, one of its sponsors, Marguerite Hoffman, will welcome exhibitors to her Bill Booziotis-designed guesthouse and exhibition space known as B2. Though she and her late husband, Robert, built the collection together, their approaches to collecting varied. “Robert had a list of five criteria. Some of these criteria formed the backbone of the collection,” Marguerite says. She, on the other hand, collects more intuitively. “It happens to me in the first three minutes. I look for quality that’s inherent,” she explains.  Hoffman is delighted that the Dallas Art Fair is cultivating new collectors with initiatives such as the Dallas Art Fair Foundation & Dallas Museum of Art Acquisition Committee. She credits

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the leadership of the fair with creating a critical mass between institutions and emerging collectors. “We have to keep expanding awareness and move beyond the obvious players,” she says. As the former chair of the DMA Board of Trustees, she also stresses the importance of getting collectors involved with local institutions. While her collection includes titans of modern and contemporary art, Hoffman continues to expand its scope. “I made a conscious decision a year or two ago to diversify the collection and to include the work of more women and more people of color,” she says, adding, “Since this work will go into a municipal collection, it has to reflect that culture.” Mark Bradford and Rashid Johnson, accomplished artists by any barometer, are among those reflecting this diversity. She has also acquired the work of over a dozen women, including Austrian artist Renate Bertlmann. “Often the work refers to women’s bodies or to the roles that are traditionally relegated to women. Washing Day is a perfect example of these conditions. Bertlmann was a proto-feminist artistic voice


From left: Wyatt Kahn, Bad Girl, 2015, canvas on canvas on panel; Lynda Benglis, Untitled, 1975, purified pigmented beeswax and damar resin on masonite; Alison Knowles, Book Jacket, 1999–2008, clothing with collage elements and found objects, ink and graphite on paper, cotton, handmade flax paper, pins, paperclips, and string. All Collection of Marguerite Steed Hoffman.

commenting on the oppression of women as well as on female sexuality. I am interested in all these themes and how they have played out over time,” she explains.   Hoffman also enjoys following the work of younger artists, such as Wyatt Kahn, saying, “I feel that Wyatt is confronting a long line of questions in art history about what constitutes a painting or a sculpture. His shaped canvases with their playful titles activate the room and immediately call to my mind some of the ideas inherent in the work of Stella or Kelly.” In addition to the opportunity of acquiring new work, Hoffman also values the relationships that she has formed with gallerists. Many galleries are on her list to visit this year, including Van Doren Waxter, a Dallas Art Fair newcomer, but a longtime friend of Hoffman. She also looks forward to the return of Kerlin Gallery and Harlan Levey Projects. From the latter, she is interested in seeing Marcin Dudek’s Alcohohooligan. “It bows a bit in the direction of Clifford Still, but in a Dr. Seussian kind of way. The manner of execution is interesting and exacting,” she says. A tour through this art doyenne's spectacular collection is something Dallas Art Fair Director Kelly Cornell is grateful to offer visiting exhibitors. “We are thrilled to have the generous support of Marguerite, opening her collection and being active in the fair. Marguerite is a shining example for new generations of collectors, and her involvement with the city's institutions has been crucial to putting Dallas on the map as it is today.” P

Marcin Dudek, Alcohooligan, 2017, acrylic paint, image transfer, UV varnish on cloth tape, 78.74 x 59.05 in. Courtesy of Harlan Levey Projects.

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Home Grown DALLAS ART FAIR CULTIVATES A NEW COLLECTOR BASE.

Georgia Hayes, Texas Teen above the fireplace with Shannon and Dallas Sonnier

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hat is the secret to art collecting? For many collectors, it all comes down to intuition. This innate sense makes it possible to wander through galleries and be immediately drawn to new works. With close to 100 galleries from 15 countries participating, the upcoming Dallas Art Fair, now in its 10th year, will offer an abundance of choices. The Dallas Art Fair Preview Gala is the opening event to the weekend, with proceeds from this dazzling evening benefiting the Dallas Museum of Art, Nasher Sculpture Center, and Dallas Contemporary. Through a variety of initiatives, the Dallas Art Fair is cultivating a new generation of collectors while also working in

