The Art & Design Issue

PATRON AUG/SEPT 2022 THE ART & DESIGN ISSUE / 25 YEARS OF COLLECTING PATRONMAGAZINE.COM
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 KATHARINA GROSSE, OHNE TITEL, 2014, NANCY A. NASHER AND DAVID J. HAEMISEGGER COLLECTION.

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 EDITOR’S NOTE
August / September 2022
Portrait Tim Boole, Styling Jeanna Doyle, Stanley Korshak
TERRI PROVENCAL
Publisher / Editor in Chief
terri@patronmagazine.com
Instagram terri_provencal and patronmag
10 PATRONMAGAZINE.COM
Our cover story fully embodies the theme of The Art & Design issue. Erin
Mathews called me one day, eager to tell me about her client’s beautifully
restored home and art collection, often loaned to museums. I jumped in the
car to meet her. Chad Dorsey flexed his design prowess to strikingly enrich the
blue-chip collection through his elevated design. Builder Randall Underwood
respectfully navigated the roots of the home, which was constructed in 1919
and renovated several times since.
A curvaceous staircase sets the tone in our next home feature. In Every
Step of the Way, natural light gambols across the polished plaster, adding to its
sculptural sense. Elaine Raffel details the efforts that went into designer Niki
Samuel’s home, which is layered with her own artwork alongside that of local
and international artists.
It is impossible to overstate how widely known The Rachofsky Collection
is. And Cindy and Howard Rachofsky are equally regarded for bringing agency
to the arts through TWO x TWO for AIDS and Art. In 25 Years of Collecting, a
selection of extraordinary work by internationally admired artists traces their
collecting history. It’s a story about the exhibition of the same name which
opens at The Warehouse on August 26. Do make time for this show curated
by Allan Schwartzman, principal of his eponymous advisory firm.
Find poetry in Ryo Nishimura’s large-format monoprints on paper, which
are described by gallerist Peter Augustus as having “the most intricate and
velvety texture I have ever seen.” The works are literally derived from the rich
landscape of the artist’s native Japan. Nishimura’s show opens September 10.
Nairobi-based artist Kaloki Nyamai’s powerful work murmurs with
longing in his upcoming show Moments I wished I had, opening at Keijsers Koning
August 27. His beautifully rendered unstretched canvases, skillfully stitched-
together, allow the threadwork to drape, adding further dimension. Gallerist
Bart Koning says of the Kenyan narrative, there is “…a lot of tearing apart
within society, and he feels that the sewing brings those stories together—
sewing up the wounds…” Nyamai’s work is included in the Kenyan Pavilion
at the Venice Biennale. Haven’t made it there yet? Challenging convention,
The Milk of Dreams remains on view through November, so there’s still time.
Brian Allen takes us along on his own journey through the manifold pavilions
in A World Reinvented.
Multidisciplinary artist Laurie Anderson spent her summer as artist-in-
residence at the Elaine de Kooning House and Studio founded by Chris
Byrne. He chats with the artist about The Weather, an immersive audio-visual
exhibition closing this month at the Hirshhorn Museum, and her return to
painting while at the historic home.
In Sculpting A Landscape, we stroll with Glenn Bonick through the
minimally appointed grounds, save for the sculpture, at the home of Christen
and Derek Wilson. Also in Space, we caught up with Corey Damen Jenkins,
an AD100 and Elle Decor A-List designer who collaborated on a fashion-
inspired slab collection with Aria Stone Gallery. Next, take a look at two
scrumptious kitchens in Sky-High Entertaining and Drama in the Kitchen. And we
revisit Cartier and Islamic Art: In Search of Modernity through an architectural lens
at the Dallas Museum of Art. While the jewelry itself dazzles, the ingenuity
behind the exhibition is equally stunning. Finally, Ahead of Design takes us to
the cobblestone streets of Tribeca to meet time-honored maverick Cristina
Grajales, whose current show, Robert Wilson: A Boy From Texas, will make you
put your cell phone away.
Fittingly, a fun design element is also included in fashion: wallcoverings,
which continue to benefit from a huge resurgence in recent years. Find
seasonal looks combined with wallcovering by local artists in Never a Wallflower.
Furthermore wraps up this issue with a new event: WestEdge Design Fair.
Get ready to unleash your inner designer.
– Terri Provencal
Carole A. Feuerman & Annalù
New Collection Now on Display in Dallas and Laguna Niguel
Since 2010, Markowicz Fine Art has showcased an array of established international artists such as Andy Warhol, Tom
Wesselman, Carole A. Feuerman, and Fernando Botero. Additionally, the gallery represents emerging artists with exceptional
creative talent such as Idan Zareski, L’Atlas, Leo & Steph, Lyès-Olivier Sidhoum, and progressive street artist, Kaï. Visit us in
the Dallas Design District, Laguna Design Center and the Miami Arts District.

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CONTENTS 1
FEATURES

60 MASTERPIECE IN THE MAKING

Early 20th-century home provides a palette for 21st-century art.
By Nancy Cohen Israel

68 25 YEARS OF COLLECTING
The Warehouse celebrates the 25th anniversary of building The Rachofsky
Collection with a show curated by Allan Schwartzman.
By Ali Nemerov

76 EVERY STEP OF THE WAY

Anchored by a contoured staircase, design and art blend in Niki Samuel’s
home.
By Elaine Raffel

84 NEVER A WALLFLOWER
60 Summer slips into fall with style for every occasion.
Photography by Luis Martinez; creative direction and styling by Elaine
Raffel

68

84

On the cover: A Marc Newson console sits beneath Andy

Warhol’s iconic Jackie. An Allied Maker chandelier, a stool
from Maison Gerard, and a gray rug from The Rug Company
76 complete the arrangement. Interior design by Chad Dorsey.
Photograph by Douglas Friedman. Styling by Jenny O'Connor.

12 PATRONMAGAZINE.COM
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CONTENTS 2 DEPARTMENTS
93
10 Editor’s Note
16 Contributors
24 Noted
Top arts and culture chatter. By Anthony Falcon

Fair Trade
40 PETER AUGUSTUS FINDS HIS GROOVE
This gallerist and Dallas Art Fair exhibitor is just getting started.
Interview by David Liu

Contemporaries
42 LAURIE ANDERSON TALKS ABOUT THE WEATHER
The multimedia artist speaks of John Cage, telling the national story, and
abstract things. Interview by Chris Byrne

44 A WORLD REINVENTED
Venice Biennale’s The Milk of Dreams offers a surrealistic look at past and
40 present. By Brian Allen

Studio
46 INTRODUCTORY REMARKS
Keijsers Koning scores with Moments I wished I had, Kenyan artist Kaloki
Nyamai’s first solo exhibition in the US. By Steve Carter

Space
48 SCULPTING A LANDSCAPE
By Peggy Levinson

50 FASHION-FORWARD STONE
By Terri Provencal

52 SKY-HIGH ENTERTAINING
By Peggy Levinson

54 DRAMA IN THE KITCHEN

By Peggy Levinson
44
56 DESIGNING AN EXHIBITION
By Terri Provencal

58 AHEAD OF DESIGN
By Terri Provencal

Bespoke
92 HATS OFF TO COWGIRLS
Design-your-own Stetson at Flea Style. By Elaine Raffel

Atelier
93 PIERCING GOOD LOOKS
Maria Tash brings her savoir faire to NorthPark Center.

There
94 CAMERAS COVERING CULTURAL EVENTS

Furthermore
96 BY DESIGN
50 WestEdge Dallas eschews a trade-show format. By Elaine Raffel

14 PATRONMAGAZINE.COM
ET OCHS

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CONTRIBUTORS

John Sutton Photography

BRIAN ALLEN CHRIS BYRNE STEVE CARTER LAUREN NANCY
is an art critic who authored the graphic was rendered semi- CHRISTENSEN COHEN ISRAEL
was the director of novel The Magician speechless when he has over two decades is Dallas-based writer,
the museum division (Marquand Books, discovered Kaloki of experience in art historian, and
of the New York 2013), included in the Nyamai’s work advertising and an educator at the
Historical Society and Library of Congress. on assignment for marketing. As a Meadows Museum,
the Addison Gallery He curated Peter Saul: Patron: “Wow. Kaloki principal with L+S where she is a popular
of American Art, 50 Years of Painting, Nyamai’s work blows Creative Group, she lecturer. In addition
and the curator of named one of 2010’s me away.” For this consults with a wide to being a contributor
American art at the top five shows by the issue, he interviewed variety of nonprofit to Patron, she was
Clark Art Institute. Village Voice, and he the Nairobi-based organizations and most recently a
Though a specialist organized Susan Te artist on the cusp businesses in many contributing writer
in American 19th- Kahurangi King’s US of his exhibition, sectors, including for the exhibition
century art, he’s exhibition, selected opening late August retail, real estate, and catalogue side by
curated exhibitions by Jerry Saltz for New at Keijsers Koning hospitality. Lauren side: James Surls and
on Old Master prints, York magazine’s The 19 gallery, his first-ever is a Dallas native George Tobolowsky. For
English silver, the Best Art Shows of 2014. solo show stateside. and a graduate of Patron’s cover story,
Vienna Secession Byrne chaired AVAM, “Nyamai’s just about SMU with a BA in she enjoyed writing
movement, late 19th- the national museum to explode,” he advertising. Her clean, about a magnificent
century French art, for visionary art. He predicts. “Keijsers contemporary design contemporary art
and the work of living founded the Elaine Koning showed his aesthetic and generous collection and the
artists. He lives in de Kooning House work at the last two spirit make Lauren the beautifully renovated
Arlington, Vermont, and Studio in East Dallas Art Fairs, and perfect choice to art home that holds it,
where he’s deeply Hampton, listed on the DMA acquired a direct Patron. designed by Chad
involved in small- the National Register piece from there.” Dorsey, in Masterpiece
town doings. of Historic Places. in the Making.

DOUGLAS ELAINE RAFFEL

FRIEDMAN VICTORIA GOMEZ PEGGY LEVINSON LUIS MARTINEZ says fashion, art, JOHN SMITH
is a New York City is dedicated to brought her years in is a Kim Dawson and design align is a Dallas-based
native with an telling stories by the design industry model/actor discovery beautifully in Never photographer who
illustrious career as a capturing life through to Patron’s Space from San Antonio, A Wallflower. What flexes his degree
photographer. After her lens. She is an department. Formerly currently based better way to showcase in architecture to
traveling the world, undergrad student a showroom owner, in Dallas, who is fall’s new arrivals photograph homes of
he took an interest in at the University of she knows the ins equally adept as a than pairing them distinction. Years of
architecture and design North Texas, with and outs of the fashion/beauty/ with extraordinary experience provides
photography and plans to graduate design trade. In portrait photographer wallcoverings created him with a unique
freelanced for global in December 2022. Sky-High Entertaining and videographer. by artists Carolyn appreciation for his
design publications. Based in Denton, and Drama in the Working with creative Ridsdale, Debra clientele’s vision. John
An exhibition for her practices include Kitchen she describes director Elaine Raffel, Ferrari, and Ever photographed both
his graphic images commercial and fine two stunning in Never a Wallflower Atelier’s Sarah English homes featured in this
featuring the art photography. kitchen designs. In he brings his unique and Ashley Leftwich? issue—completely
architecture and She uses portraiture Sculpting a Landscape, perspective to these Kudos to the talented dissimilar but with
landscapes of the rural and still life to she interviewed fashion pages, having creative team: Luis the shared vision of
Midwest and the urban focus on themes landscape designers worked on both sides Martinez, hair/ combining great art
Far East was sponsored regarding femininity, Tanya Wilson and of the lens. In 25 Years makeup artist Michael and design. See his
by Missoni. His series identity, culture, and Glenn Bonick about of Collecting, he visited Thomas, and assistants work in Masterpiece
of abstract portraits intersectionality. grooming the grounds The Rachofsky House Kendel Bolton and in the Making, with
of burlesque dancers For her summer for Christen and for the first time to Victoria Gomez. In interior design by
was underwritten by internship with Patron, Derek Wilson, who meet and photograph Every Step of the Way, Chad Dorsey, and
fashion design duo she photographed wanted privacy and a Cindy and Howard Elaine visits Niki Every Step of the Way,
Ruffian. See his work two art galleries, and place to display their Rachofsky before Samuel’s home, which conceived by the
in Masterpiece in the assisted Luis Martinez sculpture, with ample an expansive Cecily comes alive with a homeowner and
Making. on Never a Wallflower. room. Brown painting. sculptural staircase. designer Niki Samuel.

16 PATRONMAGAZINE.COM
Poggenpohl Dallas
1804 Hi Line Drive
214.572.9190
dallas@poggenpohl.com
dallas.poggenpohl.com
 PUBLISHER | EDITOR-IN-CHIEF
Terri Provencal
terri@patronmagazine.com

ART DIRECTION
Lauren Christensen

DIGITAL MANAGER/PUBLISHING COORDINATOR

Anthony Falcon

COPY EDITOR
Sophia Dembling

PRODUCTION
Michele Rodriguez

EDITORIAL INTERN
Victoria Gomez

CONTRIBUTING WRITERS
Brian Allen
Chris Byrne
Steve Carter
Nancy Cohen Israel
Peggy Levinson
David Lu
Ali Nemerov
Elaine Raffel

CONTRIBUTING PHOTOGRAPHERS
JT Anderson Brinkhoff Moegenburg
Nir Arieli Nate Rehlander
Michael Bodycomb Daniel Salemi
Tamytha Cameron Hal Samples
Solaiman Fazel John Smith
Douglas Friedman Kevin Todora
Victoria Gomez Tony Valadez
Bradley Linton Deen van Meer
Luis Martinez

STYLISTS
Kendel Bolton
Michael Thomas

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

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AT SMINK
is published 6X per year by Patron, P.O. Box 12121, Dallas, Texas 75225. Copyright 2022, Patron. All rights
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 An Annual Tradition in Texas Art Since 1996

David Dike Fine Art 26th Annual Texas Art Auction

Saturday, October 15th, 2022

Clockwise: Everett Spruce

(Am. 1908-2002), Man with
Small Net , oil on masonite 24
x 16, signed lower right:
E Spruce, estimate: $25,000
- $40,000.

Fred Darge (Am. 1900-1978),

Self-Portrait , oil on canvas
36 x 30, signed lower right:
F Darge, estimate: $30,000 -
$50,000.

Howard Schleeter (Am. 1903-

1976), Song of the Fishes, Jan
8, 1953, oil, casein, and wax
on masonite 16 x 20, signed
lower left: HB Schleeter 53,
estimate: $8,000 - $12,000.

David Dike Fine Art is excited to announce the gallery has moved! The gallery was
established in 1986 in the Arts District of Uptown Dallas and has moved to a NEW
location in Alpha Plaza near Alpha and Inwood Road.

David Dike Fine Art will host the 26th Annual Texas Art Auction on Saturday, October 15 at
our NEW location in Alpha Plaza. The sale will be a live auction and will showcase over 300
lots of Texas Art ranging from early and traditional to contemporary works. Highlights in-
clude works by Julian Onderdonk, Tom Lea, Everett Spruce, and Fred Darge. Also, featured
are important mid-century modern paintings by Dorothy Hood and Ben Culwell.

This exciting sale will be hosted live by auctioneer, Louis Murad TXS 13362. There will be
In-Person Bidding, Live On-line Bidding, Phone, and Absentee Bidding.
Visit daviddike.com for details or call us.

Auction Date: Saturday, October 15 - Bidding to begin at 10:30 am, CST

Preview: September 26 – October 14

4887 Alpha Rd., Suite 210, Farmers Branch, TX 75244 P: 214-720-4044. email: info@daviddike.com | www.daviddike.com | Louis Murad TXS 13362
40 YEARS OF REDEFINING OUTD O OR SPACE S

LANDSCAPE DESIGN | CONSTRUCTION | GARDEN CARE

POOL CONSTRUCTION | POOL CARE AND SERVICE
COLLABORATIVE PROJECTS

972.243.9673 | BONICKLANDSCAPING.COM
Women Painting Women
Through September 25

Women Painting Women features 46 female artists who choose women as subject matter in their
works. This presentation, international in scope, includes evocative portraits that span the late
1960s to the present. All place women—their bodies, gestures, and individuality—at the forefront,
conceiving new ways to activate and elaborate on the portrayal of women.

