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STRONG CONTENT: BEST OF THE ARTS DUTCH TREAT Iris van Herpen at Dallas Museum of Art


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June / July 2017

TERRI PROVENCAL Publisher / Editor in Chief



We’ve categorically become an arts region to reckon with. Back-toback arts seasons offered notable performances in all four disciplines, revelatory exhibitions, gorgeous galas, and annual events like Dallas Art Fair. While the summer slows down a bit to allow for vacations, Patron’s BEST OF THE ARTS issue gives readers a second chance to savor a few of those that defined our cultural landscape. It’s a bit of a battle putting this roundup together with manifold to choose from, so we highlighted a few favorites among the lesser known that deserve closer inspection. For my family, the eight-month stretch culminated in a glorious one-of-a-kind experience known as CancerBlows. From the imaginings of DSO’s Principle Trumpet, Ryan Anthony and his wife Niki, the unprecedented concert presented star soloists onstage to raise funds for multiple myeloma research—a disease Ryan was diagnosed with nearly five years ago. The audience was transfixed—only distracted enough to applaud or use cell phones to take photos of legends. Who could blame them, The Legends Return was an event to memorialize—like the hot-pink, black sequin-jacketed Doc Severinson in red (or were they magenta?) leather pants who served as the evening’s amusing emcee. Arturo Sandoval was clearly enthused as he performed The Brave Matador and other numbers with his colleagues. Lee Loughnane led a spectacular medley of tunes by his alma mater-band Chicago and even sang a bit. Rashawn Ross (Dave Matthews Band and Wycliffe Gordon [the only solo trombonist]) had the audience clapping throughout their playing time. Ryan’s performance of Gabriel’s Oboe from The Mission along with so many others ignited the evening. A personal favorite: the high-pitched virtuosity of Wayne Bergeron, a trumpeter tapped for solos in the nearly Best Picture, La La Land. Of the arts to take in now, our cover shares a dress invented by Dutch designer Iris van Herpen: Transforming Fashion, an exhibition mounted at the Dallas Museum of Art through August 20. The Polaroid Project at the Amon Carter Museum of American Art displays the use of everyman’s camera with the inclusion of snaps by artists Dennis Hopper, James Nitsch, André Kertész, and others. Was their experimentation better than our own brilliance with the technologically advanced film of yesteryear? Take a visit and see. Other highlights this summer include Doug Aitken: Electric Earth at the Modern Art Museum of Fort Worth. In Viewer Involvement is Advised, we delve into the breadth of Aitken’s practice including his multichannel video installations. On the performing arts front, The Next Wave gives a preview of Bruce Wood Dance Project’s world premiere, Chasing Home. Conceived by choreographer Albert Drake III and New York-composer Joseph Thalken, the 25-minute dance draws inspiration from today’s refugee experience through 10 company dancers. No doubt the late Bruce Wood himself would have been proud of this contemporary feat. At Patron, we are most eager to learn about the new, now, and next. Share a few of your own favorite art moments. Drop us a line. – Terri Provencal; Instagram terri_provencal and patronmag

Courtesy of Jeremy Lock.


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FEATURES 52 THE ARCHITECTURE OF IMAGINATION Dutch designer Iris van Herpen brings her bold vision to the galleries of the Dallas Museum of Art. By Kendall Morgan BEST OF THE ARTS 58 THE GRADUATING CLASS by Lee Escobedo 63 STARRY NIGHTS Selections from Patron 64 ENCORE! By Lee Cullum 68 A NEW WAY OF SEEING by Nancy Cohen Israel 72 FAIRY TALES Selections from Patron



64 104 8


On the cover: Iris van Herpen, Radiation Invasion, Dress, September 2009, Faux leather, gold foil, cotton, tulle, Groninger Museum, 2012. Photo by Bart Oomes, No. 6 Studios.




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DEPARTMENTS 6 Editor’s Note 14 Contributors 22 Noted Top arts and culture chatter. Openings 38 INSTANT REPLAY The Amon Carter celebrates the wonder that was the Polaroid camera in a revelatory exhibition. By Steve Carter Contemporaries 40 VIEWER INVOLVEMENT IS ADVISED Doug Aitken: Electric Earth offers a multisensory experience at The Modern. By Terri Provencal Performance 44 THE NEXT WAVE Young choreographer tackles migration crisis. By Nancy Cohen Israel


Space 46 GREEN HOUSE GROWS Robyn and Michael Siegel consult with artists for their second eatery in Rosewood Court. By Lee Escobedo Coveted 48 AN ART-INFUSED OPENING Coach opens an amped up NorthPark Center boutique timed with an exhibit featuring Arthur Peña’s Attempt series. By Terri Provencal 50 THE PAISLEY PRINCESS Veronica Etro makes a stop in Dallas to preview her Autumn/Winter 2017/2018 Collection. By Terri Provencal There 73 CAMERAS COVERING CULTURAL EVENTS


Furthermore ... 80 PETER SAUL IN EUROPE: 1956–1964 By Chris Byrne

80 48 10


Christopher H. Martin | LANDA | acrylic on acrylic | 144 x 96 in.

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal ART DIRECTION Lauren Christensen DIGITAL MANAGER Anthony Falcon COPY EDITOR Paul W. Conant PRODUCTION Michele McNutt EDITORIAL INTERN Madeline Montoya CONTRIBUTING WRITERS Chris Byrne Steve Carter Nancy Cohen Israel Lee Cullum Lee Escobedo Kendall Morgan CONTRIBUTING PHOTOGRAPHERS Sil Azevedo Yesi Fortuna Bruno Paul Kolnik Kristina Bowman Robert Laprelle Tamytha Cameron Brad Linton Nan Coulter Jeremy Lock Gary Donihoo Kristi Redman Dana Driensky Bret Redman Daniel Driensky Scot Redman Sylvia Elzafon Shawn Samuell George Fiala Kevin Tachman Thomas Garza Kevin Todora Brian Guilliaux ADVERTISING or by calling (214) 642-1124 PATRONMAGAZINE.COM View Patron online @ REACH US SUBSCRIPTIONS One year $36/6 issues, two years $48/12 issues For international subscriptions, add $12 for postage. SOCIAL @patronmag

is published 6X per year by Patron Magazine, P.O. Box 12121, Dallas, Texas 75225. Copyright 2017, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited. Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.






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STEVE CARTER For this issue, freelance arts writer Steve Carter takes a look at The Polaroid Project: At the Intersection of Art and Technolog y, an overview exhibition opening at the Amon Carter on June 3. Carter spoke with the Museum’s John Rohrbach and Joy Jeehye Kim, along with photographer/ lens-based artist Ellen Carey, whose work is in the show. “I was really struck by the versatility of these 100+ images, and the incredible potential of this sometimes maligned camera,” Carter says. SIL AZEVEDO Photographing emerging artists for a second time for the Best of the Arts issue, Sil Azevedo is a photographer with the mind of an architect and a passion for the arts. His editorial work has been featured in numerous local, national, and international publications. His fine art photography is included in private collections throughout the United States, Europe, and South America. Sil is passionate about world travel and just launched his new gallery collection, Around the World, featuring select works from his recent travels.


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


NANCY COHEN ISRAEL Nancy Cohen Israel is a Dallas-based art historian and writer. In addition to being a regular contributor to Patron, her work has appeared nationally in art ltd. and Lilith. For this issue, she wrote about the cornucopia of local museum exhibitions. She also enjoyed writing about Bruce Wood Dance Project’s world premiere, Chasing Home. This summer, Nancy looks forward to lecturing at the Meadows Museum about the cosmopolitan nature of the 17th-century European art world.

LAUREN CHRISTENSEN With more than 19 years of experience in advertising and marketing, Lauren consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

PAUL CONANT With over 21 years of editing experience, Paul lends his vast knowledge to magazines, books, dissertations, and beyond. In addition to work on local and national publications, other clients include Francis Collins (Seashell Prisoners), Victor Shane (In God We Trust), and Brenda V. Johnson (Transitional Journey). He also enjoys editing the details of Patron.

LEE CULLUM Ongoing Patron contributor, this Dallas-based journalist hosts CEO, a series of interviews with business leaders, on KERA-TV, and writes occasional op ed columns and pieces on the arts for the Dallas Morning News. She is delighted to be covering the season’s best performances again this year and especially happy to report that theater, opera, symphony, and dance have never been stronger in Dallas. It’s as if the work of three generations finally is paying off, with big benefits, and endless pleasure for all of us.

KENDALL MORGAN A Dallas-based writer, editor, and marketer, Kendall Morgan covers art and style for Patron in addition to such publications as 1530 Main, Culture Map, and Highland Park Village Magazine. In this issue, she examines the intersection between art, science, and clothing in the work of Iris van Herpen, the subject of the Dallas Museum of Art’s exhibition Iris van Herpen: Transforming Fashion. A fan of avant-garde fashion for many years, she would “totally wear every single thing in this blockbuster show.”

LEE ESCOBEDO Lee Escobedo is a writer, critic, and curator whose work can be found in Berlin Art Link, The Dallas Morning News, and Patron among other publications. Lee was the 2017 co-programmer for the Artist Circle at the Nasher Sculpture Center and was the founder and director of the Dallas Music Experience at the Dallas Art Fair in April. For this issue he caught up with five MFA students in The Graduating Class and visited with Robyn and Michael Siegel about their new art-infused Green House Market at Rosewood Court.

KEVIN TODORA Kevin Todora is a photographer based in Dallas, who earned his MFA from SMU and his BFA from the UTD. In 2013, he was the subject of a solo exhibition of photographic work titled birchpleeze at the Dallas Contemporary. He shows with Erin Cluley Gallery and has had two solo exhibitions there: new photographic works in 2015 and gaslight in 2016. Kevin often photographs installations for museums. In this issue he photographed Green House Market’s interiors of their new restaurant.



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04 01 AFRICAN AMERICAN MUSEUM Students engage with art through science, problem solving, and research of African American history during the Science of Art Camp, Jun. 12–21. The museum’s annual Hoedown kicks off The Texas Black Invitational Rodeo on Jun. 16 with Invitational Rodeo on the evening of Jun. 17. Ongoing exhibits include The Souls of Black Folk and Facing the Rising Sun: Freedman’s Cemetery. 02 AMON CARTER MUSEUM OF AMERICAN ART The Polaroid Project: At the Intersection of Art and Technolog y examines the Polaroid Company starting Jun. 3. David Ellis: Animal is on view through Jun. 4. Avedon in Texas: Selections from In the American West and Homer and Remington in Black and White both continue through Jul. 2. Nature/Culture explores their different meanings from Jul. 15. Between the Lines: Gego as Printmaker showcases a small group of his prints through Aug. 6. Fluid Expressions: The Prints of Helen Frankenthaler runs through Sep. 10. Abstract Texas: Midcentury Modern Painting runs through Oct. 8. Darryl Lauster’s Trace and Gabriel Dawe’s Plexus no. 34 remain on view. Image: Gego (1912–1994), Untitled, 1966, Lithograph © Fundacion Gego, Amon Carter Museum of American Art, Fort Worth. 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM An exciting exhibition examining crests and symbols of the warrior class and the powerful samurai clans that used them will continue. The museum sponsors a Lunchtime Talk every Thursday at 1 p.m. Public Tours are Saturdays and Sundays at 1 p.m. 22



04 CROW COLLECTION OF ASIAN ART Wisdom of Compassion: The Art and Science of Iwasaki Tsuneo shows through Jun. 11. A solo exhibition for Sopheap Pich titled Hidden Nature opens Jun. 24. Landscape Relativities: The Collaborative Works of Arnold Chang and Michael Cherney and Divine Pathways: South and Southeast Asian Art run through Jun. 25. Styled with Poise: Figures in Japanese Paintings and Prints opens Jul. 8. Ongoing exhibitions include Visualizing Afterlife, Paradise and Earthly Spheres in Chinese Art; Sculpting Nature: Jade from the Collection; Fierce Loyalty: A Samurai Complete. Image: Arnold Chang and Michael Cherney, After Huang Gongwang 6, 2010, Photography and ink on xuan paper, 24 x 83 in. Private collection. Image courtesy of the artists. 05 DALLAS CONTEMPORARY Ambreen Butt’s exhibition, What is left of me, addresses political oppression and violence. In Bara, Bara, Bara, Pia Camil uses diverse media to explore many different themes of art history, consumerism, and the Mexican landscape. Keer Tanchak personifies the idea of time travel through art history with Soft Orbit. All three exhibitions continue through Aug. 23. Image: Ambreen Butt, I am my lost diamond 2, installation. Courtesy of Dallas Contemporary. 06 DALLAS HOLOCAUST MUSEUM June is free for Millennials during Millennial Month. The Survivor Speaker Series hosts speakers Jun. 11, 21, 25, and Jul. 9, 19, and 23. Dr. Seldin shares his experience testifying against a Nazi doctor during An

Evening with Dr. Donald Seldin on Jun. 29. Emphasizing the current special exhibit, a screening of The Big Red One takes place Jul. 13 and 16. Filming the Camps—From Hollywood to Nuremberg continues through Jul. 31. 07 DALLAS MUSEUM OF ART The DMA offers the largest public show of Islamic Art in The Keir Collection of Islamic Art Gallery through April 2019. Passages in Modern Art: 1946–1996 is on view through Jun. 25. México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde continues its only US stop through Jul. 16. Experience the vision of fashion designer, Iris van Herpen, in Transforming Fashion, through Aug. 20. Modern Opulence in Vienna: The Wittgenstein Vitrine is extended through Aug. 27. Visions of America: Three Centuries of Prints from the National Gallery of Art ends Sep. 9. Waxed: Batik from Java continues through Sep. 10. Multiple Selves: Portraits from Rembrandt to Rivera concludes Nov. 5. Shaken, Stirred, Styled: The Art of the Cocktail, through Nov. 12, explores signature drinks. 08 GEOMETRIC MADI MUSEUM Look for John Henry’s large-scale sculptures at the Hall Arts Tower in the Dallas Arts District on view through Jul. 23. Biennial: Origins in Geometry recognizes emerging visual artists in geometric abstraction, Jul. 28–Oct. 22. 09 GEORGE W. BUSH PRESIDENTIAL CENTER Portraits of Courage: A Commander in Chief’s Tribute to America’s Warriors tells the stories




