5th Anniversary Issue

TH ANNIVERSARY ISSUE

TWO x TWO: Honoree Laura Owens A Sensational KAWS Bruce Weber: Artist Portraits

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SPECIAL EXHIBITION EXTENDED HOURS • Visit kimbellart.org for specific dates and times.

October 16, 2016–January 29, 2017 The exhibition is organized by the Kimbell Art Museum in collaboration with the Fine Arts Museums of San Francisco. It is supported by an indemnity from the Federal Council on the Arts and the Humanities. Additional support is provided by major grants from the Texas Commission on the Arts and the Leo Potishman Foundation, JP Morgan Chase, Trustee. Image: Claude Monet, On the Bank of the Seine, Bennecourt (detail), 1868, oil on canvas. The Art Institute of Chicago. Potter Palmer Collection. Photo: Scala/White Images/ Art Resource, NY. Promotional support is provided by

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EDITOR’S NOTE

Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak

October / November 2016

TERRI PROVENCAL Publisher / Editor in Chief

I marvel at the multitasking skills of today’s youth. My son, for example, enjoys the uncanny ability that allows him to watch Netflix, Snapchat with friends, play games on his iPad, all while finishing homework and giving concise yes or no answers to his inquisitive parents. Sound familiar? The days go by swiftly and leave you wondering where they all went and just how your child could possibly be four, then six inches taller as you pack up the discarded clothing he’s outgrown. Five years ago, my son was eleven when we set out on a journey to launch Patron Magazine. He began playing the trumpet the year prior and remains an inspiration to me today. For what are the arts without future generations to witness and enhance them? We’ve remained inquiring since November 2011, richly observing the breadth of the arts in our region. Driven to create a dialogue with the community, engagement is always at the forefront of every steward of the arts. There is no finer example of engagement with a larger purpose than TWO x TWO for AIDS and Art. As the proud media sponsor, we turn our attention to the 18th year of this exceptionally produced event, dedicating a number of pages in this anniversary issue. In A Stand on Medium and Materiality, Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art at Dallas Museum of Art, investigates the work of TWO x TWO 2016 Artist Honoree, Laura Owens, while Danielle Avram highlights the banquet of work included in the auction by boundarybreaking women artists in Art’s Female Gamechangers. The DMA and amfAR have been shown the largess of our community via this event, ushered in each year by its marvelous co-founders, Cindy and Howard Rachofsky. Also in our features, KAWS returns to the Modern Art Museum of Fort Worth in WHERE THE END STARTS, a giant survey complete with COMPANION, ACCOMPLICE, CHUM, and an entire cast of characters from the mind of the Brooklyn-based artist. Curated by The Modern’s Andrea Karnes, this is a can’t-miss show. In collaboration with Dallas Contemporary, NorthPark Center mounts an exhibition of artist portraits by Bruce Weber to coincide with DC’s survey of works on view from the phenom photographer and filmmaker. We hope you’ll enjoy this print installation as much as we do. Formerly snapped by Weber, Seth Kuhlmann makes a cameo in Model Portrait. Photographed by Susan Anderson, Seth’s pictured with a robust Brit art collection along with a delightful painting by Dallas-born Josh Reames. As interdisciplinary artist Nick Cave opens UNTIL at MASS MoCA this month, we borrow from a few of his Soundsuits in juxtaposition with a high-fashion review in Belly of the Soundsuit. Described by Patricia Mora, photographed by Maxine Helfman with styling by Tammy Theis, we think you’ll enjoy this visual treat. Other noteworthy stories include, Spain’s Modern Masters, notifying Patron readers of an exhibition of works from 1915 to 1960 opening at the Meadows Museum October 9. Nancy Cohen Israel details. Lee Escobedo checks in with Nancy and Jason Koen on their new gallery and project space in Boxing Day. Andrea Karnes visits with art critic Barbara Rose, while Chris Byrne gives us news of Parisian gallerist Frank Elbaz, who’s dipping his toe in the Dallas market with a new art space across from Dallas Contemporary. We tap DC’s own Justine Ludwig to highlight “postLOL” artist Pierre Krause, whose work is informed by the Internet. Finally, don’t miss José Parlá’s exhibition at newly rebirthed, The Goss-Michael Foundation. In today’s world, a single Tweet can rouse adoration or controversy while Snapchats display then quickly dissipate into the ether. And what’s to make of it all in the scope of the arts? We will continue to explore these nuanced social media outlets over the next five years, (admittedly scratching our heads at times) while enjoying the permanence of print. – Terri Provencal

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CONTENTS 1

FEATURES 62 A STAND ON MEDIUM AND MATERIALITY The work of TWO x TWO 2016 Artist Honoree, Laura Owens, is characterized by inventiveness and playfulness. By Gavin Delahunty 66 ART’S FEMALE GAMECHANGERS Marching to their own drummer, women artists reign at TWO x TWO 2016. By Danielle Avram 70 THE KAWS OF IT ALL The Modern Art Museum of Fort Worth readies for the largest ever exhibition of the Brooklyn-based phenom. By Steve Carter 76 BRUCE WEBER: A PRINT INSTALLATION Through April, NorthPark Center displays the exalted photographer’s images of iconic artists. Introduction by Peter Doroshenko 84 MODEL PORTRAIT A world-class art collection inspires fall fashion looks donned by Seth Kuhlmann. Photography by Susan Anderson

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92 BELLY OF THE SOUNDSUIT Nick Cave’s art mixes fashion, politics—and a nuanced sensibility. By Patricia Mora 100 RISE TO THE OCCASION Be a force of nature with these smashing statement pieces. Photography by Maxine Helfman

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CONTENTS 2

DEPARTMENTS 6 Editor’s Note 14 Contributors 36 Noted Top arts and culture chatter. By Hélène Bergez and Shelby Gorday Of Note 52 A VISCERAL VOICE José Parlá bypasses the consciousness in INSTINCTS at The GossMichael Foundation. By Terri Provencal Openings 54 SPAIN’S MODERN MASTERS Meadows Museum presents avant-garde work never before displayed in the US. By Nancy Cohen Israel Contemporaries 56 BOXING DAY Nancy and Jason Koen debut their massive new art space with a solo show for Francisco Moreno. By Lee Escobedo

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Fair Trade 58 A VIEW COLORED ROSE Albertz Benda taps art critic Barbara Rose to curate their maiden booth at Dallas Art Fair 2017. By Andrea Karnes Studio 60 LOLS AND READY-MADE FROWNS Getting personal with Pierre Krause. By Justine Ludwig Conversation Piece 114 ON THE THRESHOLD A sports, art, and reptile lover, model & actor Seth Kuhlmann goes beyond the chest-baring pictures. Interview by Terri Provencal There 116 CAMERAS COVERING CULTURAL EVENTS

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120 Furthermore ... FRANK’S PLACE

Direct from Paris, Galerie Frank Elbaz opens a satellite space on Glass Street. By Chris Byrne

On the cover: Laura Owens, Untitled, 2004, acrylic and oil on linen, 132 x 111.25 in., Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne

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BEAUTY CULTURE

PUBLISHER | EDITOR-IN-CHIEF Terri Provencal terri@patronmagazine.com ART DIRECTION Lauren Christensen DIGITAL MANAGER/PUBLISHING COORDINATOR Shelby Gorday COPY EDITOR Paul W. Conant PRODUCTION Michele McNutt CONTRIBUTING WRITERS Danielle Avram Hélène Bergez Chris Byrne Steve Carter Nancy Cohen Israel Gavin Delahunty Peter Doroshenko Lee Escobedo Andrea Karnes Justine Ludwig Patricia Mora CONTRIBUTING PHOTOGRAPHERS Shana Anderson Susan Anderson Bruno Anthony Chiang Maxine Helfman Shawn Miller Bruce Weber Jonty Wilde

ROBERT SZOT Opening reception, October 15, 2016 5-8pm

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is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2016, 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

STEVE CARTER For this issue of Patron, freelance arts writer Steve Carter explores the Modern Art Museum of Fort Worth’s survey exhibition of KAWS, the Brooklyn-based pop art phenomenon. KAWS: WHERE THE END STARTS promises to be a blockbuster—it’s the largest exhibition of his work ever presented, a 20-year overview of his unmistakable oeuvre. “KAWS’s career has followed a fascinating trajectory,” Carter says, “encompassing high art, street art, product, and collaboration. And he’s just getting warmed up…”

SUSAN ANDERSON Lauded Los Angelesbased photographer, Susan Anderson’s fine art work has been exhibited in museums and galleries around the world, including Annenberg Space for Photography, Museum of Photographic Arts, Gemeentemuseum in Holland, and Casino Luxembourg. Her celebrated fine art photography book, High Glitz, The Extravagant World of Child Beauty Pageants, focused on the fascinating subculture of child pageants across the USA. Featured in solo exhibitions in Amsterdam, Los Angeles, and Paris, Anderson is represented by TORCH Gallery in Amsterdam.

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DANIELLE AVRAM Featured in Patron’s Best of the Arts issue, Danielle Avram is a Dallas-based curator and writer who is currently the Gallery Director at Texas Woman’s University. She holds an MFA in Visual Art from The School of The Museum of Fine Arts and Tufts University in Boston, and a BA in Art and Performance from the University of Texas at Dallas. Her work is primarily focused on photography, new media, and collaborative practices. For this issue, she delved into the exceptional female artists represented in TWO x TWO 2016.

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CHRIS BYRNE Chris Byrne is the author of the graphic novel project entitled The Magician (Marquand Books, 2013) as well as the book The Original Print (Guild Publishing, 2002). He is the co-founder of the Dallas Art Fair and the former Chairman of the Board of the American Visionary Art Museum. Byrne currently serves on the American Folk Art Museum's Council for the Study of Art Brut and the Self-Taught, the Dallas Convention & Visitors Bureau Cultural Tourism Committee, as well as the Board of Directors for Dallas Contemporary.

LAUREN CHRISTENSEN With more than 18 years of experience in advertising and marketing, Lauren consults with clients in art, real estate, fashion, and publishing through L. Christensen Marketing & Design. She serves on the boards of the Christensen Family Foundation and Helping Our Heroes. Her clean, contemporary aesthetic and generous spirit make Lauren the perfect choice to art direct Patron.

MAXINE HELFMAN Inspired by periods of art history, Helfman’s photographs reinterpret traditional works to a more contemporary point of view. “Our world and cultures are changing so quickly—we are witnessing the collision of past and present as populations shift. Our world has become so diverse that cultures are visually harder to define.” With work challenging the faces of cultures, race, and gender, Maxine was the obvious choice to interpret Nick Cave’s Soundsuits through high fashion in Belly of the Soundsuit.

NANCY COHEN ISRAEL A five-year Patron contributor, Nancy Cohen Israel is an art historian and Dallasbased writer who has also written for art ltd. and Lilith. Nancy is a frequent lecturer at the Meadows Museum. It was therefore her pleasure to have the opportunity to preview the treasures that will be part of the Meadows’s upcoming exhibition, Modern Spanish Art, about which she wrote for this issue. This month, she looks forward to Yitzchak, an exhibition she juried with Diana Pollock.

JUSTINE LUDWIG Justine Ludwig is the Director of Exhibitions/Senior Curator at Dallas Contemporary. In recent years she has curated exhibitions at the Contemporary Arts Center in Cincinnati, the Tufts University Art Gallery, and the Museum of Modern Art in Rio de Janeiro. Ludwig holds an MA in Global Arts from Goldsmiths University of London. For this issue, Patron tapped Ludwig to define the interesting art practice of Pierre Krause in LOLs and ready-made frowns: Getting Personal with Pierre Krause.

GAVIN DELAHUNTY Gavin Delahunty is Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art. Since his arrival in 2014, Delahunty has organized numerous exhibitions including Rebecca Warren: The Main Feeling (2016); Jackson Pollock: Blind Spots (2015); and Frank Bowling: Map Paintings (2015). In April 2016, he installed the first major commission by a U.S. museum of an artwork by Rebecca Warren, in the new Eagle Family Plaza. In 2017, Delahunty will publish a book on Walter De Maria titled, Counterpoint: Sculpture, Music, and Walter De Maria’s Large Rod Series. (DMA/Yale).

PATRICIA MORA Patricia Mora has provided work for numerous magazines and newspapers. She has also been published by Humanities, the magazine for the NEH, as well as the International Association of Art Critics. In this issue of Patron, she looks at the work of the celebrated artist, Nick Cave, who has been lauded for his works, dubbed Soundsuits. However, with a new show opening at MASS MoCA, he is tackling controversial social issues with insight and vigor.

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The Holy Ghost & Other Terrifying Tales

Robert Dubac’s The Book of Moron

Disenchanted! The Hilarious Hit Musical

The Other Mozart Starring Sylvia Milo

Five Performances: Oct. 27 -30, 2016

Five Performances: Nov. 17-20, 2016

Five Performances: Feb. 16 -19, 2017

Five Performances: Mar. 23-26, 2017

Sister’s Back to School Catechism

MAINSTAGE SHOWS

What’s Going On: The Marvin Gaye Experience

The Futurist – Adam Trent

Sat, Nov. 12, 8 pm

Sat, Oct. 22, 8 pm

All is Calm: The Christmas Truce of 1914 Tue, Nov. 29, 7:30 pm

Women of Ireland

Paul Taylor Dance Company

Sat, Mar. 18, 8 pm

The Hip Hop Nutcracker

The Original Stars of American Bandstand

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Fri, Jan. 27, 8 pm

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The Frog Bride with David Gonzalez

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Charlotte’s Web Sun, Jan. 15, 2:30 pm

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Fiesta! The Glorious Music of Spain and Argentina

Dr. Seuss’ The Cat in the Hat Produced by Childsplay

Elephant & Piggie’s We Are in a Play

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SPOTLIGHT ARTISTS

The Splendor of Schubert Mon, Feb. 6 at 7:30 pm

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Sammy Miller & Peace on Earth with A Band Called The Congregation Honalee Sat, Oct. 15, 7:30 pm Sat, Dec. 10, 7:30 pm

Tina Packer’s Women of Will

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PRESENTS

Four Days/Four Incredible Performances

EVEREST

ARJUNA’S DILEMMA

Friday, May 5 • 7:30 PM

Thursday, May 4 • 7:30 PM Experience an exotic and appealing soundscape that combines elements of both the East and the West in this visually-enhanced concert performance of Douglas Cuomo’s critically acclaimed opera about life’s biggest questions. Based on the ancient text of the Bhagavad Gita, the composer melds classical, jazz, chamber and Indian musical traditions to create a work of both sweeping grandeur and hushed intimacy. Critics have found it “gripping,” “gorgeous,” “astonishing” and entirely original. Conducted by Principal Guest Conductor Nicole Paiement.

A concert performance—with projections—of Joby Talbot and Gene Scheer’s stunningly powerful and poignant masterpiece conducted by Music Director Emmanuel Villaume. This true-life tale of an ill-fated expedition to Mt. Everest features several stars from TDO’s 2015 world premiere, including Andrew Bidlack as Adventure Consultants guide Rob Hall and Kevin Burdette as Beck Weathers. Preceded by a world premiere “curtain raiser” by Joby Talbot, inspired by mountaineer George Mallory’s attempts to summit the world’s highest peak in the 1920s, with historical film footage provided by the BFI National Archive.

THE MAGIC PIANO

NORMA

Saturday, May 6 • 2 PM

Sunday, May 7 • 2 PM

BREAKTHRU FILMS

This animation adventure produced in 2011 is the tale of two children in Warsaw who discover an old piano abandoned on a junk heap. It becomes their magical ride through the skies above Europe, as the kids dodge hot air balloons in France, fierce storms and darkening skies over London. With a live piano score performed by Derek Wang, a young protégé of Lang Lang, this charming yet unforgettable adventure will stick with you, long after we come back down to earth!

This 19th century jewel of the bel canto repertoire is set in the tense and dangerous atmosphere of Romanoccupied Gaul. The title character, sung by Elza van den Heever, is a Druid high priestess in love with the Roman commander—so much so, that she has borne him two children. Now, his eye has strayed to a lovely, young priestess and Norma is consumed with a desire to get her revenge. TDO’s season finale features an all-star cast conducted by Emmanuel Villaume.

