PATRON Anniversary Issue

THE COLLECTION GALA HONORS

Emmi Whitehorse at Dallas Museum of Art

Antony Gormley at Nasher Sculpture Center

David-Jeremiah at The Modern Laura Wilson & Manuel Álvarez Bravo at Meadows Museum

Plus: Chris Angelle’s Treehouse

HUMA BHABHA

JONATHAN BOROFSKY

ANTHONY CARO

TONY CRAGG

MICHAEL CRAIG-MARTIN

RAÚL DE NIEVES

ARIA DEAN

MARK DI SUVERO

JIM DINE

LEONARDO DREW

JEAN DUBUFFET

BARRY FLANAGAN

LIAM GILLICK

KATHARINA GROSSE

KAWS

ROY LICHTENSTEIN

JOAN MIRÓ

HENRY MOORE

IVÁN NAVARRO

PAMELA NELSON AND

ROBERT A. WILSON

JEAN-MICHEL OTHONIEL

BEVERLY PEPPER

DEBORAH ROBERTS

JOEL SHAPIRO

FRANK STELLA

HANK WILLIS THOMAS

LEO VILLAREAL

URSULA VON RYDINGSVARD

ANDY WARHOL

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EDITOR’S NOTE

October / November 2025

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

Autumn ushers in a perennial cultural renaissance for the arts in North Texas—and this year, the momentum continues undeterred, even against the backdrop of global uncertainty. Our creative community thrives on a shared spirit of resilience, curiosity, and cultural stewardship.

Kicking off the season is the debut of The Collection Gala , the Dallas Museum of Art’s newest marquee event. The gala picks up the torch from Art Ball and builds on the legacy of TWO x TWO, which concluded its remarkable run at the home of its founders, Cindy and Howard Rachofsky. True to form, the Rachofskys have paved the way for a new generation, inviting them to step into leadership roles that shape both the museum and the collecting landscape.

That next chapter begins with five dynamic couples—Jacquelin Sewell Atkinson and William Atkinson, Christina and Sal Jafar, Catalina Gonzalez Jorba and Santiago Jorba, Kasey and Todd Lemkin, and Amanda and Charlie Shufeldt— who will lead this year’s gala. Each brings a keen eye, deep commitment, and growing influence as they help guide the museum’s future, chairing initiatives and engaging in board service. Their efforts are supported by DMA board president Gowri Sharma and board chair Sharon Young, who bring invaluable insight to this year’s launch.

Designed by the ever-imaginative Todd Fiscus, the gala honors the celebrated artist Emmi Whitehorse, a member of the Navajo Nation whose luminous works draw on the philosophy of Hózhó—a worldview centered on beauty, harmony, and balance with nature. Auction chair Megan Gratch, drawing from her extensive experience with TWO x TWO, has curated a compelling collection of works, featuring Forest Floor by Whitehorse and artists from both local and international galleries.

A lover of art and artist in his own right, Chris Angelle has designed a dream residence for himself among the treetops that exudes his personality and passion. Rob Brinkley shares his story in Living in His Own Masterpiece.

As the fall arts season begins, Dallas/Fort Worth reaffirms its global cultural standing with exhibitions that blend international depth and local vibrancy.

At the Nasher Sculpture Center, Eve Hill-Agnus explores SURVEY: Antony Gormley, which extends beyond the museum walls, drawing audiences into the monumental legacy of a sculptor whose practice redefines space, form, and public engagement. In Baptized by Fire , Darryl Ratcliff profiles Dallas artist David-Jeremiah, whose powerful, conceptual works confront viewers with urgent truths—often uncomfortable, always unflinching—through a lens of spiritual, political, and personal reckoning, on view at the Modern in The Fire This Time. Photographer Laura Wilson takes us deep into the visual poetry of Mexico in Roaming Mexico at the Meadows Museum. Her contemporary images are presented in dialogue with the legendary Manuel Álvarez Bravo, a foundational figure in 20th-century Mexican photography who picked up his first camera as a teenager. In A Country of Contrasts, Nancy Cohen Israel connects the two artists across time, geography, and vision.

And because at Patron there’s no such thing as too much art, the season continues with a dynamic mix and perspectives. Danielle Avram explores the esoteric in Natural Mystics at The Warehouse, while John Zotos examines the demure, finely rendered works in Cabinet Pictures, opening at The Power Station. Darryl previews The New York Academy of Art: Chubb Fellows and Friends at the Green Family Art Foundation, a thoughtful convergence of emerging voices and enduring mentors.

In How to Properly Insulate an Artistic Cohort, Brandon Kennedy introduces us to a creative enclave where five distinct artists—Ricardo Paniagua, Sophia Anthony, Maria Haag, Alex Revier, and Francisco J. Marquez— maintain individual studios within a shared building. Together they form a vibrant ecosystem.

Finally, Ben Lima considers the gravity and grace of Icelandic artist Johann Eyfells in a posthumous exhibition, curated by Gavin Morrison and presented through Nasher Public, meditating on memory, material, and metaphysical weight through the artist’s Cairn creations.

FEATURES

70 WHOLE CORPUS

A focused survey at the Nasher reveals the breadth and depth of British sculptor Antony Gormley’s practice.

By Eve Hill-Agnus

76 BAPTIZED BY FIRE

David-Jeremiah ignites a monumental vision at the Modern Art Museum of Fort Worth.

By Darryl Ratcliff

82 A COUNTRY OF CONTRASTS

From vivid saturation to delicate shadow, two photographers frame Mexico’s vibrant soul.

By Nancy Cohen Israel

88 THE EARTH’S SILENT HISTORIES

Emmi Whitehorse’s meditative landscapes uncover the subtle mysteries beneath our feet.

Interview by Anna Katherine Brodbeck

92 THE NEXT VANGUARD

The Collection Gala bridges legacy and rising art patrons shaping the future of the Dallas Museum of Art.

By Terri Provencal

102 LIVING IN HIS OWN MASTERPIECE

Chris Angelle paints his life into every corner. By Rob Brinkley

DEPARTMENTS

08 Editor’s Note 14 Contributors

30 Noted

Fair Trade

44 CHASING THE HORIZON

Canadian painter Steve Driscoll invites viewers into his colorful, shifting world. Interview by Shelley Falconer

Openings

46 A CURIO VIEW

Cabinet Pictures brings a big impact in small-format paintings at The Power Station. By John Zotos

48 WHEN DALLAS LEADS

With its first traveling exhibition, Green Family Art Foundation positions the city as a launchpad for national art dialogue. By Darryl Ratcliff

Contemporaries

52 VENTURING BEYOND REASON

Artists channel the otherworldly in a world unmoored in Natural Mystics at The Warehouse. By Danielle Avram

56 A BALM FOR THE SOUL

Marjorie Norman Schwarz paints beyond uncertainty through a quiet kind of transcendence. By Eve Hill-Agnus

58 CULTURAL CURRENCY

Arts-supporting businesses honored with the Obelisk Awards. By Nancy Cohen Israel

60 OUT OF THE HOTHOUSE

Ying Li’s paintings during a time of solitude reveal a profound connection to the landscape. Interview by Chris Byrne

Studio

62 HOW TO PROPERLY INSULATE AN ARTISTIC COHORT

A community of artists forge their own paths together in the Tin District. By Brandon Kennedy

Space

68 A FRESH APPROACH TO UPTOWN LIVING

Crescent Real Estate’s 2811 Maple levels up sophistication in residential leasing. By Terri Provencal

There

108 CAMERAS COVERING CULTURAL EVENTS

Furthermore 112 JÓHANN EYFELLS’ FINAL MARKERS

The late Icelandic sculptor’s cast-metal cairns bid farewell to America at the Nasher. By Ben Lima

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CONTRIBUTORS

ROB BRINKLEY

is a writer, editor, and creative director in the worlds of magazines, social media, short films, and books. He has written about design for national shelter publications and is the coauthor of the Assouline book Domestic Art: Curated Interiors. For Patron, Rob sat down with acclaimed Dallasbased interior designer Chris Angelle. In Living in His Own Masterpiece, Rob delves into Angelle’s cultivated passion for art—which is seamlessly integrated into the fabric of his residence.

ANNA KATHERINE BRODBECK

is the Dallas Museum of Art’s Hoffman Family Senior Curator of Contemporary Art. At the DMA she curated For a Dreamer of Houses; Jonas Wood; America Will Be!: Surveying the Contemporary Landscape; Cecily Brown: Themes and Variations, among other exhibitions of note. In The Earth’s Silent Histories she interviews The Collection Gala’s honored artist, Emmi Whitehorse, on her meditative landscapes that reveal the mysteries of the earth beneath us.

LAUREN

CHRISTENSEN

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

NANCY COHEN ISRAEL

is an art historian trained in Northern Renaissance and Baroque painting, though she is also deeply rooted in the local contemporary art scene. Nancy is an arts writer and educator at the Meadows Museum. She enjoyed writing about the museum’s fall exhibitions, featuring the photography of Laura Wilson and Manuel Álvarez Bravo. In Cultural Currency, she finds inspiration in this year’s Obelisk awardees honored by the Business Council for the Arts.

EVE HILL-AGNUS is a writer, editor, and translator with roots in both France and California. Her career spans teaching literature and journalism, critiquing dining, and writing across genres—from nonfiction and fiction to poetry. Having seen Antony Gormley’s recent exhibition at Musee Rodin, she was eager to write of the sculptor’s survey on view at Nasher Sculpture Center in Whole Corpus. Eve also wrote about Marjorie Norman Schwarz’s art practice in A Balm for the Soul

is an artist and poet whose writing and curatorial practice explores collaborative cultural projects that illuminate shared narratives, foster civic participation, and support collective well-being. He is a Yerba Buena Center for the Arts 10 Fellow and founder of Gossypion Investment. For Patron, Darryl previews New York Academy Chubb Fellows and Friends, opening at the Green Family Art Foundation, and David-Jeremiah’s solo exhibition The Fire This Time at the Modern.

DANIELLE AVRAM

is assistant professor of contemporary galleries and exhibitions at UT Dallas and the director of SP/N Gallery. She is also a writer, curator, and project manager who has held positions at Texas Woman’s University; Southern Methodist University; The Power Station; and The Pinnell Collection. In Venturing Beyond Reason, she visited The Warehouse to take in the newly installed Natural Mystics exhibition, which gathers works made amid the breakdown of empirical certainty.

CHRIS BYRNE

authored the graphic novel The Magician (Marquand Books, 2013), included in the Library of Congress. He contributed to Peter Saul: 50 Years of Painting; Zap: Master of Psychedelic Art 19651975; The Drawings of Susan Te Kahurangi King; Kenny Irwin: The Robolights Project; Palm Springs 1986-2017; and Peter Halley: Paintings from 1980-81. He is the coeditor, with Keith Mayerson, of the Eisner Award–nominated Frank Johnson, Secret Pioneer of American Comics Vol. 1, published by Fantagraphics.

VICTORIA GOMEZ

is a Dallas-based freelance photographer dedicated to storytelling through powerful, image-driven narratives. A graduate of the University of North Texas, she works across editorial and fine art photography. Her work explores themes of femininity, identity, culture, and intersectionality, capturing life with intentionality. In How to Properly Insulate an Artistic Cohort, Victoria embraced the camaraderie among five artists and the distinct oeuvres of each in their individual studios at 516 Fabrication Street.

BRANDON KENNEDY

is a Dallas-based artist, book scout/ collector, and freelance curator/writer. He is the proprietor of 00ps b00ks, a project charting the margins and overlaps of used/ rare/collectible art/ books/culture and the persistent demands of commerce. In How to Properly Insulate an Artistic Cohort, Brandon visits five Dallas-based artists in their studios at 516 Fabrication Street in the Tin District, including Ricardo Paniagua, Sophia Anthony, Maria Haag, Alex Revier, and Francisco Marquez.

JOHN SMITH is a photographer whose architectural background lends a sculptural sensibility to capture spaces as living expressions. Skilled at portraiture, in this issue, John photographed visual artist Marjorie Norman Schwarz and performing artist Quincy Roberts, educator Richard Benson, interior designer Chris Angelle, and arts patrons Gowri Sharma and Sharon Young, Christina and Sal Jafar, Catalina Gonzalez Jorba and Santiago Jorba, Kasey and Todd Lemkin, and Amanda and Charlie Shufeldt.

JOHN ZOTOS is an art critic and writer who has chronicled the arts in North Texas for 25 years. His critical voice is informed by advanced degrees in art history and aesthetics, bringing a thoughtful, historically grounded perspective to contemporary art discourse. A Curio View takes John on a behind-the-scenes preview of Cabinet Pictures, curated by Rob Teeters and featuring small-scale paintings, opening at The Power Station this month.

PUBLISHER | EDITOR-IN-CHIEF

Terri Provencal terri@patronmagazine.com

ART DIRECTION

Lauren Christensen

DIGITAL MANAGER/PUBLISHING COORDINATOR

Anthony Falcon

COPY EDITOR

Sophia Dembling

PRODUCTION

Michele Rodriguez

CONTRIBUTING WRITERS

Danielle Avram

Rob Brinkley

Anna Katherine Brodbeck

Chris Byrne

Nancy Cohen Israel

Shelley Falconer

Eve Hill-Agnus

Brandon Kennedy

Ben Lima

Darryl Ratcliff

John Zotos

CONTRIBUTING PHOTOGRAPHERS

Holden Blanco

Tamytha Cameron

Jean-Claude Carbonne

Celeste Cass

Addison Doty

Douglas Friedman

Jordan Fraker

Victoria Gomez

Matt Grubb

Marion Kerno

Eric Laignel

John O’Rourke

Steven Probert

Matthew Murphy

OKNO Studio

Chad Redmon

John Smith

Kevin Todora

Virginia Trudeau

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On View Now

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

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

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

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29th Annual Texas Art Auction

SATURDAY, OCTOBER 25, 2025

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This exciting sale will be conducted live by auctioneer, Jason Brooks TXS 16216. There will be In-Person Bidding, Live On-line Bidding, Phone and Absentee Bidding. Auction guests will enjoy Bubbles and Bites, catered by Rodeo Goat.

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Preview Dates & Times:

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If you have any questions, please contact the

Auction Date: Saturday, October 25

Doors open at 9:00 AM; Bidding starts promptly at 10:00 AM, CST

or call: 214-270-4044

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NOTED

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

01 AFRICAN AMERICAN MUSEUM

90 Years of Impact: Theta Alpha’s Legacy in Dallas surveys nine decades of service, leadership, and community uplift by the Theta Alpha Chapter of Omega Psi Phi Fraternity, Inc. via curated artifacts, archival photographs, and interactive displays from the 1935 founding to programs shaping education, civic engagement, and social justice in North Texas. Through Nov. 30. aamdallas.org

02 AMON CARTER MUSEUM OF AMERICAN ART

Through Nov. 30, East of the Pacific: Making Histories of Asian American Art explores the continuing artistic impact of the migration of people across the Pacific Ocean and their indispensable role in shaping American art and culture. Seven Days: The Still Lifes of Chuck Ramirez , through Jan. 4, presents the vibrant and evocative series highlighting community-centered celebrations. A new look at the Carter’s permanent collection, Re/Framed continues through Oct. American Modernism from the Charles Butt Collection, organized by the Carter, is the first exhibition dedicated to the collection of businessman, philanthropist, and Texas native Charles Butt. This exhibition includes paintings and works on paper from the turn of the 20th century through the end of the 1970s and features works by American modernist icons, many of which have never been on public view. Through Jan. 25. Georgia O’Keeffe and the Carter brings together the Carter’s holdings of paintings and works on paper by O’Keeffe alongside photographs, letters, and other materials tracing her personal and professional ties to the museum; Sep. 27–Sep. 2027. Image: Georgia O'Keeffe (1887-1986), Series I-No.1, oil on composition board, 19.75 x 14 in. Amon Carter Museum of American Art, Fort Worth, Texas, purchase with assistance from the Anne Burnett Tandy Accessions Fund. © Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York. cartermuseum.org

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

At the Crow Museum in the Dallas Arts District , The Shogun’s World: Japanese Maps from the MacLean Collection continues through Oct. 6; Cecilia Chiang: Don’t Tell Me What To Do remains on view through Mar. 10, 2026; and Eliza Au: Squaring the Circle opens Nov. 18 and continues through Mar. 1, 2026. At the Crow Museum at UT Dallas, Mountain Jade with Lam Tung Pang and Echoes of the Earth remain on view through Jun. 28, 2026; Mounds and Mist: Kondo Traditions in Clay continues through May 31; and Whiskers and Paws: Cecilia Chiang is on view Oct. 4–Mar. 8; [ _____ ] Mirage (Blank Mirage) continues

through Mar. 1; and Groundbreakers: Postwar Japan and Korea from the DMA remains on view through Jul. 26, 2026. Image: Suh Do Ho, Korean, born 1962, Hub, 260-10 Sungbook-dong, Sungbook-ku, Seoul, Korea, 2016, polyester fabric and stainless steel, with doors opened outward, 117 x 102 x 65 in. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund. crowmuseum.org

