Patron June/July Issue 2016

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The Standouts: BEST OF THE ARTS Mark Giambrone’s Vibrant Collection Summering in Aspen











Nicole Lian Aponte, Untitled XXVIII

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June / July 2016

TERRI PROVENCAL Publisher / Editor in Chief



Sometimes it’s easy to play favorites. Chocolate or vanilla ice cream anyone? That’s an easy one. I’d choose chocolate every time. Best chocolate ice cream? Belgian, double-fudge, deep dark chocolate, chocolate chocolate chip, chocolate peanut butter, and at Wild About Harry’s, Carnival Barker’s, or Cow Tipping Creamery? Just where does one begin? Selecting the best of the arts among the rich offerings during the past 12 months was a bit like that, only much harder. There are so many great things happening that, frankly, we just didn’t have room for them all. But we really love what we picked and hope you will too, beginning with our cover, Kangaroo Grass by Dornith Doherty, a 2015–2016 Texas State Artist honoree and staple at Holly Johnson Gallery. We swooned when we first saw Mark Giambrone’s art collection back in March while photographing him for our collector’s feature; so much so, in fact, that we decided to go back to cover his collection more comprehensively. In Living Color, Patron readers are treated to a view of works by Frank Stella, Anish Kapoor, Ugo Rondinone, Damien Hirst, Peter Halley, Antony Gormley, Tony Cragg, and Markus Linnenbrink—all unequivocal bests. Art he gets to live with. While we love everything about where we live, the promise of cooler air calls many Texans to Colorado each summer. With great stories of the bounty in the Rockies, we decided to take a peek and asked Patricia Mora for an update on ArtCrush, an annual fundraiser for the Aspen Art Museum. Then Chris Byrne gave us the lowdown on Walter Niedermayr’s Aspen Summer Series and Aspen Skiing Company’s Art in Unexpected Places. And an adventurous Gail Sachson, with a second home in Aspen, took us west of Aspen, revealing the exciting arts landscape in the Roaring Fork Valley. In an “at last” moment, the Dallas Arts District announced the appointment of Lily Cabatu Weiss as its new Director who comes by way of Booker T. Washington High School for the Performing and Visual Arts. With awards too numerous to count, Ms. Weiss leaves a lasting impact on students who are sure to keep looking for her on Flora Street. Also, befitting of bests, Randy Murphy has earned a reputation with top gallerists, museums, and collectors for his out-of-the-box and exquisite framing services. But what Patron readers might find especially interesting is what he likes to collect in the way of antique glass slides, film, and more. Patricia Mora details this in Celluloid. Plus, Space contributor, Peggy Levinson, visits the new Sherle Wagner showroom, where superlative bath accessories and luxury hardware dating back to 1945 are at home with contemporary designs and the new SWag art gallery. Regardless of “bests,” one thing is for certain—every art form begins the same way—with an idea followed by passion. You can be sure we will be anticipating the work from these passionate souls who bring them to fruition for the benefit of all. –Terri Provencal

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FEATURES 50 BEST OF THE ARTS A survey of the standout exhibitions, artists, performances, and other happenings in the arts community over the past 12 months. 62 LIVING COLOR Mark Giambrone’s art collection pulsates with bright hues and movement. By Nancy Cohen Israel 72 ASPEN: HIGH ALTITUDE, ART IN UNEXPECTED PLACES, AND MILES TO GO BEFORE I SLEEP Highlights from Aspen and Roaring Fork Valley offer an arts-filled summer in the Rockies. By Patricia Mora, Chris Byrne, and Gail Sachson



The Standouts: BEST OF THE ARTS Color Guard: Mark Giambrone’s Vibrant Collection Summering in Aspen

On the cover: Dornith Doherty, Kangaroo Grass (2014), archival pigment, 33 x 49 in. Digital Collage made from x-rays captured at PlantBank (Australia). Courtesy of Holly Johnson Gallery

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DEPARTMENTS 8 Editor’s Note 16 Contributors 28 Noted Top arts and cultural chatter. By Elizabeth Kerin and Shelby Gorday Contemporaries 40 CHANGE OF DIRECTION From teaching high school students to learn and leap to taking the reins as the long-awaited Director of the Dallas Arts District, Lily Cabatu Weiss lithely leads the way. By Lee Cullum Celluloid 44 RANDY MURPHY IS DALLAS’S “ROCK STAR” FRAMER— But he also has a fascinating collection of vintage images. By Patricia Mora


Space 48 BATHING BEAUTIES Known globally since 1945 for exquisitely crafted hardware and bath accessories, Sherle Wagner opens on Slocum Street to modern appeal. By Peggy Levinson There 78 CAMERAS COVERING CULTURAL EVENTS Furthermore ... 84 MOUNTAIN MAN Walter Niedermayr, with camera in hand, documents the summer Aspen terrain. By Chris Byrne


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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Shelby Gorday COPY EDITOR Paul W. Conant PRODUCTION Michele McNutt EDITORIAL INTERN Elizabeth Kerin Fey Sandoval CONTRIBUTING WRITERS Chris Byrne Steve Carter Cathy Drennan Lee Escobedo Nancy Cohen Israel Lee Cullum Peggy Levinson Patricia Mora Gail Sachson Katherine Wagner

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CONTRIBUTING PHOTOGRAPHERS Shana Anderson Claudine Nuetzel Sil Azevedo Bret Redman Kristina Bowman Fey Sandoval Quoc Cong Shawn Saumell Daniel Driensky Joel Samuelson Marten Elder Allison V. Smith Shannon Faulk John Smith Maxine Helfman Ed Steele Travis Lilley Kevin Todora Walter Niedermayr Can Turkyilmaz ADVERTISING or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @

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STEVE CARTER For this Best of the Arts issue, arts writer Steve Carter visits with Grammy Awardwinning, multi-instrumentalist/musicianat-large Jeffrey Barnes and Texas State Artist Dornith Doherty, a formidable photographer whose “Archiving Eden” series is a challenging project for our times. He also checks in with gallerist Barry Whistler, whose 30-year anniversary coincides with his relocating from Deep Ellum to the Design District. “What a trio,” Carter enthuses. “It was a privilege getting to know them all better.”

SIL AZEVEDO Photography is a means of discovery and personal growth for Sil. He enjoys connecting with people and capturing their uniqueness through his lens. Sil spends his time photographing incredible people at his Deep Ellum studio and on location. He loves art house films, old bookstores, and traveling the world with his camera. For this issue, Sil captured five young artists, working in widely varied practices, in an empty warehouse on North Beckley, full of promise.


CHRIS BYRNE Chris Byrne is the author of the graphic novel project entitled The Magician (Marquand Books, 2013) as well as the book The Original Print (Guild Publishing, 2002). He is the co-founder of the Dallas Art Fair and the former Chairman of the Board of the American Visionary Art Museum. Byrne currently serves on the American Folk Art Museum's Council for the Study of Art Brut and the Self-Taught, the Dallas Convention & Visitors Bureau Cultural Tourism Committee, as well as the Board of Directors for Dallas Contemporary.


PAUL CONANT With over 20 years of editing experience, Paul lends increasing knowledge to magazines, books, dissertations, and beyond. In addition to work on local and national publications, other clients include Francis Collins (Seashell Prisoners), Victor Shane (In God We Trust), and Brenda V. Johnson (Transitional Journey). He also enjoys editing the details of Patron.

LAUREN CHRISTENSEN With more than 18 years of experience in advertising and marketing, Lauren consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

LEE ESCOBEDO An international arts critic, Escobedo profiles five Dallas-based artists whose practices contain elements of collaboration, inclusion, empathy, and intelligence. While thinking about the Dallas arts market, this profile examines the necessity in catching up to the wider art world by expanding financial support to include video, photography, poetry, new media, and performative-based work. Escobedo is the recent recipient of two arts grants from the City of Dallas to launch a podcast on cinema, connecting inner city youth to the cultural institutions of art and film within Dallas.

LEE CULLUM Lee is a business journalist with a passion for the performing arts and this past season has been glorious in DFW. Opera companies in both cities mounted extraordinary new work in Great Scott and JFK. TITAS astonished with the dance it brought to the City Performance Hall, and Undermain and Dallas Theater Center delivered plays that were Biblical, political, and deeply inventive. No one could top all that except Jaap van Zweden, who took the DSO through two exhilarating evenings of Wagner before ascending to the leadership of the New York Philharmonic. A very good year indeed! GAIL SACHSON Gail, the founder of ASK ME ABOUT ART, is a popular tour guide and Arts writer. She blogs for Art & Seek/KERA, teaches at SMU/CAPE and is the former Chair of the Dallas Commission of Cultural Affairs and Vice-Chair of Public Art. In this issue, Sachson takes us on a personalized art tour West of Aspen, where she has a home. She encourages us to make art at Anderson Ranch in Snowmass, visit the galleries in Basalt, and tour the Powers Art Center in Carbondale. She says, "The West was artists."

NANCY COHEN ISRAEL Nancy is an art historian and Dallas-based writer. For In Living Color, she had the pleasure of visiting with Mark Giambrone and writing about his spectacular collection of contemporary art. And after a season of one incredible museum exhibition after another, she enjoyed highlighting some of the standouts for our annual Best of the Arts feature. She looks forward to savoring the summer’s bumper crop of museum and gallery exhibitions.

JOHN SMITH Smith has spent the last 20 years bringing out the art of architecture in his photography. He consults with architects, designers, and artists to bring their vision to light. A frequent Patron contributor, John is called upon to photograph homes where art is at the forefront of design. “For this issue, I enjoyed photographing the outstanding contemporary art collection in Mark Giambrone’s home. It’s rare when you have the opportunity to see a work by Anish Kapoor and another by Frank Stella in one home.”

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in association with AT&T Performing Arts Center PHOTO CREDITS: Header photo by Andrew Eccles; 1. Rosalie O’Connor; 2. Antonio Fresco; 3. Sharen Bradford; 4. Korokoro Sara Davis; 5. Kelly Gottesman and Lisa Levart; 6. Grant Halverson, Lux ©The American Dance Festival; 7. Luke Behaunek; 8. Alvin Ailey’s Revelations. Photo by Gert Krautbauer; 9. Em Watson Media; 10. MOMIX; 11. Michael Slobodian, Aura, Alexis Fletcher and Peter Smida


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01 AFRICAN AMERICAN MUSEUM The Carroll Harris Simms: National Black Art Competition and Exhibition opens Jun. 17. The AAM’s ongoing exhibits include: Facing the Rising Sun: Freedman’s Cemetery, featuring photographs and interactive videos that explore the lost history of a once-thriving North Dallas community; and The Souls of Black Folk, displaying work from the Billy R. Allen Folk Art Collection. 02 AMON CARTER MUSEUM OF AMERICAN ART Procession: The Art of Norman Lewis will be the first comprehensive museum exhibition featuring the work of this pivotal figure of the Harlem arts community and abstract expressionist movement, Jun. 4–Aug. 21. A site-specific mural by Esther Pearl Watson displays through Jul. 24. Louise Nevelson: Prints continues through Jul. 31. Discarded: Photographs by Anthony Hernandez is on view through Aug. 7. Texas Folk Art features the spirited work of some of Texas’s most original painters and sculptors through Sep. 25. Identity continues through Oct. 9. Image: Norman Lewis (1909–1979), American Totem, 1960, oil on canvas. © Estate of Norman W. Lewis, courtesy of Michael Rosenfeld Gallery LLC, New York, NY. 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM Continuing through July, Inside the Armor makes special use of X-rays to reveal the secrets behind the construction of Japanese armor. The museum sponsors a Lunchtime Talk every Thursday at 1 p.m. Public Tours 28



15 are every Saturday and Sunday at 1 p.m. 04 CROW COLLECTION OF ASIAN ART Benevolence and Wisdom: New Gifts from the Collection of Trammell and Margaret Crow; Fundamental and Superfluous: The Arts of Life in China, Japan, and Korea; Protecting Wisdom: Tibetan Book Covers from the MacLean Collection; and The Divine Feminine in Tibetan Esoteric Buddhism continue through Aug. 14. 05 DALLAS CONTEMPORARY The Dallas Contemporary is currently showing Dan Colen’s candlestick paintings and billboard-sized works in the artist’s first large-scale exhibition in North America. DC is simultaneously presenting Helmut Lang’s uniquely texturized sculptures in their first North American exhibition. Paola Pivi’s feather-covered bears and upsidedown planes are on view in Pivi’s first solo exhibition in the U.S. Colen, Lang, and Pivi all continue through Aug. 21. 06 DALLAS HOLOCAUST MUSEUM A special gallery exhibit titled Survival In Sarajevo: La Benevolencija opens on Jun. 16. July is Pay-It-Forward Month at the museum, giving visitors the opportunity to pay admissions for others. The museum will be screening the film Srebrenica: A Cry From the Grave on Jul. 14. A Human Rights Panel will be held in conjunction with the Holocaust and Human Rights Conference on Jul. 26.

07 DALLAS MUSEUM OF ART Rebecca Warren: The Main Feeling, featuring more than ten years of work, will continue to show through Jul. 17. Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art, presenting over 50 masterworks in diverse mediums, continues through Jul. 31. Irving Penn: Beyond Beauty presents over 140 photographs by Penn through Aug. 14. Vermeer Suite: Music in 17th-Century Dutch Paintings displays paintings by Vermeer’s contemporaries and is on loan from the Leiden Collection through Aug. 21. Image: Irving Penn, Issey Miyake Fashion: White and Black, New York, 1990, printed 1992, gelatin silver print, Smithsonian American Art Museum, Gift of The Irving Penn Foundation. Copyright © The Irving Penn Foundation. 08 GEOMETRIC MADI MUSEUM Inventing through Glass, Wood, and Cardboard features work from artists Roger Bensasson and Yukimo Kimuri and will continue through Jul. 24. The irregularly shaped canvases and use of clay pigments by artist Mokha Laget will be exhibited in Chromatecture beginning Jul. 28 and continuing through Oct. 30. 09 KIMBELL ART MUSEUM Guest of Honor: Titian’s Entombment of Christ is displayed through Jun. 12. The Brothers Le Nain: Painters Of Seventeenth-Century France, the first exhibition devoted to the Le Nain brothers in the United States, will continue through Sep. 11. The Kimbell has a worldrenowned permanent collection, known


11 02 for its distinguished level of extraordinary quality and eminence. 10 LATINO CULTURAL CENTER The 13th Annual Hecho en Dallas is a juried exhibition that focuses on the vibrant local arts scene through Jul. 2. This multidisciplinary arts center was founded for the preservation, development, and promotion of Latino and Hispanic arts and culture, in addition to supporting local Latino artists and arts organizations. 11 THE MAC The MAC presents new works by Giovanni Valderas. Valderas’s reappropriation of real estate signage symbolizes impending economic and social changes in urban neighborhoods. Giovanni Valderas: Forged Utopia opens Jun. 4 with a reception and continues through Jun. 25. Image: Giovanni Valderas, No Hay Pedo (Canary), 2016, acrylic paint, paper, Tyvek on wood, 38 x 49 in. Image courtesy of the artist. 12 MEADOWS MUSEUM Between Paris and Texas: Marie Cronin, Portraitist of the Belle Époque offers the first monographic exhibit of Cronin’s (1867– 1951) paintings, on view through Jun. 5. Process and Innovation: Carlotta Corpron and Janet Turner continues through Jun. 5, which explores their work made during the 1940s and 1950s while teaching and working in Texas. Salvador Dali, An Early Surrealist Masterpiece is on view through Jun. 19.


13 MODERN ART MUSEUM OF FORT WORTH Frank Stella: A Retrospective, showcasing approximately 120 of Stella’s paintings, reliefs, maquettes, sculptures, and drawings, runs through Sep. 18. FOCUS: Thomas Demand will exhibit Demand’s unique methods through Jul. 17. Highlights from the Permanent Collection continues to focus on some of The Modern’s most treasured works. Through Aug. 21. 14 MUSEUM OF BIBLICAL ART In partnership with Holy Trinity Greek Orthodox Church of Dallas, Orthos Doxa is a collection of treasures whose roots trace back to the early first century. Works by Gib Singleton are housed in the Via Dolorosa Sculpture Garden. A Mosaic Passover Story II: Symbols of Judaism is currently on display and runs through Jun. 17. Up next, an exhibition featuring the works of Henrietta Milan will be on view late June through September. Check the website for dates and times. 15 NASHER SCULPTURE CENTER One of the most influential geometric sculptors of the era, Joel Shapiro displays a series of the New York-based artist’s new, brightly painted and suspended rectangular elements that hover in space at different heights and angles, along with recent drawings and key works from Nasher’s permanent collection, through Aug. 21. Sightings: Mai-Thu Perret builds off a performance she recently staged in Geneva. Through Jul. 17. Image: Installation view, Joel Shapiro: New Work, Pace Gallery, New

York, 2010. © 2015 Joel Shapiro/Artists Rights Society, NY. Image courtesy of the artist. 16 NATIONAL COWGIRL MUSEUM Light, Landscape and Livestock: The Photography of Nadine Levin. Often riding horseback to capture her Western images, Levin creates a feminine portrayal of this largely masculine and conventional world. Through Jul. 5. 17 PEROT MUSEUM On Jun. 2, the First Thursdays Late Night is dedicated to physics experiments that challenge the laws of gravity. Discovery Days: Inventions gives the viewer a back-in-time peek into the discoveries that changed the world, Jun. 11. Superhero Sleepover invites kiddos 6–12 for an overnight stay, Jun. 17. Eye of the Collector continues through Sep. 5. July’s First Thursday Late Night highlights chemistry, Jul. 7. Interact with some creatures and critters during Discovery Days: Creatures & Critters on Jul. 9. Image: From the Eye of the Collector exhibition, Aino Faven, 2010, used plastic bags, polyester cloth, courtesy of Deedie Rose. 18 TYLER MUSEUM OF ART Pieced Together: Collages by Lance Letscher, Mark Lewis and Mary McCleary opens Jun. 5 and will run through Sep. 18. Modern Masters: Twentieth Century Prints continues through Jul. 24. The museum also hosts monthly events including First Friday and Family Day.

