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    Larger than Life

    Iconic Dallas waterfall billboard gets a backside update from local artist

    Kendall Morgan
    kendall Morgan
    May 17, 2017 | 2:32 pm

    Graphic designer-turned-muralist Kyle Steed has expanded his practice in every sense of the word. Self-employed for the past six years, he has quickly evolved from small projects such as windows at the now-defunct Knox-Henderson boutique Milk & Honey to paintings growing ever larger in scale and ambition.

    Most recently, he crowned the Plaza of the Americas building with a 110 x 30-foot splash of swirling color. So, when Steed was approached to create a piece of art for the backside of Dallas' iconic Coors Light waterfall billboard, he was more than ready for the challenge.

    “I think scale has always drawn me,” says the artist, who also has created murals on the Trinity Strand Trail and in the Bishop Arts District. “I’ve always been drawn to doing stuff larger than outside of a piece of paper or on a computer screen. I also had an appreciation for graffiti growing up in high school — there’s a little bit of a rebellious streak in me that wants to defy the norm.”

    Self-taught, Steed took a circuitous route to becoming a full-time artist. After moving to Texas post-graduation in 2000, he scored a graphic design internship but ultimately decided to enter the military.

    While serving in the Air Force, he indulged his creative impulse with photography, painting, and drawing. Time spent in Japan gave him an appreciation for minimalism and simplicity, hallmarks of his work today. When his time was done in 2007, he moved to Texas with his wife and began exploring the web design world while building a presence for his fine art work on social media platforms like Twitter (where he has 12,000 followers) and Instagram (where he has 150,000).

    He attributes the upward trajectory of his career to “a snowball effect. People see that thing and want you to do something for them.”

    The latest in line was Dustin Lovingood, the vice president of marketing for Monogram Residential Trust, who needed something on the rear side of Harry Hines’ classic waterfall billboard, to brighten the view for residents of the new luxury complex The Alexan.

    “People would say the Coors Light billboard is an icon in the city of Dallas,” Lovingood explains. “We’ve got apartments facing the backside, and that’s not attractive. But then you’ve got the weight of this icon and how do we do it right? There were several artists I considered, but Kyle has such a following and wasn’t intimidated by the scale of this project.”

    For Steed, who spent his childhood in Alabama and North Carolina, the famous billboard was an instant reminder of visiting his father during the Texas summers.

    Since the final piece will be the main view for many of The Alexan’s residents, Steed wanted it to have a special significance. “I was trying to get in touch with these memories I had as a child, and what this billboard meant to me, so I used all these icons and we went through four or five versions of artwork.”

    Ultimately, he landed on an idea inspired by the dichotomy of keeping a sense of peace in a driven, competitive city. The work, printed on vinyl to survive the elements, features figures in red, white, and blue tumbling across a black background, representing two opposing forces meeting in the middle.

    “It’s like Rothko — you look at a piece of his painting that’s minimal, but if you read about what he was dealing with [while] making it, it’s very heady,” Steed says of his work’s layered meaning.

    Being revealed at a private event on May 18, the billboard is visible for non-residents at the intersection of the Trinity Strand Trail with the Katy Trail. Eventually, Lovingood says a restaurant going in that spot will give visitors another reason to stop and take in Steed’s vision.

    As for Steed, he hopes his latest undertaking will have the same effect on its viewers that his other murals have achieved.

    “Art is very subjective, but I hope I get somebody that stops and wants to take a minute to pause and reflect on what it means in their life. Maybe that’s what I hope to do in all my work — give people a moment of pause.”

    Local artist Kyle Steed is producing a billboard that will be visible from the apartments at The Alexan.

    Kyle Steed
    Courtesy photo
    Local artist Kyle Steed is producing a billboard that will be visible from the apartments at The Alexan.
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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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