On loan from The Rachofsky Collection. Do a Sleepover Apr. Create explosive experiments at Social Science on Apr. Don't forget First Friday and Family Day monthly. Presented by National Theatre Live Apr. Wiesenthal, Apr. David Sedaris brings his wit to the stage Apr. Join the circus-style adventure as Air Play brings life to the air that we breathe, May 25— Image: The Company of Into the Woods.
Photography by Joan Marcus. The orchestra Black Violin performs Apr. Blue brings color into your family, Apr. Photography by Mark Oristano. TDO brings Norma's love triangle, Apr. A concert performance of Everest is presented on May 5. Take a magical ride on May 6 with The Magic Piano.
Photography by Jose Leon Photography. Matthew Passion, through Apr. Jaap van Zweden conducts Shostakovich and Beethoven on Apr. Relive your favorite anthem band with the Music of Journey Apr. The Mambo Kings take you on a Latin jazz journey May 5—7. The third annual Nancy A.
Nasher and David J. Keyboard Conversations returns with Virtuoso Variations on Apr. Enjoy the comedy that comes from living in a small Texas town in Greater Tuna, on Apr. The Hathaway Academy of Ballet performs May 27— The heart-wrenching play is inspired by true events and runs Apr. Performances are Apr. Sebastian Maniscalco offers his quick-witted comedy on Apr. BAP performs Apr. Morrissey stops during his US tour on Apr. Little Dragon shares her music on Apr.
Brandi Carlile and her band hit the road with their new album on Apr. Paula Poundstone brings her comedy May The socialite is eager to spread the word in Susan and God, Apr. The Birds begins in Theatre Too on May Che Malambo makes their Texas debut with a performance featuring rhythmic footwork, stomping, drumming, and whirling boleadoras on Apr.
Command Performance delivers one of the most jaw-dropping performances of the year on May Photography by Andrew Eccles. For more information call - or visit bushcenter. Works by Josh Tonsfeldt are on view beginning April Image: Dustin Pevey, Is this a matter of fact, , oil on canvas, 36 x 50 in. Meier has a second opening on Dallas Art Fair weekend. The artist will be in attendance for the opening, and the exhibit continues through Jul. Image: Jack Whitten, Untitled, c.
New work from an Arlington-based artist will be featured in Facets: Contemporary Sculpture by Art Fairchild with an opening reception on Apr. Through Jun. Martin and sculptures by Michael Enn Sirvet are currently on display. Martin abstracts his own observations of nature using his signature reverse-painting technique applied to the back of acrylic panels. At first. All three shows open Apr. Conduit is an exhibitor at Dallas Art Fair, Apr.
Orna Feinstein, a Texas printmaker and sculptor, returns with Grids, Layers, and Lines, marking the 20th anniversary of her exploration of the tree trunk. All three shows open with a reception on Apr. A group show opening May 13 features work from all gallery artists including newest artists, Tom Hoitsma and Anders Moseholm.
Fine art and the decorative arts transcend period and the hands through which they pass. Image: Jasper Johns American, b. Courtesy of Heritage Auctions. One of the most significant Abstract Expressionist painters, Motherwell used the color black, not as the absence of color, but rather as a significant hue in its own right.
Image: Robert Motherwell American, — , Nemesis, —82, acrylic on canvas, 60 x 44 in. Courtesy of Dallas Auction Gallery. Image: Sam Maloof rosewood long-tailed rocking chair, Showcasing modern and postwar contemporary art, the sparkling new Bivins Gallery is bright with light and bold with color.
Karen and Michael Bivins represent historically relevant established artists, cutting-edge emerging talent, key secondary market works, and estates of important legacy artists. The artist uses the words of various texts to invent calligraphy-like abstract forms out of cast and pigmented resin. Working from staged photographs, artist Kelli Vance paints psychological narratives of female figures in her second solo show at the gallery, Sappers and Miners, May 13—Jun.
The Spring Gallery Walk is Apr. Washington High School the opportunity for recognition, exhibition, and scholarships. The exhibition is open May 6—Jun. The symposium features ten renowned speakers with presentations on Early Texas Art. Art Dealers will bring rare early Texas art for the art fair portion of the event.
Nic Nicosia: at home on time opens Apr. Image: Nic Nicosia, livingroom 1 with 7 thoughts 3. Anna Kunz returns with Heroes for Ghosts, open Apr. Both shows will have an afternoon reception on Apr. Courtesy of Carl Freedman Gallery, London. His paintings in Color Space are a visual representation of this technological process, Apr.
