PATRON's February/March Issue 2023

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Examining the screen’s vast impact on art from 1969 to the present, this exhibition includes the work of fifty artists in a broad range of media including paintings, sculpture, video games, digital art, augmented reality, and video. These artists demonstrate the screen as a powerful and valuable artistic and social tool.

February 12–April 30 MODERN ART MUSEUM OF FORT WORTH 3200 Darnell Street Fort Worth, TX 76107 I’ll Be Your Mirror: Art and the Digital Screen is made possible through the generous support of the Texas Commission on the Arts, the Carl & Marilynn Thoma Foundation, and the Fort Worth Tourism Public Improvement District, with additional support from the Fort Worth Promotion and Development Fund. Pictured: Nam June Paik, TV Buddha, 1992. Buddha, monitor, CCT camera. 53 × 83 × 22 inches. Nicola Erni Collection I'LL

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February / March 2023

On the cover, a detail from Omphale V (Omphale V), a painting by Pablo Palazuelo (Spanish, 1915–2007), brings into view the monumental exhibition opening this month at the Meadows Museum. The bold work within In the Shadow of Dictatorship: Creating the Spanish Museum of Abstract Art, adapted from the holdings of Museo de Arte Abstracto Español in Cuenca, demonstrates that artists prevail in the most turbulent times, often articulating the mood of the day. Nancy Cohen Israel investigates in Abstracted Reality

From a front-row seat, Dallas enjoys the boundary-blurring sculpture of Mark di Suvero both within the Nasher Sculpture Center Garden, where Eviva Amore enjoys a bird’s-eye view, and at NorthPark Center, where Ad Astra climbs up to the NorthPark Center Cafés. Steel Like Paper, a three-decade survey of di Suvero’s practice, highlights his legendary works in both steel and on paper, and his enduring friendship with founders Raymond and Patsy Nasher, who unveiled this extraordinary museum for sculpture 20 years ago. Steve Carter goes behind the scenes in Star Search

Dallas Art Fair is just two months away, and three world-class galleries have joined the exhibitor list. Stronghold: Heavy Hitters Join Dallas Art Fair sallies forth the 15th edition of Dallas Art Fair and all the trappings of Dallas Arts Month in April. Featuring Max Hetzler, Proyectos Monclova, and Dittrich & Schlechtriem, we let you preview what’s coming.

Interior designer David Cadwallader is known for his exquisite interiors and soft-spoken confidence. In Out of the Quiet, John Smith’s camera reveals Cadwallader’s newly designed home—the architecture, the minimalist details, and the conceptual art collection he has gathered through the years. Peggy Levinson offers insight.

Mie Olise Kjærgaard is busy. Mounting two solo shows this month— one at the Karpidas Collection and the other at Various Small Fires—the Danish artist’s bold brushstrokes demonstrate her energy as one of the hottest working artists today. Read about her in Power Play, written by Eve Hill-Agnus.

Another artist enjoying the high is returning to Dallas for his second solo show. Johnny Floyd’s Son Prism at Conduit Gallery presents a chance to acquire art from this gallivanting Detroit artist whose work sold out at Conduit Gallery in the fall of 2021, created a bidding war at TWO x TWO that same month, then wowed the participants of the Dallas Art Fair Foundation Acquisition Program who chose his Upon Reflection, I am Aphrodite’s Pearls Strung Across the Firmament to add to the DMA’s holdings. Darryl Ratcliff brings Floyd’s oeuvre and journey to light in Here Comes the Son

Chris Byrne visits with another returnee, John Riepenhoff, who has exhibited his Milwaukee-based Green Gallery at Dallas Art Fair. His own artwork is within The Joule, a precursor acquired years prior to his solo show, Scene Painters’ Almanac, currently on view at Various Small Fires, on the Commerce Street side of the hotel.

To put together alluring fashion stories Patron combines the best elements: a gifted photographer and creative director, the sassiest brands, and, in this case, shoes and handbags combined with sculpture and ceramics. In Sculpted Style, Chris Plavidal, accompanied by his son Henry, a film student, and Elaine Raffel’s elevated eye for indulgent accessories pair with art culled from area galleries for standout fabulousness. Hint to readers: Everything in the feature is for sale, including the original art.

Wrapping up this edition, in Moving Picture Sara Hignite tells of Corbin Doyle, the talented filmmaker and teacher at Greenhill who hosts a summer course open to all students. With inclusion in mind, it’s a splendid chance for young students to discover artistic vision.

TERRI Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

Architecture is about optimism. Always looking forward, with a knowledge of the past.




Artists of midcentury Spain thrived despite dictatorship.


From skyscraping sculpture to works on paper, Nasher Sculpture Center’s homage to Mark di Suvero reaches new heights.


Three preeminent galleries will take part in Dallas Art Fair.


Rarely taking the spotlight, David Cadwallader designs a home of his own. By Peggy


With art from Conduit Gallery, Craighead Green Gallery, and Galleri Urbane, spring bags and shoes bring the party to the next level.

Photography by Chris Plavidal; Creative direction by Elaine Raffel

On the cover: Pablo Palazuelo, Omphale V (Omphale V), 1965–67, oil on canvas 58 x 120.50 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca.


8 Editor’s Note

14 Contributors

24 Noted

Top arts and culture chatter. By Anthony Falcon

Fair Trade


Fabienne Levy Gallery will bring the minimalist-inspired work of Ben Arpea, a French-Italian artist born in Paris, to Dallas Art Fair.

Interview by Fabienne Levy



Johnny Floyd returns to Conduit Gallery.



A Dallas favorite, Milwaukee gallerist and artist John Riepenhoff enjoys the view.

Interview by Chris Byrne


Mie Olise Kjærgaard lets us enter utopian realms in non-utopian times.



Nic Nicosia looks homeward in his latest series.



Artist and filmmaker Corbin Doyle passes on to students a hometown legacy of fostering creativity.




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is a writer, editor, and translator with roots in France and California. She has been a teacher of literature and journalism; an awardwinning dining critic in Dallas who also covers art and dance; and a freelance writer/ editor of nonfiction, fiction, and poetry. Her joy recently has been translation– of one language to another or of art into words. In these pages, she caught up with Danish artist Mie Olise Kjærgaard regarding the concurrent shows opening at Various Small Fires and the Karpidas Collection.


authored The Original Print (Guild Publishing, 2002) and the graphic novel The Magician (Marquand Books, 2013), within the Rare Book & Manuscript Library, Columbia University; Rare Book/Special Collections Division, Library of Congress; Ryerson and Burnham Archives, The Art Institute of Chicago; Thomas J. Watson Library, The Metropolitan Museum of Art. He is co-editing Frank Johnson: Secret Pioneer of the American Comic Book for Fantagraphics with Keith Mayerson.

PEGGY LEVINSON is a former design showroom owner who loves all things design and architecture, which makes her especially apt to profile interior design projects and the art of living. In the February/March issue, Peggy visits the newly designed home of good friend and award-winning designer David Cadwallader, one of the consummate creators of comely yet simple interiors that effortlessly enhance the art collections of his clients. Read about David’s own residence for aging in place in Out of the Quie t.

STEVE CARTER has been a Dentonbased freelance arts writer for the past 25 years, and a musician, bandleader, songwriter, painter, and factotum for even longer. In this issue he takes a look at the Nasher Sculpture Center’s Mark di Suvero: Steel Like Paper ; the blockbuster survey of the internationally acclaimed sculptor that runs from January 28 through August 27. The exhibition features both 3D and 2D works and provides seldom-seen peeks at his studio practice.


CHRISTENSEN has over two decades of experience in advertising and marketing. As a principal with L+S Creative Group, she consults with a wide variety of nonprofit organizations and businesses in many sectors, including retail, real estate, and hospitality. Lauren is a Dallas native and a graduate of SMU with a BA in advertising. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron

NANCY COHEN ISRAEL looks forward to this month’s exhibition openings. For the current issue, the Dallas-based writer, art historian, and Meadows Museum educator visited with Nic Nicosia as he prepared for his exhibition at Erin Cluley Gallery. Writing about In the Shadow of Dictatorship, opening at the Meadows Museum, Nancy was thrilled to have a sneak preview of works from the Museum of Abstract Art, located in the Spanish town of Cuenca.

SARA HIGNITE has worked in the arts for over 20 years at institutions including the DMA, Meadows Museum at SMU, Goss-Michael Foundation, and Mildred Lane Kemper Art Museum in St. Louis. From 2020 to 2022, Hignite oversaw the Karpidas Collection, curating Texas’ first Richard Prince exhibition and editing the accompanying catalogue. She recently launched a consultancy, Hignite Projects, offering curatorial and strategic services to art organizations, collectors, and artists.


is a Fort Worth–based photographer who specializes in still life imagery for a variety of local and national clients with an accommodating spirit. He is currently working on a series of 3D landscapes shot using an antique stereoscopic camera. In Sculpted Style, Chris Plavidal and his son, Henry, an aspiring filmmaker, investigate the relationship between spring’s handbags and shoes juxtaposed with sculpture and ceramics. Chris is represented by Sisterbrother Management.


is a Dallas-based creative director and stylist. Elaine’s fashion prowess and years as a creative working for Stanley Korshak, Neiman Marcus, and Mary Kay bring an elevated edge to Patron. Want to instantly update your spring wardrobe? Start with the fabulous accessories featured in this month’s Sculpted Style. They’re even more irresistible paired with a swoon-worthy selection of sculpture and ceramics from Craighead Green, Conduit, and Galleri Urbane curated by Patron ’s editor in chief, Terri Provencal.


is an award-winning artist and poet with a writing and curatorial practice whose work engages communities and mobilizes social issues. Darryl builds complex, collaborative, durational cultural projects that help tell true community narratives, promote civic engagement, and increase community health. He is a Yerba Buena Center for the Arts 10 Fellow working on prototypes addressing climate change and racial equity and the founder of Gossypion Investments, which seeks to evolve the role of culture in society.


is a Dallas-based photographer who flexes his degree in architecture to photograph homes of distinction. Years of experience provide him with a unique appreciation for his clientele’s vision.

John photographed interior designer David Cadwallader’s home in Out of the Quiet, capturing the minimalism he is known for augmented by tone-on-tone conceptual art. He also captured artist Mie Olise Kjærgaard at the Karpidas Collection, where she will have a February show, as seen in Power Play



Terri Provencal


Lauren Christensen


Anthony Falcon


Sophia Dembling


Michele Rodriguez


Chris Byrne

Steve Carter

Nancy Cohen Israel

Sara Hignite

Eve Hill-Agnus

Peggy Levinson

Darryl Ratcliff


Ramiro Chaves

Grace Doyle


Victoria Gomez

Jack Hems

Chelsea Hoy


Elaine Raffel

Kendel Bolton

Henry Plavidal

Archer Smith

Matthew Murphy

Brad Linton

Chris Plavidal

John Smith

Kevin Todora

Jesse Willems

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Cheers to delicious, Napa-inspired dishes at Ellie’s, curated by Executive Chef, Anthony Hsia. Located within HALL Arts Hotel, in the heart of the Dallas Arts District, our showstopping dining experience will leave you ready for an encore. 1717


Photography by Studio Love List

Style, fashion, flair, design, it is all personal. It is all unique to you and your family and when we partner with you, it becomes personal to us. Every nail, tile, and coat of paint comes together to tell your story. It is personal to us, because it is personal to you.

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Join Cosentino and Active Granite on March 8, 2023 With Special Guest Interior D esigner David Cadwallader from 6 to 8 p.m. At Abitare18 in the Decorative Center Dallas RSVP



The 27th Carroll Harris Simms National Black Art Competition and Exhibition, which sees painting, sculpture, mixed media, drawing, printmaking, and photography, continues through Mar. 17. One work will be chosen from the categories listed as the Best in Show. This artist will have the opportunity to mount a solo exhibition at the museum and agrees to donate a piece of their work from the show to the permanent collection. Black Cowboys: An American Story, free and open to the public, continues through April 15.


Through May, Darryl Lauster’s Testament combines pop culture references with quotes from US foundational documents, questioning what we know about our nation’s history and promises. Charles Truett Williams: The Art of the Scene examines the Fort Worth midcentury art scene, through May 7. Morning Light: Photographs of David H. Gibson takes viewers to two of his favorite sites: Cypress Creek in Wimberley, Texas; and Eagle Nest Lake, nestled in the mountains east of Taos, New Mexico, through May 21. On view during the 160th anniversary of the Emancipation Proclamation, Emancipation: The Unfinished Project of Liberation visualizes what freedom looks like for Black Americans today and the legacy of the Civil War and beyond, Mar. 2–Jul. 9. Christina Fernandez: Multiple Exposures invites viewers to reconsider history, borders, and the lives that cross and inhabit both, Mar. 2–Jul. 9. Image: David Gibson, Tree Arch and Stone Dam, Cypress Creek, Wimberly, Texas, May 24, 2014, 8:05 AM , inkjet print. Courtesy of the artist. © David H. Gibson.