Rita Ackermann Celeste Dupuy-Spencer Maria Lassnig Joan Semmel

Njideka Akunyili Crosby Nicole Eisenman Christiane Lyons Amy Sherald
Emma Amos Tracey Emin Danielle Mckinney Lorna Simpson
María Berrío Natalie Frank Marilyn Minter Arpita Singh
Louise Bonnet Hope Gangloff Alice Neel Sylvia Sleigh
Lisa Brice Eunice Golden Elizabeth Peyton Apolonia Sokol
Joan Brown Jenna Gribbon Paula Rego May Stevens
Jordan Casteel Alex Heilbron Faith Ringgold Claire Tabouret
Somaya Critchlow Ania Hobson Deborah Roberts Mickalene Thomas
Kim Dingle Luchita Hurtado Susan Rothenberg Nicola Tyson
Marlene Dumas Chantal Joffe Jenny Saville Lisa Yuskavage
Hayv Kahraman Dana Schutz

MODERN AR T MUSEUM OF FOR T WOR TH María Berrío, Wildflowers, 2017. Mixed media.
96 x 140 inches. Nancy A. Nasher and David
J. Haemiseggar Collection. © María Berrío,
3200 Darnell Street • Fort Worth, Texas 76107 • www.themodern.org Courtesy the Artist and Victoria Miro
 Topaz Sea, acrylic and resin, 60 x 60 in.
Fjord, armchair by Patricia Urquiola, Scott + Cooner

DEBORAH HARTIGAN VIESTENZ

Paintings I Sculpture I Commissions

2835 IRVING BOULEVARD, TX 75207 469.879.1015 DHVARTWORKS.com @dhvartworks

NOTED
02
06
01 AFRICAN AMERICAN MUSEUM
Yanga: Path to Freedom in the Americas breaks ground by introducing
new and existing materials in a direct and purposeful bilingual
educational experience using all five senses, through Oct. 21. On
Aug. 25, Summer Music Under the Dome will feature a special
concert with Mahogany The Artist. Don’t miss the Fair Park Blues
& Jazz festival on Sep. 4. aamdallas.org
02 AMON CARTER MUSEUM OF AMERICAN ART
Stephanie Syjuco: Double Vision, through Dec., is a multimedia installation
that transforms images of renowned works from the Carter’s
collection and investigates narratives of national identity. Art Making
as Life Making: Kinji Akagawa at Tamarind offers a glimpse of a 1960s
print workshop, through Oct. 30. Darryl Lauster: Testament remains
on view through May 2023. Black Every Day: Photographs from the
Carter Collection explores a century of photographic representations
of Black American experiences, through Sep. 11. Justin Ginsberg:
Shaking the Shadow, ending Sep. 25, sees the Texas-based artist
create a glass sculptural work inspired in part by Sargent, Whistler, and
Venetian Glass: American Artists and the Magic of Murano, through Sep.
11, which pairs the splendor of glass goblets and marvelous mosaics
with paintings and prints by leading 19th-century American artists.
Image: Stephanie Syjuco, Manhandled 21, 2021, dye sublimation
print on aluminum, courtesy of the artist, RYAN LEE Gallery, and
Catharine Clark Gallery. cartermuseum.org
03 CROW MUSEUM OF ASIAN ART
OF THE UNIVERSITY OF TEXAS AT DALLAS
JooYoung Choi: Songs of Resilience From the Tapestry of Faith introduces the
Cosmic Womb multiverse and highlights some of its key characters
and narratives. In creating a world that explores loss, healing and
growth based upon a connective web of belief and faith in oneself,
Choi expresses human resiliency through the power of storytelling,
through Sep. 4. Rare Earth: The Art and Science of Chinese Stones
explores the different ways that Chinese and Western cultures have
celebrated the beauty found in, and created from, natural stones,
through Feb. 26, 2023. crowmuseum.org
04 DALLAS CONTEMPORARY
Houston-based sculptor Joseph Havel presents Parrot Architecture,
an exhibition of wall assemblages and totemic bronze and resin
sculptures made with the help of his pet parrot Hannah during the
24 PATRONMAGAZINE.COM
THE LATEST CULTURAL NEWS COVERING ALL ASPECTS
OF THE ARTS IN NORTH TEXAS: NEW EXHIBITS, NEW
PERFORMANCES, GALLERY OPENINGS, AND MORE.
14
pandemic. Lonnie Holley: coming from the earth features the self-taught
artist’s first exhibition in Texas with a new body of ceramic works.
America, Nice Place marks New York–based artist Borna Sammak’s
first museum show. Sammak is known for mixed-media sculptures,
paintings, and installations that riff on American culture. Natalie
Wadlington: places that grow presents richly colored figurative paintings
that are heavily based on storytelling. All four exhibitions remain
on view through Aug. 21. Opening Sep. 25, Shepard Fairey: backward
forward and Gabrielle Goliath: we are chorus will be on view through
Mar. 19. dallascontemporary.org
05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM
Through unique historical artifacts and documents, interactive
touch screens, documentaries, and exceptionally rare photographs,
The Girl in the Diary explores the story of a young girl’s fight for
survival in the Łódz Ghetto and reconstructs what might have
happened to Rywka after her deportation to Auschwitz. There
are no known photographs of Rywka; she exists only through the
words in her diary. Through Dec. 31. dhhrm.org
06 DALLAS MUSEUM OF ART
Cartier and Islamic Art: In Search of Modernity presents over
400 objects from major international collections, including the
Department of Islamic Arts at the Louvre Museum and the Keir
Collection of Islamic Art on loan to the DMA, through Sep. 18.
Octavio Medellín: Spirit and Form, the first museum retrospective for
the noted sculptor, continues through Jan. 15, 2023. Spirit Lodge:
Mississippian Art from Spiro is dedicated to the art and culture of
Mississippian peoples, through Aug. 7. Bamana Mud Cloth from Mali
to the World, though May 7, 2023, explores the complete labor-
intensive process and identifies how the distinctive patterns have
been used in Western products, from clothing to home furnishings.
Image: Cartier and Islamic Art: In Search of Modernity. Photograph by
Daniel Salemi. Courtesy of Cartier. dma.org
07 GEORGE W. BUSH PRESIDENTAL LIBRARY AND MUSEUM
The Bush Center gives visitors a look at American history, the
American presidency, and important issues of public policy, with
an added focus on eight years of the American presidency during
Bush’s administration. The permanent and special exhibits, 9/11:
The Steel of American Resolve and Dining and Diplomacy, are open to the
public. georgewbushlibrary.gov
Velázquez | Dalí | Vermeer
Three extraordinary paintings. Two captivating exhibitions.
One unforgettable experience at the Meadows Museum this fall.

Masterpiece in Residence

King Philip IV
of Spain
from
The Frick Collection

SEPTEMBER 18, 2022–

JANUARY 15, 2023

OCTOBER 16, 2022–

JANUARY 15, 2023

MEADOWS MUSEUM • SMU

meadowsmuseumdallas.org

These exhibitions have been organized by the Meadows Museum and are funded by a generous gift from The Meadows Foundation.

Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660), King Philip IV of Spain (detail), 1644. © The Frick Collection, New York. © The Frick Collection; Photo: Michael Bodycomb;
Salvador Dalí (Spanish, 1904–1989), The Image Disappears (detail), 1938. Work loaned by the Fundació Gala-Salvador Dalí. © 2022 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society;
Johannes Vermeer (Dutch, 1632–1675), Woman in Blue Reading a Letter (detail), c. 1663. Rijksmuseum, Amsterdam. On loan from the City of Amsterdam (A. van der Hoop Bequest), SK-C-251
NOTED: VISUAL ARTS
11 12
08 KIMBELL ART MUSEUM
Two paintings depicting different versions of the Old Testament
story of Judith and Holofernes—one by Italian Baroque artist
Artemisia Gentileschi and the other by American contemporary
artist Kehinde Wiley—are on view in Slay: Artemisia Gentileschi &
Kehinde Wiley through Oct. 9. Murillo: From Heaven to Earth celebrates
the genre paintings of one of the most esteemed painters of the
Spanish Golden age: Bartolomé Esteban Murillo (1617–1682).
Known for his religious subject matter, some of his most iconic
works depict secular themes. For the first time in modern history,
ordinary people—beggars, street urchins, and flower girls—convey
the cultural narratives and written tales of Murillo’s time. Sep. 18–
Jan. 29. Image: Artemisia Gentileschi (Rome, 1593–Naples, ca.
1653), Judith and Holofernes, c. 1612–17, oil on canvas. 62.60 x 49.61
in. Napoli, Museo e Real Bosco di Capodimonte. kimbellart.org
09 LATINO CULTURAL CENTER
Through Aug. 30, The LCC, together with eight queer femme and
non-binary artists working across mediums and cultures, presents
Someone, Like Me, a view into queerness beyond rainbow capitalism
with an alternate view of gender fluidity and queerness being
celebrated. lcc.dallasculture.org
10 THE MAC
Through Aug. 27, Refuge: 24th Annual Membership Exhibition, celebrates
the creativity, strength, and diversity of the artist community.
The show invites members and guests to celebrate the power of
art to heal, unite, communicate, and represent. the-mac.org
11 MEADOWS MUSEUM
Opening Sep. 18, Masterpiece in Residence emphasizes The Frick
Collection’s portrait King Philip IV of Spain (1644) by Diego
Rodríguez de Silva y Velázquez. The exceptional loan will be on
display with the three paintings by Velázquez from the Meadows
Museum’s collection in a focused exhibition of portraiture. Also
opening Sep. 18, Picturing Holy Women is an exploration of the role of
holy women in Spain and its empire, told through etchings, prints,
rare books. It showcases the women as they worked within—and
against—the limitations imposed by the Catholic Church and
society between 1620 to 1800. Image: Diego Rodríguez de Silva
y Velázquez (Spanish, 1599–1660), Female Figure (Sibyl with Tabula
Rasa), c. 48, oil on canvas, 25.5 x 23 in. Meadows Museum, SMU,
Dallas. Algur H. Meadows Collection. Photograph by Michael
Bodycomb. meadowsmuseumdallas.org
12 MODERN ART MUSEUM OF FORT WORTH
Houston-based artist Jamal Cyrus’ performances, assemblages,
sculpture, and paintings examine Black American histories and
social movements as well as cultural traditions within the African
26 PATRONMAGAZINE.COM
08
diaspora in FOCUS: Jamal Cyrus, through Jun. 26. Women Painting
Women features 46 female artists who choose women as subject
matter in their works. This presentation includes about 50 evocative
portraits that span the late 1960s to the present, through Sep. 25.
Image: Ania Hobson, Two Girls in a Bar, 2020, oil on canvas, 49.25 x
57 in. Green Family Art Foundation. Courtesy of Adam Green Art
Advisory. themodern.org
13 MUSEUM OF BIBLICAL ART
Side by Side: George Tobolowsky and James Surls, looks at the artists
together, through the summer. biblicalarts.org
14 NASHER SCULPTURE CENTER
Dutch-born, London-based artist Magali Reus’ installation
examines the relationships between people and objects through
the distortion of common images, through Sep. 11. Throughout
her five-decades-long career, Lynda Benglis has created sculptures
in a wide range of materials that explore the physicality of form
and its effects on the viewer. At the Nasher, Benglis highlights
three bodies of work in media as diverse as traditional bronze and
decorative glitter, through Sep. 18. Image: Lynda Benglis, Power
Tower, 2019, White Tombasil bronze, 89 x 72 x 64 in. Courtesy
of the artist and Cheim & Read, New York. © Lynda Benglis /
Licensed by Artists Rights Society (ARS) New York. Photograph
by Kevin Todora. nashersculpturecenter.org
15 PEROT MUSEUM OF NATURE AND SCIENCE
Becoming Jane: The Evolution of Dr. Jane Goodall allows guests to
experience the remarkable story of a true STEM pioneer. This
exhibit showcases her awe-inspiring life through an immersive
projection experience of Tanzania’s Gombe National Park, a
hologram projection of Dr. Goodall narrating her impactful story,
a replica of her research tent in Africa, and much more. Becoming
Jane continues through Sep. 5. perotmuseum.org.
16 SIXTH FLOOR MUSEUM
John F. Kennedy and the Memory of a Nation examines the life, legacy,
and assassination of JFK within the events of November 22, 1963,
and their aftermath. The multimedia experience advocates for
cross-generational dialogue to foster interest and understanding in
a historical context. Fragments presents architectural elements from
the historic Texas School Book Depository building that explore
the building’s 120-year history. jfk.org
17 TYLER MUSEUM OF ART
Student/Teacher: Works by Charles Criner & Dr. John Biggers is organized
by the Tyler Museum of Art and features their works on paper. Tales
of the Unknown: A Retrospective of Linda Blackburn’s Work continues
through Sep. 11. tylermuseum.org
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NOTED: PERFORMING ARTS
18 09
01 AMPHIBIAN
Amphibian will host Andrew Orolfo in their Up Comic Series
from Aug. 11–13. As part of the National Theater Live Series,
James McAvoy returns to the stage in an inventive new adaptation
of Cyrano de Bergerac, broadcast live to cinemas from the West End
in London. Aug. 24 and 27. Image: Andrew Orolfo. Photograph by
JT Anderson. amphibianstage.com
02 AT&T PERFORMING ARTS CENTER
Enter Several Strange Shapes, Bringing in a Banquet, a deconstruction
of Shakespeare’s The Tempest, is a genre-bending work playing with
elements of dance, theatre, performance art, and multimedia, Aug.
4–13. Homegrown Sam Wood, a singer-songwriter and multi-
instrumentalist, will perform at the PNC Patio Sessions on Aug.
11. From Australia, Celeste Barber’s Fine, Thanks. tour comes to
Dallas on Aug. 12. Jessie James Decker will take the stage on Aug.
14. Lee Harbaugh—pianist and composer of piano, film, band,
and orchestral music—will perform on Aug. 18. Enjoy the most
beloved Mexican music with a symphonic orchestra; a mariachi
band; a grand choir; a folkloric ballet; and the voices of two of
the greatest opera stars, tenor Fernando de la Mora and mezzo-
soprano Olivia Gorra under the baton of Maestro Hector Guzman
on Aug. 27–28. See Googoosh the Iranian music icon, live on stage
at the Winspear Opera House on Sep. 10, and Andrew Bird and
Iron & Wine on Sep. 28. attpac.org
03 BASS PERFORMANCE HALL
Dreamgirls takes the audience through a time portal when rhythm
and blues and soul music magic were part of a new American sound
that swept the nation and the world. Aug. 11–14. Lyle Lovett and
his Large Band take the stage on Aug. 23. basshall.com
04 BROADWAY DALLAS
Frozen brings sensational special effects, stunning sets and
costumes, and powerhouse performances. Moving and spectacular,
Frozen is everything you want in a musical; through Aug. 7. Rising
global K-pop girl group LOONA is coming to meet their fans in
America for the first time with the 2022 LOONA 1st World Tour:
[LOONATHEWORLD] live on Aug. 25. Ain’t Too Proud—The
Life and Times of The Temptations is the electrifying, new smash-hit
Broadway musical that follows The Temptations’ extraordinary
journey from the streets of Detroit to the Rock & Roll Hall of
Fame. Sep. 6–18. Image: Disney’s Frozen. Photography by Deen
van Meer. © Disney. broadwaydallas.org
05 CASA MAÑANA
Bat Boy: The Musical is a hilarious modern musical telling the story
of a half-human/half bat boy by the name of Edgar, discovered in
28 PATRONMAGAZINE.COM
01
a West Virginia cave by the sheriff. This frightfully funny spoof is
a classic love story with a wicked bite that’s part comic book, part
horror flick; Aug. 5–7. Celebrate the mystique of Frank Sinatra and
the unforgettable music that made him famous with the award-
winning My Way: A Musical Tribute to Frank Sinatra Sep. 10–18.
casamanana.org
06 DALLAS BLACK DANCE THEATRE
Stream the Jacob’s Pillow Dance Festival Aug. 19–Sep. 2. DBDT
will perform in person at Leadership North Texas on Sep. 24.
dbdt.com
07 DALLAS CHILDREN’S THEATER
Through the summer, DCT will offer their Academy Classes for the
kiddos from pre-K to the 12th grade. Enrollments are processed
first come, first served in order of payment and enrollment forms
received. From Sep. 24–Oct. 30, see Junie B.’s Essential Survival Guide
to School. dct.org
08 THE DALLAS OPERA
The Dallas Opera returns with four new-to-Dallas mainstage
productions beginning with Verdi’s dramatic Rigoletto, Oct. 8.
Additional season stunners include Humperdinck’s charming Hansel
and Gretel, Wagner’s epic Das Rheingold, and Mozart’s mischievous
comedy Così fan tutte—plus the annual Titus Family Recital, this year
featuring soprano Ying Fang; a free season-opening People’s Choice
concert in the fall; two family operas: The Billy Goats Gruff and The
Elixir of Love; the Biennial Lone Star Vocal Competition; and the annual
Hart Institute for Women Conductors Showcase Concert. dallasopera.org
09 DALLAS SYMPHONY ORCHESTRA
DSO opens Aug. with Sing Along: Songs of Stevie Wonder on Aug.
6. On Aug. 12, the Romeros Guitar Quartet takes the stage.
Madeleine Peyroux is one of the music industry’s most compelling
jazz musicians; see her live on Aug. 18. Spend An Evening with Lucia
Micarelli on Aug. 20. The DSO Wine & Food Festival has multiple
gastronomic events Aug. 25–27, including wine and whiskey
tastings. E.T. the Extra-Terrestrial in Concert returns to the stage Sep.
2–4. See Aida Cuevas “The Queen of Mariachi” Sep. 9–11. Holst’s
The Planets presents an out-of-this-world experience Sep. 15–17.
Explore the music of George Gershwin in Gershwin’s Magic Key on
Sep. 17. America from three distinct viewpoints is on display in
Symphonic Dances on Sep. 22–24. Embark on a grand musical journey
with Strauss’ Don Quixote Sep. 29–Oct. 2. Image: Lucia Micarelli.
Photograph by Solaiman Fazel. mydso.com
10 DALLAS THEATER CENTER
Based on the iconic 1985 Paramount movie that was inspired by the
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 ai165720695511_On Sale Patron Half Page Print Ad_v2.pdf 1 7/7/22 10:15 AM

NOTED: PERFORMING ARTS

PERFORMANCES
SOLOISTS 04

AND classic Hasbro board game, Clue is a hilarious farce-meets-

murder mystery that will leave both cult fans and newcomers
in stitches as they try to figure out who did it, where, and

EXPERIENCES with what. Sep. 8–25. dallastheatercenter.org

11 EISEMANN CENTER

AWAIT YOU On Aug. 21, Akshaya Patra DFW Chapter presents Sanjeevani
Bhelande, award-winning playback singer and winner of
Sa Re Ga Ma Season 1. IMC Concerts presents the Texas

C
AT THE MEYERSON Gospel Music Festival Sep. 2–4. 20 Years in 20 Minutes will
run at the Eisemann Center Sep. 9–22. eisemanncenter.com
M

