ART DOES DALLAS
Now in its fourth edition, the Dallas Art Fair is the best it’s ever been. Supported by an all-star group of local art collectors, museum directors and curators, and forward-thinking politicians and business leaders, the fair has grown to the point that it can attract major galleries from New York and Los Angeles, while still giving space to regional dealers.
“We modeled our efforts after The Art Show at the Park Avenue Armory in Manhattan, known for its blue-chip gallerists and intimate boutique sensibility with a capacity of no more than 75 exhibitors,” co-founder Chris Byrne told Patron magazine earlier this year.
Planned to coincide with the Dallas Museum Art Ball, Dallas Biennale, and openings at the Power Station, Nasher Sculpture Center, Dallas Contemporary, and Goss-Michael Foundation, the fair features 78 prominent national and international art dealers representing painting, sculpture, works on paper, photography, video and installation art by modern and contemporary artists.
New York’s D’Amelio Gallery, which is exhibiting at the fair for the third year, offers a new series of small abstract oil paintings by Joanne Greenbaum, as well as a hanging wall-sculpture consisting of green marbles in recycled glass jars by Tony Feher, whose work is featured in several important Dallas collections. Meanwhile, Zach Feuer Gallery has filled his booth with haunting abstract paintings by Texas-born Mark Flood.
Other standouts at New York galleries include Jason Brinkerhoff’s figurative mixed media pieces at ZieherSmith, Andrew Masullo’s abstract canvases at Feature, John Newsom’s black-and-white owl paintings at Marc Straus, Alexis Rockman’s mutating landscape painting at Salomon Contemporary, Tony Matelli’s realistically sculpted leader dog for the blind at Leo Koenig, and Yi Chen’s twisted vision of nurses on canvas at Vladimir Restoin Roitfeld.
Representing Los Angeles, Charles James Gallery showcases Steve Lambert’s Everything You Want, Right Now, a light box sculpture that uses the language of advertising to subversive ends and Lucas Ajemian at Ltd employs poster display racks to show his own diaristic and collaged imagery, while Perry Rubenstein Gallery, which recently relocated to LA, flaunts several fresh paintings by street art legend Shepard Fairey and Santa Monica’s Shoshana Wayne Gallery presents a striking rendition of classic statuary in ink on a shear curtain by Itzar Patkin.
Webb Gallery from Waxahachie, Texas shows folk and outsider art; Talley Dunn Gallery of Dallas offers a good mix of Texas artists, as does Moody Gallery from Houston, with jigsaw puzzle paintings by Al Souza and ceramic sculptures by Luis Jimenez. WM
Paul Laster is a writer, editor, curator, artist and lecturer. He’s a contributing editor at ArtAsiaPacific and Whitehot Magazine of Contemporary Art and writer for Time Out New York, Harper’s Bazaar Arabia, Galerie Magazine, Sculpture, Art & Object, Cultured, Architectural Digest, Garage, Surface, Ocula, Observer, ArtPulse, Conceptual Fine Arts and Glasstire. He was the founding editor of Artkrush, started The Daily Beast’s art section, and was art editor of Russell Simmons’ OneWorld Magazine, as well as a curator at P.S.1 Contemporary Art Center, now MoMA PS1.
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