PATRON's June/July 2024 Issue

ART INFLUENCERS

Anna Katherine Brodbeck

Du Chau

Daniel Driensky

Brandon Kennedy

Vivian Li

Ade Omotosho

Sarah Reyes

Linda Ridgway

Lucia Simek

JEREMY STRICK’S LASTING IMPRESSION

HUMA BHABHA

JONATHAN BOROFSKY

ANTHONY CARO

TONY CRAGG

MICHAEL CRAIG-MARTIN

MARK DI SUVERO

JIM DINE

LEONARDO DREW

BARRY FLANAGAN

TOM FRIEDMAN

LIAM GILLICK

ANTONY GORMLEY

KATHARINA GROSSE

SIOBHÁN HAPASKA

THOMAS HOUSEAGO

KAWS

ALAIN KIRILI

ROY LICHTENSTEIN

HENRY MOORE

IVÁN NAVARRO

PAMELA NELSON AND

ROBERT A. WILSON

MIMMO PALADINO

JOEL SHAPIRO

FRANK STELLA

LEO VILLAREAL

HE XIANGYU

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EDITOR’S NOTE

June / July 2024

TERRI

PROVENCAL

Publisher / Editor in Chief terri@patronmagazine.com

Instagram terri_provencal and patronmag

To bring an audience to a museum it is essential to begin with a collection of significance; to keep them coming back, programming is crucial. Nasher Sculpture Center’s director Jeremy Strick, who retired last month, brilliantly captained both during his 15-year tenure. Nasher Prize, Nasher Public, Nasher Xchange—all pivotal platforms developed during Strick’s years at the helm and the latter described by chief curator Jed Morse as “the most ambitious project the museum had undertaken.” All of these, and much more, are fondly recalled by artists who either exhibited at the Nasher or were deeply committed to Jeremy Strick, as told by Eve Hill-Agnus in The Measure of a Man

As Jeremy’s groundbreaking work lives on, we celebrate other Art Influencers in our midst. This year we find originality and sway in the careers of artist Linda Ridgway; Dallas Museum of Art contemporary art curators Dr. Anna Katherine Brodbeck, Dr. Vivian Li, and Ade Omotosho; Dallas Contemporary deputy director, artist, and curator Lucia Simek; artist Du Chau; bibliophile Brandon Kennedy; and photographers and filmmakers Daniel Driensky and Sarah Reyes. Always at the quick, always reinventing, always breaking molds, these nine individuals keep the dynamism of art thriving and the curious in anticipation.

From the home front, in Exit Strategy , Kendall Morgan finds a restless George Cameron Nash who, together with his partner Mark Williams, is looking to discover a new dwelling to which he can bring his design prowess. Speaking of homes, three acquisitions from the Dallas Art Fair find a new place to hang at the Dallas Museum of Art in Happy Landings

In our art travel stories we visit with yet another influential artist: the songstress Jewel, who is also a visual artist. The Portal: An Art Experience by Jewel, on view at Crystal Bridges Museum of American Art, blends art and music with wellness and technology for a soulful encounter. Next, Chris Byrne takes us inside the final exhibition at The Rubin Museum in New York, which examines Himalayan art in a unique context, combining the collection with new site-specific installations, paintings, sculpture, video, and sound by 30 contemporary artists, many from the Himalayan region and diaspora. And Loring Randolph delves into the work of Indigenous artists on view at the Venice Biennale in A Global Tableau, including Jeffrey Gibson of the Mississippi Band of Choctaw Indians and of Cherokee descent, who is the first Indigenous artist to represent the United States. Looking to escape the heat? These shows are all worth a summer trip.

In stylish moments, we recap the events and soirees of Dallas Arts Month and revel in the Red Carpet Collection of Chopard at the Cannes Film Festival and Bachendorf’s. And in Picture Show, enduring glamour prevails with Moving Pictures: Karl Struss and the Rise of Hollywood, on view at the Amon Carter Museum of American Art, which displays showstopping stills and films from the Golden Age by an Academy Award-winning cinematographer.

–Terri Provencal

FEATURES

46 THE MEASURE OF A MAN

Artists and curators share how 15-year director Jeremy Strick left his mark on the Nasher Sculpture Center. By Eve Hill-Agnus

52 ART INFLUENCERS

The adventurous and ambitious, the daring and dexterous, the passionate and probing, meet this year’s crop of difference makers in the arts. By Danielle Avram, Nancy Cohen Israel, Eve Hill-Agnus, and Darryl Ratcliff

60 EXIT STRATEGY

George Cameron Nash prepares to leave his chic condominium for new horizons. By Kendall Morgan

DEPARTMENTS

4 Editor’s Note

8 Contributors

20 Noted

Fair Trade

34 HAPPY LANDINGS

A new home is found at the Dallas Museum of Art for three works acquired from Dallas Art Fair. Interviews by Anna Katherine Brodbeck, Ade Omotosho, and Vivian Li

Contemporaries

36 WHO WILL SAVE YOUR SOUL?

Jewel reveals the secret to bringing harmony to the Three Spheres through The Portal at Crystal Bridges Museum. By Terri Provencal

38 THE RUBIN REIMAGINED

Himalayan Art Now is the final exhibition as the Rubin Museum of Art transitions to a decentralized model. Interview by Chris Byrne

40 A GLOBAL TABLEAU

Indigenous artists are lauded at the 60th Venice Biennale. By Loring Randolph

RED CARPET ARRIVAL

Bachendorf’s ushers in a new watch and high jewelry collection from Chopard. By Terri Provencal

CAMERAS COVERING CULTURAL EVENTS

PICTURE SHOW

A major survey of American photographer and cinematographer Karl Struss headlines the Carter’s summer shows. By Terri Provencal

On the cover: Jeremy Strick at Nasher Sculpture Center. Photograph by Allison V. Smith.

CONTRIBUTORS

DANIELLE AVRAM

is assistant professor of contemporary galleries and exhibitions at UT Dallas and the director of SP/N Gallery. She is also a writer, curator, and project manager who has held positions at Texas Woman’s University; Southern Methodist University; The Power Station; and The Pinnell Collection, among others. She has an MFA from the School of The Museum of Fine Arts at Tufts University and a BA from UT Dallas.

CHRIS BYRNE

authored the graphic novel The Magician (Marquand Books, 2013), included in the Library of Congress. He is the coeditor of Frank Johnson, Secret Pioneer of American Comics Vol. 1: Wally’s Gang Early Years (1928-1949) and the Bowser Boys (1946-1950), (Fantagraphics, 2024). Paul Gravett included the book in his Top 15 Graphic Novels, Comics & Manga: December 2023. Cartoonist Kayfabe (Ed Piskor and Jim Rugg) named it “The comic medium’s most important discovery of the 21st century.”

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

NANCY COHEN ISRAEL is a Dallas-based writer, art historian, and educator at the Meadows Museum. Drawing from her experience in the local art world, she always looks forward to Patron ’s Art Influencers issue. This year she enjoyed writing about Du Chau and Linda Ridgway, artists she has admired for years, as well documentary filmmakers Daniel Driensky and Sarah Reyes, founders of Exploredinary, whom she recently had the pleasure of getting to know.

EVE HILL-AGNUS is a writer, editor, and translator with roots in France and California. She has been a teacher of literature and journalism; a dining critic who also covered art and dance; and a writer/editor of nonfiction, fiction, and poetry. Her recent joy has been translation, whether the translation of one language to another or of art into words. In The Measure of a Man, she discusses the legacy of Nasher Sculpture Center director Jeremy Strick, who will retire in June.

VICTORIA GOMEZ

is a Dallas-based photographer whose practice includes editorial and fine art photography while her personal work emphasizes femininity, identity, culture, and intersectionality. Texas Vignette and the Dallas Center for Photography have exhibited her work. She photographed this year’s Art Influencers artists Linda Ridgway and Du Chau, curators Anna Katherine Brodbeck, Vivian Li, and Ade Omotosho, bibliophile Brandon Kennedy, and Dallas Contemporary’s deputy director Lucia Simek.

KENDALL MORGAN

is a gal about town and a lover of art, music, fashion, film, food, and design, and she has written about all of these subjects throughout her career in print and online. In Exit Strategy she visited and wrote about the consummate design showroom owner and aesthete George Cameron Nash in his “airy condominium with sweeping skyline views,” overlooking Klyde Warren Park, which he shares with his partner Mark Williams.

LORING

RANDOLPH

is renowned within the international art world. She currently serves as the director of the Nancy A. Nasher and David J. Haemisegger Collection. Previously she served as a director of the art fair organization Frieze Inc., where she led Frieze’s business in the Americas, Frieze New York, and public art programming in New York City. Other projects include directing Talking Galleries New York (2022 and 2024), a two-day symposium with more than 40 speakers.

DARRYL RATCLIFF

is an artist and poet with a writing and curatorial practice whose work engages communities and mobilizes social issues. He builds collaborative cultural projects that help tell community narratives and promote civic engagement. He is a Yerba Buena Center for the Arts 10 Fellow and founder of Gossypion Investments. In Art Influencers he writes of the work of the DMA’s contemporary art curators Dr. Anna Katherine Brodbeck, Vivian Li, and Ade Omotosho.

JOHN SMITH is a Dallas-based photographer who flexes his degree in architecture to photograph homes of distinction. Years of experience provides him with a unique appreciation for his clients’ vision, including architects, interior designers, and artists. In Exit Strategy, he photographed the home of venerated design showroom owner George Cameron Nash and his partner Mark Williams—a stunning condominium overlooking Klyde Warren Park.

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Image: Frank Bowling, Mel Edwards Decides, 1968, Acrylic and spray paint on canvas, 115 3/8 x 102 3/4 in. © Frank Bowling. All rights reserved, DACS, London & ARS, New York 2022.

PUBLISHER | EDITOR-IN-CHIEF

Terri Provencal terri@patronmagazine.com

ART DIRECTION

Lauren Christensen

DIGITAL MANAGER/PUBLISHING COORDINATOR

Anthony Falcon

SOCIAL MEDIA

Caroline Millet

COPY EDITOR

Sophia Dembling

PRODUCTION

Michele Rodriguez

CONTRIBUTING WRITERS

Danielle Avram

Chris Byrne

Nancy Cohen Israel

Eve Hill-Agnus

Kendall Morgan

Loring Randolph

Darryl Ratcliff

CONTRIBUTING PHOTOGRAPHERS

Beckley & Co.

Lara Bierner

Kristina Bowman

Bruno

Tamytha Cameron

Yubo Dong

Thomas DuBrock

Exploredinary f8studio

Jessica Gomez

Victoria Gomez

Joan Marcus

Kayla Oudthone

Bret Redman

Allison V. Smith

John Smith

Kevin Todora

Mateusz Torbus

Charles White

Jonathan Zizzo

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The Nasher Sculpture Center’s 2024 exhibitions are made possible by leading support from Frost Bank. Sarah Sze is made possible by leading support from Gagosian. Generous

by Betty Regard and Jenny and Richard Mullen.

NOTED

01 AFRICAN AMERICAN MUSEUM

Central Track: Crossroads of Deep Ellum features newspaper clippings, archival photographs, posters, and recordings of blues, jazz, and popular music drawn from the 1920s and 1930s. Seeing a World Blind Lemon Never Saw presents Alan Govenar’s photographic series from 2021–2023 exploring rural East Texas and little-known places in Dallas, locations Blind Lemon visited or alluded to in his songs. Free to the public, the exhibitions run through summer 2024. aamdallas.org

02 AMON CARTER MUSEUM OF AMERICAN ART

Sculptor Leonardo Drew’s site-specific commission, Number 235T, remains on view through Jun. 30. Featuring archival materials, films, and over 100 photographs from the Carter’s extensive Struss Artist Archive, Moving Pictures: Karl Struss and the Rise of Hollywood highlights Struss’s innovations in image-making and unique contributions to the film industry in the early 20th century. On view through Aug. 25. Dario Robleto: The Signal highlights the artist’s multiyear exploration of the Golden Record, a gold-plated phonograph recording containing sounds and images selected in the late 1970s by a team at NASA to portray life on Earth to extraterrestrials. On view through Oct. 27. Drawn to Nature highlights the Carter’s works on paper through Sep. 29. Jean Shin: The Museum Body, on view Jul. 13–Jun. 30, 2025, sees Shin create a textile-based portrait of the museum using clothing items donated by the Carter’s employees. Image: Paul de Longpré, 1855–1911, Hollyhocks, 1901, watercolor. Amon Carter Museum of American Art. Bequest of Ruth Carter Stevenson. cartermuseum.org

03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS

Through Apr. 14, 2025, the Crow Museum of Asian Art hosts Japan, Form & Function: The Montgomery Collection. This extensive exhibition showcases over 240 works thoughtfully organized into themes and categories that highlight the form and function of various materials. crowmuseum.org

04

DALLAS CONTEMPORARY

Through Sep. 22, Who’s afraid of cartoony figuration? is a group exhibition examining an artistic language to engage identity politics, feminism, and social histories in the 21st century. Featuring works by Karolina Jabłońska, Sally Saul, Tabboo! , and Umar Rashid, each dares to mix the levity of cartoons, comics, and

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

commercial illustration with some of the most pressing issues of our day. Patrick Martinez’s Histories draws attention to overlooked and ephemeral city scenes embedded with elements reflective of intergenerational cultural exchange. The exhibition transports the collective artifacts, sentiments, memories, and energies of Los Angeles and comparable Latinx, Filipinx, and BIPOC communities into the museum space through Sep. 1. Image: Karolina Jabłońska, Pancakes Lady (detail), 2023, oil on canvas, 74.80 x 70.47 in. Courtesy of the artist and Esther Schipper gallery. Photograph by Mateusz Torbus. dallascontemporary.org

05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM

Walk this Way: Footwear from the Stuart Weitzman Collection of Historic Shoes continues through Jul. 14 and highlights how suffragists used fashion as a crucial part of their fight to win the vote. From silk boudoir shoes created for the 1867 Paris Exposition to leather spectator pumps signed by the 1941 New York Yankees, Walk This Way features more than 100 striking pairs of shoes. Organized by the New-York Historical Society, this exhibition presents the collection of high-fashion shoe designer, businesswoman, and philanthropist Jane Gershon Weitzman. dhhrm.org

06 DALLAS MUSEUM OF ART

When You See Me: Visibility in Contemporary Art/History aims to broaden and complicate official histories and their corresponding visual strategies to allow for richer representations of those who have been traditionally excluded or erased. On view through Apr. 15, 2025. Looking Forward: A New DMA presents an inside look into the DMA’s redesign; through Dec. 29. Through summer, Tiffany Chung: Rise into the Atmosphere marks the sixth iteration of the museum’s Concourse mural series. Through Aug. 3, Backs in Fashion: Mangbetu Women’s Egbe delves into the artistry of the back apron garment fashioned by upper-class Mangbetu women. Celebrating 150 years since the first impressionist exhibition in 1874, The Impressionist Revolution from Monet to Matisse showcases the story of impressionism and its influence on modern European art; through Nov. 3. From Munch to Kirchner: The Heins Collection of Modern and Expressionist Art celebrates the legacy of Marie “Elinor” Heins; through Jan. 5, 2025. dma.org

07 GEORGE W. BUSH

PRESIDENTAL LIBRARY AND MUSEUM

Freedom Matters uses rare artifacts and historical documents,

Through July 28

SURREALISM AND US

CARIBBEAN AND AFRICAN DIASPORIC ARTISTS SINCE

1940

Surrealism and Us: Caribbean and African Diasporic Artists since 1940 is generously supported by the Crystelle Waggoner Charitable Trust, Bank of America, N.A., Trustee; Texas Commission on the Arts; the Andy Warhol Foundation for the Visual Arts; the Terra Foundation for American Art; and the Fort Worth Tourism Public Improvement District, with additional support provided by Frost.

