Patron's 2019 April Issue by Patron Magazine

ON THE HORIZON DALLAS ART FAIR RETURNS LA PAINTERS A CREATIVE CAST

ISA GENZKEN JONAS WOOD SOLUNA

FRANÇOIS LEPAGE, FLOWERS IN A VASE WITH TWO DOVES, 1816–1820, DALLAS MUSEUM OF ART, MUNGER FUND IN HONOR OF THREE MEMBERS OF THE FUND WHO LOVED FLOWERS: GERTRUDE TERRELL MUNGER, RENA MUNGER ALDREDGE AND BETTY ALDREDGE SLATER

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SEVERIN ROESEN, STILL LIFE OF FLOWERS AND FRUIT WITH A RIVER LANDSCAPE IN THE DISTANCE, 1867, AMON CARTER MUSEUM OF AMERICAN ART

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EDITOR’S NOTE

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April 2019

TERRI PROVENCAL Publisher / Editor in Chief terri@patronmagazine.com Instagram: terri_provencal and patronmag

Art ignites the human spirit. For example, take this month’s cover, Mountain Sunset, a painting by Los Angeles artist Alec Egan whose work will display at Anat Ebgi’s booth at the Dallas Art Fair. Egan’s paintings take us to familiar places, whether it’s through a heavily patterned chair that recalls visits to your grandparents’ home; that same chair, juxtaposed with equally patterned wallpaper; or a postcard-worthy mountainous landscape. When I gathered opinions from diverse minds regarding which cover to select for April, as expected, I received varied responses. My husband, an outdoorsman, responded to the one you are holding now. It reminded him of Yosemite’s El Capitan, the subject of two recent climbing films he was looking forward to seeing. I hadn’t considered that. For me, the place didn’t matter because I was immediately drawn to the colors along with Egan’s confident technique. As I considered the phenomenon of two individuals loving the same painting, but for entirely different reasons, my informal cover poll served as a great reminder of the myriad ways people see and experience art. Which leads us to The LA Narrative. We tapped photographer Sergio Garcia to take us inside Egan’s studio and two other LA-based painters, Rosson Crow and Gracie DeVito. All three cover-worthy artists are represented at Dallas Art Fair, their practices offering fresh painting perspectives as described by Nancy Cohen Israel and Steve Carter. Yet another Angeleno, painter Jonas Wood, mounted his first solo museum survey at the Dallas Museum of Art at the end of March. Wood’s Pink Plant Patio Landscape Pot was featured on Patron’s October 2017 cover to coincide with his designation as artist honoree of TWO x TWO for AIDS and Art. It’s good to have him back. In Jonas Wood: Scenes from the Everyday, Hans Ulrich Obrist interviews the venerated artist about his current show and early influences. In more fair coverage, Breaking the Mold examines the practices of three artists working in sculpture—Chaouki Choukini, Zoë Buckman, and Tony Matelli—while Danielle Avram writes of conceptual sculptor Isa Genzken, honored this month as the Nasher Prize Laureate. Her perceptionchanging oeuvre is described in Isa Genzken’s Extraordinary Burst of Invention, the title borrowed from Nasher Sculpture Center’s Jeremy Strick. Farther north, Lisa Runyon of Runyon Arts takes us on a tour of the Toyota Motor Corporation of North America, headquartered in Plano. Working side by side with Corgan’s Garry Walling, Runyon assembled a collection featuring work by Texas artists, including Kevin Todora who photographed the story for Patron, along with Japanese and Japanese-American artists aligned with the company’s roots. Take a peek inside in Art in Overdrive. Fine art photographer and illustrator Geof Kern teamed up with creative director Elaine Raffel to present spring fashion in surreal style. More spring fare blooms this month when the perennial SOLUNA lineup unfolds, including performances by Oscar-nominated Terence Blanchard, multidisciplinary artist Lonnie Holley, and Fabio Luisi’s return to the Meyerson Symphony Center as Dallas Symphony Orchestra’s Music Director Designate. Lee Cullum shares these collaborations and more in The Beauty Between the Notes. And in other alliances, the Souls Grown Deep Foundation secured a new partner in the Dallas Museum of Art with the partial gift/partial purchase of seven works on display as part of the America Will Be! exhibition. Chris Byrne visits with SGDF board member Paul Arnett in Southern Vernacular. Brandon Kennedy spends time with artist Leigh Merrill in her Oak Cliff studio in Chockablock Distortions Left Waiting. Lastly, take in Clare Woods’ tiled mural at River Bend, home to the Dallas Art Fair offices and fair-owned 214 Projects along with galleries And Now and Erin Cluley. Dallas Art Fair’s cofounder John Sughrue converses with the artist in Furthermore. No matter what you view during Dallas Arts Month, let others describe what they see. It’s an enlightening way to look at art. – Terri Provencal

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YOU ARE EXACTLY WHERE YOU NEED TO BE

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CONTENTS 1

FEATURES 76 THE LA NARRATIVE Dallas Art Fair exhibitors 12.26, Anat Ebgi, and The Hole will exhibit paintings by three Angeleno artists. By Steve Carter and Nancy Cohen Israel 84 BREAKING THE MOLD Examining the practices of three disparate sculptors showing work at Dallas Art Fair. By Nancy Cohen Israel and Jennifer Klos 92 JONAS WOOD: SCENES FROM THE EVERYDAY The LA-based painter reveals early and current influences evidenced in his museum survey at the Dallas Museum of Art. By Hans Ulrich Obrist 98 ISA GENZKEN’S EXTRAORDINARY BURST OF INVENTION The German sculptor is honored with the Nasher Prize for the breadth and depth of her oeuvre. By Danielle Avram. Portrait by Wolfgang Tillmans

104 ART IN OVERDRIVE Toyota brings art and community together at North American headquarters. By Nancy Cohen Israel 110 ONE MORNING SPRING AWAKENED AND IMAGINED ITSELF… Fashion selections from the season of renewal. Creative Direction by Elaine Raffel. Photography and illustrations by Geof Kern.

104

110 18

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On the cover: Alec Egan, Sunset Mountain, 2019, oil on canvas, 60 x 48 in. Photograph by Michael Underwood. Courtesy of the artist and Anat Ebgi Gallery, Los Angeles.

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CONTENTS 2

DEPARTMENTS 16 Editor’s Note 22 Contributors 36 Noted Top arts and culture chatter. By Anthony Falcon Of Note 56 ARTHUR PEÑA HAS SEEN THE FUTURE And New York Artist Carrie Moyer is part of it. By Patricia Mora Contemporaries 58 SOUTHERN VERNACULAR Works from the Souls Grown Deep Foundation mount at the Dallas Museum of Art. By Chris Byrne Fair Trade 60 LANGUAGE + THE MATERIALS REFERRED TO Lisson Gallery will present the text-based practice of Lawrence Weiner in the gallery’s first-time outing to the Dallas Art Fair. By Gene Jones

Studio 62 CHOCKABLOCK DISTORTIONS LEFT WAITING Leigh Merrill’s Colorized Grafts of Hauntingly Unfamiliar Spaces. By Brandon Kennedy Performance 64 THE BEAUTY BETWEEN THE NOTES International artists unite with the Dallas Symphony and local talent to imagine SOLUNA, a music and arts festival with a soul. By Lee Cullum Space 70 BEST IN SHOW Dallas Decorative Center welcomes the design trade and those seeking the finer things. By Peggy Levinson Coveted 74 AMERICAN BEAUTY In a mercurial country, the House of Harry Winston endures. By Terri Provencal. Photography by Elizabeth Lavin

There 122 CAMERAS COVERING CULTURAL EVENTS Furthermore 128 TAKE ME TO THE RIVER Clare Woods harnesses the ebb and flow of the Trinity for a new Dallas development. By John Sughrue

64 20

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CONTRIBUTORS

DANIELLE AVRAM is a curator and writer based in Dallas, TX. She has held positions at Texas Woman’s University; Southern Methodist University; The Power Station and The Pinnell Collection; and The High Museum of Art. She has an MFA from the School of The Museum of Fine Arts and Tufts University, and a BA from the University of Texas at Dallas. For April, she examined the practice of this year’s Nasher Prize Laureate in Isa Genzken’s Extraordinary Burst of Invention.

STEVE CARTER profiles two Angeleno artists showing at the Dallas Art Fair, Gracie DeVito and Alec Egan. DeVito is represented locally by the forthcoming 12.26, the new Design District space opening this fall formed by sisters Hilary and Hannah Fagadau, and Egan will be the sole artist at Anat Ebgi’s booth, also based in Los Angeles. “DeVito and Egan are two to keep an eye on,” Carter says. “Cool people, creating cool work. Check them out.”

NANCY COHEN ISRAEL is a Dallas-based art historian, curator, and art tour organizer who looks forward to April’s annual cultural blossoming. For the current issue, she enjoyed writing about artists from diverse backgrounds whose work will be on view at this year’s Dallas Art Fair. Nancy was also delighted to write about the magnificent collection at Toyota’s North American headquarters. In addition to being an ongoing Patron contributor, Nancy is a regular lecturer at the Meadows Museum.

BRANDON KENNEDY is the Director of Exhibitor Relations for the Dallas Art Fair, working with international galleries and assisting with programming for the April event. Kennedy curated The Anatomy of Disquiet at The Karpidas Collection, exploring the nature of Jungian thought and the collective unconscious through almost 80 artworks from their collection. He is an occasional artist, avid book collector, and peripatetic curator, who writes about local artists for Patron’s Studio column. For April he checks in with artist Leigh Merrill.

Lindsay Roche

CHRIS BYRNE is the author of the graphic novel The Magician (Marquand Books, 2013) as well as The Original Print (Guild Publishing, 2002). He is co-chair of Art21’s Contemporary Council and serves on the board of directors of Institute 193, Dallas Contemporary, Museum of Contemporary Art Detroit, and the American Folk Art Museum’s Council for the Study of Art Brut and the Self-Taught. He is the co-founder of the Dallas Art Fair and was formerly chairman of the American Visionary Art Museum.

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

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LEE CULLUM is a Dallas journalist and host of CEO, a series of interviews with business leaders for KERA-TV, who balances her work in business, public policy, and foreign affairs with a passion for the performing arts. An ongoing Patron contributor, in The Music Between the Notes she covers several artistic collaborations produced by the Dallas Symphony Orchestra for their all-inclusive music and arts festival SOLUNA now in its fifth year.

JENNIFER KLOS is a Dallas-based art advisor, curator, and the founder of Collector House, an art advisory firm that educates collectors on acquiring art through gallery visits, travel tours, and a YouTube video series. She holds degrees from Vanderbilt University, Christie’s Education, Inchbald School of Design, and Bard Graduate Center. As a former curator at the Oklahoma City Museum of Art, she has worked with artists on contemporary exhibitions and acquisitions. In this issue, she writes about artist Tony Matelli’s sculpture installation at The Joule..

GEOF KERN began his career as a photographer in 1978 after graduating from Brooks Institute of Technology in California and moving to Dallas to accept a studio position. He left to open his own studio and began photographing fashion for the Dallas Morning News. Kern began to photograph essays and story illustrations for GQ, Rolling Stone, and Esquire, and worked as a contributing editor for Spy Magazine. His fine art photography is represented by PDNB Gallery.

ELAINE RAFFEL is a Dallas freelancer and creative who blames her obsession with designer fashion and opulent jewels on her years as creative head for the crème de la crème of retail: Stanley Korshak and Neiman Marcus online. Taking spring style to an entirely new level for Patron, in this issue, she harnessed the talented photographer and illustrator Geof Kern to deliver a surreal fashion feature in One morning spring awakened and imagined itself…

JOHN SUGHRUE established Brook Partners in 1994 and has developed numerous central Dallas real estate projects. His current focus includes the transformation of River Bend located at 2025 Irving Boulevard in the Design District into a vibrant retail, showroom, and creative office community that celebrates the intersection of culture and commerce. He is a co-founder of the Dallas Art Fair as well as a founding director of Veritex Community Bank and serves as president of the Dallas Contemporary. KEVIN TODORA uses the photograph as the foundation for his sculptural work by experimenting with everyday objects, taking them out of their usual contexts and placing them into unexpected photographic tableaux. He earned his MFA from Southern Methodist University and his BFA from the University of Texas at Dallas. In 2013, Todora was the subject of a solo exhibition at Dallas Contemporary. His work is represented by Erin Cluley Gallery and is held by the Toyota Motor Corporation North America collection he photographed this issue.

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PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Anthony Falcon COPY EDITOR Sara Hignite PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Danielle Avram Brandon Kennedy Chris Byrne Jennifer Klos Steve Carter Hans Ulrich Obrist Lee Cullum Patricia Mora Nancy Cohen Israel John Sughrue Gene Jones

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ON A NIGHT LIKE THIS Opening reception March 30th, 5-8pm Exhibition thru May 4th

CONTRIBUTING PHOTOGRAPHERS Kelly Alexander Fredrik Nilsen Brian Forrest Brad Linton Sergio Garcia Chris Luttrell Megan Gellner Tiffany Sage Jeremiah Jhass Wolfgang Tillmans Hagop Kalaidjian Yvonne Tnt Geof Kern Kevin Todora Elizabeth Lavin Alex Wolfe STYLISTS/HAIR & MAKEUP/ASSISTANTS Nelly Adham Anna Kern Elliot Kern Joseph LaCerte Elaine Raffel Adam Rico LB Rosser 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 One year $36/6 issues, two years $48/12 issues For international subscriptions add $12 for postage

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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2019, Patron. All rights reserved. Reproduction in whole or in part without express written permission of the Publisher is strictly prohibited. Opinions expressed in editorial copy are those of experts consulted and do not necessarily reflect the opinions of the editors, publisher or the policy of Patron. Unsolicited manuscripts and photographs should be sent to the address above and accompanied by a self-addressed stamped envelope for return. Publisher will take reasonable precaution with such materials but assumes no responsibility for their safety. Please allow up to two months for return of such materials.

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FOCUS: Analia Saban Through May 12

Disappearing—California, c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein May 10–August 11

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Follow the Modern

Analia Saban, Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018 (detail). Ink and laser-carved paper on wood panel. 50 x 62 1/2 x 2 1/8 inches. © The artist. Courtesy Galerie Sprüth Magers

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Background Image: Vincent Falsetta, EK 16-3, oil canvas 63 x 50 in. Courtesy of the artist and Conduit Gallery

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NOTED

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

03 06

01 AFRICAN AMERICAN MUSEUM #Us Too: Black Women Artists continues through May 31. Reflections Through Digital Soul, featuring Andrew Scott’s sculptures, opens Apr. 2 through Jul. 5 and the Carroll Harris Simms National Black Art Competition and Exhibition mounts Apr. 6 through Aug. 24. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART From Remington to O’Keeffe: The Carter’s Greatest Hits continues through Jun. 2. To rejuvenate the presentation of the museum’s collection, galleries are undergoing renovations to provide a richer viewer experience to better serve visitors. Image: Laura Letinsky (b. 1962), Untitled #52, 2002, Dye coupler print. © 2002 Laura Letinsky. Courtesy of the Amon Carter Museum of American Art, Fort Worth, Texas. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART Reflections and Repercussions, a new work by sound artist Aki Onda for the SOLUNA Festival will activate the galleries of the Crow Museum with a performance celebrating contemporary music and art on Apr. 4. This fusion of the auditory and the visual will unfold beneath Jacob Hashimoto’s site-specific installation which weaves through the gallery’s architecture. Hashimoto’s Clouds and Chaos will close Apr. 7. Immortal Landscapes: Jade and The Art of Lacquer continue through Jun. 23. Hands and Earth: Contemporary Japanese Ceramics presents a range of shapes, glazes, surface treatments, and avant-garde approaches to clay through Jan. 5, 2020. Image: Koike Shoko (b. 1943), Shell, 1995, glazed stoneware and porcelain, 18 x 23 x 19 in. Carol and Jeffrey Horvitz Collection. Courtesy of Joan B. Mirviss. Photograph by Richard Goodbody. crowmuseum.org 04 DALLAS CONTEMPORARY DC will open four exhibitions on Apr. 13 through Aug. 18: Francesco Clemente: White Caravan, Pink Thread, Red Gate; Self Service: TwentyFive Years of Fashion, People and Ideas Reconsidered; Mario Sorrenti: Kate; and Yelena Yemchuk: Mabel, Betty & Bette. Image: ‛I Want, I Want,’ A Nomadic Life: Francesco Clemente in China, Springs Center of Art Beijing (sculpture). Courtesy of Springs Center of Art, Beijing. dallascontemporary.org 36

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05 DALLAS HOLOCAUST MUSEUM In The Lost: A Search for Six of Six Million, Daniel Mendelsohn seeks the truth behind his family’s tragic past in World War II. On Apr. 4 the Upstander Speaker Series features Rais Bhuiyan, who was shot in the face in 2001 by Mark Stroman. Bhuiyan responded to the attack by forgiving his attacker and attempting unsuccessfully to prevent Stroman’s execution. On Apr. 19, the museum will celebrate the final year of the permanent exhibition One Day in the Holocaust with free admission. Join the Dallas area community on Apr. 28 for Yom Hashoah, also known as Holocaust Remembrance Day. dallasholocaustmuseum.org 06 DALLAS MUSEUM OF ART Modernity and the City displays prints and drawings by European artists who captured the impact of industrialization in the early 20th century through Jun. 16. Women Artists in Europe from the Monarchy to Modernism continues through Jun. 9. Berthe Morisot, Woman Impressionist focuses on the artist’s treatment of the modern figure through 70-some paintings through May 26. Jonas Wood traces the artist’s fascination with psychology, memory, and the self to shed light on a practice that is both deeply personal and universal through Jul. 14. America Will Be! Surveying the Contemporary Landscape, Apr. 6–Oct. 6, draws on the DMA’s permanent collection and will present the ways in which contemporary artists engage with landscapes. As part of the SOLUNA Festival, artist Lonnie Holley will perform with cellist Dave Eggar and performers from the SMU Meadows POINT ensemble on Apr. 23. Image: TR Ericsson, American Tragedy Graphite, 2017, resin and funerary ash on muslin, 38 x 50 in. Courtesy TR Ericsson and Harlan Levey Projects. dma.org 07 GEOMETRIC MADI MUSEUM Exposition in Blue: Hernan Jara and Dallas’ own Ricardo Paniagua’s Art in Three Dimensions will be on view at the MADI through Apr. 21. geometricmadimuseum.org 08 GEORGE W. BUSH PRESIDENTIAL CENTER Through Oct. 6, the George W. Bush Presidential Center presents Presidential Retreats: Away from the White House, featuring four retreats—Camp David in Frederick County, MD, Prairie Chapel