04 DALLAS CONTEMPORARY

You Stretched Diagonally Across It: Contemporary Tapestry, curated by Su Wu, presents 29 artists and designers. The exhibition highlights the nuanced interplay between art and craft, medium and message, integrating technological mediation into traditional weaving practices. It delves into the complexities of narrative, mythology, and memory in textile art, challenging ethnographic stereotypes and affirming tapestry’s role in contemporary art narratives; through Oct. 12. Next, Pam Evelyn and Chris Wolston will highlight the galleries Nov. 7–Feb. 1. Image: Pam Evelyn, Medusa (detail), 2024, oil on linen. Photograph by Robert Glowacki. Courtesy of Pam Evelyn and Pace Gallery. dallascontemporary.org

05 DALLAS HOLOCAUST AND HUMAN RIGHTS MUSEUM

Kindertransport—Rescuing Children on the Brink of War traces the ninemonth rescue that brought thousands of unaccompanied children from Nazi-occupied Europe to the United Kingdom, told through personal artifacts, stories, and firsthand testimony, on view through Feb. 15. dhhrm.org

06 DALLAS MUSEUM OF ART

The immersive Return to Infinity: Yayoi Kusama continues through Jan. 18; Creatures and Captives: Painted Textiles of the Ancient Andes remains on view through Feb. 22 International Surrealism will be on view Nov. 2–Mar. 22. Featuring artists including Salvador Dalí, René Magritte, and Leonora Carrington, this exhibition highlights the wide range of practices and techniques from around the globe that define Surrealism through over 100 works from the Tate collection. Constellations: Contemporary Jewelry at the Dallas Museum of Art opens Nov. 9 and continues through May 3. Constellations showcases more than 350 wearable works of art. The exhibition surveys nearly a century of creativity and celebrates the ingenuity of jewelry artists from across the globe. Image: Art Smith, Half and Half necklace, designed before 1948, brass. Dallas Museum of Art, gift of Kim and Al Eiber, © Smithsonian National Museum of African American History and Culture. Photograph by Chad Redmon. Courtesy Dallas Museum of Art. dma.org

07 GEORGE W. BUSH

PRESIDENTIAL LIBRARY AND MUSEUM

Scenes from SMU and the Bush Center by President George W. Bush continues through Oct. 19. Experience this special art exhibit featuring 35 new paintings by President George W. Bush. This collection celebrates the spirit of the people who make up the Bush Center and SMU’s campus, including scenes of visitors to the Bush Center, neighbors enjoying the Laura W. Bush Native Texas Park, fans cheering on the SMU Mustangs, student life on the campus, and more bushcenter.org

08 KIMBELL ART MUSEUM

The Torlonia Foundation is the world’s most important private collection of ancient Roman sculpture. Through Jan. 25, Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection brings the greatest of these works to the United States for the first time and includes superb portrait busts, large-scale figures of gods and goddesses, magnificent sarcophagi, and other relief carvings. Caravaggio’s Judith Beheading Holfernes is on view at the Kimbell through Jan. 11, 2026. Image: Caravaggio (Michelangelo Merisi), Judith Beheading Holofernes, c. 1599–1600, oil on canvas. Gallerie Nazionali di Arte Antica, Palazzo Barberini, Roma (MiC) - Bibliotheca Hertziana, Istituto Max Planck per la storia dell’arte/ Enrico Fontolan. kimbellart.org

09 LATINO CULTURAL CENTER

Hecho en Dallas continues through Oct. 24; 6th Annual Latinidades Festival & Symposium runs through Oct. 12; and Día de los Muertos Ofrendas takes place Nov. 1. lcc.dallasculture.org

10 MEADOWS MUSEUM

Roaming Mexico: Laura Wilson presents the Dallas-based documentary photographer in an exhibition that introduces viewers to a more comprehensive, if deeply personal , vision of our southern neighbor. It brings together over 30 years’ worth of images documenting Wilson’s sojourns across Mexico and areas just beyond its northern border. Some of the work she created especially for this exhibition. The nearly 90 photographs are presented in an accompanying book. Manuel Álvarez Bravo: Visions of Mexico is an intimate exhibition featuring the work of the influential Mexican photographer, one of the most important artists in 20th-century Latin America. Both exhibitions close Jan. 11. meadowsmuseumdallas.org

11 MODERN ART MUSEUM OF FORT WORTH

Through Nov. 2, David-Jeremiah: The Fire This Time, is organized by guest curator Christopher Blay. On view in this exhibition is a group of vertical assemblages of black and other polychromatic paintings on shaped wood that form an installation. Jenny Saville: The Anatomy of Painting opens Oct. 12 and remains on view through Jan. 18. Image: Jenny Saville, Reverse, 2002–2003, oil on canvas, 84 x 96 in. ©

12 MUSEUM OF BIBLICAL ART

This fall, highlights include the European Art Treasury, The Resurrection Mural by Ron DiCianni, and Via Dolorosa: Tapestry of the Centuries Special exhibitions feature Voice by Chong Keun Chu, Holocaust Heroes: Fierce Females by Linda Stein, Transitions & Traditions: A Brad Abrams Retrospective, and a presentation of works by Salvador Dalí. The National Center for Jewish Art will showcase the SWED Collection, George Tobolowsky’s The Elements of Hanukkah, and Barbara Hines’ Celebration of Survival. biblicalarts.org

13 NASHER SCULPTURE CENTER

The Nasher presents a survey of work by celebrated artist Antony Gormley, exhibiting what the artist describes as an investigation of what sculpture is and what it can do. In the first major museum survey of Gormley’s work in the US, the exhibition spans the breadth of Gormley’s career, from his experimental work of the early 1980s to the present. In addition to the work shown at the museum, the artist debuted a project installed on the rooftops of skyscrapers in and around Downtown Dallas. SURVEY: Antony Gormley will be on view through Jan. 4. nashersculpturecenter.org

14 PEROT MUSEUM

Explore the reimagined Moody Family Children’s Museum, including the expanded Toddler Area for safe, age-appropriate play; Creative Makery for design and engineering exploration; Immersive Imaginarium offering multisensory discovery; Enhanced Outdoor Space with natural elements and programmable waterfall; and an iconic climbing structure by Toshiko MacAdam blending art and physical play. Bug Lab explores the remarkable genius of insects. Developed by Te Papa, New Zealand’s groundbreaking national museum, and the Wētā Workshop, the exhibition transforms visitors’ understanding of insects through larger-than-life models and interactive learning stations; through Jan. 4. perotmuseum.org

15 SIXTH FLOOR MUSEUM

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

16 TYLER MUSEUM OF ART

Making a Mark: Women in Early Texas Art highlights 17 artists active from the late 19th to late 20th century focusing on works on paper, printmaking, watercolor, ink, pastel, and litho crayon. Though Nov. 30. tylermuseum.org

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01 AMPHIBIAN

Conor McPherson’s The Birds, directed by Jay Duffer, brings a claustrophobic thriller to the Main Stage Oct. 17–Nov. 9. National Theatre Live returns with Good by C. P. Taylor, screening at the Modern on Oct. 11 and 14. amphibianstage.com

02

AT&T PERFORMING ARTS CENTER

See Noah Reid: Live Again on Oct. 7 Known as La Reina Grupera, Ana Bárbara is the voice of regional Mexican music; hear her in MexTour Live on Oct. 8. See Choir! Choir! Choir!, a Freddy Mercury singalong on Oct. 10 at the Wyly Theatre. A compilation of true stories written by Joy Behar, My First Ex-Husband brings razorsharp wit to the stage, Oct. 23–24 Enjoy Haunted Objects Live! and Halloween Family Weekend on Oct. 25; Lilly Goodman Presenta: Me Siento Libre Live Podcast, Oct. 31–Nov. 1; Stop Making Sense hosted by Jerry Harrison with intro, post-screening remarks, and audience Q&A, Nov. 15. Broadway at the Center presents A Christmas Story: The Musical, Nov. 21–23. attpac.org

03

BASS PERFORMANCE HALL

Lyle Lovett and his Large Band take the stage on Oct. 17. Next, Styx headlines the UNT Health Legends Concert, Oct. 22. Broadway at the Bass presented by PNC Bank brings The Addams Family Musical, The Musical to the stage Oct. 24–25; A Beautiful Noise: The Neil Diamond Musical brings nostalgia to the Bass, Oct. 28–Nov. 2; and & Juliet, Nov. 12–16, closes out fall. basshall.com

04

BROADWAY DALLAS

Experience Maria Callas “Live” in Concert: The Hologram Tour with The Dallas Opera Orchestra on Oct. 31. The Outsiders comes to the Music Hall, Nov. 4–16. X and Los Lobos perform on Nov. 20, followed by the Room 112 tour Nov. 21 In Hasan Hates Ronny | Ronny Hates Hasan, two comedians air their grievances on Nov. 22. An Evening with David Byrne: Who Is the Sky? tour rounds out the month, Nov. 28–29. Image: The Outsiders. Photograph by Matthew Murphy. broadwaydallas.org

05 CASA MAÑANA

See Junie B. Jones, The Musical on Oct. 4–19 West Side Story comes to the stage Oct. 31–Nov. 9; and Rudolph the Red-Nosed Reindeer rings in the holiday season , Nov. 22–Dec. 23. casamanana.org

06

DALLAS BLACK DANCE THEATRE

Celebrate 20 years of honoring African heritage with DanceAfrica! The joyful spirit of traditional and contemporary African dance will come to life on stage at the Moody Performance Hall to the pulse of live drums and performances by all five of DBDT’s dance companies, plus special guests. dbdt.org

07 DALLAS CHILDREN’S THEATER

The Pigeon Gets A Big Time Holiday Extravaganza! A rollicking world premiere bringing Mo Willems’ Pigeon, Elephant , Piggie, and pals to a new musical party, Nov. 22–Dec. 21, 2025. dct.org

08 THE DALLAS OPERA

The season opens with the free People’s Choice Concert, a 60-minute sampler of famous arias with an audience-voted encore on Oct. 4. Bizet’s Carmen follows in a historically inspired coproduction with Opéra royal de Versailles that recreates the 1875 Opéra-Comique staging, with costumes by Christian Lacroix; Marina Viotti sings Carmen opposite Saimir Pirgu’s Don José. See Carmen and enjoy the Opening Night Dinner on Oct. 17; performances continue Oct. 19, 22. 25, and 26. The Three Little Pigs Family Opera is up next on Oct. 18. In November, Dialogues of the Carmelites, a Dallas Opera premiere, presents the harrowing story of Carmelite nuns during the Reign of Terror, Nov. 7–15. The Little Prince Family Opera comes to the stage Nov. 15. Image: Carmen at Opera de Rouen in France. Photograph by Marion Kerno. dallasopera.org

09 DALLAS SYMPHONY ORCHESTRA

Fabio Luisi conducts Haydn’s Oxford and Mahler’s Fourth featuring soprano Sofia Fomina, Oct. 2–5. Celebrating the DSO’s 125th Anniversary at the Symphony Gala, Fabio Luisi conducts Beethoven and Tchaikovsky with violinist Leonidas Kavakos, Oct. 4. Respighi’s Fountains of Rome follows, Oct. 9–12, with pianist Bruce Liu and Sophia Jani’s DSO premiere What do flowers do at night? Gershwin’s Rhapsody in Blue spotlights Inon Barnatan plus Angélica Negrón’s world premiere for chorus and four soloists, Oct. 16–18. Dolly Parton’s Threads: My Songs in Symphony comes to the Meyerson , Oct. 24–26. Baritone Matthias Goerne and pianist Daniil Trifonov unite for Schubert’s Winterreise, Oct. 27. Día de los Muertos returns with Enrico Lopez-Yañez, Oct. 31 and Nov. 1. Marin Alsop conducts Strauss’ Don Juan, the world premiere of Kathryn Bostic’s Drag , and Brahms’ Second Symphony, Nov. 7–9. Hear Jazz at Lincoln Center Orchestra with Wynton Marsalis, Nov. 12. Pops Through Time revisits movie, Broadway, and jazz favorites with Richard Kaufman, Nov. 14–16. Dallas Symphony Children’s Chorus Fall Recital takes place Nov. 16. Luisi Conducts Mozart features Gregory Raden premiering Jon Cziner’s Clarinet Concerto plus a new work by Moni (Jasmine) Guo and Mozart’s Symphony No. 40, Nov. 20–22. Bradley Hunter Welch showcases the Lay Family Concert Organ, Nov. 23. Ravel’s Rapsodie Espagnole sees conductor Jun Märkl and pianist Javier Perianes, Nov. 28–30. mydso.com

10 DALLAS THEATER CENTER

DTC mounts Michael Frayn’s backstage farce Noises Off, directed by Ashley H. White, Oct. 3–26. Holiday tradition returns with A

CONCERTS THIS FALL

For 125 years, the Dallas Symphony Orchestra has been inspiring awe, igniting emotions and bringing the power of live music to the community.

HAYDN & MAHLER

OCT 2 & 5

DOLLY PARTON’S THREADS: MY SONGS IN SYMPHONY

OCT 24-26

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS

NOV 12

RESPIGHI’S FOUNTAINS OF ROME

OCT 9-12

SCHUBERT’S WINTERREISE WITH GOERNE & TRIFONOV

OCT 27

POPS THROUGH TIME: ICONIC SCORES & CLASSIC HITS

NOV 14-16

GERSHWIN’S RHAPSODY IN BLUE

OCT 16-18

ALSOP CONDUCTS BRAHMS

NOV 7-9

LUISI CONDUCTS MOZART NOV 20-22

Christmas Carol, adapted by Kevin Moriarty and directed by Alex Organ, Nov. 28–Dec. 27. Image: Alex Organ as Lloyd Dallas. Photograph by Jordan Fraker. dallastheatercenter.org

11 DALLAS WIND SYMPHONY

Epic Vibes brings a bold evening of fanfares, sweeping symphonic color, and organ-powered grandeur on Oct. 21. In Bravo Broadway! LaKisha Jones, Hugh Panaro, and Scarlett Strallen lead a night of show tunes, Nov. 11. dallaswinds.org

12 EISEMANN CENTER

Enjoy An Evening with Samin Nosrat, Oct. 9 The Richardson Symphony brings Schumann & Strauss to the stage Oct. 4. See Tomás and the Library Lady on Oct. 19, followed by Keyboard Conversations: Beethoven: The Young Genius, Oct. 20. From Down Under hear the TwoSet Violin World Tour on Oct. 21 An Evening with Elizabeth Gilbert on Oct. 28 is followed by the Vienna Boys Choir Oct. 29. RSO returns with Barber & Beethoven , Nov. 1 See Churchill starring David Payne, Nov. 7–9; Omid and Jamshid , Nov. 22; and Chamberlain Ballet’s The Nutcracker, Nov. 28–29. eisemanncenter.com

13 FORT WORTH SYMPHONY ORCHESTRA

Yacht Rock Symphony features classic hits by Ambrosia, John Ford Coley, and Peter Beckett on Oct. 11 Celebración Sinfónica , a free community concert , plays on Oct. 25 Jurassic Park in Concert follows on Nov. 1 Pops: REWIND: Music of the ’80s brings the nostalgia Nov. 7–8. From the Family Series, Saint-Georges’ Sword and Bow is next , on Nov. 8. Mozart and Mahler’s Fourth comes to Bass Performance Hall , Nov. 21–23; and Pops: Home for the Holidays lightens the mood , Nov. 28–29. fwsymphony.org

14 KITCHEN DOG THEATER

The Happiness Gym is an event based on the science of well-being. Participants take part in a curated theatrical experience meant to boost their sense of happiness, joy, and feelings of connection. This project opens KDT’s new theater and will take place throughout the facility. kitchendogtheater.org

15 LYRIC STAGE

Join Dr. Frank-N-Furter and meet his new creation in The Rocky Horror Show. Oct. 10–26. lyricstage.org

16 MAJESTIC THEATRE

October starts with The Rocky Horror Picture Show 50th Anniversary with Barry Bostwick on Oct. 8, Valery Meladze: Encore Tour 2025 on Oct. 9, and Twilight in Concert on Oct. 10. Lyle Lovett and his Large Band follows on Oct. 15, before Avatar: The Last Airbender: The 20th Anniversary Tour lands Oct. 29. November opens with World Ballet Company’s Cinderella on Nov. 1 and Disney’s Moana Live-to-Film Concert on Nov. 2, then pivots to Airplane! Live with an unreleased director’s cut and on-stage chat on Nov. 5,

and Evil Dead in Concert on Nov. 8. Soul and holiday vibes roll in with Ledisi: The Crown Tour with Kevin Ross on Nov. 9, Straight No Chaser: Holiday Road Tour on Nov. 12, followed by Brian Culbertson: Day Trip Tour on Nov. 14, Erasure’s Andy Bell in concert on Nov. 15, and The Fab Four tribute to Help! and other hits on Nov. 22. Image: The Rocky Horror Picture Show courtesy of AT&T Performing Arts Center. majestic.dallasculture.org

17 TACA

Step into the magic of TACA’s Masquerade, held at the Bomb Factory on Nov. 22. This evening blends immersive arts experiences, captivating entertainment, craft cocktails, and elevated food stations in a celebration of creativity and community. taca–arts.org

18 TEXAS BALLET THEATER

Soar to Neverland as Texas Ballet Theater presents Peter Pan Choreographed by Trey McIntyre with new sets and edgy costumes by Emma Bailey, this two-act ballet invites audiences into a world of bright neons, mischievous fairies, daring pirates, and flying children across land, sea, and air. Peter Pan runs Oct. 3–5 at Bass Performance Hall. Image: Peter Pan featuring artists of Nevada Ballet Theatre. Photograph by Virginia Trudeau. texasballettheater.org

19 THEATRE THREE

Oct. 9–Nov. 2, The Trade: A Tragedy in Four Quarters, by Matt Lyle and Matt Coleman, is an unauthorized, foam-fingered satire of a Mavericks meltdown, narrated by a Greek chorus with winks to the Kiss Cam, Luka Dončić, and Mark Cuban. theatre3dallas.com.