Elliot & Erick Jiménez, Blue Chapel (detail), 2022. Archival photo print on canvas in Artists’ custom frame. 50 x 40 inches (each). Set of 4, unique. Spinello Projects. © Elliot & Erick Jiménez. Photograph by Elliot & Erick Jiménez, courtesy of Spinello Projects

May 24–August 25

Rebecca Manson, Barbecue (detail), 2024. Porcelain, glaze, steel, adhesives, and glass. Dimensions variable. Courtesy of the Artist and Josh Lilley Gallery. © Rebecca Manson. Courtesy of the Artist

interactive activities, and personal perspectives to examine the concept of freedom: where it comes from, what it means, what free societies look like, and the role of the individual in protecting and spreading freedom around the world; through Dec. 31. bushcenter.org

08 KIMBELL ART MUSEUM

On view Jun. 15–Sep. 15, Art and War in the Renaissance: The Battle of Pavia Tapestries will mark the first time that the entire cycle of seven large-scale tapestries—some of the most awe-inspiring examples of this often-overlooked art form—has been on view in the US. The tremendous images, each about 27 feet wide and 14 feet high, commemorate Emperor Charles V’s decisive victory over French King Francis I that ended the 16th-century Italian Wars. kimbellart.org

09 LATINO CULTURAL CENTER

Entre Paginas is a musical for children and teens written by Jorge Cogollo that invites viewers on a magical journey in search of a happy ending , Jun. 22–Jul. 1. lcc.dallasculture.org

10 THE MAC

The MAC will host the 26th Annual Membership Exhibition this summer. the-mac.org

11 MEADOWS MUSEUM

On view through Jun. 16, the Meadows Museum presents works by a fiber/textile artist in its exhibition Meadows/ARCO Artist Spotlight: Teresa Lanceta . Lanceta was recently awarded Spain’s highest honor for visual artists: the Spanish National Prize for Fine Arts. Barnaby Fitzgerald: An Eye for Ballast sees a monographic exhibition of key paintings by the Dallas-based artist drawn from prominent local collections honoring the artist’s prolific career and celebrating his election to professor of art emeritus at SMU. On view through Sep. 22. Image: Barnaby Fitzgerald (American b. 1953), Morte d’io, 2019, oil on linen, 40.50 x 71.50 in. Collection of Valley House Gallery. meadowsmuseumdallas.org

12 MODERN ART MUSEUM OF FORT WORTH

Surrealism and Us: Caribbean and African Diasporic Artists since 1940 is inspired by the history of surrealism in the Caribbean with connections to notions of the Afrosurreal in the US. Representing a global perspective, this exhibition is the first intergenerational show dedicated to Caribbean and African diasporic art presented at the Modern; through Jul. 28. Rebecca Manson: Barbecue defies viewers’ expectations of what clay can do by pushing the material to its most fragile and muscular places. Comprised of thousands of individually crafted ceramic leaves, flowers, a barbecue grill, and assorted detritus, this site-responsive installation creates moments

for self-reflection; through Aug. 25. Image: Tomás Esson, Retrato #29, 1998, oil on linen, 68 x 68 in. Courtesy Tomás Esson © Tomás Esson. Courtesy of the artist and David Lewis. themodern.org

13 MUSEUM OF BIBLICAL ART

Johannes Boekhoudt’s Profundidad , continues through the summer. biblicalarts.org

14 NASHER SCULPTURE CENTER

Sarah Sze invites viewers into a collection of site-specific works across three intrepid gallery spaces. Sze’s new installations integrate painting, sculpture, images, sound, and video with the surrounding architecture to create intimate systems that reference the rapidly changing world; through Aug. 13. In the Haas Brothers’ Moonlight, brothers Nikolai and Simon Haas install a series of dreamlike works inside and outside the museum, highlighting the fusion of art, design, and technology in their practice. Their otherworldly sculptures are installed in the museum and garden and outside on Flora Street, greeting museum visitors and passersby alike through Aug. 25. Image: The Haas Brothers, Moon Towers, 2023. Installation view, Haas Brothers: Sunset People, Jeffrey Deitch Gallery, November 3, 2023–January 20, 2024. Photograph by Charles White. Courtesy of the artist and Jeffrey Deitch Gallery. nashersculpturecenter.org

15 PEROT MUSEUM

Through Sep. 22, T. rex: The Ultimate Predator explores the remarkable features that allowed T. rex to dominate its competition, examines the sensory abilities and social behaviors of this powerful hunter, and reveals how the iconic dinosaur evolved from a superfamily that included more than two dozen species and spanned 100 million years. perotmuseum.org

16 SIXTH FLOOR MUSEUM

Two Days in Texas, an exhibition tracing President Kennedy’s journey through the state and highlighting its impact on everyday Texans, follows the president’s campaign stops in San Antonio, Houston, and Fort Worth before his untimely death in Dallas on November 22, 1963. Illuminating the president’s final days are eyewitness accounts, the president’s own words from delivered and undelivered speeches, artifacts, documents, and still and film footage, including a sequential video of the Kennedy motorcade in Dealey Plaza. On view through Jun. 16. On Jun. 14, join Doris Kearns Goodwin in conversation with Talmage Boston about her new book, An Unfinished Love Story: A Personal History of the 1960s jfk.org

17

TYLER MUSEUM OF ART

Surroundings: Works From the Permanent Collection remains on view through Aug. 4. tylermuseum.org

01 AMPHIBIAN

Vanya screens at the Modern Art Museum of Fort Worth on Jul. 10 and 13 as part of the National Theatre Live series A coworker dispute turns deadly in a morbidly funny new play set during the Assyrian Empire. The Handless King follows two humble government employees tasked with tallying the dead in the wake of a recent battle. The problem? Only one of them can keep their job; Jul. 26–Aug. 18. amphibianstage.com

02

AT&T PERFORMING ARTS CENTER

June brings a variety of performances to AT&T Performing Arts Center beginning with Suave Gonzalez’s Never Give Up Tour on Jun. 6. Bruce Wood Dance caps off its 14th season with RADIANCE from Jun. 7–9, promising three emotionally charged dance pieces. The Doo Wop Project brings nostalgic tunes with A New Doo on Jun. 8. Hauser: Rebel with a Cello merges classical music with pyrotechnics on Jun. 17. Astrophysicist Neil deGrasse Tyson shares the latest scientific discoveries on Jun. 18. The month concludes with Gilberto Santa Rosa bringing his refined salsa rhythms on Jun. 29. July heats up with the Bishop Arts Theatre’s 30th Anniversary Gala on Jul. 9, celebrating three decades of theatrical excellence. Prism Movement Theater’s La Maupin: The French Abomination runs from Jul. 11–13, blending historical drama with modern flair. The Shrek-themed Silent Disco: Ogre Boogie Wonderland promises a unique party experience on Jul. 13. Shrek the Musical hits the stage from Jul. 18–20, bringing the beloved animated characters to life. Jamal Mohamed’s Mirage, from Jul. 25–27, merges diverse musical styles and visual art for an immersive performance. Image: Nicholas Hambruch as Shrek in Shrek The Musical. Photograph by cyorkphoto. attpac.org

03 BASS PERFORMANCE HALL

Hamilton returns to Bass Hall Jun. 11–23. In July, BH will see Mamma Mia! from Jul. 16–21. On Jul. 27, Nitty Gritty Dirt Band’s All the Good Times: The Farewell Tour takes the main stage. Image: Jaylnn Steele as Tanya, Christine Sherrill as Donna Sheridan, and Carly Sakolove as Rosie in Mamma Mia! 25th Anniversary Tour. Photograph by Joan Marcus. basshall.com

04 BROADWAY

DALLAS

See Hamilton Jun. 1–9 The Tony Award–winning musical Hairspray takes center stage from Jun. 18–30. Image: Joseph Morales plays Alexander Hamilton and Nik Walker portrays Aaron Burr in the second national tour of Hamilton. Photograph by Joan Marcus. broadwaydallas.org

05

CASA MAÑANA

Grease, everyone’s favorite rock ‛n’ roll musical is back Jun. 1–9.

Next, The Music of Elton John envelops the Reid Cabaret Theatre from Jun. 11–29. Pippin will mount Aug. 2–4. casamanana.org

06

DALLAS BLACK DANCE THEATRE

All aboard the midnight train to the Morton H. Meyerson Symphony Center for an evening dedicated to celebrating the eradefining Motown sound in The Big Dance. The performance and fundraiser will benefit Dallas Black Dance Theatre’s Academy by providing a 40 percent reduction in tuition fees for students at DBDT’s historic facility and free in-school outreach programs for K-12 students across the DFW Metroplex. Erykah Badu sits as the honorary chair, along with Tiffaney D. Hunter and Ebonie Hughey Jackson as co-chairs. The Big Dance takes place on Jun. 1. Image: Dallas Black Dance Academy dancer Kalynn. Photograph by Chris Jones. dbdt.com

07 THE DALLAS OPERA

Mark your calendar for La traviata with Louisa Muller in her Dallas Opera debut. Oct. 18–27. dallasopera.org

08 DALLAS SYMPHONY ORCHESTRA

DSO continues to enchant Dallas with a series of concerts including performances at Fretz Park on Jun. 4, Kiest Park on Jun. 5, Kidd Springs Park on Jun. 6, and Paul Quinn College on Jun. 10. The concert series resumes with Pieces of a Dream on Jun. 21, and Project Unity’s Together We Sing on Jun. 23. The schedule wraps up with the ONE PIECE Music Symphony—25th Anniversary Tour on Jul. 10. mydso.com

09 DALLAS THEATER CENTER

Join DTC under the sea for Disney’s The Little Mermaid from Jul. 12–Aug. 4. Image: Nkrumah Gatling as Sebastian and Adrienne Eller as Ariel in Disney’s The Little Mermaid. Photograph by Steven Richard Photography. dallastheatercenter.org

10 EISEMANN CENTER

DCJ Dance presents The Sleeping Beauty on Jun. 7, followed by An Evening with Lee Asher the same night. The School’s Out For... performances continue on Jun. 8. Dove Academy of Dance Arts takes the stage on Jun. 15. July brings a series of tribute performances, starting with Tribute Masters -7 Bridges on Jul. 6, Chicago Tribute Authority on Jul. 12, and Eddie B’s Teachers Only Comedy on Jul. 13. The Billy Joel Experience follows on Jul. 19, Liverpool Legends on Jul. 20, and Benise: Fiesta ! concludes the month on Jul. 21. eisemanncenter.com

11 FORT WORTH SYMPHONY ORCHESTRA

See Night of Strings at the Garden: Chamber Classics at the Fort Worth

Botanic Garden on Jun. 7. Experience Concert on the Lawn at the Amon Carter Museum of American Art on Jun. 9, featuring a POPS concert paired with a picturesque sunset. On Jun. 15, the FWSO presents Peter and the Wolf at the CR Smith Museum. The series continues at the Fort Worth Botanic Garden with Night of Strings at the Garden: Baroque Chamber on Jun. 21 and concludes with A Little Night Music! on Jun. 28. fwsymphony.org

12 KITCHEN DOG THEATER

Love and Vinyl, a new play about browsing for records and romance in the digital age, runs Jun. 6–23. kitchendogtheater.org

13 MAJESTIC THEATRE

The Majestic Theatre hosts a vibrant lineup this Jun. and Jul., beginning with Jimmy Failla on Jun. 7. Nate Jackson brings his Super Funny World Tour on Jun. 8, followed by Celeste Barber: Backup Dancer on Jun. 10. Todd Rundgren’s ME/ WE 2024 tour hits the stage on Jun. 12, with B. Simone and Friends on Jun. 13. Jared Freid’s The Family Business Tour is on Jun. 14, and Nephew Tommy’s Father’s Day Comedy Show rounds out the week on Jun. 15. The schedule continues into July, featuring Jason Isbell and the 400 Unit on Jul. 24, Comedy Bang! Bang!: The Bang! Bang! Into Your Mouth Tour 2024 on Jul. 26, and Matt Fraser, America’s Top Psychic Medium, on Jul. 27. The month concludes with Idina Menzel: Take Me or Leave Me on Jul. 31. majestic.dallasculture.org

14 TACA

The Arts Community Alliance supports excellence and impact in the arts through grant-making, capacity building, and thought leadership. TACA envisions an innovative, inclusive, sustainable cultural sector, recognized for its essential contribution to a vibrant, prosperous community. taca–arts.org

15 TITAS/DANCE UNBOUND

TITAS presents Micaela Taylor’s TL Collective on Jun. 1. titas.org

On view Through August 25

16 TURTLE CREEK CHORALE

TCC’s benefit gala, Rhapsody, sees the iconic Cyndi Lauper take the stage on Jun. 1. I, Too, Sing America, Jun. 27–28, offers a patriotic performance for all Americans. turtlecreekchorale.com

