Patron's June/July Issue

ART INFLUENCERS

HUMA BHABHA

JONATHAN BOROFSKY

ANTHONY CARO

TONY CRAGG

MICHAEL CRAIG-MARTIN

MARK DI SUVERO

LEONARDO DREW

BARRY FLANAGAN

TOM FRIEDMAN

LIAM GILLICK

KATHARINA GROSSE

KAWS

ROY LICHTENSTEIN

HENRY MOORE

IVÁN NAVARRO

PAMELA NELSON AND

ROBERT A. WILSON

JOEL SHAPIRO

FRANK STELLA

LEO VILLAREAL

HE XIANGYU

A MUSEUM UNLIKE ANY OTHER. THE ART OF SHOPPING.

PLUG IN TO ONE AGENT. LIGHT A NETWORK OF 23. They bring this city to life like no other group. In a spirit of collaboration that has propelled some of Dallas’ most legendary real estate transactions, this premier networking group continues to do what it does best—connect people and properties. What does that mean for you? A more expertly facilitated sale of your prized property. A more perfectly matched home for your next move. Twenty-three of the most admired and knowledgeable real estate professionals in Dallas come together to put their resources and their vast experience to work for you. Insider information, off-market properties, Dallas’ most exquisite estates—all leveraged for your benefit. Thinking of a change? Put the Masters of Residential Real Estate to work for you.

SEATED : DORIS JACOBS , Allie Beth Allman and Assoc. EMILY RAY-PORTER , Compass RALPH RANDALL , Briggs Freeman Sotheby’s ERIN MATHEWS , Allie Beth

Allman and Assoc. AMY DETWILER , Compass FAISAL HALUM , Compass JOAN ELEAZER , Compass SUSAN MARCUS , Briggs Freeman Sotheby’s

STANDING : BECKY FREY, Compass KYLE CREWS , Allie Beth Allman and Assoc. TOM HUGHES , Compass MICHELLE WOOD, Compass EMILY PRICE CARRIGAN , Emily Price Carrigan Properties CHAD BARRETT, Allie Beth Allman and Assoc. MADELINE JOBST, Briggs Freeman Sotheby’s RYAN STREIFF, Dave Perry-Miller Real Estate SUSAN BALDWIN , Allie Beth Allman and Assoc. FRANK PURCELL , Allie Beth Allman and Assoc. JONATHAN ROSEN , Compass PENNY RIVENBARK PATTON , Ebby Halliday Realtors MARK CAIN , Compass STEWART LEE , Dave Perry-Miller Real Estate JACKIE MCGUIRE , Allie Beth Allman and Assoc.

EDITOR’S NOTE

June / July 2025

TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com

Instagram terri_provencal and patronmag

Art has always needed agitators—people who commit, dare, challenge, and roil the status quo. This year’s Art Influencers are just that. They are artists, vanguards, and visionaries who shift perspectives and invite all of us to see and engage with the world differently. They are changemakers, artists, and leaders of the cultural quotient. They are resolute and hopeful, always with the intention of embracing new audiences.

Among them is Sedrick Huckaby, a modest yet towering figure in the national art scene whose soulful practice looks for possibilities to open minds. Martine Elyse Philippe , director of the Office of Arts & Culture, brings leadership with vision and purpose. Natalia Di Pietrantonio, the intellectually curious curator at the Crow Museum of Asian Art at UTD and the Dallas Arts District, challenges narratives through her thoughtful lens. Emma Vernon , executive director of The Cedars Union, champions emerging creatives with tenacity.

We also recognize Christina Hahn, a passionate advocate for Asian American artists whose work ensures visibility and representation at every level. Simon Waranch, an ascending 26-year-old talent, is already making waves across the country with his dynamic practice. Antonio Lechuga transformed personal tragedy into a powerful artistic response, using his work to address mass shootings and foster healing through community. Kaci Merriwether-Hawkins dared to dream—and realized Black Girls in Art Spaces , a platform born of necessity and pride. And Haley Leavitt , through The Oak Cliff Assembly and its Art Walk, creates space and mentorship for creatives seeking connection and growth. Enter the blur between vision and voice. Feel the shift. Our Art Influencers transcend visibility, offering an experience that lingers.

Speaking of lingering influence, in France this June, beneath the sun of Aixen-Provence, time bends to honor Cézanne 2025, a tribute to the architect of modern art in his birthplace, a realm where creativity was realized and endlessly redefined. For those who wander where art lives and resonates, this is more than travel—it’s immersion. Step inside Jas de Bouffon, the manor where Cézanne was born, his creative sanctuary, his living canvas. Behold 100 of his works at the Musée Granet, where each piece pulses with a century-old dialogue, running through October 12.

Looking for a shorter jaunt this summer? See The Frick Collection in New York City, a renovation years in the making. Chris Byrne takes readers inside.

We favor the wanderers—those who drift through light-drenched galleries and raw-edged spaces, seeking the pulse of now. In our own Dallas–Fort Worth terrain, the map redraws itself in brushstrokes and bold moves. At the Dallas Museum of Art, curator Emily Friedman steps into dialogue with Devan Patel of Patel Brown, unraveling Japanese Canadian artist Alexa Kumiko Hatanaka’s work—now part of the DMA’s collection via the Dallas Art Fair Foundation Acquisition Fund. In Fort Worth, at the Amon Carter Museum of American Art, East of the Pacific: Making Histories of Asian American Art breaks like a wave— layered, luminous, and long overdue. A tide of imagination once sidelined, now rising through the holdings of the Cantor Arts Center at Stanford University. Conduit Gallery nears the end of David Canright’s Built Environments —a fluent architecture of mind and invented metropolises, a down-the-rabbit-hole kind of genius.

And then, there is movement. The kind that refuses silence. Herrera Dance Project offers Echoes of Justice: Unanswered for 77 The Time Between, a modern elegy in motion, born from Uvalde’s unthinkable grief. Paired with The Experience of 77, a panel where survivors step forward, it’s not performance—it’s presence. A rupture. A reckoning. A space to listen.

–Terri Provencal

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

FEATURES

44 ART INFLUENCERS

Pushing boundaries with quiet clarity, these revolutionaries are reshaping the contours of the art community from within. They observe what others miss—then render it visible, meaningful, and impossible to ignore.

54 CÉZANNE’S AIX-EN-PROVENCE

Masterpieces by the father of modern art journey homeward to their roots in Southern France. By Eve Hill-Agnus

DEPARTMENTS

4 Editor’s Note

8 Contributors

16 Noted

Fair Trade

32 DELICATE IMPRESSIONS, URGENT WARNINGS

Alexa Kumiko Hatanaka prints a world in peril.

Interview by Emily Friedman

Contemporaries

34 DAVID CANRIGHT’S WORLD-BUILDING WONDERS

With wit and schematic precision, the Dallas-based artist renders imaginary environments that critique and celebrate the audacity of human invention. By Terri Provencal

NEW CHAPTERS UNVEILED

The Frick reopens with a bold vision. Interview by Chris Byrne

STORIES IN THE SHADOWS

Asian American artists reframe the national narrative. By Terri Provencal

A WANDERING THOUGHT

Joanna Williams brings her globally sourced shop to Dallas Contemporary. By Terri Provencal

SCULPTED IN STYLE

Smooth, curvy, and unmistakably artisan, meet Rocio. By Terri Provencal

CAMERAS COVERING CULTURAL EVENTS

WHERE ACTION FAILED, VOICES RISE

Herrera Dance Project responds to the echoes of grief in the wake of Uvalde. By Terri Provencal

s 2025 Art Influencers featuring—Row 1: Simon Waranch, Martine Elyse Philippe, Natalia Di Pietrantonio; Row 2: Emma Vernon, Sedrick Huckaby, Christina Hahn; Row 3: Haley Leavitt, Kaci Merriwether-Hawkins, and Antonio Lechuga. Photographs

Honored

BufordHawthorne is proud to receive the 2024 AIA Dallas Contractor Award.

ARCHITECT: BERNBAUM/MAGADINI

CHRIS BYRNE

is the founder of the Elaine de Kooning House in East Hampton, NY. Placed on the National Register of Historic Places by the US Department of the Interior in 2022, the residence is also an affiliate member of Historic Artists’ Homes and Studios, a program of the National Trust for Historic Preservation. This month, the Elaine de Kooning and Pollock-Krasner Houses are collaborating on the exhibition Memory Image, and its accompanying catalogue.

LAUREN CHRISTENSEN

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

NANCY COHEN ISRAEL

is an art historian with a background in Northern Renaissance and Baroque art as well as a seasoned arts writer and educator at the Meadows Museum. Always inspired by the next generation of Dallas’ cultural community, she looks forward to the Art Influencers issue of Patron every summer. This year, she delighted in writing about two of the many talented women in Dallas who are making their mark on the local visual arts scene: Martine Elyse Philippe and Emma Vernon.

EVE HILL-AGNUS

is a writer, editor, and translator with roots in both France and California. Her career spans teaching literature and journalism, critiquing dining, and writing across genres—from nonfiction and fiction to poetry. Fluent in French, she brings nuanced insight into France’s art and culture. For the Cézanne 2025 Aix-en-Provence celebration, Eve offers a thoughtful preview of the Cézanne au Jas de Bouffan retrospective at Musée Granet and the long-anticipated reopening of the artist’s family estate and studio.

VICTORIA GOMEZ

is a Dallas-based freelance photographer dedicated to storytelling through powerful, image-driven narratives. A graduate of the University of North Texas, she works across editorial and fine art photography. Her personal work explores themes of femininity, identity, culture, and intersectionality, capturing life with intentionality and depth, and has been exhibited at Texas Vignette. Through her lens, Victoria captured the distinct presence and creative spirit of this year’s Art Influencers for both the cover and feature.

PEYTON MIXON

grew up surrounded by cameras—her mother with a point-and-shoot, her father with a Polaroid—naturally developing a love for photography. What began as admiration for captured moments became a passion for shaping them. Inspired by travel, nature, and connection, she finds creative energy in new places and the people she meets along the way. Mentored by renowned artists and professors, Peyton thrives on projects that allow her to preserve the beauty of the world around her.

DARRYL RATCLIFF

is an artist and poet whose writing and curatorial practice center on community engagement through collaborative cultural projects that illuminate shared narratives, foster civic participation, and support collective well-being. A Yerba Buena Center for the Arts 10 Fellow and founder of Gossypion Investments, he was previously recognized as one of Patron ’s Art Influencers This year, he returns to spotlight five individuals shaping the cultural landscape in meaningful and transformative ways.

PUBLISHER | EDITOR-IN-CHIEF

Terri Provencal terri@patronmagazine.com

ART DIRECTION

Lauren Christensen

DIGITAL MANAGER/PUBLISHING COORDINATOR

Anthony Falcon

COPY EDITOR

Sophia Dembling

PRODUCTION

Michele Rodriguez

CONTRIBUTING WRITERS

Chris Byrne

Nancy Cohen Israel

Emily Friedman

Eve Hill-Agnus

Darryl Ratcliff

CONTRIBUTING PHOTOGRAPHERS

Karen Almond

A Sea of Love

Michael Bodycomb

Sharen Bradford

Tamytha Cameron

Amy Chin

Justin Clemons

Joseph Coscia Jr. Exploredinary

Michel Fraisset

Victoria Gomez

Bre Johnson

Hervé Lewandowski

Luis Martinez

Peyton Mixon

Matthew Murphy

Can Turkyilmaz

Kevin Todora

Nicholas Venezia

Serkan Zanager

ADVERTISING info@patronmagazine.com or by calling (214) 642-1124

PATRONMAGAZINE.COM View PATRON online @ patronmagazine.com

REACH US info@patronmagazine.com

SUBSCRIPTIONS patronmagazine.com/subscribe

One year $48/6 issues, two years $60/12 issues

For international subscriptions add $50 for postage

For subscription inquiries, email info@patronmagazine. com

SOCIAL @patronmag

On View Now

Experience Yayoi Kusama’s Iconic Pumpkin Infinity Room from the DMA’s Collection!

PRESENTED BY

The only one of its kind in a North American collection, Yayoi Kusama’s immersive Infinity Mirror Room is on view from May 7, 2025, through January 18, 2026. The boundary-pushing experiential work from the Dallas Museum of Art’s collection incorporates the pumpkin—one of the artist’s quintessential symbols, which she has described as a form of self-portraiture—and draws on several of Kusama’s characteristic themes, including infinity, the sublime, and obsessive repetition.

Return to Infinity: Yayoi Kusama will require a $20 special exhibition ticket, with discounts for seniors, students, and military. DMA Members and children 11 and under are free. Tickets will be released on the third Monday of every month for the upcoming month. All visitors and DMA Members must have a timed ticket and are encouraged to reserve their tickets online at dma.org.

Image: All the Eternal Love I Have for the Pumpkins, 2016. Yayoi Kusama. Wood, mirror, plastic, acrylic, and LED. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2018.12.A–I. © YAYOI KUSAMA. Courtesy Ota Fine Arts, Victoria Miro, and David Zwirner.

Return to Infinity: Yayoi Kusama is organized by the Dallas Museum of Art. This exhibition is presented by PNC Bank. The Dallas Museum of Art is supported, in part, by generous DMA Members and donors, the Texas Commission on the Arts, and the citizens of Dallas through the City of Dallas Office of Arts and Culture. PRESENTED BY MAJOR SPONSOR LOCAL SUPPORT

Through September 7

Alex Da Corte: The Whale is made possible through major support from the Texas Commission on the Arts, with additional contributions from the Fort Worth Tourism Public Improvement District, Matthew Marks Gallery, Fort Worth Promotion and Development Fund, Henrik Persson, Gió Marconi Gallery, and Sadie Coles HQ.

Alex Da Corte, The Pied Piper, 2019. Neoprene, EPS foam, upholstery foam, staples, thread, polyester fiber, epoxy clay, MDF, plywood. 120 × 120 × 6 1/2 inches. Courtesy Sadie Coles HQ, London. © Alex Da Corte. Image: Karma

Through July 27

Feeling Color: Aubrey Williams and Frank Bowling celebrates the work of two remarkable arti s—exhibited together as a duo for the fir time—and highlights their re e ive contributions to the ory of po war twentieth-century ab ra painting. A er leaving their native Guyana, both arti s based themselves in London; however, Williams (1926–1990) and Bowling (b. 1934) walked separate paths in their re e ive arti ic development and careers.

