Category: Exhibition Highlight

SP/N Gallery at UT Dallas

Representation and Presentation in Photography: Selections from the Comer Collection

Jan 19 – Feb 16, 2019

In representing reality, photography reproduces, at a visual level, the cultural and ideological aspects of its society. At the same time, photography can be used to de-codify and question society’s principles by presenting reality itself in a way that promotes critical thinking about its criteria and norms. By discussing photography according to the concepts of representation and presentation the curator describes its development from the beginning of the 20th century to now.  Curated by Francesca Brunetti, Ph.D. student, UT Dallas.

The University of Texas at Dallas

SP/N Gallery

3020 Stewart Dr.

Richardson, TX 75080

Gallery Hours

Tues, Wed, Sat 11:00 am – 4:00 pm

Thurs & Friday 1:00 pm – 6:00 pm

 an interior Dutch scene by Barent Fabritius, Young Girl Plucking a Duck, but the painting has remained off view since 2004 due to its poor condition. The 17th-century painting recently underwent treatment in the DMA Paintings Conservation Studio this past year and is now on view in the Museum’s second-level European gallery. Chief Conservator Mark Leonard cleaned the surface of the painting, removing discolored varnish and extensive overpaints and subsequently filling and retouching old losses. During conservation, it was discovered that the original canvas had been removed at some point during the painting’s history and was transferred to a new canvas support. The painting returns to public view in time to complement the upcoming exhibition Vermeer Suite: Music in 17th-Century Dutch Painting (on view January 17 through August 21, 2016), featuring eight 17th-century Dutch works, including a work by the Dutch master Johannes Vermeer, from the prestigious Leiden Collection. 


Félix González-Torres, Untitled (Perfect Lovers), 1987-1990, Dallas Museum of Art, fractional gift of The Rachofsky Collection



July 10 – December 29, 2017


In the short story “William Wilson,” Edgar Allan Poe presents the sinister tale of a character who from his childhood encounters a figure that resembles him in every way. The apparition haunts him with similitude and repetition—until it turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges) and in all the arts. The very act of representing oneself or the other can be understood as creating parallel realities, thus doubles of those in which we live.


The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of artworks in which alterity and duplicity are manifested. In a succession of galleries, the theme is developed into different groupings of works—from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles in geometric abstraction. Works from the African and ancient American art collections at the Dallas Museum of Art have been incorporated into the show and bring complexity to the role of representation and representatives in object making throughout art history.


The title of the exhibition involves a play on words drawn from three languages: English (the de facto national language), Spanish (the language of the Other), and Portuguese (my language). Doubles (the original term), dobros (Portuguese for “two times something”), pliegues (Spanish for “folds,” or, in Portuguese, dobras, the feminine counterpart of dobros), pares (“pairs”), twins, and mitades (“halves”).


DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES draws works from The Rachofsky Collection, Dallas Museum of Art, Collection of Marguerite and Robert Hoffman, Collection of Marguerite Steed Hoffman, Deedie Rose, and Jennifer and John Eagle.


Rodrigo Moura

Exhibition Curator

Exhibition Highlight: JD Miller: Absence of Color

JD Miller, Impermanence, 3D Oil on Canvas, 48” x 48”

Samuel Lynne Galleries Presents 

JD Miller: Absence of Color

October 14, 2017 to November 11, 2017

Opening reception Saturday, October 14th

5:00pm to 8:00pm

Miller is a full-time painter and gallery owner in the Dallas Design District. His artistic career began as he focused on perfecting the techniques of the master oil painters, and later merged various artistic techniques and mediums as his creative vision took shape. Standing on the shoulders of some of the great impressionists like Monet and Renoir, the post-impressionist Van Gogh and the revolutionary cubism of Picasso and Matisse, JD Miller takes the impasto technique to an extreme – nearly to the extent of creating a 3D sculpture on the canvas with small mountains of rich, striking oil colors and textures.

