Papercity

What we wrote last year still holds true. While we love Art Basel Miami Beach 
every December — the art, the hoopla, 
the parties — there’s something not-to-be-missed about a fair that’s edited, erudite, compelling and close to home. Enter the Dallas Art Fair, year two, Friday through Sunday, February 5 through 7, 2010.

Meet Me at the (Dallas Art) Fair

Stuart Shave/Modern Art, London. Influential British gallerist Stuart Shave, fresh from showing at Art Basel Miami Beach, is often called “Mr. Modern Art.” No wonder. Shave is home base for international talents Barnaby Furnas, Phillip Lai, West Coast street artist Barry McGee and David Altmejd (his dizzying, hypnotic The Eye, now on view at the Dallas Museum of Art, has just entered the DMA’s permanent collection, thanks to funds from 2 x 2).

Timothy Taylor Gallery, London. Also an exhibitor at last month’s Art Basel Miami Beach, Timothy Taylor (whose wife is royal, Lady Helen Taylor, daughter of the Duke and Duchess of Kent) now packs up his enviable stable, which encompasses Fiona Rae, Ron Arad and Alex Katz, and heads to Texas. Taylor plans surprises for Dallas Art Fair audiences including the deft optical geometry of inimitable painter Bridget Riley. 

Andrew Edlin Gallery, New York. One of the kingpins in outsider art, Andrew Edlin (whose late uncle Paul Edlin was a largely self-taught artist and numbers among this stable) will be a must-see stop. Watch for 
“my home run, Henry Darger,” this gallerist underscores, as well as works by other collectible visionary artists including Amanda M. Smith (known for her delicate ceramic vignettes), Tom Duncan (elaborate mixed-media sculptures on themes from war and peace to Coney Island) and Domenico Zindato (an Italian master whose bold drawings evoke associations with aboriginal art). Edlin wants art fair visitors to “open their eyes” to outsider talents: “It’s the purest form of art.” 

Babcock Galleries, New York. Few galleries match the pedigree of Babcock Galleries, now in its second century of selling art. The gallery can be characterized as all about American, exhibiting offerings from many periods, often placing works directly in museums or important private collections. This focus extends from the luminaries of 19th-century art — Winslow Homer, George Inness, Severin Roesen (five museums have made recent acquisitions of still lifes from the gallery) and John Frederick Kensett (Babcock is currently compiling the landscape painter’s catalogue raisonné) — to living artists such as Marylyn Dintenfass, whose abstract, color-drenched oil on papers will be highlighted in Babcock’s booth come February.

Bill Hodges Gallery, New York. Highlighting 20th- and 21st-century African-American artists — a red-hot collecting field — Bill Hodges showcases historic masters such as the holy grail, Romare Bearden and Jacob Lawrence (works by both will be featured in the gallery’s DAF booth), underknown ab ex painter Norman Lewis (his dramatic pen-and-ink drawings now on view, through January 2, commemorate the 100th anniversary of his birth) and contemporary figures whose work addresses race and the African-American experience including Glenn Ligon, Alison Saar, Fred Wilson and Lorna Simpson.

Birnam Wood Galleries, East Hampton. Located in the hamlet of East Hampton, with its deep connection to the history of American art, Birnam Wood boasts an enviable stable spanning the late Impressionism period (including etchings and lithographs by James A.M. Whistler) through Modernism (Stanley McDonald Wright), the American scene (Reginald Marsh) and early pioneers of the post-war period (such as Elaine de Kooning). Watch for a late-period Wolf Kahn luminous landscape, Diagonal Tree Painting, 2007, executed with a lavender-and-gold palette that makes the canvas appear to vibrate, and Edward Willis Redfield’s atmospheric Parisian scene, The Bridge of Charenton, 1898.