05 10

of members of the U.S. Military in sixty-six full-color portraits and a four-panel mural through Oct. 1. 10 KIMBELL ART MUSEUM Louis Kahn: The Power of Architecture and The Color of Light, The Treasury of Shadows: Pastels by Louis I. Kahn from the Collections of his Children, both continue through Jun. 25. A selection of famous European paintings and sculptures continues through Aug. 13 in A Modern Vision: European Masterworks from The Phillips Collection. Image: Joan Miró, The Red Sun, 1948, oil and gouache on canvas, 36.125 x 28.125 in. Courtesy of The Phillips Collection, Washington, D.C. 11 LATINO CULTURAL CENTER Join the LCC for a game of Loteria on Jun. 21. Senior Line Dancing continues through Jun. 29. The 14th Annual Hecho in Dallas highlights the work of local artists, through Jun. 30. 12 THE MAC In partnership with Booker T. Washington High School for the Performing and Visual Arts, The MAC presents MEDIAGALA, a new media public art installation by students. Led by Niloo Jalilvand, this is a one-night-only event, Sat., Jun. 10, 7–11 p.m. with musical performances beginning at 8 p.m. and light bites served throughout the evening. 13 MEADOWS MUSEUM Join art historian, Nancy Cohen Israel, and the Meadows Museum every Thursday from Jun. 8–29, for the summer lecture series, The Global Art Community: A 17th

Century Phenomenon. Between Heaven and Hell: The Drawings of Jusepe de Ribera includes approximately fifty drawings, ten paintings, and a small group of prints, through Jun. 11. Pablo Picasso’s works in response to the Spanish Civil War continue in Picasso’s Dream and Lie of Franco: The Spanish Civil War in Print, through Jul. 2. 14 MODERN ART MUSEUM OF FORT WORTH FOCUS: Katherine Bernhardt showcases the artist’s vibrant paintings featuring everyday objects like Windex through Jul. 9. Doug Aitken: Electric Earth is the first exhibition to completely examine Aitken’s work across multiple mediums, through Aug. 20. Highlights from the Permanent Collection continues through Aug. 20. Image: Doug Aitken, Sunset (black), 2012, hand-carved foam, epoxy, LEDs, hand-silkscreened acrylic, 63.5 x 78.25 x 8 in. Photo by John Berens.

program for educators, focusing on modern and contemporary art, Jul. 10–14. Celebrate the work of American sculptor and draftsman in Manuel Neri: Recent Acquisitions from the Artist’s Trust, through Jul. 16. Join architect Peter Goldstein for Destination Dallas, exploring the intersection of natural and man-made environments in the Dallas Arts District on Jul. 19. Roni Horn’s eight cylindrical glass sculptures will be housed in the main gallery through Aug. 20. Image: Roni Horn, Untitled (“I deeply perceive that the infinity of matter is no dream.”), 2014, solid cast glass with as-cast surfaces, height: 50.75 in., diameter: 52.75 in. Courtesy of the artist and Hauser & Wirth, New York.

15 MUSEUM OF BIBLICAL ART An ongoing 12' x 40' exhibit features artist Ron Dicianni’s Resurrection of Christ Mural. Works by Gib Singleton are housed in the Via Dolorosa Sculpture Garden.

17 PEROT MUSEUM First Thursday Late Night explores physics on Jun. 1 and chemistry on Jul. 6. Spend the night at the Perot at Superhero Sleepover on Jun. 9. Practice your architecture skills at Discovery Days Jun. 10 and Jul. 8. Explore the patterns around you at Social Science on Jun. 23. The Hoglund Foundation Theater offers 3D films: Dream Big, Walking With Dinosaurs, and Wild Africa through Sep. 4. Rediscover Maya: Hidden Worlds Revealed, through Sep. 4.

16 NASHER SCULPTURE CENTER Bring the kiddos to Target First Saturdays Jun. 3 and Jul. 1. Explore how artists use natural materials at Nasher Kids Camp 2017, Jun. 5. ‘til Midnight at the Nasher returns Jun. 16 and Jul. 21. The Nasher Summer Institute for Teens 2017 gives students the opportunity to work with artists and other students on Jun. 19. The Museum Forum for Teachers is a week-long

18 TYLER MUSEUM OF ART Located in Tyler, a 90-minute drive from Dallas, Making a Splash opens at the Tyler Museum of Art Jun. 4. Curated by Caleb Bell, Double Take: Works by Ed Blackburn will continue through Aug. 20 where classic Holly wood meets the canvas. Monthly events include First Friday and Family Day.

JUNE / JULY 2017





01 AMPHIBIAN Hedda is home from her honeymoon but she’s bored with her new marriage. National Theatre Live screens Hedda Gabler on Jun. 3. Peter Shaffer’s Amadeus tells the story of the young prodigy, Wolfgang Amadeus Mozart. Shown through NTL , Jun. 21 and 24. The Bible: The Complete Word of God (abridged) returns to Amphibian Jul. 7–Aug. 13. National Theatre Live returns in July with Twelfth Night, Jul. 19 and 22 and Peter Pan, Jul. 26 and 29.

06 DALLAS CHILDREN’S THEATER The king is looking for a wife and Mufaro has two beautiful but very different daughters for him to meet. DCT has adapted Zimbabwe’s Cinderella tale, Mufaro’s Beautiful Daughters: An African Tale, for the stage, Jun. 23–Jul. 9.

02 AT&T PERFORMING ARTS CENTER In Something Rotten, Nick and Nigel Bottom set out to write a hit play, Jun. 13–25. The cool kids are partying at Donkey Beach, Jun. 22–25. Start your weekend with a workout in the Dallas Arts District with Local Motion, through Jun. 24. Grammy winner Melissa Etheridge takes the stage at the Majestic in M.E. Live on Jun. 29. #hearhere continues with An Evening with Neil Gaiman on Jul. 7. Said to be the best musical of the year, Finding Neverland will be onstage at the Winspear, Jul. 11–23. Image: Christine Dwyer as Sylvia Llewelyn Davies in Finding Neverland. Photography by Jeremy Daniel.

08 DALLAS SUMMER MUSICALS The circus spectacular, Circus 1903, runs through Jun. 4. A former Secret Service agent has been hired to protect a superstar, but they never expected to fall in love. Grammy award-nominee Deborah Cox stars as Rachel Marron in The Bodyguard, Jul. 18–30. Image: Deborah Cox as Rachel Marron and Judson Mills as Frank Farmer in The Bodyguard. © Joan Marcus.

03 BASS PERFORMANCE HALL The Fifteenth Van Cliburn International Piano Competition holds the Semifinal Rounds Jun. 1–5, the Final Rounds Jun. 7–10, and the Awards Ceremony the evening of Jun. 10. Experience the magic of Matilda, Jun. 13–18. 04 CASA MAÑANA Drew and Sherrie chase their dreams of making it big in the electrifying Rock of Ages, running Jun. 3–11. 05 DALLAS BLACK DANCE THEATRE Dallas Black Dance Theatre hosts their Summer Intensive Professional Workshop Jun. 26–Jul 7. 24


07 THE DALLAS OPERA Mark your calendars for the 2017–2018 Season at The Dallas Opera. Subscriptions are on sale now.

09 DALLAS SYMPHONY ORCHESTRA The third annual Nancy A. Nasher and David J. Haemisegger SOLUNA: International Music & Arts Festival continues through Jun. 4. The DSO presents Music of the Night, an evening of mystery and romance with the music from Andrew Lloyd Webber’s Phantom of the Opera, Jun. 9. On Jun. 14, Nathan Laube performs on the Lay Family Concert Organ in the Opus 100 Organ Series. From Star Wars to Jurassic Park, the famous film scores will be performed in The Best of John Williams on Jun. 23–25. 10 DALLAS THEATER CENTER A small town is brought to its knees when a public school teacher is arrested for teaching Darwin’s Theory of Evolution. Experience the Scopes Monkey Trial in Inherit the Wind, directed by DTC’s Kevin Moriarty through Jun. 18. With music and lyrics by Lewis Flinn, Tony-nominated

playwright, Douglas Carter Beane, presents the world premiere musical, Hood: The Robin Hood Musical Adventure, Jun. 29–Aug. 6. 11 EISEMANN CENTER Travis Wall, one of America’s favorite choreographers, returns with a new performance, Shaping Sound: After the Curtain, on Jun. 8. The Miss Texas and Miss Teen Texas Prelims begin Jun. 27, with Finals, Jul. 1. Beatlemania veteran, Tony Kishman, brings Live and Let Die: A Tribute to Paul McCartney to the Eisemann Center on Jul. 8. Image: Travis Wall, Shaping Sound, Courtesy of Eisemann Center. 12 KITCHEN DOG THEATER Troubled by the recent killings of young black men like himself, Ruffrino sets out to prove by any means necessary that Black Lives Matter in the world premiere of Br’er Cotton, running Jun. 9–Jul. 1. 13 LYRIC STAGE Lyric Stage presents the world premiere of Pure Country. Based on the 1992 Warner Bros. film, a country music singer struggles with the pressure that comes with being a superstar. Pure Country runs Jun. 9–18 in the Irving Arts Center’s Carpenter Performance Hall. 14 MAJESTIC THEATER Vocalist CeCe Winans brings her Fall In Love Tour to Dallas on Jun. 2. The world’s number one Pink Floyd tribute act, Brit Floyd, performs their new show Continuum on Jun. 10. Comedian Demetri Martin stops by the Majestic to tell some jokes, Jun. 15. Trumpet player Rick Braun takes the stage Jun. 17. Mommy bloggers Kristen Hensley and Jen Smedley have joined comedy forces and hit the road with IMomSoHard, coming to Dallas, Jul. 28. The goofy duo, Tim & Eric, bring their 10 Year Anniversary Awesome Tour to Dallas, Jul. 31.

11 15 TACA Mark your calendars for the 50th Anniversary TACA Custom Auction Gala at the Rosewood Mansion on Turtle Creek, Sep. 8. 16 TEXAS BALLET THEATER See what Alice has fallen into with Texas Ballet Theater’s performance of Alice in Wonderland beginning at the Winspear Opera House, Jun. 2–4. 17 THEATRE THREE In A Little Night Music, different couples intertwine and change partners in this fairy tale for adults, running Jun. 8–Jul. 2. Nat and Diane take shelter from attacking birds in an isolated house, but find there isn’t much comfort inside. The Birds continues in Theatre Too through Jun. 18. 18 TITAS Working with the world’s leading choreographers, Canada’s Ballet BC has established their reputation as the dance company to watch. Ballet BC will perform at the Winspear Opera House Jun. 10. 19 TURTLE CREEK CHORALE Turtle Creek Chorale’s final concert of the season, In Your Dreams, explores hopes and fears Jun. 2–4. 20 UNDERMAIN THEATRE Undermain Theatre's 2017/2018 season will resume early September. The second play in Matthew Paul Olmos's so go the ghosts of méxico, part two, exploring the US/Mexico drug wars, is among the highlights. 21 WATERTOWER THEATRE Two couples have a cultural clash over a longstanding fence line in Native Gardens, running Jun. 2–25. The regional premiere of Hit the Wall, beginning Jul. 28, will take you back to the Stonewall Riots in New York’s Greenwich Village in 1969.

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

972-807-9255 1426 N Riverfront Blvd | Dallas, Texas 75207

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01 ALAN BARNES FINE ART A sixth-generation art dealer, Alan Barnes presents a summer exhibition opening Jun. 1. Running through Aug. 5, the show features the gallery’s most recent acquisitions of fine 19th- and 20th-Century European & American paintings. 02 AND NOW Recently relocated to the Dallas Design District area, And Now opens a summer group show on Jun. 3 through Aug. 03 ARTSPACE111 The 4th Annual Regional Juried Exhibition runs Jun. 23–Jul. 22 with an opening reception the evening of Jun. 23. 04 BARRY WHISTLER GALLERY Power Lines highlights the use of bold lines in abstract composition through the works of Nathan Green, Sol Lewitt, Spencer

Brown-Pearn, Adam Raymont, Frank Stella, and Liz Trosper. The show includes paintings, drawings, and prints. Volume 3, a solo show by Steve Dennie, continues the artist’s investigation into what constitutes urban landscape through black-and-white photographs. Both exhibitions run through Jul. 29. Image: Liz Trosper, baldessari in blues, 2017, UV ink on aluminum, 52 x 71 in. 05 BEATRICE M. HAGGERTY GALLERY ONWARD FORWARD is a juried graduate exhibition featuring M.A. and M.F.A. from students in Dallas, Fort Worth, and Denton. Jurors of the exhibit are Kyle Hobratschk, artist and founder of 100W Corsicana, and Christina Hayes Haley, Gallery Curator of the Beatrice M. Haggerty Gallery. The exhibition is on view through Jul. 8.

06 BEEFHAUS ART BEEF is a collective of local artists who produce site-specific installations, exhibitions, and events utilizing vacant commercial and public spaces throughout the city to cultivate dialogue concerning the status and function of art while challenging notions of authorship, market structure, and placement. 07 BIVINS GALLERY Where the Rub Her Meats the Rode showcases the signature wit of William T. Wiley and continues through Jul. 8. 08 CADD 3rd THURSDAY Happy Hours are held at one of the CADD Member Galleries each month. Erin Cluley Gallery, located on Fabrication St., will host the next event on Jun. 17 from 5:30–7:00 p.m.