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tandem with established collectors. Shannon and Dallas Sonnier are among this new generation inspired by the Dallas Art Fair. Though a native son, Dallas met Shannon in Los Angeles, where they both lived before relocating to this area in 2015. Dallas learned about the fair shortly after moving back to town. “We really started collecting in Dallas because of our great experience with the Dallas Art Fair,” he says. The first year they attended, they purchased Texas Teen by Georgia Hayes. “It related to Shannon’s own experiences as an outsider moving to Texas,” Dallas explains. The following year, they were invited to participate in the Dallas


BY NANCY COHEN ISRAEL PHOTOGRAPHY BY JOHN SMITH

Art Fair Foundation Acquisition Program. This invitation-only group, now in its third year, is a unique partnership between the Dallas Art Fair and the DMA. Participants donate to the fund and then have the opportunity to preview the Dallas Art Fair with Dallas Museum of Art staff several days before it opens to the public. This year Katherine Brodbeck, The Nancy and Tim Hanley Assistant Curator of Contemporary Art and Dr. Agustín Arteaga, The Eugene McDermott Director, will play an active role in the acquisition tour and selection process. This will be the Sonniers’ second year to participate on the committee. Dallas says, “It is fascinating to have the gallerists host and be able to hear their conversations with DMA curators and know that we could help acquire work for the museum. It’s like peeking behind the curtain in the Wizard of Oz.” The movie reference is apt as Dallas is the CEO of the film company Cinestat. As one might expect from a filmmaker, much of the work in their home has a narrative element to it. The couple enjoys the reactions their collection elicits. “I really like when someone comes to the house, sees a piece, and is inspired by it,” says Shannon. Perhaps not surprisingly, much of the work in the collection has a narrative element to it. Chivas Clem’s Totem III, for example, greets guests in the entry of the Sonniers’ home. “It’s a giant Jenga statue of VHS tapes,” Dallas explains. Beyond the obvious cinematic connection, there is a deeper personal connection. Clem, represented locally by Erin Cluley Gallery, is from Paris, Texas. He acquired the tapes from shops throughout East Texas. Dallas’ family owned a ranch near Mineola while he was growing up. The possibility that some of the tapes in the totem are the same ones that Sonnier may have rented as a teenager gives it added meaning. In the meantime, they anticipate seeing several pieces coming to the fair. Jacob Hashimoto’s multimedia piece, The Mountain Builders, will be presented at Ronchini Gallery. Dallas says, “Shannon and I got our start in the movie business in our 20’s, working as assistants at the United Talent Agency in Beverly Hills. The boss, Jeremy Zimmer, is as sophisticated a collector as I have ever met. He had a wonderful piece by Hashimoto in the lobby of the old UTA offices, and I remember thinking that one day I would love to have a piece that stunning.” They are also looking forward to seeing Lita Albuquerque’s Auric Field from Peter Blake Gallery. “Anyone named Lita Albuquerque is going to catch our attention, as that name belongs to a superhero or rock star. Having lost both of my parents in tragic circumstances, I think a lot about life, death, and the afterlife. Lita has captured the energy surrounding a beautiful life in her piece, and I wonder if she created it as a reminder of someone whose spirit she misses quite often,” Dallas muses. At this year’s fair, they will visit with local friend Erin Cluley as well and Division Gallery from Canada. Their favorite part of the weekend is its kickoff event. “The preview night is the best night of the year,” says Dallas, adding, “We’ll tour, see friends, meet new people. It’s a blast!”

Top: Lita Albuquerque, Auric Field, 2017, pigment on panel and gold leaf on resin, 30 x 30 in. Image courtesy of the artist and Peter Blake Gallery. Bottom: Jacob Hashimoto, The Mountain Builders, 2015, bamboo, paper, dacron, acrylic, and pigments, 42 x 71 x 7.87 in. Image courtesy of Ronchini Gallery.

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Top: Laura Lancaster, Untitled, 2012, oil on linen, 70.87 x 90.5 in. Courtesy of the artist and WORKPLACE, UK. Bottom: John McAllister, hibernal haunts hewn, 2017, oil on canvas, 47 x 38 in. Courtesy of the Artist and Shane Campbell Gallery. Photograph by Evan Jenkins.