Charlotte Jackson Fine Art, Santa Fe. American and European contemporary are the calling cards of Santa Fe doyenne Charlotte Jackson, organizer of the Santa Fe Art Fair. Her highly specialized metier — “monochrome, concrete, light and space, modernism and color field” reads her mission statement — brings Jackson to the forefront of the avant-garde, especially in New Mexico, where Western bronzes and figurative paintings rule. Among the stars of her stable: the late Florence Pierce, a member of the Taos Transcendental Painting Group in the late 1930s, whose resin-covered, mirrored Plexiglas panels embody light, and California grand master David Simpson, creator of subtle canvases that whisper with veils of pigment.

Crown Point Press, San Francisco. Begun in a Berkeley basement in 1962, Crown Point has evolved during its 40-plus years as one of the preeminent printshops in 
the country. Both New York’s MoMA and the National Gallery in Washington, D.C., have devoted museum exhibitions to milestones in the publisher’s history, while art historian Susan Tallman praised Crown Point Press in her 1996 book, The Contemporary Print, as “the most instrumental American printshop in the revival of etching as a medium of serious art.” Recommended among 
Crown Point’s current inventory for collectors: portfolios 
by Mamma Andersson, Chris Ofili and original Crown Point protagonists Richard Diebenkorn and Wayne 
Thiebaud, first published by the press in 1965.

D’Amelio Terras, New York. Chris D’Amelio and Lucien Terras started in 1996 as one of the first dealers in what was then the outpost of Chelsea. The gallery includes a heavy dose of minimalism, but with a conceptual bent: San Antonio–based, Whitney Biennial–exhibited Dario Robleto; Museum of Fine Arts, Houston Glassell Core Fellows Demetrius Oliver and Leslie Hewitt (along with fellow D’Amelio Terras photographer Sara VanDerBeek, two of six featured in MoMA’s current “New Photography 2009,” through January 11); and Corpus Christi–raised sculptor Tony Feher. All are contenders to be exhibited in the gallery’s booth, as well as a rare and important early drawing from 1954 (shown above) by Yayoi Kusama, whom D’Amelio helped to rediscover.

Dolby Chadwick Gallery, San Francisco. Founded in 1997, Dolby Chadwick’s focus includes painting, photography, printmaking and sculpture, figurative to abstract, but characterized by an underlying formal aesthetic. The gallery’s sizable painting stable subtly references the Bay Area figurative movement, while photographers such as William Farley are also standouts. His quiet cibachromes, enveloped by mist, imbue vernacular roadside architecture with a sense 
of transcendence.

Forum Gallery, New York. A founding member 
of the ADAA, Forum Gallery is all about the figure, representing significant contemporary visualists such as Odd Nerdrum, as well as the estates of social realist painter Raphael Soyer and sculptor Chaim Gross, 
whose simplified abstraction combined traditional and tribal styles while retaining its humanity. Among the surprises promised by Forum’s booth: rising Canadian sculptor Cybèle Young, who creates droll Japanese 
paper constructions that mimic clothing, furniture 
and household items, scaled for a dollhouse.  

Gallery Henoch, New York. Devoted to realism from three continents — North America, Europe and Asia — Gallery Henoch’s director George Henoch Shechtman has been a Manhattan gallerist since 1966, when he opened his first space in Greenwich Village, along Christopher Street. Forty-plus years and three locations later, Gallery Henoch’s bright lights include painters Eric Zener, Steve Mills and Steve Smulka, the latter an adept photorealist whose canvases of light passing through glass vessels exude stillness and serenity.

Gebert Contemporary, Santa Fe. Santa Fe–headquartered Gebert Contemporary (which also boasts affiliated spaces in Scottsdale, Arizona and Venice, California) serves up diverse programing by respected internationals that encompass sculptor Magdalena Abakanowicz, ceramicist Jun Kaneko, lensman Alfredo de Stéfano and painter Dirk de Bruycker. But it’s photographer Michael Eastman who really caught our eye. His interiors capture the faded beauty of places both grand and prosaic, from an altar in Vienna to a burger joint in the American Southwest.

