ATHENS, Ga. — The University of Georgia Class of 2023 will feature 99 student-athletes, who are expected to receive their degrees this week.  
 
The undergraduate ceremony will take place Friday, May 12 at 7:30 p.m., while the graduate ceremony will take place on Thursday, May 11 at 9:30 a.m., both at Sanford Stadium.

The following student-athletes are scheduled for graduation:
 
Baseball:
Will David (Atlanta, Ga., Cert Entrepreneurship), Charlie Goldstein (Alpharetta, Ga., Real Estate), Kyle Greenler (Georgetown, Mass., Cert Entrepreneurship), Bryce Melear (Evans, Ga., Consumer Economics), Michael Polk (Milton, Ga., Risk Management and Insurance), Dalton Rhadans (Acworth, Ga., Cert Entrepreneurship), Lane Watkins (Special Education), Jaden Woods (Warner Robins, Ga., Sport Management)
 
Equestrian
Emily Blecher (Shdema, Isreal, Sport Management), Courtney Blumer (Monroe, N.C., Human Development and Family Science and Psychology), Anna Bohn (Management), Ceci Bresch (Barrington, Ill., Biology), Kendall Gill (Leesburg, Ga., Biomanufacturing and Bioprocess), Tori Kendle (New Albany, Ohio, Agricultural and Applied Economics), Lewis (Washington, Ind., Comparative Biomedical Science), Caitlin Lyons (Mead, Wash., Ecology and French), Jada Mark (Sumpter, S.C., Art), Rachel McMullen (Chagrin Falls, Ohio, Marketing), Spencer Toohill (Round Hill, Va., International Affairs), Josey Walker (Rome, Ga., Animal Science) 
 
Football
Dominick Blaylock (Marietta, Ga., Housing Management & Policy), Payton Bowles (Athens, Ga., Political Science), Rian Davis (Apopka, Fla., Housing Management & Policy), Austine Eziukwu (Exercise and Sport Science), Ryland Goede (Kennesaw, Ga., Journalism, Kennesaw, Ga.), Chad Lindberg (Finance, League City, Texas), Ladd McConkey (Finance, Chatsworth, Ga.), William Mote (Financial Planning, Hoover, Ala.), Drew Sheehan (Woodstock, Ga., Sport Management), Tykee Smith (Philadelphia, Ga., Sociology), Matthew Sumlin (Exercise and Sport Science, Smyrna, Ga.), Xavier Truss (West Warwick, R.I., Housing Management & Policy), Ramik Wilson (Communication Studies), Jared Zirkel (Kerrville, Texas, Finance)
 
Gymnastics
Amanda Cashman (Belle Meade, N.J., Entertainment & Media Studies), Haley de Jong (Vancouver, British Columbia, Canada, Consumer Economics), Loulie Hattaway (Blakely, Ga., Biological Science)
 
Men’s Basketball
Braelen Bridges (Altanta, Ga., Nonprofit Management & Leadership), Jaxon Etter (Woodstock, Ga., Financial Planning), Jailyn Ingram (Madison, Ga., Nonprofit Management & Leadership)
 
Women’s Basketball
Malury Bates (Roanoke, Va., Foods and Nutrition), Chloe Chapman (Mitchellville, Md., Fashion Merchandising), Kaila Hubbard (Master’s in Social Work), Jordan Isaacs (Alpharetta, Ga., Communication Studies), Javyn Nicholson (Sport Management)
 
Men’s Golf
Nicolas Cassidy (Johns Creek, Ga., Sport Management), Connor Creasy (Abingdon, Va., Sport Management), Lee McCoy (Housing Management & Policy)
 
Women’s Golf
Jenny Bae (Suwanee, Ga., Sport Management), Caroline Craig (Sautee Nacoochee, Ga., Sport Management), Celeste Dao (Notre Dame de-l lle-Perrot, Quebec, Finance), Jo Hua Hung (New Taipei City, Taiwan, Sport Management), Candice Mahe (Gourin, France, International Affairs)
 
Men’s Swimming and Diving
Andrew Abruzzo (Plymouth Meeting, Pa., Business Analytics), Dillon Downing (Alpharetta, Ga., Management), Bradley Dunham (Hoschton, Ga., Marketing), Ananda Lim (Marietta, Ga., Exercise and Sport Science), Charlie Logan (Watkinsville, Ga., Marketing), Keegan Walsh (Finance & Risk Management)
 