NOTED: VISUAL ARTS

Ranch in Crawford, TX, LBJ Ranch in Stonewall, TX, and Walker’s Point in Kennebunkport, ME. The Forum on Leadership recognizes leaders who are tackling today’s most pressing challenges with civility and compassion on Apr. 11. bushcenter.org 09 KIMBELL ART MUSEUM The Lure of Dresden: Bellotto at the Court of Saxony displays selected works of Bellotto along with portraits and allegories of the elector and his queen, as well as view paintings of Venice and Saxony by Bellotto’s uncle and teacher Antonio Canaletto and Alexander Thiele through Apr. 28. kimbellart.org 10 LATINO CULTURAL CENTER On Apr. 17 Cine de Oro presents Un Padre No Tan Padre. Don Servando Villegas is an old-fashioned Mexican patriarch who gets kicked out of his retirement home for bad behavior. With no place else to go, Don must now live with his estranged son Francisco. lcc.dallasculture.org 11 THE MAC Three concurrent exhibitions, Sandow Birk and Elyse Pignolet: American Procession, Al Farrow: Divine Ammunition, and Boiling a Ship in the Sea by Kris Pierce continue through May 4. Sandow Birk and Elyse Pignolet’s enormous print project inspired by Der Furstenzug (The Procession of Princes) in Dresden, Germany, plays off the concept of heroism by depicting an imaginary parade of figures from American history. Divine Ammunition tackles the contemporary political climate, religion, war, history, culture, and faith. Boiling a Ship in the Sea emphasizes individual relationships with digital space. the-mac.org 12 MEADOWS MUSEUM Fortuny: Friends and Followers draws from works on paper as well as key loans from private and public collections in order to showcase many of the friends, family, and followers who engaged with the popular Spanish painter’s work through Jun. 2. Goya’s Visions in Ink: The Centerpiece of the Meadows Drawings Collection highlights the Meadows’ recent acquisition of Goya’s ink drawing, Visions, from his Witches and Old Women Album. The exhibition opens Apr. 30 and runs through Nov. 3. meadowsmuseumdallas.org 13 MODERN ART MUSEUM OF FORT WORTH Highlights from the Permanent Collection will close Apr. 4. FOCUS: Analia Saban continues through May 12 concurrently with Spaces and Places: Works from the Collection, which gathers work by artists who address concepts of space and place. The exhibition includes 38

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paintings, photographs, drawings, and videos by artists from the US, Europe, Asia, and Mexico. Image: Analia Saban, Pleated Ink (Optical Mouse, Computer Chip for Motion Detection, Xerox, 1980), 2018, ink and laser-carved paper on wood panel, 50 x 62.50 x 2.12 in. © Analia Saban. Courtesy the artist and Sprüth Magers. Photograph by Robert Wedemeyer. themodern.org 14 MUSEUM OF BIBLICAL ART Glass Matters: The Emergence of Simon Waranch continues through Apr. biblicalarts.org 15 NASHER SCULPTURE CENTER Sterling Ruby: Sculpture is the first museum exhibition to survey the great variety of Ruby’s sculptural practice. Through Apr. 21. On Apr. 4, graduate students present scholarly work related to 2019 Nasher Prize Laureate Isa Genzken for the Nasher Prize Dialogues: Graduate Symposium, moderated by artist and educator Stephen Lapthisophon and followed by a presentation from keynote speaker Benjamin Buchloh. Nasher Prize jurors discuss contemporary sculptural practice on Apr. 5. Isa Genzken will be honored at the Nasher Prize Award Gala on Apr. 6. Dallas Symphony musicians perform an intimate Mozart chamber concert among Genzken’s artworks, followed by a discussion led by Assistant Curator Leigh Arnold on Apr. 23 as part of SOLUNA. nashersculpturecenter.org 16 PEROT MUSEUM The Art of the Brick, through Aug. 18, features LEGO® bricks of every size used to construct stunning works of art and structural marvels such as the Mona Lisa, the statue of David, and a T. rex. The Perot will hold a Sleepover: All Girls STEM on Apr. 12 and a Social Science: Science Fiction event which will transform the museum into an adults-only hangout Apr. 26. perotmuseum.org 17 THE SIXTH FLOOR MUSEUM In tribute to President John F. Kennedy’s life and legacy, and in remembrance of the 55th anniversary of his death, 55 Years showcases how President Kennedy’s image has been depicted on manifold magazine covers over the last five decades, on view through Aug. 4. jfk.org 18 TYLER MUSEUM OF ART Through Apr. 20, Lone Star Impressions: Prints by Peregrine Press offers a glimpse of the creative output of one of the earliest fine art presses in Texas, which created more than 600 editions by 90plus artists. The 15th Annual High School Art Exhibition will continue through May 5. tylermuseum.org

DISCOVER THE CHANGES COMING TO THE NEW AMON CARTER. cartermuseum.org/building

NOTED: PERFORMING ARTS

01 AMPHIBIAN Apr. 2–6, comedian Aparna Nancherla shares her dry, existential, and absurd sense of humor with notes of uncalled-for whimsy. Simon Russell Beale plays William Shakespeare’s Richard II, broadcast live from the stage of the Almeida Theatre in London, Apr. 17–20. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Ali Wong’s The Milk & Money Tour stops in Dallas Apr. 1. Live from Here with Chris Thile is a Saturday-night destination for radio audiences with a variety show onstage Apr. 6 and features a unique blend of musical performances, comedy, and audience interaction. A Special Evening with Five for Fighting mounts at the Winspear on Apr. 7. The center presents Pink Martini on Apr. 14. Join Joan Baez on her final tour Apr. 19. Relationships are tested and the perfect ricotta recipe is found in the Elevator Project Series play Pastry King Apr. 23–May 5. Image: China Forbes, Photograph by Autumn de Wilde. attpac.org 03 BASS PERFORMANCE HALL Switch: Percussion Concerto is performed by the Fort Worth Symphony Orchestra Apr. 5–7. Cuban-born, Emilio and Gloria Estefan came to America and broke through all barriers to become a crossover sensation at the very top of the pop music world. ON YOUR FEET! takes you behind the music and inside the real story of this record-making and groundbreaking couple Apr. 10–14. Porg y and Bess comes to life on the stage Apr. 26–30. Image: Adriel Flete and Company, ON YOUR FEET! © Matthew Murphy. basshall.com 04 CASA MAÑANA Jason Bishop: The Illusionist performs grand illusions and elegant, agile, sleight-of-hand magic with his wry wit through Apr. 7. You Don’t Own Me: The Fearless Females of the 1960s sees Carole J. Bufford celebrate the songstresses of the 1960s, Apr. 10–13. The Wizard of Oz will hit the stage Apr. 19–May 12. casamanana.org 05 CHAMBER MUSIC INTERNATIONAL On Apr. 20, see Stephanie Jeong, Cho-Liang Lin, Atar Arad, Clive Greensmith, and Jon Kimura Parker perform Schoenfield, Dohnányi, and Brahms’ Piano Quintet. chambermusicinternational.org 06 DALLAS BLACK DANCE THEATRE DBDT: Encore! will present Rising Excellence, a new work for the SOLUNA International Music & Arts Festival by emerging choreographer My’kal J. Stromile, Apr. 12–13. Image: DBDT: Encore! Photograph by Brian Guilliaux. dbdt.com 40

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06 07 DALLAS CHILDREN’S THEATER Tuck Everlasting is centered around Young Winnie Foster as she discovers what secrets lay in the woods, including the chance at eternal life, through Apr. 7. dct.org 08 CIRCLE THEATRE The regional premiere of Julia Cho’s Office Hour comes to Circle Theatre on Apr. 18. The play centers around a troubled student who hides behind dark glasses and writes disturbing and provoking literature. Office Hour will run through May 11. circletheatre.com 09 THE DALLAS OPERA In Verdi’s final work, robust Sir John Falstaff fancies himself a ladies’ man and decides to seduce Alice Ford and Meg Page, two of the town’s wealthy women. Unknown to Falstaff, the two women are close friends and decide to teach him a lesson. TDO brings Falstaff to the stage Apr. 26–May 4. dallasopera.org 10 DALLAS SUMMER MUSICALS The world-renowned Hamilton comes to DSM Apr. 2–May 5. The show follows the remarkable life story of Alexander Hamilton, one of the founding fathers of the United States, and retells the tale using rap music and lyrics that tackle political deal-making. Image: Photograph by Joan Marcus. dallassummermusicals.org 11 DALLAS SYMPHONY ORCHESTRA SOLUNA 2019, Apr. 4–28, kicks off with Augustin Hadelich who will perform the Violin Concerto of Sibelius Apr. 4–7. Apr. 4 also presents Meadows at the Winspear in celebration of SMU Meadows’ 50th anniversary. On Apr. 5, Voodoo Jazz Sonata and An Evening with Susan Graham take the stage. Centuries of Song: Season Finale and 25th Hour: The Art of Film Scoring with Terence Blanchard perform Apr. 7. A Musician’s View will include performances of chamber works by members of the DSO on Apr. 8. Caravan: A Revolution on the Road examines the ability of art and music to bring about conversation, empathy, and healing in societal issues, Apr. 9. On Apr. 10, the trolls take on Texas in When the Trolls Go Rolling In at River Bend. Apr. 11–13 hear the 1812 Overture and Bronfman Plays Liszt. Acclaimed organist Monica Czausz returns to perform in the Opus 100 Organ Series on Apr. 14. The New Philharmonic Orchestra of Irving will present Mariachi and Mayan Night! to open the third week of SOLUNA. Bang on a Can All-Stars and Verdigris Ensemble will perform Anthracite Fields on Apr. 15. Music and the Brain, presented in partnership with UT Southwestern’s Peter O’Donnell Jr. Brain Institute, will return Apr. 17. Fabio Luisi makes his first appearance at the podium since the announcement of his position as DSO Music Director Designate Apr. 18–19. Jennifer Hudson

Join our Creative Community in the Design District

AND NOW, Erin Cluley Gallery, 214 Projects & Competitive Cameras For more information: Jeremy Buonamici jeremy@brookpartners.com

www.riverbenddallas.com Commissioned tile mural by Clare Woods. Courtesy of the artist and Simon Lee Gallery, London/New York/Hong Kong.

WHITE NOISE Emmanuel Van der Auwera

presented in conjunction with Harlan Levey Projects Brussels, Belgium

150 Manufacturing Street, Suite 214, Dallas, TX 75207 www.214projects.com

NOTED: PERFORMING ARTS

and the Dallas Symphony will share the stage Apr. 20. The DSO will present two of Stravinsky’s works, Fireworks and The Firebird, alongside Bernstein’s mesmerizing Age of Anxiety, in performance with conductor David Robertson and pianist Orli Shaham Apr. 25–28. The Verdigris Ensemble will present Faces of Dallas Apr. 26–28. Passport to the Park brings a day of free, culturally diverse performances and activities to Klyde Warren Park on Apr. 27. Image: Photograph courtesy of the Dallas Symphony Orchestra. mydso.com 12 DALLAS THEATER CENTER A pack of female warriors storms the stage in The Wolves, a play about a young soccer squad finding their place in the world, Mar. 6–Apr. 14. Twelfth Night whisks audiences away to a world of scheming outlaws and daring rescues, unbelievable love triangles, and unforgettable adventure through Apr. 28. Next, Real Women Have Curves follows Ana as she and her fellow coworkers struggle with things as personal as body image and as consequential as the threat of deportation, onstage Apr. 26–May 19. dallastheatercenter.org 13 EISEMANN CENTER The Apr. 6 Prokofiev & Beethoven concert begins with Russian composer Sergei Prokofiev’s Classical Symphony, Op. 25 followed by Richardson Symphony Orchestra’s Principal Cellist Eugene Osadchy who will play the Suite for Cello and String Orchestra by American composer Clare Fischer. The program will conclude with Beethoven’s Symphony No. 4 in B Flat Major. The Secret Comedy of Women: Girls Only welcomes audience participation Apr. 11–14. How the West Was Won will be performed Apr. 13–14. Keyboard Conversations with Jeffrey Siegel: Chopin in Paris examines the Polish composer’s music and his life in France, Apr. 15. eisemanncenter.com 14 KITCHEN DOG THEATER Wolf at the Door by Marisela Treviño Orta tells the dark story of Isadora who finds her strength to stand up to her abusive husband Septimo when he forces the very pregnant Yolot to stay against her will. While Septimo makes plans for the baby, Isadora and Yolot devise one of their own. All the while, a pack of wolves closes in on the hacienda. Apr. 11–May 5. kitchendogtheater.org 15 MAJESTIC THEATRE American Girl Live celebrates the power of girls and strength of friendship on Apr. 7. Christopher Cross comes to Dallas Apr. 10. One Funny Mother features Dena Blizzard sharing her thoughts on motherhood, Target, and, most importantly, wine on Apr. 13. Life Will Be the Death of Me: Chelsea Handler’s Sit-down Comedy stops in 42

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10 town Apr. 18. Late Night Show host Seth Meyers will bring his live comedy show to the theater on Apr. 19. Monty Python’s Spamalot will be shown Apr. 25. The Robert Cray Band closes the month on Apr. 27. majestic.dallasculture.org 16 TACA Save the date for the 2019 TACA Party on the Green on Oct. 4. taca-arts.org 17 TEXAS BALLET THEATER Texas Ballet Theater reprises the story of a wooden boy on an adventure to become real. Pinocchio comes to life on stage May 17– 26. texasballettheater.org 18 THEATRE THREE Foxfire tells the story of Annie Nations, a 79-year-old widow who faces more problems than there are mountains in her home of Appalachia through Apr. 7. Raptured: A Sex Farce at the End of the World sees the rapture happening sometime in the next two hours, which may not be enough time to squeeze every single drop of life from this world, but some will try. Apr. 25–May 19. theatre3dallas.com 19 TITAS Shadowland: The New Adventure uses Pilobolus’ exploration of mixed media to tell a love story about two people and their quest to save a magical bird. Employing animation, video, and live shadow theater, this adventure dips its toe into the genres of science fiction, film noir, and romantic comedy. Apr. 5–6. Image: Photograph by Beowulf Sheehan. titas.org 20 UNDERMAIN THEATRE Whither Goest Thou America: A Festival of New American Play Readings presents a series of readings of new plays examining the current American landscape. Each week, the series will focus on a different playwright and play with staged readings by an ensemble cast. so go the ghosts of méxico, part three, ‘a poet sings the daughter songs’ will be the centerpiece production of the festival. This is the final installment in this three-play cycle exploring the US/Mexico drug wars. Apr. 11–May 12. undermain.org 21 WATERTOWER THEATRE Following a tragic car accident that killed her two brothers, Miri, the excommunicated daughter of an Amish family, returns home to find that her parents have taken in the driver of the car. Everything is Wonderful brings us face to face with this long-misunderstood community in a striking and intricate examination of the complexity of forgiveness. Apr. 19–May 12. watertowertheatre.org

Michelle Wood

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214.564.0234 michelle.wood@compass.com

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NOTED: GALLERIES

52 16 01 12.26 Sisters Hannah and Hilary Fagadau offer a sneak peek of their forthcoming art gallery at Dallas Art Fair Booth E1. gallery1226.com 02 214 PROJECTS On view through Apr., 214 Projects presents White Noise. The exhibition marks Belgian artist Emmanuel Van der Auwera’s first solo exhibition in the US. Through filmmaking, video sculpture, theatre, printmaking, and other media, Van der Auwera sets up the question: How do images of contemporary mass media operate on various publics, and to what end? 214projects.com 03 500X GALLERY Line, a solo exhibition debuting new works by Michelle Thomas Richardson, will open at 500X Gallery on Apr. 13. The exhibition will be on view through May 5. 500x.org 04 ALAN BARNES FINE ART Alan Barnes is a sixth-generation English art dealer who is wholly committed to sharing his expertise with his clients. alanbarnesfineart.com 05 ANDNOW ANDNOW will open a solo show showcasing the work of New York artist Oto Gillen on Apr. 10 to coincide with the Dallas Art Fair. Gillen’s work will be on display through May 25. The gallery will also display work at the Dallas Art Fair in Booth D7. Image: Oto Gillen, Canal Street Frog, 2017. Courtesy of the artist. andnow.biz 06 ARTSPACE111 With Works on Paper | Texas Drawings, Woodrow Blagg exhibits graphite works that herald the symbiotic relationship between the Texas rancher and their environment, on display through May 4. artspace111.com 07 BARRY WHISTLER GALLERY Monumental II features Jonathan Cross, Linnea Glatt, Terrell James, Tom Orr, and Jay Shinn and continues the gallery’s previous exhibition theme, Monumental I, but with an emphasis on sculpture. Apr. 6–May 11. barrywhistlergallery.com 08 BEATRICE M. HAGGERTY GALLERY On view Apr. 5–May 5, Of a Feather showcases the rich relationship 44

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between birds and the artists who love them. The exhibition includes artists Kathy Boortz, Isabelle Du Toit, Billy Hassell, and Mark Messersmith and celebrates a very contemporary expression of the unique coloring, exciting patterns, and distinctive silhouettes of these winged creatures. udallas.edu/gallery 09 BEATRIZ ESGUERRA/COLOMBIA For the fourth consecutive year, Beatriz Esguerra Art returns to the Dallas Art Fair, featuring works by major Colombian artists: Fernando Botero, Ricardo Cárdenas, Pedro Ruiz, and Hugo Zapata in dialogue with gallery artists Armando Castro, Carolina Convers, Teresa Currea, Max Steven Grossman, and Elsa Zambrano. beatrizesguerra-art.com 10 BLUE PRINT GALLERY Blue Print Gallery dedicates its gallery to artists of Texas, featuring a variety of artwork from contemporary abstract paintings and works on paper to fine art photography and sculptures. blueprint-gallery.com 11 BIVINS GALLERY 1969: Get Back to Where You Once Belonged, a show that embraces all things from the iconic year in world history and blurs the boundaries between immersive and traditional art exhibitions, will continue through Apr. Bivinsgallery.com 12 CADD The Contemporary Art Dealers of Dallas’ Third Thursday will be hosted by 500X Gallery on Apr. 18. caddallas.net 13 CARLYN GALERIE Carlyn Galerie is devoted to the sale of fine American art glass, clay, fiber, metals, and jewelry. carlyngalerie.com 14 CARNEAL SIMMONS CONTEMPORARY ART Unfolding the Sun features the multi-disciplinary sculptural work of Carmen Menza, who examines the human condition through Jun. 8. Rainbow Riot at the Snowflake Ball featuring David Willburn’s narrative abstractions runs concurrently through Jun. 8. Willburn’s work is about finding solace in the margins. carnealsimmons.com 15 CHRISTOPHER MARTIN GALLERY With two additional galleries in Aspen and New York, the Dallas gallery exhibits work by Christopher Martin, Jim Keller, Michael Sirvet, and Brandon Reese. christophermartingallery.com