Hedge Gallery, San Francisco. Existing at the intersection of art and design, cutting-edge Hedge represents international talents such as Australian-born, London-based wunderkind Marc Newson, a darling of Design Miami/Basel who was anointed its 2006 Designer of the Year. Other knockouts delivered by Hedge include Forrest Myers’ Parker chair fashioned from steel wire, Paul Philip’s chalice-shaped ceramic vessel, a lacy Crochet chair by Dutch designer Marcel Wanders and Japanese glass master Ritsue Mishima’s sinuous Murano vase.

Howard Scott Gallery, New York. Abstraction 
and an inventive use of materials are emphasized at Howard Scott Gallery, home to Texas collage master Lance Letscher, who is considered by many to be the heir to the work begun early in the 20th century by cut-and-paste pioneer Kurt Schwitters. Also check out translucent color cast-resin sculptures by Mexico City artist Perla Krauze and senior American painter William Willis’ convincing canvases, often bearing collaged elements, that pulse with a beat recalling Deco drama and the jazz age.

James Kelly Contemporary, Santa Fe. One of the major contemporary voices in Santa Fe, James Kelly is known for mounting museum-quality shows of post-war artists from the U.S. and Europe. A leader in developing Santa Fe’s Railroad District surrounding SITE Santa Fe, Kelly’s inaugural show in 1998 is still remembered for its legendary foursome: Agnes Martin, Bruce Nauman, Susan Rothenberg and Richard Tuttle.
 
Jenkins Johnson Gallery, San Francisco/New York. Berkeley grad Karen Jenkins-Johnson unveiled her San Francisco gallery in 1996 and, a decade later, added a Chelsea location. “All of the works we show are a part of a continuing discourse on the evolution and method of realist and representational art,” reads the gallery’s mission statement. Picks of the fair: Ben Aronson’s tonal realism and Korean photographer JeongMee Yoon’s studies of gender identity told via pink- or blue-hued toys.

Jerald Melberg Gallery, Charlotte. Eponymous owner Jerald Melberg, a former curator at the Mint Museum of Art in Charlotte, North Carolina, has been at the forefront of visual arts in North Carolina for 35 years. He’s even advised the United States Department of State. Ida Kohlmeyer, Romare Bearden, Dale Chihuly, Robert Motherwell and Oscar Bluemner are some of the big guns represented by his deep, diverse stable. 

John Berggruen Gallery, San Francisco. One of a handful of dealers who has been mounting museum-worthy shows for four decades, this acclaimed West Coast gallerist (whose father was the unparalleled post-war dealer Heinz Berggruen) has strong Texas ties. With his long-standing membership in the ADAA, blue-chip stable stocked with European and American masters (Matisse and Picasso to Thiebaud and Ruscha), Berggruen and wife Gretchen — who works side by side with him — have enviable connections, friendships and a history with Texas, particularly Dallas, dating back to the mid-1970s.

Kathryn Markel Fine Arts, New York. Also 
known as “The Art Lady” after her online site that sagely guides beginning collectors, Kathryn Markel just celebrated 40 years in the business. Throughout the decades, she’s kept her stable fresh, balancing abstraction with figuration, and was most recently an exhibitor in Miami Beach’s respected satellite fair, Aqua. Standouts here include Julian Jackson’s limpid color abstractions and Stephan Pentak’s vertical landscapes.

Lennon, Weinberg, Inc., New York. Lennon, Weinberg’s strong, unexpected roster juxtaposes classic second-generation ab ex painter Joan Mitchell with 
Wallpaper LAB (which replicates important contemporary talents like Phoebe Washburn and Fred Tomaselli upon rolls of wallpaper), setting up paradoxes that keep collectors guessing. Another find is Cindy Workman, who composes pop-influenced photographic nudes that are almost psychedelic.