For additional information or to purchase tickets: The official airline of the Dallas Opera

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Dash Snow and Ryan McGinley, New York City, New York, 2005

BRUCE WEBER Artist Portraits SEPTEMBER 15, 2016 – APRIL 16, 2017 BETWEEN NEIMAN MARCUS AND DILLARD’S, NEAR LOUIS VUITTON AND BURBERRY

NorthPark Center is pleased to present Bruce Weber: Artist Portraits, the first exhibition of the legendary American photographer’s portraits of 24 world-renowned artists including Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Georgia O’Keeffe, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Dash Snow and Cy Twombly. The exhibition is being held in conjunction with Bruce Weber: Far from Home, on view at Dallas Contemporary. FOR MORE INFORMATION, CALL 214.363.7441 OR VISIT NORTHPARKCENTER.COM

Photo by Bruce Weber

NOTED 05

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01 AFRICAN AMERICAN MUSEUM The Carroll Harris Simms: National Black Art Competition and Exhibition displays through Nov. 12. The museum’s ongoing exhibits include: The Souls of Black Folk and Facing the Rising Sun: Freedman’s Cemetery. aamdallas.org 02 AMON CARTER MUSEUM OF AMERICAN ART Abstract Texas: Midcentury Modern Painting opens Oct. 1. Identity highlights American culture through Oct. 9. Photographer Richard Misrach and artist-musician Guillermo Galindo explore the border between the US and Mexico in Border Cantos Richard Misrach|Guillermo Galindo, through Dec. 31. Sam Francis: Prints runs through Feb. 5. American Photographs, 1845 to Now features over 70 photographs through Feb. 12. Gabriel Dawe: Plexus no. 34 runs through Sep. 2, 2018. Image: Gabriel Dawe, Plexus no. 34. cartermuseum.org 03 ANN & GABRIEL BARBIER-MUELLER MUSEUM The Samurai Collection spans 7th–19th centuries, illustrating the sculptural beauty and craftsmanship of Japanese armor. Crests and symbols of the warrior class and the powerful Samurai clans that used them will be exhibiting this fall. The museum sponsors a Lunchtime Talk every Thursday at 1 p.m. Public Tours are every Saturday and Sunday at 1 p.m. samuraicollection.org 04 CROW COLLECTION OF ASIAN ART Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles continues through Feb. 12. Flight of the Canyon by Abhidnya Ghuge, runs through Nov. 27. India: Art, Time, 36

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Place, featuring works from the permanent collection, closes Oct. 9. On Oct. 14, Beyond the Book presents South Korea’s famed author, Bae Suah, as she discusses Recitation. Divine Pathways: South and Southeast Asian Art opens Oct. 22, highlighting the influences of Hinduism, Buddhism, and Jainism on Asian art. Fierce Loyalty: A Samurai Complete showcases the Japanese Samurai culture, opening Oct. 25. Celebrate Diwali, the Hindu festival of light, with Illumination Exploration on Nov. 5. crowcollection.org 05 DALLAS CONTEMPORARY Far From Home, continuing through Dec. 18, is the largest exhibit of Bruce Weber’s work since 1999, featuring over 250 photos as well as a few of his short films. Laercio Redondo’s installation, Past Projects for the Future, continues through Dec. 18. Pedro Reyes’s exhibit, For Future Reference, explores Greek statuary and philosophy through Dec. 18. Image: Laercio Redondo, Memory from Brasília, 2012, silk screen on plywood, diptych, 30 x 27 x 2 in., courtesy of the artist. dallascontemporary.org 06 DALLAS HOLOCAUST MUSEUM An untold story from Jewish history is told in Rebirth After the Holocaust: Bergen-Belsen Displaced Persons Camp, 1945–1950, Oct. 6– Dec. 31. The iRead Book Club discusses Sarah’s Key by Tatiana de Rosnay on Oct. 10. Nate Levine will be honored at the Hope for Humanity Award Dinner on Oct. 26. Felicia Williamson discusses significant pieces in Lunch and Learn: Highlights from the Archives, on Nov. 1. On Nov. 16, the Upstander Speaker Series presents Mike Kim and his escape from North Korea. dallasholocaustmuseum.org

07 DALLAS MUSEUM OF ART Divine Felines: Cats of Ancient Eg ypt, featuring cats and lions from ancient Egyptian mythology, opens Oct. 9. Prints, drawings, and objects from the museum’s Greek and Roman collection are brought together in Visions of Antiquity in the 18th Century, through Oct. 23. Shaken, Stirred, Styled: The Art of the Cocktail explores the history of signature drinks beginning Nov. 18. Nicolas Party’s mural, Pathway, transforms the DMA’s main concourse through Feb. 5. Lucie Stahl’s immersive installation, Concentrations 60: Lucie Stahl, will continue through Mar. 12. Modern Opulence in Vienna: The Wittgenstein Vitrine and Passages in Modern Art: 1946–1996 will both be on view through May 2017. A selection of Javanese batik will be featured in Waxed: Batik from Java through Sep. 2017. Image: Lucie Stahl, Acid Rain, 2015, inkjet print, aluminum, epoxy resin, 65.7 x 47.2 x 9 in. Courtesy the artist and dépendance, Brussels © Lucie Stahl. Photo: Sven Laurent dma.org 08 GEOMETRIC MADI MUSEUM Mokha Laget’s show, Color Into Space, will continue through Oct. 30. The 2016 Geometric Gala is on Oct. 21. The recent work from Juergen Strunck is featured in A dance: color, symmetry and paper, beginning Nov. 4. geometricmadimuseum.org 09 KIMBELL ART MUSEUM The K imbell will be dedicating an exhibition of 60-some paintings to Claude Monet titled Monet: The Early Years. The Kimbell has a world-renowned permanent collection, known for its minimal size but

NOTED: VISUAL ARTS

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distinguished level of extraordinary quality and eminence. Image: Claude Monet, On the Bank of the Seine, Bennecourt, 1868, oil on canvas, 32.125 x 39.625 in., The Art Institute of Chicago, Potter Palmer Collection. kimbellart.org 10 LATINO CULTURAL CENTER The third Wednesday’s movie screening, Cine de Oro on Oct. 19 features Zoot Suit and on Nov. 16, El Mariachi. Celebrate Dia de los Muertos on Oct. 29 with a free festival. dallasculture.org/latinoculturalcenter 11 THE MAC In partnership with Make Art With Purpose (MAP), The MAC presents Use Your Voice, an evening of poetry readings and performances on Nov. 5, engaging visual and performing artists for exchange of ideas about socially engaged art and its role in society. the-mac.org 12 MEADOWS MUSEUM Modern Spanish Art from the Asociación Colección Arte Contemporáneo opening Oct. 9 is the first exhibition in the U.S., from the Belle Époque through the Kennedy years. Also opening Oct. 9, The Festival Book for San Fernando: Celebrating Sainthood in Baroque Seville features rare etchings by Juan de Valdés Leal and other Spanish Baroque masters. meadowsmuseumdallas.org 13 MODERN ART MUSEUM FORT WORTH The Modern mounts a major survey exhibition opening Oct. 20, featuring Brooklyn-based artist, K AWS. K AWS:

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WHERE THE END STARTS displays the artist’s key paintings, sculptures, drawings, toys, and street art interventions. FOCUS: Lorna Simpson opens Nov. 19, the first exhibition to highlight Simpson’s large-scale acrylic, ink, and silk-screen paintings. themodern.org 14 MUSEUM OF BIBLICAL ART Linda Stein exhibits Holocaust Heroes: Fierce Females beginning Oct. 26. MBA will hold a workshop on Oct. 22 discussing Stein’s exhibition and teaching about social justice through art. The annual 8x8 Art Exhibition and Auction benefiting the MBA and its educational programs takes place Nov. 16. biblicalarts.org 15 NASHER SCULPTURE CENTER Kathryn Andrews: Run for President investigates American popular culture and power structures through Jan. 8. Sightings: Michael Dean explores the artist’s language, writing, and communication in photography, poetry, and other forms, opening on Oct. 21 in Dean’s first solo U.S. exhibition. Celebrate the season’s final ‘til Midnight at the Nasher on Oct. 21 with Calliope Musicals and Wild Child. The Patsy R. and Raymond D. Nasher Lecture Series on Nov. 2 features visual artist Sarah Sze. Join artist Rachel Rose on Nov. 12 for the next installment of the 360 Speaker Series. Image: Kathryn Andrews, Gift Cart, 2011, stainless steel, rented props, 60 x 38 x 24 in., Private collection, Belgium; Photo: Fredrik Nilsen, Courtesy of David Kordansky Gallery, Los Angeles, CA. nashersculpturecenter.org

16 NATIONAL COWGIRL MUSEUM The 2016 National Cowgirl Hall of Fame Induction Luncheon takes place Oct. 27. No Turning Back: The Art of Veryl Goodnight features her life-size sculpture, A New Beginning, through Oct. 30. Explore the diverse subjects of Barbara Van Cleve’s photography in Pure Quill: The Photographs of Barbara Van Cleve, beginning Nov. 18. cowgirl.net 17 PEROT MUSEUM The Perot’s First Thursday Late Night on Oct. 6 covers details on real and fictitious monsters and on Nov. 3 highlights aviation. Launch a rocket and gaze into the stars during Discovery Days – Celestial on Oct. 8. The fascinating family of birds from New Guinea will be featured in Birds of Paradise, beginning Oct. 8. The museum is screening numerous 3D films in A National Geographic Experience: National Parks Adventure through Oct. 5, Flying Monsters 3D through Oct. 14, Asteroid: Mission Extreme 3D through Jan. 8, Earthflight 3D beginning Oct. 6, and Extreme Weather 3D beginning Oct. 15. Giant Gems of the Smithsonian will continue through Jan. 17. perotmuseum.org 18 TYLER MUSEUM OF ART The Tyler Museum of Art will open a new exhibition on Oct. 2 titled Christo and JeanneClaude: The Tom Golden Collection. Devotion: The Impact of Amy & Vernon Faulconer on Our Collection continues through Nov. 27. The museum also hosts monthly events including First Friday on Sep. 2 and Family Day on Sep. 10. tylermuseum.org OCTOBER / NOVEMBER 2016

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01 AMPHIBIAN What happens when you are the only person left without a soul mate? Meg learns the answer to this in Smart Pretty Funny by Kathleen Culebro, Oct. 20– Nov. 13. Academy Award-winner Danny Boyle and National Theatre Live bring you Frankenstein, starring Jonny Lee Miller and Benedict Cumberbatch on Oct. 26 and 29. Benedict Cumberbatch returns to National Theatre Live Nov. 16 and 19 as the lead in Shakespeare’s tragedy Hamlet. Also returning to National Theatre Live is Helen McCrory in Terence Rattigan’s The Deep Blue Sea, Nov. 2 and 5. Image: Helen McCrory in The Deep Blue Sea. Photography by Richard Hubert Smith. amphibianstage.com 02 AT&T PERFORMING ARTS CENTER The RENT, 20th Anniversary Tour continues through Oct. 2. Kris Kristofferson entertains in Strauss Square on Oct. 14. PRELUDE: A Preview of AUROR A 2017 offers an intimate look into the massive light installations to come from acclaimed international artists Oct. 21 and 22. Fivetime Grammy Award-winning singersongwriter Mary Chapin Carpenter is bringing her tour to the Majestic Theatre on Nov. 3. attpac.org 03 BASS PERFORMANCE HALL Grammy-winner Kris Kristofferson returns Oct. 13 for an evening of music. The FWSO and six vocalists take it back to the 1960s with The Beat Goes On! Music of the Baby Boomers, Oct. 14 – 16. The Phantom of the Opera is onstage Oct. 20 –30. Brentano String Quarter and pianist Haochen Zhang combine for two evenings of music Oct. 27–28. Join Monte Montgomery for some rock and roll, Nov. 4 –5. FWSO presents Elgar’s Enigma Variations, Nov. 4 – 6. Pianist Behzod Abduraimov performs Nov. 10. FWSO presents The Sounds of America, Nov. 11–13, Don’t miss 38

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Chicago performing during the annual An Evening with a Legend on Nov. 15. FWSO is back with Prokofiev Piano Concerto 3, Nov. 18–19. The holidays return with Rudolph the Red-Nosed Reindeer Nov. 22–23. Join the FWSO Nov. 25 –27 for your favorite songs in Home for the Holidays. basshall.com 04 CASA MANANA The Broadway adaptation of the children’s book, A Year With Frog and Toad, continues through Oct. 16. Tony Award-winning Broadway musical Million Dollar Quartet features numerous hits from Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash, Nov. 5–13. Santa has announced his retirement. Find out who will deliver presents during Christmas in Santa Claus: A New Musical, beginning Nov. 25. casamanana.org 05 DALLAS BLACK DANCE THEATRE The 2016–17 season marks the esteemed Dallas Black Dance Theatre’s 40th season, featuring three world premieres. All five DBDT companies will perform Oct. 7–8 in DanceAfrica. Experience performances, art, and food at the 10th annual DanceAfrica Festival on Oct. 8. DBDT’s Director’s Choice will be presented Nov. 4–6. Image: DBDT dancer Hana Delong. Photography by The Dallas Dance Project. dbdt.com 06 DALLAS CHILDREN’S THEATER Just in time for Halloween, the Teen Scene Players presents Dracula: The Vampire Play from Oct. 14 through Oct. 29. Horton the Elephant and Cat in the Hat share an unforgettable musical adventure in SEUSSICAL, through Oct. 23. Kathy Burks Theatre of Puppetry Arts will present the puppet interpretation of Tchaikovsky’s The Nutcracker beginning Nov. 18. Join Charlie Brown and the gang, from Nov. 18 through Dec. 21, for a Christmas celebration in A Charlie Brown Christmas. Image: Dracula:

The Vampire Play. Photography by Karen Almond. dct.org 07 THE DALLAS OPERA TDO’s season opener, Eugene Onegin, tells the story of a country girl’s naïve love for an aristocrat in late 19th century Russia. Performances begin Oct. 28 and conclude Nov. 5. The Dallas Opera brings MobyDick back by popular demand from Nov. 4 through Nov. 20. Both operas are augmented by Opera Insights, presented by The Dallas Opera Guild, that feature a panel discussion with the artists and staff of Eugene Onegin on Oct. 16 and Moby-Dick on Oct. 23. dallasopera.org 08 DALLAS SUMMER MUSICALS Kick off the holiday season with Rudolph the Red-Nosed Reindeer: The Musical from Nov. 25 through Nov. 27. dallassummermusicals.org 09 DALLAS SYMPHONY ORCHESTRA Conductor Jaap van Zweden and the Dallas Symphony Orchestra bring a tragic love story to life in Prokofiev Romeo and Juliet through Oct. 2. A German Requiem regales audiences Oct. 6–9. Tchaikovsky’s Fourth Symphony will dazzle from beginning to end, Oct. 13–16. Four Texas organists entertain in Pipedreams Live! on Oct. 23. The DSO performs live along with scenes from the 1940s classic, Disney’s Fantasia, from Oct. 28 through Oct. 30. In Dvořák’s 8, Ingrid Fliter performs the Schumann Piano Concerto along with Dvořák’s Eighth Symphony, Nov. 3–6. The United States Naval Academy Men’s Glee Club will stage a special Veteran’s Day concert, Patriotic Pops, to celebrate America and its veterans from Nov. 11–13. Brahms 4 will showcase the German composer’s complex final symphony, Nov. 17–20. The music of two beloved opera composers come together Nov. 25–27 for an unforgettable evening in Verdi and Puccini. mydso.com

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NOTED: PERFORMING ARTS

01 10 DALLAS THEATER CENTER Learn the difference between choice and destiny in Constellations, through Oct. 9. Board the train with Isabella “Bella” Patterson in the world premiere of Bella: An American Tall Tale, through Oct. 22. A Christmas Carol returns to Dallas Theater Center beginning Nov. 23. dallastheatercenter.org 11 EISEMANN CENTER Join Don Fischer Oct. 4 for The Me Who Watches Me. The Russian Grand Ballet tells the story of The Sleeping Beauty, Oct. 6. Sharon Owens and Sebastian Anzaldo perform in Barbra & Frank, The Concert That Never Was, Oct. 8. Keyboard Conversations celebrates the music of Spain and Argentina Oct. 10. Sammy Miller and the Congregation follows Oct. 15. Beloved Back to School Catechism: The Holy Ghost and Other Terrifying Tales, runs Oct. 27–30. The Plano Symphony delights with Singin’ in the Rain on Oct. 29. Brian Owens performs in What’s Going On: The Marvin Gaye Experience, Nov. 12. Robert Dubac’s The Book of Moron, stages in the Bank of America Theatre Nov. 17–20. The Nutcracker returns Nov. 25–27. eisemanncenter.com 12 KITCHEN DOG THEATER KDT’s 2016–2017 season begins Oct. 7 with A Stain Upon the Silence: Beckett’s Bequest that will celebrate Beckett’s influence on writing with an evening of seldom-seen short plays. Through Oct. 29. In Feathers and Teeth, a monster has moved into Chris’s home and is turning her perfect family life upside down, beginning Nov. 18. kitchendogtheater.org 13 MAJESTIC THEATRE Thalia brings her Latina Love Tour to Dallas on Oct. 4. Don’t miss Under the Streetlamp Oct. 7, comedian Chris D’Elia on Oct. 8, and Elvis Costello’s Detour Tour, Oct. 11. Kansas performs their classics Oct. 15. The Nitty Gritty Dirt Band celebrates its 50th anniversary, Oct. 22. Mary Chapin Carpenter brings her tour on Nov. 3. Comedian Adam Carolla makes for a night of laughter Nov. 4. Maria Bamford, the queen of impressions, performs Nov. 5. English rock star, Steven Wilson, brings his Hand Cannot Erase tour 40