Irby Pace


June 24 - Sept 1, 2017 26



2277 Monitor, Dallas, TX 75207

16 09 CARLYN GALERIE This Preston Center gallery is dedicated to fine American art glass, clay, fiber, metals, and jewelry. Opened in 1989, Carlyn Galerie is filled with fine examples of glass art: blown, fused, slumped, lampworked, and cast. 10 CARNEAL SIMMONS CONTEMPORARY ART Intersecting Planes: Modern Works from the Estate of Duayne Hatchett features a variety of modern artworks from the late artist, Duayne Hatchett. New sculptural works from Arlington-based artist Art Fairchild are shown in his exhibition, Facets: Contemporary Sculpture by Art Fairchild. Both shows conclude on Jun. 17. 11 CHRISTOPHER MARTIN GALLERY A selection of paintings by Christopher H. Martin and sculpture by Michael Enn Sirvet is on view. Martin abstracts his own observations of nature using his signature reverse-painting technique applied to the back of acrylic panels. At first glance, Martin and Sirvet’s works display a rational balance and harmony. Further examination reveals each piece reflects an organic sense of existence naturally transforming the spaces they inhabit. 12 CIRCUIT 12 CONTEMPORARY For the summer, Circuit 12 features Double Edged, a group show featuring new works by Nick van Woert, Kristoff Wickman, Amber Renaye, REVOK, Kris Pierce, and Jimmy Baker, through Jul. 29. 13 CONDUIT GALLERY Robert Jessup’s solo show, Paintings 2016–2017, features his new small-scale paintings. In Current and Alternate Realities, Susan Barnett shares her representation of current events. Soomin Jung questions our perceptions of what we see around us in Between. All three exhibits run through Jul. 1. Conduit will open a summer show on Jul. 8, featuring a group of gallery artists.

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Kittrell/Riffkind K ittrell/Riffkind Art Glass Gallery

18 14 CRAIGHEAD GREEN GALLERY Craighead Green will open three shows running Jun. 24– Jul. 29 for Bryson Davis Jones, Andy Meyers, and Carole Pierce. There will be an opening reception the evening of Jun. 24.

23rd Annual Goblet Invitational Friday, June 9 th 5 to 8 pm

15 CRIS WORLEY FINE ARTS Kelli Vance’s photorealistic paintings show female figures undergoing rituals in preparation for psychological battle in her solo show, Sappers and Miners, through Jun. 17. A group exhibition, titled Introductions, runs Jun. 24–Aug. 22. The show introduces the work of Marc Dennis, Adrian Esparza, Sherry Owens, and Robert Sagerman to Cris Worley Fine Arts.

Find an artistic way to dress up your favorite cocktail!

Show continues through July

4500 Sigma Rd. Dallas, Texas 972.239.7957 n 28


16 CYDONIA Vancouver-based Caroline Mousseau returns for her second solo show with new work, continuing the trajectory of her latest series of paintings called Isolated Abstractions. Her deliberate choice of colors; signature textured, ridged surfaces created using semi-dried oil paints; and specific composition demonstrate a mature stylistic vocabulary that belies her relatively young age. On view Jun. 30–Jul. 29, with a reception on Jul. 8. Image: Caroline Mousseau, heave, 2017, oil on canvas, 43 x 46 in. Image courtesy of the Artist and CYDONIA, Fort Worth. 17 DADA The Dallas Art Dealers Association is comprised of leading art dealers, commercial galleries, non-profit art spaces, and cultural art centers. DADA members have a mission to represent leading artists and quality work. 18 DAVID DIKE FINE ART Established in 1986 in the arts district of Uptown Dallas, where it resides today, DDFA specializes in turn-of-thecentury traditional painting, and maintains and supports the recent surge in interest in modernist paintings circa 1950 to 1980. Fresh inventory to the gallery include works by: Seymour Fogel, Bill Komodore, Valton Tyler, and Raymond Jonson. Image: Bill Komodore (American 1932–), Yellow Lilly, 1989, oil on canvas, 78 x 82 in., signed lower left: BK.


“Top of the World”

Oil on Board 36x24



4500 Sigma Rd. Dallas, TX 75244 972.960.8935





22 19 ERIN CLULEY GALLERY Mike Carney’s exhibition, Looking to See the Thing, continues through Jun. 17. Erin Cluley Gallery will display a summer group exhibition of gallery artists from Jun. 24–Jul. 29. The opening reception is on Jun. 24. 20 FWADA To fulfill its mission to stimulate interest in the visual arts through educational programs, art scholarships, and art competitions, Fort Worth Art Dealers Association hosts exhibitions of noteworthy art.



21 GALERIE FRANK ELBAZ PAR IS TEX AS, curated by Paul Galvez, features artists Francis Alÿs, Davide Balula, Julie Cook, Robert Rauschenberg, Ed Ruscha, and Blair Thurman through Jul. 1. 22 GALLERIE NOIR Gallerie Noir is an interior design showroom and art gallery featuring the work of Dallas-based photographer Steve Wrubel in Desert Daze. Wrubel’s Cactus series juxtaposes the prickly sun worshippers beneath neon skies and is on view through the summer. Image: Steve Wrubel, Sonora, photography, variable dimensions.



OPENING: JUNE 24 6 / 24 /17 - 7/ 29 /17

23 GALLERI URBANE Anna Kunz’s work in Heroes for Ghosts continues through Jun. 17 in Gallery One. Marion Wesson’s Cluster Fail, which addresses abuse and support, remains open in Gallery Two through Jun. 17. David Wilburn’s solo exhibition, Queer the Material! Fortify the Domestic! Stone the Hegemony! mounts in Gallery Two Jun. 24. Also opening Jun. 24 is Irby Pace’s solo show, Temporary Forms of Continuity in Spaces. Image: David Willburn, We'll Make a Mountain with the Things We've Gathered, 2017, acrylic (inlay, skins), enamel on China Birch, 23 x 23 in. 24 THE GOSS-MICHAEL FOUNDATION The Goss-Michael Foundation is one of the leading



Ann McIntyre

04 contemporary British art collections in the US. Founded by George Michael and Kenny Goss in 2007, the collection includes many prominent YBA artists. G-MF supports an artist-in-residence program, exhibits select international artists on a rotating basis, and works with emerging Texasbased artists as part of its (FEATURE) program. 25 HOLLY JOHNSON GALLERY In Color Space, William Betts explores the nuances and possibilities of technology as an aesthetic generator. Through Jun. 10. Michelle Mackey: Double Take exhibits new paintings that explore dream-like landscapes in relationship to time and memory. Mackey’s use of light and its power confuse structural logic, so that her paintings suspend between the known and the unknown. Through Aug. 12.

Seraphim, 2015, Monotype edition 1/1, 24 x 21 inches

Johnny Cochran

26 JM GALLERY Local photographer and teacher Frank Lopez presents an exhibition of works by photographers who explore the limits of technology and chemistry through experimental processes that challenge our notions of how images can be made. These artists use antiquated processes taken from a time when photography was in its infancy to create images that are unique and cannot be reproduced with modern techniques. Through Jun. 24. 27 KIRK HOPPER FINE ART Jorge Alegría’s solo show, Supernova, continues through Jun. 17, featuring detailed depictions of an alternate universe locked in a struggle of order and chaos. Opening Jul. 15, KHFA presents a summer group show. Image: Jorge Alegría, Old Antep, 2017, graphite on paper, 11 x 14 in. 28 KITTRELL/RIFFKIND ART GLASS The group show, From the Garden, continues through Jun. 4. The 23rd Annual Goblet Invitational features drinking vessels from over 70 artists ranging from functional to fantasy. The invitational opens with a reception Jun. 9 and continues through Jul. 23.

Untitled, 2017, Oil on Canvas, 48 x 40 inches

RUSSELL TETHER Fine Arts Associates, LLC 13720 Midway Road, Suite 110 Dallas, Texas 75244 M-F:9-5 & by Appointment


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Group Artist Showcase

45 29 KRISTY STUBBS GALLERY Kristy Stubbs offers years of experience and expertise in the global art trade, often bringing notable artists to the United States from abroad. A venerable private art dealer, KSG offers museum-quality paintings and sculptures. 30 LAURA RATHE FINE ART Celebrated porcelain installation artist, Lucrecia Waggoner, joins LRFA through Jun. 17 with Stardust. Waggoner’s bold installations transform environments with dynamic compositions that suggest graceful movement and explore shifting relationships between darkness, light, and color. LRFA presents a group show opening Jun. 24, featuring new work by various gallery artists, including Gino Miles, Stallman, Meredith Pardue, and more. 31 LILIANA BLOCH GALLERY Sally Warren’s solo exhibition, Convenience Store, runs through Jun. 17. The show features pieces created with colorful bits of trash found around rural gas stations. Warren finds poignancy in the empty wrappers and considers the metaphorical possibilities of litter.

Saturday, June 24, 2017 12-6PM

Exhibition on display through September 2, 2017

L A U R A R AT H E F I N E A R T 1130 Dragon St. Dallas, TX 75207 214.761.2000



32 LUMINARTÉ FINE ART GALLERY Continuing through Aug. 3, Simply Stated explores empowerment through finding truth, and taking action as exhibited in the political commentary found in the works of Antonio Guerrero, the social justice of Soraida Martinez, and humorous romanticism of Claudio Souza Pinto. 33 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries welcomes contemporary artist, Mark Kostabi. Discover the bold artistry of this unique and visionary artist in Contemporary Master on Jun. 8. 34 MARY TOMÁS GALLERY SURFACE, featuring artists Lori Schappe-Youens, Mary Tomás, and Blair Vaughn-Gruler, continues

39 through Jun. 17. Gallery Group Exhibit, featuring select and new gallery artists, opens Jun. 24. On view through Jul. 29. Image: Blair Vaughn-Gruler, Reality Check, oil on canvas, 36 x 48 in. Photo courtesy of the artist. 35 PHOTOGRAPHS DO NOT BEND Coinciding with the DMA’s exhibition, México 1900– 1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, PDNB Gallery exhibits a special selection of photographs of influential Mexican surrealist painter and icon, Frida Kahlo, through Jul. 15. 36 THE POWER STATION Steven Parrino’s first institutional show in the US features paintings, sculptures, videos, and works on paper. Dancing on Graves continues through Jun. 16. 37 THE PUBLIC TRUST Philadelphia-based artist Kyle Confehr returns to The Public Trust for his second solo show. Wayward Lines  explores Confehr’s recent experiments with Instagram’s Hyperlapse app, which he uses to create time-lapse videos of 30-minute drawings shot from start to finish. All of the work will be created in the gallery the day of the exhibition. Each drawing will be documented using Hyperlapse and posted upon completion to the gallery and the artist’s Instagram feed. 38 THE READING ROOM Brooklyn artist Olivia Divecchia’s photo and text exhibition, Dig/Site, continues through Jun. 17. 39 RO2 ART Every Day by Ray-Mel Cornelius runs through Jun. 25. An illustrator by day, Mark Ross’s Lifeworks features a significant body of quick, intimate portraits from life. Through Jun. 25. CHAOS!!!!!, a small works exhibition in all shapes and mediums by more than 100 artists

Artist Thomas Zanz, detail: The Things That Make You Happy, acrylic on linen with handmade box, 12.25 x 17.75 x 2.5 in.


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

JUNE / JULY 2017



THE POLAROID PROJECT At the Intersection of Art and Technology June 3–September 3 Free Admission #polaroidproject The Polaroid Project showcases 136 images by more than 100 artistphotographers along with examples of the tools and artifacts that helped make Polaroid a household name. Guy Bourdin (1928–1991), Charles Jourdan, 1978, C-Print on Fujiflex paper, © The Guy Bourdin Estate 2017 / Courtesy of Louise Alexander Gallery This exhibition has been organized by the Foundation for the Exhibition of Photography, Minneapolis/New York/Paris/Lausanne, in collaboration with the MIT Museum, Cambridge, Mass., and the WestLicht Museum for Photography, Vienna.



41 opens Jul. 1. Cups are Emotion displays Memphis artist Mary Jo Karimnia's various multi-media and seedbead works, opening Jul. 1. Both run through Aug. 19. At the Magnolia this summer are Adam Palmer: Sister's Sticker Collection, Jun. 8–Jul. 11 and Carol Trice: Short Stories, Jul. 13–Aug. Image: Ray-Mel Cornelius, The Lizcano, acrylic on canvas, 12 x 16 in. 40 ROUGHTON GALLERIES For over four decades, Roughton Galleries has been dedicated to dealing in fine nineteenth- and twentiethcentury American and European paintings. The gallery is distinguished for its scholarship and actively supports research in both American and European art. 41 RUSSELL TETHER FINE ART Drawing inspiration from her time spent in Tokyo, Ann McIntyre brings second life to discarded objects that take on an organic quality as she layers colors and geometric forms to create each unique monotype. Johnny Cochran’s work has a natural spontaneity, with vivid colors and textures created by spray paint, palette knives, and brushes. Both are currently on view along with ongoing exhibits: Alexander Calder, Harvey Johnson, and the June Mattingly Collection at RTFA. Image: Ann McIntyre, Stratum, 2015, monotype, unique, 30 x 22 in. 42 SAMUEL LYNNE GALLERIES Samuel Lynne Galleries presents an exhibition for their newest artist, Metis Atash, through Jun. 24. In Buddha Goes Punk, Atash brings together art and fashion in her dazzling, Swarovski-crystalembellished sculpture. Each Punk Buddha combines conceptual, minimalist, and pop art traditions in her devotion to art, design, and fashion.



Punk Buddha Timeless feat. Chanel | Mixed Media Sculpture | 17 x 12 x 7.5 in.

43 SITE131 THE LINE opens Jun. 3 with a reception from 6 to 8 p.m. Curated by Joan Davidow and curatorial interns Stephanie DeLay and Pablo Sebastián Morales, talents from Texas, US, and abroad include Kyung Jeon, Tucker Nichols, Ann Toebbe, Lynne Woods Turner, and others. Imagery bounces from female nymphs, bursting nature, and playful interiors to abstract patterns that explore social relationships and global encounters. Through Aug. 5. 44 SMINK An exhibition of work by Dara Mark, featuring eighteen paintings created over a five-year span, is displayed to reveal how this renowned abstract painter progressed to the River/Flow/Chart Series. RIVER CHART continues thru Jun. 17. 45 SOUTHWEST GALLERY A two-man show featuring new works by two of America’s best plein air painters, John Cook and John Pototschnik, will continue through July. Image: John Cook, Slouch Hat, oil on canvas, 30 x 40 in. 46 TALLEY DUNN GALLERY Located in Highland Park, Multiple Impressions, on view Jun. 10–Aug. 5, displays prints and more by Peter Doig, Ed Ruscha, Jasper Johns, Ellsworth Kelly, and Richard Serra among other blue-chip artists. 47 UNT ARTSPACE DALLAS Artspace is showing the award-winning artworks from the annual Voertman Student Art Competition at the College of Visual Arts and Design. The student-juried exhibition continues through Jul. 26. Image: Bre Ferrara, Kline’s Ex (detail), fabric.