Closing Feb. 26, Rare Earth: The Art and Science of Chinese Stones explores the diverse ways that Chinese and Western cultures have celebrated the beauty created from natural stones. Cast: Molding a New Museum for UT Dallas explores the design and of the new arts and performance complex at UTD, through Mar. 5 along with Phoenix Rising: Xu Bing and the Art of Resilience, which features mythical birds created by artist Xu Bing that represent a story in Chinese folklore. Image: Xu Bing, Bronze Phoenix 2016 (Feng and Huang), 2016, bronze sculpture with colored patina, Male (Feng): 56.25 x 13.5 x 15 in., Female (Huang): 55.5 x 16 x 21.25 in. Courtesy of the artist. © Xu Bing.


Shepard Fairey: backward forward and Gabrielle Goliath: we are chorus remain on view through Jul. 23 and Mar. 19 respectively. Backward forward is Fairey’s first solo museum show in Texas and highlights the evolution of his career from the confrontational DIY style of defiant youth to a narrative of hope, equality, and shared humanity. In Chorus, members of the University of Cape Town choir sound a lament for the slain student Uyinene Mrwetyana. In the utter loss marked by this labor, a certain recuperative gesture is nevertheless achieved, asserting conditions for hope in the communal recognition of Black feminine life. Chorus is presented with the blessing of the Uyinene Mrwetyana Foundation.


Rise Up: Stonewall and the LGBTQ Rights Movement, created to mark the 50th anniversary of a June 1969 police raid of the Stonewall Inn in New York’s Greenwich Village, explores the modern LGBTQ rights movement in the US. The protests that followed were a pivotal moment in the modern gay liberation movement. Rise Up highlights the events that led to the Stonewall Inn riots, through Mar.


Octavio Medellín: Spirit and Form, the first museum retrospective for the noted sculptor, continues through May 15. Movement: The Legacy of Kineticism showcases artists from three historical eras who use optical effects or mechanical or manipulable parts; through Jul. 16. Matthew Wong achieved resounding critical acclaim during his career, spanning just six years between 2013 and his death in 2019. The DMA, the only museum that collected Wong’s work during his lifetime, presents the first museum retrospective devoted to the self-taught artist. Matthew Wong: The Realm of Appearances offers the first formal account of how Wong adeptly synthesized many inspirations—from the Fauvists to 17th-century Qing; through Feb. 19. Saint, Sinners, Lovers, and Fools: 300 Years of Flemish Masterworks explores a rich repertoire of themes that reflect the societal changes of the time while also mirroring contemporary circumstances surrounding the human condition. This unique presentation shares the detailed and passionate storytelling of Flemish masters such as Hans Memling and Peter Paul Rubens, Feb. 19–Jun. 25. Image: Pieter Neefs II and Gillis van Tilborgh, Portrait of an Elegant Couple in an Art Cabinet, 1652 and about 1675, oil on canvas; 51.62 x 62.37 in. © The Phoebus Foundation, Antwerp.

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The Bush Center gives visitors a look at American history, the American presidency, and critical issues of public policy, with an added focus on eight years of the American presidency during Bush’s administration. The permanent and special exhibits, 9/11: The Steel of American Resolve and Dining and Diplomacy are open to the public.


The Kimbell at 50, through Oct. 4, encourages visitors to learn more about the history of the Kimbell Art Museum and includes dedicated events throughout the year. The next major exhibition at the Kimbell will be Lives of the Gods: Divinity in Maya Art featuring close to 120 rarely seen masterpieces, May 7–Sep. 3.


On Feb. 15, join LCC for Cine de Oro for a screening of Victimas del Pecado, which follows a Cuban dancer who rescues a baby from a garbage can and decides to raise him. On Mar. 15, Cine de Oro spotlights El ministro y yo, which follows a good-hearted clerk who falls in grace with a minister who invites him to work for the government.


Through Feb. 11, A ctual Scenes/Genuine Characters features new work from the Wheeler Brothers’ collection of sardonic reflections on American pop culture and mythologies surrounding the Texan West. In addition to a varied selection of their individual works, the exhibition features collaborative drawings and paintings by the brothers.


In the Shadow of Dictatorship: Creating the Museum of Spanish Abstract Art sees more than 40 highlights from the Museo de Arte Abstracto Español’s remarkable collection. Most coming to the US for the first time, they tell the story of this pioneering artists’ museum and explore the rich panorama of abstract Spanish art during the middle of the 20th century and under the Francoist regime, Feb. 26–Jun. 18. Image: Jorge Oteiza, Open Polyhedron (Poliedro abierto), 1957, carved and polished black marble, 16 x 11 x 11.25 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca.


I’ll Be Your Mirror: Art and the Digital Screen is a thematic group exhibition that examines the screen’s vast impact on art from 1969 to the present. This exhibition surveys more than sixty works by fifty artists. The artists included examine screen culture through

a broad range of media such as paintings, sculpture, video games, digital art, augmented reality, and video, Feb. 12–Apr. 30. Image: Nam June Paik, Video Flag Y, 1985, 84 ten-inch television sets, three Plexiglas cases, fans, LaserDisc players, LaserDiscs, and video tapes. 72 x 144 x 50 in. Collection of the Modern Art Museum of Fort Worth, Gift of JPMorgan Chase & Co. © Estate of Nam June Paik.


Line Upon Line: Jorge Cocco’s Sacrocubist Images of Christ remains of view along with Vladimir Gorsky’s Tapestry of the Centuries. Side by Side: George Tobolowsky and James Surls looks at the artists together, through the summer.


Mark di Suvero has long been lauded as one of the most significant sculptors of the past 60 years, renowned for monumental, abstract, steel constructions. Industrial studios in Long Island City, New York, and Petaluma, California, support the creation of these works and nurture his practice on a more intimate scale. Featuring 30 sculptures ranging in size from hand-held to monumental and more than 40 drawings and paintings spanning the artist’s career, Mark di Suvero: Steel Like Paper reveals the artist’s intimate studio practice that yields the power of his monumental vision, Jan. 28–Aug. 27.


Discover The Science Behind Pixar and explore the artistry, science, and technology behind some of the most beloved animated films through Sep. 4.


John F. Kennedy and the Memory of a Nation examines the life, legacy, and assassination of JFK within the events of November 22, 1963, and their aftermath. The multimedia experience advocates for cross-generational dialogue to foster interest and understanding in a historical context. Solidarity Now! 1968 Poor People’s Campaign examines one of the most important grassroots movements of the civil rights era, which culminated in a six-week, live-in demonstration on the National Mall in Washington, DC, that attracted thousands of activists from across the nation; through Feb. 26.


Framing the Narrative II: Photographs from the Permanent Collection, on view through Mar. 12, features diverse subject matter and celebrates the medium of photography. Image: Letitia Huckaby, By the Same Cry & Song , 2020, pigment print on cotton fabric with embroidery hoop, 20 x 12 in. Courtesy of Letitia Huckaby.

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Opens February 19, 2023

Organized by the Denver Art Museum in collaboration with The Phoebus Foundation, Saints and Sinners explores the artistic styles and subjects that flourished between the 1400s and 1600s in Flanders—better known today as the Southern Netherlands. Flanders was home to revolutionary artists, including Hans Memling, Jan Gossaert, Peter Paul Rubens, Jacob Jordaens, and Anthony van Dyck, who found new ways to depict reality, portray humanity, and tell stories that continue to resonate with viewers today. Featuring roughly 140 extraordinary works of art in a variety of media, from paintings to manuscripts, the exhibition opens a doorway into the past, telling the story of enterprising townspeople, prosperous cities, and an ever-developing society. These stunning artworks also detail stories about dreams and ambitions, fears and desires, and what it means to be human.


Image: Festival of Monkeys (detail), 1633. David Teniers II. Oil paint on copper; 19 3/4 × 23 3/8 in. © The Phoebus Foundation, Antwerp.
more and get tickets at
FREEMAN FAMILY EXHIBITION FUND MARGUERITE HOFFMAN AND THOMAS WOODWARD LENTZ The exhibition is co–presented by Texas Instruments and PNC Bank and is supported by an indemnity from the Federal Council on the Arts and the Humanities. The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the National Endowment for the Arts, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture. Saints, Sinners, Lovers, and Fools: 300 Years of Flemish Masterworks is co-organized by the Denver Art Museum and The Phoebus Foundation, Antwerp (Belgium).


Spaceman follows Molly Jennis’ solo mission to Mars in a fullsensory, surround-sound expedition into outer space Feb. 10–Mar.

5. Grace & Frankie star Baron Vaughn appears for the third time since creating the residency series in 2017, Mar. 9–11. Nore Davis joins the Stand-Up Comic Residency Mar. 16–18. Emilia Clarke makes her West End debut in Chekhov’s tale The Seagull on Mar. 22–25 as part of the National Theatre Live series. 2 Dope Queens’ Phoebe Robinson returns after a residency in 2019, Mar. 23–25. Image: Owen Gent, Spaceman, 2023, digital illustration for Amphibian’s Spaceman.


Through Feb. 26 , Shen Yun shares a multidimensional journey through the five millennia of traditional Chinese culture. Tear Down These Walls brings traditional musical performance together with interactive set design Feb. 2–4. On Your Feet! The Musical is a true story about Gloria and Emilio Estefan, Mar. 2–4. Potted Potter—The Unauthorized Harry Experience—A Parody by Dan and Jeff condenses Harry Potter books into 70 minutes Mar. 3–5. Menopause the Musical is a parody set to classic tunes from the ’60s, ’70s and ’80s, Mar. 10–11. See On Purpose podcast host Jay Shetty on his first world tour, Mar. 12. Texas band Forgotten Space will celebrate the Grateful Dead, taking the stage on Mar. 25.


Pretty Woman: The Musical springs to life led by director and choreographer Jerry Mitchell. The Netflix series is now a live concert event; see Our Planet Live on Mar. 21. Little Orphan Annie reminds generations of theatergoers that sunshine is right around the corner; see Annie Mar. 28–Apr. 2. Image: Jessica Crouch and Olivia Valli in Pretty Woman: The Musical. Photograph by Matthew Murphy for MurphyMade.


Pretty Woman: The Musical continues through Feb. 5. P1Harmony strives to open a new generation of K-pop, sending a message of “Trust us and Follow” on Feb. 16. Music from the Glenn Miller Orchestra brings classics to the stage on Feb. 24. In Moulin Rouge! The Musical!, Baz Luhrmann’s film comes to life onstage, remixed in a new musical mash-up extravaganza Mar. 15–Apr. 2. Image: Moulin Rouge! The Musical. Photograph by Matthew Murphy.


Tapestry, Beautiful: The Carole King Musical takes audiences on musical journey Mar. 4–12. Charlotte and Wilbur explore life in the barnyard in Charlotte’s Web, Feb. 4–19. In Junie B. Jones is Not a Crook, Junie B. learns what it means to be truthful, Mar. 25–Apr. 9.



Games by Donald McKayle brings on childhood nostalgia. Tribute by Matthew Rushing pays homage to decades of legendary dancers who preserved a slice of life with their classic works. Celebrate Black History month Feb. 17–18 in Cultural Awareness. DBDT: Encore! takes its talents across the metroplex by Dancing Beyond Borders, pushing the lines of contemporary modern dance. Choreographer Jess Hendricks brings dancers to the brink in Shedding Skin, Mar. 4 and 25.



Don’t Let the Pigeon Drive the Bus! The Musical! continues through Feb. 19. Feb 10–19, the final production of Cry Havoc Theater Company, ENDLINGS, tackles climate change, social justice, grief, the pandemic, art, and more. After church in a culturally diverse American city, CJ and his Nana board the public bus for their weekly trip to help at a soup kitchen in Last Stop on Market Street Mar. 18–Apr. 2.


From the primordial depths of the River Rhine to the glittering turrets of Valhalla, the world of the gods is in chaos. The evil Alberich steals the magic gold from errant water sprites, forging it into a ring that gives the wearer unfathomable power. See Wagner’s iconic masterpiece Das Rheingold, Feb. 10–18. Women have the last laugh when the men they plan to marry produce a bad idea: Egged on by an old bachelor, the guys put their fiancées to the “fidelity test” in Così fan tutte Mar. 21–Apr. 1. Image: Edo de Waart. Photograph by Jesse Willems.