Women’s Swimming and Diving
Callie Dickinson (Virginia Beach, Va., Comparative Biomedical Science), Ashley McCauley (Raleigh, N.C., Environmental Resource Science), Peyton Palsha (Master’s in Horticulture), Millie Sansome (Marlow, England, Exercise and Sport Science), Marie Schobel (Master’s in Business Analytics)
 
Men’s Tennis
Trent Bryde (Suwanee, Ga., Consumer Economics), Blake Croyder (Marietta, Ga., Master’s in Financial Planning), Teodor Giusca (Bucharest, Romania, Master’s in Business Analytics), Philip Henning (Bloemfontein, South Africa, Computer Science), Britton Johnston (Snellville, Ga., Consumer Economics)
 
Women’s Tennis
Meg Kowalski (Chicago, Ill., Master’s in Kinesiology), Lea Ma (Dix Hills, N.Y., Sport Management)
 
Women’s Track and Field
Mia Anderson (Buford, Ga., Marketing and Sport Management), Sara Bailey (Alpharetta, Ga., Sociology), Aleesa De Castro (Cumming, Ga., Entertainment & Media Studies), Skylar English (Marketing), Elise Hall (Marietta, Ga., Marketing), Julia Harisay (Athens, Ga., Master’s in International Policy), Courtney Long (Acworth, Ga., Master’s in Biology Engineering), Brandee Presley (Tulsa, Okla., Psychology), Maggie Yankovich (Biology) 
 
Men’s Track and Field 
Matthew Boling (Houston, Texas, Marketing), Curtis Borden (Sport Management), Sam Bowers (Milton, Ga., Landscape Architecture), Caleb Cavanaugh (Houston, Texas, Environmental Health), Alejandro Collins (Peachtree City, Ga., Master’s in Forestry and Natural Resources), Chase Condra (Suwanee, Ga., Management Information Systems), Johannes Erm (Tallinn, Estonia, Master’s in Engineering), Nicolas Fontova (Atlanta, Ga., Mathematics), Kyle Garland (Philadelphia, Pa., Communications Studies), Elija Godwin (Covington, Ga., Human Development and Family Science), Wesley John (Watkinsville, Ga., Sport Management), Clay Pender (Winder, Ga., Master’s in Financial Planning), Ziggy Zoller (Atlanta, Ga., Management & Real Estate)
 
Soccer
Ali Kalayjian (Katonah, N.Y., Biology), Haley Sorrell (Lewisville, Texas, Political Science), Cecily Stoute (Master’s in Journalism, Atlanta, Ga.)
 
Softball
Jaiden Fields (Kennesaw, Ga., Journalism), CJ Landrum (Fort Worth, Texas, Financial Planning)
 
Volleyball
Kacie Evans (Exercise and Sport Science, Wadsworth, Ohio), Amber Stivrins (Risk Management and Insurance)
 

LOUISVILLE, Ky. (WDRB) — NuLu’s newest business opened its doors this week to travelers and locals alike, a 122-room, $30 million boutique in the heart of one of Louisville’s most popular destinations.

Located along East Market Street between South Shelby and South Clay streets, Hotel Genevieve is the latest project from the Bunkhouse Hotel group.

“The brand that Hotel Genevieve brings to this market and neighborhood really compliments the neighborhood itself,” said Melody Lavon, director of sales and marketing for Hotel Genevieve. “If (travelers) are going to leave their home and go to an airport or drive in their car for hours, they are looking for an experience. They are looking for something different.”

Hotel Genevieve promises that “something different.” The interior is French-inspired with a touch of art deco. The lobby displays plenty of art as paintings hang in front of draped burgundy curtains.

Off the lobby is Rosettes, the hotel’s main restaurant. A well-stocked bar lines the back, one of four in the hotel. There is a small but bright mini market for snacks and coffee, but there’s more to it if you look closely. Behind the yellow door in the mini market, you will find a speakeasy, called Lucky Penny. It’s open daily starting at 6 p.m. and is available for private events.

Upstairs are two types of rooms: standard rooms and four deluxe corner suites that range in price from $200 to $500 per night, depending on the time of year. And the top floor features another lounge and bar area, the feel of Kentucky never far away.

Those who work next door to the hotel and watched its construction are ready for what they hope it will bring to the neighborhood.

“If a new business opens that is going to bring their following of people down here and then it introduces them to all the new spots as well, I think it is going to be a great addition and bring us all a lot more people and tourism to the area,” said Bailey Wynn, who lives nearby.

A main focal point of the development is a large rooftop bar and terrace, enough for more than 100 people with sweeping views of NuLu and downtown Louisville.