17 WATERTOWER THEATRE

Mary Poppins, the play for grown-ups and children, will enchant audiences Jul. 17–28. watertowertheatre.org

A Next-Level Real Estate Experience

2

01 12.26

Kesewa Aboah’s There is Life in This Nakedness and Karla García’s Shifting Ground feature new works through Jun 15. New paintings by Sean Cairns fill the gallery Jun 22–Aug. 3. gallery1226.com

02 500X GALLERY

500X Gallery is one of Texas’ oldest artist- run cooperative galleries. Though the dates have yet to be announced, 500X will host their annual open show Hot and Sweaty this summer. 500x.org

03 ALAN BARNES FINE ART

Alan Barnes Fine Art specializes in 19th- and 20th-century American and European Paintings. From old masters to impressionist paintings, drawings, and watercolors. alanbarnesfineart.com

04 AND NOW

Phillip Gabriel’s new work hangs in the gallery through Jun. 22. Khutso Edgar closes out the summer, on view Jun. 29–Aug. 3. andnow.biz

05 ARTSPACE111

Jon Flaming: Big Bold Texas spotlights the gallery through Jun. 1. Talisman is a series of paintings and small sculptures by Layla Luna that will be on view Jun. 6–Jul. 13. Image: Layla Luna, Moon Cycle, 2024, paint marker and Flashe on mat board, 5.5 x 5.5 in. artspace111.com

06 BARRY WHISTLER GALLERY

Lorraine Tady: Inter-Spatial highlights the gallery until Jun. 22. Next, Reed Anderson’s Flags will be on display Jun. 29–Jul. 27. barrywhistlergallery.com

07 BEATRICE M. HAGGERTY GALLERY

Life and Death on the Border 1910-1920 continues through Oct. 15. This exhibit, a collaboration between the Mexican American Museum of Texas and the University of Dallas’ Latin American Studies, explores the decade of violence on the Texas-Mexico border, focusing on state-sanctioned racial violence against ethnic Mexicans and their fight for justice and civil rights. udallas.edu/gallery

08 CADD

Contemporary Art Dealers of Dallas includes the city’s foremost gallerists, who are experienced and knowledgeable in their field. Member galleries are committed to representing the highest standards of contemporary art while recognizing the importance of integrity and responsibility in collaborating with artists, collectors, museum professionals, and the cultural community. caddallas.org

09 CHRISTOPHER MARTIN GALLERY

The gallery showcases Christopher Martin’s signature reverse acrylic paintings and the works of more than 25 artists working in painting, photography, mixed media, and sculpture. Among the represented artists are Rodeo photographer Steve Wrubel; abstract painter Jeff Muhs; mixed-media artist Toni Martin; geometric painter Jean-Paul Khabbaz; and marble sculptor Paul Bloch. christophermartingallery.com

10 CONDUIT GALLERY

From Jun. 1–Jul. 6, Conduit Gallery will feature Matt Clark’s Journey alongside C. Meng New Paintings. Concurrently, the Project Room will host Christopher Mir’s From Now On. Join the artists for the opening reception on Saturday, Jun. 1. conduitgallery.com

11 CRAIGHEAD GREEN GALLERY

Craighead Green Gallery presents a group show running through Jul. 13. From Jul. 20–Aug. 24, CGG’s annual New Texas Talent will be on view. Image: Shawn Smith, Orion, 2024, pigment on MDF, 43 x 30 x 30 in. craigheadgreen.com

12

CRIS WORLEY FINE ARTS

Kelli Vance: Don’t Abandon Me highlights the gallery along with work by Anne Allen from Jun. 22–Aug. 17 Vance’s masterly paintings have often presented women in states of anomie or conflict—personal, social, and physical pairs with Allen’s ephemeral beauty of domestic items such as doilies, lace, floral wallpaper, and hairnets, abstracted at a large scale, endowing the objects with a presence beyond their utilitarian purpose Image: Kelli Vance, A Certain Encounter, 2024, oil on linen, 36 x 48 in. crisworley.com

13

DAISHA BOARD GALLERY

Doing too much, or not enough ? featuring William Tolliver, Assandre Jean-Baptiste, Charles Gray, and Derrick Hardin, closes Jun. 15. Following this, the gallery presents Worthy , a group exhibition curated by Nickolas Gaines from Jun. 22–Jul. 20. Image: Charles Gray, Figure Study 1, 2016, oil on canvas, 42 x 36 in. daishaboardgallery.com

14

DAVID DIKE FINE ART

The gallery specializes in late 19th- and 20th- century American and European paintings with an emphasis on the Texas regionalists, Texas landscape, and mid-century modern painters. daviddike.com

15

ERIN CLULEY GALLERY

Through Jun. 15, Erin Cluley Gallery presents two solo exhibitions: Static by Robert Horvath and Daydreaming by Stephen Ormandy. erincluley.com

16 FERRARI GALLERY

Daniel Angeles Rich Bowman Carolyn Brown Denise Brown

Join Ferrari Gallery as they present multidisciplinary artist Eric Breish and his new collection of abstract works, on view through Jul. 20 with a closing reception. Visit the new gallery location at 2523 Farrington Street. ferrarigallery.net

Jerry Cabrera Anna Carll Chong Kuen Chu Suzanne Kelley Clark David Crismon Pearl Dick Peter Drake Yrjo Edelmann Brad Ellis Ian Grieve

17 GALLERI URBANE

Jeanie Gooden Heather Gorham Ed Hall Jackson Hammack Krista Harris

Danna Ruth Harvey Kelsey Irvin Thom Jackson Faith Scott Jessup Jon

Krawczyk Jeri Ledbetter Pancho Luna Jay Maggio Winston Lee

Mascarenha Arturo Mallmann Chris Mason Carolyn Zacharias McAdams

Saskia Fleishman’s solo show concludes Jun. 15. Galleri Urbane will host its Annual Summer Group Show Jun. 22–Aug. 14. galleriurbane.com

Linda McCall Frank Morbillo Anders Moseholm Pamela Nelson Kenda

18 GREEN FAMILY ART FOUNDATION

North Michelle O'Michael Carole Pierce Patrick Pietropoli Tom Pribyl

Janice Provost Carlos Ramirez Marty Ray RL Savage Gary Scha er

North Michelle O'Michael Carole Pierce Patrick Pietropoli Tom Pribyl

Janice Provost Carlos Ramirez Marty Ray RL Savage Gary Scha er

Rebecca Shewmaker Scott Simons Mark Smith Shawn Smith Kendall

Stallings Damian Suarez Patty Sutherland Toni Swarthout Katie Walker

Simon Waranch Carolin Wehrmann Je Wenzel Marla Ziegler Daniel

Danna

Rupture & Connection, curated by Christopher Y. Lew, runs from Jun. 8–Sep. 22. This exhibition showcases an intergenerational group of artists exploring themes of place, emigration, and legacy. Drawing primarily from the Green Family Collection and inspired by the philosophies of Édouard Glissant, the show examines the aesthetics of rupture and connection beyond geopolitical boundaries. greenfamilyartfoundation.org

19 HOLLY JOHNSON GALLERY

Rebecca Shewmaker Scott Simons Mark Smith Shawn Smith Kendall Stallings Damian Suarez Patty Sutherland Toni Swarthout Katie Walker Simon Waranch Carolin Wehrmann

Danna

North Michelle O'Michael Carole Pierce Patrick Pietropoli Tom Pribyl

Janice Provost Carlos Ramirez Marty Ray RL Savage Gary Scha er

Rebecca Shewmaker Scott Simons Mark Smith Shawn Smith Kendall

Stallings Damian Suarez Patty Sutherland Toni Swarthout Katie Walker

Simon Waranch Carolin Wehrmann Je Wenzel Marla Ziegler Daniel

Daniel Angeles Rich Bowman Carolyn Brown Denise Brown Robert Burch

Jerry Cabrera Anna Carll Chong Kuen Chu Suzanne Kelley Clark David Crismon Pearl Dick Peter Drake Yrjo Edelmann Brad Ellis Ian Grieve

Jeanie Gooden Heather Gorham Ed Hall Jackson Hammack Krista Harris

Eric Cruikshank’s An Echo, through Jun. 15, focuses on the emotive qualities of place without direct imagery, inviting viewers to project their emotions onto the Scottish landscape-inspired palette. Margo Sawyer: Synchronicity, an exhibition of new wall-dependent sculpture and works on paper, will remain on view through Jul. 27. hollyjohnsongallery.com

Danna Ruth Harvey Kelsey Irvin Thom Jackson Faith Scott Jessup Jon

Daniel Angeles Rich Bowman Carolyn Brown Denise Brown Robert Burch

Jerry Cabrera Anna Carll Chong Kuen Chu Suzanne Kelley Clark David Crismon Pearl Dick Peter Drake Yrjo Edelmann Brad Ellis Ian Grieve

Jeanie Gooden Heather Gorham Ed Hall Jackson Hammack Krista Harris

Krawczyk Jeri Ledbetter Pancho Luna Jay Maggio Winston Lee

20 JAMES HARRIS GALLERY

Mascarenha Arturo Mallmann Chris Mason Carolyn Zacharias McAdams

Danna Ruth Harvey Kelsey Irvin Thom Jackson Faith Scott Jessup Jon Krawczyk Jeri Ledbetter Pancho Luna Jay Maggio Winston Lee

Mascarenha Arturo Mallmann Chris Mason Carolyn Zacharias McAdams

Linda McCall Frank Morbillo Anders Moseholm Pamela Nelson Kenda North Michelle O'Michael Carole Pierce Patrick Pietropoli Tom Pribyl

Janice Provost Carlos Ramirez Marty Ray RL Savage Gary Scha er

Rebecca Shewmaker Scott Simons Mark Smith Shawn Smith Kendall

Stallings Damian Suarez Patty Sutherland Toni Swarthout Katie Walker

Simon Waranch Carolin Wehrmann Je Wenzel Marla Ziegler Daniel

Daniel Angeles Rich Bowman Carolyn Brown Denise Brown Robert Burch

Jerry Cabrera Anna Carll Chong Kuen Chu Suzanne Kelley Clark David Crismon Pearl Dick Peter Drake Yrjo Edelmann Brad Ellis Ian Grieve

From Jun. 1 to Jul. 20, James Harris Gallery presents Claire Cowie: Blind Spots. Cowie’s deliberate conflation of positive and negative space and intense patterning creates circuitous paths that lead the viewer through her personal visual archive, which entangles public observation and private introspection. Concurrently, primarily in ceramics, Lena Takamori’s small-scale sculptures are culled from her imagination in Light and Pit. jamesharrisgallery.com

Jeanie Gooden Heather Gorham Ed Hall Jackson Hammack Krista Harris

21 KEIJSERS KONING

Danna Ruth Harvey Kelsey Irvin Thom Jackson Faith Scott Jessup Jon Krawczyk Jeri Ledbetter Pancho Luna Jay Maggio Winston Lee

Mascarenha Arturo

Stallings

Simon Waranch Carolin Wehrmann Je

Keijsers Koning showcases a trio of artists—Kate Barbee, Quinci Baker, and Michelle Cortez Gonzales—through Jun. 15 in an exhibition titled Looking Through the Window Image: Kate Barbee, Every Planet has a Key, 2024, oil pastel, pencil, acrylic ink on Stonehenge paper, 30 x 23 in. keijserskoning.com

Linda McCall Frank Morbillo Anders Moseholm Pamela Nelson Kenda

North Michelle O'Michael Carole Pierce Patrick Pietropoli Tom Pribyl

Janice Provost Carlos Ramirez Marty Ray RL Savage Gary Scha er

Rebecca Shewmaker Scott Simons Mark Smith Shawn Smith Kendall

Stallings Damian Suarez Patty Sutherland Toni Swarthout Katie Walker

Simon Waranch Carolin Wehrmann Je Wenzel Marla Ziegler Daniel

Daniel Angeles Rich Bowman Carolyn Brown Denise Brown Robert Burch

Crismon Pearl Dick Peter Drake Yrjo Edelmann Brad Ellis Ian Grieve

Jeanie Gooden Heather Gorham Ed Hall Jackson Hammack Krista Harris

Danna Ruth Harvey Kelsey Irvin Thom Jackson Faith Scott Jessup Jon

Mascarenha Arturo Mallmann Chris Mason Carolyn Zacharias McAdams

Linda McCall Frank Morbillo Anders Moseholm Pamela Nelson Kenda

22 KIRK HOPPER FINE ART

Jeremiah Johnson and Duyen Nguyen’s exhibitions continue through Jun. 15. Dontrius Williams and Delaney Allen will highlight the gallery next from Jun. 22–Jul. 27. Image: Jeremiah Johnson and Duyen Nguyen, Riding the Tiger, acrylic, ink, laser-engraved woodcut relief printing, screen printing, graphite, vinyl, and glow-in-the-dark pigment on mylar, 60 x 84 in. kirkhopperfineart.com

23 KITTRELL/RIFFKIND ART GLASS

Thomas Scoon’s solo exhibition continues through Jun. 15. The 30th Annual Goblet Invitational will be on display from Jun. 22–Jul. 31. kittrellriffkind.com

24 LAURA RATHE FINE ART

LRFA’s displays new work by Michael Schultheis and Audra Weaser through Jun. 15. The gallery will have a summer break and resume their exhibition schedule in Aug. laurarathe.com

25 LILIANA BLOCH GALLERY

Sally Warren’s exhibition The Press of My Hands remains on view through Aug. 3. lilianablochgallery.com

26 LONE GALLERY

Work by Miles Glynn, Ryan Scheer, Hank Lumen, and collaborations between Fort Guerin and Jason Lohmeier culminate in an exhibition titled Range, on view through Jun. 29. Image: Hank Lumen, Pieced Up Creased Up Stayin Dressed To Impress, 2024, acrylic on wood panel, 16 x 20 in. lonegallery.com

27 MELIKSETIAN | BRIGGS

From Jun. 8 through Jul. 13, James Mercer and Yifan Jiang are featured in the exhibition Mirror Mirror. Image: James J.A. Mercer and Yifan Jiang, Vacation (detail), 2022, film still. meliksetianbriggs.com

