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Piñatas-r-us: Osama Bin Laden and jam box piñatas reflect the homeowners’ collecting obsession. The antique Spanish dish cabinet, circa 1900s, was bought at a Fort Worth antiques store sidewalk fire sale in the early ‘90s.
In this photo:
Portal + horns. Cast deer head by Cody Foster, a find from one of their fave Dallas retailers, Grange Hall. The deer is bedecked with Bahian religious ribbons brought back from their sabbatical “check out” trips to Rio de Janeiro every August.
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Surreal seat. Antique prayer chair from Mulcahy’s mother plus pecan wood gathered from the yard for grilling — “a favorite activity around our house every weekend, no matter the weather. We like to garden and grill,” proclaims the gallerist turned independent curator.
In this photo:
Whale tales. A work on paper by Jonathan Marshall, acquired from the artist’s 2007 Mulcahy Modern exhibition, has pride of place over the fireplace; Marshall is currently represented by Art Palace, Houston. In dialogue with the drawing is a carved whale figure by Dallas woodworker/rocker Dan Phillips.
In this photo:
Soldier’s story. The French desk — a 19th-century reproduction of a Louis XV desk — belonged to Mulcahy’s great aunt. Folk-art walking canes from Webb Gallery. Lisa Barnard’s photograph Head Gear, 2008, is from the 2011 exhibition “XXI: Conflicts in a New Century,” which she co-curated with Charles Dee Mitchell at Oak Cliff Cultural Center; depicted is a soldier wearing special headgear that treats post-traumatic stress disorder in returning military folks via a virtual-reality program. The work was in “Engines of War,” which opened at Gasser & Grunert in Manhattan this spring. Wood-radio and video-camera works by one of the curator’s favorite Texas artists, Charlie Morris, from his “Operations” exhibition at Mulcahy Modern in 2005.
In this photo:
Work station. Atop the office desk is a 1940s Henry Pollak lady’s hat from Mulcahy’s vintage hat collection and a preferred quaff: rosé champagne, Billecart-Salmon.
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Patina of the past. The bungalow’s original 1918 door displays a folk art Day of the Dead skull necklace — a find from Mulcahy’s time living in Mexico City in the ‘90s.
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A little birdy. A toy bird whistle perches on the original 1918-era molding above the front door.
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Still life. Mulcahy Farms organic pecans in champagne boxes, sunflowers in estate-sale pottery, folk-art horse and cookies from a Mexican bakery near Fair Park.
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Out of this world. Mulcahy’s homemade alien piñata wears a vintage riding hat, with a toy grenade, together forming a strange vignette atop the art-storage flat files in the couple’s bedroom.
In this photo:
Director’s cut. The duo of Hamilton and Mulcahy — the couple met when he was shown at her gallery — posing with work by Houston artist Charlie Morris, whom the curator praises for “his incredible and complex exhibition, ‘Operations,’ that looked at war, biotechnology, surveillance at Mulcahy Modern in 2005.”
In this photo:
Cynthia Mulcahy and Robert Hamilton’s "Seventeen Hundred Seeds," Oak Cliff, Summer 2012. Photo courtesy Seventeen Hundred Seeds.
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