NOTED

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

01 AFRICAN AMERICAN MUSEUM

Through Jul. 3, see From Africa to the Broadway Stage: Disney’s The Lion King , coinciding with the national tour of the Broadway production at the nearby Music Hall from Jun. 4–Jul. 3. This free exhibit showcases original Broadway production elements of The Lion King alongside African art from the museum’s collection. The 28th Biennial Carroll Harris Simms, National Black Art Competition and Exhibition continues through Jul. 26. Big D Cotton: Without Us explores the untold story of cotton picking in Dallas and the vital role African Americans played in shaping the region’s economy and culture, through Jun. 19. aamdallas.org

02 AMON CARTER MUSEUM OF AMERICAN ART

Jean Shin: The Museum Body remains on view through Jun. 30. Through Jul 13, Classically Trained: The Gentlings and Music explores Scott and Stuart Gentling’s artistic engagement with the Age of Enlightenment. Celebrating 40 years of Richard Avedon’s In the American West, the Carter presents 40 works from the series accompanied by behind-the-scenes archival material through Aug. 10. Through Nov. 30, East of the Pacific: Making Histories of Asian American Art explores the continuing artistic impact of the migration of people across the Pacific Ocean and their indispensable role in shaping American art and culture. The exhibition examines how the repositioning of America from west of the Atlantic to east of the Pacific reorients our perception of American art and its significant contributors. Seven Days: The Still Lifes of Chuck Ramirez presents the vibrant and evocative series highlighting communitycentered celebrations in Texas; Jul. 26–Jan. 4. Image: Scott Gentling, Coat with two violins, n.d., graphite on paper, 31 x 18.50 in. © Amon Carter Museum of American Art, Fort Worth. cartermuseum.org

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

At the Crow Museum in the Dallas Arts District, The Shogun’s World: Japanese Maps from the MacLean Collection continues through Oct. 6; Anila Quayyum Agha: Let One Bird Sing remains on view through Sep. 29; and Cecilia Chiang: Don’t Tell Me What To Do continues through Mar. 10, 2026. At the Crow Museum at UT Dallas: Saya Woolfalk: Floating World of the Cloud Quilt is on view through Sep. 8; From Texas to the World: Common Ground at UT Dallas and the Dallas Museum of Art closes Jul. 14; Indigo Threads: Weaving Stories from the Montgomery Collection and Un/Popular Art: Redefining a Latin American and Caribbean Tradition both continue through Sep. 1; In Fine Feather:

New Works by Carolyn Brown continues through Sep. 22; Mountain Jade with Lam Tung Pang and Echoes of the Earth both remain on view through Jun. 28, 2026; and Ancient Echoes, Modern Voices: The Crow Collection Goes Beyond displays through Aug. 26. Image: Cecilia Chiang (Chinese American, b. 1934), Portrait of Rocky, 2002, oil on canvas, 22 x 16 in. Courtesy of the artist. crowmuseum.org

04 DALLAS CONTEMPORARY

Velvet Faith, featuring artists EJ Hill and Martin Gonzales, showcases site-specific installations created during a monthlong residency at the Dallas Contemporary and remains on view through Aug. 31. You Stretched Diagonally Across It: Contemporary Tapestry explores tapestry as a medium, presenting 29 artists and designers curated by Su Wu. The exhibition highlights the nuanced interplay between art and craft, medium and message, integrating technological mediation into traditional weaving practices. It challenges ethnographic stereotypes, and examines the complexities of narrative, mythology, and memory; through Oct. 12. Image: You Stretched Diagonally Across It: Contemporary Tapestries installation view at Dallas Contemporary. Photograph by Kevin Todora. dallascontemporary.org

05

DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM

A Better Life for Their Children: Julius Rosenwald, Booker T. Washington, and the 4,978 Schools that Changed America, delves into one of the most transformative initiatives in American history forged by Booker T. Washington, a Black educator, author, and reformer; and Julius Rosenwald, a Jewish businessman and philanthropist. Between 1912 and 1937, their ambitious program partnered with local communities to build schools for Black children across the segregated South and Southwest. On view through Aug. 17. dhhrm.org

06

DALLAS MUSEUM OF ART

On view through Jul. 28, Nature and Artifice: Works on Paper from Dürer to Rembrandt explores confrontations between humans and the natural world. The works in the exhibition chart the transformations in landscape images from highly imaginative pictorial worlds of the 15th century to pastoral scenes of country life in the 17th century. Marisol: A Retrospective sees the most comprehensive survey of Marisol Escobar’s work ever assembled and demonstrates the extraordinary relevance of the legendary artist’s unique vision of culture and society; through Jul. 26. Return to Infinity: Yayoi Kusama will be on view through Jan. 18. dma.org

07 GEORGE W. BUSH

PRESIDENTIAL LIBRARY AND MUSEUM

Through Oct. 19, Scenes from SMU and the Bush Center by President George W. Bush exhibits never-before-seen paintings by President George W. Bush capturing life across the Bush Center and SMU’s campus. This collection features 35 paintings that celebrate the spirit of the people, including scenes of visitors from the Bush Center, neighbors enjoying the Laura W. Bush Native Texas Park, fans cheering on the SMU Mustangs, student life, and more . Image: George W. Bush (American b. 1946), Untitled, acrylic on canvas, 30 x 40 in. Presidents Jimmy Carter, George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama at the dedication of the George W. Bush Presidential Center on April 25, 2013. bushcenter.org

08 KIMBELL ART MUSEUM

Modern Art and Politics in Germany 1910–1945 brings together more than 70 paintings and sculptures from the collections of the Neue Nationalgalerie, the distinguished modern art museum of the Staatliche Museen zu Berlin. It traces the German experience in the visual arts over four decades and is open through Jun. 22. kimbellart.org

09 LATINO CULTURAL CENTER

Echoes of Justice: Unanswered for 77 The Time Between is a poignant and thought-provoking dance production presented by Herrera Dance Project. This powerful performance explores the profound impact of the tragic events surrounding the school shooting at Robb Elementary committed by an 18-year-old, during which law enforcement waited 77 minutes before responding; Jul. 30–Aug. 3. lcc.dallasculture.org

10 MEADOWS MUSEUM

The Sense of Beauty: Six Centuries of Painting from Museo de Arte de Ponce features major works by the leading lights of European and American painting. The exhibition gathers religious and historical pictures by Lucas Cranach the Elder, Peter Paul Rubens, Anthony van Dyck, and Angelica Kauffmann; portraits by Joshua Reynolds and Elisabeth Louise Vigée-LeBrun; landscapes by Claude Lorrain and Gustave Courbet; and genre scenes by Jean-Léon Gérôme and William-Adolphe Bouguereau. The exhibition continues through Jun. 22. meadowsmuseumdallas.org

11 MODERN ART MUSEUM OF FORT WORTH

Alex Da Corte: The Whale is the first museum exhibition to survey the interdisciplinary artist’s long relationship with painting. Focusing on the past decade of Da Corte’s career, this exhibition features more than 40 paintings, several drawings, and a video that considers painting as a performative act. The Whale will close on Sep. 7. Feeling Color: Aubrey Williams and Frank Bowling , organized

by the Modern and curator María Elena Ortiz, celebrates the work of these two artists and their contributions to the story of abstract painting in the late 20th century; through Jul. 27. Image: Aubrey Williams, Maya Dynasty, 1980, oil on canvas, 35.82 x 71.65 in. © Estate of Aubrey Williams. Courtesy of the Estate of Aubrey Williams and October Gallery, London. themodern.org

12 MUSEUM OF BIBLICAL ART

The Four Horsemen of the Apocalypse, an exhibition of work by Rolando Diaz, will remain on view through Aug. 17. biblicalarts.org

13 NASHER SCULPTURE CENTER

Working in collaboration with local artisans to embed her works with traditions, materials, and techniques that are resonant to Dallas, Nasher Prize laureate Otobong Nkanga explores new formal and conceptual presentations of ongoing series in the Nasher’s galleries. Nkanga’s Each Seed a Body remains on view through Aug. 17. Through Aug. 24, Generations: 150 Years of Sculpture presents a new selection from the Nasher’s permanent collection offering conversations between works past and present about possibilities for sculpture across a century and a half. Atlas, 2025, a new installation by Tom Orr, engages with optical phenomena that shift and change in relation to the viewer’s movement; through Jul. 20. Image: Tom Orr, Atlas, 2025. Installation view of Nasher Public: Tom Orr, the Nasher Sculpture Center, Dallas, Texas, April 26–July 20, 2025. Photograph by Kevin Todora, courtesy of the Nasher Sculpture Center. nashersculpturecenter.org

14 PEROT MUSEUM

Moody Family Children’s Museum is reopened for summer, including an expanded toddler area for safe, age-appropriate play; Creative Makery for design and engineering exploration; Immersive Imaginarium offering multisensory discovery; Enhanced Outdoor Space, with natural elements and programmable waterfall; and an iconic climbing structure by Toshiko MacAdam, blending art and physical play. perotmuseum.org

15 SIXTH FLOOR MUSEUM

Colorful Memories, November 22 Through a Child’s Eyes continues through Aug. 4. Filmmaker and writer Richard Snodgrass embarked on a unique project to document how young children perceived and processed the historic event. Partnering with Sacred Heart School in Prescott, Arizona, Snodgrass worked with a diverse class of first-grade students, capturing their verbal responses and their illustrated memories. jfk.org

16 TYLER MUSEUM OF ART

Pop on Paper: Lichtenstein, Ruscha & Warhol explores the Pop Art movement; through Jul. 27. tylermuseum.org

When Luxury Meets Sanctuary.

Experience a deep sense of “all is well” when you renew your spirits on our eleventh-floor pool deck, overlooking Dallas’s Arts District. Unwind in the sun when you enjoy our poolside loungers or reserve a private space in our luxury cabanas. However you choose to rejuvenate we offer luxuriously warm accommodations. Mind, body & spirits rejoice in the Arts Districts’ new home for luxury.

01 AMPHIBIAN

Mark your calendars for The Heart Sellers Jul. 31–Aug. 17. Thanksgiving, 1973: Jane and Luna are new to America, a bit lost, and definitely homesick. When they meet by chance, a simple grocery store run turns into a night of laughter, wine, and instant connection. From a botched frozen turkey to dreams of Disneyland, The Heart Sellers beautifully captures the highs and lows of new beginnings. Image: The Heart Sellers. Illustration by Owen Gent for Amphibian Stage Productions. amphibianstage.com

02 AT&T PERFORMING ARTS CENTER

On Jun. 2, global bestselling author and entrepreneur Jay Shetty brings his On Purpose Live Tour to Dallas. Ken Burns screens The American Revolution, followed by a filmmaker discussion, on Jun. 3. Baba Kuboye’s Cultural Canvas–Afrobeats Vibes celebrates African music and culture on Jun. 14. Sadhguru visits Jun. 15 for his Death and Beyond book tour. Ninja Kidz Live: Infinite Possibilities brings interactive action on Jun. 17. DRUMLine Live electrifies the stage on Jun. 20, followed by Hip Hop Orchestra in Dallas! Thee Phantom & Illharmonic Orchestra on Jun. 21. Jon Anderson and the Band Geeks perform YES epics and classics on Jun. 23. The Addams Family musical brings the macabre to life Jun. 26–28. Disney ’80s–’90s Celebration in Concert flashes back on Jul. 12 with Broadway vocals and nostalgic hits. Unveiling Echoes: A Journey of Self-Discovery , a multidisciplinary performance blending poetry, dance, and music, runs Jul. 17–19. On Jul. 30, William Shatner Live On Stage with Star Trek II: The Wrath of Khan closes the month with a night of sci-fi storytelling. Image: Baba Kuboye. Courtesy of AT&T Performing Arts Center. attpac.org

03 BASS PERFORMANCE HALL

The Cliburn’s 2025 Van Cliburn International Piano Competition continues with semifinal rounds on Jun. 1 and final rounds Jun. 3–7. Moulin Rouge! The Musical, part of the Broadway at the Bass Series presented by PNC Bank, runs Jun. 10–15 with multiple performances across the week. Orchestra Noir performs Jun. 19, followed by a soulful night with The O’Jays and The Whispers on Jun. 20. The Wiz lights up the stage Jul. 15–20 in a vibrant reimagining of the classic musical. The month rounds out with Shucked, the latest Broadway hit, running Jul. 29–31. Image: Moulin Rouge! The Musical! Courtesy of Bass Performance Hall. basshall.com

04 BROADWAY DALLAS

Broadway Dallas presents The Lion King from Jun. 4–Jul. 3. Next, Rick Springfield: I Want My 80s Tour will take the stage on Jul. 20. Image: The Lion King. Photograph by Matthew Murphy. broadwaydallas.org

05 BRUCE WOOD DANCE DALLAS

Bruce Wood Dance presents ECHOES, a heartfelt finale to their 15th season, featuring a world premiere of Love and War by Ben Stevenson , O.B.E.; a reprise of Concerto Six Twenty-Two by the legendary Lar Lubovitch; Love Songs choreographed by Kimi Nikaidoh, Nycole Ray, and Jennifer Mabus; and a reprise of I’m My Brother’s Keeper by Bruce Wood, from Jun. 6–8 at Moody Performance Hall. Image: Dvořák Serenade by Lar Lubovitch. Photograph by Sharen Bradford.