28 PENCIL ON PAPER

A summer camp for teens and adults during the first two weeks in June features drawing and animation classes led by educator and artist Emmanuel Gillespie. These week-long, three-hour daily studio art classes are perfect for building portfolios or rekindling a passion for art. On Jul. 11, join Pencil on Paper Gallery at the 18th annual Hamptons Fine Art Fair in booth 405. pencilonpapergallery.com

29 PHOTOGRAPHS DO NOT BEND

PDNB Gallery presents two exhibitions from Jun. 22–Aug. 17, with an opening reception on Saturday, Jun. 22. Oceanhead Meditation by Ron Cowie showcases evocative photographs by the artist. !Frida! Photographs of Frida Kahlo features iconic images of Frida Kahlo by Nickolas Muray. Image: Nickolas Muray, Frida in Blue Dress, 1939, carbon pigment print. Courtesy of Nickolas Muray Photo Archives. pdnbgallery.com

30 THE POWER STATION

Vojtěch Kovařík: Under The Weight Of The World continues along with Miguel Sbastida: Future Reefs, which is organized by Picnic Curatorial Projects in the garden annex at The Power Station. Both exhibitions will continue through Jun. 22. powerstationdallas.com

31 RO2 ART

Three shows continue through Jun. 22, featuring Ron English’s Texas: Naturally Surreal, Bill Haveron’s Resurrection, and the Wheeler Brothers’ Novel Toys, Tricks, and Games. Each artist brings a unique perspective, from English’s surreal pop art to Haveron’s narrative paintings, and the Wheeler Brothers’ blend of traditional and contemporary art forms. From Jun. 29–Aug. 3, the gallery will showcase Joachim West’s drawings and paintings, David W. Van Ness’ sculptures, and Taylor Cleveland’s video and new-media installations. ro2art.com

32 SAMUEL LYNNE GALLERIES

Samuel Lynne Galleries hosts an evening exhibition at Thompson Hotel Dallas on Jul. 25. The event will feature newly curated works by the gallery’s artists. A Summer Exhibition is set for Jun. 22 at their flagship location, showcasing a collection of paintings, photographs, and sculptures through Jul. 31. samuellynne.com

33 SITE131

SITE131 opens summer season on Jun. 22 with Foreign Affairs, showing through Aug. 3. The exhibition curated by guest curator John Pomara, artist and long-term University of Texas at Dallas professor, features a dozen graduate students who are all immigrants. site131.com

34 SMINK

A showcase of fine design and furniture, SMINK is a purveyor of quality products for living. The showroom also hosts exhibitions featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and Paula Roland. sminkinc.com

35 SOUTHWEST GALLERY

For over 50 years, Southwest Gallery has provided Dallas with the largest collection of fine 19th- to 21st- century paintings and

sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000 -square-foot showroom swgallery.com

36

SWEET PASS SCULPTURE PARK

Dark Study by Anika Todd and Terra Femme by Courtney Stephens run congruently through Jul. 13. Todd’s installation, inspired by Austin’s historic moon towers, explores the complexities of presence and technology through a sound-activated, artist-made tower. Stephens’ Terra Femme reclaims the narratives of female travel-filmmakers from the early to mid-20th century, offering a contemplation on the female gaze. sweetpasssculpturepark.com

37 TALLEY DUNN GALLERY

I am a Tree, featuring evocative paintings and drawings by the visionary Dallas-based artist Nida Bangash , concludes Jun. 8. This exhibition invites viewers on a poignant journey through time, space, and the traditions of storytelling. Conceived during the artist’s first pregnancy and completed when her first child was nine, this body of work follows the artist’s exploration of identity and belonging over a decade. talleydunn.com

38 TUREEN

Skirmishhh by Natani Notah continues through Jul. 6. Through her own pictorial language, Notah drafts narrative schema centering marginalized perspectives and builds three-dimensional space for those stories to expand. From collage to clay to filmic repetition, these are alphanumerics in Notah’s experiential syllabary, one that speaks of life as a balletic act in the face of unrelenting assault. tureen.info

39 VALLEY HOUSE GALLERY

A selection of work featured in FineArtEstates.com is highlighted in the gallery through Jun. 8. An exhibition for Allison Gildersleeve will open Jun. 15 and remain on view through Jul. 31. valleyhouse.com

40

VARIOUS SMALL FIRES

On June 1, VSF will open an exhibition by Antonius-Tín Bui. The exhibition will focus on the artist’s hand-cut paper works. They use this method to show mixed identities and histories that deal with today’s challenges. On view through Jul. 20. vsf.la

41 THE WAREHOUSE

The Warehouse showcases For What It’s Worth: Value Systems in Art since 1960, curated by Thomas Feulmer and Lisa Le Feuvre, through Jun. 29. The exhibition features 80 artists exploring value systems in response to contemporary challenges. thewarehousedallas.org

42 WEBB GALLERY

The first On the Porch Summer Series, a day of music and entertainment one Sunday of each summer month , begins on Jun. 5 at Webb’s Fair & Square in Fort Davis. When the Country Was Wild All Around , Melissa Lakey paintings and Margaret Sullivan jewelry continues. webbartgallery.com

43 WILLIAM CAMPBELL GALLERY

At both the Byers Ave. and Foch St. locations , William Campbell Gallery will display Summer Collective from Jun. 8–Aug. 24. williamcampbellcontemporaryart.com

AUCTIONS AND EVENTS

01 DALLAS AUCTION GALLERY

Recently acquired by Reyne Hirsch, Dallas Auction Gallery will hold it’s Warehouse Sale and Appraisal Event on Jun. 1 from 9 a.m.–3 p.m. for those looking to bring their property in for free evaluation and potential consignment. On Jun. 25, the Interior Design Auction will take place. dallasauctiongallery.com

02 HERITAGE AUCTIONS

Heritage Auction’s upcoming auctions include a diverse range of collectibles and art: Ethnographic Art: American Indian, Pre-Columbian and Tribal Signature Auction on Jun. 4, Fine European Art Signature Auction on Jun. 4, The Art of War: Historical & Political Posters Showcase Auction on Jun. 6, Spotlight: Near East—Past to Present World and Ancient Coins Showcase on Jun. 10, Photographs from the Estate of Shirley Ross Davis on Jun. 12, Prints & Multiples Signature Auction on Jun 19, Contemporary Art Within Reach Showcase Auction on Jun. 25, Texas Art Signature Auction on Jun. 29, American Art Within Reach Showcase Auction on Jul 2, Prints & Multiples Showcase Auction on Jul. 17, and the Art of the West Showcase Auction on Jul. 25. ha.com

03 LONE STAR ART AUCTION

Taking place on Oct. 12, the Lone Star Art Auction is the largest live art auction in the state of Texas, offering the best American, Western, wildlife, sporting, and Texas fine art. Presented by Great American West and Phil Berkebile, Jr., the LSAA will bring buyers, collectors, and sellers of historic and contemporary fine art together for an enjoyable and highly entertaining event. Consignments are now being accepted for original paintings and sculpture, with LSAA offering complimentary appraisals. Image: Frank C. McCarthy, Chance of the Hunt, oil on canvas, 30 x 40 in. lonestarartauction.com

HAPPY LANDINGS

A new home is found at the Dallas Museum of Art for three works acquired from Dallas Art Fair.

INTERVIEWS BY ANNA KATHERINE BRODBECK, ADE OMOTOSHO, AND VIVIAN LI

The Dallas Museum of Art contemporary art department works collaboratively to make acquisitions for the museum’s collection with the support of the Dallas Art Fair Foundation Museum Acquisition Fund, relying on the collective expertise of the museum’s curators and director, Agustín Arteaga, as well as the whole DAF Foundation team. The DMA’s three contemporary curators—Anna Katherine Brodbeck, Vivian Li, and Ade Omotosho—check in with the exhibitors about their respective top picks from this year’s Museum Acquisitions, further elucidating why they were such great fits for the DMA’s encyclopedic collection.

AILBHE NI BHRIAIN’S INTERVAL I with Darragh Hogan from Kerlin Gallery

Anna Katherine Brodbeck: Ailbhe Ní Bhriain’s work is epic and sweeping; it covers issues such as environmentalism, colonialism, material history, and beyond in a way that is both beautiful and unsettling. What challenges and opportunities does bringing work with this depth of scope to an art fair pose?

Darragh Hogan: Perhaps I can change the wording of your question and speak to the obligation of showing a work like this. There is a challenge to showing anything at art fairs, but when an artist like Ailbhe makes a work like this tapestry, there is perhaps a duty to show it far and wide. Ailbhe has a remarkable ability to harness craft and beauty, inviting us to discuss with empathy complex, difficult subjects, issues we might choose to avoid. At the Dallas Art Fair we took part in and overheard so many of these conversations. Ultimately, these conversations with strangers are both the challenges and the opportunities (as well as the reward) for bringing such a work to Dallas.

Ailbhe Ní Bhriain, Interval I, 2023, jacquard tapestry, cotton, wool, silk, Lurex, edition of 3 + 2AP, 116.10 x 155.90 in. Image courtesy the artist and Kerlin Gallery.

THANIA PETERSEN’S SJAMBOKLAND with Ben Lee Ritchie Handler of Nicodim Gallery

Ade Omotosho: The image of the African continent in Western media is an embattled one, often laden with the weight of persistent stereotypes, both lurid and fantastical. The South African artist Thania Petersen has grappled with this conundrum in a recent body of work included in her first US solo exhibition at Nicodim. How do her intricate textiles counter and upend blinkered depictions that treat the continent less as a site dense with its own complex geographies, cultures, and histories than as a screen for others’ projections?

Ben Lee Ritchie Handler: SJAMBOKLAND is from a series of works that cheekily toy with what Thania calls the “Zamundafication” of Africa. (Zamunda is the fictional African nation from which Eddie Murphy’s character hails in the 1988 film Coming to America .) In this large-scale work, the artist reckons with the hyper-commercialization of her native continent, and the semitruthfulness of the signifiers both Westerners and Africans use to market themselves to one another. The work incorporates representations of Thania and her family dressed in Western garb— her husband and sons wear Vans, and her youngest is dressed as a Ninja Turtle—while they pose around a westernized vision of an African pavilion, her sons riding cheetahs and elk. Specifically, the piece sardonically challenges American stereotypes of Africa and confronts ideas both homegrown and imported from abroad that dictate what it means to be African.

JOOYOUNG CHOI’S THE TABLE OF LOVE with Kerry Inman of Inman Gallery

Vivian Li: Many exciting artists today, like JooYoung, are imagining new ways of worldmaking in their art. Drawing especially from the rich visual vocabulary and storytelling genre of comic books, JooYoung has created an incredibly compelling cast—and community—of inimitable characters. The Table of Love is like a group portrait with all of them. Can you talk about the title and the inspiration for the kind of world the artist is shaping into existence with The Table of Love?

Kerry Inman: This painting—Choi’s largest to date—is a cornerstone work in the Cosmic Womb, Choi’s fictional multiverse. The work shows dozens of characters from the Cosmic Womb, both heroes and villains, seated together at one table: The Table of Love . For many of the characters, this is their first time coming together in one painting, demonstrating the complexity of interconnected relationships that exist within Choi’s expansive and imaginative

world. Conceptualized during the pandemic amid collective loss, Choi created a parallel illness in the Cosmic Womb that made the characters scared of one another, leading to an epidemic loss of empathy. The Table of Love shows the central figure, Resilient Heart—single mother and breakthrough scientist—distributing a cure for this illness, vaccinating all the characters so they can heal and protect one another across the Cosmic Womb. The painting’s title is inspired by an activity that Choi participated in during her undergraduate years. A professor regularly invited all the students to sit and share joys and concerns before going off to their individual studios. Called the “Table of Love,” [in these sessions] Choi found acceptance and encouragement.

The expansive nature of The Table of Love makes it a perfect work to be in a public collection, where diverse audiences can explore its many sub-narratives and take inspiration from the Cosmic Womb.

To date, the Dallas Art Fair Foundation, with the Dallas Museum of Art Acquisition Fund, has placed over 45 artworks in the museum’s permanent collection. P

JooYoung Choi, The Table of Love, 2022, acrylic, gouache, vinyl paint, carbon transfer, Gelli print, airbrush, Duralar, and cut paper on canvas 69.25 x 123 in. Photograph by Thomas DuBrock. Courtesy of the artist and Inman Gallery.

Thania Petersen, SJAMBOKLAND, 2022, embroidery thread on cotton poplin, Japanese glass cut beads. 61.50 x 105 in. © Thania Petersen. Courtesy of the artist and Nicodim. Photograph by Yubo Dong.

Who Will Save Your Soul?

Jewel reveals the secret to bringing harmony to the Three Spheres through The Portal at Crystal Bridges Museum.

BY TERRI PROVENCAL

“Art is one of the few things that doesn’t need permission to enter your soul,” says Jewel, the creator of The Portal: An Art Experience by Jewel. On view this summer through July 28 at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, the immersive experience brings together art, music, technology, and wellness. And on Thursday and Friday evenings, Crystal Bridges offers chef-crafted dining options as part of a complete experience for the body, mind, and spirit.

To begin, the Grammy Award–nominee’s seven-foot hologram greets museumgoers and introduces the multidisciplinary exhibition. Jewel’s hologram describes the Three Spheres of human existence as the inner world, the outer world, and the unseen world, with actions to identify challenging thought patterns throughout the day: “Sometimes my inner world feels this way. What causes your three

From above left: The Portal: An Art Experience by Jewel lights up the night sky. Photograph courtesy of Brad Horn for Crystal Bridges Museum of American Art. On right: Jewel, Chill, 2024, Lucite. Photograph courtesy of 7th Unit Productions. A hologram of Jewel welcomes visitors to The Portal. Courtesy of Philip Thomas for Crystal Bridges Museum of American Art; Jewel, DOUBLE HELIX, 2024, oil on aluminum, 14” x 18”. Photograph Courtesy of Jewel. Opposite: Jewel pictured with Mazda by Sam Gilliam in the Contemporary Gallery at Crystal Bridges Museum of American Art January 3-4, 2024. Photograph courtesy of Crystal Bridges Museum of American Art.

realms to be in conflict, and what it means to be in harmony,” she offers.