12 FORT WORTH SYMPHONY ORCHESTRA

Y
Symphony for Our World combines National Geographic’s
CM
intimate portraits of wildlife with an original score by
MY Emmy- and BAFTA-nominated Bleeding Fingers Music,
CY
performed by live symphony orchestra and choir, Aug.
26–28. Pianist Jorge Federico Osorio kicks off the 2022-23
CMY
season with Beethoven’s triumphal Emperor piano concerto,
K
a work of surging euphoria and unrivaled majesty. In this
opening night celebration, FWSO music director Robert
Spano will bring to life Brahms’ lyric Variations on a Theme
by Haydn and Schubert’s mysterious Unfinished Symphony. See
A New Musical Era Begins: Brahms, Beethoven, and Schubert Sep.
9–11. fwsymphony.org

Enjoy cherished favorites like Carmina Burana, Verdi’s Requiem,
plus three weekends of Beethoven and revel in the holiday
season at our beloved Christmas Pops, The Nutcracker and more.
Witness the legendary Aida Cuevas, the Queen of Mariachi,
and experience orchestral tributes to the illustrious
John Williams, Aretha Franklin and the Kings of Soul.
ON SALE
dallassymphony.org
POPS SERIES
PRESENTED BY
13 LYRIC STAGE
Lyric Stage opens its 29th season and celebrates the end of
summer with the international hit Mamma Mia. A jukebox
musical based on the hit songs of the Swedish pop/rock
group, ABBA, the musical tells the story of Sophie, a
young woman in search of her birth father on the eve
of her wedding; Aug. 24–28. Image: Josie Benson, Mazz
Murray, and Gemma Goggin in Mamma Mia. Photograph by
Brinkhoff/Möegenburg. lyricstage.org
14 MAJESTIC THEATRE
My Name Is Not Mom takes the stage on Sep. 8. Steve Treviño:
America’s Favorite Husband Theater Tour performs Sep. 9.
KXT 91.7 presents Rufus Wainwright on Sep. 14. Kathleen
Madigan’s Do You Have Any Ranch tour stops in Dallas on
Sep. 16. Nick Swardson returns with his Make Joke from
Face Tour on Sep. 23. Hilarious comedian and actor Kevin
James comes to the Majestic on Sep. 25. Almost four years
after his first foray into unfamiliar concert territory with
his Ridiculously Self-Indulgent, Ill-Advised Vanity Tour, “Weird
Al” Yankovic is pressing his luck again, this time with The
Unfortunate Return of the Ridiculously Self-Indulgent, Ill-Advised

30 PATRONMAGAZINE.COM
 13

JULY 19–OCTOBER 9, 2022

Vanity Tour on Sep. 30. majestic.dallasculture.org

15 TACA
TACA exists to nurture arts organizations and provide
visionary and responsive leadership to the arts community.
By providing flexible funding and much-needed resources,
like professional development workshops, TACA allows arts
organizations to spend less time on keeping their doors open
and more time on running strong and effective programs
that transform lives through the arts. TACA’s annual Party
on the Green will return this fall. taca-arts.org

16 TEXAS BALLET THEATER

The world premiere of Cirque du Ballet presents an amazing
array of fabulous characters and choreography under the big
top. Sep. 16–Oct. 2. texasballettheater.org

17 THEATRE THREE
The Bippy Bobby Boo Show: Again! Again! is the 3rd annual
production of DGDG’s swanky ghost extravaganza. The
ghosts have been quarantined in prop boxes, and they’re
finally escaping to bring songs and jokes audiences will love.
Oct. 21–30. theatre3dallas.com

18 TITAS/DANCE UNBOUND
With exciting, diverse choreography and stellar dancers,
Gibney Company is not to be missed this Sep. 30–Oct. 1.
Gina Gibney is a powerhouse in the New York dance scene
Slay: Artemisia Gentileschi and Kehinde Wiley is organized by the Museo e
and has a fabulous dance center, critical to the dance world. Real Bosco di Capodimonte, the North Carolina Museum of Art, the Kimbell
Image: Dancer Kevin Pajarillaga. Photograph by Nir Arieli; Art Museum, and The Museum Box. The Kimbell Art Museum is supported in
Styling by Sueann Leung. titas.org part by Arts Fort Worth, the Texas Commission on the Arts, and the National
Endowment for the Arts. Promotional support provided by:
19 TURTLE CREEK CHORALE
TCC will return with THAT 70’s SHOW: A Sing-Along
Sensation in October. turtlecreekchorale.com

20 UNDERMAIN THEATRE
Undermain returns with Lonesome Blues, the true story of
legendary bluesman Blind Lemon Jefferson, who was born
blind but was ultimately able to express his deepest emotions
through music; Sep. 1–17. undermain.org
Artemisia Gentileschi (Rome 1593–Naples c. 1653), Judith and Holofernes (detail),
c. 1612–1617. Oil on canvas, 159 x 126 cm, inv. Q 378, Napoli, Museo e Real Bosco di
Capodimonte; Kehinde Wiley (American, born 1977), Judith and Holofernes, 2012, oil
on linen, purchased with funds from Mr. and Mrs. Gordon Hanes in honor of Dr. Emily
Farnham, by exchange, and with funds from Peggy Guggenheim, by exchange, and
from the North Carolina State Art Society (Robert F. Phifer Bequest), 2012. ©️ Kehinde
Wiley. Courtesy of the North Carolina Museum of Art and Sean Kelly, New York

21 WATERTOWER THEATRE
The Bridges of Madison County captures the lyrical expanse of
America’s heartland along with the yearning entangled in the
eternal question, “What if...?” This special production will
take the stage Sep. 7–11. watertowertheatre.org

AUGUST / SEPTEMBER 2022 31

NOTED: GALLERIES
01 05
01 12.26
Brandon Thompson: When You See Me, Make A Wish remains on view
at 12.26 West in LA through Aug. 29. Next, Julia Maiuri: Mindscreen
runs Aug. 27–Oct. 1. Image: Brandon Thompson, Father N Son
Bonding, 2022, oil on canvas, 48 x 36 in. gallery1226.com
02 500X GALLERY
From Aug. 13–21, the Hot & Sweaty 2022 Open Show will be
highlighted in the gallery. Next, 500X will host solo shows for
Jamila Mendez and Gerald Bell from Aug. 27–Sep. 18. 500x.org
03 AND NOW
After a summer break, AND NOW will return with a solo
exhibition for Kathryn Kerr from Sep. 17–Oct. 29. andnow.biz
04 ARTSPACE111
The 9th Annual Texas Juried Exhibition remains on view through Aug.
27. From Sep. 10–Oct. 29, AS111 presents Ender Martos: Paradigm
Shift, alongside a group show titled Nightscapes. artspace111.com
05 BARRY WHISTLER GALLERY
Learning to Draw, through Aug. 20, sees a group exhibition of over 30
artists exploring a wide range of approaches to drawing. Next, see
Christopher Blay’s exploration of possible Black futures through
the presentation of slaving vessels as rocket ships in SpLaVCe
Ship, Sep. 10–Oct. 15. Image: Digital mock-up of installation
for SpLaVCe Ship by Christopher Blay. barrywhistlergallery.com
06 BEATRICE M. HAGGERTY GALLERY
A World Of Paper: The Lyle Novinski Print Collection remains on display
through Sep. 29. udallas.edu/gallery
07 CADD
Contemporary Art Dealers of Dallas is a nonprofit organization
that formed in 2007 to promote contemporary art. caddallas.org
08 CHRISTOPHER MARTIN GALLERY
Celebrating 27 years, the gallery presents the reverse-glass paintings
of American artist Christopher Martin; the Rodeo series of Dallas
based photographer Steve Wrubel; the color-field paintings
of New York’s Jeff Muhs; the acclaimed work of Dutch image
maker Isabelle van Zeijl; the acrylic constructions of Dallas artist
Jean Paul Khabbaz; the abstract paintings of Angela and Gabriel
Collazo; the atmospheric work of California-based painter Elise
Morris; and Atlanta artist Liz Barber’s organic paintings; along
with rotating artists. christophermartingallery.com  Dallas Art Fair Projects is an arts and special projects space located
32 PATRONMAGAZINE.COM
09
09 CONDUIT GALLERY
Through Aug. 27, Lime in de Coconut, a group show featuring
artists Ludwig Schwarz, Steven J. Miller, Robert Jessup, Marcelyn
McNeil, Vincent Falsetta, and Stephen Lapthisophon remains on
view. Next, two solo shows will be on view Sep. 10–Oct. 15: Lance
Letscher: The Art of Painterly Collage and J.C. Fontanive: New Works
in Wood. Image: J.C. Fontanive, Level Deck, 2022, polychromed
wood, 40 x 33 in. conduitgallery.com
10 CRAIGHEAD GREEN GALLERY
New Texas Talent XXIX, juried by Terri Provencal and Chris
Stewart, highlights emerging talent through Aug. 20. Next find
work by Patrick Gordon, Arturo Mallmann, and Krista Harris
in congruent solo shows from Aug. 27–Oct. 21. Image: Victoria
Simmons, Alike, 2022, airbrush and acrylic, 60 x 84 in.
craigheadgreen.com
11 CRIS WORLEY FINE ARTS
Through Aug. 20, Pot of Soot at the End of the Rainbow displays the
sumi ink on paper and wood paintings by Dallas-based Japanese
American artist Nishiki Sugawara-Beda. Concurrently, Tales
From The Viewing Room, Sherry Owens | Grandfather’s Land, includes a
bronze-and-crape myrtle sculpture and several graphite and conte
drawings. Solo shows for Kristen Cliburn and Maysey Craddock
display Aug. 27–Oct. 1 along with work from Celia Eberle in the
Viewing Room, coinciding with Waiting for Robot on view at the
Nasher through Oct. 2. crisworley.com
12 CVAD GALLERY AT UNT
The first solo show of Kongo Astronauts, an artist collective based
in Kinshasa, the capital city of the Democratic Republic of the
Congo, Congo Gravitational Waves // A Metadigital & Tantalean Tale,
remains on view through Sep. 3. galleries.cvad.unt.edu
13 DADA
The Dallas Art Dealers Association is an affiliation of established
independent gallery owners and nonprofit art organizations.
dallasartdealers.org
14 DAISHA BOARD GALLERY
Reuben Cheatem’s B.L.A.C.K fills the gallery through Aug. 13.
Next, Jeremy Biggers’ exhibition, Defiant, will be on view from
Aug. 20–Oct. 1. daishaboardgallery.com
15 DALLAS ART FAIR PROJECTS
in the Dallas Design District. dallasartfairprojects.com
 20

16 DAVID DIKE FINE ART

DDFA will host the 26th Annual Texas Art Auction on
Saturday, Oct. 15 at their new location in Alpha Plaza. The
live auction will feature over 300 lots of Texas art, ranging
from early to traditional and contemporary works. Image:
Ben Culwell (Am. 1918-1992), Greening of a Moment, 1956–58,
oil, lacquer, and glass on Masonite, 48 x 24 in. daviddike.com

17 ERIN CLULEY GALLERY

Summer 2022 remains on view through Aug. 20. Aug. 27–Oct.
1, Rachel Livedalen and Ryan Goolsby display new work.
Looking Back 2022 continues through Aug. 13 at Cluley Projects
followed by Jason Brooks Aug. 20–Sep. 17, and Huy Nguyen,
Sep. 24–Oct 22. Image: James Gilbert, A Reasonable Alternative
Solution to Admire Our Problems, 2019, wood, paint, wax, metal, 57
x 17 x 10 in. erincluley.com

18 FERRARI GALLERY
Ferrari Gallery presents metal art sculptures by James Ferrari;
nature-inspired paintings by Debra Ferrari; photographer
Jeremy McKane’s underwater works; and ceramic sculptor
Kosmas Ballis’ clay work. ferrarigallery.net

19 FORT WORKS ART

Through
Crystal Wagner’s Sublime, through Oct. 15, features work
that builds worlds by integrating textural materials and the September 1 1
movement of human bodies through temporary landscapes.
Wagner will create a large-scale, site-specific installation
during her residency. fortworksart.com

20 GALLERI URBANE
Through Aug. 13, Galleri Urbane’s Annual Summer Group Show
remains on view along with work by Jonathan Paul Jackson
in Gallery Two. From Aug. 27–Oct. 1, the gallery hosts
solo shows for Adam Hedley and Michelle Wasson. Image:
Amelia Briggs, Pollyanna, 2022, panel, reclaimed fibers, latex,
oil, 32 x 33 x 5 in. galleriurbane.com

21 GREEN FAMILY ART FOUNDATION

Hannah Lupton Reinhard: A House of Stars and Angels and Painters
Painting Painters: A Study of Muses, Friends and Companions
remain on view through Sep. 25.
greenfamilyartfoundation.org Sargent, Whistler, and Venetian Glass: American Artists and the Magic
of Murano is organized by the Smithsonian American Art Museum.

22 HOLLY JOHNSON GALLERY

Ana Esteve Llorens’ handwoven sculptural canvases remain John Singer Sargent, A Venetian Woman (detail), 1882, oil on canvas,

on view through Aug. 6. Next, Kim Cadmus Owens: Drawings is Cincinnati Art Museum, The Edwin and Virginia Irwin Memorial, 1972.37

a solo exhibition spanning 20 years of works on paper by the

AUGUST / SEPTEMBER 2022 33

 NOTED: GALLERIES

K ittrell/Riffkind Art Glass Gallery

4500 Sigma Rd. Dallas, Texas 75244 n 972.239.7957

Ross Richmond
“Reimei”

40

Dallas-based artist that convey a moment of retrospect and

depict vernacular spots elevated to icon status. Aug. 27–Nov.
12. hollyjohnsongallery.com

23 KEIJSERS KONING
Keijsers Koning returns Aug. 27 to present the first solo
show of Kaloki Nyamai in the US. Nyamai’s unstretched
canvas works have a beautiful presence that creates a link to
the language of quilting and the importance of textile within
the Kenyan community. Moments I wished I had will be on view
through Oct. 1. keijserskoning.com

24 KIRK HOPPER FINE ART

Through Aug. 20, Ushio Shinohara’s Drawings and Sculptures
fill the gallery. From Sep. 1–Oct. 1, KHFA will display
Forrest Bess: Recently Discovered Paintings, a selection of sixteen
Bess paintings that were recently discovered in a storage unit
in Bay City, Texas. kirkhopperfineart.com

25 KITTRELL/RIFFKIND ART GLASS

The 28th Annual Goblet Invitational, ongoing through summer,
features drinking vessels ranging from functional to fantasy
from over 65 contemporary artists. kittrellriffkind.com

26 LAURA RATHE FINE ART

A group show for Marina Dunbar, Michael Schultheis,
Bronson Shonk, and Sydney Yeager continues through Aug.
20. Terrene, a solo show for Texas-based artist Meredith
Pardue, will open with an artist reception Aug. 27 and
remain on view through Oct. 1. laurarathe.com

27 LILIANA BOCH GALLERY

Offering Dallas’ finest selection of art glass!
kittrellriffkind.com
Through Aug. 22, see Leigh Merrill’s photographic work
in Collecting Forests. From Sep. 3–Oct. 8., The Red Garden
exhibits Ann Glazer’s series of ritual textiles inspired by
a 100-year-old family story told through collaged images
of 19th-century Eastern European embroidery, printed on
velvet. Image: Installation detail of a work in progress by
Ann Glazer. lilianablochgallery.com
28 MARTIN LAWRENCE GALLERIES
The gallery is distinguished by works of art by Erté, Marc
Chagall, Keith Haring, and many other artists.
martinlawrence.com