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Over the past 20 years, William Carr and Michael Pappas have traveled the world collecting art. Objects in their beautifully renovated mid-century ranch reflect travels to Africa, South America, and Europe and span several centuries. “If it talks to us, it doesn’t matter if it is from the 15th century or the 21st century,” Carr says. Pappas and Carr are global citizens in the truest sense. In addition to an 18-month sabbatical during which Pappas lived in Paris, the couple also spends every July in Mallorca. Their collection veered to the contemporary about three years ago and continues to reflect this international dynamic. Working with Carbon 12 Gallery from Dubai, they acquired several pieces at the Dallas Art Fair from artists such as Portuguese painter Gil Heitor Cortesão and Austrian artists Philip Mueller and Bernhard Buhmann. Carr says that one of Cortesão’s Porthole paintings spoke to him for two years before he decided to buy it last year. They acquired the Buhmann work the year before. With the Buhmann painting, Pappas says, “It was mainly an emotional response to his composition of abstract shapes and his use of color.” That many of the artists shown by Carbon 12 are up-and-coming is particularly exciting for them. They are also eagerly anticipating seeing new work by the artists represented at Nicelle Beauchene Gallery and Carrie Secrist Gallery.  Carr has been involved with the Dallas Art Fair from its earliest days. He is also a founding member of the two-year-old Dallas Art Fair Foundation Board. Serving on the Board, he says, is an honor and a privilege. He is also delighted that the fair attracts a broad array of visitors to Dallas. Carr further stresses that the event “allows people to collect at all levels.” Among the works that Pappas and Carr look forward to seeing this year are paintings by John McAllister and Laura Lancaster from Shane Campbell Gallery, and WORKPLACE GALLERY, respectively. Pappas is drawn to McAllister’s painting hibernal haunts hewn. “I am attracted to his works for their vibrant colors and his subject matter of still life and landscapes,” he says. His taste is consistent. Last year, the couple acquired a work from Mueller’s Mountain series. “I fell in love with it. The dimensions, the artistry all spoke to me,” Pappas says.  Of Lancaster’s untitled painting, Carr says, “It’s new and fresh and borders on the line of abstract. This painting in particular expresses the hope of the human spirit reaching out for something.” He is also drawn to Lancaster’s process. “She uses old negatives that she finds at garage sales and interprets the event through her painting,” he explains.  Both men work in creative fields. Carr is the owner of William Carr Salon and Pappas is a landscape designer with impeccable taste. While they collect collaboratively and intuitively, Carr says, “I defer to Michael a lot because his background in landscape design and architecture is phenomenal. He has that eye.” Pappas concludes with what he enjoys most about this annual event: “The art. The people. It’s exciting to see new and emerging artists.” Officially, the Dallas Art Fair is a three-day event. Those purchasing Patron passes also enjoy access to the Thursday night Preview Gala as well as to learning opportunities throughout the weekend, including visits to private collections, lectures, and evening events. Just as the Dallas Art Fair has created a ripple effect within the contemporary art scene, it has also become the catalyst for the city’s celebration of Dallas Arts Month, bringing exposure to the area’s diverse visual and performing arts community. P


William Carr and Michael Pappas seated next to Zephyr.

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BY PEGGY LEVINSON PHOTOGRAPHY BY DANIEL NADELBACH

SANTA FE MODERN THE LAND OF ENCHANTMENT LURES DALLAS EXPATS TO THEIR NEWLY CONSTRUCTED DWELLING WITH MOUNTAIN VIEWS.

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Alan Kagan worked with Far + Dang Architects from Dallas to design a dream home that embraced the mountain views.

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or many Texas collectors there is one longed-for residential move—to be surrounded by art, both natural and manmade, within an inspired community of kindred spirits. “Get thee to Santa Fe” says the artistic muse—and that is exactly what Alan Kagan and his husband Eduardo Moncada did just recently after visiting for many years. Kagan, a modernist builder and art collector, called on Dallasbased Far + Dang Architects with whom he had worked on projects in Urban Reserve, and his own considerable experience as the founder of Dwellings…A Kagan Company, to build their dream house in Santa Fe. For the site-specific landscape he collaborated with Patrick Dickinson, a horticulturalist who works in Dallas for Texas A&M Agrilife Research and Extension Center. The house, built in a boomerang shape, arcs around the living areas facing the mountains. The roof cantilevers out to create deep decks furnished with multiple seating areas from Richard Schultz for Knoll to enjoy the views with sliding doors that offer an idyllic indoor/outdoor living experience. Bollard lighting creates a beautiful walkway to the front door, and vertical aluminum posts create an entry courtyard but still allow for views from the living room. The house was obviously built to take full advantage of the famed New Mexico sky. “I was struck the first time I saw the Sangre de Cristo Mountains and knew I wanted to be able to see them in all lights, at different times of the day,” Kagan expresses.