She created The Portal so that every aspect harmonizes with the Three Spheres, merging internal thoughts with external actions and hidden emotions. “This is the story of how I healed,” states Jewel, who has been very open about her own mental health struggles.

Jewel is also a visual artist who practiced marble-carving and worked in clay prior to her acclaimed career as a singer and songwriter. Lately she enjoys painting, drawing, and sculpture. In conceptualizing the exhibition, she explains, “I really wanted to have two traditional art mediums and two new mediums to create an openness in the viewer.”

An art walk through Crystal Bridges embraces traditional viewing methods and highlights a curated selection of work by celebrated contemporary artists (Sam Gilliam, Mickalene Thomas, Gene Davis, and others), along with Jewel’s new painting featuring her son and a new Lucite sculpture. Technological mediums include Jewel’s hologram and a choreographed 200-piece drone light show set to an original score by the artist for a contemplative conclusion. “It’s about experiencing something new,” she says, adding “It was a very sculptural thing—shaping the entire experience to bring moments of levity, joy, and connection.”

Jewel has come a long way, from a young girl in Alaska living without running water to a multi-platinum selling artist. “For me it’s about bringing together the three areas of my life,” she says. “It centers around three realms of realities: the physical world, the unseen plane, and whatever the spiritual realm means to you. The way that my three realms work is when I’m able to introspect, to understand my thoughts and feelings, and I’m able to verbalize them, and if we can make changes” to those nagging thoughts later on “that really helps. If I can act on my spiritual values, I’m really happy.”

Championing mental health accessibility, she founded the Inspiring Children Foundation for at-risk youth, through which, she says, “We encourage kids to find passions. And we help kids form little businesses around their creativity.”

For Jewel, “Art is such a natural way to reflect.” Of its restorative properties she adds, “Art has really helped my mental health.” She recalls The Portal’s opening night drone show, which includes spoken word, soundscape, and an upbeat celebratory song, and says, “When I was outside watching everyone with their necks up to the sky, I thought, this is the posture as awe.” P

JUNE

16

SEPT 15

Willem and Jan Dermoyen, after Bernard van Orley, The Invasion of the French Camp and the Flight of the Women and Civilians (detail), c. 1528–31, wool, silk, gold, and silver thread. Museo e Real Bosco di Capodimonte, Naples

The Rubin Reimagined

Himalayan Art Now is the final exhibition as the Rubin Museum of Art transitions to a decentralized model.

INTERVIEW BY CHRIS BYRNE

New York City’s Rubin Museum of Art is celebrating its 20th anniversary with a museum-wide exhibition titled H imalayan Art Now. This will be the final exhibition in the museum’s original home. Chris Byrne shares his conversation with Jorrit Britschgi, Rubin Museum Executive Director. here:

Chris Byrne (CB): Reimagine: Himalayan Art Now is on view— how did the exhibition come about?

Jorrit Britschgi (JB): For our 20th anniversary, we were eager to present an exhibition that showcased the dynamic contemporary Himalayan art scene positioned in dialogue with the Rubin’s historic collection. In this way, Reimagine not only unites some of the most interesting creative voices from the Himalayan region and diaspora but also provides a new way of looking at and understanding traditional Himalayan art.

The show was co-curated by Michelle Bennett Simorella, director of curatorial administration and collections at the Rubin; Tsewang Lhamo, artist and founder of Yakpo Collective based in New York; and Roshan Mishra, director of the Taragaon Next in Kathmandu, Nepal. CB: The exhibition is installed throughout the museum and features 23 new commissions…

JB: The show features over 50 contemporary artworks from an intergenerational group of over 30 artists living in Asia, Europe, and North America. Many of the artists are exhibiting for the first time in the US, which is incredible, and more than 20 works are new pieces commissioned by the Rubin for this show.

The Rubin is committed to nurturing and broadening the creative dialogue around Himalayan art, now and moving forward in our decentralized model. In addition to a grant program to support artists, we also recently announced the formation of the Rubin Himalayan Art Prize, which will support artists working today.

Reimagine is also the final exhibition that will be presented in the Rubin’s building on 17th Street in New York, so it was important to us to create a show that engaged visitors across the entire museum space. One of the highlights of the exhibition, for example, is The Windhorse, by the artist Asha Kama Wangdi, a founding member of the Voluntary Artists Studio (VAST) Bhutan. The vibrant installation, which is installed in the center of the building’s iconic spiral staircase, was created by repurposing hundreds of faded colored prayer flags from religious sites across Bhutan. The powerful piece raises questions about the unintended negative environmental impact of raising prayer flags meant to be placed in nature for accumulating merit and offering protection.

CB: The Rubin will then transition into a museum without walls...

JB: The Rubin is transforming to pursue a new, global, decentralized model that redefines what a museum can be in the 21st century. We are launching an innovative program of partnerships, grants, objects loans,

Prithvi Shrestha, Attachment, 2018, acrylic on canvas. Courtesy of the artist.

Shushank Shrestha, Male Guardian Dog, 2023, ceramic, in-glaze luster. Courtesy of the artist.

Asha Kama Wangdi, The Windhorse (Lungta), 2024, cloth and metal. Courtesy of VAST Bhutan.

in-person exhibitions, scholarship, and digital offerings to serve the public locally, nationally, and internationally.

In recent years we have pursued several programs that have piloted this model with much success. Our traveling exhibition Gateway to Himalayan Art, which is part of our education initiative Project Himalayan Art, is currently on view at the Harn Museum at the University of Florida, and our traveling Mandala Lab was

DALLAS LIVING

A Global Tableau

Indigenous artists are lauded at the 60th Venice Biennale

BY LORING RANDOLPH

Australia Pavilion, installation view, Archie Moore, kith and kin, 2024. Photograph by Matteo de Mayda. Courtesy of La Biennale di Venezia.

Adriano Pedrosa, curator of the 60th International Art Exhibition, Stranieri Ovunquem— Foreigners Everywhere, 2024. Photograph by Andrea Avezzù. Courtesy of La Biennale di Venezia.

Voicing his resounding belief in the interconnectedness of humankind, the winner of the Golden Lion for the best national presentation at this year’s Venice Biennale reminded us of our intertwined histories and futures during his acceptance speech. “We are all one,” said Archie Moore, whose work represents Australia with a meditative, immersive piece entitled kith and kin documenting a sprawling, monumental family tree. We, he said, “share a responsibility of care to all living things, now and into the future.”

Moore, who is of Bigambul/Kamilaroi, British, and Scottish heritage, points to Australia’s ongoing and fraught journey of reclaiming its Indigenous identities. After intense research, Moore spent months on site in Venice drawing a genetic family map of thousands of relatives, spanning 65,000 years, in chalk on the walls of the Australia pavilion. In the centre of the dimly lit building, stacks of partially redacted legal papers sit atop a massive table. The documents relate to the deaths of Indigenous Australians in police custody in recent decades, but they are unreachable because the table is surrounded by a shallow pool of water. Yet Moore’s family tree, stretching thousands of generations and around the globe, reminds us that we are ultimately all connected, whether we choose to create moats and divisions between ourselves or not.

Drawing connections was purposeful in Adriano Pedrosa’s curation of the 60th International Art Exhibition, Stranieri Ovunque

—Foreigners Everywhere, the title borrowed from the artist collective Claire Fontaine’s neon work. The main show of the Venice Biennale focuses on four themes: the Foreigner, the Queer, the Outsider, and the Indigenous (none of which is mutually exclusive). “The Indigenous person is often treated as a foreigner in his or her own land,” Pedrosa said in advance of the show, referencing Indigenous presences in the Biennale as “emblematic”—but the experience seems to go beyond that.

This Venice Biennale edition feels like a reclamation in progress. The usual white façade of the central pavilion has been brought to life by Brazil’s Amazonian Huni Kuin Artists Movement (MAHKU), while inside the Arsenale, the prize-winning woven geometry of four Māori women has created an all-encompassing canopy installation to wander beneath. Farther into the display, the Aravini Art Project, an Indian collective of cis and trans women, has painted a mural exuding the positivity and acceptance that trans people experience when they are able to acknowledge their identity.

More traditionally hung on the walls are works which may be even less well known. Highlights include the flora and fauna of the Amazonian son-and-father duo Aycoobo (b. 1967) and Abel Rodriguez (b. 1944); the exquisitely detailed paintings of everyday life by Rosa Elena Curruchich (1958–2005), a Maya Kaqchikel artist who is considered the first female painter in San Juan Comalapa, Guatemala; and the family portrait of Hendra Gunawan (1918–1983)

Mataaho Collective, Takapau, 2022, polyester hi-vis tie-downs, stainless steel buckles and J-hooks, dimensions variable, installation view, Stranieri Ovunque–Foreigners Everywhere, 2024. Photograph by Marco Zorzanello. Courtesy of La Biennale di Venezia.

Clockwise from above: Members of the Oklahoma Fancy Dancers and Colorado Inter-Tribal Dancers activating the forecourt of the US Pavilion for Jeffrey Gibson’s exhibition the space in which to place me. La Biennale di Venezia, 2024. Photograph by Federica Carlet; Pacita Abad, You Have to Blend In, Before You Stand Out (detail), 1995, oil, painted cloth, sequins, buttons on stitched and padded canvas, 115.98 × 117 in. Pacita Abad Art Estate. Photograph by Marco Zorzanello. Courtesy of La Biennale di Venezia. ; MAHKU (Movimento dos Artistas Huni Kuin), Kapewe Pukeni [Bridgealligator], 2024. Photograph by Matteo de Mayda. Courtesy of La Biennale di Venezia.

from Indonesia, which was likely painted in the 1960s, when he was imprisoned because of his association with an alleged communist faction.

Pedrosa champions ancestral craftsmanship and is apparently obsessedwithtextile,includingPacitaAbad’s(1946–2004)trapunto paintings, Czech painter Anna Zemánková’s (1908–1986) stitched florals, and the batik paintings of Nigerian artist Ṣàngódáre Gbádégẹsin Àjàlá (1948–2021). Within the Arsenale pavilion, Yinka Shonibare’s Refugee Astronaut, crafted of African fabric, symbolizes ecological erosion and conveys the burden of human displacement, evidenced by a sack filled with worldly possessions.

National pavilions followed Pedrosa’s lead, from the US to Australia, Brazil to Denmark, giving Indigenous artists a longoverdue stage, marking an inflection moment in the art world’s recognition of their contributions. As forecasted by curators Erin Christovale of the Hammer Museum in LA and MaryDailey Desmarais in Montreal, 2024 sees a surge in visibility and appreciation for Indigenous creatives, coupled by a sharp 1000 percent rise in the value of contemporary Indigenous American art, according to Bloomberg News.

It is appalling that it has taken more than ninety years for an Indigenous artist to represent the United States. Artist Jeffrey Gibson, a queer member of the Mississippi Band of Choctaw Indians and of Cherokee descent, has transformed the US pavilion into an uplifting, multidimensional, joyous explosion of color, dance, text, and form. As part of his expansive project, Gibson invited numerous Indigenous people from the unceded lands of the US to take part in a series of dance performances and rituals

at the site.

More than 25 dancers and singers from the Oklahoma Fancy Dancers and Colorado Inter-Tribal Dancers inaugurated the pavilion with the healing ritual known as the jingle dress dance, which originated with the Ojibwe people of North America in the early 20th century. A visual and spiritual reckoning, the series will be followed by a convention in October, organized by the Center for Indigenous studies at Bard College, exploring the relationship between Indigenous North American art and cultures and global histories. Following the success of the Loophole of Retreat: Venice, organized by Rashida Bumbray as part of Simone Leigh’s US Pavilion in 2022, this convening promises to add academic rigor to the sensational market platform that the US pavilion has come to provide.

This is the true excitement of this year’s Venice Biennale: the collaborative and collective moments and the daring exploration of the less familiar. Pedrosa’s deliberate spotlight on the overlooked beckons us to reassess our perspectives and embrace the intrinsic value of Indigenous knowledge and creativity as a source of strength now, rather than what Western modernists would have pillaged and deemed as “primitive” in the past. Archie Moore also said, “we are all bound together by water,” and as the voices of the Biennale echoed through the Venice canals, I thought of another message in one of Gibson’s paintings: “If you want to lift yourself up, lift up someone else.” Maybe if we can learn anything from this year’s Biennale, it is to worship our planet in all its forms of life, everywhere. In doing so, we will find our path toward a better future. P

Claire Fontaine, Foreigners Everywhere, Stranieri Ovunque, 2004–2024; and Yinka Shonibare, Astronaut Refugee VIII, 2024, installation view. Photograph by Marco Zorzanello. Courtesy of La Biennale di Venezia.

CRED CARPET ARRIVAL

Bachendorf’s ushers in a new watch and high jewelry collection from Chopard.

BY TERRI PROVENCAL

hopard loves a red carpet, and as the official partner of the Cannes Film Festival since 1998, the marquee watch and jewelry brand revels in a star-studded evening. Chopard creates all the awards presented by the festival, including the prestigious Palme d’Or crafted of Fairmined-certified ethical gold. The jeweler has voiced their commitment to sustainable luxury. “In 2018, Chopard made the commitment in all of our pieces to use 100 percent ethically sourced gold,” Chopard CEO JeanBaptiste Maillard states. “Since 2023, 80 percent of the steel used in our steel watches is recycled.”

Caroline Scheufele, Chopard’s co-president and artistic director, who designs the jewelry, chose the theme of Contes de Fées (fairy tales) for the brand’s Red Carpet Collection at this year’s festival, which comprises the exact number of creations corresponding to each edition of the film festival. As such, for the 77th festival, 77 Haute Joaillerie creations—Fairy earrings and tiara, and the Enchanting Mushroom ring—were revealed in the Palais des Festivals, worn by actors and actresses. “Caroline is very creative. She designs the jewelry herself. Alongside this, she is very open to partnership,” says Maillard. To that end, each year cinema’s rising stars receive top honors. This year’s Trophée Chopard went to actors Sophie Wilde and Mike Faist. “The idea is to try to find the future talent of the next superstars,” enthuses Maillard.