06 CASA MAÑANA

Andrew Lloyd Webber’s beloved musical Cats takes the stage Jun. 1–8, featuring iconic songs, dazzling choreography, and one of the most innovative productions in musical theatre history. From Jun. 10–29, Bridge Over Troubled Water at the Reid Cabaret Theatre celebrates the music of Simon & Garfunkel with timeless hits in an intimate setting. casamanana.org

07 DALLAS CHILDREN’S THEATER

Mark your calendars for The Adventures of Flat Stanley Sep. 27–Oct. 19. dct.org

08 THE DALLAS OPERA

Stay tuned for Carmen and the opening of The Dallas Opera’s season on Oct. 17. dallasopera.org

09 DALLAS SYMPHONY ORCHESTRA

On Jun. 1, the DSO performs Mahler’s Symphony No. 2–Resurrection at the Morton H. Meyerson Symphony Center, exploring themes of life, death, and meaning in one of Mahler’s most moving works. The Parks Concert Series brings free outdoor performances to Exall Park (Jun. 6), Kidd Springs Park (Jun. 7), Fretz Park (Jun. 10), and Paul Quinn College (Jun. 12), with music for the whole family. On Jun. 7, the MyDSO Sensory-Friendly Concert offers an inclusive experience tailored for those on the autism spectrum and individuals with developmental disabilities. On Jun. 18, Together We Sing , presented with Project Unity, returns to the Meyerson for a powerful evening of music bridging genres and communities. mydso.com

10 DALLAS THEATER CENTER

Joseph and the Amazing Technicolor Dreamcoat takes the stage Jun. 13–Jul. 13. Image: Chamblee Ferguson in Joseph and the Amazing Technicolor Dreamcoat. Photograph by Karen Almond. dallastheatercenter.org

11 DALLAS WIND SYMPHONY

The annual A Star-Spangled Spectacular! , celebrating the Fourth of

IN THE HE ART OF IT ALL

HALL Arts Hotel, a 2025 Forbes Travel Guide Recommended hotel, curates artful experiences as the premier hotel in the Dallas Arts District. Savor culinary and cocktail masterpieces at Ellie’s, join a tour of our thought-provoking art collection, or experience a world-class performance at a neighboring arts venue before a stay in our luxury accommodations.

Get inspired at HALL Arts Hotel.

July, sees Jerry Junkin conducting to ring in America’s birthday. dallaswinds.org

12 EISEMANN CENTER

Eisemann Center sees the iconic Paula Poundstone on Jun. 14. In July, multitalented Vicki Lawrence—actress, comedian, and singer known for the many characters she originated on CBS’s The Carol Burnett Show —will light up the stage on Jul. 26. eisemanncenter.com

13 FORT WORTH SYMPHONY ORCHESTRA

The FWSO presents Night of Strings at the Garden on Jun. 20 with Baroque Reimagined, featuring works by Shaw, Respighi, and Assad, followed by Travels in Sound on Jun. 27 with music by Bartók, Grieg, Schreker, and Still. On Jun. 21, the Concert on the Lawn @ The Carter returns to the Amon Carter Museum, providing a fun evening of music under the stars for the whole family. The 2025 PianoTexas International Festival at TCU continues Jun. 15, 22 , and 29, with recitals and concerto performances at Van Cliburn Concert Hall. Throughout June, the orchestra also joins S.E.E.D. Camp at the Fort Worth Botanic Garden to present interactive Sounds of Nature concerts for young campers. fwsymphony.org

14

KITCHEN DOG THEATER

Coming in August , The Happiness Gym is a joyous, experiential event based on the science of well-being. Participants take part in a curated theatrical experience meant to boost their sense of happiness, joy, and feelings of connection. This one-of-a-kind project will be the soft opening to Kitchen Dog’s new theater and will take place all over the entire facility, giving patrons unparalleled access to KDT’s new home. kitchendogtheater.org

15 LYRIC STAGE

Stay tuned for Guys & Dolls on Aug. 15. lyricstage.org

16

MAJESTIC THEATRE

Orchestral Manoeuvres in the Dark opens the month on Jun. 1, followed by The Righteous Brothers: Lovin’ Feelin’ Farewell Tour, presented by AT&T Performing Arts Center, on Jun. 5. Kenny Wayne Shepherd and Bobby Rush share the stage for a special evening of blues on Jun. 6. On Jun. 14, comedian Cristela Alonzo performs back-to-back shows, followed by Kevin James’ Owls Don’t Walk tour on Jun. 15. Mo Amer’s El Oso Palestino Tour arrives Jun. 20, and Sheng Wang takes the stage Jun. 21. July closes with Joe Pera’s All Dried Up Summer Tour on Jul. 26, and Hidden Brain: “Perceptions” Tour with Shankar Vedantam on Jul. 27. On Jul. 30, William Shatner appears live on stage with a screening of Star Trek II: The Wrath of Khan, presented by AT&T Performing Arts Center.

majestic.dallasculture.org

17 TACA

TACA believes the arts are transformative, though obstacles of limited funding, rising costs, and a lack of access to other important resources make it difficult for the arts to survive and thrive. TACA exists to nurture arts organizations and provide visionary, responsive leadership to the arts community. taca–arts.org

18 TEXAS BALLET THEATER

Stay forever young when Peter Pan takes the stage on Sep. 19. texasballettheater.org

19 THEATRE THREE

Xanadu rolls into town on Jun. 5. This high-energy, roller-skating extravaganza brings the 1980 cult film Xanadu to life on stage. Set in Venice Beach, California, the musical follows Sonny Malone, a struggling artist who encounters Kira, a beautiful Greek muse. With Kira’s guidance and a touch of divine inspiration, they embark on a mission to revive a rundown roller disco and reignite Sonny’s artistic passion; through Jul. 6. theatre3dallas.com

20 TITAS/DANCE UNBOUND

TITAS will return to the stage with Ronald K Brown/ EVIDENCE, A Dance Company on Sep. 12. titas.org

21 TURTLE CREEK CHORALE

Get ready for hit songs from The Lion King, Aladdin, Peter Pan, Cinderella, Beauty & the Beast, Mulan, Hercules, Coco, and many others in Disney PRIDE in Concert Jun. 26–27. turtlecreekchorale.com

22 UNDERMAIN THEATRE

An Iliad returns to Undermain Theatre for a limited engagement, Jun. 12–29. Originally staged in 2012 and revived in 2019, this one-man tour de force featuring Bruce DuBose as “the poet” reanimates Homer’s epic with haunting urgency and contemporary resonance. undermain.org

23 WATERTOWER THEATRE

Rock got no reason, rock got no rhyme…You better get me to school on time! Andrew Lloyd Webber’s School of Rock is a Tonynominated smash-hit musical that premiered on Broadway in 2015. Based on the hilarious hit movie, this new musical follows Dewey Finn, a failed, wannabe rock star who decides to earn a few extra bucks by posing as a substitute teacher at a prestigious prep school. There he turns a class of straight–A pupils into a guitar-shredding, bass-slapping, mind-blowing rock band. Jul. 23–27. watertowertheatre.org

Create Your Own Season

Choose three or more concerts and get up to 20% off the current ticket price, plus enjoy exclusive subscriber benefits.

From country legends to film scores and jazz icons, this star-studded lineup is full of showstoppers. Enjoy Respighi’s Fountains of Rome, Dolly Parton’s Threads: My Songs in Symphony, the iconic Jazz at Lincoln Center Orchestra with Wynton Marsalis and Mahler’s Symphony of a Thousand.

SUBSCRIBE TODAY | 214-849-4376 | DALLASSYMPHONY.ORG/SUBSCRIBE

DOLLY PARTON’S THREADS: MY SONGS IN SYMPHONY OCT 24-26, 2025

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS NOV 12, 2025 RESPIGHI’S FOUNTAINS OF ROME OCT 9-12, 2025

MAHLER’S SYMPHONY OF A THOUSAND MAY 15-17, 2026

01 12.26

With Color, featuring Stanton Macdonald-Wright, Marlon Kroll, and Carrie Rudd, continues through Jun. 14. Concurrently, Collins Obijiaku’s Two Boys is also on view. gallery1226.com

02 ALAN BARNES FINE ART

Alan Barnes Fine Art specializes in 19th- and 20th-century American and European paintings. From old masters to Impressionist paintings, drawings, and watercolors. Alan Barnes’ family art heritage dates to the reign of King George III. alanbarnesfineart.com

03 ARTSPACE111

A Humble Gift by Ariel Davis, a deeply personal reflection on family, tradition, and the timeless connections between generations, remains on view through Jun. 7 with The Soft Parts, an exhibition of work by Stella Alesi. The 12th Annual Texas Juried Exhibition will be on view Jul. 3–Aug. 26. artspace111.com

04 BARRY WHISTLER GALLERY

Sleight of Hands spans Jun. 14–Aug. 2. Featuring 35 artists, including most of the gallery’s represented artists as well as invited guest artists, the exhibition explores themes of trickery and diverse approaches to art making. barrywhistlergallery.com

05 BEATRICE M. HAGGERTY GALLERY

Memory in Motion: Jack Hein and Jason Thing is an exhibition by the University of Dallas’ current MFA students. The exhibition explores themes of memory, war, and identity through ceramic sculpture. On view through Sep. 5. udallas.edu/gallery

06 CADD

Contemporary Art Dealers of Dallas is a nonprofit formed in 2007 to promote contemporary art in Dallas. The organization hosts coordinated member gallery days, happy hours, bus tours, scholarships, and other events supporting artists and galleries in North Texas. caddallas.org

07 CHRISTOPHER MARTIN GALLERY

Established in Dallas in 1995, Christopher Martin Gallery displays the reverse-glass paintings of Christopher H. Martin along with 25-plus mid-career artists who work within painting, photography, mixed media, and sculpture.

08 COLECTOR

Oráculo Errático by Dr. Lakra, which displays work from his multifaceted practice, will be on view throughout the summer, running until late August. colector.gallery

09 CONDUIT GALLERY

Through Jun. 7, J.C. Fontanive Spinning Stone and David Canright Built Environments remain on view, while Francisco J. Marquez shows in the Project Room. From Jun. 14–Aug. 9, Conduit Gallery presents solo exhibitions by Soomin Jung and Jeff Baker. Jung debuts intricate new gouache, colored pencil, and graphite drawings that explore perception through imagined landscapes and meditations on sky and reflection. Baker, exhibiting for the fifth time at Conduit, unveils large-scale photographs capturing New Mexico’s cloudscapes and ancient ruins, an immersive visual toast to sky, earth, heart, and soul. conduitgallery.com

10

CRAIGHEAD GREEN GALLERY

Craighead Green Gallery presents their annual group show of rostered artists through Jul. 3. From Jul. 12–Aug. 13, New Texas Talent 32 will be on view, presenting fresh art voices in Texas. Image: Johannes Boekhoudt, Entre Tu y Yo y Ellos, oil on canvas, 36 x 24 in. craigheadgreen.com

11 CRIS WORLEY FINE ARTS

From Jun. 14–Jul. 26, Cris Worley Fine Arts will showcase the work of Adrian Esparza and Charlotte Smith, highlighting Esparza’s intricate serape-thread installations that explore cultural identity, alongside Smith’s vibrant, process-driven abstract paintings characterized by layered drips and dynamic compositions. Image: Adrian Esparza, detail of a work in progress. crisworley.com

12 CVAD, UNT COLLEGE OF ART AND DESIGN GALLERIES

CVAD will take a summer break and return to programming in the fall. cvad.unt.edu

13 DAISHA BOARD GALLERY

Through Jun. 28, Daisha Board Gallery presents When Our Minds Wander, a solo exhibition by Joshua Gordon, whose raw, prophetic imagery defies categorization. daishaboardgallery.com

14 DAVID DIKE FINE ART

David Dike specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas regionalists, Texas landscape, and mid-century modern painters. The gallery provides a compilation of traditional and distinctive works for both the new and mature collector. daviddike.com

15 ERIN CLULEY GALLERY

An exhibition for Ryan Goolsby will remain on view until Jun. 21 alongside Leili Arai Tavallaei. From Jun. 28–Aug. 9, see mutual ground a group exhibition curated by Victoria Brill. The exhibition investigates the relationships between the environment

and humanity through contemporary art practices in light of sociopolitical movements towards harmful environmental practices. Image: Ryan Goolsby, Untitled, 2025, wood, relief printing ink, polyurethane, 72 x 68.75 x 1.25 in. Image courtesy of artist. erincluley.com

16 FERRARI GALLERY

Those Who Have Gone This Way Before, a solo exhibition by Mark Russell Jones, remains on display through Jul. 28. ferrarigallery.net

17 FWADA

FWADA organizes, funds, and hosts exhibitions of noteworthy art. FWADA sponsors the annual Fall Gallery Night and Spring Gallery Night for members and friends. fwada.com

18 GALLERI URBANE

Gallery 1 hosts Figured Frames, a solo exhibition by Gail Peter Borden; Gallery 2 features a solo show by Mel Prest, both on view through Jun. 21. This summer, the gallery presents a group exhibition titled roll the windows down through July. Image: Mel Prest, Time is Knots on a String 31, acrylic on wood panel, 30 x 22.5 in. galleriurbane.com

19 GREEN FAMILY ART FOUNDATION

In his portraits, contemporary artist Robert Peterson renders African American life beautifully and joyfully, rejecting stereotypes to celebrate the Black experience. The artist’s first major museum exhibition, Somewhere in America, features key paintings from Peterson’s existing works, as well as over 20 new works, many painted on a monumental scale; Jun. 7–Sep. 17. Image: Robert Peterson, Daughter of an Immigrant, 2021, oil and diamond dust on canvas, 60 x 48 in. Collection of Dr. Greg Shannon. greenfamilyartfoundation.org

20 HOLLY JOHNSON GALLERY

The gallery features eight exhibitions per year, primarily one-person shows, by mid-career and internationally acclaimed artists. The gallery continues to refine and augment the careers of its artists while increasing the appreciation of their art, and strives to educate and provide culturally significant experiences for all guests. hollyjohnsongallery.com

21 JAMES COPE GALLERY

James Cope presents a solo show for Ellen Siebers, a painter based in Hudson, New York, through Jun. 21. jamescope.biz

22 JAMES HARRIS GALLERY

The threads that bind, a solo exhibition by Mary Ann Peters, remains on view through Jun. 28. This marks the artist’s first Dallas show with the gallery, highlighting conceptually rich, research-driven work tied to the Middle East through painting, drawing, sculpture, and installation. From Jun. 28–Aug. 16, The Present is Dark / The Future is Practice brings together works by Carmen Menza, Charles Gray, Sophia del Rio, Jose Vazques Ramirez, Sara Dotterer, and Jessica Bell. Curated by Robert Long, this group exhibition reframes crisis as a space of potential, imagining the future as a collective, ongoing act rather than a fixed point. jamesharrisgallery.com

