Dallas Art Fair Co-Founder Chris Byrne has written this response to Richard Patterson’s article “The Secret Life of Plants: An Artist’s Assessment of the Dallas Art Fair.”
I agree with several of Mr. Patterson’s criticisms, but the overriding problem – which he either fails to recognize or chooses not to address – is that the Dallas Art Fair has to represent more than his or a select group of collectors’ taste (no matter how well-received these individuals’ contributions have been by the community).
The fair’s goal has never been to mimic or to try to duplicate Miami Basel — it has been, instead, to provide a strong roster of national (and now international) exhibitors for our regional audience. The assumption that Mr. Patterson makes – that fairs are hyper-retail experiences for collectors who ideally begin each preview by running to certain exhibitors’ booths — is something that I strongly challenge (and in fact, the prefabness of the “mega fair” with its “super sales” may — in subsequent years – be viewed as a cartoonish anomaly). To my mind, our exhibitors’ primary role is to cultivate friendships and professional relationships with collectors and institutions in the area.
The tacit criterion for the Dallas Art Fair exhibitors is that they are already working with collectors, museums, or have some pre-existing connection to the community. I may not personally respond to the work in a particular gallery, but if they’re strongly recommended by one of the members of the community, they should be invited to participate. As for the inclusion of Texas galleries and dealers, their presence guarantees an important segment of the local and regional audience (again, why have a fair in Dallas that is indistinguishable from any other fair in the country?) I do think that there is tremendous potential to adapt and grow; Tony Meier’s installation of Donald Moffett’s work is an example of the Dallas Art Fair at its best (Moffett will have a one person show at the Contemporary Art Museum in Houston next year).
The danger of trying to put together the “ideal” art fair is that unless it becomes a meaningful experience for the attending audience, it is only a hollow and self-congratulatory exercise for the organizers. An art fair does not exist in a vacuum and it makes no sense to “curate” it in that manner (also, anyone who has ever perused back issues of Artforum can attest to the short shelf life of some of the most sought after artists and prestigious galleries of their time). Unfortunately, what Mr. Patterson seems to be unwittingly advocating – like many self-appointed taste-makers and guardians of culture — is the Crate & Barrel, one-size-fits-all approach, i.e. any fair to his liking should work in any city. And this is simply not the case.
Saying this, and recognizing Mr. Patterson as a member of the local art community, we welcome his specific recommendations with regard to next year’s Dallas Art Fair.
For the record: both the ADAA’s The Art Show and The Armory Show accept private dealers. The two private dealers who participated in this year’s Dallas Art Fair were from Texas. Also, it is my understanding that the collectors that Mr. Patterson obliquely makes reference to had prior commitments (both nationally and internationally) this past weekend.
Chris Byrne is the Dallas Art Fair co-founder, Chairman of the Board of the American Visionary Art Museum, and an internationally recognized art consultant and dealer.
(Image: Donald Moffett, Still the Universe Demands a Hole (B), 2006)
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4 comments
To Mr Byrne and the organizers of the fair: I have the greatest
respect for your launching of the fair and very much want it to
succeed. My comments were garnered from a cross section of several
dealers and collectors at the fair – and some of the most relevant
observations were not my own, but interestingly, from the most
invested, i.e. Texans. I do not advocate a copy of Miami Basel -
actually I think the fair should be smaller than it currently is, but
of higher quality, specifically including the best Texan galleries as
well as a number of interesting foreign and national ones. I agree
that is should have a distinct flavor from other fairs, which will come naturally from our local produce and spice.
I still believe that forging relationships will be easier if the fair
is of unequivocal quality that resonates elsewhere. This will draw
interest.
As a side note – as a Dallasite, I have a specific and active interest
in art at grass roots level here in Dallas and have been a huge
proponent of it as such, trying hard to link what I perceive to be the
most relevant from here with London and elsewhere. I am not an elitist in this sense, but I believe in the specific vernacular and dialogue of art
that crosses geographical boundaries. Having said that, I also believe
strongly in a sense of place. I may be one of Dallas’ greatest
cheerleaders, though curiously no one will let me wear the little
white shorts.
I was aware the missing collectors had prior engagements – but their
absence was noted by many people. They can’t be everywhere, but when
you’re playing Puck in the school play you want your mum and dad
there.
As to private dealers, we can split hairs on this one – but it is
ultimately a question of appropriateness and I believe the issue
should be addressed on a case by case basis.
I believe we share the same ambitions, it is more a question of how
exactly these might be achieved. And when was there anything other
than a ‘self-appointed’ taste-maker. One certainly doesn’t get
elected.
And so with the utmost respect, It’s a walk off! Do you want to be
Hansel, or Derek Zoolander?
I think this should be settled in a moderated debate at Pop Up 310. Who’s in?
I’d attend that settlement.
As would I.