34 PATRONMAGAZINE.COM
Think

Art

SOUTHWEST GALLERY
4 5 0 0 S i g m a R d . D a l l a s , Te x a s  972.960.8935  s w g a l l e r y. c o m
NOTED: GALLERIES
16
29 PENCIL ON PAPER
Through Aug. 20, Stacie Monday’s Let the Church Say Amen features
mixed media works on canvas, paper, and wood, exploring
femininity, identity, and womanhood through the lens of Purity
culture and the Black church. Red Milk Crone’s A Woman Callused...
and Miguel Martin’s Two Stories of Life continue through Aug. 20.
From Sep. 3–Oct. 15, PoP will hold two solo exhibitions, one for
Sam Lao, yet to be titled, and MOM: From Inside.
pencilonpapergallery.com
30 PETER AUGUSTUS
Peter Augustus will host a solo show for Japanese printmaker Ryo
Nishimura Sep. 10–Oct. 29. Nishimura is known for his drypoint
etchings on plexiglass drawn from fieldwork depicting clouds,
water, and flora. peteraugustusgallery.com
31 PHOTOGRAPHS DO NOT BEND
Carbon & Gold: Works-on-Paper by Don Schol, Paintings by Pam Burnley-
Schol continues through Aug. 20. In Remembrance: Jesse Alexander, Paul
Greenberg, and Jeffrey Silverthorne sees the work of three artists who
passed away within the last year. Aug. 27–Nov. 12. pdnbgallery.com
32 THE POWER STATION
The Power Station is a nonprofit initiative dedicated to providing a
platform for contemporary art projects in Dallas. Through summer,
the gallery space hosts the exhibition Young and Clueless showcasing
the work of Hadi Fallahpisheh. powerstationdallas.com
33 RO2 ART
CHAOS, Ro2 Art’s annual invitational summer small-works show,
returns, including rostered artists and more than 50 guest artists
from Texas and abroad. The salon-style presentation is on view
Aug. 6–Sep. 17. Maryland-based Lindsay McCulloch will present
a solo exhibition featuring paintings and works on paper created
from 2017–2022. On view Sep. 24–Oct. 27. ro2art.com
34 SAMUEL LYNNE GALLERIES
Samuel Lynne Galleries is the realization of the dream of artist JD
Miller and entrepreneur Philip Romano, which came to fruition in
2008. Photographer Tyler Shields’ exhibition of work remains on
view at the gallery. samuellynne.com
35 SMINK
A showcase of fine design and furniture, SMINK is a purveyor of
quality products for living. The showroom also hosts art exhibitions
featuring Robert Szot, Gary Faye, Richard Hogan, Dara Mark, and
Paula Roland. sminkinc.com
36 PATRONMAGAZINE.COM
17
27
36 SMU POLLOCK GALLERY
Pollock Gallery provides a space for critical engagement with
art and pedagogy, bringing together historical scholarship,
contemporary artistic practice, and experimental methodology.
smu.edu/meadows/areasofstudy/art/pollockgallery
37 SOUTHWEST GALLERY
The gallery offers the largest collection of fine 19th– and 20th-
century paintings and sculptures, and exhibits hundreds of
artists who work in a broad range of styles, all displayed in a
16,000-square-foot showroom. The Annual Summer Art Festival is
a chance to escape the heat and refresh your mind, Aug. 20–21.
Watch the gallery’s artists create new works right before your eyes.
In Sep. the gallery highlights the enchanting figurative paintings
of Olga Suvorova. swgallery.com
38 SWEET PASS SCULPTURE PARK
Bottomland features six selected multidisciplinary artists who
traveled to Dallas in June 2021 to explore the Texas Blackland
Prairies. Nathalie Alfonso (Miami), Susana Oliveros Amaya
(Bogotá, Colombia), Brook-Lynne Clark (Dallas), Isaac Dunne
(Brooklyn), Emily Lee (Austin), and Hélène Schlumberger
(Houston) present their site-responsive works, through Sep. 24.
sweetpasssculpturepark.com
39 TALLEY DUNN GALLERY
Talley Dunn Gallery Equity in the Arts Fellowship Group Exhibition:
Martha Elena, Charles Gray, Juan Negroni, Alex Ordoñez, Jae-Eun Suh
closes out the summer, running through Aug. 20. Gabriel Dawe
Ode to Futility displays in the main gallery from Aug. 27–Dec. 10
talleydunn.com
40 VALLEY HOUSE GALLERY
The gallery’s Summer Group Show continues through Aug 13.
Next, Otis Huband: Recent Paintings opens August 20. Image: Vera
Barnett, Mother Earth Series: Tower of Rubble, 2022, oil on linen, 38 x
38 in. valleyhouse.com
41 WAAS GALLERY
The Grow Room a Conscious Design, created by artist-curator Brandy
Michele Adams, mounts Aug. 25–Sep. 25 as a living-plant
installation, opening conversations about regeneration, women
growing, and how to sustain the planet collectively. waasgallery.com
42 WEBB GALLERY
Webb Gallery’s Solid Gold: New Work by Heather Sundquist Hall &
Tim Kerr and Collection of Jimmy Lee Sudduth Paintings both continue
through Sep. 18. webbartgallery.com
 LONE STAR ART AUCTION
OCTOBER 28-29, 2022 • DALLAS, TEXAS


 




 





 




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AUCTION HIGHLIGHTS AND EVENT TICKETS

visit: www.lsartauction.com, or call: 469.608.7600

Presented By:Great American West and Phil Berkebile, Jr.

Auctioneer:Jason Brooks, State of Texas License No.16216
8333 DOUGLAS AVENUE, SUITE 360 • DALLAS, TX 75225 • 469.608.7600 • WWW.LSARTAUCTION.COM
 NOTED: GALLERIES

PATRON presents the 5th Annual

CURATED
at Decorative Center Dallas.

AT THE
10

44 WILLIAM CAMPBELL GALLERY

Summer Group Show features work by Michelle Benoit,
Scottie Parsons, Brian Moore, Arno Kortschot, and
others through Aug. 25. Reflecting Pools, through Sep.
3, features work by Richard C. Thompson at WCCA’s
second location at 217 Foch Street.
williamcampbellcontemporaryart.com

AUCTIONS AND EVENTS

01 DALLAS AUCTION GALLERY

Dallas Auction Gallery will hold its Fine & Decorative Art
Auction in Sep. dallasauctiongallery.com

A tour of design showrooms amplified by art
from local galleries and artists.
Featuring:
ABITARE18
EGGERSMANN
POGGENPOHL
RENAISSANCE TILE & BATH
Along with:
CRAIGHEAD GREEN GALLERY
CRIS WORLEY FINE ART
DHV ARTWORKS
MARKOWICZ FINE ART
Thursday, September 8, 2022
RSVP mandatory for check-in details:
info@patronmagazine.com
02 HERITAGE AUCTIONS
Heritage Auctions slated auctions for the summer are
the Urban Art Showcase Auction on Aug. 3, Depth of Field:
Photographs on Aug. 10, Fine & Decorative Arts Showcase
Auction on Aug. 11, Prints & Multiples Showcase Auction on
Aug. 24, Prints In Focus: Dali Showcase Auction on Aug. 30,
Norman Rockwell Prints Showcase Auction on Sep. 1, Urban
Art Showcase Auction on Sep. 7, the Fine & Decorative Arts
Showcase Auction on Sep. 8, Depth of Field: Photographs on
Sep. 14, the Contemporary Art Within Reach Auction on Sep.
15, Asian Art Signature Auction on Sep. 20, and the Design
Signature Auction on Sep. 29. ha.com
03 LONE STAR ART AUCTION
Taking place Oct. 28–29 in Dallas, the Lone Star Art
Auction is a Texas-sized auction specializing in the
best American, Western, wildlife, sporting, and Texas
fine art. Presented by Great American West and Phil
Berkebile, Jr., the LSAA will bring buyers, collectors,
and sellers of historic and contemporary fine art
together for an enjoyable and highly entertaining event.
Consignments are being accepted for what will be Texas’
largest art auction event in 2022. lsartauction.com

38 PATRONMAGAZINE.COM
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 Peter Augustus at his gallery within of war, of love, of
time by Tobe Kan. Photograph by Victoria Gomez.

PETER AUGUSTUS
FINDS HIS GROOVE
From Dallas to New York to Hong Kong
then back again, this gallerist and
Dallas Art Fair exhibitor is just getting started.
INTERVIEW BY DAVID LIU

F
ounded by its namesake, Peter Augustus is a contemporary
art gallery, now on Monitor Street in the Design District,
focused on emerging and mid-career international artists. In
addition to his passion for art, Peter Augustus Owen is an
avid supporter of human rights issues. For several years he was a
co-director and judge of the Hong Kong Human Rights Arts Prize,
benefiting the refugee community of Hong Kong. He also served
as a Human Rights Commissioner for the City of Palm Springs,
California, in 2019.
Since relocating back to the States and opening Peter Augustus,
he has hosted several artists’ first solo exhibitions in North America,
including the upcoming show for Japanese artist Ryo Nishimura.

David Liu (DL): Peter, you opened your eponymous gallery last year. What made
you decide to open Peter Augustus, and why Dallas?
Peter Augustus (PA): Well, I was born and raised in Dallas. I went
to school in New York for a bit, then I moved to Hong Kong, where
I finished university. After graduation I worked for an art magazine
(ArtAsiaPacific) based in Hong Kong, on the publishing side,
although I regularly contributed to the content. I then moved to
Tokyo and worked for Perrotin, leading their marketing and PR
efforts across Hong Kong, Seoul, Tokyo, and Shanghai. I ended up
living in Asia for the majority of my 20s and early 30s. It was an
amazing experience, and I learned a lot, but my family is still based
here, and I wanted to explore some creative endeavors on my own.
DL: I remember when we first met, we quickly realized we had very similar
trajectories that brought us full circle. We’re both Dallas natives, graduated high
school the same year, and immediately moved to the East Coast before returning
home fairly recently. From your experience, how has Dallas changed in the last
Ryo Nishimura, Melting – mixt, 2017, 62 x 39 in., drypoint,
Sirius paper, copperplate ink.

40 PATRONMAGAZINE.COM

two decades? (I still can’t believe it has been that long...) What has surprised you
the most since moving back?
PA: I know. Has it really been 20 years? Dallas has grown so
much over the past two decades in more ways than one. When we
both left in the very early 2000s, there was no Dallas Art Fair, and
there were only a handful of galleries. The landscape has changed
a lot since then, with local institutions like The Warehouse and, to
expand the creative map a bit, with 100 West Corsicana. From a
commercial perspective, I’m sure you can agree it is great to see how
the city has been able to support both the established galleries and
several new galleries opening in the last few years.
DL: You worked in the art world in Hong Kong and Tokyo for quite a few years.
How did your time living in Asia influence your vision for your own program?  the result is a large-format monoprint on paper with the most
PA: My gallery program generally focuses on artists from the Asia
Pacific region, but this is not exclusive. In my time working in
two very different parts of the art industry—journalism and the
commercial space—I got to meet and hear from so many talented
emerging artists. In opening Peter Augustus, I wanted to give
these creatives a platform and a place to showcase their works
internationally. I view it as a partnership in helping to curate and
translate their vision to a new audience.
DL: As many of the artists you have shown live in Asia, I imagine it has been
hard not being able to travel due to pandemic restrictions. Are you growing tired
of virtual studio visits?  fairs, put on seven exhibitions, and moved to a new space in the Design District.
PA: I loathe virtual meetings. Nothing beats a face-to-face meeting
and feeling the excitement of an artist’s studio. I do have a trip to
Japan on hold for later this year in hopes that the travel restrictions
are lifted! But out of necessity during the past couple of years, I’ve
relied on WhatsApp for communication and virtual studio visits.
It’s encrypted for document sending, and I prefer short and sweet
messages over long formal emails. It’s great to be able to bounce
FAIR TRADE
one-off ideas back and forth.
DL: Can you tell me a little bit about Ryo Nishimura, the next artist you will
be exhibiting at the gallery in September?
PA: Ryo is an amazing young Japanese artist whose work I actually
collected prior to opening my gallery. He is primarily a printmaker,
specializing in drypoint etching, but he is taking this traditional
Japanese printing technique to a different level by modernizing the
process. A lot of his work centers on live scenes from nature, often
clouds, water, or flora. While drypoint is normally done on copper
plates, Ryo takes framed sheets of thick plexiglass out to fields or
lakes and traces the detail with power tools and other traditional
objects. After applying ink and running it through a copper press,
intricate and velvety texture I have ever seen. His work has also
been collected by LACMA and the Minneapolis Institute of Art.
DL: Ryo will actually be in Dallas for the show, right?
PA: Yes, Ryo will be in town for a few weeks this summer in the lead-
up to his opening. We are working with TCU, and he will be doing a
lecture and demonstration of his printing methods at the university
for their printmaking students as well as making art there. They
have a stellar printing facility. I am excited that a majority of the
work being exhibited will be made right here in North Texas.
DL: Since opening the gallery in 2021, you have already participated in three art
So much has happened in such a short period of time! What’s next for Peter
Augustus?
PA: It has been a full-on first year and a half for sure. As for what’s
next, I am looking forward to focusing a bit more on digital aspects
of the gallery, including the online store, which I launched over
the summer, and engaging with the community via events and in-
person artist talks now that travel is normalizing. P

Ryo Nishimura, Permeation 2, 2022, drypoint, White Watson paper, copperplate ink, 39 x 63 in.; View of an outdoor studio at the Oigawa
River, Shizuoka Prefecture, Japan; Ryo Nishimura, Occurring – Cloud, 2017, drypoint, Sirius paper, copperplate ink, 24.50 x 42 in.

AUGUST / SEPTEMBER 2022 41

Portrait of Laurie Anderson; installation view from Laurie Anderson: The Weather at the Hirshhorn Museum and
Sculpture Garden, Smithsonian Institution, Washington, DC, 2021. Courtesy of the artist. Photograph by Ron Blunt.

LAURIE ANDERSON
TALKS ABOUT THE WEATHER
The multimedia artist speaks of John Cage,
telling the national story, and abstract things.
INTERVIEW BY CHRIS BYRNE

S
pending the summer at the Elaine de Kooning House and
Studio in East Hampton, artist-in-residence Laurie Anderson Laurie Anderson, Four Talks, installation view from Laurie Anderson: The Weather at
the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC,
is always looking forward. This month the Hirshhorn 2021. Courtesy of the artist. Photograph by Ron Blunt.
Museum will close Anderson’s largest US career retrospective,
The Weather, which included a series of live performances, but the
groundbreaking multimedia artist never remains idle. Here, Chris
Byrne shares a recent interview with Patron.

Chris Byrne (CB): Is it true that you initially declined the Hirshhorn Museum’s
proposed survey of your work? Was this due to your schedule?
Laurie Anderson (LA): Yes, I didn’t want to spend time looking back.
I have a lot of new projects that are taking up most of my energy
these days.
CB: There’s no aversion to being institutionalized in a national museum?
LA: I have nothing against institutions. I work with them often in
many different ways. It was just a question of how to spend my time,

42 PATRONMAGAZINE.COM

which I prefer to do working in the present than in the past.
CB: The New York Times’ Sam Anderson described The Weather as “a
sort of non-retrospective retrospective of one of America’s major, and majorly
confounding, modern artists...”
LA: I always thought of my work as pretty straightforward storytelling.
And I think that seems pretty clear in The Weather, which is stories
in various forms: film, sculpture, drawings, paintings, and music.
Pretty standard art forms really.
CB: Your work remains uncategorizable in many ways—you’ve described it as an
attempt to “tell and retell the national story…”
LA: The national story itself is the thing that’s now hard to categorize.
We’ve been living for years with the word “unprecedented,” and
that’s an accurate description of our time. As soon as politicians
recognized that telling stories—and having them actually believed
to the point of fighting for them—is where the power really lies, this
country has been torn apart by stories. Each side is fully convinced
that their version is the only way to see the world. As a storyteller,
this is a deep, wild, and treacherous thing to learn.
CB: You were trained as a violinist and sculptor, eventually pursuing performance
in the late 1970s…
LA: I wouldn’t call this training. It somehow sounds so utilitarian
and formal. I took violin lessons from the age of five and was not
a particularly good student. I was afraid of my first teacher, who
threatened to attach nails to the fingerboard so I would cut myself
when I played out of tune. Even though I found it hard to picture an
instrument of torture and music, the idea of this still made me shake
when I walked into his dark little studio, unpacked my violin, and
started to play out of tune yet again.
Laurie Anderson, My Day Beats Your Year (The Parrot), 2010/2021. On view in Laurie
Anderson: The Weather at the Hirshhorn Museum and Sculpture Garden, Smithsonian
Institution, Washington, DC. Courtesy of the artist. Photograph by Jason Stern.
CONTEMPORARIES
CB: And you became friends with the composer John Cage?
LA: I interviewed him for Tricycle magazine. Here’s a story I wrote
about that:
TIME TUNNEL
You know Steven Hawking has this theory about
information and where it goes when it disappears.
According to his theory, when a black hole implodes, all the
information about the objects that have disappeared begins
to skid down an infinitely long tunnel. All those numbers
and calculations and deviations are swirling around in a
huge whirlwind. So here are the questions: Is time long?
Or is it wide? Are things getting better or are they getting
worse? Can we start all over again?
You know, I did an interview with John Cage, and
I spent some time with him, and I noticed that he seemed
to be such a happy guy. I mean, he was eighty years old,
and he was always smiling, and a lot of old people are in
pretty bad moods by that point, but he wasn’t, and I was
supposed to be asking him about music and information
theories, but what I really wanted to know was whether
he thought things were getting better or worse. Because
I’d been looking around and that was something that
was really on my mind, but it seemed like such a stupid
question that I was afraid to ask, so I talked around it
for a while, sort of building up to it, and I was saying
things like: “Well, according to theories of evolution, if
there was a race between a modern horse and a prehistoric
horse, the modern horse would win because it’s faster, more
efficient—it has adapted, and are we like that too? And
then, on the other hand, according to Richard Dawkins
there are some problems with this—for example it would
have been a great thing if fire-breathing animals had
evolved. I mean this would have been a very convenient
thing just—wwwff!—cook your food on the spot, and
then asbestos-coated nostrils could have evolved so the nose
wouldn’t get singed,” and so on. And finally Cage said,
“Um, exactly what are you trying to say?” And I said
“Arethingsgettingbetteroraretheygettingworse?” And he
stopped only for a moment and said, “Oh better. Much
better. I’m sure of that. It’s just that we can’t see it. It’s just
that it happens so slowly.”
CB: It was during a visit to Julian Schnabel’s Montauk studio that you began
to paint again?
LA: Yes. He made some big stretchers for me and handed me some
brushes and more or less commanded me to make a painting.
CB: Can you tell us about the paintings you’re making at the Elaine de Kooning
House and Studio? Are you focusing on portraits?
LA: I was planning on making portraits but have shifted to bigger,
more abstract things. I never have any idea what I’m making and try
very hard not to put it into words, especially when I’m working. I like
to have the feeling of improv that I sometimes have in music.
CB: What upcoming projects can we look forward to?
LA: These are shifting all the time right now. But I’m working on
several books, a film, a new museum installation, and what might or
might not become an opera. P
Left: Laurie Anderson, All Things Fractured: Lola in the Night Sky, 2011, aluminum and
light. Originally commissioned by the Fabric Workshop and Museum, Philadelphia
Courtesy of the artist. Photograph by Jason Stern.
AUGUST / SEPTEMBER 2022 43
A WORLD REINVENTED
Venice Biennale’s The Milk of Dreams offers
a surrealistic look at past and present.
BY BRIAN ALLEN

T
his year’s Venice Biennale, through November 27, is the
58th iteration of what’s become the art world’s Olympics.
Eighty countries participated this year, each sending to
its Venice pavilion the best art in the land. Given the
Biennale’s postponement last year due to Covid, visitors were
even more delighted to see so much to love and to provoke them.
Simone Leigh fills the US pavilion. Her exhibition, called
Sovereignty, deploys superbly crafted bronze and ceramic sculpture
to revisit old forms like clay jugs used by Southern slaves,
African tribal headdresses and masks, and African raffia skirts.
Sentinel, a sleek, 18-foot-tall bronze sculpture, draws from old
African power figures. It’s grave and enigmatic, like work by
Giacometti. Leigh covered the American pavilion building,
which normally looks like Monticello, with thatch, so it now
looks like an African hut.
Leigh won one of the Biennale’s two top-prize Golden
Lions not for best pavilion but for best participant in The Milk
of Dreams, the festival’s sprawling anchor exhibition. The Milk Above left: 59th International Art Exhibition, The Milk of Dreams. Pavilion of
of Dreams, showing the work of over 200 artists, impressively the United State of America, Simone Leigh, Sovereignty. Photograph by Marco
looks at surrealism past and present. Leigh’s Brick House, a Cappelletti. Courtesy of La Biennale di Venezia; below: 59th International Art
Exhibition, The Milk of Dreams. Pavilion of Lebanon, Andrea Avezzù, The World in
bronze from 2019, introduces the extravaganza. Looming in
the Image of Man. Courtesy of La Biennale di Venezia.