Drawing from influences in psychology and spirituality, Miller founded Reflectionism. Reflectionism combines a philosophy of art and a style of painting that is grounded in Asian mindfulness meditation practice while utilizing the New Thought philosophy, the law of attraction. The law of attraction is the belief that by focusing on positive or negative thoughts and feelings a person brings positive or negative experiences into their life. This belief is based on the idea that people and their thoughts are both made from “pure energy” and through the process of “like energy attracting like energy” a person can improve their own life experience.

Samuel Lynne Galleries

1105 Dragon Street, Dallas Design District

Dallas 75207

M – S 10:00 am to 5:00 pm

Kimbell Art Museum Presents Louis Kahn: The Power of Architecture

Kahn at the Kimbell

Kimbell Art Museum, Fort Worth, Texas; constructed 1969–72 North portico with reflecting pool Louis I. Kahn (1901–1974), architect Photograph: Robert LaPrelle © 2013 Kimbell Art Museum, Fort Worth


Louis Kahn: The Power of Architecture

March 26–June 25, 2017
On view in the Louis Kahn Building


Louis I. Kahn (American, 1901–1974), architect of the Kimbell Art Museum, is regarded as one of the great master builders of the twentieth century. With complex spatial compositions and a choreographic mastery of light, Kahn created buildings of archaic beauty and powerful universal symbolism. In addition to the Kimbell (1966–72), his most important works include the Salk Institute in La Jolla, California (1959–65), and the National Assembly Building in Dhaka, Bangladesh (1962–83). The exhibition Louis Kahn: The Power of Architecture, organized by Vitra Design Museum (Weil am Rhein, Germany), is the first major retrospective of Kahn’s work in two decades.

In addition to The Power of Architecture, the Kimbell Art Musuem is the sole venue for a complementary exhibition, The Color of Light, The Treasury of Shadows: Pastels by Louis I. Kahn from the Collections of His Children. Admission to both special exhibitions is free.

“The Kimbell’s Kahn-designed building is acknowledged the world over as an architectural masterpiece,” commented Eric M. Lee, director of the Kimbell Art Museum. “Visitors who come to this exhibition will get know Kahn, the architect, and follow him on the thrilling journey that led to the vision for the Kimbell Art Museum.”

The exhibition encompasses an unprecedented and diverse range of architectural models, original drawings, photographs and films. All of Kahn’s important projects are extensively documented—from his early urban planning concepts and single-family houses to monumental late works such as the Roosevelt Memorial in New York City (1973/74), posthumously completed in October 2012. The view of Kahn’s architectural oeuvre is augmented by a selection of watercolors, pastels and charcoal drawings created during his travels, which document his skill as an artist and illustrator. Highlights of the exhibition include a 12-foot-high model of the spectacular City Tower designed for Philadelphia (1952–57), as well as previously unpublished film footage shot by Nathanial Kahn, the son of Louis Kahn and director of the film My Architect. Interviews with architects such as Frank Gehry, Renzo Piano, Peter Zumthor and Sou Fujimoto underscore the current significance of Kahn’s work, which is being rediscovered and made accessible to a wide public audience with this exhibition.

A biographical introduction to the exhibition is followed by six thematic sections that illustrate the development of Kahn’s work over time and explore Kahn’s quest for origins: in architecture and art, in the natural sciences, and in the observation of human behavior and society. The first section of the exhibition, entitled City, examines the architect’s relationship to Philadelphia—his adopted home after immigrating to the United States—which became a laboratory for the development of his own urbanistic and architectural principles. Science demonstrates how Kahn studied the structural laws inherent in nature as a means of establishing a foundation for the renewal of architecture. Landscape emphasizes that nature was not only a source of inspiration for Kahn but also increasingly important as a context for his buildings. House illustrates that Kahn’s desire to create a stronger connection between architecture and the surrounding environment also formed the basis of his residential designs; he regarded the house as an archetype and starting point for his understanding of architecture and community. Kahn’s increasing success was accompanied by the evolution of an architecture that was closely linked to the timeless foundations of traditional building, yet radically innovative and future-oriented in terms of technology and construction. The underlying ideal of an Eternal Present resulted from Kahn’s intense engagement with architectural history and archetypical structures, vividly documented in his travel drawings from Italy, Greece and Egypt. The culmination of the exhibition is represented by the section Community, which expresses how essential the social significance of architecture was to Kahn and how he derived new forms for public buildings from it. Taken as a whole, the six themes of the exhibition reveal a new view of Louis Kahn’s oeuvre that defies the common classifications of modernism or postmodernism.