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

JUNE / JULY 2017



We Cook, We Clean, You Party.

48 VALLEY HOUSE GALLERY A professor of painting at Southern Methodist University, artist Barnaby Fitzgerald’s eighth solo exhibition with Valley House, titled Arias, continues through Jun. 10. Opening Jun. 17, the works of Kathy Boortz and Lindy Chambers are on view. 49 WAAS GALLERY To celebrate their 6th year, WAAS is partnering with Peace Is Possible, a local nonprofit, to bridge art and culture. The 2017 Peace Day NTX Launch Celebration and World Peace Mural unveiling, featuring Renda Writer, will occur from 4:00–10:00 p.m. on Jun. 17 during Gallery Day. 50 WILLIAM CAMPBELL CONTEMPORARY ART Through Jun. 17, Extraordinary/Ordinary displays new work by landscape photographer Luther Smith whose work reflects the beauty and complexity of our natural world that serves as a record of land use. Smith’s ultraamplified light, color, and overt depth of field create a microenvironment that allows viewers to fully enter the visual spaces and interact with the subject matter. AUCTIONS 01 DALLAS AUCTION GALLERY The auction schedule is dark for the summer.

Romagna Mia



02 HERITAGE AUCTIONS On Jun. 11 at Heritage Auctions, a collection of fine art, rare sneakers, and contemporary objects highlight The Future is Now auction. Held at the Beverly Hills location, the auction features prints by Andy Warhol and works by the street artists RETNA, Banksy, and Mr. Brainwash, as well as skateboard deck art and limited-edition Nike and Adidas sneakers. Visit to view the full calendar, including auctions of Ethnographic Art, Prints, and Multiples, and Fine and Decorative Arts including Estates, Wine, and others.

2017 Regional Theatre Tony Award®







(214) 880-0202 Kyle Roark, photographed by Elizabeth Boyce.


Instant Replay


The Amon Carter celebrates the wonder that was the Polaroid camera in a revelatory exhibition.

hile it’s well-established that the times they are a-changin’, it’s also a given that the more things change, the more they stay the same. Technologies come and go as time trudges on, but a human constant is the eternal quest for instant gratification. Decades before the digital revolution planted a smartphone camera in the hands of virtually every sentient being, the Polaroid instant camera ushered in an analog revolution of its own with a democratizing technological advance that gave the world the means to make art and preserve memories in real time, give or take 60 seconds. The Amon Carter Museum of American Art’s The Polaroid Project: At the Intersection of Art and Technolog y, running June 3 through September 3, is an eye-opening celebration of the instant camera’s reign, versatility, and influence, featuring 136 images from 100+ artists, as well as artifacts from the company’s history. Included in the overview exhibition are works by many prominent names, and some surprises—Robert Rauschenberg, David Hockney, Chuck Close, Andy Warhol, Dennis Hopper, David Levinthal, Federico Fellini, Philip-Lorca diCorcia, Wendy Ewald, and even Ansel Adams—all were intrigued by the Polaroid’s potential. Not to mention post-war hordes of amateurs: moms, dads, and kids. Everyman. “I think from the beginning, photography had this democratic impulse,” suggests Joy Jeehye Kim, Amon Carter Assistant Curator of

Photographs. “Early inventors of photography like Daguerre and Fox Talbot were really thinking about it as a way that all of humanity can make naturalistic images of the world, even if they don’t have artistic skill—image-making is no longer restricted to those with the time and means to make images.” And despite the ubiquity of smartphone photography today, a post-modern fascination with outmoded technologies can resonate with timeless nostalgic notes; retro or not, there’s a genuine vitality about the images, the exhibition, and the spirit of invention. John Rohrbach, Senior Curator of Photographs, says, “In many ways it comes down to the fact of fun—people like seeing an image come up quickly, and they like the physicality of having the object in their hands. With Polaroid, you make these pictures and you can instantly see what the world looks like as a photograph…that’s just different from what digital provides.” For many Americans of a particular vintage, the Polaroid camera is associated more with grab shots of birthday parties and holidays than it is with fine art, but there are aha moments aplenty in the exhibition. Polaroid Corporation founder Edwin Land had an abiding commitment to the creative potential of his cameras, and actively pursued artist advocates. Rohrbach explains that Land’s connection to Ansel Adams dates back to 1949, when the two met at a conference. “Adams was a well-known photographer by then, and Land invited

Above: Dennis Hopper (1936–2010), Los Angeles, Back Alley, 1987, Polaroid SX-70 © Dennis Hopper, Courtesy of The Hopper Art Trust




him to tour Polaroid and its research labs,” Rohrbach says. “They developed an instant friendship, and out of that Land hired him with a retainer to be a consultant. Adams was a valuable ally, providing technical advice to Polaroid’s research scientists.” Joy Jeehye Kim adds, “What’s been surprising for me is the range of other uses for Polaroid. For example, in the show there’s a photograph from NASA of the lunar surface in 1972 that’s quite great. And you also have Polaroid being used for scientific purposes or for movies or fashion shoots. It’s really about the diversity of the uses…” One of the exhibition artists who’s still actively involved with Polaroids, most notably the large-format, 20 x 24-inch camera, is Ellen Carey. Her practice continues to push the creative edge of the technology’s possibilities, and her singular images are the antithesis of the quotidian documentation often associated with instant photography. Carey recalls that when she first began using Polaroids, “It was just instant love, l’amour fou, crazy love. I do experimental work and it’s introduced abstraction and minimalism in the trajectory of my 40-plus years of experimentation. It’s that instant technology, predating the iPhone—it’s great.” Carey’s large-scale triptych, Pulls (CMY), 1997, is a highlight of the show, serving as both a signature introduction to her explorations and also as an expectation-confounding testament to the medium’s potential. “I have lots of ideas for the Polaroid 20 x 24 camera,” she avers. “I’m not finished with it.” After the show’s run in Fort Worth, it travels to Vienna’s WestLicht Museum for Photography, the C/O Berlin, Museum für Kunst und Gewerbe in Hamburg, McCord Museum in Montreal, and finally the MIT Museum. Don’t miss this rare opportunity, and, as Polaroid’s advertising slogans once proclaimed, “See what develops”; “It can open up the world”; “Before it’s a memory, it’s Polaroid.” P Clockwise from upper left: André Kertész (1894–1985), August 13, 1979, 1979, Polaroid SX-70, © The Estate of André Kertész, courtesy Stephen Bulger Gallery; David Levinthal (b. 1949), Untitled, 1983–85, From the series Modern Romance, Polaroid SX-70 © David Levinthal, 1987–1989, ARS, NY and DACS, London 2017; James Nitsch (b. 1952), Razor blade, 1976, Polaroid SX-70 Assemblage with razor blade © James Nitsch; Mark Klett (b. 1952), Contemplating the view at Muley Point, Utah 1994, 1994, Polaroid Type 55 negative © Mark Klett.

JUNE / JULY 2017



Installation view of Doug Aitken, SONG 1, 2012/2015, at Schirn Kunsthalle, Frankfurt, July 9–September 27, 2015, photo by Norbert Miguletz

VIEWER INVOLVEMENT IS ADVISED Doug Aitken: Electric Earth offers a multisensory experience at The Modern.




Doug Aitken, Migration, 2008, video installation with three channels of video (color, sound), three projections, three steel and PVC-screen billboard sculptures, 24:28 minutes/ loop, installation dimensions variable.

JUNE / JULY 2017




photo | design

Installation view of Doug Aitken, SONG 1, 2012/2015, at Schirn Kunsthalle, Frankfurt, July 9–September 27, 2015, photo by Norbert Miguletz

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issecting then reintegrating video, sound, narratives, and the moving image, Doug Aitken: Electric Earth is a survey examination of the Los Angeles-based artist’s experimentation with mediums and disciplines. On view through August 27 at the Modern Art Museum of Fort Worth, Aitken’s dialect is amplified by films, signs, sculpture, and images that underscore contemporary culture’s disorder. Major moving installations, from diamond sea, 1997 to electric earth, 1999, that won Aitken the International Prize at Venice Biennale the latter year, are both early multichannel video installation examples. More recent work like SONG 1, 2012/2015 “present a landscape of the now” as described by Museum of Contemporary Art (MOCA) Director, Philippe Vergne, the exhibition’s organizer with Wendy Stark Curatorial Fellow Anna Katz, in collaboration with the artist and his studios. Through the use of multiscreen videos in SONG 1, Aitken erects a theater-in-the-round communal experience, an ongoing theme in the artist’s practice. Here the performance-based work could be lost in sensory overload if not for the careful editing of sound and imagery, drawing the viewer into his hypnotic visual vocabulary as a welcome protagonist. In the installation version at the Hirshorn Museum, the artist took advantage of the circular façade like that of the antiquated audiotapes the projection begins with. Images of singers Beck, Devendra Banhart, No Age, and a lip-synching Tilda Swinton, covering the 1959 tune I Only Have Eyes For You recorded by The Flamingos, are interspersed with traffic and people singing in their cars and diners. “Millions of people go by” as the lyrics say. And they did with the museum’s location beside the National Mall in Washington DC. SONG 1 ultimately created that daily non-

descript anonymity among people. A roadside motel sets an unlikely stage in migration (empire), exploring the influences of an artificial habitat on wild North American animals. In one scene, a twangy, somewhat haunting tune plays while a horse, inside a motel room, appears to watch another horse running free on television. In other frames, a beaver takes a bath; a thirsty deer gingerly laps at the motel’s swimming pool, and later ducks his head in the mini bar before turning away. A buffalo seemingly finds relief from his scratchy giant head by rubbing it against the foot of a mattress, then wrestling with bedclothes, and finally overturning a lamp. The images are at once unsettling yet amusing, as the animals explore their unlikely environs. Ultimately the film is heartbreaking in the apparent urban sprawl that has radically diminished the creatures’ homes in the wilderness. The buffalo, the hard-fought West’s all-but-obliterated icon, could also be symbolic of the year in which the work is dated, 2008, when the recession was gaining unwanted steam. And that could be very likely as the artist’s immersive films articulate an observance of environmental despoilment as well as commerce’s incursion into our social relationships. Aitken’s films unravel notions of progress. The filmmaker structures his own architectural environments, and imbues them with fragmented, repetitive abstract images that discombobulate. And while these films are not created for entertainment, they are meant to communicate 21st-century existence and to disseminate information to an untold number. In the artist’s own words to Phillip Vergne: “The museum should be a structure for broadcasting, an antenna that reaches far and wide, well beyond its own walls.” P

Photo: Walter Weissman

JUNE / JULY 2017




THE NEXT WAVE Young choreographer tackles migration crisis.


ome can be an elusive place. It can be a place of origin or an unknown destination. As the current international refugee situation unfolds, for those caught between worlds, it is the latter. It is this crisis that served as the inspiration for Bruce Wood Dance Project’s world premiere, Chasing Home.  While two of the works on BWDP’s June program, Journeys, will be Dallas premieres of work choreographed by the late founder, Bruce Wood, Chasing Home is the work of choreographer Albert Drake III. A founding member of BWDP, Drake collaborated with Joseph Thalken to create this story of migration. Thalken is an acclaimed composer whose concert, theatrical, and choral works have been performed internationally. Conversely, Drake is a 26-year-old promising choreographer. This 25-minute piece is the second major work he has created for BWDP. He and Thalken have collaborated previously for the past two holiday programs for the company.



Chasing Home is being funded in part by the TACA Donna Wilhelm New Works Fund. “TACA loved the idea that a New York composer was collaborating with an emerging choreographer,” explains BWDP President/Producer Gayle Halperin. An international humanitarian crisis is an unlikely source of inspiration for a dance company. “We wanted to tackle something that was current and to find something that was being missed. The idea of presenting a crisis and then trying to find the humanity in it is part of this company’s mission,” says Drake. Rather than looking at the situation broadly, Drake wanted to look at the individuals themselves and focus on how they are getting through these trying times. To prepare for the work, Drake and Thalken met with local representatives of the International Rescue Committee, where they were able to interview individuals about their experiences. “We aren’t setting out to make a documentary,” says Thalken, adding “but the information and feedback we received, in addition to reading many articles and watching everything we could about this subject, has

been a great help to us.” The IRC will have a table set up at the Dallas City Performance Hall at each performance. This project has been in the works for about a year, and the collaboration between Drake and Thalken has been fruitful. They began the process with the creation of storyboards. “Joseph came up with musical themes, and then we would talk about it,” says Drake. Thalken concurs, saying, “Over the past months, Albert and I have talked a lot on the phone, and I have flown to Dallas several times to meet with him and discuss the form and content of what we wanted to do. Inspired by these talks, I would work on several different musical themes and then play them for him. Based on his reaction, I’d then continue to expand what I was working on—or try to come up with something better—and subsequently sent him longer sections of music.” Drake credits Thalken with helping him grow as a choreographer. He says, “He’s given me a lot of confidence and say in how we are laying out the pieces.” So how does one begin to translate human suffering into dance? In one scene, Drake has 10 dancers undulating en masse across the stage, their movement reminiscent of a great migration. In others, they drop to the floor, as if leveled by a huge cataclysm. Yet throughout the work there are also moments of joy, of new love, and of discovery. Watching a composer conduct his own work is a rare and special opportunity, especially for dance audiences. Such will be the case when Thalken takes the stage with the Dallas Chamber Symphony to accompany the dancers. He says, “One of the major challenges of working with dancers, rather than singers or actors, is conveying what you want to convey without words or lyrics. I’ve learned, however, that a lack of words can actually allow you to express even more, pushing the boundaries of the music beyond what might be normally sung in a theater piece.” Drake explains that each of the segments within this work takes place along shorelines. As a result, he envisions the musicians as representing land and his dancers as representing the sea. This can be the metaphoric sea of humanity as well as the literal ocean voyage undertaken by so many in search of a new life. Regardless, his dancers are in constant, electric motion. Wood’s passing in 2014 left the company in shock. But it also opened the door for protégés such as Drake to chart a new course while staying true to Wood’s vision. Halperin says, “For Bruce, everything is used to propel what the subject matter is for the dance. There is a weight. It is about reality.” With this work, Drake is clearly following in Wood’s footsteps while simultaneously charting the future for the company. P Above right: David Escoto and Emily Drake. Below: The late founder Bruce Wood. Opposite: Choreographer Albert Drake

JUNE / JULY 2017



GREEN HOUSE GROWS Robyn and Michael Siegel consult with artists for their second eatery in Rosewood Court.