“We’re just anxious to serve the area,” Lavon said. “We have a ton of employees that are happy to be here and we want to show off Hotel Genevieve.”

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Where the line is drawn between “fine art” and “craft” has been debated in the art world since the mid-1800s. And some believe there is no line at all and that art can be made of anything by anyone with passion and vision. 

Decide for yourself at Objects of Substance, the new show at the Warehouse Art Museum, 1635 W. St. Paul Ave. The exhibit is free – donations are welcome so bring a little cash – and runs through Saturday, July 22.

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The collection features a wide mix of pieces, from elegant to playfully whimsical; groundingly sturdy to breathtakingly fragile; imaginative to functional. The rich and varying textures make it tempting to touch the art, which of course we’d never do, but the objects evoke the tactile.

“The types of objects in this exhibit like pots and vases and plates and baskets are often overlooked because they have a functional purpose, but it’s something we still honor as art,” says Mia Dreher, the Warehouse Museum of Art’s marketing coordinator.

All 150 of the objects in this show are highlights from the personal collection of Jan Serr and John Shannon, art enthusiasts who purchased most of the items while traveling the world and who do not make a distinction between “fine art” and “craft.”

“There’s mystery, and discovery, and a surprise element throughout the collection,” says Serr.

Here are six more photos from the the Objects of Substance show.

1. “Flame” by Richard Bronk

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2. Gathered Box by Bird Ross

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3. Red Apeture by Kiyomi Iwata

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4. Pigeon by Chris Berti

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5. Icarus by Rudy Autio

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6. Flowering Tree with Birds and Nest by Xn-trix

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The Warehouse Art Museum is open Monday-Friday from 10 a.m. to 4 p.m. Go here for more information.

A 150-year-old art mystery has finally been solved at the Bloomington Public Library.

Back in February and March, the library held auctions for nearly 40 its art pieces. Due to the library’s ongoing construction and expansion, many wall hangings and paintings needed to be removed.

Many of the pieces being sold were donations that were in secluded locations in the library, giving little opportunity for public viewing, according to library staff.

Some of the stories about how the library obtained these pieces of artwork have become lost over the last 50 years. One piece in particular has an interesting past and was considered to be long-gone by several art enthusiasts.

A 19th century William B. T. Trego painting, “The Charge of Custer at Winchester,” seemed to vanish after being purchased by an American diplomat, John C. White, back in 1884.

Surprisingly, the painting had been hanging back in the Illinois section in the Bloomington Public Library.

“We didn’t realize that it was lost,” library marketing manager Rhonda Massie said. “We’ve always known where it is and I’ve been walking past it for the last 15 years.”

The painting boosted Trego’s career overnight, making the military history painting essential to Trego’s list of works.

It was estimated that the painting would sell for $3,000-$5,000. The gavel price was $11,500. Adding the buyers’ fees (26%), the buyer paid $14,490. With discounted seller fees (15%) taken into account, the library nets $9,775 from the sale toward its expansion fund.

The Trego painting made up over half of the earnings from the entire auction, which was a total of $18,346.79.

The full story of how the library ended up with the painting is unclear. Massie said that their records show that it was donated to them by Adlai Ewing.

“We don’t know how the person who gave it to us got it from John C. White and we haven’t been able to pinpoint that,” Massie said. “Adlai Ewing was the uncle of a man named Spencer Ewing, who was on our board for a long time.”

The buyer of the painting wished to remain anonymous.

They first found the painting while searching for auctions related to General Custer, a U.S. Army officer during the Civil War.

“At first I thought it’s probably fake,” the buyer said. “This is something, this is too weird, it can’t be the painting. And I did some checking and I got in touch with Trego’s biographer, Joseph Eckhardt, and I told him and he said, ‘I think you found it.’”

While the buyer is currently enjoying the painting on their wall, they want the art to be appreciated by other Trego fans as well.

“I wouldn’t be against loaning it out to a museum as well, especially if there was a really good Trego exhibit,” the buyer said. “I would love for people to see it. I would like to own it for as long as I can and pass it on to my children, but I think it would be nice to loan it to a prominent museum.”

The buyer emphasized the importance of Trego and his paintings.

“(Trego) really didn’t have use of his hands,” the buyer said. “It was amazing how he painted. He had to stick the brush in a clenched hand, it was inoperable. And he would move his right hand with his left hand, which was also very crippled. He was a force of nature.”

