Art boss: KENNY GOSS

First ladies’ man

Dallas gallerist Kenny Goss unveils creepy, kitschy, almost supernatural portraits of president spouses, and discovers parallels between ‘first lady’ mantle and his role as the partner of a celebrated figure

By Daniel A. Kusner Jul 13, 2006, 19:07

Kenny Goss greets me in the office of his Uptown gallery and asks if I want a glass of wine.

“No, thank you,” I say.

It’s two o’clock in the afternoon on a Tuesday. But Goss begins sipping a glass of white, which is a surprise. It’s been widely reported that in 2003 he checked himself into the Meadows, an Arizona rehab facility, to battle an alcohol addiction.

Just around the corner from Goss’ office is a gorgeous 62-inch by 47-inch photo of Betty Ford. She’s smiling, looking tipsy and carefree. Betty dances by herself while wearing a flowing purple-blue gown amid a sparkling backdrop that seems inspired by a Lawrence Welk dream. You can almost hear her humming some delightfully saccharine hymn.

“That’s my favorite one,” Goss says. “Betty was famously alcoholic and addicted to pills. And I can relate. My mom was also addicted to pills and did similar things, like go off and dance by herself.”

The Ford image is part of a seven-piece exhibit created by French artist Jean-Pierre Khazem called “First Ladies.” Khazem originally photographed the project for a “Washington Wives” spread in the November 2004 issue of W magazine. He created portraits of every first lady since Jacqueline Kennedy, plus Teresa Heinz Kerry, which was wishful thinking in 2004.

Using women who were physically similar to the various first ladies, Khazem dressed his models in designer outfits and had them wear silicone masks. The masks produce an eerie doll-like effect, but the result is a near-perfect resemblance. There’s a hyper-glitzed Nancy Reagan casting her famous gaze. A bouffant-encrusted Pat Nixon rests a hand on her narrow chin. But seated alone on a big couch with folded newspapers at her side, the humbly attired Rosalynn Carter is right out of a David Lynch film.

“Rosalynn” is by far the most nightmarish portrait. But why? Isn’t she known as one of the sweetest liberal wives to ever reside in the White House?

According to Goss’ right-hand man, gallery director Filippo Tattoni-Marcozzi, Khazem wasn’t necessarily commenting on the individual first ladies’ political reputations. The “success” of each portrait comes down to an aesthetic appeal.

Goss says he and his partner, George Michael, have bought one of the “Betty” reproductions — each portrait has been issued in a series of six. They also purchased the “Lady Bird” piece — featuring a matronly Claudia Johnson in white gloves with the Washington Monument peering from behind her shoulder.

The Goss gallery doesn’t contain a portrait of Hillary Rodham Clinton, but one was produced: About to make an address from a podium, “Hillary” is dwarfed by a ginormous image of herself projected on a series of video screens. It’s a rather boring and predictable depiction — especially for such a fascinating figure.

Tattoni-Marcozzi further explains that most of the first ladies are themselves like “masks — or mysterious statues.” The unofficial position is primarily about being our country’s finest “hostess” — and not about issuing opinions regarding controversial social issues or telling what they really think. Of course, some wives transcend the back-seat role. But they’re not expected to.

Goss and Tattoni-Marcozzi first saw a portion of the “First Ladies” collection last year, during an exhibit at the Sperone Westwater gallery in New York. The Goss Gallery is highlighting the Lone Star connection: For the first time, Lady Bird and both Bush wives will be on display.

Switching to coffee, Goss strolls the gallery and comments on the portraits. Instead of carrying on like stuffed shirt, fine art purveyor, Goss spills forth freewheeling comments.

We get to the image of a white-haired Barbara Bush — sporting a “don’t mess with me” vibe, and wearing layers of pearls and a long-sleeved floral print.

Across from her mother-in-law is a narcotized-looking “Laura,” bathed in weird shadows standing on a red carpet. She’s waving at … no one.

Goss and Tattoni-Marcozzi say this is the first time “Laura” has been on display. Neither of them thinks the image is very successful, and the portrait hasn’t lured any buyers. Not that anyone would want to look at it very often, but it’s obvious that “Laura” speaks volumes.

Some would say Goss is a bit of a first lady himself.

“Oh, I’m sure a lot of people would say that,” he laughs.

Goss says being in a high-profile relationship comes with some obligations. Goss and Michael are involved with HIV charities: In Dallas, they’ve worked with the Lone Star Ride Fighting AIDS and the Design Industries Foundation Fighting AIDS. And they’re getting married.

“It will probably happen later this year. We had to postpone it because of all the recent stuff with George’s arrest,” Goss says, referring to Michael’s troubles in February, when he was arrested on suspicion of possessing drugs after being found slumped at the wheel of a car in central London.

That incident was followed by another sloppy behind-the-wheel episode in April, when Michael crashed into three parked cars and just drove off. This string of careless driving could have spelled a much worse tabloid hell for the couple. During the mess, Goss says he assumed a first-lady-like role: He encouraged his partner to admit fault and just take full responsibility. Smart decision.

Both Goss and Michael have been refreshingly candid about their relationship and personal lives. Goss has discussed his own substance abuse and his mother’s addictions. And last year, in an interview with the Dallas Morning News, Goss talked about his sense of overwhelming guilt after his father, who died of a stroke, tried to commit suicide in 2003 by shooting himself.

And while the couple might be getting hitched, they’re not trying to present some super-idealized public image. In interviews, Michael has repeatedly said that he and Goss are not monogamous.

“To be perfectly honest with you, neither George nor I really believe in marriage as a concept. But we feel like we need to get married to lead by example,” Goss says. “There was no big proposal. I found out we were getting married after George had mentioned it in an interview in Japan.”

Goss says he’s leaving Dallas for a couple of months. But he and Michael recently bought a house in Highland Park. And coincidentally, the “First Ladies” exhibit might end up hitting closer to home “The Bushes are moving back to Highland Park,” Goss says. “They’re actually looking to build a house across the street from where George and I had just bought.”

Now there’s a portrait.

“First Ladies.” Goss Gallery, 2500 Cedar Springs Road. Through Aug. 19. Tuesday-Friday from 10 a.m. to 6 p.m., Saturday from 11 a.m. to 4 p.m. 214-696-0555.