20 TITAS/DANCE UNBOUND

Ballet Preljocaj’s Gravité fills Moody Performance Hall on Oct. 31–Nov. 1. Anne Plamondon Danse sees the group’s US debut on Nov. 7–8. Image: Ballet Preljocaj performs Gravité. Photograph by JeanClaude Carbonne. titas.org. titas.org

21 TURTLE CREEK CHORALE

In the Ensembles Showcase, a spotlight evening for TCC’s small groups, Chamber Chorus, Coloratura, and TerraVox blend tight a cappella harmonies, contemporary choral works, and repertoire by underserved composers on Nov. 1 turtlecreekchorale.com

22 UNDERMAIN THEATRE

Nov. 6–Dec. 7, Sam Shepard’s Action, is a darkly funny, postcatastrophe chamber piece where four friends stave off dread with domestic rituals and surreal pastimes. undermain.org

23 WATERTOWER THEATRE

BWY x NTX is a new concert event tracing Broadway’s archetypes through four powerhouse voices: soprano, alto, tenor, bass from Oct. 9–19. watertowertheatre.org

01 12.26

A new solo exhibition by Lee Maxey remains on view through Oct. 18. Next the gallery presents a solo show for Marjorie Norman Schwarz alongside Corri-Lynn Tetz: Bell, Book and Candle in the backroom, on view from Oct. 25–Dec. 6. gallery1226.com

02 AKIM MONET FINE ARTS

Time Capsule-Rodin–The Sculpted Voice brings together studio casts, intimate studies, and monumental bronzes produced under the stewardship of Musée Rodin. akimmonetfinearts.com

03 ALAN BARNES FINE ART

Fine 19th & 20th Century Paintings and Sculpture Autumn–Winter 2025 will be on view at the gallery through 2025. alanbarnesfineart.com

04 ARTSPACE111

Radiohalo sees new works by Dallas artist Erika Huddleston from Oct. 24–Dec. 19. artspace111.com

05 BARRY WHISTLER GALLERY

Through Oct. 18, Terrell James: Catalyst presents 10 recent largescale works by the Houston-based artist. A seventh-generation Texan, James draws from the varied terrains of her home state, from the Trans-Pecos to the Gulf Coast. barrywhistlergallery.com

06 BEATRICE M. HAGGERTY GALLERY

Beatrice M. Haggerty Art Gallery will return with regular programming later this fall. udallas.edu/gallery

07 CADD

The Contemporary Art Dealers of Dallas hosts gallery days, happy hours, scholarships, and other events supporting artists and galleries in the North Texas area. caddallas.org

08 CHRISTOPHER MARTIN GALLERY

Established in Dallas in 1995, Christopher Martin Gallery displays the reverse-glass paintings of Christopher H. Martin along with photography-based works by Steve Wrubel, Costa Christ, and 25 rotating artists. christophermartingallery.com

09 COLECTOR

Franklin Collao: Flux Forma opens Oct. 11 and remains on view through December. Collao investigates the boundaries of painting , redefining it as a dynamic process unfolding. Image: Franklin Collao, Flux Forma N.2, 2024, oil on canvas, 78.9 x 78.9 in. Courtesy of the artist and Colector. collector.gallery

10 CONDUIT GALLERY

East of the Sun, West of the Moon by Denton-based artist Steven J. Miller; Ludwig Schwarz: Mountain View ; and Justin Quinn: From the Last Time continue through Oct. 4. From Oct. 11–Nov. 15, Conduit will host two solo shows for Johnny Floyd and Carson Monahan, while Kelly O’Connor highlights the Project Room. Image: Johnny Floyd, Herringbone II, 2024, oil, wax, acrylic medium, and thread on sewn canvas, 36 x 52 in. conduitgallery.com

11 CRAIGHEAD GREEN GALLERY

A three-artist exhibition for David Crismon, Rebecca Shewmaker, and Jerry Cabrera remains on view through Oct. 11. From Oct. 18 through November, CGG will present Honduras Threads. Image: David Crismon, 1783 Still Life with Factory Code, oil and acrylic on metal, 80 x 60 in. craigheadgreen.com

12 CRIS WORLEY FINE ARTS

Solo exhibitions by Raychael Stine and Rusty Scruby remain on view through Oct. 25. Falls and Springs and Stardust Things features new paintings by Stine, while Summer Breeze showcases recent photographic constructions by Scruby. Two compelling exhibitions open on Nov. 8 and remain on view through Dec. 30. Ruben Nieto’s solo exhibition marks a new direction in his practice, featuring oil paintings that blend comic-inspired abstractions with indigenous iconography and cosmic myth. Presented alongside, a retrospective of the late Harry Geffert showcases masterful bronze sculptures not seen in 25 years in dialogue with works created shortly before his passing in 2017. Image: Ruben Nieto, Quantum Entanglement of a Super Nova, 2025, oil, acrylic, oil stick, oil pastel on canvas, 42 x 36 in. crisworley.com

13 CVAD, UNT COLLEGE OF ART AND DESIGN GALLERIES

Through Dec. 12, the main gallery hosts the Faculty/Teaching Juried Exhibition, featuring works juried by Jade Powers, Hugh Kaul Curator of Contemporary Art at the Birmingham Museum of Art. cvad.unt.edu

14 DAVID DIKE FINE ART

The 29th Annual Texas Art Auction takes place Oct.25 at David Dike Fine Art. Doors open at 9 a.m. and bidding starts at 10 a.m. Preview days run from Oct. 6–24. Highlights include works by Julian Onderdonk, Olin Travis, Florence McClung, and William Lester. Also featured are works by George Grammer, Ben Culwell and Dorothy Hood. daviddike.com

15 ERIN CLULEY GALLERY

Kaleta Doolin: Certainly Uncertain presents new sculptures that

reframe feminine representation by counterbalancing hard materials and soft forms, patinated bronze from the Laughing Momma series, and steel boxes inset with knitted quilt squares, merging domestic craft with industrial rigor; Oct. 4–Nov. 8. Image: Kaleta Doolin, Laughing Momma, 2025, bronze with patina, 12 x 6.75 x 7 in. erincluley.com

16 FERRARI FINE ART GALLERY

The Ferrari Gallery Fall Exhibition closes Oct. 4 The gallery represents the work of James Ferrari, Debra Ferrari, Eric Breish, Cecil Touchon, Julian Voss-Andreae, and Julie Marin. ferrarigallery.net

17 FWADA

FWADA sponsors the annual Fall Gallery Night and Spring Gallery Night for members and friends, and an annual show featuring submitted artworks from member institutions. fwada.com

18 GALLERI URBANE

Through Oct. 25, in Gallery 1, Jessica Drenk presents new sculptural works that transform everyday materials into organic, abstract forms. In Gallery 2, Lorena Lohr debuts a photographic series capturing overlooked landscapes and interiors shaped by time and regional memory. Opening Nov. 15, in Gallery 1 Rachel Hellmann Shelter will be on view alongside Stephen D’Onofrio Fruit Roll Out in Gallery 2. galleriurbane.com

19 GREEN FAMILY ART FOUNDATION

From Oct. 4–Dec. 14, New York Academy of Art: Chubb Fellows & Friends gathers Chubb Fellows with their peers and professors, an NYAA-rooted look at 43 years of figurative practice shaped by mentorship and community, presented with support from Chubb. Image: Eric Fischl, Untitled (with Brice), 2006, oil on linen, 50 x 60 in. Courtesy of the artist and Skarstedt Gallery. greenfamilyartfoundation.org

20 JAMES COPE GALLERY

James Cope presents a solo show by Coco Young through Nov. 1. Young was born in New York City in 1989 and raised in the south of France in Marseille. She lives and works between Paris and New York City. This is her third solo show with the gallery. jamescope.biz

21 JAMES HARRIS GALLERY

New Paintings by Evan Nesbit and Brad Winchester runs through Oct. 25. Nesbit’s dyed-burlap abstractions play with spatial tension and color, while Winchester’s layered, dyed-linen works emphasize

texture through repetition and process. Akio Takamori’s figurative ceramics explore identity in a solo exhibition from Nov. 8–Dec. 19. Image: Akio Takamori, Pink Okubi, 2013, stoneware with underglazes, 32 x 26 x 20 in. jamesharrisgallery.com

22 KEIJSERS KONING

Get Me, Don’t Get Me, featuring Tamara Johnson’s sculptures, is on view through Oct. 18. Next, Quinci Baker will highlight Keijsers Koning from Oct. 25–Dec. 13. Baker explores themes of collective memory, imagination, and ambiguous loss, using mixed-media to give form to intangible grief. keijserskoning.com

23 KIRK HOPPER FINE ART NEXT

A solo exhibition for Lynn Randolph, continuing through Oct. 11, showcases her new intricate and visionary paintings that explore themes of science, spirituality, and the human condition. Next, Annabel Livermore: Cosmic Gardens runs Oct. 18 through Nov. 15 followed by a two-person show for Bryan Florentin and H. Jennings Sheffield, Nov. 22–Jan. 3. Image: Nivia Gonzales (19462017), Echoes Of Unrestrained Beauty, serigraph, 24 x 36 in. kirkhopperfineart.com

24 KITTRELL/RIFFKIND ART GLASS

Kittrell’s 35th Anniversary Show will remain on view through Nov. 1 followed by the annual Holiday Treasures from mid-Nov, through Jan. 1. kittrellriffkind.com

25 LAURA RATHE FINE ART NEXT

Forever in Bloom presents a solo exhibition of new work by Chinese Dutch artist Zhuang Hong-yi, through Oct. 4. Next, Radiance features Lucrecia Waggoner and Audra Weaser from Oct. 11–Nov. 8. laurarathe.com

26 LILIANA BLOCH GALLERY NEXT

The gallery debuts a group exhibition featuring Simon Vega, Antonio Pichillá, and Kelly Tapia-Chuning, on view through Oct. 30. lilianablochgallery.com

27 LONE GALLERY

Lone Gallery showcases a diverse array of artists including painters Bradley Kerl, Danny Joe Rose III, and Camille Woods, alongside mixed-media artists such as Cruz Ortiz and Heather Sundquist Hall. lonegallery.com

28 MELIKSETIAN | BRIGGS

Representing conceptual artists, Meliksetian|Briggs will show new work by Meg Cranston in a solo booth at Untitled Art Miami Beach Dec. 3–7. meliksetianbriggs.com

David Patchen

“Flame Parabola”

38

29 NATURE OF THINGS

3 Women features Gail Blank, Gretta Johnson, and Helen Burkhart Mayfield, through Nov. 23. natureofthings.xyz

30 PENCIL ON PAPER

Unconquerable Souls presents a solo show for Desmond Blair from Oct. 18–Nov. 22. pencilonpapergallery.com

31 PHOTOGRAPHS DO NOT BEND

Going Home continues through Oct. 11. Next: Pam BurnleySchol: Nested Memory is on view Oct. 18–Nov. 29. pdnbgallery.com

32 THE POWER STATION

The Power Station presents Cabinet Pictures opening Oct. 3 and featuring Nate Antolik , Nicholas Bierk, Pat de Groot, Louis Eisner, Jeronimo Elespe, Karol Palczak, Marjorie Norman Schwarz, Ellen Siebers, Joanna van Son, and Yui Yaegashi. powerstationdallas.com

33 RO2 ART

Solo shows for Ray-Mel Cornelius, Scott Winterrowd, and Gillian Bradshaw-Smith continue through Oct. 11. From Oct. 18–Nov. 22, a group show with Robert Weiss, Brad Ford Smith, and Suguru Hiraide highlights the gallery. ro2art.com

34 SAMUEL LYNNE GALLERIES

Tyler Shields: Visionary continues through Oct. 31. Shields is known for bold photographs that explore power, glamour, and the spectacle of contemporary culture. samuellynne.com

35 SMINK

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

36 SOUTHWEST GALLERY

Don Sahli: New Paintings presents 20 fresh impressionist landscapes with the artist painting on site and a workshop the following week, Oct. 25, 1–5 p.m. David Deming: Sculpture sees metal abstractions from garden-scale to monumental by the nationally recognized sculptor. Nov. 15. swgallery.com

37 TALLEY DUNN GALLERY

Ori Gersht: Amalgamation and Eva Lundsager: Time is Very Quick continue through Dec. 13. Image: Ori Gersht, Untitled 02 (Amalgamation), 2024, archival pigment print, 48.5 x 39.25 in. talleydunn.com

38 TUREEN GALLERY

Drive your cart and your plow over the bones of the dead, a group exhibition on view through Oct. 11, is titled after the William Blake proverb The show brings together artists whose works confront systems of power, ecological collapse, and the tension between destruction and renewal. Next, Oct 17–Dec. 13, Tureen presents The Chasing Game, showcasing work by Tommy Xie. Image: Tommy Xie, Chasing Game, (detail), 2025, oil on canvas, 31.5 x 47 x 2 in. tureen.info

39 VALLEY HOUSE GALLERY

Ying Li: Hothouse continues through Oct. 18. Li blurs the line between abstraction and representation in her densely layered paintings. Next, Lloyd Brown’s The Correspondence of Travel: Geographies of Time and Place highlights pointillist acrylic landscapes drawn from US Highway 50, using multi-panel views and laminated ragboard. valleyhouse.com

40 THE WAREHOUSE

Natural Mystics at The Warehouse, on view through Jan. 31, 2026, draws from the Rachofsky and Hartland & Mackie /Labora Collections and beyond. The show explores cosmic symbolism and the interplay between nature and mysticism in contemporary art. thewarehousedallas.org

41 WEBB GALLERY

Opening Oct. 19, Webb Gallery presents Randy “Biscuit” Turner’s original artwork, paintings by Panacea Theriac, and ceramics by Rebecca Cash. At Webb’s Fair & Square, drawings by Chelo Gonzalez Amezcua and The Swarms of Bees House Concert take place Oct. 12. webbartgallery.com

42 WILLIAM CAMPBELL GALLERY

Ethereal Goats , Earthly Pecans features new work by Victoria Gonzales, on view through Oct. 11. Tom Hollenback: Through Lines and Loose Ends opens Nov. 1 and continues through Dec. 20. Image: Victoria Gonzales, Simone and Coco, 2025, acrylic, thread, and chalk pastels on canvas, 12 x 9 in. williamcampbellgallery.com

AUCTIONS AND EVENTS

01 ARTS WORTH FESTIVAL

The Arts Worth Festival, Oct. 24–26, is a three-day celebration of visual arts and classical music, featuring over 80 top-tier artists selected from hundreds of applicants. Visitors can enjoy live demonstrations in glassblowing, metalsmithing, pottery, and more, along with performances by student and professional ensembles—including daily productions by the Fort Worth Opera. New this year is the Incubator Initiative, a career-development program supporting emerging Texas artists. artworthfest.com

02

DALLAS AUCTION GALLERY

Dallas Auction Gallery will present the Contemporary & Street Art auction on Oct. 7; the 20th Century Decorative Art auction on Oct. 29; and the Prints & Multiples auction on Oct. 30. dallasauctiongallery.com

03 HERITAGE AUCTIONS

October opens with Urban Art Showcase Auction Oct. 1; Photographs Oct. 3; Photographs and Curiosa: The Maloof Collection of Vivian Maier sold for the benefit of the Soi Dog Foundation Oct. 7; Depth of Field: Photographs Oct. 8; Colores y Cultura: Latin American Art Oct. 8; The Art of Anime and Everything Cool—Volume VII Oct. 17–20; Comic Art Oct. 17; Prints & Multiples Oct. 17; Photographs by Bruce Davidson, sold to benefit the Joshua Tree Highlands Artist Residency Oct. 21; Graffiti Legends: The Art of LA2 Oct. 31; Urban Latino Art Oct. 31. November highlights include Animation Art—Celebrating 70 Years of Disneyland, featuring the Marc and Alice Davis Archive Part II Nov. 7–10; Texas Art Nov. 7; Western Art: Visions of the American Frontier Nov. 7; Modern & Contemporary Art Nov. 19; Prints & Multiples Nov. 19. For a full list of auctions, visit ha.comha.com

04 LONE STAR ART AUCTION

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

chasing the horizon

Canadian painter Steve Driscoll invites viewers into his colorful, shifting world.

INTERVIEW BY SHELLEY FALCONER

Steve Driscoll debuted his immersive, color-saturated paintings in Texas at the Dallas Art Fair last spring, where an expansive blue-and-white diptych of a West Coast forest drew visitors in and made for a memorable landmark. Since then, Driscoll has been working towards an October exhibition in Toronto at Nicholas Metivier Gallery. Centered on fleeting moments from hikes or camping trips, when shown together the works convey the notion of a journey, drawn in part by Driscoll’s time in North Texas, when he visited for the fair.

In this conversation, Driscoll talks with Shelley Falconer, president and CEO of the Art Gallery of Hamilton, the largest museum in Southern Ontario, Canada, who will speak with Driscoll at Nicholas Metivier Gallery during the opening of his show Points of Passage, October 4 through November 1. Below is a short discussion in advance of this event, about Driscoll’s unique process, especially his direct approach to color.