JUNE / JULY 2016





01 AMPHIBIAN Emily Maya Mills, a stand-up comedian known for her one-woman show God Hates Figs, will be on stage Jun. 2–3. Brought to you by National Theatre Live in partnership with The Modern Art Museum of Fort Worth, Les Liasons Dangereuses by Christopher Hampton will broadcast live from London, Jun. 4–8. Jackie Kashian offers two nights of laughs with her comedic quips, Jun. 10–11. A relaxing walk turns into an international crisis for Arthur and Olivia in Crossing the Line by Kieran Lynn, beginning Jul. 14 through Aug. 7. 02 AT&T PERFORMING ARTS CENTER Cabaret continues through Jun. 5 at the Winspear. Blues music legend Keb’ Mo’ is back Jun. 2. Beautiful: The Carole King Musical tells the story of King’s rise to stardom, Jun. 7–19. Beauty and the Beast is back at the Winspear for one week only, Jun. 22–26. Alan Cumming Sings Sappy Songs features the actor’s new concert on Jun. 24 at the Dallas City Performance Hall. Dwight Yoakam performs on Jun. 24 with songs from his new album Second Hand Heart. The Monkees are onstage Jun. 28. Matt Groening, creator of The Simpsons, and author and artist, Lynda Barry, get together for Love, Hate & Comics: The Friendship That Would Not Die on Jun. 29. Take part in the artist talk Miranda July’s Lost Child! on Jul. 8. Join “Weird Al” Yankovic on Jul. 16 for The Mandatory World Tour. Images: Alan Cummings, photography by Garreth Easton; Brooke Quintan as Belle and Sam Hartley as the Beast. Photography by Matthew Murray. 03 BASS PERFORMANCE HALL Dorothy and her little dog Toto will take the stage in a theater adaptation of the classic movie The Wizard of Oz beginning Jun. 7 and running through Jun. 12. The Seventh Cliburn International Amateur Piano Competition will be held Jun. 19 through Jun. 25. Follow 30


Peggy Sawyer on her journey to the big city to audition for a musical in 42nd Street, Jul. 12–17. Combining satire and theater, Robert Dubac performs his new production, The Book of Moron, at the McDavid Studio, Jul. 27 through Jul. 31. 04 CASA MANANA Inspired by the classic film, Monty Python and the Holy Grail, Spamalot retells the story of King Arthur and the Knights of the Round Table, Jun. 4–12. 05 DALLAS BLACK DANCE THEATRE Dallas Black Dance Theater will hold many classes and workshops all summer long. Summer classes begin Jun. 4 through Jul. 9. DBDT Summer Enrichment Youth Dance Workshops begin on Jun. 6 and end Jun. 24. The next DBDT Summer Intensive Professional Dance Workshop will be Jun. 27–Jul. 8. 06 DALLAS CHILDREN’S THEATER Pinkalicious is back, this time with a bad case of Pinkitis after she indulges in too many pink sweets. Adapted from the popular book, Pinkalicious, The Musical is a celebration of family and love, onstage Jun. 17 through Jul. 17. 07 THE DALLAS OPERA TDO will open its 60th anniversary in October with Moby-Dick. 08 DALLAS SUMMER MUSICALS Bullets Over Broadway is a comedic musical from the imaginings of Woody Allen about a young financially desperate playwright who accepts the backing of a mobster looking to impress his showgirl girlfriend, Jun. 14–26. With high hopes of being a star on Broadway, Peggy Sawyer travels to New York in 42nd Street., Jun. 28–Jul. 10.

09 DALLAS SYMPHONY ORCHESTRA Jun. 1 marks the final showing of Britten: Noah’s Flood. Jaap van Zweden will conduct Saint-Saëns Organ Symphony, Jun. 3–5. The Dallas Symphony will return to Oak Cliff on Jun. 11 to perform Beethoven Symphony No. 4, conducted by Karina Canellakis. The DSO continues its tradition of performing around the Dallas area with Park Concerts, continuing through Jun. 14. The orchestra will join forces with visual arts in Magic Circle Mime Co. on Jun. 18. 10 DALLAS THEATER CENTER Resonating with timeless appeal, take yourself back to the music scene of the 1960s with Dreamgirls, featuring legendary songs of the Motown era at the Wyly Theatre, opening Jun. 10 and continuing through Jul. 24. 11 KITCHEN DOG THEATER In Blackberry Winter, imbued by memories sparked through everyday objects, Vivienne Avery takes the audience on a journey while she cares for her mother who has Alzheimer’s disease. A mysterious woman changes the lives of a mother and her son in The Thrush & The Woodpecker. Both shows continue through Jun. 25. 12 LYRIC STAGE Set sail with nightclub singer, Reno Sweeney, and her friend, Billy Crocker, on the S. S. American in Anything Goes. Not seen in its initial form since 1935, Lyric Stage will revive the original production from Jun. 17 through 26 at the Irving Arts Center. Image: Daron Cockerell (center) will star as Reno Sweeney in Lyric Stage's production of Anything Goes. 13 MAJESTIC THEATER Spend the evening listening to The Moody Blues with Justin Hayward on Jun. 3. Don’t miss Pat Benatar and Neil Giraldo onstage


12 Jun. 21. The tales of the mysterious town of Night Vale will be told in Welcome to Night Vale on Jul. 11. 14 TACA Save the date for the 2016 TACA Custom Auction Gala on Sep. 23. 15 TEXAS BALLET THEATER Texas Ballet Theater’s 55th anniversary season opens in September with Carmen and Danse à Grande Vitesse. 16 THEATRE THREE TIGERS BE STILL highlights the comedic misadventures of a young unemployed woman who recently earned her masters degree in art therapy, through Jun. 19. Psycho Beach Party—think Gidget, Frankie Avalon, and Annette Funicello—is a hilarious camp comedy mash-up by Charles Busch that begins Jun. 23 and runs through Jul. 10. 17 TITAS The 2016/2017 Season, Virtuosic Innovation, begins in September. 18 TURTLE CREEK CHORALE Turtle Creek Chorale performs love songs from Beethoven to Lady Gaga with Heartstrings, Jun. 9–11. 19 UNDERMAIN THEATRE Undermain Theatre is a company of artists seeking to inspire, educate, and challenge audiences and artists through its production of innovative theater with particular interest in poetic and language-driven work. Dark all summer. 20 WATERTOWER THEATRE Outside Mullingar opens Jun. 3 and runs through Jun. 26 and tells the story of the budding love between a cattle farmer and his neighbor.


ralph@ daveperry A N E B B Y H A L L I D AY C O M PA N Y


JUNE / JULY 2016





01 ALAN BARNES FINE ART ABFA specializes in 18th- and 19th-century works as well as a vast selection of other works to meet the unique needs of each designer or collector. 02 ANDNOW The space welcomes the new oeuvre of Andy Meerow in an eponymous show running Jun. 11–Jul. 9. The works of Dustin Pevey and Michelle Rawlings exhibit Jul. 15–Aug. 20.

30 Dugan: Journey Home is a body-size maze of acrylic panels painted with layers of maps that form a meditative path illustrating interconnection through shared locations that point to universal identity. Opens Jun. 25 through Sep. 3. 08 CERNUDA ARTE (Coral Gables) The gallery exhibits select Cuban paintings, specializing in Colonial, Early Republic, Vanguardia, and Modern master Cuban paintings, as well as fine artworks by contemporary artists.

03 ARTSPACE111 Greatest Hits will showcase the gallery’s artists, including Daniel Blagg, Devon Nowlin, Nancy Lamb, and other notable local artists, through Jun. 20. The Third Annual Artspace111 Regional Juried Exhibition is on view Jun. 24–Aug. 6.

09 CHRISTOPHER MARTIN GALLERY Now in Aspen, Dallas, and Santa Fe, Christopher Martin’s paintings are an expression of his interest in the repetition of patterns within nature called Organic Expressionism.

04 BARRY WHISTLER GALLERY Barry Whistler Gallery opened its first exhibition at its new location, 315 Cole Street, entitled Continuum, featuring work from Linnea Glatt. Through Jun. 25.

10 CIRCUIT 12 CONTEMPORARY Marble Head from a Herm, a solo exhibition by Mathew Zefeldt, runs through Jul. 9. The exhibit features over 200 hand-painted representations of a Roman copy of a Greek sculpture.

05 CADD The Contemporary Art Dealers of Dallas (CADD) is a nonprofit organization of galleries whose members function as an important component of the art community by providing the means by which artists reach their public.

11 CONDUIT GALLERY Visions and Voices, a solo exhibit by native Texas artist and environmentalist, Billy Hassell and To There & Back, paper amalgamations by Susie Phillips, continue to show through Jun. 25. The works of Kendall Glover are concurrently on view in the Project Room.

06 CARLYN GALERIE During June and July, works by Victor Chiarizia, a glass artist renowned for his technical innovations, organic forms, and vivid colors, are on view. 07 CARNEAL SIMMONS CONTEMPORARY ART San Francisco-based sculptor Jud Bergeron’s work is on view through Jun. 18. Lindsey 32


12 CRAIGHEAD GREEN GALLERY The Annual Group Exhibition continues through Jun. 18. The gallery welcomes three artists: Marianne Gargour, Tyler Butcher, and Mark Smith to exhibit Jun. 25–Jul. 30. Image: Mark Smith, The Lookout, mixed media on panel, 48 x 48 in.

13 CRIS WORLEY FINE ARTS Maysey Craddock’s solo show, Lost Bay, runs through Jun. 18. Craddock’s ten intricate paintings explore themes of reclamation and reflection of physical materials and ephemeral subjects. Rappel, ‘reminder’ in French, features light-based sculptures inspired by Adela Andea’s residency in France. Jun. 25–Sep. 3. 14 CYDONIA GALLERY Sybren Renema’s The Harvest of Leisure runs through Jun. 4 as a study of the sublime in relation to the persona of Samuel Taylor Coleridge. The Thirteen Most Beautiful… shows Jun. 18–Jul. 30, featuring a collection of 13 works from five artists who use alternative methods to redefine typologies of beauty as an experience. 15 DALLAS ART DEALERS ASSOCIATION DADA is an affiliation of established, independent gallery owners and non-profit art organizations, and offers the Edith Baker Art Scholarship to Booker T. Washington High School seniors pursuing the study of visual arts. 16 DAVID DIKE FINE ART The gallery will participate for the second year in a row at Brian Label’s Old West Show & Auction in Fort Worth at the Amon G. Carter Jr. Exhibits Hall, Will Rogers Memorial Center, Jun. 11–12. The gallery will have a booth with a selection of Texas and Western art. 17 ERIN CLULEY GALLERY Capable Looking , featuring work from Rachel Livedalen, gets viewers to rethink concept ions of g i rl hood t h rough her synthesis of cultural symbols, icons, and mythologies. Through Jun. 11. JM Rizzi’s The Sanest Days are Mad shows Jun. 18–Jul. 16. The gallery welcomes a group show

recurring exhibitor at Dallas Art Fair




Jul. 23–Aug. 27. Image: JM Rizzi, Portrait 3, 2015, ink on paper, 35 x 27 in.


18 FWADA The Fort Worth Art Dealers Association members include independent art dealers, non-profit exhibition spaces, museums, and university galleries. Its mission is to promote visual arts through educational art programs, scholarships, and competitions.

21 THE GOSS-MICHAEL FOUNDATION The Goss-Michael Foundation is one of the leading contemporary British art collections in the U.S. The collection includes works by several important contemporary artists including, Tracey Emin, Damien Hirst, Sarah Lucas, Marc Quinn, and Michael CraigMartin. 22 HOLLY JOHNSON GALLERY New Paintings from artist Anna Bogatin runs through Jul. 30. Bogatin’s exhibit is inspired by the meditative aspects of Buddhism, connecting with nature, and finding the right state of mind in which to create her work. It’s Official, a collection of works from Texas State Artist 2015–2016 honorees Dornith Doherty, Dario Robleto, Margo Sawyer, and Vincent Valdez, shows Jun. 25–Aug. 13.


20 GALLERI URBANE The gallery will feature Side x Side during the month of June, featuring Danny Rose and Cat Rigdon, followed by a solo exhibition for the month of July displaying the works of Irby Pace.

19 GALLERIE NOIR Gallerie Noir seeks to foster an intelligent fusion of fine art and interior design by blending historical elements with modern aesthetics. The gallery accepts commercial and residential projects.

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Functional to Fantasy


22nd Annual

GOBLET SHOW Opening Reception

Friday Evening 5:30 to 8:30 J une 17 th

Kittrell/Riffkind Art Glass Now at SOUTHWEST GALLERY

4500 Sigma Rd. Dallas, Tx 75244 972.239.7957



23 JM GALLERY Jun. 4–Jul. 16 the gallery shows works from Kenneth Burris and Sam Watson who explore the process of creation. Burris’s oeuvre features dystopian landscapes that question ‘realness’ in the digital era. Watson’s bronze figures open viewer’s eyes to the casting process. Image: Kenneth Burris, Crystal City 2 (detail), graphite on paper. 24 KIRK HOPPER FINE ART Slipstream, an exhibition curated by Susie Kalil, features Jorge Alegria, Lois Dodd, Bill Haveron, Mary Jenewein, Angelbert Metoyer, Lynn Randolph, Noriko Shinohara, James Surls, Emmi Whitehorse, Roger Winter, and Alexandre Hogue through Aug. 6. 25 KITTRELL/RIFFKIND ART GLASS The 22nd Annual Goblet Invitational opens Jun. 17 and features drinking vessels from over 70 artists ranging from functional to fantasy through Jul. 24. 26 KRISTY STUBBS GALLERY Kristy Stubbs is a private art dealer in Dallas who represents museum-quality period Modern, Impressionist, and contemporary works. KSG remains preeminent in Dallas as a place for advice in pursuing and evaluating great works of art. 27 LAURA RATHE FINE ART Imminent Ascent exhibits work from Christy Lee Rogers and Lucrecia Waggoner on view through Jun. 18. New Works, featured in the gallery space Jun. 25–Jul. 30, is a group show displaying distinctive pieces from Alberto Murillo, Paul Rousso, Gian Garofalo, and Barbara Fisher.

Meet G EORGE K OVACH S aturday , J une 11 th 1-5 pm

S OUTHWEST G ALLERY 4500 Sigma Rd. Dallas, Tx 75244




T E X A S ... W ide O pen S paces continues through Mid July.



