PaperCity Magazine

April 2017 - Dallas

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MATHEWS-NICHOLS.COM MATHEWS-NICHOLS.COM ERIN MATHEWS 214.520.8300 • EMATHEWS@ MATHEWS-NICHOLS.COM THE RESIDENT EXPERT April2017-MN_Papercity Ad_Circle.indd 1 3/14/17 6:03 PM OBSESSIONS. DECORATION. SALIENT FACTS. 22 P hotographer Steve Wrubel is experiencing a creative renaissance. The Dallas lensman has long been sought for his deft hand at photographing e v e r y t h i n g from society's top weddings to magazine features. One of his latest p r o j e c t s , T h e S t o r y Picture, has garnered equal popularity by WRUBEL IN TECHNICOLOR O ne summer in Provincetown, high school student David Yurman apprenticed under sculptor Ernesto Gonzales, where he learned direct welding — the process of creating 3-dimensional forms from molten rods. This experience sparked Yurman's career as a sculptor, craftsman, and jeweler. The iconic cable bracelet, introduced by Yurman in 1983, was revolutionary: a utilitarian object elevated to fashion when molded in gold and sterling silver. The new Anvil collection for men honors these roots, with contrasting metals in bold lines and utilitarian detailing — a steel cuff with burnished rivets, a chain bracelet in sterling silver with bronze hardware closure, and a sterling- silver signet ring with a faceted hematine surrounded by bronze rivets. From $450, at the David Yurman boutique, davidyurman. com. Anne Lee Phillips FUNCTION, FORM, FASHION flipping the traditional family portrait on its head in a most unexpected and quintessentially Wrubel way. But it's his new "Cactus" series that has caught our attention: It's the result of a recent road trip through the Southwest, from Texas to California — but don't expect the dusty, brown-and-beige palette familiar to anyone who has taken that drive. Wrubel's towering succulents take on neon hues and are captured in a strong composition that nearly abstracts them. The series debuts in tandem with more news: This month Wrubel launches e-commerce on stevewrubel. com, and Gallerie Noir presents a show of his photographs Tuesday, April 18. Information; signing and show at Gallerie Noir, 1525 Dragon St., 214.760.9536,; Christina Geyer Satyrs, Martyrs, and MASKED MEN A n uncontested master of Spain's Golden Age of painting — one woe- fully under-known and under-shown in the U.S. — gets his due at the Meadows Museum in "Between Heav- en and Hell: The Drawings of Jusepe de Ribera" (through June 11). A mirror of his times, Ribera (1591 – 1652) was born during the century that saw the height of the Spanish Inquisition. A sensitive realist with a taste for the macabre, he used the media of drawing as study for paintings or prints, as well as to create works of art memorable unto themselves. His subjects reflect the pervasive role of the church as well as secular pursuits: saints, mar- tyrs, crucifixion, acrobats, street scenes, imaginary follies such as a masked man overrun by tiny people, biblical para- bles including Sam- son and Delilah, anatomical studies, and even mythical creatures such as Greco-Roman satyrs, all rendered with his signature sinuous, self-assured lines in pen, ink, or chalk. The exhibition culls nearly one third of the artist's surviving output — 47 of 160 works — presented alongside 12 prints, 11 paintings, and a © THE METROPOLITAN MUSEUM OF ART/ART RESOURCE, NYC Jusepe de Ribera's Head of a Satyr Facing Left, circa 1625-1630, at the Meadows Museum sculpture, to comprise the most complete portrait of Ribera drawings ever assem- bled. Organized thematically, it stands as the first in-depth survey of the artist's work in the U.S. in a quarter century, and coincides with the publication of the first-ever catalogue raisonné devoted to his drawings. The Meadows Museum and the Prado co-organize, while the Mead- ows Foundation steps up as funder. "Be- tween Heaven and Hell: The Drawings of Jusepe de Ribera," at the Meadows Museum, SMU, through June 11; Catherine D. Anspon

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