THE RESIDENT EXPERT 27 16 CONDUIT GALLERY The Ones After the Physical Ones marks Juan Fontanive’s first exhibition of paintings, where the shapes within the canvas are imagined physical shapes that would behave like actual objects. Bertillon continues Sarah Ball’s interest in the human truth of her anonymous protagonists. Paris-based ceramic artist Saraï Delfendahl will present an installation of dozens of fantastical wall-based figural sculptures modeled in earthenware and enameled in The Models. All three shows mount Apr. 6 and remain on view through May 18. The gallery will show at the Dallas Art Fair in Booth F3. Image: Saraï Delfendahl, The Models, 2018, enameled earthenware, each 11 x 5 x 1 in. conduitgallery.com 17 CRAIGHEAD GREEN GALLERY Three solo exhibitions display through May 5: Carlos Ramirez–Lost in Paradise, Scott Simons–New Works, and Jay Maggio–Let’s Revisit Trees. craigheadgreen.com 18 CRIS WORLEY FINE ARTS Adrian Esparza: Dual, a solo show for the El Paso– based artist, displays wrapped yarn from unwoven sarapes onto geometric structures, depicting dramatic linear perspectives and striking dimensionality. The exhibition will run through May 4. Additionally, Esparza is creating a site-specific installation for the Dallas Art Fair to be displayed in the gallery’s booth, Apr. 11–14 in F17B. Image: Adrian Esparza, detail from a recent commission in Austin, Texas, 2019, cotton, wood, paint. Courtesy of the artist. crisworley.com 19 CYDONIA Survival Politics celebrates Giovanni Valderas’ Casitas Triste project that began on Christmas Eve of 2017. Various mediums including photo documentation, sculpture, and archived remnants of the guerrilla-style project will be presented to elucidate the geographical, emotional, and political dimensions of Casitas Triste. Survival Politics remains on view through May 18. cydoniagallery.com

ERIN MATHEWS 214.520.8300 ERIN@ERINHOME.COM ERINHOME.COM

20 DADA The Dallas Art Dealers Association is an affiliation of established, independent gallery owners and not-for-profit

APRIL 2019 Jan2019-PatronAd-ErinMathews-HalfPage.indd 1

45 1/17/19 2:02 PM

NOTED: GALLERIES

Kittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 972.239.7957 n www.kittrellriffkind.com

23 art organizations in the metroplex. Through carefully chosen exhibitions, DADA members make an important contribution to the community. dallasartdealers.org 21 DAVID DIKE FINE ART The gallery specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas Landscape painters. The David Dike Fine Art Texas Art Auction will be held on Apr. 6 at Wildman Art Framing. For more information on items listed in the auction visit daviddike.com 22 DREXEL GALERÍA/NUEVO LEON This Monterrey gallery is committed to promoting the work of important contemporary artists of Mexico, Drexel Galería returns to the Dallas Art Fair Apr. 13–15 in Booth F9. drexelgaleria.com 23 ERIN CLULEY GALLERY Erin Cluley will run two solo exhibitions concurrently, Chul-Hyun Ahn’s but like, yeah and Catherine Macmahon’s Lines from Apr. 6–May 4. Catch the gallery at the Dallas Art Fair in Booth G16, Apr. 11–14. Image: Chul-Hyun Ahn, Dots, 2017, plywood, LED lights, mirrors, 43.75 diameter x 5.75 in. erincluley.com 24 FORT WORKS ARTS No Filter featuring the work of artists Kyle Steed and Lisa Krannichfeld continues through May 4. The show explores issues relating to their mutual use of color and mixed media in paintings and illustrations. The multifaceted nuances will be further highlighted in the contrast between their individual styles and subjects. fortworksart.com 25 FWADA Fort Worth Art Dealers Association organizes, funds, and hosts art exhibitions, educational programs, competitions, and art scholarships. fwada.com

John Geci 46

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26 GALERIE FRANK ELBAZ From Apr. 4–May 29, the Dallas gallery will present Accrochage, a group show of rostered artists. Ketuta Alexi-

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SW GALLERY 4500 Sigma Rd. Dallas n 972.960.8935

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NOTED: GALLERIES

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PAUL ROUSSO

56 Meskhishvili, Ja’Tovia Gary, Sheila Hicks, and Mungo Thomson will all be on display. Galerie Frank Elbaz will return to the Dallas Art Fair in Booth F27B. Image: Mungo Thomson, Stress Archive, 2014-18, stress toys and Lucite, dimensions variable. galeriefrankelbaz.com 27 GALLERI URBANE Jason Willaford’s After A Long Pause... will feature all new vinyl-based constructions. Dallas newcomer Christopher Paul Dean will hold his first solo show in Texas titled Is It What It Is? which features a wide variety of works that extends a series begun during Dean’s MFA studies at Savannah College of Art and Design. Both exhibitions mount Apr. 6–May 11. The gallery will also display work at the Dallas Art Fair in Booth F16. Image: Christopher Paul Dean, Recycled Rubber Parking Blocks (1), 2017, rubber parking blocks and galvanized steel, 6.5 x 4.5 x 6 in. Documented for SCAD at Miami. Photograph courtesy of SCAD. galleriurbane.com 28 GINGER FOX GALLERY Now in the Design District, paintings by Ginger Fox and select emerging and mid-career artists are featured. Currently, the gallery collection focuses on Abstract Scrapers by Ginger Fox. gingerfox.myshopify.com 29 THE GOSS-MICHAEL FOUNDATION Located in the Dallas Design District, The Goss-Michael Foundation celebrates Marc Quinn, this year’s MTV RE:DEFINE artist honoree, with an exhibition of the British artist’s work in Marc Quinn: History & Chaos, continuing through May 24. g-mf.org

MARCH 30 - APRIL 27 Exhibition on view for the duration of the Dallas Art Fair

1130 Dragon St. Dallas, TX 75207 214.761.2000 LauraRathe.com

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30 HOLLY JOHNSON GALLERY the penumbra tow, a solo exhibition of new work by James Buss will be on view through Apr. 27. Buss’ work begins with a solitary affection, however slight it may be, that opens to a spectrum of references using an initial gesture or imprint and the forensic properties of plaster as a medium of empathy and mimesis. Thinking of a Place, an exhibition of encaustic paintings by Raphaëlle Goethals, continues through May 25. hollyjohnsongallery.com 31 KIRK HOPPER FINE ART Closing Apr. 6, Under Pressure: A Print Survey of Benito Huerta

DAVID YAR ROW Exhibition & Book Launch

11.16.19

26 covers 40 years of Texas artist Benito Huerta’s body of work and prints. Next, Lovesick stems from the fear of being forgotten by someone whom you care strongly about. Erin Stafford connects viewers with tactile sensations that evoke memories of the past with the opportunity to escape to dream-like visions layered with mystery, whimsy, and absurdity on view Apr. 13–May 18. kirkhopperfineart.com 32 KITTRELL/RIFFKIND ART GLASS On view Apr. 6–May 5, Introducing.... highlights the work of new gallery artists. The exhibition features Alison Chisom’s figurative sculpture, Mariel Bass’ blown sculpture, Deborah Johnson’s art-glass portraits, and a series of complex vessels from John Geci. kittrellriffkind.com

The must-have photography monograph of the year, this lavish oversized volume celebrates David Yarrow’s unparalleled imagery.

33 KRISTY STUBBS GALLERY KSG celebrates 25 years in Dallas with an exhibition mirroring the inaugural show: Paris>Texas, Matisse to Bates. 25th Anniversary will highlight Texas artists James Surls, Luis Montoya, Alisa Lee/Lee N. Smith III, and David Bates. Alongside the native Texans, the show will feature unique works by Damien Hirst, Banksy, Blondey McCoy, and stained glass by Brian Clarke as well as paintings by Sarah Graham. Apr. 13–May 30. stubbsgallery.com 34 LAURA RATHE FINE ART For the Ages: Paul Rousso and Robert Mars continues through Apr. 27. Nostalgia is more than mere reminiscing—it’s a deep emotion one feels when remembering what made the past so great. Whether it’s the people of the past, imagery of a certain time, or items created during a particular era, both Robert Mars and Paul Rousso have a profound interest in our culture’s history and use their art to bring the past into the present. laurarathe.com 35 LILIANA BLOCH GALLERY Nathalie Alfonso displays through May 4. Alfonso’s work investigates the value of manual labor, the degeneration of the body, and notions of impermanence through drawing, installation, and video. Her necessity to merge the practice of cleaning and art-making is utilized to observe her constant obsession with cleanliness and is manifested in the impermanent installations done with the repetitive movements used to apply and remove charcoal in

SAMUEL LYNNE GALLERIES DALLAS

CHICAGO

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APRIL 2019

NOTED: GALLERIES

ESTATE ON THE LAKE

Views from Every Room 35 different surfaces. Liliana Bloch will participate in Dallas Art Fair Booth C3. Image: Leigh Merrill, Red Martini, 2019, pigment print, 20 x 25 in. lilianablochgallery.com 36 MARTIN LAWRENCE GALLERIES On Apr. 27, Martin Lawrence Galleries will present Modern Masters which will include work from Pablo Picasso, Marc Chagall, Joan Miró, and Salvador Dalí. martinlawrence.com 37 MARY TOMÁS GALLERY Civil, a solo exhibition by Dawn Waters Baker, highlights new works inspired by the artist-in-residency program through the National Parks Arts Foundation at the Gettysburg National Military Park. Civil runs through May 4. marytomasgallery.com

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SUSAN BALDWIN 214.763.1591

susan.baldwin@alliebeth.com alliebeth.com

38 MCCLAIN GALLERY Houston-based McClain Gallery returns to the Dallas Art Fair in Booth G6. Known for the representation of important 20th-century figures while remaining committed to younger generations along with primary representation of Texas-based artists, McClain will be showing Dorothy Hood paintings and collages with works by Anne Deleporte, Bo Joseph, Julia Kunin, and Louise Nevelson. Image: Dorothy Hood, Aymaran Memory, c. 1970s, oil on canvas, 70 x 60 x .75 in. mcclaingallery.com 39 MERCADO369 Latin American artists are represented in this Oak Cliff jewel. Nine galleries offer sculpture, jewelry, textiles, and home décor from Mexico to Argentina. On Apr. 13, Mercado will hold Alebrijes, an art talk featuring artists Jacobo and María Ángeles. The artists create colorful wood carved pieces called Tonas y Nahuales, known worldwide as “Alebrijes,” one of Oaxaca’s oldest artisanal traditions. mercado369.com 40 PHOTOGRAPHS DO NOT BEND Keith Carter: Fifty Years is on view through May 4 in conjunction with the release of his new book Fifty Years, highlighting his use of century-old processes and digitalage techniques. PDNB Gallery will be exhibiting at The

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38 Photography Show in New York Apr. 4–7 featuring the work of Cheryl Medow. Additionally, PDNB will return to Dallas Art Fair Apr. 11–15 and will display Keith Carter, Vadim Gushchin, Nickolas Muray, Cheryl Medow, and Jeanine Michna-Bales in Booth B10. pdnbgallery.com 41 POLLOCK GALLERY The 2019 M.F.A. Qualifying Exhibition is the culmination of two years of intensive work by M.F.A. candidates in the Division of Art and feature works in a wide-ranging variety of styles and mediums. Featured artists include Ashlyn Lee, Jer’Lisa Devezin, Jessie Plotts, Steven Hector Gonzalez and Xxavier Edward Carter. The group exhibition will run through Apr. 13 on SMU's campus. smu.edu/meadows/areasofstudy/art/pollockgallery 42 THE POWER STATION Rochelle Goldberg’s born in a beam of light continues through Apr. 14. Additionally, a special performance in conjunction with the exhibition will be held at the gallery on Apr. 10. Image: Courtesy of The Power Station and Rochelle Goldberg. Photograph by Kevin Todora. powerstationdallas.com 43 THE PUBLIC TRUST The Public Trust exhibits contemporary artwork by midcareer and emerging artists and publishes significant art publications, as well as limited-edition prints and other multiples. trustthepublic.com 44 THE READING ROOM Burnt by Sun, an exhibition of works on paper by New York–based artist and poet Samuel Jablon, will continue through Apr. 27. Jablon’s work explores the intersection of language and visual form. thereadingroom-dallas. blogspot.com 45 RO2 ART Scott Winterrowd’s Space and Gillian Bradshaw-Smith’s Nocturns continue at The Cedars through Apr. 20. At

APRIL 2019

NOTED: GALLERIES

interior design + art 42 Ro2’s downtown pop up, Ariel Bowman’s Wondrous Creatures and The Prehistoric Circus continue through Apr. followed by Nigerian artist Olaniyi R Akindiya, also known as Akirash. Opening in The Cedars, Carroll Swenson Roberts and Cheryl Finfrock will mount solo exhibitions on April 27. ro2art.com 46 ROUGHTON GALLERIES Featuring fine 19th- and 20th-century American and European paintings, the gallery supports research in both American and European art. roughtongalleries.com 47 SAMUEL LYNNE GALLERIES Along with gallery artists Lea Fisher and JD Miller, Samuel Lynne Galleries will feature contemporary sculptor Michael Kalish’s exhibition Greetings from Texas through May 4. The exhibition is Kalish’s muchanticipated return to Dallas, and is a retrospective of his most popular series, along with his new portfolio of 3-D work. samuellynne.com 48 SEAN HORTON (PRESENTS) SH(P) is a project of art dealer Sean Horton occupying a Mission Revival storefront in Oak Cliff. Opening Apr. 10 is a group show curated by Wallace Whitney of CANADA Gallery. The exhibition will be on view through May 18. SH(P) will also show work in the Dallas Art Fair in Booth D7. seanhortonpresents.com

Photography by Danny Piassick Carlyn Ray and Emily Teng Yan Collaboration, “Horizons”

MARY ANNE SMILEY, RID, ASID maryannesmiley.com 214.522.0705

49 SITE131 Simply Bold Abstractions opens Apr. 10 and runs through Jun. 21. Berliner Sati Zech mounts her irregularly shaped canvases painted in lush red tones. American-Pakistani Harris Chowdhary will display aluminum sculptures. Chicagoan Tony Lewis uses graphite powder to draw bulbous shapes and interlocking text imagery, and Texan Jason Koen’s concrete rectangles line the walls. To open the Dallas Art Fair weekend, SITE131 will stage Open, a Performance by Nathalie Alfonso on Apr. 10. site131.com 50 SMINK Founded in 1989, SMINK is a showroom and fine art gallery open to the public that represents artists such as Diane McGregor, Gary Faye, Dara Mark, Robert Szot, and Zachariah Rieke. sminkinc.com

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05 51 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has displayed the largest collection of fine 19th- to 21st-century paintings and sculpture in Dallas. The gallery exhibits hundreds of artists who work in a broad range of styles. The gallery will emphasize new artists in Apr. swgallery.com 52 TALLEY DUNN GALLERY fresh is an exhibition of important editioned works and multiples by internationally recognized artists, including: John Baldessari, Margarita Cabrera, Leonardo Drew, Carroll Dunham, Dan Flavin, Helen Frankenthaler, Frank Gehry, Alex Katz, Ellsworth Kelly, Louise Nevelson, Robert Rauschenberg, Richard Serra, and others. fresh forms one element of Antidote, a triad of exhibitions at the gallery which also includes Analia Saban and the participatory event “Bill’s Junk Road Show.” Antidote will kick off Apr. 11 and run through Jun. 1. Image: Analia Saban, Brushstroke Matrix M (Payne’s Gray), 2017, squeegeed vinyl paint monoprint with embossment on paper, 26.12 x 44.25 in. 12 out of 34 unique works. talleydunn.com 53 VALLEY HOUSE GALLERY David A. Dreyer’s seventh exhibition at Valley House features his abstract paintings imbued with geometry inspired by nature and the cumulative act of drawing. The exhibition will continue through Apr. 27. VHG will also showcase work at the Dallas Art Fair in Booth A5. valleyhouse.com 54 WAAS GALLERY The Green Room will pair Shamsy Roomiani’s 35mm photography, cyanotypes, lithographs, and shamstone sculptures with a curated collection of plants provide by Ruibal Plants of Texas. The Green Room will remain on view through summer. waasgallery.com 55 WEBB GALLERY Wayward Walking Songs with Adam Young, Aaron Michalovic, and Michael Hall continues through Apr. 28. webbartgallery.com

APRIL 2019

GINGERFOXGALLERY

NOTED: GALLERIES

18 56 WILLIAM CAMPBELL CONTEMPORARY ART WCCA will display work by Stephen Daly through May 4 in an exhibition titled DALY/2D. The Fort Worth–based gallery will be showing a group of work by rostered artists at the Dallas Art Fair in Booth F10, Apr. 11–14. Image: Stephen Daly, Spill, 2017, ink and watercolor on paper, 44 x 56.5 in. williamcampbellcontemporaryart.com AUCTIONS AND EVENTS 01 ART BALL 2019 Art Ball 2019 will be held on Saturday, Apr. 27 at the Dallas Museum of Art. The 54th annual gala, chaired by Lindsey Collins and Amanda Shufeldt, will feature a seated dinner, a luxury live auction, and a festive afterparty. dma.org/support-fundraising-events/art-ball 02 DALLAS ART FAIR Held annually at Fashion Industry Gallery (f.i.g), the 11th annual Dallas Art Fair features nearly 100 prominent modern and contemporary galleries from across the globe. The Dallas Art Fair Preview Gala will be held on Apr. 11 and fair days will take place Apr. 11–14. dallasartfair.com 03 DALLAS AUCTION GALLERY Mark your calendar for Part III: John W. Lolley Art Glass Collection Auction and the Fine & Decorative Arts Auction taking place on May 8. dallasauctiongallery.com 04 HERITAGE AUCTIONS This month’s auctions include the Photographs Signature Auction Apr. 6, the Design Signature Auction Apr. 15, Signature Prints & Multiples Auction Apr. 16, Illustration Art Auction Apr. 23, Silver & Vertu Signature Auction Apr. 24, Luxury Accessories Signature Auction Apr. 28, and the Jewelry Signature Auction Apr. 29. ha.com

CONTEMPORARY ART 1531 Dragon St. | 214-801-3211 | gingerfoxgallery.com

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05 VIGNETTE ART FAIR Mounting at The Women’s Museum in Fair Park April 10-14, Vignette Art Fair is an alternative fair that highlights under-recognized talent. This satellite fair bridges the gap between local and international art scenes by displaying the work of creative female and female-identifying minds during a time when the global art market descends on the city. texasvignette.org

OF NOTE

Arthur Peña Has Seen the Future—

and New York artist Carrie Moyer is an intriguing part of it. BY PATRICIA MORA

Arthur Peña outside the "secret location" for ONO. Photograph by Megan Gellner

Artist and writer Carrie Moyer. Photograph © Girl Ray

s is appropriate for a visionary, Arthur Peña has large dark eyes as evocative as an Indian sadhu. He’s been a game changer in the Dallas arts scene for years and perhaps he’s seen the future and knows where things are heading long before the rest of us catch up with his frenetic pace. He now enjoys rather rarified company and plumbs the depths —and heights—of Dallas with ease. “I was doing things in Trinity Groves before it was Trinity Groves,” he laughs. He grew up in an area that “was full of gangs, just on the edge of Oak Cliff and Cockrell Hill.” Peña stops and adds, “I’m one of this city’s native sons and I love Dallas. I’m committed to doing good things for the community.” While that is certainly true and Peña’s earnestness is evident, he has also been busy creating a nexus between his home turf and New York. Specifically, he has been enjoying a role as curator who brings internationally known, museum-quality talent to the city. This effort made huge waves last year during the Dallas Art Fair and received outstanding media coverage. He curated a show in a shot-gun style residence in The Cedars, a space that was formerly Wanda Dye’s gallery in years past. Dubbed ONO, an acronym for One Night Only, Peña hosts an invitation-only celebration of art and artists who are genuine head-turners. He states, “Last year was huge. ONO celebrated New York artist and MacArthur Genius, Nicole Eisenman.” He adds, “It was her first solo show in Texas in twenty years and it received critical acclaim from