King of the Mountain by Kenneth Burris

28 LEVEL GALLERY The gallery welcomes Sarah Ruth and Lily Taylor for a performance Jun. 3. POP UP features the embroidered-bamboo works from Noshii, Jun. 18–Jul. 2. Neon Zinn and artistin-residence Seth Damm, along with Burgess and KJ, as resident stylist, runs Jul. 8–Sep. 9. Tremaine Townsend’s Portrait Projections and Photos will be featured in mid-July. 29 LILIANA BLOCH GALLERY Representing emerging and mid-career, national, and international artists, the gallery works to create a dialogue between institutional and private curators, collectors, galleries, educational art venues, and the general public. 30 LUMINARTE FINE ART GALLERY Geometric Abstractions, an exhibition comprised of works by Paul Lorenz, Judith Seay, and Angelo DeFilippo, continues through Jul. 2. New Horizons: Art and Fashion opens Jul. 16 with a reception. The show displays the oeuvre of Daniel and Manuel Padilla through Aug. 27. Image: Paul Lorenz, Black And Chartreuse, 2014, ink and gouache on rice paper, 62.59 x 62.59 in. 31 MARTIN LAWRENCE GALLERIES Kerry Hallam’s A Beautiful Life opens Jun. 16 with an artist reception to celebrate her new watercolors, acrylics on canvas, nautical charts, and hand-signed, limited-edition prints. 32 MARY TOMÁS GALLERY Mary Tomás Gallery presents Summer Fun Group Exhibit opening Jun. 25. Running through Jul. 23, the show features artists whose use of bold color, whimsical storytelling, or playful imagery provide fresh insight into the summer months. Radar II and the Creative Arts Center Juried Exhibit open Jul. 30 through Sep. 3. Image: Ellen Soffer, Shimmer 47—Greenstep, oil on canvas, 30 x 30 in. 36


32 33 MUZEION Muzeion offers a diverse collection of artifacts, sculptures, and historically significant pieces, fostering art that transcends time. The gallery continues to show Ultimate Beauty, a collection of human skulls from Papua, New Guinea. 34 PHOTOGRAPHS DO NOT BEND Brad Temkin’s Rooftop Gardens and Stuart Allen’s Bubble show through Jun. 18. Critters features photographic portraits of animals and insects by various artists including Kevin Horan, David Johndrow, and Cheryl Medow, Jun. 25–Aug. 27. Image: David Johndrow, Texas Red-eyed Devil, 2015. 35 THE POWER STATION Alden Pinnell’s progressive Exposition Park exhibition space features Karl Holmqvist’s work in TUFF LOVE through Jun. 17. 36 THE PUBLIC TRUST SOLILOQUY: Jason Salavon continues through Jun. 18. SOLILOQUY is a series of solo exhibitions featuring a single piece of artwork that challenges the viewer to engage with an artist’s work. New Work from Daria Lapto, a young sculptor based in Russia debuting her first solo show in the U.S., takes the floor Jun. 25–Jul. 30. Image: Daria Lapto, Untitled, 2016, mixed media, 6 x 8 x 1.5 in. 37 THE READING ROOM At 8 p.m. on three Saturdays: Jun. 11, 18, and 25, the Reading Room presents Arthur Peña’s Endless/Nameless, an ongoing collaborative musical which explores notions of beauty, loss, and catharsis through experimental storytelling and song. 38 RO2 ART On Jun. 4, Memphis-based artist Alexander Paulus exhibits new works in The Morning After. The month of July welcomes the 4th annual Chaos!!!!, a small works exhibit featuring nearly JUNE / JULY 2016




36 100 artists. Nomadic Fungus Spore Sprouting Test, presented in collaboration with the Nomadic Fungi Institute, opens Jun. 25 in the project space. The Magnolia gallery location continues to show Dannie Liebergot’s trapped in the fjord, we had to walk everywhere through Jun. 14. Artist Roy Tamboli, detail: Zozan Cudi, oil, latex, enamel on canvas, 109 x 65 in.

39 SAMUEL LYNNE GALLERIES The gallery presents a dynamic exhibition schedule, actively engages world-renowned curators, and hosts educational panels and artist video-screenings. SLG’s roster of international and blue chip artists and sculptors includes Hans Van de Bovenkamp, Lea Fisher, James Gill, John Henry, JD Miller, Philip J. Romano, and Tyler Shields. Image: Lea Fisher, Sand Flower, 3D oil on canvas, 48 x 36 in. 40 SITE131 Dropout, an exhibit guest-curated by Photias Giavonis of New York gallery, Callicoon Fine Arts, is an exploration of the life and work of artist Lee Lozano through Jun. 4. Black “Paintings” is a group show displaying paintings that respond to the Dallas Museum of Art’s recent Jackson Pollock exhibit on view Jun. 18–Aug. 13.

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



41 SMINK SMINK continues to host Paperwork through Jun. 18. The show features work from Margaret Fitzgerald, Diane McGregor, Jerry Skibell, Anne Fairchild, Thel, and Paula Roland. Blue Notes, works from Dara Mark, continues through Jul. 30. Image: Dara Mark, Water Veil, 68 x 43.25 in. (framed). 42 SOUTHWEST GALLERY Opening Jun. 11, George Kovach’s One Man Show showcases the artist’s deft brushwork that expresses the radiance of dramatic highlights and reflected color redolent of the Hill Country’s majestic beauty.

34 43 TALLEY DUNN GALLERY The Big Bang Art Auction features more than 150 artworks by eighty-five Texas-based and nationally recognized artists, from the estate of Sonny Burt and Robert Butler, in both gallery spaces on Jun. 25. Proceeds from the collectors’ estate will benefit the Booker T. Washington. The auction preview is Jun. 7–24. 44 TAUBERT CONTEMPORARY (BERLIN) Located in the Berlin Gallery District, Taubert Contemporary exhibits annually at Dallas Art Fair and has placed numerous works in local collections by Markus Linnenbrink, Adrian Esparza, Markus Weggenmann, and more. 45 VALLEY HOUSE GALLERY From Jun. 18–Jul. 16, the gallery shows Lindy Chambers’s No Glass Slipper and Recent Paintings from Jim Stoker. 46 WILLIAM CAMPBELL CONTEMPORARY ART Collect/Works from the Secondary Market opens Jun. 30, including works from Donald Sultan, Robert Mapplethorpe, Florence Pierce, Dan Rizzie, Jun Kaneko, Joe Guy, Bernd Haussmann, Christopher Brown, Scottie Parsons, Kevin Tolman, and other notables. Through Aug. 27. AUCTIONS 01 DALLAS AUCTION GALLERY DAG is now accepting consignments for the September Decorative Art Auction. 02 HERITAGE AUCTIONS HA will host a Fine European Art auction Jun. 24, and a Fine & Decorative Arts including Estates auction Jun. 24–27 that will feature sections of Art Nouveau and Asian Art. The Ethnographic Art: American Indian PreColumbian, Tribal Art auction is Jul. 8. JUNE / JULY 2016


For 38 years, Lily Cabatu Weiss served as a dance teacher, a dance coordinator, and ultimately, the artistic director at Booker T. Washington High School for the Performing and Visual Arts prior to accepting the role of Executive Director of the Dallas Arts District.







ily Cabatu Weiss is doing a photo shoot when I arrive at the Booker T. Washington High School for the Performing and Visual Arts. Having left as artistic director only a few weeks before to run the Dallas Arts District, she has returned to this animated urban campus at my request so I can see more of the school as we talk. Evidently the photographer liked her there, too. It is, after all, still indisputably her territory. We can’t get down the hall without her fans exclaiming, “Lily!!” Some stop to hug, others to seek her advice about Flying Horse, a big production coming up in two days for an advisory board gala, expected to raise $250,000. “Have you chosen your dress?” she asks one student. Not yet. That winsome young blonde was waiting to see how the harness would fit, in which she would fly over the show below, a tribute to David Bowie called “Sound and Vision.” We pause to say hello to Dr. Scott Rudes, principal of Booker T. whom I had run into only a month before at New York’s Lincoln Center, where we saw Gustavo Dudamel lead the L.A. Philharmonic in a dazzling evening of Mahler. Dr. Rudes was recruited to Booker T. from a successful magnet he had managed in Tampa, Florida. Walking around his latest domain—past the piano by the Routh Street door and the sculpture of mascot Pegasus, gleefully decorated as if for special rites of spring, then spotting geometric origami overhead; dancers through a glass partition down below; signs of triumph all around such as one declaring Booker T. one of “America’s Best High Schools” in 2015 by U.S. News and World Report, and another bestowing the Texas Medal of the Arts, also in 2015 (“that was my Super Bowl year,” says Lily)—I could see that he and she and all the faculty who rush to say hello know how to create, and re-create, with the certainty of the seasons, a happy and productive place. A hundred colleges come here to recruit each year, I am told. In 2015—that championship season—217 seniors attracted $40 million in scholarship offers. In 2014, five were admitted to Juilliard. Next fall two more will enter with a full ride. We settle finally into the office of Sharon ModabberiCornell, a specialist in public relations on whose desk there sits a bountiful bouquet of flowers, sent by Lily, Sharon tells me. We note among mementoes on the wall this declaration: “The Queen Never Bargains.” That too belongs to Sharon. Could the same be said of Lily Cabatu Weiss? It’s hard to tell in one so ebullient; it suggests she would give away the store if anybody asked her. Certainly she has a reputation as a practiced collaborator with arts groups in the area, nabbing their stars for master classes at her school. Her long tenure at the arts magnet, however, must be based in part on a knack for drawing and holding the line. Whatever the winning combination, she’s looking terrific today, in black pants with a silk top of black, gray, and red, plus an artful silver necklace and slender dangling earrings in the same colors—a style she favors that’s very much her own. Lily has an ease about her that confirms what some photographs seem to reveal: that she has grown only more compelling through the years, even more extroverted, more direct, supremely sure of herself. She’s a petite woman, and “every inch” as the song says, “is packed with dynamite.” Lily Cabatu Weiss moves through a room with purposeful charisma that comes, I suspect, not just through the discipline of dancing, but from a privileged position as the baby of her family. The youngest of five sisters,

May 22–September 11, 2016 • Three brothers—Louis, Antoine, and Mathieu Le Nain—are among the greatest French artists of all time, but which of them painted which of their works remains a puzzle. See their masterpieces at the Kimbell Art Museum—and help solve the mystery. Image: Le Nain, The Resting Horseman (detail), c. 1640, oil on canvas. Victoria and Albert Museum, London. Bequeathed by Constantine Alexander Ionides. © Victoria and Albert Museum. Promotional support is provided by

JUNE / JULY 2016



RUSSELL TETHER Fine Arts Associates, LLC

Lily Cabatu Weiss stands outside Booker T. Washington High School for the Performing and Visual Arts in the heart of the Dallas Arts District.

DeForrest Judd, Lake Scene, Night, 1960, oil on Masonite, 20 x 36 inches

Collections and Estates of Fine Art Brokerage • Consulting • Management

Loren Mozley, Colorado Landscape, Chama, 1960, gouache, 22 x 30 inches

13720 Midway Road, Suite 110 Dallas, Texas 75244 972-418-7832 M-F: 9-5 and by appointment



she surely was adored by all, and still is. Born to Filipino parents who moved to El Paso when her father was stationed there in the army at Fort Bliss, she grew up in a border town at a time when the border was friendly. So her own borders trouble her not at all. She assumes they will be honored. No need to make a point of them or to wall out anything or anybody. Lily first discovered the joy of her life—dance—in the public schools of El Paso and had no idea how unheard of this was until she landed at Texas Woman’s University where nobody else had enjoyed this advantage. “Why were schools in El Paso so much more enlightened?” I ask. “Because it is more New Mexico than Texas,” she answers. “The arts are part of the lifestyle.” Lily’s lifestyle has always leaned toward education. Though dancing professionally, often with the Black Dance Theater, always she has taught, first in Houston, then at the arts magnet that became Booker T. Her sisters have been in education as well, two as principals and one currently heading the faculty at John Paul High School in Plano. For ballast in the boat, Lily’s husband, Jeff Weiss, spent most of his career as a property adjuster in insurance. For Lily, her new life with the Dallas Arts District is a lovely extension of her old life. It means moving to St. Paul Place across from the Dallas Museum of Art and broadening her reach to embrace the whole of the phenomenal 19 acres over which she now presides. Veletta Lill led the way in the DAD director’s job after the crash of 2008, fighting for funds when City Hall was slashing its commitment to facilities in the area, including the dazzling new Wyly and Winspear. Then came Catherine Cuellar, who helped nudge along a Public Improvement District for DAD and Klyde Warren Park. It was another needed move to build financial stability. Now it will fall to Lily Cabatu Weiss to shepherd the most demanding initiative of all—a new strategy for development to supplant the 30-year-old Sasaki Plan conceived when those 19 acres were a hodge-podge of car dealerships now departed and detritus long forgotten. The urgent imperative is to make sure this magical amalgamation of culture and commerce never loses its power to open hearts and change minds. There’s nobody better suited to this assignment than Lily Cabatu Weiss. She brings to it a lifetime of artistry, enchantment, and verve. P

Dallas Theater Center

Book and Lyrics by TOM

EYER Music by HENRY KRIEGER Directed by JOEL FERRELL Choreographed by RICKEY TRIPP


$18 Tickets On Sale Now! (214) 880-0202

Mature content: drug use; some language.






andy Murphy receives nothing but accolades in the art business. And for those who are unacquainted with his name, he does a meticulous job of framing works for affluent individuals and top-tier institutions. For instance, when I entered his sprawling space, which he jokingly describes as “looking like the Alamo,” I immediately spotted Tibetan portraits that were destined for a museum he didn’t name. Murphy is thoroughly self-effacing and reluctant to name-drop or engage in grandstanding with regard to the high demand for his skills or his obvious success. He does, however, observe the following: “I’m the last step in getting an exhibition together. It’s always, always a huge rush at the end (just before a show), and I have to make it work. I can’t be late.” This emerges matter-of-factly from the epitome of a trendy-looking guy with jeans, glasses, and a wry smile. Plus, he also owns the aforementioned mammoth studio—which has an area cordoned off that is frequently used by top photographers with upscale clients. If that’s not enough, he’s a compendium of information about seemingly endless topics, including: art, music, architecture, and aesthetics. He has a sharp eye, and he uses it in ways that benefit his clients—and anyone with whom he comes into contact. He’s a whiz when it comes to Dallas’s history. Plus, his mind darts from topic to topic with the speed of a Formula One racer, and any visit with him is sure to be both informative and entertaining. He’s charming— and mischievous to be sure—but thoroughly good-natured. His live-and-work studio space is a jaw-dropping 15,000 square feet in size and situated in a need-to-know-it-to-find-it locale

near Dallas’s Fair Park. Once inside, an immaculate space opens up to a warren of huge rooms, computer equipment, stacked art, and enormous industrial windows—some of which blaze with the brilliant green of leafy trees just outside his impeccably maintained space. It’s an odd oasis in a rather unusual neighborhood, but it’s difficult to imagine a better place for someone who is a master framer and an inveterate collector of art (and photographic negatives) that range from antique glass slides from the turn of the century to negatives and prints from the nineteen-forties and beyond. The sheer volume of his collection is overwhelming, and my amazement was always met with a singular intonation, “Oh, you haven’t seen anything yet!” Then he would grin knowingly and lift up yet another stack of framed art. Thus, while Dallasites know Murphy as a framer, few people think of him as a collector. Consequently, meeting him was a privileged look into the psyche of one of the city’s more “off-road” participants in the arts community. But within a few minutes of conversing with him it was abundantly clear that he is intelligent, marvelously observant, and indefatigably curious. Thus, when you look at seemingly straightforward images with him, unexpected vistas unfold. One example of a trove of work Murphy has painstakingly collected was created by photographer Howard Clinton (H.C.) Tibbetts (1863–1937). Tibbetts was based in San Francisco but traveled throughout the American West, Mexico, and Canada. Beginning in 1892, Tibbetts was employed by the Southern Pacific Railroad for forty years, and documented landscapes, towns, and

Above and right: Randy Murphy has an extensive vintage slide collection of Native American photographs by H.C. Tibbitts circa 1909–1915. Opposite: Widely known for his unparalleled museum-quality framing services, Randy Murphy boasts an infinite collection of vintage photographs and glass slides.

JUNE / JULY 2016


parks. Murphy views Tibbetts’s work as an aperture into history that would otherwise simply be unavailable. He states, “I’m in the go-gogo center of the art world, and it’s interesting to look into another time and get an historical perspective.” And it’s easy to agree and slide into a world that, though it existed a scant 100 years ago, seems nearly prehistoric. Native Americans are wearing leather garb and gathering around fires or huddling against precipitous ledges. In a world of smart phones and cyber-technology, the simplicity of the early 1900s is nearly unfathomable. Thus, he will pick apart a single scene and say, “Look. Look at the Indian holding the (Caucasian) baby while the white men look on. They’re all getting along just fine!” And, indeed, his observation is thoroughly accurate; they

From the set of Giant, Marfa 1955, photographer unknown



seem to be completely at ease. So much for stereotypes. The images he has collected were originally found on glass negatives Murphy purchased online. He subsequently scanned them and retouched them via Photoshop. During the process he marvels that “the detail is incredibly clear and you can make out so much information!” At this juncture, he becomes visibly enthusiastic and opens up more work by a different photographer, Harry Atwell. He quips, “I call this one ‘Flower Girls.’” The original name of the piece, of course, is unknown. However, Murphy owns a substantial number of glass negatives created by Atwell that chronicle the Barnum and Bailey circus and its movement throughout America in the early part of the twentieth century. Some depict sideshow acts and others are more enigmatic. Thus, we are left to ponder what role the “flower girls” played in the circus and the throngs it attracted. At one point, Murphy posited, “Who knows? Maybe they were the early version of Disney figures.” Maybe. It certainly seems to be a viable possibility. On one of the walls in Murphy’s studio is a massive print of a photograph taken on the set of the fifties movie, Giant. As nearly everyone is aware, it starred Elizabeth Taylor, Rock Hudson, and James Dean. While a studio photographer was hired to be onsite, it is likely that other onlookers were attracted to the small Texas town where it was filmed—Marfa, circa 1956. More precisely, the locale can be pinpointed as the Ryan Ranch, west of the more populated area. The image in Murphy’s possession shows Taylor and Hudson sitting on the rounded hood of a vintage Chrysler. Ironically, Taylor is holding a boxy camera that was no doubt top-of-the-line in its heyday, and Hudson is unabashedly yawning. Behind them is a huge Texas sky with a few white clouds. It’s the backside of cinematic history and, were it not for celluloid, the people, places, and things in Giant would be lost forever. Thus, Murphy provides an aperture into an era most lovers of film find utterly irresistible. After all, some things are so very, very cool that they transcend time. Moreover, this is something Randy Murphy totally “gets.” The man is every bit as amazing as his collection. Thus, he’s a well-recognized framer and businessman, but he also has a terrific eye and an inquisitive mind. And that’s certainly a fabulous combination. P


H.C. Tibbitts, American West, 1915 (approx.), glass slide

Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215 Follow the Modern Frank Stella, Marrakech, 1964. Fluorescent alkyd on canvas. 77 x 77 x 2 7/8 inches. The Metropolitan Museum of Art, New York; gift of Mr. and Mrs. Robert C. Scull, 1971 (1971.5). © 2016 Frank Stella/Artists Rights Society (ARS), New York.