Following his 80th birthday, Maestro Edo de Waart brings gravitas to the podium Feb. 2–5. On Feb. 8, Fire Shut Up in My Bones reveals the Black experience in this country. Terence Blanchard featuring E-Collective, and Turtle Island String Quartet take the stage Feb. 9. The DSO pays tribute to John Williams Feb. 17–19. Alsop Conducts Scheherazade Feb. 23–25. Paul McCreesh joins the DSO to conduct a grand spiritual concert including vocal soloists, the Dallas Symphony Chorus, and the Lay Family Organ Mar. 2–5. The Music of Drake X Tchaikovsky Composed by Steve Hackman fills the stage on Mar. 4. Soulful jazz saxophonists Keith Anderson, Mark Allen Felton, Jason Davis, Joseph Vincelli, Tom Braxton , and Art Sherrod, Jr. return on Mar. 7. With Principal Pops Conductor Jeff Tyzik at the helm, Kings of Soul spotlights the music of legendary artists in an evening of soulful melodies Mar. 10–12. Fabio Luisi conducts Brahms Symphony No. 3 Mar. 16–18.


In Native Gardens , cultures and gardens clash, turning well-

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intentioned neighbors into feuding enemies. A disagreement over a long-standing fence line soon spirals into an all-out border dispute, exposing both couples’ notions of race, taste, class, and privilege Feb. 9–26.


The Big Blue Marble celebrates planet Earth with surround sound, video, original animations , and the renowned Epoch Percussion Quartet, on Feb. 21. House of the Rising Sun features selections from two of America’s gifted composers plus a performance by New Orleans jazz sensation Doreen Ketchens, Mar. 24.


Keyboard Conversations on Feb. 20 will feature Liszt, Schumann, Chopin, and Grieg. Alexperience is Alex Babu’s live musical standup on Feb 25 The Brit Pack brings a dynamic blend of British classics on Mar. 11. On Mar. 12, The Sweet Caroline Tour is a Neil Diamond concert celebration starring top Diamond performer Jay White. In a one-man-show, British actor David Payne brings Churchill to life on Mar. 18. A Historic Evening on Mar. 22 presents Natan Sharansky, an Israeli politician, human rights activist , and author who spent nine years in Soviet prisons.


Feb. 4–5, Twist & Shout celebrates the Beatles in America. Get your cape ready for Heroes at the Symphony Feb. 4. Dancing in the Street: The Music of Motown takes the stage Mar. 3–5. Wild Symphony, a mindful, humorous musical, takes the stage on Mar. 4. Gil Shaham Plays Tchaikovsky: Mahler and Tchaikovsky Mar. 10–12. On Mar. 19, in From Despair to Hope: Messiaen and Mozart, pianist Robert Spano and the FWSO will bring to life Messiaen’s renowned work as well as Mozart’s Quintet for Piano and Winds. Jake Fridkis in Concert: Schumann, Reinecke, and Liszt highlights the flute on Mar. 24–26.


Man Cave sees four women who convert a luxurious basement “man cave” into their own spiritual war room and sanctuary from the violence of men, both real and supernatural Feb. 16–Mar. 5.


AIDA, based on the Verdi opera of the same name, is an epic tale of love, loyalty, and betrayal, chronicling the story of an enslaved Nubian princess, Feb. 15–19.


Miranda Sings with Colleen Ballinger Feb. 3. Shane Gillis stops

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in Dallas on Feb. 4. The Shangela: Fully Lit Tour performs Feb. 9. Fortune Feimster returns Feb. 24 and 25. Dan Cummins’ Burn It All Down Tour takes the stage Feb. 25. Join the fun with Mania: The ABBA Tribute on Mar. 1. Greeicy and Mike Bahia appear at the Majestic Mar. 2. Taylor Tomlinson will perform Mar. 3–5. Blues legend Buddy Guy makes his last stop in Dallas in his Damn Right Farewell Tour on Mar. 8. Bobby Weir and the Wolf Brothers stop in Mar. 9. K. Michelle’s I’m the Problem will be onstage Mar. 24. Kevin Kaarl’s Paris Texas Tour mounts Mar. 29.


TACA’s mission is to support excellence and impact in the arts through grant making, capacity building, and thought leadership. TACA envisions an innovative, inclusive, sustainable cultural sector, recognized for its essential contribution to a vibrant, prosperous community.


In Modern Masterpieces, Feb. 24–Mar. 19, Barktok sees a playful neoclassical ballet , Image mark the arc of Marilyn Monroe’s life, and Imbue is a minimalistic dramatic piece that celebrates human growth and transformation.


John Merrick, an intelligent man shunned by Victorian-era society due to his skin and bone disorders, is found abandoned. Under the care of physician Frederick Treves, Merrick evolves from an object of pity to an urbane and witty favorite of the aristocracy and literati, only to be denied his ultimate dream. The Elephant Man continues through Feb. 19.


Trinity Irish Dance Company dazzles audiences with its percussive power, aerial grace, and lightning-fast agility. See them live Mar. 3–4. Le cri des méduses , a polymorphic choreographic work enriched with visual art and video, reinforces Alan Lake’s status as a significant Canadian artist. Starting from Théodore Géricault’s painting, The Raft of the Medusa, Lake proposes a vision of a humanity adrift. Onstage Mar. 17–18. Image: Trinity Irish Dance Company. Photograph by Chelsea Hoy.


The Play That Goes Wrong mounts Feb. 1–12. Welcome to The Murder at Haversham Manor, where things go quickly from bad to utterly disastrous with an unconscious leading lady, a corpse who cannot play dead, and actors who trip over everything.

March 12–July 9, 2023


Seven Black contemporary artists explore ideas of emancipation from 160 years ago to today.

Emancipation: The Unfinished Project of Liberation is organized by the Amon Carter Museum of American Art and Williams College Museum of Art. The exhibition is co-curated by Maggie Adler, Curator of Paintings, Sculpture, and Works on Paper at the Carter, and Maurita Poole, Executive Director of Newcomb Art Museum, Tulane University.

John Quincy Adams Ward (1830-1910), The Freedman (detail), 1863, bronze, Amon Carter Museum of American Art, Fort Worth, Texas, 2000.15


01 12.26

12.26 will show Kevin Ford: Here from Feb. 3–Mar. 4. Next, from Mar. 11–Apr. 15, J.A. Feng will be highlighted.


500X provides one of the best exhibition spaces to up - andcoming artists in the city of Dallas.


ABFA specializes in 19th- and 20th-century American and European paintings from old masters and impressionist paintings, drawings, and watercolors.


A group show curated by David Flaugher that includes Nate Antolik, Andrew J. Greene, Irina Lotarevich, Alexandra Metcalf, Phoebe Nesgos, and Austin Martin White continues through Feb. 18. Next, a solo show for Ben Horns mounts Mar. 4–Apr. 8.


The Space Between | Matt Clark and William Greiner offers a collaborative series of paintings and photographs theorized after a postpandemic road trip, where the pair gained inspiration from the rugged elevations of New Mexico and the burnished highways of Texas; through Mar. 18.


Martha Groome: Paintings will open at on Feb. 4. John Pomara’s Daydream Believer, a site-specific installation, will open concurrently Both exhibitions close on Feb. 25. Image: John Pomara, Daydreambeliever, 2023, wall vinyl, 155 in. x 144 in.


Work by Martin Lang and Thomas Wharton will fill the gallery from Feb. 17–Mar. 24.


CADD promotes contemporary art in Dallas through scholarships, CADD Bus Tours, and more.


The gallery presents the reverse-glass paintings of Christopher Martin; the Rodeo series of photographer Steve Wrubel; color-field paintings of Jeff Muhs; Dutch image maker Isabelle Van Zeijl; acrylic constructions of Jean Paul Khabbaz; paintings by Chris Hayman; organic paintings by Liz Barber, and rotating artists.


Marco Querin: New Textiles and Susan Barnett: The Wave and the Water in the main gallery, along with Gabe Langholtz in the Project Room, will end on Feb. 11. On Feb. 18, Johnny Floyd: Son Prism sees an intimate examination of resilience, restoration, and healing. Opening congruently, Stephen Lapthisophon: Specter, will feature nine large-scale paintings that carry a shared set of strategies and approaches. Both through Mar. 25.


A show of works by Jackson Hammack, Jerry Cabrera, and Win Wallace closes on Feb. 11. From Feb. 18–Mar. 25, artists Anders Moseholm, Peter Drake, and Ed Hall mount new work




Dan Jian: Nascent Terrain mines the tradition of Chinese ink landscapes and more contemporary practices of collage. Abi Salami: The Miseducation of Boys and Girls features new paintings which playfully but powerfully rail against the stereotypes; through Feb. 11. Steven Charles: This is my uniform and Rusty Scruby: Clouds mount Feb. 18 through Mar. 25. Image: Rusty Scruby, Thanksgiving , 2022, various wool yarns from indie dyers hand knit using the intarsia technique, 23 x 31 in.

13 CVAD,



Paul Voertman Annual Juried Student Art Competition mounts Feb. 7–27 BIPOC Artist Association Second Group Show will be on view Mar. 22–31. Solo Show: A Mind That Can Never Rest and Love Letters to DALL-E 2, featuring the work of students Jalon Isabell and Mercedes Muratalla, runs Feb. 7–18. Constructed Serendipity, a group show by Bailey Weiss and Verónica Ibargüengoitia, exhibits Feb. 22–Mar. 3. Portraits of Musicians and Sentire feature the work of Madison Scott and Hannah Baskin from Mar. 8–24.


DADA serves as the facilitator of the Edith Baker Art Scholarship and the Artist Career Development Fund.


Nii Narku Thompson: Why Question continues through Feb. 25. Constructed on unstretched canvases and burlap, the work combines various modes of expression painted, assembled, and sewn together, forming geometrical figures. The result is a dynamic conversation on identity, relationships, and sexuality. Image: Nii Narku Thompson, Sisterly Love #1, 2022, acrylic, thread, canvas on burlap, 46 x 55 in.

22 12 28

Johannes Boekhoudt

New Collection Now on Display in Dallas

Markowicz Fine Art is excited to represent Johannes Boekhoudt. The Dutch painter is known as the artist of crosses, working in many formats, especially large oil on linen and canvas. An inventive creator, he also constructs elemental sculptures from reclaimed materials such as wood and old clocks. Since the beginning of his career, the core themes of his works have revolved around human rights and social justice. Boekhoudt addresses atrocities such as child abuse, domestic violence, and organ trafficking, as well as social injustices arising due to worldwide political instability. His work is included in several esteemed public and private collections nationally and internationally. Johannes Boekhoudt’s new collection is now on display in our Dallas gallery.

Johannes Boekhoudt (Top Row): “Escandalo”, oil on canvas, 160 in. x 73 in. (Bottom Row): “My Pallet”, mixed media, 13 in. x 10 in. x 3.5 in. “80’s Series”, oil on paper, 30 in. x 22 in./each DALLAS | MIAMI | LAGUNA NIGUEL 1700 OAK LAWN AVE, #200 | DALLAS@MARKOWICZFINEART.COM | 214.200.3288


K ittrell/Riffkind Art Glass Gallery


Specializing in late 19th- and 20th-century American and European paintings with an emphasis on the Texas regionalists, Texas landscape, and midcentury modern painters, the gallery offers its Spring Mini Sale online.


René Treviño: Flare continues through Feb. 11, as does The Intangible Self, curated by Krista Chalkley at Cluley Projects. A Nic Nicosia solo show will fill ECG from Feb. 18–Mar. 25, while a group show highlights Cluley Projects.


James Ferrari’s sculptures are created from Ferrari car parts combined with other metal mediums. Debra Ferrari is known for her large-scale paintings inspired by nature, modern art , and design.


József Csató: Lush Ferns in Empty Wells ; Aron Barath: Color is the dope ; and the group show To Be Continued close Feb. 11. A show curated by gallery artist Benjamin Terry will feature Megan Reed, Niva Parajuli, and Claire Kennedy in Stack and Smoosh, and a solo show Sarah Haba: My Letters Bloom In Your Mouth mount Feb. 25–Apr. 1


On Feb. 11, GFAF will open The Cabin LA Presents: A Curated Flashback! , an exhibition of 42 artworks made by former residents of the au courant The Cabin LA residency program managed by Danny First. Considering Female Abstractions highlights the spotlight gallery through March.


Through Feb. 11, Michelle Mackey: Beyond Measure , an exhibition of new paintings inspired by Enchanted Rock , highlights the relationship between the past and present. Yes, that might work…, displays John Adelman’s ink on canvas and paper works through Mar. 19.


Candy Factory, an exhibition based on the collaboration between the late Genesis Breyer P-Orridge and Eric Heist , runs from Feb. 18–Mar. 25. Sugar-coated silkscreen paintings are the

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main attractions; the abstract compositions are based on parts of the human figure without distinct identity or gender identification.


A solo show for painter Charles Field continues through Mar. 4 at the gallery.


Fanciful Feathers, a group show featuring imagery of birds, is displayed at the gallery from Feb. 4–Apr. 4. Kelly O’Dell, A Solo Show will be on view Mar. 11–Apr. 8. Image: Kelly O’Dell, Sea Dream, 2021, glass and ceramic, 17.5 x 12 x 6 in.


LRFA marks its ten-years in Dallas with DECADE, a group anniversary exhibition featuring new works from gallery artists. The opening reception will take place on Feb 18 The exhibition will close Mar. 25.