Mary Ryan Gallery, New York. Established in 1981, Mary Ryan’s niche includes contemporary masters in all media, with a specialization in prints and works on paper, especially early 20th-century British and American works on paper and prints. David Hockney– and Donald Sultan–editioned works and Josh Dorman canvases featuring ink, acrylic and antique maps will be some of 
the collectors fare at this ADAA and IFPDA (International Fine Print Dealer’s Association) member. 

Nancy Hoffman Gallery, New York. Home gallery to watercolorists Joseph Raffael and Carolyn Brady, photorealist Don Eddy, video mistress Asya Reznik and painter-Newsweek art critic Peter Plagens, Nancy Hoffman also promotes an innovative print program, while her artists are frequently published and/or museum-exhibited. Other high points of the gallery’s roster are the elegaic landscapes by the late David Bierk.

Newzones, Calgary, Alberta. Opened in 1992, north-of-the-border Newzones focuses on contemporary Canadian as well as select internationals, showcasing painting, sculpture and photo-based works. A member of the Art Dealers Association of Canada and a frequent participant in the fair arena, this Calgary dealer is expected to highlight assemblage maker Colleen Philippi, joined by Cathy Daley’s figurative oil on vellums, plus David Robinson’s heroic granite and copper sculpture.

Pace Prints, New York. In the art world, the name Pace needs no introduction. And Pace Prints, the printmaking extension of this empire, returns to the Dallas Art Fair with stunning editioned works on paper, as typified by a robust David Bates woodcut of sunflowers and Chuck Close’s Self-Portrait, an intricate tour de force woodcut composed of 47 colors.

Peter Fetterman Gallery, Santa Monica. Stocked with stellar examples of 19th- and 20th-century photography, Bergamot Station dealer Peter Fetterman plunged into the L.A. scene in 1990 after a successful career as an indie film producer. Classic black-and-white photography, with an emphasis on humanist imagery, as well as emerging and international lensmen are in his viewfinder. Henri Cartier-Bresson, Horst P. Horst, Robert Capa, Eve Arnold and George Tice are some of the legends of the medium at Fetterman.

Richard Levy Gallery, Albuquerque. Founded in downtown Albuquerque in 1991, Richard Levy upholds the contemporary beacon, with significant programming that extends from regionalist artists to national and international masters. He also actively publishes contemporary prints and multiples by Richard Tuttle, Wes Mills, Lorna Simpson, David Levinthal and more. Hiroshi Sugimoto, Thomas Ruff, Gregory Crewdson and Candida Höfer also evidence the gallery’s commitment to au courant photography.

Sundaram Tagore Gallery, New York, Beverly Hills, Hong Kong. Founded in 2000, Sundaram Tagore Gallery is neither East nor West but both, melding and developing a dialogue between dual cultures while emphasizing a mission beyond the marketplace — establishing a spiritual, social and aesthetic communion and fostering a multidisciplinary exchange. At the gallery’s helm is its namesake, New York–based art historian Sundaram Tagore, a former Pace Wildenstein director and current Oxford University PhD candidate. He’s a descendant of Nobel Prize–winning Indian poet Rabindranath Tagore, whose words still echo and influence today. 

TAI Gallery/Textile Arts, Santa Fe. Bamboo art, contemporary photography and textiles are the unique trifecta offered at TAI Gallery/Textile Arts, which interjects an Eastern aesthetic into the Southwest scene.  TAI has been open since 1978; owners Mary Hunt Kahlenberg (a former curator of textiles at the Los Angeles Country Museum of Art) and Robert T. Coffland (one of America’s experts on contemporary bamboo art) have also mounted major museum shows in Japan.

Tandem Press, Madison. A Wisconsin entry into the fair, Tandem Press is a self-supporting printmaking studio, founded in 1987, that’s affiliated with the Department of Art at the University of Wisconsin–Madison. Dedicated to fostering research, collaboration and innovation in this important media, Tandem has worked with such seminal figures as Philip Pearstein, Judy Pfaff and William Wegman, as well as recent Museum of Fine Arts, Houston Core Fellow José Lerma.