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06 to Dallas, Nov. 15. The Alan Parsons Project returns Nov. 18. Celebrate the holiday season with Home Free: A Country Christmas, Nov. 25. Don’t miss A Peter White Christmas on Nov. 27. dallasculture.org/majestictheater 14 TACA Mark your calendar for the 2017 TACA (The Arts Community Alliance) Grant Awards on Monday, Jan. 9, 2017, at the Dee and Charles Wyly Theatre. taca-arts.org 15 TEXAS BALLET THEATER Carmen & Danse Á Grande Vitesse is at Bass Performance Hall, Oct. 7–9. The Christmas classic, The Nutcracker, stages at the Winspear Opera House beginning Nov. 25. texasballettheater.org 16 THEATRE THREE Based on the popular Adam Sandler movie, The Wedding Singer will take you back to the 1980s, through Oct. 16. A massive blizzard is threatening to tear the Poteet family apart in Day Light. The drama will make its world premiere on Nov. 17. theatre3dallas.com 17 TITAS The Buenos Aires tango company, Estampas Porteñas Tango, tells stories of longing and desire with their new production, Deseos, Oct. 28–29. Image: Estampas Porteñas Tango. Photography by Antonio Fresco. titas.org 18 UNDERMAIN THEATRE Matthew Paul Olmos’s so go the ghosts of méxico, part one, the first part of a three-play series, investigates the drug war between the US and Mexico, through Oct. 8. Examining the world of tech rehearsal, the regional premiere of 10 Out of 12 opens Nov. 9 and continues through Dec. 3. undermain.org 19 WATERTOWER THEATRE Ring of Fire: The Music of Johnny Cash explores faith, love, success, and struggle through his legendary music. The unique musical premieres Oct. 7 and continues through Oct. 30. watertowertheatre.org

Photography by Dan Piassick Sain Clair Cemin, “A de Amor”, Polished Stainless Steel

MARY ANNE SMILEY, RID, ASID maryannesmiley.com 214.522.0705

OCTOBER / NOVEMBER 2016

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09 01 ALAN BARNES FINE ART Renowned British painter and impressionist landscape master, Matthew Alexander, comes to Alan Barnes Gallery Nov. 3, with a reception from 6–8:30 p.m. The show closes Dec. 15. alanbarnesfineart.com 02 ANDNOW Located in The Cedars, the gallery will show the work of Brooklyn-based Maximilian Schubert in October. The artist is known for his white paintings with a sculptural appeal. Noah Barker’s A Projection in the DDF opens Nov. 19. andnow.biz 03 ARTSPACE111 Through Oct. 14, A Hundred Silent Ways presents the work of Dallas artist Carly Allen-Martin. Inspired by storytelling, the artist creates complex narratives through the careful placement of line and juxtaposition of color. Oct. 21–Nov. 26, Jim Malone will present a solo show of new paintings and drawings. Artspace111.com

Phil Shore, and Juergen Strunck. udallas.edu/offices/artgallery 06 BEEFHAUS ART BEEF is a collective of Dallas-based artists who produce site-specific exhibitions, installations, and events utilizing vacant commercial and public spaces throughout the city to cultivate dialogue concerning the status and function of art while challenging notions of authorship, market structure, and placement. beefhaus.org 07 CADD Contemporary Art Dealers of Dallas will present their CADD Fall Bus Tour on Oct. 29. Bus Tour participants gain access to artists’s studios, galleries, private collections, art installations, and other special venues. CADD’s Third Thursday happy hour will take place Oct. 20 at Mary Tomás Gallery. caddallas.net 08 CARLYN GALERIE Carlyn Galerie unveils A Glass Pumpkin Harvest, featuring seven American artists with varied glassworks of pumpkins and gourds, Oct. 1–Nov. 20. carlyngalerie.com

04 BARRY WHISTLER GALLERY Exploring the nature of painting as object, Otis Jones’s process and material-oriented paintings are displayed in New Work. Allison V. Smith’s photographs in Levelland mix realism with surrealism to capture the character of Texas. Through Oct. 15. Newly represented by Barry Whistler, Dallasbased artist Jay Shinn will be featured in an inaugural solo exhibit Air Space on view Oct. 22–Nov. 26. Image: Otis Jones, Black Square with Eight Lines, 2016, acrylic on canvas on wood, 24 x 24 x 3 in. barrywhistlergallery.com

09 CARNEAL SIMMONS CONTEMPORARY ART Continuum is a collection of new work by ceramist Gregory Miller on view through Nov. 12. An opening reception for artists Yelizaveta Nersesova of Portland and Lisa Cardenas of Dallas inaugurates their show on Nov. 19 and runs through Feb. 11. Image: Lisa Cardenas, French Kiss, oil and acrylic on canvas, 24 x 24 in. carnealsimmons.com

05 BEATRICE M. HAGGERTY GALLERY Visit the University of Dallas for the Faculty Art Exhibition, on display through Oct. 2. The show features artists Steven Foutch, Dan Hammett, Lyle Novinski, Kim Owens,

10 CHRISTOPHER MARTIN GALLERY Presenting a new photographic series, Vitreous Air by Christopher Martin is reminiscent of his paintings, sublime and contemplative explorations of color and

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composition that coax layers of imagery, light, reflection, and pigment; only here, the artist uses light and the camera as tools of abstraction. christophermartingallery.com 11 CIRCUIT 12 CONTEMPORARY Two artists work to counter the visual cacophony of media and technology by creating works attempting to organize this new visual landscape. Casey Gray and Clark Goolsby present Abundant Plains, showing Oct. 15–Nov. 15. circuit12.com 12 CONDUIT GALLERY Returning for their third solo shows at Conduit, artists Heyd Fontenot and Ludwig Schwartz present Oct. 22–Nov. 26. KULT KLASSIC features Fontenot’s signature figurative work, as well as a peek into an ongoing film project. Schwartz will incorporate a series of 4’ x 5’ paintings in his trademark narrative and installation. Opening reception is Oct. 22. Image: Heyd Fontenot, Seven Figures with Chinoiserie, 50 x 40 in. conduitgallery.com 13 CRAIGHEAD GREEN GALLERY A show featuring Jeanie Gooden, Pancho Luna, and Patrick Gordon runs through Oct. 8. The exhibition includes sculptures by Luna, Abstract-Expressionistic works by Gooden, and paintings by Gordon. A group show featuring sculptor Shawn Smith, and painters David Crismon and Arturo Mallmann, opens Oct. 15–Nov. 1. craigheadgreen.com 14 CRIS WORLEY FINE ARTS Paul Manes returns for his fourth solo exhibition with large-scale abstract oil paintings and small-scale bronze sculptures, exploring space, light, and form. Runs Oct. 15–Nov. 12. Anna Elise Johnson’s Inner Workings consisting of 3D collages opens Nov. 19. Image: Anna Elise Johnson, Miseen-scène, 2016, acrylic, resin, archival digital

14 print, and spray paint, 15 x 18 x 5 in. crisworley.com 15 CYDONIA GALLERY Julieta Aguinaco returns for her second solo exhibition, Mañana will be Another. Through a two-channel video installation, paintings, and silkscreen prints, the artist reveals insight into aspects of time—its passage, span, and ephemerality. A closing reception takes place Nov. 12 from 6–8 p.m. cydoniagallery.com 16 DADA T he Da l las A r t Dea lers Associat ion is comprised of leading art dealers, commercial galleries, non-profit art spaces, and cultural art centers. DADA members have a mission to represent leading artists and quality work. dallasartdealers.org 17 DAVID DIKE FINE ART DDFA celebrates its 30th year in their Uptown location. Primarily known for early Texas art, the Fairmount space also has mid-century modern, American, and some European art. MEAT—A visual narrative of Texas BBQ, Steakhouses, and Burger Drive-Ins by John Flaming—continues through Oct. 3. daviddike.com 18 ERIN CLULEY GALLERY Rene Trevino’s CODEX opens with an artist reception on Oct 15. On view through Nov. 12. An exhibition of Dallas-based artist Zeke Williams’s work opens Nov. 18–Dec. 17. Image: René Treviño, Renaming the Constellations, Blue, 2016, acrylic on mylar, 36 x 36 in. erincluley.com 19 FWADA To fulfill its mission to stimulate interest in the visual arts through educational programs, art scholarships, and art competitions, Fort Worth Art Dealers Association organizes, funds, and hosts exhibitions of noteworthy art. fwada.com OCTOBER / NOVEMBER 2016

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18 20 GALERIE FRANK ELBAZ This esteemed Parisian gallery has opened a temporary space across from the Dallas Contemporary on Glass St. The gallery will present an exhibition of Mark Flood’s work in Dallas Real Estate Development opening Oct. 7. Image: Blair Thurman, Tangerine Dream, 2016, acrylic on canvas on wood, 89.5 x 51 x 3 in. galeriefrankelbaz.com

O ne Of A K ind 26th Anniversary Show Continues

Ornament EXTRAVAGANZA

Opens November 19th

21 GALLERIE NOIR Gallerie Noir is an interior design showroom and art gallery known for its understated style with an eclectic edge. Venezuelan-born painter, Daniel Diaz-Tai’s latest show Subconscious, is currently on view. gallerienoir.com 22 GALLERI URBANE The Painting is the Gesture opens on Oct. 15, featuring Donald Martiny, whose work crosses boundaries with his signature painterly brush strokes and color. Loring Taoka’s Soft Edge opens concurrently in Gallery Two. Both run through Nov. 12. Process, Materials, Textures, featuring Anna Kunz, Heather Bause, Bradley Biancari, Jason Willaford, and Stephen D’Onofrio, opens Nov. 12 in Gallery One, while Art as Commodity presents fine art objects referencing the consumer environment and art market trends. galleriurbane.com 23 THE GOSS-MICHAEL FOUNDATION The G-MF presents Instincts by José Parlá, a collection of paintings currently on view. Show closes Nov. 11. g-mf.org

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

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24 HOLLY JOHNSON GALLERY The poem’s four corners, a show by James Buss using plaster, photographs, and drawings, runs through Nov. 12. A solo show by James Drake of collages from found materials in a wide range of mediums, featured in Flocking Shoaling Swarming (Blue Kiss), opens Oct. 15. hollyjohnsongallery.com

XIANG ZHANG Opens October 15th

“The Grand Opera House”

SOUTH WEST

4500 Sigma Rd. Dallas, TX 75244 GALLERY 972.960.8935 WWW.SWGALLERY.COM

C LINTON B ROYLES Opens November 19

“The Golden Gate”

NOTED: GALLERIES

31 25 JM GALLERY In The Phoinix Project, abstract images made from the ashes of old photographs create new work by Shawn Saumell. Through Oct. 29. Jay Bailey’s watercolors, Doug Gray’s ceramics, and Susan Perkins’s fiber and paper works interplay in a group show Nov. 5–Dec. 17. Image: Shawn Saumell, 2016, Molt 091314. jmgallery.org 26 KIRK HOPPER FINE ART Opening Oct. 8 KHFA presents a show for artist and curator Benito Huerta in The Uncertainty of Doubt, which includes his most ambitious works yet. Through Nov. 12. kirkhopperfineart.com 27 KITTRELL/RIFFKIND ART GLASS Celebrating their 26th Anniversary, Kittrell Riffkind presents One of a Kind, an exhibition of work created for the special occasion by fifty of their favorite artists. Through Oct. 31. Ornament Extravaganza kicks off the holiday season with a show of lights and color, opening Nov. 19. kittrellriffkind.com 28 KRISTY STUBBS GALLERY Tom Hoitsma runs through Oct. 31. The Dallas-based artist is influenced by the work of Abstract Expressionism from the 50s, 60s, and 70s. stubbsgallery.com 29 LAURA RATHE FINE ART Laura Rathe presents Meredith Pardue, a contemporary mixed-media painter, in a solo exhibition titled All the Emerald Oceans, which opens Oct. 15 with a reception from 5–8 p.m. Exhibit closes Nov. 12. On Nov. 19, metal sculptor Matt Devine and painter/sculptor duo Stallman Studios combine to create New Works, opening Nov. 19. Image: Stallman, Sun Soaked, sculpted canvas and acrylic, 48 x 36 in. laurarathe.com 46

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48 30 LEVEL GALLERY For ArtPrize 2016, renowned artist Jeremy McKane exhibits a comprehensive show from his LUCID project, found sculptures and photographs, and a collection of both old and new photography and video works. The show closes Oct. 9. level-gallery.com 31 LILIANA BLOCH GALLERY Through Oct. 8, Kathy Lovas exhibits I’m So Glitché, a collection of photographic and sculptural commentary on intentional malfunctions in the digital codes. From Oct. 15–Nov. 12, Tim Best’s work is featured in Polished. Marcos Lutyens and Laray Polk’s Trinity River Project runs Oct. 10–22. Image: Tim Best, Aggressive Knead, 2015, archival inkjet print, 48 x 48 in. lilianablochgallery.com 32 LUMINARTÉ FINE ART GALLERY ART Instinct features artist Keiko Gonzalez, focusing on and celebrating the human need for creating and consuming. In addition to Gonzalez’s large-scale abstract paintings, works by Jeff McClung and Cristina de Castro are displayed Oct. 22–Jan. 28. luminartegallery.com 33 MARTIN LAWRENCE GALLERIES Experience the vivid paintings of René Lalonde in his newest exhibition. A reception and opportunity to meet the artist is set for Oct. 20, 6–8 p.m. martinlawrence.com 34 MARY TOMÁS GALLERY Reverence, a solo show featuring landscape paintings inspired by Dawn Waters Baker’s artist residency at Big Bend National Park, continues through Oct. 22. Celebrated interior designer Charlotte Comer curates Layered Tones, opening Nov. 19. marytomasgallery.com OCTOBER / NOVEMBER 2016

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29 35 PHOTOGRAPHS DO NOT BEND On view through Oct. 8, Geof Kern: Life, Death, Beauty, and Garbage: Selected Work Pictures 1987– 1997, features Kern’s most recognized periods of innovative fashion, advertising, and editorial photography in his career. pdnbgallery.com 36 THE POWER STATION The Power Station presents Pietro Roccasalva with Who Shot Mr. Burns? Exhibition opens Oct. 21 with a reception from 6–8 p.m. and performance. Runs through Dec. 16. powerstationdallas.com

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World Renowned Constructivist Sculptor SAMUEL LYNNE GALLERIES 1105 Dragon St. | Dallas, Texas 75207 www.SamuelLynne.com | 214.965.9027

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37 THE PUBLIC TRUST Ryan McGinness’s solo show from the series, SOLILOQUY, invites guests into a focused dialogue with his work from Sep. 10–Oct. 22. trustthepublic.com 38 THE READING ROOM Art critic, artist, and curator, Darren Jones exhibits works of text accompanied by objects and images from his native Scotland in Nine Inch Will Please a Lady. Opens Nov. 5. thereadingroom-dallas.blogspot.com 39 RO2 ART Gillian Bradshaw Smith: Finding Daphne and Robin Ragin: Upstart Crow continue through Oct. 8. Two shows mount Oct. 15, Val Curry: Enfolding and Angel Cabrales: Operation: Al Pastor. Opening Nov. 19, Paradise vs. Utopia: Disputed Ideals features a group show curated by Randall Garrett in partnership with Freefall Festival. Bernardo Vallerino: Pedacitos de Paz mounts in the small gallery. Cynthia Ann Miro’s Transmittance is on view at Ro2 Art at The Magnolia through Oct. 25, followed by Jeanne Neal: New Paintings, opening Oct. 27 through Dec. Ro2art.com

20 40 RUSSELL TETHER FINE ART On display through Oct. 31 are several exhibitions, including The Bill Cheek Collection at the Main Gallery, Everett Spruce in the South gallery, Fort Worth Circle Artists in the North gallery, and Otis Dozier and William Lester in the Warehouse Gallery. Image: (Detail) Everett Spruce, Ram, n.d., oil on pastel board, 24 x 20 in. russelltether.com 41 SAMUEL LYNNE GALLERIES SLG will host an opening reception for David Yarrow on Nov. 19 from 5-8 p.m. Yarrow has achieved a standing as the premier wildlife photographer in Europe. Transcending the medium of photography into fine art, the exhibit runs through Jan 7. samuellynne.com 42 SITE131 FOUND continues, featuring the work of artists Robert Larson, Benjamin Terry, and Longhui Zhang, all of whom depend on discarded substances to make their art. Cigarette packages, plywood scraps, and lost luggage imbue their works. Through Dec. 18. site131.com 43 SMINK Young Brooklyn painter, Robert Szot, comes to SMINK Oct. 15 with BEAUTY CULTURE. Jake Fischer shows through Oct. 31 in Gallery Three. sminkinc.com

BORDER CANTOS

Richard Misrach | Guillermo Galindo

October 15 through December 31, 2016

Admission is free. #ACMbordercantos Richard Misrach (b. 1949), Cabbage crop and wall, Brownsville, Texas, 2015, inkjet print, © Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/MacGill Gallery, New York, and Marc Selwyn Fine Art, Los Angeles Border Cantos: Richard Misrach I Guillermo Galindo was organized by the artists in conjunction with participating museums.