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This page, above: Water feature of three stone plinths from Stone Forest in Santa Fe; below: Loring Taoka, Untitled-Spirit Sections, 2016, paint on Plexiglas. Opposite, above: the Sangre de Cristo mountains at sunset; bottom: Sangre de Cristo mountains.


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This page, painting: Robert Yarber, Last Embrace, 1984, oil on canvas; Ceramic horse is by an unknown artist. Oppisite, Top: Roseville Pottery, Donatella, c. 1914–1919. Bottom: Masks from Mexico, Japan, and Indonesia and toy figures from artists around the world.

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“I was struck the first time I saw the Sangre de Cristo Mountains and knew I wanted to be able to see them in all lights, at different times of the day,” –Alan Kagan

Kagan’s collecting obsession began years ago. “My initial collection began with Roseville Pottery, which I discovered in estate sales and antique stores in Atlanta in the mid 1970s. Although they produced many other lines, I was struck by Donatello.” The Donatello pattern, featuring pastel glazes with raised images of cherubic children, was introduced from Europe and only produced in the early 1900s in Roseville, Ohio. The search process was slow before the Internet and Google and he recalls, “Each time I would find one it was like finding a treasure.” Like most art enthusiasts, treasure hunting typically spawns new collections. “When I see something, any art form that peaks my interest, I typically buy it—travel especially gives me the opportunity to explore different cultures. While living in Southeast Asia, I was struck by the simplicity and beauty of Japanese design, and I began to notice Japanese masks—I began a mask collection from Japan, Bali, and Mexico. And while on a recent trip to Amsterdam we stumbled upon a toyshop filled with ‘designer toys.’ Hence the beginning of a toy collection.” Kagan began perusing galleries all over the Dallas area in the 1980s before there was a real gallery district. He also went to galleries in Denison, Texas. “At one time Denison was being promoted as a new Santa Fe.” At a gallery opening in Deep Ellum, he discovered Lionel Maunz, a young art student at Southern Methodist University, and bought an early abstract of a horse and rider. Maunz now lives and works in New York where his figurative dystopian sculptures were exhibited at MoMA PS1 in 2016. The Estelle Meyers Gallery on Cedar Springs sometimes had special sales of artwork from corporate moves. Kagan bought an abstract from the Dutch artist Arie Van Selm at one of those sales, long before he was a sought-after artist represented by Gerald Peters Gallery. His early acquisitions have stood the test of time and remain some of his favorites today. And all this art, stunning views, and the home itself need an audience. The house was built for entertaining, old friends flock to visit and enjoy Santa Fe, and new friendships are always made in this friendly, social town. Kagan enjoys cooking in the custom kitchen he had fabricated by the same artisans he uses for houses he builds in Dallas. The living areas flow into each other and are connected outside

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Top: left to right: Jeremy Thomas, Aventador Green, 2010, forged mild steel, epoxy, and urethane; Dion Johnson, Accelerator, 2011, acrylic and Flashe on canvas; Jorge Marin, Boceto Equelibrista, 2010, bronze and silver, steel base. Bottom: left to right: Theo Wujcik, Jade Perfection, 2013, acrylic on canvas; Anna Elise Johnson, The Ambassadors 1, 2015, acrylic, resin-based adhesive; Ronaldo Quezada, clay pots; Arie Van Selm, Enigmatic Polyphony, 1989, oil on canvas.

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Bollard lighting illuminates the walk to the front door while vertical aluminum posts create an entry courtyard.

The roof cantilevers out to create deep decks furnished with multiple seating areas from Richard Schultz for Knoll.

