PaperCity Magazine

PaperCity Dallas April 2023

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W e were elated when we moved our PaperCity offices a few years back to River Bend in the Dallas Design District. We have an illustrious group of neighbors — Erin Cluley Gallery, Keijsers Koning, Gallery 12.26, and PDNB Gallery. Across from us are the Dallas Art Fair offices, which have an adjacent space devoted to art installations and shows. Given our new 'hood, we contemplated featuring a rotating group of mini exhibitions that could be visible from our windows — giving more artists (many in the stables of our gallerist neighbors) visibility to passersby. The first talent we're showing is Dallas-based William Atkinson. He worked in his early years as a street artist with a distinctive blend of Abstract Expressionism and Graffiti Assemblage under a pseudonym to anonymously create public discourse. Transitioning from urban walls to white-cube settings, Atkinson's art remains loud and subversive. His works range from small-scale compositions to large canvases and installations; in Dallas, he's represented by Erin Cluley Gallery. Atkinson is creating a site-specific piece for our offices to be unveiled during the block party on Wednesday, April 19 (the night prior to the opening of the Dallas Art Fair), 6 to 8 pm, and will have a few other previously painted canvases on view (through June 30). Neighboring galleries will be open that night serving cocktails, and we've heard there will be a surprise performance by the all-female Mariachi Rosas Divina. PaperCity, 150 Manufacturing St., Suite 200, and neighboring galleries. Billy Fong TEXAS TWO STEP AT KIRK HOPPER M any of Dallas' top galleries roll out activist exhibitions aligned with fair time. At Kirk Hopper Fine Art, April's lineup reflects a stance on modern-day mayhem and feminist concerns in the works of Nacogdoches painter Shaun Roberts and Dallas conceptualist Erin Stafford, respectively. Roberts raids art history's myths and archetypes going back to the Renaissance; for Stafford, everything from faux food to a 19th-century-style parasol evokes tropes of stifled womanhood. "Shaun Roberts: Parables of Mayhem," through April 15; and "Erin Stafford," April 22 – June 3; at Kirk Hopper Fine Art, Catherine D. Anspon Shaun Roberts' Blood Ash Venom, 2023, at Kirk Hopper Fine Art WOMEN RULE AT NORTHPARK: "TALK OF THE TOWN" A nother off-site exhibition during fair time represents a feminist-focused collaboration between Dallas Museum of Art, Dallas Art Fair, and NorthPark Center. The latter serves as the venue for "Talk of the Town," showcasing recent works by nine artists, all acquired by the DMA in the last six years thanks to the munificence of the Dallas Art Fair Foundation Acquisition Program. Organized by DMA senior curator Dr. Anna Katherine Brodbeck, the talents on display encompass Sarah Awad, Sarah Cain, Johnny Floyd, Danielle Mckinney, Arcmanoro Niles, Maja Ruznic, Keer Tanchak, Evita Tezeno, and Summer Wheat. "Talk of the Town," NorthPark Center, Level Two; on view Wednesday – Sunday, 11 am – 4 pm, through April 30; Catherine D. Anspon COLLECTION DMA, © MAJA RUZNIC Maja Ruznic's Azmira's Daughters, 2018, at NorthPark Center Rachel Hayes' poetic intervention into nature comes to Klyde Warren Park. TECHNICOLOR TEXTILES C ontinuing its series commissioning prominent artists to create site-specific works that spill beyond the walls of Fashion Industry Gallery, the Dallas Art Fair and Klyde Warren Park have collaborated with internationally exhibited, Tulsa-based sculptor Rachel Hayes. The art crowd and park-goers alike will encounter Hayes' signature diaphanous, translucent textiles — reminiscent of Christo and Jeanne-Claude, as well as futuristic quilting — in the artwork Round the Bend, which serves as an invitation to bask in art and the beauty of one of America's most unique urban green spaces. Rachel Hayes' Round the Bend, Klyde Warren Park, Wednesday, April 19, through Sunday, April 30;, klydewarrenpark. org. Catherine D. Anspon A ROOM WITH A VIEW William Atkinson's A Drink, 2019, at PaperCity

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