44 SOUTHWEST GALLERY A stable in the gallery roster, Oct. 15 marks the opening of Xiang Zhang’s solo show, featuring his celebrated paintings of the American West. Clinton Broyle’s second solo exhibition of masterfully precise paintings begins Nov. 19. Both exhibitions open with a reception from 1–5 p.m. swgallery.com OCTOBER / NOVEMBER 2016

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NOTED: GALLERIES

Claude Venard, Untitled, oil on canvas, 39 x 51 inches

RUSSELL TETHER Fine Arts Associates, LLC

13720 Midway Road, Suite 110, Dallas, Texas 75244 Hours: M-F, 9—5 & by appointment

John Marin, Grey Rock, Blue Grey Sea, 1960, watercolor, 20 x 36 inches

Forrest Moses, Near Taos New Mexico, oil on canvas, 40 x 60 inches

Now Open Online Texas & American Art Gallery Russell Tether’s second gallery site texasamericanart.com

russelltether.com | 972-418-7832 | inquire@RTFAA.com

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04 45 TALLEY DUNN GALLERY David Bates Paintings and Sculptures is on view through Oct. 29. Two new exhibitions open Nov. 12 and run through Dec. 17: Aaron Parazette’s Irregular Quadrilaterals, and Robyn O’Neil’s New Drawings. talleydunn.com 46 TAUBERT CONTEMPORARY (BERLIN) Located in the Berlin Gallery District, Taubert Contemporary exhibits annually at Dallas Art Fair and has placed artworks in local collections by Markus Linnenbrink, Adrian Esparza, Markus Weggenmann, and more. taubertcontemporary.com 47 UNT ARTSPACE DALLAS Recalling considers the phenomenon of “being inspired by” as driving the nature and form of art through photographs and artists’s books by Frank Hamrick, paintings by Faith Jessup, and sculptures and brooches by Chris Ramsay. On view through Oct. 22. gallery.unt.edu 48 VALLEY HOUSE GALLERY Valley House celebrates 26 years of collaboration with photographer David H. Gibson in Still Light, running through Oct. 15. Fleeting by Lilian Garcia-Roig, her ninth solo exhibition of plein-air paintings, opens Oct. 22 and is on view through Nov. 26. The exhibition coincides with a lecture by the artist at the University of Texas at Arlington. Image: Lilian Garcia-Roig, Rhythmic Chops, oil on canvas, 30 x 30 in. valleyhouse.com 49 WILLIAM CAMPBELL CONTEMPORARY ART Steve Murphy’s new sculptures are displayed in All the Words Have Been Spoken through Oct. 15. A solo show for John Holt Smith opens Oct. 20. On view through Nov. 26, Smith’s paintings are studies in ultimate abstraction, reducing figurative images to their most

CONTEMPORARY ART

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AUCTIONS 01 HERITAGE AUCTIONS Heritage Auctions offers a series of art and collectable auctions, including: Illustration Art Signature Auction, Oct. 10–12, Silver & Vertu Auction, Oct. 15–18, Modern & Contemporary Prints & Multiples Signature Auction, Oct. 22–24, Photographs Signature Auction, Oct. 24–27 (in New York), Texas Art Signature Auction, Oct. 26–29, Modern & Contemporary Art Signature Auction (New York), Nov. 11, American Art Signature Auction, Nov. 10–12, and Lalique & Art Glass Signature Auction, Nov. 16–18. ha.com 02 DALLAS AUCTION GALLERY On Oct. 5, The Fine Art Auction features the collection of entrepreneur, author, and philanthropist, Sam Wyly of Dallas, including important figures in American Art, namely N.C. Wyeth, Thomas Hart Benton, and Maxfield Parrish. Preview Days take place Oct. 3–5, or by appointment. Join the gallery for cocktails on Oct. 4 to view the Wyly collection. dallasauctiongallery.com 03 TWO X TWO FOR AIDS AND ART TWO x TWO for AIDS and Art has raised over $60 million in support of amfAR’s essential AIDS research and the Contemporary Art Acquisitions Fund at the Dallas Museum of Art. The 18th annual benefit dinner is sold out. However, tickets are still available for First Look taking place Oct. 20 at The Rachofsky House. First Look: A Preview Party and Fundraiser are chaired by Brian Bolke, Jill Elliot, and Taylor Tomasi Hill. twoxtwo.org

Artist Mary Tomás, detail: Refresh 2016, oil on canvas, 48 x 59 in.

elemental state. Mirroring the color sequence of a manipulated and stretched cross-section of a photograph, he applies thousands of painted layers and lines onto an iridescent aluminum panel. williamcampbellcontemporaryart.com

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

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OF NOTE

OCTOBER 9, 2016 THROUGH JANUARY 29, 2017 More than 90 paintings, sculptures, and works on paper demonstrate the most important aspects of modern Spanish art and shed light on the global connection between Spanish art and other international modern art movements. This exhibition has been organized by the Meadows Museum and the Asociación Colección Arte Contemporáneo in collaboration with Acción Cultural Española. BBVA/Compass is the main Supporting Corporate Sponsor, with the special collaboration of Técnicas Reunidas, S.A.; Fundación Aon España; Fundación ACS; and Gas Natural Fenosa. A generous gift from The Meadows Foundation has made this exhibition possible. Promotional support provided by Óscar Domínguez (Spanish, 1906-1957), Untitled, 1947. Oil on canvas. Asociación Colección Arte Contemporáneo, Museo Patio Herreriano. © 2016 Oscar Domínguez / Artists Rights Society (ARS), New York / ADAGP, Paris.

M E A D OWS M U S E U M

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•

SMU

•

DA L L A S

A Visceral Voice

José Parlá bypasses consciousness in INSTINCTS at The Goss-Michael Foundation. Late September, The Goss-Michael Foundation reopened resplendently in its new space at 1305 Wycliff Avenue. Known for its esteemed collection of Young British Artists, its directors did the unanticipated by christening the art space with a solo show for Cuban-American artist José Parlá. “ We are committed to presenting artists of international acclaim in rotation with exhibitions showcasing work within our permanent collection. We will also continue with our Artistin-Residence program and FEATURE which engages Dallasbased artists,” said Joyce Goss, G-MF’s Executive Director. On view through November 11, INSTINCTS features a series of site-specific paintings and sculptures by Parlá, a widely acclaimed Brooklyn-based artist. Curated by Michael

Mazurek, G-MF’s Curator and Director, the show exhibits original works by the amiable and zealous artist who paints freely in the moment driven by a sensual intuitiveness. His heightened awareness and creative instinct are sensibilities that have been with the artist most of his life and continue as the main theme of inquiry for his exhibition at The Goss-Michael Foundation. Growing up in Miami, a graffitist whose “writings” were found on abandoned houses and buildings, Parlá explains, “Painting is my ritual and the drive that pushes me forward in time; my evolution. I have been making art primarily based on this ability to sense a gift that has propelled me into creative action for so many years, partly also by my upbringing and social learning.” Standing as a symbol of diversity, ONE: Union of the Senses is likely José Parlá’s largest calling card. Site-specific, spanning 90 feet at One World Trade Center, the mural is swathed in the artist’s signature abstraction and calligraphy, welcoming some 20,000 people each day. “Parlá’s concepts originate from the streets and willingly displace themselves from this point. Yet, his interest in the sincerity of this place and where it has taken his work, gives the paintings its presence. The art now populates an interior space, but does so as markers, recounting an accumulated history, both literally in sections of paint and conceptually through their calligraphic-like transcriptions,” said Mazurek. Abstraction persists in the playful investigation of color and space in the artist’s work for The Goss-Michael Foundation, while the slowing of time is amplified in these works examining the territories of Parlá’s personal consciousness. A sensory experience, the newly combined colors are a beautifully intense dialogue among word and image, erasure, reflection, and introspection. “We are excited to inaugurate our new location with this exhibition by the remarkable artist, José Parlá. For over six years, we have been a part of the burgeoning art community in the Dallas Design District, and our recent relocation underlines our commitment to the neighborhood and its future as the center of art and design,” Joyce Goss said. g-mf. org –Terri Provencal

José Parlá; INSTINCTS by José Parlá. Photography by Rey Parlá

OCTOBER / NOVEMBER 2016

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BY NANCY COHEN ISRAEL

SPAIN’S MODERN MASTERS Meadows Museum presents avant-garde work never before displayed in the US.

“T

here has never been an exhibition in the United States of modern Spanish art from this period,” says Mark Roglán, the Linda P. and William A. Custard Director of the Meadows Museum. He is referring to Modern Spanish Art from the Asociación Colección Arte Contemporáneo. This exhibition is groundbreaking for a number of reasons, including the museum’s unique collaborator, the Asociación Colección Arte Contemporáneo (ACAC). Founded in 1987, this diverse group of corporations in Spain united to create a collection of modern and contemporary Spanish art. Its purpose is the conservation and sharing of Spanish cultural and artistic patrimony. Under this arrangement, an acquisition fund was established into which the companies make annual donations. A panel of art advisors, including the exhibition’s curator, Eugenio Carmona, along with scholars, Antonio Bonet and Simón Marchán, stay apprised of the art market. Working closely with María de Corral, the director of the collection, they confer regularly about possible acquisitions. “We are interested in creating a framework, a constellation of the experiences of Spanish art,” says Carmona, who is also a Distinguished Professor of Art History. Dallas audiences may remember Corral from Fast Forward, the exhibition she curated at the Dallas Museum of Art a decade ago. She is also the former director of the Museo Reina Sofia. The ACAC collection is currently housed at the Museo Patio Herreriano in Valladolid. In this unusual arrangement, titular ownership is assigned among the corporations through an annual raffle. The collection currently boasts over 1,100 paintings, sculptures, and works on paper. Businessman, philanthropist, and cultural benefactor José Lladó chairs the organization. “He’s been key to getting this exhibition to happen,” Roglán says. “It is a true collaboration between the ACAC and the Meadows Museum.” Featuring over 90 works by approximately 50 artists, Carmona stresses the importance of the exhibition, saying, “Modern art is

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the biggest celebration of creativity. We would like to convey that Spanish art of the first half of the 20th century was rich, full of energy and complexity, reaching a new Golden Age of Spanish creativity. Finally, we would like the public to value how businesses, historians, and museum curators can work together to carry out the recovery of an important cultural memory.” Work from the Meadows collection, notably by Salvador Dalí, Juan Gris, Joan Miró, and Pablo Picasso, will complement the exhibition. Since many of these artists spent time living abroad, their work reflects prevailing avant-garde trends in Europe, South America, and the United States. Not only did they soak up the Modernist styles evolving around them, but they also influenced the work of artists in their host countries. International cross-pollination is evident in the section Form: Towards a Constructive Art. Included here are the works of Rafael Barradas and Joaquín Torres-García, Uruguayan artists whose Latin American sensibilities influenced Barcelona’s artistic community. And artists such as Julio González inspired American luminaries such as David Smith. Roglán emphasizes, “People will see how rich and how many connections these artists have to more familiar artists.” Lyricism and Free Expression reflects some of the most internationally significant trends. Among the Spanish artists who flocked to Paris in the early part of the 20th century was Alfonso de Olivares. Aside from studying painting, he was trained as a lawyer and sent to Paris as a diplomat in the 1920s. In 1925, Olivares mounted an exhibition in the French capital featuring resident Iberian artists, including Óscar Domínguez, Pablo Gargallo, Hermando Viñes, as well as their better-known countrymen, González, Gris, and Picasso. Across the Atlantic, Esteban Vicente became involved with the New York School, showing alongside American Abstract Expressionists. While the work in New Physiognomies, New Realisms is largely representational, modernist sensibilities still prevail. One of the

OPENINGS

few women in the exhibition, Maruja Mallo experimented with unconventional media in Gold (Two-Dimensional Portrait). Mallo traveled throughout Europe, meeting other avant-garde artists, before moving to Buenos Aires, where she lived for nearly three decades. In the exhibition’s Surrealisms Expanded section, the work of Dalí and Miró hangs beside that of fellow Catalan artists, Leandre Cristòfol and Joan Ponç. Nature and Culture includes the work of Domínguez and Antoni Tàpies, artists whose work is enjoying renewed interest. With Manuel Millares and Eugenio Granell, this section explores several concurrent avant-garde movements. The exhibition’s timeline spans the Spanish Civil War and the Franco years. “Franco never really managed to create a ‘Francoist art’ that dominated everything,” Carmona says. He also stresses that tensions remain prevalent between artists who stayed in Spain and those who lived abroad during this turbulent time. “We hope the public finds it interesting how Spanish artists returned to their original places in Spanish nature through new eyes that modern art gave them.” Roglán adds, “Not only is it exciting to bring this exhibition to America, but also to be a part of a really wonderful collection that needs to be seen.” P Clockwise from upper left: Esteban Vicente, No. 10, 1953, oil on canvas; Joan Ponç, Composition, 1947, mixed media on board; Joaquim Sunyer, Portrait of Josep M. Albiñana, 1918–1919, oil on canvas; Rafael Barradas, Calle de Barcelona, 1918, oil on canvas; Julio González, Les Amoureux II (The Lovers II), 1932–33, bronze (3/3); Antoni Tàpies, Red Landscape, 1953, oil and varnish on paper glued to Masonite. Opposite page, from left: Alfonso de Olivares, Doric Column, 1932, oil on canvas; Manolo Millares, Collage, 1954, mixed media and collage on burlap; Joan Miró, Untitled, 1930, pencil and charcoal on paper. All images courtesy of Asociación Colección Arte Contemporáneo, Museo Patio Herreriano.

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BY LEE ESCOBEDO PHOTOGRAPY BY ANTHONY CHIANG

Jason and Nancy Koen are the creatives behind The Box Company.

BOXING DAY

Nancy and Jason Koen debut their massive new art space with a solo show for Francisco Moreno.

S

outh Dallas is an oasis. It’s almost untouched by the gentrifying ills affecting Oak Cliff and West Dallas. For now. Long forgotten by the powers that be until dusted off to be used as election-year fodder, South Dallas is home to American families living, loving, and trying to survive. Not without its issues, the neighborhood has been strangled by the use of terms “North” and “South”—economic terminology historically used to segregate not only its people, but empathy as well. Typically, when artists, gallerists, or entrepreneurs come into such a neighborhood, one rife with cheap buildings, acreage, and warehouse districts waiting to be renovated, the spectre of

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gentrification becomes all too real to the neighborhood’s preexisting communities. While working on opening their new art project space, The Box Company, Nancy and Jason Koen are keenly aware of such spectres. Currently the two dynamos are renovating an old box-making warehouse in South Dallas off Malcolm X on the corner of Coombs St. and Myrtle St. into what will become a 6,000-square-foot gallery and event space, as well as 8,000 square feet of eventual artist studio rental space. The undertaking is as big as it has been financially taxing. “Nancy and I are funding this ourselves and going into great debt over it; it’s a terrifying project for us,” Jason says.

CONTEMPORARIES

You can’t call the couple the new neighbors, however. Jason Koen is anything but “new” to the area. His Mexican-American grandfather, Gabriel Camacho, started his box business, Camacho Box Company, out of the same warehouse in Depression-era 1946, with $68 in his pocket upon returning home from WWII. “I grew up here, riding forklifts and driving trucks. The original sign is still out front. Some of Dallas’s most industrial history is distribution. Cotton was a big item, and this was a distribution building. It was the Depression era, and new boxes were hard to come by,” Jason describes. From the time he was 12 years old until his mid 20’s, Jason worked at Camacho Box Company assisting with everyday operations, driving delivery trucks, and making sales calls. In the early 1990s, Jason’s parents took over the company, but couldn’t compete with the advanced production of companies like Georgia Pacific. The company closed in the late 90s, and the building sat in trust until Nancy and Jason recently procured it from the estate. As an art space, it has the potential to be groundbreaking in its very existence as a conceptual project space. This month, The Box Company officially debuts with a solo show for painter, Francisco Moreno, along with an exhibition in the project room—a renovated upstairs space that was used as a break room when the warehouse was open—featuring paintings by artist, Paul Winker. Future programming will feature emerging studio artists from a range of backgrounds, practices, and media. “We want to differentiate ourselves from what’s already here,” Jason said. “But that’s difficult because there is sort of this core group of artists in Dallas that are so great. We see the programming as being a mix between artists and curated shows. There could be anything from music to painting.” Jason brings his experience as former Exhibitions Coordinator at The Goss-Michael Foundation from 2008–2011, where he worked with the Young British Artists, including Damien Hirst, Sarah Lucas, Tracey Emin, Marc Quinn, and Michael Craig-Martin. The latter was Jason’s professor at Goldsmiths University in London in the 1980s. Nancy is the co-founder of B. Stellar Jewelry, and has a strong background in fashion marketing and design. Jason looks back at his time with G-MF as one filled with hands-on learning, as well as mentorship from Kenny Goss and his sister-in-law, Joyce. “My relationships and my background have been my trajectory, more than anything else. It’s not the type of thing you can set out on having. I didn’t even know these jobs even existed.” Earlier in his career and after years of skateboarding as a youth, Jason and his friend, Danny Sandoval, opened a skate shop in 1995 called Chrome on Parry Ave. in Exposition Park. Just a few months later, David Quadrini opened Angstrom Gallery. Quadrini would serve as an early mentor to Jason through his experimental gallery space, one of the most important art spaces in the city at the time. Quadrini had the type of forward-thinking programming the Koens hope to bring to their immense warehouse in South Dallas. The Koens have spent nearly every waking hour in the space, first building, then installing the white cube where Moreno will exhibit his new scribble paintings opening Oct. 1 and on view through Dec. 1. And this isn’t the first time Moreno has been featured as the inaugural artist for a newly minted art space or project, including the first Dallas-based artist who exhibited at the DSO’s SOLUNA International Music and Arts Festival and also in the former Oliver

Francis Gallery, where Jason was first introduced to Moreno’s work. “I like doing inaugural exhibitions,” Moreno says with a laugh. “After doing donuts (with the artist’s The WCD Project) at SOLUNA, I thought the radical thing for me to do was scribbles.” Moreno’s paintings will be hung so each one can breathe and carry the space on its own. What Jason describes as a museum-quality install, Moreno wanted to hang the work in a way that was quiet enough, so that you can still feel the weight of the newly renovated space. “I wanted to do a show that was loud enough but not too loud to take away from that,” Moreno said. “Nancy and Jason have put so much love in this.” Once completed, there will be nothing like this project space in Dallas. One could foresee artist co-labs, large-scale sculptural exhibitions, music festivals, all happening within the same season’s programming. Working together, the Koens are setting no limits. “There’s nothing we don’t do that we don’t talk about together. We both see ourselves as director, director.” Jason said. Moreno adds, “The TLC they put into designing the space is a sculpture in itself.” Next door to The Box Company stands the shining, beautiful, Billy Earl Dade Middle School—a school built on collaborative principles of parent participation and teaching the whole student. The school now stands where a tent city once housed homeless, abandoned houses and empty lots. Nancy speaks of plans to work with the school on art education programs. The couple is ambitious. More importantly, they genuinely care about enriching the neighborhood. On a sweltering day in September, the Koens finish installation on Moreno’s show, hanging paintings with the artist. They are both drenched in sweat. The melting rays of the sun bring out the few gray hairs in Jason’s beard without shading the youthful face of a born skater. By the front of the warehouse, Jason’s father uses a long, metal tool to scrape dried chunks of cement off the floor, smoothing the surface. The building is quiet save for the sounds of the scraping and nails on walls. That is, until an echo fills the warehouse from outside. Young black students, in full football gear, are engaged in practice in the school’s field. Laughter, play-calls, and squeals reverberate off the bullet-filled walls of the warehouse. If you listen closely, it kind of sounds like the future. P

Francisco Moreno’s work inaugurates the new space.

