PATRON Magazine's 2022 February/March Issue by Patron Magazine

PATRON NAIRY BAGHRAMIAN/DALLAS ART FAIR PREVIEW/GONZALO BUENO DESIGNS PATRONMAGAZINE.COM

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2022 Nasher Prize Laureate: NAIRY BAGHRAMIAN Dallas Art Fair’s Friends From the South Gonzalo Bueno Designs

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MARCH 6 – JUNE 26, 2022

M E A D O W S /A R CO A RT I ST S P OT L I G H T :

IGNASI ABALLI

The Meadows Museum presents the work of Spanish conceptual artist Ignasi Aballí (b. 1958), who is representing Spain at the 59th Venice Biennale this spring. Aballí is the ﬁrst artist selected for the MAS: Meadows/ARCO Artist Spotlight program, a six-year partnership between the museum and Fundación ARCO (presenters of Spain’s largest contemporary art fair, ARCOmadrid) which aims to promote Spanish artists who have had limited exposure in the U.S. and provide them with an opportunity to enhance their visibility, build networks of support and interest, and expand understanding and appreciation of their work among U.S. audiences.

MEADOWS MUSEUM • SMU meadowsmuseumdallas.org

This exhibition has been organized by the Meadows Museum, SMU, Dallas, in collaboration with Fundación ARCO and is funded by a generous gift from The Meadows Foundation. Pictured: Ignasi Aballí (Spanish, b. 1958) Palabras Vacías, 2020. Installation view, Galería Elba Benítez, Madrid, 2020. Courtesy of the artist and Galería Elba Benítez, Madrid. Photo by Luis Asín.

40 YEARS OF REDEFINING OUTD O OR SPACE S

EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

February / March 2022

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

In these pages we feature visual art that stimulates the mind. On the cover, the work of the 2022 Nasher Prize Laureate Nairy Baghramian is profoundly conceptual yet approachable. There’s a softness to it. “Deeply intuitive but defying our grasping, the shapes themselves open up new possibilities of meaning,” contributor Eve Hill-Agnus writes of the laureate’s practice in The Body Abstracted. Art Souls of the South investigates three galleries from Alabama, Georgia, and North Carolina committed to Dallas Art Fair’s April edition. Steve Carter talks with the gallery directors of Scott Miller Projects, Tif Sigfrids, and SOCO Gallery about their ethos and the select artists plucked from their roster. Expect to see work by these artists when the fair returns. Our design story takes a look at the work of accomplished designer Gonzalo Bueno. Always bringing the unexpected to any project, he has created the perfect pied-à-terre for his childhood friends from Monterrey, Mexico within the Residences at the Stoneleigh. We take a peek inside in The Finish Line. Women of Now: Dialogues of Memory, Place & Identity conflates the work of 28 female artists. Bound to be an engaging presentation, opening February 12, it’s the second exhibition from the Green Family Art Foundation. Spend some time with these paintings (and one sculpture) mining the artists’ dreams and memories in Amalgamations of the Female Mind. When I met David-Jeremiah at The Public Trust a few years ago I was drawn to him immediately. He has so much to articulate, he deliberately packs his work with meaning. Eagerly inviting you into his world when he speaks about it, to appreciate the work, he wants you to understand it. This is an artist to catch on the rise and the opportunity is here in I Drive Thee, on view at 12.26 in River Bend. Brandon Kennedy enlightens in Step Into This Ring. Booker T. Washington High School for the Performing and Visual Arts marks its centennial this year. Prior to the arts magnet designation, its roots, recalled in Urban Pioneers by Nancy Cohen Israel, stemmed from an all-Black high school. Much has changed since 1922 but the stuff of legends has not. Remember Cubs luminary Ernie Banks, a former student, who received the Presidential Medal of Freedom from President Barack Obama? Also in this issue, Frank Hettig introduces Bart Keijsers Koning on the eve of his gallery opening in Dallas, and Chris Byrne chats up Dallas-born Sally Horchow about her Broadway career in SHIP SHAPE. Fifty-mile-an-hour winds were blowing today and some of our outdoor furniture and objects whooshed with it. It reminded me of the fluttery, billowing looks designed to move in our fashion feature. It’s without effort I imagine these dresses catching a March breeze. With creative direction by Elaine Raffel and photography by Luis Martinez, Spring Shifts in a Freeze Frame beguiles. Next, Wes Gordon, creative director of the house of Carolina Herrera, makes time to discuss his spring runway collection. Prepare to be tempted. We also have some tasty treats for readers described by Diana Spechler. With chef Robert Del Grande and Don Short as her tour guides, she takes us inside New Artisan Distillery, home to Roxor gin, and samples the pair’s new bourbon. Next, she visits with Mario Carbone about his eponymous restaurant coming to the Dallas Decorative Center soon. The southern Italian food maestro is bound to have a line of foodies and fans waiting to meet him and taste his nostalgic flavors. Lastly, Octavio Medellín left a lasting mark on his students through his Medellín School of Sculpture in Oak Cliff and his teaching career, which spanned two decades at the Dallas Museum of Fine Arts, today’s DMA. The museum examines his practice through a retrospective currently on view. – Terri Provencal

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CONTENTS 1

FEATURES 58 THE BODY ABSTRACTED Our many ways of looking at Nairy Baghramian’s sculpture, which looks back at us. By Eve Hill-Agnus 64 ART SOULS OF THE SOUTH This April, three Dallas Art Fair exhibitors to bring shining examples from their artist rosters. By Steve Carter 72 THE FINISH LINE As children they raced, as adults they collaborated on a beautiful pied-àterre. By Peggy Levinson 80 SPRING SHIFTS IN A FREEZE FRAME Inspired by movement, stylish looks brighten the forecast. Photography by Luis Martinez; Creative Direction by Elaine Raffel

On the cover: Nairy Baghramian, Sitzengebliebene / Stay Downers, 2017, polyurethane, lacquered aluminum, silicone. Installation view Walker Art Center, Minneapolis, 2017. Photograph by Timo Ohler.

80 12

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DEPARTMENTS 10 Editor’s Note 18 Contributors

26 Noted Top arts and culture chatter. By Anthony Falcon Of Note 41 TRIFECTA AT THE WAREHOUSE Three thought-provoking exhibitions are on view this spring at the venerated collection space. Fair Trade 42 WELCOME THE EMPEROR KING Dallas Art Fair exhibitor Keijsers Koning moves to River Bend. Interview by Frank Hettig Openings 44 AMALGAMATIONS OF THE FEMALE MIND Green Family Art Foundation investigates rising artists in Women of Now. By Terri Provencal

Contemporaries 48 URBAN PIONEERS Downtown Dallas high school celebrates 100 years of innovation. By Nancy Cohen Israel Studio 52 STEP INTO THIS RING David-Jeremiah’s tussle with the intensity of ritual and display. By Brandon Kennedy Performance 54 SHIP SHAPE Dallas-born Sally Horchow, a Tony Award–nominated producer, finds her stage. By Chris Byrne Space 56 THE SYMPHONIC SOUL OF BOURBON New Artisan Spirits opens a distillery with harmony. By Diana Spechler

Atelier 88 HOUSE ARREST Wes Gordon pays homage while refreshing the venerated roots of Carolina Herrara. By Terri Provencal Morsel 90 ITALIAN AMERICAN FOOD AND THE ART OF LONGING Carbone comes to Dallas. Prepare to feel strangely homesick. By Diana Spechler There 91 CAMERAS COVERING CULTURAL EVENTS Furthermore 96 OCTAVIO MEDELLÍN GETS HIS DUE A Dallas Museum of Art retrospective sheds light on the work of a teaching artist. By Nancy Cohen Israel

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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 Sophia Dembling PRODUCTION Michele Rodriguez CONTRIBUTING WRITERS Chris Byrne Steve Carter Nancy Cohen Israel Frank Hettig Eve Hill-Agnus Brandon Kennedy Peggy Levinson Diana Spechler CONTRIBUTING PHOTOGRAPHERS Bruno Timo Ohler Tamytha Cameron Sarah Reyes Cathy Carver Richard W. Rodriguez Thomas Clark Roberto Ruiz Daniel Driensky Carrie Schneider Sylvia Elzafon John Smith Rebecca Fanuele Studio Shift Stephen Karlisch Kevin Tachman Bradley Linton Duane Tinkey Quin Mathews Films Kevin Todora STYLISTS/ASSISTANTS Missie Allen Lisa Martensen Elaine Raffel ADVERTISING info@patronmagazine.com or by calling (214)642-1124 PATRONMAGAZINE.COM View Patron online @ patronmagazine.com REACH US info@patronmagazine.com SUBSCRIPTIONS amazon.com/patronmagazine One year $36/6 issues, two years $48/12 issues For international subscriptions add $15 for postage For subscription inquiries email info@patronmagazine.com SOCIAL Follow us @patronmag

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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2022, 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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CONTRIBUTORS

CHRIS BYRNE authored The Original Print (Guild Publishing, 2002) and the graphic novel The Magician (Marquand Books, 2013), within the Rare Book & Manuscript Library, Columbia University; Rare Book/Special Collections Division, Library of Congress; Ryerson and Burnham Archives, The Art Institute of Chicago; Thomas J. Watson Library, The Metropolitan Museum of Art. He is co-editing Frank Johnson: Secret Pioneer of the American Comic Book for Fantagraphics with Keith Mayerson.

STEVE CARTER is a Denton-based arts writer who had a good time writing about three southeastern galleries exhibiting at the Dallas Art Fair for 2022: Birmingham, Alabama’s Scott Miller Projects; Charlotte, North Carolina’s SOCO Gallery; and Athens, Georgia’s Tif Sigfrids. Scott Miller Projects is returning from the last fair, but the other two are embarking on their maiden voyages to the fair this April. “This year’s fair is looking really exciting,” Steve enthuses, “and these galleries are helping raise the bar.”

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

NANCY COHEN ISRAEL is Dallas-based writer, art historian, educator at the Meadows Museum, and a Patron contributor. A history lover, for the current issue she was thrilled to speak with so many people whose stories have shaped the city. From artist Marty Ray’s recollections of educator and artist Octavio Medellín to the many graduates of Booker T. Washington High School from the 1960s with whom she spoke, she was inspired by their stories and grateful for their shared memories.

FRANK HETTIG is Heritage Auction’s Vice President of Modern & Contemporary Art. Along with more than 20 years of auction experience, Frank has a well-regarded reputation as a curator, critic, and connoisseur of contemporary art. Trained as an art historian at the University of Amsterdam, Frank has advised on exhibitions and museum catalogues and lectured at universities across the globe. In Welcome the Emperor King, Frank interviewed Bart Keijsers Koning on his gallery.

BRANDON KENNEDY is a backyard alchemy bibliographer, itinerant essayist, and seasonal book scout. He occasionally contributes to Fine Books & Collections magazine and is a regular contributor to these pages. In 2022 he will have an essay published in a book forthcoming from UT Press reflecting on the legacy of the late Texas writer and bookseller Larry McMurtry. In this issue, Brandon discusses Dallasbased, self-taught artist DavidJeremiah’s new work in Step Into This Ring.

PEGGY LEVINSON caught up with Gonzalo Bueno, principal of Ten Plus Three, to investigate a stunning project the award-winning designer completed for his childhood friends from Monterrey, Mexico at the Residences at The Stoneleigh. In The Finish Line, Peggy flexes her years in the design industry to profile the pied-àterre, which boasts stunning views, attention to detail, inventive signature walls and surfaces, and custom furniture, designed to coalesce with an art collection.

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EVE HILL-AGNUS Eve Hill-Agnus is a writer, editor, and translator. She has roots in France and California and has been a teacher of literature and journalism; as an award-winning critic she has covered dining, art, and dance; and she is a freelance art writer and editor of non-fiction, fiction, and poetry. Her joy recently has been translation, whether the translation of one language to another or of art into words. In The Body Abstracted, Eve investigated the oeuvre of 2022 Nasher Prize Laureate Nairy Baghramian.

DIANA SPECHLER is a novelist and essayist who wrote the New York Times Opinion column Going Off. Last year, her short story, Reality, was featured on Selected Shorts. Her Substack newsletter, Dispatches From The Road, focuses on her life as a travel writer. The recipient of numerous writing awards and honors, including a Steinbeck Fellowship, a Yaddo residency, and the Orlando Creative Nonfiction Prize from A Room of Her Own Foundation, she was sought by Patron to profile Carbone and New Artisan Distillery.

LUIS MARTINEZ is a Kim Dawson model/actor discovery from San Antonio currently based in Dallas who is equally adept as a fashion/ beauty photographer and videographer. Our go-to for fashion photography, in Spring Shifts in a Freeze Frame, Luis embraced the essence of movement in spring 2022’s greatest style hits. Luis also had a chance to meet and photograph Dallas-based artist David-Jeremiah in his Tin District studio prior to his show I Drive Thee at 12 26 in River Bend.

ELAINE RAFFEL says everything about this month’s fashion shoot, Spring Shifts in a Freeze Frame, fell into place. She gives kudos to photographer Luis Martinez, hair/makeup artist Lisa Martensen, and Kim Dawson model Makayla Rogers for bringing their A-game— not to mention a major shout-out to Missie Allen for her hands-on (and much-appreciated) assistance. “There’s nothing like collaborating with a great team to remind you how much fun this work can be.”

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MODERN ART MUSEUM OF FORT WORTH

Recent Acquisitions 2002–2022 February 26–April 24

FOCUS: Jill Magid January 21–March 20 Above: Eddie Martinez, Blue Shield, 2019. Oil paint, enamel, oil bar, spray paint, pencil, and silkscreen on canvas. 75 × 96 inches. Collection of the Modern Art Museum of Fort Worth, Museum purchase. © Eddie Martinez Right: Jill Magid, still from Tender Balance, 2021. HD video with four-channel sound, 28 minutes. Courtesy the Artist and LABOR, Mexico City. © Jill Magid

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Mur illo P I CTUR I NG THE P ROD I GA L SON February 20 – June 12, 2022

MEADOWS MUSEUM • SMU meadowsmuseumdallas.org

This exhibition has been organized by the Meadows Museum, SMU, Dallas, in association with the National Gallery of Ireland and is funded by a generous gift from The Meadows Foundation.Promotional support provided by the Dallas Tourism Public Improvement District. Bartolomé Esteban Murillo (Spanish, 1617–1682), The Return of the Prodigal Son, 1660s. Oil on canvas, 41 1/8 x 53 in. (104.5 x 134.5 cm). National Gallery of Ireland. Presented,Sir Alfred and Lady Beit, 1987 (Beit Collection); NGI.4545.Photo © National Gallery of Ireland.