Joan Courtesy of Holly Johnson Gallery. Local photographer and teacher Frank Lopez curates an exhibition of work by photographers who explore the limits of technology and chemistry through experimental processes that challenge our notions of how images can be made. May 13— Jun. Through traditional and expanded modes of painting, these artists make work that beckons from across the room, and forces you to smile.
A venerable private art dealer, KSG offers museum-quality paintings and sculptures. Porcelain installation artist, Lucrecia Waggoner, returns May 13—Jun. Edition of Dallas, Texas www. The show features paintings, sculptures, videos, and works on paper, Apr.
Courtesy of The Power Station. Private Collection. Sculpture, drawings, letters, and jewelry, never before available from Alexander Calder and the Calder Foundation, open Apr. Works from the estate of June Mattingly continue at the gallery. Romano, and Tyler Shields. Luther Smith will showcase his work at William Campbell beginning with an opening reception on May 4. For current exhibits visit us at www. The 52nd annual gala, chaired by Ann and Lee Hobson and benefiting the DMA, features a seated dinner, a luxury live auction, entertainment, and a festive after-party.
For tickets visit support. Dallas, TX www. Want a chance to see Elizabeth Judd in Hamilton on Broadway? Enter the Centerstage Hamilton raffle on our website! Visit www. Clockwise from top left: Sarah Ball, Immigrant Series Moroccan, , oil on gessoed panel, 7 x 5 in.
Both images courtesy of the artist and Conduit Gallery. Sarah Ball, Immigrant Series Indian, , oil on gessoed panel, 7 x 5 in. Courtesy of the artist and Conduit Gallery. The word is a weapon, a political pawn, to the point that one might forget that we are dealing with human beings. The photos were shot by amateur photographer Augustus F. Sherman, a registry clerk at Ellis Island from to Sarah Ball, Immigrant Series Italian, , oil on gessoed panel, 7 x 5 in.
The works have a seductive magnetism that draws audiences into a one-on-one conversation, a dialogue of identities between observer and observed, intimate and universal. And I also love the fact that you have to go in—you have to step in to the painting to really see it. Her technique involves gesso prepping of the board, building up multiple thin layers of paint with very small brush strokes, sanding between the layers, and a varnish topcoat for a cohesive finish.
The portraits speak eloquently of her technical mastery. Small wonder Ball was named Welsh Artist of the Year in , among many other accolades. They were considered to be backwards and they were examined for illiteracy, whether they were criminals, or whether they had money…I just feel that things have slightly moved on.
Upper: Timothy Harding, 87" x 75" on 60" x 50", , acrylic on canvas, 66 x 53 x 18 in. Lower: Timothy Harding, 87" x 75" on 64" x 52", , acrylic on canvas, 67 x 54 x 13 in. Both courtesy of the artist and Cris Worley Fine Arts. Eventually, these installations gave way to singular works of acrylic on canvas, at once both meticulous and curious in their precision and method.
Harding performs this final transformation by gently flipping the fully painted canvas over and removing it from its original support stretcher, which was pulled conventionally taut during the painting process. He then downsizes to a smaller stretcher with a similar horizontal-to-vertical ratio, and tweaks and tugs the surface from behind, arranging the larger painted surface into a sculptural relief of sorts.
When faced with the prospect of planning for his exhibition, Harding viewed the opportunity as creating a dialogue between objects within the space of the gallery and not simply creating standalone artworks. Harding used the funds from the Nasher to buy a desktop vinyl cutter, thus freeing him from the arduous handtaping-off involved in his designs. Furthermore, when I brought up the topic of color choices and how it plays into the equation, Harding stated that he only started reintroducing color back into his compositions about two years ago.
After a successful solo showing of his painted structures in the spring of , Harding decided to combine the playfulness of his all-over paper installations with the medium and colorful palette of his work exhibited at Cris Worley. He laid one large green grid painting on the floor faceup as the central element around which other painted canvas nets, random studio detritus, and multiple paintings affixed to wooden supports mimicking the form of haphazard totems or makeshift medical stretchers about which various lights and their cords were strewn.
As Harding has recently been involved with the commission of a screen-printed bag design for a collaboration between Patron and the Dallas Art Fair, I inquired about the process and how it compared with his other artistic practices.