This page: Robyn and Michael Siegel in Green House Market at Rosewood Court. Opposite: The bar area features a vivid floor installation by Francesco Moreno, painted pendant lights by Jason Meadows, and painting, Katherine Bernhardt, Sharpies, bananas, new balance and G4 cell phones, 2015, acrylic and spray paint on canvas, 90 x 120 in.



arely are artists brought in to consult and collaborate on restaurant interiors. Robyn and Michael Siegel, art enthusiasts and co-owners of Green House Market, have bucked that trend. Within their original NorthPark Center location, natural light reflects on thoughtfully curated art by a noteworthy roster. The Siegels went a bit farther for their second place in Rosewood Court, integrating art into the design. “Every restaurant you go to—whether it’s a Starbucks, McDonalds, or Burger King— has art. It’s just a matter of whether you want something good or you want something bad,” Michael Siegel said. The new 5000-square-foot Uptown dining spot includes work by celebrated artists, Katherine Bernhardt, Jason Meadows, and local favorite, Francisco Moreno that defines the interiors. The latter two created custom work for the project. The Siegels’s farm-to-table restaurants diversify the bustling Dallas eatery scene by offering locally sourced ingredients and house-made items for both leisurely and fast-paced diners. Duties are divided: Michael is in charge of restaurant operations and Robyn helms the art and creative direction. Pedigree is apparent. The daughter of art consultant Cindy Schwartz, Robyn intended to incorporate art as part of Green House programming, selecting artists whose practices make sense for the ambience and philosophy from the onset. “We’re small business owners, and so much of Green House Market has been a labor of love, passion, and interest. Food and art, it’s what we do and it’s the language we speak. To put that out there and share it, I can’t see us doing it any other way,” said Robyn. “In this space (Rosewood Court), we worked with artists we had personal relationships with. It was more of a commission in response to the needs of the space.” For this second outpost, the creative duo looked to expand the mixture of quick upscale and health-conscious amenities. Executive Chef Ben Hutchison debuted breakfast service along with a daily lunch and dinner menu with the rotating sides people love at Green House and lean proteins. Michael utilized the talents of Carlos Torres, executive pastry chef at the NorthPark location (formerly of Stampede 66), to craft signature, in-house pastries in vegan and gluten-free recipes. Either pair perfectly with Stumptown Coffee or fresh juices. With the same care they placed in their menu, Robyn curated immersive artworks to foster a unique dynamic within the eatery’s architecture. “The difference with this one is that the art is more functional,” Michael added. “With Francisco (Moreno), it felt like a natural fit,” says Robyn of this Dallas-based artist, who painted a walkable kaleidoscope of color on the floor of the bar area. “Jason (Meadows) is so intelligent, he has a natural ability to articulate something in his work that I haven’t been able to put words to. When talking about a project, he nails it. This seemed like a natural way for us to work together—he made pendant lights for us here in addition


to the hanging sculpture at NorthPark.” As to the inclusion of Katherine Bernhardt she adds, “That just comes from a pure love of her paintings.” For NorthPark, Robyn culled work by Sean Kennedy, Darren Bader, Lucien Smith, Margaret Lee, Walead Beshty, and Jason Meadows. Meadows’s site-specific work, Mothership, complements Beshty’s black-and-white photographs of dilapidated malls. This time around, the Siegels asked Meadows to create unique lighting for the restaurant. “By the time the second project came around, the Siegels and I had become friends, and we would discuss design ideas pretty freely. Since this Green House was to have less artwork, I put on my design cap and came up with a way to modify the existing lighting,” Meadows said. And he decided to play off Moreno’s floor installation and Bernhardt’s painting in the bar area. “I am providing a little colorful counterpoint with four pendant lamps above the counter, and the existing lamps get a Technicolor treatment, using a palette based on those of the other two works.” Robyn described, “Jason came and lived in Dallas for a couple of weeks while he painted a palette we discussed on existing lights. The lights in the front are in response to our Green House color palette, the pantone, and the tables. It also works with the grey-scale design of the main dining room, with the concrete fronts of the counters. Jason and I talked about how the main space was Metallica, and the bar area was more Grateful Dead. He equates a lot to music and movies. It might have ended up more Guns N’ Roses. Welcome to the Jungle.” Bernhardt, who is currently showing at the Fort Worth Modern as part of the FOCUS program through July 8, is known for her unabashed palette of pastel-colored paintings featuring sharks, fruit, and innocuous icons. The Siegels chose a large, pink painting collaged with orange bananas, white iPhones, and turquoise Sharpies, “the Katherine Bernhardt painting we had already identified and loved,” Robyn beamed. The Bernhardt painting sits above a floor installation by Moreno. The three works stabilize the area, creating a kinetic and vibrant experience for patrons to relax, drink, and enjoy the moment. Meadows responded to the work of the other two artists: “In this case the work is much quieter, low key. It’s a different site, so I worked with the knowledge of the other works and came up with something that works in concert. I call it the Alice in Wonderland room.” The venturesome couple plan to work with more Dallas-based artists in the future. As Robyn states: “I associate it with who we are. I grew up going to NorthPark; those are my first memories of looking at art. To encounter art in a way that is full of fun is a different experience than encountering art in a museum. And it makes going into a museum more appealing to someone who is just starting to look at art. Any type of hospitality space spends money on décor,

so why not take the time to put good art out there and share that? Maybe someone will see something they love. We have gotten calls at NorthPark by people just wanting to know who the artists are.” Meadows sees the couple as not just entrepreneurs within the restaurant arena, but trendsetters. “It’s great to work with smart clients who aren’t afraid to take risks. Curating all that art into a restaurant is unique. I can’t think of another instance of that happening. It was risky, and it worked.” P

JUNE / JULY 2017




AN ART-INFUSED OPENING Coach opens an amped up NorthPark Center boutique timed with an exhibit featuring Arthur Peña’s Attempt series.


newfangled Coach boutique opening this month at NorthPark Center expands the store’s footprint. The 4200-square-foot boutique allows for a “craftsmanship bar” that brings customers a faceto-face experience with an onsite brand artisan. Working with materials that define America’s original house of leather, bar services include customization and monogramming in addition to leather care and cleaning. This is but a serving of the modern-luxury emphasis directed by designer Stuart Vevers, who expertly embraced the Coach heritage a few years back while infusing the brand with updated styling. Wide-ranging influences—contrasting textures, premium materials, detailing, and hardware—underpin the modern-luxury focus. And that’s not all. Eager to assimilate to the Dallas arts community, through a partnership with NorthPark, Coach



tapped Dallas Contemporary’s Justine Ludwig to curate a pop-up exhibition with a local artist from June 7–25. Ludwig, Director of Exhibitions and Senior Curator at Dallas Contemporary, selected Arthur Peña for the unique collaboration. “Since relocating to Dallas I have been taken by Arthur Peña’s work. Not only in the studio, but also in the community through Vice Palace, Vice Palace Tapes, and his new project, One Night Only. When Coach, with their emphasis on art and music as inspiration, approached me about collaborating, Peña was the organic choice,” says Ludwig from the Ukranian Pavilion at Venice Biennale (a Dallas Contemporary initiative realized by Director Peter Doroshenko). A line that celebrates diversity and self-expression, Arthur Peña’s practice is aligned with Coach’s vibe, range of colors, and interest in the American Southwest. “When Justine Ludwig reached out to me about being involved with this Coach

collaboration, it was with a preface that the company wanted to work with ‘a serious Dallas artist’ who was innovative and progressive,” shares Peña. “What Justine saw in my paintings and my role in this city as a whole is my willingness and determination to expand my visual language and to consistently challenge the expectations I have for myself in the studio and in my city.” Peña’s exhibition will highlight his ongoing Attempt series. “Attempt at its core is about the lack of permanence and the fragility of life. This fact is paramount.” On June 12, Ludwig will lead a conversation with the artist at 6:30 p.m. at NorthPark. “Justine is writing the wall text in order to provide context for my work and further ground the paintings in my creative and conceptual pursuits.” A reveal of two additional Peña paintings will highlight the store’s opening event on June 23. As for what’s in store, The Bandit Hobo will be the women’s bag product focus offered in a variety of colors. Other women’s bags to look for include the Coach Link Dinkier Bag, the Exotic Coach Link Dinkier Bag, and the Exotic Coach Link Rogue Tote. This boutique will also feature the Coach 1941 collection along with men’s ready-to-wear, and shoes. Expect to see the Bleecker backpack and the Metropolitan Slim briefcase, which are essential men’s silhouettes. “I believe that what Coach recognizes in my work, as well as in their creative design pursuits and rebranding, is an exciting visual energy and attention to craft,” the artist points out. “Another important aspect of this project is that it will further spread the message that Dallas is home to serious working artists.” P

This page: The new Coach boutique offers a customization bar. Opposite, clockwise from top left: Arthur Peña, Attempt 150, 2017, oil, pine, drywall, 13 x 15 in. Arthur Peña, Attempt 152, 2017, oil, pine, drywall, 14 x 15.5 in. Arthur Peña, Attempt 153, 2017, oil, pine, drywall, 14.5 x 16 in.; The Bandit Hobo Bag is offered in multiple colors in leather and suede.

MAY 28–AUGUST 20, 2017




MODERN ART MUSEUM OF FORT WORTH Doug Aitken, diamond sea, 1997 (still). Video installation with three channels of video (color, sound), three projections, monitor, and chromogenic transparency mounted on acrylic in aluminum lightbox with LEDs. 11:50 minutes/loop. Exhibition copy. La Colección Jumex, México

JUNE / JULY 2017



THE PAISLEY PRINCESS Veronica Etro makes a stop in Dallas to preview the fall/winter collection.

ETRO Long-sleeve, pleated maxi dress; bottom right: Womenswear Creative Director, Veronica Etro 50 PATRONMAGAZINE.COM



fearless fall and winter is the order, and it will be colorful. Etro’s Autumn/Winter collection offers an adventuresome playground for active women who are rebellious. Inviting you to break the rules, Etro’s Paisley Tribe brings a free-spirited collision of color and pattern to festival-goers on a far-flung mountaintop, those seeking a place of contemplation, or to a hurried city with multiple must-stop outings in one evening. A sumptuous brand defined by mystery and a world culture mashup, Veronica Etro edifies: “To wear colors you have to be strong.” She adds, “Women who wear Etro, love art, and travel, are openminded and unafraid to mix colors and patterns. She’s more about timeless collections rather than a fashion victim who wants the latest trend of the season. An Etro piece is like the pieces she collected during her travels.” The Italian high priestess of fashion is pleasingly soulful, mingling easily with Dallas women during an April stop at the Etro boutique in Highland Park Village. Plucking and reimagining the paisley that defines the family’s legacy, Etro used a psychedelic palette this season. Acid yellow, hot pink, and emerald green combine with traditional colors like pine,

Bordeaux, and black. She created a mixed world where bold stripes and amplified angles intersect patterns, spinning mandalas, tie prints, florals, and leopard print on rich fabrics. Oversized jacquard down coats, tweed parkas, and patchwork puffer jackets pair with goddess-long plissé dresses, or frocks skimming the thigh. “Robes get more regal this season. We have a lot of reversible cardigans, quilted pajama suits, and exotic prints, like tiger. You can pick one piece in the collection and mix it with solids.” And like every great adventurer, a bag in which to carry one’s findings is of utmost importance. Etro bags are larger in order to carry essentials and adorned in jacquard with velvet lacing for the postman’s bag. Embroidered carpetbags come in messenger versions. The looks are finished with colorful felt, or suede, shearling-lined boots and booties wrapped with ribbon. “We are celebrating this gathering of free-spirited women on top of a mountain. It’s a Mongolian festival. They have created their own tribe,” Etro says of her love for different cultures, antique costumes, and jewelry. “That’s what interests me in fashion; it’s not just about the clothes, it’s to be able to tell a story every time a client enters an Etro store.” P

All Etro Autumn/Winter 2017/2018 Collection from left: Printed robe coat with fur trim and printed, long-sleeve mini dress; Embroidered Shoulder Bag; Brocade, long-sleeve, fur-lined bomber shown with floral-ruched mini dress; Paisley and plaid, sequin-embroidered mini dress.

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JUNE / JULY 2017


Iris van Herpen, Chemical Crows, Dress, Collar, January 2008, Ribs of children's umbrellas, cow leather, Groninger Museum, 2012.0192.a-b. Photo by Bart Oomes, No. 6 Studios

THE ARCHITECTURE OF IMAGINATION Dutch designer Iris van Herpen brings her bold vision to the galleries of the Dallas Museum of Art.





here science and art align, you will find the singular work of Iris van Herpen. In both her haute couture and ready-to-wear, the Dutch fashion designer’s oeuvre is rarely restrained by materiality and only barely contained by the parameters of the body. Through the use of materials such as laser-cut film lace, magnetized fibers, the ribs of children’s umbrellas, and what she calls “dragon skin,” (in reality, a series of high-performance silicones), this boundary-pusher transforms each item of clothing she envisions into more than the sum of its parts. One of the first designers to explore the world of 3-D printing back in 2010, van Herpen had already solidified her space in the museum world with Iris van Herpen: Transforming Fashion, which made its debut in 2012 at the Groninger Museum in the Netherlands. Organized by Atlanta’s High Museum of Art in conjunction with the Groninger, Transforming Fashion landed at the Dallas Museum of Art on May 21 and is on view through August 20 before continuing on its U.S. tour to Cincinnati and Phoenix. The North American tour concludes at the Royal Ontario Museum in Toronto in June 2018.

