PaperCity Magazine

PaperCity Dallas April 2022

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Page 85 of 131

THE TOP 25 (Continued) TIM HEADINGTON, DALLAS FRANK AND MICHELLE HEVRDEJS, HOUSTON B illionaire Tim Headington wears a lot of hats — entrepreneur, real estate developer, film producer, hotelier, philanthropist, art collector. By the time The Joule was under construction, "I began shaping a collection that I thought our visitors would enjoy, with pieces by Richard Phillips, Tony Cragg, and Andy Warhol." In fact, his sculpture Tony Tasset's Eye is a popular tourist destination. He shares that in recent years, he "really woke up to the concept of pursuing under-recognized artists, minority artists. I now have an extensive collection of minority artists and elder or deceased female artists that struggled to get recognition. It pleases me that these artists are finally enjoying the recognition they deserved all along." T his well-connected couple has assembled an extraordinary collection of American still-life painting — canvases that fittingly will be gifted to the Museum of Fine Arts, Houston. "Two Centuries of American Still-Life Painting: The Frank and Michelle Hevrdejs Collection" was exhibited at the MFAH in 2017, featuring rare works by 19th-century painters (John Frederick Peto, George W. Platt, Claude Raguet Hirst, Joseph Decker) as well as 20th-century masters (Marsden Hartley, Max Weber, Georgia O'Keeffe). Recently the couple established The Michelle Hevrdejs Collection of Modern Art with a concentration on Abstract Expressionism, especially works by women artists who were left in the shadows — a collection of first- and second-generation women Ab- Ex painters, in addition to living women artists, that now numbers 89 paintings and six sculptures, including works by Elaine de Kooning, Helen Frankenthaler, Mary Abbott, Perle Fine, Chakaia Booker. Roger Hiorns' Untitled, 2013 John Leslie Breck's Still Life with Daffodils, 1886 Left: Helen Frankenthaler's Jump Rope, 1971 Tony Tasset's Eye, 2007 Derek Fordjour's Rower, 2019 CASEY DUNN (Continued from page 82) Otis Kaye's "What a Hit," circa 1932, The Frank and Michelle Hevrdejs Collection 84

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