JUNE / JULY 2016





Known globally since 1945 for exquisitely crafted hardware and bath accessories, Sherle Wagner opens on Slocum Street to modern appeal.


This page, above: Semiprecious Apollo Basin Set in Tiger's Eye. Below: Ming Blossom in blue. Opposite, from left: Arco basin set with inversion handles; Molecules basin; all by Sherle Wagner



eeing the new modern, light-filled Sherle Wagner space on Slocum Street was a long walk down memory lane for me. My first step into the design world, more than three decades ago, was entering the grand John Edward Hughes showroom in Oak Lawn Plaza. Just to the right of the elegant entryway was a dramatic darkened room down a couple of stairs. The walls were upholstered in deep chocolatebrown velvet with bright spotlights shining on exquisite gold hardware. Gold levers and knobs inset with semi-precious stones and painted porcelain were displayed aptly in velvetcovered jewelry cases. I had never seen anything so glamorous and enticing in my life—nothing short of the hallmark that is the inimitable brand of Sherle Wagner. Visiting the dramatically different, bright new Sherle Wagner showroom is the same exciting and inspiring experience. Eighteen skylights bathe the space in light. A cascading water feature and pool, and an allee of bamboo trees create a luxurious, tropical feel—like being in the most elegant bathroom in the world. There are displays of the mostly gold classic collections and the hand-painted bowls and accessories. But, the spare surroundings provide a perfect backdrop for the architectural series based on mid-century designs just reintroduced in the last few years. Says Evan Geoffroy, Sherle Wagner’s grandson and the director of the company, “My grandfather’s pioneering creations are what truly define our tradition of innovation and style. Some are in their original form; many have been updated in scale and proportion to reflect the contemporary aesthetic. They represent evolution of the company from paying homage to art and tradition, to truly creating art of the home.” Sherle Wagner, an architect by trade, started making elegant bathroom fixtures at the request of his wife Rose’s clients. Rose was a designer who specialized in outfitting closets and dressing rooms with fine finishes of exotic woods and silk-covered hangers. A proper master bathroom was the next step, and in 1945 Sherle Wagner came out with his first product—the Dolphin faucet, based on the iconic French Le Dauphin imagery, delicately hand-carved and clad in 24K gold plate. In the beginning Sherle Wagner was primarily an import company. Today, everything in this family-owned company is produced in their American factory in Fall River, Massachusetts. Old World techniques and extensive handwork are still utilized by the master metal smiths, ceramic artists, and plating engineers at the factory. Modern manufacturing techniques complement the craftsmanship and eye of the artisan.


A demand was created for these works of art, and Sherle Wagner fixtures have since appeared in the homes of movie stars and presidents, Saudi palaces, royal residences, and exclusive hotels like The Plaza Hotel in New York in every bathroom. Dallas designers have long cherished the quality and elegance of the bathroom fixtures and furnished opulent homes with 24k gold-plated hardware and accessories. Wealthy Mexican clients came to Dallas in the 1980s with briefcases full of American dollars. It’s not a rumor—I was there and saw it. One project I remember is a house in Mexico City with five bathrooms— each appointed in a different semi-precious stone. There were malachite countertops in one, lapis lazuli fixtures in another, a rose quartz chaise percée, rock crystal walls, and a complete bath in brown onyx. I imagine they still have all of it. Sherle Wagner fixtures evoke an emotional attachment for the owners in much the same way fine art does. Dallas showroom manager Kathleen Sierra tells of a client in her 80s sending her old Ribbon and Reed basin set back to be refinished. “She didn’t want a new one—she felt too attached to this one to let it be replaced after forty years.” From the beginning, the Wagners had an intimate relationship with art, as collectors, patrons, and fine artists themselves. In designing the new showroom space on Slocum, the Geoffroys wanted to complement the artistic nature of their brand by creating SWag (Sherle Wagner art gallery). Says Evan, “To have the opportunity to produce and host an art gallery in our dramatic new showroom space is an addition to, and a continuation of, our collective commitment to the arts. Marissa Geoffroy, my sister and also a grandchild of Sherle and Rose, organized the opening exhibit of the SWag art gallery in Dallas. She is an accomplished artist pursuing her MFA at California College of the Arts and has curated art from her most talented classmates, mostly emerging artists themselves. It offers the freshest of perspectives on the direction and evolution of contemporary art. The exciting SWag art space will continue with ongoing pop-up shows and galleries, featuring local artists as well.” From precious hand-cast Dolphin faucets to stainless steel modern designs to an art gallery of emerging artists, Sherle Wagner has changed and pursued new avenues of artistic perspective, while retaining the original products and designs. “So, is there ever a request for the traditional bath fixtures, the hand-painted porcelains?” I asked Kathleen Sierra. “The Ribbon and Reed and classic basin sets are still our most popular, and the porcelain design, Ming Blossoms, is still a favorite. But, as the modern aesthetic continues to grow, the Soho rock crystal bar pull is the most popular item in the line.” P



Emmi Whitehorse, Gold Slag (detail), 2016, oil, chalk and paper on canvas, 40.5 x 29 in.

JUNE / JULY 2016



From left: lauren woods, Jesse Morgan Barnett, Michael Mazurek, Fatima-Ayan Malika Hirsi, and Danielle Avram at a warehouse on N. Beckley near Trinity Groves.




THE UNCONVENTIONAL The burgeoning practices of five area artists of note.

Patron has selected five artists to profile for this year’s Best of the Arts installment. Each approaching their individual art form in a unique way, the list is built on diversity including their multiple mediums and varied practices. These Dallas and Fort Worth-based artists unabashedly abide by their own rules. Included in this lineup are artist, lauren woods; artists, curators, and Dallas Biennial co-founders, Jesse Morgan Barnett and Michael Mazurek; poet and activist, Fatima-Ayan Malika Hirsi; and curator and writer, Danielle Avram. By learning more about their distinct practices, our hope is to expand the perceptions of the type of art community Dallas has and can be.

Jesse Morgan Barnett

lauren woods

LAUREN WOODS “Cinema is the most public art form. It’s accessible and because it’s ubiquitous, we all understand its language even if we can’t articulate it.” Conceptual artist, lauren woods, is speaking about her approach to using cinema as a medium. Woods has been active the last few years with a body of work that includes projects dealing with the political, art history, and buried historical truths. She uses the moving image to mine ideas of narrative she describes as “making (work) that’s more coded, more multi-layered.” For A Dallas Drinking Fountain Project, located at the Dallas County Records Building in 2013, woods utilized a water fountain and employed a video news reel of 60’s Civil Rights marches featuring ordinary citizens. Those attempting to use the fountain had to finish watching the video in order to make the fountain continue working. “It was about slowing someone’s pace in a day. You stop and the video comes round. All these disparate people are gathered around the fountain and conversations build around that.” Through the complex dynamics and concerns of her work, woods is carving out a unique practice that exists both in gallery spaces and arenas where thinking and viewing art are non-luxuries. “My studio practice and public practice had to coexist; I’ve always felt that working strictly within a museum and gallery circuit didn’t satisfy my own personal politics. My public practice grew out of wanting a larger audience for the work.” Woods is a recent recipient of an Artist Microgrant, presented by the Nasher Sculpture Center. Earlier this year the Nasher acquired her piece, Lookin down... the first new media work for the museum’s collection. Woods will use her microgrant to fund a new photographic project examining flora, fauna, and the layers and politics of the built environment. “I’m interested in doing a photographic series with bluebonnets—looking at the Texas landscape and how it relates to the histories of bodies present, specifically, black bodies.”

JESSE MORGAN BARNETT Artist Jesse Morgan Barnett is interested in working on the exchange of consent within the art experience. “Art-making provides a filter to critique different ways of thinking.” Barnett is at a point in his practice where being unsatisfied creatively fuels the conception of new ideas. “You can’t be content with anything when you’re in that place. There has to be this self-deprecation and this self-propping, and a lot of that is to attack what you find yourself not able to participate in.” Barnett recently had a show at Culture Hole, a new space in the basement of The Power Station in Fair Park. For L’Attico, a one-nightonly exhibition, Barnett activated a performance-tinged piece where he asked spectators to guess the weight of a small, dead pony, which he held in his arms while he displayed it around the room. He then asked viewers to crawl into a literal hole (hence Culture Hole) in the ground where the carcass laid, for up-close and personal consideration, while he reviewed the pamphlet which documented the terms and conditions for participating in the guessing game. The piece was inspired by Jannis Kounellis’s 1969 piece, Untitled (12 Horses), where 12 horses lived in a gallery for a few days. The title of Barnett’s show references Sargentini’s Italian avant-garde gallery of the same name, which put forth challenging and experimental exhibitions. Barnett describes his referential approach as such: “It’s this whole idea of tinkering with an idea, and socializing it in a professional space where the ideas get toured along. It has to get worked on and refined and received by someone else. A lot of defense is built up on that reception.” It’s this type of punch and investment that separates Barnett as a conceptual artist. It’s impossible to peg expectations from one exhibition to the next. It’s the same prowess that makes his involvement in the Dallas Biennial one to anticipate. He approaches his involvement in DB similar to his own practice. It’s about taking risks to put the artists and the viewers in a more vulnerable position. “Any work that you’re going to do has to validate its existence as being that thing, by not necessarily being that thing. DB could never be a real biennial and still exist. It would become deflated.”

JUNE / JULY 2016


Michael Mazurek

MICHAEL MAZUREK Having previously exhibited in Copenhagen, Zurich, Paris, and Sweden, artist and curator, Michael Mazurek’s New Paintings show, presented earlier this year at Beefhaus, included repurposed objects, doors mounted as paintings—as is, another door installed as everyday, hinged and closed, again, as painting. As an artist, Mazurek is interested in playing with place and installation through subtle connections to contemporary trends. “My work is highly contextual and revolves around life as an artist. I’m interested in discussing what it means to be an artist, what it means to make and display things. Thus, it’s a product of its time and place. Each exhibition is a running commentary of sorts, typically based on a rant of some kind, considering the larger implications of artmaking in parallel with fashion, trend, institution, social hierarchy, pop, and subculture, among others.” Mazurek is also a co-founder of the Dallas Biennial, a Dallasbased internationally modeled exhibition event where artists from around the world participate in arenas outside the white cube. It’s a conceptual-based invigoration, similar to what fuels his practice, which allows for Mazurek to “utilize exhibiting as a medium.” Referring to his practice, Mazurek uses the term “internal dialogue” when describing what drives his impetus to create. Identifying as an artist first, Mazurek stays busy. Between DB shows, he was recently appointed as Director of The Goss-Michael Foundation, a private collection noted for its prized works from Young British Artists like Damien Hirst and Tracey Emin. Mazurek teases to his own future international shows and, of course, in Dallas: “My focus is international, but I love working with artist-run spaces and can’t help but to be involved in Dallas.” FATIMA-AYAN MALIKA HIRSI Poet, Fatima-Ayan Malika Hirsi says she feels very connected to her “darkness” when it comes to writing. “It’s very intimate; you have to embrace a lot of the emotions.” Hirsi is founder and curator of Dark Moon Poetry and Arts, a roving monthly showcase of women writers that run the full spectrum of identity; sexual minorities, marginalized, feminist, outlier. At Dark Moon, everyone has a voice and a safe place to speak one’s mind and share one’s soul. The event started in Hirsi’s former home in Arlington, before guest residencies at Wild Detectives and Deep Vellum, when Hirsi moved to Dallas. “I wanted to showcase not only women, but a variety of women’s voices. I want people to see the world with new colors. The goal of Dark Moon is to see magic in people’s eyes.” Hirsi recently finished teaching literary classes at The Nasher and Crow Collection of Asian Art, and is heading to India soon to present a project on Mahatma Ghandi. While continuing Dark Moon, in the fall Hirsi begins an artist residency at a Dallas experimental space, Black Lodge in Deep Ellum.



Fatima-Ayan Malika Hirsi

Danielle Avram

As a writer, Hirsi’s work investigates her own womanhood, in connection with others, the world, and the darkness, which she feels envelops life at times. “I start when I’m feeling an emotion. I don’t write with stages in mind. Or what people are going to think. The whole process is about, ‘Am I satisfied with this?’ I’m a cynic. I’m not optimistic. I’m very sad about the word. There’s great beauty, but we’re destroying ourselves. My poems are not happy poems unless I’m in love, and when I’m in love, they still aren’t happy poems.” In a city with a burgeoning literary scene, Hirsi is leading the charge of inclusion. And as a writer, her work is tender and powerful simultaneously, making hers a singular voice within the literary community. “If there’s silence, I know they got it.” DANIELLE AVRAM Danielle Avram is a curator and writer with a concentration on photography and video work. She is the former Pollock Gallery Curatorial Fellow at SMU, a manager at The Power Station, and currently Gallery Director at Texas Woman’s University. Avram keeps a keen concentration on always doing it her way. “I had this realization when I was in grad school, when I started curating, I didn’t think I was a terrible artist, I just acknowledged the fact that there were way more talented (artists) than I was. If I wanted a shot, I had to come at things from a way different angle. That’s what led me to curatorial work. I was never going to be the smartest; I wasn’t going to be a scholar; I was just interested in making things happen.” Avram breathes fresh air into the arts community through her focus on collaboration, such as the rotating curatorial project, Loren Ipsum (exhibited at the Pollock Gallery last year), or her collaborative exhibitions with other artists. Avram has strong feelings on the curatorial landscape of Dallas and makes a concentrated effort to work against the trends she views as problematic. “That’s what drives me crazy about people who curate themselves into shows. It’s such an egregious, egoistical move. If your work fits in, that’s fine. If your work is the impetus for the show and you are functioning as the curator, that’s fine. But if you are positioning yourself as the curator and then you curate your work into the show, that really gets my goat.” “I like to make things difficult on myself.” Avram is referencing her penchant for the complex, deeply researched exhibitions she organizes. “I want to do things that are interesting and innovative, force people to think, and give myself a challenge.” It’s a necessity to never be satisfied that drives each show’s conception. For her, collaboration sets the initial framework of a show, which naturally creates inclusion, making for a curatorial voice Avram describes as “distilling very complex ideas and making them broadly appealing.” P



Thirty years young, Barry Whistler Gallery is getting a new lease on life in a reimagined space in the Dallas Design District.

