The ninth annual Dallas Art Fair will take place April 7 – 9, 2017, located inside the Fashion Industry Gallery.
For more information about the fair, please click here.
The Patron Pass is an all-access pass to the most exclusive Dallas Art Fair events including the one hour early admission to the Preview Gala, exhibition openings, exclusive events and more.
For more information and a full list of events included with a Patron Pass, please click here.
PREVIEW GALA TICKETS:
The Dallas Art Fair Preview Gala will benefit the Dallas Museum of Art, Nasher Sculpture Center, and Dallas Contemporary.
For more information about the Dallas Art Fair Preview Gala, please click here.
TICKET HOLDER BENEFITS:
Irving Penn: Beyond Beauty, opening on April 15 at the Dallas Museum of Art, is the first retrospective of Penn’s work in nearly twenty years. The exhibition, organized by the Smithsonian American Art Museum, presents over 140 photographs including iconic images from his oeuvre as well as previously unseen or never exhibited photographs. In a career that spanned almost seventy years, Irving Penn (1917–2009) worked on professional and artistic projects across multiple genres. He was a master of both black-and-white and color photography, and he was key to the revival of platinum printing in the 1960s and 1970s.
Attendees of the Dallas Art Fair are invited to view Irving Penn: Beyond Beauty free of charge during DMA Member Preview Days on April 14 (6:00-9:00 p.m.) and April 15 (11:00 a.m.-5:00 p.m.). DAF credentials will need to be presented for admission. General Admission to the Dallas Museum of Art is FREE.
Nasher Sculpture Center is pleased to offer Art Fair guests complimentary admission and a 10% discount at the award winning Nasher store and at Nasher Café by Wolfgang Puck from Friday, April 15 to Sunday, April 17. Please present your Art Fair ticket or pass at admissions.
January 23, 2016 – April 17, 2016
Over the past three decades, Belgian artist Ann Veronica Janssens (born 1956) has become best known as a light artist, working with spotlights, projections, fog, and other materials to create experiences heightening viewers’ perceptions of themselves and their surroundings. Drawing on scientific research, Janssens aims to create situations that can resemble laboratory experiments as much as works of art. “It’s a question of provoking an experience of excess, of the surpassing of limits,” she has explained, including “situations of dazzlement,” vertigo, speed, and even exhaustion among feelings that can bring us to threshold states of altered consciousness. Her use of light to create these sensations is contingent on architecture, and she often creates environments in which she can test the science of the eye with the manipulation of light within the space.
Janssens’s work exhibits formal affinities with minimalism and the California Light and Space movements of the 1960s and 70s, yet eschews their penchant for monumentality in favor of the intimate, subjective experience of the individual. Her exhibition for the Nasher offers a series of sculptural proposals that move the viewer from the entrance of the building to the garden. Projected washes and haloes of light greet visitors at the Nasher’s entrance, and two types of sculptural objects occupy the Entrance Gallery. Lying directly on the floor, a steel I-beam more than twenty feet long, its top side ground smooth and polished to a mirror shine, offers dizzying reflections of the architectural surroundings. Sharing the entrance bay with the I-beam is a group of five glass cubes, Janssens’s distinctive Aquariums, filled with a blend of liquids, including water and paraffin oil; the interactions between the liquids and the different ways they absorb and reflect light allow for striking and confounding visual effects.
In the garden, visitors encounter a freestanding pavilion coated with, and named for, the three primary colors, Blue, Red and Yellow. Visitors who enter the pavilion will find it filled with artificial fog, a substance that interests Janssens as a way of giving sculptural form to light: “Gazing at mist is an experience with contrasting effects. It appears to abolish all obstacles, materiality, the resistances specific to a given context, and at the same time, it seems to impart a materiality and tactility to light.” As visitors move through the pavilion, they experience not only the profound disorientation prompted by losing all points of navigational reference; as light passes through the walls and ceilings, the fog becomes radiantly suffused with their colors, changing with the movement of the viewer and the shifting light of the sky.
Organized by the Nasher Sculpture Center, Ann Veronica Janssens is the artist’s first solo museum presentation in the United States.
March 12, 2016 – July 17, 2016
Swiss-born Mai-Thu Perret has spent the last 16 years making work born from a fictional feminist art commune she created called The Crystal Frontier. Set in New Mexico, the imaginary women of the commune make work that runs the visual gamut, from the painterly to the sculptural, often employing the aesthetic tropes of Modernism and aligning the women with utopian art historical movements. Her work at the Nasher will build off of a performance Perret recently staged in Geneva, which drew on the ancient Japanese puppetry form bunraku and elaborated a narrative involving a journalist, an Indian mystic, a 19th-century American Shaker, a 1950s computer programmer and an artificial intelligence.