Turner Carroll Gallery, Santa Fe. While based in Santa Fe, Turner Carroll’s vision is global. Since its founding by dual owners Tonya Turner Carroll and Michael Carroll, a married couple who wield degrees and backgrounds in art history, the gallery has mounted exhibitions reflecting contemporary currents in Romania, Ireland, France, Russia and Mexico. Among the most intriguing finds at their booth: Chuck Close’s cotton jacquard tapestry series and Hung Liu’s lyrical portraits.

William Shearburn Gallery, St. Louis/
Santa Fe. Founded 1992, William Shearburn is among the Midwest’s most eminent dealers, now with a second location established in Santa Fe in 2008. Shearburn is renowned for his vast stable tilted towards modern and contemporary players who are ensconced in the art historical narrative, such as Carl Andre, Kara Walker, Louise Bourgeois and Ellsworth Kelly, alongside mid-career notables including Texas artist Joe Havel.  

William Siegal Gallery, Santa Fe. Ancient literally meets today at William Siegal, where 5,000 years and diverse cultures collide to offer a rich perspective on art and artifacts. For the past 35 years, astute collector Siegal has culled the world’s largest trove of Andean textiles, dating from 750 B.C. to the 19th century, which he innovatively mounts alongside contemporary talents such as Karen Gunderson’s moody black-and-white canvases whose sole subject is the sea.
One-Artist Presentations

Specially planned for the Dallas Art Fair, three gallerists have tapped important, internationally exhibited artists whom they represent to create one-person exhibitions for their booths. These museum-caliber solos offer the fair-goer a chance to view works in significant depth, as well as to meet and dialogue with each artist. All three will be traveling to Texas to be present at the Dallas Art Fair and to conduct talks about their work. Please contact the respective galleries below for details.

Anthony Meier Fine Arts, San Francisco. Esteemed ADAA member and Art Basel Miami Beach–exhibited Anthony Meier transforms his booth into a one-person installation for Texas native, now New Yorker Donald Moffett. Moffett, whose paintings are ultimately about reflected light, will be featured in a 2011 20-year survey co-organized by the Contemporary Arts Museum Houston and The Andy Warhol Museum in Pittsburgh. Dallas fair-goers will have an opportunity to see the artist’s most recent creations.

Carrie Secrist Gallery, Chicago. With a diverse international contemporary stable, Chicago gallerist Carrie Secrist has recently garnered worldwide attention for her involvement in the meteoric rise of an emerging Italian photographer, the now museum-collected Angelo Musco; he was one of the most provocative entries in the 2009 Venice Biennale for his Hadal Project, featuring more than 2,000 meticulously combined photo images shot of 80 models that offer homage to the grand art historical tradition of the figure. For Dallas, Musco will create a site-specific installation reprising works from the past year and premiering a new piece created specially for this fair.

Jason McCoy, Inc., New York. Few dealers have such a fabled family tie: McCoy’s uncle and aunt were none other than Mr. and 
Mrs. Abstract Expressionism, Jackson Pollock and Lee Krasner, both of whom number among the modern masters McCoy exhibits. For the Dallas Art Fair, however, he’ll devote his booth to an in-depth installation by University of Texas grad and current New York talent Rachel Hovnanian, whose “Power & Burden of Beauty” skewers gender stereotypes via objects of exquisite delicacy, from marble sculptures to a long, long pair of satin gloves. Painting, sculpture, photography, video and installation work are part of Hovnanian’s repertoire that adroitly address her theme.
Texas' Best

Also participating in the international modern and contemporary dialogue fostered by the Dallas Art Fair is the following roll call of stellar dealers based in Texas. Take note.