Barry Whistler in his recently relocated gallery; portrait by Allison V. Smith

Barry Whistler Gallery has been a cornerstone of the local arts scene for 30 years now, a remarkable milestone of longevity and prestige, especially in light of the fact that the gallery world is a notoriously capricious landscape. Another remarkable note is that in its three decades of life, BWG has always been located in Deep Ellum, first on Commerce Street and then on Canton for the last 28 years. But last month the new Barry Whistler Gallery opened in the Design District at 315 Cole Street, and the space is an absolute winner, celebrating Whistler’s past, present, future, and ongoing eminence. “Making a change like this feels exciting,” Barry Whistler enthuses. “I’ve already had a lot of feedback from people who’ve told me, ‘You’re going to be seeing a lot more of me now because I’m here in the Design District more than I am in Deep Ellum.’” Whistler couldn’t bring his signature Canton Street big red doors with him to the new location (as several long-time clients had hoped he might), but the atmosphere he’s created on Cole is an ideal venue for serious art viewing. Working with renowned Dallas architect, Russell Buchanan, the gallery has a wide-open feel and a great feng shui flow that’s enhanced by high ceilings, stained concrete floors, expansive wall space, and floods of natural light from the front windows and the skylights in the main exhibition space. Whistler now has 4,500 square feet at his disposal, up from the 3,000 he had on Canton. “It’s got a different feel, you know,” Barry says. “In terms of scale, and especially in terms of flow, I think we’ll be able to do some things we couldn’t do before.” From its 1985 beginnings to the present, the focus of Barry Whistler Gallery has remained fairly constant: abstraction, especially abstract painting, photography, sculpture, drawing, and prints, mainly the work of Texas artists. Whistler’s current active roster of 23 features Linnea Glatt, Terrell James, Allison V. Smith, Tom Orr, Ann Stautberg, Lawrence Lee, Dan Rizzie, Kirsten Macy, John Pomara and others, and his inventory also includes works from 13

more artists—Ellsworth Kelly, Liz Trosper, and Scott Barber among them. BWG’s final exhibition in Deep Ellum was 30 Years, a group show that ran from February 13 through March 26. It proved to be a bittersweet swan song. “I didn’t realize how people were taking that 30th anniversary, the last show in that space,” Whistler recalls. “People just showed up from the moment the doors opened. I could’ve just stayed there at the front door shaking hands all through it. A lot of people told me, ‘I’ve got such great memories of this place, I was a little kid coming here, you’re the first gallery I ever went to.’ And I thought, ‘Wow, this is cool.’ I didn’t think that’s what would happen—it was pretty overwhelming. I was already processing all this pretty well; we’d signed the lease for this space, and I was excited about that. So I think part of me was ready to move on, but certainly locking the door for the last time was ‘oooohhh, okay, yeah, that does feel a little odd.’ It was emotional.” May 14 marked the opening of the Cole Street location, and the Gallery’s inaugural exhibition is Linnea Glatt’s Continuum; the show is up through June 25. Glatt is a gallery staple, and Whistler has placed her works with a lot of good collections, including the Dallas Museum of Art. “She’s a strong part of the Dallas art community,” Barry says. “Every time I told someone that she’d be having the first show here, they’d say, ‘That’s perfect, of course you’re opening with Linnea.’” While waving goodbye to his 30 years of Deep Ellum history wasn’t easy, Whistler is enjoying his new digs and being a neighbor in the vibrant Design District arts community. “I think having a sort of shared identity with who and what was already over here is great,” he adds. “And we’ve got a lot of friends here that we’ll enjoy—I saw Dallas Contemporary’s Peter Doroshenko walking down the street the other day, and I rolled down the window and waved, and then I went over to see Nancy Whitenack at Conduit Gallery yesterday. So I think sharing all of that—yeah, it feels good.” P JUNE / JULY 2016


MOST VALUABLE PLAYER, AT LARGE Multi-instrumentalist Jeffrey Barnes is a musician’s musician, known worldwide for his career-defining 30+ years with Denton’s two-time Grammy-winning, genre-smashing, polka fusionists, Brave Combo. With his mastery of saxes, clarinets, harmonica, didgeridoo, Tuvan throat singing, penny whistle (often two in tandem), and his forays into flute, fife, guitar, accordion, piano, percussion, bagpipes, low brass, composing, arranging, and singing, he’s a triple threat times five, at least. Onstage he’s an unforgettable presence—Zelig, brujo, wizard emeritus, surrounded by a panoply of instruments, and costumed with his idiosyncratic sartorial élan. Nonpareil versatility notwithstanding, he’s one of a kind. Barnes parted ways with Brave Combo over a year ago, but he’s become an in-demand freelancer—you’ll find him gracing stages with the Gypsy Playboys, the Southland Swing Band, Paul Slavens, Choctaw Wildfire, Le Not-So-Hot Klub du Denton, and others, and occasionally guesting with Combo. “I’m a generalist in an age of specialists,” he surmises with a laugh. “It’s a jazz existence, you know? Improvising over the changes, whatever’s thrown at me.” –STEVE CARTER Musician Jeffrey Barnes. Photography by Ed Steele

ARCHIVING EDEN Photographer Dornith Doherty’s art has long been concerned with nature, with a focus on its intersection with human intervention. Since 2008 she’s been at work on Archiving Eden, an ambitious series of images documenting seed and tissue samples stored in the world’s seed banks. “I’ve traveled over four continents photographing almost 20 national seed banks,” she says. “There are simultaneously pessimistic and optimistic aspects…it’s such a powerful idea for me that it’s come to this.” Doherty, a Professor of Art at University of North Texas, is a 2012 Guggenheim Foundation Fellow and recipient of several prestigious grants—Fulbright Foundation, Japan Foundation, and the U.S. Department of the Interior among them. The Texas Legislature recently named her the 2015–2016 Texas State Visual Artist, 2D, an emphatically Lone Star laurel. “As a Texan, it was a really big deal for me,” she admits. Catch her at Holly Johnson Gallery’s It’s Official exhibition, featuring new work by Doherty, Dario Robleto, Margot Sawyer, and Vincent Valdez, the 2015–2016 Texas State Visual Artists, on view June 25 through August 13. –STEVE CARTER

Dornith Doherty, Kangaroo Grass (2014), archival pigment, 33 x 49 in. Digital Collage made from x-rays captured at PlantBank (Australia). Courtesy of Holly Johnson Gallery

THE GRADUATES Brooklyn’s esteemed Pratt Institute has more than an eye on burgeoning Dallas talent. They have accepted two 2016 DADA (Dallas Art Dealers Association) Scholarship Award winners to attend the primarily art-based college this fall. Winner of this year’s Edith Baker Art Scholarship Award, Joseph Racz, who will pursue a BFA in painting, refers to his work as “stories.” Racz’s paintings show complex visual and conceptual ideas. “They are myths with their own history. This is a response to the omnipresence of institutionalized storytelling that dominates our lives today,” the Booker T. Washington High School for the Performing and Visual Arts graduating senior describes. Inspired by old masters and a newfound enthusiasm for contemporary art, Joseph’s work today reflects the expansion of possibilities. Racz gained an important influence through an internship with L.A. artist Piero Golia during his Chalet Dallas installation at the Nasher Sculpture Center. Through Golia he experienced the power of social sculpture as a community-building tool. Working with confidence, Racz’s art propels him into the future. Awarded the Craighead Green Fund for the Arts Award to further develop her artistic vision, classmate Lauren Kuehmeier is planning to take advantage of Pratt’s study-abroad program to focus on cultural academia. Kuehmeier enjoys the narrative aspects of photography in journalism. Currently interning with local magazines, she is focused on honing her craft towards award-winning photojournalism. DADA also gave the Excellence in Art Award to an exceptional artist who may be the one Booker T. student who stays close by. Vivie Behrens believes in developing conceptually powerful images and marrying them with traditional techniques. Her ambitious plans include attending UT Austin and pursuing a career in art curation and art law. –CATHY DRENNAN Lauren Kuehmeier, Germany, digital print on metallic paper mounted on foam core, 24 x 36 in.



CULTURE CLUB For fifty years the Creative Arts Center of Dallas has enticed North Texans to discover and express their own creativity with enriching experiences led by acclaimed instructors in the arts. Founded by influential Texas artist Octavio Medellin, CAC mounted The Legacy of Octavio Medellín: A Survey of His Work & Influence to celebrate their “golden” anniversary year in partnership with the Latino Cultural Center. The retrospective exhibited Medellín’s works and highlighted the legacy and influence he left behind. With a mission “to gather eager thinkers, curious leaders, dormant masters, and seekers,” CAC facilitates the exploration of materials and ideas, with the opportunity for participants to get their hands dirty along the way. At the helm now for the past ten years, Diana Pollock drives the dynamic programming and continued mission as CAC’s Executive Director. Offering as many as 500 classes annually at its two-acre campus, this is the go-to outlet to exchange ideas, share techniques, and explore new creative avenues in the disciplines of ceramics, clay sculpture, drawing, blown and fused glass, jewelry, metal, sculpture, and even creative writing. The organization also provides scholarships and outreach to under-served and at-risk children and teens in the area, making its importance even more significant. –TERRI PROVENCAL

Octavio Medellin was the founder of Creative Arts Center of Dallas.

DALLAS ART FAIR FOUNDATION ACQUISITION PROGRAM Ascending to its eighth year—with this iteration being the finest lineup of contemporary galleries ever presented—the 2016 Dallas Art Fair was decidedly the place to be in April. Even Mayor Mike Rawlings dropped by the largest attended press preview to date. The afternoon conference was punctuated by ushering in a new Dallas Art Fair Foundation Acquisition Program. This initiative creates a dynamic relationship between the Dallas Museum of Art and the Dallas Art Fair and its international roster of exhibiting galleries and artists. Upping the fair’s year-round presence, the program extends an annual $50,000 stipend to the DMA to acquire works by artists exhibited at the fair—its initial installment was funded by Marlene and John Sughrue, Tricia and Gil Besing, Linda and David Rogers, Susan and Shawn Bonsell, Gowri and Alex N.K. Sharma, along with the Dallas Art Fair Foundation. Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art, who described the initiative as “a meaningful way to encourage the DMA to look in new directions,” selected works from four booths this year for a total of nine works to add to the DMA’s coffers. Said Dallas Art Fair’s cofounder John Sughrue: “We are proud to collaborate with the DMA and to contribute to the expansion of the museum’s internationally acclaimed contemporary collection.” The works chosen as part of the inaugural acquisition include Michelle Grabner, Untitled (2016) from The Green Gallery, Milwaukee; Nadia Kaabi-Linke, Tunisian Americans (2012) from Lawrie Shabibi, Dubai; Merlin James Big Landscape Painting (2011) from Kerlin Gallery, Dublin; and a series of six collagraphs by Lina Puerta from Geary Contemporary, New York. Sughrue encourages dealers to up their ante for future installments, reminding them, “The Dallas Art Fair Foundation Acquisition Fund encourages participating Dallas Art Fair dealers to present work of museum quality which is certain to heighten the experience of all those participating in the fair.” –TERRI PROVENCAL Michelle Grabner, Untitled, 2016, bronze cast of fabric stencil, 33 x 12 x 8 in. Courtesy of the artist and The Green Gallery. Photography by Claudine Nuetzel

50 SPLENDID YEARS In what was one of the grandest anniversary celebrations this region has seen, NorthPark Center celebrated its 50th with the generosity, attention to excellence, and panache it is known for. Anchoring the year was a set of 50 days devoted to giving. Recipients were hand-chosen by the NorthPark Center team, reflecting wide-ranging causes, many of them affiliated with the arts. Certainly one of the most heartfelt was a donation to Cancer Blows, the nonprofit organization founded by Ryan Anthony, principal trumpeter at the Dallas Symphony Orchestra, to raise funds for blood cancer research. In each case, selected organizations received a gift that was tailored for top impact to its mission, as well as a professionally produced video to raise its profile. Another layer of celebratory events centered around NorthPark Center as the people’s museum. Already home to a world-class collection that includes work by Andy Warhol, Frank Stella, Joel Shapiro, Jim Dine, Mark di Suvero, Jonathan Borofsky, James Rosenquist, Antony Gormley, Barry Flanagan, and Beverly Pepper, NorthPark’s anniversary year saw new sculpture on exhibit by arts stars Ivan Navarro, Leo Villareal, along with a print series by Brian Donnelly aka KAWS. This magazine was proud to honor NorthPark Center and the wondrous Nasher-Haemisegger family with a surprise commissioned cover designed by KAWS for Patron’s commemorative issue devoted to NorthPark Center's 50th anniversary. –KATHERINE WAGNER Jeremy Strick, Brian Donnelly aka KAWS, and Nancy Nasher

JUNE / JULY 2016


OF MONUMENTAL PROPORTION It seems over the past 12 months every museum in Dallas and Fort Worth presented groundbreaking exhibitions. Here are Patron’s picks for some of the best:

POLLOCK’S BLACK CHAPTER It is a rare opportunity to view the work of an iconic artist in a new light. But that is exactly what the Dallas Museum of Art accomplished with its landmark exhibition Jackson Pollock: Blind Spots. Revelatory and revolutionary are words that cropped up continuously to describe it. Curated in house by Gavin Delahunty, Hoffman Family Senior Curator of American Art, the exhibition expanded the viewers’ understanding of the lesser known black paintings that dominated Pollock’s oeuvre in the early 1950s. Delahunty’s arrangement, replicated to reflect the original installation of the work at the Betty Parsons Gallery in New York, added an aura of authenticity. He also included earlier drip paintings, from the DMA’s collection, providing additional context to the work. In addition to wowing audiences, the exhibition also added important new critical scholarship to the study of Pollock. With Dallas as its only US venue and glowing reviews by virtually every major media outlet, it catapulted the museum into the limelight, making it the fall/winter go-to cultural destination for art lovers from around the world.




FEATHERED FRIENDS It is a rarity for art exhibitions to stimulate so many senses. Ma’am, Paolo Pivi’s installation at the Dallas Contemporary, curated by Justine Ludwig, is a riot of color, movement, and intrigue. An overturned fighter jet traverses the entry into this multimedia installation. Walking past the jet brings visitors into a fun house of a bear cave full of brightly hued, feathered Polar Bears. Feathers play an equally important role in the kinetic work lining a hallway. Here, constantly revolving bicycle wheels, each with different plumage on its end, create a soft breeze. Around the corner, Pivi’s boundless creativity continues with a giant inflatable stairway to heaven, animal photography as well as a video installation of airtravelling goldfish. In one gallery, a yak standing atop a mound of fragrant coffee beans offers olfactory stimulation. Nearby, a panel composed of seemingly thousands of strings of pearls dares us not to touch it. Wouldn’t we love to feel it between our fingers and hear the soundtrack that it would create to accompany this eclectic and unforgettable work. GRACIAS CASA DE ALBA How many families in the world have been collecting art continuously for the past 500 years? Not many. The House of Alba traces its roots to the 12th century and enjoys a collection that fills its three palaces scattered across Spain. It was therefore an incredible coup for the Meadows Museum to have the opportunity to host Treasures from the House of Alba: 500 Years of Art and Collecting as part of its 50th anniversary celebration. It was the first foray outside of Spain for many objects as well as a public debut for many others. While iconic paintings, such as Goya’s Duchess in White, came with the collection, others are gems newly discovered by museum patrons as well as scholars. In addition to an art collection spanning a variety of media, the House of Alba is also one of the largest repositories of Columbus memorabilia in the world. Several of these priceless documents accompanied the exhibition. Combined, they highlighted the continued importance of this noble family. EAST MEETS WEST This past season the Crow Collection of Asian Art expanded the notion of what it means to be a museum dedicated to arts of the East. Although not Asian, Alexander Gorlizki’s exhibition Variable Dimensions seamlessly blended artistic traditions of West and East. British-born, Brooklyn-based Gorlizki comes to this fusion work almost genetically. His mother has been avidly collecting and selling Indian and Central Asian textiles in London for decades. Gorlizki also maintains a studio in Jaipur, India, where he collaborates with the workshop of miniaturist Riyaz Uddin. Through their joint efforts, they created a series of works on paper reflecting both cultures and offering a 21st-century vision for what collaboration can extend beyond the boundaries of art. Aside from the 2D objects, Gorlizki also filled the galleries with sculpture, video, carpets, textiles, and furniture, creating a kaleidoscope of color, texture, and pattern. The inclusion of his inspiration board gave audiences insight into his vast imagination and working style. The resulting installation dynamically reinterpreted the museum’s galleries and provided a bridge for crosscultural dialogue.