Chopard is one of the few family maisons left in the industry. The pairing is perfect for Bachendorf’s, whose family heritage in

the watch and jewelry business dates back over 100 years and four generations. It is now helmed by Lawrence Bock, who says that since the ’80s it was a “very good marriage from the beginning, with my father and the Scheufeles being from Germany, and my father and grandfather being in the watch business. We love their quality and their design, top to bottom, and align a lot with what they are doing.”

With a passion for horology, co-president Karl-Friedrich Scheufele is credited with the founding and production of highprecision Swiss watch movements. The watch collection L’Heure du Diamant is a favorite of Bachendorf’s’ discerning clientele. “What sets them apart is they make amazing men’s watches, which many brands do, but they make even more amazing ladies’ watches. And we’ve done very well with the L’Heure du Diamant,” says Bock. “These are very fancy, very diamond-intensive watches that no other brands make on a commercial level.”

Bock shares the story of a client who goes to lunch every Sunday with a trio of friends who each purchased a watch after seeing her wear it. “Chopard uses amazing diamonds in all of their products, and that’s another great thing that attracted our family to them… they had top, top quality diamonds,” says Bock. He’s equally enthused about the new Alpine Eagle watch for men, inspired by the majestic creature and the Alps, along with the Alpine Sport and Happy Diamonds. “There is something for everyone. They are unmatched in the industry.” P

Clockwise from above, left: Fairy Tiara; Fairy Earrings; Chopard’s L’Heure du Diamant; Enchanting Mushroom Ring. All images courtesy of Chopard; The Palme d'or 2024 © Patrick Csajko

We are deeply grateful to all our donors and sponsors for their support of Art Ball 2024: Momentum. Thank you to our chairmen, Andy Smith and Paul von Wupperfeld, whose efforts made the evening a tremendous success!

SPONSORS

PRESENTING SPONSOR

Neiman Marcus

SPECIAL THANKS TO

The Eugene McDermott Foundation

TECHNOLOGY SPONSOR

Texas Instruments

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EVENT & PRODUCTION PLANNING

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Christina Jafar

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ADDITIONAL SUPPORT

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The Measure of a Man

Artists and curators share how 15-year director Jeremy Strick left his mark on the Nasher Sculpture Center.

BY EVE HILL-AGNUS

One might start the clock at the Nasher Sculpture Center the moment Jeremy Strick took the helm as director. The institution had already been in existence for five years and yet, “Jeremy really took on the full mission of the Sculpture Center in engaging contemporary art and living artists in a way that we hadn’t,” says senior curator Jed Morse. When Strick retires this June, he will have placed the Nasher firmly on the international map and contributed vastly to a broadened and dynamic understanding of the field of sculpture as ever evolving and full of riveting questions.

The famous collection of Patsy and Raymond Nasher was based around sculptors—Henry Moore, Barbara Hepworth, Jean Arp, Isamu Noguchi, and others—who have become renowned figures in modernism but were living and working when the Nashers purchased their oeuvres. “It’s that aspect of the collection that Jeremy embraced in its fullest way,” says Morse. Meaning that living artists at all stages

of their careers constituted the blinking cursor that Strick followed with the eye of a former curator, openness, and acumen.

This living artist might be Alex Israel, who knew Strick from Los Angeles, where Strick was director of the Museum of Contemporary Art (MOCA) from 1999 to 2008, having held curatorial positions at the Art Institute of Chicago, Saint Louis Art Museum, and National Gallery of Art in Washington, DC. “Jeremy came to my studio and he just got it,” says Israel, who installed a Sightings exhibition at the Nasher in 2015. “His belief in what I was doing translated into a joyful ease of mapping out and later installing my exhibition,” giving him confidence, he says, to forge his path as a young artist.

There is no Jeremy Strick rule book of how to respond to the times. But a rough draft might include extraordinary erudition melded with humanity, intuition, and quiet grace. And perhaps also this: “Jeremy understands sculpture in its broadest definition,” Israel says.

When the German-Iranian, Berlin-based Bettina Pousttchi was

Jeremy Strick. Photograph by Bret Redman. Courtesy of the Nasher Sculpture Center.

invited to create a Sightings exhibition in 2014, her first museum show in the United States, she took inspiration from Dallas’ car culture and the fact that the Nasher stood on a former parking lot. She would turn the gallery floor into a street, including directional signage, and cover the windows with a scissor gate scrim, and in so doing, transform the entire exhibition space into a drive-thru museum—an automotive aria—to present works from the collection in dialogue with her own. “I thought okay, he’ll probably tell me turning the gallery into a drive-thru museum is crazy,” They sat down for her to explain her renderings; there was a moment of silence. “And then he just very quietly said, ‘Okay. Okay, let’s do it.’ And that blew me away,” she says. “It really impressed me. He’s not afraid of bold ideas, and he’s not afraid of artistic experimentation.”

Katharina Grosse, the Berlin-based German artist who sees herself as a hybrid who blends a painter’s fascination with color but locates it in tactility and site-specificity, sees this outlook as endemic to Strick’s character. “I think he is a very good listener, and [there is] always a little twinkle in his eye.” He approaches ideas with “a very profound curiosity and a certain amusement about how life could be different,” she says. As a director, that translates to risk-taking, to “that generosity of commissioning something into the void,” not waiting, as she says, “until the praise has risen” but rather striking when the metal is malleable. For WUNDERBLOCK in 2013, Grosse made what she describes as a “difficult-to-handle piece”—a snaking construction, which the Nasher acquired, that bridged gallery and garden, and an immersive ephemeral work for the Lower Level Gallery.

“We undertook incredibly ambitious projects during his tenure,”

Alex Israel at the opening of Sightings: Alex Israel, 2015. Photograph by Lara Bierner. Courtesy of the Nasher Sculpture Center.

Image captions.

Jeremy Strick, 2016 Nasher Prize Laureate Doris Salcedo, and Jed Morse at the inaugural Nasher Prize Gala, 2016. Photograph by Bruno. Courtesy of the Nasher Sculpture Center.

Erick Swenson, Cris Worley, and Richard Patterson at the Nasher Prize Gala, 2019. Photograph by Exploredinary. Courtesy of the Nasher Sculpture Center.

confirms Morse, who watched Strick take the helm and observed the way he took the time to understand the staff, board, audience, and artists. These projects included Nasher XChange in 2013–2014; the Nasher Prize, established in 2015; Nasher Public, launched during the pandemic; and Soundings, which offers daring musical performances in a chamber music setting. “Jeremy recognized that while the DSO and the Meyerson were excellent, there was no chamber music venue— and particularly for top-rate avant-garde music,” says friend and advisory board member Richard Patterson. Often, the seed would be sown within a meeting when, according to Morse, Strick would say, “I have this crazy idea” or, with customary self-effacement, “I have this really bad idea.” And then, Morse says, Strick would “present some grand and ambitious plan that would be amazing if we could pull it off. It makes crazy ideas seem achievable.”

One of those notions was Nasher XChange, “a beautiful and exciting idea, but the most ambitious project the institution had ever undertaken,” says Morse: commissioning 10 works of art by 10 artists for 10 sites in the city on the occasion of the Nasher’s 10th

Katharina Grosse, WUNDERBLOCK, 2013, acrylic on glass-fiber reinforced plastic. 4 parts, approximately 14 x 8.50 x 77 feet. Courtesy of Galerie nächst St. Stephan / Rosemarie Schwarzwälder, Vienna. © Katharina Grosse. Photograph by Kevin Todora. Courtesy of the Nasher Sculpture Center; Jeremy Strick and Katharina Grosse at the opening of Katharina Grosse: WUNDERBLOCK, 2013. Photograph by Kristina Bowman. Courtesy of the Nasher Sculpture Center.

From above, right: Jeremy Strick and Bettina Pousttchi at the opening of Sightings: Bettina Pousttchi, 2014; Installation view of Nasher Public: Vicki Meek, 2021. Photograph by Kevin Todora; 2018 Nasher Prize Laureate Theaster Gates celebrating Afro Mingei at the Nasher Sculpture Center, 2023. Photograph by Kayla Oudthone. All courtesy of the Nasher Sculpture Center.

anniversary, thereby orchestrating the nation’s first public art presentation of its nature and scope. The sites themselves were not determined ahead of time; instead the choice was left as open as possible for the artists.

Such openness characterized the unique Nasher Prize as well, whose intention was to recognize the impact of an artist who has expanded the understanding of sculpture, pushing the notion of what sculpture can be. Laureates have included Colombian sculptor Doris Salcedo (2015), who probes loss, memory, and violence, often assembling everyday objects into politically eloquent elegies; and French artist Pierre Huyghe (2017), whose filmic universes and installation-like ecosystems blur the boundaries of media. Theaster Gates (2020) says the prize and its attendant dialogues and colloquia “played a significant role in helping people develop a clearer understanding of my practice.”

For Vicki Meek, a Dallas-based multihyphenate artist, curator, and activist there are none of the anticipated power relations in working with Strick. She first interacted with the institution in the context of Nasher XChange; next as part of Nasher Public after the murder of George Floyd, when she created an installation; and now as their inaugural Fellow, overseeing Nasher Public: Urban Historical Reclamation and Recognition, an initiative that memorializes the Tenth Street Historic District Freedman’s Town in Oak Cliff. Strick, she says, allowed her to define the Fellowship. “He’s a dream to work with because he’s so respectful of your ideas,” she says. “Jeremy’s whole way of operating is that he trusts artists.”

She also points out his role in increasing diversity. “He made sure artists of color had a clear voice at the Nasher,” she says, a move she deems “revolutionary.” (During his tenure, the Nasher also acquired numerous works through the Kaleta A. Doolin Fund for Women Artists.)

Dallas-based Xxavier Edward Carter, whose work for Nasher Windows was acquired by the Nasher in 2020, felt “that validation that the things I have in my head and have been working on have a place. It isn’t just the echo chamber.” Like Meek, he believes “it’s

From above left: 2022 Nasher Prize Laureate Nairy Baghramian and Jeremy Strick at the Nasher Prize Gala, 2022. Photograph by Jessica Gomez; Jeremy Strick and Xxavier Edward Carter, 2024. Photograph by Exploredinary; Joel Shapiro at the opening of his solo exhibition, Joel Shapiro, 2016. Photograph by Exploredinary; Ann Philbin and Jeremy Strick, 2014. Photograph by Kristina Bowman. All courtesy of the Nasher Sculpture Center.

very important to have someone at the helm of an organization who promotes it in a way that is so welcoming to artists,” lessening “the gulf between the artist and the institution.” Dallas sculptor Erick Swenson, for whom a Sightings exhibition in 2012 was a milestone as his first museum show, says that the thing that impressed him the most had a lot to do with Strick simply showing up. “He said it was really important to support local [artists] and go to local shows— and he actually did .”

Meanwhile, the influential artist Joel Shapiro, for whom a solo show in 2016 was the first commission on such a vast scale by an institution, recalls attending the opening of the collection’s debut, when it was first shown at the National Gallery of Art in Washington, DC, in 1988. He marvels at the continuity between past and present. “I think he really understood the meaning and the depth of Patsy and Ray’s idea,” he says of Strick. “He didn’t try to divert it into something easier. They’re showing tough stuff. He’s not afraid of anything.”

Add to that the myriad personal recollections of what Nasher laureate Nairy Baghramian calls his “openness, curiosity, generosity, and humor [that] have been pivotal in cultivating our enduring friendship.” Or what Gates calls his “disarming” style and his “straight-no-chaser sincerity.” Fast in his apprehension but careful to leave space for others, he is described time and again

as “thoughtful,” “knowledgeable” and not rushing to do things. Grosse explains “the way he looks or enters a space” creating “almost like a radio hum ... and then something flickers, and then a question comes that’s very simple” and precise. Carter describes him as “kind” and “humble” and then “elegant” and “smooth” before realizing that he is getting closer to an image: “If I were to imagine a tuxedo as a person,” he says. The Nasher has, essentially, been wearing a tuxedo for 15 years.

And, Morse says with a smile, “One thing that all of us who work with Jeremy recognize as characteristic of Jeremy as a person, as a boss, as a leader in the arts, is [that] when you come to him with a problem or a situation and you want to get his advice, there’s a long pause because he’s thinking. And he takes the time to think before he speaks. And sometimes you’ll be sitting there in silence for a little while. He may take a few minutes before he responds. And invariably he has something very insightful to say. But I think that pause before speaking is in some ways indicative of who he is as a person. It shows [that] not only that he is considered and thoughtful, but also that he cares about helping and about how best to help you with whatever issue you brought to him. And that’s in some ways the way that he approaches not only his job, but just the way he makes his way through the world: with care and thoughtfulness and humor.” P

Jeremy and Wendy Strick at his farewell party, curated by Piero Golia, 2024. Photograph by Exploredinary. Courtesy of the Nasher Sculpture Center.

ART INFLUENCERS

THE ADVENTUROUS AND AMBITIOUS, THE DARING AND DEXTEROUS, THE PASSIONATE AND PROBING, MEET THIS YEAR’S CROP OF DIFFERENCE-MAKERS IN THE ARTS.

BY DANIELLE AVRAM, NANCY COHEN ISRAEL, EVE HILL-AGNUS, AND DARRYL RATCLIFF PHOTOGRAPHS BY VICTORIA GOMEZ

“Art is about the concealed and revealed. The between is where I want to walk in thought and form.”

—Linda Ridgway

LINDA RIDGWAY

Artist

Linda Ridgway is an extraordinarily versatile artist. An accomplished printmaker, painter, sculptor, and, more recently, assemblage artist, her powerful works derive their inspiration from literature and nature.

As a high school student she helped in the school’s library. Recognizing Ridgway’s artistic proclivity, the librarian put her in charge of organizing the display cases and bulletin boards. As a lover of literature and poetry, being in this realm of books made it a plum assignment. “I called it my first studio. It was a place of refuge,” Ridgway says.

Many of the skills honed during this time laid the foundation for the various media in which she works today. A recent exhibition at Talley Dunn Gallery, titled The Library, displayed Ridgway’s full artistic range. Attesting to the transformative power of books, she divulges that the work was a response to book bans taking place in Texas and elsewhere.

Raised in the country, Ridgeway cites nature as another key inspiration. Now working with Ken King Foundry, she says, “We’re inventing new things as we go because I want to keep that delicate

sensitivity with this big, bold medium called bronze.” King had been an assistant to Harry Geffert, Ridgway’s late partner, thus bringing vast experience in creating a permanence in bronze from ephemeral elements in the natural world.