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Carrie Moyer, Sea of Forms, 2019, acrylic and glitter on canvas, 66 x 60 in. Courtesy of the artist and DC Moore Gallery, New York

both ArtNews and Vice.” Truth be told, the former publication named it an art highlight of 2018. For 2019, Peña is working with another New York– based artist, Carrie Moyer, who is represented by DC Moore in Chelsea. Like Eisenman, she has yet another stunning pedigree—she’s a Guggenheim Fellow who has exhibited widely in the United States and Europe. Peña predicts this year’s ONO curatorial event will be another grand effort that is sure to make headlines, especially since the work being presented has never been seen before. Also, not only is Moyer bringing an impressive résumé to North Texas, her practice is queer-based and calibrated to challenge the ongoing patriarchy evident throughout art history. And the means by which she is accomplishing this is quite simple: she’s creating stunning abstract expressionist art that is vivid, biomorphic, and without a decidedly overt agenda that screams for attention. Instead, she creates sinuous shapes and colors that insinuate flora, water, or even Matisse-y looking black contours. Born in Detroit, Moyer notes her “hippie parents were itinerant” and, therefore, responsible for her becoming a self-proclaimed autodidact. She is also apt to claim Helen Frankenthaler and Fernand Léger as artists she hearkens back to; however, she also wants to revisit both “the female aesthetic and popularized imagery.” Put another way, Moyer recognizes that she is part of a long history, but she’s also pushing vigorously against the boundaries of any typical polemic. She’s exploring new turf that is both timely and timeless. Moyer is a refreshingly candid voice that questions both patriarchy and typical responses to it. This is not only new; it’s a critically needed shift in terms of understanding feminism and the art that circulates around it. “Going into your own zone for fourteen hours” is how she describes her working life and, when questioned about beauty, which is often eschewed when it comes to what is deemed a serious feminist aesthetic, she responds, “I like it. The more the better.” She also touts the immediacy of her work and the attendant slowness that ensues after an initial thrilling entrance into it. In fact, she’s fond of saying, “What does the paint do?” For one thing, it apparently yearns to be layered. Her work is complex in ways that are wildly lyric yet veiled when it comes to an “out of the tube” palette. If anything, it becomes clear that Moyer and her work are both highly complex. She wants to create art that appeals to “lots of people” rather than be limited by queer activism. She has outlined her stance in a refreshingly straightforward mantra: “Painting is about painting.” One Night Only is a strident move for Dallas, and Peña has been hugely influential as a curator. He, of course, is also a well-respected artist and, in fact, has shown his own work at a solo booth at the Spring Break Art Fair in Manhattan. Most importantly, Brigitte Mulholland, director of the highly esteemed Anton Kern Gallery, presented it. Arthur Peña may be a native son of Dallas—but he’s spreading his artistic wings in glamorous environs synonymous with the ultimate imprimatur when it comes to artistic achievement. Curator, artist, and raconteur: Arthur Peña is a force to be reckoned with. P

APRIL 2019

SOUTHERN VERNACULAR Works from the Souls Grown Deep Foundation mount at the Dallas Museum of Art. BY CHRIS BYRNE

Thornton Dial (1928–2016), Construction of the Victory, 1997, 83.5 x 114 x 13 in. Courtesy of the Dallas Museum of Art and the Souls Grown Deep Foundation.

Annie Mae Young (1928–2013), Yo-Yo, 1971, 80 x 83 in. Courtesy of the Dallas Museum of Art and the Souls Grown Deep Foundation.

his past November, the Dallas Museum of Art acquired works from the Souls Grown Deep Foundation (SGDF). Facilitated by SGDF President Maxwell Anderson (formerly the Eugene McDermott Director of the Dallas Museum of Art and the Alice Pratt Brown Director of the Whitney Museum of American Art), the initiative also included acquisitions by the Brooklyn Museum; The Morgan Library & Museum; Museum of Fine Arts, Boston; and Spelman College Museum of Fine Art. The DMA acquisition, a partial gift/partial purchase from the foundation, includes works by Thornton Dial, Ronald Lockett, and Nellie Mae Rowe, along with four quilts created by female artists from Gee’s Bend, Alabama: Louisiana Bendolph, Mary Lee Bendolph, Amelia Bennett, and Annie Mae Young. Dallas collector Marguerite Hoffman purchased a second Thornton Dial painting, Two Coats (2003), from SGDF and has promised the piece to the DMA. The work of these African American artists will be on view at the museum as part of America Will Be!: Surveying the Contemporary Landscape, curated by Anna Katherine Brodbeck, which opens on April 6 and continues through October 6, 2019. The Souls Grown Deep Foundation collection represents the work of more than 160 artists, including over 1,100 pieces. Maxwell Anderson says the foundation’s “core mission is to advocate for artists of the African American South represented in our collection.” SGDF is the only nonprofit organization dedicated to preserving, documenting, promoting, and dispersing the work of these artists into museum collections to foster accessibility to the public.

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Mary Lee Bendolph (b. 1935), Blocks and Strips, 2004, 83 x 73 in.

I recently spoke with Paul Arnett, who serves on the Board of Trustees for the foundation. Paul is also the co-editor and contributor to numerous books and catalogues. Chris Byrne (CB): I had the pleasure of welcoming your father to Dallas in 2016 for a talk with the artist Joe Minter. Can you tell us how he began collecting African American Vernacular Art of the South? Paul Arnett (PA): My dad had been collecting art from many world civilizations since the 1960s—ancient Mediterranean cultures, dynastic China, India, pre-Columbian Americas, and so on. By the 1970s, he was focused almost exclusively on subSaharan Africa. (My brothers and I grew up among hundreds of African objects.) During the 1970s he encountered several Southern artists, such as Jesse Aaron and Sam Doyle, whose work he collected almost as a sideline to his specialization in African art. In the mid-1980s, after my dad developed some health problems and couldn’t travel as much, he became interested in several other vernacular artists from our region, but it wasn’t until he met Lonnie Holley and experienced Holley’s total art environment, in 1986, that he realized the African American South contained a crucial art movement. CB: What led to the formation of the Souls Grown Deep Foundation in 2010? PA: I came to work for and with my dad in 1987, straight out of college. Within a year or so, we both decided that the collection he was putting together was in many ways too significant to remain in private hands, and instead belonged in public collections that would be able to secure a permanent legacy for these artists and the cultural movement they participated in. So, we began the process of starting

CONTEMPORARIES

a foundation to take over ownership of the collection. Unfortunately, around 1989 my dad ran out of money to complete that task. My point, however, is that a foundation has been a goal since the beginning. Over the years we revisited the idea periodically, but only around 2010 did all the circumstances finally dovetail. My dad’s aspiration was to have a foundation be the mechanism for donations of the art to relevant museums. CB: Arguably the most acclaimed artist from this group is Thornton Dial, who credits your dad with making him think of himself as an actual artist. My own introduction to your father’s patronage was Morley Safer’s somewhat philistine 1993 segment on “60 Minutes” which, at the time, seemed to undermine the overdue recognition of these artists. Could you talk about the aftermath of Safer’s interview? PA: It was a painful period, not just for the various individuals scarred by the segment, but also for the momentum of the field of African American vernacular art. The accelerating interest by major museums ground to a halt, for the most part. I believe the kinds of breakthroughs that finally occurred in the 2010s—such as the Metropolitan Museum’s major acquisition and show—would otherwise have come to pass in the 1990s. One of the few silver linings was that my dad and I decided to begin publishing books ourselves because of the wet-blanket effect the “controversies” were having on the culture industry’s approach to this work and these artists. CB: You collaborated with your father to publish two volumes on the subject: Souls Grown Deep: African American Vernacular Art of the South: The Tree Gave the Dove a Leaf and Souls Grown Deep Vol. 2: African American Vernacular Art. Was your erudite approach to this genre well received? PA: I certainly hope so (and thank you for the “erudite” part!), but it’s impossible to know for certain because much of the truly important attention didn’t gel until later in the decade. What I do know is that our goals, from a publishing perspective, were to treat the art and artists with the utmost respect, to invite in scholars and writers from a wide variety of perspectives, and

to pursue high production values in the books. In other words: Present this art form with the same seriousness that other important art forms receive. CB: Can you describe your father’s relationship with Max Anderson? Prior to our phone conversation, I hadn’t realized that they had known each other and worked together for so long. PA: Max’s first position as a museum director was in Atlanta, at Emory University’s Michael C. Carlos Museum. While he was there, the museum acquired my father’s African collection, and Max learned about artists such as Thornton Dial and others, whose reputations were still in their early stages. He scheduled two major shows to run during the 1996 Olympics in Atlanta—a Dial exhibition and a huge survey of the field titled Souls Grown Deep: African American Vernacular Art of the South (namesake of the books and foundation). A few years later, when he was director of the Whitney, the museum included Thornton Dial in the 2000 Biennial. The Whitney also became the first institution other than the MFA Houston (which organized the show) to commit to the Quilts of Gee’s Bend exhibition (2002)—quilts my father had collected and researched. The Whitney venue catapulted the show into international visibility. Subsequently, when Max was at Indianapolis [Museum of Art], he brought the follow-up Gee’s Bend exhibition, Gee’s Bend: The Architecture of the Quilt, to the museum (2006). Under his direction, the Indianapolis Museum of Art also organized a major Thornton Dial show, Hard Truths: the Art of Thornton Dial (2011). Max’s involvement with and support for this culture’s vernacular artists goes back decades, so it was natural that my father asked him to join the board of the Souls Grown Deep Foundation. Later, he became the foundation’s president. CB: I understand that L onnie Holley will be per for ming during SOLUNA—Dallas’ international music and arts festival. Does your family have plans to visit the exhibition or events in the city? PA: My brother Matt will be in Dallas with Lonnie for the festival. P

APRIL 2019

FAIR TRADE

Language + the Materials Referred to Lisson Gallery will present the text-based practice of Lawrence Weiner in the gallery’s first-time outing to the Dallas Art Fair. INTERVIEW BY GENE JONES

Lawrence Weiner in Iceland, 2014. Courtesy of the artist and Lisson Gallery.

native New Yorker, self-taught artist Lawrence Weiner’s texts are all about making art engaging and broadly available. Growing up in the South Bronx, Weiner wasn’t afforded a “middle-class perspective” and gained his artistic acumen by reading the walls where others before him left their messages and marks. Weiner’s use of language as a medium presents a physical material for construction. A torch bearer of the ’60s who led the movement to characterize art as language, his works appear in varied forms on the walls or windows of museums, public spaces, and galleries, in audio and video recordings, lyrics, printed books, and any other imaginable iteration. One can’t miss Weiner’s mural-sized text installation in the Dallas Cowboys Art Collection at AT&T Stadium titled

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BROUGHT UP TO SPEED, calling to mind highlights of past Dallas Cowboys games and future plays. For their inaugural booth at the 11th annual Dallas Art Fair, art heavyweight Lisson Gallery will exhibit Weiner’s work. Gene Jones (GJ): Your use of language invites us to become a part of the work as we read and interpret it. How do you begin a new work? What is your editing process? Lawrence Weiner (LW): There is no process. There is an enthusiasm for some material and that enthusiasm translates into a specific object concerning that material and it goes from there dependent upon its needs and the parameters afforded to it. GJ: With BROUGHT UP TO SPEED (2009), the commissioned work in the Dallas Cowboys Art Collection at AT&T Stadium, you

arrange five action-oriented phrases in a wonderful composition, tied together within the movement of gestural lines. Does meaning dictate the overall composition or is this a process that reveals itself as you refine the work? LW: The installation invariably refers to the needs of the work presented. As to it adapting it along the way, all of the work of mine allows for a non-hierarchy in the decision of the meaning. It does not prohibit anything, nor does it condone. GJ: One of the great takeaways from viewing your work (especially in a public setting) is the way that language activates each individual reader. How do you approach making a commission for a public space, like our stadium, which will be interpreted by many different kinds of people? LW: By allowing the materiality and fact of the work to maintain a place on the playing field despite the decision as to condition. GJ: In this culture of non-stop images and a 24-hour news cycle, your work requires the viewer to think. We slow down, we read, we repeat the phrases in our heads and consider the meaning within our immediate context and its relationship to us. Has your relationship to your work changed as the world has changed? What does it mean to make this work in 2019? LW: Surprisingly it is the same responsibility year after year. The responsibility of the work does not change by the political climate—the interpretation does. P

Gene Jones at AT&T Stadium in front of Lawrence Weiner’s BROUGHT UP TO SPEED, 2009.

About the Interviewer:

Gene Jones has spent a lifetime in the pursuit of helping others, undertaking numerous philanthropic efforts including major support of The Salvation Army. Gene’s vision and commitment to the arts is responsible for the Dallas Cowboys Art Collection, which features work by 56 contemporary artists and 86 works of art at both AT&T Stadium and The Star of Frisco. A dedicated supporter of the arts, she is a member of the Board of Directors for the AT&T Performing Arts Center and the Texas Cultural Trust Board along with numerous arts organizations.

APRIL 2019

STUDIO

CHOCKABLOCK DISTORTIONS

LEFT WAITING

Leigh Merrill’s Colorized Grafts of Hauntingly Unfamiliar Spaces. BY BRANDON KENNEDY PHOTOGRAPHY BY MEGAN GELLNER

old, quasi-pastel tones confuse the structures they lie upon, barely wrapping up their odd angles and moments of queer intersection. Surfaces, walls, and the occasional stray object go on way too long or are off in another slightly undiscernible manner. Textures and patterns seem too perfect, alleys impossibly ramble about nearby. There’s a lingering emptiness to the scenes presented; assembled stages stuck on pause while waiting for actors and crew to return to set. Our eyes rummage about looking for clues of conception, all the while being caught up in the “realness” of the perceived image.

Above: Leigh Merrill with proof prints for American Martini, an upcoming exhibition at Liliana Bloch Gallery. Right: Studio view.

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You’re Invited

As an artist working primarily with photography—and to a lesser degree, video—Leigh Merrill plays off the expectations of the viewer in order to lure us in to look closer. By doing so, the artist slyly exposes her constructed spaces as falsely poetic, congested leftovers of ramshackle storefronts and confused non-places. These images are made by amassing hundreds of photographs from several locations, forming a vocabulary of locales deftly joined together with Photoshop© by following compositional linear cues and inventive architectural repetition in a landscape format. Merrill fuses these elements together with a skewed, Southwestern palette gone awry and an uncanny eye for the horror vacui of the quintessential American retail experience. In Blue Crush (2016), four separate horizontal images combine to make a seamless, panoramic facade with elements often repeated in each. Bold blank signage, rhythmic fencing, and windows are painted in large swathes of retiree hues, foregrounded by empty asphalt parking spots. A dead sky looms overhead, only to be punctuated by stretched power lines, periscoping gutters, craning lampposts, and the lone, wooden utility pole. This is the straightforward photographic eye of early Ruscha, coupled with the anxiety and dread of our collective, empty-consumerist nightmares. Countering the construction of the idle, uninhabited spaces patched together by Merrill are the dense, impenetrable walls of foliage in her Botanicals series. Amid the mismatched quilts of shrubs, plants, and flowers lie the seams conjoining improbable shadows, affixing contrast or albinism within or throwing profiles of contrast into arcing compositional elements. Sometimes, at the bottom edge, the back of a traditional sofa and chair will appear, or a piece of patio furniture. A garden hose will perhaps slither about as very well may fairy lights. These black-and white-images are fused with a cold bluish hue, hinting at a Franken-collage of dead tissue and the clinical read while tracing the stitches visually. The subject matter has shifted along with the presented sense of space, from the rectilinear to the organic and open/empty to closed/full. For her upcoming show, American Martini, opening at the tail-end of March at Liliana Bloch Gallery, Merrill will be presenting a new body of photo-based work which plays with full-bleed color saturations of blank backlots and retail shells rendered in half-opaque sheets of white, black, blue, and redorange. As the artist originally started with constructing and photographing plaster models to mimic the “built environment” to then cataloguing sites and reassembling mirages anew, the progression to using transparent overlays of bold color further calls the legitimacy of the presented image into question. This design-oriented read almost renders the efficacy of its telling somewhat mute, pushing the weight of the composition into a purgatory of sorts. Similarly, the plant forms and tighter facades have also regressed into the depths, pulling the viewer further back while also grasping for telling details. However, given the ever-present mutability of the “real” image and its representation ad infinitum, it feels all right to let some new, yet invented, images fall into the hued middle ground or recede into the shadows altogether, albeit very slowly… P

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APRIL 2019

DSOâ&#x20AC;&#x2122;s Music Director Designate, Fabio Luisi, will take the podium during SOLUNA. Courtesy of the Dallas Symphony Orchestra.