Y. Lam ’24, a double major in art and psychology, who is also enrolled in the 4+1 Accelerated Master’s Program for Elementary Education, expressed gratitude for emerging technology’s role in assisting students with learning, emotional and behavioral disabilities.

“Creating a customized tour for students in need is essential,” said Lam. “Based on our observations of Centennial students, we have designed and developed a tour specifically suited for them, including audio descriptions to accompany the gallery pieces, tailored to their instructional level. Applying 360-degree technology, we can deliver an engaging and meaningful art tour that captivates our target audience and encourages interaction with the content.”

The team also utilizes Matterport, a software typically used by real estate companies, to add touchpoints and create virtual tours of the Lehigh University Art Galleries. This allows Centennial School students to choose how they want to receive information about the art pieces, whether auditorily or visually.

Sara Heintzelman, the school’s technology integration specialist, said the student team members had been extensively involved in all aspects of the project, from capturing footage to developing scaffolded questions and videos that assist Centennial School students in interpreting art.

“Team members have also taken responsibility for marketing and logo creation while gaining valuable firsthand experience observing how students with disabilities learn,” she added.

Although the ILC at Centennial School is the first of its kind on the East Coast, the team intends to share its content with other institutions as more immersive learning spaces are developed worldwide. They are creating software allowing users to access virtual tours on desktops, laptops and tablets, albeit with a slightly less immersive experience.

Bard, Google’s answer to OpenAI’s ChatGPT, is getting new generative AI capabilities courtesy of Adobe.

Adobe announced today that Firefly, its recently introduced collection of AI models for generating media content, is coming to Bard alongside Adobe’s free graphic design tool, Adobe Express. Firefly — currently in public beta — will become the “premier generative AI partner” for Bard, Adobe says, powering text-to-image capabilities.

“Adobe has been a leader in creativity for many decades,” Alexandru Costin, VP of generative AI at Adobe, told TechCrunch in an email interview. “The partnership between Google and Adobe brings the best model designed to be commercially safe closer to the best search engine and enables Bard customers to tap into the power of Firefly — creating, styling and taking their content to the next level by using Adobe Express.”

The partnership follows on the heels of the launch of Image Creator, Microsoft’s generative AI tool built into its Bing Chat chatbot, powered by OpenAI’s DALL-E 2. From the sounds of it, the Firefly experience in Bard will be similarly robust — and perhaps more so.

In the coming days, Bard users will be able to generate images via Firefly and then modify them using Express. Within Bard, users will be able to choose from templates, fonts and stock images as well as other assets from the Express library.

Image Credits: Adobe

“The initial integration will focus on enabling the Bard user to easily take their generated Firefly image to the Express website, allowing the user to continue their workflow,” Costin said. “With Firefly, we’ve been exploring integrations with multiple partners and enterprises to enable them to serve their customers.”

Adobe further explains the setup in a blog post published this morning:

Say for example you’re opening a yoga studio want want to create a social media ad for new customers. You can get started and inspired by asking Bard to generate an image like a “giraffe doing a yoga pose.” You can then use Express and a ready-to-go template (or create something from scratch) with your new image as a centerpiece and quickly modify it with easy-to-use editing tools in Express. You can even post directly to your favorite social media channels from Express!

Adobe argues that, unlike some of the generative AI tools available today, Firefly is designed to generate images free from copyrighted materials. Firefly in Bard will be trained on hundreds of millions of licensed images from Adobe Stock, Adobe’s stock content library, Adobe says, along with openly licensed images and public domain content where the copyright has expired.

Some experts suggest that training models using public images, even copyrighted ones, will be covered by fair use doctrine in the U.S. But it’s a matter that’s unlikely to be settled anytime soon. To wit, two companies behind popular AI art tools, Midjourney and Stability AI, are in the crosshairs of a legal case that alleges they infringed on the rights of millions of artists by training their tools on web-scraped images. 

Image Credits: Adobe

Adobe and Google are clearly eager to distance themselves from the controversy — at least judging by the language in the blog post.

“Both Adobe and Google are approaching this partnership through a creator-centric lens,” Adobe writes. “We’re … empowering creators to tell their stories authentically while providing an avenue for content consumers to verify how and where content was created and modified.”

It’s not all marketing fluff. Adobe’s using technology from the Content Authenticity Initiative (CAI), an association founded to promote industry standard provenance metadata for media, to tag images created with Firefly via Bard with “content credentials.” These credentials, which are generated automatically and remain associated with content wherever it’s used, published or stored, contain information like which model was used to generate a piece of art; the name and date the art was created; and any edits made to that image.