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NOTED 12

01 AFRICAN AMERICAN MUSEUM Through Feb. 15, AAM presents Sepia: Past. Pride. Power, an exhibition of Black politicians, community leaders, and entertainers from Sepia magazine; and The History of the Prairie View Interscholastic League: Black High School Sports in Texas in the Era of Segregation, an exhibition of the players, teams, and impact and dominance of Black high school sports in Texas, when racial segregation forced African Americans to create their own interscholastic sports league. Scope and Content: The Sepia Photographic Archive is one of the most valuable resources of Black achievement and joins the museum’s permanent collection. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Sandy Rodriguez in Isolation features 30 new works on paper created by the Los Angeles–based painter through Apr. 17. Stephanie Syjuco’s multimedia installation transforms images of renowned works from the Carter’s collection and investigates narratives of national identity. See Stephanie Syjuco: Double Vision through Dec. Newly acquired photographs by Ansel Adams, Edward Steichen, Dorothea Lange, Marco Breuer, Edward Weston, and others are on view for the first time at the Carter in Beauty and Life: The Finis Welch Collection, Feb. 20–May 8. ¡Printing the Revolution!, organized by the Smithsonian American Art Museum, explores the rise of Chicano graphics within these early social movements and the ways in which Chicanx artists since then have advanced innovative printmaking practices attuned to social justice; on view Feb. 20– May 8. Image: Aaron Siskind, Pleasures and Terrors of Levitation #99, gelatin silver print. Amon Carter Museum of American Art, Fort Worth, Texas. Bequest of Finis Welch, © Aaron Siskind Foundation. cartermuseum.org 03 CROW MUSEUM OF ASIAN ART OF THE UNIVERSITY OF TEXAS AT DALLAS The Crow Museum of Asian Art inspires and promotes learning and dialogue about the arts and cultures of Asia through exhibitions, research, and preservation of their collections, artistic and educational programming, and visitor experience. crowmuseum.org 04 DALLAS CONTEMPORARY Through Feb. 13, Cell Grids, Peter Halley’s first exhibition in Texas in more than fifteen years, presents a unique series of paintings made from 2015 to the present. Ilya & Emilia Kabakov’s Paintings 26

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

about Paintings resembles an outdated and rundown museum, incorporating never-before-seen paintings, interactive works, and installation. Shilpa Gupta’s installation For, In Your Tongue, I Cannot Fit: 100 Jailed Poets is the artist’s first solo exhibition in America in over a decade. dallascontemporary.org 05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM Courage and Compassion provides a 360-degree perspective of the WWII experience of Americans of Japanese ancestry while exploring the relevance of these events today. The exhibition honors people across America who stood up to recognize Japanese Americans as friends, neighbors, and fellow citizens. Through Jun. 12. dhhrm.org 06 DALLAS MUSEUM OF ART Slip Zone: A New Look in Postwar Abstraction in the Americas and East Asia continues through Jul. 10, along with Bosco Sodi: La fuerza del destino. Naudline Pierre: What Could Be Has Not Yet Appeared is on view through May 15. A recently acquired painting, Sam F. by Jean-Michel Basquiat, remains on view in the main concourse through Feb. 22. Guadalupe Rosales: Drifting on a Memory continues through Jul. 10. Rosales collaborated with Dallas-based lowrider artist Lokey Calderon to create an immersive work that nods to lowrider culture and uses sound to replicate the aural experience of cruising in East LA. Van Gogh and the Olive Groves ends Feb. 6. Octavio Medellín: Spirit and Form, the first-ever museum retrospective for the late sculptor, runs Feb. 6–Jan. 15, 2023. Spirit Lodge: Mississippian Art from Spiro is the first major exhibition dedicated to the art and culture of Mississippian peoples; on view Mar. 13–Aug. 7. Image: Damion Jay McGirt, Muscogee, Beaded bandolier bag, 1998, North American Southeast, cloth, beads.. National Cowboy & Western Heritage Museum. dma.org 07 GEOMETRIC MADI MUSEUM Selected works from Austin-based artist Larry Akers featuring kinetic sculptures will be on view through Mar. 3 in GeomeKinetica. geometricmadimuseum.org 08 GEORGE W. BUSH PRESIDENTIAL CENTER The Continual Struggle: The American Freedom Movement and the Seeds of Social Change by artist Brian Washington documents the civil rights movement through 25 pieces on view in Freedom Hall at the Bush Center through Mar. 27. On view at the Food and Fiber

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NOTED: VISUAL ARTS

Pavilion in Fair Park, Carne y Arena (Virtually present, Physically invisible), through Apr. 18, is presented for the first time in Texas in conjunction with the Nasher Sculpture Center. The ticketed experimental visual installation is a solo virtual reality experience that reunites frequent collaborators Alejandro G. Iñárritu and three-time Academy Award-winning cinematographer Emmanuel Lubezki. Image: Brian Washington, We Walk the Difficult Road, mixed charcoal on paper. Courtesy of the George W. Bush Presidential Center. bushcenter.org 09 KIMBELL ART MUSEUM Turner’s Modern World closes Feb. 6. The next major exhibition for the Kimbell will be The Language of Beauty in African Art, which presents nearly 250 remarkable works from collections around the world—compelling art that scholars, connoisseurs, and collectors outside Africa have admired for more than a century; Apr.–Jul. 31. kimbellart.org 10 LATINO CULTURAL CENTER Marian Ichaso Lefeld: Tierra de Gracia showcases paintings that represent her perspective on the Venezuelan Modernist utopia resulting from the 20th-century oil boom through Feb. 26. Mar. 16, LCC presents Cine de Oro: Camino de Sacramento. lcc.dallasculture.org 11 THE MAC The MAC’s 2022 Juried Student Exhibition will be on view through March and presents work by current undergraduate art students, MA, MFA, and PhD candidates at schools within a 50-mile radius of Dallas. the-mac.org 12 MEADOWS MUSEUM Murillo: Picturing the Prodigal Son presents Murillo’s paintings that represent the first time a Spanish artist painted the story in serial form, Feb. 20–Jun. 12. Marking the Meadows’ first collaboration with the National Gallery of Ireland, Picturing the Prodigal Son was inspired by the recent conservation work and the extensive technical analysis of the canvases carried out in Dublin, which has highlighted the beauty of Murillo’s technique and revealed new insights into his working method at a critical point in his career. Meadows/ARCO Artist Spotlight: Ignasi Aballí presents the Spanish conceptual artist, who is representing Spain at the 59th Venice Biennale; Mar. 6–Jun. 26. Image: Ignasi Aballí Photograph by Roberto Ruiz. meadowsmuseumdallas.org 13 MODERN ART MUSEUM OF FORT WORTH FOCUS: Jill Magid continues through Mar. 20 and displays the New York–based artist’s performance-based practice as she implants herself into established systems of control and authority in order to 28

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study such structures from within. Opening Feb. 26, the Modern will begin its 20th year in its Tadao Ando–designed galleries with a permanent collection installation focused on works acquired since the building’s opening. Recent Acquisitions 2002-2022 will showcase paintings, photographs, sculptures, and videos by artists from varied cultures and geographies through Apr. 24. Image: Eddie Martinez, Blue Shield, 2019, oil paint, enamel, oil bar, spray paint, pencil, and silkscreen on canvas, 75 x 96 in. Collection of the Modern Art Museum of Fort Worth. Museum purchase, © Eddie Martinez. themodern.org 14 MUSEUM OF BIBLICAL ART Holocaust Heroes: Fierce Females, a gripping exhibition focusing on women during the Holocaust, runs through Mar. 29. biblicalarts.org 15 NASHER SCULPTURE CENTER Featuring public events and educational opportunities including family events and student workshops, Nasher Prize Month, commemorating 2022 Nasher Prize Laureate Nairy Baghramian, begins Mar. 1 and continues through Apr. 2. Italian-born American artist Harry Bertoia’s exhibition of work continues through Apr. 23 alongside Sightings: Olivia Block, which closes a day later, on Apr. 24. Accompanying Bertoia’s exhibition, SCULPTING SOUND: Twelve Musicians Encounter Bertoia features a series of six concerts from Feb. 22–27, bringing together 12 world-renowned musicians to explore the expressive range of Harry Bertoia’s sounding sculptures. Image: Harry Bertoia, Untitled (Sunburst), 1960, polished bronze wire and rod, 76 x 32 x 32 in. Nancy A. Nasher and David J. Haemisegger Collection Photograph by Kevin Todora, courtesy Nasher Sculpture Center. © 2021 Estate of Harry Bertoia / Artists Rights Society (ARS), New York. nashersculpturecenter.org 16 PEROT MUSEUM Through Apr. 20, The Shape of Matter—Through An Artist’s Eye is comprised of 70 pieces by artist Paula Crevoshay that celebrate nature’s beauty. perotmuseum.org. 17 SIXTH FLOOR MUSEUM John F. Kennedy and the Memory of a Nation examines the life, legacy, and assassination of JFK within the events of November 22, 1963. The multimedia experience advocates for cross-generational dialogue to foster interest and understanding in a historical context. jfk.org 18 TYLER MUSEUM OF ART Norman Rockwell: Drawings, Paintings & Prints features a variety of works by the American artist and illustrator, including pieces related to his iconic Saturday Evening Post covers, through Mar. 13. tylermuseum.org

APRIL 21 - 24, 2022 w w w. d a l l a s a rt f a i r. c o m

NOTED: PERFORMING ARTS

01 AMPHIBIAN The Pleasure Trails begins when Rachel and Callie start clinical trials on their new female libido enhancement drug and willing participants come out of the woodwork looking for an internal revolution. Soon after the first dose, the effectiveness of the medicine is undeniable, but the overwhelming pressure for its success may corrupt the experiment and everyone involved, Feb. 11–27. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER Do No Harm, Soul Rep co-founder Anyika McMillan-Herod’s newest play, was commissioned by theologian Dr. Evelyn Parker and the Association of Practical Theology. The play explores the story of three enslaved women—Anarcha, Betsey, and Lucy—who were experimented on without anesthesia by Dr. J. Marion Sims, credited as “The Father of Modern Gynecology,” Mar. 10–19. José González lights up the stage Mar. 26. R AGE is a one-act play that explores the stories of Black women throughout the history of the US. Ten women share their stories of strength, resilience, perseverance, and struggle across the history of the nation. Mar. 31–Apr. 9. attpac.org 03 BASS PERFORMANCE HALL Hamilton ends its run at Bass Hall on Feb. 6 and the venue resumes its Broadway series with Oklahoma!, which reveals the darker psychological truths of a community circling its wagons against an outsider, and portrays the frontier life that shaped America, Jun. 21–26. basshall.com 04 CASA MAÑANA Matilda takes the stage Feb. 4–13. Known across the globe as the ultimate feel-good show, The Choir of Man offers up one hour of indisputable joy for all ages, Mar. 1–6. casamanana.org 05 DALLAS BLACK DANCE THEATRE Cultural Awareness explores a performance dedicated to who we are as a people and where we come from. Feb. 18–19. DBDT: Encore! returns with Dancing Beyond Borders on Mar. 26. Image: Awassa Astrige/Ostrich. Photograph by Richard W. Rodriguez. dbdt.com 06 DALLAS CHILDREN’S THEATER Dragons Love Tacos is a hilarious, dance-filled journey into the field of “‘Dragonology” and is equal parts ridiculous and delicious, through Feb. 20. dct.org 07 THE DALLAS OPERA Madame Butterfly, tells the beloved romantic tragedy of the gentle geisha Cio-Cio-San, who gives up everything to marry American 30

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naval officer B.F. Pinkerton—a heartless cad who ultimately abandons her and their little son with devastating results, Feb. 18– 26. In Flight, a violent storm has grounded all flights, forcing some passengers and crew members to spend the night together in an airport lounge. Here they get to know each other very, very well… including a refugee, who’s been living in the airport for 20 years, pining for the desirable, but icy, air traffic controller, Mar. 4–12. Next, The Barber of Seville returns to The Dallas Opera Mar. 19–27. Image: Flight. Photograph by Duane Tinkey. Courtesy Des Moines Metro Opera. dallasopera.org 08 DALLAS SUMMER MUSICALS Rent follows a year in the lives of a diverse group of artists and friends struggling to follow their dreams without selling out, Feb. 18–20. Come From Away, a story of community in distressing times, runs at DSM Mar. 8–20. dallassummermusicals.org 09 DALLAS SYMPHONY ORCHESTRA Welcome Back Maestro Litton sees former DSO music director Andrew Litton and pianist Stephen Hough Feb. 3–5. Pinchas Zukerman and Amanda Forsyth perform Feb. 9–10. Premiered a mere four days before Tchaikovsky’s untimely death, his final symphony was named Pathétique for the passion, emotion, and suffering expressed, suggesting his struggle with society’s intolerance for homosexuality; see it live Feb. 17–19. Duruflé Requiem joins the Gould Family Organ Recital Series on Feb. 20. Oleta Adams takes the stage Feb. 26. An Evening With Renée Elise Goldsberry opens Mar. 11–13. Shostakovich & R. Strauss takes the stage Mar. 17–20. An All-Mozart Concert is performed Mar. 24–26. Image: Rénee Elise Goldberry. Courtesy of DSO. mydso.com 10 DALLAS THEATER CENTER Our Town follows the Webb and Gibbs families as their children fall in love, marry, and eventually—in one of the most famous scenes in American theater—die. Narrated by a stage manager and performed with minimal props and sets, Our Town depicts the fictional small town of Grover’s Corners, New Hampshire, through three acts: “Daily Life,” “Love and Marriage,” and “Death and Eternity.” Our Town ends its run on Feb. 20. Next, The Sound of Music takes the stage Mar. 25–Apr. 24. dallastheatercenter.org 11 DALLAS WIND SYMPHONY DWS presents the music of John Williams in Epic John Williams on Feb. 15. The Planets in HD sees two exciting modern works starting the program, including Adam Schoenberg’s percussion concerto featuring soloist Jacob Nissly. Then strap in for a trip through The Planets, featuring high-resolution photos from the Hubble Space Telescope projected overhead, Mar. 15. dallaswinds.org

05 12 EISEMANN CENTER Join Full Circle Dance for an entertaining evening of contemporary modern dance on Feb. 5. A Texas Tribute is an exclusive event coinciding with the 50th anniversary season of Texas Country Reporter on Feb. 5 and Mar. 5. Middletown is a joyful and heartfelt story about two couples, Don and Dotty Abrams and Tom and Peg Hogan, who reminisce about a friendship 33 years in the making, Feb. 9–27. Cindy Williams, the legendary costar of Laverne and Shirley, will share memories of her career and hilarious backstage tales from her lifetime in entertainment, Mar. 18–20. eisemanncenter.com 13 FORT WORTH SYMPHONY ORCHESTRA FWSO performs Alan Silvestri’s dazzling musical score live and in synch with Back to the Future Feb. 11–13. Inimitable violinist Sarah Chang performs the Dvorák Violin Concerto for the Annual Gala Concert and Dinner on Feb. 26. FWSO will perform The Music of John Williams on Mar. 4–6. When Instruments Roamed the Earth! is an event for the whole family featuring an exploration of the sounds, people, and experiences provided by symphony orchestras, Mar. 5. Spirituals and Jazz: Dawson and Gershwin mounts Mar. 11–13. Kenny G returns to Fort Worth Mar. 18–20. World Premiere and Tchaikovsky’s Fifth: Veronika Ágnes Fáncsik, R. Strauss and Tchaikovsky fill the stage Mar. 25– 27. fwsymphony.org 14 KITCHEN DOG THEATER The Kitchen Dog Theater returns with Gary: A Sequel to Titus Andronicus by Taylor Mac, Feb. 18–Mar. 6. kitchendogtheater.org 15 LYRIC STAGE Lyric Stage returns with Ragtime on Feb. 17–20. lyricstage.org 16 MAJESTIC THEATRE Patton Oswalt Live: Who’’s Ready to Laugh? tour stops in Dallas on Feb. 5. Bruce Dickinson from Iron Maiden will be at the Majestic on Feb. 22. Tig Notaro takes the stage Feb. 25. AEG Presents Pat Metheny Feb. 26. Prepare for ABBA Mania on Feb. 27. Rob Bell’s Everything is Spiritual tour stops in Feb. 28. Nick Cave and Warren Ellis perform live on Mar. 4. David Spade’s Catch Me Inside tour takes the stage Mar. 12. Russian Ballet performs Swan Lake on Mar. 18. Two-time Grammy Award-winning singer-songwriter Colbie Caillat performs Mar. 19. AEG Presents: Drew and Ellie Holcomb on Mar. 25. Little Feat: Waiting for Columbus tour plays Mar. 27, and comedian Mike Birbiglia performs Mar. 31. majestic.dallasculture.org

Tony Award-winner from Broadway’s Hamilton

RENÉE ELISE GOLSDBERRY IN CONCERT MAR 11-13

dallassymphony.org

POPS SERIES PRESENTED BY

FEBRUARY / MARCH 2022

NOTED: PERFORMING ARTS

09 17 TACA Jennifer Burr Altabef and Larry Angelilli will be honored as recipients of the 44th Annual TACA Silver Cup Award on April 21 at The National at Thompson Dallas. Celebrated each year, TACA Silver Cup spotlights two individuals who have made lasting contributions to the cultural fabric of the community through their steadfast support for the arts. The event will be chaired by Diane Brierley and Deborah McMurray. taca-arts.org 18 TEXAS BALLET THEATER A Tchaikovsky Evening showcases Tchaikovsky and world premieres by Ben Stevenson and Tim O’Keefe at the Wyly Theatre Feb. 11–20. texasballettheater.org 19 THEATRE THREE Maytag Virgin follows Alabama schoolteacher Lizzy Nash and her new neighbor Jack Key over the year following the tragic death of Lizzy’s husband. The play explores the ideas of inertia and self-enlightenment, and the bridge between the two; through Feb. 20. theatre3dallas.com 20 TITAS/DANCE UNBOUND Bold, refreshing, and completely relevant, An Untitled Love is Kyle Abraham’s newest evening-length work. With music by Grammy Award-winning R&B legend D’Angelo, this highly entertaining and captivating work celebrates culture, family, and community on Mar. 4–5. Image: A.I.M. An Untitled Love, Catherine Ellis-Kirk. Photograph by Carrie Schneider. titas.org

February 20– May 8, 2022

21 TURTLE CREEK CHORALE TCC returns with Let Us March On! in July. turtlecreekchorale.com 22 UNDERMAIN THEATRE A multi-instrumentalist using a combination of harp and guitar loops evoking elements of ambient folk and celestial tones, Jess Garland will be in concert at Undermain on Feb. 19. Whither Goest Thou America: Festival of New American Play Readings returns for its fourth series of readings of new plays examining the American landscape, Mar. 5–27. undermain.org

¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now is organized by the Smithsonian American Art Museum.