THE BEAUTY BETWEEN THE NOTES International artists unite with the Dallas Symphony and local talent to imagine SOLUNA, a music and arts festival with a soul. BY LEE CULLUM

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PERFORMANCE

here to go in search of SOLUNA? That’s the sometimes weird, always wonderful festival happening all over Dallas through April. Never as cruel a month as the poet T. S. Eliot said, though “mixing memory and desire” might be just the thing for spring, which by then will have emphatically arrived. Let’s start with the superstars which, of course, would mean, above all, Fabio Luisi, the new Music Director of the Dallas Symphony. On April 18 and 19 he will conduct the orchestra for the first time since being named to that post. The lineup? Beethoven’s 7th plus 20th-century works by William Grant Still and Frank Martin. So, can we expect more modern music from Fabio Luisi at DSO? I asked in an email. “Absolutely!,” he replied. The term “classical music” is nowhere to be seen in reports about SOLUNA, but New Yorker critic Alex Ross charged, even so, that calling anything “classical” is trapping “tenaciously living art in a theme park of the past.” Maestro Luisi strongly disagrees. “Classical music,” he wrote, “strictly speaking, it describes a very limited time range. Now we extend it to everything that was written until…Ligeti?...Berg?...Music puts a mirror in front of us and makes us reflect on ourselves…Art,” he concluded, “is always contemporary.” And who could be more contemporary than Terence Blanchard, jazz composer and titan of the trumpet. Blanchard is everywhere, writing the score of Spike Lee’s film BlacKkKlansman, composing Fire Shut Up in My Bones for the Opera Theatre of Saint Louis, and producing Caravan: A Revolution on the Road for SOLUNA, with his own music, dance by Rennie Harris Puremovement, and astonishing video art by

Andrew Scott of the University of Texas at Dallas. Andrew Scott came to UTD five years ago from the Savannah College of Art and Design, having studied sculpture at Ohio State, something he still pursues in a space big enough for welding at Trinity Groves. He met Terence Blanchard when both of them were in Brooklyn. They mostly lost track of each other, but teamed up years later when Blanchard posted a call for an album cover and Scott replied with the winning proposal. The two of them have been working together ever since, and to fantastic effect, as I discover the minute I walk into Scott’s enormous warehouse of a studio in the Edith O’Donnell Arts and Technology Building, whose architects must have designed with someone like him in mind. With three students—no, four—working quietly to one side on the show for the Majestic Theatre, where Caravan can be seen April 9, Andrew Scott explains the powerful and purposeful screen overhead where symbols of every description declare a world of complicated harmony—Celtic, Tao yin and yang, Muslim, Christian, and Jewish, with Ankh, the ancient Egyptian sign for the breath of life, soon to be added. Scott leaves nothing out but much to chance as these symbols, deeply reminiscent of the Jungian unconscious, yield to a dove of peace flying slowly, seductively, across the screen. At the same time, Blanchard’s music, arriving by computer that afternoon, softens to a piano, poignant as well as faintly promising. Black and white dissolve into a panoply of color on which dancers will be projected from the stage as will the musicians of Blanchard’s E Collective. Call it psychedelic. Call it the aesthetic of hypertech. But, above all, call it by Andrew Scott’s watchword, improvisation.

Verdigris Ensemble will perform in Anthracite Fields. Photograph by Dickie Hill; DSO composer in residence Julia Wolfe’s Anthracite Fields received the 2015 Pulitzer Prize in Music. Photograph by Peter Serling.

APRIL 2019

PERFORMANCE

Top left: New York–based artist and composer Aki Onda will activate the galleries at the Crow Museum of Asian Art. Photograph by Brian Whar; Top right: Queens-based vocalist Samita Sinha will perform with Aki Onda. Photograph by Renee Morello. Bottom: Academy Award–nominated trumpeter and composer Terence Blanchard performs at The University of Texas at Dallas in The Edith O’Donnell Arts and Technology Building on April 21, 2017. Photograph by Roxanne Minnish.

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Certainly improvisation, that juncture of rapid response and crazy intuition, is the order of the hour for Kim Corbet. Five years ago, he created the Meadows POINT Ensemble at SMU as a gateway for students to express who they really are. Released from rights and wrongs, dos and don’ts, they could break the shackles of convention and free their talent from limiting expectations. We meet at the Hotel Lumen near the campus on Hillcrest to talk about American Landscapes with Lonnie Holley, Corbet’s gig for SOLUNA, scheduled April 19 at the Dallas Museum of Art. He arrives by bicycle, explaining that this is how he goes everywhere unless it’s raining. Then he calls Uber. Born in Little Rock, Corbet arrived in Dallas still quite young but savvy enough to know how to project himself as an Arkansan—casualness is everything—sometimes teaching or performing barefoot. “People appreciate eccentricity,” he tells me, “but only after you have proved you can handle it.” Eccentrics, he adds, “don’t fit their mold but they are not dangerous.” It’s like improvisation: “You have to be comfortable.” Corbet started out playing a traditional instrument, the trombone, and it “put me through three schools,” he says, “the last being the University of North Texas.” There he split his time between the One O’Clock Lab Band and the electronic music department. He loved the synthesizer, the way it allowed him to “go into music [and] explore.” He notes, “The trombone was for my head, electronic for my soul. It was ‘a new utopia.’” The question now is what will it be like for his POINT Ensemble—three students this time playing acoustic bass, cello, and oboe—working with Lonnie Holley, acclaimed performance artist as well as sculptor, born in Birmingham, Alabama, and now expositor of the American South in all its horrific connotations? Yet he has triumphed in spite of, because of, all that, using the seeds of his own searing experience to germinate an art that is as universal as it is indigenous. Willing always to speak his mind, Holley said to the Guardian, “We are playing in the quicksand fields of stupidity. Playing in the playground of foolishness.” Nonetheless, he concluded that interview with this: “Rejoice with the rejoicers. Thumbs up to Mother Universe.” An adventurer with found objects in his sculpture and found sounds in his music, Lonnie Holley is “a street poet,” says Corbet, “so successful, late in life,” with his first recording in his early 60s. “He’s all over the place now. He’s an improviser and might end by being a blues poet in the DMA show. It depends on how open everybody is.” How open everybody is. “How they interact with one another.” That, explains Corbet, is the secret of improvisation. But “it’s up to the poet to create a direction.” The poet, that April night at the DMA, will be Lonnie Holley. Ready to respond, however, will be three musicians of Kim Corbet’s Meadows POINT Ensemble, with ideas and energies of their own. Ideas are crucial to Aki Onda, who will bring a Japanese sensibility to the sensations of light and sound at the Crow Museum of Asian Art on April 4. Sometimes he picks up on cassette what he hears in the field. Other times electronic music is his metier. Always he leads from memory, distilled from a childhood in Japan, with Korean antecedents, into the linear context of the West. But the shape of sound never crystallizes

3/12/19

7:00 AM

CHUL-HYUN AHN VISUAL ECHO

APRIL 6 - MAY 4, 2019

CMY

OPENING RECEPTION FOR THE ARTIST SATURDAY APRIL 6, 6:00-8:00PM

OPENING IN THE GALLERY’S NEW LOCATION IN THE DESIGN DISTRICT.

150 MANUFACTURING STREET, SUITE 210 DALLAS, USA ERINCLULEY.COM Double Eclipses, 2018, Plywood, wood,changing LED lights, 44 in diameter x 6 in.

APRIL 2019

¯ Egill Sæbjörnsson, Ugh and Bõögâr descend upon Downtown Dallas. Courtesy of the artist and i8 Gallery, Reykjavík, Iceland.

Improvisational and multidisciplinary artist Lonnie Holley will perform at the Dallas Museum of Art.

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PERFORMANCE

for him with the precision expected by the Western mind. “The shape is not fixed,” he wrote in an email, “and it changes all the time.” Heavily influenced by Mexico, he pointed out, “the highly contemporary and the archaically traditional cultures, the refined logic and murky superstitions, the aristocrat lifestyle and the poor…Amidst the chaos of all these forces, the border that separates reality and imagination lost its meaning and anything seemed to be possible to me.” Anything is possible, too, when Aki Onda performs at the Crow. Solidly Western but stubbornly iconoclastic, the Verdigris Ensemble is medieval, mystical, and modern, all at once. Redolent of Gregorian chants, the group sings insistently of today, through the prism of earlier traumas in earlier times. Verdigris’ most important project to date is coming up at Moody Performance Hall on April 15 when Julia Wolfe, composer-in-residence at the Dallas Symphony, will present Anthracite Fields, her Pulitzer Prize–winning oratorio about life in Pennsylvania’s coal mines at the turn of the 20th century. This is not a polemic to save the coal industry nor a jeremiad against it. What Wolfe is describing, in song, is a tough world, underground, damp and dangerous, but essential then to lighting the nation. Led by Sam Brukhman, creator of Verdigris, the ensemble will work with Wolfe’s Bang on a Can gang of musicians who know, he says, how to use music “to serve the text,” and vice versa. Wolfe, he explains, “takes words and repeats them… takes a word and makes it mean more, through repetition… such as repeating the names of all those who died in the mines called John…In the 4th Movement we all have flowers. Wolfe stretches it out—flowers, flowers, flowers, flowers. Then the word falls apart. She’s transforming words…She creates a mood, an atmosphere. She does it with instruments that are unusual: a bass clarinet, a bicycle wheel, a can. It’s effective in transporting an audience who has no idea what classical music is. This is the type of piece that Dallas needs to hear.” Who could be more unlikely to know with such certitude

what Dallas needs to hear than Sam Brukhman? And yet he does. Brukhman grew up in Cranford, New Jersey, in a family that immigrated to the US from the former Soviet Union. Composed of “stock traders and brokers” plus a brother ten years older with a cryptocurrency fund, this was a clan little prepared for an odd-man-out like Sam. Only his grandmother understood him. That’s because she too was musical, having taught piano at the Glinka Academy in Leningrad. A choir director saved Sam from flunking out of middle school and set him on a path toward the work of his life. So, after Westminster Choir College, when friends fixed him up with a teaching job in Dallas, Sam Brukhman moved here, understanding innately what a business town like this—so like his family—would need to hear. It was not unlikely at all. SOLUNA takes the art of collaboration to a new stratosphere When the Trolls Go Rolling In takes over River Bend, home to the Dallas Art Fair’s own 214 Projects in the Design District. Imagined by Iceland’s representative for the 57th Biennale, Egill Sæbjörnsson’s man-eating trolls collide with classical musicians in a visual sensory work imbued with humor and video projections. Says Brandon Kennedy, Dallas Art Fair’s Director of Exhibitor Relations, “I first encountered the massive, human-eating trolls Ūgh & Bõögâr in Venice during the summer of 2017. By the time I had arrived, they were already wreaking havoc across the sinking lagoon, scaring tourists and art lovers, taking over the Icelandic Pavilion (by way of their artist friend Egill) and generally making an outsize impression everywhere they strolled and grumbled. They were completely ‘OUT OF CONTROLL!,’ so I immediately offered them an open invitation to visit Dallas.” So I discovered the secrets of SOLUNA, some of them, from the elegant to the elemental, full of possibilities and the pleasure of surprise. It’s a festival that’s grown from the tentative to the tantalizing. Indeed, SOLUNA is coming now into its own, just like Dallas. P

Whither Goest Thou America:

A Festival of New American Play Readings 4/17/19 – 5/12/19

Gordon Dahlquist | Len Jenkin | Matthew Paul Olmos | Adrienne Kennedy

Featuring the fully-staged world premiere:

so go the ghosts of méxico, part three, ‘a poet sings the daughter songs’ by Matthew Paul Olmos Directed by Katherine Owens 4/11/19 – 5/5/19

APRIL 2019

BEST IN SHOW

Dallas Decorative Center welcomes the design trade and those seeking the finer things. BY PEGGY LEVINSON

rammell Crow visited the new Chicago Merchandise Mart in the early 1950s and decided Dallas needed one. But he wanted to one-up Chicago’s fortress-like building and instead design an open-air shopping center concept to take advantage of the mostly temperate weather in our fair city. Along with Crow, architect Jacob Anderson and landscape architects Arthur and Marie Berger developed the concept for Dallas’ revolutionary Decorative Center in 1953. Instead of an enclosed structure, they unveiled a Modernist arcade for showroom spaces surrounded by nonlinear parking in a park-like setting. Fast-forward to today, the structure of the center remains lovingly the same under the helm of Bill Hutchinson, president

of Dunhill Partners. Impressive outdoor sculpture sets the tone, like Anna Debska’s bronze Fighting Stallions at the entrance and François Stahly’s marble obelisk Mainandros in the center of the cruciform parking lot. While most decorative centers in the country are drab, closed-off buildings, the Dallas Decorative Center proclaims itself a chic, welcoming hub of art and design. Entering the narrative in 2014, Hutchinson envisioned a Design District energized as a social, live-work neighborhood, and set about diversifying the Decorative Center tenants to include full-service restaurants such as Headington Companies’ Sassetta and Wheelhouse, connected by a patio and artist Daniel Arsham’s Moving Figure. The showrooms remain the mainstay,

Eggersmann’s Unique Collection is available in over 20 raw materials through the Eggersmann showroom on Hi Line.

Artistic Tile’s Sail Fete gets its inspiration from Italian Cosmati Floors. Available at Artistic Tile in the Dallas Decorative Center.

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however, attracting the design trade industry and their clientele from across the globe. Scott + Cooner has been “making Dallas modern since 1995,” when they opened their showroom with a few pieces of Knoll furniture and a lot of guts. The prevailing decorative style at the time was floral chintz and heavily carved brown furniture, so designers and architects looking for a clean, modern look shopped at contract furniture companies like Knoll and Herman Miller to furnish contemporary homes, or discovered classics from the 1950s and 1960s at vintage dealers. Scott + Cooner offers Dallas designers the latest in modern European furnishings as well as American classics from Walter and Florence Knoll. The showroom is a wonderland of imaginative furniture, art presented by Conduit Gallery, and lighting from creative powerhouses like Ingo Maurer, Patricia Urquiola, and Paolo Lenti. One of the latest stars of the design universe offered at Scott + Cooner is Tom Dixon. Dixon is a self-taught industrial designer who started out with a furniture collection built of salvaged metal in the 1980s. He was soon working for the design giant Cappellini and became a household name with the iconic S chair. Some of his latest designs offered here are the Melt pendant light and the Fat chair. The Melt pendant is an imperfect, organic translucent light that looks like molten glass – or an image seen from deep space. The Fat chair is “like the Le Corbusier chair on steroids, heavily padded and comfortable,” says Scott. As Scott + Cooner offers the best in modern furniture, Ornare brings to Dallas modern Brazilian design in the form of integrated wall systems, kitchens, and baths. Ornare is a family affair; developed in Brazil, the company was brought to Miami in 2005 by Claudio Faria and opened in Dallas in 2013 by Fernanda and Olavo Faria. Says Olavo, “Ornare is haute couture for cabinetry, and the details and finishes say luxury: monogrammed gold-plate handles, hand-stitched leather doors, and handmade leather and linen jewelry inserts for drawers. In finishes, we offer natural wood veneers, metallic paint, special painted glass, and over 50 paint finish options.”

Tom Dixon Melt Pendants in copper and gold available at Scott + Cooner in the Dallas Decorative Center.

Artistic Tile’s Primal mood board; Tom Dixon Melt Stand Chandelier at Scott + Cooner.

APRIL 2019

SPACE

Ornare’s clean and innovative Wave line designed by Ricardo Bello Dias is available exclusively at Ornare in the Dallas Decorative Center.

The new collection Wide Line features elements that restyle and decorate the house as one unique environment—the finish in the kitchen becomes the basis for cabinetry in the living room and then forms bookshelves in the library. For international kitchens, special care is taken to address the preparation necessary in different cuisines. When Wilhelm Eggersmann founded his namesake company in 1908, the design philosophy was built on key Bauhaus architectural elements—smooth surfaces, cubic shapes, neutral palette, and open floor plans. Today, Eggersmann’s modern German kitchens and home living solutions are distinguished not only by stone fronts and exotic veneers, but also technological feats in cabinetry composition and ergonomics. The pride and joy of the collection is the Unique series featuring their proprietary natural stone. Also, the new 15 Squared Room divider creates the perfect transition between living spaces with a floor-to-ceiling freeform concept. The true beauty of this product is its flexibility and custom capability. In the discerning and sophisticated Dallas design world, the Eggersmann Showroom stands out by pairing a residential home automation system, fixtures and lighting normally found in a home, with carefully selected fabrics, tile, and carpet. Says Eggersmann spokesperson Dana McManus, “Our showrooms are a creative muse for our clients’ inspirations, and we want them to have a fresh view on what their personalized solution could be. Our Home Living collection will showcase all of the extensive options our clients have come to expect, and now especially for our Dallas market we have launched a new integrated hat or cap tower that effortlessly spins and stores your caps or hats.” McGannon Showrooms is another family affair with Britt McGannon joining her parents Bill and Sharon. And the family concept goes even further with their sales associates and clients. Says Britt, “what sets us apart is our people—our work family. We have the best group of people from our warehouse team to salespeople to business office. Our salespeople are highly skilled and knowledgeable

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Thayer Coggin Cool Clip sectional and Nikolas Kage cocktail table available at McGannon in the Dallas Decorative Center.

and range from experienced designers and artists to antique experts and furniture lovers. On average, our salespeople have been on our team for eight years and know how to keep you out of trouble. We also have a highly gifted buyer, Lauren, who is always on the search to find the best product and new designs that are popping up in the industry.” McGannon represents over 60 lines of furniture and accessories, from traditional to modern. Thayer Coggin is a classic, midcentury furniture line with creations from awardwinning Milo Baughman and Allan Gould, whose designs can be found at the Whitney Museum of American Art and the Museum of Modern Art. RC Furniture is a contemporary upholstery brand that focuses on clean lines and simplicity, and is particularly known for its fabric selection—the company scours the globe for the best textiles, with an eye to durability, texture, color, and function. Artistic Tile’s showroom name says it all. The family run American company, housed in a lively and colorful space, was founded by Nancy Epstein and offers a business philosophy that creative people understand creativity and should collaborate with the designer to build exactly what they want. Artistic Tile offers complete customization in house. Their buyers travel the world and buy directly from the source, finding new trends and techniques wherever they originate. The new Ombre tile collection features the visually intriguing gradations of color found in nature, like the sky and ocean, that almost seem to breathe, creating an organic effect. The Chromatic Harmony collection is based on the Feng shui concept that color infuses the atmosphere with unique meaning. We use the color blue to soothe and relax, while green is associated with health, vitality, and growth. Red can be associated with fire—energy and desire. And, of course, red and pink are always the colors of love and romance. Gold evokes prosperity and abundance, while black is dramatic and confident —the mystery of night. Artistic Tile uses all of these principles to help the designer create exactly the atmosphere they desire. P

Eggersmann’s 15 Square freestanding installation available at Eggersmann on Hi Line.

Eleanor Bond Eaton Interiors

214.356.5350 eatoninteriorsdallas.com photo: Paul Costello / artwork: Constannn Kluge

APRIL 2019

COVETED

AMERICAN BEAUTY

IN A MERCURIAL COUNTRY, THE HOUSE OF HARRY WINSTON ENDURES. BY TERRI PROVENCAL PHOTOGRAPHY BY ELIZABETH LAVIN Few could argue American jeweler Harry Winston set the luxury standard when he opened shop in New York City in 1932. Believing each diamond should articulate the design, the House of Harry Winston remains true to the founder’s vision today. And while Laura Dern made an entrance at the Oscars this year draped in the house’s River Cascading diamond drop necklace, Helen Mirren dazzled in her chosen Winston Cluster Necklace comprised of 235 carats, declaring Harry Winston “made me feel like a queen for the night.” Find your own inner-queen at the newly renovated Harry Winston in Highland Park Village. P

Left to right: Harry Winston Forget-Me-Not Necklace featuring blue sapphires and diamonds set in platinum, Harry Winston Open Cluster Diamond Necklace set in platinum, Harry Winston Emerald Cut Aquamarine Earrings featuring diamonds set in platinum, Harry Winston ForgetMe-Not Bracelet featuring blue sapphires and diamonds set in platinum, Harry Winston Loop Diamond Necklace set in platinum. All at Harry Winston, Highland Park Village.

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Chamber M us i c I n t e rnat i ona l

C h il d r e n’ s C h o r u s o f G r e at e r D al l as

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I b e lie ve creat i vi ty i s the very essence of l i fe. I t un ite s us, i nspi res u s, chal l enges and changes u s. I AM TAC A – The Arts C ommuni t y Al l i ance.