Shelley Falconer (SF): Your passion for the land and nature features extensively in your work. While grand in scale and intensity, your work is also very candid and intimate. Can you comment on this and how you’ve translated your direct Canadian and American hiking experiences with the land visually?

Steve Driscoll (SD): My work began as fields of color, where the meeting of two hues felt as alive as wind through branches or waves against shore. Nature, for me, is flux—endless variation from the smallest shift.

Though I travel widely, in the studio these places merge. Yellowstone’s sulfur pools may surface in an Ontario lake, or Midwest clay in a Pacific forest. What remains constant is experimentation, where memory and material converge. When I went to the Dallas Art Fair, I took some time to hike around North Texas and the Oklahoma border. At the time I was struck by the color of the crimson clay, but it didn’t really appear in my work until several months later, merging with some of the new landscapes for my upcoming show in Toronto this fall.

SF: You have often been identified as belonging to the long tradition of landscape painting, but the work is rarely literal or slavishly descriptive. The immediacy and dynamism of your landscapes are heightened by an opulent palette and an understanding of the materiality of the land, the water, and the elements. How does your early career as a Color Field artist relate to your current practice?

SD: I’m not the kind of painter who can labor over a canvas for weeks or months. My work is more like action painting—I usually start and finish in one sitting. A lot of it happens wet-on-wet, almost like watercolor, where timing and movement matter more than control. That immediacy and risk is what keeps me engaged in the process and results in a more evocative and sensory encounter for the viewer.

SF: The viewer experience is immersive and intense. How do you, as an artist, relate to the viewer, and can you take us into your studio and walk us through your process?

SD: I was recently watching my foster puppy, Pippy, fixate on a pile of leaves fluttering in the wind, and I realized it’s the same impulse that drives me in the studio—waiting for that moment of lift. With paint, I set up interactions between colors, adjusting opacity and consistency, and watch them collide, bleed, or spark into something unexpected. Time outdoors fuels this process: canoeing, hiking, or simply sitting at a shoreline watching light fracture on water. For me, landscape isn’t a specific tree or trail but a sensation—being immersed, surrounded, carried along. Color works the same way, like a puzzle with endless combinations, always renewing. In both nature and paint, I find the same connection: movement, surprise, and the sense of belonging to a larger storyline. P

A Curio View

Cabinet Pictures brings a big impact in small-format paintings at The Power Station.

BY JOHN ZOTOS

Small paintings intended for close inspection, bordering on a private viewing experience, have recently become a trend in contemporary art. They contend with, and even short circuit, the reception model in play for large-scale images that entire groups of people can view at the same time. With Cabinet Pictures The Power Station explores this visual phenomenon through a quite large sampling of paintings by ten artists born between 1930 and 2000 with, out of these, six born in the ’80s.

Examples of small paintings can be found in most periods during the history of Western art, but they came to prominence sometime in the 15th century as cabinet paintings coveted by wealthy collectors who designated a special viewing room, commonly referred to as a cabinet, where they could privately contemplate these images. The

works were usually known for their precise rendering of figures, landscapes, and objects, the iconography almost programmatically shying away from any depiction of objects in a life-size format.

Typically these viewing rooms were meant for individual use only, as a place free from the interference of servants and other members of the household. Incidentally, in more affluent settings it was even common to have a separate cabinet for each spouse, if not more for other family members. In addition to the cabinet paintings, these rooms were filled with other so-called curiosities, like small sculptures, books, and prints in what would evolve, as time passed, into an actual piece of furniture filled with precious items that we now know as a curio cabinet.

This exhibition was curated by Rob Teeters, the artistic director

of The Power Station, who was enticed by his “ongoing attraction to small-format artworks from various periods in art history.” He was inspired by small-scale pieces by Vermeer and Rembrandt, which for him “translated into thinking about contemporary artists who work in intimately scaled formats.” Many of the artists were chosen for this exhibition precisely because they either only paint smallscale works or, as is the case with every one of them, view “smallscale works as being equally significant to large-scale paintings.”

The pieces will occupy most of the exhibition spaces at The Power Station, such that an engagement with the architecture as a guiding principal has motivated the curatorial choices in play here. The demonstrable tension between the cavernous spaces and the intimate pieces will put in motion a dialogue about the possibility of contemplation and sustained attention, perhaps as an antidote to our society of the spectacle, saturated as it is with media and technology.

Instead of looking in several different directions like at a sporting event, the cinema, an amusement park, or a museum gallery with large-format contemporary art, visitors will be obliged to concentrate their vision within a space of around 10 x 12 inches; the impossibility of taking in the whole space at one time is the essential motivating factor that underscores the curator’s intentions.

On view will be pieces by Dallas-based Marjorie Norman Schwarz, an abstract painter with a unique mastery of the medium. Her intimate oil paintings, like Untitled, 2025, almost defy categorization, with an intense range of colors. Her blues and greens present a blurry surface full of depth, where unknowable

shapes and forms are embedded within a mesmerizing whole that seems technique-intensive and effortless at the same time.

Another artist who works with obsessive pattern bordering on abstraction is Pat De Groot (1930–2018), who was known for seascapes and images of birds. In Snow, 2004, she depicts a full pictorial space of what appears to be windblown snow over a landscape, with a band of white across the lower border of the panel, perhaps as an orienting scheme for the viewer.

Also find examples of figuration in the work of Ellen Siebers and Joanna van Son, whose oil paintings crop their subjects in contrasting ways. Van Son’s L.M.Y. August, II, 2025, is essentially a portrait in heavy impasto, while Siebers’ Bells, 2025, depicts a reclining figure cropped at the waist, in which the paint in low contrast blends the flesh with the substrate of the picture plane.

For still-life painting look for Nate Antolik, Nicholas Bierk, and Karol Palczak. Antolik’s Plate in Cupboard, 2024, renders a plate positioned on a shelf, cropped so the image zeroes in on a corner. He channels Giorgio Morandi but with an anxiety and compression suitable for the 21st century. In Bierk’s Poppy, 2022, the flower and vines occupy the center of a dark space, contrasting with Palczak’s Jablka, 2024, whose three apples in various states of decay present a contemporary memento mori .

This is just a small peek into what’s in store for Dallas this fall. With Cabinet Pictures, The Power Station has put together a museumquality survey of contemporary small-scale paintings that rightfully revel in a format that has withstood the test of time and continues to astonish us today. P

WHEN DALLAS LEADS

With its first traveling exhibition, Green Family Art Foundation positions the city as a launchpad for national art dialogue.

BY DARRYL RATCLIFF

canvas, 94 x 84 in. © Tschabalala Self.

Along-needed evolution for the Dallas cultural scene is to become a place that can originate touring art exhibitions, not just bring them in. On October 4, the Green Family Art Foundation (GFAF) will open New York Academy of Art: Chubb Fellows and Friends, the first exhibition it has organized to travel. What begins in Dallas will journey to New York in 2026, but for three months the Dallas Arts District will host a fascinating exhibition that stretches across forty years of figurative painting—where Jenny Saville and Tracey Emin hang beside emerging artists still earning their place in art history.

Founded in 1982 with Andy Warhol among its patrons, the New York Academy of Art (NYAA) was established as a corrective to MFA programs that had abandoned rigorous studio training for theory and abstraction. The Academy built its reputation on drawing from life, emphasizing technical mastery while fostering conceptual and critical inquiry. In partnership with Chubb, the global insurance company, the NYAA also awards its highest honor: the Chubb Fellowship. Each year, three alumni are given time, space, and resources to deepen their practice at a pivotal stage. As Laura Doyle, senior vice president at Chubb, puts it:

“The Fellowship provides three artists with a year to develop a body of work when they might still be earning their artistic voice. As a company we want to support that creativity and innovation as much as possible.”

For Hannah Murray, a 2021 Chubb Fellow whose painting The Couch (2022) appears in the show, the moment is personal. “My practice revolves around female portraiture,” she says. “I lean into a girliness that society might deem trivial—the ornamental, the glamorous—and reframe it as powerful. These things can be both tender and defiant at the same time.” The fellowship gave her not only a studio in Tribeca, but visibility in the city’s art world; it was, she says, an “excellent career starter,” leading directly to gallery representation. To now see her work alongside Emin and Saville—artists she studied as a student in Britain—feels like entering a conversation she has long been preparing for.

That conversation is what defines the exhibition. Katherine Delony, director of the Green Family Art Foundation and curator of the show, calls it “intergenerational, varied, and intentional.” The checklist reads like a roll call of the Academy’s extended family: faculty, fellows, visiting critics, and peers. Some are bound

by direct mentorship, others by studio friendships forged late at night in Tribeca. All of them share a lineage that traces back to the Academy’s founding. “From the very beginning, the Academy has been rooted in drawing from life,” notes Paul Provost, the institution’s president. “This exhibition reveals that foundation while showing how artists can use those skills as a springboard for highly individual, contemporary expression.”

Risk here is not only about materials—glitter, resin, foodstuffs— but about careers. The fellowship offers what young artists rarely receive: validation, stability, and the chance to work without compromise. From there, paths diverge—toward blue-chip galleries, biennials, and sometimes obscurity. But the Dallas exhibition insists that all those voices, taken together, describe the contemporary field. A Naudline Pierre canvas glows with spiritual intensity. Amy Sherald’s High Yella Masterpiece (2011) reframes portraiture in bold planes of color. Arcmanoro Niles renders bodies with glitter and light, insisting on joy. Cecily Brown’s Picture This (2020) unfurls a storm of brushwork that bridges figuration and abstraction, while Tschabalala Self’s Red Room (2022), built of crushed velvet, fabric, and paint, transforms the figure into a kaleidoscope of material, memory, and desire.

For the Green Family Art Foundation, which opened in 2021 with a mission to spotlight urgent, relevant voices, the exhibition also speaks to Dallas itself. “It’s important to show that these conversations are happening across cities,” Delony notes, “and that Dallas artists can see their peers in New York—and vice versa.” That exchange matters. Dallas audiences may recognize the celebrated names on the checklist, but Chubb Fellows and Friends reframe them within a lineage of teachers, students, and collaborators whose dialogue continues to shape contemporary figurative painting.

For Murray, the setting feels right. She recalls her first visit to the city for the TWO x TWO gala: “I was blown away by the glamour of Dallas. My work loves glamour and opulence, so it feels right to be part of that cultural scene.” Yet in the context of this exhibition, glamour takes on another meaning. It is not surface sheen but the radiance of possibility—the glamour of artists reinventing tradition, of institutions collaborating to showcase models for sustained artistic support, and of a city continuing to assert itself on an international stage. In Dallas, that glamour will not be decorative; it will be transformative. P

NOVEMBER 19, 2025 11:00 AM - 1:30 PM | JW MARRIOTT DALLAS ARTS DISTRICT

HONOREES PRESENTED BY

Business Champion for the Arts

Quincy Roberts

CEO, Q Roberts Inc.

Emerging Business Champion for the Arts

Peter Zwick

Partner, Jones Day

Outstanding Leadership Arts Alumnus

Ahava Silkey-Jones

Vice Provost, Dallas College School of Creative Arts, Entertainment, and Design

Lifetime Achievement

Dr. Richard C. Benson

President Emeritus, The University of Texas at Dallas

New Arts Initiative

Mullen and Mullen Injury Law

Arts Partnership

Peterbilt

Arts Education

CMC

Scan for more information on the Obelisk Awards ntbca.org

OBELISK AWARDS CHAIRS

Courtney Johnson & Michael Janicek

OBELISK AWARDS HONORARY CHAIRS

Craig & Kathryn Hall

CONNOISSEUR SPONSORS

ENTHUSIAST SPONSORS

COLLECTOR SPONSOR

AFICIONADO SPONSORS

Fisher Phillips LLP

Frost Bank

Hall Group

Jones Day

Mullen and Mullen Injury Law

MEDIA SPONSOR

Mario Merz, Italian, 1925–2003, 8, 5, 3, 1985, metal, glass, twigs, wire mesh, tar paper, tar, neon, and string, 14 feet 5 in. x 40 ft. 11.50 in. x 27

VENTURING BEYOND REASON

Artists channel the otherworldly in a world unmoored in Natural Mystics at The Warehouse.

BY DANIELLE AVRAM PHOTOGRAPHS BY KEVIN TODORA

The past decade has felt like a fever dream. We are witnessing in real time the dismantling of political, social, and economic systems, and the questioning of fundamental ideologies regarding personal freedom and executive power. The insanity of our current situation feels less like real life and more like the end of days depicted in Ghostbusters. To quote Peter Venkman (Bill Murray), “Human sacrifice! Dogs and cats living together! Mass hysteria!” As in the film, when what we’ve deemed as logical falls apart, the antidote is to lean into the supposedly illogical : the ancient, the mystical, the fantastical. In short, when things get weird, let’s get weirder.

Natural Mystics at The Warehouse (the second exhibition featuring works from both the Rachofsky and the Hartland & Mackie / Labora Collections, as part of the newly formed Warehouse Dallas Art Foundation) brings together artists who employ surrealistic and otherworldly imagery to venture beyond the rigidities of rational thought. They prod the recesses of our lizard brains to bring forth the beautiful and horrific, the things that scare us the most about being human in an increasingly inhumane world: disconnect with the natural, the rise of technocracy, and loss of bodily autonomy.

States curator Thomas Feulmer, “Natural Mystics looks at the ways artists seek out alternative understandings of the world—ways of thinking and understanding outside logic, reason, algorithms, established structures, and even language. Against the backdrop of deeply complex times, we tend to turn to the unknown…either for answers or entirely new frameworks for making sense of the world.”

The exhibition opens with Mario Merz’s 8, 5, 3, a trio of igloos comprised of twigs, tarpaper, and glass. The phrase “objet cache-toi ” (“object hide yourself”) stretches across the twig structure in red neon lights. The title refers to the diameter of each igloo as well as the Fibonacci sequence, in which each number is the sum of the two that precede it. Igloos were a recurring motif in Merz’s work, speaking to ideas of nomadism, community, and living in harmony with the natural world. Merz was also a key figure in the Italian Arte Povera movement, which rejected technological minimalism and focused on the use of humble materials and natural processes. Included alongside Merz’s igloos are works by younger artists like Daniel T. Gaitor-Lomack and Stuart Middleton, who imbue found materials with poetic and spiritual meaning.

Two galleries present a series of paintings in which singular figures occupy a variety of largely empty environments, emphasizing the physical and psychological vulnerability of a body in space. The bulk of these works are dark and portentous, casting figures in deep shades of greens, blues, and blacks. Xie Lei’s Au-delá I features a body in repose, positioned somewhere between anguish and ecstasy, while Sam McKinniss’ Greg Louganis captures the Olympian midway through his fateful 1988 dive, during which Louganis, an HIV-positive gay man, hit his head and suffered a gash and concussion—caught in a moment of professional glory that would forever be colored by the mishandling of the AIDS epidemic. An antidote is Julien Ceccaldi’s Out the Window Towards the Bavarian Castle, a Miyazaki-inspired fairytale image of a spindly figure blissfully floating through a pink and orange tinted sky.

Other bodies exist as mere suggestions—fragmented and undulating forms punctuated and distorted by ecstatic visions,

CONTEMPORARIES

swirling with rage, confusion, and melancholy. RULER , by Stefanie Heinze is an acid trip amalgamation of dismembered body parts, animal-like creatures, and random objects that have fused together in a MAD magazine-esque unholy matrimony, a frenzy of pure id. Amy Brener’s sculpture, Dressing Kit (earth girl), is a post-apocalyptic totemic form created by encasing bits of everyday detritus in resin and silicone, across which some sort of clothing or skin has been draped. Is this a marker of a lost civilization or a monument to a fallen one?

A suite of works by artist Hiroshi Nakamura demonstrates the unsettling power of Reportage, a movement that emerged in opposition to American military presence in Japan following World War II. Central to Nakamura’s paintings is a nautical uniform-clad schoolgirl who is haunted and physically consumed by a dreamlike postwar landscape decimated by the military-industrial complex.

Central to the exhibition is a gallery pairing Maurizio Cattelan and Alex Da Corte. Cattelan’s iconic drummer boy is perched atop a wall, while Da Corte’s brand-new sculpture The Guiding Light, depicts a Humpty Dumpty–style anthropomorphic egg sitting on the edge of a towering brick facade. Here Cattelan, whose humorous gestures and unassuming characters routinely skewer politics and power, reimagines the protagonist of the 1959 novel The Tin Drum by Günter Grass–a young boy who chooses to stop growing and instead beats a tin drum to warn of the horrors of war. Da Corte, known for his recontextualization of historical and pop-culture characters, presents a figure, best known for its eventual demise, as blind to truth and knowledge. It’s a take on the classic chicken-and-egg paradox: Do selfcreated rules exist to be destroyed, or will they be the arbiters of our own demise? P

A BALM FOR THE SOUL

Marjorie Norman Schwarz paints beyond uncertainty through a quiet kind of transcendence.

BY EVE HILL-AGNUS

It’s easy to get lost in Marjorie Norman Schwarz’s paintings. And then again, found.