44 PATRONMAGAZINE.COM
 CONTEMPORARIES

the middle of an octagonal gallery with mood lighting, it’s got

presence. It’s mythical and mystical and feels like the stuff of
the subconscious.
The second Golden Lion, for best national pavilion, went
to Sonia Boyce, representing Great Britain. Feeling Her Way is
a music-and-art take on why Black women artists have gotten
short shrift in Britain. Walls are plastered with old CD and
album covers, all by Black women performers and most bearing
discount price stickers. The space looks like a music-crazy
teenager’s bedroom, buoyant and wacky. 
Boyce says she discovered her artistic chops through pop
music, so the galleries feel like shrines. Though I take her overall
point, it’s undercut by her very selection to go to Venice and
her Golden Lion win. Also, extensive concert footage by Black
performers makes her space feel like a documentary rather than
art. 
The Biennale is about countries sending art to pavilions,
a “home” in Venice, so to speak, but concept of home figures
in other ways as well. Lebanon’s pavilion is part collage, part
video. It’s called The World in the Image of Man and starts with
a hometown—Beirut—in crisis. Ayman Baalbaki did an
expansive installation of battered, neon-lit street signs, torn
textiles and posters, and blood-red splattered paint. It’s a view of
a gritty, battered city and evokes 2020’s horrific port explosion
at an aluminum nitrate storage dump, itself a metaphor for years
of civil strife. Danielle Arbid’s video next to it takes us on a
tour of Beirut’s art district, not war torn, but not pretty, either.
Contemporary art in Beirut, we see, might exist in a climate of
turmoil, but it’s tough and true enough to outlast it. 
Latvia’s pavilion presents colorful, charming porcelains
by the dozens, all made by Skuja Braden, another artist duo.
Luxuriously painted dishes, animal, vegetal, and human forms,
and a porcelain bed, evoke the free spirit of one of the pair,
Californian Melissa Braden. The tchotchke-obsessed Inguna
Skuja, who’s Latvian and remembers Soviet rule, sees her pieces
as an antidote to Iron Curtain drab and uniformity. Color and
whimsy at home helped make life bearable.
Something’s in the air in Scandinavia. We Walked the Earth,
Uffe Isolotto’s installation for the Danish pavilion, shows
hyperrealistic models of two centaurs, one male and one female,
lying dead in their rustic home. It’s positively gothic, with a sci-
fi twist. Is the subject the end of myth? Are we mortals today’s
centaurs? Is home no longer safe from an upheaved world?
Meaning’s up for grabs. In art, we don’t want pat answers.
Among everyone’s favorite pavilion belongs to the Sami
people. Norway, Sweden, and Finland together gave their
pavilion rights to this indigenous people living in the northern
swath of these three countries. Once called Lapland, the Sápmi
region is resource rich and, for many decades, exploited by big
corporations. 
The locals believe in tried-and-true sustainability, especially
when it comes to their reindeer, woods, and rivers. The pavilion,
a first for the Sami, introduces us to their art and culture. Sápmi
is cold and sparse but, to the Sami, there’s no place like home. P

From top: 59th International Art Exhibition, The Milk of Dreams. Pavilion of
Great Britain, Sonia Boyce: Feeling Her Way. Photograph by Marco Cappelletti.
Courtesy of La Biennale di Venezia; 59th International Art Exhibition, The Milk
of Dreams. Pavilion of Nordic Countries—The Sami Pavilion. Photograph by
Marco Cappelletti. Courtesy of La Biennale di Venezia; 59th International Art
Exhibition, The Milk of Dreams. Pavilion of Latvia, Skuja Braden, Selling Water
by the River (installation view), 2022, porcelain, mixed media, size variable.
Photograph by Eriks Božis. Courtesy of Skuja Braden (© Inguna Skuja and
Melissa D. Braden ).

AUGUST / SEPTEMBER 2022 45

 Kaloki Nyamai, Untitled (Memories of
a Father), 2022, acrylic, ink transfer,
mixed media on sewn-together
unstretched canvas and figures
outlined by sewn thread, 98.50 x
98.50 in. Courtesy of Keijsers Koning.
Photograph by Kevin Todora.

Kaloki Nyamai. Courtesy of the artist and Keijsers Koning.

INTRODUCTORY
REMARKS
Keijsers Koning scores with Moments I
wished I had, Kenyan artist Kaloki Nyamai’s
first solo exhibition in the US.
BY STEVE CARTER
PHOTOGRAPHY BY KEVIN TODORA

46 PATRONMAGAZINE.COM
 STUDIO

A
lthough it’s still the eve of his first solo exhibition in this present, since the artist is himself the father of a five-year-old son,
country, Nairobi-based multidisciplinary artist Kaloki and time together is a precious commodity. “When I look deeply,
Nyamai is no stranger to the Dallas art scene. Nyamai is I realize that now, with me having my son, moments are very
repped here locally, (and exclusively, stateside), by Keijsers important to me, all the things I wish I’d shared with my father.”
Koning, and the gallery presented his work at the Dallas Art Fair The stars seem to be aligning for Nyamai, and he recognizes
in 2021 and 2022. Significantly, on the latter occasion, the artist’s this as an exciting moment. “It’s been a long journey, and things
Untitled (laborer), 2022, was one of 10 works acquired by the Dallas are happening,” he assesses with a laugh. “It’s reached a point
Museum of Art through the Dallas Art Fair Foundation Acquisition where I was like, ‘whoa, whoa,’ but then I realized things don’t
Program, a major coup. No shortage of coups here, there’s also the just happen—it’s probably the right time for them to happen…” P
fact that Nyamai’s work is currently on view at the 59th Venice
Biennale; he’s one of only four native artists represented at the
Kenyan Pavilion. And now, just around the corner, Kaloki Nyamai:
Moments I wished I had opens at Keijsers Koning on August 27 and
continues through October 1. As his inaugural solo exhibition in
the US, it’s poised to be yet another coup for the artist, the gallery,
collectors, critics, and cognoscenti alike. “It’s been quite a year,”
gallerist Bart Keijsers Koning understates with a laugh.
Keijsers Koning was first introduced to Nyamai’s work by a
friend who was visiting Kenya and sending the gallerist images of
artworks he saw along his way. Keijsers Koning was immediately
impressed and intrigued by Nyamai’s work, and he made contact
with him shortly thereafter—rapport, and representation, ensued:
“We just really hit it off,” he recalls.
On my recent visit to the gallery, I was gobsmacked by
Nyamai’s Untitled (Memories of a Father), 2022, an epic acrylic painting
that also involves ink transfer, mixed media, and rubber thread;
the large-scale work is comprised of sewn-together segments of
unstretched canvas, and the heavily layered impasto finish and
coming-off-the-surface serpentine threads tease viewers in while
enhancing the piece’s three-dimensionality. Keijsers Koning notes
that Nyamai’s signature stitched-together, unstretched canvases
really emphasize the textile, and they’re reminiscent of quilts and
their resonances in American history. “That linkage to the African
diaspora I find very important,” he says. “I like the movement, the
way the canvas shapes and shifts. A lot of Kaloki’s work is based
on the narrative of Kenyan history. There’s a lot of scars, a lot of
tearing apart within society, and he feels that the sewing brings
those stories together—sewing up the wounds, so to speak.”
Two of Nyamai’s major inf luences are his mother and
grandmother; the former worked in fashion, and the latter was
a musician, oral historian, and raconteur. He credits his mom
with teaching him how to draw and encouraging his pursuit of
art wholeheartedly. “She was always supportive,” he says. “Art
was in the family.” For her part, his grandmother’s singing and
storytelling were grist for his creative mill, and her recounting of
their people’s history and traditions fired his imagination. “Back in
the day she would tell me story, story, story, story,” he remembers
fondly. “And I started questioning her about the past and how she
used to live, her history… I wanted to understand how it came to be
that I’m the way I am now. And I’ve come to realize that my work is
based on the past, and the present, and the space in between.” The
throughlines are clear in his work: his history, identity, family, his
Kamba community. And though he’s half-a-world-away, there’s a
striking universality glowing in his singular creative vision.
In a twist for the artist, the body of works comprising Moments I
wished I had explores the terra incognita of his strained relationship
with his distant father. As in the aforementioned Untitled (Memories
of a Father), there’s a quietly mythic, unrequited aspect to the
yearnings embodied in the paintings, each a study in “might’ve
been,” not “once upon a time.” Nyamai explains, “The show will Above: Kaloki Nyamai, Untitled (School with Girl standing on Globe), 2021, acrylic,
be creating a moment that was never there, a moment that never textile, and sewing thread on canvas, 38.5 x 54.33 in. Courtesy of Keijsers Koning.
existed. Even though my dad is still alive, and we talk once in a Photograph by Kevin Todora; below: Kaloki Nyamai, Untitled (Female Bather),
2022, acrylic, mixed media, and sewn outline, 84 x 77.50 in., 88.50 x 82 in.
while, these are moments that I wish I had with my father.” The framed. Courtesy of Keijsers Koning. Photography by Kevin Todora.
personal poignancy of the series reflects the past and projects the

AUGUST / SEPTEMBER 2022 47

View of the front-yard entrance featuring
a circular-perforated concrete screen.
Sterling Ruby’s Vampire stands guard.

SCULPTING A
LANDSCAPE
A collection benefits from generous space
and privacy through Bonick Landscaping.
BY PEGGY LEVINSON
PHOTOGRAPHY BY JOHN SMITH

View of the backyard through the concrete screen.

48 PATRONMAGAZINE.COM
 SPACE

A
s with any great architectural endeavor, a landscape needs
to effortlessly meld with the home. This is precisely the way Michael Craig-Martin’s Garden Fork installed
Glenn Bonick, owner of Bonick Landscaping, now in its 40th near the grande allée of crape myrtles.
year, envisions each project. But in this case, the landscape is a
place to showcase sculpture.
Tanya Wilson, the lead designer on the project says, “Tall holly hedges
create total privacy from the street, as the owners wished to see nothing
but green. The landscape was challenging, as it needed to be a classic space
for a changing and ever-expanding sculpture garden as well as an intimate
space for family gatherings.”
The homeowners, Christen and Derek Wilson, have an outstanding
art collection. An atypical garden, the design is museum-like visually and
in ambiance. “We wanted to create a landscape that had wide open spaces
for great sculpture, but was also a contemporary, serene, and wonderful
space to look at. We have so far included two works that we love by well-
respected contemporary artists,” says Derek Wilson.
On the front lawn is Vampire by Sterling Ruby, who had a solo show at
the Nasher Sculpture Center and creates metal and fiber sculptures that
often have a shadowy and sinister undertone while maintaining individual
expression and social constraint.
On the front porch, a white steel screen with perforated circles offers a
peek through to crape myrtle blossoms in the courtyard of crushed basalt.
An allée grid of lavender crape myrtles creates a wonderful contrast of
light and dark, producing intimacy in an open landscape.
The garden is a well-planned and -executed study in contrasts: the hard
surface of the gravel and the softness of the delicate tree blossoms. The
gray stucco of the house and white furniture contrast with the dark basalt.
The tall holly trees create a vertical contrast with the horizontal lines.
Tanya Wilson suggests, “crape myrtle trees are lovely in any season—
soft-colored blossoms in the summer and stark sculptural branches in the
winter.”
Residing in the courtyard, Garden Fork is by Irish-born, London-
based contemporary and conceptual artist Michael Craig-Martin, who
fostered the Young British Artist movement. His sculptures are forms
of the everyday that appear like line drawings in the air. “Being in the
allée provides a soft contemplative experience, and Garden Fork creates a
surprise element of whimsy,” says Bonick.
The entrance to the courtyard garden is through the home. The privacy
created by the tall holly bushes surrounding the landscape is perfect for
family living, with a green lawn, ample seating, dining spaces, and a
swimming pool. The unadorned green lawn in the front yard is a perfect Landscape designer Glenn Bonick.
place for the owners to showcase and rotate their extensive collection. P

Private family and entertaining patio seen through the crape myrtles.

AUGUST / SEPTEMBER 2022 49

 SPACE

FASHION-FORWARD STONE
Corey Damen Jenkins partners with Aria Stone Gallery on a runway-inspired signature slab collection.
BY TERRI PROVENCAL

From left: Corey Damen Jenkins. Photograph by Nathan Schroeder; Corey Damen Jenkins at Aria Stone Gallery. Courtesy of Aria Stone Gallery; A room designed by Corey
Damen Jenkins features an arresting wallcovering in cobalt blue. Photograph by Werner Straube.

D
etroit-turned-New York interior designer Corey Damen
Jenkins is rarely in repose. Between expertly designing
clients’ forever homes; appearances on HGTV’s
Showhouse Showdown, the Rachael Ray Show, and MasterClass
as an instructor in a ten-episode streamer; building an entirely new
website; and several new CDJ collections with industry partners, it’s
no wonder Architectural Digest named him to its AD100 list, as did
Elle Décor to its A-List.
For starters, 2022 collection collaborations include Maitland-
Smith, Hancock and Moore, Kravet, Akdo, and Leftbank Art,
which uses Jenkins’ own Mouths Wide Open series, a collection of
lead and ink portraits emphasizing the mouths of humans in their
beautifully diverse open state. And in March, Jenkins introduced a
“fashion runway-inspired collection” with Aria Stone Gallery.
Among the superb slabs in the Corey Damen Jenkins X Aria
Stone Gallery collection are the highly sought Calacatta Vagli
Macchia Marble, the showy Calacatta Picasso Marble, the striking
Zebrino White Marble, the mystical Avocatus Quartzite, and the
arresting Oceano Fantasy Quartzite, all from Italy and Brazil.
Jenkins understands he is primarily introducing stone into
kitchen and bath design, utilitarian in nature. However, he asserts,
“The biggest opportunity to really make a big fashion statement
when it comes to pattern play and color and that whole runway
effect is with stone. And because there’s going be so much of it,
it’s going cover that entire island. It’s going to cover that entire
countertop, that whole bath, shower stall, wall enclosure. So with
Aria, I think they have really put together these fashion-forward
brilliant selections of stone that in themselves could be framed as
abstract art.”
His ability to achieve not only gorgeously inimitable but also
lasting design extends to choosing the right brand partners. “I
think that for us the big thing really is to partner our brand with
brands that have a similar worldview and are dedicated to creating
materials and furnishings and products that enhance the beauty of
homeowners’ and designers’ projects,” says Jenkins. “It’s all about
diversifying our reach, diversifying our development as it pertains
to different product categories.”
Irrepressibly stylish, Jenkins looks at design through a fashion
lens. “I think Aria draws me in because they have a real eye for what
I consider to be fashion-forward stone selections. I do look at the
fashion runway constantly. I look at the works of Jean Paul Gaultier
and Balenciaga, Elie Saab and Valentino.” Jenkins assimilates to
like-minded creative genius, which is why he is known for a layered
approach. “These visionaries do that on the Parisian runway with
their models, the breakthroughs they make with textures and
materiality and color and pattern. You know all of that eventually
influences and trickles over into the interior design column.”
As the author of Design ReMix, his aesthetic is one of pattern,
layers, and texturing, but also extraordinary color mashups. For
unlikely color combinations he looks to flowers and is often found
combing New York City’s flower district. “I like looking at the
design of our planet and looking at what is present there naturally,
and some of our most bold and crazy color palette combinations
have come directly from flowers or the plumage of birds or other
animals, landscapes, forests… I always feel like if it works there in
nature, it should work in a home. I do believe that.”
A lover of art, and an artist himself, Jenkins is convivial and
kind. His offices depict his joy of life with well-traveled finds. But
most importantly for his clients, he’s unafraid. “I’ll mix in rococo
with modernity in a heartbeat and think nothing of it.” P

50 PATRONMAGAZINE.COM
 FOSTERING HOPE.
INSPIRING CHANGE.
MAKING A DIFFERENCE.
Neiman Marcus is a proud sponsor of
FIRST LOOK at TWO x TWO for AIDS and Art
October 6, 2022
 SPACE
Sky-High Entertaining
Embracing beautiful views, Eggersmann
designs a kitchen at W Hotel & Residences.
BY PEGGY LEVINSON
Eggersmann's kitchen design features a double-waterfall veined black
Marquina marble top. Photograph courtesy of Eggersmann.
K
egan Wilson, showroom manager of Eggersmann in Dallas,
said that when prospective clients were moving to Dallas
from Florida via a trip to Chicago, they happened upon
an Eggersmann advertisement showing a kitchen in
black marble with a rich, smoky, wood finish. The couple
had just purchased one of the original units at the W Hotel
& Residences in Dallas on the 25th floor. The residence has
a spectacular view of the Dallas skyline but still showed signs
of its footprint from 2006. In their new home, they wanted a
kitchen luxurious enough to host formal dinner parties but
practical and functional enough that they could eat a bowl of
soup for supper.
Wilson was just about to close on a late Saturday afternoon
when he saw this couple peeking in the windows. And inside
the showroom on Hi Line Avenue in the Design District, they
found exactly what they were looking for. Wilson helped them
visualize how the kitchen would look as the focal point of their
newly purchased condominium. With the floor plan and the aid
of the clients’ real estate agent, who has design experience, they
began designing the kitchen, navigating the existing floor plan.
There were some problems that had to be dealt with and
52 PATRONMAGAZINE.COM
incorporated, like the 13-foot island and the location of the
existing plumbing, gas, and electrical. In addition, there was a
30-inch structural column that showed the age of the condo
by its late-disco-era mirrored tiles. Not a problem for Wilson
and the team at Eggersmann, who built out the wall for a clean
finish and incorporated the structural column in the back wall
of cabinetry.
The island now floats in front with a double-waterfall veined
black Marquina marble top, and as the showplace of the living
area, half of it has a glass front with LED lighting to display the
classic white dinnerware. The soft, dark, acacia veneer matches
the cabinetry in back to form an elegant, cohesive unit. The tall
back cabinets provide space for all the pantry items and have
two pockets doors that open for a complete bar on one end,
necessary for frequent entertaining, and a hidden space on the
other end for small kitchen appliances.
The kitchen is seamless due to the German precision of the
cabinetry and the perfect alignment of the appliances. The finished
product is a visually stunning kitchen to match the beautiful view of
the Dallas skyline. P
 L I F E O F LU X U RY AWA I T S
AT T H E H O U S E

220 0 Penthouse Unit 2701

3 BD | 3.2 BA | 4,857 SF
V I C TO RY AV E N U E $6,995,000

Sub-Penthouse Unit 2502

2 BD | 2.1 BA | 2,385 SF
$3,250,000

JONATHAN ROSEN
214.927.1313 | jonathan.rosen@compass.com
therosengroup-re.com | @the_rosen_group

All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdrawal without notice. All measurements
and square footages are approximate, but not guaranteed and should be independently verified. This is not intended to solicit property already listed. Nothing herein shall be construed as legal, accounting or other professional advice outside the
realm of real estate brokerage. Compass is a licensed real estate broker. Equal Housing Opportunity.