Kahn’s uniqueness lies in his synthesis of the major conceptual traditions of modern architecture—from the École des Beaux-Arts and the constructive rationalism of the 19th century to the Arts and Crafts movement and Bauhaus modernism—enhanced by the consideration of indigenous, non-Western building traditions. Kahn gained important impulses from architectural movements such as metabolism and brutalism. He anticipated aspects of building that are highly relevant today, including a return to local resources and “soft” factors such as air, light and water. He saw himself as part of a tradition that spanned thousands of years and that understood architecture not only as a means of satisfying utilitarian needs, but as an instrument of artistic speculation and a vehicle for contemplating nature, history and human community.

Convinced that contemporary architects could—and should—produce buildings that were as monumental and as spiritually inspiring as the ancient ruins of Greece and Egypt, Kahn devoted his career to the uncompromising pursuit of formal perfection and emotional expression. Working with simple materials, notably brick and concrete, Kahn applied his principles to create buildings instilled with the spiritual qualities he desired through a masterful sense of space and light. He employed this approach to create his first masterpiece, the Salk Institute (1959–65). Kahn’s interest in the relationship of architecture to its location and landscape is one of the most magical elements of the Salk Institute, an extraordinarily inspiring sequence of buildings perched on a cliff above the Pacific Ocean. This interest was equally important to his campus buildings at Bryn Mawr College, Pennsylvania (1960–65), the Exeter Library, New Hampshire (1967–72), and the Yale Center for British Art (1968–74). Striving for perfection, Kahn’s development during this period culminated in another masterpiece, the Kimbell Art Museum, which is still regarded as an exceptionally compelling and empathetic environment for displaying painting and sculpture.

The exhibition is organized by Vitra Design Museum, Germany, in collaboration with the Architectural Archives of The University of Pennsylvania and the Netherlands Architecture Institute, part of the New Institute, Rotterdam. It is globally sponsored by Swarovski. Additional sponsorship support is provided by The Beck Group. Promotional support is provided by the American Airlines, the Fort Worth Star-Telegram, and NBC5.

Complementary Exhibition

The Color of Light, The Treasury of Shadows:
Pastels by Louis I. Kahn from the Collections of His Children

This intimate exhibition presents a selection of pastels dating from a three-month period in 1950–51 when Kahn was Architect in Residence at the American Academy in Rome. While there, he had the opportunity to travel and sketch the great historic monuments and public spaces of Italy, Greece and Egypt. Away from the daily concerns of his architectural practice, his eye and spirit were free to absorb the essence of these places. In pastels that have been acknowledged as the most sublime examples of his drawing, he captured the vivid colors that light and shadow make as they illuminate the ancient sites.

Special thanks to the children of Louis I. Kahn, Sue Ann Kahn, Alexandra Tyng and Nathaniel Kahn, for generously lending their works for this exhibition.

Kimbell Art Museum

The Kimbell Art Museum, owned and operated by the Kimbell Art Foundation, is internationally renowned for both its collections and for its architecture. The Kimbell’s collections range in period from antiquity to the 20th century and include European masterpieces by artists such as Fra Angelico, Michelangelo, Caravaggio, Poussin, Velázquez, Monet, Picasso and Matisse; important collections of Egyptian and classical antiquities; and the art of Asia, Africa and the Ancient Americas.