A look at her inf luences, which range from up-tothe-minute technology to elements of the natural world, Transforming Fashion features 43 designs from van Herpen’s first 15 collections. Museum-goers get a rare glimpse into her trajectory from runway outlier to sartorial superstar beloved by the likes of Bjork, Lady Gaga, and Daphne Guinness. “As visitors travel through the galleries, they will gain a sense of van Herpen’s development as a designer,” says DMA presenting curator Samantha Robinson. “Specifically her shift, evident in the Crystallization collection, from an independent designer to the leader of an atelier supported by apprentices and assisted by collaborators across myriad fields. However, they will also, I hope, discover how van Herpen’s singular and powerful point of view has remained consistent throughout her career, contributing to a series of collections that are varied in terms of inspiration, construction, and form, yet remarkably cohesive conceptually and aesthetically.” All-star colleagues (including architects Philip Beesley, Niccolò Casas, Rem Koolhaas, and Daniel Widrig; artists Jolan van der Wiel and Bart Hess; and experimentalist Carlos Van Camp) often help the multidisciplinarian realize her visions. But the designer lets each original idea drive her in

Iris van Herpen In collaboration with Noritaka Tatehana and 3D Systems, Hacking Infinity, Shoes, 2015, laser-cut cow leather, 3-D printed photopolymer, stereolithography resin. Collection of the designer. Photograph © NORITAKA TATEHANA

JUNE / JULY 2017


Left: Iris van Herpen at Dallas Museum of Art. Photography by Sil Azevedo. Bottom, from left: Iris van Herpen In collaboration with Julia Koerner and Materialise, Biopiracy, Dress, March 2014, 3-D-printed thermoplastic polyurethane 92A-1 with silicon coating, Collection of Phoenix Museum of Art, Gift of Arizona Costume Institute. Photo by Bart Oomes, No. 6 Studios; Iris van Herpen, Magnetic Motion, Dress, September 2014, 3-D printed transparent Photopolymer, SLA (stereolithography) resin, High Museum of Art, Purchase with funds from the Decorative Arts Acquisition Trust and through prior acquisitions, 2015. Photo by Bart Oomes, No. 6 Studios; Iris van Herpen in collaboration with Philip Beesley, Voltage, Dress, January 2013, Laser cut 3D polyester film lace, micro fiber, Collection of the designer. Photo by Bart Oomes, No. 6 Studios.



the right direction of whom she should align herself with to make her concepts reality. “My inspiration often comes from dance, architecture, or art,” says the 33-year-old. “And it depends on my mood if I collaborate or not. Sometimes I am hungry for chaos and letting go of control, which is good ground for collaboration, but when I feel very strong about a material, concept, or silhouette that I have in my mind, I feel like exploring that road alone.”  It was not an entirely linear path from the runways to museum halls for the couturier. Originally trained as a dancer, the designer first explored the world of clothing as a high school student attending a preparatory class at the Dutch University of the Arts, ArtEZ in Arnhem. After graduating in 2006, she spent a year working under legendary Alexander McQueen before beginning her own label. She became a member of the prestigious French Chambre Syndicale de la Haute Couture in 2011, and her work was featured in the Metropolitan Museum of Art’s 2016 exhibition,

Manus ex Machina: Fashion in an Age of Technolog y. Throughout the years, her runway exhibitions belie the idea that fashion and art must remain two separate entities. Says the inventive designer, “I feel art and fashion today are more interacting than before. Designers and artists share more than ever on different levels, including collaborating in their creative processes, which is super motivating with completely unexpected outcomes. Personally I see some pieces of fashion as works of art—depending on the designer and the intention and meaning with which they made it.” As a curator of decorative arts and design, Samantha Robinson places van Herpen’s work within the tradition of design or decorative arts simply for its practical use as well as its aesthetic beauty. This tradition of functionality relegating the “use value” of decorative arts and design to lesser status within the fine arts is something she considers a “false hierarchy that should and has—

Iris van Herpen in collaboration with Julia Koerner and Materialise, Hybrid Holism, Dress, July 2012, 3-D printed UV-curable polymer, High Museum of Art, Supported by the Friends of Iris van Herpen, 2015.170. Photo by Bart Oomes, No. 6 Studios.

JUNE / JULY 2017


Iris van Herpen, Hybrid Holism, Dress, July 2012, metallic-coated stripes, tulle, and cotton. Collection of the designer. Photo by Bart Oomes, No. 6 Studios.



Iris van Herpen: Transforming Fashion installation view at Dallas Museum of Art. Photography by Sil Azevedo

to a degree—been overturned. “The work of Iris van Herpen on display at the DMA perfectly demonstrates why these categories, while sometimes useful, and their perceived, relative values are often restrictive or even problematic,” explains Robinson. “Van Herpen creates objects of fashion design that simultaneously serve functions— covering the body, encasing and elevating the feet, adorning the head, and so on—and address her conceptual and formal concerns. Nevertheless, her mastery and mixture of traditional handcraftsmanship and new materials and techniques, such as 3-D printing, result in sculptural fashion designs visually powerful either on or off of the body and, at times, functional in principle, yet in practice only to a degree. So, the object’s connection is to the body and therefore, its practical and performative characteristics are of utmost importance and therefore should not be ignored.” If there could be a limit to the Dutch designer’s vision, it would reside in what the materials she chooses to work with can actually

do. Having created a splash-like “water” dress out of acrylic heated with hot-air guns and brought a “moon” dress to life by impregnating resin with iron filings manipulated with a magnet, she embraces material advancements to bring her dreams into reality. One day the futuristic silhouettes, only she can imagine, may be standard issue, or at least a more common concern on the international runways. The designer cites the advancement of nanoengineering and metamaterials as just a few of the factors that could help her change the face of modern fashion. “Sometimes I feel like I am trying to move mountains on my own,” admits the designer. “Wondering if people see how radical our lives are changing and will change even more soon, changing our values, challenging our identities...imagine a material that makes you completely invisible. In fashion, those changes are going to be radical. My intention is to open up eyes, to inspire, and to show a different view of what fashion can be—a very personal sign of expression, far away from just being a product.” P

JUNE / JULY 2017






The ebbs and flows of an art community depend on many different factors. For Dallas, academic institutions and their Masters of Fine Art programs continue to serve as an incubator of growth and evolution for many area artists. As new voices emerge from universities, it’s an exciting time to highlight a few artists graduating in 2017 who look to shift the course of our city’s artistic dialogue. Current MFA graduates for 2017, Shelby David Meier, Juan Alberto Negroni, Alison Jardine, Sarah Rachel Larson, and Daniel Martinez represent a diverse set of artists exploring materials, subject matter, theories, and activation within their individual practices. This list is a reflection of the dense and varied programs North Texas universities are offering, employing an elasticity within their coursework to produce graduating artists ready to act as agents of change within an evolving and uncertain global arts market. Investigating the fields of sculpture, conceptual joke-telling, collage painting, “post-minimalism pop,” and object remaking, these five artists represent this vast, complex wave of talent emerging from the region’s graduate programs.


As a visual artist, Meier loves telling jokes without having to explain the punchline. It’s not about being too coy to explain, but rather, the open-endedness of things, the unexplained as part of the experience. Meier, an emerging talent within the Dallas community, applyies humility, sincerity, and actual humor into his practice as a conceptual artist. While graduating from Southern Methodist University this spring, Meier already had participated in some of the community’s most adventurous exhibitions. As a member of the now defunct Fort Worth collective’s HOMECOMING! Committee, the group mounted Post Communiqué at The Dallas Museum of Art as part of the DallasSITES: Available Space exhibition, where they collectively constructed a two-story base camp of operations within the museum and a propaganda machine which encountered the audience with true/false doctrines, narratives, and histories. Since entering SMU, Meier has been part of successful group shows, such as Bring Snack at Pariah Studios and Make Time at Texas Woman’s University. His thesis show, The Difference Between a Duck, opened in April at Beefhaus and dealt with notions of

time, paradigms, and inside jokes. “I was more nervous about the Beefhaus show than I was for any show I’ve done before, because it was going to be looked at a lot closer and a lot more critically. I think more than confidence it felt more like courage.” For Meier, SMU’s program forced him to think, rethink, and think more about the why of making, a dynamic perhaps initially uncomfortable that eventually gave way to self-assurance and resilience. “I feel like it takes the experience of being a practicing artist and puts it in turbo mode. Part of it is you’re pushed to make and think faster than you are used to or comfortable with, which is great for experimenting and really working through ideas—good or bad, it doesn’t matter. You just do it.” During his two years, Meier had to begin to explain his work in new and varied ways through frequent studio visits, reading and writing, and a push from faculty to keep making more work. “There is a heightened level of criticality that can be tough to face at times.” The process of intense critical feedback was an adjustment period for Meier. “I think the biggest part is realizing that you don’t have to agree with everyone, that it’s up to you to decide what your work needs or where it fails and where it succeeds.”

Above: Shelby Meier, Difference Between a Duck; Opposite: The Graduating Class; Top row from left: Juan Negroni, Shelby Meier, Marwa Benhalim; Seated on stairs: Alison Jardine (top), Sarah Larson (lower).

JUNE / JULY 2017



There is the old axiom of “trial by fire,” something Larson learned well while finishing her last year at The University of Texas at Dallas with plans to graduate in December. While a resident member of the university’s artist residency studios, CentralTrak in Fair Park, director Heyd Fontenot’s position was dissolved, and the current group of artists were told the program would have to find a new space by summer, essentially being evicted from the building housing the residence after nine years. “Needless to say, it was a crazy time of uncertainty.” Larson endured and chalked up the entire experience during her MFA program to fortifying her resolve. “This program has always meant more to me than receiving a piece of paper, but now I can see that it’s an experience I can apply to many parts of my life.” Larson works with specific fabrics and domestic hardware to investigate emotional loss. “I could explore any emotion, but loss is relevant to me right now and is challenging in a medium that is both ubiquitous and oftentimes comforting.” Observing her cloth sculptures you will find small gestures, carefully placed tears, creases, folds, and sewings that accent seemingly innocuous emotional tethering, or perhaps untethering. These sculptures appear in different states of unraveling, or possible undoing, but are actually made whole from their applications. They double as security blankets, intimate objects shared by family, lovers, and friends stained with memory and emotional residue. While appearing fragile and worn, these sculptures have endured, sustaining the usage of the artist’s hands and mind. In her final year, Larson is finishing her MFA with a newfound sense of endurance, apt to adapting to unforeseen challenges of all styles, including an evolution of her process. “No one needs an MFA. But an MFA is what you make of it. My practice became a little more rigorous in terms of defending and validating my work. I felt a little pigeon-holed to stay within my same medium, so exploring new themes was a challenge, but a welcomed challenge.” She sums up what she learned the most with healthy curiosity: “I still have more questions than answers.”




“Doing an MFA is so strange, really, when you consider it against ‘normal’ people’s lives.” British-born painter Alison Jardine had a fluid and accomplished career even before she enrolled in the MFA program at University of North Texas in 2015. “I began as a painter of expressive nature-based oils on canvas, and now I make landscape paintings out of concrete, cast from plastic bags, as well as immersive sculptural installations that I think of as paintings.” Pre-MFA, Jardine had participated in the Dallas Aurora festival in both 2013 and 2015, was named a finalist for the 2016 Hunting Art Prize for Painting & Drawing, featured in New American Paintings, and founded the Dallas Arboretum Artist-in-Residence program. With those CV highlights, Jardine decided to pursue a higher challenge, re-evaluating intentionality and reasoning within her practice. “Honestly, it was pretty transformative for me. I’ve always been intellectually and artistically curious, but I didn’t know how to harness this to progress my work.” Things didn’t click right away with Jardine, admitting she “wandered through uncomfortable territory for quite a while, through my first years of the MFA.” It was a mentorship with professor Annette Lawrence, who served as the head of her MFA committee, that allowed her to see things in new ways. “She really is the reason I was attracted to UNT. It took a year or so, but she persisted in trying to open my eyes to the way I was working, and finally, there did come my ‘Aha!’ moment, where I understood what she was trying to convey.” For her, that moment meant redefining “painting” on her own terms, combining a process-based practice with post-production, or found items to explore the contrasts and connections between urban environments and nature. “When I began, my hope was that I would be guided through developing my artwork further. I felt a little lost with what I was doing, and I had so many questions that I hoped studying for an MFA would answer. It has proved to be so much more than that. Fundamentally, I think it has taught me the skills I need to run my own art practice when I graduate. I never expected it to be easy, and it hasn’t been, at times, but it was always worthwhile.” While at UNT, Jardine taught drawing classes to undergraduates, helping to pay for her tuition. It also provided her an opportunity to pay it forward, much like the mentoring Lawrence paid to her. While graduating this year, Jardine has gotten straight to work, releasing a book, Make Great Art on Your iPad in Europe and the U.S. this summer, as well as a solo show at Erin Cluley Gallery in September.

This page: Juan Negroni, Pingazul; Opposite, from left: Sarah Larson, Untitled #3, 2016, polyester, 36 x 60 in.; Alison Jardine, urban-flora-XXVI (Spring), 2017, cement, moss, 14 x 14 in.


The Western perception of island life in Puerto Rico has always frustrated artist Juan Alberto Negroni. “In Puerto Rico, if you are in the metropolitan area where I grew up, it feels super heavy, super hectic. You would think on an island everyone is chilling, wearing flip-flops. It’s not like that. We’ve been adapting a North American way of living and trying to make it work on an island, and it’s a mess.” Negroni moved to Dallas from Puerto Rico with his wife two years ago to attend Southern Methodist University for his masters, after finding an adequate collector base to support artists in his home country. “There’s no money in Puerto Rico. There’s nothing you can do. We have a few collectors inside Puerto Rico that are pretty consistent. But since they have money, they are already buying outside the country at auctions. No one is investing their money in the best of the new generations.” One of the reasons Negroni chose SMU was because of all the schools he applied to, it was the furthest from Puerto Rico. He also came with a masters in education and a storied Central American exhibition history, but was attracted to the strength of SMU’s program. He also came with zero expectations on what he could find in higher education, leaving himself open to opportunities. ”When I came here, I was practically doing the same thing I was doing in

Puerto Rico. They were very simple abstractions. I was dealing with the island and ‘enclosement.’ When we think of an island, we think of this weird piece of land floating endlessly, on top of the water.” In a recent group show this past spring, Fresh at Mary Tomas Gallery, with whom he is represented, Negroni’s work explored the kinetic, colorful memories of his home country, while also addressing loneliness, overcrowding, poverty, and lack of personal space home evokes. “I started rethinking the whole thing. I went back to my basics since my BA is in printmaking. I was paying a lot of attention to Joan Miró’s composition.” This recent work explores Negroni’s childhood, growing up sharing a room with two brothers. Growing up in a lower income neighborhood, the house always felt overcrowded, making it difficult to establish privacy, even sanctuary, within his room. These are memories Negroni based much of the show around. In most of the paintings from this body of work there is a medium-sized blob, born of black paint and undesirable shape. Yet it is beautiful, and most of the movement and gestures in the painting work around the blob as its axis. It is when you step back and analyze, you are hit with heartbreak, realizing it’s as much autobiographical for Negroni as well. “It’s me. It’s the island also, in relation to the political situation with the United States and in relation to the other islands around it. But it’s also me in relation to where I was and where I am now, working my way around.”