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FAIR TRADE

BY ANDREA KARNES

A VIEW COLORED ROSE Albertz Benda taps art critic Barbara Rose to curate their maiden booth at Dallas Art Fair 2017.

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lbertz Benda, Thorsten Albertz and Marc Benda’s Chelsea-based gallery, has created quite a stir in New York this fall with the opening of Ed Moses: Painting as Process. Curated by art critic and historian Barbara Rose, this is the first comprehensive East Coast solo show of the acclaimed Los Angeles-based artist. “Our gallery’s program emphasizes the work of seminal artists who warrant further exploration and exposure, and we are glad to have the benefit of Barbara’s curatorial perspective and depth of knowledge,” Albertz says of the collaboration. “While putting together our Ed Moses retrospective for the gallery, Barbara and I immediately realized that we wanted to do more projects together,” continues Albertz. Fortunately for Moses enthusiasts in the area, the gallerist next engaged Rose for a Dallas project. “Presented with the opportunity to exhibit for the first time at the Dallas Art Fair, collaborating with Barbara seemed like an inevitable next step. Barbara has known Ed personally and professionally for years.” PATRON tapped Andrea Karnes, a curator at The Modern Art Museum of Fort Worth, to check in with Rose on curating the Albertz Benda booth at Dallas Art Fair 2017 and on recalling her time at Museum of Fine Arts Houston. Andrea Karnes: How often have you been back in Texas since serving as the Senior Curator at the Museum of Fine Arts in Houston? Barbara Rose: I go back to Houston and Dallas all the time to visit friends and colleagues. I love Texas because people are willing to do big things! My friends in Houston include Mimi Kilgore who was in my class at Smith; Alison Greene, curator of 20th century art at the MFAH; and Gary Tinterow, the director who is building on what Peter Marzio was able to do. His Degas retrospective this fall will be one of the year’s great international exhibitions. Houston was incredibly lucky to get him, and it was the Met’s great loss when he left. AK: What was your experience like during those heady days of the mid-

1980s? BR: Bill Agee, who was the director of the MFAH, hired me in 1981, and the staff at that time was outstanding. Agee is the great expert on American Cubism, and he has a great eye in general. Everything he bought has increased incredibly in value and is historic work that can no longer be acquired by museums. The four greatest connoisseurs in their respective fields were still working at the museum: Patrice Marandel in old masters, George Shackelford for Impressionism and post Impressionism, Anne Tucker in photography, and David Warren in decorative arts as the director of Bayou Bend. AK: And how has the perception of the museum changed since your time there? BR: Not really. Houston has always had huge ambition, and there has always been a handful of people willing to support first-class shows. Meredith and Cornelia Long were not just trustees, but real friends whom I miss. Houston has two first-class universities—the University of Houston and Rice—as well as two first-class studio art departments—U of H and the Glassel School, which is part of the museum complex. And there has always been terrific synergy between the Menil and the MFAH because they do not compete but complement each other. The addition of the Drawing Institute at the Menil and the new wing for contemporary art at the MFAH will be important additions to an already very active art scene. I still keep up as much as possible with the terrific artists I met in Texas. I love Julie Speed’s work, and Paul Manes, who is from Beaumont, is one of the artists in the huge show I am curating in Brussels, Belgium, Painting after Postmodernism, which opens September 14. There are eight Americans including Ed Moses and eight Belgians. Only one artist—Karen Gunderson—has a studio in Manhattan. You can still make art in Texas that is experimental and not market-driven. Don Judd’s putting Marfa on the map really helped.

From left: Ed Moses, Ahora, 2007, oil and acrylic on canvas, 64 x 66 in.; Christopher Le Brun, Stop, 2015, oil on canvas, 62.99 x 51.18 in.; art critic Barbara Rose

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AK: Before you became personally involved with influential people who would shape the art world in the 1960s, your chosen field of study was Spanish Baroque art. BR: Actually my field at Columbia and the Institute of Fine Arts was sixteenth century Spanish painting, the so-called Hispano Flamenco artists. I had a Fulbright to complete research on my thesis in Spain. Spanish art and culture are still some of my main interests. The Meadows (Museum) is a singular institution with some amazing works, and I hope it will remain always a museum of Spanish art, because in that way it is unique. Right now I am writing a book on the influence of a group of medieval Spanish illustrated manuscripts called the Beatus manuscripts on modern art. AK: I understand that you will be curating the booth with Albertz Benda for the Dallas Art Fair in the spring of 2017. Can you reveal a little about the artists and works that you’ll be including? BR: I had a very positive experience curating the Ed Moses show for them in New York. We are talking about a two-person show of the English painter Christopher Le Brun and Ed Moses, who are great painters but in totally different ways. My only interest is quality, not any specific style or artist. I’m a historian, and what I care about is artists whose works can stand the test of time, not the latest novelty. AK: For some years, you’ve been a strong proponent of Ed Moses’s work. How did this relationship come about and develop? BR: I met Ed when he first came to NY as a young artist. He was showing at the Ferus gallery in LA and so was Frank Stella, to whom I was married at the time. Then we met again when we were both on the faculty of UC Irvine, which was a kind of Black Mountain on the beach where all the hip LA artists and John Coplans, later editor of ARTFORUM, taught. AK: Have there been any recent museum or gallery exhibitions of special note to you? BR: The Alighiero e Boetti and Dubuffet shows at MoMA were both great. The Hieronymous Bosch exhibition at the Prado was fantastic. The Carl Andre show at DIA was unforgettable. The Van Duisberg show at the Bozar in Brussels was impeccable and full of interesting parallels. P

ABOUT ANDREA KARNES Fort Worth-raised and -based, Andrea Karnes is a curator at the Modern Art Museum of Fort Worth. She holds a Masters Degree in art history from Texas Christian University. Recently, Karnes organized Framing Desire, which featured video and photography from the Modern’s permanent collection and marked the unveiling of over forty new acquisitions. She is currently organizing a major survey exhibition opening this month that spans the twenty-year career of the American artist, KAWS. In addition, Karnes is planning a retrospective exhibition with artist, Laurie Simmons, opening in the spring of 2018. Karnes’s publications include México Inside Out: Themes in Art Since 1990; Hubbard/Birchler: No Room to Answer; Pretty Baby; Pierre Huyghe: Stranger than Fiction; and Julie Bozzi: Hidden in Plain Sight. P Andrea Karnes

OCTOBER / NOVEMBER 2016

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BY JUSTINE LUDWIG

LOLS AND READY-MADE FROWNS GETTING PERSONAL WITH PIERRE KRAUSE.

This page: Pierre Krause is a post-lol multimedia thing-maker living an anonymous life in the United States. Opposite, left: Pierre Krause, Loss (Gesture One), 2016, oil pastel on paper; right: A view from a gallery in Zurich, Pierre Krause, SOUVENIR, vinyl, 2015.

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ierre Krause lives in the studio. Windowless and hidden away, this small utilitarian space is filled with treasures. Playfully identifying as a post-LOL artist, Krause mines that language of the Internet, creating a dialect that is both familiar and fresh, full of personal reference. For the artist, art-making is synonymous with memory-making. Text pieces and objects are closely tied to specific moments in Krause’s life—recounting romances, adventures, and traumatic events. Works on paper predominantly consist of makeshift Old English script that the artist has come to refer to as Pierre font. Executed in boxy graphite, bold sharpie, and elegant calligraphy pen, words range from heartbreaking to humorous. A phrase overheard at a bar is presented with the same care as an intimate poem. “Mercury is in Gatorade” and “Cold hands, rushing all, over my, dampened skin, loud floating” are each drafted on paper—one within the pages of a notebook, the other on printer paper and displayed on a basic Office Depot clipboard affixed to the wall. Krause’s influences appear esoteric—office aesthetics, illuminated manuscripts, and sculptor Brancusi. Recent drawings appear as representations of auras surrounding objects. Daggers, vases, roses, wings, and hands are surrounded by pencil hash marks of varying weights. In other illustrations, amoebic forms interlace, as if Brancusi’s The Kiss were to come into contact with radioactive spillage. Unfixed charcoal, smudged, and trailing fingerprints are signatures of the artist. The diversity of references and inspirations are brought together through a unity of spirit. Even produced pieces and found objects feel uniquely Krause-ian. The artist is present. Always. Drawings are executed in notebooks, with the intension of being able to be made on the fly. A reflection of Krause’s nomadic practice, who at any time can be found around town, drawing at various coffee shops. Notepads and sketchbooks are the artist’s most prevalent accessory, the work often taking on the quality of scrapbooking or journaling. Pressed flowers and leaves squeezed between pages and notes inscribed by others dear to the artist live among the drawings. The studio is a mentality rather than a physical space. According to the artist, “A day discovering a good found object is a great day in the studio.” Everywhere and anywhere has the inherent potential as a site for inspiration and production. Frowns, comprised of found objects, intermittently cover all walls of the home studio—hoses, clipped wires, and string. Krause merges the millennial malaise of quip-y emoji-speak with DuChampian sensibilities. Sourcing from both comedy and tragedy, these pieces are a part of the artist’s compendium of commonplace items. A graphic designer’s nightmare, “baby

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thug tears” is printed in Comic Sans on a banal white coffee mug. A plain black hoodie is printed with the words, “READYMADE AS F**K.” A black shopping bag with the words, “Thank You for Shopping With Us,” is preserved in a white frame. Krause lovingly renders the prosaic precious. Corporate aesthetics also pervade Krause’s oeuvre—text works and drawings live in three-ring binders or sit in a three-level mesh desk organizer marked “heaven, u, hell.” Plastic sleeves are used to protect and display the work—taking on a role normally taken on by frames. Texts may veer toward inspirational posters in attitude. Works are rendered in grey-scale palates, appearing easily consumable and reproducible. Krause’s interest in drawing and memory coalesce in a recent series of collaborative tattoos. Drawn directly on the skin in marker and then gone over with a tattoo gun, these works recall Christopher Nolan’s Memento. They capture an idea worth memorializing. The artist sees these projects as a collaboration with the canvas. Never preplanned, the word (or words) selected is a snapshot of a moment

in time. “Weld” adorns the body of metal sculptor Kate Firth and “miss September” brands September-born, Hava Toobian’s thigh. These pieces are physical bonds of friendship and admiration—an insight into the relationships that Krause forms with others. The artist’s own tattoo, which reads “cute,” has been photographed and printed on canvas, presented as its own work of art. A giant frown and flower currently emblazon the external wall of Liliana Bloch Gallery. Krause’s Mourning, made from metal conduit, foam installation, and paint, and Loss, constructed from rubber hose and zip ties, are the artist’s first large-scale public works. They are drawings, only executed in a different material and on a different surface. They still retain the intimacy inherent in all of the artist’s work. Krause is attracted to the romance in the mundane. Everyday objects and moments are worth immortalizing. In viewing Krause’s work, we are privileged enough to gain access to the artist’s innermost thoughts. Fittingly, one of the artist’s text pieces reads, “I am changed by this.” P

CELEBRATING 35 YEARS Over the past 35 years, the Concentrations series at the Dallas Museum of Art has presented 59 exhibitions, providing the first major museum shows for many of the most established artists working today.

Concentrations 60: Lucie Stahl On view now through March 12, 2017

The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts.

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A STAND FOR MEDIUM AND MATERIALITY

THE WORK OF TWO X TWO 2016 ARTIST HONOREE, LAURA OWENS, IS CHARACTERIZED BY INVENTIVENESS AND PLAYFULNESS.

Above: Laura Owens, Photo by Noah Webb, Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne. Opposite, from left: Laura Owens, Untitled, 2006, acrylic and oil on linen, 48 x 43 in., Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne. Laura Owens, Untitled, 2004, acrylic and oil on linen, 132 x 111.25 in., Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne

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BY GAVIN DELAHUNTY

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y first hands-on experience with Laura’s (Owens) paintings was some ten years ago at the Douglas Hyde Gallery, Dublin, in 2006. In keeping with the curatorial style of the gallery, it was a sparsely hung show with no more than half a dozen canvases together with a handful of drawings. I remember one work being particularly arresting—(Untitled, 2006), a deceptively charming work that portrayed a fantastical romantic scene—a purple-haired male and an amply breasted pink-skinned woman in an embrace. It is a terrific painting with an Indian folk feel. At the time it recalled for me the French poet Stéphane Mallarmé’s landmark poem, “The Afternoon of a Faun,” in which he describes the sensual experiences of a faun who has just woken up from his afternoon slumber and discusses his encounters with several nymphs in a dreamlike monologue. Like Mallarmé’s poetry, I found “fantasy,” “symbolism,” and “pleasure” useful words to keep in mind when trying to conceptually grasp this otherworldly work. Before moving on to complete her M.F.A. at California Institute of the Arts, Owens had completed a formative period at Rhode Island School of Design. RISD is well-known for having a very traditional formal academic training environment. This developmental time for Owens seems to have activated a tremendous suspicion of master narratives in visual art, especially in painting, of the last hundred years. It would seem her training at RISD brought about a project that challenged the metanarratives of history, culture, and identity. She quickly developed a critical and

highly personal language characterized by a seemingly nonchalant inventiveness, a playfulness between image and meaning. Recently I came across a self-written article on her work for artforum where she began with the line, “I like to think of each painting in an exhibition as posing its own question; and of course any one question may actually negate another.” This reminded me of my earliest experience with her work in 2006. It was an accurate description of my encounter. Each painting was a distinct world of its own. And so began my love affair with the work of Laura Owens. I traveled to Zurich, London, and Cologne to see her latest exhibitions. Each time I was astonished by an endlessly expanding and interconnecting range of countersubjects and origins incorporating the likes of American quilts, tapestry, embroidery, Lubok prints, Rajput painting, astrology, children’s coloring books, and the history of art, to name only a few. In the production of her work, she moved effortlessly between a variety of tools from paintbrush or spatula to the technologies of screen printing or flatbed digital printing, testing these tools by eschewing their conventional use with unorthodox materials and processes, with fantastic results. What was even more thrilling was that in these handmade, mechanical, and digital experiments, Owens would subvert the characteristic methods of painting to allude to the ongoing transformation of the discipline itself. The results were not ironic, like so many of the neoexpressionist painters who emerged in the late 1970s, but seemed to assert and celebrate paintings’ capacity to evolve and expand as a medium.