23 KEIJSERS KONING

These Letters Don’t Run – LGBTQ runs through Jun. 28 and features work by Quinci Baker, Jimi Dams, Jack Early, Erica Felicella, Barbara Hammer, Ted Kincaid, Molly Vaughan, and Demian DinéYazhi, with a special presentation by DONE Magazine (Mark Baker-Sanchez). keijserskoning.com

24 KIRK HOPPER FINE ART

Roger Winter’s solo exhibition highlights the gallery through Jul. 5. Image: Roger Winter, Wall and Moon, 2022, oil on museum board, 44 x 17 in. kirkhopperfineart.com

25 KITTRELL/RIFFKIND ART GLASS

Modern Masters, featuring a selection of masterworks from the gallery’s best and brightest, will be on view through Jun. 21. kittrellriffkind.com

26 LAURA RATHE FINE ART

Beneath the Surface, a group exhibition featuring Max Steven Grossman, Paul Rousso, Nick Veasey, and Gregory Watin, remains on view through June 21. The show explores perception, depth, and visual language, challenging viewers to look beyond appearances. Image: Gregory Watin, Broken Flower, 2025, mixed media and plexiglass, 40 x 40 in. laurarathe.com

27 LILIANA BLOCH GALLERY

Au-delà des apparences, the first solo exhibition by Montreal-born artist Laurent Le Bel-Roux, is on view through Aug. 8. Through abstract painting and drawing, Le Bel-Roux explores the relationship between body and mind, using materials and motifs that evoke cognition, memory, and sensory perception. Image: Laurent Le Bel-Roux, Shaping Resolution, 2024, enamel paint on aluminum, 50 x 36 in. lilianablochgallery.com

28 LONE GALLERY

Lone Gallery showcases a diverse array of artistic talents including painters Bradley Kerl, Danny Joe Rose III, and Camille Woods, alongside mixed-media artists such as Cruz Ortiz and Heather Sundquist Hall. The gallery also features works by sculptors Aaron Michalovic and Fernando Rojas, offering a broad spectrum of contemporary art. lonegallery.com

29 MELIKSETIAN | BRIGGS

Meliksetian | Briggs was founded in 2012 by Anna Meliksetian and Michael Briggs and exhibits international contemporary art in various media including the Estate of Bas Jan Ader, Meg Cranston, and Yifan Jiang. meliksetianbriggs.com

30 NATURE OF THINGS

Opening Jun. 28, Too Much Ain’t Enough pays tribute to Southern blues and rock ephemera through archival material from Les Blank, posters by Jim Franklin, nods to icons like Bob Wade and Kinky Friedman, and the Lone Star Cafe. Expect film screenings, bootleg merch, and maybe even a jukebox playing 45s. The exhibition runs through Jul. 26. Image: The Blues Accordin’ to Lightnin’ Hopkins film poster from Les Blank’s archives. natureofthings.xyz

31 PENCIL ON PAPER

Pencil on Paper Gallery celebrates the legendary Frank Frazier this summer with an exhibition of his newest works, opening Jun. 14. Presented in honor of Juneteenth and joined by guest artist Kenneth Gatewood, the show runs through Jul. 12. Image: Frank Frazier, The Mask , 2024, fabric, paint, wood, sand on board in shadow plexiglass box, 11 x 10 x 3 in. pencilonpapergallery.com

32 PHOTOGRAPHS DO NOT BEND

PDNB is currently in the process of relocating and will resume full programming in the fall. In the meantime, the gallery will remain open by appointment throughout the summer. pdnbgallery.com

33 THE POWER STATION

Oto Gillen’s exhibition continues at the gallery through Jul. 28. powerstationdallas.com

34 RO2 ART

Through Jun. 28, Brantly Sheffield and T.J. Griffin showcase their work, exploring themes of exclusivity in golf courses and surreal dreamscapes in vivid paintings. ro2art.com

35 SAMUEL LYNNE GALLERIES

Samuel Lynne Galleries, established in 2008 by artist JD Miller and entrepreneur Philip Romano, showcases a curated selection of contemporary artists with unique visions, including Lea Fisher and Brandon Boyd. samuellynne.com

36 SMINK

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

37 SOUTHWEST GALLERY

Since 1967, Southwest Gallery has provided Dallas with the largest collection of fine 19th- to 21st-century paintings and sculptures. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in their 16,000-square-foot showroom. Stay tuned for the Summer Art Festival this August. swgallery.com

38 TALLEY DUNN GALLERY

Sedrick Huckaby: Higher Ground runs through Aug. 30. Huckaby’s paintings, drawings, and sculptures metaphorically express universal themes of faith, family, community, and heritage. talleydunn.com

39 TUREEN

Through Jul. 12, Tureen will present work from the Assimilations series by John Feodorov. Of mixed Navajo/ Diné (enrolled) and Euro-American heritage, Feodorov's art and music engage and confront the viewer through questioning assumptions about identity, spirituality, and place within the context of late capitalism. tureen.info

40 VALLEY HOUSE GALLERY

Valley House Gallery hosts a solo exhibition for Otis Huband through Jul. 5. On Jul. 12, Trish Nickell returns to Dallas for her solo show at Valley House through July. valleyhouse.com

41 THE WAREHOUSE

Double Vision: A Conversation between The Rachofsky Collection and the Hartland & Mackie/Labora Collection, the inaugural exhibition at the Warehouse Dallas Art Foundation, runs through Jun. 28. This show presents a comparative look at two significant art collections: the long-established Rachofsky Collection and the more recently formed Hartland & Mackie Family/Labora Collection. It explores their convergences and divergences through themes like abstract painting, surrealist sensibilities, and modernist sculpture, highlighted by Rashid Johnson’s curation of historical works in dialogue with his own, and anchored by a significant piece by Howardena Pindell that engages with Claude Monet’s legacy. By appointment. thewarehousedallas.org

On view through June 22

Oskar Nerlinger, The Early Train (detail), 1928, Casein tempera on canvas. Neue Nationalgalerie, Staatliche Museen zu Berlin. Purchase from the artist, 1963, A IV 20. © s.nerlinger

This exhibition has been organized by the Neue Nationalgalerie, Berlin, in cooperation with the Kimbell Art Museum.

NOTED: GALLERIES

42 WEBB GALLERY

This summer at FD Webb’s Fair & Square, catch a new painting exhibition by Heather Sundquist Hall, Jun. 8–Jul. 28. The season wraps with porch music from Ralph White on Jun. 29. Image: Rev. Johnnie Swearingen, Hog Killing , 1978, oil on board, 20 x 25 in. webbartgallery.com

43 WILLIAM CAMPBELL GALLERY

William Campbell Gallery is in the process of combining its gallery locations this summer. The gallery will return to exhibitions in the fall, but they will host pop-up events through the summer. williamcampbellcontemporaryart.com

AUCTIONS AND EVENTS

01

DALLAS AUCTION GALLERY

Acquired in 2023 by David Lewis, Patrick Jones, and Reyne Hirsch, who each bring a wealth of experience in the fine art and auction world. The Watchmaker’s Sale will commence on Jun. 10. dallasauctiongallery.com

02 HERITAGE AUCTIONS

Heritage Auctions presents a dynamic lineup of art auctions in Jun. and Jul. The season begins with the Decorative Art Signature Auction on Jun. 5, followed by the Urban Art Showcase Auction on Jul. 2. The Fine & Decorative Arts Showcase Auction takes place on Jul. 10. Later in the month, the American Art Signature Auction is scheduled for Jul. 29. For a full list of auctions, visit ha.com

03 LONE STAR ART AUCTION

Taking place on Oct. 31 in Dallas, the Lone Star Art Auction is the largest live art auction in the state of Texas, offering the best American, Western, wildlife, sporting, and Texas fine art. Presented by Phil Berkebile, the Great American West, LCC, brings together collectors and sellers of historic and contemporary fine art for a unique and entertaining event. Consignments are now being accepted for original paintings and sculpture. lonestarartauction.com

Delicate Impressions, Urgent Warnings

Alexa

Kumiko Hatanaka Prints a World in Peril

INTERVIEW BY EMILY FRIEDMAN

This year, through the Dallas Art Fair Foundation Acquisition Program, the Dallas Museum of Art acquired seven works from the fair, including Japanese Canadian artist Alexa Kumiko Hatanaka’s Terrain (white) and Terrain (blue). Hatanaka is represented by frequent exhibitor, the esteemed Toronto and Montreal gallery Patel Brown.

Patel Brown champions alternative perspectives, fostering experimentation and innovation throughout its programming. Driven by collaboration and a commitment to community, the gallery actively addresses disparities in representation. It draws on cultural and identity-based traditions while engaging with the complexities of an increasingly globalized world.

Here, Emily Friedman, the Allen and Kelli Questrom Assistant Curator of Prints and Drawings at Dallas Museum of Art, joins Patel Brown’s co-founder Devan Patel in a conversation on global perspectives and Hatanaka’s influential work.

Emily Friedman (EF): Can you speak about the importance of representing global perspectives in your gallery?

Devan Patel (DP): Working with artists who represent different viewpoints has allowed us to develop a program that is layered and gives us deeper insight into our world and our place in it. Experiencing a range of perspectives encourages greater understanding, appreciation, and at times even optimism. In an increasingly interconnected world, drawing from a breadth of viewpoints brings depth, nuance, and wisdom to the conversations we foster through art. It allows us to approach complex subjects with greater sensitivity, truth, and clarity.

EF: Works on paper have always been accessible—for both maker and collector—in ways that other media have not. What do you think the medium offers to the future of collecting and engaging new audiences?

DP: Works on paper carry an immediacy and intimacy that can be both disarming and powerful. For artists, the medium often allows for experimentation and vulnerability. For collectors— especially those just beginning—it offers a point of entry that is less intimidating than large-scale or more expensive works. As collecting becomes more accessible to all and varied, paper works offer a tactile, human-scale way to engage with ideas, materials, and narratives. They encourage closeness, both physically and emotionally.

EF: Alexa Kumiko Hatanaka uses traditional ink printing and linocut techniques to create delicate, beautiful works that nevertheless speak to the forceful, terrifying, and destructive global environmental changes of the present day. How does she achieve this careful balance in her art practice?

DP: Though they may appear fragile, the handmade washi paper that Alexa uses is incredibly strong due to the unique way the fibers are formed during the papermaking process. This apparent fragility but enduring essence is a powerful metaphor of contrast and balance at the root of Alexa’s practice, as it speaks to wellbeing, nature, and tradition. It’s this thoughtful tension that gives her work both weight and subtlety.

EF: What does the work Terrain represent for you, within the artist’s larger philosophical and conceptual framework?

DP: Terrain depicts snow formations in the Arctic and references themes of water, land, and connectivity. Alexa spent over a decade in the Arctic, and in that context, “terrain” refers to ice itself—as something lived on, traveled across, and relied upon. The layers of Arctic ice become visual records of time and change, much like the layered techniques in her printmaking. For me, it’s a beautiful metaphor for the layers of the self that are constantly forming and eroding, enduring and changing, both grounded and ethereal. P

Alexa Kumiko Hatanaka in her studio. Courtesy of the artist and Patel Brown.

Alexa Kumiko Hatanaka, Terrain (white), 2024 linocut on washi paper 18.50 x 26 in. Edition 3 of 5, 1AP. Courtesy of the artist and Patel Brown.

An installation by Alexa Kumiko Hatanaka at Dallas Art Fair. Photograph by Mikhail Mishin.

Alexa Kumiko Hatanaka, Terrain (blue), 2024 linocut on washi paper 18.50 x 26 in. Edition 4 of 5, 1AP. Courtesy of the artist and Patel Brown.

DAVID CANRIGHT’S

World-Building Wonders

With wit and schematic precision, the Dallas-based artist renders imaginary environments that critique and celebrate the audacity of human invention.

BY TERRI PROVENCAL

David Canright draws more than buildings—he creates worlds. Intricate, teetering, and meticulously absurd, his drawings are architectural daydreams packed with speculation, satire, and sincere admiration for the human impulse to create. From nanobot follicle farms to artificial suns converted into condos, Canright’s Built Environments pushes the logic of urban planning, infrastructure, and engineered nature to both humorous and haunting extremes.

Originally from Cleveland, Ohio, Canright studied art at the University of Texas at Austin under the riotously bold Peter Saul— known for his irreverent oeuvre—and the late modernist painter Richard Thompson. He spent a decade in New York, showing work

at spaces like Clementine Gallery, The Drawing Center, and the Yale University Gallery.

Based in Dallas—where he recently retired as creative group head at The Richards Group—Canright is represented by Conduit Gallery, which featured his work at the Dallas Art Fair and is currently presenting his solo exhibition. His drawings offer surreal, schematic vistas that read like a cross between a blueprint, a graphic novel, and a love letter to impossible cities.

“I’m one of those people still astonished that boats made of metal can float. I mean, come on—it’s the age of wonders!” he marvels. That sense of childlike awe fuels

David Canright, Section 416 G of the Transatlantic Cable, 2024, archival ink on paper, 18 x 48 in. Courtesy of the artist and Conduit Gallery.

Canright’s approach. His work captures what he calls a “queasy admiration” for science and engineering—drawn to their daring and creativity but wary of their blind spots. “Each of these pictures is a self-contained system or society filled with little stories and surprises,” he says. “But each environment is so caught up in its pursuit of what’s possible that it ignores what’s lost amidst the gains.”

Drawings in Built Environments often resemble architectural cross sections or storyboards, with every floor, stairwell, or pipe rendered in crisp black and white. Every detail, Canright insists, is considered. “Every room has a door. Every staircase a handrail. Every elevator is powered by something plausible. I want viewers to feel like they could actually live there.”

That realism, however, is always balanced with wild invention—like transportation systems powered by airborne pollen, or entire societies orbiting their own waste systems. “The absurd and fantastical are more impactful when tethered to plausibility,” Canright says. “If you’re gonna crash-land into a bag of marshmallows, there better be a bathroom nearby.”