Almost certainly, change is in the works. When the Catholic university opened its doors in , the art department consisted of one full-time faculty member, a Cistercian monk named Philip Szeitz. The now legendary Kelly served as a part-time instructor. In , Szeitz hired a graduate school buddy from the University of Wisconsin, Lyle Novinski, as a full-time professor. University of Dallas has been a pioneer in many ways. In , it became the first racially integrated school in Texas.
It was also the first co-ed art department of any Catholic school in the nation. And when the Braniff Graduate School opened in , it became the first graduate art department in the state. Haggerty Gallery commemorated their half-century milestone with the opening of the exhibition, View from the Art Village: Year Retrospective on view through April The conscious decision made in the early days of the department to reject silos for each discipline created an atmosphere that encouraged the constant flow of ideas across media.
As a result, many of these artists work in or incorporate a variety of media in their work. One of the hallmarks of the faculty members and graduates. The exhibition features the work of over 40 artists, many of whom are regionally and nationally prominent. The censorship of both of his graduate exhibitions is legendary in the art department. His infamous MA show was shuttered after three hours, due to its sexually charged content.
Regardless, Roche only has positive things to say about the school. And forward he went. Since then, it has been on view at prominent museums across the country. Jack Mims served as a surrogate leader of the Oak Cliff Four, a group of artists that included Roche and another UD alum and exhibition participant , George Green, who were pioneers on the nascent local contemporary art scene in the early s.
Shortly after graduation, Strunck joined the faculty and transformed the printmaking department into an internationally recognized program that he guided until his retirement in Similarly, the late Heri Bert Bartsch grew the sculpture department during his decades-long tenure. He is the only one of the original four still teaching. The Clarks hosted graduate seminars in their home amid their collection that included work by Mondrian, Arp, and Dubuffet.
It was, however, the patronage of Patrick and Beatrice Haggerty that physically transformed the campus. Opposite: Mary Vernon in her studio. Her twinkling, troublemaking eyes are a giveaway. Her grayish white, spiky hair, a confirmation.
Her vivid imagination and uncensored recollections energize and embellish the serenity of what might be an all too perfectly composed scene. She seduces us to imagine a bizarre narrative, but titles her work with just enough information for identification, such as Coffee Cup with Rabbit.
We delight in her creative carelessness with paint, her attention to line, and her quirky sense of humor, and remain delightfully puzzled. Although a world traveler, Vernon draws first and foremost upon her memories of the Pecos Valley of southern New Mexico, where she grew up.
Through her paintings, we are welcomed into her personal world of stream of consciousness—mountains, landscapes, Chinese temples, f lower gardens, dogs, deer,. Her lively remembrances of home and travels around the globe to China, Japan, and Chile, where she was the US State Department Visiting Artist, are communicated with fluid brushstrokes, which morph into wolves, sensuous, quivering lines, and accidental drips which decide to be tree trunks.
Paint knows so much more about painting than I do. It brings me joy. It makes me feel like I have a new lease on life. Vernon was selected to be honoree because of her impact on the local arts community, the honors, awards, the leadership roles she has assumed, and the rich legacy she leaves. She will be retiring from a fifty-year teaching career at Southern Methodist University this year.
Mary Vernon may be retiring, but she is certainly not retreating. The Grace Museum in Abilene will mount a major show of her work September 15, Valley House Gallery, which represents her locally, will be showing her work at the Dallas Art Fair and installing her one-person show in their North Dallas gallery September 20 of this year.
Works can be seen locally at Cafe 43 at the George W. The Art in Embassies program recently purchased a work for installation in Africa. Vernon may have fans worldwide, but the strongest voices are from those she has mentored while teaching. Her words are precise, strong, and full of confidence, experience, and transparency. Being close to her and being able to watch her teach is nothing but a winning experience where every word and every second counts.
Primarily exhibiting the work of contemporary American artists, Shane Campbell Gallery opened its first Chicago storefront art space in September Six years later they added a new location in a Mies van der Rohe apartment in Lincoln Park, expanding exhibition options for gallery artists by once more offering a domestic space for the presentation of art while serving as a guest house for visiting artists and collectors.
James Cope: What was the impetus for starting your own gallery? Shane Campbell: My wife and I hatched the plan to open a gallery shortly after meeting in college. Once we resettled in Chicago after grad school, we showed work in our home in an effort to bring art we deemed interesting from outside Chicago.