Leonard Castellanos, RIFA, from Méchicano 1977 Calendario (detail), 1976, screenprint on paperboard, Smithsonian American Art sMuseum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2012.53.1, © 1976, Leonard Castellanos

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23 WATERTOWER THEATRE WTT returns with a Tony Award–winning classic comedy centered around two unlikely roommates— uptight, neat Felix Unger and easygoing, disheveled Oscar Madison—that inspired both a hit movie and a TV series. This classic comedy opens as a group of guys assemble for cards in the apartment of divorced Oscar Madison. Mar. 30–Apr. 10. watertowertheatre.org

Photography by Holger Obenaus Cassandria Blackmore “Portokali” Laura Rathe Fine Art

www.maryannesmiley.com

214-522-0705

info@maryannesmiley.com

NOTED: GALLERIES

26 15

01 12.26 Self-taught, Dallas-based artist David-Jeremiah’s I Drive Thee continues through Mar. 5. gallery1226.com 02 500X GALLERY 500X highlights their annual College Expo 2022 exhibition, juried this year, by Jer’Lisa Devezin, showcasing artists within 50 miles of Dallas, on view through Mar. 13. 500x.org 03 ALAN BARNES FINE ART Alan Barnes Fine Art specializes in 19th- and 20th-century American and European Paintings. From Old Masters to Impressionist paintings, drawings, and watercolors. alanbarnesfineart.com 04 AND NOW David Flaugher’s solo exhibit remains on view through Feb. 26. Next the multimedia and fiber artist Miguel Bendaña will fill the gallery Mar. 5–Apr. 9. andnow.biz 05 ARTSPACE111 Future Tales by Jim Malone will open Feb. 3 and continue through Mar. 19. Regarded for his alluring works on paper that feature impeccable illustrations of nature and national parks, Malone has worked in a variety of mediums in his extensive 50-year career. Concurrently, Artspace111 will present Big Bend, a group exhibition of select rostered artists whose work has been inspired by the Texas National Park. artspace111.com 06 BARRY WHISTLER GALLERY Seriality +, continues through Feb. 26. The group show includes Ed and Linda Blackburn, Linnea Glatt, Sam Gummelt, Lawrence Lee, Peter Ligon, John Pomara, Andrea Rosenberg, Lorraine Tady, John Wilcox, and Mark Williams. barrywhistlergallery.com 07 BEATRICE M. HAGGERTY GALLERY The Haggerty gallery is filled with the work of Doug Land and Kevin Perkins in Playground through Mar. 2. udallas.edu/gallery 09 CADD Contemporary Art Dealers of Dallas is a nonprofit organization that was formed in 2007 for the purpose of promoting contemporary art in Dallas. caddallas.org 10 CHRISTOPHER MARTIN GALLERY Celebrating 27 years in Dallas, the gallery presents the reverse-glass paintings of American artist Christopher Martin; the Rodeo series of Dallas-based photographer Steve Wrubel; the color-field paintings 34

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of New York–based painter Jeff Muhs; the abstract paintings of British-born artist Charlie Bluett; the acrylic constructions of Dallas artist Jean Paul Khabbaz; the abstract work of Californiabased painter Monica Perez; the organic paintings of Atlanta artist Liz Barber; and the exquisite sculptures of Mexican artist MIKI; as well as the work of rotating artists in the recently expanded gallery. christophermartingallery.com 11 CONDUIT GALLERY Boston-based artist C. Meng’s RECYCLED and Matt Clark’s Until the Sun Rises exhibit in the main gallery along with Clark’s collaboration with photographer William Greiner, The Space Between. Concurrently, Yana Payusova’s Weight, Power, Burden is on view in the Project Room. All exhibits through Feb 12. From Feb. 19–Mar. 25, Ludwig Schwarz: Moving Pictures fills the main gallery, and the Project Room sees New Work by Dallas-based artist Ari Brielle. conduitgallery.com 12 CRAIGHEAD GREEN GALLERY Patty Sutherland, Damian Suarez, and Kelsey Irvin remain on view through Feb. 12. Next, the gallery hosts Brad Ellis, Chris Mason, and Rebecca Shewmaker, Feb. 19–Apr. 2. Image: Rebecca Shewmaker, Afternoon near the Grotto, dyed cotton fabric and thread on buckram, 10 x 10 in. craigheadgreen.com 13 CRIS WORLEY FINE ARTS CWFA presents Shannon Cannings: Sure Shot, featuring ten dynamic new works in oil on panel and canvas through Feb. 12. Trey Egan: Signal/Rhythm/Solace will follow, filling the gallery with new work by Egan Feb. 19–Apr. 2. Image: Trey Egan, Sky Chaser Let’s Run Away, 2021, oil on canvas, 58 x 76 in. crisworley.com 14 DADA The Dallas Art Dealers Association is an affiliation of established independent gallery owners and nonprofit art organizations. dallasartdealers.org 15 DAISHA BOARD GALLERY Daisha Board is a contemporary art gallery representing BIPOC artists, LGBTQ+, and artists with disabilities locally and abroad in various mediums that include mixed media, sculpture, photography, installations, performance art, and digital media. Unseen features the work of Sharidyn Barnes through Feb. 5. Image: Sharidyn Barnes, Drowning in My Success and Sorrows, 2020, acrylic and oil on canvas, 50 x 64 in. daishaboardgallery.com 16 DALLAS ART FAIR PROJECTS Launched by the Dallas Art Fair in 2019, Dallas Art Fair Projects,

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COCKTAILS | DINNER | DANCING S AT U R D AY A P R I L 9, 2022 SIX THIRT Y UNTIL LATE AT TIRE: SIXTIES GLAMOROUS

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NOTED: GALLERIES

formerly known as 214 Projects, is an arts and special projects space located in the Dallas Design District. dallasartfairprojects.com 17 DAVID DIKE FINE ART DDFA specializes in late 19th- and 20th-century American and European paintings with an emphasis on the Texas Regionalists and Texas landscape painters. daviddike.com 18 ERIN CLULEY GALLERY Catherine MacMahon: Thresholds of Uncertainty remains on view through Feb. 12. Next, ECG will host Will Murchison and Lynn Stern, Feb. 19–Mar. 19. Erincluley.com 19 FERRARI GALLERY Ferrari Gallery presents contemporary metal art sculptures by James Ferrari; canvas paintings inspired from nature by Debra Ferrari; photographer Jeremy McKane, who utilizes water and camera to capture the human form and express a passion to preserve our oceans; and ceramic sculptor Kosmas Ballis, who transforms viewers to a distinct space through his intricate clay sculptures. Save the date for MILIEU EARTH opening Apr. 22, an invitational group exhibition featuring American artists focused on works inspired by our planet and wildlife. ferrarigallery.net 20 FWADA Fort Worth Art Dealers Association funds and hosts exhibitions of noteworthy art. fwada.com 21 GALLERI URBANE Horse Show, curated by Meghan Borah and Jeane Cohen, and Lori Larusso’s Care remain on view through Feb. 12. Through the rest of Feb/Mar. Galleri Urbane will host Samantha McCurdy: Subliminal Sublime and Colby Currie: New Paintings. Image: Meghan Borah, Do You Know How To Pony Like Bony Malonie, 2021, oil on canvas, 30 x 22 in. galleriurbane.com 22 GREEN FAMILY ART FOUNDATION Women of Now: Dialogues of Identity, Memory & Place, a group exhibition curated by Clare Milliken and Bailey Summers, will be on view Feb. 12–May 22. greenfamilyartfoundation.org 23 HOLLY JOHNSON GALLERY Theresa Chong: Duino Elegies is an exhibition of works on paper inspired by Rainer Maria Rilke’s the Duino Elegies. The exhibit will be accompanied by a fully illustrated catalogue with an essay by David Brody, through Feb. 12. Borrowed Light marks Jill Moser’s first solo show with the gallery and features recent paintings and works on paper, Feb. 19–May 9. Dion Johnson’s Vibrant is on view 36

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21 until Mar. 19. Image: Theresa Chong, Duino Eleg y #8, 2018–2020, copper, colored pencil, and gouache on Japanese handmade paper, 11.75 x 11.5 in. hollyjohnsongallery.com 24 KEIJSERS KONING This new gallery in River Bend will open Feb. 11 with Murmur featuring the work of Jeff Grant and William Burton Binnie. keijserskoning.com 25 KIRK HOPPER FINE ART Artists Gil Rocha and Victor Calise Blanchard examine core issues that we are often reluctant to address through Feb. 19. Next, Brian Finke fills the gallery Feb. 26–Mar. 26. Image: Gil Rocha, The Studio, 2021, collage, 14 x 17 in. kirkhopperfineart.com 26 KITTRELL/RIFFKIND ART GLASS Botanicals is a group exhibition featuring imagery from the magical world of plants by artists working in glass, Feb. 5–Mar. 5. Ross Richmond’s A Solo Exhibition features equine art Mar. 12–Apr. 16. Image: Ross Richmond, Dark Bay, glass, 15.5 x 5 x 9 in. kittrellriffkind.com 27 LAURA RATHE FINE ART Marking its ninth year in the Dallas Design District, Laura Rathe Fine Art presents On Cloud 9, a group anniversary exhibition featuring new works from distinguished gallery artists. Feb. 12– Mar. 26. An opening reception will be held Feb. 19. Image: Hunt Slonem, Untitled, 2022, oil and acrylic with diamond dust on wood, 14 x 14 in. laurarathe.com 28 LILIANA BLOCH GALLERY The gallery hosts Rachel Wolfson Smith’s Behavioral Science through Feb. 5. Hail Mary, featuring the works of Francesca Brunetti and Juan Negroni, will be on view Feb. 12–Mar. 12. Brunetti and Negroni, whose nationalities are Italian and Puerto Rican respectively, discuss male insidious cultural narrative interventions about women destined to perpetuate sexual objectification and historic obliteration. Brunetti uses sensual gestural strokes while Negroni’s lines are rigid and candid. Illustration works by Liliya Rattari will be on view alongside Hail Mary. lilianablochgallery.com 29 MARTIN LAWRENCE GALLERIES Martin Lawrence Galleries specializes in original paintings, sculpture, and limited-edition graphics. The gallery is distinguished by works of art by Erté, Marc Chagall, Keith Haring, and many other artists. martinlawrence.com

12 30 OLIVIER FRANÇOIS GALERIE OFG is closed for renovations. Information regarding 2022 schedule coming soon. ofg.xxx 31 P.A.O. PROJECTS P.A.O Projects will host Masaya Nakayama Feb. 12–Mar. 12. paoprojects.com 32 PHOTOGRAPHS DO NOT BEND The exhibitions Patty Carroll: Anonymous Woman: Domestic Demise and Bill Owens: Suburbia will be on view through Feb. 12. Texas—Bauhaus will feature photographs by Bauhaus artists who have visited Texas and the Texas artists they have influenced. Featuring work by György Kepes, Carlotta Corpron, Ida Lansky, and more, the exhibition will be on view Feb. 19–Apr. 2. pdnbgallery.com 33 THE POWER STATION Through Mar. 18, the exhibition space will show Every Empire Breaks Like a Vase. Referring to the precarity of colonialist and imperialist practices that inform today’s globalized world, Paulo Nimer Pjota’s work synthesizes ancient history and mythology with the aesthetics of contemporary and urban street culture. powerstationdallas.com 34 RO2 ART New work by Julon Pinkston in an exhibition titled Marsh Wiggle Apparitions as well as Charles Clary: Memento Morididdle will be on view through Feb. 12. A group show, New to Ro2 featuring Edgar Cano, Catherine Cornelius, JD Moore, Cat Rigdon, and Lillian Young, will be on view Feb. 15–Mar. 19. Solo shows for Brooks Oliver and Joshua Dodson will open on Mar. 26. All exhibitions will be displayed at The Cedars location. ro2art.com 35 SAMUEL LYNNE GALLERIES The mission of this state-of-the-art expansive gallery is to represent a very select group of artists, including the work of cofounder JD Miller, each with a unique vision and message within the contemporary art world. Changing Lanes will feature the work of David Yarrow through Feb. 5. samuellynne.com

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36 SITE131 In Abstract Now, three surprising talents shown in California share their emerging talents with the North Texas audience: Sara Issakharian’s explosive abstract paintings; Channing Hansen’s knitted works that surprisingly read as paintings, and b. chehayeb’s int imate colorfu l abstract ions. The FEBRUARY / MARCH 2022

NOTED: GALLERIES K ittrell/Riffkind Art Glass Gallery 4500 Sigma Rd. Dallas, Texas 75244 n 972.239.7957

Ross Richmond SOLO EXHIBITION

13 exhibition remains on view through Mar. 26. site131.com 37 SMINK ART + DESIGN Representing fine design manufacturers such as Minotti with the work of Rodolfo Dordoni; House of Finn Juhl; Porro with Piero Lissoni, Massaud, Pillet, Rennie; and Molteni&C, Smink exhibits work by rostered artists throughout the showroom. sminkinc.com 38 SMU POLLOCK GALLERY SMU Pollock Gallery provides a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. pollockgallery.art 39 SOUTHWEST GALLERY For over 50 years, Southwest Gallery has provided Dallas the largest collection of fine 19th- to 21st- century paintings and sculptures along with contemporary art. The gallery exhibits hundreds of artists who work in a broad range of styles, all displayed in a 16,000-square-foot showroom. swgallery.com 40 SWEET PASS SCULPTURE PARK Sweet Pass Sculpture Park will reopen programming in the warmer months of spring. sweetpasssculpturepark.com 41 TALLEY DUNN GALLERY Ursula von Rydingsvard features the artist’s monumental sculptures through Apr. 2. Image: Ursula Von Rydingsvard, “V” Stop, 2015, cedar, graphite, 103 x 87 x 40 in. talleydunn.com 42 VALLEY HOUSE GALLERY Valley House Gallery’s Bob Stuth-Wade: The Comfort of Trees, continues through Feb. 19. Next, Gail Norfleet: Pages from a Glass Book runs Feb. 26 through Apr 2. valleyhouse.com

Offering Dallas’ finest selection of art glass!

kittrellriffkind.com 38

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43 WAAS GALLERY We Are All Stars is a studio collective and gallery housed in South Dallas. Curated through a lens of sustainability, WAAS empowers artists to connect to their communities and facilitate societal change while offering an interstellar sanctuary to communicate artistic expression and immersion. waasgallery.com