While her practice has encompassed figuration, a soft sensibility and smart abstraction radiate from canvases that are luminous and enigmatic. Her technique involves a slow and layered process, sans destination. “When I’m working, I never know what it’s going to be,” Schwarz says. “It’s never really about anything for me.” Abstract painting, instead, is a never-ending exercise whose goal remains losing one’s bearings in order to better arrive at a place of discovery: “I feel like if I get out of my own belief system, I can really find something,” Schwarz says.

Moving away from a previous practice based on photographs was intentional. “I wanted to switch from working figuratively because I didn’t want to have to rely on anything,” she says. She chose the lonely and exploratory path of abstraction, unmoored from compositional givens, creating a language from scratch and facing both the openness of possibilities and the metaphorical storms at sea. “Every time I come to painting, I feel like I don’t know how to paint,” Schwarz says. “That’s why I keep coming back to it, because that’s the ultimate challenge.”

Working with water soluble oil paint on canvas or on linencovered board, Schwarz creates delicate, aqueous impressions via meticulous, thin application using a small paintbrush to build up the surface. “I’ve developed a relationship with the material, where I know it really well,” she says.

The scale, though, is new. In a move that favors immersion, Schwarz has chosen a size that reflects her own body for the nine paintings that comprise her latest exhibition at 12.26.

She was among the first artists on the roster of this gallery that is now entering its sixth year. “She helped set the tone for our program,” says Hannah Fagadau, who opened 12.26 with her sister Hilary. Schwarz was also the first of their artists to have work acquired by a museum, the Dallas Museum of Art—a memorable milestone.

While Schwarz’s small paintings are atmospheric and all-

encompassing, her work’s harmony transcends any sense of scale. “When she takes the time to make these larger canvases, they’re breathtaking,” Fagadau says. “The more you sit with it, the more it gives you,” she continues. “It’s generous in a way that’s rare.” Everyone sees something different in the artist’s work, she points out. And there is a kind of magnanimity in its mesmerizing quality of giving people what they didn’t even know they needed. Often that is a sense of joy, of tranquility.

Since February, the artist has been laboring over the nine paintings that will ring the walls of 12.26’s Dallas space. “I usually just hole up and make paintings and put them out there,” Schwarz says. “I try to really go into a vacuum and find my own way.” She prefers to spend eight hours per day working in this cocoon or dreamlike stage without taking time off or allowing other art to influence her, “I’m trying to reevaluate what I think I know,” Schwarz says. “I have to work a lot. I always think I’m going to get to a point where it’s easy, but it’s never easy.”

But at the end, she admits, “there’s this painting. And the painting is like reflecting on a past experience”—the ease after a struggle.

Often it feels, she says, like a form of déjà vu: “As if I’ve made the painting before, but as if time is condensed. It hasn’t happened yet, but I already know what it is,” she says of the process of uncovering its particularities. “The painting becomes something that’s very ‘other’ than me, but it’s something I know: it’s of me.”

The patience Schwarz has for herself and for her practice is something others admire. “She never rushes anything,” Fagadau says. Slowness is its own reward. With slowness comes one’s own humble bid for an ethereal kind of enlightenment.

“It’s like I’m looking for the hardest exercise I can find,” Schwarz says of this practice that draws her both because and in spite of its difficulties. “Like I need to be skilled at suffering. But it’s like you go into a deep meditation. And they say you get to a state of stillness. And what’s after that? I don’t know what’s after that,” she admits. And then, like a true artist: “Maybe this is it.” P

CULTURAL CURRENCY

ARTS-SUPPORTING BUSINESSES HONORED WITH THE OBELISK AWARDS

BY NANCY COHEN ISRAEL

PHOTOGRAPHS BY JOHN SMITH

North Texas business and philanthropy is legendary, especially when it comes to support for the arts. Every year, the Business Council for the Arts bestows the Obelisk Awards on nominated individuals and corporations whose extraordinary efforts enrich our cultural community. Seven honorees will be publicly recognized at a November luncheon cochaired by BCA Executive Board members Courtney Johnson and Michael Janicek.

The majority of this year’s awardees are connected to educational institutions. Dr. Richard C. Benson, President Emeritus of the University of Texas at Dallas, is receiving the Lifetime Achievement Award. Recently retired, he strove to transform a STEM university into a STEAM institution. Regarding the integration of disciplines, he says, “Throughout my career, I have always felt that the best scientists, technologists, engineers, and mathematicians (i.e. STEM) were also great artists. UT Dallas has established itself as one of the foremost universities where bright, creative minds can develop both sides of their brains.” His tenacity is also credited for the creation of the Edith and Peter O’Donnell Jr. Athenaeum.

For the second year in a row, the Obelisk Award was created by Simon Waranch, whose roots extend to the visual arts conservatory at Booker T. Washington High School for the Performing and Visual Arts. This year’s Obelisk honoree for Arts Education, CMC, has been providing the school with metal scrap material for almost five decades. CMC also sponsors the annual juried Scrap Can be Beautiful contest and exhibition, offering transformative cash rewards to the winners.

Honorees Peter Zwick, a partner at Jones Day, and Ahava Silkey-Jones, Vice Provost, Dallas College School of Creative Arts, Entertainment and Design, emerged through the BCA’s Leadership Arts Institute. “The mission of the Leadership Arts Institute is to train business executives to be successful as board representatives for arts organizations,” explains Stacie Adams, BCA chief executive officer. Zwick and Silkey-Jones, award recipients of the Emerging Business Champion for the Arts and Outstanding Leadership Arts Alumnus, respectively, quickly absorbed the lessons learned from the program. Zwick distinguished himself as a member of the Dean’s Advisory Council for the UT Dallas Harry W. Bass Jr. School of Arts,

“The mission of the Leadership Arts Institute is to train business executives to be successful as board representatives for arts organizations.”

–Stacie Adams, BCA Chief Executive Officer

Humanities and Technology, while Silkey-Jones is setting the tone for the next generation of arts leaders.

Awardees Quincy Roberts of Q. Roberts Inc. and Mullen and Mullen Injury Law are making lasting impacts on opposite ends of the music scene. In addition to leading his family’s company, Roberts, this year’s Business Champion for the Arts honoree, is deeply rooted in music as a supporter as well as an artist. Serving as vice chairman of the board of the Dallas Symphony Orchestra and chairman of the board of The Dallas Opera, he also performs with the latter. He credits public school field trips to see the DSO and TDO with instilling his love of music. “Those formative trips helped me understand how music can unite people and enrich communities. That foundation has stayed with me and fueled my ongoing commitment to supporting the arts in Dallas,” he shares.

Roberts made his debut as Count Ceprano in TDO’s most recent production of Rigoletto. He says, “That role was meaningful not only because it was my first solo, but because The Dallas Opera has played such a central role in my life. It’s truly come full circle—I started as a high school usher at the Fair Park Music Hall during opera performances.”

Students from the Booker T. Music Conservatory performing at the luncheon can perhaps, through Roberts, a former Booker T. student, envision their own futures of bridging music and philanthropy.

The weeklong live music celebration Jambaloo is the signature program of the Mullen & Mullen Music Project. Unique in its scope and broad in its impact, it earned Mullen and Mullen Injury Law the award for New Arts Initiative. The event sponsors free concerts in neighborhoods across Dallas, Fort Worth, and Denton. In addition to covering venue costs, Mullen & Mullen also provides fair pay to participating artists.

Obelisk Award nominees come from across the region, including this year’s Arts Partnership honoree, Denton-based Peterbilt. In addition to its ongoing sponsorship of the Denton Black Film Festival, the company also supports a range of events and programs celebrating Black culture and creativity. As funders of the Quakertown, USA documentary project, Peterbilt is helping illuminate the legacy of Denton’s historic Black community.

Humility, according to Adams, is the thread uniting these honorees. For Benson, this award reflects his decades of work on behalf of the arts, while Roberts’ represents the possibilities of future artists and patrons. Combined, these honorees exemplify the long continuum of what the alchemy of business and philanthropy can do for the cultural community. P

Born out of solitude during the pandemic, Ying Li’s exhibition Hothouse at Valley House Gallery and Sculpture Garden presents paintings made on the deserted campus of Haverford College. Immersed in the wild, untamed beauty of an uninhabited landscape, Li painted en plein air, allowing the energy, light, and atmosphere of each location to guide her.

Chris Byrne (CB): Hothouse is your current exhibition at Valley House. How did the show come about?

Ying Li (YL): During the COVID 19 pandemic, Haverford College, where I have been teaching since 1997, shut down. The students all went home. I painted on the deserted campus, with basically nobody around, through the pandemic. I set up at the locations I wanted, just painted, and didn’t even think or worry about whether I was making a good painting or not. It’s just to paint, to focus, to go through that very difficult time.

The campus was glorious and wild because of no interference from humans, and the plants, flowers, and the animals around, they were very happy. That’s how I painted these pieces. They are the paintings that came out of that strange and vulnerable time.

A selection of those works showed in my solo exhibition entitled Blossoms in the Time of Sudden Strangeness in the Cantor Fitzgerald Gallery at Haverford College in 2020. Then this show, with additional work, traveled to the Eleanor D. Wilson Museum at Hollins University in Virginia. Cheryl and Kevin Vogel at Valley House Gallery and Sculpture Garden liked the work and suggested to have a show on this theme. So the show is partly pandemic paintings, combined with some of the most recent work on the same theme.

CB: In 1983, you moved to the US from China to continue your studies at the Parsons School of Design. When did you first encounter Western painting?

YL: My very first exposure to Western painting was as a little girl looking at reproductions in one of my father’s Russian magazines.

Out of the Hothouse

Ying Li’s paintings during a time of solitude reveal a profound connection to the landscape.

INTERVIEW BY CHRIS BYRNE

He was a Russian scholar, in China. I remember in the same page there were two images. One was of Picasso’s Harlequin . The other one was Matisse’s Goldfish in the Pushkin Museum. The bold color and the mysterious atmosphere in those paintings made a deep impression and just stuck with me as child. I was teaching at Anhui Normal University in China in the early ’80s after the Culture Revolution ended. I remember seeing reproductions of Western paintings—for example, of Picasso’s work—but I had never seen any Western painting in person until I landed in New York in 1983. I went to MOMA the day after I arrived in New York, and the first painting I encountered was Cezanne’s big Bather. It’s painted with subtle grays and blues, nothing flashy, a little awkward, but it felt monumental. Then I saw the de Kooning retrospective that fall, at the Whitney Museum. That show blew me away. The way he handles paint and his subject matter, for me at the time, was unthinkable, because I was trained to paint in the social-realistic style. It was really eye opening. Following that, the Bonnard show I saw at the Phillips Collection in DC—The way he used color and also the abstraction in his painting has been a big inspiration since.

CB: Following your show at Valley House Gallery, what upcoming projects can we look forward to?

YL: I have been working on the theme of jazz for the past decade. I’ve been traveling with Eddie Palmieri’s orchestra, the Mingus Big Band, the Latin Side band, and also a couple of others. I wanted to explore this because I feel for me that it’s the same way that the jazz musicians approach their music. I have finished on site a series of mixed-media works depicting musicians and music scenes in different clubs around the world. I am planning to do big-scale paintings based on my studies.

For another project, the poet and art critic John Yau has proposed a three-person show on variations of abstractions including three painters: Stanley Lewis, Eric Aho, and me at the Milton Resnick and Pat Passlof Foundation in New York City. P

How to Properly Insulate an Artistic Cohort

A community of artists forge their own paths together in the Tin District.

BY BRANDON KENNEDY PHOTOGRAPHS BY VICTORIA GOMEZ

Just beyond the razor wire and standard-issue graffiti stamped with an orange “tin” district logo, a humble warren of artist studios is nestled in a repurposed, low, cinder block building in West Dallas. Located at 516 Fabrication Street, the offices and warehouse of a former spray foam insulation business comprise the eleven studios for the Tin District artists.

Having been a studio resident since 2018, artist Ricardo Paniagua plays the role of the elder statesmen of the group while sometimes also functioning as a de facto spokesman and advocate. As a self-taught artist, Paniagua is perhaps most well-known for his hard-edge totems, reliefs, and murals, which riff on Op Art and Geometric Abstraction. Paniagua also recently participated in Meow Wolf Grapevine’s The Real Unreal, contributing a kinetic environment that pulled inspo from the visual story of a nonbinary Hindu deity. Informally ordained “ART GOD” by others several years ago, Paniagua has always kept one eye on the divine, even as his bold alley tag here taunts otherwise.

The newest resident in the building, artist Francisco J. Marquez, has had quite the breakout these last few years in Dallas. After graduating with a BFA in drawing and painting from University of Texas at Arlington in 2024, the Mexico-born, Texas-raised painter held an exhibition in Conduit Gallery’s Project Room this past spring. Additionally, Marquez was a 2025 recipient of the Arch and Anne Giles Kimbrough Fund Award from the Dallas Museum of Art’s grant program in 2025. His latest exhibited body of work at Conduit paired evocative abstractions and rich coloration with a sense of nostalgic yearning.

The oil paintings and works on paper of artist Sophia Anthony explore fractured interior scenes and distressed male subjects while sometimes easing into abstraction in the negative spaces and architectural details. Since obtaining an MFA from the University of Chicago in 2022, Anthony has had a pairing of solo exhibitions entitled Interior Motives I & II at Ro2 Gallery in Dallas in 2023, and has participated in gallery presentations at both the Dallas Art Fair (Make Room, 2025) and the Dallas Invitational (VSF, 2024). Anthony has been a studio resident at 516 Fabrication since December 2024.

After earning her BFA at Washburn University in Topeka in 2014, Maria Haag has spent her last decade living in the Metroplex, including earning an MFA in drawing and painting at the University of North Texas in 2021. Often combining ponderous fauna subjects against a wondrous or manufactured landscape, Haag’s paintings swirl and tussle about, waiting for a release to the tension

held within. Last year, Haag had a solo exhibition entitled Wayfaring Stranger at James Cope Gallery in Dallas, and she has participated in recent group presentations at both Felix Art Fair and the Dallas Invitational with the eponymous North Dallas outpost. Haag has had a studio in the Tin District building since August 2023.

Having also recently participated in Meow Wolf Grapevine’s The Real Unreal, artist Alex Revier gleefully melds the everyday into an absurd parade of cartoonish salvation. Gathering inspiration from his experience of staging this art environment in his childhood mall, Revier mounted the exhibition Gentle Persuasion: A Study of Splatter at Ro2 gallery leading into 2024. Last fall, the Irving native also participated in the third edition of the Chateau Show at the Aldredge House and painted a mural on Rubber Gloves, the beloved live music venue in Denton. A resident of the studio building for the past three years, Revier is currently prepping work for a future exhibition at Ro2.

All the artists of 516 Fabrication speak of a shared communal spirit. While their individual studios offer refuge for attention and reflection, the shared spaces and easy camaraderie give them access to deeper dives and feedback from their peers. Every spring and fall the group takes part in the neighborhood’s ArtWalk West and open studios hosted by the Tin District. Throughout the year, the artists also stage their work in the front gallery space for critiques, photography, or temporary exhibitions. They’ve lovingly dubbed this common space Butch Gallery, after Mr. McGregor, until recently their longtime landlord and a principal of West Dallas Investments.

As of March 2023, McGregor and his partners sold part of their longtime hold on the Tin District area to Nebraska-based Goldenrod Companies, totaling almost 90 properties on about 35 acres, according to their website. No longer conjectured, the neighborhood has been handed off for future development and will be completely transformed in the coming decade.

While looking at an artist’s rendering of the development, which abuts Trinity Groves, I ventured a guess as to where the Fabrication Street studio building lay on the map. However, everything on that side appeared to be smothered by a row of high rises and worse. Additionally, this October’s ArtWalk is sponsored by Venture DFW, a commercial real estate business that “...was established in 2001 to provide a key component in maximizing the value of a real estate asset.” Given that, the artists might just want to find a new namesake for their shared gallery space at 516 Fabrication Street— at least until their leases run out. P

sophia anthony

francisco j. marquez

A FRESH APPROACH TO UPTOWN LIVING

Crescent Real Estate’s 2811 Maple levels up sophistication in residential leasing.

BY TERRI PROVENCAL PHOTOGRAPHS BY ERIC LAIGNEL

In a pocket of Dallas where Victorian homes brush up against the edges of contemporary development, a new residential tower quietly signals a shift in how space and story intertwine.

In Uptown, 2811 Maple, Crescent Real Estate’s first residential leasing venture, reflects a broader effort to build not only for lifestyle, but for lasting cultural dialogue.

“Crescent Real Estate has long been committed to Uptown Dallas, and we are proud that The Crescent is such a prominent destination in the area,” says Joseph Pitchford, managing director at Crescent Real Estate. “We continue to contribute to the evolution of the neighborhood and felt the time was right to bring an all-rental residential development to market.”

Developed in partnership with MaRS Culture and Keating Architecture, the property offers more than upscale rental units in a prime location. “As Uptown’s newest Crescent-developed landmark, 2811 Maple is the perfect iteration of luxury that consumers have come to expect from our team, offered in a fresh context,” Pitchford describes.

The interiors were led by Kelie Mayfield, cofounder of MaRS Culture, a multidisciplinary studio known for merging material

sophistication with artful narratives. “From the outset, my vision for 2811 Maple was to create a place that lived as both residence and cultural story,” Mayfield says. “I was drawn to the idea of convergence—where past and future, tradition and innovation, refinement and humanity meet.”