SPACE
DRAMA IN THE KITCHEN
Taken down to the studs, a kitchen is reinterpreted
from dysfunction to splendor by MHM Living.
BY PEGGY LEVINSON
T
he only word for this kitchen is stunning. Four quad-matched,
book-matched Explosion black quartzite slabs clad the 14-
foot island fronting the living room. The effect is more akin
to a work of art than a functional kitchen. But functional it
must be, as the homeowners have a growing family, with a toddler
who is into everything.
When MHM Living was contacted about a new design, the
kitchen was anything but functional: a slab leak had forced the then
contractor to completely tear up the kitchen. The countertop was
held up by wooden blocks, the dishwasher was held up by duct tape,
and the floor was covered with cardboard.
Botond Laszlo, the principal of MHM Living, has an architectural
background and was previously a building engineer. He applies all
this knowledge to his projects. In this case, structural walls were
moved to create a kitchen that was open to the living area. The
clients wanted a usable kitchen that was dramatic and organic to the
space, so existing architectural details, like colonial-style moldings
and fluted columns, were removed in order to update the home and
make it contemporary.
Along with the highly figured marble, other elements come
together to create the wow factor in this kitchen. The cabinets
are covered in a German veneer that is veined like marble but has
54 PATRONMAGAZINE.COM
MHM Living designed a showy kitchen featuring
four quad-matched book-matched quartzite
slabs. Photograph courtesy of MHM Living.
a natural, textural feel to it. All the major kitchen appliances are
integrated into the adjacent wall in the same German veneer. The
cooktop has a special slate-gray finish, and a dining area in Negresso
marble is cantilevered on to the side of the island. Above it is another
dramatic feature: a light pendant made of flat pieces of slate that
create a filtered light just over the dining area. There are no jarring
notes in this expertly planned and executed space.
MHM Living is a design/build organization that generally takes
a home down to the studs to reconfigure the space. There are two
major factors in any project that MHM builds: communication and
transparency. The budget and time to completion are known from
the very beginning. In the initial meetings the client describes in
words and pictures the outcome they anticipate, and then MHM
translates this into the design process. Constant communication
through an online private client portal allows the homeowner total
access to the progress of the job. The client can be across the world
and still know how things look in real time. A team member takes
photos each day of exactly what steps have been taken and reports
delivery and plumbing updates and decisions on any other recent
developments.
“I tell my clients if I can get into your head then the project will
be successful,” Laszlo emphasizes. P
 Photography by Studio Love List

Savor Summer at Ellie’s.

Sip on your favorite cocktail or glass of HALL Wines at Ellie’s, located within HALL Arts Hotel.
Pair drinks with showstopping cuisine to turn your Dallas Arts District outing into a masterpiece.

1 7 1 7 L EO N A R D S T R E E T, DA L L A S, T E X A S 7 5 2 0 1 | 9 7 2 . 6 2 9. 0 9 2 4 | E L L I E S DA L L A S.CO M
SPACE
DESIGNING AN EXHIBITION
Cartier and Islamic Art: In Search of Modernity was brilliantly conceived.
BY TERRI PROVENCAL
G
lamour and magnificent jewelry is the order of the day
when Maison Cartier comes to town. Exceeding these
expectations, Cartier and Islamic Art: In Search of Modernity
at the Dallas Museum of Art through September 18, the sole North
American venue, presents not only historical beauty, but also
visually august exhibition design.
The exhibition combines a bounty of Cartier creations
from the early 20th century to today, Louis Cartier’s personal
collection of Persian and Indian art, and selections from the
Keir Collection, on long-term loan to the DMA. Co-organized
and opening first at the Musée des Arts Décoratifs, Paris (due to
Covid delays), in collaboration with the Musée due Louvre, all told,
the exhibit has over 400 objects to take in.
Louis Cartier was fascinated by the Islamic art and design culture
he discovered through his world travels. At the opening preview,
Pierre Rainero, Cartier Director of Image, Style, and Heritage,
described the exhibition’s origins: “I came to the idea that beyond
specific inspiration linked to one country, one civilization, one
period, there was a broader spectrum of shapes, forms that were the
origin of a lexicon of Cartier shapes. And among those shapes, I did
realize that many of the shapes were coming from Islamic culture.”
With this as the point of departure, Rainero exchanged these ideas
with Dr. Agustín Arteaga, the Eugene McDermott Director of the
Dallas Museum of Art.
A major exhibition of this scope and detail involves an au fait
group that’s both creative and collaborative. The exhibition is
co-curated by Sarah Schleuning, the Margot B. Perot Curator of
Decorative Arts and Design at the DMA; Dr. Heather Ecker, former
DMA Marguerite S. Hoffman and Thomas W. Lentz Curator of
Islamic and Medieval Art; and Évelyne Possémé, Chief Curator
of Ancient and Modern Jewelry Musée des Arts Décoratifs, with
exhibition design by Diller Scofidio + Renfro (DS+R).
The architecture of the two disparate venues informed the
nuances of each exhibition. “Even though the scenographer is
the same (Elizabeth Diller), the space for this exhibition is very
different. In Paris, the space was a living part of the journey of
the visitor. In Paris there is a very important nave, which is very
high, and there is significant separation between the different small
rooms. So, the journey had to be imagined with that specific space
in mind,” Rainero apprises. “In Dallas,” he continues, “the freedom
56 PATRONMAGAZINE.COM
From left: Installation view Cartier and Islamic Art: In Search of Modernity at Dallas
Museum of Art. Photography by Daniel Salemi. Courtesy of Cartier.
was total because the space is an enormous cube. And so both the
curators and Liz Diller had to reimagine, from scratch and without
constraints of existing divisions, the journey for the visitor. And for
that, Liz Diller also imagined new visual animations on top of the
ones that were used in Paris.”
Diller, founding partner of DS+R, described, “We work as
architects to spatialize the work. We brought in a digital layer. So
beyond the display of the artifacts, working with the curatorial
framework of the organization, we wanted to look at these select
objects through a different lens—through radical magnification,
for example, and through a kind of analysis, and through how
these things were constructed, their intricacies, which you can’t
[ordinarily] see.” An immersive experience of darkened galleries,
floating cases with pinpoint lighting, and striking projections invite
the viewer into a world of mastery.
As for her inspiration Schleuning says, “I’m always fascinated
with creativity, what inspires people to make things. And this kind
of idea, this thread, was exploring the creativity, the genesis of ideas
and how those replicate, how they’re iterative.”
President and CEO of Cartier North America Mercedes Abramo
notes Schleuning was able to choose her favorites from the immense
Cartier archive in Switzerland, which is only open for curators and
their own designers. “Having Sarah come to Switzerland and walk
through there and pick which pieces she wanted for the exhibition is
a special treat for the curator.”
Dr. Agustín Arteaga believes the exhibition allows “people to
see themselves reflected in the work we do.” In this, the pairing
aligns perfectly with the DMA. “For over a century, Cartier and
its designers have recognized and celebrated the inherent beauty
and symbolic values found in Islamic art and architecture, weaving
similar elements into their own designs. This bridging of Eastern
and Western art forms speaks exactly to the kinds of cross-cultural
connections that the DMA is committed to highlighting through
our programming and scholarship.”
Abramo concurs, “Appreciation for all cultures and all levels
of diversity is part of our values. Here at the DMA, having such a
rich collection of Islamic art already was such a natural match for
this collaboration. The 175-year-old Maison is inspired by the world
around us. It reminds us where we come from.” P
 Photography by
Holger Obenaus

Mary Anne Smiley’s clients are the primary reason for doing valuable design work,
and her hope is to surround the family with luxurious comfort and joy for liviing. Fluid.
Seamless. Design. Excellence in interior design marries excellence in home construction.

www.maryannesmiley.com I 214-522-0705 I info@maryannesmiley.com

SPACE
Robert Wilson: A Boy From Texas installation view. Courtesy of Cristina Grajales Gallery.
AHEAD
OF DESIGN
Advocating postwar 20th-century
design classics with designers of
the day, Cristina Grajales exhibits
Robert Wilson’s A Boy From Texas.
BY TERRI PROVENCAL
A
consummate source for 20th-century masterpieces and
contemporary designers, Cristina Grajales Gallery is one
of the most distinguished of its kind in the world. “We
have the most beautiful corner in Tribeca,” says Grajales.
The building, formerly a 1925 garage building with hand-
laid brickwork, is a block away from where Dia (Art Foundation)
began, where Andy Warhol, Rob Wilson, and John Chamberlain
once showed. “Having that history is so amazing,” Grajales says
from the cobblestone streets of the neighborhood.
Grajales appeared at the Dallas Art Fair for the first time in
April and plans to return, effusing that, “Everybody was so kind
and lovely.” Through September 9, she’s showing A Boy From
Texas, which, she says, “Is very special to me,” as an opportunity to
reappraise the voice of the great Waco-born theater director Robert
Wilson. Sparked by memories of his childhood in Texas and the
early theater works and installations he developed in rural America,
Wilson, working with the Corning Museum of Glass, created an
installation in blown and cast glass reflecting nature, fragility, and
rebirth. “When people see it, they burst into tears,” says Grajales.
“Bob is telling a little bit of a biographical story of his life.”
In Wilson’s own words: As a boy, I never wanted the guns my father gave
me, nor to go deer hunting with him. The only thing positive about the experience
was that we would get up early in the morning and go out on our own to sit in a
blind, waiting for a deer to appear. I always liked being alone, having this space,
a place for my mind to have its own thoughts; perchance to dream. A boy from
Texas.
“He wanted to be with his father,” Grajales avers. “And he’s
58 PATRONMAGAZINE.COM
Cristina Grajales on the occasion of the gallery’s 25th
anniversary. Courtesy of TDE TV.
Gloria Cortina chair, 2021, hand-carved
black onyx, 27.5 h x 26 in. w x 13.75 d.
Courtesy of Cristina Grajales Gallery.
Mark Grattan, calfskin,
reverse suede, and walnut
stool, 2021, 24.75 in. h x 19
in. w x 17 in. dia. Courtesy of
Cristina Grajales Gallery.
telling a story through glass; there’s a sound component to it, and
Bob composed these words and sounds.” In front of the installation,
teenagers put their phones away, enthralled by the experience.
Viewers find the work spellbinding, including a couple who came
in with their four-year-old son: “He put his hands in his pockets
and just sat in front of the platform. The installation is theater! It’s
poetry right there in front of you It invites you to take a second to
say, ‘Who am I?’ ” Grajales adds, “One of my dreams is to find a
museum show for it in Texas.”
Colombian born, Grajales moved to the US in the late ’70s.
Advocating authenticity, artisanship, and innovation, she opened her
eponymous design advisory business in SoHo in 2001. She is known
for not only her keen eye, but also lifelong relationships with artists
and designers for whom she staged career-defining shows. After
15 years, she moved and expanded her gallery to a former printing
building in Chelsea, where it remained from 2015‑2021. Textiles and
metalwork are among the particular passions that she champions.
Now in Tribeca (the move marked the gallery’s 20th anniversary),
the gallery’s fall programming is rich, including Las Tres Pieles (The
Three Skins), an exhibition Grajales will open on October 21 at
the Museo de Arte de Pereira, Colombia. At the gallery, a show for
Sang Hoon Kim and Mark Grattan will open September 20. Grattan
will also take over Grajales’ booth at Design Miami. Next, work by
Gloria Cortina, a highly regarded designer based in Mexico City, will
run concurrently with Firooz Zahedi, November 3. And Grajales
herself will receive the Museum of Art and Design 2022 Visionary
Award on November 14 at the MAD Ball. P
 SEPTEMBER 16 - 18 , 2022
M A R K E T H A L L | DA L L AS D E S I G N D I ST R I CT

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 A Marc Newson console sits beneath Andy
Warhol’s iconic Jackie. An Allied Maker
chandelier, a stool from Maison Gerard,
and a gray rug from The Rug Company
complete the arrangement. A work by
Ugo Rondinone adds interest on the stair.

60 PATRONMAGAZINE.COM
 Time-honored architecture brings dimension to the homeowners’ contemporary Thomas Struth’s large-format print from his Museo del Prado series hangs to the left of
art collection. the stairs featuring a mohair runner by Carol Piper Rugs.

MASTERPIECE IN THE MAKING Early 20th-century home

provides a palette for 21st-century art.
BY NANCY COHEN ISRAEL
PHOTOGRAPHY BY DOUGLAS FRIEDMAN AND JOHN SMITH

P
umpkin-hued walls bring warmth and brightness to an
interior space while a large black-and-white print by Jenny
Holzer punctuates its walls. This cozy bar, with an onyx
countertop flecked with earth tones to complement the
walls, is nestled in the center of the house. It is one of many
contrasts throughout this gracious Highland Park home. Originally
built in 1919 and renovated several times since, its quiet elegance is a
counterweight to the dynamism of the latest homeowners’ blue-chip
collection of contemporary art.  1960s vibe that pairs cohesively with the art. “What’s really great
Erin Mathews of Allie Beth Allman & Associates worked with
a pair of newcomers to Dallas as they sought a beautifully located
home that could accommodate their collection. They came with an
open mind and a vision of the renovation possibilities. “They look
for the good bones of a house and put a good team together to make
if fabulous,” Mathews says. In this case, builder Randall Underwood,
interior designer Chad Dorsey, and landscape designer Melissa
Gerstle worked on its transformation, maintaining the home’s
original footprint in the process. Together, in four short months,
they seamlessly finessed a home that embraces the past while staying
rooted in the present. “We tried to honor the architecture with the
renovation and make it the perfect palette for the artwork, because
that is the star of the renovation,” Dorsey explains. 
The focal point of the entryway, for example, is an ebony wall that
serves as a dramatic backdrop to Andy Warhol’s Jackie. This iconic
image depicts a smiling Jacqueline Kennedy arriving in Dallas on
that fateful November morning. Bathed in blue, it commemorates
that sunny day with foreboding of the tragedy that would unfold just
hours later. A custom monoscope chandelier by Allied Maker, with
its astral form, along with a Marc Newson table lend an additional
with classical architecture is that you can embrace it with modern
furnishings,” Dorsey suggests. 
In an adjacent hallway, a large-format print from Thomas Struth’s
Museo del Prado series offers its own portal into the Spanish museum.
The collection began in the early 1990s with prints and photographs.
In the intervening decades, it has grown not only in size but also in
scope. “We’re migrating from almost all American artists to younger,
more diverse and global artists,” the collector explains. It is worth
noting that the couple enjoys collecting work on their own, though
they will occasionally engage an advisor to provide condition checks
for older works.
To be sure, their collection of American art is spectacular, with

AUGUST / SEPTEMBER 2022 61

In the living room, the sinewy de Sede sofa, Carl Springer’s mirrored coffee tables, and chairs by Jean Royère and Maison
Gerard flow organically with Sam Gilliam’s To A Primitive State, and McArthur Binion’s Modern:Ancient:Brown to the right.

A sunny day warms Mark Bradford’s

Floor Scrapers 9 and Glenn Ligon’s
Come Out Study 19.