He starts each piece not with a visual, but with a flood of micro-narratives. “If it’s a good idea, I’ll have fifty scenes in twenty minutes,” he says. Those fragments are then woven into the framework of a larger structure—one designed to be aesthetically inviting at first glance and rewarding upon deeper inspection.

Throughout the work, Canright explores the human urge to dominate or recreate nature—artificial reefs, rooftop forests, and micromanaged ecosystems abound. But the line between admiration and critique is deliberately blurred. “I love curated natural environments more than the wild,” he admits. “But what if the simulation of a thing gives me more pleasure than the real thing? Is that bad? It feels bad, but why?”

Pieces like Ruins of the Artificial Sun Converted to Condos echo the dissonance between progress and preservation. “It’s repurposing! It’s avoiding waste! But… are we sure the old lead smelter is clean enough for a daycare?” he asks. “Are we sure we should spend our days in one self-contained, masterplanned live/work complex we never leave?”

For Canright, humor is both shield and spotlight. His works invite laughter, but also reflection. “I believe art should be a joyful experience,” he says. “I want people to explore, to think, to take refuge if they need it. Because while the impulse to destroy gets more attention, our drive to create is even stronger—just by a hair. And in that margin is something sacred.”

From his dry, specific, and often hilarious titles— Nanotechnology Defeats Baldness, GMO Sweet Potato, Clear Violation of the H.O.A. Guidelines — to his visual intricacies, every element in Canright’s work is part of a larger story. One of awe and absurdity. Of dreams built out of logic and lined with doubt. But above all, of the delight in asking, again and again: Wouldn’t it be cool if...? P

David Canright, Nanotechnology Defeats Baldness, 2024, archival ink on paper, 22 x 16 in. Courtesy of the artist and Conduit Gallery.

David Canright, Ruins of the Artificial Sun Converted to Condos, 2024, archival ink on paper, 32x 32 in. Courtesy of the artist and Conduit Gallery.

The Frick reopens with a bold vision. NEW CHAPTERS UNVEILED

INTERVIEW BY CHRIS BYRNE

The Frick Collection reopened its doors this spring, unveiling a transformative revitalization of its historic museum and library spaces. The return introduces newly designed galleries, restored architectural details, and enhanced visitor amenities.

To mark the occasion, Chris Byrne visits with Aimee Ng, the John Updike Curator of The Frick Collection, about its storied past and vibrant future.

Chris Byrne (CB): I really enjoyed viewing selections from The Frick Collection at the Breuer Building on Madison Avenue. Barkley L. Hendricks: Portraits at the Frick was a highlight, with your introductory essay from the show’s catalogue. How did the exhibition come about?

Aimee Ng (AN): The Frick offers stirring encounters with figures painted centuries ago. This has been the case at the mansion and was certainly true during our temporary display at Frick Madison, where the modernist architectural setting of the Breuer Building encouraged us to explore even more the boundaries of our historic collection and its interactions with, and relationships to, contemporary art. I was speaking with Gagosian director Antwaun Sargent (who ultimately served as consulting curator for that exhibition) about the place of the Frick in the world and how the portraits of Barkley L. Hendricks might well be the kind of art that Henry Clay Frick would be collecting if he were alive today. The quality, dignity, and visual impact of Barkley’s paintings cohere with the historic European art that Frick collected, and which Barkley took inspiration from as he pioneered his own style

Johannes Vermeer (1632–1675), Mistress and Maid, ca 1664–1667, oil on canvas, 35.50 x 31 in. The Frick Collection, New York. Photograph by Joseph Coscia Jr.

Above: Portico Gallery, The Frick Collection, New York. Photograph by Joseph Coscia Jr.; Left: Antico (Pier Jacopo Alairi Bonacolsi) ca. 1460–1528, Hercules, probably 1499, bronze, partial gilding, silvering, 15.12 x 8.37 x 14.74 in. The Frick Collection, New York. Gift of Miss Helen Clay Frick, 1970. Photograph by Michael Bodycomb.

Fifth Avenue façade, The Frick Collection, New York. Photograph by Nicholas Venezia.

of portraiture in the 1960s and ’70s. It was amazing to discover from Barkley’s wife and gallery [Jack Shainman Gallery] that the Frick was Barkley’s favorite museum in the United States, on par with the Louvre in Paris and the National Gallery in London.

CB: In April, the Frick returned to its permanent East 70th Street home, completing the most comprehensive renovation to the institution since its opening in 1935.

AN: It’s comprehensive in scope, with infrastructure improvements and amenities (like new elevators, education spaces, and 218-seat Stephen A. Schwarzman Auditorium) that address needs of 21stcentury audiences, but the priorities were to preserve the Frick’s historic galleries for generations to come, and take care of what people love about the Frick, which is close encounters with exceptional works of art in a serene, domestic setting.

CB: The project was designed by Selldorf Architects, Design Architects with the intention of providing unprecedented access to the original 1914 home of Henry Clay.

AN: Beyond maintaining the historic first-floor galleries, this project allowed us to open to the public the second floor of the mansion for the first time in the building’s history. What had been private spaces (first the family’s private quarters and then the museum staff’s offices) is now a suite of galleries showing more of the collection and more of the mansion itself. Many specialist makers and craftspeople contributed to this project; it was enormously complex but so gratifying for the Frick’s teams to work alongside Selldorf Architects. We partnered with garden designer Lynden B. Miller to achieve the restoration of the 70th Street Garden, now visible from multiple new vantage points throughout the building.

CB: And the refurbishment expands both the exhibition and programmatic spaces…

AN: A new space for special exhibitions (the Ronald A. Lauder Exhibition Galleries) allows us to put on temporary shows without having to de-install our permanent collection. Also, because we moved the Boucher Room from the ground floor back to the second floor, we have a new Cabinet Gallery for smaller-scale temporary installations, such as the selection of drawings from the permanent collection on view now. Purpose-built education facilities and the auditorium allow us to expand our programming to further enrich the experience of the Frick’s art collection.

CB: The Frick Art Research Library and its enhanced reading rooms are reopening concurrently with the museum. Can you describe the integration of the two sections?

AN: Previously the museum and library were not connected internally, so many visitors were unaware that the Frick has one of the leading art research libraries in the world. Now they are integrated through glorious Selldorf-designed passages, and we look forward to serving even more people who are interested in learning about and researching art. It is still free to use the library.

CB: In June the museum debuts Vermeer’s Love Letters, curated by Dr. Robert Fucci. I understand the exhibition features The Frick’s iconic Mistress and Maid (c. 1667) alongside loans from the Rijksmuseum in Amsterdam and the National Gallery of Ireland…

AN: The exhibition inaugurates the new Ronald S. Lauder Exhibition Galleries and is centered on one of the most beloved works in the Frick’s collection, Vermeer’s Mistress and Maid, which was the last painting that Frick acquired before his death. From June 18 through August 31, loans of the Rijksmuseum’s Love Letter and the National Gallery of Ireland’s Woman Writing a Letter, with Her Maid will join the Frick’s picture. This presentation of Vermeer’s three works on this theme—a woman, her servant, and a letter—are shown together for the first time. Dr. Fucci has written an illuminating text about the themes of the exhibition, including the importance of letters in Dutch 17th-century society and culture, and Vermeer’s depiction of women of different social classes, all set in the sunny domestic settings for which Vermeer is so famous. P

Boucher Room, new second-floor gallery, The Frick Collection, New York. Photograph by Joseph Coscia Jr.

West Gallery, The Frick Collection, New York. Photograph by Joseph Coscia Jr.

Garden Court, The Frick Collection, New York. Photograph by Joseph Coscia Jr.

BEYOND THE MARGINS

Asian American artists reframe the national narrative.

BY TERRI PROVENCAL

This summer, journey across oceans of memory, migration, and meaning. East of the Pacific: Making Histories of Asian American Art traces the passage of people who crossed the Pacific, reshaping the American art landscape. Told not from the edge of the Atlantic, but from the rising sun of the Pacific, this exhibition reveals how new visions of identity, belonging, and beauty took shape.

On view at the Amon Carter Museum of American Art through November 30, East of the Pacific, organized by the Cantor Arts Center at Stanford University and drawn from its extensive collection, features work by more than 32 Asian American artists, charting a creative lineage from the mid-19th century to the present.

“What might American art history look like if we positioned the US as not just west of the Atlantic, but east of the Pacific?” asks Michaela Haffner, assistant curator of paintings, sculpture, and works on paper at the Carter. “So much of US history is oriented around the Atlantic and the migration of people across it,” she says. “But by flipping this geographic orientation, the exhibition opens up understudied stories of transpacific migration and highlights the rich creativity of the Asian diaspora in the US”

Through six thematic portals, East of the Pacific illuminates moments when history shifted, when Asian American artists reshaped the American canvas—not in the margins, but at its core. These sections include Points of Contact, The East West Art Society,

Visions of Chinatown, After Executive Order 9066, Histories of Abstraction, and Revisiting Other Sources: An American Essay.

Framing the exhibition as a historical survey, Haffner emphasizes its foundational role in shaping the show’s structure: “It is critical to the show’s framework, establishing a history and chronology of Asian American art. The structure reveals the amazing diversity of styles, mediums, and contexts within which the artists worked, while also drawing out some resonant throughlines and moments of continuity.” She continues, “At one moment in the exhibition, for example, two thematic sections— East West Art Society and Histories of Abstraction —come into close visual and physical proximity, juxtaposing radically different styles and historical moments. Here, works like Chiura Obata’s drawing Yosemite Falls (1937) and Bernice Bing’s painting Blue Mountain No. 4 (1966) share a striking continuity: both depict the California landscape through expressive calligraphic brushwork, despite being created more than thirty years apart.”

The works featured in Histories of Abstraction reveal a rich and varied evolution of abstraction spanning the 20th and early 21st centuries. “They deepen our understanding of nonrepresentational art, expanding its historical, cultural, and geographical reach while challenging the dominant narrative that Asian Americans were absent from its creation during this era,” Haffner asserts.

After Executive Order 9066 examines the aftermath of the Pearl

Koho Yamamoto (American, b. 1922), Untitled, 1944, watercolor on paper, Cantor Arts Center, Stanford University. The Michael Donald Brown Collection, made possible by the William Alden Campbell and Martha Campbell Art Acquisition Fund and the Asian American Art Initiative Acquisitions Fund, 2020.153, © Koho Yamamoto

Harbor attack, which authorized the forced relocation of over 120,000 Japanese Americans to detention centers and camps. “The artworks bear witness to a racist chapter in American history, yet they also highlight the strength, creativity, and resistance of Japanese American artists during incarceration,” Haffner says. “Koho Yamamoto’s intimate watercolor, and drawings by Chiura Obata, who opened an art school at Topaz War Relocation Center in Utah, demonstrate the radicality and resistance of making art under confinement.”

Cross-cultural intrigue unfolds between artists at the turn of the century in Points of Contact Revisiting Other Sources : An American Essay examines Carlos Villa’s landmark exhibition that challenged the American bicentennial with a bold redefinition of national identity. This section reunites artists from that pivotal show. “Visions of Chinatown makes an important curatorial intervention in eschewing these ‛outsider’ representations that frequently drew on racist and exoticizing tropes. Instead, artists like Martin Wong, who grew up a few blocks from San Francisco Chinatown, offer an intimate and layered perspective of the neighborhood—not as spectacle, but as a lived space and community.”

East of the Pacific is the inaugural exhibition of the Asian American Art Initiative (AAAI), a partnership between Stanford University and the Cantor Arts Center. The works on display in The East West Art Society are part of the Cantor’s acquisition program focused on artists of Asian descent. “The Carter is the only presentation of East of the Pacific outside of Stanford, making this installation an important opportunity to extend the reach of the AAAI’s scholarship and to share these vital narratives with new audiences in Texas,” Haffner says.

Haffner feels hopeful about the conversations that may be sparked by the exhibition. “Migration is not a new phenomenon— it’s foundational to American history. By centering Asian American artists, the exhibition makes clear that ‘American art’ has always been shaped by transoceanic movement, cultural hybridity, and diasporic creativity.” She hopes museumgoers begin asking questions: “Whose stories are told? Who has been left out? How can each of us advocate for a more inclusive cultural landscape?”

East of the Pacific fractures the dominant story, unleashing a spectrum of voices and perspectives that challenge the status quo. Through ceramics and sketches, photographs and paint, Asian American voices reverberate across time—testaments to resilience, imagination, and cultural transformation. P

Theodore Wores (American, 1859–1939), A Lesson in Flower Arrangement, ca. 1893, oil on canvas. Cantor Arts Center, Stanford University. Gift of Drs. A. Jess and Ben Shenson.

George Matsusaburo Hibi (American, b. Japan, 1886–1947), Three Muses, 1930, oil on canvas. Cantor Arts Center, Stanford University. The Michael Donald Brown Collection made possible by the William Alden Campbell and Martha Campbell Art Acquisition Fund and the Asian American Art Initiative Acquisitions Fund.

Bernice Bing (American, 1936–1998), Blue Mountain No. 4, 1966, oil and acrylic on canvas, Cantor Arts Center, Stanford University. Gift of Alexa Young. Funding for the conservation of this artwork was generously provided through a grant from the Bank of America Art Conservation Project, 2020.14, © Alexa Young.

A WANDERING THOUGHT

Joanna Williams brings her globally sourced shop to Dallas Contemporary.

BY TERRI PROVENCAL

Clockwise: Kneeland Co. founder Joanna Williams. Photograph by Amy Chin; Amelia Magnifying Glass by Sonia Boyajian; The Center for Experimental Sweaters by Josh Faught; La Fortuna necklace by Sonia Boyajian; a collection of ceramics by Chelsea Beck.

There are bee brooches and statement necklaces that glimmer. There are congenial ceramic snails, llamas, and a giraffe pedestal bowl named Earnest perfectly poised to cradle a single bloom or treasured trinkets. Each of these pieces is unmistakably Sonia Boyajian, and her creations are a world we are happy to get lost in. There are also textiles to lay, frame, drape, or don—towels, placemats, tablecloths, and wall-hangings alongside wearable objects from The Center for Experimental Sweaters by Josh Faught (we’re besotted), and a Welcome Home fabric collage by Blair Saxon-Hill.

