PaperCity Magazine

PaperCity Dallas April 2022

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Page 93 of 131

THE TOP 25 (Continued) GUILLERMO NICOLAS, SAN ANTONIO T he son of Univision founder Emilio N i c o l a s S r . , Guillermo is past chair of the San A n t o n i o A r t s Commission and a board member of the influential Texas Cultural Trust. His collecting strategy has three distinct areas of interest. "The first third is focused on Mexican- American/Latino artists, the second third on African-American artists, and most recently, with the help of [gallerist] Anthony Meier out of San Francisco, I've focused on gay artists working during the AIDS crisis of the 1980s," he says. Two star works of his collection are Kehinde Wiley's Portrait of Mary Hill, Lady Killigrew, 2013, and Mickalene Thomas' Diamond in the Rough, 2005. "Both paintings reflect the strength and power in women," he says. MARILYN OSHMAN, HOUSTON M arilyn Oshman is the grand patroness a n d s a v i o r o f t h e O r a n g e Show Center for Visionary Art, which produces the Houston Art Car Parade (set for Saturday, April 9) and has preserved the outsider-art Beer Can House. Her collection reflects a lifelong commitment to intellectual curiosity and art-world friendships. In her home, which PaperCity photographed in 2013, are a Wunderkammer-inspired library as well as an enchanting Leonora Carrington sculpture; caches of self- taught artists, especially the great Thornton Dial and Milwaukee visionary talent E u g e n e Vo n Bruenchenhein; a n d c u s t o m c o m m i s s i o n s from artist pals James Surls, Ed Wilson, and the l a t e D o r m a n Da vi d. B lu e- chip figures include Ed Ruscha, Deborah Butterfield, Chris Burden, and Joseph Beuys. Those with Texas connections encompass John Alexander, Luis Jiménez, Ron Hoover, Paul Kittelson, Sharon JANELLE AND ALDEN PINNELL, DALLAS N ot only do the Pinnells boast a m u s e u m - worthy collection in their home — a dramatic contemporary structure designed by Alterstudio Architecture — but they've also envisioned and created a kunsthalle: The Power Station, housed in the former Dallas Power & Light building, circa 1920. Since opening in 2011, The Power Station has presented an engaging, lively array of exhibitions and programs; up next is Iranian artist Hadi Fallahpisheh, whose post- Pop sculpture Young and Clueless (Bunny, Bear, Bear), 2021, figures in the Pinnells' own art holdings. Alden says of their collection, "It's comprised of a wide range of media, including painting, drawing, photography, sculpture, video, and sound. Work spans from the mid- 1950s to the present, covering the most significant developments in the postwar contemporary period." Left: Mike Kelley's Purple Stain, 1986 Right: Lucas Samaras' Box #135, 1989 Stairway by Ed Wilson, dome by James Surls Kopriva, Forrest Prince, and Amber Eagle. "To me, all of the [artworks] have one thing in common, and it's this essence of something exciting, mysterious, challenging, and protective," Oshman says. Kehinde Wiley's Portrait of Mary Hill, Lady Killigrew, 2013 (Continued from page 90) 92

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