The exhibition is organized by Vitra Design Museum, Germany, in collaboration with the Architectural Archives of The University of Pennsylvania and the Netherlands Architecture Institute, part of the New Institute, Rotterdam. It is globally sponsored by Swarovski. Additional sponsorship support is provided by The Beck Group. Promotional support is provided by the American Airlines, the Fort Worth Star-Telegram, and NBC5.

The Museum’s 1972 building, designed by the American architect Louis I. Kahn, is widely regarded as one of the outstanding architectural achievements of the modern era. A second building, designed by world-renowned Italian architect Renzo Piano, opened in 2013 and now provides space for special exhibitions, dedicated classrooms and a 289-seat auditorium with excellent acoustics for music.

*Admission to Louis Kahn. The Power of Architecture is FREE **Admission is always FREE to view the Museum’s permanent collection.

Visit the Kimbell Art Museum online at:, and

Kimbell Art Museum 3333 Camp Bowie Boulevard, Fort Worth, TX 76107 Kimbell Art Museum hours: Tuesdays–Thursday and Saturday, 10 a.m.–5 p.m.; Friday, noon–8 p.m.; Sunday, noon–5 p.m.; closed Monday. For information, call 817-332-8451.

Kimbell Art Museum’s Upcoming Exhibition, A Modern Vision: European Masterworks from the Phillips Collection

van Gogh, Vincent, Entrance to the Public Gardens in Arles, 1888, Oil on canvas 28 1/2 x 35 3/4 in.; 72.39 x 90.805 cm. Acquired 1930. The Phillips Collection, Washington, D.C.

Vincent Van Gogh, Entrance to the Public Gardens in Arles, 1888, Oil on canvas 28 1/2 x 35 3/4 in.; 72.39 x 90.805 cm. Acquired 1930. The Phillips Collection, Washington, D.C.


A Modern Vision

European Masterworks from the Phillips Collection

MAY 14–AUGUST 13, 2017


A Modern Vision: European Masterworks from the Phillips Collection will bring to the Kimbell more than seventy paintings and sculptures from one of the world’s greatest museums of modern art. The Phillips Collection, housed in the historic residence of a wealthy Pittsburgh family that moved to Washington, DC, in the 1890s, is in fact America’s first museum devoted exclusively to modern art. Duncan Phillips (1886–1966), the grandson of a prominent Pennsylvania steel magnate, built the museum’s extraordinary collection. When the museum opened in 1921 as the Phillips Memorial Art Gallery, in honor of its founder’s father and brother, the collection included work by American Impressionists and their French counterparts. The collection’s original building will undergo a thorough restoration in 2017-18; during the renovation, A Modern Vision will allow audiences worldwide access to some of its greatest treasures.

After founding the museum, Phillips married the painter Marjorie Acker; through her, and through expanding friendships with living artists, his eyes were opened to new strains in painting and sculpture. He soon expanded the ambitions and the breadth of his collection, reaching out to acquire the works of such modern American painters as Stuart Davis, Arthur Dove, John Marin, and Georgia O’Keeffe, but also significant holdings of works by French, Swiss, German, and Austrian artists of the period 1850-1950. Phillips referred to the museum as an “experiment station,” and today it retains the founder’s personal stamp in a gathering of art that combines tradition, idiosyncrasy, and daring. Art, in Phillips’s opinion, was meant to inspire: “Pictures send us back to life and to other arts with the ability to see beauty all about us as we go on our accustomed ways,” Phillips wrote. “Such a quickening of perceptions is surely worth cultivating.”

Central to Phillips’s taste was a preference for intense color and design. He was the first person, for instance, to gather a group of paintings by the Abstract Expressionist Mark Rothko together as a unit—a move that anticipated and even inspired Rothko’s creation of decorative series. As Robert Hughes put it, “Phillips was in fact the complete optical collector. He craved color sensation, the delight and radiance and sensory intelligence that is broadcast by an art based on color. Color healed; it consoled, it gave access to Eden. He could not understand . . . why art should be expected to do anything else.”