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F fa

Master bathroom

by the extended decks. Classic modern furniture pieces create separate seating areas, all taking advantage of different views of the conjoining Jemez and Sangre de Cristo mountain ranges in the distance. The den yields more art—a vibrant red abstract by Dion Johnson from Holly Johnson Gallery hangs over a B&B Italia sofa with midcentury chairs recovered in rich purple velvet. The colors seem to mirror the sunset. The living room presents a different view of the mountains and has a seating area with four Corbusier chairs and an animal skin rug; the focal point is a painting of a giant jade plant by Theo Wujcik from Galleri Urbane in Dallas. The vertical aluminum posts outside the entry courtyard reflect and create a kaleidoscopic view of the dramatic landscape. Whimsical touches and favorite art objects abound throughout the house: as a crawling-man wire sculpture by Chris Mason from Craighead Green faces an orange squirrel outside the window in the living room. In the dining room, a running-man sculpture in painted plaster is by the French-born, Dallas-based artist Phillipe Semp. An ephemeral tree sculpture by Shane Pennington stands alone at the end of a long hallway. Last Embrace by Robert Yarber was purchased at an estate auction at Talley Dunn.  

James Gilbert, I Know Everything About You and We Haven’t Met, 2008, plastic.

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From left: Eric McGehearty, Repetition of Unreadable Books, 2003, books set in concrete blocks with spine facing outward; Eric McGehearty, Out of Focus, 2003, steel and plexiglass.

Salvador Dali, Pergatory Canto Series, lithographs.

In the master bathroom are works by James Gilbert of dreamlike transparency where a delicate white dress and man’s shirt and pants appear like shadows on the wall. Solid blue bricks mounted form a rectangle offering an interesting installation in the office. One brick stands apart and leaves an empty space. “This represents dyslexia to the artist Eric McGehearty—words that jump out and don’t appear in the right order to the dyslexic eye,” says Kagan. Also in the office is a Plexiglas work, Untitled by Loring Toaka from Galleri Urbane. The pair buys what they like and seems to have an unerring eye for good design. Iconic pieces like an Eames chair and the Corbusier chairs mix well with other modern furniture they have acquired through the years. Biedermeier dining chairs purchased thirty-five years ago at a defunct furniture store in Dallas surround a dining table from Cantoni. The spare lines of the furniture let the art and views take center stage. Though Kagan is completing a multi-family project and a custom build for a client in Dallas, he avers, “We are now in Santa Fe lock, stock, and barrel. There’s a vortex of some sort here. We love the diversity of the people, and the sun shines 300 days a year. There is a reason they call this the Land of Enchantment,” he proffers. P

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Bill Blass coat @shopboavintage; The Row cashmere sweater, Neiman Marcus, NorthPark Center; red pant @shopboavintage; Sue Gragg, Highland Park diamond and goldloop earrings; Tom Ford slingback heels, Neiman Marcus, NorthPark Center; Celine bag, Forty Five Ten on Main on Main. Dan Lam, Drip and Blob sculptures, bydanlam.com.

ONE STEP BEYOND

DAN LAM'S SQUISHES, DRIPS AND BLOBS TAKE FASHION TO THE OUTER LIMITS.

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PHOTOGRAPHY AND CREATIVE DIRECTION BY SHAYNA FONTANA STYLING BY CARLOS ALONSO-PARADA ARTWORK BY DAN LAM

Akris fitted wool dress, Akris, Highland Park Village; Akris AI micro messenger bag in Cervocalf leather, Akris, Highland Park Village; Alexis skirt, Elements; MSGM blouse, Elements; earrings @ shopboavintage. Dan Lam, Drip and Blob sculptures, bydanlam.com. Set Design: Isabella Ferraro; Hair & Makeup: Jo Franco; Assistant Stylist: Sydney Lopez and Jordan Smith; Model: Sheridan/ FEBRUARY / MARCH 2018 81 Wallflower Management; Light Tech: Evan Wallis


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This page: Delpozo green cape and Delpozo green top, Forty Five Ten on Main; Christopher Kane pant, earrings, and belt @shopboavintage. Dan Lam, Drip and Blob sculptures, bydanlam.com. Opposite: Balenciaga Knife booties, Neiman Marcus at NorthPark Center; TOME dress, Forty Five Ten on Main; CARVEN top, Forty Five Ten on Main; Mansur Gavriel leather-circle, crossbody bag, Forty Five Ten on Main; diamond and gold earrings, Sue Gragg, Highland Park. Dan Lam, Drip and Blob sculpture, bydanlam.com. FEBRUARY / MARCH 2018 83


