Catherine D. Anspon | Photos by Carlos Donjuan’s Toonch, 2013, at Kirk Hopper Fine Art
- January 08, 2014
New year, intriguing art. All these stories are unfurling this spring: Edward Hopper’s epic Nighthawks heading to the Amon Carter, a dual museum solo for David Bates, the coming of the Dallas Art Fair year six … In galleries this month, we love Kirk Hopper Fine Art’s perfect pairing of two Dallas street artists, Carlos Donjuan and Luke Harnden; the former rolls out a series based on the close-to-home concept of an illegal alien, while the latter mines magic, space and light from the most minimal of materials — an unusual practice perhaps for a talent who’s in the collective ArtBeef (through January 18) … Meanwhile, catch the final weeks of the Edward Hopper drawing show at the Dallas Museum of Art, organized by the Whitney Museum of American Art, which owns the world’s greatest cache of Hopper holdings (through February 16). See the original drawing for Nighthawks before the actual canvas arrives in Fort Worth at the Amon Carter February 22 … Speaking of Fort Worth, the Kimbell’s new Piano Pavilion posits a serene bookend to the original Kahn building, an exercise in light, massing and scale, perfectly sited with 65 yards between the two structures. Piano’s deferential, functional architecture’s greatest surprise is saved for some razzle-dazzle downstairs with an extraordinary theater for 300, plus an emphatic environmental statement realized by a green roof with underground geothermal wells — both of which dramatically save on the light bill. The viewer only encounters the roof berm from the west side of the new Pavilion, which makes for a terrific reveal. Fittingly, the museum’s greatest hits inaugurate the new Piano, while the Kahn building gets the blockbuster “The Age of Picasso and Matisse: Modern Masters from The Art Institute of Chicago” (through February 16). For more art dish, follow @PaperCityCA.