Adobe claims that CAI, founded in 2019, now has over 1,000 active members, including Stability AI and Spawning AI, a startup developing tools to allow artists to “opt out” of generative AI training data sets. Among the others are media outlets, news publishers and Big Tech companies, such as the Associated Press, the BBC, Getty Images, Microsoft, Nikon, Reuters and The Wall Street Journal.

Notably absent from CAI’s membership is Google, ironically.

Having created more than 5,000 paintings in her lifetime, traveled the world, and shown in over 200 exhibitions, Pacita Abad (1946-2004) was one of the most prolific and lauded Filipina-American artists. Now on view at the Walker Art Center in Minneapolis, her first retrospective showcases over 100 of her bold, distinctive works.

Abad was born in Basco, Batanes, the northernmost province of the Philippines. As her parents were politicians, the young artist initially had the aspirations of following in their diplomatic footsteps, and she avidly organized student demonstrations against the authoritarian Marcos regime, which eventually led to the political persecution of both Abad and her family. To escape this unrest and find security, her parents urged her to move overseas.

During what was initially a pit stop in California, Abad’s amazement with the unencumbered vibrancy and freedom of expression in San Francisco acted as a catalyst for her abundant life-long career. Informed by her experiences with despotism, political refuge, and immigration, Abad began to create work underscoring these disquietudes.

Exhibition view at MCAD, Manila, (2018). Image courtesy of Walker Art Center, shared with permission

The years that followed involved travel, living in a number of different countries, and connecting with creative communities in every hemisphere. Abad was able to learn artistic techniques from different cultures and gather materials from diverse environments, which she would later incorporate into her own practice, especially her mask painting series.

Along the gallery’s pink walls at the Walker, hand-stitched meandering lines run across canvas hanging more than two meters high. Though it was not Abad’s intention for her art to be seen from both sides, viewers are able to experience her work in a more intimate way by observing the artist’s hand, evident from the delicate stitching on each backside. Part of her signature trapunto painting technique, these sewn sections of canvas puff up with padding as geometric patterns house vibrant areas of color. Calling to Africa’s masks and abstract carving, Tibet’s Thangka tapestries, and Italy’s trapunto techniques, Abad’s series of masks are a conglomeration of community encounters as well as real stories of strength and strife inspired by those that she met along the way.

Abad’s retrospective is on view at the Walker Art Center until September 3. Later this month, Tina Kim Gallery in New York will be showcasing Abad’s work in a solo exhibition, as well.

Image courtesy of Pacita Abad Art Estate, shared with permission

Exhibition view at the Walker (2023). Image courtesy of Walker Art Center, shared with permission

Image courtesy of Pacita Abad Art Estate, shared with permission

Abad with the work. Image courtesy of Walker Art Center, shared with permission

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Layered and Embellished Trapunto Paintings Exude Spirit in Pacita Abad’s First Retrospective appeared first on Colossal.

From the 17th through the 19th centuries, a genre of Japanese art called ukiyo-e—translating to “pictures of the floating world”—centered on colorful depictions of landscapes, performers and sumo wrestlers, and scenes from folklore and history in vivid woodblock prints. Utagawa Hiroshige (1797-1858), one of the most renowned artists in the tradition—and one of the last—was famous for his chromatic vistas depicting recognizable features like blossoming cherry trees and the omnipresent snow-capped cone of Mount Fuji. His final project, an ambitious collection of 120 woodblock illustrations, became known as One Hundred Famous Views of Edo and depicts what is now Tokyo throughout the seasons.

A new reprint from Taschen pairs each of the artist’s remarkable prints with text by authors Lorenz Bichler and Melanie Trede, celebrating the scenery, the city’s history, and Hiroshige’s contribution to ukiyo-e. The authors highlight how the colorful depictions of the country helped define the Western world’s visual interpretation of Japan, referencing the influence of Japonisme on European decorative arts and painters like Vincent van Gogh, Edgar Degas, and James McNeill Whistler. The new edition is presented in a case and bound in a traditional Japanese style known as stab binding in which a series of holes are punched in the cover and the spine is elegantly bound with string.

Scheduled for release next month, you can pre-order One Hundred Famous Views of Edo: The Complete Plates on Taschen’s website. You might also enjoy Hiroshige’s instructional shadow puppet prints and a look back at a recent exhibition focusing on landscapes in the Art Institute of Chicago’s ukiyo-e archive.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article ‘One Hundred Famous Views of Edo’: Hiroshige’s Seminal Series of Woodblock Prints Gets a Vibrant Reprint appeared first on Colossal.