This is Kneeland Co. reimagined as a temporary cabinet of curiosities at Dallas Contemporary, residing in the kunsthalle through mid-October. At the helm is Joanna Williams, the founder and creative mind behind the Los Angeles–based boutique known for its honed collection of home goods, art, and jewelry sourced from artisans, makers, and kindred spirits across the globe.

“The collaboration [with Dallas Contemporary] came about when my good friend Su Wu reached out,” Williams explains. Wu, who curated You Stretched Diagonally Across It: Contemporary Tapestry for the museum, saw a natural synergy. “Su had the idea to bring Kneeland Co. to Dallas for the show’s opening. I’m a collector and a lover of textiles, and I’ve worked as a textile consultant for nearly 16 years, so it felt like a perfect match.”

In many ways, Kneeland Co. is an extension of Williams herself: curious, color-loving, and deeply attuned to stories—especially those told through materiality. “For as long as I can remember, I have always loved a mix of materials, colors, textures. I am also a voracious reader, and storytelling sparked my interest in this big, beautiful world at a young age.”

Named in tribute to her maternal lineage, Kneeland Co. honors the spirit of exploration embodied by her Irish grandfather and great-grandfather—one who sailed the open seas on a hand-built schooner, the other who famously fought alongside Pancho Villa after emigrating from Scotland. Their legacy of curiosity and bold adventure runs through the DNA of the brand.

What’s become a clever curio shop began as a personal framework for collecting and sharing the discoveries that fuel Williams’ own creative vision, a dynamic archive of inspiration rooted in heritage, travel, and a deep appreciation for craft.

A frequent traveler, Williams is especially inspired by Mexico and India, which remind her, she says, that brilliant design doesn’t need a hefty price tag. “There is an ingenuity in how things are designed in both places. My family is also from Mexico City, so I have a special fondness for the culture.”

In perfect harmony with the DC exhibition—where each tapestry is infused with layers of cultural narrative—she observes, ““Textiles are all about storytelling, history, craft, and, of course, materials.” When I had the idea to start my textile business, I wanted to offer a service that was inspired and present an edited selection from around the world. I mostly sell vintage and antique pieces, so each has a story, which is important to me.”

Ask her to pick a favorite from the pop-up, and she will hesitate. She loves the pillows and pillowettes by Iko Iko and sees Sonia Boyajian as a creative soulmate. Still, there’s one emerging name she is especially excited about: “I also love the ceramics by Chelsea Beck, who is an LA-based artist. This is her big debut, and I think her collection is really strong. She was a former curator at the The Broad in Los Angeles, and she has a very acute understanding of form, which I find very inspiring.”

Whether you’re there for the bees, the snails, or the stories stitched between the threads, Kneeland Co. offers a welcome detour into a world chock-full of the unexpected, one ceramic giraffe at a time.

Above: Kneeland Co. pop up at Dallas Contemporary. Left: Earnest pedestal bowl by Sonia Boyajian; Snail box by Sonia Boyajian.

Royal Bouquet dinner plate by Sonia Boyajian; Bee brooch by Sonia Boyajian

Sculpted in Style

Smooth, curvy, and

Munmistakably

artisan; meet Rocio.

BY TERRI PROVENCAL

erging sculpture, fashion, and traditional artistry, the Scotland-based House of Rocio produces strikingly sculpted bags crafted from sustainable hardwoods and complemented by luxurious contemporary textiles. Each Rocio handbag undergoes a meticulous 19-stage creation process spanning four to six weeks— an extraordinary commitment to handcraft that defines the brand founded by Hamish Menzies. Presenting the bags as sculptural objects, Menzies originally sold his wares through art galleries in Scotland.

Handpicked acacia and lime woods, officially certified and sourced from verified suppliers, form the foundation of each design. When a mature tree reaches harvest age, its felling is overseen by a forest ranger, and depending on its age, up to 50 saplings are planted in its place. This mindful harvesting not only ensures forest regeneration but also helps prevent the release of carbon dioxide that occurs when trees are left to decay. With every Rocio clutch, nature is renewed and the environment strengthened.

Menzies believes each creation is not only a work of art but also an enduring heirloom meant to be passed to the next generation— the circular fashion economy at its best. So recognized for its deeprooted commitment to sustainability, Rocio was the first recipient of Zero Waste Scotland’s “Circular Economy” award, honoring its innovative approach to environmental responsibility and design.

Newcomers to the brand might consider acquiring one of the classics like the Coco handbag, which brought Rocio its initial fame. In a high-gloss natural finish with 18k gold-plated brass hardware, this will become a wardrobe essential day or night. The adventurous should look to the Cynthia bag in natural combined with Pantone’s Elemental Blue, or the same combination in the Ramesses clutch, which appeared at London Fashion Week last year at the invitation of the British Fashion Council. The Aphrodite in a matte natural finish is as alluring as the goddess herself. Prepare to be stopped frequently while carrying this handbag.

You’ll find Rocio in Dallas at Stanley Korshak. These sculptural treasures are known to disappear quickly, often requiring a custom order, but like all things truly rare and beautiful, they’re well worth

the wait. “Rocio bags and clutches are more than accessories— they are cherished collector’s pieces,” says Chuck Steelman, Stanley Korshak’s chief customer and experience officer. “At Stanley Korshak, our clientele is drawn to their quiet elegance, the artisanal touch in every curve, every stitch. Each one is a singular work of art, as worthy of display as it is of being carried, telling a story not just of style but of artistry and intention.” P

Rocio’s Aphrodite handbag and clutch; Cairo clutch interior.

Rocio at Stanley Korshak.

A Next-Level Real Estate Experience

Dave Perry-Miller Real Estate epitomizes excellence in the Dallas-area real estate market. Our agents are renowned for professionalism and personalized service, and possess unmatched integrity and efficiency. As part of the No. 1 brokerage brand in North Texas, we can provide everything you need for a smooth transaction – whether that be expert guidance, the right connections or cutting-edge resources.

Trust us to exceed your expectations when it counts.

6

6

6315northwood.dpmre.com

2525pearl1804.dpmre.com

ART INFLUENCERS

Pushing boundaries with quiet clarity, these revolutionists are reshaping the contours of the art community from within. They observe what others miss—then render it visible, meaningful, and impossible to ignore.

BY NANCY COHEN ISRAEL, TERRI PROVENCAL, AND DARRYL RATCLIFF PHOTOGRAPHS BY VICTORIA GOMEZ

Sedrick Huckaby at Talley Dunn Gallery featuring Higher Ground, 100 portraits of the Nacimiento, Mexico community members he created during his Fulbright Fellowship.

Sedrick Huckaby

Artist | Co-founder of Kinfolk House

Sedrick Huckaby has always made art about real people: neighbors, family, elders, the overlooked. But Huckaby isn’t easily pigeonholed. He says, “They assume they know what my work is about based on what they last saw. But there’s always something unexpected I’m exploring.”

That spirit animates Higher Ground, Huckaby’s most ambitious exhibition to date at Talley Dunn Gallery. Realized through a Fulbright Scholarship that spanned three years, it features paintings, drawings, sculptures, and video, including over 100 portraits of residents in Nacimiento, Mexico, a community founded by Black Seminoles (Mascogos) who fled enslavement through the southern Underground Railroad and continue to celebrate Juneteenth. In coordination with the Mexican government, an agreement was reached to safeguard the US–Mexico border from incursions by American slave catchers. In exchange, Mexico granted the Mascogos citizenship and allocated them land of their own. “I thought I was painting people,” Huckaby says. “But I realized I was painting a portrait of a community.” This is an ongoing project that he hopes will

realize 500 portraits at completion.

From these oil-on-canvas works to installations like Black Bird Redemption Song —fifteen hand-sculpted birds enclosed in too-small antique cages that are metaphors for incarceration— Huckaby continues to use art to investigate history, honor, resilience, and to confront injustice. He co-founded Kinfolk House with his wife, artist Letitia Huckaby, in the home of his grandmother—a space he now calls a living artwork, a collaboration between memory and movement. “Kinfolk is almost like activism,” he says. “It’s a way to decide what should be in our communities.”

Yet for all the scale of his work, his vision remains intimate. There is a flatness or fairness or perhaps, better yet, a deep empathy in how he approaches his subjects. Whether he is immortalizing legendary figures like Opal Lee or Craig Watkins or simply the neighbor next door. “You’ll see it again and again, me looking at people as exactly the same,” he says. “Local things, local people—they’re of exponential importance.” –Darryl Ratcliff

Martine Elyse Philippe

Director | Office of Arts & Culture

Martine Elyse Philippe doesn’t just direct Dallas’ Office of Arts & Culture, she orchestrates civic intimacy at scale. An art collector, former dancer, and lifelong advocate for cultural equity, Philippe views her role not simply as distributing millions in funding, but as cultivating belonging. She wants Dallas to be a place where a child glimpses their first mural, a senior feels less alone at a jazz concert, or a couple falls in love at a pottery class.

Raised in a Haitian household steeped in art and stitched by grandmothers who were seamstresses, Philippe inherited an innate sense of style that bridges generations—elegant, intentional, expressive. Her upbringing imbued her with a deep appreciation for how beauty, ritual, and presentation can affirm identity and power. For her, fashion and public life are both stages: “I learned early that looking good could be part of feeling whole.”

Under her leadership, city hall has become a civic stage, warm and welcoming—a site of shared experience. She’s activated its walls with international dance, cultural heritage events, and

celebrations like 214 Day, an unapologetic love letter to Dallas. “We’re just giving the city its flowers,” she says.

Philippe is also a national leader in the growing field of arts and health, advocating for social prescribing, wellness-centered creative practices, and the integration of artists into public-health infrastructure. She collaborates with cultural leaders from the University of Florida to the Mass [Massachusetts] Cultural Council, building Dallas into a blueprint for arts-driven well-being.

As the city readies itself for the FIFA World Cup and other global-spotlight moments, Philippe sees more than an audience— she sees a stage. “We prepare to perform,” she says. “We want to show how the arts play well with others.”

Philippe’s vision isn’t about spectacle; it’s about sustenance. She’s composing a civic landscape where art isn’t the garnish but the grounding. In a city too often defined by division, her work offers a score for connection: textured, intentional, and deeply rooted.

–Darryl Ratcliff

Martine Elyse Philippe at South Dallas Cultural Center pictured with Jessica Vollrath’s A Good End

Natalia Di Pietrantonio

Curator | Crow Museum of Asian Art of The University of Texas at Dallas

When Dr. Natalia Di Pietrantonio stepped into her role as the curator of the Crow Museum of Asian Art at the University of Texas at Dallas in 2023, she walked into a new chapter for the museum. In addition to overseeing the original Dallas Arts District location, she played a starring role in the creation of the newly opened galleries in the Edith and Peter O’Donnell Jr. Athenaeum on the campus of UT Dallas in Richardson.

With her own cross-disciplinary interests, Di Pietrantonio conceived the elegantly installed permanent collection in a manner that allows objects from across Asia to be in conversation with one another. And, in a nod to the university’s technologyforward curriculum, she has incorporated a media gallery, which is especially popular with students. “We see the curation in the museum on campus as a living classroom for students,” she states.

A dialogue between contemporary art and historic antecedents continues in the special-exhibition galleries. This fall, as part of its continuing partnership with the Dallas Museum of Art, these

galleries will highlight the 20th-century Gutai and Mono-ha art movements, while another exhibition will feature the work of the contemporary Japanese ceramicist Kondō Takahiro.

The balance between current and past also suffuses the downtown space, which includes Cecilia Chiang: Don’t Tell Me What To Do, displaying the 95-year-old self-taught artist’s range of works. The installation Anila Quayyum Agha: Let One Bird Sing inaugurates the series Texas Ties. These will feature, as Di Pietrantonio explains, “Any artist who was born in Texas, went to school in Texas or resided in Texas for more than five years,” adding, “We are realizing that our audience wants this kind of contemporary look and feel.” She envisions this regularly rotating series as an anchor for one part of the museum, while still allowing ample space to highlight the permanent collection.

A challenge for Di Pietrantonio is gauging the needs and wants of each location’s respective audiences. If the current exhibitions and vibrant array of programs are any sign, she walks a path already lit with promise. –Nancy Cohen Israel

Natalia Di Pietrantonio seated with Cecilia Chang: Don’t Tell Me What To Do at the Crow Museum of Asian Art at the Dallas Arts District.

Emma Vernon

Executive Director | The Cedars Union

“I came in with the goal of working toward spreading an understanding of what we’re doing and what the artists in our space are doing,” says Emma Vernon, executive director of The Cedars Union. With her February appointment and the announcement of a $500,000 gift from The Eugene McDermott Foundation, the nonprofit arts incubator is setting its course as it enters its second decade.

“The Eugene McDermott Foundation’s investment in The Cedars Union is about more than funding—it’s about backing artists with the space, tools, and structure they need to build real careers,” says Grace Cook, a Eugene McDermott Foundation trustee. “Under Emma’s leadership, they’re not just being supported— they’re being positioned to lead,” she adds.

Vernon has a proven track record in nonprofit management. Her introduction to The CU came through Carmen Menza when both were serving on the board of Texas Vignette. Menza, who was in The CU’s first cohort, invited Vernon to the incubator. Vernon was immediately hooked.

The organization offers studio space, tools, and mentorship to cohorts of artists for 18-month residencies. These artists, Vernon points out, are at an inflection point in their creative journeys, reflecting a variety of life and art experiences. The call for the latest cohort attracted a record number of applicants for 18 coveted spots, the most to date. For the first time, writers are part of this group. For a monthly membership fee, non-cohort artists may access The CU’s facilities and programs, including those that teach skills for running a creative small business.