This page: Givenchy star-printed, hooded, lightweight, wind-resistant jacket, Givenchy denim dress, Judith Lieber globe bag, and Fendi Rockoko leather knit bootie, Neiman Marcus, NorthPark Center; earrings @shopboavintage. Dan Lam, Drip and Blob sculptures, bydanlam.com. Opposite: Fear of God bomber jacket, Neiman Marcus, NorthPark Center; Palmer Harding shirt and Calvin Klein blush pant, Forty Five Ten on Main; earrings @shopboavintage; Mary Sze chain harness; Adidas sneaker. Dan Lam, Drip and Blob sculptures, bydanlam.com.

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This page: Dress and strap heels by Roberto Cavalli at NorthPark Center; diamond and gold ring, Sue Gragg, Highland Park; Dan Lam, Drip sculpture, bydanlam.com. Opposite: Marina Moscone jacket and pant, Forty Five Ten on Main; belt, Elements; diamond and gold cross earrings, Sue Gragg, Highland Park; Balenciaga kitten-heel, satin mules, Forty Five Ten on Main. Dan Lam, Drip and Blob sculptures, bydanlam.com.

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t h e f or t i e t h a n n u a l

TACA SILVER CUP AWARD presented byLUNCHEON J.P. MORGAN presentedMARCUS by and NEIMAN J P MORGAN CHASE & CO.

and NEIMAN MARCUS PROU DLY S A LU T E S T H E 2018 R ECI PI E N T S

Julie K. Hersh &

Donald J. Stone Tuesday, March 20, 2018 12:00 NOON · H I LTON A N ATOL E

Chairman

Melinda Johnson 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 Julie K. Hersh and Donald J. Stone. To purchase tickets, please call 214.520.3930 or visit our website at taca-arts.org.


Mary Katrantzou, Mary, Queen of Prints installation at Dallas Contemporary Photography by Bruno


THERE MARY KATRANTZOU, VALERIE KEANE, AND ENOC PREZ EXHIBITION OPENING CELEBRATION AT DALLAS CONTEMPORARY PHOTOGRAPHY BY BRUNO

Mary Katrantzou and Nasiba Adilova Mackie

Barbara Daseke

Gregory Amore and Alexander Giantsis

Peter Blum, David Blum, Enoc Perez

NEW WORKS by

RON MUECK FEBRUARY 16–MAY6

MODERN ART MUSEUM OF FORT WORTH 3200 Darnell Street Fort Worth, Texas 76107 www.themodern.org

Support for the presentation New Works by Ron Mueck in Fort Worth is generously provided by the Kleinheinz Family Endowment for the Arts and Education, Kelly Hart & Hallman LLP, the Dee J. Kelly Foundation, and Southwest Bank. Couple under an Umbrella, 2013. Mixed media. 118 1/8 x 157 1/2 x 137 3/4 inches. Photo: Patrick Gries. © Ron Mueck. Courtesy the Artist, Anthony d’Offay, London and Hauser & Wirth

Follow the Modern

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Justine Ludwig, Valerie Keane

Charles Teichman, Joanne Teichman


THE DEBUT OF 400 RECORD SHOWCASING CHEF BRUNO DAVAILLON'S BULLION PHOTOGRAPHY BY EIGHTY THREE CREATIVE AND STEVEN FOXALL

Bridget Ryan, Alexis Barbier-Mueller

Executive Chef Bruno Davaillon, Thomas Hartland-Mackie

Deedie Rose, Howard Rachofsky, Cindy Rachofsky

Melbourne O'Banion, Anthony Aramooni, Dr. Nimesh Patel

Lisa Moore, Nasiba Hartland-Mackie

Davaillon's Bullion

Three Sisters

FEBRUARY / MARCH 2018

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THERE DALLAS MUSEUM OF ART'S 2018 ART BALL ANNOUNCEMENT PARTY AT FORTY FIVE TEN PHOTOGRAPHY BY TAMYTHA CAMERON AND GEORGE FIALA

