Issue link: http://papercitymagazine.uberflip.com/i/1533676
From top: Frederic, Lord Leighton's Flaming June, 1895, at Meadows Museum, SMU. Marisol's The Party, 1965-1966, at Dallas Museum of Art. At SMU, the Meadows M u s e u m s t e p s f o r w a rd a s t h e organizing partner and first stop for the luscious "The Sense of Beauty: Six Centuries of Painting from Museo de Arte de Ponce." Culling 60 treasures from the Renaissance era (including Lucas Cranach the Elder) to contemporary Puerto Rican canvases, the exhibition begins its six-stop American tour in Dallas as the Museo de Arte de Ponce (MAP), Ponce, Puerto Rico, restores its 1965 Edward Durell Stone-designed building damaged by the 2020 earthquakes. In a homecoming, MAP's curator Iraida Rodríguez-Negrón organizes this gem of an exhibition, returning to the Meadows where she began her career more than a decade ago. Top of the list to see: Frederic, Lord Leighton's alluring Pre-Raphaelite painting Flaming June, circa 1895, one of the touchstones of the Victorian era; for American art acolytes, there's Frederic Edwin Church's serene landscape vista, Morning in the Tropics, 1872. Significantly, the 18th-century ladies shine: Angelica Kauffmann and Élisabeth Louise Vigée-LeBrun are represented by, respectively, a historical/mythological scene and portraiture (through June 22). Kudos to the Dallas Museum of Art for mounting a sweeping retrospective for Marisol (born María Sol Escobar, her adopted name a mashup of the Spanish words for sun and sea; 1930-2016). The Paris-born sculptor of Venezuelan heritage rose to buzzy fame during the Pop era with works gracing magazine covers and lines to see her shows at Stable Gallery and Sidney Janis Gallery. A glamorous fixture in Warhol's Factory who appeared in two Warhol films, her singular sculptures bear totemic wooden figures that dance between the primitive and contemporary; 60 years later, they still resonate, addressing issues of feminism, war, and the environment. Featuring more than 250 artworks and ephemera, this is the mother lode of all Marisol shows, organized by the Buffalo AKG Art Museum, an early collector of the artist's work, to which she left her considerable estate (through July 6). Finally, woven works are hot, hot, hot, and craft and art now are firmly entwined. The timing couldn't be better for Dallas Contemporary's textile show organized by very-now Mexico City curator Su Wu, a brilliant voice in the au courant dialogue at the intersection of art and design. Tapestry, one of the glorious mediums of the Middle Ages, Renaissance, and Baroque periods, is highlighted in "You Stretched Diagonally Across It: Contemporary Tapestry," showcasing 29 contemporary voices who reinvigorate this centuries- old art form. Watch for global art stars such as Ghana-born El Anatsui (a Venice Biennale Gold Lion winner), whose woven sculptures often employ liquor bottle caps, cassava graters, and newspaper printing plates, joined by the great Kiki Smith's feminist/allegorical take on jacquard tapestry and L.A.- based Clarissa Tossin, whose Mayan iconography is woven from Amazon delivery boxes (April 11 – October 12). Catherine D. Anspon Museum Triple Play If you blinked, you missed one of the most compelling local news stories of late 2024 — not just for the art world but for Dallas' cultural landscape for years to come: the merger of Howard and Cindy Rachofsky's venerable collection with next-generation collector Thomas Hartland-Mackie's trove of art to form the Warehouse Dallas Art Foundation. The newly established foundation opened its first exhibition six weeks ago: "Double Vision: The Rachofsky Collection and the Hartland & Mackie / Labora Collection." True to The Warehouse's style, the show is monumental, encompassing more than 80 works by more than 40 artists. The exhibition is co-curated by longtime Warehouse curator Thomas Feulmer and New York-based Benjamin Godsill, a Phillips auction-house alum whose curatorial/advisory service specializes in late- 20th- and early-21st-century art. Several favorites from the Rachofsky Collection are on view, including Gutai talent Kazuo Shiraga's 1960 masterpiece Tenshosei Botsuusen (Featherless Arrow Incarnated from Heavenly Swift Star). In a nod to the future, Untitled (Reflections), a 2022 work by Howardena Pindell, takes center stage. Measuring nearly 30 feet in length, this Monet-esque painting was a recent joint acquisition by the Rachofsky Collection and the Hartland & Mackie / Labora Collection. Also on display is Low Relief Icon (Figure 2), a 2021 work by Canadian artist Elaine Cameron-Weir. A highlight of the 2022 Venice Biennale, the installation — composed of U.S. military body transfer cases — commands an entire room and stands out as one of the exhibition's most powerful pieces. Through June 28, thewarehousedallas.org. Peter Augustus Owen New Vision: The Warehouse's Next Era Above: Kazuo Shiraga's Tenshosei Botsuusen (Featherless Arrow Incarnated from Heavenly Swift Star), 1960, at The Warehouse KEVIN TODORA © ESTATE OF MARISOL / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK Christina Forrer's Untitled (on brown background), 2018, at Dallas Contemporary. COLLECTION AND COURTESY MUSEO DE ARTE DE PONCE. THE LUIS A. FERRÉ FOUNDATION, INC.