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    Well-Tailored Soiree

    Sophisticated art patrons party with style at Dallas Contemporary

    Kendall Morgan
    kendall Morgan
    May 6, 2013 | 5:15 am

    In a season of spectacular functions, Bespoke at the Dallas Contemporary stands out. Not just because patrons fly in from all over the U.S. for this fresh and flashy fundraiser, but because local art powerhouses turn up to show their unwavering support for a not-for-profit institution.

    The likes of Circuit 12 Contemporary, Goss-Michael Foundation, Cris Worley Fine Arts and Barry Whistler Gallery all donated art to the Bespoke auction. Worley, Whistler and Goss-Michael associate director Ariel Saldivar were on hand for the festivities.

    Local fashionistas were also thrilled to be involved. Said Clutts Agency founder John Clutts on the way into the silent auction, “I’m lucky because I’m on the board. The amazing thing is the Contemporary would have been half the size if it weren’t for [director] Peter Doroshenko. He pushed us, and now we’re one of the largest contemporary museums in the world. And we’re a non-collecting museum, so events like tonight help pay for the art that’s exhibited.”

    Rebranded two years ago from the Contemporary’s Wish! Auction, Bespoke offers a more curated approach to both the live and silent auctions. Canadian designer Jeremy Laing, who donated a geometric dress to the auction, agreed with V.O.D. owner Jackie Bolin that this year’s event “is even bigger and better” than before.

    Guests sipped champagne while watching a modernist dance performance by Danielle Georgiou and the DGDG Dance Group between silent bids on art by the likes of Shepard Fairey, Kevin Todora and Faile. Futuristic floral arrangements by Grange Hall dressed up the second half of the space, where attendees enjoyed a dinner by TK Culinary while learning what crucial programs their generous donations will fund.

    Doroshenko’s opening remarks touched on the Contemporary’s DCU, a series of lectures featuring North Texas college professors, and the Renaissance Programme, which targets emerging museum professionals, allowing them to develop their curatorial skills.

    The inaugural Bespoke raised more than $450,000, and this year’s edition surpassed that, at more than $500,000 — thanks in no small part to the fast-and-furious, five-figure bids for jaunts to Art Basel Miami and the Fiac Art Fair in Paris and works by Inez and Vinoodh and Patrick Martinez.

    Other onsite celebrants included Barbara Buzzell, Brian Bolke, Jeffrey Lee, Muffin and John Lemak, Niven Morgan, Nini Nguyen, Brad Oldham, Christy Coltrin, Rajan Patel, Susan Posnick, Allison V. Smith, Nancy Rogers, Maxine Trowbridge, Barbara and Don Daseke, Jessica Olsson Nowitzki, Erin Wasson, and Dee Wyly.

    Muffin Lemak, John Lemak

    Muffin Lemak, John Lemak, Bespoke
    Photo by Jerry McClure
    Muffin Lemak, John Lemak
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    Dance News

    Dallas Black Dance Theatre makes interim artistic director permanent

    Lindsey Wilson
    Nov 4, 2025 | 11:41 am
    Richard A. Freeman, Jr.
    Photo by Aleah Pilot
    Richard A. Freeman Jr. became the new artistic director October 24, 2025.

    Dallas Black Dance Theatre (DBDT) has officially named Richard A. Freeman, Jr. as its new artistic director, ushering in a new era of leadership for the dance company as it approaches its 50th anniversary season.

    Freeman, a longtime member of the DBDT family, has served as interim artistic director through the company’s recently completed 48th and current 49th seasons. His appointment, effective October 24, 2025, marks a natural progression for the former lead dancer, resident choreographer, and artistic project coordinator, whose career within DBDT spans more than a decade of creative and organizational leadership.

    “Richard has been an integral part of Dallas Black Dance Theatre's artistic fabric for years, and his extraordinary leadership during his time as interim artistic director made this decision clear,” says Heidi K. Murray, a member of DBDT’s board of directors, in a release. “His dedication to artistic excellence, his deep understanding of our mission, and his vision for the future of contemporary modern dance make him the ideal person to lead DBDT into this exciting new chapter.”

    DBDT founder Ann M. Williams echoed the sentiment, calling Freeman’s appointment a full-circle moment for both artist and company. “Richard embodies everything Dallas Black Dance Theatre stands for: artistry, excellence, and a deep commitment to uplifting our community through dance,” she says in the release. “I have had the privilege of watching him grow from a gifted dancer into an inspiring leader and visionary artist. His dedication to preserving our legacy while boldly charting new artistic territory gives me tremendous confidence in DBDT’s future.”

    During his tenure as interim artistic director, Freeman guided DBDT through seasons marked by artistic innovation and expanded community engagement, but also staff shake-ups and legal issues.

    In October 2024, accusations of retaliation surfaced after 10 DBDT dancers, its entire main company, were fired following their decision to unionize in May and demand better working conditions. This led to an unprecedented "Do Not Work" order by the American Guild of Musical Artists.

    Dallas City Council ultimately voted to withhold $248,000 in city funding due to labor violations, and DBDT later settled for $560,000 with the National Labor Relations Board.

    In response, DBDT formed a 17-member advisory stakeholder task force co-chaired by Jennifer Scripps, president and CEO of Downtown Dallas, Inc., and Shawn Williams, vice president of public affairs at Allyn. The group has been working with DBDT leadership to review the organization’s policies and practices, propose changes that foster an accountable environment, and put in place safeguards to prevent future concerns related to talent.

    In September 2025, executive director Zenetta Drew announced her retirement after nearly four decades with the company. A national search for her replacement will start in early 2026. Williams retired in 2014.

    As artistic director, Freeman will oversee all aspects of DBDT’s artistic operations, from performances to educational initiatives, and continue to expand its reach throughout Dallas and beyond.

    “I am deeply honored to accept this role and to continue building on the incredible foundation established by the vision of Ann Williams,” Freeman says. “This company has a unique power to move, inspire, and unite communities through dance. I look forward to working with our talented dancers, staff, and board to create unforgettable artistic experiences and to nurture the next generation of dance artists.”

    A native of Washington, D.C., Freeman began his training with the District of Columbia Youth Ensemble and the Washington Ballet before graduating from the Duke Ellington School of the Arts and Virginia Commonwealth University. His performance credits span acclaimed companies and productions, including Elisa Monte Dance, Houston Grand Opera, Porgy and Bess, and The Wiz.

    Freeman’s choreographic works have been featured by leading institutions such as Texas Ballet Theater School, Texas Christian University, and Booker T. Washington High School for the Performing and Visual Arts. He has also shared his expertise through master classes and workshops nationwide, reinforcing his commitment to DBDT’s educational mission.

    Founded in 1976, Dallas Black Dance Theatre is the oldest and largest professional dance company in Dallas and one of the most acclaimed Black dance institutions in the U.S.

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