This project slowly grew into a commercial gallery in and is now located in the South Loop of Chicago. We continue to focus on exhibiting the work we want to see by artists who have an enduring effect on our lives. SC: Galleries and artists can continue to define themselves as not New York or they can create their own reality. Many of us get into art because of the supposed freedom it offers, but we quickly get in line whenever a hierarchy presents itself, so my advice is to follow your bliss and be vigilant in your convictions.
From left: Joanne Greenbaum, Untitled, , oil, acrylic, Flashe, and marker, 60 x 50 in. William J. O'Brien, Untitled, , colored pencil and ink on paper, 40 x 26 in. Lisa Williamson, Untitled, , acrylic on collaged mat board, 36 x Bottom: Gallerist James Cope. Their compressed size and saturated color absorbed me into her world, crafted from waypoints navigating the drift of everyday life.
JC: How do art fairs help a gallery and its artists? SC: Art fairs are the social nodes of the art world that enable us to binge on culture and dish on the social machinations of the art world until we come together again at the next venue. They are critical for galleries and artists alike in accruing cultural capital within a compressed period of time. JC: What do you look forward to most about visiting Dallas?
SC: The brisket at Lockhart Smokehouse. Among other projects, James advises private collections and continues to curate exhibitions worldwide. The highest values, representation, and exhibition history have been unequivocably awarded to white men. So, how do you change a biased system, long established, since the advent of art history? How do you increase awareness and take on deep systemic issues? What is the role for artists in influencing societal change?
Since , Michelada Think Tank has sought to address these exact concerns. Its network of activists, artists, and educators stage events surrounding issues that people of color face both inside the art world and outside of it. The group is represented in Los Angeles, San Diego, Dallas, and New York—all deeply diverse cities who face a swath of separate, but connected, issues when it comes to social justice.
Michelada Think Tank works contextually as a means to achieve their goals. Two of its members, the outspoken, multidisciplinary creatives, Ratcliff and Zou, are Dallasites. They have labored tirelessly to better the city they.
Working closely with a wide range of community members and institutional partners, they have organized alternative education workshops that address such issues as displacement, allyship, and the very means for cultural practitioners to survive and thrive. Their events have bolstered a sense of community in Dallas and attempt to provide opportunity and inspire critical discourse.
Staged within sites not frequently visited by the local art-going crowd in Dallas such as Southwest Center Mall, Buckner Train Station, and the West Dallas Community Center, the project aims to problematize the history of Dallas and its more glossedover aspects of identity. It is with deep intentionality that the project exists outside of the context of the Arts District. Mexico is not Mexico, it is occupied former Wichita land.
Courtesy of Super Fantasy Mercado. Courtesy of Michelada Think Tank. Working with poets, filmmakers, and graphic designers, the project takes on such issues as consumerism, gentrification, and police brutality in unexpected manners. Decolonize Dallas tells a story of the city through the lens of historical violence, culminating in an unavoidable legacy for the metroplex. The formats taken on by the artists in Decolonize Dallas exist in contrast to the expected white-cube exhibition.
The fully functional shop will offer affordable goods by local artists and designers, while simultaneously serving as an art installation. In Super Fantasy Mercado, visitors become active participants, as they take part in the performative act of consumerism, while simultaneously supporting the local creative community.
As such, the project also perfectly suits the city that birthed both Neiman Marcus and the modern mall model that is the NorthPark Center. Decolonize Dallas is uniquely aware of context. It is a project finetuned to the city it occupies. Their mission is nothing short of transformation—to turn a critical eye to the systems that we as a community have come to take for granted. The project introduces a vocabulary and framework through which to begin talking about larger issues that often go unnoticed.
It is part of a multi-year plan for the group to evoke real change in Dallas. The enviable aspiration of Ratcliff and Zou is for Dallas to become a model for what a culturally equitable city looks like. In order for this to occur, Michelada Think Tank calls for a diversification of funding sources, greater investment in the local arts community, and deeper awareness of the challenges faced by people of color.
It is a project invested in and driven by potential. Our public art projects are both manifestations of and focal points for all that dynamism. The short version is that I love this city, and I love how public art engages the community, its people, and places. Joule, a Headington hotel. With its proximity to the Arts District, appointing The Joule with a world-class collection of contemporary art was a genius stroke, a singular finishing touch. And it was he who introduced Headington to the work of Daniel Arsham, the New York multidisciplinary artist whose Moving Figure was unveiled late last month in the Design District.