The gallery represents national and international artists working in all media.


Markowicz Fine Art showcases the work of international artists, including Italian artist Annalù, Colombian artist Santiago Montoya, French artist J. Leo, alongside American artists.


Relocating from Los Angeles to Dallas, Meliksetian | Briggs’ inaugural show Bas Jan Ader: Thoughts unsaid… continues through Feb. 25. A solo show featuring new work by Meg Cranston opens Mar. 4. Image: Meg Cranston, Philadelphia Lawyer, 2022, oil on canvas, 60 x 45 x 2 in.


Through Feb. 18, Pencil on Paper will host two solo exhibitions for figurative painters Maria Haag and victoria j brill. Image: Maria Haag, Desire to know nothing , 2022, oil on panel, 11 x 9.5 in.



The second of a two-part exhibition, Hiroaki Onuma: Act II, will be on view at the gallery this spring


Keith Carter: Ghostlight is on view through Feb. 11 in conjunction with the release of his book Ghostlight. The work of Earlie Hudnall, Jr. is shown concurrently. Hudnall’s show celebrates his recent Lifetime Achievement Award given by the Art League, Houston. From Feb. 18–Mar. 25, PDNB will highlight gallery artists.



Through Mar. 21, Michael Williams: Drawings features 250 works on paper which foreground Williams’ drawing practice as an integral aspect of his approach to painting and to his negotiated relationship with cultural, critical, and personal observation.



Ro2 Art represents a diverse group of emerging, mid-career, and established contemporary artists—many with ties to the North Texas region.


JD Miller’s Annual Valentines Day LIVE on Valentine’s Day is a yearly tradition and the only time JD Miller will paint in front of a live audience this year.


A showcase of fine design and furniture, the showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland.


Southwest Gallery provides North Texas with the largest collection of fine 19th- to 21st- century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000 -square-foot showroom.


Ori Gersht: Fields and Visions continues through Mar. 25. Leonardo Drew’s collection of work at the gallery will continue through Mar. 18. Next, a solo show for Natasha Bowdoin will mount Mar. 25–May 20. Image: Natasha Bowdoin, For Fiorella, 2019, paint on board with cut paper, 126 x 274 x 35 in.


Sean Cairns: The Myth We Call Space and Time continues through Feb. 18. Recent photographs by David H. Gibson, Feb. 25–Apr. 1, coincides with an exhibition at the Amon Carter Museum through May 21.

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Continuing through Feb. 18, VSF introduces a new collection of paintings by Milwaukee-based artist John Riepenhoff. Scene Painters’ Almanac presents the culmination of recent painting sessions that he began en plein air. Towards Infinity and Beyond by Mie Olise Kjærgaard will fill the gallery next, from Feb. 25–Apr. 1.


W.A.A.S. empowers artists to connect to their communities and facilitate societal change while offering an interstellar sanctuary to communicate artistic expression.


On Mar. 5, an exhibition of Max Kuhn’s work will open at the gallery, and on Mar. 12 the gallery travels to Fort Davis for Webb’s FAIR & SQUARE .


William Campbell Gallery and Foch Street Gallery present contemporary art in a variety of media.



The Fine & Decorative Art Auction will be held in February.


HA slated auctions for the Feb/Mar begin with the Urban Art Showcase Auction on Feb. 1, Design Signature Auction on Feb. 2, the Jim Davis: The Art of Garfield Showcase Auction on Feb. 2, Contemporary Art Within Reach Showcase Auction on Feb. 3, The Franklin Mint Collection: Fine Art Showcase Auction on Feb. 7, Depth of Field: Photographs Showcase Auction on Feb. 8, Good Girl Art in Comics Valentine’s Showcase Auction on Feb. 9, The Gilded Age: Property from the Collection of Richard Watson Gilder and Helena de Kay Gilder American Art Signature Auction on Feb. 10, the Outsider Art Showcase Auction on Feb. 16, and The Art of Nickelodeon and MTV Showcase Auction on Feb. 16 March begins with the Urban Art Showcase Auction on Mar. 1, followed by Art of the West Showcase Auction on Mar. 3, the Asian Art Signature Auction will be held on Mar. 21, followed by In Focus: Dali Showcase Auction on Mar. 22 , then the Disneyland and The Art Of The Disney Theme Park Signature Auction on Mar. 24–26.

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Lausanne, Switzerland–based, Fabienne Levy Gallery will participate in Dallas Art Fair for the first time, bringing young emerging artists in dialogue with Norbert Bisky. Here, Fabienne Levy converses with Ben Arpea, a French-Italian artist born in Paris and inspired by the minimalism movement. Arpea brings a unique view to our times. In a world that is often chaotic and overstimulating, minimalism offers clarity and simplicity that is powerful and calming. Arpea’s works provide respite, offering a space for contemplation and reflection. By stripping away unnecessary elements, it allows us to appreciate the beauty in the everyday.

Fabienne Levy (FL): You were born into a family of art lovers. In what way did growing up in a rich artistic environment influence your work?

Ben Arpea (BA): I grew up admiring the great modern masters such as Monet, Cézanne, van Gogh, and Matisse—a great source of inspiration today. Matisse wanted to simplify painting, as Moreau said about him, and I was particularly attracted to this aesthetic and philosophic quest of minimalism.

FL: How did you find your own unique form of expression?

BA: In the quest for minimalism, I started painting abstract shapes within compositions that were vaguely evoking a landscape, an interior. And, as I was attached to the figurative scenes of the modern painters, these shapes became more defined to create semifigurative imageries, reuniting my quest for minimalism and attraction to figurative painting. I think working on burlap played a big role in finding this semifigurative minimalist style, as its rough surface allows less details and paint needs to be applied thickly to adhere to it. I started painting on burlap during the confinement—it was the


only medium I had available—and I loved its raw surface and the overall paint rendering. It really became an important feature of my work and style. For each element that I paint I try to think of it in the simplest way possible—so a circle for the sun, an oval for a lemon—to remain in balance between figurative and abstract.

FL: Your paintings are extremely vibrant and colorful. You have a very particular mode. Can you share how you make those canvases with different layers?

BA: The most important characteristics when starting a painting are the composition; the balance between the raw canvas and the thick impastos, where paint will be textured and where it will be flat; and the color combinations. I start by doing sketches either with pastels on paper or digitally on an iPad so I can test the colors together and work on a balanced composition. Then I can start applying the first layers and create textures. The di fferent layers are made successively, with long drying time in between.

FL: There is no human presence in your paintings, and yet it is constantly suggested by the presence of man-made objects and interiors. What draws you to these subjects?

BA: Landscape and still-life paintings are a bit out of fashion, and contemporary figurative paintings mostly include human figures. I enjoy simplifying these forgotten subjects. I’m interested in the beauty of the world itself, but also in how humans live in it. I like to suggest human presence without it being the main subject of the painting; this brings mystery to the work. It also places the viewer as an actor rather than just a passive spectator. The viewer is immediately plunged into the scene as if he/she was at the table, in the kitchen, in the landscape. The painting acts as a frozen frame of a specific moment, intending to make the viewer enter a kind of meditation and appeasement.

FAIR TRADE Ben Arpéa. Courtesy of Ben Arpéa Studios.
Fabienne Levy Gallery will bring the minimalistinspired work of Ben Arpea, a French-Italian artist born in Paris, to the Dallas Art Fair.




MAR 16 - 18


MAY 4 - 7


MAY 11 - 14

Ben Arpéa, La Sunrise, 2022, acrylic on canvas, 59.12 x 43.25 x 1.12 in. Courtesy of Fabienne Levy Gallery.


Over the past two years, Detroit artist Johnny Floyd caused quite a stir in Dallas. A sold-out show at Conduit Gallery and a bidding war at TWO x TWO, both in 2021, created a waiting list for his work. Next, he grabbed the attention of jurors tasked with the Dallas Art Fair Foundation Acquisition Program led by Dallas Museum of Art’s Anna Katherine Brodbeck. Floyd’s Upon Reflection, I am Aphrodite’s Pearls Strung Across the Firmament, 2021, entered the DMA’s permanent collection.

Floyd returns to Conduit Gallery with Son Prism, on view February 18 through March 25. Darryl Ratcliff caught up with the peripatetic artist here:

Darryl Ratcliff (DR): So it’s been about a year and half since we last spoke. What’s changed for you ?

Johnny Floyd (JF): I don’t know that much has changed. After the first shows, there was a lot of hoopla. I had the piece in the TWO x TWO; there was a piece purchased by the Dallas Museum of Art. I wouldn’t say that I wasn’t expecting it, but I was surprised at the pace at which things started to move. And to be honest, it kind of put me in a place where I had to catch my breath a little bit. After my show, it took me about two months to really get back into the swing of painting regularly and having my practice on a regular cadence.

DR: We don’t talk about that a lot, what happens after the success. I felt that some last year. After I won the Rabkin Prize, I stopped writing for a bit.

JF: Yeah, why do we do that?

DR: I guess it’s the processing of new information. What did you do to catch your breath?

JF: Therapy. I was upping my frequency of therapy, which was really helpful in processing. I think that once I found my equilibrium in that

Johnny Floyd returns to Conduit Gallery. Johnny Floyd, Untitled, 2022, mixed media on canvas, 36 x 48 in. Courtesy of the artist and Conduit Gallery.

respect, I was having conversations with other artists and, almost to a person, everyone was just , like, you have to work. You have to get back to the painting studio.

DR: When did you know you were back?

JF: I was actually in Northern California. It was in Guerneville, which is a small town in the Russian River Valley. I was staying with my wife at a friend’s house. They had a summer house that they weren’t using. I was painting, and I finished five pieces in a twoweek period. I was painting in their garage, essentially. When I was waking up every day, the first thing on my mind was the painting I was working on rather than I gotta get my LLC started up, do my taxes, apply to all of these residencies, which is obviously a part of the process. But I noticed that I was back when it was my work that was the main thing that I was waking up ready and excited to do.

DR: Let’s talk about geography. You’re from Detroit, you’ve been in California, you’re going to Atlanta, but you are currently in Mexico. Can you tell me a little bit about Mexico?

JF: Mexico is a place we have been coming to for the past four years. A lot of people have asked me if and how it has informed my work . I’ve always been drawn to specific colors, and a high saturation of colors is always present in my work. Here, buildings and clothing and everything around are just more colorful. So I think in that respect, just living in these environments definitely adds to my appreciation for, and understanding of the necessity of color and how I use it.

But there’s also another aspect specifically about Mexico that has been a challenge for me, and that is not being around Black people—not just for my work, but just in general , for my life and living. Even if I’m not even necessarily interacting with a bunch of people every day, just when I’m going out to the grocery store, or when I’m at the gas station, whatever. Seeing Black folks is important to me, and having those one - off conversations and hearing the language, and just being around Black folks is really important. And I didn’t notice how important it was for my work until we were spending a significant amount of time here.

DR: Can you tell me more about what materials you are playing around with?

JF: I’ve introduced different materials into the oil paint that I’ve been using—particularly wax. But let’s back up a bit. This has been a really difficult year for me. My grandmother passed, who basically raised me, and her passing created a lot of issues and problems within my family. The work I’ve made for this show is very much focused on healing and kind of transcendence and using not only my experience in creating these paintings as a means of healing , but also kind of imbuing the materials and the pieces with that energy of healing. These paintings then become kind of an instrument of passing that healing on—either to the subject I’m painting or to the people who view it. And as I’ve been going through the process of healing myself, I think that I’m learning about how layered that process is, and how deep that process is, and how the deeper you go and the more things that you start to address in your life, the more shit pops up.

So the materials I started to use… I was seeing that I was able to allow for the image, the mark-making and the images that were coming from the process of applying them to canvas was mimicking that layered process of healing. The initial pull to using different materials was attempting to force myself into an unfamiliar space in order to create something that felt both new and allowed the process to uncover whatever it is that I was attempting to say in both the piece and in my own process of using this painting as a means of healing. P

Johnny Floyd, Untitled, 2022, mixed media on canvas, 40 x 30 in. Courtesy of the artist and Conduit Gallery. Johnny Floyd, I’m Not Diving, I’m Falling Gracefully, 2022, mixed media on canvas, 60 x 36 in. Courtesy of the artist and Conduit Gallery.

JJohn Riepenhoff’s work has been shown extensively in the US and abroad, including the Whitney Museum of American Art, Museum of Contemporary Art Detroit, and the Elaine de Kooning House in East Hampton. His current exhibition— Scene Painters’ Almanac —is on view at Various Small Fires through February 18 and features a series of plein air paintings that began beneath the Milwaukee night sky. Riepenhoff is also the owner and director of The Green Gallery.

Chris Byrne talks with the artist/gallerist about his time in Dallas.


A Dallas favorite, Milwaukee gallerist and artist John Riepenhoff enjoys the view.

Chris Byrne (CB): Scene Painters’ Almanac is your current exhibition in Dallas—how did the show come about?