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The L A Nar ra t ive Dallas Art Fair exhibitors 12.26, Anat Ebgi, and The Hole will exhibit paintings by three Angeleno artists. BY NANCY COHEN ISRAEL AND STEVE CARTER PHOTOGRAPHY BY SERGIO GARCIA

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Alec Egan

Ros son Crow

Gracie DeVi to

APRIL 2019

Alec Egan with his paintings (from left): Fireplace and Mantle, oil on canvas, 60 x 48 in.; Sunset Mountain, oil on canvas, 60 x 48 in.; Light, oil and Flashe on canvas, 60 x 48 in.; and Sea, oil on canvas, 60 x 48 in. Opposite: Alec Eganâ&#x20AC;&#x2122;s Los Angeles studio.

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Alec Egan a t Ana t E b gi

rtist Alec Egan is an Angeleno, born and bred, but don’t look for LA-centric references in his work— it’s far broader than that, encompassing a universal resonance that’s untethered to specifics of time and place. As the sole artist presented by Anat Ebgi Gallery at this year’s Dallas Art Fair, Egan’s in an enviable position, albeit tempered by serious responsibility. But the 10 or more of his paintings that will be on view at the Anat Ebgi booth comprise an exciting introduction to Egan’s vision, and serve as an emblematic thumbnail of the seven-year-old gallery’s adventurous program. Egan’s world is equal parts cacophonous color, repetitive, even combative, patterns, and a restless probing of memory, nostalgia, and identity. While his paintings are typically devoid of figures, there are echoes of people everywhere, ghostly reverberations of human life that populate the rooms depicted in his canvases. “Hopefully it adds to this push and pull with the viewer,” Egan says. “Is it your room? I want to imply the viewer, but also imply the presence of whoever this fictional character is, the absence of him in the paintings.” Nostalgia is a key piece of his aesthetic, and shards of childhood memory are a common element throughout Egan’s oeuvre. “My own definition of nostalgia would be some type of beautiful pain in looking back, a desirable pain…,” he continues. “It’s a very personalized thing—you could find something nostalgic that I never would.” The backgrounds in his paintings are often wallpaper patterns, occasionally so pronounced that they compete with subject matter,

challenging traditional notions of background and foreground. “It’s the linguistic nature of the paintings,” he says. “I do a lot of repetition of patterns, like a crocheted throw pillow against a flower wallpaper, with a flower-patterned lampshade, or actual flowers in the vase against the flower pattern. The patterns on the patterns—it becomes bizarre and kinda psychological. And it’s autobiographical in the sense that the inception of these patterns comes from a real place, similar to wallpaper patterns in my grandparents’ house, trying to construct my own identity.” Although Egan’s subjects can be quotidian, some of his paintings evoke the timeless boldness of Japanese masters like Hiroshige, Hokusai, even Takashi Murakami, heroically recalibrated through his graphic, surreal paint-by-number palette. At the fair, expect a series of recent works that are intriguingly self-referential. Egan says that it’s a unifying approach he’s employed before, creating “detail” paintings from a central large-scale piece. “Conceptually what I’m interested in is this—there’s a ‘master’ painting which is usually an interior, a bedroom or some domestic space, that’s involved and complex,” he explains. “In this one there will be a fireplace that’s accidentally bare, windows, paintings on the wall, and then the other pieces in the show will be the details from that painting, extracted in the other paintings. So, it’s like examining the minutiae of the central painting, really getting into it, and sometimes that minutiae becomes abstract. Conceptually it’s kind of mining this ubiquitous, familiar nostalgia…”

APRIL 2019

Ros son Crow a t The Hole

Big skies and open land, hallmarks of the American West, inspire contemporary artists as much today as they have for countless generations. Stirred by this regional geography, Rosson Crow immerses viewers in her expansive, life-sized desert landscapes, which pulsate with electric color. Within each painting, scattered detritus reflecting popular culture suggests a hidden narrative, waiting to be explored. Thirteen years ago, Crow was named as one of 10 artists to watch in the Wall Street Journal article, The (23-year-) Old Masters. At that time, her work focused on empty interiors reminiscent of movie sets. “I’ve always loved film,” she confesses. Area audiences may remember her FOCUS exhibition at the Modern Art Museum of Fort Worth in 2009, which featured these dramatic, nostalgia-tinged spaces. “So much of my work comes out of my love of history, especially American history,” she explains. Rather than stay in the past, however, Crow’s work constantly moves forward. The walls of the empty rooms in the earlier works have dissolved, stretching into the vastness of the Western landscape. Telltale clues of a life left behind have remained a constant in her work. For this current body, she states, “I got the idea of people living on the fringes of society.” And so, littered amid thickets of cacti, one finds the remnants of the modern-day hermits who may have lived there, the stories of their lives embedded within the debris. Crow is literally plugged into history and contemporary culture while she works. “I’m totally addicted to Audible. I’ve made it a New Year’s resolution to ‘read’ 52 books this year,” she reveals, adding, “I started with All the President’s Men followed by Fear.” As someone obsessed with conspiracy theories, the current political climate offers her so much to absorb. It also adds relevance to her exploration of

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desert dwellers who live off the grid. And as her work investigates the world through a unique lens, she is also drawn to literary reexaminations. When we spoke, Crow had recently finished reading Madeline Miller’s novel Circe, with its re-imagined tale of the Greek goddess. Literature and film, she divulges, nurture her imagination the most. “I feel like I’m thinking less about other painters. They’re always in the back of my mind but I’ve veered more towards writers or filmmakers,” she says. Among her favorite authors is George Saunders, whose storytelling ability she particularly admires. The filmmakers currently on Crow’s radar include Chloé Zhao, Yorgos Lanthimos, Pawel Pawlikowski, and Peter Greenaway. The ability to create the layered, nuanced worlds portrayed in their films is reflected in Crow’s practice. Using a range of media, including phototransfer, spray paint, acrylic, and oil paint, each of her canvases is built up over several layers. The effect is one of walking onto a carefully crafted film set. Creating this dimensionality is time consuming. It usually takes about a month to complete each painting. Though Crow currently lives and works in Los Angeles, North Texans might be interested to know that she was born and raised in Dallas. She attended college on the East Coast where she earned her B.F.A and M.F.A. at New York University’s School of Visual Arts and Yale University, respectively. After a stint living in Europe, where her work has also been shown extensively, she relocated to the West Coast. “I love being in California with its wide-open desert spaces,” she emphasizes. This affection resonates in her work, with its massive scale and infinite depth. As a featured artist with the New York–based gallery The Hole, Crow looks forward to her paintings making their hometown debut at this year’s Dallas Art Fair.

This page: Dallas-born filmmaker and artist Rosson Crow in her Los Angeles studio. Opposite: Rosson Crow, States of Shock, 2018, acrylic, spray paint, photo APRIL 2019 81 transfer, oil, and enamel on canvas, 66 x 90 in. Image courtesy Honor Fraser Gallery.

Above: Los Angeles–based painter, sculptor, and performance artist Gracie DeVito in her studio with (from left): Gracie DeVito, The Maestro, 2018, oil on canvas, 51.75 x 58 in. and Autumn’s Child, 2019, oil and acrylic on canvas, 48.5 x 51.5 in. Left: Gracie DeVito, Slide Guitar, 2019, oil on canvas, 46.5 x 65.5 in. Courtesy of the artist and 12.26.

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Gracie Devi to a t 12.26

A first-timer at this year’s Dallas Art Fair is Dallas’ hotly anticipated 12.26, a gallery opening fall 2019 in the Design District. Owned by sisters Hannah and Hilary Fagadau, 12.26’s program is oriented to emerging and mid-career artists, and for its inaugural visit to the fair the gallery will show three artists from its roster, including Los Angeles–based Gracie DeVito. While DeVito is primarily a painter, her practice also involves performance and sculpture, all interwoven facets of her artistic persona. Dallas Art Fair will mark the first time DeVito’s work has been shown in the city. At the 12.26 booth, DeVito will exhibit two or three of her larger paintings as well as some medium-sized works, “things that kinda happen in the studio simultaneously,” as she puts it, while she’s painting bigger pieces. All of the works are recent, the larger paintings inspired by pieces she completed in November before the NADA Art Fair, where she was shown by Athens, Georgia–based gallery Tif Sigfrids. “When I finished that body of work it culminated in this one painting that felt very different to me,” DeVito says, “and I quickly laid down a lot of information on old canvases so that when I got back to the studio I’d be ready to get working on them. It’s exciting— it’s really new work which has gotten me into a mode of painting that feels really fresh and new and still uncertain to me.” Some of the paintings headed to Dallas are oil and acrylic on canvas, although one is augmented with sand dating back to when

DeVito was working en plein air on the beach. Her oil on cotton paintings have a curious DNA, as the artist explains: “The ones on cotton are all reused painting rags that I keep as I work. I wipe my brushes on them and I move them around the studio. Sometimes I’ll start a painting on them and then reuse them to rub paintings down, and I look at them and I think they’re going to be a painting, but they may not end up being a painting until months later.” The cotton works wind up in irregular, non-rectangular frames, built specifically to accommodate their proprietary dimensions. DeVito likens the results to sculptures on a wall. “Like a Joseph Cornell kind of box,” she adds with a laugh. Another aspect of DeVito’s paintings is their blurring of the line between abstraction and figuration. For viewers it sometimes calls for a subtle reappraisal-in-real-time, as one’s perception begins to shift, recognize, and reassess accordingly. “It tends to happen with the linemaking and the drawing, where I’ll keep the brush moving rapidly and gradually build up in areas on the canvas, and then the actual fibers of the canvas will reveal things that I didn’t intend to be there,” she says. “They move back and forth always, and that’s something that I’m completely open to.” Grab a preview of the forthcoming 12.26 at the 2019 Dallas Art Fair—Gracie DeVito, along with LA’s Johanna Jackson and New York–based painter Jackie Feng. P

Gracie DeVito, Mezzo Grappa, 2017–2019, oil, acrylic, sand, on canvas, 52.5 x 58 in.

APRIL 2019

breaking the mold Examining the practices of three disparate sculptors showing work at Dallas Art Fair.

andscape, light, and memory are carved into Chaouki Choukini’s sculpture. Using the French word for place, lieu, Choukini visually describes metaphysical landscapes. “These are not real places, but places where man has vanished. There are traces that man was here and has left. It is such ideas that I always try to represent with my sculpture.” Choukini’s use of light creates a sense of buoyancy to his substantial forms. Whether recalling the human figure or the natural environment, light, in many ways, is an additional medium within the work. This is a deliberate choice, as he says, “I open windows to let light go across the sculpture.” For Yasmin Atassi, the director of the Green Art Gallery, this is one of the many appealing features of Choukini’s work. The Dubai-based gallery will feature his sculpture at this year’s Dallas Art Fair. Atassi says, “The artist masterfully plays with the light within the space of abstract forms, creating a delicately balanced dance which can be seen in each sculpture.” Embedded in all of the work is the human figure. Often, Choukini recounts, “Man is hidden inside the sculpture, without regards to anatomy or proportions.” The use of a thin wooden cord is another hallmark of Choukini’s work. This cord, whether horizontal or vertical, provides a sense of tension to his elongated poetic forms. For him, “It is like a ray of light.” Choukini moved to France from his native Lebanon in 1967. He studied in Paris, graduating from the École nationale supérieure des Beaux-Arts, where the curriculum included sculpting from live models. “I soon left models and began to work with my imagination and geometric forms,” he recalls. His interest, however, remains rooted within tradition. “I want to do something new to connect to my experience, to my thoughts, but I respect all the grand sculptors,” he says. His combined love of the Lebanese landscape with the French academic sculptural tradition results in an artistic oeuvre that

is uniquely his own. His introduction to Fumio Otani, a Japanese sculptor living in Paris, enriched Choukini’s academic training. “He made me love working in wood. He worked with Japanese tools and Japanese techniques of working in wood,” Choukini says. Choukini’s favored use of African woods such as Wenge and Iroko allows him to work on a large scale. Measuring anywhere from 20 to 30 inches in diameter, this medium allows him to create reveries whose titles reflect the recurring themes in his work. While Choukini’s work has been exhibited all over the world, the installation at the Dallas Art Fair will mark his debut in the United States. After seeing the Eduardo Chillida exhibition at the Meadows Museum last year, Atassi was inspired to bring Choukini’s work to Dallas. “We decided to include Chaouki in our presentation keeping in mind that Dallas has strong historical connections to modernist sculptural practices,” she acknowledges, adding, “Choukini’s work corresponds perfectly to the local art scene and will be an interesting discovery for collectors and art professionals in Dallas.” Atassi also discusses the timeless quality inherent in this work: “Behind each sculpture is the life that is present. Sometimes Chaouki can come back to the work after a decade and add a final touch to complete the sculpture. His work is very honest and personal. He records his memories through his sculptures: people, places, and things that meant something to him.” For viewers, Choukini’s melding of the celestial and terrestrial brings the two together in timeless cosmic harmony or, as Atassi eloquently states, “Every time the viewer looks at his sculptures, there is something new to discover, completing Chaouki’s mission to take the viewer on a journey of peaceful dreams.”

Chaouki Choukini, Tendence carrée, 1997, Ebène vert wood, 20.27 x 3.34 x 18.30 in. Saleh Baracat Collection. Courtesy of the artist and Green Art Gallery.

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Artist Chaouki Choukini at work. Courtesy of the artist and Green Art Gallery, Dubai.

Chaouki Choukini, Lyrique 2, 2011, 21.65 x 15.74 x 63 in. Courtesy of the artist and Green Art Gallery, Dubai.

chaouki choukini at the green gallery BY NANCY COHEN ISRAEL

Chaouki Choukini, porte du désert, 1995, Ebène vert wood, 10.23 x 16.33 x 11.02 in. Courtesy of the artist and Green Art Gallery, Dubai. Chaouki Choukini, Pavillon de Lumiere, 2014, Iroko wood, 24.4 x 7.87 x 7.87 in. Photograph by Alex Wolfe. Courtesy of the artist and Green Art Gallery, Dubai.

APRIL 2019

Sculptor Tony Matelli with a work from his popular Weed series.

tony matelli at the joule and marlborough contemporary BY JENNIFER KLOS PHOTOGRAPHY BY CHRIS LUTTRELL

Tony Matelli, Horse, 2017, stone and painted bronze, 22.5 x 34 x 10 in. Courtesy of the artist.

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Studio view.

rtist Tony Matelli creates works of art that are eye-catching and thought-provoking with unexpected elements of humor and surprise—a warrior draped in deli meats, a horse with a head of lettuce, or Caesar with a stash of half-eaten fruit. His realistic subject matter is decidedly everyday, incorporating “faux antiquities” or found garden sculptures with that of “perishable objects frozen in time” made of painted bronze in the shape of fruits, vegetables, and meats. These vanitas sculptures capture the passage of time—an abandoned garden sculpture that is at the end of its life juxtaposed with that of shiny and seductive fruit at the height of its potential. Co-organized by Marlborough Contemporary, six of Matelli’s sculptures will be installed in the lobby of The Joule during the Dallas Art Fair. Born in Wisconsin, Matelli credits his imagination to his childhood. To escape the cultural landscape of the Midwest, he created dioramas, building his own fantasy narratives using model cars and action figures. This sign of “tinkering as a kid” led the artist to a new way of thinking about representation in art school. Matelli questioned, “What happens if I make this tiny diorama larger?” During his undergraduate studies at Milwaukee Institute of Art and Design, the sculpture department offered him the freedom to explore compelling narratives. After attaining his B.F.A., he pursued graduate studies at Cranbrook Academy of Art. Even though he started as a conceptually oriented artist, he considered the conceptual realm to be “visually boring” and lost interest in it. “I reached towards realism and it felt radical at the time, but in reality, it was a return to my roots,” says Matelli, referring to the tradition of representation that permeates art in the Midwest.

Studio view.

APRIL 2019

Studio view.

Tony Matelli, Woman with Bowl, 2017, concrete and painted bronze, 66 x 19 x 21 in. Courtesy of the artist.

Today, the artist runs a hands-on Brooklyn studio where most of his works are made onsite. His artistic process starts with a collage where he gathers his inspiration to determine the viability of his ideas. His choice of materials stems from a sense of efficiency rather than a philosophical choice. Most of his concrete or marble garden sculptures start with a found object, which serves as the perfect base, albeit reborn with the addition of a piece of fruit or meat made of painted bronze. This material creates a very realistic impression of bright colors yet also remains durable for transport and display, both indoor and outdoor. The artist finds bronze to be rewarding—it happens to be “cool,” yet has been used since ancient civilizations, reflecting the historical continuity of materials. Matelli adds, “There’s a bit of magic or fooling the eye in my work, and there’s a sense of wonder but it’s not really the goal.” Fascinated by the passage of time, Tony Matelli presents his own perception of reality with the symbolism of old and new in his sculptures. When asked about how the viewer experiences the work he explained, “I think of myself as the viewer, I am the primary viewer of my work. I work to my own tastes, and I assume everyone will eventually be sharing my own taste.” It’s this unique perspective, along with the virtuosity, technical skill, and execution that have made Tony Matelli an international success with private collectors, museums, and institutions.

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Multidisciplinary artist Zoë Buckman inside her New York apartment in DUMBO.

zoë buckman at albertz benda

BY NANCY COHEN ISRAEL PHOTOGRAPHY BY CHRIS LUTTRELL

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Above: Zoë Buckman addresses motherhood and domesticity, and the power and oppression of each, in her practice. Below: Zoë Buckman (b. 1985), Fool, 2019, embroidery on vintage tea towel, 22.25 x 14.75 in. Courtesy of the artist and Albertz Benda.

and-embroidered tea towels extolling hearth and home often conjure realms of domestic bliss. In Zoë Buckman’s work, however, objects such as these carry weighted meaning, frequently revealing domestic violence. At this year’s Dallas Art Fair, Albertz Benda gallery will present Buckman’s provocative work, which continues its exploration of traditional gender roles within the domestic sphere. Buckman views the female side of this dynamic as potentially empowering while simultaneously oppressive. “I am most interested in work that expresses the gray areas or nuances between two seemingly polarizing ideas,” explains the British-born, Brooklyn-based artist. Buckman’s work comes from a very personal place. She began this series while caring for her terminally ill mother who passed away last year. “I wanted to make work about my mother, but it was still too raw,” she says. Her mother’s experiences as a survivor of sexual abuse, however, remain woven throughout the work. “Trauma doesn’t just ruin one person’s life. It’s generational,” she explains. Buckman’s own experience as a victim of sexual assault also informs her creativity. In many ways, the artist speaks in a collective voice. The work, she adds, “is about what I’ve experienced, or people have spoken to me about.”