WELCOME BACK BARLOW One of the earliest occupants of a Dallas artist’s residency, initially opened at South Side on Lamar, was the internationally renowned British sculptor, Phyllida Barlow, and the residency evolved into CentralTrak. Over a decade later, it was exciting to welcome the return of Barlow and her spectacular work to the Nasher Sculpture Center. Since her residency exhibition in 2003, her work has been seen at and collected by such institutions as the Tate Britain, the New Museum, and the Henry Moore Institute, among others. Barlow uses everyday materials such as cloth, tape, plaster, wood, and concrete to create monumental work. Her towering figures lining the central corridor of the Nasher were sculptural as well as architectural, while the work in the adjoining galleries evoked the feeling of being a Lilliputian. The downstairs gallery, filled with a sea of banners, offered a unique path for all who entered. Curator Jed Morse and the Nasher also deserve kudos for bringing the work of a 70-year-old woman to its galleries. PORTRAITS FOR A NEW MILLENNIUM For decades, factions within the art world have bemoaned the death of painting. Kehinde Wiley proves those naysayers wrong. His exhibition, Kehinde Wiley: A New Republic at the Modern Art Museum of Fort Worth highlighted his deft ability in handling paint while continuing a discourse about race. Following a long artistic tradition, Wiley depicts those who populate his world, from Harlem street life to riffing on art historical portraiture. Using borrowed compositions from Old Masters, he imbues people of color with monumentality traditionally reserved for royalty and war heroes, questioning art historical canons. Wiley further embellishes his backgrounds with decorative patterns that frequently spill over onto his subjects. The exhibition also showed Wiley’s full range, from his bronze busts to his newer stained-glass paintings. It was a triumphal return of sorts as Wiley last showed at The Modern in 2008 as part of their FOCUS series. From that exhibition, it acquired Colonel Platoff on his Charger. It was nice to see it within the larger context of Wiley’s current work. IN DUE TIME Sometimes it takes awhile for the public to catch up to an artist’s work. Sometimes it takes a century. Such is the case with Gustave Caillebotte. Perhaps the exhibition Gustave Caillebotte: The Painter’s Eye at the Kimbell Art Museum gave viewers an opportunity to rediscover the work of this French Impressionist. Caillebotte experimented continuously. Whether it was with light, subject matter, or perspective, this exhibition proved that his unique depictions equaled those of his Impressionist colleagues. Cocurated by the Kimbell’s Deputy Director George Shackelford, the exhibition shed new light on Caillebotte the artist as well as the role for which he is better known as a collector. Since most of Caillebotte’s work is still in private hands, Shackelford arranged for loans, mostly from the artist’s family, accounting for 60% of the exhibition. It was a once-in-a-lifetime retrospective that advanced scholarship about the artist and awakened a renewed appreciation of his work. YOU OUGHT TO BE IN PICTURES A country gripped by the Great Depression sought relief from life’s harsh realities through the glamour and glitz of Hollywood’s Golden Age. American Epics: Thomas Hart Benton and Hollywood at the Amon Carter Museum of American Art explored the magic of the movies from the inside. In his own way, Benton grew up alongside the film industry, associating with it during its infancy in New Jersey and evolving as the industry relocated to the West Coast. As a portrayer of American mythology in his paintings, Benton was perfectly suited to work hand-in-hand with Hollywood as a storyteller. In addition to his large paintings drawn from American history, this vast exhibition also included works on paper portraying behind-the-scenes personalities of the film industry as well as illustrations drawn from film sets. These ultimately found their way into printed material created around these movies. In addition, the exhibition provided insight into Benton’s unique working methods. This multimedia exhibition shone a new light on Benton while offering a deeper understanding of his work. This page, from top to bottom: Phyllida Barlow installation at Nasher Sculpture Center, photography by Kevin Todora. Kehinde Wiley (American, b. 1977), Morpheus, 2008, oil on canvas, 108 x 180 in., courtesy of Roberts & Tilton, Culver City, California; Sean Kelly, New York; Galerie Daniel Templon, Paris; and Stephen Friedman Gallery, London. Gustave Caillebotte, Paris Street, Rainy Day, 1877, oil on canvas, 83.56 x 108.56 in., The Art Institute of Chicago, Charles H. and Mary F. S. Worcester Collection. Thomas Hart Benton (1889–1975), Hollywood, 1937–38, tempera with oil on canvas, mounted on panel, T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY, The Nelson-Atkins Museum of Art, Kansas City, Missouri, bequest of the artist, photo by Jamison Miller. Opposite, clockwise from top left: Jackson Pollock dribbling sand-mixed black paint on a canvas in his studio; Martha Holmes The LIFE Picture Collection/Getty Images. Paola Pivi, Ma'am at Dallas Contemporary, photography by Kevin Todora. Francisco de Goya y Lucientes (Spanish, 1746–1828), The Duchess of Alba in White, 1795, oil on canvas; Colección Duques de Alba, Artist Alexander Gorlizki transformed the Garden Gallery of the Crow Collection of Asian Art with a site-specific installation.

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Lee Cullum recaps a triumphant year in the performing arts.

FOR TRUE WIT Great Scott, Jake Heggie’s new work, was commissioned by the Dallas Opera and written for Joyce DiDonato, the reigning mezzo soprano on two continents, maybe more. This is librettist Terrence McNally’s latest and most endearing tribute to an art he seems to love even more than theatre where already he has commiserated with fallen diva Maria Callas in Master Class and showcased her again—while still strong, dazzling, and difficult in The Lisbon Traviata. Great Scott is a backstage look at a great singer, near the pinnacle of her own powers, forced to consider what lies ahead. As Joyce DiDonato told me by phone, it is “alarmingly personal.” Of course, she pulled it off with the Kansas City style that has carried her far from the Sunflower State where she grew up and to which she returns, over and over, just as she does in this tour de force, to help the company in her hometown (more like Dallas than K.C.) survive. It does, and, in her way, so does she. The production was glowing with talent, and none more impressive than Ailyn Perez, a radiant soprano about to become a big star. Not only does she sing divinely, often in roles that once seemed to be owned by Renée Fleming, she also brings to the stage a compelling personality— impetuous, imperious, whatever is required. Her countess in Houston’s production of The Marriage of Figaro last February was no simpering victim. She was plenty teed off by her husband’s philandering, just as in Great Scott she has raw ambition to match that in Julius Caesar. But Brutus would fall in love with Perez, not assassinate her. Always, it appears, the waters part for her and she walks across on dry land. Ailyn Perez returned to the Dallas Opera later in the season in Manon, in which she seduces tenor Stephen Costello, playing a novice who has fled to the arms of the church to escape the vexation she causes him. Costello, a commanding presence himself, is also her former husband, and whatever their private distresses, the feeling between them, at the tumultuous end of two acts, was as combustible as any I’ve ever seen in opera. The chemistry between them threatened to explode the stage.

FOR ENCHANTMENT The Bridges of Madison County. Even without the magic Kelli O’Hara brought to this show on Broadway, the national tour is completely equipped to bring Jason Robert Brown’s jewel of a musical to life. It’s better than the novel and better than the movie, though rarely is that said about anything starring Meryl Streep and Clint Eastwood. The reasons are two: the book by Marsha Norman, Pulitzer-Prize-winning writer of Night Mother, who gave the story moral heft and poignancy that were missing before, and a glorious score by Brown whose lyrics are exceptionally appealing as well. Bridges opens with a cello solo, haunting, beautiful, and shedding a gentle gravitas on an evening you might have thought would be flighty. It is anything but. The heroine Francesca is a woman of principle as well as passion. When the two collide she sings a thoughtful lament: “It is absurd to put one love above another, but what a gift and what a joy and what a blessing.” That is how she sees it, and in that light she makes her choice. The show did not last as long in New York as it deserved. Never did it find the audience that loved O’Hara in South Pacific and The King and I, both directed by the brilliant Bartlett Sher, as was Madison County. Was it resistance to new wine in old bottles that kept them away? Who can say? O’Hara was told to get herself a Twitter account and pound away, hectoring her followers to “see Bridges, see Bridges.” The show closed, and so did her Tweets. She had had enough of that. Now O’Hara has left the triumph she scored in The King and I for a turn in Dido and Aeneas at New York City Center, a concert of her own at Carnegie Hall, and who knows what else. She is, after all, the best performer on Broadway today. Happily, Bridges is finding another life too, not only in Texas, but soon at Kennedy Center in Washington as well as elsewhere in the country.

From left: Ailyn Pérez as the ambitious Tatyana Bakst, singing the national anthem at the Super Bowl in Great Scott; photography by Karen Almond, Dallas Opera. Andrew Samonsky as Robert and Elizabeth Stanley as Francesca in the national tour of The Bridges Of Madison County; photography by Matthew Murphy. Opposite, clockwise from upper left: Jaap van Zweden conducting the Dallas Symphony Orchestra; photography by Tracy Martin. Kelsey Milbourn as Sheila and Jonathan Brooks as Jonah in Len Jenkin’s Jonah; photography by Katherine Owens. TITAS Presents Kidd Pivot; photography by Wendy D Photography, courtesy of AT&T Performing Arts Center



of the first act, with a loud-speaking apparatus booming instructions more often than the mind could bear. Nothing seemed to cohere like quantum mechanics, yet everything was caught in a cosmic whole, as if the unified field at last had been codified. Most poignant of all were a couple of puppets, which had a surprising power to capture the pathos and paradox of the struggle to organize emotions well out of control. “Where words fail,” said Jonathan Young in an online interview, “movement can pick up and carry on and be extraordinarily articulate and poetic.” That is what occurred the nights that Kidd Pivot and Electric Company Theatre brought their mad, dramatic intensity to Dallas.

FOR STAR POWER It’s Jaap. Is he ever called anything else? Other great conductors usually are known by their last names: Bernstein, Mehta, Dudamel, Levine, Solti, Rattle, Salonen, but in Dallas van Zweden is Jaap. Will it be the same when he takes over at the New York Philharmonic? Whatever happens there, he and the Dallas Symphony Orchestra certainly took a stand in the land of Wagner this past spring. On two stunning evenings in April they mounted, first, a concert version of Die Walküre, Act One, then excerpts from Act Two and Lohengrin along with Haydn’s Sinfonia Concertante. The response was rapturous. The great question now is who will assume Jaap’s podium at the Dallas Symphony? There’s everything to be said for elevating assistant conductor Karina Canellakis to the top job. She has the charisma, the command of music, and the presence to rank with Marin Alsop of the Baltimore Symphony and Susanna Mälkki, new principal guest conductor at the Los Angeles Philharmonic. It would be a bold and clever move, and quite possibly as successful, in its own way, as bringing Jaap van Zweden to the Meyerson.

FOR BRAVURA Kidd Pivot and Electric Company Theatre at TITAS Presents. It could hardly have been more phenomenal when these virtuosos from Canada danced Betroffenheit at Dallas City Performance Hall. That’s German for “shock, bewilderment, impact,” according to the program notes. It’s what happens when you’re hit with something that leaves you speechless. That’s what happened to Jonathan Young, an actor, when his 14-year-old daughter and two of her cousins burned to death in a cabin fire. Finally he found a way to talk about it in this collaboration with choreographer Crystal Pite. Lurching from theatre of the absurd to film noir, from psychobabble to the Tower of Babel, an ensemble of five dancers plus Young forgot all references to Diaghilev and Balanchine, Martha Graham and Alvin Ailey, and instead delved into movement so elemental it reached down to the bottom of human experience. It was not all angst either. There were tap shoes and swing and jaunty outfits, spewing flashy irony amidst the grim, institutional setting

FOR IMAGINATION Jonah by Len Jenkin at Undermain Theatre. What is it about a whale that so activates our sense of dread? Certainly it was no fun for the Biblical Jonah being swallowed up by a sea monster such as that. And Melville’s Moby-Dick is a quintessential evocation of horror. To explore these fantastic forces of destruction and deliverance, director Katherine Owens has worked with Len Jenkin, first at Sundance, now in Dallas, to create a kaleidoscopic story both metaphorical and real. She had important help from deeply seasoned scenic designer John Arnone, who set the mood from the moment you entered the tent, which he had transposed, into a beach, with sandy floors and symbolic objects from squid to boat to owl attached to the giant pillars that support the basement theatre as well the basis of the play. Seating was entirely in the round. Lighting by Steve Wood of SMU added to the ambience that could be holy, unholy, or tawdry; mystical or madcap; thoughtful or delirious. As always at the Undermain, the cast was excellent. Patrick Bynane as a stricken scholar of Biblical studies; Kelsey Milbourn as his former student, now frequently dressed in long, slinky mermaid green and singing “You Belong to Me” in a beach bar, pregnant by the professor and needing a way out; Jonathan Brooks as Jonah, who needs a way out even more urgently; Bruce DuBose as God, and the whale. There are others who round out this weird and wonderful pageant of rescue and redemption. The professor recovers his health though loses his tearful daughter to a lost-then-found young man who’s helped care for him while falling for her. The tough and sassy female pirate who leads a takeover of Jonah’s boat and, to appease roaring winds, throws him overboard to the appetite of the waiting whale, survives a shipwreck later on. Jonah survives too, and does his best to save the sinners of Ninevah as God has ordered him to do, but, for this version, it’s a hopeless enterprise. Not hopeless at all, however, is his project to save the student/singer, perhaps helping her with the baby if she decides not to abort it. The nicest moment of all, though, was when various of these wanderers serenade the scholar, still ill but improving, with the gospel song, “Stars on My Crown.” The Undermain itself deserves some of those stars for this remarkable, fearless production. JUNE / JULY 2016


Kennedys, and a marriage bound to be brittle after such flagrant, repeated, unrepented violations. But in a role so compelling it will change her career, Daniela Mack, a smoky mezzo-soprano from Argentina and Houston, with a strong assist from librettist Vavrek, makes JFK Jackie’s opera. There is no hint that this is the woman who has just recuperated from the loss of her infant son on the yacht of Greek shipping magnate Aristotle Onassis whom she will marry five years later. The worldly wise Jackie O, hair longer, eyes shielded behind oversized sunglasses, tarnished yet burnished by the years in Greece, is dispatched to help her younger self dress in a pink Chanel suit on the morning of November 22, 1963. As a pale Mrs. Kennedy puts on the armor of high couture and summons her persona from its deep retreat, Mack plays with uncomplicated clarity a first lady, marching toward tragedy, who is only, heartbreakingly, 36.

FOR HEART JFK, a mesmerizing new work commissioned from David T. Little and Royce Vavrek by the Fort Worth Opera. This account of the fabled Kennedys’s last night together at the Texas Hotel in Cowtown before their fateful flight to Dallas the next morning is as moving as it is bold. The president’s hallucinations of Khrushchev, his lobotomized sister Rosemary, plus LBJ and his gang of vulgarians (tasteless but true) are insanely inventive and a clever solution to dramatizing a dozen hours, no more, when the First Couple probably collapsed in bed, exhausted after a day that had taken them first from San Antonio to Houston. But it is Jack’s dream of his first meeting with the young Jacqueline Bouvier that sets the tone of the show. I still regret that their ravishing love duet against a backdrop of the real senator, recently elected, dancing with his bride at their wedding, is followed so abruptly by Lyndon Johnson and his tribute to “Jumbo,” now regular fare in American politics, thanks to Donald Trump. But one observer argued that it was meant to be jarring because that’s what Jackie’s life with Jack was like. The remains of that day, however, as the novelist wrote, and the night before, cluster around the intimacy Jackie sought, and found, with her husband. It involved, not the sex associated with JFK, but his alwaysprecarious health. Injecting him with morphine to fight the pain of a long-agitated back; calling a secret service agent to get him into bed after he had fallen asleep on the bathroom floor, having soaked in a hot tub, still seeking relief; helping him get out of his jacket, a routine gesture: these are not scenes that come to mind when we think of the glamorous

FOR SURPRISE Deferred Action, a collaboration of the Dallas Theater Center and Cara Mia, written by David Lozano and Lee Trull, is a play about politics, immigration, and bedfellows who forget to dance with those that “brung” them. Meant to explore the lives of DREAMers, those young Hispanics who know nothing but America and on this nation hang all their hopes, the work succeeds as more than social commentary. It is enthrallingly theatrical. Democrats lose their loyalty, Republicans their bigotry. Partisans leap into unlikely alliances with likely results that will sour their sensibilities and complicate their lives. The action turns on a loud, offensive Texas congressman, expertly played in the performance I saw by Michael Brusasco, filling in for Steven Michael Walters. He delivers a tour de force, spouting every cliché of the far-right wing, well-known but seldom so well expressed. Texans have known Rep. Dale Jenkins, and people like him forever, but this is the most energetic iteration of them all. The shocker comes when Jenkins suddenly believes he has been told in a dream by God to stop hating immigrants and start helping them find their rightful place in the country. This means too that Latino voters might also find that their place is in the ranks of Republicans. What better way to fill self-righteous liberal Democrats with consternation? Deferred Action, the move by Obama to grant a work permit and reprieve from deportation to young migrants who came to the U.S. as children and have reached certain goals in school, is the central idea of the play. But it soon is subsumed in the passions of presidential politics. What follows is a fascinating, often astonishing, evening in the theater. P

From left: Daniela Mack and Matthew Worth as the First Lady Jackie Kennedy and President John F. Kennedy in Fort Worth Opera’s JFK; photography by Karen Almond. Arturo Soria, Ivan Jasso, and Chamblee Ferguson in Deferred Action; photography by Karen Almond.