H arold K raus SOUTHWEST GALLERY 4500 Sigma Rd. Dallas 972.960.8935

W W W . S W G A L L E R Y. C O M

NOTED: GALLERIES

44 WEBB GALLERY Webb Gallery has been selling “soul” through contemporary and visionary art for with a focus on folk and the obscure for 33 years. Their exhibition Some Leaders are Born Women, featuring, Margaret Sullivan, Martha Rich, Rebecca Cash, and Lee Godie, continues through March. webbartgallery.com 45 WILLIAM CAMPBELL CONTEMPORARY ART Opening Mar. 26 in conjunction with Fort Worth Art Dealers Association Spring Gallery Night, new work from Matt Kleberg and Paul Kremer will be on view at the new Foch Street location. Concurrently, Frank X. Tolbert 2’s work will be on view at the original Byers Street location. williamcampbellcontemporaryart.com AUCTIONS AND EVENTS 01 DALLAS AUCTION GALLERY The Fine & Decorative Art Auction takes place on Mar. 2. dallasauctiongallery.com 02 HERITAGE AUCTIONS HA slated auctions for the Feb. are Urban Art Showcase Auction on Feb. 2, Mark “The Fifth Turtle” Freedman Showcase Auction on Feb. 3, Animation Art Signature Auction on Feb. 4–7, Nature & Science Signature Auction on Feb. 7, Depth of Field: Photographs auction on Feb. 9, Fine & Decorative Arts Showcase Auction on Feb. 10, American Icon: G. E. Corporate Art Collection Part I Showcase Auction on Feb. 11, The Soul of a Nation: Black Art from a Distinguished Collector Auction on Feb. 14, Urban Collectibles Showcase Auction on Feb. 16, the Prints & Multiples Showcase Auction on Feb. 23, Jim Davis: The Art of Garfield Comics & Comic Art Showcase Auction on Feb. 24, Art of the West Showcase Auction on Feb. 25. In Mar., Urban Art Showcase Auction on Mar. 2, In Focus: Dali Showcase Auction on Mar. 8, In Focus: Women Photographers on Mar. 9, International Comic Art and Anime Signature Auction on Mar. 10–12, Fine & Decorative Arts Showcase Auction on Mar. 10, the Asian Art Signature Auction on Mar. 22, the Prints & Multiples Showcase Auction on Mar. 23, the Luxe Jewels Auction on Mar. 23, the Contemporary Art Within Reach Showcase Auction on Mar. 24, Women of the West Showcase Auction on Mar. 25, and The Black Cat Collection and Pre-Code Horror Comics & Comic Art Auction on Mar. 31. ha.com

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OF NOTE

TRIFECTA AT THE WAREHOUSE

Three thought-provoking exhibitions are on view this spring at the venerated collection space.

n the wake of world-changing events throughout 2020– 2021, The Warehouse has initiated an annual exhibition of the work of a single artist that they invite visitors to view up close, and when possible, in depth. The first exhibition of recent paintings by Justin Caguiat titled, The Fool, will be on display through Mar. 22. Caguiat’s intimately rendered, largescale paintings on unstretched canvas portray a universe of figures and forms, representational and abstract, with a rich palette and layered surfaces that seem to float in a dreamlike world of memory and imagination. Additionally, through May 28, Sound as Sculpture, investigates foundational works from the 1960s and 1970s, alongside more contemporary works, to examine how artists use sound to create an experience of space as time, play with the body’s ability to emit/transmit/perceive/ absorb sound, and draw on the psychological and poetic effects of sound in space. Also, on view through May 28, Tender Objects: Emotion and Sensation after Minimalism features a collaboration between The Warehouse and the Department of Art History in the Meadows School of the Arts at Southern Methodist University. The joint effort led by Dr. Anna Lovatt’s graduate seminar explores how artworks that adopt minimalist formal strategies can activate a fleeting, even indefinable, emotional response from viewers. The exhibition includes work by Laurie Anderson, Tonico Lemos Auad, Mark Bradford, John Cage, Janet Cardiff and George Bures Miller, Nancy Holt, Pierre Huyghe, Alvin Lucier, Bruce Nauman, Max Neuhaus, Adrian Piper, Emilio Prini, Tomás Saraceno, Nora Schultz, Richard Serra, Haegue Yang, and Minoru Yoshida.

Above, left to right: Anne Truitt, American, 1921–2004, Valley Forge, 1963, acrylic on wood, 60.50 x 60.25 x 12 in. The Rachofsky Collection. Photograph by Kevin Todora; Laurie Anderson, American, born 1947, Handphone Table — Remembering Sound, 1979, wood, electronics, and audio transducers, 33 x 37.50 x 23.25 in. The Rachofsky Collection. Photograph by Kevin Todora.

FEBRUARY / MARCH 2022

Welcome the Emperor King DALLAS ART FAIR EXHIBITOR KEIJSERS KONING MOVES TO RIVER BEND. INTERVIEW BY FRANK HETTIG

Left: Jeff Grant, Wintershins, 2020, lamp with florescent light bulb, toy animals, diameter 12 in. height varies.; Right: William Burton Binnie, Untitled (Lamp), 2019, ink and gesso on paper, 11 x 14 in. Courtesy of Keijsers Koning.

rank Hettig, Heritage Auctions’ vice president of modern and contemporary art, caught up with Bart Keijsers Koning the newest member of the Dallas gallery scene. Frank Hettig (FH): You started your gallery 15-plus years ago in New York: why did you choose to move it to Dallas? Bart Keijsers Koning (BK): My wife, Louky Keijsers Koning, started LMAKprojects in 2005, and I joined a few years into the venture. We had two locations: one in Williamsburg and the other in Chelsea. Around 2007/8 we noticed something happening on the Lower East Side. We consolidated into one space and joined Envoy Enterprises and Feature in their respective moves to the area, as well as James Fuentes, who was one of the earliest settlers. Anyway, prior to the pandemic I had started noticing another change, but this was more within NYC, and I started to think about different cities. To quote Jimi Dams (Envoy Enterprises), “It wasn’t fun anymore.” The pandemic brought a few changes. Louky changed her focus and became the director of the estate of Barbara Hammer. I was looking for a location that would work better for me, my artists, and offer the gallery an interesting and supportive arts community. [I was] heavily influenced by Texas natives Joanne Cassullo and William Burton Binnie, who’s one of my artists, and Kelly [Cornell] and Sarah [Blagden] of the Dallas Art Fair, who have created a great environment for gallerists, artists, and collectors in Dallas. I enjoy the combination of curiosity and knowledge that I experience among them. FH: Why did you invest money in a physical gallery when many art lovers are now so used to collecting online via virtual vs. actual exhibitions? BK: (Chuckles) Well let’s not question the sanity of my decision. I can only speak for myself and not the art world at large or individual cases, but there are a couple of reasons why I think spaces are

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important to my artists and me. It is essential to have a space outside of the studio where the work can exist, be formulated and edited prior to the “crowning” or context of a museum. This space should allow for the initial encounter with an audience and, though the narrative of the work may be formalized, the exchange can still be formed. Plus, having multiple shows in a space allows for an understanding of the legacy an artist wants to form. I love putting shows together with the artists, most of them, and presenting it to the audience. I saw the opportunity to do this in Dallas, where the art scene is developing and growing. FH: What changes have you seen in the gallery business in the last two years? BK: The art world, or at least the gallery world, is the behemoth that doesn’t like to move or change. We could see it when we had the introduction of the internet and websites; galleries were the last to get on board. So I don’t think we have seen the beginning of a profound change quite yet. However, I think there are a few things that are starting to show through the troubled water from the past two years. The audience has become more accustomed to the virtual, but they are also understanding the difference of each impression—i.e. the virtual and real life. The synergy that you can experience while standing in front of a work of art cannot be replaced, but with the virtual I can lay down the groundwork for a future encounter, be it through a fair or setting up an in-person viewing. What we haven’t seen the results or consequence of yet is the global reflection on our presence and perseverance within our own life. I’m curious to see what happens when we all press the global start button again and get out of this limbo, paused state. FH: You have such a Dutch last name; how did you start in the art/gallery business?

FAIR TRADE BK: Born and raised in Maastricht, the Netherlands till I was 11 and then moved around. My wife is Dutch as well; we’ve known each other since I was born. When we got married, we took words from each of our last names to create Keijsers Koning (much to the chagrin of the families)—it translates to “Emperor King.” How can you beat that? As far as the gallery world, I ended up going to Columbia in Chicago for painting and worked at a gallery to see what the other side was about. It guided me to complete a minor in business before I left Chicago. I then completed my painting studies at SVA in NYC. I kept working in galleries, and as more responsibility came my way, I was able to funnel my creativity and understanding of art and art-making into the job. FH: You are opening your new space next to other galleries like PDNB; 12.26; Erin Cluley; and the headquarters of the Dallas Art Fair, where their project space is located. Was the cluster of galleries also a reason to locate to Dallas? BK: I was looking at a few spaces, but when I got a call from Jeremy Buonamici at Brook Partners that there was a space available within the heart of it all…it wasn’t rocket science. I think being within a community and allowing for an exchange is always good. The galleries I have the privilege to be surrounded by all have an independent and driven program, and you can wander from one space to the next. FH: Besides the direct community, how important are art fairs to you? BK: I think fairs are important. They allow me to reach an audience that may not be acquainted with my program as well as meet some of my collectors on their turf. It is an additional platform, but it does not work for all artworks, and due to its financial risk, you do make certain decisions. FH: To be a good gallerist, do you also need to be a good diplomat? How important is trust/friendship and connection between artist, gallerist, and collectors?

BK: As a person who frequently puts his foot in his mouth, I have certainly learned to be more subtle. However, I do think a gallerist also needs to have an opinion. You are an editor that allows for the language of the artist to be presented in the best and clearest tone. It is a collaboration, and it is your responsibility to present the work true to its form. This allows you to give a clear reflection on the work for the collector and allows them to support it with a clear heart and mind—they become custodians of the work. We have never been able to exist without one another, and just like a scale, one shouldn’t pander to the other, but strike a balance of responsibility and role. FH: As a smaller gallery, are you afraid that artists will go to bigger galleries even though you discovered some at an early stage and invested time and money to promote and expose them? BK: It has happened a few times. It can sting, but it is also a compliment, as these exchanges don’t go unnoticed by collectors. I do think you become savvier over the years, in particular about your investments of money and time. Being in Dallas also allows me to show artists I couldn’t show in NYC due to the gallery affiliations, etc., so the knife cuts many ways. Frank, thank you for your time, and it was pleasure to meet a fellow European in Dallas! Keijsers Koning is located at 150 Manufacturing Street, suite 201. The gallery is set to open on February 11 with Murmur, featuring the work of Jeff Grant and William Burton Binnie. P

Top: Bart Keijsers Koning. Courtesy of Keijsers Koning; Above: Kaloki Nyamai, Untitled (Detail), 2021, acrylic and mixed media on canvas stitched together, 79 x 79 in. Courtesy of Keijsers Koning; Left: Popel Coumou, Untitled (121), 2020, C-print, Edition 5, 51 x 34.25 in. Courtesy of Keijsers Koning.

FEBRUARY / MARCH 2022

AMALGAMATIONS OF THE FEMALE MIND

Green Family Art Foundation investigates rising artists in Women of Now. BY TERRI PROVENCAL

“M

emories, whether old, new, real, imagined or virtual, specified by moment and place, are then amalgamated, and form patterns that help define the rules and ways in which we live.” Women of Now: Dialogues of Memory, Place & Identity, the next exhibition from the Green Family Art Foundation, posits this in an essay and articulates this through the work of 28 female artists. Bandied about by behavioral health scientists ad infinitum— including the near-mythic Sigmund Freud, whose grandson was the great British portraitist Lucian Freud—memories are easy fodder for artists. However, memories handled in capable hands make you think, conjuring your own long-forgotten experiences, allowing for an interpretive view. It is the crux of this that makes the selected artists, on every collector’s waiting list, compel you to see what they will do next, which is why they are rising, and fast. Fortunately for us we get to see this sampling of exceptional work when the exhibition opens February 12 at Green Family Art Foundation. In order to communicate their internal worlds, these artists have developed personal visual languages based on their own anthologies. The unique identity of each artist is what makes the work more convincing. A Canadian artist, Danielle Roberts, took a ferry to school throughout her childhood, often riding when darkness fell. Above, left: Anna Weyant, Maggie, 2019, oil on panel, 48 x 36 in. Collection of Jonathan Travis, New York. © Anna Weyant, Courtesy of the artist and Blum & Poe, Los Angeles/ New York/Tokyo; Above, right: Caroline Absher, Studio, 2021, oil on canvas 84 x 72 in. © Caroline Absher. Courtesy of the artist. Green Family Art Foundation. Left: Hannah Levy, Untitled, 2020, nickel-plated steel, silicone, 44 x 22 x 25 in. Green Family Art Foundation. © Hannah Levy. Courtesy the artist and Casey Kaplan, New York.

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OPENINGS Growing up on Gabriola Island, she observed strangers who sat alone on their daily commute. A predatory work titled Captain by Danica Lundy nods to her own experiences as an athlete growing up, and her observation of the events that unfolded in the USA Gymnastics team abuse scandal at the hands of Larry Nassar. Brea Weinreb pays tribute to her friend Brian, a well-known drag queen, in Demoiselles of Gay Beach, recalling times they shared during San Francisco Pride Week. Known as Venus Soleil, Brian is cast as the central figure, and he’s having a terrific time, confident as he looks directly at the viewer. In each artwork, we feel their sense of place. The Green Family Art Foundation’s team operates like stagehands, with everyone helping—refreshing in an often egodriven art world. This exhibition reflects that collaborative spirit. Co-curators Clare Milliken and Bailey Summers work closely with the Greens. Milliken is the curator of the foundation and collection; Summers is the collection manager and program manager. Debbie and Eric Green’s collection celebrates underrepresented artists: artists of color, emerging female artists, and LGBTQIA+ artists, and they want to share it with the public. Their son, Adam, is a respected New York–based art advisor and very involved. “Everyone plays a vital role,” says Summers. Milliken and Summers are proud of the show they curated together, and they have a lot to say about the artists and their work. Lily Wong’s Into the Thick of It was spurred by “the artist’s inability to be with her family due to the omicron flare,” Summers relates. Emphasizing mental health in her work, Wong depicts the figure’s anxiety viscerally as another partial figure runs behind a tree. Is the elusive figure the inescapable menacing virus? Milliken says Dominique Fung’s heroically scaled Suspicions about Colour stems from “the overt sexualization of Asian women.” The painting will hang prominently in the main gallery, viewable from the River Bend window. In this 120-inch-wide canvas, Fung presents female porcelain figures and salacious innuendo, turning female objectification on its head. The conceptual underpinnings stem from the artist’s observations of the approach to the display of Asian artifacts in severed historical context. Milliken avers, “She is looking at perfection and it’s a collapse of past and present at once.” In the brilliant painting Maggie, a trompe l’oeil within a trompe l’oeil, Anna Weyant borrows from René Magritte’s surreal window and curtain paintings. Maggie (a feminized name for Magritte) is a young girl in her leotard, clearly aggravated by the adult who has opened the curtain, though we only see the hand and wrist. Through the window we see an evening forest behind her that’s

Top: Issy Wood, Untitled (Study for my dad's next wife), 2019, oil on velvet, 55.10 x 70.80 in. Collection of Robert Lowinger, Miami. © Issy Wood. Courtesy of the artist and Carlos/Ishikawa, London. Below: Rute Merk, Julia, 2020, oil on canvas, 41 x 52 in. © Rute Merk, Courtesy of the artist and Gallery Vacancy, Shanghai. Green Family Art Foundation.

Dominique Fung, Suspicions About Colour, 2018, oil on canvas, 60 x 120 in. © Dominique Fung. Courtesy of the artist and Nicodim Gallery. Green Family Art Foundation. Right: Michaela Yearwood-Dan, Beyond the veil of the mythical super woman, 2021, oil, acrylic, ink and gold leaf on canvas, 78.75 x 59.12 in. © Michaela Yearwood-Dan. Courtesy of the artist, Tiwani Contemporary, London and Marianne Boesky Gallery, New York and Aspen. Green Family Art Foundation.

FEBRUARY / MARCH 2022

OPENINGS

Clockwise from top left: Brea Weinreb, Demoiselles of Gay Beach, 2021, oil on canvas, 56 x 48 in. © Brea Weinreb, 2021; Danica Lundy, Captain, 2020, oil on canvas, 60 x 36 in. © Danica Lundy; Danielle Roberts, Two Sailing Wait, 2021, acrylic on canvas, 60 x 66 in. © Danielle Roberts; Lily Wong, Into the Thick of It, 2021, acrylic on paper, 29.50 x 41 in. All Green Family Art Foundation.