Keating Architecture’s exterior language—rooted in proportion, cadence, and clarity—sets a deliberate tone. Mayfield’s response was to echo that precision while adding softness and scale. “Where the façade captures rhythm through brise-soleil and balconies, I translated those gestures into layered textiles, sculptural lighting, and furnishings that shift with perspective and light,” she explains.

Throughout, Mayfield says, the design engages in a subtle dialogue with Dallas itself, referencing cultural icons like The Stoneleigh, Neiman Marcus, Stanley Korshak, and the city’s streetcars (MATA) evoked through materials rather than overt gestures. “The architecture and interiors feel like two voices in a single, unfolding conversation—precise yet poetic, modern yet deeply tied to place,” Mayfield adds.

More than 30 curated and commissioned artworks are integrated, extending the building’s narrative through visual and tactile form.

“Each piece,” Mayfield says, was “an extension of its architecture rather than an afterthought. For instance, Brandon Mike’s handcarved plaster relief in the lobby sets the emotional register of the project: rooted in craft, deeply human, and resonant with memory.”

In the Courtyard Garden, a sculptural grouping by Brendan Jamison and Mark Revels, titled Cubed Figures, explores themes of community and kinship through geometric abstraction. “They distilled intimacy into a universal language of geometry,” Mayfield says. “Placed at the threshold between interior and exterior, they act as a symbolic gathering point, offering calm, connection, and reflection.”

Hand-thrown ceramics by Kylie Nicole, with their subtle irregularities and tonal glazes, are placed in the library and other common areas as small, grounding gestures. “Her forms remind residents of the ritual of daily life—of balance, touch, and reflection,” Mayfield says. “They soften the building’s modernity with human warmth.”

Despite the emphasis on design and curation, functionality was never secondary. Crescent approached the project with a hospitality mindset shaped by years of experience in luxury commercial and hotel spaces. “It was vital that we create a sophisticated hospitality environment where no detail was left unconsidered,” says Pitchford. “This is evident through the artful design of the building’s architecture and interiors, as well as its vast art collection.”

Residences are tailored for modern city living, especially for professionals and frequent travelers seeking privacy, efficiency, and ease. With no more than seven residences per floor and most

configured as corner units, the layouts maximize panoramic views while maintaining a sense of quiet retreat equipped with Bosch appliances, waterfall-edge islands, wood flooring, and private balconies.

Floor-to-ceiling windows invite shifts in light throughout the day, enriching the textures and tones of each interior surface. “Light and views were treated as design materials in their own right,” Mayfield says. “They become part of the architecture’s emotional and sensory experience.”

Amenities include 24/7 concierge, valet, elegant common areas, an expansive fitness center, and a resort-style pool with cabanas—all designed to foster ease rather than formality. “Every detail at 2811 Maple was crafted to make daily life effortless, comfortable, and refined,” says Mayfield. “It feels like a resort but grounded in place.”

This attention to nuance and place reflects Crescent’s deeper vision—not just to build, but to contribute meaningfully to Dallas’ urban fabric. “Thanks to Crescent’s longstanding place in the Uptown community, we feel we have a firm grasp on what residents are looking for in a home,” says Pitchford. As to their first residential foray, he describes, “2811 Maple offers proximity to the cultural life of the neighborhood: fine dining, fashion, and a strong sense of connection.”

Ultimately the residential tower favors substance over spectacle, reflecting a clear vision of what today’s discerning urban dwellers seek: thoughtful design, quiet sophistication, and security. “We hope that 2811 Maple will provide each resident with a place of respite from the hustle and bustle of their everyday lives,” Pitchford concludes. P

WHOLE CORPUS

A FOCUSED SURVEY AT THE NASHER REVEALS THE BREADTH AND DEPTH OF BRITISH SCULPTOR ANTONY GORMLEY’S PRACTICE.

BY EVE HILL-AGNUS

It is never a bad time to contemplate our place in the universe or our relationship to the splendid, wondrous envelope that is our body. British sculptor Antony Gormley has, for decades, given us a vantage point from which to do so via his interest in the liminal and metaphysical relationship between the body and what is beyond the body, as explored through his sculpture and installations.

In 2026, Gormley’s enormous, permanently sited sculptural installation Elemental, a reclining, abstracted human form, will grace the shore of an island of South Korea. Close (2025), a maze of towering brick bodies, was installed over the summer in the Khoja Kalon Mosque for the Bukhara Biennale in Uzbekistan. And the permanent architectural installation Ground (2025), a collaboration with Japanese architect Tadao Ando, scattered Gormley’s bodies inside the latter’s soaring concrete dome. For years, the sculptor has been busy drawing our attention to the body in myriad ways.

But the Nasher exhibition SURVEY, which opened in September, represents the first opportunity in the United States to take in a broad range of work, contemplate facets of the artist’s practice, and resonate with what Gormley’s obsessions suggest about the possibilities of sculpture, the body as vessel, and the complexity of physical existence in space. “He talks a lot about every exhibition opportunity being a test site to create a new encounter,” says Nasher chief curator Jed Morse.

The sculptor, based in London, has been an important figure within the Nasher collection since 1985, when Patsy and Ray Nasher purchased Three Places (1983), a trio of body-cases cast in lead, offering

life-size figures, based on Gormley’s own body, standing, sitting, and prone. Later, Quantum Cloud XX (Tornado), a maelstrom of stainless steel coalescing into a human form that extends the internal space of the body to form a field, unbound by skin, entered the collection in the early 2000s, while the Nasher Sculpture Center was still under construction, and has been a significant presence since.

A large portion of Gormley’s most acclaimed work—his own shape is the template from which he extends these explorations of the body in space—engages the public realm. In keeping with his commitment to public works, he envisioned a new, site-specific project to be installed on Downtown Dallas skyscrapers. Body spaces composed of stainless-steel bars evoke open silhouettes whose edges are defined by the light they catch and send back to the eye: “Just these bodies elevated in the sky,” Morse says. Dazzling corpus constellations of reflected light, they are a more porous version of Gormley’s public sculpture installation Event Horizon, sited variously in London, New York City, São Paulo, Rio de Janeiro, and Hong Kong.

A spark for the new Dallas work arose when Gormley glimpsed a figure from his Domains series installed at the Musée Rodin in Paris, France, in 2023, its dynamic matrix of bars permeable and receptive. “Seeing it silhouetted against the sky was something that gave him this notion of the possibility of that encounter,” Morse says. “And then of course the vastness of the Texas sky. I think he felt like this would be a really extraordinary test site for that.”

True to the title’s promise, and despite obvious spatial limitations,

the exhibition features models of a selection of Gormley’s more than 60 large-scale and permanently sited works around the world. That some of them exist merely as models or concepts ushers the viewer even more intimately into his process. In the same gallery, a chronological array of workbooks ranging from his artistic beginnings to the present day (pictorial snapshots jotted in his studio or on the Tube) convey a sense of the richness of his mind—how he sees space and line.

“He’s constantly thinking about both the very intimate and personal—because our experience of the world is through our own filter, which is our body, our senses, which are integrated within our bodily form—but also projecting that onto the world at large in ways that underline or magnify that very intimate experience,” Morse says.

Gormley’s time studying Buddhism in his 20s brought the sculptor an intimate and sensitive manner of envisioning the interior architecture of the human body. But Morse reminds us of how much American Minimalism was a touchstone for the artist, bringing with it a focus on the autonomous object in space that, when applied to the human form, allowed it to convey more than it had been permitted to do.

Thinking forward and backward in time is something that is consistent with this artist, who is both open-minded and erudite. “And also thinking very small—thinking intimately and towards the interior—but then also having an intimate and expansive connection with the world. It’s where he is all the time,” Morse says, chuckling.

Regardless of size or site, Gormley’s work tends to return us to our place in the world. There is a deeply grounding dimension to this oeuvre that puts humans and humanity in perspective relative to something vaster in a way that is, simultaneously, boundless and reassuring. P

BAPTIZED BY FIRE

DAVID-JEREMIAH IGNITES A MONUMENTAL VISION AT THE MODERN ART MUSEUM OF FORT WORTH.

BY DARRYL RATCLIFF

On a sweltering Dallas afternoon, David-Jeremiah recalls the first time he went camping. It was with the Royal Rangers, a Christian camping and scouting program he joined through a church near the Potter’s House in Dallas, Texas. “It was like Christian Boy Scouts,” he tells me, half amused, half incredulous. This early memory becomes a fitting entry into his solo museum exhibition The Fire This Time, at the Modern Art Museum of Fort Worth through November 2. The exhibition presents a monumental installation and inverted performance entitled Hood Niggas Camping. Because who, after all, goes camping? And what happens when you go camping inside a museum?

The work installs itself like a trap. A circle of black, tri-part assemblages, abstracted from Lamborghini hood silhouettes, forms a Stonehenge of car culture. You stand in the void where the fire should be. But here, the fire is not the sculpture. It’s you. Every gesture, from turning your neck, to squinting your eyes, to texting a friend afterward, becomes kindling. Richard Serra wanted steel to shape you; James Turrell wanted light to hold you; David-Jeremiah wants combustion—the sense that the viewer doesn’t just encounter the work but becomes its fuel source. It is a reversal of the museum’s pact with its visitors, the assumption that they come to look safely, passively, from the outside. Here, the contract burns. The audience is not a privileged witness but substrate. And he delivers the line like a dare: “Of course, I’m going to make the goer be the art for the art the right way… What are they gonna do about it? That’s still the concept.”

Validation is David Jeremiah’s accelerant. In the traditional art world, validation flows downward: museums and collectors confer value on an artwork, which in turn bestows prestige on the audience that sees or owns it. David-Jeremiah reverses the circuit. “Revert, invert. We all know what the fuck this shit is,” he says. Instead of art being validated by the institution, his sculptures validate themselves by consuming the audience. Hood becomes the model: a concept that outsiders often write off as nearly all deficit—“99.9 percent bad,” in

The audience is not a privileged witness but substrate. And he delivers the line like a dare: “Of course, I’m going to make the goer be the art for the art the right way… What are they gonna do about it? That’s still the concept.”

his words—but that still contains a rare spark of brilliance, enough to ignite something larger. “Ninety-five percent of Black people aren’t criminal, never have been criminal, aren’t ghetto,” he insists, pushing back against the mythologies of pathology that cling to the word “hood.”

Just as crucial as the sculptures themselves are the texts and scripts that surround them. David-Jeremiah has written four major texts on Hood Niggas Camping , a quartet he calls Cold Spec, Idle Spec, Throttle Spec, and Redline Spec. They read less like commentary than like gears in an engine, each ratcheting up intensity until the project redlines. Cold Spec sets the terms: Hood, Nigga, and Camping as elements, with the viewer drafted into the role of fire. Idle Spec begins to turn the crank, meditating on validation: how museums usually let prestige flow top down, and how his work inverts the current so that the sculptures consume the audience as fuel. Throttle Spec accelerates into romance, possession, and the question of “real” Hood, arguing that Black and Hood must own the means of production rather than be endlessly consumed by others. Here, “real” itself becomes slippery. Hood’s authenticity can be claimed by the snitch, the loyalist, or the opportunist, depending on circumstance. For David-Jeremiah, that elasticity is the point. It’s what allows Hood to stretch from the contradictions embodied in an NBA star like Ja Morant to a rapper like Young Thug—figures whose public lives toggle between triumph, scandal, and survival—and finally to the contradictions of the artist himself.

And Redline Spec goes maximal: a torrent of riffs, comic experiments,

and philosophical trials by fire. It is where the language begins to overheat, words bent until they spark. The text doesn’t just describe the work, redlining itself into excess. For David-Jeremiah, this escalation is crucial: “The main function of me writing is to verify what I believe a true conceptual artist should be,” he says. “I don’t want to hear anybody talk about how they are a conceptual artist, and they can’t tell me exactly what everything means.” The writing here is not ornament but engine, proving conceptual rigor by running language to its limit.

“N****r did the work and turned into nigga,” he tells me, anthropomorphizing language like a species. Words, for him, are sentient. They evolve, adapt, outlive us. His “nig Latin” riffs— replacing consonants with n (ntility, nodel)—veer between silliness and revelation. He insists the humor is intentional, even generous. “I want to give people multiple entry points,” he says. It’s not just provocation; it’s access. Glenn Ligon’s language paintings staged Black speech in white-on-black stencils. Joseph Kosuth made propositions in Helvetica. David-Jeremiah treats words like organisms, systems to be tested, mutated, laughed with.

The layering of David-Jeremiah’s practice situates him across multiple movements in art history. He borrows Minimalism’s phenomenology, Land Art’s monumentality, performance art’s endurance (Chris Burden, Marina Abramović), and institutional critique’s tactics (Andrea Fraser, Adrian Piper). He aligns with Black conceptualists—Ligon, Martine Syms, Arthur Jafa—but diverges in his insistence that insider speech need not be translated. His work

also extends the legacy of David Hammons and Pope.L, artists who weaponized absurdity, humor, and risk to expose how race and value circulate in art. If Hammons turned snowballs and basketball hoops into critiques of spectacle, and Pope.L crawled city streets to reframe visibility, then David-Jeremiah sets language and the museum itself on fire, insisting that the audience is not outside the work but creating from the center.

Even the artist talk at the museum refuses to play a secondary role. Presented as a film, it functions as an artwork in its own right—part lecture, part performance, part hostage video. He riffs on the A/ER distinction, slips in and out of seriousness, and even scripts his own abduction by a “short hood nigga.” But what lingers isn’t just the provocation—it’s the form. By filming the talk as cinema rather than documentation, David-Jeremiah aligns himself with traditions of performance art, structural film, and Black media parody. The work destabilizes the normal hierarchies. Where most artist talks exist to explain, his exists to mystify, seduce, and unsettle.

Throughout David-Jeremiah’s work, mortality lingers. He signs works “Ecklaudio” after two dead friends. The name is a grafting of their first names, a way of carrying them forward. To etch their memory into every work is to make them coauthors of the practice,

present even in absence. It is a refusal of erasure, an acknowledgment that the hood is marked by premature loss but also by the duty to transform loss into fuel. “Art is my best attempt at immortality,” he admits. These are lines that hum with conviction, as if the practice itself were saving him. Yet solemnity never dominates for long. He punctures it with jokes—“nood niggas nampin’”—that undercut any temptation toward sanctity. The silliness is part of the burn, a refusal to let the work calcify into a single register.

“To do what we do on this level, it’s 0.001 percent,” he tells me. “You got to ask yourself, what’s the trade-off to be in that percentile? …You also have a job to art that allows you to sit up here and be a gatekeeper of immortality, because that’s what the canon is.” The remark reframes the practice not as hustle or even ambition, but as a statistical miracle. To enter the canon, he argues, is to balance on the razor’s edge of rarity and mortality—accepting both the cost of sacrifice and the responsibility to shape what survives.

It is, as David-Jeremiah writes, “about making something more than you the way you want it to be for longer than you’re able to.” When I ask him what he thinks about his own mortality, he doesn’t flinch. “I think that I’m finally not wasting it anymore,” he says. The words hang like smoke after a fire, still warm, still stuck between heaven and earth. P

A COUNTRY OF CONTRASTS

FROM VIVID SATURATION TO DELICATE SHADOW, TWO PHOTOGRAPHERS FRAME MEXICO’S VIBRANT SOUL.

BY NANCY COHEN ISRAEL

The Meadows Museum is taking a detour this fall as the internationally renowned institution, best known for its Spanish art, opens the season with three exhibitions focusing on Mexico. Two of them, Roaming Mexico: Laura Wilson and Manuel Álvarez Bravo: Visions of Mexico, are photography-based.

“Everything started with the Laura Wilson exhibition that our former director, Mark Roglán, promised before he passed away (in 2021),” notes Meadows Museum curator Dr. Patricia Manzano Rodríguez, adding, “Laura has a long history with the museum. She is a local artist and has exhibited with us before.” While Wilson’s oeuvre is vast, this is the first exhibition devoted exclusively to her four decades of exploring Mexico. It features 87 works, including her first encounters with the country in the 1980s and continuing through recently completed work taken specifically for the exhibition.

Wilson recounts her first visit to Mexico when she crossed by car with a friend from generically bland Laredo into the technicolor throngs of Nuevo Leon. “Mexico is so rich and full and vibrant, and that struck me immediately,” Wilson explains. In addition to its unique light, bold colors, and dynamic social interaction, she talks of the first spectacle she witnessed. While they were stopped at a traffic light, she saw a man holding a Clorox bottle. He took a swig of the flammable fluid before igniting it and spewing flames. “I jumped out of the car, and I took several pictures of him. That was my introduction to Mexico,” she relates. One of many images she captured on film that day, it remains one of the most important in the exhibition. A color image, taken ten years later in Michoacán of another fire breather, is now the other half of a diptych on the theme.

The exhibition is comprised of black-and-white and color prints. “I worked in black-and-white initially when I first

began photographing as, obviously, many photographers did.” she says. Her work documenting the border, from the 1980s and ’90s, was largely shot in black-and-white. Moving deeper into the country’s interior, it became evident to her that it would be best captured in color.

With her background in painting and design, she ultimately realized that color photography could be manipulated in its own ways. “The idea that you could actually shift color and really exaggerate it and change it and change the meaning of a photograph by shifting the color was very compelling to me. Most of these photographs in color have been, I’ll say, exaggerated,” she notes. In a portrait of two brothers who own a nursery, for example, the addition of a green wash across the surface created greater visual interest for her.

