PaperCity Magazine

April 2017 - Dallas

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Page 53 of 83

ON THE RISE: HANNAH HOFFMAN ust as she gravitates towards labels by women designers (The Row, Rosie Assoulin, and Céline fill her closet), Dallas native Hannah Hoffman acquires art works from women such as German artist Raphaela Simon and Canadian sculptor Elaine Cameron-Weir to punctuate her Los Angeles home. In her namesake gallery located in Hollywood — which she opened in 2013 after working as an associate at Gavin Brown's Enterprise in New York City — Hoffman has shown both Simon and Cameron-Weir's work, as well as works by Paul Thek (sketches, paintings, and mixed-media such as Meat Cable, 1968-1969, pieces of wax resembling chunks of meat spiked on a suspended steel cable), and an exhibition of work by Brazilian artist Mira Schendel. This month, Hoffman, the daughter of late Dallas art collector Robert Hoffman, returns to her hometown to present artworks from Hannah Hoffman Gallery at the Dallas Art Fair, including Cameron- Weir's Thunder-Child, 2014. "There's nothing more important as a gallerist than standing in front of a work by one of my artists with another person and having a dialogue," she says. "Thinking about all the people in Dallas I've known for so long who have supported me, it feels quite nice to be able to come back and deepen that conversation." UNDERGROUNDERS: GREG RUPPE AND JEFF GIBBONS A tiny space six feet beneath The Power Station, collectors Alden and Janelle Pinnell's contemporary art warehouse in Exposition Park, went virtually unnoticed until last year, when the gallery's director of exhibitions, Greg Ruppe, and good friend Jeff Gibbons transformed it into Culture Hole, an experimental room unlike anything we've seen. Just eight feet long, five feet wide, and four-and- a-half feet deep, the concrete-walled cellar is accessible via ladder through a metal trap door and showcases one- night-only performances and exhibitions from 10 pm to midnight. "Every show is different," Gibbons says. "We don't know how people are going to behave or react, and it really challenges the artists." Adds Ruppe, "Culture Hole has a very strong psychological presence. It's subterranean, somewhat challenging to access, and it has this micro scale." The duo met in grad school at Texas Christian University. They tapped German-American artist Lana Paninchul to sing to a seated nude male for Culture Hole's first show; some 52 CREATIVE CLASS B Y L I N D E N W I L S O N Mariel Street Justin Adian's Stormless, 2017 Hannah Hoffman J (continued on page 54)

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