John Riepenhoff (JR): In June of 2022, I debuted a group of paintings at Broadway New York that took the premise of my night sky plein air paintings and expanded the process over multiple nights for each painting. Lisa Cooley invited me to do a series for Various Small Fires. I was thrilled to make this body of work for Dallas and as it happens, VSF Gallery is in a space that Joe Cole of Broadway Gallery used to operate, Ten Over Six, attached to The Joule.

CB: In 2014, The Joule organized an installation of your Handler series...

JR: My Handler se ries is realistic-looking sculptural f acsimiles of the lower half of my body, and they are open-ended collaborative pieces that can hold various 2D works by other artists. I have shown these in Dallas at TWO x TWO. The Joule got a collection of the Handler series early on, and they’ve made special appearances around their hotel ever since.

CB: In addition, you had the opportunity to visit the Dallas Contemporary, Nasher Sculpture Center, a s well as private collections...

JR: I’m really impressed at every level of the art scene here. The number and quality of the institutions, the private collections, artistrun scene, and support for contemporary artists in Dallas made an early and sustained impact on me, and I’m thrilled to be part this year through t his show.

CB: A nd The Green Gallery facilitated the DMA’s acquisition of Michelle Grabner’s Untitled , 2016...

JR: Yes, the DMA has an incredible collection, and I’m honored to have helped connect Michelle Grabner and Margaret Lee with them.

CB: What upcoming projects can we look forward to?

JR: After this painting series at Various Small Fires Dallas, I’ll have a piece at their Los Angeles space. Then I’m gearing up for a show at La M aison de Rendez-Vous in Brussels in April. Also that month, I’m opening a major survey show of many of my bodies of works, including new and classic beer-and-cheese pieces, a meta gallery, the Handler series, and more Skies paintings at Good Weather Gallery in North Little Rock. P

John Riepenhoff in his studio. Photograph by Daniel McCullough. John Riepenhoff, Handler (Michelle Grabner), 2014, TWO x TWO for AIDS and Art, Dallas

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Power Play

Mie Olise Kjærgaard lets us enter utopian realms in non-utopian times.

Mie Olise Kjaergaard at the Karpidas Collection. Photograph by John Smith.

Let us begin with an island. It is the remote island of Mors, where the Danish artist Mie Olise Kj æ rgaard grew up, encircled by an equally remote northwestern strip of land, where fishermen are weathered and the accent thick. Later, she would live in Copenhagen, London, the US, and now Copenhagen again. But the island is the logical departure point for a much-traveled artist. It is perhaps the perfect origin setting for someone who creates worlds.

First, her larger-than-human-scale paintings teemed with architectural structures—the emptiness of vacant constructions and vagabond amusement parks—that reflected her six years studying architecture. Then series like the one depicting a fictional Moirania caught non-gendered figures “doing basic things,” Kjærgaard says: rowing, bicycling, laundering, but in a world that allowed her to explore utopias—of social structures as much as climate.

Now her women take the fore in two shows opening simultaneously in Dallas, at the Karpidas Collection and the gallery Various Small Fires.

Kjærgaard deals in imagination and fantasy, creating femalecentric paradigms in a non-utopian time. Showing movement is her forte—clear and striking. What is the role of whimsy? Of fantasy? Of imagination? And who makes the rules?

Her paintings often depict girls sitting astride a rhinoceros, or dragon, or shark, or fierce feline (lion or leopard), their hair flowing out in a thatch of sheer velocity. They bristle with unapologetic energy. With loose, wide, confident brushstrokes and a smattering of drips, Kjærgaard corrals the girls’ pluck, rendering it tangible. Like her subjects, who break free from even the smallest notions of stricture, her compositions teeter or push out of the frame. In their gestural energy, they become pert, pithy statements—baubles of jubilation.

The world of props is likewise topsy-turvy. Are all guitars actually tennis rackets? Yes, flipped upside-down, they’ve become musical sans skipping a beat. Via these hybrid objects, we are both tethered and push off from the shores of reality.

Immersed in these realms, the rules are not the same. Kjærgaard uses white beautifully to carve out space or delineate form in the way some artists use black. “There has to be some blunt, brave strokes for me to like the work,” she says. She’s interested in striding along the canvas as she paints and using her whole arm; interested in the British suffragettes: “They would throw off their corsets and play tennis.”

She remembers the exhilarating, liberating feeling of bicycling as a young girl without using her hands, the wind in her hair. And then

Mie Olise Kjaergaard, Akroyoga in bikini on boat, 2022, acrylic on canvas, 40 x 31 in. Courtesy of the artist and Various Small Fires.

puberty and the about-face, the feeling that she became “somebody that people can have an opinion about: a woman,” a denouement devoutly unwished. A betrayal. A disappointment and resulting sense of unease—“And how do I break out of that”— toward empowerment and independence? She reclaims that gaze—propping herself up on Laura Mulvey’s 1975 film theory of the male gaze.

“I like layers of my paintings to be detached from everyday life,” Kjærgaard says, so the journey is also a “mental journey,” a feminist angle with layers of humor and self-irony. Or seen another way: “When you’re standing on a crocodile, playing a guitar ... it’s a little bit of a power trip.”

In the first room of the Karpidas Collection exhibition, Holding Space comprises nine paintings commissioned by Pauline Karpidas. The women of Holding Space, or what Kjærgaard dubs her “sitting power boss-like women,” embody the power trip, with their yellowand-black pinstripe suits (or are they pajamas?) and their defiant gazes. They are holding space and looking back at you as they lounge in their low-slung chairs.

In the Various Small Fires exhibition, To Infinity and Beyond, smaller-format paintings in the more diminutive space belong to Kjærgaard’s category of subjects absorbed in their own reality, unconcerned by the gaze, atoms in movement, agents in their own universe. A third segment is adjacent to the Karpidas Collection’s Holding Space. Here, works from the collection curated in tandem with Sara Hignite, curatorial consultant for the collection, will extend the themes of perspective, upending mores, and transcending the gendered gaze.

“It’s so of-the-moment in that here are these feminist pictures, but they’re celebratory,” says Michael Nevin, co-owner of The Journal

Gallery in New York, which gave Kjæ rgaard a solo exhibition in late 2021. “I think she should be known as this force in contemporary Danish painting. To me,” he says, “Mie Olise is sort of teed up to be the known painter of Denmark.”

You find you would like to be one of the twiggy-haired, emancipated women of Kjæ rgaard’s paintings. We all would benefit from a romp in that wide-open world. The figures often wear sashes like bandoliers, but they are not hostile. And perhaps, as Kjærgaard says, in her works, maybe we move “beyond the female gaze or the male gaze. There are several gazes, as we acknowledge a more fluid perspective.” Another thing from which to free ourselves.

Freedom flaunts its broad borders. “I prefer to work in the fantasy world rather than the real world. For me that is a space where everything can happen,” Kjærgaard says. And the medium of paint (in contradistinction to photography or film or architecture) allows for this. “ You don’t have to consider gravity or truth: you make everything up anyway.”

You have a sense of the woman and artist and ardent dreamer on a journey. You do not intend to be taken hostage by her paintings and yet you are—a convert to this utopian world. But it’s hostagetaking of the most delicious, delightful sort. One critic has written that Kjærgaard is akin to a court jester, who tells the serious truth with levity (and in the midst of a changing world). That is one way of looking at it.

What force of augury or divination could have told us Kjærgaard would alight here, in two simultaneous ways, a parallax of visions? Taken together, they are a vindication of strong women and girls, who play and pose, participate, and hold power. P

Mie Olise Kjaergaard, Band on Ship, 2022, acrylic on canvas, 86 x 153 in. Courtesy of the artist and Various Small Fires.
“There has to be some blunt, brave strokes for me to like the work.”
–Mie Olise Kjærgaard
Studio view. Photograph by Line Klein. Mie Olise Kjaergaard works in her studio. Photograph by Line Klein.

Domestic Tranquility

Domestic Tranquility

Nic Nicosia looks homeward in his latest series.

Nic Nicosia looks homeward in his latest series.

ic Nicosia’s work provides a welcome antidote to our rapidly moving, image-saturated world. In 2020, he began the homemade stories series, which was first shown locally at Erin Cluley Gallery the following year. In a continuation of this body of work, the gallery will open homemade stories: flowers later this month.

NNic Nicosia’s work provides a welcome antidote to our rapidly moving, image-saturated world. In 2020, he began the homemade stories series, which was first shown locally at Erin Cluley Gallery the following year. In a continuation of this body of work, the gallery will open homemade stories: flowers later this month.

Nicosia is a conceptual artist with a background in film and television. Since the early 1980s, his staged photographs have been celebrated in exhibitions around the world, including the prestigious Whitney Biennial, documenta, and SITE Santa Fe, to name a few. His work has been widely collected, particularly by museums across North America and Europe.

Nicosia is a conceptual artist with a background in film and television. Since the early 1980s, his staged photographs have been celebrated in exhibitions around the world, including the prestigious Whitney Biennial, documenta, and SITE Santa Fe, to name a few. His work has been widely collected, particularly by museums across North America and Europe.

In the current series, Nicosia finds inspiration in his immediate surroundings. “We are still working under COVID protocols so most of the work takes place inside my house,” he says. But with their dreamlike quality, these images are hardly strict renderings

In the current series, Nicosia finds inspiration in his immediate surroundings. “We are still working under COVID protocols so most of the work takes place inside my house,” he says. But with their dreamlike quality, these images are hardly strict renderings

of his domestic sphere. While his living spaces provide a stage, the whimsical elements within make them pulse with life. “Because of social media, there are no new stories to tell. For me, I turned inside and made it completely personal,” he explains. Rendered in technicolor, these images present a joy in the everyday, with backgrounds replete with his own work as well as added images of flora and fauna. Among the latter is his cat. “She thinks she is a model,” he jokes.

of his domestic sphere. While his living spaces provide a stage, the whimsical elements within make them pulse with life. “Because of social media, there are no new stories to tell. For me, I turned inside and made it completely personal,” he explains. Rendered in technicolor, these images present a joy in the everyday, with backgrounds replete with his own work as well as added images of flora and fauna. Among the latter is his cat. “She thinks she is a model,” he jokes.

Nicosia’s studio reflects his myriad interests and talents. “I can work on a drawing, a painting, and sculpture all in one day,” he says. In recent years his sculptural work has stepped out of the studio and into the gallery. In these works, which he considers drawings, however, his sculpture becomes part of the stage set for his reimagined spaces.

Nicosia’s studio reflects his myriad interests and talents. “I can work on a drawing, a painting, and sculpture all in one day,” he says. In recent years his sculptural work has stepped out of the studio and into the gallery. In these works, which he considers drawings, however, his sculpture becomes part of the stage set for his reimagined spaces.

Nicosia’s process is complex. “It all starts as a photograph,” he explains. He then begins drawing, collaging, and rearranging. “I

Nicosia’s process is complex. “It all starts as a photograph,” he explains. He then begins drawing, collaging, and rearranging. “I

Nic Nicosia. Photograph by Exploredinary.

add things pertinent to what I’m feeling, seeing, and messing with,” he says. In one image, chairs at his kitchen table are textured with collaged leather straps. The ceramic tile floor, gone over with pastel, takes on the quality of velvet. At the center of the work is a vase of roses that have also been reformulated through collage. A pair of eyes have been drawn onto the door behind the bouquet. After these and other embellishments, Nicosia then rephotographs the work.

While flowers have a long history of symbolism, the ones alluded to in the exhibition’s title are rooted in Nicosia’s day-to-day reality. “I’m using whatever flowers end up in the house,” he notes, whether they are for Mother’s Day, holidays, or brought by guests. These manipulated arrangements capture light in their own way, casting unique shadows. “You get another layer of information from the objects on collages,” he says, adding, “I just play with the image.”

Roses play a starring role in one particular work. “My daughter brought over the most intense pink roses, so I had to make something with them. I did a close crop,” he offers. In this rendering, the bouquet blossoms into our space. Its collaged elements create pockets of light, heightening its dimensionality. Placing this tableau strategically against a window to rephotograph it, Nicosia uses space to imbue it with a monumentality that plays with perception, explaining, “I mess with information.”

In so doing, he lures us into taking the time to stop and metaphorically smell the roses. “This year,” he says, “is all about flowers. We’re just at home.” P

Nic Nicosia, homemade story #12 (intense hot pink roses B’s 72 bd), 11.1-12.2.2022, archival inkjet, 40 x 40 in. Nic Nicosia, homemade story #10 (peonies from JKelly), 7.5-8.16.2022, archival inkjet, 60 x 40 in. Nic Nicosia, homemade story #7 (anniversary 47 tulips), 2.1-2.21.2022, archival inkjet, 57 x 40 in.