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Laura Owens, Untitled, 2012, acrylic, oil, Flashe, resin, pumice and collage on canvas 108 x 84 in., Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne. Left: Installation view, Laura Owens, Twelve Paintings, 356 S Mission Rd, Los Angeles, January 20 – July 7, 2013, Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne. Opposite, left: Laura Owens, Untitled, 2013, oil, Flashe, and charcoal on linen, 108 x 84 in., Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne. Laura Owens, Untitled, 2013, acrylic, oil and Flashe on linen, 137.5 x 120 in., Courtesy the artist / Gavin Brown’s enterprise, New York / Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne

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I found “fantasy,” “symbolism,” and “pleasure” useful words to keep in mind when trying to conceptually grasp this otherworldly work. –Gavin Delahunty As I continued to inquire and become little-by-little more knowledgeable, I learned that Owens’s social and cultural pluralism extended into her studio practice where she has set up spaces for painting, printmaking, and bookmaking. Her multiplicity reached a high point around 2012 when she began co-running a new studio, exhibition, and event space at 356 S. Mission Rd. in Los Angeles. In an in-conversation with Fabian Stech shortly before the opening, she stated that “to have a space that is both studio and an exhibition space is to make a new type of space”…and that the project was “inspired by the history of artists working in Los Angeles and making site-specific projects.” It was a bold move and a turning point of sorts for the artist. Having lived and worked in Los Angeles since the early 1990s, it signaled her investment in the city and a kind of thank-you for the inspiration it had provided. Moreover, this context gave birth to the acclaimed exhibition, 12 paintings by Laura Owens and Ooga Booga #2, 2013, and individually intoxicating works such as Untitled, 2013, which from the outside looking in announced a newly revitalized Owens—painting on an expansive scale and inviting us to pay closer attention to the surfaces, images, signifiers, and their relationality in her paintings. I’d like to end with a sort description of a remarkably cryptic work from around this time. Untitled, 2013 seems to be a chromatic evolution from the 356 S. Mission Rd. project. It is of an interior of a room, a tiled wall, and a gridded tabletop on which sits two oversized eggs and what seems to be a measuring spoon. What’s

represented is subordinated by a peculiar opacity in the upper part of the painting. The work is from a series of seven paintings that started with scans from an old coloring book Owens was using as source material, scaled up to correspond with the size of the canvas, 108” x 84”, and transferred into a charcoal line. The visual source material is transformed by Owens to become an equivalent form alongside the oversized impasto gestural marks. Her collapsing of what is real and what is simulated produces something that in its totality is visually more powerful. As I rummage through my daily experience of information overload in our infinitely expandable, centerless, interconnected world, I take comfort in knowing that out there are artists like Laura Owens who are making a stand for medium and materiality, and in doing so subverting and assigning some logic to our hyper-reality. Laura Owens was born in Euclid, Ohio, in 1970. In 2003 she became the youngest artist ever to be honored with a retrospective at the Museum of Contemporary Art, Los Angeles. Recent exhibitions include Ten Paintings, CCA Wattis Institute for Contemporary Arts, San Francisco; Secession, Vienna, 2015; FIAC, Paris, 2013; and Pavement Karaoke/Alphabet, Sadie Coles, London, UK. She teaches at the Art Center College of Design, Pasadena. Since 2012 she has operated the exhibition space at 356 S. Mission in Los Angeles in collaboration with Gavin Brown and Wendy Yao. Owens is represented by Gavin Brown’s Enterprise, Sadie Coles Headquarters, and Galerie Gisela Capitain. P

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BY DANIELLE AVRAM

ART’S FEMALE GAMECHANGERS Marching to their own drummer, women artists reign at TWO x TWO 2016.

This Page: Marisa Merz, Untitled, 2003, pencil and charcoal on paper, 44.25 x 32.37 in., courtesy of the artist and Gladstone Gallery, New York. Opposite, clockwise from top: Celia Paul, Self-Portrait, December-January, 2015–2016, oil on canvas, 36 x 24 in., courtesy of the artist and Victoria Miro, London; Lina Puerta, Untitled (Green 2), 2014, mixed (wood, polyurethane, concrete, wire, acrylic sheet, paint, fabric, lace, artificial moss, beads, trims, and flock), 14.5 x 11.5 x 1 in., courtesy of the artist and Geary Contemporary, New York; Lucy Dodd, Swail, 2016, wild walnut, black lichen, hematite, graphite, scoby, and mixed pigments on canvas, 27 x 34 x 47 x 43 in., courtesy of the artist and David Lewis Gallery, New York

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WO x TWO for AIDS and Art 2016 is a banner year for female artists. With nearly fifty female artists represented in the auction, including honoree Laura Owens, this year’s event showcases a crop of women who are pioneers of their industry. Featured here are fourteen of the best: from art world heavyweights to rising stars, these artists play by their own rules, mixing intuition and education as easily as they mix materials. Born in 1931, the grand dame of the list is Marisa Merz, who, with her husband Mario, helped define Italy’s Arte Povera movement of the 1960s and 70s. Utilizing untraditional materials such as tape, thread, and copper wire, Merz introduced a language into contemporary sculpture generally considered “feminine” or “craft-based,” challenging divisions between domestic and artistic spaces. Awarded the Golden Lion for Lifetime Achievement at the 2015 Venice Biennale, Merz’s career paved the way for a legion of successors, many of whom simultaneously wear the hats of mother, wife, and artist. As she famously stated, “There has never been any division between my life and my work.” Like Merz, painter Celia Paul’s personal life forms the basis for most of her work. One of the many lovers of Lucien Freud, Paul gave birth to the couple’s child, Frank, in 1984, taking only a threeweek break before returning to her painting career. Using herself, her sisters, and her mother as a rotating cast of subjects, Paul’s portraits are otherworldly and mysterious, with figures that barely manifest themselves from their gloomy backdrops. Included in TWO x TWO is a recent self-portrait of Paul, selected by event cofounder and host Howard Rachofsky as one of his “hidden gems.” Says Rachofsky, “Celia Paul is an artist whose poignant imagery and classical use of paint conveys a timeless joy of painting.” The influence of artists like Merz and Paul can be seen in the practices of younger artists such as Nina Canell, N. Dash, Lucy Dodd, and Lina Puerta, all of whom harness the emotional and intuitive powers of materials to imbue their work with distinctly

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idiosyncratic qualities, creating work that functions as a personal ecosystem—a delicate balance of materiality, process, and context. Functioning as an artist-meets-mad-scientist, Canell creates installations that are part sculpture, part chemistry experiment, exploring the cause-and-effect relationship between materials placed in proximity to each other. Bowls of water, bags of cement, and transistor radios become associative vessels for the transfer of energy, poetic ruminations on the physical and ephemeral. For N. Dash, the process is tantamount—the artist constantly carries around small scraps of cotton fabric, worrying the pieces with her fingers until they are nearly destroyed. She then photographs these remains, displaying them next to her subtle, yet graphic, paintings, comprised of natural materials such as adobe, linen, and jute. Quirky youngster Lucy Dodd, whose solo show, Buttercut, was at The Power Station earlier this year, creates bohemian installations for performances and parties, backdropped by paintings comprised of organic materials like walnut, moss, and berries. A star on the rise, Dodd recently participated in the Whitney Museum’s program, Open Plan, exhibiting alongside industry giants like Andrea Fraser and Steve McQueen. The most newly established of the group, Lina Puerta uses carefully selected found and recycled materials to construct assemblages that examine decay and regrowth between humans and the natural world. Earlier this year, Puerta was one of four artists selected by Gavin Delahunty, the Dallas Museum of

Art’s Hoffman Family Senior Curator of Contemporary Art, to join the collection of the DMA with funds utilized by the new Dallas Art Fair Foundation Acquisition Program. Working in a similar intuitive vein are Karla Black, Isabel Nolan, and Mika Rottenberg. Boasting an impressive array of credentials, each of these artists has participated in the Venice Biennale. Rottenberg was also in the 2008 Whitney Biennial, and Black was nominated for the 2011 Turner Prize. With a fondness for pastel colors and everyday products such as eye shadow, petroleum jelly, and toothpaste, Black’s sculptures are not a commentary on femininity, but rather delicate explorations that push the physical qualities of materials to their limit. Seeming to defy physics, her pieces walk the line between permanence and impermanence, appearing to hover on the brink of existence. Conversely, Nolan’s works are carefully studied forms based on organic occurrences, albeit forms that are rendered through her unique perspective on the natural world. Her investigations range from looping, doodle-y sculptures, to delicate flags, and hand-tufted carpets. Such domesticated undertakings also influence the work of Mika Rottenberg, whose practice often focuses on women and labor, and the various ways in which female body types are commodified and traded. For the 2015 Venice Biennale, Rottenberg crafted a video titled, WhoNoseKnows, a surreal commentary on the Chinese freshwater pearl industry that highlights the industrialization of both the freshwater mussel and

Left: Rita Ackermann, Bondage, 2016, acrylic, oil spray, chalk, and pigment on canvas, 60 x 50 x 1.62 in., courtesy of the artist and Hauser & Wirth. Right: Kaari Upson, Bodhidharma, 2014, urethane and pigment, 72 x 31 x 26 in., courtesy of the artist and Sprüth Magers, Berlin, London, and Los Angeles

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the Chinese female body. The body features heavily in the practice of mid-career artist Rita Ackermann, whose paintings of wide-eyed, drugged-out nymphs (who bear a resemblance to Ackermann herself) set the tone for much of her early work. They also form the basis for her current series of “chalkboard paintings,” one of which is included in the auction. In this series, Ackermann primes the canvas with chalkboard paint before drawing out a figurative scene in chalk. The drawing is then repeatedly washed away and rebuilt in a process that obfuscates the original figure, while creating new abstract forms. The result is a painting that is punky and anarchistic, eschewing traditional figurative or abstractive rules in favor of broad and aggressive gestures. Like Ackermann, a singular theme forms the backbone of much of Kaari Upson’s practice. Her long-running series, The Larry Project, is based around an assortment of objects she salvaged from the burnt wreckage of a home belonging to a man named Larry, a neighbor of her parents. Likewise, her current series of casts made from mattresses, cushions, and couches that she salvaged from the streets of Los Angeles, is focused on traumatic domesticity—a nod

to the time Upson spent bedridden with cancer. In these instances our homes become tragic symbols of pain, suffering, and loss. Rounding out the list are three powerhouse women. One of the few female artists of Southern California’s Light and Space movement in the 1960s, Mary Corse is renowned for her paintings that utilize glass microbeads to subtly bend light and shift perception. Pioneering fiber artist Sheila Hicks studied under famed color theorist Josef Albers with colleague Eva Hesse. Hicks has traveled the world researching artisanal textiles, seamlessly blending design, craft, and contemporary art, experimenting with a variety of fibers and techniques on scales from the petite to the monumental. Similarly, sculptor Carol Bove spans a breadth of modes: from assemblages of readymade objects that mimic domestic shelving units, to large-scale metal sculptures, to “sweater” paintings whose woven texture is constructed with the use of a metal mesh. It is fitting that Bove—who is a mid-career artist poised to become a legend in her own right—comes at the tail end of a list of female artists who play by their own rules, indicative of the passion with which these artists project their singular voices, each defining contemporary art in her own way. P

Clockwise from top: Sheila Hicks, Enroulage Phare, 2016, linen on wood and aluminum, 71 x 59 in., courtesy of the artist, Galerie Frank Elbaz, Dallas and Paris, and Sikkema Jenkins and Co., New York; N. Dash, Untitled, 2016, adobe, oil, pigment, acrylic, gesso, string, linen, jute, and wood support, 58 x 33 in., courtesy of the artist and Casey Kaplan, New York, Photo credit: Jean Vong, New York; Mary Corse, Untitled (White Inner Band Beveled), 2014, glass microspheres in acrylic on canvas, 48 x 48 in., courtesy of the artist, Ace Gallery, Los Angeles; Lehmann Maupin, New York and Hong Kong; and Almine Rech Gallery, Paris - London - Brussels; Nina Canell, Forgotten Curves, 2013, dye threads, double museum glass, and wooden frames in 2 parts, 20.12 x 14.5 in. each, courtesy of the artist and Daniel Marzona, Berlin; Carol Bove, Sixth Light Blue Sweater Painting, 2016, acrylic on canvas, 48 x 60 x 1.75 in., courtesy of the artist, David Zwirner, New York/London and Maccarone, New York/Los Angeles

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BY STEVE CARTER

THE KAWS OF IT ALL THE MODERN ART MUSEUM OF FORT WORTH READIES FOR THE LARGEST EVER EXHIBITION OF THE BROOKLYN-BASED PHENOM.

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This page: KAWS at Yorkshire Sculpture Park. Courtesy of the artist and YSP. Photo ©Jonty Wilde.

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016 has been an auspicious year for the Modern Art Museum of Fort Worth, especially where survey exhibitions are concerned. With the six-month run of its blockbuster Frank Stella retrospective just barely in the rearview mirror, The Modern is now launching KAWS: WHERE THE END STARTS, and it’s destined to be another don’t-miss-it bonanza. The exhibition opens on October 20 and runs through January 22, 2017, before heading off to Shanghai’s Yuz Museum in March. A comprehensive overview of the Brooklyn pop artist’s career, aka Brian Donnelly, from graffiti to commercial collaborations here and abroad, from museums to the Macy’s Thanksgiving Day parade, and beyond, KAWS: WHERE THE END STARTS is the single largest exhibition of his work ever mounted, and a major coup for The Modern. “As a 20-year survey of his work, it includes every one of his recurring motifs,” Modern curator and show organizer Andrea Karnes explains. “But that’s just the general idea. [Many] people think of KAWS simply as a pop culture figure, or a graffiti artist, or a designer, or a fine artist, only one way or another—my hope is that the exhibition ties all of those things together and shows that he really is a successful crossover artist between those things… how all of that meets in his fine art.” WHERE THE END STARTS is comprised of roughly 100 works: three monumental sculptures (two of them outdoors), ten large-scale sculptures, 30 to

40 key paintings, along with drawings, early graffiti interventions, KAWS-designed products including toys and apparel, and other collaborations. “When we were first talking about ways to format the flow of the show, we decided to treat things visually and thematically rather than chronologically,” KAWS explains. “There’s consistent imagery throughout the work, and I return to certain images a lot, so it’s hung in a way where a room can have images from the 90s and from 2015, and there’s a similar language happening. We were just more interested in creating a hang that showed everything but would also let you make comparisons between years, so not everything is sectioned off.” The earliest works in the show are examples of his “interventions” from the mid-90s, when he was moving away from graffiti’s evanescence and beginning to create “tangible” art, as he puts it. The interventions involved the artist borrowing advertisements from phone booths and bus stops, enhancing the ads with his own paint-over graphics, and then re-posting them to their original locations. The experiment was wildly successful in getting KAWS-consciousness to the public, and proved that even jaded metropolitans occasionally took notice of their surroundings—it wasn’t long before the interventions became highly sought-after collectibles. “In the beginning they’d sometimes last two months, and I’d get to walk past them every

From left: KAWS, UNTITLED, 2001, acrylic on photograph, 16 x 12 in.; KAWS, ALONG THE WAY, 2013, wood, 96.87 x 75 x 51.25 in., both from the collection of the artist

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KAWS, CHUM, 2009, painted fiberglass, 90 x 54 x 30 in., collection of the artist

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Above: KAWS, ANOTHER GENERATION LOST, 2013, acrylic on canvas, 94 x 114 x 1.75 in., Collection of Sandra and Harry Cheung, San Francisco. Courtesy Galerie Perrotin, Photography: Guillaume Ziccarelli. Below: KAWS, CHUM (KCB4), 2012, acrylic on canvas over panel, 84 x 68 x 1.75 in., collection of the artist

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day,” KAWS continues, “but towards the end they were getting stolen the same day I was doing them. Since the point of doing them was about communication and getting the work out, when they started disappearing so fast it made it pointless to put them out.” Some of the most current pieces in the exhibition are the hardwood sculptures KAWS has been working on in recent years. One of those, the 20-foot-tall TOGETHER, is premiering at the exhibition. The sculpture is a noteworthy departure for the artist—until the last few years his monumental-scale works were single figures; TOGETHER is multi-figural, featuring two of KAWS’s iconic COMPANION characters embracing. “Wood is a very different feel from what I was doing in fiberglass or bronze that was painted,” KAWS notes. “When you put them in wood there’s sort of a vulnerability to them. And then when you put them at this massive scale it looks extremely vulnerable, and that’s kind of what I like about them.” COMPANION is arguably KAWS’s best-known figure, an existential amalgam who could be the lovechild of Mickey Mouse, Bozo, Jolly Roger, and Jean-Paul Sartre. Back in 2012, Modern visitors were met by the artist’s 17 x 14 x 15.5-foot COMPANION (PASSING THROUGH) sculpture glooming outside the museum’s main entrance. Much as Warhol had his soup cans and Marilyns to emblemize his era, KAWS’s visual hip-hop appropriates from Gen X, Y, and Z pop-culture iconography to create figural metaphors that communicate a palette of mixedemotion Zeitgeist. Even at their most lighthearted or ironic, his recurring players never seem destined for happily-everafters. “KAWS has said they’re autobiographical,” Andrea Karnes suggests. “There’s certainly something about his mood in the studio, or about what he’s got coming up, or about his own personal life that comes out in these figures. But I think what’s important to him is that these sculptures convey moods that we as humans relate to.” KAWS confirms the personal nature of the works, saying, “When I’m creating sculptures I think I’m just trying to express what’s on my mind at the time, or what I think the location will be—it’s just a natural feeling. I feel like it’s what should be made right now; this is where my head is at. And they’re not particularly proud characters, in the way that a superhero or merchandise character would be traditionally portrayed.” The larger genius of KAWS’s roster—COMPANION, ACCOMPLICE, CHUM, BENDY, and the rest—is that they speak a visual Esperanto that’s truly universal for viewers of all ages and cultures. Throughout his career KAWS has remained true to his vision and oblivious to market distinctions of fine art, commercial art, design, and product. It’s not that he’s blurring those lines, he just doesn’t acknowledge them. “In the 90s it seemed like you could either be a fine artist or you could do commercial art,” he muses. “There were these different paths and you had to choose, and I just didn’t really understand that. It seems pointless to draw these boundaries. You go to a museum and there’s still a gift shop full of artist and design stuff in the shop, you know?” KAWS: WHERE THE END STARTS is anything but an ending, and a brilliant introduction, for many, to a legend in the making. P

Clockwise from top left: KAWS, WHERE THE END STARTS, 2011, acrylic on canvas, 84 x 120 in. Collection of the Modern Art Museum of Fort Worth, Gift of the Director’s Council and Museum purchase, 2012; KAWS, ACCOMPLICE, 2010, fiberglass and black rubberized paint, 120 x 47.5 x 36 in.; KAWS, COMPANION (PASSING THROUGH), 2010, fiberglass, metal structure, and paint 208.50 x 169.25 x 185 in. Installation view at the Modern Art Museum of Fort Worth. Photo: Heath Braun

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PHOTOGRAPHS BY BRUCE WEBER INTRODUCTION BY PETER DOROSHENKO

BRUCE WEBER: ARTIST PORTRAITS

Through April, NorthPark Center displays the exalted photographer’s images of iconic artists. For five months, Dallas will celebrate the photographs of Bruce Weber at Dallas Contemporary and NorthPark Center. The exhibition at Dallas Contemporary is the first museum survey exhibition of Weber’s work from the late 1970s to today with over three hundred images. Visitors will experience themes of fashion and travel during their time at the museum, with most photographs printed for the first time. This exhibition has been a dialogue with the artist for the past four years and is a culmination of countless discussions with and visits to Weber’s studio.