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reflected in her leotard. Marveling at the genius, Milliken says, “Weyant’s practice is rooted in adolescence; that awkward moment of feeling your body change.” The Canadian-born, New York–based artist creates narratives through young female tragicomic characters that invite viewers to linger. The figures are quite often rebellious and endearing at the same time. There is only one sculpture presented in the exhibition. Hannah Levy’s Untitled is a siren song, simultaneously intimidating and alluring. The razor-sharp, claw-footed sculpture is covered in silicone; the chair draws from her childhood. Instead of the ordinary “girl” things her peers wanted, the artist collected books about chairs and dreamed of becoming an industrial designer. The chair appears to move in a sexy saunter while reflecting an industrialized world. Amalgamating from individuals she knows, Rute Merk draws inspiration from ’90s video games in her painting Julia. Unlike frustrated players of the games themselves, she controls the avatars in her paintings, investigating the real, the virtual, and the remembered. “One can influence and change the other,” Milliken says. Julia is confident, much like Caroline Absher’s self-portrait in Studio, painted during her residency at The Cabin, LA. But where Julia is poised, Caroline is completely at ease. Here we see an artist satisfied with a harmonious self-awareness, though not overtly, so void of arrogance. “She claims that identity as her own and shares it with the world,” says Milliken. Women of Now examines the way these powerful voices use memory and place as artistic instruments to instill in their work their unique identities for the viewing audience. Though most of these highly sought artists are no longer emerging and have arrived, the Greens began collecting the work of women much prior to the art world’s female reckoning with their commitment to the work of Dana Schutz and Nicole Eisenman. This foresight is shared in Women of Now. P

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Urban Pioneers

Downtown Dallas High School Celebrates 100 Years of Innovation. BY NANCY COHEN ISRAEL

“W

Clockwise from top: Booker T. Washington Image captions High School this 70th page. reunion. Courtesy of Booker T. Washington High School for the Performing and Visual Arts.; Portia Washington Pittman.; Playwright and Booker T. Washington High School alumnus Theodis “Ted” Shine. Courtesy of Rhonda Butte.

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e are your roots. We represent what Booker T. was. These instructors will give you your wings. All I want you to do is fly.” With these words, Booker T. Washington High School alumna Vicki Smith welcomed a recent incoming freshmen class to the school. Smith represents the Class of 1969, whose graduation marked the end of the school’s first chapter. Now, as this Dallas institution prepares to celebrate its centennial year, it does so with the motto Two Schools, One Story. On October 30, 1922, the newly built school opened its doors. At the time it was the only high school in Dallas for Black students. Long before there was a Dallas Arts District, it stood as a pillar in the heart of a thriving Black community. Booker T. has been blazing trails since its opening, graduating generations of students who became local and national leaders, and its illustrious past and dynamic present will be the focus of a yearlong celebration. “This will be a nod to the histories of this institution and the shoulders of the giants upon which we stand,” says Dr. Scott Rudes, the principal of what is now Booker T. Washington High School for the Performing and Visual Arts, though still known by many as Arts Magnet. Through the combined efforts of the school’s current leadership and with the enthusiastic support of active alumni, including the Booker T. Washington Alumni Association, Washington Lincoln Alumni Association, and a nationwide network of Arts Magnet graduates, the threads connecting both schools weave together into a rich tapestry. “People have treated this institution with such love and respect. They are proud of the legacy of Booker T.,” says Rudes.

CONTEMPORARIES

Erykah Badu performs at EXIT 2012 Music Festival on July 14, 2012, at the Petrovaradin Fortress in Novi Sad, Serbia. Photograph by Nikola Spasenoski.; Baseball legend Ernie Banks receives the Presidential Medal of Freedom at a ceremony at the White House in Washington, DC, on November 20, 2013. Photograph by Rena Schild.; Norah Jones live in concert at the Alte Oper in Frankfurt Am Main, Germany, on May 26, 2012. The tour took place near the release of her album Little Broken Hearts. Photograph by Paolo Gianti.

Excellence has been at the school’s core throughout the century. The Booker T. Bulldogs, for example, boasted the most championship victories of any Black school in Texas. Ernie Banks, Baseball Hall of Famer and Presidential Medal of Freedom honoree, is among its outstanding athletic alumni. An emphasis on the arts was also there from the start. The early music faculty included the European-trained Portia Washington Pittman, daughter of the school’s namesake. Another graduate, Theodis “Ted” Shine Jr., considered the “Dean of Black Texas Playwrights,” earned national renown writing about the Black experience. In March, the school will attain Literary Landmark designation by the Texas State Library and Archives Commission in recognition of Shine’s accomplishments. The institution also molded innovative educators, including Dr. John Leslie Patton Jr. and Dr. Herman I. Holland. Patton wrote one of the earliest curricula for teaching African American history, which he later revised with Holland. A beloved principal at the school for 30 years, Patton’s motto, “Aim High, Soar Upward,” is the ancestor of the school’s current motto, “Fly high Pegasi!” Throughout the 1950s, the school thrived. A decade later, as federal desegregation orders dismantled schools and dispersed classmates, no students came behind the Class of 1969. In 1970,

the doors were permanently locked. For the community, the loss was devastating. “You felt like you lost your family,” Smith laments. Much of the school’s history was simply erased at this time, according to alumnus Charles Wilson. “The school’s credos, mottos, mascots, and school colors disappeared when the school closed,” he says. Rudes and his staff have worked hard to right these wrongs. In 2019, the Class of ’69 was invited to the school for the graduation ceremony that they had been denied as teenagers. “We felt like we were home,” Smith recalls. For Rudes, celebrating the school’s entire history is vitally important. As he explains, “This is the first time there will be a celebration for the totality of the school. We want to make it spectacular.” In January, the celebration began with the launch of the Living Museum Oral History Project. “It chronicles stories of Bulldog alumni,” notes Sharon Cornell, the school’s public relations specialist. She sees it as an opportunity “to capture lesser-known but still significant accomplishments of our alumni.” Cornell herself is tied to the history of the school. She is the granddaughter of H.I. Holland as well as a graduate of Arts Magnet. Magnet schools were a 1970s-era educational experiment, which dovetailed with desegregation. Attracting students based upon shared interests allowed schools to integrate organically. Arts FEBRUARY / MARCH 2022

CONTEMPORARIES

Magnet, one of the first of its kind in the country, was conceived and led by Dallas Theater Center founder, Dr. Paul Baker. Its establishment, with conservatories in dance, music, theater, and visual arts, returned life to this historic campus in 1976. It has subsequently blossomed into one of the premier arts high schools in the nation. Among its many distinguished alumni are award-winning artists such as Erykah Badu, Edie Brickell, Roy Hargrove, and Norah Jones, as well as arts leaders throughout the country. In 2008, a multimillion-dollar expansion further enhanced what it could offer its students. An arts and culture festival planned for March will celebrate where the school is today. “It will give our students an opportunity to look at how their identity and culture presents itself in their art. We are cognizant of ways we can come together and how our differences make us stronger,” Rudes explains. As part of the festival, the campus will welcome students from area elementary and middle schools to participate in a variety of workshops while also showcasing the extraordinary talent of its current student body. While the original mandates of each school differ, they share a number of similarities. According to Lisa Walker, executive director of the advisory board for BTWHSPVA, “There is a thread that runs through the 1922 Booker T. all the way through to 2022. There is a sense of strength, social justice, and of a maverick spirit that is a prevailing thread throughout the school,” she says, adding, “When you hear about alumni, you hear about their resiliency, courage, who they represent, and what they mean to Dallas.” Walker is spearheading an October homecoming to coincide with the anniversary of the school’s opening. “We want everyone there to be celebrated and celebrating,” she says. As the school shines a light on its century of innovation, creativity, and leadership, Walker suggests, “Let’s take a moment and look at this, Dallas.” P

Michelle Gibson with Booker T. dance conservatory students.; Actor Matthew Gandara, a theatre conservatory class of 2019 graduate.; From the music conservatory, Diego Parra performs in the Senior Showcase 2019. Photographs by Vonda Klimaszewski.; BTWHSPVA theatre students in Mamma Mia. Photograph by Fabian Carrillo.

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GREEN FAMILY ART FOUNDATION PRESENTS: CURATED BY CLARE MILLIKEN & BAILEY SUMMERS OPENING: FEB 12, 5-8PM ON VIEW: FEB 12 - MAY 22, 2022

FREE ADMISSION 150 MANUFACTURING ST, STE 214 DALLAS, TX 75207 (214) 274-5656 GREENFAMILYARTFOUNDATION.ORG

WOMEN OF NOW DIALOGUES OF MEMORY, PLACE & IDENTITY

Jenny Morgan Reclining Portrait of Simone Gabriel, 2022

David-Jeremiah in his Tin District studio with (The Coward) El Cobarde and select I Drive Thee. All 2021, mixed media, manila rope, spray paint and oil-based enamel on wood panel, 60 x 60 in.

STEP INTO THIS RING DAVID-JEREMIAH’S TUSSLE WITH THE INTENSITY OF RITUAL AND DISPLAY. BY BRANDON KENNEDY PHOTOGRAPHY BY LUIS MARTINEZ

few years ago I heard the rumblings of provocation from a few people who took part in an intimate— yet intense—performance by a relative newcomer to the Dallas art scene: David-Jeremiah. I had yet to see images or any work and, to be perfectly honest, from what I had heard, I had exactly zero interest in donning a Klan hood to enter a room to tattoo the same image on said artist I hadn’t even met yet. The duration of the performance was three weeks in 52

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a makeshift cell of the artist’s own device. Rather than focus on the visual component or the duration, I was mostly taken by the Black artist’s sincere attempt at actual dialogue with a traditionally white audience issued with zero apologies for the subject matter or his direct methodology. Soon thereafter I made a visit to David-Jeremiah’s house studio in West Dallas, near Ex Ovo, Sweet Pass Sculpture Park, and 500X. He had several bodies of work in process then and more plans

STUDIO for diverse conceptual projects in the future. On occasion I had difficulty finding resolution in the formal aspects of his conceptual practice, eventually realizing by his Things Done Changed exhibition in 2020, at the now-defunct The Public Trust, that he was pushing work out fast, with too many ideas at hand. A frenzy of intensity and dialogue was happening as intended, but he and the work needed to slow down and expand the room a bit. The exhibition was curated but presented almost as a group show, visually dense yet also conceptually complex, with charged subject matter as well. During the last few years, following his initial public offering, David-Jeremiah has had solo exhibitions at Halsey McKay Gallery in East Hampton, Von Ammon Co. in Washington DC, anonymous gallery in New York, and Janette Kennedy Gallery in Dallas. He was also awarded a Nasher Artist Grant in 2020 and has an upcoming Artist Rounds exhibition at Project Row Houses in Houston in late March. While happy to have and work hard for these opportunities, David-Jeremiah always reminds me that he “won’t be content until my first museum acquisition occurs in my hometown. Dallas is all I know.” For his inaugural exhibition, I Drive Thee, opening with Dallas’ Gallery 12.26, David-Jeremiah has refined his flow into a suite of eight bold tondos, each measuring five feet in diameter. Presented as a grouping in the front room, six of the series are rendered in a sticky red hue, mimicking pooled blood, with other corporeal signifiers mirrored in a rough symmetry. In the back gallery, a solo yellow and a black example idly laze just outside of the chaos and finality of the outcomes that initially greet the gallery visitor. When I sat down with the artist early this past December in his temporary industrial studio in West Dallas, he explained the gestation of this body of work as an investigation into the history and rituals of bullfighting. Focused on the three blood sport players— bull, matador, horse—David-Jeremiah pulls visual signifiers from each and layers them into eight newly condensed and visually rich compositions. While it can appear as if you’re simply peering into the crosssection of a major artery, the media and techniques that DavidJeremiah employs allow for a visual inventiveness and subtle discoveries by the viewer. Flowers, collarbones, and horns slowly emerge in outline or form, rendered in oil-based enamel and spray paint, manila rope, and sawdust. Clawing textures from forks evoke both the pawing threat of the horned beast and either animal’s potential final commute to the dinner plate. Surrounded by the victims of our need for bloodlust, ceremony, and entertainment, one may at least find some solace in the flowers that befall the victor at the close of the day’s event. Rather than rely on a simple stemmed bouquet, David-Jeremiah awards the skill, grace, strength, and artistry of the moment with the symmetrical, feminine lines of orchids, appearing in almost all the gored, expired beasts and the lone black example yet to enter the ring. All works share the same title as the exhibition, I Drive Thee, save for El Cobarde (The Coward), the lone yellowbelly that hangs in the back with the black rookie yet to see any action. These two disparate examples speak to color-coded markers of unbeknownst futures, rendering the emptiness within the amarillo hue as blissful ignorance and the complex matte, textured vortex of the darkest hue, holding only a single flower before his eventual call to the arena. Back in the former industrial carpet warehouse that functioned as David-Jeremiah’s second studio in West Dallas, the majority of the walls are hung with a series of works entitled Hood Niggas Camping, 2020-21. It is composed of 21 three-panel stacked forms (each panel resembling a car hood) to be installed in the round; David-Jeremiah insists that the viewer therefore perform the role of the campfire, a reverse panopticon of shadows and scale. Their overall scale averages nearly ten feet tall, every hood

design repeated in three standard sizes for 21 figural variations, each mounted flush with the wall and a foot off the ground. Their surfaces are gesturally clawed downward with black pigment and mixed mediums, creating looming figures that are somehow absurd yet also haunting as only a car-parts-attended campfire scenario could be, especially given the comical wordplay nudge in the work’s allusive title—humor used both to disarm and to question. According to the Dallas born-and-raised, self-taught artist these 21 “Hoods” are all actual Lamborghini-model hood outlines and their subsequent variations. The first series of seven are “bona fide, semi-abstract, factory” while the latter two sets are “segments, shapes, later models, aftermarket, and prototypes.” The Italian luxury car manufacturer’s logo is a bull, with models both named after celebrated animals and also taking formal cues from their bodies. David-Jeremiah was raised by his Italian grandmother which, he reasoned, quickened his adoption of the formal and language cues often referenced in his conceptual practice. A few evenings ago, I called the artist to fact check, clear up a few details, and inquire about a seductive yet thorny black-and-white photo of him I had seen online in which he is reclining in a cotton field, bared chest emblazoned with tattoos, a knowing swagger smile catching the rays of a setting sun. He assured me that he was just returning from his first trip to Marfa with his girl, and as he drove past a reminder of a former life, he pulled over and got out of the car to commemorate the moment with a casual, yet quite complex, loaded snapshot. I couldn’t tell if he was putting me on or not, but I believed both to be true. I decided to offer up in conversation The Story of Ferdinand, the biggest bull around, but also a gentle animal that wants to avoid conflict. Ferdinand smells the flowers all day until he is stung by a bee, is recruited to fight, and has to enter the ring. Nevertheless, he pays no mind to those wanting to provoke him in the arena and lies down in the center of the ring among the flowers thrown by adoring ladies. I ask David-Jeremiah if he is familiar with the children’s story, and he feigns little interest in a subject that basks idly by in lieu of achieving something significant. He didn’t have to remind me of his persistence and dedication to be collected institutionally in Dallas for me to think about it again just then as well, to which I thought to myself, “A Ferdinand he ain’t.” Bet. P

David-Jeremiah, I Drive Thee, 2021, mixed media, manila rope, spray paint, and oil-based enamel on wood panel, 60 x 60 in.