Founded in 2015, The CU has been sustained with seed money from the Bowdon Family Foundation. The promised gift of the adjacent Boedeker building will enable its physical expansion into enlarged workshops, a nonprofit gallery space, and 80 studio spaces to rent. “It’s a big project but we’re starting off with a really fantastic gift. We’re hoping that the community will step up and support us as we shape the future,” Vernon says. To that Cook says: “If Dallas is serious about its future, creativity can’t just be what makes it beautiful—it has to be what moves it forward.” –Nancy Cohen Israel

Emma Vernon at The Cedars Union pictured with cohort studios.

Christina Hahn

Artist | Founder Dallas Asian American Art Collective

Christina Hahn doesn’t just document history, she builds alternate futures from it. A multidisciplinary artist, curator, and organizer, Hahn is the founder of the Dallas Asian American Art Collective and creative director of the Dallas Asian American Historical Society. Her work moves between the personal and the civic, the mythical and the institutional, all while insisting that Asian Texan artists belong not on the margins, but at the center of Dallas’ cultural narrative.

“I see myself as a place of gathering and reflection,” she says. “We’ve always been here, but now, we’re building the ecosystem.”

As an artist, Hahn blends Korean mythology with Texas folklore in what she calls “neo-folk”: contemporary mysticism shaped by solemn optimism. Her work spans painting, fiber, soft sculpture, film, and printmaking. Her debut video piece, developed at The Cedars Union and later exhibited at Aurora and the Oak Cliff Film Festival, explores origin stories not as fixed myths, but as malleable maps to possibility.

A former political science student obsessed with the ideology

of nation building, she interrogates who gets to shape cultural memory. “History isn’t just written by the victors,” she says. “It’s written by whoever speaks the loudest. But what if we whisper a new one into being?”

As a community leader, Hahn is working toward a more inclusive canon; one that’s not just pan-Asian, but intersectional. From partnering with the Crow Museum and soccer club FC Dallas to co-hosting multiracial panels with Black Arts DFW, her organizing blends policy and poetry. “We’re not just a friend group,” she says. “We’re a movement.”

This summer she’ll curate new exhibitions at Hyphen Gallery for artists Assandre Jean-Baptiste and Karla Ramirez-Santin. She was also recently appointed to the DFW Airport Art Advisory Panel, a signal that institutional power is beginning to recognize the influence she’s already been wielding.

Christina Hahn is showing Dallas what happens when myth meets mandate, and how artists build the worlds others only dare to imagine. –Darryl Ratcliff

Christina Hahn at Southside on Lamar Artist Quarters within the Dallas Asian American Historical Society.

Antonio Lechuga Artist

Antonio Lechuga has been quietly weaving stories of community, trauma, and resilience. Using cobijas, the warm, patterned Mexican fleece blankets common in Latino homes, Lechuga creates tactile works that evoke both cultural familiarity and emotional weight. “These blankets… they’ve always been around me,” says Lechuga, who was born and raised in Oak Cliff. “They represent care, warmth, and intimacy—they offer a kind of protection.”

Lechuga studied at Skyline High School before attending the progressive Southern California Institute of Architecture in Los Angeles. “I always knew I wanted to make experiential spaces,” he says. That desire eventually led him to visual art. By 2011, he was painting graphic, abstract works, exploring how color relationships shape perception.

His shift to sculpture began during the isolation of the pandemic. “I was painting fences—two-dimensional, hard-edged—but I wanted to create more experiential spaces,” he says. Foam and denim came first to create sculptural depth, but cobijas soon became essential. “They brought something deeply familiar.”

In July 2022, just as his career was gaining momentum, Lechuga’s show at the Oak Cliff Cultural Center was sidelined: He

was shot in gang-related crossfire while out for a run near his studio. “It felt like someone hit me with a bat,” he recalls. “Had I not been able to flag somebody down to help me, and had I not been close to Baylor hospital, I wouldn’t be here.” Nearly a year later, he returned with Structures of Softness, realizing his planned exhibition at OC3 that was aimed to mitigate the coldness of the US–Mexico border wall.

That life-threatening moment deeply influenced his next major work, Flowers for the Living , shown at the Latino Cultural Center in 2024. Here Lechuga created sculpted flowers to honor families affected by mass shootings. “It was the only way I could process what happened. I had to make it soft, but I also had to make it speak.”

In April, Harlesden High Street, a London gallery, exhibited his work at the Dallas Invitational. This summer, his epic work St. Christopher, Patron Saint of travelers, guiding river crossers, 2024, will appear in Los Encuentros, a group show at Marfa Ballroom opening in July and running through October.

“Since I started working with blankets, it’s become easier to tell bigger stories,” Lechuga says. With each stitched fence and sculptural bloom, he reminds us that vulnerability can be a source of strength. –Terri Provencal

Antonio Lechuga in his studio with St. Christopher, Patron Saint of travelers, guiding river crossers , 2024.

Simon Waranch

It’s rare for someone to discover their life’s calling at fifteen. But for Dallas native Simon Waranch, that moment came early—and unmistakably—on a family trip to Murano, Italy. Already certain he was destined to be an artist, he found the medium that would come to define his creative practice in the legendary glassmaking capital.

Raised in a city known for its deep ties to the arts, Waranch explored a wide array of creative disciplines, but it was glass that captured his imagination with its balance of fragility and force, discipline and spontaneity. A graduate of the prestigious Booker T.Washington High School for the Performing and Visual Arts, Waranch built upon his early passion with formal training at the College for Creative Studies in Detroit. His pursuit of mastery has earned him a place in seven galleries that currently represent his work.

Waranch’s career has already featured milestones that many artists strive for over a lifetime. His work was featured in a solo exhibition at the Pollock-Krasner House in East Hampton, NY—an honor that reflects both his technical skill and the emotional resonance of his sculptures. In Dallas, his impact is both personal and public. Outside his alma mater, Booker T., stands a permanent glass tower

he created—a luminous monument to creativity and community. Just across the street, his pieces are on display at the HALL Arts Hotel and Residences, seamlessly integrating his work into the architectural and cultural fabric of the city.

In 2024 Waranch designed the Obelisk Awards for the Business Council for the Arts, merging craftsmanship with civic celebration. He also collaborated with NorthPark Center and the Seattle-based glassybaby company to produce a limited collection benefiting both Booker T. and the BCA—further evidence of his commitment to giving back through his art.

Perhaps most telling of his spirit is the hot shop he built in his own backyard. There Waranch regularly opens his studio to aspiring glass artists of all ages, sharing the tools, heat, and patience it takes to shape molten glass into something lasting.

Waranch’s inspiration comes not just from the forms he creates, but from the patterns he observes—both in the process of working with glass and in the unfolding of his own artistic journey. With each piece, he fuses tradition with innovation, heat with vision. His work reflects a philosophy shaped by fire: art that is not only seen but felt.

–Terri Provencal

Artist

Simon Waranch in his Oak Cliff hot shop, which he envisioned and custom designed.

Haley Leavitt

Curator | Oak Cliff Art Walk

Haley Leavitt is in the business of soft power. Not the kind wielded from above, but the kind cultivated between neighbors, on street corners, and inside old warehouses that have been reimagined as cultural commons. As the business development and community engagement lead at Proxy Properties, Leavitt is helping redefine what it means to lease space in Dallas: not just to fill square footage, but to anchor artists and cultural organizations in the community.

Raised in the Midwest, Leavitt grew up a sports girl, a field-trip museum kid who always felt art was just out of reach through the plexiglass. That distance, between the art and the audience, would eventually become the void she’s dedicated to closing.

Since settling in Oak Cliff, she has helped anchor the Oak Cliff Art Walk in the Oak Cliff Assembly, an annual celebration of Oak Cliff artists, born from leftover church pews turned into canvases. In its first year, 900 people came despite the Texas heat and no a/c. Now the event draws more than 1,500 attendees, features over 130

artists who display their work, and provides a fully free platform: no submission fees, all proceeds go to the artists. “We just wanted to make it feel possible,” she says.

That impulse to open doors without asking who’s knocking drives all her work. From curating site-specific exhibitions at Proxy’s newest massive development, East Dock, to organizing pop-up galleries in historic spaces like the Oak Cliff Assembly, Leavitt’s curatorial practice is part real estate, part relationship, and part advocacy for artists, whatever room she finds herself in.

She calls herself a connector, but that undersells it. Her work is less about networking than net-making, drawing lines between Cedar Crest and Tenth Street, soap makers and muralists, studio renters and neighborhood historians. “I want to see us unified,” she says. “My job is just connecting people.”

What Leavitt is building isn’t just a local scene; it’s an infrastructure of care, seeded in Oak Cliff and radiating outward— one artist, one show, one salvaged pew at a time. –Darryl Ratcliff

Haley Leavitt hangs out in an attic at the Oak Cliff Assembly.

Kaci Merriwether-Hawkins

Founder | Black Girls in Art Spaces

Kaci Merriwether-Hawkins tells stories in stillness and in motion. As a photographer, filmmaker, and community-builder, she has turned image making into a form of cultural advocacy and built Black Girls in Art Spaces into one of the most joyful and expansive networks of its kind.

Her story began with a camera at Tuskegee University, making films with friends. Early recognition from Nike, Beats by Dre, and Adobe affirmed her gift, but it was a moment in 2020 that changed her course: walking into the Columbia Museum of Art and seeing Kwame Brathwaite’s Black is Beautiful photographs displayed large and luminous. “It was the first time I saw us—fully, beautifully—on a museum wall,” she says. “And I knew I wanted to create more of that.”

What started as a dream has become a movement. Black Girls

in Art Spaces now includes more than 35 chapters across the US and internationally—from London to Nairobi to Mexico City. The collective hosts studio visits, museum meetups, and art experiences centered on Black joy, access, and visibility. “I planted the seed,” she says. “But it’s been a community garden, watered by so many hands.”

Her social media reviews have driven audiences to museum shows, while her platform has helped Black women secure roles at art fairs and galleries. “We’ve had members go from visitors to curators,” she notes. “And others start their own communities after seeing what’s possible.”

Whether behind a camera or in front of a room, MerriwetherHawkins makes space, emotionally and physically, for others to feel welcome in worlds they were told weren’t made for them. “Sometimes you just need someone to say, ‘This is yours too.’” –Darryl Ratcliff

Kaci Merriwether-Hawkins at Green Family Art Foundation with work by Ding Shilun and Francesca Mollett.

Cézanne’s Aix-en-Provence

MASTERPIECES BY THE FATHER OF MODERN ART JOURNEY HOMEWARD TO THEIR ROOTS IN SOUTHERN FRANCE.

BY EVE HILL-AGNUS

Bastide du Jas de Bouffan, Aix-en-Provence. © Photograph by Michel Fraisset.

The Mont Sainte-Victoire rises at its jaunty angle from the earth, thrust up from a base of limestone and Aleppo pine, and you can almost hear the whirring cicadas. This is Cézanne’s Provence. No other painter has such an enduring affinity with a territory as does the father of modern art, with his birthplace and home near Aix-en-Provence in Southern France. Being there bathes the visitor in a sense of rootedness that seems somehow born of the Mediterranean climate and light.

Starting in June, all the locations the painter held dear will be opened or reopened: the Lauves house-studio where he painted until his death in 1906; the manor house, Jas de Bouffan, owned by his banker father, never before opened to the public and yet the site where Cézanne spent his first 40 years; and the nearby Bibémus quarry, with its warm ochre-yellow stone that built Aix’s most venerable facades and, once abandoned, played a muse for numerous canvases.

Paul Cézanne, Les Quatre Saisons (The Four Seasons): Le Printemps (Spring), ca. 1860, oil painting on plaster wall, detached and mounted on canvas, 124 x 34.64 in.; L’Été (Summer), ca. 1860, oil painting on plaster wall, detached and mounted on canvas, 123.62 x 43.11 in.; L’Automne (Autumn), ca. 1860, oil painting on plaster wall, detached and mounted on canvas, 123.6 x 41.33 in.; L’Hiver (Winter), ca. 1860, 123.62 x 40.94 in. Paris, France, Petit Palais, Musée des Beaux-Arts de la Ville de Paris. Gift of the heirs of Ambroise Vollard, 1950 © GrandPalaisRmn / Agence Bulloz.

An exhibition, Cézanne at Jas de Bouffan at the Musée Granet (Aixen-Provence), will cast an entirely new light on the link between artist and environment in a way that promises to be unique and singular.

“On a personal and professional note, it’s the end of a career in which Cézanne has held a very important place,” says Bruno Ely, director of the Musée Granet, in a tour de force of understatement. “It’s also an important exhibition for the city, the region, the country, and even internationally because Cézanne is such a universal painter,” and one whose exceptional status is only reiterated with time.

It’s interesting to note the American connection to the trio of sites: In 1952, when the Lauves studio was threatened with demolition, writer James Lord and Cézanne specialist John Rewald founded the Cézanne Memorial Committee and galvanized American donors to buy the property and transfer it to the University of Aix-Marseille (which later sold it to the city of Aix-en-Provence). Yet another American, George Bunker, bought a significant part of the abandoned Bibémus quarry in the post-WWII years, donating it

to the city of Aix-en-Provence on the condition that it be accessible to the public.

For the exhibition Cézanne at Jas de Bouffan, almost 50 of the 130 works are on loan from the United States, Ely says, pointing out that this is not the first time US institutions have played significant cooperative roles. The exhibition Cézanne in Provence in 2006 was co-organized by the National Gallery of Art in Washington, DC. It welcomed 450,000 visitors. The equally blockbuster exhibition Picasso-Cézanne in 2009 drew more than 370,000 visitors and also relied heavily on loans from US institutions to flesh out the holdings of what is essentially a robust but small museum (Ely dubs it “modest”).

The curatorial team took only three years to organize the exhibition, a tempo which, as for any exhibition, depends in large part on loans. “If today the Metropolitan Museum, MoMA, or the Tate Modern loan to us, it’s also because over the years we’ve been able to develop these lovely relationships that allow us to have a form of credibility when we mount a project like [this],” Ely says. “Not that it’s easy.”

Paul Cézanne, 1899–1904, Baigneuses et baigneurs (The Bathers), oil on canvas, 27.25 x 31.37 x 3.25 in. The Art Institute of Chicago, Amy McCormick Memorial Collection, United States, Chicago, IL. © Art Institute of Chicago.