“Ellsworth Kelly had an incredible capacity to absorb shape and line and color, and that ability has had an influence on many, many generations of artists.” –Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art, Dallas Museum of Art

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This page: Bruce Weber, Georgia O’Keeffe, Ghost Ranch, Santa Fé, New Mexico, 1984; Opposite: Bruce Weber, Ellsworth Kelly, Spencertown, New York, 1996

“When I visited Ms. O’Keeffe at her home in Abiquiú, she told me, ‘Just remember—make sure my mouth is closed and that my hands are in a good position.’ She knew what it took to do a great portrait.” –Bruce Weber

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Bruce Weber, Anselm Kiefer with his children, Barjac, France, 2003

“Anselm Kiefer’s work has had a profound and enduring impact on the international art dialogue. We are proud to have four important works in our collection, as well as to be the organizing institution for the critically acclaimed exhibition Anselm Kiefer: Heaven and Earth.” –Michael Auping, Chief Curator at the Modern Art Museum of Fort Worth 78

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Bruce Weber, Louise Bourgeois, New York City, New York, 1997

“One of the most significant artists of the second half of the 20th century whose aesthetics focused on post-modern issues of identity and the self.” –Howard Rachofsky, collector, philanthropist, and co-founder, TWO x TWO for AIDS and Art

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Bruce Weber, Cy Twombly, Rome, Italy, 1994

Cy’s studio in Rome was as beautiful as his paintings. When I visited him there, I was lucky to discover that he also took amazing photographs—then he treated me to one of the best pasta lunches I’ve ever had.” –Bruce Weber 80

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Bruce Weber, Claes Oldenburg, New York City, New York, 1990

“ “Claes Oldenburg’s impressive and dynamic work masterfully highlights the humor of everyday objects by examining and altering their size, shape, and texture. It has been a great privilege to exhibit Oldenburg’s incredible sculptures at NorthPark Center, where tens of millions of people have been able to enjoy them over the decades—Corridor Pin, Blue (1999), Clothespin (1974), and Typewriter Eraser (1976) among them.” –Nancy Nasher, Owner, NorthPark Center OCTOBER / NOVEMBER 2016

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Bruce Weber, Rachel Feinstein in her studio, New York City, New York, 2012

“I’ve known Rachel since she was a young girl growing up in Miami. She was always a joy to photograph, because she would arrive at my house in the most elegant outfits while everyone else was wearing bathing suits. These days, when she’s working in the studio on one of her sculptures, her shirts are ripped and her pants are covered in paint—but she’s still a delight.” –Bruce Weber 82

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Bruce Weber, Mark Bradford in his studio, Los Angeles, California, 2011

“Mark shines not only as an artist, but also for the work he does with the young people in his community of Leimert Park, Los Angeles—giving them a space for artistic expression.” –Bruce Weber

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PHOTOGRAPHY BY SUSAN ANDERSON STYLING BY MICHAEL CIOFFOLETTI MODEL: SETH KUHLMANN

MODEL PORTRAIT

A world-class art collection inspires fall fashion looks donned by Seth Kuhlmann.

This Page: Saint Laurent Leopard Print Belted Trench, available at Neiman Marcus; Artwork: Wolfgang Tillmanns, Urgency XII, 2006, C-print. Courtesy of The Goss-Michael Foundation. Opposite: Libertine I Quit! Army Jacket, Libertine Tee, Libertine Skunks Not Dead khakis, all at ilovelibertine.com. Artwork: Josh Reames, life-hack, 2014, acrylic on canvas. Courtesy of The Goss-Michael Foundation. © Susan Anderson Photography; Photographer’s assistants Tommy Carell Augustus and Corey Seeholzer; Hair by Rick Gradone

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Tom Ford Horn glasses, Neiman Marcus; Haider Ackermann “Stipy Mok Turtle” pullover from Forty Five Ten; Artwork: Bridget Riley, Songbird, 1982, oil on linen. Courtesy of The Goss-Michael Foundation © Susan Anderson Photography. Opposite: Thom Browne sweater, Neiman Marcus; Libertine Skunks Not Dead khakis; Artwork: Adam McEwen, New York, New York, 2008, acrylic and chewing gum on canvas. Courtesy of The Goss-Michael Foundation © Susan Anderson Photography

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Valentino butterfly-embroidered long-sleeve tie-dye t-shirt, Saint Laurent slashed straight leg denim jeans, all available at Neiman Marcus; Artwork: Damien Hirst, Incorruptible Crown, 2006, butterflies and household gloss on canvas. Courtesy of The Goss-Michael Foundation Š Susan Anderson Photography. Opposite: Libertine Japan Print shirt, Libertine Super Creep overcoat available at ilovelibertine.com; Artwork: Jim Lambie, Untitled, 2008, glass collage. Courtesy of The Goss-Michael Foundation Š Susan Anderson Photography

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DSQUARED2 Jacquard dinner jacket from Traffic L.A.; Dolce and Gabbana polka dot detail shirt from Traffic L.A.; Ann Demeulemeester floral print pants from Traffic L.A.; Artwork: Tracey Emin, Hurricane, 2007, acrylic on canvas. Courtesy of The Goss-Michael Foundation © Susan Anderson Photography. Opposite: Lanvin Firework Jacquard tuxedo blazer and Lanvin tailored trousers, available at Forty Five Ten; Alexander McQueen snake-print polo, available at Neiman Marcus; Artwork: Michael Craig-Martin, Untitled (SEX), 2007, acrylic on aluminum. Courtesy of The Goss-Michael Foundation © Susan Anderson Photography

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BY PATRICIA MORA PHOTOGRAPHY BY MAXINE HELFMAN STYLING BY TAMMY THEIS/WALLFLOWER MANAGEMENT

Belly Of The Soundsuit Nick Cave’s Art Mixes Fashion, Politics—and a Nuanced Sensibility.

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Nick Cave, Soundsuit, 2013, mixed media. All Soundsuit images courtesy of Nick Cave.

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rtist Nick Cave has a background in art, dance, and fashion, but he’s not standing on his past laurels. Instead, he’s steadily moving forward and rising to address pressing matters regarding race and fairness in a country that currently seems to be more sundered than inclusive. He nearly whispers in a voice that sounds very much as if he’s intoning a secret to his dearest familial confidante, “You know, when I’m working on my project in Massachusetts (at MASS MoCA), I have to walk a distance to my hotel and, well, being a gay, black male….” His voice trails off and I’m left to conjure the unpleasant ramifications of being the “Other” in a world that, if we are attuned to the media, has all-too-often become deadly for liminal figures, those deemed to dwell on the perceived margins of society. This situation is made all the more startling when one considers that Cave’s work is sufficiently august to be held in a host of prestigious collections, including: The Brooklyn Museum; Crystal Bridges; the Detroit Institute of Arts; the High Museum, Atlanta; the Hirshhorn Museum and Sculpture Garden; the Museum of Contemporary Art, Chicago; the San Francisco Museum of Modern Art; and the Seattle Art Museum; among many others. Yet even meteoric success gives Cave no assurance that he can be safe in one of the largest cities in America. Thus, it is both unnerving and inspiring when he says, “Art is a form of diplomacy, a call for help.” Known for fabric sculptures, dubbed Soundsuits, that are luxuriously piled gorgeousness, often characterized by an equipoise of sexy and totemic impulses, Cave is signaling to viewers with what he calls a “material language.” The aforementioned “suits” can undulate and roll with the exuberance of an island shaman or offer an earthy vibe rendered from garlands and twigs that “embellish the body while protecting the wearer from outside culture.” They are deeply intricate and drenched in a sensibility that runs the gamut of roiling exuberance to the angst-y brand of urban alienation that is sometimes invoked by a Giacometti sculpture. And this seems all the more plausible when one considers that his artwork gained vivid traction in the wake of the Rodney King incident and the aftermath of ensuing Los Angeles riots. While speaking about King, he asks, “Being discarded. What does that look like?” I inquire if he has felt discarded; he replied, “No, but being a black male….” Again the allusion hangs in the air with a heaviness that is difficult to shake free, and I am reminded that this elegant—and vividly beautiful—man possessed of such a terrifically honed sensibility, is still not on firm footing in his own country. (Cave is a native of Missouri.) But, importantly, what this means for America and our culture is something his art is addressing. Cave began his artistic work as a dancer with the Alvin Ailey American Dance Theatre, and he looks the part. He’s angular, spare, and attractive. And news of his work has arrived in venues as impressive as The New York Times; thus, he now wears the mantle of an artist with a resume that flares with his expertise as a dancer, couturier, sculptor, sound and performance artist, and cultural aesthete. His Soundsuits have operated as sculptural forms that allow human bodies to morph into entities that defy stereotype via gender or race and, in the words of the artist, allow viewers and participants to pay homage “to the dream space” in our heads. By this terminology, he references the “place where we imagine how we exist and

Loeffler Randall plum fur neck roll, Stanley Korshak; Moschino olive green parka, Forty Five Ten. Hair and Makeup: Shane Monden, Wallflower Management; Model: Caroline Hinton, Wallflower Management; Photo Assistant: Josh Jordan; Styling Assistant: Gabriela Sarmiento; Location: Main Frame Studios

function in the world. And with the state of affairs in the world, I think we tend not to take the time out to create that dream space in our heads.” Cave is avidly preparing for his show, UNTIL,, opening at the Massachusetts Museum of Contemporary Art (MASS MoCa) on October 15, and he is amused when he talks about his initial meeting with the curator. He says, “We were standing in Gallery Five, which is the size of a small football field, just huge. Then she says, ‘I don’t want you to show even one Soundsuit.’” Consequently, what is emerging is a new iteration of his past work: “I want to take audiences into the belly of the Soundsuit.” .” In other words, Cave is being asked to progress and ratchet up his already formidable ability to create and move audiences with a vast array of talent, insight, and dedication to political activism. He notes, “The piece, UNTIL,, is around police brutality and gun violence. It’s rooted in things that are difficult and political.” Additionally, not only is the subject matter challenging; the space is daunting as well. Because of its enormous size, Cave is planning for it to be “immersive in terms of sight and sound.” He notes, “There will be three or four viewing locations that will rise 18 feet in the air. It will be a visceral kind of experience.” He pauses and adds, “It’s meant to be a convening space for performance, a place to have conversations around concerns of race and safety.” Exactly what precise form UNTIL will take is unknown at this point, but Cave is certain to look far beyond contemporary headlines and pull us into the deepest concerns that circulate around civic sensibilities. He speaks softly again, “It’s about violence, and lives matter. And it’s also going to be beautiful and vibrant and dripping with color and excess.” In other words, it will be what audiences have learned to expect from Nick Cave. But it will also be accompanied by the badly needed, plangent cry of an activist asking for help. Thus, this is art that doesn’t get any more lovely—or important—both for Nick Cave and for us. P

Nick Cave readies for his UNTIL exhibition at MASS MoCA.

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Don’t look back. Just shake things up with a wavy burgundy texture.

This page: Nick Cave, Soundsuit, 2012, mixed media. Opposite: MSGM pink wool vest with orange/black faux fur trim, MSGM peach tulle top, all from TTH Forty Five Ten; Comme des Garcons quilted rose brocade jacket, Forty Five Ten; Fendi multi-studded belt (as choker), Stanley Korshak

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Hippin’, hoppin’, and perfect for prowling.

This page: Nick Cave, Soundsuit, 2016, mixed media. Opposite: Alice + Olivia multi-colored fur jacket, Alice + Olivia striped rainbow tie and blouse and Missoni multi-colored scarf and hat, all at Tootsies; MSGM blue pleated striped skirt at Neiman Marcus, NorthPark Center

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Dance like everyone is looking.

Top: Nick Cave, Soundsuit, 2015, mixed media. Bottom: St. Laurent patched denim cape, Delpozo: pink and silver Lurex brocade pants; Sies Marjan pink fur wrap, all at Forty Five Ten; MSMG light pink long sleeve baby doll top, Elements

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Turn up the volume from sedate to shaman-inspired color and rock on.

Left: Nick Cave, Soundsuit, 2015, mixed media. Above: Etro poncho from Etro, Highland Park Village; Jerome Rousseau black croc knee-high boots, Del Pozo floral navy jacket, Paco Rabanne gold turtleneck, all at Forty Five Ten; Philosophy sheer ruffle blouse from Stanley Korshak; Red Valentino floral vinyl skirt, Tootsies, Plaza at Preston Center

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This page: Bachendorf’s 18k white gold with black rhodium diamond and sapphire drop earrings with 256 sapphires, 383 diamonds, and 4 pear-shaped sapphires. Exclusively at Bachendorf’s. Opposite: Harry Winston’s cluster diamond-wreath necklace set in platinum, 172 diamonds weighing a total of 47 carats. Behind fabric: Harry Winston’s secret cluster dome diamond ring set in platinum, 97 diamonds weighing a total of 7 carats. Exclusively through Harry Winston, Highland Park Village. Model: Ty, Wallflower Management; Traci Moore hair and makeup; photographer’s assistant Josh David Jordan

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PHOTOGRAPHY BY MAXINE HELFMAN STYLING BY ANDREW BAYER, INDEPENDENT ARTISTS

R I S E TO T H E

OCCAS ION

Be a force of nature with smashing statement pieces.

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This page: Van Cleef & Arpels’s gold bracelets gifted by Jacqueline Kennedy Onassis to Nina Straight, her step-sister and maid of honor when she married John F. Kennedy in 1953. 18k gold ‘Manchettes’ weigh 180.60 grams, marked VCA, 6.5 in. x 3.25 in. Exclusively through Heritage Auctions. Opposite: de Boulle Collection’s Dreamsicle necklace, yellow sapphires, diamonds, and frosted vanilla quartz. Exclusively at de Boulle

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This page: From the Eiseman Jewels Estate Collection, necklace with graduated flame-shaped links, pave set with 2266 round brilliant cut diamonds, approximately 45 carat weight G VS, 18 in. Exclusively at Eiseman Jewels, NorthPark Center. Opposite: Sharon Khazzam for Ylang 23. Diamond scroll collar with diamond mirrored pendants. Exclusively at Ylang 23, Plaza at Preston Center

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t ode v e l opt hes c i e n ďŹ cba s i sofac ur eby2 0 2 0 .

BEFORE THE GAVEL: OWNitNOW Here is your chance to OWNitNOW – one of the most beloved components of TWO x TWO week. Howard Rachofsky tapped two of his compatriots to highlight works in the TWO x TWO 2016 auction: Gavin Delahunty, the Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art, and John Runyon, trusted art advisor and TWO x TWO ambassador. They each chose 10 works to be included in OWNitNOW. Howard, Gavin, and John each have their own cartoon icon to indicate their picks: Howard’s Hidden Gems, Gavin’s Curator’s Choice, and John’s Under the Radar. These works will be noted as OWNitNOW selections in the online and printed auction catalogues and throughout the exhibition at The Rachofsky House. The OWNitNOW bidding period begins on Monday, October 17, 2016, at 12 noon CST, and will close on Friday, October 21, 2016, at 12 noon CST. During that time period, the first bidder to place a bid at or above the full retail price wins the OWNitNOW work. For further details on how to place your bid in person or by absentee bid, please visit twoxtwo.org/own-it-now. More information on each of these special works is available in both the print catalogue and at twoxtwo.org/catalogue. Bids placed prior to 12 noon on Monday will be considered simultaneous bids. If simultaneous and equal bids are placed, there will be a bid-off between the highest bidders until a maximum bid wins. If a work sells in the OWNitNOW auction, it will be marked as “sold” during the following TWO x TWO events. To make an appointment to view the works in person, or for further details on how to place your bid, please email Meg Gratch, Auction Manager, at meg@rachofskyhouse.org. On Friday, October 21, at 12 noon CST, if the work is still available, it goes into the silent auction under standard TWO x TWO bidding procedures. All auction winners, including OWNitNOW winners, must collect their items from The Rachofsky House on or before Tuesday, October 25, in accordance with the Conditions of Sale.