FEBRUARY / MARCH 2022

SHIP SHAPE Dallas-born Sally Horchow, a Tony Award–nominated producer, finds her stage. INTERVIEW BY CHRIS BYRNE

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PERFORMANCE

ally Horchow, the daughter of Roger Horchow (yes, that one—the late Horchow retailer-turnedBroadway-producer), followed in her father’s footsteps. She co-wrote The Art of Friendship: 70 Simple Rules for Making Connections (St. Martin’s Press, 2006) with her father prior to becoming a Tony Award–nominated Broadway producer herself. Chris Byrne catches Patron readers up here: Chris Byrne (CB): In 2010, you founded Sally Horchow International Productions (SHIP) to produce live entertainment—how did this come about? Sally Horchow (SH): After working as a freelance journalist and on-air personality for several years, I wanted to make a career shift back to the theater industry (in which I had worked for a year after college, before moving on to TV and film). My father was a two-time Tony-winning Broadway producer by that time (Craz y For You, Kiss Me Kate), and he had just been approached to co-produce the upcoming revival of ANNIE, which was the first musical my mom and dad had taken me to, in 1977, so I jumped on board to co-produce alongside him. I started my company then, in hopes that I would be able to continue to produce live entertainment thereafter, and I did! CB: Dan [Routman] recently invited me to see IS THIS A ROOM at the Lyceum Theatre on Broadway—it’s an incredible play... SH: IS THIS A ROOM was conceived by the brilliant director, Tina Satter, who stumbled upon the redacted transcript of Reality’s interrogation when reading a profile on her in New York Magazine in 2017. CB: Were you at all surprised by the critical reception? Jesse Green’s New York Times review asked “how does mind-numbing banality become heartracing excitement?” SH: No, I wasn’t surprised by the critical reception to IS THIS A ROOM, because I felt the same way the critics did—and the audiences did—when I first saw it at the the Vineyard Theatre off-Broadway: I was on the edge of my seat, rapt, in disbelief, for the full hour and five minute duration. It’s what I love about seeing any good play: it envelops you in its story, inspires conversation and connection with others, and stays with you way beyond your time in the theater. Jesse Green answers his own question in that same review, calling the play “one of the thrillingest thrillers ever to hit Broadway.” CB: Your theatrical productions IS THIS A ROOM and DANA H. were both included in this season’s New York Times top 10 plays... SH: In my opinion, the gorgeous Beaux-Arts-style Lyceum Theatre, with its long history as a classic playhouse, made the perfect framing device for both thoroughly modern shows. I think seeing two terrifying true stories in a very opulent, singularly Broadway (said with jazz hands!) setting made that juxtaposition all the more dramatic. CB: And in her review for New York Magazine, Helen Shaw wrote “... some small productions work best in the spaces where they were built. Moving a play from a little theater to a big one is risky—an intimate show’s magic can fail when you try to scale up in size. Not so with DANA H., though, the unlikely crown jewel in this bizarre Broadway season.” Can you describe its Broadway transfer from the Vineyard Theatre? SH: DANA H., in particular, played very well in the intimate setting of the much smaller Vineyard Theatre, but when presented in the Lyceum, its chillingly singular focus on one woman’s story and one actor’s performance was able to expand into every crevice of the vast theatre space. Even watching it

from the last row of the balcony was mesmerizing. The success of the transfer from small theatre to large proves that the play is excellent stage drama. CB: What upcoming projects can we look forward to? SH: My next project is the first revival of the Tony Award– winning Gershwin musical Craz y for You, which my father produced on Broadway and beyond in 1992. Quite a stark departure from these very intense plays, but a very welcome and uplifting one! And it couldn’t be more meaningful for me, as the original Craz y for You was such a highlight of my father’s and our family’s life. It is so exciting to bring this joyous show back to the world. We will premiere the production (headed up by multiple Tony Award–winning director/choreographer Susan Stroman, who won her first Tony for her Craz y for You choreography) at the Chichester Festival Theater in England this summer, with the hopes of a West End and Broadway transfer thereafter. P

Becca Blackwell, Will Cobbs, Pete Simpson, and Emily Davis in the 2021 Broadway production of IS THIS A ROOM. Photograph by Chad Batka.

FEBRUARY / MARCH 2022

New Artisan Spirits distillery.

The Symphonic Soul of Bourbon New Artisan Spirits opens a distillery with harmony.

“I

BY DIANA SPECHLER PHOTOGRAPHY BY JOHN SMITH

didn’t want to change the nature of the barrel,” says Robert del Grande, biochemist, James Beard Award-winning chef, and co-owner of New Artisan Spirits, the new craft distillery and tasting room off I-35 and Mockingbird. “I just wanted to tune it. This was about tuning the barrel.” He’s talking about making his new “botanical bourbon.” “It started with gin,” del Grande explains. He and his business partner, former Coca-Cola executive Don Short, started making Roxor Gin together a decade ago, long before they had their own distillery. “How do you score the gin?” del Grande asks rhetorically. “You say, ‘I want the piano here, I want the oboes to play over here…’.” He applied the same technique to the new bourbon. “I started adding harmonizers to the barrel,” he says. “Resonances. Soft, understated things. Rosehips, fenugreek.” The goal was to make a balanced bourbon with real, fresh botanicals, no one ingredient stealing the spotlight—a perfect symphony. The end result is this bourbon finished with twenty barks, roots, leaves, flowers, and nuts. “Even if you’re drinking it on the rocks and it’s diluting,” del Grande says, “it doesn’t fall apart. The ingredients stay harmonious.” “Real plants make better spirits,” Don Short tells me from across the bar at New Artisan Spirits, where I’m hanging with the whole family: Don; Don’s wife, Ann, who does New Artisan’s marketing; and their 27-year-old son, Will, who runs the tasting room. It’s a chic and dimly lit space that strikes me as the perfect date spot— spirits hand-crafted by a mad-scientist chef, an atmosphere that’s

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Roxor cofounders Don Short and chef Robert del Grande.

SPACE

somehow both sexy and cozy. Don Short loves plants. When he was young, he dreamed of becoming a horticulturist. “My mother and I rooted our own azaleas,” he tells me. “We had no money. But plants were my heritage. Even now I freak out around azaleas and dogwood trees.” He adds, “This company has a strategy. And it’s plants. I’ll give you a shot of bourbon. I’ll add a Ceylon cinnamon stick. I’ll say, ‘wait five minutes and you’ll have the best fireball kind of shot you’ve ever had.’ Because it’s real. No sugar added.” The bourbon (no cinnamon stick in mine) has a pleasing maple finish, even though it contains no maple. Del Grande attributes that illusion to the fenugreek, a plant used in first-century A.D. Rome to flavor wine. In small doses, del Grande explains, fenugreek tastes like maple; in heavy doses, it tastes like curry. The maple-flavored bourbon with no maple thrills him: “When I was a kid, I loved maple syrup. My favorite dish was pancakes.” It thrills him for another reason, too: “You see how much your imagination has to do with your sense of taste. Your brain is filling things in.” In addition to making plant-based spirits, del Grande fashions plant-based syrups. I’m sipping what Short calls a “classic gin and tonic with simple syrup”—carrot, mango, and habanero. Please don’t ask me how quickly I sucked that thing down. After an hour or so, I decide I’d like to submit my application to join the Short family. They’ve lived all over the world (Don speaks Japanese thanks to his time in Japan, where Will was born); they hang out talking about bourbon and Frank Lloyd Wright (their liquor bottles are designed in homage to his architecture) and the power of natural medicine (Don trained at the Academy of Traditional Chinese Medicine and is tight with Dr. Michael Murray who wrote The Encyclopedia of Natural Medicine); they spend their downtime in Aspen; and they have all the coolest Dallas friends, including celebrity chef Dean Fearing of Fearing’s; the guys over at Buda Juice, who give the Shorts their citrus peels to use as botanicals; and JM Rizzi, the Dallas-based artist Don met at a bar one night and commissioned to adorn New Artisan’s walls with minimalist wood “portraits” of his family. “I don’t even want to charge people half the time,” Don Short confides from across the bar once we’re a few drinks deep. “I’m just happy that someone would come in to see us.” To get back to music, here’s a coda: Ask Robert del Grande for

a playlist to accompany the new botanical bourbon and he goes straight to Beethoven’s string quartets. “Mellow and contemplative.” Then he pauses. “You know what?” he says. “Ask Don.” I ask. If you’re drinking with friends, Short instructs, go for Fort Worth native Leon Bridges’ latest album. If you’re at a deeply Texas, country-crowd kind of party, try Tyler musician Paul Cauthen, especially his song “Angel” from an album he wrote at the Belmont Hotel in Dallas. If the botanical bourbon is your nightcap at home? Break out your proper turntable and vinyl. Throw on some Chet Baker. “It’s not a hard rock bourbon,” del Grande says. But del Grande and Short are absolutely rock ‘n’ roll—innovating in the craft spirits space as a retirement job, distilling together on the weekends, foraging for botanicals all over the world. “I’m 67,” Short says, “and we’re still hitting it pretty hard.” P

Above, left to right and here: Robert del Grande and Don Short delight in the botanicals for their new bourbon.

FEBRUARY / MARCH 2022

The Body Abstracted

Our many ways of looking at Nairy Baghramian’s sculpture, which looks back at us. BY EVE HILL-AGNUS

Left: Nairy Baghramian, Sitzengebliebene / Stay Downers, 2017, polyurethane, lacquered aluminum, silicone. Installation view Walker Art Center, Minneapolis, 2017. Photograph by Timo Ohler. Opposite: 2022 Nasher Prize Laureate Nairy Baghramian. Still courtesy of Quin Mathews Films.

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o see the work of 2022 Nasher Prize Laureate Nairy Baghramian is to confront the physical body aslant—its weight, magnitude, absurdity, vulnerability. The Iranian-born artist, who is the sixth recipient to be awarded the title, which was announced last September, has spoken in interviews about the fact that her questioning of sculptural form after an involvement with dance and theater emerged at least in part from the crucible and devastation of an Iran which her family fled in the 1970s, at a time when its leaders had rejected representational art. It is as though the artist deliberately took up sculpture to fill the void, choosing the most tangible, voluminous of practices. Thus, her solidity could be seen as arising from a place of non-culture, of absent or disallowed art forms. Her work over more than two decades has consistently interrogated bodies, shape, and intentional play. Large-scale or human-scale forms, made primarily in her studio and foundry in Berlin, the city where she has lived and worked since 1984, lead one through a primer, a course in questioning the relationship between things that possess volume, mass, weight, texture. A polyglot, she has said of sculpture-making, “I chose that language because I could transform my ideas, my desires, my wishes … I could formulate them with sculpture, and I think it’s a language I speak the best compared to all of them.” To fulfill that desire, she uses a syntax wholly her own, rife with contradictions and yet simple. “It challenges you on an eye level,” she says. Propped, draped, and strewn in spaces, her works are cut, stitched, cast, and molded into a non-hierarchical plasticity using diverse materials: silicon, resins, polyurethane, aluminum, rubber, blown glass, wire. In her work Maintainers (H), created in 2019, a gathering of rectangular panels in cast aluminum, cork, Styrofoam, and wax appears like tombstones or cushions, pneumatic and almost fleshy. Meanwhile,

FEBRUARY / MARCH 2022

Nairy Baghramian, Misfits, 2021, varnished cast aluminum, walnut wood from Danh Vo’s McNamara project, marble, C-print in artist frame. Installation view of Misfits at Marian Goodman Gallery Paris, 2021. Photograph by Rebecca Fanuele.

Nairy Baghramian, Maintainers (H), 2019, cast aluminum, painted aluminum, cork, Styrofoam, pigmented paraffin wax, 92.53 x 161.4 x 110.35 in. Photograph by Cathy Carver.

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Nairy Baghramian Installation view of Work desk for an Ambassador's Wife, Marian Goodman Gallery NY, 2019.

titles themselves lean anthropomorphic, or anatomical, or suggestive of human action: Coude à Coude/Elbow to Elbow (2019); Misfits (2021); and Fluffing the Pillows (2013). We’re faced with prosthetics and quasi-surrogates that hold bodily presence. In a deft sleight-of-hand, shapes seem organic though made of hard, inflexible, inorganic substances. They loll and lie and teeter and bulge and seem almost to breathe. They fill spaces by slouching. They slither around corners with amorphous corporeality. They bracket and skulk and hunker and dangle—in ways humorous and at times unnerving, close as they are to the uncanny. It’s a minimalist anthropomorphism that makes you question. You find bodily conjuring if not mimicking. As part of a solo exhibit under the skylights of the Staatliche Kunsthalle Baden-Baden in 2008, a cadre of angular forms in epoxy resin, metal, and rubber stood like Brancusi-esque pieces or tethered Calder mobiles, like lights or lampposts. The installation is cleverly titled Class Reunion. The vaguely corporified forms push the edges of abstraction and verisimilitude, the body (absent) at the center of it all. In this, and in other works, Baghramian betrays her interest in design, inhabiting the borderlands of architecture, sculptural form, and objectmaking. In Formage de tête exhibited in 2011 at the 54th Venice Biennale, neutral off-white, brown, and black silicon flaps flop on trestles. The mass looks like skins or pelts. It drips… No, it’s solid. Meanwhile, the mute cloth, pleather, rope, and rubber bolsters slung on the floor (Fluffing the Pillows) remind me of moles without eyes. “Sculpture has so many layers and components. It’s a very complex medium,” Baghramian has said. “It looks static—it seems to be quiet and static—but it’s always moving.” Seen as a whole, singly or as a collection, the work tugs at you. What are you looking at? And why does it nudge the softest parts of you? Why, as a viewer, do you feel turned inside out? This is its power. The oeuvre creates an impression

Nairy Baghramian, Coude à Coude/Elbow to Elbow, 2019, cast aluminum, wax 84.69 x 57.5 x 3.125 in. Photograph by shift studio Berlin.

FEBRUARY / MARCH 2022

Nairy Baghramian, Fluffing the Pillows D (Silos, Gurney), 2013, fabric, rubber, pleather, hemp rope, chromed pole, Silo 1/2: 15.75 x 32.69 x 120.125 in.; Silo 2/2: 15 x 106.31 x 13.75 in.; Gurney: 3.125 x 92.5 x 23.62 in. Photograph by Timo Ohler; Nairy Baghramian, Klassentreffen/Class Reunion, 2008, colored cast rubber, painted metal, colored epoxy resin. Installation view Staatliche Kunsthalle BadenBaden, 2008. Photograph by Wolfgang Günzel.; Nairy Baghramian, Formage de tête, silicon, steel, lacquer, aluminum, silicone, stainless steel, lacquer, cast iron. Installation view, Venice Biennale, 2011, Italy.

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of what one critic and writer has called “corporeal bewilderment.” Sometimes quite literally. On a hill above the Clark Art Institute in Williamstown, Massachusetts, the site-specific Knee and Elbow (2020), one of Baghramian’s most recent works, resembles quotation marks— large, pockmarked marble squiggles set in a field like a Stonehenge of massive joints, looming and yet whimsical. They should move us to consider, evince, and empathize with phantom pain, Baghramian has said about the piece. Always, the interactions ask us to humanize. How the laureate’s work strikes in this age, in this particular moment in time, when the disconnect between the physical/corporeal and the digital/virtual has particular resonance, cannot be denied. Baghramian asks us to shift our stance, adjust our pose. To engage on the most visceral, corporeal level. Her pieces themselves take on different stances

and positions, their materiality balanced but never fully resolved. In this, we are drawn into different levels of looking. In more ways than one, then, Baghramian’s work gives new meaning and gravity to the terms “body of work” and “site” and asks us to interrogate the somatic. “It needs to be seen from different perspectives,” Baghramian says of sculpture. “And it even looks back at you from different corners” of a space or a room. The viewer encounters sculpture with a gaze that seeks to plumb and yet is always resisted, drawn, and deflected. Deeply intuitive but defying our grasping, the shapes themselves open up new possibilities of meaning. The oeuvre creates gaps and parentheses of rich and subtle slippage. In the context of interior and exterior spaces, it opens up. In that gap we slide ourselves and our questioning. P

Nairy Baghramian, Knee and Elbow, 2020, marble, cast stainless steel, Elbow: 61.4 x 75.59 x 27.56 in.; Knee: 61.4 x 107.47 x 27.94 in. Photograph by Thomas Clark.

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Art Rosenbaum, My Mind Will Never be ’Aisy. Courtesy of Tif Sigfrids.

ART SOULS OF THE SOUTH

This April, three Dallas Art Fair exhibitors to bring shining examples from their artist roster. BY TERRI PROVENCAL

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Image captions.

Above: Roscoe Hall, Knew it was Real, 2021, acrylic, paper, pastels, and Benny Green, 60 x 48 in. Courtesy of Scott Miller Projects. Below: Austin Eddy, Autumn Song., 2021, oil, Flashe, paper on canvas, 46 x 28 in. Courtesy of SOCO Gallery.