Janie Cooke and Paul Cooke

Victoria Seabrooks, Jorge Adeler, Talisa Durand, Cali Stewart

Geoff Green, Pat McEvoy and Charles McEvoy

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Dee Dee Hoke, Barron Fletcher, Catherine Rose, Hale Hoke

Agustín Arteaga, Rebecca Enloe Fletcher, Carlos Gonzalez-Jaime

Naudan Khotanzad, Sogand Shoga, Walter Elcock, Laura Elcock

Rachael and Michael Osburn

Laura Koonsman, Cammy Davis, Ann Hobson, Janie Cooke

Adam Lippes, Brian Bolke, Faisal Halum


AKRIS FALL/WINTER COLLECTION PREVIEW BENEFITING DALLAS ART FAIR FOUNDATION AT GOWRI AND ALEX SHARMA'S HOME PHOTOGRAPHY BY BRAD LINTON

Gowri Sharma

Marlene Sughrue, John Clutts

Sarah Blagden, Kelly Cornell

Daisy Bonnette, John Sughrue, Zoe Bonnette

PJ Heil, Kenny Goss

Selwyn Rayzor, Nini Nguyen

Representing

for more than two decades

Otis Jones, 4 Black Lines, mixed media on canvas, 30” x 60”

FEBRUARY / MARCH 2018

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THERE 2 017 I 2 018 SE A SON in association with AT&T Performing Arts Center

GRAND OPENING CELEBRATION OF CARTIER AT HIGHLAND PARK VILLAGE PHOTOGRAPHY BY GRANT MILLER

“[Hervé Koubi] had a trancelike hold on the audience: glacially slow at times, whirlwind fast at other times, and always mesmerizing.” – Theater Jones Mercedes Abramo, Bora Song

Lael Brodsky, Brian Bolke, Brooke Davenport, Caroline Summers

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Elisa and Stephen Summers with family

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ON SALE NOW! CALL 214.880.0202 OR VISIT ATTPAC.ORG/TITAS 94

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Joanne Bondy, Stocks & Bondy • Dunia Borga, LaDuni Latin Café • Justin Box, Private Chef Sandra Bussey, Bbbop Seoul Kitchen and Chicken Moto • Robert James Clifford, Private Chef • Tiffany Derry, Roots Chicken Shak Fitzgerald Dodd, Private Chef • Gorji, Canary by Gorji • Mark Guatelara, Asador • Chad Houser, Café Momentum Uno Immanivong, Chino Chinatown • Juan “Pancho” Jasso, Nick & Samʼs Park Cities • John Kleifgen, Nick & Samʼs Steakhouse Peja Krstic, Mot Hot Bai • T.J. Lengnick, Dee Lincoln Prime • Juan Orocio, 4R Ranch Vineyards & Winery • Ken Patrick, Private Chef Anastacia Quiñones, Oddfellows • Jeramie Robison, City Hall Bistro • Gianni Santin, Haute Sweets Patisserie Tony Sinese, AT&T Stadium - Home of the Dallas Cowboys • Anthony Van Camp, Al Biernatʼs North • Manuel Vera, Truluckʼs Tre Wilcox, TRE Cooking Concepts • Jacob Williamson, Five Sixty by Wolfgang Puck • Yutaka Yamato, Yutaka Sushi Bistro

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For decades, KidLinks has provided healing experiences for the special needs of children through performing arts and media. The support of our generous donors has enabled KidLinksʼ musicians to perform in hospitals and special care centers across the country, has funded university-level Music Therapy training and has provided free / low cost treatment programs for children in need. Through Therapeutic Music Entertainment and clinical Music Therapy programming, KidLinks is guaranteeing access to all children of any ability level. Today, KidLinks is poised to reach all children through the power of media and song via a new online platform, Hugworks Childrenʼs Network (HCN). Funds raised go directly to the creation of content that can improve the daily experiences of children when they need it most as well as provide educational resources for the adults who care for them. As of Print Deadline

www.TheKidLinks.org | 6387B Camp Bowie Blvd. #278 | Fort Worth, Texas 76116


FURTHERMORE BY CHRIS BYRNE

THE DIVINE PANTER A GRAPHIC JOURNEY THROUGH HEAVEN AND HELL.