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Having a daughter seven years ago added another dimension to Buckman’s practice. “When I became a mother, that became a big focus of my work. I feel like I’m returning to those ideas right now. Looking back on things I’ve experienced in my life and the political climate becoming more urgent has led to my work about the female experience.” Buckman also explores the double standard regarding child rearing that expects mothers to take full parental responsibility while fathers tend to get societal points for watching over their progeny. These, she says, are “the expectations of ours that need to be examined.” Buckman’s thoughtful work is more reflective than reactive. It takes her about two years to create a new body of work, making it important to note that the Me Too movement dovetailed with her practice rather than informed it. By the time Buckman finished this labor-intensive series, the ideas she began exploring became part of the public discourse. It is more a function of coincidence, then, that her work seems to embody the current ethos of this larger cultural moment. While the new pieces are relatively small, much of Buckman’s sculpture is done on a large scale. One of the installation pieces

on view is a pair of boxing gloves. Made from vintage linen tea towels and embroidered with M F, these initials reference the title’s profanity rather than the opposite sex. The elegant use of traditionally feminine elements belies the subject matter. “The past two years have been a personal exploration for me. Some of the text is actually text that comes from abuse and trauma. Most of it is about unwanted behavior,” she says. This will be Buckman’s inaugural exhibition in Dallas. According to gallery co-founder Thorsten Albertz, “There is obviously an interest in younger voices and women’s voices.” He adds, “Zoë has been very vocal and very prominent over the last 18 months.” He confides that there is already interest in her work from collectors and curators locally as well as nationally. The Dallas Museum of Art’s acquisition last year of work by another one of the gallery’s artists, Brie Ruais, through the Dallas Art Fair Acquisition Fund, helped fuel the decision to show Buckman’s sculpture this year. “The reason we like participating in the Dallas Art Fair is because the support the Dallas institutions give to the fair is incredible. Dallas is extremely supportive and that makes Zoë a perfect choice,” Albertz concludes. P

The artist embroiders vintage tea towels.

APRIL 2019

JONAS WOOD:

SCENES FROM THE EVERYDAY The LA-based painter reveals early and current influences evidenced in his museum survey at the Dallas Museum of Art. INTERVIEW BY HANS ULRICH OBRIST 92

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os Angeles–based painter Jonas Wood (b. 1977), named the 2017 Artist Honoree by TWO x TWO for AIDS & Art, unveiled his first major solo museum exhibition last month at the Dallas Museum of Art, gathering 33 works across 13 years. With multiple comparisons to David Hockney, Wood’s examinations of the commonplace reveal intimate observations of universal themes through worlds conjured from sources including drawings, preparatory collages, and found imagery. His paintings reference modernist and Pop movements while remaining rooted in the contemporary, resulting in pictorial flatness derived from objects, people, and places. Accompanying the exhibition is a catalogue, Jonas Wood, published by the DMA and distributed by Yale University Press, which offers a scholarly consideration of Wood’s practice in an art historical context. Hans Ulrich Obrist, who is the Artistic Director of Serpentine Galleries and the Senior Artistic Advisor of The Shed, New York, as well as a prolific writer and curator, contributed an interview with the artist for the publication. In an excerpt from that interview, Obrist discusses Wood’s manifold influences, including his grandfather, who was an amateur painter and art collector; the ceramic works of his wife, artist Shio Kusaka; baseball and basketball trading cards; source material from old books; and art collecting. Hans Ulrich Obrist (HUO): Jonas, your new solo exhibition of paintings at the Dallas Museum of Art includes portraits, still lifes, interiors, and exteriors. You describe the interiors as a stage, and the stage, of course, includes not only people, but images of your art, of others’ art. There is art from ceramics in it. There is part of your collecting activity. It’s all of that.

This page, clockwise from top left: Jonas Wood. Portrait by Brian Forrest. Courtesy of the artist; Jonas Wood, Big Naked Snakes, 2012, oil and acrylic on canvas, 80 x 68 in. Photograph by Brian Forrest. Courtesy of the artist and David Kordansky Gallery, Los Angeles; Jonas Wood, Greek Pot with Pattern, 2011, oil and acrylic on canvas, 23 x 20 in. Photograph by Brian Forrest. Courtesy of the artist and Shane Campbell Gallery, Chicago; Jonas Wood, Self Portrait with Blue Sunglasses, 2012, oil and acrylic on canvas, 50 x 60 in. Photograph by Fredrik Nilsen. Courtesy of the artist and David Kordansky Gallery, Los Angeles. Opposite: Jonas Wood, Interior with Fireplace, 2012, oil and acrylic on canvas, 102 x 92 in. Photograph by Fredrik Nilsen. Courtesy of the artist and David Kordansky Gallery, Los Angeles.

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Jonas Wood (JW): My interest in ceramics comes from my wife, Shio Kusaka, who is a ceramicist. When I started making still lifes, I was using her work as part of it, looking at pots with her, and just getting into the idea of things painted on a pot. It’s an object that tells a story. It’s very similar to a painting, but it’s this threedimensional vessel. HUO: You said that it’s like the baseball cards, the basketball cards…They have a shape and form: fluid, graphic, simple. There are cartoons on the side of the pots. They’re stories, right? So, you started to make all these pots paintings, and you were inspired by the Met, also. JW: That’s where it all started. It also connects to my wife because when we started going to museums together, I would always look at just the paintings. But since she was interested in vessels, I started looking at vessels, too. I think that I super-responded to the black and orange vessels at the Met. They just became another thing I liked to paint. In my own paintings there are genres that I like to paint, and I’m responding to them because they turn me on and make me want to make art about them, to paint them. I realized with the things that I find the most titillating, it’s okay to keep going back to them. You can continue learning even if it seems like the same thing. HUO: What’s the relationship between figuration and abstraction? You once said in an interview that your paintings of tennis courts are about your interest in abstraction. The court becomes a geometric puzzle. Yet at the same time, you’re a figurative artist, out of pots instead of plants. It seems to oscillate between moments of figuration and abstraction?

JW: I don’t always think about it as “I’m a figurative painter,” or “I’m an abstract painter.” I prefer to look at it as a puzzle and how it’s balanced, which I think is similar to how an abstract painter would think about how a painting would work. Like, is it working, or is it not working? It’s based on composition, and it’s based on color. I think I’m comfortable with painting object paintings. What I consider an object painting is what other people might think is abstract. A tennis court would be like an object; it’s a tennis court. To me, it’s definitely a figurative thing. But the way I’m painting it is This page, left: Jonas Wood, Manute, 2014, oil and acrylic on canvas, 120 x 48 in. Photograph by Brian Forrest. Courtesy of the artist and David Kordansky Gallery, Los Angeles. Right: Jonas Wood, Moiten Ball, 2015, oil and acrylic on canvas, 20 x 20 in. Photograph by Brian Forrest. Courtesy of the artist. Opposite: Jonas Wood, Australian Open Two, 2012, oil and acrylic on linen, 88 x 60 in. Photograph by Brian Forrest. Courtesy of the artist and David Kordansky Gallery, Los Angeles.

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APRIL 2019

Jonas Wood, The Bat/Bar Mitzvah Weekend, 2016, oil and acrylic on canvas, 88 x 69 in. Photograph by Brian Forrest. Courtesy of the artist and Anton Kern Gallery, New York.

super simplified, sort of like a work by Peter Halley with lines and blocks of color that represent something. HUO: You said that you definitely have bodies of work where you want the experience of viewing to approach abstract painting. So, the tennis court paintings and the basketball paintings are done in colors and lines and emblem. It’s very meditative and compositionally minimal, right? JW: It’s abstract, I guess. It’s a floating basketball. It’s just simplified. You know what it is? It’s the antithesis to a supercomplicated interior painting that takes a long time to figure out and a long time to paint. And then I get to make this other work which is very simple and straightforward and doesn’t have as many strings attached to it. HUO: Well, you say that you think of yourself as a figurative painter with an abstract sensibility. JW: Yes, because it’s whatever the painting needs. Because it’s a painting. I’m not trying to trick you. HUO: I just visited with Frank Gehry. Architects regularly publish their unrealized projects. But artists don’t. You almost know nothing about their dreams, their utopias, their projects which have been too big to be realized, too

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time-consuming. Tell me about some of your unrealized projects. JW: I would like to design and build a house. I thought that maybe I would do it with my father because he’s an architect, but I don’t think he’s really interested in collaborating on it. At one point, when we still lived in my childhood home and I thought he might stay there for the rest of his life, I asked him if he wanted to design a building with me. And I think what I realized he was probably saying to me was, “You can do it yourself. You don’t need me to do it. You could have any architect help you.” And I think he was also saying, “You have your own vision. You can do it.” So, I would like to design the house and build the house that I would live in. I would like to do it with my wife, too. We designed our studio together. But as a project, I would love to do that. I would love to make all the tiles and make terrazzo floors. HUO: Like a Gesamtkunstwerk. Like a total work of art. JW: I also want to start a podcast. I think that the art world needs a cool podcast. And I want it to be inclusive. I’m interested in making textiles as well. I think that that would be amazing, you know, to make some really intense textiles. I’ve kind of always had a dream

that I [could] start a textile company, completely separate. HUO: Already three great projects. JW: I’ve been publishing books and prints for myself. HUO: Which books have you published? JW: Shio and I made and published a series of mini-books. They’re based on these little paperback books made in the 1950s, ’60s, and ’70s. I make prints, too, but I’d like to come to an artist and say, “I would like to make a catalogue of your work with you.” Which I’ve sort of done before on a small level. And I would also like to do the same thing with printmaking. HUO: You collect also. Can you tell me about your collecting? JW: I was always into collecting from my grandfather. When I started to make a little bit of money, I got into buying the good work from a show because I always thought that trading was hard; you don’t always get the best. HUO: It’s electrifying, something to do with energ y. Can you talk about that? JW: I want to live with stuff that makes me feel excited. I recently commissioned this giant basketball palanquin from a 72-year-old Ghanaian artist named Paa Joe. I just like to live with art. That’s what I hope people will appreciate in my work, you know? HUO: I want to understand more what makes you paint a particular image, because there is this interview where you talk about Manute Bol. Why would you, of all basketball players on your basketball cards – you must have thousands— always paint again Manute Bol? What makes you desire to paint a specific basketball player, a specific pot, a specific interior, a specific Schindler house? JW: I think it’s about intense looking. I’m going to go on a deep dive and try to find something that I’ve come up with in my mind. I’m either going to look in the world for it, or I’m going to look through the stuff that I’ve already collected. I know with Manute Bol, my interest was just from childhood. He was a kind of circus clown-y type guy. He was just giant and skinny and insane-looking, with super-long fingers and super-giant feet and knobby knees. And when I started to make paintings it’s probably like I’m just reliving all of this part; all of my painting feels like it’s part of reliving childhood. I shouldn’t say all of it. But a lot of it. Even with painting people in my family, or painting places that are important to me, or places that are completely made up, I feel like I’m still painting from that kind of energy. HUO: And what about the Internet? Your Clippings, and little cards, passport cards, all come from the analog work. Your collages are analog. You don’t really do the digital. Sometimes there are distortions involved, where the digital might enter in the translation, but very rarely. Did the Internet change the way you work? JW: I got to use the experience in the same way that [American painter] Jamian Juliano-Villani makes work. She pillages the Internet for stuff and just takes whatever she wants. And I got to do that when it was first happening. But I experience it differently now. I’ll go to that place if I need it, but I have all these other resources. I like finding the old books and cutting out the pictures. HUO: Which leads us to you making your books. JW: Yes, like appropriating books. I grew up with the mini-books I mentioned earlier. They were my grandfather’s and I inherited them. And then I appropriated them with friends of mine who are artists, a work that I liked. I think Shio and I made nine mini-books. HUO: They’re amazing. JW: I asked the artists that I was interested in; some I was friends with, but some I asked just because I liked their work. We haven’t made any for a couple years, but we’re going to start making some more soon. P

Top: Jonas Wood, Snowscape with Barn, 2017, oil and acrylic on canvas, 106 x 120 in. Photograph by Brian Forrest. Courtesy of the artist and David Kordansky Gallery, Los Angeles. Bottom: Hans Ulrich Obrist. Photograph by Wolfgang Tillmans.

APRIL 2019

ISA GENZKEN'S

Extraordinary Burst of Invention The German sculptor is honored for the breadth and depth of her practice. BY DANIELLE AVRAM PORTRAIT BY WOLFGANG TILLMANS

Wolfgang Tillmans, Isa vor Sound Factory, 1995, chromogenic print Â© Wolfgang Tillmans. Courtesy of the artist and David Zwirner, Galerie Buchholz, and Maureen Paley, London. 98 Berlin/Cologne, PATRONMAGAZINE.COM

Isa Genzken, Rose, 1993–1997 steel, aluminum, lacquer, approximate height 314.96 in.

his past fall the Nasher Sculpture Center announced German artist Isa Genzken as the fourth recipient of the Nasher Prize, a $100,000 award given annually to a living artist who is actively redefining the perception and possibilities of sculpture. Past recipients have included Doris Salcedo, Pierre Huyghe, and Theaster Gates, each of whom has realized ambitious, socially and environmentally driven projects that have turned sculpture into an experiential event. But thus far no awardee has achieved the breadth and depth of Genzken, whose four-decade-long career spans multiple artistic movements and historic moments, and begat the contemporary iteration of sculptural assemblage, which is focused on the narrative arrangement of pre-existing objects. “The Nasher’s belief is that modern sculpture is characterized by extraordinary bursts of invention,” says Nasher Director Jeremy Strick. “Genzken is someone who has done that within the confines of her own career, yet she’s also had tremendous impact

on generations of younger artists. In recent years assemblage has been at the forefront of contemporary sculptural practice and Genzken has been at the center of that.” Born in 1948 in northern Germany, Genzken grew up in the aftermath of World War II, a period marked by the reconstruction of bomb-ravaged cities and the reconciliation of a nation with its dark past, divided present, and seemingly bleak future. Raised by self-described “art freaks,” Genzken was exposed to art and culture from an early age. Her family relocated to the more cosmopolitan and capitalist West Berlin in 1960, the same year she first visited New York City. The two cities have consistently informed her work. Genzken went on to study art, art history, and philosophy at institutions in Hamburg, Berlin, and Cologne before being accepted to the prestigious Düsseldorf Academy in 1973, where professors included photographers Bernd and Hilla Becher, Fluxus artist Joseph Beuys, and her future husband, painter-sculptor-photographer Gerhard Richter.

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Isa Genzken, OIL XV / OIL XVI, 2007, installation wall piece comprised of 23 panels in 3 segments, aluminum, metal foil, adhesive tape, metal, printed paper, 104.33 x 177.17 in., 104.33 x 177.17 in., and 106.30 x 51.97 in.; floor piece in 6 parts comprised of 2 mannequins, 2 plastic cases, 1 glass bowl, metal foil, plastic, fabric, 35 x 220 x 380 in.

Growing up in such a dichotomous environment—between ruin and reconstruction—had a profound impact on Genzken. Following the Allied victory, Germany was left in tatters. Unimaginable numbers of the population were tragically dead or displaced, and those who remained experienced devastating food and housing shortages. Germany’s urgent need to rebuild led to cityscapes punctuated by functional, modern shapes that eschewed historical accuracy for the sake of efficiency, the future of a nation literally rising from the rubble. One can see reverberations of this postwar landscape throughout Genzken’s career: her choice of construction materials like wood, metal, and concrete; her overt critique of urban design and architecture; and her focus on the spatial relationships between body, object, and memory. Her malleability as a maker and assembler calls to mind the ad hoc nature of living in turmoil—having to make do with what is on hand, objects serving multifunctional purposes, becoming emblematic of connectivity and survival. “For almost fifty years Genzken has been aggressively ahead of the time and aggressively experimental,” says Laura Hoptman, Executive Director of The Drawing Center, who co-curated the artist’s 2013 retrospective. “She created allegorical abstractions that

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conjured up the Second World War at a time [the late 1970s] when very few German artists were looking at that legacy. Her sculptural objects took a formal rigor and made them into an allegory, and kind of a dangerous allegory.” Early on, Genzken was primarily associated with Minimalism, most notably through the series of Ellipsoids and Hyperbolos (1976– 82) that launched her career. Inspired by Bruce Nauman’s meditative piece Instructions for a Mental Exercise, the structures are studies in the perception of space, volume, and mass. Although minimalist in form–stretching across the floor or leaning against the wall, the middles bowing out or collapsing inward, the ends coming to sharp points or flaring like trumpet bells—the works deviate from pure minimalism through Genzken’s desire for viewers to make associations between them and existing objects such as spears and toothpicks. T h roughout t he 1980s, Isa Genzken sh ifted towards Postminimalism, working with decidedly more industrial materials that recalled the environment of her youth. Beginning with plaster molded to look like piles of rubbish, she quickly shifted to concrete, creating a series of objects that referenced architectural forms. Sitting atop tall metal scaffolds, the forms are sculptures upon

pedestals, but also resemble the innards of bombed-out buildings, or the bones of future skyscrapers. They draw attention to negative space, a theme common in Genzken’s work. They suggest that, while both architecture and sculpture are generally intended to be indelible, they are by nature transitory: funneling the movement of bodies, memories, and histories, while succumbing to their own mortality through decay and destruction. In her book, Isa Genzken: Sculpture as World Receiver (The University of Chicago Press, 2017), scholar Lisa Lee discusses Genzken’s propensity for using sculpture as a subjective narrator, stating, “Her artworks are receivers, yes, but they are also transmitters of a distinct perspective that is always personal, always incisive. Genzken’s mode of receptivity detects currents, works through them, and, finally, translates her critical position on these currents into the stuff of sculpture.” In the early 1990s, Genzken pushed this aspect of her practice to the forefront. She had always worked in other mediums and had a longstanding fascination with modernity, having been one of the first artists to utilize computerized technologies and readily incorporating advertisements and functional design into her work. At this time, she also made radical shifts in her personal life, divorcing Richter after 11 years of marriage, moving from Cologne to Berlin (where she frequented techno-infused dance clubs), and cultivating relationships with a younger generation of artists and gallerists. All of these elements coalesced in her movement toward

Above: Isa Genzken, Weltempfänger, 1988-1989, concrete and steel, 84.65 x 62.99 x 15.75 in.; right: Isa Genzken, Schauspieler II, 8, 2014, black child mannequin on glass stand, life-jacket, silver mirror foil, passport, woolen jumper, American football helmet, spray paint, 60.63 x 17.72 x 15.75 in.