As a portrait photographer, Wilson is keenly interested in the workers she has encountered throughout her Mexican sojourns. As she explains, “I like to have the person placed in the environment in order to add more information about that person’s character or existence.” Traditional agricultural festivals that are increasingly disappearing have also been an area of fascination for her. And deeply rooted religious and cultural observances that undergird Mexican society are evident across this body of work. Over the decades, traveling with a local guide has been key to photographing deep within the country and gaining otherwise unattainable access to her subjects.

The exhibition’s installation, in galleries brightened with soft pastels, was conceived with her longtime collaborator, art director Gregory Wakabayashi. As with the images on the wall, this palette has deep personal meaning for Wilson. “The museum’s willingness to indulge me in these colors will add to the impact of the exhibition and to the photographs themselves,” she says. She hopes that visitors will come away with an appreciation for and broader view of our southern neighbors.

Presenting Wilson’s images of Mexico seemed like the perfect opportunity to put the museum’s rarely seen portfolio of 15 photographs by Manuel Álvarez Bravo on view. Loans from the Dallas Museum of Art and the Amon Carter Museum of American Art augment the installation dedicated to this early 20th-century Mexican master. The parallels between the artists’ works enrich both. “We found wonderful connections and photographs that speak very well to each other in both exhibitions,” Manzano says.

With the work of these two photographers on view in the museum’s upstairs galleries, the curatorial staff continued the celebration of Mexico downstairs. Here are featured works on paper from the permanent collection by iconic Mexican muralists such Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. “We have a very good collection of postrevolutionary Mexican art,” explains Manzano, adding, “Those are the decades when Bravo started his photography career, in the 1920s and 1930s, just after the Mexican Revolution. We found great connections between all of the artists on display.”

As the museum concludes its 60th-anniversary celebrations, these fresh perspectives prove its continued endurance as it embarks on its next decade. P

THE EARTH’S SILENT HISTORIES

Emmi Whitehorse’s meditative landscapes uncover the subtle mysteries beneath our feet.

INTERVIEW BY ANNA KATHERINE BRODBECK

Emmi Whitehorse’s paintings exist in a realm where memory, landscape, and intuition converge. A member of the Navajo Nation and a pioneering voice in contemporary Indigenous art, the artist’s work defies categorization—fluidly merging abstraction, mark-making, and layered imagery to form visual meditations on land, history, and the unseen energies beneath the Earth’s surface.

Over a career spanning more than three decades, Whitehorse has opened vital paths for Native women artists, resisting imposed limitations and championing the freedom of individual expression.

In anticipation of the Dallas Museum of Art’s inaugural Collection Gala, Anna Katherine Brodbeck, the DMA’s Hoffman Family Senior Curator of Contemporary Art, chatted with Whitehorse, the event’s honored artist, and John Addison, her studio director and advocate, about her groundbreaking painting practice.

Anna Katherine Brodbeck (AKB): First, I want to thank you so much for your contributions to the field of contemporary art—we are so excited to honor you at the DMA during our first-ever Collection Gala this fall.

We are especially thrilled to be able to share with our audiences the recently acquired Homecoming , a gorgeous painting you completed this past year. Can you tell us a little bit about the imagery you used in this painting, and why you chose this evocative title?

Emmi Whitehorse (EW): I start each piece not knowing what it will look like when I’m done. I don’t have a particular aim; it just develops while painting. I noticed the boat shape in the painting, and I thought it was kind of homey, in the sense of a mythological device that you can use to return home or even travel through time. At the same time [fellow artist] Jaune [Quick-to-See Smith] had just passed, and it seemed perfect to call it Homecoming

AKB: You make two points here that I’d love to hear more about. First is your relationship to home, because I know place is very important in your work.

EW: I live in a very high altitude. It’s very arid. There is very little green. There is an interesting history that you can see of how the Earth formed. There are ancient lava flows everywhere. There are fossils of dinosaurs and ocean life. There are rare coral reef fossils, seashells, petrified wood—everything that was before us. And you can see how the Earth has changed: the progression of how the land has moved and been shaped by the years. And that’s what I see every day. I just began looking , and now I cannot not notice those things; I have to examine it. So I put some of these images in my work.

AKB: You mentioned Jaune Quick-to-See Smith, the pioneering artist, who I know was a close friend and who sadly passed away last year. Jaune’s Montana Memories from our collection is on view in our Arts of the Indigenous Americas Gallery. What impact did Jaune have on you, and what would you like to share about her legacy?

EW: Jaune and I were very good friends, and we met at school at UNM (University of New Mexico). I was a student in the art department in the early 1980s, and she had enrolled there after moving from the East Coast; we just happened to run into each other in the hallway. We both had terrible experiences at that time due to what was expected of women back in those days. We were told to go to the education department and become teachers because women did not make good artists. This motivated us even more to push forward with our ideas, to be taken seriously. So we found more students and started showing, with our first group show in New Mexico. And I remember the people who came just hissed at us and weren’t very happy with us. Instead, they told us that we should just go home and do exactly what our parents and our grandparents did: Make pottery and weave rugs. And we just responded politely, and it made us see how important it was to get our contemporary work out there. So that was one thing that Jaune made me see: how important it was to be an individual person and express your ideas. John Addison (JA): It can be said that dealing with the climate of that time, and the struggles of women artists and women Native American artists in particular, really brought Jaune and Emmi together because there’s nothing like adversarial relationship. It’s us against them. And that fueled their friendship right from the beginning.

AKB: That is perfect segue to discuss this legacy of Indigenous women artists and how their

work might be differently perceived now. We have works by two younger artists, Teresa Baker and Raven Halfmoon, who pay tribute in different ways to legacies inherited from their respective Indigenous communities. How have you seen the art scene, both in your community and beyond, evolve and respond to the contributions of Indigenous women artists?

EW: In the 1980s we were constantly discouraged from being independent artists, but native women have always been in charge. They were always the owners of land. They owned the homes, and they would sell their work and bring home money to feed their families. And so they were always in the forefront running things, making all the choices as far as political and community-based decisions. They were in charge. So the younger generation are bringing their voices to the forefront , but it’s a much friendlier atmosphere than what we went through.

JA: And they are recognized as artists, which is important. They are also more focused on bringing forth issues regarding forgotten histories, which the older generation didn’t do. Some of the work that Jaune Quick-to-See Smith and Emmi have done over the years to push boundaries and get people to accept their artwork has made way for some of these younger artists, like Raven Halfmoon, to come to the table. The microphone is already there, and they can really go a lot deeper than Emmi and Jaune were able to do because people are listening from the get-go. That freedom of expression, while it was hindered in Emmi’s early years, is now encouraged, and that makes all the difference. Creative expression is such a delicate thing, and if it’s encouraged, it’s such a different world than if it’s discouraged.

AKB: Finally, I wondered if you could tell us a little bit about the work that we will see presented in this year’s auction and what it means to you to be the inaugural Collection Gala’s honored artist.

EW: It’s called Forest Floor, and it is an intense-blue painting, which contradicts what you expect to see on the forest floor. It focuses on the micro, unseen activities that you don’t notice on the ground when you’re inside a forest: how things move and grow under dead leaves

and tree branches, and how it regenerates life. All these small things make a big difference, and I wanted to make people feel that sense of that little hidden world, dappled with light , with things pushing through. We are incredibly connected to this life force. I live very far from a forest, so all of these forms came out of my imagination.

JA: Works like this are really about the micro and the macro, so you’re going into microscopic form and then all the way back out to the macro landscape atmosphere. And that’s an important thing to remember when entering Emmi’s work and floating in the atmosphere she creates.

EW: When you look at the work, you have to see it very slowly. You miss things and then all of a sudden you go, where’d that come from? You literally have to stand really close to it to see all those small details, and then you realize we live in a really beautiful world, and let’s keep it that way. And [with regards to being honored at the gala] Texas, and Dallas, has always been a great supporter of my work, from the get-go.

JA: There are a lot of Whitehorse paintings in your area. It could be said that contemporary Native American artwork is now in the forefront, especially by female artists, but Dallas and Houston have always supported Emmi and Jaune and a lot of artists coming up in New Mexico over the years, even before it was “the thing” to look at. It needs to be said about your community, because Emmi’s been painting for thirty-plus years. And so many times it was those clients that were interested and supporting the work that allowed the work to grow and become what it is today.

Emmi Whitehorse’s enduring contributions to contemporary art reflect a deeply rooted connection to land, culture, and expression. As the honored artist of the DMA’s inaugural Collection Gala, her work continues to expand the narrative of American art and affirm the vital presence of Indigenous voices within it.

THE NEXT VANGUARD

THE COLLECTION GALA BRIDGES LEGACY AND RISING ART PATRONS

SHAPING

THE FUTURE OF THE DALLAS MUSEUM OF ART.

BY TERRI PROVENCAL

PHOTOGRAPHS BY JOHN SMITH

In a time when cultural institutions are rethinking their role in society, the Dallas Museum of Art is stepping into a transformative era—honoring its legacy while boldly embracing innovation.

“Whether in the nonprofit or for-profit sector, relevance depends on innovation,” says Sharon Young, chair of the DMA board. “The DMA of four decades ago is not the museum we are today, nor should it be. The pace of change in our world is unprecedented… At the DMA, we are inspired to embrace that evolution.”

This spirit of progress is at the heart of The Collection Gala, a new event which builds on the storied legacy of past fundraisers like the Art Ball and TWO x TWO while opening the door to a new chapter for contemporary art in Dallas. “As we envision the gala of the future, we will build upon the signature elements that made each of these landmark fundraisers so impactful and successful,” Young shares.

The Collection Gala reflects the DMA’s dual purpose: to preserve a world-class institution while evolving to meet the needs of a diverse and dynamic community. “Strategic innovation begins with an open mind and a willingness to reimagine all possibilities of what a museum can be for future generations,” says Young. It’s this mindset that is driving the DMA’s ongoing transformation—from architectural expansion to inclusive collecting practices to naming its next director.

At its core this event is a tribute not only to the artworks and artists the DMA champions, but to the visionaries who have sustained its mission. “This inaugural gala is a moment to honor the chairs of past Art Balls as well as the chairs and hosts of TWO x TWO,” Young explains. “It is also a moment to usher in a new chapter for contemporary art in Dallas.”

The excitement surrounding this moment is amplified by the arrival of new Eugene McDermott Director, Brian Ferriso, who officially joins the DMA on December 1. “Brian rose to the top as a deeply experienced and proven museum director who brings the right mix of skills to the DMA as we enter our next chapter and plan

for the future,” says Young, who cochaired the selection committee.

That new chapter is being guided by transformative leadership. Board president Gowri N. Sharma sees the museum’s future as rooted in inclusivity and connection. “Honoring legacy and embracing innovation aren’t mutually exclusive—they build on each other,” she says. “By keeping past and present in dialogue, we not only celebrate the DMA’s rich history but also shape a future that is inclusive, relevant, and deeply connected to our community.”

From her early days chairing Learning & Engagement to her current leadership of the board, Sharma’s tenure has reflected a commitment to broadening the DMA’s reach. “Our programming has expanded in thoughtful ways to meet the needs of our community,” she says. “From the Black History & Culture Celebration and Art and Letters Live to family brunches, late nights, and even museum mystery game night—there is truly something for everyone.”

Sharma is also deeply involved in the museum’s architectural expansion, serving on the Architect Selection Committee and Master Facilities Plan Task Force. “This moment at the DMA is more than a reimagination; it’s a once-in-a-generation opportunity to fuel the cultural and civic future of our city,” she emphasizes.

As the DMA looks forward, it is also celebrating the collectors who shape its present. The Collection Gala spotlights a vibrant group of art patrons: Jacquelin Sewell Atkinson and William Atkinson; Christina and Sal Jafar II; Catalina Gonzalez Jorba and Santiago Jorba; Kasey and Todd Lemkin; Amanda and Charlie Shufeldt. Their contributions are helping to build a thoughtfully curated auction, led by Megan Gratch, and reinforce Dallas’ role as a leader in contemporary collecting.

With the Sewell Family and Sewell Automotive serving as presenting sponsor, and proceeds directly supporting exhibitions, education programs, and acquisitions, the impact of this evening will be felt long after the last glass is raised. “With Todd Events leading the creative direction, The Collection Gala will deliver an unforgettable evening that pays homage to tradition while introducing an elevated experience for the next generation of patrons and collectors,” Young enthuses.

THE COLLECTORS CHRISTINA & SAL JAFAR

When Christina and Sal Jafar talk about art, they don’t just describe a collection—they tell a love story. Not just of two people who met in Dallas after college, fell in love, and raise their threeyear-old son together, but of a shared journey that’s taken them from SMU classrooms to gallery walls, from children’s programs to gala nights, from aesthetic interest to deep emotional connection.

Christina, originally from South Texas, moved to Dallas for college at SMU and never looked back. “After working in interior decorating for a number of years,” she says, “I have taken some time to focus on being a mother and pursuing other passions, such as becoming active in and supporting the art community.”

Sal, a Dallas native who briefly lived in Chicago before returning to attend SMU, is in real estate development. Together they’ve cultivated a rich relationship with the Dallas Museum of Art, where art has become both a family tradition and a lens through which they see the world.

Christina recalls her early visits to the DMA with college friends: “It was a place for us to learn, reflect, and exchange ideas.” For Sal, the experience goes back even further: “The museum feels like an entire world when you are a child—such a grand building with so many galleries and exhibits to explore. I have always enjoyed history, and learning the historical context of the art was engaging for me as a child.”

Now they explore the museum with their son. “The children’s programming has been a wonderful way to expose our son and have him engage with both viewing and creating art,” they share. And their appreciation for the DMA has only deepened over the years. “The permanent collection is world class,” says Sal. “And seeing how much thought, effort, and work goes into bringing an exhibit like Cartier and Islamic Art to life gave me an even deeper appreciation.”

Christina’s involvement has been both personal and professional: “I was the chair of DADI (Decorative Arts and Design Initiative)

for two years. It was a fantastic experience, especially with my background in interiors. I also cochaired the Cartier luncheon and serve on the development committee.”

But it’s not just committee work and gallery strolls—their collecting journey has been hands-on and heartfelt. “Our collection has been formed by what we are initially aesthetically interested in,” they explain. “But we strive to educate ourselves on the artist, their practice, and context when making an acquisition.”

They credit the TWO x TWO auction as a turning point. “It opened our eyes that art could be so much fun and didn’t have to always be serious. Sharing art with your friends is quite fulfilling,” Sal says. And through Howard Rachofsky’s tours of the silent auction, “We were bitten by the collecting bug.”

With guidance from art advisor Megan Gratch, they’ve refined their vision and formed lasting relationships with artists. One favorite? A brass sculpture by Iván Argote that once lived on the Katy Trail. “Seeing the work on the trail and knowing it was shared with so much of Dallas feels special.”

There’s also a painting by Francesca Mollett that is “special because we spent time with her and saw it at The Warehouse, which has a special place in our hearts.” They recall a recent dinner with artist Robert Russell, whose work, like his personality, offers unexpected depth. And they’ve bonded with Francisco Moreno over art, music, and even Sal’s esoteric Amaro collection.

“Ultimately,” Christina and Sal agree, “we like to acquire things together—share our opinions and perspectives, emotional reactions, debate where it might live in our home, learn, grow, and evolve together.”

Together they share a piece of advice to new collectors: “It may sound cliché, but buy what you love first. It should continue to evoke thought and emotion. Also, dive in and don’t be intimidated.” In Dallas and in their home, art isn’t just collected, it’s a way of life, one beautifully curated piece as a time.

THE

COLLECTORS

CATALINA GONZALEZ JORBA & SANTIAGO JORBA

Catalina Gonzalez Jorba was born in Colombia, but it was Dallas that truly shaped the life she lives now. She came to Texas for college, found love, built a family, grew into an advocate for the arts, and founded Dondolo, a fashion brand for women and children. “I’m a mother of four boys, a passionate supporter of women artists, and an active board member at the Dallas Museum of Art,” she says.

Her husband, Santiago Jorba, a Mexico City native and founder of Creu Capital, a private real estate equity firm, shares her deep commitment to community. He serves on the boards of AVANCE, Good Shepherd Episcopal School, and the Perot Museum of Nature and Science. Their family life blends Colombian warmth and Mexican vibrancy—a fusion that echoes throughout the art they live with and collect.

Together they are one of five couples hosting The Collection Gala at the Dallas Museum of Art. Unlike many lifelong patrons, Catalina’s relationship with the museum didn’t begin in childhood. “But one of my most memorable moments there was when I took my children to see the African art exhibition.” One sculpture— a boat filled with enslaved people—became a moment of awakening. “It was the starting point for a deep, difficult conversation about slavery with my younger children,” she says. “As a mother, it was powerful to see how art could spark such an important dialogue.”

Her first acquisition, a work by Susan Weil, came at a serendipitous time: “the same time the DMA purchased a similar work for its collection.” That early alignment was validating. “Years later, I saw that DMA work on display and it brought back all those emotions.”

Today Catalina serves on the DMA board, participates in the Family Forum, and recently joined the Contemporary Art Initiative. “These roles have deepened my engagement with the museum and expanded my network within the art community,” she says. She’s greatly aware of how museums shape cultural narratives. “The DMA positions Dallas as a city that values art and culture… It

fosters conversations that matter, both within our community and in the broader art world.”