Artspace 111, Fort Worth. Founded in 1980 and dedicated to emerging and mid-career Texas talent, Artspace 111 is known for its strong stable including Pop photorealist painter John Hartley; landscape master Dennis Blagg of the luminous Western vistas; Leslie Lanzilotti, whose portraiture is often disquieting; and our fave, painter Daniel Blagg, who captures the American scene, Vegas to Rushmore, with exceptional aplomb.

Barbara Davis Gallery, Houston. This Art Basel Miami Beach–exhibited gallery, which launched Shahzia Sikander and Julie Mehretu, was the first in Houston to showcase Joseph Beuys, Kiki Smith, Jonathan Borofsky, Joseph Cornell, Zhang Huan and Allan McCollum. Davis plans special fare for the Dallas Art Fair, including Saatchi Sensation finalist Mie Olise (a red-hot international painter) and Cartier Foundation–invited international sculptor Andrea Bianconi.

Barry Whistler Gallery, Dallas. This Deep Ellum denizen celebrates a quarter century in 2010. Whistler is known for his keen eye and Texas-centric stable, which brims with standouts such as Pop painter Michael Miller, ethereal installationist Linnea Glatt, John Pomara (of the understated minimalist paintings) and Allison V. Smith, whose color photographs are saturated with the light 
and energy of the places she depicts, such as the mythic Marfa, Texas.

Colton & Farb Gallery, Houston. Newly branded, the former Deborah Colton Gallery has added a business partner — philanthropist Carolyn Farb — and a new moniker. Colton & Farb will be ensconced in one of the fair’s prime anchor spots and is set to feature rare material by Ultra Violet of Warhol Factory fame (in attendance) and film man Jonas Mekas, alongside Chinese painter Jang Jin Long, whose show at the Crow opens this month; New Yorker Lowell Boyers (his canvases pack a Zen attitude); and Texans Molly Gochman, Angelbert Metoyer and Daniel-Kayne Edwards.

Dunn and Brown Contemporary, Dallas. Recent ADAA inductee Dunn and Brown, with its perfect mix of national and Texas-based artists, is known for discovering and/or fostering the careers of its artists towards a broader place in art history. Chief in point: Houston-based international Trenton Doyle Hancock, who has been exhibited in two Whitney Biennials to date. Planned for fair-goers are “exciting discoveries that will knock your socks off by artists we represent,” promises co-owner Talley Dunn, including “work that is appealing to 
private collectors at entry points under $3,000.”

Holly Johnson Gallery, Dallas. An Art Institute of Chicago grad, Johnson began her career in the Windy City before moving to Texas. After working at major galleries in Houston and Dallas, she and business partner/husband Jim Martin opened in 2005 in a 6,000-square-foot space in the heart of the Design District. With a Texas-tilted focus, her power hitters include painters William Betts, Gael Stack, David Aylsworth and Kim Cadmus Owens (whose vernacular, architectural-inspired canvases were recently on view), as well as Venice Biennale–shown James Drake.

Inman Gallery, Houston. The home gallery for Whitney Biennial sculptor Dario Robleto, Venice Biennale–exhibited installation artist Katrina Moorhead and former Museum of Fine Arts, Houston Core Fellow photographer Demetrius Oliver, Kerry Inman launched 20 years ago as the first dealer to represent the provocative, then considered extremely risky (for a commercial gallery) Core Fellows when many of them were still fledgling artists-in-residence at the MFAH’s Glassell School of Art.

Kristy Stubbs Gallery, Dallas. An under-the-radar power player with enviable ties to the London scene, Kristy Stubbs honed her gallerist skills from New York to Hong Kong before opening in 1994 as a private dealer specializing in Impressionism and modern and contemporary art. It’s no surprise that she’s pulling off a huge coup: presenting “Spin” and “Spot” paintings by Damien Hirst as one of her Dallas Art Fair headliners.