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Clockwise from left: Roscoe Hall, Uncle Johnny (Circa 1991), 2021, acrylic, denim, rayon, ink, pastel, tears, and touch, 72 x 60 in.; Roscoe Hall, Jerusalem Heights, 2021, acrylic, pastels, charcoal, spray, new Drake album, orange wine, and indica, 60 x 72 in.; Roscoe Hall, Alabama Blackbelt, 2021 acrylic, ink, charcoal, and love, 48 x 60 in.; Roscoe Hall, Morality Check, 2021, acrylic, ink, charcoal, pastels, brandy’s newsiest album, German beer, and sativa, 48 x 60 in. All Courtesy of Scott Miller Projects.

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Scott Miller Projects, Birmingham, Alabama While it’s a very new gallery, Scott Miller Projects is already making its second appearance at the Dallas Art Fair; with 2021’s delayeduntil-November iteration barely in the rearview mirror, Miller is back for 2022. His booth will focus on a sole artist: Birmingham’s own Roscoe Hall, whose large-scale paintings mesmerized viewers in 2021. Look for seven to ten new works this time, (no returning pieces, since they all sold last year) and expect to be knocked out. Last November, Hall’s enormous triptych of Black inmates behind bars, End How You Start, (2021, acrylic, pastel, ink, paper towels, hybrid sativa and indica, Hennessy, and Anita Baker) was a fairgoer magnet. “People came to the booth specifically to see that painting,” Scott Miller recalls, “and they’d stand in front of it for 20 minutes or so. It’s a powerful painting that spoke to a lot of people in many different ways; the face of each prisoner tells a different story…it’s what I think is amazing about the way Roscoe paints.” Although he’s newly minted as a gallerist, Miller has a long history in the art world. For the past 30 years his love of art has cast him as a collector, a tour guide for collectors and students on artrelated trips, and a consultant who’s helped place works in private and public collections. “It’s just out of a passion and a love for the art,” he admits, “and at 52 years old I decided if I don’t do it now, I’ll never follow that dream, so I opened the gallery in June of 2021.” Miller learned of Roscoe Hall’s art just as he was deciding to open

Scott Miller Projects. Hall’s inaugural exhibition with the gallery, Jerusalem Heights, involved large-scale autobiographically based paintings: Hall’s grandfather, Uncle Johnny, his neighborhood, friends, and more. His work’s been described as equal parts German neo-expressionism, graffiti, and folk art, but with his undergrad in photography and an MA in art history, he’s nobody’s naïf. Hall, also a renowned chef, grew up in the restaurant biz, working at his grandfather’s legendary Dreamland Bar-B-Que in Tuscaloosa. It’s no wonder that his paintings’ highly textured surfaces are chunked with media, including paper towels—a nod to his barbeque upbringing. And it could well be the chef in him that includes miscellaneous creative “ingredients” in his lists of mediums—Hennessy, sativa, “brandy’s newsiest album” and “lots of love” get cited, right alongside “acrylic, ink, charcoal, pastels.” It’s all in there. Takeaways from Miller’s Dallas Art Fair 2021 experience? “It was interesting being on the other side of the table, because for the last 30 years I’ve been going to fairs all over the world as a collector,” he says. “What was great about Dallas is that we were able to really engage with the collectors that we met, and we had lots of time to sit down with them, learn about their collections, and talk about the artists that we brought—Roscoe Hall, Deborah Brown, and Merrick Adams. We were able to place all of those artists in collections, which was really nice.”

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SOCO Gallery, Charlotte, North Carolina A first-timer to the Dallas Art Fair, Charlotte’s SOCO Gallery is showing four artists at their booth, culled from their roster of 23. Gallery director Hilary Burt and owner Chandra Johnson aren’t strangers to the fair, but 2022 seemed like a great time to finally bring their program to the party. SOCO recently exhibited at the Armory Show and at NADA, Miami, and Burt’s perspective is telling. “The Dallas Art Fair really feels personable,” she says. “NADA and Armory are completely different too, but Dallas was totally different when I visited last November. It felt less crazy and harried, more personal; you could have great conversations as you were walking around, and there was an excitement about the fair being back too, which was wonderful.” SOCO Gallery is seven years old, and from the get-go its mission has been uniquely welcoming. Located in a renovated 1920s bungalow, it also houses its own bookshop, a coffee shop, and a men’s shop—a great place to get lost. “We really pride ourselves on giving more of an accessible, less-exclusive view into the art market,” Burt says. “It gives people a relaxed feeling, where you’re not walking into a white cube where no one’s going to talk to you about the art or answer your questions…we really want to make people feel comfortable when they walk in, and we’ve been quite successful in that.” They specialize in contemporary work from mid-career and emerging artists, with a program of six or seven, usually solo, exhibitions annually. Recently the gallery opened an adjacent space, SOCO Annex, which is more experimental in nature—“more performative, more digital, more

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socio- and politically driven art,” Burt adds. One of the SOCO artists on the bill is Summer Wheat, a New York–based mid-career artist who’s well known to Dallas collectors and to the Dallas Museum of Art, which has her large-scale painting Bread Winners (2017) in its permanent collection. Wheat’s practice involves painting, sculpture, drawing, and installation; expect one or two of her works, including Pulling Tongue of Snake (2019), a mosaic pebble seat fashioned from fiberglass, stone, and grout. Her recent acrylic-on-aluminum mesh paintings involve her proprietary technique of “pushing” the paint through the mesh, creating a tapestry-like texture that begs viewer engagement. “They look almost like textiles,” Burt offers. “It’s crazy, it’s amazing.” SOCO artist Jackie Milad will also be on view at the booth. The Baltimore-based artist’s large-scale Falla (2021, mixed media on hand-dyed canvas collage) is a great introduction to her work. A child of immigrants, (father Egyptian, mother Honduran), her art acknowledges iconography from both cultures. “Her pieces are collages, but they’re deep, there’s a lot of different layers to them, much like the graffiti that she’s seen in Cairo,” Burt explains. “The buildings, the mosque built on top of a temple, and a church that’s on top of the mosque—decaying and showing all these different layers—that’s what her work is based on. Her textile pieces are quite thick.” Look too for abstract works from Austin Eddy and Halsey Hathaway, both New York–based.

Opposite page: Summer Wheat, Pulling Tongue of Snake (2019), fiberglass, stone, grout, 18 x 30 x 26 in.; Jackie Milad, Falla, 2021, mixed-media on hand-dyed canvas collage, 69 x 74.5 in.; This page top: Summer Wheat, Outpouring, 2020, acrylic on aluminum mesh, 47 x 68 in.; Below from left: Halsey Hathaway, Untitled, 2020 acrylic on canvas, 45 x 30 in.; Jackie Milad, Openings in the Walls (second iteration), 2020, mixed media on hand-dyed canvas, 72 x 68 in. All courtesy of SOCO Gallery.

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This page top: Art Rosenbaum, Painting Fire, 1993, oil on linen, 80.75 x 106.25 in.; Below from left: Art Rosenbaum, A Man Has Been Here a Long Time, Dilmus Hall, Artist, 1986, oil on linen, 88 x 64 in.; Gracie DeVito, NY Protagonist, 2021, oil on canvas, 84 x 84 in.; Opposite: Adrianne Rubenstein, Little Trees, oil on panel. All courtesy of Tif Sigfrids.

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Tif Sigfrids, Athens, Georgia Tif Sigfrids has a long history in the gallery world, much of it in Los Angeles. Before she ran her own eponymous gallery in Hollywood from 2013 to 2017, she’d cut her teeth as director of LA’s Thomas Solomon Gallery, starting in 2010. But Sigfrids also has a long history, or love affair, with Athens, Georgia. “I’d spent time in Athens as a teenager, and it had always been this place, in my imagination, that would be nice to live in some day, and I’d come back and visit,” she says. “It has a really rich music scene, and as a teen I was really into music—still am—but that was part of my attraction to the place. But coming back there after LA was a really big leap, I have to say…” She made the big leap to Athens in 2018, opening Tif Sigfrids in June of that year. Although she’s attended Dallas Art Fair previously, in her director’s role, 2022 marks her first visit as an owner/gallerist, and she’s psyched. “I’d been meaning to do the Dallas Art Fair for years,” she says. “I’m super excited to do it because I’ve spent a lot of time in Dallas, and I have several relationships with people there. Dallas is this incredible place for collectors, I think—there’s some really serious, impressive collections there.” When Sigfrids made the move to Athens she brought along her same roster of artists, but she also added some from the Athens area. One local artist she’s worked extensively with is Art Rosenbaum, whom she plans to show this April. Rosenbaum is an Athens art legend, having taught for decades in the University of Georgia’s art

department there; he’s also a Grammy-winning musical folklorist and documentarian, and something of a bridge between the city’s visual arts and musical worlds. Sigfrids will also be bringing works by New York–based gallery artist Adrianne Rubenstein, a painter whose expressionist-leaning works are representationally grounded, often depicting everyday objects, sometimes mined from childhood memories. Paintings by LA-based gallery artist Gracie DeVito will also be on view. Sigfrids plans to show DeVito’s recent large-scale paintings, which blur the line between abstraction and figuration. The artist may already be familiar to fairgoers; local gallery 12.26 presented her at the fair in 2019. For this inaugural showing at the Dallas Art Fair, Tif Sigfrids will be sharing a booth with March, a new New York–based “curatorial platform and gallery” that’s the brainchild of founder Phillip March Jones. A colleague of Sigfrids, Jones himself has deep roots in the South—Kentucky specifically—and he’s the founder/director of Institute 193, Lexington’s acclaimed nonprofit contemporary art space. “Phillip is thinking about bringing drawings by Thornton Dial,” Sigfrids says, “because he’s just establishing his gallery and program in New York; there’s a lot of artists that he’s worked with over the years…he’s still developing his program, so to speak.” Look too for paintings by gallery artist Claudia Keep, originally from Virginia, whose scene-based works elevate the quotidian to the extraordinary. P

FEBRUARY / MARCH 2022

The Finish Line As children they raced, as adults they collaborated on a beautiful pied-à-terre. BY PEGGY LEVINSON PHOTOGRAPHY BY STEPHEN KARLISCH

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This page: An exceptional work by Bosco Sodi hangs over a Qing dynasty console from George Cameron Nash. Beneath, an ottoman by J. Robert Scott and custom Perennials Ombré Rug. Opposite: Falling Stars sconce by Stefan Gulassa for Holly Hunt. Oil on canvas by James Austin Murray. A Seguso Murano mirror hangs above the XY Bench by Holly Hunt Studio. Beneath, the woven rug is by Holland & Sherry.; Falling Stars sconce above a floating console in Pietra Grey marble.

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hey have been friends since childhood, raced on the same track team, and now Graciela and Dieter Lorenzen chose to enlist their childhood friend, a world-class interior designer, to create a pied-à-terre aerie in one of Dallas’ most prestigious high rises. The couple is from the same close-knit upscale community of San Pedro Garza Garcia in Monterrey, Mexico as their good friend Gonzalo Bueno, principal of Ten Plus Three, and they called on him to design a home to their exact and exacting demands, certain his design knowledge and own level of exactitude would perfectly fulfill their needs. “They wanted only the best. We sourced the finest furniture, fabrics, and accessories; great design means the world to them,” says Bueno. “They had also worked with my partner Mauricio Lobeira at Treceavo Plano in Monterrey and knew the quality of our work.” The Lorenzens purchased a construction shell in the Residences at the Stoneleigh on Maple Avenue in Uptown Dallas. “We decided to buy at the Stoneleigh because we were able to buy the shell only, with no walls or divisions, so that we could have an apartment

Custom sectional designed by Ten Plus Three in Coraggio silk mohair. Wool drapery by Holly Hunt with sheers by Dedar. Grass cloth is from Phillip Jeffries. Cocktail table and trays are by Holly Hunt Studio. Custom Perennials Ombré Rug.

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designed to measure according to our specific needs,” says Dieter. “One of our passions is collecting art from our travels, and we wanted the condo to perfectly accompany this art.” Describing the scope of the project Bueno says, “We designed and placed every wall, decided on every plug and every light to create a perfect background for the couple’s fine art and furniture. Their only request was to make it cozy and elegant.” To that end he says, “We used a monochromatic palette in elephant shades that would enhance and cocoon the interiors.” The clients’ first decision was to make the kitchen the center of the condo. Bueno offers, “Cooking is one of the passions shared by their family of three sons (one recently married) that live in Monterrey and California. Another shared p assion is watching the Dallas Cowboys— to that end they purchased the largest TV they could find, and we made the living room and open kitchen into a TV room.” The Eggersmann kitchen system in ebonized oak and bronze mirror cabinets blends perfectly with the elegant living room furniture. The dining area with a Tornasole dining table from Promemoria and custom chairs designed by Ten Plus Three provide a

Eggersmann kitchen system in ebonized oak and bronze mirror cabinets and island, Monopoint pendants, and countertops in Carbono quartzite with Gaggenau appliances. Promemoria dining table with chairs by Ten Plus Three. Custom Perennials Ombré Rug. Seguso custom chandelier with artwork by Florian Schmidt

Custom Steinway Macassar ebony piano with Christian Liaigre chairs and table at David Sutherland; rug from Abrash.

FEBRUARY / MARCH 2022

Artwork by Cecil Touchon with an antique Asian desk and a J. Robert Scott swivel chair.

seamless transition from kitchen to living room. Seguso, from Venice, made the custom Murano glass chandelier. A painting by the Austrian artist Florian Schmidt, who creates highly sculptural paintings using fundamental geometric shapes as building blocks, hangs in front of shirred wool drapery that creates another layer of art. Upon entering the condo, you are enveloped in an intimate atmosphere created by floor-to-ceiling walnut panels. A custom Murano glass mirror reflects the wall across with its arrangement of low-lit Falling Stars sconces in three sizes, which create a golden glow like hot lava. For the reflective black oil painting artist James Austin Murray used only ivory black paint in large, layered brushstrokes; Murray’s paintings are all about light and its relationship to the viewer. The entry opens to a painting of horses by Ashley Collins, a highly regarded artist who uses images of horses as symbols of her own, having emerged from early childhood poverty and homelessness. These images are painted on layers of dictionary pages, creating a textural, collage-like effect.

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Bueno’s signature is to create walls that are not meant to just be the frame around the room. Rather, they are an integral part of the overall design, whether they are covered with walnut panels or wrapped in suede, as in the bedroom. Walls and floor are layered in textures, creating a tactile effect. In this way, the grand scale of the living room becomes intimate and inviting with layers of textured grass cloth on the walls and shirred wool drapery that covers and connects the sheerscovered windows. The effect is sumptuous warmth. A custom sectional large enough for the family is in silk mohair velvet and surrounds a square leather-and-Bahia grass cocktail table. The Lorenzen children enjoy playing the Steinway Macassar ebony piano, and two Christian Liaigre love seats create an intimate listening space. Another distinct setting is created with a highly ornate antique Asian desk and modern leather-covered swivel chair. The painting is by Santa Fe artist Cecil Touchon, whose paintings are abstractions based on typography; he transforms verbal language into a form

Clockwise from top left: Custom bed and nightstands by Holly Hunt with Innovations wallcovering and bench through George Cameron Nash; Phillip Jeffries wallcovering with dark walnut vanities; Innovations wallcovering with custom dresser by Ten Plus Three. Bright desk chair in Holly Hunt leather; J. Robert Scott chairs and Marc Phillips rug. Custom bar system is by Eggersmann.

