In this issue of The Nasher, we present to you the spaces and conditions behind a finished work. You will find studios of the past and present, encompassing living rooms, yards, and gardens, in Dallas and across the globe. You will uncover inspiration, whether it be Henry Moore’s collection of stones, Antony Gormley’s obsession with cave paintings, or Nathan Carter’s eclectic urban flotsam. You will learn of the lengths artists go to when securing a place to make their work, sometimes facing challenges such as the cost of rent, access to equipment, or the need to constantly move ones practice and the objects that result from it.  

Director's Letter

On May 12 of this year, I moved to Dallas to become the third Director of the Nasher Sculpture Center, following in the distinguished footsteps of Steve Nash and Jeremy Strick. I was promptly warned about the Texas summer heat—which is something that I could have predicted—but I had no preparation for the warmth and generosity of this amazing community: our board and staff; our patrons; and the artists in North Texas.  

As is often the case for an incoming director, I found myself in the position of presiding over projects that preceded me and took many years in the making. I am fortunate to say that this season’s Antony Gormley survey is one of those projects. Gormley is widely recognized as one of the most influential figures working in the field of sculpture today. He was initially part of a generation of artists in the UK that reinvigorated the practice in the 1980s, and who were themselves following in the footsteps of great sculptors such as Henry Moore, Barbara Hepworth, and Anthony Caro—all well represented in the Nasher Sculpture Center collection. Gormley stood out among his peers for his keen interest in the human figure, which continues today, and which he expands beyond formal concerns to embrace a range of existential questions. I do know that you will want to come to see his show.  

But there will be many other enticing occasions for you to return to the Nasher, as well. I know that our Free First Saturdays are a Dallas classic for families all over the city. Having partaken in a few of them myself, already, I can guarantee they deliver all the joy they promise. In October, The Great Create, which raises funds for our Education department, will certainly be a highlight. You may choose to join the engaging community who animates our vibrant ’til Midnight or just sit by yourself with old and new favorites by the pond, such as Barbara Hepworth’s Squares with Two Circles (Monolith) and Ulrich Rückriem’s Untitled (#7). Rest assured that, on any of these occasions, I will be around and very much looking forward to meeting you.   

Carlos Basualdo 
Director