The sculpture has a dramatic presence that piques your curiosity,. Juergen Teller, Food No. That was the idea with Forty Five Ten, to have that same. It was just meant to be. Gavin Delahunty, Hoffman Family Senior. And Dallas Contemporary has an incredible slate of original programming, and brings some very cuttingedge exhibitions to the city before they have a chance to filter through to our other great institutions.
An influential player of extraordinary virtuosity, Ryan Anthony blows his trumpet for cancer research along with a few legendary friends. Meyerson Symphony Center stage for a benefit concert called CancerBlows.
Ryan co-founded CancerBlows with his wife Niki to raise funds for multiple myeloma research, a rare cancer of the bone marrow and blood the Anthony family is all too familiar with, for he was diagnosed with the disease himself in But Anthony is a man who always adapts and impresses with his flexibility, as any virtuoso must do.
He left the ensemble and quickly became one of the most sought-after trumpet players in America. Musician, composer, and vocalist, Lee Loughnane was one of the founding members of the band, Chicago. During his treatment, The Ryan Anthony Foundation, a nonprofit organization using music to promote cancer research, was realized. Live streaming of the Legends Concert will broadcast into a dozen cancer treatment centers.
Just a decade ago, multiple myeloma was a death sentence with. While the cancer is considered incurable and terminal, recent advances in research have greatly expanded the life span of newly diagnosed patients. In , three new drugs were approved for treatment of multiple myeloma by the FDA, increasing treatment options by 20 percent.
Armed with hope for the future, approximately 2, guests will experience the concert, and some guests will be included in The After-Party festivities. CancerBlows will return to Dallas on May The Texas sun and innovative technology play to 21st century architecture at the new Neiman Marcus at The Shops at Clearfork. Deep overhangs offer relief from the rays and give a nod to Prairie architecture. The neutral interior colors are flooded with both color-corrected LEDs and natural light, softly diffused by sheer curtains.
Memory Mirrors in the dressing rooms and Memory Makeovers in cosmetics make for a high-tech experience in an opulent surrounding. The interactive fragrance corner is a jewel box with sunlight from the windows, creating colored prisms from the multi-colored perfume bottles. Another interesting use of windows is in the intimate lingerie department. Sheer curtains take inspiration from the soft fabrics of lingerie, and give the whole shopping experience that of being in a world-class spa.
Throughout the store, luxurious fabrics in silk, mohair, and cotton are juxtaposed with the use of raw metal finishes. Benches and bolsters are covered in bold patterns and cowhides, and leather and suede-wrapped panels create room dividers. Architect Billy Lawrence spoke of the importance of art in the Neiman Marcus heritage, starting with its cofounder.
In any store you will see a painting on an important visual site line, prominently displayed with no merchandise in front of it. These showrooms now mostly sell fine art in keeping with the furnishings they offer. But, they can take all different approaches to the art they sell. Mostly bright, involved abstracts appeal to them. And judging from client responses, others like them, too. Currently the encaustic works of Dallas artist, Brad Ellis, are on display.
Ellis was recently selected for inclusion in the U. Right: Brad Ellis, Fragments from Earth 1, encaustic, oil, and rocks on panel, 58 x 46 in. Both courtesy of Craighead Green Gallery. Photography by John Oakley. We looked at it for three days and finally bought it on lay-away. They soon went to Antwerp to visit the artist, and a showroom exhibition was planned.
I suppose this natural curiosity is what helps me to maintain my investigative edge. Like all urgent notes and brilliant doodles, his works capture ideas at their inception. The art is being viewed in this professional setting many times by the homeowner and their designer, offering a great opportunity to show the diversity of hanging contemporary art both in traditional and more modern environments. Photography by Anthony Chiang. The idea of resistance, as a political notion and a constant vigilance, has become imperative, it seems.
Whether materialized in paint, soot, or ceramics, all the works exhibited embody time and the ephemeral. Jeremy Strick: I think the work that you produced for the Nasher was somewhat unusual in the way that it sort of directly addressed an actual contemporary situation. Is that right? Because we just thought under the current context it would be interesting to see how they would be read. I imagine people would read them differently today than they even would a year ago.
JS: So this is a situation of the Kurds and the Kurdish fighters and all of the issues all around us. This is something you have continued to follow. M-TP: I continued to follow it, but I mean in a way I think looking at these figures that this sort of feeling of insurgency is something that you can extrapolate outside of this particular Kurdish narrative.