FEBRUARY / MARCH 2022

of visual architecture through collage techniques. Touchon speaks of “liberating words from being practical delivering a message into existing purely for their sake as shapes and curves.” One of the family’s favorite seating areas is the bar next to the living room. In it, Bueno incorporated an integrated bar system from Eggersmann in the same ebonized oak as in the kitchen. The swivel bar chairs are from J. Robert Scott and the pendant is from Monopoint. The wraparound terrace provides clear views of the Uptown area and has a table and chairs and outdoor seating from Holly Hunt. The restful, monochromatic color scheme is extended into the primary suite with suede wall covering, wood-and-stone bedside tables, and a cozy writing area with a custom dresser designed by Ten Plus Three. From the living room seating area the eye is drawn to an intense black lava-like painting. The heavy texture and infinite blackness seem to capture the light. This painting is by Mexican artist Bosco Sodi, whose work may also be seen in an exhibition entitled La Fuerza del destino at the Dallas Museum of Art. Sodi creates his spherical and rectangular sculptures from clay sourced at this studio in Oaxaca. The clay is dried in the sun and fired in a brick kiln, which shows a natural connection between the artist and his work. “This and the rest of the inspiring art collection mixed in with all the bespoke pieces has created a one-of-a-kind, timeless home,” enthuses Bueno. P

Holly Hunt dining table and chairs.

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Holly Hunt sofa with Cachalot cocktail table and rug from Truett Fine Carpets & Rugs.

FEBRUARY / MARCH 2022

Spring Shifts in a Freeze Frame PHOTOGRAPHY BY LUIS MARTINEZ ELAINE RAFFEL, CREATIVE DIRECTION, RENEE RHYNER AND CO.

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This page: Alberta Ferretti dress, The Conservatory, Highland Park Village; Nan Fusco rose-gold and diamond earring, Carefully Curated Luxury. Opposite: Carolina Herrera dress, Carolina Herrera, Highland Park Village; Deepa by Deepa Gurnani earring, Tootsies, Plaza at Preston Center; Lisa Martensen, hair/makeup, Kim Dawson Agency; Missie Allen, assistant stylist; Renee Rhyner and Co., Mikayla Rogers, model, Kim Dawson Agency.

FEBRUARY / MARCH 2022

Camilla jumpsuit and fringed kimono, Camilla, NorthPark Center; Nan Fusco mismatched petal diamond and rose-gold earring, Carefully Curated Luxury.

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Halston dress, Elements, Lovers Lane; Fiori Strass ring, Carla Martinengo, Plaza at Preston Center.

FEBRUARY / MARCH 2022

Giambattista Valli floral dress, Carla Martinengo, Plaza at Preston Center.

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Akris St. Gallen Sky Print silk caftan gown, Akris, Highland Park Village; pearl icon hoop earring, Carolina Herrera, Highland Park Village.

FEBRUARY / MARCH 2022

Dolce & Gabbana Eco Fur fringe holograph coat and padded nylon boots with rhinestones. Dolce & Gabbana, NorthPark Center.

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Badgley Mischka one-shoulder fringed cocktail dress, Tootsies, Plaza at Preston Center; Nan Fusco sterling silver cuffs with diamonds and emeralds, Carefully Curated Luxury.

FEBRUARY / MARCH 2022

HOUSE ARREST

Wes Gordon pays homage to the venerated 40-year-old roots of Carolina Herrera in a delightful reimagining. BY TERRI PROVENCAL

Carolina Herrera creative director Wes Gordon. Courtesy of Carolina Herrera.

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ATELIER

ou couldn’t miss it on the runway—flowers and big, bold sequins adding the oomph every woman yearned for these past two dark years, hard-to-choose-from styles for spring 2022. The dressed-up collection celebrates the 40th anniversary year of Carolina Herrera (marked in 2021) and the story continues with a young fashion designer based in New York, where the house was founded. Creative director Wes Gordon is so guilelessly handsome at six-three that upon first glance, you immediately want to get to know him. And that smile—well, let’s just say we were enraptured by his appearance at TWO x TWO for AIDS and Art last fall, which he attended with his husband, the notable glass artist Paul Arnhold. Even better, he loves Texas women. “There’s something about Texas,” Gordon says. “It’s very aligned with my design philosophies at Herrera. Creating clothes that turn every moment into a celebration and dressing up. Dressing as if life is a party, and bright, bold color, fun, exuberance.” He adds, “At Herrera, we are very opposed to boring basic clothes, and I think there are few places in the country that better embody that same belief than Texas.” Gordon, who took helm of the haute label in 2018, describes the spring collection as “very much in keeping with the brand’s foundation of prints, but doing it in kind of a renewed, vivacious, bold way that is very modern and of the moment.” Good-natured yet decided, he is unswerving in his ethos. “I am designing for that woman who is in hot pink when everyone else is in grey or black. You know the woman. She is not looking to disappear into a sea of other people but is looking to be unforgettable and is unforgettable.” To that end, is there anything more memorable than sequins, which are prevalent in this collection? Not according to Gordon, who is certainly not afraid to use them. “Sometimes it’s a larger scale payette and sometimes it is kind of this micro-sequin all over. But you know the common thread amongst all these different techniques is the light quality, and the shine, and the iridescence, turning the dress and the woman into a star, into metal, into just this completely reflective, bright, light-catching surface.” Marking four decades of fashion he recalls, “You know this brand was started in 1981, right at the heights of one of America’s most glamorous fashion periods, and that’s very much in our DNA. The spirit of glamour, elegance, sparkle, and shine. So, it’s been something that I try to weave into our narrative every season.” Of the roomful of impeccably dressed women at TWO x TWO, including hostess Cindy Rachofsky and presenting sponsor Nancy C. Rogers, he remarks, “They dress with exuberance and enthusiasm. There’s a joyfulness that is just so fun for anyone who’s a fashionista. I think that’s a reason designers love going to Texas: It is that Texan women not only love and appreciate fashion, but they live their lives in it.” Enthusiastic about his time last fall at The Rachofsky House, where TWO x TWO takes place annually, he commits to returning. “The entirety of the event—the house tours, the dinners, everything. My husband and I had the greatest possible time, and we will definitely be back.” P Runway looks from the Spring/Summer 2022 Carolina Herrera collection. Courtesy of Carolina Herrera. Right: Lipstick red is a long-lasting signature of Carolina Herrera. Courtesy of Carolina Herrera. Photograph by Kevin Tachman.

FEBRUARY / MARCH 2022

MORSEL

Italian American Food and the Art of Longing CARBONE COMES TO DALLAS. PREPARE TO FEEL STRANGELY HOMESICK. BY DIANA SPECHLER

Chef Mario Carbone. Photograph courtesy of Carbone.

Carbone Meatballs. Photograph courtesy of Carbone.

Carbone Spicy Rigatoni. Photograph courtesy of Carbone.

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hef Mario Carbone wants to make you nostalgic—hence the creation of his eponymous restaurant, an homage to New York’s old southern Italian immigrant neighborhoods: “Witness the woolly mammoth that was mid-century Italian American.” He’s talking about Carbone. He’s also talking about his great-grandparents, who left Italy for New World opportunities; and his grandparents, who instilled a love of cooking in him; and his parents, who raised him in Queens. He’s talking about a generations-long assimilation story that, like many assimilation stories, juxtaposes pride and loss. “Southern Italians came to this country for opportunities,” Carbone says. “And it worked. My grandparents spoke broken English. My parents were first generation. Italians assimilated. They’re American now. But this Italian American thing is dying. Nostalgia is absolutely essential.” After spending the last nine years opening his Michelin-starred restaurant, under the umbrella of Major Food Group, in Manhattan, Miami, Las Vegas, and Hong Kong, the 42-year-old chef is setting up shop in Dallas’ Design District. Now you, too, can bear witness to those bygone Italian American kitchens, where espresso was served with lemon peel and “dry pasta was life.” (Fresh pasta was the domain of wealthy northern Italians.) “I’m not interested in innovation,” Carbone says. “We make food southern Italians made in the ’40s, ’50s and ’60s in New York. We’re doing a period piece. We set the stage. When you step in, you’re an extra.” If one’s goal is culinary theater, one may as well appoint Ken Fulk to the role of set designer. A full-blown rock star in the interior-design world, and a master of color combinations and over-the-top décor, Fulk embodies the southern Italian ethos of “abbondanza” (abundance). “Ken would dip you in gold,” Carbone says. Opulent touches, including porcelain statues from the 300-year-old Ginori 1735 in Italy, lend the space a classic elegance. But while a theatrical “period piece” engages the eyes and ears, Carbone offers a full sensory experience: Smell garlic simmering in butter, hear Frank Sinatra and young Tony Bennett piped through the speakers, let servers sporting burgundy tuxedoes equip you with oversized menus and wine lists. Traditional antipasti, simple pasta recipes, and earthy Chiantis meet a few dishes that bend the rules of period purism. Consider the meatball. At least, consider the “softball-sized” concoctions that red-sauce eateries sling in New York and Chicago that are not, in fact, an Old World staple. “In southern Italy,” Carbone says, “people had no money, no land. Meat was expensive.” Southern Italians might have occasionally enjoyed “pingpong ball-sized” polpettini, but when they arrived in America, they found that cattle was plentiful, meat inexpensive. The new landscape and its resources spawned the recipe we know today—ample portions of ground beef, breadcrumbs, spices. At Carbone, however, milk-soaked bread (called panade) replaces breadcrumbs. In terms of size, Carbone meatballs lie somewhere between polpettini and the standard Italian American restaurant version. “Baseballs,” Carbone says, “not softballs.” To the layman, Carbone meatballs look and taste like any delicious red-sauceItalian restaurant version—a successful assimilation. Without asking the right questions, you’d never know the meatball’s history, how it grew, how it adapted. If to assimilate is to romanticize an imagined future, to wax nostalgic is to romanticize the past—a past that, sometimes, is also imagined: We dance to music written before we were born. We choke up over a lover’s old photo album. There’s a word for the feeling, coined by John Koenig in his book, The Dictionary of Obscure Sorrows: “anemonia”—nostalgia for a time you’ve never known. “You didn’t grow up the way I did,” Carbone says, “but you can step foot into that exact moment. This is my nostalgia, my upbringing. I’m giving this experience to people who didn’t have it.” P

Tramaine Townsend. Photograph by Explordinary.

THERE 2021 DALLAS ART FAIR CHAMPAGNE SOIREE AT FASHION INDUSTRY GALLERY PHOTOGRAPHY BY EXPLOREDINARY

Artist SWOON with her piece “The House Our Families Built”

Nancy Whitenack

Brandon Kennedy

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Karen G Cowden, John Reoch, Marlene Sughrue, John Sughrue

Darryl Ratcliff, Chelsi Blackmon

Adrian Zuñiga, Ree Willaford, Jason Willaford

Kelly Cornell, Sarah Blagden

Dylan Vandenhoeck

Cris Worley, Augustín Arteaga

Alden Pinnell, and guest

Jessie Alexandra Moncrief, Paul Winker

Jay Wilkinson and Peyton Rhodes

Tony Green

Alexa Burzinski and Bianca Clark

Neil Raitt, Zeke Williams, Francisco Moreno

Charlie Caulkins, Hannah Fagadau

Jennifer Klos, Earlina Green

Morgan Thaxton, Margo Tate

FEBRUARY / MARCH 2022

THERE ARBITERS OF LIVING WITH GONZALO BUENO AND MAURICIO LOBEIRA AT ABITARE18 PHOTOGRAPHY BY BRADLEY LINTON

David Cadwallader, guest

Mauricio Lobeira, Gonzalo Bueno, David Levy, Alberto Levy

Ashley Leftwich, Sarah English

Botond Laszlo

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Nesrin Onur, Jeanne Milligan

Gabriela Valdés, Carla Sanchez

Melissa Keathley, Dale Stevens

Jen Mauldin, Bryan Yates

Abitare18 Arbiters of Living Panel featuring Gonzalo Bueno and Mauricio Lobeira

CULTURED CONVERSATIONS CULINARY & DESIGN PANEL WITH DEAN FEARING, NUNZIO DESANTIS, AND DIANA SPECHLER AT ORNARE PHOTOGRAPHY BY BRUNO

Lloyd Princeton

Mollie O'Neal, Alec Marshi, Sheila DeSantis

Glenn Bonick, Peggy Levinson

Diana Spechler, Dean Fearing, Nunzio DeSantis

Priscilla Esparza

Olavo Faria, Fernanda Faria, Linh Tran

Christina Straughan

Ed Pascoe, Connie Sigel

Emily DeSantis, Mary Dorn, Scott Dorn

FEBRUARY / MARCH 2022

FURTHERMORE

OCTAVIO MEDELLÍN GETS HIS DUE A Dallas Museum of Art retrospective sheds light on the work of a teaching artist. BY NANCY COHEN ISRAEL

long-overdue retrospective, Octavio Medellín: Spirit and Form, recently opened at the Dallas Museum of Art. Medellín was part of the midcentury vanguard while his work was shaped by history and his teaching influenced generations of contemporary artists. Escaping the Mexican revolution, Medellín and his family arrived in the United States when he was a teenager. He took classes at the San Antonio Art Institute prior to brief studies at the Art Institute of Chicago. In 1929 he traveled to Mexico City where he met artists such as Carlos Mérida, whose influence made a profound impact. According to Dr. Mark A. Castro, Jorge Baldor Curator of Latin American Art at the DMA, “He encountered contemporary Mexican art inspired by indigenous cultures while also exploring rural indigenous communities.” Medellín, who was of Otomi origin, was also struck by the variety of media in which these communities worked, a practice that he ultimately adopted. Castro was introduced to Medellín’s work in discussion with other curators. “A colleague spoke about the influences of Mexican Modernism on contemporary art and showed Spirit of the Revolution. When I came to Dallas and I walked through storage, there was the work. I was just in awe of him and his life, and it drew me in,” he explains. Medellín’s work began to garner national attention by the 1930s. It was included in prestigious exhibitions while public art commissions helped define the city’s aesthetic. When the Creative

Art Center of Dallas (CAC), of which he was a founder, celebrated its 50th anniversary, it created a driving map of his area public art. Updated for the current exhibition, the map is further enhanced with an interactive website. According to Diana Pollak, executive director of the CAC, these tools help make it a citywide celebration. “It’s not just about bringing people into the DMA. It is also about taking the influence of Octavio to the community,” she says. Medellín’s teaching career began at North Texas State Teacher’s College (now University of North Texas), followed by a 21-year stint at the Dallas Museum of Fine Arts (now DMA). In 1966, he opened the Medellín School of Sculpture in Oak Cliff. His legions of students include the late Edith Baker, Tomas Bustos, David Hickman, Eliseo Garcia, and Marty Ray. According to Ray, “A friend suggested that we go to his class. He said Octavio had an interesting approach to sculpture. When I attended class that first night I was surprised by his definite ideas of process and how he wanted us to learn about our materials.” Medellín is also remembered for his humanity. “When I think of him, I can see his incredible laugh. He would tell serious stories, but he loved to laugh,” offers Ray. Castro says working with those who knew Medellín has been rewarding, stating, “They’ve all been a wonderful help to me as a curator. They helped bring him to life in a way that I couldn’t have.” And for those of us who only know Medellín through his art, this yearlong exhibition offers the opportunity to fully appreciate his extraordinary contribution to our city. P

Clockwise from left: Octavio Medellín. Courtesy of Bywaters Special Collections, Hamon Arts Library, Southern Methodist University. Photograph by Jay Simmons; Octavio Medellín, The Spirit of Revolution, 1932, direct carving in Texas limestone. Loaned by the estate of the artist; Octavio Medellín, Azurmalachite Plate, c. 1949, glazed stoneware, Dallas Museum of Art. Dallas Art Association purchase; Octavio Medellín, The Hanged, 1939, direct carving in black walnut, Dallas Museum of Art, Kiest Memorial Purchase Prize, Fourteenth Annual Dallas Allied Arts Exhibition, 1943; Octavio Medellín, Untitled (Masked profiled figure holding staff and fish), c. 1947, linoleum block print, Dallas Museum of Art. Gift of Otis and Velma Dozier.

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PATRON Magazine's 2022 February/March Issue

Articles inside

OCTAVIO MEDELLÍN GETS HIS DUE

ITALIAN AMERICAN FOOD AND THE ART OF LONGING

HOUSE ARREST

THE BODY ABSTRACTED

THE FINISH LINE

ART SOULS OF THE SOUTH

SHIP SHAPE

THE SYMPHONIC SOUL OF BOURBON

STEP INTO THIS RING

Noted

AMALGAMATIONS OF THE FEMALE MIND

WELCOME THE EMPEROR KING

Editor’s Note

URBAN PIONEERS

Contributors

TRIFECTA AT THE WAREHOUSE