Lora Reynolds Gallery, Austin. This avant-garde Austin dealer honed her art-world credentials by working with Anthony d’Offay in London and Matthew Marks Gallery in New York. Opened in 2005, the Armory Show–exhibited gallery fosters the international contemporary dialogue from the Hill Country and beyond with protagonists such as New York–based Noriko Ambe, who creates biomorphic sculptures from monographs on contemporaries including Damien Hirst, Andy Warhol and Tom Friedman.

Marty Walker Gallery, Dallas. This materials- and process-oriented gallerist reps such important Texans as highly inventive sculptors Frances Bagley and Tom Orr, who are equally at home in a white cube or opera set (they’re currently on view in the DMA’s “Performance/Art,” through March 21), and provocative puppeteer-turned-painter Wayne White of Pee-wee’s Playhouse renown.

Ruiz-Healy Art, San Antonio. A proponent of Latin American, gallerist Patricia Ruiz-Healy (a University of Texas PhD candidate in this subject) opened in 2006 with the mission of placing important post-war and contemporary works in private and public collections. The gallery has also been an active art fair participant, from specialized print fairs to New York’s Volta and now the Dallas Art Fair, where her booth is tilted toward contemporary offerings in diverse media, including magic realist painter Ray Smith and Pedro Friedeberg of the very iconic 1960s-era Hand Chair.

Texas Gallery, Houston. Gallerists Fredericka Hunter and Ian Glennie’s commitment to Donald Judd, Andy Warhol, Robert Mapplethorpe, Robert Rauschenberg, Brice Marden, Chuck Close and Lynda Benglis extends back decades. Together this understated, highly respected pair promotes art collecting in its purest form. “I will always believe that ‘the investment’ should be in what one loves first ... One should never expect a 20 percent return à la hedge-funds standards,” says Hunter.

The Public Trust, Dallas. University of North Texas 
grad Brian Gibb — artist and publishing impresario 
of the Whitney Museum of Art–collected periodical-
book-zine Art Prostitute and, launching this spring, 
The Standard — is one of Deep Ellum’s standard bearers of cool. Best bests in his booth? Collectible illustration art such as 1960s-era graphic visionary Charley Harper, side-by-side with today’s Brent Ozaeta.
 
Valley House Gallery & Sculpture Garden, Dallas. Texas’ first modern dealer, Cheryl and Kevin Vogel’s Valley House, was founded by Kevin’s parents after they acquired the then-remote wooded property in 1953. Valley House is known for its rich and diverse stable, as well as its early and long-standing commitment to modern and contemporary sculpture. Among its fair presentations: Valton Tyler’s hypnotic precisionist paintings, Gail Norfleet’s droll paintings of Dallasites museum- and gallery-gazing, and Spanish mixed-media master Miguel Zapata.

William Campbell Contemporary Art, Fort Worth. Celebrating 35 years in 2009, William Campbell is a Texas mainstay; Bill and Pam Campbell’s involvement in the community and their support for Texas as an art-making place is legendary. In their booth, look for a gamut of stylistic points of view, from vibrant avian paintings by Billy Hassell to John Holt Smith’s whispery painted abstractions.
The Official Calendar of the Dallas Art Fair
Who to see and where to be when the fair unfurls 
Friday through Sunday, February 5 through 7, 2010

Dallas Art Fair Tickets
Single-Day Pass: $20 per person
Three-Day Pass: $40 per person
Students,* Seniors (62 or over) or Groups of 10 or more: $15 per person
Three-Day Pass for Students,* Seniors (62 or over) or Groups of 10 or more: $30 per person
To Purchase Your Dallas Art Fair Tickets:
Visit www.dallasartfair.com. For more information, please call 214.220.1278. Tickets also available at the door during the days of 
the Dallas Art Fair. For group tours (10 or more), call Katie Richter, 214.220.1278; 
e-mail katie.richter@dallasartfair.com.
Be a Dallas Art Fair VIP