Howard’s Hidden Gems

Marisa Merz, UNTITLED, 2003, pencil and charcoal on paper. Courtesy of the artist and Gladstone Gallery, New York.

Julian Hoeber, CURTAIN WALL WIDOW #1, 2016, 3030 glass green plexiglass, aluminum, white oak, steel, neoprene, and shellac. Courtesy of the artist and Jessica Silverman Gallery, San Francisco. Mark Handforth, ROUGH DARK DIAMOND, 2014, painted steel. Courtesy of the artist and Kayne Griffin Corcoran, Los Angeles.

Celia Paul, SELF-PORTRAIT, DECEMBER-JANUARY, 2015-2016, oil on canvas. Courtesy of the artist and Victoria Miro, London. Alexander Tovborg, EUROPHA, 2016, acrylic, watercolor crayon, and felt on canvas. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo.

Frank Bowling, OBE RA, THINK TREE, 2015, acrylic on canvas. Courtesy of the artist, Hales Gallery, London and New York; and Marc Selwyn Fine Art, Beverly Hills.

Brian Calvin, FEEL FLOWS, 2016, acrylic on canvas. Courtesy of the artist and Anton Kern Gallery, New York.

Shuji Mukai, UNTITLED, 2016, mixed media on panel. Courtesy of the artist and Whitestone Gallery, Tokyo.

Annabel Daou, PRIVATE SECTOR, 2016, paper, ink, and mending tape. Courtesy of the artist and Galerie Tanja Wagner, Berlin.

Ryan Sullivan, UNTITLED, 2016, pigmented urethane resin and fiberglass. Courtesy of the artist and Maccarone, New York/Los Angeles.

Gavin’s Curator’s Choice

Kaari Upson, BODHIDHARMA, 2014, urethane and pigment. Courtesy of the artist and Sprüth Magers, Berlin, London, and Los Angeles.

Martin Kippenberger, MADE BY HAND IS ALWAYS ORIGINAL, 1992, graphite on paper. Courtesy of Nyehaus, New York.

Stephen McKenna, APPLES, 2010, oil on canvas. Courtesy of the artist and Kerlin Gallery, Dublin.

Haim Steinbach, BAR ARRANGEMENT (CUTOUT) #59, 1973, paper cutouts and gouache on graph paper. Courtesy of the artist and Tanya Bonakdar Gallery, New York.

Jessica Dickinson, REMAINDER: OF/HOW (FINAL), 2013, graphite on paper. Courtesy of the artist and James Fuentes, New York.

Pope.L, J.G. BALLARD, 2016, acrylic, marker, pencil, and painted push pins on rag paper in artist frame. Courtesy of the artist and Mitchell-Innes & Nash, New York.

Katherine Bernhardt, 3 SHARPIES: ORANGE, TURQUOISE, PURPLE, 2015, acrylic and spray paint on canvas. Courtesy of the artist and CANADA, New York.

Nina Canell, FORGOTTEN CURVES, 2013, dye threads, double museum glass, and wooden frames. Courtesy of the artist and Daniel Marzona, Berlin.

Carey Young, OBSIDIAN CONTRACT, 2010, vinyl text and black mirror, edition 3 of 3 + 1 AP. Courtesy of the artist and Paula Cooper Gallery, New York.

Li Yuan-chia, UNTITLED, c. 1958, chinese calligraphy brush ink and watercolor on paper. Courtesy of the estate of the artist and Richard Saltoun Gallery, London.

John’s Under the Radar

Chris Martin, UNTITLED, 2016, acrylic and glitter on canvas. Courtesy of the artist and David Kordansky Gallery, Los Angeles.

Mika Tajima, NEGATIVE ENTROPY (DIGITAL OCEAN 4U NAS UNIT PINK YELLOW, SINGLE), 2016, cotton, wood, acoustic baffling felt. Courtesy of the artist and 11R Gallery, New York.

David Altmejd, THE STORMS, 2016, aqua resin, epoxy resin, fiberglass, epoxy dough, steel, graphite, and msa varnish, edition 2 of 3 + 1 AP. Courtesy of the artist and Andrea Rosen Gallery, New York.

McArthur Binion, DNA: BLACK PAINTING: X, 2015, oil paint stick and paper on board. Courtesy of the artist and Galerie Lelong, New York.

Harold Ancart, UNTITLED, 2016, oil stick and pencil on paper, mounted on board. Courtesy of the artist and C L E A R I N G, New York/Brussels.

Isabelle Cornaro, HOMONYMES III (#2, GREEN SPRAY), 2015, onyx powder and resin and green acrylic spray. Courtesy of the artist and Hannah Hoffman Gallery, Los Angeles.

Blake Rayne, UNTITLED, 2016, acrylic polymer and urethane on canvas. Courtesy of the artist and Miguel Abreu Gallery, New York.

Michelle Grabner, UNTITLED, 2016, bronze. Courtesy of the artist and James Cohan, New York.

Lee Ufan, DIALOGUE, 2015, watercolor on paper. Courtesy of the artist, Tina Kim Gallery, New York; and Kukje Gallery, Seoul.

Karla Black, APPEARS ALONGSIDE, 2015, polythene, powder paint, plaster powder, and thread. Courtesy of the artist, David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne.

S WE E TF L E E T

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I T ’ S

A B O U T

T I M E

CO-HOSTED BY

Brian Bolke Jill Elliott Taylor Tomasi Hill

FIRST LOOK BENEFITING TWO x TWO FOR AIDS AND ART PRESENTED BY

C E L E B R AT I N G

T H U R S D AY, O C T O B E R 2 O , 2 O 1 6 THE RACHOFSKY HOUSE $5OO PER PERSON

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-

7:OO TO 1O:OO PM

86O5 PRESTON ROAD

AT T I R E : C H I C . C L E V E R . C O O L .

TO PURCHASE TICKE TS VISIT T WOXT WO.ORG/EVENTS/FIRST-LOOK

CONVERSATION PIECE INTERVIEW BY TERRI PROVENCAL PHOTOGRAPHY BY SUSAN ANDERSON

A SPORTS, ART, AND REPTILE LOVER, MODEL & ACTOR SETH KUHLMANN GOES BEYOND THE CHEST-BARING PICTURES.

On Seth: Helmut Lang Jacquard Camo-Print Nylon Jacket, Olive Slate Multi; Helmut Lang Camo-Print Nylon Jogger Pants, Olive Slate Multi; Fendi Monster slip-on sneakers; all from Neiman Marcus. Artwork: Rebecca Warren, Untitled, 2008, bronze, courtesy The Goss-Michael Foundation

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erri Provencal (TP): Take us through the journey of being discovered as a 19-year-old college football player to being cast in a film Karl Lagerfeld was directing for Chanel. Seth Kuhlmann (SK): Louisiana-raised, groomed for sports, I’m the son of a college and minor league baseball player. I always dreamed that if my sports career didn’t take off I may run away to LA to pursue an acting career. I was offered a full-ride football scholarship to a university after a post-grad year at Valley Forge military prep school. With less than a month before college started, while visiting my uncle in Scottsdale, I was approached by a former modeling agent who told me I was “the guy they were looking for.” He snapped some photos of me and sent them to major agencies in New York, and they all responded with contracts.

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TP: That must have been complicating and thrilling at the same time. SK: Yes. Before I could decide if I would immediately move to NYC, my photos landed with the casting directors at Calvin Klein. I signed with Jason Kanter, one of the best agents in New York, and decided to give it a try and let them know my desire was also to be developed as an actor. Within a month of signing, I shot in Miami for Italian Vogue with Bruce Weber, who photographed me for a four-page spread that ran in V Man magazine. One of the editors of Vogue showed Weber’s spread to Karl Lagerfeld in Paris. Karl loved the photos and my agents received a call directly from his office indicating he wanted to shoot me for his Chanel film in Monte Carlo. That was my third month in New York, and I was on my way to Paris the following week.

TP: The Goss-Michael Foundation is among the most respected Brit Art collections on the globe, co-founded by Kenny Goss, one of Dallas’s great philanthropists. I know you and Kenny have been great friends for years. What are some things most people don’t know about him? SK: Kenny and I grew up very similarly. Neither of us grew up around the arts. We both moved away and got involved. We met at a Hugo Boss charity event at the Guggenheim and have been friends ever since. One of our first outings together was visiting all the great galleries and museums in New York. He’s taught me much about the art world. Most people don’t know that he can’t sing or dance, and you will never see him do either. LOL. Everyday we learn something different about each other and continue to grow as friends. TP: How did you play to the art in Kenny’s collection for the men’s fashion spread in this issue, photographed by Susan Anderson? SK: Everyone did such a great job on the shoot—it really made my job easy as a model. The stylist, the wardrobe, and Susan were all one of the best teams I’ve worked with. The art is so powerful that I tried to meet the energy of each piece whether it be playful, strong, brooding, majestic, or introspective. I freely played with many different characters and had a great time. TP: Bruce Weber has a major show at Dallas Contemporary and a satellite exhibition at NorthPark Center on view now. What was it like to work with him? SK: Bruce is such an amazing artist and an even better mentor and friend. He creates a great atmosphere so everyone can feel relaxed and free to catch the beauty of the moment. To this day I think his work is among the most naturally beautiful photos that I have of myself. He also takes time to get to know you as a person and offers his best advice. Bruce referred me to my first acting coach. Soon after that, I was signed by the agency UTA that got me involved with legendary acting coach, Susan Batson, who cast me in my first film that she was directing at the time. TP: Tell us about your fascination with reptiles. SK: I really have a fascination with all animals. I just love the beauty of nature and the animal kingdom. Ever since I was a kid I always had different exotic pets and was exploring animals in the wild. My friends growing up called me Jeff Corwin. Reptiles are such interesting, beautiful creatures, and they used to rule the planet before we did; their genetics have stood the test of time; can’t get much more interesting than that. TP: What has blown you away while visiting Dallas? SK: I love Dallas because it’s a happening city in the South— people are awesome and a bit more consistently grounded which connects me back to my roots. And still there’s this great art scene with a big city vibe. MTV RE:DEFINE, produced by The Goss-Michael Foundation, is an exceptional event that I attended in April. The people in Dallas are incredibly charitable. It’s amazing to see how art can be used in such a charitable way. TP: What will you come back for this fall? SK: TWO x TWO for AIDS and Art; José Parlá’s opening at G-MF; Patron Magazine’s 5TH Anniversary issue release. I plan to see Bruce’s show at Dallas Contemporary and will check out his Artist Portrait series at NorthPark. And I’m saving the date for MTV RE:DEFINE in the spring. TP: What’s now and next? SK: Working with my buddy at NBC Universal. He’s a creative executive and producer. We’re working on a film series and a couple of shorts. I will co-write, direct, and act in each. P OCTOBER / NOVEMBER 2016

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THERE

YLANG 23 HOSTS YOSHINOBU KARAOKE AT THE ANN AND GABRIEL BARBIER-MUELLER MUSEUM PHOTOGRAPHY BY BRUNO

Alysa Teichman, Jess Lovell, Bek Levey, Hannah Fagadau

Charles Teichman, Carol, John Levy

KAWS

WHERE THE END STARTS October 20, 2016–January 22, 2017 Modern Art Museum of Fort Worth 3200 Darnell Street Fort Worth, Texas 76107 817.738.9215

Major support for KAWS: WHERE THE END STARTS is generously provided by the Texas Commission on the Arts, with additional support provided by the Kleinheinz Family Endowment for the Arts and Education and from the Fort Worth Promotion and Development Fund. Pictured: KAWS, KAWSBOB 3, 2007. Acrylic on canvas on wall mural. 72 x 96 inches. Collection of Pharrell Williams

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Yoshinobu Kataoka, Joanne Teichman

Celina Lang, Julie Hemsky

Jessica Young, Niña Gabriel-Mueller Tollett

VEILED GRACE: SHAYEMA RAHIM AND LESLI ROBERTSON OPENING AT JM GALLERY PHOTOGRAPHY BY SHANA ANDERSON

Javier Guemes, Cesar Aragon, Evan Ronald Sutton, Nestor Estrada

Daniel Moulden

Shayema Rahim

Lesli Robertson

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THE MAGICIAN AT THE LIBRARY OF CONGRESS PHOTOGRAPHY BY SHAWN MILLER

Kathy Woodrell

Scott Newton, Chris Byrne

Jacqueline Coleburn, Mark Dimunation, Kathy Woodrell

JOHANNES BOEKHOUDT: DIALOGUE DIร LOGO AT ONE ARTS PLAZA PHOTOGRAPHY BY SHANA ANDERSON

Johannes Boekhoudt, Sumeet Teotia

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Johannes Boekhoudt: Dialogue Diรกlogo

Hector Hinojosa, Clara Hinojosa, Gustavo Godoi

TRIBUTE TO FALLEN HEROES AT FASHION INDUSTRY GALLERY PHOTOGRAPHY BY HARRY PHOTO

Mayor Mike Rawlings

Dallas Police Chief David Brown, Mark Cuban

Dallas Police Choir

John Sughrue

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FURTHERMORE

BY CHRIS BYRNE

FRANK’S PLACE

DIRECT FROM PARIS, GALERIE FRANK ELBAZ OPENS A SATELLITE SPACE ON GLASS STREET.

Above: Parisian gallerist Frank Elbaz. Below: Mark Flood: Gratest Hits installation at CAMH (Contemporary Art Museum Houston). Courtesy of Mark Flood

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or those of you familiar with The Baer Faxt, a weekly newsletter review of the art market, a quizzical entry may have registered this past summer: it announced the opening of Galerie Frank Elbaz’s satellite space with the header “Paris, Texas.” Upon closer inspection—and putting the geographic puns aside—the gist of the matter was that Frank Elbaz would indeed open a temporary Texas space this fall...in Dallas. I’ve enjoyed visiting Frank’s permanent gallery in Paris, France, where he promotes the work of international artists whose aesthetic approach is rooted in the sort of “classic” conceptualism of the late 1960s. The gallery’s ambition is global; it participates in the world-renowned fairs—Art Basel, Art Basel Miami Beach, FIAC, and Frieze. (GFE also participated in the last three iterations of the Dallas Art Fair and will return in April 2017.) The gallery’s new initiative is to create a temporary program for its artists in the U.S. Upon receiving a BA in economics from the Ecole d’économie de Paris, at the age of 22 Frank began his career working for Eric Laburthe, a gallery located near the Champs-Élysées in the 8th arrondissement. In 1988, he moved to Tokyo in the role of private dealer and consultant. During the next decade, he met several important artists such as Carl Andre and Steven Parrino (who were working in New York at the time). Galvanized by these relationships, he returned to Paris in the late 1990s to organize several group shows— as well as solo exhibitions by Julije Knifer and Blair Thurman—and opened his eponymous gallery in Le Marais. He soon developed a reputation as a gallerist who was unafraid to mix what he referred to as “estate artists” with emerging ones. In late August, Galerie Frank Elbaz opened its temporary space in Dallas with an introduction to the gallery’s program; the installation included works by Davide Balula, Sheila Hicks, Kaz Oshiro, Mungo Thomson, and Blair Thurman. (Thurman’s pieces are represented in several important Dallas collections, including Dianne and Mark LaRoe’s.) The venue hosted private viewings and small gatherings during its first month. I had the opportunity to see the space located at 136 Glass Street, just across from Dallas Contemporary—during the opening preview. Frank and gallery director Reese Threadgill provided an intimate and anecdotal tour of the works on view. Frank discussed the local community’s history of civic-minded patrons as well as the “growing art consciousness and collector base” he discovered during his trips. GFE will present a solo exhibition in October of Houstonbased artist, Mark Flood. The artist intends to call his show Dallas Real Estate Development, adding “That’s amusing to me, because it’s Frank’s new outpost in Dallas, and also because I’ve been working on painting exhibits where I use the art to build walls and other structures.” He continues: “So for this show, I’ll be building something vaguely architectural, using smaller paintings like bricks in a wall, at Frank’s place. I’m thinking something maze-like, in which you wander into some inner chamber, where there’s sofas where you can lounge. Maybe we’ll show a film.” A curated exhibition of Texas-born artists from several generations who have made contributions to post-war art will mount in November. The gallery is currently having ongoing discussions about other potential spaces in the U.S.; however, nothing has been confirmed to date. Perhaps we can entice Mr. Elbaz to have a permanent presence in town—his gallery would certainly be a welcome addition. For now, in collaboration with Dallas Art Fair, Frank will lead a guided tour and discussion of the internationally celebrated on-site collection at NorthPark Center. P

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