Abstracted Reality



Perched high above a gorge, Cuenca is a picturesque medieval city a stone’s throw from Madrid. Its distinctive hanging houses accent a dramatic landscape that serves as an unlikely backdrop for the Spanish Museum of Abstract Art. The museum’s history is rooted as much in midcentury contemporary art movements as it was in the political turmoil of its homeland. When In the Shadow of Dictatorship: Creating the Spanish Museum of Abstract Art opens at the Meadows Museum this month, this impressive collection will bring light to the artists who built it.

This institution opened in 1966 as the private collection of Fernando Zóbel de Ayala y Montojo Torrontegui, a Philippine-born, Americaneducated Spanish painter who was acquiring the work of contemporary, non-figurative artists. Presenting it to the public under the constrained circumstances of General Francisco Franco’s dictatorship seems stunningly daring. The collection found a home in Cuenca through the connections of Zóbel’s friend and fellow artist Gustavo Torner, who was a native of the town.

By the late 1960s, Franco had ruled for close to three decades and would remain in power until his death in 1975. These difficult years, following the country’s devastating civil war, were marked by censorship

Clockwise from left: Pablo Palazuelo, Omphale V (Omphale V), 1965–67, oil on canvas 58 x 120.50 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca; Antonio Saura, Geraldine In Her Armchair (Geraldine dans son fauteuil), 1967, oil on canvas 63.75 x 51.12 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca; Luis Feito, Number 148 (Número 148), 1959, oil and sand on canvas, 45 x 57.87 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca; José Luis Alexanco, Used Curves (Curvas usadas), 1977, acrylic, graphite, and felt-tip pen on paper affixed to canvas, 55.37 x 55.37 x 1 in. Colección Fundación Juan March, Museu Fundación Juan March, Palma.

as well as a disconnect from rapidly changing postwar Europe. As often happens in dark times, the population found ways to adapt. For artists in the 1940s, collectives offered the means to find a common voice, and abstraction became their language of protest.

Spain entered the United Nations in 1955 and began easing its viselike grip on her people. Once the country began to open, many artists chose to live abroad, particularly in Paris and New York, where they soaked up contemporary art trends. This was significant since, according to Clarisse Fava-Piz, Mellon Curatorial Fellow at the Meadows and the exhibition’s curator, “There was no access to contemporary art in Spain at the time.” Pablo Palazuelo was one of the artists who relocated to Paris, where his geometric abstractions reflected the prevailing avant-garde. While there, he formed an artist’s community that could freely show its work. “It was through French gallerists that these artists often got their first shows,” Fava-Piz explains. At the Meadows, she adds, “We are also contextualizing the work in a political sense. We think it is an interesting story about Spain and abstract art.”

With its door ajar, Fava-Piz notes, “Spain realizes that it could use the work of its artists as a platform. The Ministry of Culture would curate shows abroad, though many artists didn’t want to be associated with the government.” It should be noted that while Franco encouraged a rootedness to Spanish tradition, there was no official state art during this period.

Perhaps as a foil to this conservatism, Zóbel was inspired to formulate a radically different idea of what a museum could be. “In Zóbel’s vision, he wanted to do something different from the Prado. He wanted to create a museum that was a visitor’s experience. This was a novel idea at the time,” Fava-Piz says, adding, “It was like a living center.” In 1980, Zóbel turned the museum over to the Madridbased Fundación Juan March, which continues to operate it while still collecting works by these artists. It also serves as a vital research center.

Since artists’ collectives were flourishing at the time, it was not a stretch that Zóbel and his circle ran the museum in a collaborative

Above: Luis Feito, Number 460-A (Número 460-A), 1963, oil and sand on canvas, 35 x 45.37 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca; Below: Equipo 57, PA-8, 1959, oil on canvas, 36 x 28.25 in. Colección Fundación Juan March, Museu Fundación Juan March, Palma.
From top: Miguel Ángel Campano, Untitled (The Bridge II) (Sin título (El puente II)), 1979, oil, graphite, and pastel on canvas, 78.75 x 127.75 in. Colección Fundación Juan March, Museu Fundación Juan March, Palma; Antonio Lorenzo, Number 396 (Número 396), 1964, oil and thickeners on canvas, 24.50 x 25.25 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca; Eduardo Chillida, Rough Chant IV (Abesti gogorra IV), 1959–1964, assembled poplar wood, 38.62 x 53.12 x 46.87 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca.

Manolo Millares, Sarcophagus for Philip II (Sarcófago para Felipe II), 1963, paint, metal plate, and wood on sewn burlap, 51.37 x 76.75 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca

José Guerrero, Somber Red (Rojo sombrío), 1964, oil on canvas, 49 5/8 x 45 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca. Martín Chirino, The Wind (El viento), 1963, wrought iron, 22 x 22 x 9.87 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca

manner. “This is part of the story that is lesser known. We are trying to highlight the amazing history of the museum made by artists, run by artists, for artists. It was the first of its kind and unique in Spain at that time,” notes Fava-Piz.

But it was Zóbel’s vision that retrofit a historic home into a center for contemporary art as he considered every meticulous detail. Rather than present a chronological march through galleries, he grouped works in such a way that maximized the environment. “The dialogue between the works and landscape makes it very powerful to see them in that context. It is a very unique museum experience. It is a challenge for us because we cannot recreate the museum. We are bringing the work in different ways to the galleries, and these can tell a different story,” says Fava-Piz. Renovations on the museum are making this exhibition possible. “These works don’t travel much, so it is exciting to see them outside of their environment,” she adds.

Another unique feature of Zóbel’s vision are black rooms, which contrast with adjoining white cube-like spaces. The re-creation of one of these ebony galleries will be a highlight at the Meadows. FavaPiz mentions that these are meant to be immersive experiences, though in a far more contemplative manner from contemporary ideas behind these installations.

The exhibition presents varying modes of abstraction, from the strongly gestural paintings of Antonio Saura and Luis Feito to the mixed media work of Antoni Tàpies. Work by Dau al Set, an artists’ association based in Barcelona, is politically charged, while artists such as José Luis Alexanco, Elena Asins, and Soledad Sevilla explore the connection between art and science. Sculpture, including a dramatic piece by Eduardo Chillida, is also making the trip to Dallas.

While museumgoers may be unfamiliar with many of these artists, the Meadows has a long history of showing their work, beginning with the 1975 exhibition, Contemporary Spanish Painters: Miró and After—A Selection. It has also been collecting in this area for decades. The current exhibition, for which the Meadows is the only venue outside of Europe, will be complemented by the museum’s works by Zóbel, Saura, and Tàpies. Additionally, Antonio Rodríguez Luna’s Still Life, a recent acquisition made in honor of the museum’s late director, Mark Roglán, will be included.

“I hope this exhibition brings a light on art and artists on which there is a lot to talk about. We hope this will be a base upon which people can build more knowledge, and that it opens new possibilities of research. There is still a lot to learn from this group,” Fava-Piz concludes. P

Manolo Millares, Anthropofauna (Antropofauna), 1971, paint and sewn burlap, 63 x 63 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca. Manuel Rivera, Sun Mirror (Espejo del sol), 1966, wire gauze, wire, and paint on plywood board 63.75 x 44.87 x 4.12 in. Colección Fundación Juan March, Museo de Arte Abstracto Español, Cuenca.


From skyscraping sculpture to works on paper, Nasher Sculpture Center’s homage to Mark di Suvero reaches new heights.

Mark di Suvero, Untitled, 2015, Sharpie and acrylic paint on paper, 22 x 30 in., Courtesy of the artist and Spacetime C.C. Mark di Suvero, Eviva Amore, 2001, steel, 424 x 564 x 360 in. Raymond and Patsy Nasher Collection, Nasher Sculpture Center, Dallas.

It’s rub-your-eyes hard to believe that the Nasher Sculpture Center is celebrating its 20th anniversary this year. What? Where did the time go? But here it is, and 20 years into its celebrated existence the Nasher is presenting Mark di Suvero: Steel Like Paper, a blockbuster survey of the internationally acclaimed American artist’s 3D and 2D works that also lifts the curtain on his studio practice. The exhibition is especially appropriate for the Nasher’s anniversary, since Raymond and Patsy Nasher enjoyed a decades-long friendship with Mark di Suvero, and his For W. B. Yeats and Eviva Amore are two signature works of the Nasher Sculpture Garden.

Raymond and Patsy first met di Suvero at his Petaluma, California, studio in 1976, and they fell in love with and acquired In the Bushes, a large-scale, gravity-defying painted steel I-beam piece. “That was an important first work, and that was really the beginning of their friendship with Mark di Suvero,” explains Jed Morse, Nasher Sculpture Center’s chief curator and organizer of the exhibition. “The Nashers would go on to buy other really important works for the next several decades—they bought his For W. B. Yeats in 1988 and then the really big sculpture in the garden here, Eviva Amore, in 2001.”

Steel Like Paper is an impressive coup for the Nasher— significant not only as the largest US museum survey of di

Suvero’s work since 1975, but also the first examination of his studio practice by any major museum. Running through August 27, the exhibition features 30 sculptures in a variety of scales, from the monumental down to the handheld, plus more than 40 drawings and paintings that are a seldom-seen aspect of 89-year-old di Suvero’s prodigious oeuvre. Di Suvero’s pioneering large-scale abstract expressionist steel sculptures are unforgettable—there’s an effortless majesty about them as they prowl their landscapes, communicating through an arcane semaphore uniquely their own. But because he’s best known for his monumental public works, seen all over the world, di Suvero’s smaller-scale sculptures and 2D works will be a revelation to many. “There are over 100 works that are cited in public locations around the world,” Morse continues, “but the smaller scale things aren’t usually seen in greater numbers because they may be included in gallery exhibitions where there’s limited space. And the drawings and paintings are rarely shown in gallery exhibitions,” says Morse. Acrylic on linen, ink on paper, marker on paper, acrylic on paper, and more, di Suvero’s 2D works are a secret window on his creative world.

The exhibition’s enigmatic subtitle, Steel Like Paper, is an intriguing paradox, an almost-koan that dates back to a 2003 video interview di Suvero did with the Nasher Sculpture Center on the

Mark di Suvero at his Long Island City studio, New York, 2015. Photograph by John Smith. A view of Mark di Suvero’s Long Island City studio. Photograph by John Smith.
Mark di Suvero, For W. B. Yeats, 1985–87, Cor-Ten steel, 100.75 x 143.43 x 88.31 in. Raymond and Patsy Nasher Collection, Nasher Sculpture Center, Dallas. Left: Mark di Suvero, Study for Algol, 1993, marker on paper, 17 x 13.75 in. Nasher Sculpture Center, gift of Lisa Schachner in memory of Leonard Contino; Right: Mark di Suvero, Untitled, 1985, ink on paper 24 x 18 in. Courtesy of the artist and Spacetime C.C.

occasion of its opening. Morse recalls, “The installation of Eviva Amore took place while the building was still being built, and in the interview he talks about plates of steel arriving from the mill and how for him they’re like sheets of white paper: “…you can do anything with it, make anything from it, draw anything you want, it’s just a tabula rasa…” In all of di Suvero’s works there’s an elevating, glorious sense of the absolute and intrinsic, even when the title of a piece seems to suggest a programmatic association. Playful, exploratory what-if riffing is an essential North Star of the artist’s program, a visual jazz that takes viewers on a journey to places they’ve never seen before. Whether drawing, painting, or sculpting, di Suvero’s process is largely improvisatorial, according to Morse. “He’ll often do drawings to try and capture a flash of inspiration. It’s interesting—the drawings aren’t blueprints for sculpture, they’re much more energetic and dynamic and expressive of an energy, essentially. He’s said he always felt that if he could capture the energy of an idea in a drawing, he’d be able to do the same in sculpture. The paintings are fascinating because they’re really beautifully colored abstracts that are as much about an experience of space in two dimension as they are about the expressive potential of color. And it’s that spatial quality in the paintings that connects them very closely to the sculptures.”

Another cause for celebration is that the exhibition marks the first presentation of 10 di Suvero works that were recently given to the Nasher by the artist’s friend Lisa Schachner, a former curator at Gemini G.E.L. Five small sculptures, four drawings, and a screen print comprise the gift, along with some artist ephemera. “The works that Lisa donated to us helped fill in the breadth of the artist’s work—they span four or five of his six-decade career,” Morse says. “They also really underline this kind of notion of movement and play that runs throughout his

Mark di Suvero, Crete, 1967, painted steel, 64 x 126 x 164 in. Private collection, courtesy of Jaime Frankfurt LLC. Mark di Suvero, Pre-lotus, c. 1978, acrylic on linen, 66 5/8 x 36 in. Nancy A. Nasher and David J. Haemisegger Collection.

work. There’s this sense that they’re like playthings, and I think playing is an important part of discovery, not only for children but also for adults.” A lifelong social activist and unflaggingly egalitarian by nature, di Suvero has always championed public sculpture, and many of his earliest large-scale works were playground sculptures; one such piece included in the exhibition is the irresistibly inviting Love Makes the World Go Round, (1962–63). “He’s always viewed the work of art as it being for the public,” Morse observes. “He’s not making it for himself; he’s making it for other people to enjoy.