62 PATRONMAGAZINE.COM
Jammie Holmes’ Toy Soldier is installed above an Yves Klein cocktail table filled with signature International Klein Blue pigment.
AUGUST / SEPTEMBER 2022 63

Howard Hodgkin’s Asphalt is installed above a fireplace. A
Lindsey Adelman Kingdom Chandelier hangs overhead.
64 PATRONMAGAZINE.COM
Sean Scully’s Winter Light anchors the room with a sculptural dining table by Zaha Hadid bedecked with
Gary dining chairs by Nina Seirafi, and Lindsey Adelman Kingdom Chandelier hanging overhead.
iconic work by luminaries such as Jasper Johns, Robert Rauschenberg,
McArthur Binion, and Sam Francis, to name a few. And while these
artists define postwar American art, the collection also incorporates
succeeding generations of American artists, including Sam Gilliam,
Glenn Ligon, Mark Bradford, Walter Price, and Julie Mehretu. Hans
Hoffman and Ahmed Alsoudani, both foreign-born emigres whose
work the couple owns, have made their own mark on American art.
More recently, the collection is reflective of contemporary European
artists, including Keith Tyson, the 2002 Turner Prize winner, as well as
Sophie von Hellermann and Howard Hodgkin. 
Between loans to museums and new acquisitions, the collection
rotates on a regular basis. Dorsey appreciates this opportunity,
remarking, “As a collector, being able to move your collection around
makes the most sense. It makes it more fun and really interactive.
Ultimately, you want to see your collection in new ways.” 
Dorsey’s keen eye helps create visual connections between furnishing
and art. A Zaha Hadid Aqua table in the dining room, for example, is
placed under a Lindsey Adelman Kingdom Chandelier, whose branch-
like shape further echoes the natural world. Dorsey paired these organic
forms with dining chairs by Nina Seirafi. Their monochromatism
is offset by the boldly colored circular paintings of Ugo Rondinone.
Pulsing with their own energy, they counterbalance Sean Scully’s muted
tones in an angular work on an adjacent wall.
The dichotomy between organic and geometric continues in a nearby
sitting room, where a De Sede sofa undulates across the space. Behind
it, a large work from McArthur Binion’s DNA:study series offers
structured heft. Karl Springer’s Free Form coffee tables anchor the
space, reflecting the room around them. 
h
.

Clockwise from top: Known for his stunning kitchen design, Dorsey installed Christopher
Peacock’s handsome cabinetry with lighting by Flos; Abundant with natural light, the
breakfast room features Flos Aim Pendant lighting, Naoto Fukasawa armchairs, and a Marc
Krusin table; Jenny Holzer’s The Hand Desired enhances the bar Dorsey had painted in a
stunning orange shade..

AUGUST / SEPTEMBER 2022 65

 On the upstairs landing a sculpture by Michael Steiner takes center stage with,
from left, Robert Rauschenberg, Bellini V; Keith Tyson, Nature Painting; and
Allan McCollum, The Shapes Project: Collection of Perfect Couples.
On the upper level, a dramatic chandelier hangs from the primary bedroom’s
soaring ceiling. Julie Mehretu’s Six Bardos: Hymn (Behind The Sun) is installed above
the Liaigre bed along with Gabriel Scott’s Luna fixture.
66 PATRONMAGAZINE.COM
This space flows into the study. With its wood-lined walls and
large bay window framing the garden, this room has a more rustic feel
compared to the rest of the home. The center of the room is dominated
by an Yves Klein cocktail table filled with signature International Klein
Blue pigment. This iconic modernist work is offset by a more recent
acquisition: a painting by local artist Jammie Holmes. 
A frequent challenge of older homes is updating the kitchen. Dorsey
transformed this formerly small work area into a roomy, light-filled
atrium that offers plenty of space for the family to congregate. 
The collection continues on the second floor. Among the works
here is a print by Robert Rauschenberg that faces off with a suite from
Allan McCollum’s whimsical Shapes Project. Included in the primary
bedroom is an early work, as well as an early acquisition, by Pat Stair.
As seasoned collectors, the couple commissioned Billy Sullivan to paint
a portrait of their children, also installed in this space. 
In the garden, Gerstle has devoted equal care to the landscape
design. “It’s formal but whimsical in the space. Everything is a play on
texture, form, and shape,” she explains.
The couple still maintains a home in their native New York City,
where they frequent galleries and acquire much of their work. They are,
however, embracing their new city and look forward to being involved
in the arts scene in Dallas.
Their collaborative efforts with Dorsey, Gerstle, and Underwood
have already paid off. As Mathews concludes, “What made this project
sing was that it had wonderful people attached to it the whole time.”
And that includes the homeowners, whom the city welcomes as new
patrons of the local cultural ecosystem. P
 An Osvaldo Borsani P40 lounge chair
enjoys pride of place beneath a window.

Exterior views of the home feature Randall Underwood’s

updates with landscape design by Melissa Gerstle.

AUGUST / SEPTEMBER 2022 67

68 PATRONMAGAZINE.COM
 25 YEARS OF
COLLECTING
The Warehouse celebrates the 25th anniversary
of building The Rachofsky Collection with a
show curated by Allan Schwartzman.
BY ALI NEMEROV

Cindy and Howard at The Rachofsky House before Cecily Brown (British,
1969), The Splendid Table, 2019-2020, oil on linen, three panels, overall:
105.50 x 316.50 in. each panel: 105.50 x 105.50 in. Labora Collection,
Inc. and The Rachofsky Collection. Photograph by Luis Martinez.
AUGUST / SEPTEMBER 2022 69
 O
pening on August 26th at The Warehouse, an
exhibition space and project initiated by Cindy
and Howard Rachofsky, 25 Years of Collecting will
celebrate the significant commitment that the
couple have made to the art and artists of the
postwar period over the past two-and-a-half decades–and chart how
their perspective has evolved over time. Taking over the expansive
18,000-square-foot space, the exhibition will be organized by
collecting period, telling the story of how the collection has grown
and changed from year to year in concert with the couple’s interests
and priorities. “What’s really interesting,” Howard Rachofsky says,
“is how you see our interests focus on a specific historical moment,
and then move to something less systematic, and then back again.
This is an opportunity for us to step back and learn from the past
and look ahead to where we’d like to go.” 
Past exhibitions at The Warehouse have focused on a specific
theme culled from the Rachofskys’ collection of roughly 1,000
objects. Often sparsely installed, these shows have placed the
dynamics between individual objects at their center, creating new
resonances–and dissonances–in their intimate juxtapositions.
One such exhibition, Geometries On and Off the Grid: Art from 1950
to the Present,  traced geometric abstraction in the postwar period
across artwork spanning eighteen countries and seven decades.
The exhibition brought together works exemplifying one of the

Above: Robert Irwin (American, b. 1928), Untitled (disc), 1968-69, acrylic lacquer on formed acrylic plastic, 54 in. dia.; Below: Lucio Fontana (Italian, born Argentina. 1899–1968),
Concetto spaziale, la fine di Dio (Spatial Concept, The End of God), 1964, oil on canvas, 70 x 48.50 x 1.50 in. Both The Rachofsky Collection. Photographs by Kevin Todora.

70 PATRONMAGAZINE.COM
Above: Louise Bourgeois (American 1911-2010), Cell (You
Better Grow Up), 1993, steel, glass, marble, ceramic, and
wood, cage: 83 x 82 x 83.50 in.; mirrors open: 88 x 90 x
84 in. Photograph by Kevin Todora; Below: Robert Ryman
(American, 1930-2019), Untitled, 1961, oil on stretched linen
canvas, 37.87 x 37.87 in. Both The Rachofsky Collection.

AUGUST / SEPTEMBER 2022 71

Janine Antoni (Bahamian, b. 1964), Lick and Lather, 1993, one licked chocolate self-portrait
bust and one washed soap self-portrait bust on pedestals, each bust: approx. 24 x 16 x 13
in.; each pedestal: 45.87 x 16 in. The Rachofsky Collection. Photograph by Kevin Todora.

72 PATRONMAGAZINE.COM
Above: Kai Althoff (German, b. 1966), Untitled, 2004, oil and varnished paper on fabric, 29.87 x 28.37 in. The Rachofsky Collection.; Below: Kazuo
Shiraga (Japanese 1924-2008), Tenshosei Botsuusen (Featherless Arrow incarnated from Heavenly Swift Star), 1960, oil on canvas, canvas: 71.37 x 107.37
x 1.50 in.; framed: 72.37 x 108.50 x 1.62 in. The Rachofsky Collection. Photographs by Kevin Todora.

AUGUST / SEPTEMBER 2022 73

Maurizio Cattelan (Italian, b. 1960), Untitled, 2003, resin body, synthetic hair,
clothes, electronic device, bronze drum, 31.50 x 33.50 x 22 in. The Rachofsky
Collection. Photograph by Kevin Todora.
collection’s core competencies: a global perspective on postwar art
with a specific interest in Italian art and that of postwar Japan. The
largest space in the exhibition, Gallery 3, brought together works
by Giovanni Anselmo, Robert Irwin, Alan Saret, Robert Smithson,
Michael Heizer, Richard Tuttle, and Nobuo Sekine, highlighting
affinities in the ways in which these artists from America, Italy,
and Japan contended with the formal purity of their minimalist
predecessors, breaking with the traditions of their systems,
organization, and geometries in the process.   and breadth of themes that the exhibition touches upon and the
In 25 Years of Collecting, Gallery 3 will take on an entirely different–
and slightly idiosyncratic–character. The 2,500-square-foot Gallery
3 space will be “something between open storage and a sculpture
court,” notes Allan Schwartzman, the exhibition’s curator, who has
advised the Rachofskys since the collection’s inception. Brimming
with sculpture, the space will bring together 55 works spanning
the history of postwar art, from Edward Kienholz’  Untitled (With
Piano Keys), 1966; to Janine Antoni’s Lick and Lather, 1993; to Rirkrit
Tiravanija’s Untitled (Passport), 2005; to Aria Dean’s Work (tout son col
secouera cette blanche agonie), 2021. As opposed to a chronological or
thematic grouping, relationships here will be made between
works that were created with entirely different intentions, like that
between Donald Judd’s Untitled, 1970—a wall-bound work made of
anodized aluminum depicting the progression of a mathematical
sequence—and Analia Saban’s Draped Marble (Emerald, Jade, Fior di
74 PATRONMAGAZINE.COM
Richard Serra (American, b. 1938), Close Pin Prop, 1969-76, rolled lead, tube: 37.75
x 9.50 in. dia.; pole: 79 x 3.50 in dia. The Rachofsky Collection. Photograph by Kevin
Todora.
Pesco Classico), 2015, in which three marble slabs have been bent in
half and draped, midpoints crumbling, over a wooden sawhorse. The
juxtaposition of the two works results in a playful and refreshing take
on the evolution of artistic engagement with notions of progression
and seriality in sculpture over time. 
The exhibition’s opening gallery will assemble three works
which serve as a mise-en-scène of sorts, each created in a span of
seven years (2007–2014) but that together represent the range
collection holds. Sigmar Polke’s  The Illusionist, 2007, at nearly ten
feet wide, looms large. Part of the artist’s Lens Paintings series, the
work is one of the last, and grandest, that the artist created in his
lifetime. To create the piece, Polke used a semitransparent plastic
surface to depict two Victorian magicians conducting a séance
with a blindfolded woman. Painting on the back, sides, and front
of the material, the artist uses the painting’s subject and substrate
as a metaphor for his own practice: the artist as the magician, the
subject—and possibly its viewer—the illusion. On an opposite wall
Maurizio Cattelan’s Untitled (Canvas & Broom), 2009, will function
as a witty counterpoint. The work is at once a painting and a
sculpture, reminiscent both of Piero Manzoni’s iconic folded
Achrome canvases and Marcel Duchamp’s infamous Readymade
sculptures. Here a broom props up the surface of the canvas as
it appears to sag to the floor, which, as Schwartzman notes, “is a
 Buster Keaton-esque, deadpan take on the end of modernism.
The content is collapsing, the party is over.” Between these works,
Pierre Huyghe’s La déraison, 2014, will be installed. The sculpture is a
cast concrete fragment of a female figure from a monument created
for the 1931 Exposition Coloniale Internationale outside of Paris.
Sculptor Jean-Baptiste Belloc intended for the figure to represent
Africa set amongst figures personifying each of France’s colonies.
Shown toppled, headless, and covered in moss, the work functions
as an eerie and prescient reminder of the collapse of colonial ideals
and histories, and their relationship to the history of modernism–an
increasingly central theme of contemporary art, and one with which
other works in the exhibition also contend. 
The Rachofskys have long collected both significant historical
works representing pivotal shifts in the history of art, and
contemporary works seeking to trace new stories about the art of our
time. Spanning every medium and approach to artmaking, 25 Years of
Collecting is a rare opportunity to take stock of the collection’s history
and look towards its future. As Howard Rachofsky noted, “For us,
collecting is deeply personal but also a commitment to the wider
community. Over the years our interests have reflected just that:
what are the most pressing artistic statements from history through
today, and what can we learn from the conversations between them?
This exhibition offers a new perspective on that question, and we’re
excited to see what comes of it.” P

Above: Cecily Brown (British, 1969), We didn't mean to go to sea, 2018, oil on linen, 89 x 83 x 1.50 in. The Rachofsky Collection. Photograph by Kevin Todora; Below: Charles White
(American, 1918-1979), Untitled, c. 1966-1967, oil on canvas, 28.50 x 50.50 in., framed: 30.25 x 52 x 1.75 in. The Rachofsky Collection. Photograph courtesy of David Zwirner
Gallery. For open hours please visit thewarehousedallas.org.

AUGUST / SEPTEMBER 2022 75

 EVERY STEP
OF THE WAY
ANCHORED BY A CONTOURED STAIRCASE,
DESIGN AND ART BLEND IN NIKI SAMUEL’S HOME.
BY ELAINE RAFFEL

Bim Koehler’s large-scale 2012 painting, from Gebert Contemporary A mirror above the custom console reflects the entrance.
Gallery, combines with an area rug from The Rug Company.

76 PATRONMAGAZINE.COM
Malcolm Alexander bronze, Ishtar, 2014, with a Gubi chair enhance the custom staircase developed by Lance Raney,
Michael Stenstrom, Lotec Metals, Luis Alvarez and Raul Alfaro, Niki Samuel, Josh Lindley, and La Fragua Metal Works.
AUGUST / SEPTEMBER 2022 77
 Above: A painting by New York artist Jeffrey Terreson hangs alongside Józesf Csató How
You Always Help Me, 2020, from Galleri Urbane.; A custom chandelier by NPI is installed
above a custom walnut-and-bronze dining table accompanied by de Sede dining chairs. Left:
Niki Samuel perched in her sitting area with a custom peacock rug by The Rug Company.
Photograph by Elizabeth Lavin. Opposite: Alberto Galvez, Blanco Dahlia, 2021, from Nuart
Gallery hangs above 1940s French deco antique credenza.

78 PATRONMAGAZINE.COM
C
rossing the threshold of Niki Samuel’s University
Park home, you know an art lover lives here. Straight
ahead, a Bim Koehler oil, stunning in its simplicity,
verdant in its green-washed palette, greets. “Using
only a few colors, he masters the use of color with great
complexity,” Samuel says. Immediately to the right, there’s a Jeff
Wenzel collage; just beyond, a pair of classical Vatican etchings.
But it’s not until you look left that you get the full impact of
why Samuel, founder of NPI Design, calls the custom home she
created for herself and her husband a very personal “Art Box.”
The hand-contoured, organically shaped circular staircase is
an art statement in and of itself. It’s exactly what Samuel intended
when she started drawing up plans back in 2012. “It was truly a
labor of love. Construction alone was a year-long process,” she
says. After the technical challenges were resolved, a steel spine
was constructed offsite and craned in through a large-framed
window. “At that point, the artistic phase could begin. Like a
sculptor carves away the stone to reveal the art, this process was
similar. We’d shave off a sixteenth of an inch here, a fourth there,
until the perfect amount of gracefulness was achieved.”
It wasn’t until the shaping was complete that the stairs
changed from utilitarian to a permanent art installation. At
that point, wax plaster was applied. The finishing touch: A
custom-shaped bronze handrail. “The staircase is artistically the
axis point of symmetry, the melding of art and architecture,”
says Samuel. “What I enjoy most about design is architectural
problem solving and the opportunity to create.”
A bit of backstory: Samuel, a seasoned interior designer,
wanted to design a house from scratch; one where she could
control the entire vernacular. “My vision was to merge comfort
and inviting living areas with an artistic purpose; a space
designed for art and family. I worked the open-space plan and
AUGUST / SEPTEMBER 2022 79
 Above: Jean de Merry’s sconces, a collaboration with Samuels, are installed above La Fragua’s custom fireplace elements.; A Mies van
der Rohe MR1 lounge sits alongside a bronze-and-mohair Platner ottoman. Below: Michael Blair’s oil on canvas hangs above the Flexform
sectional from Scott + Cooner; Friedemann Büehler’s red oakwood blackened vessel mimics the outdoors with showy branches.