THE STAND-IN WHO STOOD OUT Among the most riveting performances this past season was undoubtedly actor Brandon Potter’s gripping portrayal of Lyndon B. Johnson in All The Way. We’re told the DTC Brierley Resident Acting Company member “drank a lot of coffee” to memorize the lines in one week (following a medical leave by the original actor cast) which made his performance that much more remarkable as the crude bullying legislative leader. Two decades younger than our 36th President at the time, Potter convincingly transported audiences back to the aftermath of that fateful November day when LBJ accidentally assumed office and through the months preceding his landside election during the height of the Civil Rights movement. Brilliantly directed by Kevin Moriarty, the entire production was a winning collaboration between the Dallas Theater Center and Houston’s Alley Theatre. Moriarty’s blocking of the 17 actors that frenziedly came and went to assume the roles of some 40 characters combined to make All The Way an adrenaline-charged ride. –TERRI PROVENCAL

WISHES GRANTED In late January, performing arts enthusiasts from all over the region gathered at the Dee and Charles Wyly Theatre to celebrate, as TACA (The Arts Community Alliance) bestowed $1.3 million grants in $5,000 to $100,000 increments to forty-eight innovative and engaging organizations of diverse budgets and genres from dance to spoken word in North Texas. "Our performing arts community continues to grow and become more vibrant each year, and the annual Grant Awards provides a rare opportunity for our arts leaders, patrons, and volunteers to celebrate together,” said Rebecca Young, TACA Carlson President and Executive Director. Originally from Plano, Texas, and a graduate of SMU’s Meadows School of the Arts, Parisa Khobdeh was the guest artist-speaker for the 2016 Grant Awards Presentation. Young enthused: “We were fortunate to have Parisa Khobdeh, an internationally recognized dancer and North Texas native, share with us what makes the arts so essential to our city." Khobdeh is now a dancer with the Paul Taylor Dance Company in New York. Throughout her career, she has shared her talents to aid human rights organizations. –PATRON

DRACULA RETURNS For those craving gothic, vampire culture is alive and well in the way of books, television series, movies, theater, and even dance. Originally staged for Fort Worth audiences in 2012, Ben Stevenson revived and reinvented his interpretation of Dracula and his desperate thirst for brides as last fall’s season opener for Texas Ballet Theater, marking the first time it was performed in Dallas at the Winspear. Beguiled by Svetlana, who’s barely eighteen, the bloodthirsty Count with his thrilling cape, designed by Judanna Lynn, kidnaps her for his mountaintop lair in complete disregard to her engagement to Frederick. The story swelled with Stevenson’s sensuous blend of classical techniques combined with modern and contemporary movements. The Dallas Symphony Orchestra and Fort Worth Symphony offered especially haunting performances of Franz Liszt’s challenging piano compositions. The special effects were haunting that levitated dancers above the stage only to land, in Dracula’s case quietly, to a creepy place near his prey. –PATRON From top to bottom: Brandon Potter as LBJ in All The Way; courtesy Dallas Theater Center. Rebecca Young, TACA Carlson President and Executive Director; courtesy TACA. Dracula performed by Texas Ballet Theater; photography by Ellen Appel

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From left: Anish Kapoor, Untitled, 2011, stainless steel and paint, 60.75 x 60.75 x 14.25 in. Living Landscape by Walter K. sectional available at Scott + Cooner. Robert Sagerman, 23672, 2007, oil on canvas, 76 x 62 in.


Mark Giambrone’s art collection pulsates with bright hues and movement. 62



ducation, vision, and serendipity are factors that play a role for Mark Giambrone’s constantly evolving art collection. Living in Chicago, surrounded by its renowned art and architecture, provided an initial spark for Giambrone, an equity portfolio manager at Barrow, Hanley, Mewhinney and Strauss. He relocated to Dallas 17 years ago and credits his employers, James Barrow and Tim Hanley, with inspiring him to collect and to be involved with the art community. Hanley and his late wife, Nancy, built a renowned collection and were active benefactors of many arts institution, including the Dallas Museum of Art. Here Hanley served on the Board, including a stint as president. His example of an involved collector is one that Giambrone embraces. Giambrone’s Devonshire home provides an ideal palette for his collection. He is clearly a man of vision as evidenced by the way in which he has transformed this formerly traditional house into a showcase for contemporary art. Working with the builder, Steve McCombs, all the walls and ceilings were removed while the living spaces were refloated with museumfinished walls. He estimates that an additional 360 lights were installed. Six months of renovations yielded light airy rooms and perfect sight lines throughout the home. While the collection could form the basis for an outstanding museum of modern and contemporary art, for Giambrone, it brings him joy. “It makes your daily living experience better,” he says.


This page (top): Anish Kapoor, Untitled, 2011, stainless steel and paint, 60.75 x 60.75 x 14.25 in.; (bottom, from left): Angel Otero, Untitled ("SK-RD"), 2014, oil paint and oil paint skins on canvas, 84 x 60.5 x 3 in.; Mary Corse, Untitled (White Innerband Beveled), glass microspheres in acrylic on canvas; Cassina Limited Edition LC4 Louis Vuitton lounger available at Scott + Cooner

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From left: Gunther Uecker, Mutation, 2006, nails on painted wood, 78.6 x 59 x 6.4 in.; Michelle Grabner, Untitled, 2014, flashe paint on canvas, 48 in. diameter; Michelle Grabner, Untitled, 2014, silverpoint on panel, 48 in. diameter; Jesus Rafael Soto, Vibrations Rouge-Brique et Noir, 1965, mixed media, 65.5 x 42.12 in.; Black Leather Barcelona Chairs and Saarinen Table by Knoll available at Scott + Cooner



Top right: Do Ho Suh, Karma, 2007, white resin, 51.62 x 5.5 x 18.12 in., 1/2 AP, from an edition of 6; Lower right: Tony Cragg, Untitled, 2007, white marble, 31.5 x 13 x 18.12 in.; Patrick Hughes, Perceptiblespective, 2007, oil on board construction, 19 x 85 in.

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From left: Gene Solar Skin, 1964, magna on canvas, 78.75 x 59 in.; Ugo Rondinone, Elftermaizweitausendundzwei, 2002, acrylic on canvas, 86.62 x 86.62 x 3.75 in. 66 Davis, PATRONMAGAZINE.COM

From the front door, the art beckons in multiple directions. A Frank Stella painting is the focal point of a wood-paneled library flanking the entry. Its double-concentric squares pulsate in the same manner as the jazz that inspired Stella. Giambrone provided support for the current exhibition in Fort Worth and enjoyed having the opportunity to meet the 80-year-old artist. On the other side of the entry is a light-filled gathering space. Giambrone commissioned London-based artist Patrick Hughes to create one of his signature reverspective paintings. Hughes’s work is one of many in the collection that plays with perception and visual illusion. For this commission, Giambrone asked him for a work that would reflect the collector’s dream collection. The end result, Perceptiblespective, is a three-dimensional painting, featuring, among others, work by Stella and Damien Hirst, two artists whose work had not yet entered Giambrone’s collection. Hughes also incorporated work by artists who were already in the collection, such as Gene Davis and Victor Vasarely. It is a captivating piece that Giambrone says resonates with many visitors. Its shaped components create an illusory space. Accented by precise lighting, it casts a perspective that is as intriguing as it is disorienting. “I like color and I like movement,” Giambrone says. The collection abounds with both. Other works in the sitting room include Gunther Uecker’s Mutation, an iconic nail painting with a rhythmic, undulating surface. A leading member of the ZERO movement in Germany, Uecker is another artist experimenting with optical illusion. Jesus Rafael Soto’s Vibrations Rouge-Brique et Noir hangs in geometric opposition to the swirling effect of the nearby works. Across the room, the wavy lines of Tony Cragg’s white marble sculptural profile amplifies the dynamic energy of this space. The sitting room is largely a composition in black and white. It is a perfect foil to the adjoining dining room. Here a brilliant tondo from Damien Hirst’s Spin art series electrifies the space. It is balanced on opposite walls by the black gesso background and optical illusionism of Michelle Grabner’s circular works. From the front door, one path to the great room leads past work by Sarah Morris and Liam Gillick while on the other side of the staircase, works by Peter Halley and Robert Sagerman line the hall. The visual terminus into this large space is Anish Kapoor’s spectacular red semi-circular sculpture. Works by Andreas Gursky, Damian Hirst, and Angel Otero are also installed here. Giambrone balances the historic with

Above: Thomas Ruff, Substrat 2 II, 2002, inkjet print face-mounted on Plexiglas, wood frame, 71 x 92 in.; beneath the staircase: Peter Halley, To be titled, 2006, acrylic, Day-GloAcrylic and Roll-a-Tex on canvas, 82 x 67 in.; Below: Frank Stella, Untitled (Double Concentric Squares), 1975, acrylic on canvas, 69 x 138 in.

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From left: Antony Gormley, Small Console II, 2013, cast iron, 40.83 x 7.87 x 6.87 in.; Damien Hirst, Beautiful Slowly Peeling Off a Label on 68 a Bottle Painting, 2005, household gloss on canvas, 60 in. diameter; glass vases courtesy of Scott + Cooner PATRONMAGAZINE.COM

Homeowner Mark Giambrone; Damien Hirst, Phenylboronic Acid, 2009, household gloss on canvas, 73 x 59 in.

From left: Piotr Ulanski, Untitled (Black Plague), 2013, ink and gesso on canvas, 93.25 x 68.5 x 2.5 in.; Antony Gormley, Small Console II, 2013, cast iron, 40.93 x 7.87 x 6.87 in.

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70 Gillick, PATRONMAGAZINE.COM From left: Liam Relieved Distributed, 2007, powder-coated aluminum, 78.75 x 76 x 5.87 in.; Sarah Morris, Kawasaki Cube, 2008, household gloss on canvas, 84.25 x 84.25 in.

Left: Markus Linnenbrink, ITISGETTINGOUTOFHANDITISANOMANSLAND, 2015/16, epoxy resin on wood, 60 x 96 in. Courtesy of Taubert Contemporary. Below: Markus Linnenbrink, THESESMALLTHINGSTHESEWORDSIGO, 2014, epoxy resin and pigment on wood, 60 x 60 in. Courtesy of Taubert Contemporary, Berlin.

the contemporary. Op Art founder Vasarely’s Orion-K creates a visual push-pull with one of Markus Linnenbrink’s drip paintings in the adjacent bar area. Giambrone owns several works by Linnenbrink and recently acquired another at this year’s Dallas Art Fair. He views the Dallas Art Fair as an educational asset, saying, “You don’t have to buy something to enjoy it.” Rather, he sees it as an opportunity to see what is happening now in the contemporary art world. Another artist whose work he acquired at the Dallas Art Fair is Ugo Rondinone. This will join other work by the artist in the collection. Rondinone’s round canvas, Elftermaizweitausendundzwei, is installed in an open gallery on the second floor. It provides geometric diversity to the work next to it, Gene Davis’s linear rectangular painting, Solar Skin. On the facing wall, the dreamy, watery print Substrat 2 II by Thomas Ruff, presents a striking contrast. Whereas Davis represents the mid-century Color Field artists, Ruff is very much of the moment. Using images from Japanese anime and manga, he works digitally to create these Color Field works for the new millennium. A home with blue chip art hardly seems like a suitable environment for youngsters. However, Giambrone, a single father of three small children, wants them to enjoy living among such treasures. “They love the colors and the movement,” he says. He credits daily interaction with the Hirst for refining their color palettes. It is not enough just to collect art for Giambrone. “I want to be involved in local institutions,” he says. And he is. In addition to sitting on the Advisory Committee at the Nasher Sculpture Center, he is the current President of the Board of the Dallas Contemporary. “The Dallas Contemporary has expanded my horizons,” he says, adding, “Peter Doroshenko and Justine Ludwig have a tremendous eye for what is relevant and what to show people.” As the collection grows, Giambrone keeps pace with current trends. He is inspired by what he sees in Dallas as well as on his travels. He concludes, “I’ve enjoyed trying to make a difference.” Between the different worlds in which he moves, it seems as though he has succeeded. P

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Gabriel Orozco, Blind Signs, 2013, 9 elements: tempered glass, anodized aluminum, cast PVC film, each panel: 72.62 x 47.62 x 47.62 in.; courtesy of the artist and Marian Goodman Gallery New York; photo: Omar Luis Olguín


North Texans Party In Grand Style To Fund The Aspen Art Museum At ArtCrush.


spen is largely known as an upscale ski destination with a reputation for catering to the seriously chic. However, there’s another side to the city situated on the gorgeous Western slope of the Rockies’s Continental Divide. Namely, it has long been a place North Texans go in search of scenery that operates as sheer spectacle during summer months. Plus, there’s no shortage of fine restaurants, important galleries—and, of course, the Aspen Art Museum (housed in a Shigeru Ban-designed building, no less). The latter is an institution devoted to exploring the most exciting trends in contemporary art and, thus, each year it is the recipient of a fund-raising event—ArtCrush. Said event has garnered a reputation as the gala experience of the season and, just as Texans love to support artistic endeavors in their home state, they are equally enthusiastic about attending Aspen’s densely packed three-day celebration. Attendance is broadly envied and Architectural Digest notes that ArtCrush is an



“extravaganza, a rollicking three-day production that animates the Colorado resort community each summer.” This year said “production” takes place August 3 through 5 and kicks off with WineCrush, a party at the home of avid museum supporters, Amy and John Phelan. Considered by many to be the highlight of the event, WineCrush is billed as an evening of fine wine, delectably prepared gourmet food, and “just the right amount of dancing.” Ms. Phelan, a former Dallas Cowboys cheerleader, is effusive. “ArtCrush is fun, plain and simple. But it’s much more than a party. We come together to support a museum that is very important to us and does tremendous work to support artists.” Dallas’s own Capera Ryan adds insight: “Both the Aspen art community as well as collectors from all over the world come in for the weekend that begins with WineCrush at Amy and John’s beautiful home. It’s always a fun, enjoyable evening with proceeds going to a great institution.”


However, when the last canapé is downed, art aficionados will already be hotly anticipating the following day, dubbed PreviewCrush, a first chance to see artworks that will be featured at the ArtCrush auction held on August 5. This year, Baldwin Gallery graciously lends its space as the go-to venue to view the fascinating work of artist Isaac Julian, whose oeuvre is known for opulent color, intense content, and a meticulously insinuated narrative. Echo (Stones Against Diamonds) shows a black man with his hand pressed to his ear. He’s framed by craggy terrain that forms two apertures revealing sky and sea—and the entire arrangement seems to juxtapose an interior life with a broader exterior world. It’s vaguely surreal and the import of the work resists explanatory prodding. Like most of Julian’s work, it is nothing if not enigmatic. The artist has a meteoric resume and his work has been collected by MoMA, the Tate Modern, the Centre Pompidou, the Guggenheim Collection, the Hirshhorn Collection, and (many) more. Thus, ArtCrush attendees will be looking to snag his works for their own spectacular collections. Running in tandem with PreviewCrush is PreviewExtra, hosted by Casterline | Goodman Gallery. It, too, will be showcasing work that will be auctioned the following day to fund upcoming projects at the Aspen Art Museum. Additionally, each year an artist is selected as the recipient of the Aspen Award for Art. This year, the Mexican artist, Gabriel Orozco, will be fêted—and for those unfamiliar with him and his body of constantly morphing work, it should be noted that learning about him is unalloyed pleasure. Gavin Delahunty, The Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art, had the following to say about the artist: “Gabriel Orozco is undoubtedly one of the most fascinating and innovative artists of his generation, with a personality marked by poeticism and humor. The DMA has in its collection Inner Circles of the Wall (1999), a large sculptural work tackling site and situation, history and memory.” Given

Delahunty’s gorgeous verbiage, it sounds as if ArtCrush is thinking big—and well it should. Orozco, born in Jalapa, Veracruz, resides in Paris, New York, and Mexico City; however, he avidly resists maintaining a studio. Instead, he relishes the flexibility of working in response to various locations and creates work that he fully intends to deploy as a means of changing the vision and psyche of viewers. In an interview with German Art Historian, Benjamin Heinz-Dieter (H. D.) Buchloh, he stated: “What is most important is not so much what people see in the gallery or the museum, but what people see after looking at these things, how they confront reality again.” Thus, one particular work, Blind Signs, 2013, is of particular interest. It consists of nine panels of tempered glass, each of which depicts abstract geometric shapes that take on the unnerving shine and glaze of a sentient labyrinth. It’s a space that easily operates as metaphoric psychodrama—and it’s brilliant. Ms. Phelan notes, “Gabriel’s show is absolutely amazing. It will include both paintings and sculpture, most of which is new work.” Director of the Aspen Art Museum, Heidi Zuckerman, states: “I have been a massive fan of Gabriel Orozco’s work since seeing his 1993 ‘Projects’ exhibition at MoMA. That exhibition became a defining moment for me in understanding how museum exhibitions could extend into the community.” Thus, Orozco’s presence in Aspen promises to be a game-changer for a place that hosts some of the most serious collectors on the planet. The elements of glamour will certainly be present in Aspen, including the ever-popular Dom Perignon and glam appurtenances of every sort. But the centerpiece of the event, dubbed “a bacchanal” by artnet News, is—the art. Thus, ArtCrush is a party for a cause. Jet setters, serious collectors, and artists all come together in Aspen for the event. And, to quote Ms. Phelan, “It just feels like family!” P

From left: Gabriel Orozco, Untitled, 2016, tempera and oil on gesso, linen canvas and wood, 15.75 x 15.75 in, courtesy the artist and kurimanzutto, Mexico City, photo: Estudio Michel Zabé. Gabriel Orozco, Inner Circles of the Wall, 1999, plaster and graphite, The Rachofsky Collection, Collection of Deedie and Rusty Rose, and the Dallas Museum of Art through the DMA/amfAR Benefit Auction Fund.