“This is a really unique opportunity to see the full range of

Mark di Suvero’s work,” Morse continues, “and that’s why we say that this is really the first exhibition to focus on his studio practice, because his studio practice encompasses it all—you rarely get to see all of that in one place.” The exhibition is a realtime tribute to the spirit of di Suvero, who is still actively working at his studios in Long Island City, New York, and Petaluma as he approaches year 90. “We should all aspire to Mark’s longevity and determination,” Morse adds in summation. “I think the sense of joy of life comes through in his work very strongly, and it must be part of his incredible longevity.” P

Mark di Suvero, Love Makes the World Go Round, 1962–63, steel and rubber tires, 73.50 x 119 x 75 in. Private collection. Mark di Suvero, Sisters, 2003, steel and stainless steel, 52 x 70 x 49 in. Nancy A. Nasher and David J. Haemisegger Collection.


Quenching the thirst for the ambitious and fueling the appetites of art-lovers, three boldfaced, global galleries will participate in the 15th edition of Dallas Art Fair this April. Get to know them here.

Jonas Wendelin, ONLY FIVE (Small Evolution V), 2020, raku-fired ceramic sculptures, 13.80 x 39.40 x 11.80 in. Courtesy of Dittrich & Schlechtriem.


Premiering with a solo show for Julian Charrière (b. Morges, Switzerland, 1987), Dittrich & Schlechtriem was founded in 2011 by Lars Dittrich and André Schlechtriem in Mitte, Berlin. This highly lauded German gallery emphasizes multidisciplinary conceptual contemporary art, offering a brave platform for ambitious projects to emerging artists. For their maiden Dallas Art Fair booth, expect impressive work from Charrière and Jonas Wendelin (b. Düsseldorf, Germany, 1985), who lives and works between Berlin and Los Angeles.

“We are pleased to have Dittrich & Schlechtriem join the Dallas Art Fair for our 15th edition. The addition of this conceptual art gallery demonstrates the demand from our audience to consider provocative work that is stimulating, intellectual, and addresses climate change,” says Kelly Cornell, Dallas Art Fair Executive Director.

Audiences will remember Charrière, an engaging French-Swiss artist, and his melancholy video project Towards No Earthly Pole on view at the Dallas Museum of Art in the summer of 2021. It was the Berlin-based artist’s first solo US museum exhibition Conceived while aboard a Russian research ship for the inaugural Antarctic Biennale, the film explores the mysterious, indefatigable Arctic glaciers and unpacks the interconnected narratives of colonialism, environmentalism, and geography through a large-scale cinematic environment. Mining innovative technology and scientific research, Charrière investigates the bearing of humans on the environment within his multidisciplinary practice (performance, sculpture, and photography) through dogged nomadic fieldwork in forbidden

locations, examining and working within volcanoes, icefields, and radioactive sites.

He joined forces with the artist Julius von Bismarck on the sitespecific performance piece Some Pigeons Are More Equal Than Others for the 13th International Architecture Exhibition, Venice Biennale. Aside from his own practice he is part of the Berlin-based art collective Das Numen. He is the recipient of the GASAG Art Prize awarded to a promising young artist every two years for art at the interface of science and technology. In 2013 and 2015, Charrière was awarded the Kiefer Hablitzel Award | Göhner Art Prize.

Jonas Wendelin is a cofounder and director of FRAGILE, a multidisciplinary nonprofit project for contemporary artistic practices located in Berlin, as well as a cofounder of NAVEL, a communitydriven nonprofit organization in Los Angeles. Performative works, sculptures, installations, studies in traditional ceramics, as well as facilitating cultural spaces and directing a social vision that queries cultural abetments, are all part of his practice. Multidisciplinary and sweeping, Wendelin’s practice often draws on technological innovation, social organization, and communication’s expansiveness. His organic pursuit is a futurist narrative of idealism. Wendelin is currently an artist-in-residence at the American Museum of Ceramic Art / AMOCA in Pomona, California.

He graduated as Meisterschüler from the University of Arts Berlin under Hito Steyerl, and he was a student of Olafur Eliasson, who founded the Institut für Raumexperimente (Institute for Spatial Experiments), in which he participated. –Terri Provencal

Julian Charrière, Towards No Earthly Pole, 2019, installation view of Manifesto of fragility, 16e Biennale de Lyon, Lyon, France, 2022. © Julian Charrière, VG Bild-Kunst, Bonn, Germany. Photograph by Blaise Adilon. Courtesy of Dittrich & Schlechtriem. Julian Charrière, Not All Who Wander Are Lost, 2019, glacial erratic rock, drill cores, aluminum, brass, copper, stainless steel, 43.70 x 42.90 x 256.50 in. Courtesy of Dittrich & Schlechtriem.



Galerie Max Hetzler is banking on Texas. The global contemporary art gallery—which was established in 1974 in Stuttgart, Germany, and now operates six locations across Berlin, Paris, and London—recently opened a spare but elegant compound in the West Texas art hub of Marfa, its first US location. Hetzler’s expansion marks the latest in a decades-long series of events contributing to Marfa’s global art ascent, the through line of which can be traced back to Donald Judd’s arrival in 1972 and which has been building momentum ever since.

Hetzler joins fellow prominent art purveyors like Nino Mier Gallery in establishing an outpost in this remote high desert town, which was founded in the late 19th century as a railroad water station. Gallerists and dealers continue to be drawn to Marfa’s robust arts tourism by the same creative (and admittedly, in recent years, commercial) energy that yielded the original Chinati Weekend in 1987, the opening of Ballroom Marfa in 2003, Elmgreen and Dragset’s Prada Marfa in 2005, and more recently, the inaugural Marfa Invitational in 2019. Artists are drawn to the wide - open spaces, desert landscape, relatively affordable cost of living, and Marfa’s legendary history of sparking and fostering creativity.

Hetzler Marfa opened in May 2022 with an exhibition of Albert Oehlen’s first new sculptures since the 1980s as well as a permanent outdoor installation by Darren Almond that pays homage to the ubiquitous ranch entrance signs we Texans know so well. The Marfa location features exhibition space along with an artist residency program, which at present is primarily available to Hetzler’s stable of artists.

This year Hetzler is doubling down on Texas, participating for the first time in Dallas Art Fair. The gallery will install a group presentation spotlighting artists with strong points of view, including Grace Weaver and Jeff Elrod.

Brooklyn-based figurative painter Grace Weaver (b. 1989, Vermont), fresh off a solo show at the gallery’s London location, recently became Hetzler’s first Marfa artist in residence and will mount an exhibition there this summer. Her large-scale, stylized paintings depict with candor and humor women’s experiences in the public and private spheres. Grounding her subjects (often rendered in shades of millennial pink) in the current moment through recognizable and symbolic accoutrements of her generation like athleisure wear, AirPods, and to-go cups, the artist views her paintings as “emotional self-portraits” that reflect her sense of self from a psychological rather than physical standpoint.

In stark contrast, Dallas-born artist Jeff Elrod (b. 1966), who splits his time between Marfa and New York, creates abstract paintings that combine the digital and the analog. Elrod transfers digital photographs and computer-generated drawings, manipulated via popular programs like Photoshop, onto canvas through a variety of manual and mechanical techniques. The resulting large-scale abstractions are richly layered and complex—formal experiments that have pushed the boundaries of painting since the 1990s, around the same time that the internet became available to the public.

Given the depth and breadth of these two artists’ practices, Galerie Max Hetzler’s Dallas Art Fair booth promises to showcase an exciting array of established and emerging work appealing to a broad range of knowledgeable collectors.–Sara Hignite


Clockwise from top left opposite: Installation view, Jeff Elrod, Max Hetzler|41 Dover Street, London, March 3–April 21, 2022. Courtesy of Max Hetzler Berlin | Paris | London.; Installation view of Grace Weaver, TRASH-SCAPES, Galerie Max Hetzler, London November 2022–January 2023. © Grace Weaver. Photograph by Jack Hems; Rinus van de Velde, While I am making plein air studies in the back garden, …, 2022, oil pastel on paper,. 63.75 x 44.12 in., © Rinus van de Velde and Galerie Max Hetzler Berlin | Paris | London; Installation view of Albert Oehlen, 2022, Hetzler Marfa. Courtesy of Galerie Max Hetzler Berlin | Paris | London.


Eduardo Terrazas, 1.1.417 from the series Possibilities of a Structure, subseries Cosmos, 2021, signed on verso, wool yarn on wooden board covered with Campeche wax, framed dimensions, 39.57 x 39.57 x 2.76 in., dimensions, 35.43 x 35.43 x 1.38 in. Courtesy of the artist and Proyectos Monclova.

Photograph by Ramiro Chaves.

Gabriel de la Mora, 600 I - M.D., from the series Lepidóptera, 2022, signed, titled, and dated backwards, Morpho didius butterfly wings mosaic on museum cardboard, framed dimensions,13.78 x 13.78 x 2.36 in., image size,11.81 x 11.81 x .79 in. Courtesy of the artist and Proyectos Monclova.

Photograph by Ramiro Chaves.



Proyectos Monclova is one of the leading contemporary art galleries in Mexico City. Founded in 2005 by José García and Alejandro Romero, the gallery’s impressive international and multigenerational roster includes many of Mexico’s most acclaimed artists. This April, Proyectos Monclova will participate for the first time in Dallas Art Fair, bringing a dynamic selection of works by gallery artists, including Gabriel de la Mora, Edgar Orlaineta, and Eduardo Terrazas, all of whom experiment with materiality, albeit from different points of reference: nature, geometry, historical contexts.

Gabriel de la Mora (b. 1968, Mexico City) incorporates into his artistic practice the quotidian detritus of modern life, which he obsessively collects. For his 2022 series Lepidóptera, the artist created geometric mosaics that are impossibly ethereal and beautiful, softened with fragments of rare Morpho didius butterfly wings (ethically sourced, as the species is on the verge of endangerment) to explore the genetically determined variations in their patterns. The repetitive mosaic configurations in which the fragments are arranged allow for close study of the unique characteristics of each wing, revealing subtle differences that would otherwise be imperceptible.

Exploring the cult status of postwar architecture and design, Edgar Orlaineta (b. 1972, Mexico City) questions and subverts the symbolic cultural and economic value of industrial design objects that have become coveted collector items. His mixed-media sculptural wall piece Untitled, 2022, is assembled from the odds and ends left over from previous projects. This body of work represents a new direction for the artist, one in which the manual process of making takes precedence over the investigation of ideas.

Eduardo Terrazas (b. 1936, Guadalajara) was a founding member

of the Mexican contemporary art scene. Trained as an architect, by the 1970s Terrazas began exploring geometric abstraction through formal investigations that combined drawing and elements of indigenous Mexican folk art. He is perhaps best known for his work incorporating Huichol yarn technique, excellent examples of which can be seen in his ongoing series Possibilities of a Structure, in which colored yarn is arranged in complex patterns on wax-covered boards. Terrazas adopted this practice not only for its unique aesthetic qualities, but also for the meditative nature of the laborious work, which requires complete concentration.

The work of these three artists has been collected and exhibited by institutions across the globe, including Texas museums such as the Museum of Fine Arts, Houston; Instituto Cultural de México, San Antonio; and the Art Museum of Southeast Texas, Beaumont.

“Mexico has always had a very close relationship to Texas, and the same can be said with the gallery’s clientele in the region,” says Isabella Aballí Sotto Mayor, the gallery’s sales director. “Dallas and its surrounding cities have some of the [United States’] most interesting and strongest art collections, therefore [Dallas Art Fair] seemed like the perfect fair to further grow our gallery’s and artists’ presence there.”

Proyectos Monclova has previously participated in major international art fairs including Frieze Los Angeles, Art Basel (Miami Beach and Hong Kong), The Armory Show, and ZonaMaco México Arte Contemporáneo, among others. The gallery’s decision to add Dallas Art Fair to the docket is a testament to Dallas’ growing reputation as a world-class art destination. –Sara Hignite P

Edgar Orlaineta, Untitled, 2022, wood, acrylic painting, palm robe, cards, and MDF, 23.62 x 23.62 x 4 in. Courtesy of the artist and Proyectos Monclova. Photograph by Ramiro Chaves.

Out of the Quiet

Out of the Quiet



Clad in corrugated metal and concrete panels, the house by Jesse Rodriguez of JRAF Studio slants to the west to minimize the harsh afternoon sun. in corrugated metal and concrete panels, the house by Jesse Rodriguez of JRAF Studio slants to the west to minimize the harsh afternoon sun.