Paul Cézanne, Louis-Auguste Cezanne, père de l’artiste, lisant L’Événement (The Artist’s Father, Reading “L’Évènement”), 1866, oil on canvas, 78.14 x 46.96 in. United States, Washington, DC, National Gallery of Art, Collection of Mr. and Mrs. Paul Mellon.

Above: Paul Cézanne, Les Joueurs de cartes (The Card Players),1893-1896, oil on canvas,18.50 x 22.24 in. Paris, France, Musée d’Orsay. Bequest Isaac de Camondo, 1911 © GrandPalaisRmn (Musée d'Orsay) / Hervé Lewandowski.

Paul Cézanne, Portrait de madame Cézanne (Portrait of madame Cézanne) 18831885, oil on canvas, 18.11 x 15.07 in. United States, Philadelphia, PA, Philadelphia Museum of Art, The Louis E. Stern Collection, 1963. © The Philadelphia Museum of Art, Dist. GrandPalaisRmn / image Philadelphia Museum of Art.

Paul Cézanne, Maison et ferme du Jas de Bouffan, (The House in Aix Jas de Bouffan), 1885–1887, oil on canvas, 23.93 x 29 in. Czech Republic, Prague, National Gallery Prague © National Gallery Prague, 2025.

Above, left and right: Atelier des Lauves © Ville d'Aix-en-Provence; Below: Paul Cézanne, Nature morte aux cerises et aux pêches (Still Life With Cherries And Peaches), 1885–1887, oil on canvas, 19.75 x 24 in. United States, Los Angeles, CA, Los Angeles County Museum of Art. Gift of Adele R. Levy Fund, Inc., and Mr. And Mrs. Armand S. Deutsch. © 2025 Museum Associates / LACMA. Licensed by Dist. GrandPalaisRmn / image LACMA.

Among the paintings denied to them is a “remarkable canvas,” Ely says, depicting the family home’s chestnut tree-lined drive with a glimpse of the Mont Sainte-Victoire in the background, a monolith seen through the denuded branches. He understands museums’ need to hold on to the treasures that anchor their collections. Meanwhile, the exhibition catalogue’s cover depiction of the Jas de Bouffan manor with its adjacent farmhouse is on loan from the National Gallery in Prague, though it’s not the first time the Musée Granet has requested it. “We never obtained it,” Ely confesses. “And now, for 2025, we obtained not only the landscape but also the portrait of Joachim Gasquet,” which Cézanne painted at the Jas de Bouffan. “That’s a nice surprise,” Ely admits. Similarly, kismet-seeming is the National Gallery of London’s willingness to temporarily part with its portrait of Louis-Auguste Cézanne, the artist’s father, at home reading a newspaper—despite a moratorium on lending in anticipation of the British behemoth’s bicentennial anniversary.

By dint of the Granet team’s insistence and reiterated explanations of the painting’s significance in the scope of the exhibition, the London institution was coaxed to acquiesce. The National Gallery in Washington, DC, also generously loaned its portrait. At one

Carrières de Bibémus, Aix-en-Provence. © Photograph by Michel Fraisset.

Carrières de Bibémus, Aix-en-Provence. © Photograph courtesy of Ville d'Aix-en-Provence.

point in the visit, with just a quarter swivel, guests will be able to contemplate both nearly identical pictures. Six canvases originate from the Orsay museum and one, a portrait of the artist’s friend Gustave Boyer, was thought lost and then was found in Switzerland. “A truly excellent surprise,” Ely says.

All the stars aligned to make something happen not heretofore possible: to walk in the painter’s footsteps with this level of intimacy. As a result, the site where Cézanne painted his first works—the Jas de Bouffan—and the Lauves studio that sheltered his last coexist as open sites, the alpha and omega of his life and work. The farmhouse adjacent to the progressively reopening childhood home will hold the Paul Cézanne Society’s research center and harbor his catalogue raisonné—previously held in New York. The full-circle return seems not just significant, but quasi-mythical.

“Cézanne’s Provence fits in a tiny perimeter,” Ely says. “Cézanne doesn’t need big spaces; he doesn’t need to travel far away.” Unlike fellow artists such as Paul Gauguin, he only made one trip abroad, and that to Switzerland to please his wife, Hortense. Cézanne, Ely posits, simply needed to work the same themes, the same motifs, the same subjects. And yet he revolutionized painting. P

Paul Cézanne, Le Rêve du poète; Le Baiser de la muse d’après Félix-Nicolas Frillié (The Poet's Dream; The Muse’s Kiss, after Félix-Nicolas Frillié), 1859–1860, oil on canvas, 32.28 x 25.98 in., Paris, France, Musée d’Orsay, donation 1892, long-term loan to the Musée Granet, Aix-en Provence, 1984. © GrandPalaisRmn (Musée d'Orsay) / Hervé Lewandowski.

Paul Cézanne, La Montagne Sainte-Victoire (Mont Sainte-Victoire), 1897, oil on canvas, 28.74 x 36.02 in. Switzerland, Bern, Kunstmuseum Bern, Bequest Cornelius Gurlitt 2014. © kunstmuseumbern.ch

Broadway Dallas by Fiore x 7 Flower Bar at Fleurs de Villes Artiste at NorthPark Center.

Photograph by Justin Clemons

FLEURS DE VILLES ARTISTE AT NORTHPARK CENTER

PHOTOGRAPHS BY TAMYTHA CAMERON AND JUSTIN CLEMONS

Daniel Driensky, Sarah Reyes, Anna Kern

Meadows Museum by Sage Fine Flowers

Cynthia Smoot, Hamilton A Sneed, Kimberly Alexander

Michelle Lockhart, Laura Hurt, Stacey McCord, Tiffany Cook

Angela Choquette, Lacey Duffy, Melanie Dimmitt, Giovanna Frankel

Lisa Fleet, Patricio Rivera

Guest admiring the floral design

Nancy Nasher, Izzy Haemisegger, Sarah Haemisegger, David Haemisegger

Dr. Delphinium Designs for Modern Art Museum of Fort Worth

Felicia Lewis, Stacie Adams, Meredith Hays

Pablo Arellano, Jill Sager, Rod Sager, Ramiro Garcia

2025 DALLAS ART FAIR PREVIEW BENEFIT AT FASHION INDUSTRY GALLERY

PHOTOGRAPHS BY EXPLOREDINARY

Gisèle Roman, Satchma and Oakley

Jesus Flores, Angela Tamez

Anna Katherine Brodbeck, Ade Omotosho, Vivian Li

Sarah Hustava, Kelly Cornell, John Sughrue, Marlene Sughrue

Suzanne and David Droese

Ron Kirk, Sadie Sherman, Matrice Ellis Kirk

Xxavier Carter, Ariella Villa Summer Wheat

Ashish Monga, Baqer Keshwani, Preeta Monga, Raj Udeshi

Amanda Shufeldt, Porschla Kidd, Josh Lilley, Jessica Nowitzki

Stephen Abernathy

CAPITAL ONE AND THE CULTIVIST HOST DALLAS ART WEEK LUNCHEON AT THE WAREHOUSE WITH HOWARD RACHOFSKY

Jodie Oliver, Nick Matus

Joey Lico, Steph Imperato

Olivia Burca, Jack Greyson

Carolina Alvarez-Mathies

Heather Vertin, Greer Gross, Joyce Goss

Justin Meyer, Lara Tafel

Thomas Feulmer

Capital One and The Cultivist Dinner at The Warehouse

Stephen Sarmiento

Howard Rachofsky

2025 NASHER PRIZE GALA HONORING OTOBONG NKANGA AT NASHER SCULPTURE CENTER

PHOTOGRAPHS BY EXPLOREDINARY AND CAN TURKYILMAZ

Jeff Melucci, Marlo Melucci, Gowri Sharma, Alex Sharma

Drew and Melissa Ireland

Sharon Young, Nancy Carlson, Deedie Rose, Michael Young

Jed Morse

Nancy Nasher, David J. Haemisegger

Otobong Nkanga

Christen Wilson, Kathryn Andrews, Miko McGinty, Nathan Carter

Matrice Ellis-Kirk and Lucilo Peña

Hugh Hayden

DALLAS CONTEMPORARY CELEBRATES IVÁN ARGOTE AT

PHOTOGRAPHS BY LUIS MARTINEZ

Rod Sager, Jill Satger

Justin Clemons Ramiro Garcia, Lucia Simek, Peter Augustus Owen

Nadia Dabbakeh Friedeman

Thomas Feulmer

Sarah Hustava, Emily Edwards

Iván Argote

Ryan Thrash, Liz Thrash

Reed Robertson, Danielle Hunter

Pablo Arellano

AN EVENING WITH HOLLY HUNT: ARTISTIC REFLECTIONS & BOOK SIGNING

PHOTOGRAPHS BY VICTORIA GOMEZ

Nicole Ancelet, Megan Theriot, Rene Henderson

Deanann Vanderslice, Ron Hall, Beth Hall

Crystal Carmona, Mario Yeo, Arnold Carmona, John Bobbitt

Abby Mena, Amanda Allen

Sandy Zisman

Holly Hunt

Rodney Wilkins

Marc Szafran, Ramon Longoria

Victoria Lopez, Nancy Winston

SPRING ART SEASON KICK-OFF CELEBRATION AT THE HOME OF ANN AND JOHN Mc REYNOLDS

PHOTOGRAPHS BY A SEA OF LOVE

Gonzalo Bueno, David Sutherland

David Liu, Christina Jafar

Cody Fitzsimmons, Christopher Scott

John McReynolds, Alden Pinnell

Lucia Simek, Gavin Morrison

Diamond Jim, Muffin Lemak, Ann McReynolds

Jeremy Strick, Victoria Brill, Erin Cluley, Nancy Whitenack

Ramiro Garcia, Pablo Arellano

Mark Moussa, Janelle Pinnell

A CONVERSATION WITH SUSAN HABLE AND FEDERICO CONTIGIANI

AT HICKORY CHAIR

PHOTOGRAPHS

Sarah Warner

Muffin Lemak, Susan Palma

Jeannine Bazer, Sandie McClean, Jon McClean

Ashley Jenkins, Angela Carreles, Priscilla Sandlin, Peggy Oliver

Susan Hable, Federico Contigiani

Roger Koen, Kelli Ogletree

Hickory Chair showroom

Susan Hable Outdoor Collection for HIckory Chair

A conversation on the Hable Outdoor collection with Susan Hable and Federico Contigiani at Hickory Chair

BY PEYTON MIXON

Where Action Failed, VOICES RISE

Herrera Dance Project responds to the echoes of grief in the wake of Uvalde.

BY TERRI PROVENCAL

M

ore than three years have passed since a gunman carrying a military-grade weapon left 19 students and two fourth-grade teachers dead at Robb Elementary School in Uvalde, Texas.

On July 30 and August 2, Herrera Dance Project will present Echoes of Justice Unanswered for 77: The Time Between, a contemporary dance production at the Latino Cultural Center. The production lingers in the stillness of moments when action never came, urging reflection on community, accountability, and the deep need for lasting change. Admission to the event is free, making it accessible to everyone.

At the intersection of tragedy and art, Echoes of Justice confronts the unimaginable. In a haunting production, choreographers and dancers will give form to the grief left in the wake of the 2022 Uvalde school shooting—a tragedy so devastating, co-director Favian Herrera Jr. says, “no Hollywood film could ever come close.”

Herrera believes that movement—visceral, raw, and elemental— holds a power that words often fail to reach. “Movement evokes the language of the soul,” he explains. “It resonates deeply with the human spirit. It allows us to see the innocence of these children, the love of their teachers, and the essence of their existence.”

The production doesn’t just tell a story—it shapes memory. Each piece of choreography reflects the individual personalities of those lost. Yet even in this crafted form, dancers are given the freedom to respond instinctively, echoing real human emotion. “Movement becomes memory,” Herrera says, “a memory living on in motion, not just in mourning. Grieving through motion is nature’s response to loss,” he adds. “The clenching, the collapse—those are full-body expressions of sorrow. But disbelief can numb us, complicating the healing.”

The emotional weight of the production is grounded in the stories of the victims and their families. “Personal stories connect at an intimate level,” Herrera says. “In Uvalde, the response time—77 minutes—was a gut punch. That delay left a scar deeper than the crime itself.”

Unlike other mass shootings, he notes, nearly 400 law enforcement personnel were present. “The highest-ranking state trooper in Texas was there within four minutes,” he says. “And still—no one acted.”

Herrera sees these personal narratives not only as reminders of what happened, but as urgent calls to action. “These families are still advocating for change. They’re fractured, but they haven’t stopped fighting. That’s the power of community.”

The anger directed at law enforcement isn’t just emotional— it’s rooted in disbelief. “One teacher texted her husband, a law enforcement officer, that she’d been shot,” Herrera recalls. “He tried to enter and was turned away.”

He continues, “There’s a bigger conversation here. We had Border Patrol, state troopers, even a game warden at the scene. But the system treated it as a barricaded suspect situation instead of an active shooter. That failure of response still haunts this community.”

For Herrera, dance becomes a way to process that anger and offer hope. “Our goal is to be an extension of Uvalde’s voice here in Dallas—to educate, to honor, and to be part of change.” Though the project engages with harrowing themes, its vision is ultimately one of light and transcendence.

The production includes a powerful moment of connection: a panel discussion featuring Arnulfo Reyes, the only survivor of his classroom, and Javier Cazares, father of nine-year-old Jacklyn Cazares, who was killed in the attack. The panel will take place on July 29 at the Oak Cliff Cultural Center.

“These are just highlights of the production,” Herrera says. “But the real highlight will come when the lives lost in Uvalde move our leaders to real, lasting change.” P

Favian Herrera Jr. Photograph by Wade Simmonds.

Dancers Madison Frampton-Herrera, Kwame Lily, Juan-Jose Rodriguez, Tristan Rodney. Photograph by Serkan Zanagar.

Handcrafted

HAPPY SPORT

in Ethical Gold

Available at Galleria Dallas | Plaza at Preston Cetner

HAPPY SPORT

Handcrafted in Ethical Gold

Available at Galleria Dallas | Plaza at Preston Cetner