JUNE / JULY 2017


From left to right: Marwa Benhalim, Manual of Political Laughter 1; Marwa Benhalim, The Chair


Egyptian-born Marwa Benhalim has been interested in power dynamics and politically based work since her undergraduate studies at The American University in Cairo. Since arriving in the US to study at Southern Methodist University, Benhalim found a faculty and community open to her artistic concerns, guiding and challenging her to discover multiple disciplines. “Having the space and materials to experiment with techniques opened the door for me to explore new ways to think about my ideas. Throughout the past two years there have been professors pushing me to think theoretically about why I am doing something. So it’s grounded in a better way.” She took advantage of open studio hours with professors of other disciplines, working with the film department and even directing a film last year under the mentorship of the film department’s Assistant Professor, Amber Bemak. “It was good to be engaged with other departments. It’s a little more difficult to be interdisciplinary because the arts building doesn’t help you; it’s big and divided. There’s the art side, theatre side, and the music department is in the basement. So it’s harder to work with other people, but there have been situations where I was able to.” Benhalim began experimenting with different ways to explore notions of power from the point of view of an international student in a new environment. “The concept of power is something I have been interested in for a very long time, since my bachelor’s degree. In the MFA program I tried to experiment further and really push the concept. Especially struggling with this idea of being a foreigner in the



US and talking about power and control in regards to my experience here and what that means.” A cultural symbol in Egypt, the chairs found in marketplace and tea shops have become a symbol of power for her to research and apply her theories to. The chair became an integral part of Benhalim’s thesis show, punctuating its significance and open-ended meaning through holograms made by Benhalim that allowed the chair to exist outside of a static object, and remain limitless in its manifestation in the gallery. “I use video, holograms, and sound so I can be a bit more abstract and not as didactic. It helps people understand while it also protects me and initiates some sort of conversation. With the chair, it’s something I have to explain here, but back home in Egypt it is immediately read and recognized. One of the great things about being an international student in an MFA program is you get to question how you talk to someone and explain something, giving them enough context so they understand. Especially coming from another country, it’s quite a challenge.” She returns home to Cairo at the end of May and will take her expanded practice with her, finding new ways to translate what she has learned while at SMU to a country with different traditions and power structures. “I have a lot of work ahead of me. I am going back to Egypt, and I think about the dissemination of texts that bring a lot of problems for artists. How can I explore other mediums for people to think without creating a super direct message? I want to open the space for multiple interpretations to my work, keeping myself safe within these interpretations.” P

STARRY NIGHTS From left: Zoe Saldana. Photography by Kevin Tachman; Kenny Goss, Marc Quinn, Joyce Goss. Photography by Sylvia Elzafon; Piero Golia, Pierre Huyghe, Kevin Fink, and Valentina Altamirano at Nasher Prize gala. Photography by Kristi and Scot Redman; Anne Hathaway, Ann and Lee Hobson. Photography by George Fiala; Sydney James Harcourt performs at DTC's Revolution & Revelry. Photography by Dana Driensky.

TWO x TWO for AIDS and Art At the home of renowned collectors, philanthropists, and event co-founders Cindy and Howard Rachofsky, TWO x TWO for AIDS and Art is a soiree like no other. Guests of presenting sponsors Harry Winston and Cadillac shared in the revelry along with Artist Honoree Laura Owens and her gallerist Gavin Brown. With caviar flowing as freely as the Dom Pérignon and Belvedere cocktails, celebrity attendees Zoe Saldana and Marco Perego looked on as Ricky Martin performed. The impeccably heeled luminaries were just part of the affair. The 2016 event raised $7.5 million for amfAR, The Foundation for AIDS Research, and the Dallas Museum of Art. A running total of $67 million amassed over 18 years, makes the fabled fête the largest US fundraiser for amfAR. –PATRON

MTV RE:DEFINE Chaired by Maxine Trowbridge, Marc Quinn, Eric Fishl, and Johnson Hartig joined Kenny Goss, Joyce Goss, and Peter Doroshenko to raise money for the Dallas Contemporary and MTV Staying Alive Foundation, helmed by Georgia Arnold. While Chaka Khan raised the roof as the evening’s entertainment, the event paid tribute to the late singer George-Michael (co-founder of The Goss-Michael Foundation). Raising $2.7 million this year, Damien Hirst’s Beautiful Beautiful George Michael Love Painting was the live auction’s top lot, selling for $580,000. –PATRON

NASHER PRIZE With dinner served beneath a tent reminiscent of Max’s room in Where the Wild Things Are, “until the ceiling hung with vines and the walls became the world all around,” the Nasher Prize Gala dazzled. Inaugural Nasher Prize-laureate, Doris Salcedo, and The Chalet’s Piero Golia joined Director Jeremy Strick and Nancy Nasher to honor 2017 prizewinner, Pierre Huyghe. Chaired by Deedie Rose and Sharon Young, invitees enjoyed a lavish meal topped off by a Deedie-mandated baked Alaska and a cheese course (perhaps a nod to the French artist?). Here’s a tip all seated events should follow: multiple screen placement for those guests viewing from the farthest reaches of the room. The screens were a thoughtful inclusion from the gala’s planner. –PATRON

ART BALL 2017: ALL THAT GLITTERS Eugene McDermott Director Agustín Arteaga gave his maiden Art Ball address during All That Glitters at the Dallas Museum of Art in April, just weeks following the opening of the sweeping survey México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde. Among those listening to Arteaga were Brooklyn-born actress Anne Hathaway and co-chairs Ann and Lee Hobson. The annual affair directly supports the DMA’S commitment to the presentation of diverse exhibitions, educational and public programs, and collection care, all while providing free general admission. –PATRON

REVOLUTION & REVELRY CENTERSTAGE On the heels of the Tony Awards announcement proclaiming Dallas Theater Center as the Regional Theatre Tony Award winner, Hamilton stars Sydney James Harcourt and Carleigh Bettiol entertained at the Mickie and Jeff Bragalone-chaired Revolution & Revelry Centerstage 2017 on May 6 with tunes from the musical. DJ Spinderella had guests dancing until 1 a.m. at THE UPRISING after-party. Of the Tony Award, DTC’s Board Chair Julie Hersh says: “My hope is this award wakes up a broader section of Dallas to the idea that great theater is being created in Dallas, right now. Take off your ruby slippers and realize the immense talent and creativity that waits in your own backyard.” –PATRON JUNE / JULY 2017



ENCORE! Lee Cullum selects season standouts within the performing arts.



The Turn of the Screw, The Dallas Opera. In his continuing adventures beyond conventional taste in Texas, General Director and CEO Keith Cerny brought Benjamin Britten to the Winspear in one of his most mysterious, if not harrowing, works. Based on a short novella by Henry James—never one for the slight or the sentimental—this opera is a grabber. It draws you in with the eerie artistry of Agatha Christie or Alfred Hitchcock. In several shades of stormy, suspenseful dusk, The Turn of the Screw was anchored by excellent voices—vulnerable soprano Emma Bell; baritone William Burden, too slippery to be believed; and magnificent mezzo Dolora Zajick, whose commanding vocal authority forced you to credit her every word, no matter how discomfiting. Set with spare, inventive flair by Paul Brown and conducted with her usual brio by Nicole Paiement, this was the standout of a starry season at the everevolving Dallas Opera. Clockwise from above: Screw; Chamblee Ferguson in Christiana Clark. Photo by Karen Almond; Galileo



Galileo at the Undermain Theatre and The Christians at Dallas Theater Center. The first was written by Bertolt Brecht in 1943, the second by Lucas Hnath two years ago. (His current Broadway venture, A Doll’s House, Part 2, just won a Tony nomination for Best Play.) Both Brecht and Hnath explore the conflict—real or stirred up—between church and science, religion and reason. Galileo definitely stirred them up in Rome when he confirmed that Copernicus was right: the sun is the center of our universe, not the earth. Played with mesmerizing mastery by Bruce DuBose, this Galileo embodies a world besieged by anti-intellectualism so virulent it threatens to topple the towering achievements of the Renaissance. In The Christians, Hnath takes up where Brecht left off, casting his argument between a pastor who admits to his congregation that he no longer believes in hell, and certainly not the certainty of hell for followers of other faiths. His associate preacher disagrees. So does his wife. And they are not dolts. They are intelligent, credible people. So it’s a fair fight. That is the brilliance of the play. With an excellent cast, led by Chamblee Ferguson as the pastor and Christiana Clark as his wife, and a set designed by Bob Lavallee in minimal detail devoted to essentials, The Christians joined with Galileo as two sides of the same coin. Together they gave Dallas a necessary discourse on the spiritual, the scientific, and the elusive urgency of rapprochement between them.

Left: Alvin Ailey Dance Theater, Mauro Bigonzetti's Deep. Photo by Paul Kolnik. Right: Alvin Ailey's Revelations. Photo by Gert Krautbauer. Below: AADT's Linda Celeste Sims and Glenn Allen Sims in Christopher Wheeldon's After the Rain Pas de Deux. Photo by Paul Kolnik.


Alvin Ailey, TITAS Presents at the Winspear. Playing to a nearly packed house, this is a dance ensemble of depth and surprise. Deep, in fact, was the name of the opening number the night I was there. It reminded me of Michael Jackson at Texas Stadium years ago. There was no appeal to the sexy or the senses, only a testament to the tensions of the times with a yearning for Armageddon, those dreaded last days that promise release from an age of anxiety. This is a dance of solitary virtuosity, projecting no connection, much less relationship. The movement was so angular, so overwrought, I didn’t realize the intrinsic grace of the dancers until they took their bows. If there was no letup in Deep, Walking Mad, danced partly to Ravel’s Bolero, gloried in wit, with derby hats, referencing Magritte, and a falling wall, or bodies falling over the wall, reminding us that fences need not be fraught with politics. They can be fun, and a whimsical prelude to the return of the classical in the service of romance, melding both styles, no longer antithetical, into a captivating pas de deux choreographed by Christopher Wheeldon. Called After the Rain, it apotheosized Akua Noni Parker, a dazzling dancer dressed in a melon-colored leotard, like a one-piece bathing suit, that showed her off as sensuous and voluptuous, with long legs capable of anything the music of Arvo Part could ask of her. Her partner, Jamar Roberts, the tallest man in the company as far as I could see, was elegant in long white pants, and with a back so muscular you could understand why Parker trusted him to hoist her far overhead where she floated, as if on eagle’s wings, in derring-do that recalled Judith Jameson in her prime. The evening closed with Revelations, a dance well named and made by Ailey himself. Who could resist the grand finale, done to Rocka My Soul in the Bosom of Abraham? It had everybody up and clapping just as it happened in Berlin a few summers ago, hardly the response expected from a German audience. But the art of Alvin Ailey is, after all, universal.

JUNE / JULY 2017


American composer John Cage

Russian pianist Boris Berman


John Cage’s Sonatas and Interludes, Soundings, Nasher Sculpture Center. Russian pianist Boris Berman, now of Connecticut, played these pieces on a “prepared piano” which earlier he had outfitted with bolts, screws, and other workaday items from Home Depot. Stuck among the strings, they produced a sound seldom if ever heard before or since. That sound was born in 1938, according to program notes, when Cage first experimented with hardware to create for a dance company “more sonic variety than their one piano, or budget, could muster.” What emerged later, in his Sonatas, was music that started out very austere, stretched over bare bones, but gradually grew lyrical and lovely. Berman swore afterward that he could hear Stravinsky in it. Sonatas 14 and 15 were inspired by the works of Richard Lippold, an American sculptor whom I met when he was doing a piece in intricate gold wire mounted on the stone wall of a house in Dallas. “I would rather have had life,” he said then, “than not have had it.” Of course. And I would rather have heard these astonishing Sonatas and Interludes than not. To have missed them that evening would have been to forego John Cage’s reason for writing: “to sober and quiet the mind.”


Dallas Symphony Orchestra. Photo by Mark Kitaoka.



Christopher Rouse, Symphony No. 5 and Rapture, Dallas Symphony Orchestra. In two separate concerts, the symphony showcased the work of this American composer. Known as a neoromantic with a tendency toward the atonal and the tragic, Rouse, in 2000, turned deliberately away from the darkness of death— having lamented five losses in all, from that of Leonard Bernstein to his mother—and embraced not only light but ecstasy in his “unabashedly tonal” Rapture. Not written with religion in mind or any anticipation of the end-times associated today with the rapturous, this eleven-minute tour de force celebrates the energy of the possible and the possibility of joy. It points to Rouse’s Fifth Symphony, composed fifteen years later, though with a zigzagging “crooked straightness” described by poet Robert Frost. Commissioned by the Dallas and Nashville symphonies plus the Aspen Music Festival, this is a mature work, steeped in both dissonance and consonance, in the hope of transporting those who hear it “from turbulence to serenity.” Not so different, then, from John Cage, though drawing on a temperament far more extroverted and, finally, exuberant.

The Curious Incident of the Dog in the Night-Time

Peter Manning is the Guest Concertmaster at The Dallas Opera.


