In a call last month, I discover a good friend of mine, who’s been out of
the country for several months, will be in London for an extended period.
She invites me to visit during the Frieze Art Fair, though she has no idea
Patron’s 3rd Anniversary Issue has a British emphasis.
The art world is full of ephemeral nuances and magnetic attraction;
how else to explain the odds of two friends connecting in London, on
the eve of Patron’s “British” issue, with nary a shared word of our content?
We were both clearly feeling the gravitas the Brits have sent From Across
The Pond as foretold on our cover. And, for those with an accommodating
schedule, consider attending the Frieze Art Fair mid-October, but return
quickly, for much is happening here this fall. Now, a bit about the
Over the past few years I’ve admired the work of the Goss-Michael
Foundation (GMF) and the concerted efforts by Kenny Goss to offer his
outstanding Young British Artists ( YBA) collection to the public. Executive
Director Joyce Goss goes well beyond her work for GMF, assiduous in
her energies to offer up their platform as a way to raise funds for those
who need a voice: clients of the Staying Alive Foundation, The Family
Place, UNICEF, and others. Together the Gosses present opportunities to
meet a plethora of inspiring British artists, gallerists, and celebrities. About
eight weeks ago Kenny, ever being the arts steward he is, proffered another
introduction, none other than Tracey Emin.
YBA’s Tracey Emin is a say-it-like-she-means-it kind of gal, a cerebrally
inspired visionary who offers the underpinnings of her life as an art form.
When Charles Saatchi sold Emin’s My Bed for £ 2. 54 million in July to
German industrialist Count Christian Duerckheim, the Count described
the work as “a metaphor for life, where troubles begin and logics die.”
To great appeal (and controversy) he then loaned My Bed to the Tate
for a minimum of 10 years. In an exclusive interview, the intellectually
perspicacious Patricia Mora digs into the extraordinary mind of Emin
whilst she’s in the south of France in TRACEY EMIN: SPEAKING
SOFTLY. True to Emin’s neon work on the cover and for all indeed, The
Last Great Adventure is you.
Londoner, Neil Raitt, is the current Artist-in-Residence at GMF. Raitt’s
solo show opens this month in conjunction with London’s Hus Gallery.
Steve Carter tells us more about this irrepressibly baby-faced artist in
Hands Across the Water. In An Idea Of Thomas Heatherwick, Carter interviews
yet another genius Brit and explores his unprecedented namesake exhibit
Provocations: The Architecture and Design of Heatherwick Studio at the Nasher.
Local artists and gallerists are fittingly included in our departments: JD
Miller and Joshua King in Openings, Bob Malenfant in Contemporaries and
Erin Cluley with her new progressive gallery in Furthermore. Additionally
of note, Lee Cullum pays tribute to three forces of nature, Gail Thomas,
Natalie “Schatzie” Lee, and Zannie Voss, in The Athena Principle without
whom the cultural landscape would be a lot less vibrant. The Design
District gets graffitied with the opening of LAB ART Texas, a gallery
dedicated to street art. Check it out in Street Cred. Finally, Maxine Helfman
photographs our fashionably lost heroine in Looking For Marfa.
As one progresses from art perusing to art purveyor, one altruistic
“connector” remains evident, the British always revered the great European
genres, and collected with a royal’s passion. But the unique connector is
this: through their steadfast form of industry and Neo-Capitalism (which
we have perfected), they transferred to the States the desire to collect with
such energy that we have engendered much more original art forms than
we could hope for… And the American art revolution hardly takes a rest.
North Texas is firmly planted in the nation’s crossroads of contemporary
art. Thanks Great Britain, we have moved on nicely.
Publisher / Editor in Chief
October / November 2014