Ridgway, who taught at Cedar Valley for two decades, also collects the work of other artists, most of them friends. In many ways, her collection tells the story of Dallas’ contemporary art scene over the past 40 years. It includes late artists such as Geffert, Patricia Forrest, Danny Williams, Bill Komodore, and Margaret Ratelle. It also represents a certain moment in the 1980s and ’90s, when the contemporary art community was hitting its stride with artists such Brian Fridge, Gilda Pervin, Helen Altman, Pamela Nelson, Ann Stautberg, Cindy Hurt, Annette Lawrence, and Linnea Glatt.

Younger artists such as Shawn Smith and Teresa Rafidi round out her collection. Additionally, she owns work by East Coast artists Tony La Salle and Martin Puryear. Among her criteria for collecting, she explains: “I like to buy things that I can’t make.” –Nancy Cohen Israel

Linda Ridgway with her exhibition

The Library at Talley Dunn Gallery.

DR. ANNA KATHERINE BRODBECK

Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art

Dr. Anna Katherine Brodbeck has capably and superbly led a transformation of the Dallas Museum of Art curatorial department. Her appointment as the Hoffman Family Senior Curator of Contemporary Art in 2019 made her the first woman to hold the position. In a way it felt like Brodbeck had been in charge for even longer, as the position was vacant for two years, making her the most senior curator at the DMA before it became official. In retrospect, Brodbeck was the key hire by Eugene McDermott Director Dr. Agustín Arteaga. Soon she would be joined by Vivian Li, then briefly by Vivian Crockett, and now by Ade Omotosho, rounding out the most diverse curatorial team in the history of the DMA. When Brodbeck arrived, the initial excitement was around the DMA having someone with a strong background in Latin American contemporary art practices as well as Islamic art. However it soon became apparent that Brodbeck was passionate about many types of practices, including getting to know artists who were based in Dallas. Her willingness to be accessible and visible to our arts community has been a breath of fresh air. She regularly attends gallery openings, she schedules studio visits with local artists, and she is generally around in a way that is impressive and reassuring.

And the curatorial team works together in a way that feels more like a sports team than highly talented individual curators. They seem to like each other a lot, assist each other in their exhibitions, and have an approachable, open energy that isn’t common for curators at that level. This is the atmosphere that Brodbeck has created, and it has led to moments like the DMA’s current exhibition When You See Me: Visibility in Contemporary Art/History. Co-curated by Vivian Li, Ade Omotosho, and Veronica Myers, it is a multivocal telling of a fuller version of contemporary art history that acknowledges the contributions of BIPOC artists, queer artists, and women artists, past and present. It is a thesis statement, the culmination of seven years of seeing the world transformed by cultural and social upheaval. It is a vision of contemporary art that is powerful, diverse, interesting, rigorous, and mainstream rather than marginal. There will be a generation of Black and Brown Dallasites who will only know the Dallas Museum of Art as an institution that exposed them to works by artists who looked like them. Most of them won’t be aware that Anna Katherine Brodbeck was the curator who spearheaded that transformational shift, but in terms of institutional legacies, I can’t think of a more meaningful one. –Darryl Ratcliff

Dr. Anna Katherine Brodbeck pictured with Simone Leigh's Cupboard, 2022, at Dallas Museum of Art.

DR. VIVIAN LI

Lupe Murchison Curator of Contemporary Art at Dallas Museum of Art

Dr. Vivian Li, the Lupe Murchison Curator of Contemporary Art at the Dallas Museum of Art, has a way of drawing you in. I often find my body posture shifting as I lean in to hear more about whatever brilliant thing she is saying to me. That is a metaphor for one of Li’s superpowers: Through her exhibitions she is shifting the canon of who we acknowledge as great artists, increasingly making room for artists of Asian descent. Every exhibition she has curated has been excellent, from the outdoor-banner installation of social practice artist Mel Chin, Better, to the poetic, boundary-pushing mural installation Rise into the Atmosphere by Tiffany Chung, to the retrospective for Matthew Wong, Realm of Appearance. I don’t know if there has been a more influential exhibition curated at the DMA than the Wong retrospective in recent memory. The show traveled to the ICA in Boston and got rave reviews, all of which all highlighted how well Li curated the show and dealt with difficult topics like the artist’s mental illness and untimely death by suicide. There is now a Matthew Wong retrospective at the Van Gogh Museum in Amsterdam that probably wouldn’t have happened without Li’s revelatory exhibition. Li also co-curated the current exhibition at the DMA When You See Me: Visibility in Contemporary Art/History, where her section engages with figuration but also links BIPOC artists to each other in various global contexts.

Li somehow also finds time to be very active in the local art scene, engaging with local artists and supporting organizations like Texas Vignette and the Katy Trail Art Society. Li has been a real gift to the city, the quiet, superstar curator whose exhibitions are being eagerly anticipated on the global stage. –Darryl Ratcliff

ADE OMOTOSHO

The Nancy and Tim Hanley Assistant Curator of Contemporary Art at Dallas Museum of

Art

Ade Omotosho, the Nancy and Tim Hanley Assistant Curator of Contemporary Art, has had a stellar first year at the Dallas Museum of Art. Usually a new curator gets some time to get their bearings, but Omotosho started off with a bang.

Afro-Atlantic Histories, a spectacular traveling exhibition originating at the Museu de Arte de São Paulo and linking artists through the transatlantic slave trade, was handled with care and verve by Omotosho for its Dallas showing. It served as the perfect debut to get to know his interest as a curator and showcase his deep knowledge of the global African diaspora. Next, Omotosho helped fill in for senior curator Anna Katherine Brodbeck’s exhibition He Said/She Said while she was on maternity leave, helping oversee the installation and handling some of the spokesperson duties.

Currently Omotosho is a co-curator for When You See Me: Visibility in Contemporary Art/History. His section focuses on Black artists such as Nari Ward, Theaster Gates, David Hammons, and Senga Nengudi, who use techniques of found-object assemblage to resist visibility, to defy the pressures of the art market, and to confront political conditions. The focus on materiality, abstraction, and conceptual practices from Black artists is a way of expanding and recognizing the immense contributions of freedom, ingenuity, and intellectual rigor outside of representational painting. It is heady stuff but makes one eagerly await what the curator will do next as he embarks on the project of repositioning, recognizing, and adding to the canon and the story of art history. But for now, we welcome him to the Dallas art community. –Darryl Ratcliff

Dr. Vivian Li and Ade Omotosho pictured with Willie Cole’s Household Cosmology, 1992, and Nari Ward, Iron Heavens II, 1995 at the Dallas Museum of Art.

LUCIA SIMEK

Deputy director at Dallas Contemporary, artist, and curator

To say Lucia Simek is an integral part of the Dallas art community is an understatement. For over twenty years Simek has been a mainstay of the homegrown scene, a multihyphenate artist-curator-writer who is seemingly everywhere and knows everyone. As a founding member of the artist collective The Art Foundation, Simek, alongside fellow members Ryder Richards and Andrew Douglas Underwood, participated in the seminal 2013 exhibition DallasSITES: Available Space at the Dallas Museum of Art. She has curated exhibitions at Blind Alley in Fort Worth and the sadly now-closed The Reading Room, and recently participated in shows at DIY spaces Chateau Chateau at Swiss Avenue’s historic Aldredge House and the newly christened La Monte’s Belly, located in the bones of the shuttered Belmont Hotel.

Her national and international achievements grew during her eight-year stint at the Nasher Sculpture Center as the senior manager of communications and international programs, during which she was instrumental in creating Nasher Artist Grants and Nasher Artist

Circle–both of which served Dallas creatives–as well as Nasher Prize Dialogues, an international public programming series dedicated to contemporary sculpture. Since 2022, Simek has been at Dallas Contemporary, where she was recently promoted to deputy director.

This year she and her husband, Gavin Morrison, curated an exhibition at Dallas Contemporary featuring Dallas artist Brian Fridge as well as started an ongoing project, The Fuel Commission, a series of one-of-a-kind commissions displayed on the fuel door of their 2017 Volvo XC60.

Simek is widely known as a devoted mother to her three children, a fiercely loyal friend to many, and a tireless advocate for change, representation, and advancement of those who live and work within Dallas. As she says, “I think I can be a bit of a rabble rouser or antagonist, often pushing against systems that might not be working well or could do better. But I’m also a matchmaker, always working to use whatever platform I have to connect people with opportunity, conversation, or collaboration.” –Danielle Avram

Lucia Simek at Dallas Contemporary with work by Karolina Jabłońska

BRANDON KENNEDY

Bibliophile, curator, occasional artist

Brandon Kennedy is partial to the rare, the recherché, the strange. For the opening of an exhibition he curated on Fluxus co-founder Dick Higgins as part of the Dallas Art Fair Projects in 2019, he invited performers to enact selections from Higgins’ career-defining Danger Music, a tow-headed young boy—Kennedy’s son August—screamed “Danger Music Number Seventeen!” At the Karpidas Collection, for a provocative exhibition titled The Anatomy of Disquiet in 2018, Kennedy plucked works in a process informed by Jungian psychoanalytical tenets, probing the uncanny. One of the last works he showed publicly as an artist was part of the 2013 exhibition Boom Town at the Dallas Museum of Art: His former father-in-law’s 1973 Jaguar XJ6 rolled into the Barrel Vault and filled with the majority of Kennedy’s collection of experimental fiction. “It all stems from deep curiosity for me,” he says.

In one way or another, Kennedy has been part of the Dallas art scene, a Jack-of-all-trades polymath, and one-man juggernaut whose influence has been tentacle-like, ushering in the liminal, the marginal, the transgressive, the gorgeously arcane. Perhaps you

ran across him when he was partner/director of Parisian galerie frank elbaz’s location in the Design District. Or at the Dallas Art Fair, where he was director of exhibitor relations. Or at the Dallas Contemporary Art Book Fair, or Dallas Zine Fest.

Having begun collecting rare books when he was in graduate school at Yale School of Art in the late ’90s and worked in independent bookstores in New York before returning to Dallas in 2010, Kennedy noted the absence of an art-centered bookstore that encompassed used tomes. Fittingly, his newest contribution to the Dallas art scene is a projected bookstore, 00ps b00ks (a cheeky riff, in part, on “out of print”), selling “rare, collectible, curious, out-ofprint, and small-press titles” centered loosely around art, nature, and thought, which will double as a venue for talks, musical events, performances, and exhibitions of sculpture or works on paper. He’ll play the Pied Piper to anyone seeking catalogues and art books, esoterica, or philosophically grounded forays into the occult. “I’m not going to be selling bestsellers and have lines out the door,” he says. That’s not the point. –Eve Hill-Agnus

Brandon Kennedy at home with his book collection.

DU CHAU

Artist, cofounder Goldmark Cultural Center

Dallas-based artist Du Chau is this year’s Moss/Chumley Award winner. The annual honor, presented by the Meadows Museum, recognizes local artists with long track records within their practice as well as in service to the North Texas visual arts community. In addition to maintaining his studio practice, Chau teaches at Dallas College while also working tirelessly on behalf of the Goldmark Cultural Center in North Dallas, which he helped found. And he has a full-time job as a pathology technical coordinator at Methodist Hospital.

Chau’s delicate porcelain works are inspired by nature. Labor intensive, each piece is strung onto musical wire so that when installed, it creates the illusion of branches. “The wire elements only came as an accidental discovery,” he says, adding that as a graduate student, he made porcelain increasingly thin in an effort to replicate nature. It kept breaking. “Porcelain is about clay, about earth. Wire is that added element,” he says, noting that it provides balance and structure to his work, which is represented by Erin Cluley Gallery.

Chau and his family emigrated from Vietnam to the United

States in 1981. His work is evocative of this native land. Now planted in Dallas, he has made it his mission to provide opportunities for artists, whether they are MFA students, emerging, or already established.

In 2017, in his own effort to find studio and exhibition space, he happened upon a pair of abandoned office buildings in North Dallas. Recognizing their potential, he worked with the property’s trustee, along with her nephew Joseph Yeh, (now the center’s director), and in a relatively short time, they transformed the previously derelict buildings into what is now affordable studio space for 170 artists, along with four gallery spaces. Last fall, Goldmark Cultural Center received the North Texas Business Council for the Arts’ prestigious Obelisk Award for Arts Partnerships. The center maintains a dynamic calendar of public programming, for which Chau credits resident artist Marty Ray. Chau intends to make Goldmark part of the constellation of cultural centers across Dallas. In the meantime, his dedication is making it possible for artists to thrive in North Texas.

–Nancy Cohen Israel

DANIEL DRIENSKY AND SARAH REYES

Cofounders of Exploredinary

In 2015, Daniel Driensky and Sarah Reyes formed Exploredinary, a documentary film company, as a vehicle to tell artists’ stories. “We’ve built our business entirely around arts and culture,” Reyes explains. Driensky’s foundation as a photographer and Reyes’ studies in experimental videography are the creative roots that have made them gifted storytellers.

Over the span of a few years, their still photography assignments for clients such as Erin Cluley Gallery and the Dallas Art Fair began including video components. Such was the case in 2017, while they were working on an assignment about sign painters for the Dallas Observer. Through it they found a kindred spirit in Sean Starr, a sign painter and gold leafer based in Calvert, Texas. “One of the things that we share with Sean is this real love and appreciation for antiquated trades and crafts that are in the process of being eliminated in this digital world,” notes Reyes. Before long, the trio began discussing a visit to Nepal to document local craftsmen there. The resulting documentary Art is Love: Nepal, officially premiered at this year’s Hill Country Film Festival.

Closer to home, the duo was recently tapped to document a mural project for The Loop Dallas, a public-private initiative tasked with creating 11 miles of new trails, uniting them with those already completed. The project’s overriding theme is “Connecting Dallas to Dallas.” Several areas, such as the Hi Line Connector, will be accented with art. Through photography and video, Reyes and Driensky will work with artists Mariell Guzman, Will Heron, Mari Pohlman, Sam Lao, Alec DeJesus, and Hatziel Flores. As the filmmakers explain it, “We are blending the work of a diverse group of artists into a singular mural—a symbol of the multifaceted yet interconnected strength of our city.”

