Six female artists take the spotlight in the Fall/Winter Art Rotation at Park House through April 2021.

Exploring concepts of deconstruction, Carolina Alvarez-Mathies selected eight works from Park House member collections, including one from her own;

club cofounders Deborah and John Scott; gallerist Erin Cluley and her husband Tearlach Hutcheson, a film industry executive; Nancy C. Rogers; Mark Giambrone;

and Lisa and John Runyon, who curated the permanent collection at Park House. Deborah Scott enlisted Alavez-Mathies about a year ago.

“We were so lucky that Carolina had just arrived in Dallas for her new position as deputy director of the Dallas Contemporary.

She was the perfect fit, with a worldly background and a Texas history, having graduated from TCU.

She is so knowledgeable and connected in the art world, but this was her first solo curatorial undertaking.”

Alvarez-Mathies who had just moved to Dallas after a decade in New York City and then a stint in Zürich,

translated Scott’s original all-female-artists directive, saying she learned to “trust my eye and instinct—even with being new at this

THE PRESENT IS FEMALE and most definitely to assert my voice as a Latina in contemporary art, to take up space unapologetically.”

 Beautifully displayed in the entry corridor, Sara Cardona’s Circular Thinking is the first work members see when they step off the elevator and look to the right.

“My interest in collage began recently, in 2015, during my tenure at El Museo del Barrio in New York City,” Alvarez-Mathies explained.

“Rocio Aranda-Alvarado curated a group exhibition called Cut N’ Mix, which portrayed artists experimenting with collage in new ways.

THE PRESENT IS FEMALE I think I visited that show every day it was on view. When I first saw Circular Thinking at Erin Cluley Gallery,

my reaction was immediate—I was drawn to  Sara’s analog cut-and-paste method that had been transformed into a larger, almost sculptural, piece.

The work was in its crate—it had just come back from the San Antonio Museum of Art, where it was part of Texas Women: A New History of Abstract Art.”

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