Take a Tour with a Top Collector
As a special programming perk for young collectors, acclaimed Texas collector, patron and Museum of Fine Arts, Houston ,and Contemporary Arts Museum Houston trustee Lester Marks will lead a tour of the Dallas Art Fair on Saturday, February 6, highlighting his selections for the most intriguing offerings at the booths. Marks owns, directs and curates The Marks Collection in Houston. He has been recognized by both Artnews and Art & Antiques as, respectively, one of the “Top 200 Collectors in the World” and among the “Top 100 Collectors in America.” The Marks Collection — stocked with treasures by Cornell, Kiefer, Warhol, Trenton Doyle Hancock, Joe Havel and more — was profiled in-depth in a multi-page feature by Art & Antiques in September 2008. Free with fair ticket, reservations required; please call Katie Richter, 214.220.1278; 
e-mail katie.richter@dallasartfair.com.
Hot Topic — 
”Finding Frida”
The Dallas Art Fair has organized a two-day symposium that promises to whet the art appetite of both scholars and non-doctoral candidates. “Finding Frida” plunges into the controversial discovery of recent material, the Noyola Collection, featuring a just-published cache of paintings, diaries and ephemera attributed to the world-renowned, late Mexican painter Frida Kahlo. Is it or isn’t it by Frida? Hear both sides of the argument from the principal players on Saturday and Sunday, February 6 and 7, 10 to 11 am daily. Dallas Art Fair Symposiums at Montgomery Theater, Booker T. Washington High School for the Performing and Visual Arts. Introduced by Dallas Art Fair co-founder Chris Byrne, confirmed participants to date are: moderator Jason Kaufman, art historian, critic and correspondent for The Art Newspaper; Mary-Anne Martin, gallerist, Mary-Anne Martin/Fine Art; Dr. Salomon Grimberg, co-author of Frida Kahlo catalogue raisonné; professor James Oles, scholar and archival researcher, Wellesley College; Carlos Noyola and Leticia Fernandez, owners of the Noyola Collection, La Buhardialla Antiques in San Miguel de Allende, Mexico; Jed Paradies, representing the Noyola Collection; Katherine Myers, publicity director of Princeton Architectural Press; Jennifer Thompson, editorial director of Princeton Architectural Press; and Kevin Lippert, publisher of Princeton Architectural Press. Tickets $35 per person, include one-day art fair admission, through www.dallasartfair.com. For more information, please call 214.220.1278. (One-day free symposium admission included in Dallas Art Fair VIP ticket, through www.dallasartfair.com.)
Collectors Corner
Texas’ most discerning collectors, a respected curator and an international artist weigh in on the national and international exhibitors of the 
2010 Dallas Art Fair.

Becky Bruder, collector: “What I find so interesting about Jill Weinberg are her personal stories from being involved in the art world for so many years. She has worked with all the greats, Malcolm Morley, Joan Mitchell ... spent time with Andy Warhol and his Factory. I love that she has a long perspective and can discern hype from great art. I have spent time looking through her ‘back room’ and have found lots of beautiful jewels.”

Mrs. Nancy Dedman, collector: “Howard Scott has a gift for discovering creative artists throughout the world whose work is certain to become collector’s pieces. His exhibitions are consistently innovative and fun.”

Steve Kornajcik, collector, senior vice president at Neiman Marcus: “Andrew Edlin brings art from the margins to the Dallas Art Fair. Untainted by commercial considerations, these important works are raw, authentic expressions of each artist’s personal earth, heaven and hell. The rare opportunity to see the work of Henry Darger in Dallas on its own is a compelling reason to visit the Fair.”


Deedie Rose, collector. “Jim Kelly has as broad a knowledge of the contemporary art world and as sensitive an eye as anyone I know. Plus his integrity and kindness make him such 
a pleasure to work with.”

Credit: Courtesy of Jenkins Johnson Gallery, San Francisco, CA