Through their Instagram series Out and About with Exploredinary they plan to continue telling the story of the cultural community. “This is our way of curating things we’ve done that might be under the radar and maybe wouldn’t make it into a publication,” Driensky concludes. Their efforts will also preserve this unique time in Dallas history. –Nancy Cohen Israel

Daniel Driensky and Sarah Reyes. Photograph by Exploredinary.

EXIT STRATEGY

GEORGE CAMERON NASH PREPARES TO LEAVE HIS CHIC CONDOMINIUM FOR NEW HORIZONS.

BY KENDALL MORGAN

PHOTOGRAPHS BY JOHN

SMITH

George Cameron Nash with his beloved Norwich terriers Phoebe and Teddy—and a favorite painting by Jeff Bertoncino.

It takes a really discerning eye to thrive in the design industry.

George Cameron Nash has honed his style over the last 47 years, and no one is more secure in his personal taste.

Prescient enough to pioneer the Design District with his first local showroom in 1987, Nash has since expanded from representing lines to designing his own upholstery and furniture.

From the very start, the entrepreneur knew what he liked, and he wasn’t going to limit himself when it came to quality.

“In design, what’s most important is if you want to know the best of what is out there and utilize the best of what is out there,” Nash says. “Then you’ll be good at it. I started [making furniture] with cheaper fabric at $2.95 a yard, and I aspired to sell [furniture with] $295 a yard fabric. That’s what I wanted to do, and I got there.”

His current residence—an airy condominium with sweeping skyline views in the Parkside building overlooking Klyde Warren Park— bears the fruit of this elevated philosophy. Every inch of its 2,433 square feet has been reconfigured to embody Nash’s signature taste. Filled with his designs, favorite lines from the showroom, and treasures from all over the globe, it is chic and inviting, with a casual elegance that makes one feel instantly welcome upon walking through the front door.

However, Nash has a different word for his home’s aesthetic: sexy.

Above: A favorite painting by Cole Morgan takes pride of place over Cameron’s Glenwick linen sofa. Lacquered Holly Hunt side tables lend a hint of Nash’s favorite color: Chinese red. Right: Another Cole Morgan canvas dominates the wall next to the custom marble counter. Nash designed the barstools, then upholstered them with leather and a textile from Hermes.

“I don’t think I’m sexy, but the interiors I do are sexy,” he explains. “If you look at it, you feel this sort of vibe. I like rooms to be approachable, even if there’s a little bit of dressiness to them. There’s a luster and a glow. It’s all subtle—it’s not jumping out at you.”

Purchased by Nash and his partner, Mark Williams, in 2017, the home, which was initially intended to be an office, was reconfigured by the couple to include two living areas, dual bachelor suites, a gourmet kitchen, and a balcony. One alluring addition is what Nash calls the “drinks room,” inspired by the atmosphere of Bemelmans Bar at the Carlyle Hotel in New York.

“It was this empty little room with a window, and I looked at it and thought, this is a funny room. You could stuff a dining room table in it, but that’s pretty rigid and not sexy. I’ve always loved [Bemelmans]; to me, that was just the most sexy place. It doesn’t get better than that. I thought, if I created this, made it a little bigger and somewhat lounge-y, what would I do? So I decided to use bronze mirrors on the walls and capiz shells on the ceiling. This room is a treasure chest of emotional escape, excitement, glamour, sophistication, and reflection. People love to come in here and have a drink, and at nighttime—well! Sexy!”

A collector for over 40 years, Nash also makes the most of vivid paintings by artists he has represented, including Cole Morgan and Jamali. The home’s primarily neutral furnishings are juxtaposed with pops of teal, citron, green, and his favorite shade of Chinese red. Antique mementos live harmoniously with chinoiserie and

From left: A Christian Liaigre bed adorned with custom Hamburg House linens embroidered with the Chinese symbol for happiness. Nash chose to mix different side tables by Rose Tarlow with art above each by Jerry Jeanmard; This serene, spacious bedroom overlooks Klyde Warren Park.

A Holly Hunt tester bed is adorned with geometric taffeta pillows and flanked by an abstract painting by Bror Utter and seascapes by Ania Gola-Kumor.

Nash’s 85-year-old bonsai tree displayed on a Chinese altar table is just one Far East accent. Cameron club chairs face custom shelving with antiques from England, Portugal, Japan, Italy, and France.

architectural elements, and every stick of furniture—from a zebra hide-covered bench in a bedroom to the mohair that covers the TV chairs—begs to be touched.

“I love a texture,” Nash explains of the mix. “Proportions are important, and I love putting Asian pieces in there. I grew up in a house where my mother loved Asian stuff, but it wasn’t as glamorous back then as it became; it was considered decorative. When I do interior work, there’s Chinese stuff in there, no matter what, from the very beginning. There’s a Buddha in every job I’ve ever done.”

With every inch of his apartment honed through a lifetime of curation, it might be surprising to learn that Nash and Williams’ home is currently on the market with Allie Beth Allman’s Jeanne Milligan. But as the neighborhood has grown and Klyde Warren Park has evolved into the city’s main green space, the couple is looking for something quieter and more zen.

And what they’re looking for is a bit of a unicorn. Nash envisions another elegant apartment or perhaps a chic new build that is modern without being blocky. He hopes for a home with a central courtyard surrounding a reflecting pond and a front door hidden behind a solar screen. He muses, “The front door thing—there’s too much of that, it’s too imperious, so I want a solar screen that’s maybe sculptural in terra cotta or brick.”

He’s looking at Bluffview and pondering high-rises, but in the meantime, he’s reveling in the final days at his airy abode. One thing’s for sure: Wherever Nash lands, it will be spectacular—and probably sexy. P

The “sexy” lounge has glove-leather banquettes, bronze-mirrored walls, a capiz-tile ceiling, and a triptych by Charles McMurray.

NorthPark Center’s Fleurs de Villes ARTISTE featuring design by Hawthorne’s Floral Company in homage to the Crow Museum of Asian Art of the University of Texas at Dallas.

PHOTOGRAPHY BY TAMYTHA CAMERON

Tiffany Moon

Jessica Garner, Lee Michaels

Anne Stodghill, Nikki Webb

The Cliburn by Kate McLeod Studio

Kaleta Blaffer Johnson, Natalie Boeder

Esé Azénabor

Christina Jafar, Katie Decker

Ramiro Garcia, Pablo Arellano

Hamilton A Sneed

Anna Kern, Sarah Haemisegger, Meredith Hays, Izzy Haemisegger, Kristen Gibbins, Kristin Williams, Lindsey Croley, Shelby Foster

AT FASHION INDUSTRY GALLERY

Jeremy Eichenbaum, Rosson Crow

Jason Kidd, Tom Anholt, Dirk Nowitzki

Erin Cluley, Karen Gunderson

Cindy Schwartz, Grace Cook

Howard Rachofsky

Johnny Floyd

Elliot Jimenéz, Erick Jimenéz

Sarah Blagden, Kelly Cornell, John Sughrue, Marlene Sughrue

Amanda McMorran, Moira Sims

BRENDAN BLANEY PHOTOGRAPHY POPS UP AT DALLAS ART FAIR

PHOTOGRAPHY BY BRENDAN BLANEY

Kelly Cornell

Zeke Williams

Chris Leota

Simon

Lauren Kellan

John Reoch

Brendan Blaney

Hannah Baskin

Lee Lee Brazeal and Lindy Chambers

Meka Ibe

ART BALL 2024 CELEBRATED A NIGHT OF MOMENTUM DALLAS MUSEUM OF ART’S 62ND GALA EVENT PRESENTED BY NEIMAN MARCUS

PHOTOGRAPHY BY

TAMYTHA CAMERON

Brent and Marlena English

Kristin Hallam

Danielle Hunter, Reed Allen Robertson, Morgan Williams, Kasey Lemkin

Anna Cates, Field and Sabrina Harrison, Sanjay Hathiramani, Rich Pendleton Nardos Imam

Agustin Arteaga, Gowri N. Sharma

Nancy Carlson, Sharon Young

Andy Smith, Paul von Wupperfeld

Capera Ryan, Amir Taghi, Rachel Koffsky

TACA SILVER CUP AWARD

LUNCHEON HONORING STEPHEN PENROSE AND SHARON YOUNG AT THE OMNI DALLAS HOTEL

PHOTOGRAPHY BY F8STUDIO

Booker T. Ensemble

Joseph Hubach

Stephen Penrose, Sharon Young, Maura Scheffler

Marguerite Hoffman, Lindsay Billingsley

Dr. Anna Katherine Brodbeck Larry and Anne Angelilli, Mort Meyerson

Howard Rachofsky, Deedie Rose, John and Jennifer Eagle

Wendy and Jeremy Strick

Gowri Sharma

HONORARY CONSUL OF SPAIN JANET KAFKA AND HER HUSBAND TERRY HOSTED THE ARCO / MEADOWS CELEBRATION DINNER SPONSORED BY BENTLEY DALLAS, ALONG WITH LALO AND CONCEPTO

PHOTOGRAPHY BY VICTORIA

GOMEZ

Bentley Dallas event sponsor Terry Kafka, Carlos Gonzalez-Jaime

Janet Kafka

Pablo Arellano, Ramiro Garcia

Kelly Cornell, Denise Stewart

LALO Cocktails

Stacy McCord, Robin LInek

Linda Custard, Laura Custard Hurt

Amanda Dotseth, Teresa Lanceta, Maribel Lopez

SHAYNA FONTANA AND PROSPECT DEBUT BEYOND THE WORLD COLLECTION OF TABLEWARE AT FORTY FIVE TEN

BECKLEY & CO., JON FURLONG, AND JONATHAN ZIZZO

Prospect x Shayna Fontana Polypous

Kaitlin Saragusa Kellerman, Laura Currie, Annabel Toole

Jim Gagnon, Perry Maas

Emily Gibson, Melissa Niven Prospect x Shayna Fontana Pasta La Vista

Tina Lorance, Cindy Kahn, Terri Kosecki, Shayna Fontana, Rand Horowitz

Prospect x Shayna Fontana at Forty Five Ten

Forrest Lemaire, Kyle Branch

Shayan Ismael, Joanne Ho, Gina Shapiro, Melody Akhavan Abbey

PHOTOGRAPHY BY

PICTURE SHOW

A major survey of American photographer and cinematographer Karl Struss headlines the Carter’s summer shows.

BY TERRI PROVENCAL

Scholars come from all over the world to study the Amon Carter Museum of American Art’s impressive photographic holdings, which include over 2,000 Karl Struss prints and 5,000 negatives by the relatively unknown American photographer and cinematographer, along with the Karl Struss Papers.

“Our stewardship of Struss’ Artist Archive speaks to the Carter’s role in preserving and presenting the stories of artists that have shaped the American canon and whose work still echoes throughout contemporary culture,” says Andrew J. Walker, executive director at the Carter.

Moving Pictures: Karl Struss and the Rise of Hollywood, drawn from the Carter’s archive, examines some 100 images alongside films and Hollywood ephemera, tracing the career of the photographer and cinematographer who helped shape American cinema in the Golden Age of Hollywood.

The exhibition, on view through August 25, opens with his work as a pictorialist in New York. “Struss was a late addition to the movement of pictorialism, which was the most popular type of photography at the turn of the century. Pictorialists valued soft-focus images, romantic subjects … and they are often more beautiful and gentle images,” says Kristen Gaylord, the Herzfeld Curator of Photography and Media Arts at the Milwaukee Art Museum and formerly the Carter’s associate curator of photographs. “The work was laborious and tonally nuanced.”

Struss invented the soft-focus Struss Pictorial Lens in 1909, which became popular with photographers of the era. He was elected to Alfred Stieglitz’s Photo-Secession group in 1910. In the first gallery viewers see Brooklyn Bridge, Nocturne (1912–13), one of Struss’ most iconic images.

He served in WWI but despite his early accolades came under suspicion because of his German background, and his New York friends eschewed him. Following his service, he joined the westward movement and relocated to California to find a new life

Impressed by his lighting and composition, Cecil B. DeMille gave Struss his first job on 1919 films For Better or Worse and Male and Female as a still photographer. Within days DeMille put Struss behind a moving camera, thus launching his career as a cinematographer and his glamorous work with Gloria Swanson and other Hollywood starlets.

In the room titled First Cameraman, find comprehensive documentation of film through still photography, including his success on big-budget films like Ben-Hur: A Tale of the Christ ( 1929).

Gaylord worked alongside co-curator Jonathan Frembling, Head Museum Archivist and Gentling Curator, on Moving Pictures. The survey continues with Struss’ role filming F. W. Murnau’s Sunrise: A Song of Two Humans (1927). “This is a great example of Struss translating his pictorial style into his film,” says Frembling. Sunrise features a sitting woman, an elegant flapper-type lady who sets her sights on someone else’s husband. “This is a beautiful shot that Struss takes as the sitting woman and the husband come together in the swamp. You can see that soft focus and this long, innovative tracking shot.” It is for this film Struss earned his first Academy Award for Best Cinematography in 1929.

The final gallery sees Struss post-Oscar working on films Dr. Jekyll and Mr. Hyde (1931) and The Great Dictator (1940), which earned him three more Oscar nominations. The Cinematographer, a short film created by the Academy in 1951, featuring Struss as the classic forerunner of filmmaking, is also shown.

Struss is firmly cemented among the pantheon of the greatest cinematographers of Hollywood’s Golden Age. “The trajectory of his career aligned almost perfectly with the technological innovations and cultural shifts that cultivated the advancement of fine art photography as well as the rise of cinematography,” Frembling summarizes. P

Above: Karl Struss (1886–1981), Gloria Swanson, Male and Female (1919), gelatin silver print, Amon Carter Museum of American Art. Middle row, left: Kenneth Alexander (1887–1975), Karl Struss with his cinematography Oscar for the film Sunrise, ca. 1929, gelatin silver print, Amon Carter Museum of American Art; right: Possibly Karl Struss (1886–1981), George O’Brien, and Margaret Livingston, Sunrise (1927), gelatin silver print, Amon Carter Museum of American Art.

Below: Karl Struss (1886–1981), Brooklyn Bridge, Nocturne, ca. 1912–13, palladium print. © 1983 Amon Carter Museum of American Art.

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