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Isa Genzken, Empire/Vampire III, 16, 2004, mixed media, metal, glass, plastic, lacquer, wood, 65.75 x 23.62 x 18.11 cm.

assemblage, which provided the freedom to focus on creating narratives and environments from existing objects, rather than constructing objects to service an idea. As the delineation between Genzken’s life and her art disappeared, the possibility for her work to address nuanced global issues became increasingly apparent. Genzken’s status as an agent of change was cemented (pun intended) in 2007, when she represented Germany at the Venice Biennale and participated in the groundbreaking New Museum exhibition Unmonumental. At the Biennale, Genzken grappled with the past, present, and future, creating an apes-to-astronauts cautionary tale about the global commodification of, and dependence on, oil, which included swathing the Nazi-era exterior of the German pavilion in orange construction netting. At the New Museum, Unmonumental (also curated by Hoptman), posited assemblage as the language of 21st-century art, a sculptural response to the Earth’s growing role as humanity’s junk drawer. Genzken’s sculpture, Elefant (2007), comprised of vertical blinds, artificial flowers, plastic tubing, and toy figures, was an architectural reliquary: an homage to the fallen buildings of Berlin and New York and the totemic mysticism of everyday objects. Unmonumental also underscored Genzken’s influence on younger generations of artists. Assemblage’s prevalence in the years following the exhibition, combined with Genzken’s continued topical output and relative reclusiveness, have only served to further solidify her mythic

Isa Genzken, Leonardo, 2016–2017, concrete, antennae, MDF, adhesive tape, 90.55 x 28.35 x 11.81 in.

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status as an arbiter of contemporary art-making as an act of information compression, a way of wrangling the techno/information/object glut into something more manageable and meaningful. Artist Simon Denny, who has known Genzken for over a decade, describes her work as “a touchstone of contemporary materiality.” Indeed, it’s nearly impossible to dissect the work of younger sculptors such as Denny, Kathryn Andrews, Rachel Harrison, Matias Faldbakken, or any artist working within the realm of high-low object/ materiality as social metaphor, without seeing traces of Genzken. As Denny states: “Her work always finds a way to make peace with the contemporary, to frame and help grasp what is around us. She distills a rate of change, a contrast of mass luxury, with mass exhaust(ion), of beauty with something more sinister. I cannot imagine contemporary sculpture without a figure like Isa.” P

Above, left: Isa Genzken, Hallelujah (Yellow), 2012, MDF, metal, plastic, glass, mirror foil, perspex, globe, plastic figure, casters, 100.79 x 39.76 x 21.65 in.; right: Isa Genzken, Spielautomat, 1999–2000, slot machine, paper, chromogenic color prints, tape, plastic foil, 62.99 x 25.59 x 19.69 in.

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Francisco Moreno, (Mexican-American, b. 1986), Mural Commission for the Toyota North American Headquarters Campus, 2017, vinyl.

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A RT I N OVERDRIVE TOYOTA BRINGS ART AND COMMUNITY TOGETHER AT NORTH AMERICA HEADQUARTERS. BY NANCY COHEN ISRAEL PHOTOGRAPHY BY KEVIN TODORA

ustainability is more than a marketing word for the Toyota Motor Corporation. It is an ethos that permeates its physical footprint and the corporate culture at its North America headquarters in Plano. From the LEED Platinum certification of its buildings with its surrounding native landscaping to its extraordinary art collection, the company exemplifies possibility. Jim Lentz, CEO of Toyota Motor North America, says, “In 2014, when we announced our decision to move our North America headquarters from California to Plano, we wanted to make sure the new home for our 4000+ team members was a world class experience both on the outside as well as the inside.” Toyota’s move allowed it to consolidate operations that had previously been spread across four states and three time zones. An added advantage of moving to Collin County was the availability of land, making it possible to build a 100-acre campus encompassing three million square feet of space spread across seven buildings. The design for this project fell to architecture and design firm Corgan. Garry Walling, Corgan’s Interior Design Project Manager and Vice President, worked with his team to create a corporate oasis. In addition to workspace, the campus includes ample amenity areas located primarily around The Loop, a ground floor ring connecting the buildings. “The company was looking for design that was fresh, clean, and modern,” Walling says. Connectivity served as the guiding principle, he adds.

Garry Walling and Lisa Runyon with Jason Willaford, (American, b. 1969), Mappings, repurposed APRIL 2019 105 paint. 2016, vinyl, nylon thread, spray paint, polyester batting, acrylic

This contemporary approach guided every decision during the construction process. Lentz explains, “We wanted team members and our visitors to experience a truly unique location demonstrating Toyota’s desire to be innovative, cutting-edge, and fun. We feel the art collection perfectly complements this goal.” Walling called upon Lisa Runyon of Runyon Arts to assemble and curate artworks that matched this vision. The varied collection is described as a multimedia experience. It includes painting, drawing, photography, sculpture, and sitespecific murals. Since Toyota did not bring any artwork from their previous headquarters, Runyon savored the opportunity to grow the collection from the ground up. In addition to Texas artists, the collection is complemented by the work of several Japanese and Japanese-American artists. Rather than a deliberate choice, Runyon says, “They were acquired solely on diversity, content, and continuity.” Mika Tajima, a Los Angeles–based artist of Japanese descent, falls into the latter category. Unrelated to this project, Tajima did research on the history of the Toyota corporation. Established in the 19th century as a textile company, founder Sakichi Toyoda introduced improvements in loom technology. The company continues to remain involved in the textile industry. As part of her series Negative Entropy, Tajima visited an assembly line at a Toyota car factory in Japan where she made audio recordings of Toyota-powered Jacquard looms. These digital files were turned into linguistic audio software using a digital spectrogram. After assigning colors to the different

Mika Tajima, (American, b. 1975), Negative Entropy (Toyota Airjet, Yellow, Hex Horizontal), 2016, cotton, wood, acoustic baffling felt.

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sound wave patterns, the work was woven using Jacquard fabric. This particular woven textile portrait, which is stretched over custom acoustic tiles, celebrates Toyota’s past as well as its continuing commitment to innovation. In addition to Tajima’s work, the executive suite includes series by John Pomara, Danielle Kimzey, and Catherine Howe, as well as individual works by Jun Kaneko, Shinpei Kusanagi, Charlotte Smith, and James Surls, among others. Three photographs by Allison V. Smith installed outside of Lentz’s office capture the spirit of West Texas. In one of them, a rural stretch of highway suggests the joys of the open road. Extending well beyond the executive suite, Runyon commissioned over 20 site-specific works for communal spaces. Walling notes that a conscious effort was made to place art in the open areas on every floor. Several of the most important works, he says, were placed in The Loop. Francisco Moreno created two site-specific murals for this space. Automobiles have long inspired his work as his family has a business specializing in servicing Toyota and Lexus vehicles. For one of these vinyl murals, Moreno depicted his own Toyota 4Runner. The automaker also inspired John Holt Smith. Using the imagery from Toyota Racing/Formula One, he manipulated a photograph of the racer, stretching it into his signature color striations. These abstractions are then printed onto rectangular iridescent aluminum panels. Throughout the campus, many works now serve as landmarks. Among these is Eiffel Tower, Paris, Texas, a cheeky photograph by the duo Teresa Hubbard and Alexander

Kevin Todora, (American, b. 1977), Bottles and Lemons (Toyota commission), direct inkjet on MDO.

John Holt Smith, (American, b. 1968), Untitled, 2017, giclĂŠe on dibond.

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John Pomara, (American, b. 1952), Flower Glitched Wall Series, 2014, glitched vinyl adhesive, unique glitched photo with spray paint.

Jackie Saccoccio, (American, b. 1963), Portrait #11 (Helen), 2017, gouache and ink on Yupo paper.

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Shinpei Kusanagi, (Japanese, b.1973), beyond, 2009, acrylic on canvas.

Birchler. It features a reproduction of the Eiffel Tower in this Texas town, with a red cowboy hat perched atop it. Over 150 artworks loosely follow the themes of technology, sustainability, and nature. “These themes recur in the collection but were not the only motivating factors for acquisition. We took it a step further by examining the artists’ intention behind their work rather than a literal portrayal,” Runyon explains. Among the pedigreed artists whose works she selected are Arden Bendler Browning, JM Rizzi, Jackie Saccoccio, Ann Stautberg, Lorraine Tady, Liz Trosper, Kevin Todora, Lucrecia Waggoner, Jason Willaford, and Terry Winters. A committee comprised of Walling and his team, Runyon, and leaders at Toyota reviewed every design and art decision. “Everyone enjoyed the process,” Walling says. Runyon concurs, saying, “The most exciting aspect of this collection was our multifaceted team and our successful collaboration. We took the ‘One Toyota’ approach to the procurement process: working with a blended team to create a cohesive and dynamic contemporary art collection.” When Toyota announced its arrival, it pledged to be a good corporate neighbor. Beyond its campus, it continues to fulfill this promise. In addition to their leadership in educational and social justice initiatives, Toyota is also insuring inclusivity within the arts through the ArtsBridge project. Working in partnership with the AT&T Performing Arts Center, its goal is to make cultural events available to West Dallas residents. “Giving students the opportunity to attend various art performances can help open their eyes to a whole new world that they may never have had access to before,” says Lentz. Just as their campus is sustainable, the company strives to ensure that the community around it continues to move forward. P

Teresa Hubbard (Irish/American/Swiss, b. 1965) and Alexander Birchler (Swiss, b. 1962), Eiffel Tower, Paris, Texas, 2009, archival digital print.

characteristic Works from Allison V. Smith’s twenty-year exploration of the landscape, light and personality of Marfa and West Texas.

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This page: Rochas brocade flat mules, Carla Martinengo, Plaza at Preston Center. Opposite: Mary Katrantzou dress, Carla Martinengo, Plaza at Preston Center.

One morning spring awakened and imagined itself .

PHOTOGRAPHY AND ILLUSTRATIONS BY GEOF KERN CREATIVE DIRECTION BY ELAINE RAFFEL AND ON SET STYLING BY NELLY ADHAM 110

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Models: Elizabeth Freeman (Kim Dawson Agency) and Anna Kern; Hair and makeup: LB Rosser (Kim Dawson Agency); Photography assistants: Elliot Kern and Joseph LaCerte; Flowers: Adam Rico, Bows & Arrows; Dolce & Gabbana sandal in soft lurex and mordorĂŠ nappa leather with sculpted heel, Carla Martinengo, Plaza at Preston Center.

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Versace floral handbag, Versace, NorthPark Center

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Carolina Herrera strapless heart-print draped tulle gown, Carolina Herrera, Highland Park Village

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This page: Jimmy Choo Haile 100 mules, Jimmy Choo, Highland Park Village. Opposite: 14K yellow gold male and female lion bypass ring, Eiseman Estate Jewelry, Eiseman Jewels, NorthPark Center; de Boulle Collection Cupola Ring, de Boulle Diamond & Jewelry; Wendy Yue Jungle Bracelet, Stanley Korshak

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On model: Mary Katrantzou dress, Carla Martinengo, Plaza at Preston Center; Carolina Herrera sandals, Carolina Herrera, Highland Park Village; Maison Margiela shoe, Forty Five Ten. Left to right: Marni stripe and floral print cotton-poplin midi dress, Forty Five Ten; Fregoli handbag, Stanley Korshak; Versace tote, Versace, NorthPark Center; Malone Souliers navy Maureen heel, Stanley Korshak; Roberto Cavalli buckle detail mule, Roberto Cavalli, NorthPark Center; Akris pink & alabaster leather Anouk bag, Akris, Highland Park Village; Versace gold hibiscus umbrella, Versace, NorthPark Center; Gucci metallic Mila 55 crystal leather pumps, Forty Five Ten; Marni paillette bucket hat, Carla Martinengo, Plaza at Preston Center; Barton Perreira sunglasses, Black Optical; Gucci medium floral tote bag, Forty Five Ten; Allison Mitchell handbag, Elements

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Kristen Cole and Anne Hathaway at the Forty Five Ten Opening at Hudson Yards. Photography by Yvonne Tnt

FORTY FIVE TEN OPENING AT HUDSON YARDS PHOTOGRAPHY BY YVONNE TNT

Jeny Bania, Cindy Schwartz

Ashley Haas

Monica Sordo, Andrea Gomez

Zach Weiss

Dietrich Teschner

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THERE KRISTEN COLE CO-CHAIRS THE WHITNEY MUSEUM OF AMERICAN ART'S 2019 ART PARTY SPONSORED BY FORTY FIVE TEN PHOTOGRAPHY BY TIFFANY SAGE & HAGOP KALAIDJIAN

Natasha Lyonne, Greta Lee

Young Paris

Chloe Wise

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Jiajia Fei, Job Piston, Oscar NÃ±, Antwaun Sargent

Micaela Erlanger, Maddie Zeigler

Justine Ludwig, Kristen Cole, Lisa Runyon

Chey Maya Carty

Jack McCollough and Lazaro Hernandez

Rubin Singer, Joanne Leonhardt Cassullo

WHITE NOISE BY EMMANUEL VAN DER AUWERA OPENING AT 214 PROJECTS PHOTOGRAPHY BY BRAD LINTON

Brandon Kennedy, John Sughrue, Harlan Levey

Kelly Cornell

Jennifer Klos

Erin Cluley, Lachlan

Robyn Siegel, Temple Shipley

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Lindsay Roche, Emmanuel Van der Auwera

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THERE

SECOND ANNUAL UNICEF GALA DALLAS AT THE RITZ-CARLTON, DALLAS PHOTOGRAPHY BY COOPER NEILL

A view inside the dining room at the Second Annual UNICEF Gala 2019 at The Ritz-Carlton

Sabrina Harrison, Field Harrison

Clayton Kershaw

Jan Miller Rich, Brooke Burke, Caryl M. Stern and Moll Anderson

Jessica Nowitzki, Kimberly Chandler

Brad Paisley

ARTWORK

KAABOO ARTWORK is pleased to announce the following gallery partners for KAABOO TEXAS 2019:

ARLINGTON MUSEUM OF ART

CIRCUIT 12

JEN MAULDIN GALLERY

LAURA RATHE FINE ART

MARY TOMAS GALLERY

THE PUBLIC TRUST

SUGAR PRESS

WAAS GALLERY

Come browse an incredible oﬀering of contemporary art from the frontrunners of today’s art scene at KAABOO ARTWORK, a dynamic contemporary art program featuring an indoor art fair at KAABOO TEXAS 2019. Join us for an unforgettable weekend of music, contemporary art, culinary craft, fashion and personal indulgences. You just might ﬁnd the perfect work of art you’ve been searching for.

MAY 10 –12, 2019 • AT &T S TA DIUM • A RL ING T ON,T X • K A A BOO T E X A S.COM 126

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CHARLOTTE JONES ANDERSON AND KAABOO TEXAS WELCOME JON BON JOVI, JESSE BONGIOVI, AND HAMPTON WATER AT THE JOULE PHOTOGRAPHY BY KELLY ALEXANDER AND JEREMIAH JHASS

Pat Smith, Meredith Land

Bina Palnitkar Patel, Jessica Nowitzki, Dirk Nowitzki, Nimesh Patel

Charlotte Jones Anderson, Gene Jones, Haley Anderson

Ellen Flowers, Brooke Burnette

Jon Bon Jovi Performance

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Courtney Kerr, Kyle Noonan

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APRIL 2019

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FURTHERMORE

TAKE ME TO THE RIVER Clare Woods harnesses the ebb and flow of the Trinity for a new Dallas development.

BY JOHN SUGHRUE PHOTOGRAPHY BY MEGAN GELLNER

Clare Woods’ site-specific 11-paneled installation is based on the Trinity River and was commissioned by the Dallas Art Fair through Simon Lee Gallery (London, New York, Hong Kong) for River Bend.

ithin the Design District rooted near the Trinity River, a new creative-driven center called River Bend has emerged and is home to the Dallas Art Fair offices. And Now gallery was the first to brave the developing space a year ago and has been joined by the recently relocated Erin Cluley Gallery, and the Dallas Art Fair’s own 214 Projects. Drawing from her landscape photography, Clare Woods, a London-based artist born in Southampton, was tapped to create a permanent tiled mural for River Bend. John Sughrue (JS): It’s become evident that this is the “year of Clare Woods” in Dallas. Can you explain the works you have created for the city and where people can see them? And how does it feel to know your work is so very much appreciated in a city you have yet to visit? Clare Woods (CW): Thank you, that is very kind. The large-scale permanent work created for the building at River Bend is based on the geography of the Trinity River. This piece may be seen on the outside of the building in 11 large tiled panels. Alongside this commission, I will be presenting a solo exhibition with Simon Lee Gallery at the Dallas Art Fair. I have been so excited by the level of support in Dallas and I can’t wait to meet everyone involved and to visit this amazing city in April when I will be over for a week for the fair. JS: Your works in Dallas vary in approach and medium. Your watercolorbased riverscape tile mural at River Bend is drastically different as compared to your oil on aluminum figurative paintings that will be on view at Simon Lee Gallery’s booth at the fair. How did your process and thinking differ between these pieces? CW: Although the mediums are different, both the oil paintings and the watercolors are executed in exactly the same way. The starting point for both is always a photographic image, sometimes mine, sometimes found, which I make a drawing from. This drawing is the framework for the paintings, whether they are oil or watercolor. There is exactly the same logic and thinking behind both. I have been making watercolors alongside the paintings since

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2000. This started very small as a way to work ideas quickly, but the large-scale watercolors have become something in their own right and are no longer quick to make. JS: In addition to your oversized landscapes, you are also known for your newer figurative work like the eight paintings in Reality Dimmed, shown at the Warwick Arts Centre last year. Can you tell us about the transition from working on large tile murals as compared to discrete works on canvas? Will your practice continue to straddle both? CW: Landscape will always be close to me and it will appear in the newer works. It’s the backbone of my practice, but since 2011 I have been painting other genres as well. I have found much more freedom to express an idea if I am not solely using landscape. Working with landscape allowed me to work large and I have always worked on these large works alongside much smaller ones; this pushing and pulling of scale is very important to the way I work. Most of the paintings at Warwick Arts Centre were 3 x 2 meters, so still on quite a large scale, and I am currently working on a project for the HALL Arts Hotel in the Dallas Arts District—with a painting that is 4 x 10 meters—which has been curated by Virginia Shore. For me, making a powerful small painting is the challenge, but I think there will be one in the Dallas Art Fair exhibition. JS: You were trained as a sculptor. What lured you to painting? Are there sculptural aspects to your paintings? CW: I studied sculpture as a degree, but by the time I was at Goldsmiths doing my MA I had started painting. I have always worked on wood or aluminum and I have always painted flat and have been very involved in the physical making of the painting, so I always felt like I was making an object. It was not a massive step from sculpture to painting, but I know I think more like a sculptor than a painter. When I am painting, I am always thinking about the internal space and the object. The paintings are assembled: there is a process to the production from the photograph to the drawing to the masking out of the surface to finally painting, so I would say they are very sculptural. P

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IMAGE (detail): Jonas Wood, Night Bloom Still Life, 2015, oil and acrylic on canvas, Whitney Museum of American Art, New York, gift of Linda Macklowe, 2016.124, © Jonas Wood, courtesy the artist and Gagosian, Photo: Brian Forrest

Patron's 2019 April Issue

Articles inside

Art in Overdrive

Isa Genzken's Extraordinary Burst of Invention

Jonas Wood: Scenes From the Everyday

Tony Matelli

Breaking the Mold

Best in Show

The Beauty Between the Notes

The LA Narrative

Zo\u00EB Buckman at Albertz Benda