G

ary Panter published Song y of Paradise this past year. In 2004 and 2006, Panter had faithfully reworked— reducing, modifying, and reformatting—Dante Alighieri’s Divine Comedy into two books: Jimbo in Purgatory and Jimbo’s Inferno, respectively. This  third and final volume pays homage to John Milton’s Paradise Regained, itself a retelling of Jesus’ forty-day journey into the desert. Panter grew up in Sulphur Springs, Texas. He has exhibited paintings with Talley Dunn Gallery as well as Fredericks & Freiser in New York. His images have appeared in numerous periodicals including R AW, Rolling Stone, The New Yorker, and Time magazine. His work as a set designer was honored with three Emmy Awards. He currently collaborates with Josh White on the Joshua Light Show and plays in the band, Devin Gary & Ross. Chris Byrne:  What was the impetus for tackling Dante’s “Divine Comedy”? Did your religious upbringing predispose you to adopting this epic for a graphic novel trilog y? Gary Panter: I guess so. My life is marked by being raised as a fundamentalist conservative Christian in East Texas and being a missionary to Belfast (of all places). The church I grew up in considers itself the only true faith. That was damaging to me, so the study of comparative religions and history of Christianity was quite helpful. I am not part of the Jesus cult, but am also not into telling other people what they might believe. Studying Dante and Milton, who were Christian geniuses of some sort, was very interesting. Dante gave the Catholic Church a useful tool, but also a critique. Milton’s ideas of how to serve God and himself evolved and changed throughout his life, which allowed him to incorporate his own evolution as a person. CB: You developed the Jimbo character whom you’ve described as a hybrid between Dennis the Menace and Joe Palooka during the heady early days of the Los Angeles punk movement. Can you describe that particular time and aesthetic? GP: Funny that I don’t like Dennis or Joe Palooka much. Their creators were troubled people. Jimbo has a squashed nose and an athletic body, which bring those earlier strips to mind. My “scratchy” style began in about ‘72, and for a few years I was

looking for a place to publish that work, especially since nobody else in comics seemed to be doing what I was doing—mixing the art and comics I was into—Dubuffet, Brit Pop, cubism, the Hairy Who, cave paintings, and such. So discovering SLASH magazine’s first issue looked like a possible home for me due to its stark graphic look, and it did indeed turn out to be. The LA punk scene was very small in the beginning and mostly of young artists and runaway kids. After a few years there were thousands of kids, and it was quite a spectacle and a great place to start. It was tons of fun, and I made many friends there. CB: I read that you selected Song y for the Milton narrative because of his vulnerability or a kind of lack of sophistication—his dialogue with Satan becomes almost a monologue. Are there other depictions of Christ to which you intended to allude? We discussed James Ensor’s etching of “The Devils Dzitts and Hihanox Leading Christ to Hell” (1895). GP: Songy’s hallucination of Satan’s words and presence were all analogous to the action and speech in Milton’s “Paradise Regained” which has been considered as a famous nonconversation, as Jesus and Satan respond to each other but don’t actually communicate well at all. Using a simple stubborn hillbilly instead of Jesus seemed funny because Songy, with his simple desires and limitations, did very well against Satan. In Milton, Satan is a super salesman. So much so that Milton was accused by some of being a literal Devil’s Advocate! CB: In 2007, “Jimbo’s Inferno” was selected as an American Book Awards winner. Yet Andrew Arnold of “Time” also called “Jimbo in Purgatory” the worst comix of 2004—arguing that it was completely unreadable and vastly over-conceptualized. How do you reconcile this sort of recognition with this type of criticism? GP: I don’t worry about it. I am doing art out of very personal impulses, and that is my reward. I actually get to do it. In America, people seem to need giant successes and vast sales, big prizes and becoming millionaires. Even though I need money like everyone else, I am more into those small gestures that have interesting consequences and somehow help the psyche of humanity. P

From left: Gary Panter, Jimbo in Purgatory, 2004; Jimbo's Inferno, 2006; Songy of Paradise, 2017. All images © Gary Panter 2018. Courtesy Fantagraphics Books, Inc.

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Patron's February/March Issue  
Patron's February/March Issue