Shirley McMarlin is a Tribune-Review staff writer. You can contact Shirley by email at smcmarlin@triblive.com or via Twitter .

Before anyone at Temakeria in Dallas orders a plate of lobster gyoza or softshell crab temaki to snack on, they’ll first step into a black-and-white piece of art. Sit down, and you become one of the characters.

“I want it to look like you’ve stepped into a comic book,” says Alexa Rodarte, one of the new operators at Trinity Groves in West Dallas.

The art is 2D, meaning the bookshelves, fireplace and grandfather clock are drawn in black marker against a white wall. Jonathan Freeman, known in the art community as Jonathan Krown, spent two months drawing on the walls with black ink, using 50 markers in the process. The restaurant looks and feels like Rodarte’s inspiration, a cafe in Seoul named Greem with a cartoonish, pop-art interior.

The Instagrammy restaurant at Trinity Groves, formerly vegan spot V-Eats, is one of several examples of how a new guard is taking the West Dallas food park in a different direction. Founder and investor Phil Romano handed the keys to chef Julian Rodarte, the new CEO, a year ago. His wife Alexa Rodarte is the marketing director. Combined, they’ve been charged with bringing younger people across the Margaret Hunt Hill Bridge and into West Dallas.

Trinity Groves was once home to some of Dallas’ most creative chef talent. It was originally a restaurant incubator that gave space and money to budding restaurateurs without deep pockets. That business model is gone — it didn’t work long-term, Romano said — and the Rodartes are now filling the vacant storefronts with a mix of new restaurants.

Trinity Groves is their playground, and it’s clear they’re having fun.

Restaurant News

Get the scoop on the latest openings, closings, and where and what to eat and drink.

Temakeria serves sushi hand rolls and Japanese appetizers in West Dallas

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Temakeria is a Japanese restaurant specializing in temaki, or hand rolls wrapped in crisp seaweed and filled with warm rice, veggies and raw fish. Temakeria’s version are open at the top, like a taco. Indeed, the restaurant name Temakeria is a combination of temaki and taqueria (although Alexa notes that Mexican influences do not extend beyond the name).

Hand rolls — layered with crispy tofu and red chili chimichurri, to give one example — are served on plates created on a 3D printer by 18-year-old high school student Taylor Dobson. His dad Brian Dobson is the chief operating officer for Trinity Groves, and the two tossed around the idea of 3D printing the plates after the Rodartes were stumped about how to keep the temaki from falling open on a plate. Some of the resulting dishes take 48 hours to print.

Alexa and Julian say opening a Japanese restaurant in Trinity Groves was high on their list. The complex was once home to a Japanese restaurant named Sushi Bayashi, but it closed during the first few months of COVID-19 alongside five other restaurants.

Julian and his dad also operate Beto & Son, a Mexican restaurant that survived the pandemic and is one of Trinity Groves’ success stories.

Since Julian became CEO in April 2022, he and his team have opened a “feminine” steakhouse, Lexy’s (named after Alexa), and a futuristic-themed restaurant, Nitro Burger. After Temakeria, they’re dreaming up two more Trinity Groves restaurants.

Julian says of Temakeria: “This menu has been burning in my back pocket for years.”

A meal here might start with edamame ($7), shishito peppers ($8), poke nachos ($16) or lobster karaage ($19). The menu offers two options for ramen: tonkotsu with pork belly and wood ear mushrooms or miso with ground pork, bamboo shoots and miso corn (both $14). The stars are the 15 temaki that include yellowtail with serrano ($9), salmon with miso tamari ($9) and cucumber with sesame ($7). Each one is about three bites.

The healthiest options will be sashimi made with yellowtail, tuna or salmon ($17 to $19 per plate).

Among the several desserts, the chef is proud of the tofu crème brûlée. It’s green and is made with soft tofu, sugar, tempered white chocolate and green tea powder.

Trinity Groves has always had a generous front patio, and in 2021, Romano expanded the outdoor space by converting a parking lot into a beer garden. Temakeria is the only restaurant with an enclosed patio. It’s also the only temperature-controlled patio, and Alexa hopes it’s a comfortable spot in any weather for drinking cocktails and eating raw fish.

Temakeria is at 3011 Gulden Lane (in Trinity Groves, next to St. Rocco’s New York Italian), Dallas. It’s expected to open May 16.

For more food news, follow Sarah Blaskovich on Twitter at @sblaskovich.