Their collection is as intentional as it is personal. Each home has a focus: Dallas is centered around women artists, often including nudes, “to normalize and respect the female form.” Cartagena houses work by Colombian artists. And Jackson Hole? “Indigenous art tied to the area’s history, along with natureinspired works for our mid-century mountain home.”

With the help of art advisor Temple Shipley, Catalina travels— sometimes to Bogotá—to discover new voices. “She’s been an incredible partner, guiding me without pressure,” Catalina says. Her advice to emerging collectors is simple: “Find an advisor who understands you and doesn’t pressure you. Always follow your instincts: you’re the one living with the art, and it should inspire you every single day.”

Among her favorite works is one by Virginia Jaramillo, an American artist of Mexican heritage who forged her own celebrated path in the shadow of a more famous husband. “Her story of resilience deeply inspires me,” Catalina shares. Another favorite is a piece by Jordan Ann Craig, a Northern Cheyenne artist whose work now lives in their Jackson Hole home. And above their bedroom fireplace, a Sheila Hicks textile offers daily inspiration and calm. Santiago is drawn to its texture and quiet presence.

Relationships with artists are a vital thread in Catalina’s collecting journey. Among them are Dallas-based Carly Allen Martin, a close family friend; Patricia Iglesias Peco, an Argentinian artist she connected with via Instagram; and Corri-Lynn Tetz, a Montreal-based artist whose work was shown in Dallas at 12.26

Catalina hopes the collection they are building, one rooted in storytelling and representation, will outlive her. “I want my boys to grow up surrounded by art that inspires them. I hope to build a legacy and ultimately have the collection—especially the women’s stories it holds—become part of a museum’s public experience.”

THE COLLECTORS KASEY & TODD LEMKIN

When Kasey and Todd Lemkin relocated from Bel Air, California, to Dallas, the move was both professional and personal. “Kasey and I moved to Dallas from Bel Air in June of ’21 as my company, Canyon Partners, was relocating its headquarters to Dallas at the time,” Todd explains. They arrived with their four sons and quickly found themselves at home in the city’s Preston Hollow neighborhood. “We feel far more connected to Dallas than we ever did in Los Angeles, despite my having grown up there.” He is now one of the founding partners and chief investment officer of Perimeter.

That sense of connection only deepened with their introduction to the Dallas Museum of Art in spring 2022. “My earliest memory of visiting the DMA is from our first year in Dallas, when new friends of ours, Will and Catherine Rose, invited us to sit at their table at Art Ball,” Todd recalls. “We had an incredible time! I left that evening feeling like I had known the DMA community for years.”

A lifelong art lover, Todd’s appreciation was shaped early by his mother, a painter who prioritized weekend visits to museums and galleries. “We have been avid art collectors since we first bought a house together in 2003,” he says.

Kasey is a dynamic force in Dallas’ cultural and philanthropic circles. She will host the Cattle Baron’s Ball Patron Party this fall, serves on the board and cochaired the Dallas Contemporary Gala in 2024, and she is also a NorthPark Ambassador. She will cochair the 2026 Children’s Cancer Fund and is a member of Greenhill School’s Advancement Committee. She and her sister, Lawren Sample, cofounded Partlow, a Western boot brand.

The couple’s collection has evolved into a curated body of bold works by seminal American artists of the postwar decades. “Kasey and I came to appreciate we both loved ’60s and ’70s American contemporary work,” he says. “We tried to home-in on painters we felt had really made it into the canon of established artists from this era.” Their advisor, Todd’s brother Tyler Lemkin, has helped shape the collection. “He has guided us toward pieces we might never have discovered on our own, and his perspective ensures that every acquisition feels intentional and meaningful.”

A favorite among them is February, 5:30 pm, a 1972 painting by Alex Katz. Following an acquisition by the legendary painter, Tyler gave them a Katz book. “I got about halfway through the book… then suddenly came across this painting, and it was like a lightbulb went on for me,” Todd says. Tyler located the painting in a private collection. Todd says he’s drawn to it “as the women remind me so much of the women I love in my life: my mother, my wife, and my sister.”

Beyond collecting, Todd’s involvement with the DMA has grown in scope. “I initially became involved with the DMA’s Contemporary Art Initiative membership program,” he says. In 2024, he joined the budget and finance committee, and in 2025, he was named to the board of trustees. “We have so many exciting plans underway… the board is just a fantastic collection of people from a wide array of interesting backgrounds and perspectives.”

Chief among those plans is the museum’s ambitious renovation. “It will no longer be inward facing, appearing closed off to the community… instead it will face out to Klyde Warren Park with open arms,” he explains. “At the end of the day, that’s our goal at the DMA. We want more of the population to appreciate the museum’s offerings and to come to embrace it as we do.”

For this collecting family, Dallas has become a place where art, community, and personal legacy continue to grow, on and off the canvas.

THE COLLECTORS AMANDA & CHARLIE SHUFELDT

Amanda and Charlie Shufeldt didn’t set out to become major figures in the Dallas art world—but their curiosity, passion, and generosity made it inevitable. Their journey began not with a gallery opening or a high-profile auction, but with a simple gift: a membership to the Dallas Museum of Art, given to them by friends Catherine and Will Rose. That small gesture opened the door to what would become a deep and lasting relationship with the museum—and a wider world of art, ideas, and community.

Today, the Shufeldts are more than just collectors—they’re catalysts, connectors, and champions of the arts in Dallas. Amanda serves on the Dallas Museum of Art’s Board of Trustees, where she holds a seat on the executive committee. Her leadership has shaped some of the museum’s most impactful initiatives: she’s chaired marquee events like Art Ball, driven strategic priorities through the Development Committee, and now leads the Experience Committee, redefining how the DMA engages with its community. The Shufeldts’ presence is felt throughout the museum— not just in its leadership, but in the spirit of generosity, accessibility, and cultural vitality they help cultivate. They are also deeply involved with Katy Trail Art, which expands the role of art in public spaces.

Their personal collection is as thoughtful as their civic work. While they describe their taste with a modest “we like what we like,” it’s clear their collecting goes beyond instinct. Through conversations with DMA curators, the Shufeldts have expanded their understanding of contemporary art, discovering new voices and perspectives they might not have found on their own. “The curators have introduced us to artists we never would’ve encountered otherwise,” says Amanda. “They’re an invaluable resource when we’re thinking about future acquisitions.”

But for the Shufeldts, collecting isn’t just about what hangs on their walls—it’s about what they can share. They’ve loaned works from their collection to the DMA and other institutions, not for prestige, but to support the artists they believe in and bring their work to broader audiences. One of their favorite stories comes from Dallas gallerist Hannah Fagadau, who once reached out to say that she’d discovered a new artist through a loan the Shufeldts made to the DMA. “That,” she says, “was one of the most rewarding moments.”

Their home tells a story, too—one that blends the past with the present. Among the contemporary works are decorative objects inherited from Charlie’s parents, pieces that lend history and a sense of continuity to their collection. The couple serves on the DMA’s Decorative Arts & Design Initiative.

They’re quick to credit others for their growth as collectors—art advisors who help them discover new artists and access works that are hard to find, curators who deepen their understanding, and a local community that keeps them inspired. “Dallas has an incredible group of collectors,” they say. “It’s a vibrant, generous, and really active scene. We feel lucky to be part of it,” adds Amanda.

That sense of gratitude, and a clear love for art as a force that connects people, drives everything they do—from their leadership at the DMA to the thoughtful way they build their collection. Whether they’re loaning a piece to a museum or sitting on a committee, Amanda and Charlie Shufeldt are always asking: How can we share this? How can we support this? Because for them, collecting is never just about ownership. It’s about participation—in a dialogue, a community, a culture. And that’s what makes their story, and their impact, so compelling.

LIVING IN HIS OWN MASTERPIECE

CHRIS ANGELLE PAINTS HIS LIFE INTO EVERY CORNER OF HIS NEW DWELLING AMONG THE TREETOPS.

BY ROB BRINKLEY PHOTOGRAPHS BY DOUGLAS FRIEDMAN

Chris Angelle is infatuated with a lot of things.

His is a ping-pong mind, bouncing among thoughts of food, fabrics, furniture, clothes, music, art, movies, even fragrances. Trying to keep up with him in conversation about any of the above is not for the weak. Asked for just his latest obsessions, the Dallas interior designer rattles off a head-spinning list:

The artist Danica Lundy, taxidermy, pretty paper, white sneakers— clean or dirty—Dries Van Noten fragrances, Reigning Champ clothing, OAS clothing, Jones Road skincare products, Nick Stick shaving-cut and bug-bite healer, the singer St. Vincent, the band Wavves, the band Idles, Greek filmmaker Yorgos Lanthimos, the salsa at Mi Cocina, the gumbo duo at Nuri Steakhouse, the chicken salad at Kuby’s Sausage House, the Cornflake Cookie at Empire Baking Company, R+D Kitchen, Barsotti’s Fine Foods and Liqueurs and the furnishings showroom Avenue Road.

Oh, and high-rises. Angelle is very, very obsessed with high-rises. He has designed residences in several of them and has lived in three of them—twice as a renter and now as an owner. His new locale is the classic tale of a home finding its person and not the other way around. Angelle was rather happy on the 20th floor of a newer building in Oak Lawn when a friend sent him the real estate listing for this one: a fifth-floor corner unit with an L-shaped balcony in a 1960s tower in the trees along Turtle Creek. Light, bright, sleek, renovated; he couldn’t look away. He called the Realtor. He made the appointment. But Angelle, who prefers living on a higher floor, was talking himself out of the whole thing as the door to the apartment opened—“until I walked around the corner and into those treetops.” Cue the moving trucks.

Now Angelle has fallen for the entire building and its inherent midcentury glamour. Glassy and in the International Style, the 17-story tower debuted as “one of Dallas’ showplaces,” says its illustrated brochure. When the building opened, its ground floor offered a library, game room, beauty salon, gym, and four guest apartments. The restaurant there served beef stroganoff and French silk pie. To live there—complete with your color-coordinated General Electric kitchen—would cost about $35,000 to $75,000. Helen Hayes and Joan

“I wanted it closed and confined and dark and moody,” Angelle says of his foyer, to “exaggerate the drama” of proceeding to the apartment’s bigger, sunnier spaces.

Crawford are said to have been guests.

Today, the gentleman in 5F has created a world where Hayes, Crawford, and lovers of design, fashion, and art would feel right at home. He certainly got lucky with the provenance: The apartment’s previous owner was a renowned design consultant for luxury stores and the vice president of an architecture firm whose projects included various outposts of Neiman Marcus. That fellow fully redesigned the place, so when Angelle moved in, it already boasted its dramatic dropped ceiling, pulled in slightly from the perimeter, and bookmatched walnut cabinetry in the dining area and kitchen. In fact, every update suited Angelle to a T. All he had to do was feather his new nest. (The fun part.)

It is most often true that a designer’s own home is his or her laboratory, free from any clients’ desires or needs, and this test site

is Exhibit A. The always-thinking Angelle richened up the entry hall with nine coats of dark plaster and heavy linen drapes at its far end, to be flung open once the welcomes are out of the way. “I wanted it closed and confined and dark and moody,” he says of his foyer, to “exaggerate the drama” of proceeding to the apartment’s bigger, sunnier spaces. He turned the former media room into a home office, adding built-ins for storage and samples. He put punchier carpeting in the living room and bedroom.

But then came the furnishings and art and tables and chairs and colors and textures. This is where Angelle excels—in his mixing. The principal of Chris Angelle Designs knows how to stir together disparate elements, collected over time, into a clever, cohesive whole. It’s an innate skill but honed by working at an art museum throughout his design and architecture schooling and at one of the

most sophisticated interior design firms in Dallas early in his career. Here, in his own lair, a sleek 1960s leather-and-steel lounge chair from Denmark faces off with a plump armchair covered in trellispattern fabric. (The whole thing looks like it could’ve come from Peewee’s Playhouse.) In another part of the living room, what looks like two gigantic champagne corks are, in fact, stools by the architecture firm Herzog & de Meuron and the Chinese artist Ai Weiwei. In the dining room, bright-blue wooden chairs by Patricia Urquiola nuzzle up to a sculptural table of cement and glass by Foster + Partners. Everywhere, this material mix plays out—smooth against coarse, curvy against linear.

Angelle’s art collection is another layer entirely. It is a mix, too, of edgy works by artists from divergent places such as Dallas, New York, Maine, and Arizona. Whatever Angelle feels pulled to, he buys. A painting in the dining room by Christopher Mir is of two boxers, one throwing a punch to the face of the other. “I took up boxing,”

Angelle says, “then bought the painting about six months in.” That obsession is over, he reports, but the painting endures. (“I was so invested.”) Angelle’s favorite piece is of what he calls “nothing, but painted so perfectly.” It is a stark scene of two box fans in a window by Christopher Culver. Another artist with several works in the collection is Angelle himself. As an antidote, perhaps, to working with things designed by others all day, he paints abstracts and quirky details. “My own art is a physical expression of me needing a creative outlet,” he says—after some thought.

Of all the happiness Angelle’s new home brings him, his favorite thing may be this: When friends are over, circulating in and out of the apartment, onto that big, wraparound balcony and into those treetops (the same ones he fell for), even having conversations with the neighbors bobbing in the communal pool five stories below. “It is definitely a party pad,” says the host with the most vision. “I saw that happening the moment I walked in.” P

EISEMAN JEWELS CELEBRATES GRAND REOPENING OF ITS REDESIGNED NORTHPARK CENTER SALON

CELESTE CASS AND TAMATHA CAMERON

THE FAMILY PLACE REUNIGHT 2025: COUTURE IN BLOOM AT BROOK HOLLOW GOLF CLUB

PHOTOGRAPHS BY TAMYTHA CAMERON

ART FOR ADVOCACY/ BRUSHSTROKES FOR BRAVERY BENEFITING DALLAS CHILDREN'S ADVOCACY CENTER PRESENTED BY LABORA PHOTOGRAPHS BY

TAMATHA CAMERON

Reach an Arts-Passionate Audience

Jóhann Eyfells’ Final Markers

The late Icelandic sculptor’s cast-metal cairns bid farewell to America at the Nasher.

BY BEN LIMA

In rugged, unmarked countryside such as that of Iceland’s volcanic landscape, the human-made pile of stones known as a cairn can serve as a trail marker pointing the way for ramblers who might otherwise get lost in bad weather. Although not made from piles, Cairns is the collective title of the cast-metal sculptures made over many years by the Icelandic artist Jóhann Eyfells, now on view at the Nasher Sculpture Center.

As part of the Nasher Public series, eight of Eyfells’ cairns are in the center’s Public Gallery directly facing Flora Street, open free of charge during museum hours and visible through the windows 24/7. Along with the bulk of the artist’s estate, these pieces will be shipped back to Iceland this year, and the show is presented as Eyfells’ “farewell to America, with the cairns marking the path.”

The journey of Eyfells’ life covered an unusually large amount of territory. Born 1923 in Reykjavík, he lived for the last 18 years of his life on a 10-acre ranch outside Fredericksburg, where he died in 2019. In between, he studied in California and Florida. He spent thirty years teaching sculpture at the University of Central Florida before his 1999 retirement. Along with representing Iceland at the 1993 Venice Biennale and a 1992 retrospective in Reykjavik, his work was shown throughout Scandinavia and the US.

Curator Gavin Morrison came up with the idea for this show while working on a Donald Judd exhibition for the National Gallery in Reykjavik. He observes that Eyfells “influenced a great number of contemporary Icelandic artists—and he taught quite a few of them—in particular with his methods that allowed elements of unpredictability, elliptical references to nature, and attention to scale.”

Eyfells would make a cairn by pouring molten metal into the ground so that it filled up a web of cracks and crevices in the earth, creating a cast of negative space. The resulting shapes and surfaces are wondrously intricate, appearing both natural and strange.

In attending to the way that geological nature and aesthetic culture are entwined, Eyfells’ approach might be compared to the tradition of scholar’s rocks (gongshi) in China, as appropriated by the contemporary artist Zhan Wang. At the same time, in his concern to separate the artworks’ process-driven composition from the artist’s conscious decision-making, Eyfells resembles his American contemporaries, Robert Smithson and Robert Morris.

The cairns also play with a viewer’s sense of time, as they appear to be immensely ancient geological artifacts, resembling the naturally occurring igneous rocks in the ground that are formed by the same basic process (i.e. the cooling of molten metal), despite having been made on a human time scale. Coincidentally (or not?), the artist did not record dates for the cairns, so they could have been made at any time over the years of his career.

Speaking at the time of his 1992 retrospective, Eyfells invoked this geological time scale, saying “I am not referring to this time frame of ours, in which things are already at hand; I am attempting to discuss the powers that brought those things into being.” The critic Donald Kuspit connected this perspective with Eyfells’ cultural background, writing of the artist’s “Icelandic sense of the earth as flow, as a very ‘hot’ process, no doubt slow in terms of the human sense of time but fast enough by a geological measure, as close as we come to a sense of eternity on earth.” while Morrison concurs that they “feel very Icelandic—evoking lava fields.” Closing the long chapter of Eyfells’ American career, the cairns bring a primordial mood to the Flora Street space, a counterpoint to the pristine contemporary works in the neighborhood. P