David Cadwallader has designed some of the most distinguished homes in Dallas for many of the preeminent art collectors in this city and the whole country. He is sought after and admired for his understated, elegant design that serves as a background for a fine-art collection. So when he designed his own home, he had the same design ethos: keeping the background spare and peaceful as well as crafting a perfect home for himself and his dogs, for a growing art collection, and for aging in place. The home also has a study and fully equipped extra bedroom that will serve as his office at some point in the future, when he downsizes. Not too soon, though.

Cadwallader bought a property in a transitional neighborhood— his neighbors have lived there for many generations. It’s been a ride, though: He bought the property four years ago and consulted with three architectural firms before choosing one that could translate his own design into working drawings to build. The house is simply clad with corrugated metal and concrete panels. An Ipe fence with a gravel driveway and concrete-block steps lead to the front door.

The house slopes down to the west around a courtyard with windows and doors that provide ample light throughout the space, minus harsh sunlight. Furniture by Richard Schultz 1966 from Knoll provides seating for outdoor entertainment. The clean, classic landscape provided by Lee Roth warms the exterior and will provide complete privacy on the corner lot when it grows in.

Cadwallader’s furniture fits the house: classic modern with many of the original Knoll designs from the ’50s and ’60s along with finds from the Paris flea market and Japanese classics. The kitchen is open to the entry hall and living room and complements the room with porcelain countertops and walnut cabinets. It is also a living place for art, such as a wooden-box wall construction by Gail Peter Borden from Galleri Urbane. Floors throughout the house are perfectly polished concrete, and all the walls are the same shade of white, providing pleasing continuity in the house, with no jarring detail to disturb the soothing background.

A Draenert dining table and leather chairs from Scott + Cooner, a console from Christian Liaigre, and a pendant light from Ingo Maurer Tom Hollenback’s Green Wood Channel. is the focal point of the entry, nearby hangs Shinji Turner-Yamamoto’s, Constellaria #3, 2014, Ca. 450-million-year-old Ordovician fossil fragments/powder, meteorite fragment, 24kt gold leaf, gesso, clay bole, animal glue, tree resin, raw cotton canvas, wood panel. Courtesy of the artist and Sapar Contemporary. Right: Floor screen with carved wood, nylon, and steel is by Russell Buchanan. Floors throughout the house are highly polished concrete.
Clockwise from top left: Dining table by Drainert from Scott + Cooner with a pendant light by Ingo Maurer, Eero Saarinen chairs. The console is by Christian Liagre at David Sutherland; Custom kitchen with porcelain countertops by Cadwallader and JRAF. Cassina cab barstools from Scott + Cooner. Gail Peter Borden, untitled homage to DJ, 2016, pine plywood with resin panel, 9 x 36 x 6 in. via Galleri Urbane, W. Tucker, …and in the white trunks, 2008, mixed media on panel, 18 x 36 in., purchased through Conduit Gallery; Walter Knoll sofa and coffee table with a black leather armchair by John Hutton, white swivel chair is by Poliform, lamp by Flos; Corbusier chaise and floor lamp by Ingo Maurer; Tom Hollenback, Tangerine Split Flute, 2007, fluorescent acrylic and steel, 36 x 6 x 4 in., courtesy of William Campbell Contemporary Art; Lance Letscher, 3x3, 2000, collage on paper, courtesy of Conduit Gallery; Lance Letscher, Alan 2, 2017, bicycle with collage via Conduit Gallery.

create a dining room cameo within the living space. Gunpowder on Metal by Australian artist Andrew Bennett is installed above the console. The argon light sculpture on the Liaigre console is by Flukinger and Harrah. Around the corner stands a tall Plexiglas piece by Tom Hollenback from William Campbell Gallery. The meteorite fragment composition is by Shinji Turner-Yamamoto from a New York gallery.

In the living room Cadwallader’s most recent acquisition, Lisbon Gate by John Fraser, is from a gallery in Chicago. He had admired the artist through galleries in Chicago and William Campbell, and the artist offered to send him this painting. Fraser works in all disciplines of drawing, sculpture, and photography to address the world through abstract construction.

Across from the Walter Knoll sofa and an elliptical marble coffee table from Scott + Cooner is a painting by Todd Norton called Black and White from a San Antonio gallery. A chair by John Hutton and architectural stacked wooden end table lead into the hallway.

The hallway leading to the private living areas serves as an art gallery, with a lacquered puzzle work by Steven Price purchased at 500X Gallery and a drawing, Blueprint, by Brennan Bechtol facing the windows.

The primary bedroom opens to the courtyard windows and the gallery but can be closed off for privacy. The bedroom is peaceful, in all shades of white with bright colors provided by the art. A color block by Pard Morrison hangs over the bed and two strong color blocks by Eric Cruikshank are on the side wall. A traditional Japanese lounge chair with an Otis Jones charcoal is where Cadwallader likes to sit and read.

The closet and bath continue the gallery-like quality of the house. A figurative painting of socks by Charles Meng (probably the only figurative piece in the house) hangs above a dressing bench with vintage men’s apparel by William Passarelli. In the bath, No Smiling by Hills Snyder was acquired through David Quadrini.

An office/studio includes a vintage Acerbis cabinet and a small Lance Letscher painting. A Corbusier lounge from Cassina completes the room. A bicycle by Lance Letscher is the focal point of this room. The abstract artist’s highly colored collages have migrated to bicycles, with images he has cut and lacquered onto the surface. No room in the home lacks art—a small or large piece that captures one’s interest and moves the eye. It all flows together without being conflicting or busy because the art is structural, conceptual, and abstract. Cadwallader’s design philosophy is one he lives with, created from “the energy of architecture, and the power of art.” P

This page: Closet is custom designed in lacquered wood by Cadwallader and JRAF Studio, Charles Meng, Socks, 1994, acrylic on canvas through Conduit Gallery, William Passarelli’s 1984, vintage men’s garments on upholstered box purchased through art advisor Shel Kasmir. The bathroom features Arctic grey marble, Hills Snyder, No Smiling, acrylic on painted plywood structure through David Quadrini. Opposite, top: Pard Morrison’s fired pigment wall sculpture hangs above the bed while a framed drawing by Robert Dale Anderson on watercolor paper hangs above the custom-designed daybed by John Saladino for Dunbar, John Hutton white plaster end table, vintage Japanese-design chair. Below left: Brennen Bechtol, Blueprint, framed pencil and collage on kraft paper through 500 X Gallery; Otis Jones, Black square, acrylic on canvas on plywood, 24 x 24 x 3.25 in., gift of the artist. On right: Erik Cruikshank, Untitled #10 diptych, oil on board, through Gebert Contemporary, Santa Fe.


With art from Conduit Gallery, Craighead Green Gallery, and Galleri Urbane, spring bags and shoes bring the party to the next level.

PHOTOGRAPHY BY CHRIS PLAVIDAL CREATIVE DIRECTION BY ELAINE RAFFEL All Marla Ziegler, Mythical Garden 1, ceramic, glaze, paint, and ink, 19.5 x 4.75 x 4.75 in.; Mythical Garden 2, ceramic, glaze, paint, and ink, 18 x 4.75 x 4.75 in; Mythical Garden 5, ceramic, glaze, paint, and ink, 19 x 4.75 x 4.75 in.; Mythical Garden 3, ceramic, glaze, paint, and ink, 20.5 x 4 x 4 in.; Mythical Garden 4, ceramic, glaze, paint, and ink, 23.25 x 5 x 5 in. All available at Craighead Green Gallery. Bottega Veneta Mini Pouch Intrecciato crossbody bag; Bottega Veneta rubber stiletto mule sandal in wisteria. Available at Neiman Marcus, NorthPark Center. Stylist Kendel Bolton; photographer’s assistant Henry Plavidal.
Holding Space, 2022, ceramic, silver leaf, 13 x 17.50 x 17.50 in. Available at Galleri Urbane. Amina Muaddi, Begum 95mm crystal slingbacks in magenta. Available at Tootsies, Plaza at Preston Center. Yana Payusova, Woman in Motion (after Eadweard Muybridge), 2018, stoneware, underglaze, gold luster, 13.50 x 13 x 13 in. Available at Conduit Gallery. Maison Margiela, Snatched Classique bag. Available at Maison Margiela, NorthPark Center.
Sam Mack, Untitled (I think this is a cliché (can I call it that? language isn't good enough)), 2019, ceramic, glaze, US Letter paper, overall: 46 x 12 x 12 in., vessel: 25 x 10 x 11 in. Available at Galleri Urbane. Louis Vuitton Coussin PM in sunflower. Available at Louis Vuitton, NorthPark Center and
Saraï Delfendahl, Untitled, 2018, enamel, earthenware, and gold, 14 x 1w x 7 in. Available at Conduit Gallery. Akris Ai shoulder bag in leather and horsehair. Available at Akris, Highland Park Village. Jon Krawczyk, Smooth sailing, 2019, polished stainless steel in two parts, 11 x 12 x 12 in. Available at Craighead Green Gallery. Tom Ford oversized buckle satin ankle-strap sandal. Available at Neiman Marcus, NorthPark Center.


and filmmaker Corbin Doyle passes on to students a hometown legacy of fostering creativity.

Corbin Doyle loves Dallas. The artist, filmmaker, and founder of Greenhill School’s acclaimed filmmaking program is quick to express gratitude toward his hometown, which he credits with much of his professional success. From the Dallas Public Library to the DMA, from collectors to gallerists, and from Jesuit to SMU to Greenhill, “Dallas said ‘yes’ more than it said ‘no,’” says Doyle. “Over and over, opportunities were made available.”

As a teenager in the early ’80s, Doyle discovered what would become a lifelong passion for film, devouring old scripts at the Central Library downtown and curating movie nights for school friends featuring obscure genres like Brazilian horror. Doyle sought rare VHS tapes at local stores like Forbidden Books in Deep Ellum, where staff often shared recommendations that sent Doyle down other rabbit holes. Doyle also cleverly managed to incorporate film into his studies at Jesuit, convincing the priests to let him make Super 8 movies instead of writing essays.

While his Jesuit teachers recognized Doyle’s creative talent— the school librarian even applied on his behalf to film programs at UCLA and USC—Doyle ultimately attended Southern Methodist University’s premed program, following in his grandfather’s footsteps. His sophomore year, overworked and under-inspired, he signed up for an art elective. The bustling excitement and possibility inside the art building were a revelation. Doyle had always been an obsessive doodler, covering his class notes with drawings, but he received formal affirmation of his artistic talent in 1989, when professors nominated him for the prestigious Yale Norfolk residency.

He attended Norfolk that summer and earned a coveted spot in Yale University’s 1993 MFA program, where it was not uncommon to find oneself embroiled in a heated studio critique with Clement Greenberg. To blow off steam, Doyle would take the train to New York City. One day at a Manhattan diner he met legendary filmmaker Robert Benton, who, as it turned out, was from Waxahachie.

Benton opened Doyle’s mind to the possibility of a career in film.

In 1994, after completing his first year at Yale, Doyle left New Haven and moved back to Texas, where Benton connected him with jobs on film sets. Doyle even freelanced on the legendary Dallas film Bottle Rocket (1996), written by Wes Anderson and Owen Wilson.

Doyle’s success as an artist continued. He was accepted to Skowhegan. He won the Dallas Museum of Art Kimbrough Award. The Museum of Fine Arts, Houston, acquired his work. A 2002 show at Mulcahy Modern was reviewed in Art in America by Dallas legend Dee Mitchell. In the midst of all this, Greenhill School offered him a teaching position in the art department. The school agreed to let him pilot a filmmaking course, so Doyle took the job.

It’s been 25 years since Doyle started teaching at Greenhill, shooting films on his Sony Handycam with middle schoolers. Today, the upper school Advanced Video Production classroom (full disclosure: my child is a current AVP student) rivals top collegiate facilities. Fifty-five Greenhill student films have screened at South by Southwest, among other festivals. Doyle has guided hundreds of students into film schools and industry careers. Cat Hobbs is working with renowned director Darren Aronofsky. Cooper Raiff’s Cha Cha Real Smooth premiered at Sundance in 2022 and is streaming on Apple TV.

When asked what he loves most about film, Doyle doesn’t hesitate: “Film is every single art form rolled into one. A film can be anything.” His students’ work—ranging from Hollywood-style action flicks and quirky animations to non-narrative experimental films—proves his point. August Jaeggli, a freshman at the University of Oregon, says of their former teacher: “Mr. Doyle gives space to young people who have amazing visions. He really tries to reach all of the people in the room.”

“I’m trying to build students’ confidence and occasionally give them little pushes in the right direction when they need it,” explains Doyle. Much like his beloved SMU professor Roger Winter, Corbin Doyle has become a teacher who guides artists to “unlock their own doors.” P

Corbin Doyle. Photograph by Grace Doyle; Lady of Paint Creek, 2016, by Alexia Salingaros. Official Selection, SXSW Texas High School Shorts; Boom, 2012, by Daniel Matyas, Brian Broder, and Andrew Fields. Winner, SXSW Texas High School Shorts. This film was created during a seminar with artist Trenton Doyle Hancock.

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