Strick has worked in the art world for over 40 years, including serving as the director of the Museum of Contemporary Art in Los Angeles for nearly a decade before moving to Dallas. Since entering the local arts scene, Strick says he has had a great deal of support from a variety of artists and collectors across the artistic field. But he feels he has been especially fortunate to get to know Dallas’ own art community.
“I think the way in which the Dallas art world functions independently and uniquely has been fascinating and very satisfying to learn,” Strick says. “Whoever comes next will have a lot to work with across many registers.”
Throughout his time at the Nasher, Strick has overseen a variety of exhibitions, operations, collections and acquisitions. A number of highlights stick out to him, including the center’s 10th anniversary, Nasher XChange, which was commemorated by a public art exhibition mounted across Dallas. Strick also takes pride in the establishment of the Nasher Prize in 2015, which he had an instrumental role in creating. The international award has recognized artists such as Doris Salcedo and Michael Rakowitz for their impact on the understanding and development of sculpture. The Nasher Prize has become the preeminent artist award in its field since its inception.
Another accomplishment Strick looks back on proudly is the center’s mission to frequently highlight artists of diverse backgrounds. Over the past several years, many collections and exhibitions have been made up of a variety of artists, cultures and identities, such as the work of Xxavier Edward Carter and Liu Wei. Strick says it has been a personal goal to broaden the types of narratives and stories shared at the Nasher, and that the artistic subjects and medium themselves are what has set the center and Dallas art scene apart.
“When we were choosing artists for our exhibitions, we weren’t doing so with the thought, ‘We’re going to need to pick a woman or a certain type of artist,’” Strick says. “We’re picking these artists because this is some of the most interesting work being produced today. Let’s show it. I think that the times have changed, and the most important thing is that there is still work to be done.”
While Strick’s time at the Nasher has been marked by numerous accomplishments and areas of growth, he has also faced a fair share of challenges along the way. Recently, like many businesses and public venues, the Nasher has seen a shift in audiences and attendance numbers related to the pandemic. Strick says while the audiences may be smaller than pre-2020 levels, he has noticed a generational shift, as today’s visitors are increasingly younger and more diverse.
“Some of that [original] audience isn't coming as much — people have different priorities,” Strick says. “However, there are people who are coming now who weren’t coming before. It’s a new kind of growth.”
Recently, Dallas has seen a rise in audiences for “immersive” art exhibitions, such as Sweet Tooth Hotel and the Van Gogh Exhibition experience. In the face of such trends, Strick says the Nasher does not need to make any particular accommodations for interactivity or the implementation of experimental shows and venues. Rather, he believes sculpture brings its own unique interactive elements to art audiences.
Strick says a number of the Nasher’s own exhibitions have demonstrated multiple interactive mediums found at the center. Katharina Grosse’s 2013 exhibition WUNDERBLOCK turned a gallery into an environment consisting of painted soil, furniture and balloons. More recently, in 2022, Harry Bertoria: Sculpting Mid-Century Modern Life was made up of bronze alloy sounding sculptures visitors could touch and play. These works, among many other exhibitions, demonstrate the expanse of sculpture and the medium's influence.
“There's always more to be done. I know that, but at the same time, I do think that the last 15 years has made a difference." –Jeremy Strick
tweet this
“I think one of the advantages of working with sculptures is that sculpture often does and can have interactive elements,” Strick says. “So there are ways to engage visitors physically and experientially beyond where they’re looking.”
Throughout the next several months, Strick will continue to lead the Nasher through its spring 2024 season. His final months at the center will include the group exhibition Groundswell: Women of Land Art and upcoming solo presentations by Sarah Sze and the Haas Brothers. As he near the conclusion of his time as director, Strick says he has accomplished much, but he believes there is much more to come in the Nasher’s future.
“There's always more to be done,” Strick says. “I know that, but at the same time, I do think that the last 15 years has made a difference. And I think we're further along in our pursuit of those goals — those are the kinds of goals where you never say, ‘OK, I'm done. That's all there is to do.’ There is always more to do, but I feel like we've made a huge amount of progress, and set the stage for further progress.”
As for what’s in store for Strick after the Nasher, he doesn’t plan on a major change of scenery for the time being.
“Oh, I’ll be staying in Dallas,” Strick says. “I’ve got a lot of roots here, lots of friends. I don’t plan to leave any time soon. There are other things I want to pursue, and I feel I'm in a moment in my life where I still have plenty of energy, I’m still full of ideas. And I want to move on to the next phase.”
Next season, Strick will work with the Board of Trustees to affect a smooth transition after his departure. While he said he is not yet quite sure who will take over his position, he hopes whoever it is will have the same amount of respect and curiosity for the center and the community it serves.
“From the moment I arrived at the Nasher, I felt a little bit like I had been handed the keys to this gorgeous, very fast car and was just told to drive it — the only question was ‘Where do you go?’ And I chose some interesting places,” Strick says. “I think certain things that I set in place, I would like to see them continue, and I’m also really excited for what happens when the next person gets those keys and what direction they take it.”