The Curious Incident of the Dog in the Night-Time, Broadway Series, AT&T Performing Arts Center. This triumph by Simon Stephens originated at the National Theatre in London, then turned up in American cities after a notable run in New York. The U.S. cast began in boot camp, one member explained to me, because the play is so strenuous no one could do it who is not in shape. But the rewards are great, for those who act in Curious Incident and those who react to this seductive story of an inordinately bright autistic boy who sets out to solve the murder of Wellington, a yellow lab, or so it seems, and stumbles into the murky, disconcerting world of his parents whose ordinariness belie their penchant for inconvenient complications. Thoughtful, original, laced with offbeat humor, this play suggests that the Broadway Series might do well to give Dallas more drama among the musicals, winning though they are.


Mozart’s Bastien and Bastienne, Dallas Opera’s Verdi and Company. The same weekend that Bellini’s Norma was delivering deliriously beautiful singing to audiences at the Winspear, the hall opened on a Saturday afternoon to family fare worthy of anyone lucky enough to come by. Peter Manning, concertmaster of the Royal Opera House and prior leader of the London Philharmonic, has been spending some time at The Dallas Opera the past couple of years as guest concertmaster and conductor, working with the orchestra and leading productions such as Mozart’s Bastien and Bastienne. Crisp and to the point, Maestro Manning gave this music such verve and vitality that the iconic composer no doubt came alive for the enthusiasts that all but filled the ground floor of the Winspear, many of them, I would guess, hearing Mozart in performance for the first time. It is a measure of the seriousness The Dallas Opera attaches to this series that a musician of Peter Manning’s caliber has been engaged as conductor on a regular and supremely welcome basis. His passion now is more than music. It is bringing lives— especially young lives—to the arts and bringing the arts to new life themselves. P JUNE / JULY 2017



A NEW WAY OF SEEING Area museums present fresh perspectives.

Once upon a time, it was easy to select the year’s best museum exhibitions. They were the one or two blockbusters that North Texas anticipated and talked about for months. In the current cultural climate, it seems as though almost every museum exhibition merits the title. In trying to compile a list from this cornucopia, Patron decided to focus on the exhibitions that provided viewers with a new way of seeing. Beyond the traditional blockbuster, area museums provided audiences with new lenses through which to experience work they thought they already understood. As the museum-going public becomes increasingly sophisticated, museums are rising to the challenge to offer deeper insights into the past and present. Common sewing thread hardly seems to be the medium for

sculpture. But then again, that is the point of Gabriel Dawe’s long-term, site-specific installation, Plexus no. 34, on view at the Amon Carter Museum of American Art. As a man working in a medium traditionally reserved for women, the Mexico City-born, Dallas-based artist uses this common material as a way to challenge notions of gender and identity. His work also explores the material of the fashion world, which he then renders on an architectural scale. Created with over 80 miles of multicolored thread, each one individually placed, this installation is simultaneously ethereal and monumental. The use of the humble medium of clay stretches as far back as the earliest civilizations. Perhaps it is for this reason that it was

Above, left to right: Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles installation at the Crow Collection of Asian Art, Photography by Turk Studios; Gabriel Dawe (b. 1973), Plexus no. 34, 2016, Gütermann thread, painted wood, and hooks. Courtesy of the artist and Conduit Gallery.



Clockwise from top left: Keer Tanchak, Soft Orbit installation; Ambreen Butt, What is left of me installation; Pia Camil, Bara, Bara, Bara installation; all three exhibitions at Dallas Contemporary.

long considered a craft rather than a true art form. In Clay Between Two Seas: From the Abbasid Court to the Puebla de los Angeles, the Crow Collection of Asian Art explored the intersection of cultures that ultimately birthed Talavera Poblana. This tin-glazed earthenware associated with the state of Puebla, is the intersection of a family tree with roots eleven centuries old and branches extending across three continents. Inspirations from Chinese porcelain design and Middle Eastern technical innovation united in central Mexico to create something unique. This exhibition was revelatory in illustrating the inspirations that evolved from continent to continent. Erstwhile, three artists showing together formed a three-man exhibition. Presently, three women, Pakastani American Ambreen

Butt, Mexico City-based Pia Camil, and Canadian-born Keer Tanchak, have concurrent exhibitions at the Dallas Contemporary. All three derive inspiration from media, including textiles and miniatures. From afar, much of Butt’s exhibition, What is left of me, appears to be traditionally painted tile or textile. Closer inspection shows them to be painstakingly crafted compositions. Camil’s installation, Bara Bara Bara, offers a literal and figurative view into the piecework that supports many women in Central America. In Soft Orbit, Tanchak uses art history as a gateway into an exploration of consumer culture. Medieval art conjures religious imagery and royal pageantry. Art and Nature in the Middle Ages at Dallas Museum of Art focused

JUNE / JULY 2017


Workshop of the Flammschweiflöwen, Aquamanile (water jug) in the shape of a unicorn, Nuremberg, Germany, c. 1400, bronze, Musée de Cluny, musée national du Moyen Âge, Paris, Cl. 2136 © RMN-Grand Palais/Art Resource, NY. Photograph by Gérard Blot.

on the elements that traditionally provided background in medieval art. Borrowing from Paris’s Musée de Cluny, the exhibition of over 100 objects, spanning four centuries, was a treasure trove that included illuminated manuscripts, stone capitals, stained glass, and embroidered tapestries. Salvation, rather than the devil, hid among the details. Underlying the work was the close connection between humanity and nature and how the divine could be reflected in the quotidian. Just when it seemed that there is nothing new to say about French Impressionism, Monet: The Early Years dazzled audiences at the Kimbell Art Museum. Organized by the Kimbell in conjunction with the Fine Arts Museums of San Francisco, the exhibition featured Monet’s earliest work. Several paintings demonstrated his prodigious talent as a teenager. This exhibition illustrated how his virtuoso technique earned him early critical acclaim. His spectacular ability in handling the effects of light and water, however, developed at a quicker pace than contemporary tastes, and his revolutionary work soon became too avant garde. The exhibition, which ends in 1872, the same year that he painted Impressionism-Sunrise, provided audiences an opportunity to rethink Monet’s later success based on his earliest achievements.   Before 24-hour news cycles and social media, disasters were singular phenomena, capturing the public consciousness. It was

Monet: The Early Years installation at the Kimbell Art Museum. Photograph by Robert LaPrelle.



Donald Sultan, Firemen March 6, 1985, Latex and tar on tile over Masonite, 96.5 x 96.5 in. Museum of Fine Arts, Boston, Massachusetts, Tompkins Collection—Arthur Gordon Tompkins Fund.

Richard Serra: Prints installation at Nasher Sculpture Center. Photo by Kevin Todora.

against the backdrop in the 1980s that the work for Donald Sultan: The Disaster Paintings was created. The exhibition, at the Modern Art Museum of Fort Worth, introduced a new generation to Sultan’s iconic work. Sultan, a painter, sculptor, and printmaker, worked on the series for most of the decade. In his monumental, multimedia disaster paintings, he often juxtaposed the strength of industrial landscapes with their fragility in the face of disaster. Sultan drew from such diverse topics as current events and art historical references. There is a gap in early 20th-century art in Spain. The Meadows Museum went far to fill it in with Modern Spanish Art from the Asociación Colección Arte Contemporáneo. This groundbreaking exhibition presented a comprehensive survey of Spanish modernism dating from 1915 to 1960. Much of the work is unfamiliar to American audiences, and quite a bit of it had never been seen before in the United States. Many of these artists, living abroad, were instrumental in the development of international art movements in their host countries. Others are lesser known but remain an influential part of Spanish modernism. Equally impressive is the ACAC, a consortium of businesses that fund the collection and endeavors to make this work available to the public. Say the name Richard Serra and most art cognoscenti immediately think of minimalist sculpture. The Nasher Sculpture Center turned that notion on its head with Richard Serra: Prints. The exhibition drew upon the artist’s full range of creativity. These prints span decades of printmaking techniques. In many ways, the works on paper echo his sculptural practice through their monochromatism and monumentality. Working for the past 40 years with Los Angeles-based Gemini G.E.L. (Graphic Editions Limited), these works on paper exude a warmth that counterbalances the industrial energy of his steel sculptures. P

JUNE / JULY 2017


FAIRY TALES JUERGEN TELLER VISITS FORTY FIVE TEN Forty Five Ten treats its clientele to an untold number of celebrity, designer, and artist appearances. Among these, famed photographer Juergen Teller (who came to initial fame when his photos of Nirvana’s Kurt Cobain got published), stopped by during Dallas Art Fair. Represented by fair exhibitor Lehmann Maupin, David Maupin and art consultant John Runyon joined Teller in Mirador as he signed copies of the picture-laden tome Eating at Hotel Il Pellicano at Forty Five Ten. Bestriding fine art and commercial photography, he is known for defining fashion houses in unexpected ways. For Marc Jacobs he inserted himself naked with Charlotte Rampling. For another he’s pictured nerdy and wigged with Cindy Sherman. His images appear deceptively raw and unfinished. It’s only on closer inspection the viewer discovers they are highly intellectualized without being contrived. The German cameraman tells Patron, “Fashion is only part of the whole story.” On photographing food for the Il Pellicano cookbook he says, “The book was very tedious; it was very exciting but long-winded; it’s a lot of waiting time, a lot of boring time, and then the moment comes and you have to be quick.” On working with two-Michelin-starred Antonio Guida, “Whenever he had something to say, he was always right. He had a point. It took a long time for the recipe to be ready. Then you have to re-photograph it again. You have to respect their creation.” Teller took a hands-on role in design of the book. “I wanted to make it for sure horizontal.” The project took Teller three or four different visits to the eminent Tuscan hotel to work with Guida. “It was a slow exercise, but I enjoyed it very much.” –TERRI PROVENCAL

From left: Juergen Teller signing books at Forty Five Ten; Copies of Eating at Hotel Il Pellicano. Photography by Bruno.

DALLAS ART FAIR & THE EYE BALL David Maupin of Lehmann Maupin fame was among the who’s who at the 2017 Dallas Art Fair this April. The impressive 97-art-dealer lineup included first-time exhibitors Simon Lee and Gagosian, joining returning blue-chip gallerists Massimo de Carlo and Gallerie Perrotin. The Dallas Art Fair Foundation Acquisition Program gathered $100,000 to purchase seven pieces by six artists for the DMA. –PATRON Regional and international visitors love to return to Tony Tasset’s Eye for The Eye Ball in celebration of Dallas Art Fair. Presented by The Joule, this year a 15-foot skeleton played a starring role at the dia de los muertos-themed evening. Tim Headington and company hosted the arty crowd that included skull-faced, floral-adorned models alongside artist Rinus Van de Velde and exhibitors Tim Van Laere, Jesus Drexel, and Taymour Grahne to name a few. Sexy Austin-based guitar-soloist Yayo Sanchez entertained amidst a cloud of smoke from which he rose. –PATRON From left: Dallas Art Fair exhibitor David Maupin. Photography by Daniel Driensky; Yayo Sanchez performs at The Eye Ball. Photography by Yesi Fortuna.



Nasher Prize Gala honoring Pierre Huyghe Photography by Bruno



Gavin Delahunty

Tim Van Laere, Elke Segers

Jeremy Strick, Nancy Nasher, Piero Golia



Stefan Lundgren

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n June 2nd, the Schirn Kunsthalle in Frankfurt will unveil the largest European retrospective of Peter Saul’s work to date. This survey will be on view through September 3rd, when it travels to the Falckenberg Collection branch of the Deichtorhallen in Hamburg from September 30, 2017, to January 28, 2018. Many of the artist’s earliest paintings in the exhibition were conceived and created in Europe sixty years ago. Saul lived as an expat in Holland, Paris, and Rome from 1956 through 1964. Art history was made on that fateful day in 1958 when Saul wandered into Le Mistral bookstore in Paris and first encountered a copy of the new American export, Mad magazine, which would inspire the next chapter in his painterly progress. From the vantage point of Europe, the American popular culture of Saul’s childhood could be mined for its satiric as well as formal possibilities. Comic book characters such as Donald Duck, Mickey Mouse, Superman, and the villains of Dick Tracy began to populate his canvases. “At that point, I relaxed because I had all the ingredients for some really heavy, grim yet laughable psychology which was my felt— but at that time—unspoken purpose,” Peter told me recently. During this period, Saul also began to experiment with a new method, spreading the oil medium across the entire surface, allowing for very “slippery, speedy” brushstrokes. And although still living in Europe, his first show was at Allan Frumkin’s New York gallery in January 1962. According to the artist, “It was Pop Art month,” and several publications such as Art International and Paris Herald Tribune placed his work within this new context. The Abstract Expressionists Willem de Kooning, Franz Kline, Philip Guston, and Robert Motherwell descended upon the gallery to

suss out the new enfant terribles on the scene (including an unknown teaching assistant named Roy Lichtenstein). Due to his more painterly approach, Saul’s work was singled out by these New York School vets which made him feel ill at ease: “What does it mean when the previous generation likes you best?” Within a year, Saul was becoming a peripheral figure within the Pop movement. Critics such as Barbara Rose and Lawrence Alloway were defining Pop Art as exclusively tight, flat, and mechanical in execution, mimicking mass production. Saul maintained that Pop Art is “pop” due to the subject matter and the attitude of the artist—his Icebox Series (1960–63) was very much Pop Art to the painter. In opposition to prescribed theories, Saul believed that the image itself should do the heavy lifting. If the painting did not receive attention or was not viewed properly, then it was the painting’s own fault. Saul simply found the current trends too mild and dependent on critics: “For the artist to show up and try to help the picture win approval seemed laughable and weak.” After eight years in Europe, Saul returned to America and settled in Mill Valley, California and began the next phase of his career: large canvases with images full of war, psychology, and politics executed in fluorescent acrylic. “It was a situation where my far left political leanings could coincide with the subject matter,” sending up almost every known genre. His work from 1966 on—rooted in the European sojourn—completely and irrevocably separated him from the official world of “Art,” allowing his work, in the words of the Village Voice critic Christian Viveros-Faune, to “give the finger to the idea of art as a series of plush, conformist, faux-transgressive bromides.” This notion continues for the octogenarian painter to this day. P

From left: Peter Saul, Icebox, 1960, oil on canvas, 69 x 58.5 in. Harkey Family Collection, Dallas; Peter Saul, Killer, 1964, oil on canvas, 79.25 x 67 in. Harkey Family Collection, Dallas



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