Duncan Phillips was an iconoclast. He rejected old-fashioned art-historical ways of organizing a museum, believing that “the really good things of all ages and all periods could be brought together . . . with such delightful results that we recognize the special affinities of artists.” A Modern Vision begins with a spare and, in Phillips’s view, quintessentially “modern” still life painted by Jean-Baptiste-Siméon Chardin in 1726 and concludes with a highly stylized bird painted by Georges Braque in 1956, purchased in the year of Phillips’s death. In between, viewers will encounter a stunning array from the nineteenth century that begins with such masters as Courbet, Ingres, and Manet and features such icons as Honoré Daumier’s The Uprising. Impressionist and Post-Impressionist paintings include a superb still life by Cézanne and an intensely colored painting of dancers by Degas, in addition to landscapes by Monet, Sisley, and Van Gogh—notably the latter’s celebrated Road Menders of 1890.

Critical to the exhibition are important selections from the carefully formed “units” of works by Phillips’s twentieth-century favorites: Pierre Bonnard, including The Open Window and The Palm; Wassily Kandinsky, including a canvas added to the collection by Phillips’s friend Katherine Dreier, Sketch I for Painting with White Border (Moscow); Pablo Picasso; Oskar Kokoschka; and Georges Braque—with some seven works, among them the elegiac Shower.

A Modern Vision gathers, in the words of Duncan Phillips, “congenial spirits among the artists from different parts of the world and from different periods of time” in an unprecedented array that will both inspire and delight, demonstrating that, as Phillips believed, “art is a universal language.”

Exhibition Highlight: Darren Jones at The Reading Room


Where to Live After Death: Test for Self Portrait as a Gargoyle (Castle Glume), photograph, 2016

Where to Live After Death: Test for Self Portrait as a Gargoyle (Castle Glume), photograph, 2016

The Reading Room presents Nine Inch Will Please a Lady: Romance and Ribaldry in the Literary Vernacular of Scotland, a text installation by Darren Jones from November 5 to December 10. It will include language that is bawdy, romantic, hilarious and mystical along with related objects/images.

There will be an opening reception for the artist on November 5 from 6 to 8 pm.

Jones is an art critic, artist and curator. His work has appeared at Walsh Gallery/Seton Hall University, Index Art Center, Deep Space New York, Cuchifritos Gallery and as part of Phenomena Project, as well as in Norway, Sweden, Scotland, Russia and Argentina.  His writing has been published in Artcritical, Artslant, Artforum and The Brooklyn Rail.  His book with David Carrier The Contemporary Art Gallery: Display, Power and Privilege was just released. Jones is hosted by CentralTrak Artist Residency., Karen Weiner

Exhibition Highlight: Monet: The Early Years at The Kimbell


Monet: The Early Years
October 16, 2016 – January 29, 2017
On view in the Renzo Piano Pavilion

This groundbreaking exhibition is the first ever devoted to the young genius of Claude Monet.  Monet: The Early Years will feature approximately 60 paintings from the first phase of the artist’s career, from his Normandy debut in 1858 until 1872, when he settled in Argenteuil, on the River Seine near Paris.  Through the 1860s, the young painter — still in his twenties — absorbed and transformed a variety of influences, as the lessons of the Barbizon school and his mentor Boudin gave way to the challenges posed by his friends Manet, Pissarro, Renoir and Sisley.  On the strength of his invention of a highly personal and distinctive mode of painting, the young man positioned himself as an artist to be recognized and to be reckoned with.

Monet: The Early Years examines this period in depth, through the greatest examples of his painting — drawn from museums in the United States, Europe and Japan. The exhibition will enrich our understanding of the ways in which Monet’s artistic innovation and personal ambition evolved in tandem.

The exhibition is organized by the Kimbell Art Museum in collaboration with the Fine Arts Museums of San Francisco. It is supported by an indemnity from the Federal Council on the Arts and the Humanities and a grant from the Leo Potishman Foundation, JP Morgan Chase, Trustee.

 More information on visiting the Kimbell can be found here.