As in where we exhibit the works without explaining what the origin is or what the standing point or inspiration for this was. It could very easily be of the women, or American women or European, which I find quite interesting in a way. At the beginning it felt weird because Above: Mai-Thu Perret, She runs horses in lightning, , glazed ceramic, Courtesy of Simon Lee Gallery, London.
Below: Mai-Thu Perret, On the coral pillow, two streams of tears. Half longing for you, half resenting you, , glazed ceramic, Photography by Kevin Todora. Courtesy of Nasher Sculpture Center. I thought everyone wanted to go to the march, and I wanted to go to the march, not necessarily be at the gallery talking about the work, but it worked out so that everyone, I think, went to the march and then came to the talk.
It was quite fascinating in a way to sort of read it in this particular context and to see how the people of London saw it, more in terms of current politics. JS: I imagine it can be a curious experience for an artist to have work, not only that addresses a particular situation, but then to have that situation evolve in such a way that it seems to put new focus or new meaning into the work. I think lots of people, lots of artists, and lots of people in the culture would feel the same.
But it is true that in these particular works…their meaning keeps on evolving as events evolve. M-TP: Yes, it was very interesting the questions that were asked and what we talked about, because it was this constant going back.
So like engagement and at the same time a desire for autonomy or disengagement. I think that was really interesting, to me, to see because this is something I think about a lot in the work anyway. I thought about it before the current political turn. So it was very interesting to see how people brought it up in a very sort of natural way; it was a very interesting conversation. DVD Video. History, tales, and sketches. Irving, Washington, History of the joke.
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Disclaimer: beycome. Hi Nico and Natalie.. I can't say enough about Beycome and all of the nice service I received. My house sold. They saw your For Sale sign in the front yard. Thanks for all your help. Thank you, Rufus H. The service that was provided by you and you're broker has been outstanding!
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Also, sales at stores open at least one year, a key measurement in retail known as same-store sales, slipped 1. She said the setback was a temporary result of eliminating some low-margin sales events and giving the Zales Jewelers brand a makeover. The company is trying to upgrade Zales Jewelers by eliminating lower-priced diamond pieces that were turning up at big retailers such as Wal-Mart Stores Inc. Penney Co. Adrianne Shapira, an analyst for Goldman Sachs, said the Zales upgrade might be a sound long-term strategy but raised the risk that Zale will miss its already-lowered goal of a 2 percent to 3 percent increase in holiday sales over last year.
Marc Bettinger, an analyst with Stanford Financial Group, said Zale faces the risk that holiday consumers will cut back on big discretionary purchases like jewelry to pay higher bills for home heating and gasoline. Forte acknowledged that financially troubled jewelry retailers could sap Zale's holiday profits if they cut prices even more than usual to gain sales. Zale had tipped investors to the wider first-quarter loss earlier this month, predicting a loss of 46 cents to 49 cents per share, which was nearly twice as bad as analysts were then expecting.
The advance warning led Goldman Sachs and J. Morgan to downgrade the stock to neutral last week. Stay Connected. Top Jobs.
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Analysts, who typically exclude charges from their forecasts, had predicted a loss of 37 cents per share, according to a survey by Thomson Financial. Also, sales at stores open at least one year, a key measurement in retail known as same-store sales, slipped 1. She said the setback was a temporary result of eliminating some low-margin sales events and giving the Zales Jewelers brand a makeover.
The company is trying to upgrade Zales Jewelers by eliminating lower-priced diamond pieces that were turning up at big retailers such as Wal-Mart Stores Inc. Penney Co. Adrianne Shapira, an analyst for Goldman Sachs, said the Zales upgrade might be a sound long-term strategy but raised the risk that Zale will miss its already-lowered goal of a 2 percent to 3 percent increase in holiday sales over last year. Marc Bettinger, an analyst with Stanford Financial Group, said Zale faces the risk that holiday consumers will cut back on big discretionary purchases like jewelry to pay higher bills for home heating and gasoline.
Forte acknowledged that financially troubled jewelry retailers could sap Zale's holiday profits if they cut prices even more than usual to gain sales. Zale had tipped investors to the wider first-quarter loss earlier this month, predicting a loss of 46 cents to 49 cents per share, which was nearly twice as bad as analysts were then expecting. The advance warning led Goldman Sachs and J. Morgan to downgrade the stock to neutral last week.
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