80 PATRONMAGAZINE.COM
 Niki Samuel’s untitled, oil and charcoal on wood, hangs at the landing,
with Richard Bettinger’s Central Park photographs at the end of the
corridor.
details around our needs of the desire to live in a space that
reminded us of Parisian boutique hotels and the mansion turned
museum, Musée Rodin,” she says. Putting Bauhaus principles to
work—straight lines, glass, and function—the intention was to
create an architectural box with museum-like form.
Samuel collaborated with an A-list team: Provenance
Builders, artisan Luis Alvarez, La Fragua Metal Works, and
Matthew Murray Design, among others. “It’s every designer’s
dream job to have that much freedom,” she says. “The structure
itself needed to be relatively simple in form—a shell for artistic
features, many of which I designed, such as lighting, art elements,
and screens.”
White was the requisite color. Samuels created the perfect
custom shade, NPI White by Benjamin Moore. Neutrals are
layered in, allowing art and nature to provide color and interest.
Light floods the entire space (“a must,” she says). The spacious
foyer shows off strong architectural features, including a
monolithic block of limestone to help balance the weightiness of
the sculptural stairs. A bronze Malcolm Alexander sculpture and
angular Gubi chair are the ideal accompaniments.
In the library a Mies van der Rohe MR40 chair sits beneath Glenn Ness,
Lax, 2002, and alongside a Niedermaier polished-steel drum table;
Heath West’s linear oil and acrylic from Galleri Urbane adds dimension
to the striking rug from The Rug Company.
The dining room features a beguiling mix of art and
furnishings. On one wall, Spanish artist Alberto Galvez’s Blanco
Dahlia hangs above a 1940s French deco buffet. “I looked for
months for the perfect figurative painting before finding this
at Nuart Gallery in Santa Fe. The beauty was captivating and
graceful,” says Samuel. On the far wall, a commissioned textural
piece by New York artist Jeffrey Terreson hangs alongside one
of József Csató’s earlier paintings. “I was fortunate enough to be
among the first to purchase his work from Galleri Urbane. They
were just being unrolled. I simply had to have one.” The custom
walnut-and-bronze patina dining table was made locally. “It’s a
place where meals are shared and memories are made. We have
a large family—seven grandchildren—so I designed a table that
could withstand crafts, cooking projects, and other inventive
activities.” The chandelier is yet another NPI Design original, a
dichotomous mix of cube and curve.
A step down, the living room includes more of Samuel’s
custom work. A black marble fireplace brings a strong, masculine
quality to the room. A large abstract oil by local artist Michael
Blair hangs above Scott + Cooner’s Flexform sectional. “The
AUGUST / SEPTEMBER 2022 81
Leo Reis, Contemplative Officer, 2004, observes a David Sutherland occasional table.
82 PATRONMAGAZINE.COM
 painting reminded me of big city graffiti,” she says. Adjacent, the
modern kitchen is sleek and functional. In place of traditional
seating, Samuels opted for a comfortable sitting area. “My
husband and I love having our coffee there in the morning,”
she says. Just outside, a small patio is detailed in limestone
hardscape, magnolia hedges, and ivy-colored walls. A mid-sized
bronze sculpture, one of Samuel’s own creations, stands adjacent
to a shallow pool. “I was inspired to add art after visiting the La
Colombe d’Or in Saint-Paul de Vence.”
At the top of the stairway, there’s more of Samuel’s personal
work. (“I’ve painted on and off for years,” she says.) Her large
oil and charcoal on wood brings bold color and texture to an
otherwise white corridor. Photographer Richard Bettinger’s
Central Park hangs just down the hall. In the sanctuary-like
primary bedroom, Swedish artist Leo Reis’ Contemplative Office—
which Samuels rescued and restored—hangs above the fireplace.
A terrace overlooks the pool.
Joanne Fleming’s expressionist oil, 2012, hangs in an upstairs bedroom.
Just off the primary bath, an intimate dressing area rejoices
in a selection of carefully curated treasures: a Provasi desk, an
Alexander Lamont lamp, and a vintage Pulegoso sconce. Also
on the second floor, in the library, a Glenn Ness oil is another
of Samuel’s favorites—not to mention, her first significant art
acquisition. And while the room is small, it packs a lot of style,
from the Heath West painting and The Rug Company textured
carpet to the Niedermaier polished steel drum table and Mies van
der Rohe MR40 chair.
“I’m so lucky to be surrounded by works that inspire me,” says
Samuel. “Art has a story; one that should be remembered.” She
thinks about a farmer she met in Leon, France, who tended two
rows of grapes for a top-label winery. “It makes me appreciate
the investment of time, the backstory, when having a nice glass of
wine. Art is the same. As collectors, we are entrusted with a small
piece of the artist. I find it a privilege to live with the works of
such incredibly talented people.” P
In the dressing area a Provasi desk, Alexander Lamont lamp, Pulegoso sconce,
and The Rug Company’s area rug add intimacy.
AUGUST / SEPTEMBER 2022 83
 Hair and makeup, Michael Thomas,
Seaminx; styling assistant Kendel Bolton;
photography assistant Victoria Gomez;
model Talisa Duran, Kim Dawson Agency.
This page: Akris The Order Of The Things
Square embroidered tulle midi dress,
Akris, Highland Park Village; Nan Fusco
14k rose gold and diamond mismatched
petal earrings, Carefully Curated Luxury.
84 PATRONMAGAZINE.COM
 Never
A
Wallflower
PHOTOGRAPHY BY LUIS MARTINEZ
CREATIVE DIRECTION & STYLING BY ELAINE RAFFEL

Carolina Herrera metallic twist

tiered minidress, Carolina Herrera,
Highland Park Village; estate 18k
yellow gold dangle oak leaf design
earring and Seaman Schepps
estate citrine-and-diamond vine
wide bracelet, Eiseman Jewels,
NorthPark Center; wallcovering
Carolyn Risdale for Look Walls.
AUGUST / SEPTEMBER 2022 85
 This page: Monse one-sleeve halter dress, Tootsies, The Plaza at
Preston Center; Nan Fusco chunky diamond link bracelets; opposite:
Rochas satin dress with mandarin collar, Carla Martinengo, The
Plaza at Preston Center; Nan Fusco ruby-and-diamond ring,
Carefully Curated Luxury; wallcovering Ever Atelier Moonbaby.

86 PATRONMAGAZINE.COM
 AUGUST / SEPTEMBER 2022 87
Dolce & Gabbana laminated technical fabric crocodile print
dress and tulle embroidered jumpsuit, Dolce & Gabbana,
NorthPark Center; opposite: Alaïa sleeveless turtleneck midi
dress and cardigan with Hanut Singh sapphire-and-diamond
earring, The Conservatory, Highland Park Village; wallcovering
Ever Atelier Rose Mary Rose.

88 PATRONMAGAZINE.COM
 AUGUST / SEPTEMBER 2022 89
This page: Etro Nan Iridescent Grid gown with micro-printed
lamine and suede boot, Etro, Highland Park Village;
wallcovering Debra Ferrari Fine Art + Home; opposite:
Khaite Trudi dress, Nordstrom, NorthPark Center; estate
Julius Cohen 18k yellow gold necklace with mix-cut
peridots, Eiseman Jewels, NorthPark Center; De Vroomen
estate 18k yellow gold with 16.5ct green tourmaline
cabochon ring, Eiseman Jewels, NorthPark Center.

90 PATRONMAGAZINE.COM
 AUGUST / SEPTEMBER 2022 91
BESPOKE

HATS OFF TO COWGIRLS

Brittany Cobb’s Flea Style offers design-your-own
Stetson experiences while Lizzy Chesnut brings the boots.

I
BY ELAINE RAFFEL t’s rare to see Flea Style founder Brittany Cobb without one of
her signature hats. The So-Cal native has been wearing them
her whole life. “It’s always been a part of my wardrobe. I’ll take
a basic hat and throw something fun on it, just to switch it up.”
People noticed. “And then they started asking me if I’d help style
theirs.”
Brittany’s aha moment came soon after. “When Covid hit,
we had this huge 15,000-square-foot space in our Frisco location
that was supposed to be used for events. That obviously wasn’t
happening,” she says. It was time to get creative. “I thought, let’s
put a hat bar in there until events come back.” The idea took off.
“We created a place where people could do an activity with social
distancing and forget how crazy the world was. Customers loved it.”
Today there are Hat Bars in all four Flea Style locations—the
largest in the Deep Ellum flagship. The process is personal and
experiential. Clients start by selecting a hat from an array of shapes,
colors, and prices. “From there we just have fun,” says Cobb. “You
grab a tray, pick accessories that we curate from local makers and
flea markets, then create a hat that completely reflects your unique
style.” Among the choices: feathers, brooches, charms, dried
flowers, vintage scarves, and more. “A lot of hatmakers are about the
designer, about their vision. What we do is flip the narrative. What
do you love? We speak to people’s stories and heritage and history,
then bring it all to life.”
Especially popular are Hat Bar parties—think birthdays,
bachelorette, girlfriend get-togethers. The site also hosts corporate
and charity events; Maison Cartier held one here. Collaborations
with local businesses add yet another dimension. Stetson, for
example, invited Cobb to their Garland factory to create an
eponymous custom hat. “We launched with five colors. They’ve
been best sellers for us,” she says. And inside the Dallas Flea Style,
Fort Worth-based City Boots has a shop-in-shop. “It’s been a great
partnership for us,” says founder (and fellow SMU grad) Lizzy
Chesnut. “Hats and boots just naturally go together.”
Both women epitomize cowgirl cool, albeit in their own
inimitable styles. For Chesnut, that developed growing up in
Amarillo, where boots were a mainstay. “When I started college,
I wore them all over campus. Tons of girls were interested, but 10
or 15 years ago, nobody knew where—or how—to buy cowboy
boots,” she says. The only choices were either super-pricey or cheap.
There was nothing in the middle that spoke to a fashion-forward
demographic and, at the same time, honored the tradition of
cowboy boot making. “Our goal was to design something feminine
and female friendly,” says Chesnut. “Like handbags, you can have
a whole wardrobe. My personal favorite is the lightning bolt—
something that’s never been done on a boot.”
For fall, a collection of seasonal limited-edition designs is on tap.
And with the Cattle Barons Ball right around the corner, the timing
couldn’t be better. “We’re all about celebrating everyone’s individual
style,” says Cobb. “Custom hats are over 50 percent of our business
right now so we’re just leaning in and watching it evolve.” P

From top: Flea Style founder Brittany Cobb. Courtesy of Flea Style; The Hat Bar
at Flea Style. Courtesy of Flea Style; Lizzy Chesnut is the founder of City Boots.
Courtesy of City Boots.

92 PATRONMAGAZINE.COM

M
aria Tash slipped into NorthPark Center this summer,
transforming the elevated piercing market with her
distinctive style and the Curated Ear. Patron caught up
with the celebrity-followed designer vis-à-vis her
new boutique.
Patron (P): What drew you to NorthPark as your first location in Texas?
Maria Tash (MT): I’ve wanted to open in Dallas for several years after
doing a couple of successful pop-up locations but was waiting to find
the right home. I always wanted NorthPark, as it is such an important
center, with great luxury representation and footfall. We were then
offered an optimal retail location within NorthPark, near Vuitton,
and a nice, large space that will enable us to expand product offerings
as the brand grows.
P: Please talk about the boutique’s design elements of travertine, leather, metallic
accents, and matte finishes.
MT: The NorthPark store design finishes are gorgeous and reflect the
themes and aesthetic of the jewelry. I work very closely with my head
of store design, and he is very integrated into the product-design
process. I think this is an important collaboration, the result being
a wonderful coherence in overall feel and takeaway effects of the
brand. There are matte metallic effects throughout the space, echoing
the three types of gold colors available to choose from for any given
style of ring or stud. The matte effect of the larger interior design
metal touches creates a warm metal effect, which makes the rose- and
yellow-gold metal interior design elements more readable than their
polished counterparts, and these finishes are hence not competitive
with the primarily polished metal of the jewelry. Less prominent
leather touches add a soft texture, which contrasts nicely with the
larger expanses of custom back-painted glass walls. Travertine is
another important design element, with its veins and marbling. The
interior design layout at NorthPark has a more open flow effect than
other Maria Tash stores, which enables clients to view the collections
easily.
P: We’d love to know more about your Curated Ear and your signature pieces.
Images clockwise: Portrait of Maria Tash; Invisible Set Diamond Lotus Garland Threaded
Stud Earring in rose gold; Invisible Set Triangle Diamond Stud Earring in white gold.
ATELIER
PIERCING
GOOD
LOOKS
Maria Tash brings her savoir faire
to NorthPark with signature jewelry.
MT: Many of my signature pieces relate to the Curated Ear, a term I
developed and own as a registered trademark. The concept is about
choosing a style of jewelry that agrees with one’s personal aesthetic,
selecting a metal tone or mix of tones that best complement the skin
of the wearer, and then employing fashion principles of layering and
fit to best create a scheme of how the sizes and locations of the pieces
relate to each other and reflect the uniqueness of the wearer. Some
of my signature styles include those with invisible-set diamonds,
specially developed comfortable threaded mechanisms, and newly
developed ear-piercing locations. Iconic styles include invisible-set
clickers and different sizes of gold and diamond spikes.
P: Please describe your process in creating invisible-set diamonds. What makes
this process flush to the wearer’s body?
MT: I’ve always loved flush-set and recessed architectural modern
lighting. I see diamonds akin to light and found a way to create a
type of jewelry setting that is as low rise as possible while keeping
maximal brilliance to the diamonds. I entered the jewelry world via
body jewelry, where keeping the jewelry as flush with the body as
much as possible is of primary concern. This principle is important
so that pieces will not catch on apparel, hair, or towels, and will be
comfortable for continuous wear for a modern lifestyle. I also always
thought that many engagement ring styles stuck off of the body in a
way that was uncomfortable. I worked on creating invisible settings
for many shapes of diamonds, and rings made of lines of diamonds.
Now this is a signature design element of my brand.
P: Is there a universal language among the Maria Tash customer?
MT: I think the universal language is one of the love of certain styles
and curations that thankfully is not confined to any region of the
world. Maria Tash styles shown on Instagram disseminate very quickly
all around the world, where they are received and integrated by our
global audience. That means style choices are no longer confined to a
region. And on the piercing front, there are universal commonalities
as to why someone would get pierced. Celebrating milestones,
personal accomplishments, and relationships are just some of the
reasons, and they give all of us joy. P
AUGUST / SEPTEMBER 2022 93
THERE
CARTIER AND ISLAMIC ART: IN SEARCH OF MODERNITY VIP OPENING
RECEPTION AND GALA AT DALLAS MUSEUM OF ART
PHOTOGRAPHY BY TAMYTHA CAMERON

Brad Kelly, Nancy Dedman, Helen and Mercedes Abramo,

Will and Catherine Rose Faisal Halum, Brian Bolke Brendan McGuire Dr. Agustín Arteaga

Roheen Ahsan, Gowri Sharma,

Erin Mathews, Russ Davis Raheela Ahsan Ceron, Capera Ryan, Todd Fiscus Carlos Gonzalez-Jaime

Cartier Gala. Cartier Gala.

Photograph by Tony Valadez, courtesy of Cartier Photograph by Tony Valadez, courtesy of Cartier

94 PATRONMAGAZINE.COM
THE FAMILY PLACE REUNIGHT ARBITERS OF LIVING: BERNBAUM
AT NASHER SCULPTURE CENTER MAGADINI AT ABITARE18
PHOTOGRAPHY BY TAMYTHA CAMERON, NATE REHLANDER, HAL SAMPLES PHOTOGRAPHY BY BRAD LINTON

Mimi Sterling Shelle Sills David Levy, Bruce Bernbaum, Tricy Magadini

Max Trowbridge, Marisa Howard, Roni Proter Kelly Richard Gordon Cris Worley

Susan Foster Lisa Singleton, Kristen Sanger Tricy Magadini, Bruce Bernbaum Ashley Leftwich, Lee Lormand

Marcia Dunn, Rajan Patel, Jessica Nowitzki Joshua Rice, Cliff Welch, Botond Laszlo

AUGUST / SEPTEMBER 2022 95

 FURTHERMORE

By Design. Jason Mizrahi

WestEdge Dallas eschews a Symphony Chair.

Courtesy of
trade-show format in favor of a Jason Mizrahi.

“lifestyle event” this September.

BY ELAINE RAFFEL

Azzurro Living Cove collection.

Courtesy of Azzurro Living.

M
arket Hall will be the go-to destination for Azzurro Living Wave Chaise Lounge chairs.
modern design aficionados with the debut Courtesy of Azzuro Living.
of WestEdge Dallas, September 16–18. The
three-day curated event will showcase a myriad
of high-end domestic and international manufacturers
alongside independent designers and makers of premium
furniture and lighting. “After a two-year Covid break, the
timing is right,” says WestEdge principal Megan Reilly.
“People in the industry are ready to meet face-to-face again.
It’s something we’ve all missed so much.”
The design fair is open to the trade and public, offering
an opportunity to discover and shop hundreds of leading
industry brands. “We’ve always looked at Dallas as a prime
location. There’s been so much growth,” says Reilly, who
also spearheaded Los Angeles’ WestEdge Design Fair this
past spring. “For many of our exhibitors, it’s one of their top
three markets.”
Look for both established brands and industry up-and-
comers. Luxury lines include Chad Dorsey’s Strike, an
original fireplace collection; Natufia Smart Garden indoor
gardens; and Urban Bonfire high-performance outdoor
kitchens. Also on tap: Swadoh handcrafted lighting and
custom furnishings from designers Brenda Houston and
Jason Mizrahi.
Above: Chad Dorsey
“Our goal is to provide ideas and inspiration; to connect Strike Sea Ranch
people with sources they might not be familiar with,” says bespoke fireplace in
Reilly. Featured areas add to the experience. SKS Culinary marble. Courtesy of
Pavilion, sponsored by Signature Kitchen Suite, will host Strike. Right: Brenda
Houston Artisanal
chef demonstrations and tastings; MADE/Modern will
Papers in Tucson Cream.
highlight independent designers and artisans. WestEdge Courtesy of Brenda
is also partnering with Artexpo Dallas, slated to run Houston.
simultaneously. “It’s two experiences in one. Art and design
are always great complements,” she says, adding, “We like
to think of ourselves as an ‘anti-trade’ show, a celebration of
design. Guests should feel like they’re coming to a lifestyle
event rather than a trade show.” P

96 PATRONMAGAZINE.COM
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 The Art & Design Issue

PATRON AUG/SEPT 2022 THE ART & DESIGN ISSUE / 25 YEARS OF COLLECTING PATRONMAGAZINE.COM