JUNE / JULY 2016



ART IN UNEXPECTED PLACES Contemporary artist-commissioned lift tickets elevate the viewer experience on the four mountains in Aspen.


oon after arriving in the ski resort town, Aspen Art Museum Director and Chief Curator Heidi Zuckerman noticed the ubiquitous presence of the Aspen Skiing Company's rectangular lift tickets. These utilitarian objects immediately registered as potential picture planes, and she approached the ski company with a proposal for a unique collaboration: to invite artists to create the passes for each ski season. With the contributions of Mike Kaplan, ASC President and CEO, and art patrons Paula and Jim Crown, the intention was "to provide a canvas for artists and their creative intervention." From its inception in 2005, the partnership has worked with some of the most renowned contemporary artists and featured passes by (in chronological order) Yutaka Sone, Peter Doig, Karen Kilimnik, Jim Hodges, Carla Klein, Mamma Andersson, Mark Grotjahn, David Shrigley, Mark Bradford, and Anne Collier. Takashi Murakami designed the most recent edition for the 2015–16 season. And although the lift tickets were the impetus, the program quickly began to expand; the collaborations evolved into various projects as diverse as installations and performances by artists Mark Wallinger, Lars Ø. Ramberg, Susan Philipsz, Dave Muller, Teresita Fernandez, Cai Guo-Qiang, and Shinique Smith with workshops by Walter Niedermayr as well as a film by Jennifer West. I attended the reception for Dave Muller's in-situ piece entitled

Aspen Skiing Company Music Survey Results and Generated Topography (The Hills Are Alive), at Elk Camp Restaurant on Snowmass Mountain. It was fascinating to meet many of the individuals who participated in the study—their presence seemed to complete the commissioned work with anecdotes about the artist's process and methodology. In 2010, the five-year history of the program was documented in an eponymous book with featured texts by Michael Miracle and Terry R. Myers, and included a conversation with Heidi Zuckerman and Mike Kaplan. Celebrating its tenth year with a second volume, the partnership has also produced a series of photographs and interviews to describe the work of each participating artist. The Crowns contributed the introduction for both editions, stating "We thought of this as a small social movement: instead of Stand UP, Look UP, or Man UP, we wanted people to ARTUP." This year, the Aspen Skiing Company celebrates its 70th anniversary with the guiding mission of "providing experiences to our guests that enhance the body, mind, and spirit." As viewers, we are accustomed to looking at art in a specific setting and location. This convention often causes our understanding and appreciation to be mediated through the history of art, perceived market value, as well expectations about a particular medium. Art in Unexpected Places encourages the audience to encounter art in a new context... reached on foot, skis, or snowshoes. P

Top: Mark Grotjahn, Untitled (Blue Anchor Steam Wedding Mask 41.94), 2004; 2011–2012 Aspen Skiing Company lift ticket. Below, from left: Jim Hodges, Give More Than You Take, 2008; 2008–2009 Aspen Skiing Company lift ticket. Mark Grotjahn, Untitled (Skinny Big Nose Mask 43.12), 2011; 2011–2012 Aspen Skiing Company lift ticket. David Shrigley, Untitled (I didn't notice the mountains), 2011; 2012–2013 Aspen Skiing Company lift ticket. Yutaka Sone, Ski Madonna (#1), 2005; 2005–2006 Aspen Skiing Company lift ticket. All images courtesy of the artists, Aspen Skiing Company, and Aspen Art Museum.



Majestic and modern, Powers Art Center was founded by Kimiko and John Powers; photography by Joel Samuelson



Journey West of Aspen to Roaring Fork Valley’s Best Art Locales.


ust about 15 minutes and 12 or so miles west of Aspen’s frantic but fun fine art scene is another experience, a mostly quieter scene for those in search of art midst winding creeks, fields of wildflowers, split-rail fences, and painted Adirondack chairs. This is Anderson Ranch Art Center, a little bit of art-making heaven in Snowmass Village, where artists and wouldbe artists breathe in the clean crisp air of Colorado, and inspired by the serenity of the five-acre campus, create. Of course, the sounds of saws, drills, and hammers are heard as well. The buzz of 3D printers and the smells of turpentine, melting wax, and wood chips permeate the air. All good sounds. All good smells for those enjoying the Anderson Ranch’s year-round workshops. Celebrating its 50th Anniversary this summer, the Anderson Ranch calendar is filled with free artist presentations, demonstrations, gallery shows, auctions, and celebration dinners, in addition to the many one- and two-week classes. During the celebration week, July 17–22, MacArthur Foundation Fellow and Medal of Arts awardee, photographer Carrie Mae Weems, will be lauded as the 2016

Anderson Ranch National Artist. She joins a long list of recognized art stars, such as Frank Stella (2015) and Theaster Gates (2014). The 2016 Recognition dinner in Weems’s honor will be on Thursday, July 21. Meanwhile, a favorite home-grown Texas artist, turned Colorado resident, James Surls, has long been a supporter of the Ranch, regularly exhibiting work in the Ranch Gallery, and this summer, teaching “Sculpture: Critical Thinking” with artist Terry Allen, July 18–22. Whether you take a class, enjoy a program, or just take a tour, Executive Director Nancy Williams says, “We’ll help you lead a fuller, richer life. The Ranch is determined to educate, to inspire, and to help you discover something new within yourself.” Reserve a room at the Wyly House Dormitory located on the Ranch property (named in recognition for the generosity of Dallas’s art-loving patrons Dee and the late Charles Wyly). Look forward to farm-fresh meals at the Ranch Cafe and prepare to create in the Wyly Painting Building. Pick a course in ceramics, painting, printmaking, sculpture, woodturning, 3D printing, or even iPhone

JUNE / JULY 2016


Anderson Ranch offers a mecca of art classes and happenings in Snowmass Village.

photography. Even if you don’t sign up for a workshop, join the community at the 36th Annual Anderson Ranch Art Auction & Picnic, offering a buffet, beer, and a beautiful vista on Saturday, August 6. Student work, instructor work, and donated major artist contributions hang side by side, encouraging the viewer to discover new talent, while supporting the Ranch. While we mourn the passing of Charles Wyly, Dee continues to support the arts and honor Charles’s memory, whose spirit and generosity are legendary in Dallas and in the Aspen area. Charles’s dedication to the arts has been recognized a few miles further west in Basalt, where his oil pastel portrait by Basalt artist Dana Higbi was recently installed in the new Charles J. Wyly Gallery. The dedication honors Charles as the founder the Wyly Art Center, recently renamed The Art Base to expand their vision, clarify their mission, and broaden their base. Texas artists will be well represented at The Art Base this summer. Surls will be exhibiting recent drawings June 10–July 2, and Dallas and Colorado artist Stanley Bell, known for his popular Art on the Edge class for risk-taking adults, will teach X-Gameinspired Extreme Art & Sports, August 8–12 for daredevil kids. Genna Moe, Executive Director of The Art Base says, “The galleries in Aspen show established artists at a high dollar amount. At Art Base we give artists from the Roaring Fork Valley representational opportunities and oftentimes provide them with their first exhibition. We show off the Colorado world, whereas Aspen brings the world to Colorado. We don’t compete with Aspen as far as the gallery scene, and we don’t compete with Anderson Ranch for classes. Our classes are designed for the short-term visitor, offering weekend workshops and night classes for working locals. It’s nice that we can complement each other.” Moe agrees that the vitality of the Basalt artistic community envelops you in an inclusive nurturing way—all styles, techniques, and forms of expression and education are encouraged and embraced. Basalt’s pride of their deserved growth as an art center is palpable. The Ann Korologos Gallery says it best with its slogan, “the best gallery in Aspen…is in Basalt,” and offers to prove it by reviving the historic Second Friday Basalt Art Walk (ARTB2F), which attracts



hundreds of gallery-goers the second Tuesday of every month from 5:00–7:00 p.m. The Ann Korologos Gallery specializes in Western art and art influenced by the West, but don’t expect to see only gallery-goers in cowboy hats (I ran into former Secretary Madeleine Albright.) or only paintings of cows, horses, and cacti. In June, expect to see texting, not on your phone, but 3D text covering the walls. Arts & Letters: A Lloyd Schermer Retrospective immerses us in a visual conversation with the well-collected Aspen artist, who, after an illustrious career in newspaper publishing and as the former chairman of the board of the Smithsonian, began painting in 1993 at an Anderson Ranch workshop. Being in the newspaper business, text had always interested Schermer, and having rescued the visually exciting typesetting letters of all sizes, shapes, and wood grains from the prison of the press, he made them the actual elements of his art. Today his work hangs in the lobby of the Associated Press in New York, the Aspen Institute in Washington DC, Morgan Stanley, numerous private collections, and in the Washington Post offices as a massive 3-by-8-foot text-paneled door. Ann Korologos, a passionate art collector with a personal history in politics, is living her dream as a gallery owner and as the Chairman of the Board of Anderson Ranch. For the gallery and for her personal collection, she chooses “art you love to live with.” She says, “When I walk into a room, they’re my friends, and I like art which is illustrative of what is special about the West, its color, the landscape, and the settings of ruggedness. What the sun does on a landscape in the West is quite different than in New York or New Jersey.” She adds, “Don’t underestimate historic Basalt as a leader in bringing the arts to the Roaring Fork Valley. We are well placed and ought to be the Canyon Road of the Valley.” Feeling the need for a pick-me-up? Head to Tempranillo down the street. Owner Chef Javier Gonzales-Bringas led the expansion of the Aspen Mezzaluna and is the long-time Spanish wine representative for Food & Wine magazine. Ask Javier to recommend one of the hundred hand-chosen wines and relax at one of the coveted tables on the grass. You will be overcome by the need to call a realtor. Moving to the Aspen Valley will seem a possibility…actually, a probability.

Clockwise from top left: Many renowned artists like the late Ken Price (pictured here) have led workshops and discourses at Anderson Ranch. Originally founded as the Wyly Art Center, after the late Charles Wyly, this nonprofit space has been renamed The Art Base. Christopher Martin Gallery sits at the center of Aspen, next door to bb's.

Leaving historic Basalt somewhat reluctantly, head further West on Highway 82 towards The Powers Art Center, a most uniquely serene, architecturally satisfying, and visually rewarding private art museum. Dedicated in 2014, the center rests in the middle of a cow pasture and features rotating shows of prints by Jasper Johns, a favorite of the founders John and Kimiko Powers. The new exhibit opening June 6 revolves around Jasper Johns’s famous quote, “Take something and do something to it. Do something else to it,” and will follow familiar elements worked and reworked in his prints. In addition, the center will be exhibiting a selection of prints (1965–1974) by Robert Rauschenberg, a contemporary of Johns. That installation has been on loan to the National Art Center Tokyo. The Powers Art Center is a memorial to John Powers and a gift to the people of the Valley. Don’t miss the almost-hidden turnoff, just past mile marker 13 on the right, and make certain to meet multitasking magician Melissa English, the Curator/Director/ Educator, and long-time friend of the Powers, who admits the

Powers Art Center is a little off the beaten path. She says, “We are a hidden gem. It takes a little effort to find us, and it’s worth the effort. We like the intimate experience, and we like being an art venue where it is not necessary to stand in line. With 2,000 visitors last year, word of mouth is our best advertisement.” Time to head back. Dinner reservations are for 6:00 at bb’s restaurant in Aspen. Ask owner, chef, art collector Bruce Berger for their special Lobster Scampi and wave across the balcony to artist and gallery owner Christopher Martin, whom you know from the buzz about his popular Dragon Street Gallery in Dallas. Chris now boasts namesake galleries in Dallas, Aspen, and a recently opened gallery on Canyon Road in Santa Fe. He finds there is magic in the mountains and makes Aspen and Snowmass his home. “Being surrounded by these natural masterpieces in Colorado is a great source of inspiration,” Martin said. The gallery stays open until 8 p.m. Make a stop there—the day’s dessert. P

JUNE / JULY 2016


Erin Culey Presents Oliver Clegg at a Satellite Exhibition Space Photography by Bret Redman


Matt Rutledge, Christie Sheffield

PROCESSION The Art of Norman Lewis June 4–August 21, 2016

Simon Schnoor, Ana Schnoor, Kenny Goss

“His paintings reveal there is no color barrier to transcendence.” —Wall Street Journal Norman Lewis (1909 –1979), Title unknown (March on Washington), detail, 1965, oil on fiberboard, L. Ann and Jonathan P. Binstock, ©Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY

Oliver Clegg, Elisabeth Karpidas, Erin Cluley

The major exhibition sponsors are the National Endowment for the Arts, Christie’s, and the Terra Foundation for American Art on behalf of board members Ruth Fine, Mimi Gardner Gates, Chester A. Gougis, Charles Harper, Michael Leja, Peter Lunder, Gloria Scoby, and Greg Williamson. Additional support from AG Foundation, Ed Bradley Family Foundation, Valentino D. Carlotti, Dorothy Lichtenstein, Frank and Katherine Martucci, Raymond J. McGuire and Crystal McCrary, and Jeanette LermanNeubauer and Joe Neubauer.

Jeremy Strick, Panos Karpidas

JUNE / JULY 2016




Deedie Rose

Esther Park, Sam Saladino

John Stendrini



Chris Byrne, Tina Kukielski

Heather Vranich, Kim Dodson

Kurt Mueller, Nicole Berry

Colby Charles

John Reoch

Pedro Escapa


Jeny Bania

Perception Changing Tunnel

Shara Nova Performing

Bridget Hall, Branton Ellerbee, Chandra North, Daniel Blaylock

JUNE / JULY 2016




John Runyon, Kimberly Aston

Capera Ryan

Steve Stodghill, Stacie McCord, Nicholas McCord

Ford Lacy, CeCe Smith

Angelina Chen, Jennifer Klos

David Yarrow signing his book Encounter


Megan Nguyen, Erin Oden, Viktoria Hickman



Michael Mazurek, Katie Carnival, Silver Hogue, Tanner Thurman

Claire Marucci, Mickey Ashmore, Temple Ashmore


Simon de Pury

Joyce Goss, Kenny Goss

Tom Lentz, Marguerite Hoffman

Leona Lewis

Tim Headington

Georgia Arnold


Maria Torroba Inspired by the Renaissance and Golden Age of Spain, Madrid-based artist Maria Torroba creates works in oil and collage incorporating Spanish and Belgian linens, antique lace embroidered by her grandmother, ribbons, hessian, and shells she's collected through her travels. For more information please contact Liliana Teran at: Maria Torroba, Queen Maria Tudor, mixed media on canvas, 39.37 x 47.24 in.

Maria Torroba, Maria Tudor Ikat, mixed media on canvas, 39.37 x 47.24 in.

JUNE / JULY 2016





Walter Niedermayr, with camera in hand, documents the summer Aspen terrain.

Walter Niedermayr, Aspen 118, 2014, three digital inkjet prints, 51.62 x 125.25 in.


even years ago, the art patrons Paula and Jim Crown invited artist Walter Niedermayr to visit Aspen to survey and photograph the surrounding mountainscape. The completed body of work—The Aspen Series (2009)—became a contemporary document of the region. Mike Kaplan, the President and CEO of the Aspen Skiing Company, contributed to this unique collaboration. The installation of the project—at various locations throughout Aspen Highlands, Aspen Mountain, Buttermilk, and Snowmass’s Base Village—was also greatly indebted to the Aspen Art Museum and Aspen Skiing Company’s partnership, “Art in Unexpected Places,” which proposes a new context for an artwork. In 2013, the Aspen Skiing Company received a BCA 10: Best Businesses Partnering in the Arts in America Award, and that following year, Walter Niedermayr and his wife Cristina were invited back to Aspen to create The Aspen Summer Series, a re-examination of several of the same places during a different season. The Aspen Summer Series’s multi-panel compositions were completed over the course of a year and will be editioned and available later in the season. The works feature the landscape of the four mountains with each of the alpine locations photographed from different vantage points. And like Monet’s Haystacks (189091)—the benchmark for representing the same subject at different times—subtle and visually nuanced atmospheres are registered. Walter Niedermayr lives in Bolzano, Italy. He has photographed numerous panoramic vistas throughout the world with the intention of describing “these mountains from the point of view of the mountains themselves.” I was fortunate to accompany Walter and his wife Cristina as he shot and produced these ambitious pictures, 84


and in some instances the summer project was more challenging. After arriving on a perfect June day, we found ourselves climbing, at Jim Crown’s recommendation, to The Cirque— the remote and expansive 12,510-foot summit of Snowmass—a location that we had trouble reaching during our first winter expedition. It could be argued that many of the images were actually collaborations, resulting from these informed suggestions. As we began to encounter light snow and then rain, our guide urged us to turn back. Walter decided to continue and was able to take some of his best photos. In retrospect, this adventurous attitude can be experienced in the pieces themselves. As we moved from one locale to the next, I began to better appreciate the artist’s approach. These seemingly straightforward panoramic views subsequently offered up shifts, fragments, and surprisingly subtle complexities, which had initially eluded me as a viewer. The resulting images reveal our ongoing relationship to the natural environment. During our stay, we also came to recognize the rich cultural history of the town. We were introduced to the pioneering achievements of Herbert Bayer, which have been faithfully preserved by the Aspen Institute, as well as The Woody Creek Tavern, Hunter S. Thompson’s favorite watering hole. It was while conducting this research that I also happened upon the American multi-media journal, Aspen. It will be fascinating to encounter examples of The Aspen Series installed alongside The Aspen Summer Series at various sites. For me, these destinations allow the experience to be less prescribed and more direct, and I encourage the reader to discover these works for themselves. P



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