eter Doroshenko is making waves with his upcoming exhibition
by French luminary, Loris Gréaud. However, he seems to be
swinging for the fences in other areas, too. Namely, he tapped
Ms. Ludwig is a native of Massachusetts and spent summers in
Switzerland where she was introduced to museums at an early age.
Her interest in art evolved into a fascination that led her to acquire
a BA in Art History from Colby College and a MA in Global Arts
from Goldsmiths, University of London. She subsequently gained
experience at a variety of prestigious institutions, including MIT
LIST Visual Arts Center, the Boston Museum of Fine Arts, and the
CAC in Cincinnati. In fact, the virtuosity of her background lends
substantial heft to her praise for her newly found home. She avidly
lauds the generosity of Dallas residents and states, “People in other
cities simply don’t believe in philanthropy in the ways I see in Texas.
Other cities have money but they don’t use it in the same way they
do in Dallas.” She adds, “The people here are incredibly generous in
opening up their private collections. It’s rare.”
With a penchant for work emerging from a variety of cultures,
Ms. Ludwig is especially fond of art “in Pakistan, Mexico, and Brazil.”
Moreover, she enjoys the refractory nature of contrasting cultures
seen in adjacent spaces. “I like the idea of art ‘in dialogue.’ We
currently have Mario Testino being shown with our other exhibitions.
It becomes a way of offering different perspectives when you watch
pieces in conversation with each other. All the works benefit when
they’re juxtaposed this way.”
Before joining the Dallas Contemporary, Ms. Ludwig curated
wide-ranging exhibitions that encompass: Patti Smith’s moody
meditations on the passing of Robert Mapplethorpe; eye-popping
paintings by Texas’s own platinum-haired stunner, Rosson Crow;
contemporary miniaturist work in Pakistan that has emerged from
roots in 16th-century Mughal paintings; and work by Japanese artist,
Shinji Turner-Yamamoto. In the words of Ms. Ludwig, the latter
“elevate(d) a collection of discarded and decaying architectural
materials into a meditative installation infused with serene beauty.”
Indeed it did. And it doesn’t end there; quiet spaces that evoke a
contemplative mood seem to offer consistent allure for Ms. Ludwig.
And she’s aware that her “sensibility is very different from that of
Peter (Doroshenko).” She notes, “That says a lot about what he is
willing to do, that he’s willing to take risks.” That is certainly true.
However, in the case of hiring Ms. Ludwig, he also demonstrated
that he also constellates moments that flare with absolute brilliance. P
Justine Ludwig at Dallas Contemporary
THE DALLAS CONTEMPORARY HAS A NEW—SUBTLE—SENSIBILITY.
BY PATRICIA MORA
PHOTOGRAPHY BY WILLIAM BICHARA