{"id":2096,"date":"2024-04-09T13:44:10","date_gmt":"2024-04-09T05:44:10","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=2096"},"modified":"2024-04-09T13:47:18","modified_gmt":"2024-04-09T05:47:18","slug":"best-booths-at-the-2024-dallas-art-fair-where-high-meets-low-and-elegance-is-simplicity","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/best-booths-at-the-2024-dallas-art-fair-where-high-meets-low-and-elegance-is-simplicity\/","title":{"rendered":"Best Booths at the 2024 Dallas Art Fair, Where High Meets Low and Elegance Is Simplicity"},"content":{"rendered":"<p class=\"paragraph larva \/\/ a-font-body-m \">The 2024 edition of the <a href=\"https:\/\/www.atelierauction.com\/globalupdates\">Dallas Art Fair<\/a> opened to VIPs on Thursday and, while the city\u2019s Fashion Industry Gallery was bustling, the fair did not lose the intimacy that makes it such a distinctive experience.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m \">One of the strengths of the DAF is that art dealers frequently bring interesting, off-beat work confident in the knowledge that collectors there like to take the time to look, consider, and, in most cases, appreciate. Texas-based collectors like to stop and chat with dealers casually, as though attending a church picnic or visiting a friend\u2019s house to cheer on the Cowboys. The high-pressure environment and frenzied activity among VIP collectors that marks Frieze or Basel\u2019s fairs is noticeably absent in Dallas, though that isn\u2019t to say it lacks for sales.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m \">This year\u2019s edition features 91 galleries from major cities like Berlin, Mexico City, New York, and, of course, Dallas itself.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m \">Below, the seven best booths from the Dallas Art Fair, which runs through April 7.<\/p>\n<div id=\"pmc-gallery-vertical\">\n<div class=\"c-gallery-vertical\">\n<div class=\"c-gallery-vertical__slides\">\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234701877\" data-slide-index=\"0\" data-slide-position-display=\"1\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">1.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Tammi Campbell and Krzysztof Strzelecki at Anat Ebgi<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Strzelecki_Muscle-Worship-Big-Pecs-2023_SK1054.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Strzelecki_Muscle-Worship-Big-Pecs-2023_SK1054.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Strzelecki_Muscle-Worship-Big-Pecs-2023_SK1054.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Strzelecki_Muscle-Worship-Big-Pecs-2023_SK1054.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Strzelecki_Muscle-Worship-Big-Pecs-2023_SK1054.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Strzelecki_Muscle-Worship-Big-Pecs-2023_SK1054.jpg?w=1024 1024w\" alt=\"A sculpture depicting golden boxing gloves.\" width=\"767\" height=\"575\" \/><\/figure>\n<div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<div class=\"c-gallery-vertical-featured-image__caption\" style=\"text-align: center;\">Krzysztof Strzelecki&#8217;s Muscle Worship &#8211; Big Pecs\u00a0(2023)<\/div>\n<p class=\"paragraph larva \/\/ a-font-body-m\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Anat Ebgi<\/span><\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\" style=\"text-align: left;\">Krzysztof Strzelecki\u2019s\u00a0<em>Muscle Worship \u2013 Big Pecs<\/em>\u00a0(2023)\u00a0and Tammi Campbell\u2019s\u00a0<em>Homage to the Square with Bubble Wrap and Packing Tape<\/em>\u00a0(2023) couldn\u2019t be more different but have so much in common it\u2019s a treat to see them in dialogue. The former, a gleaming pair of boxing gloves made\u00a0from glazed ceramic and gold lustre, screams with the intensity of a title bout. In Campbell\u2019s work, colorful squares are overlaid on a canvas surrounded in protective \u201cbubble wrap,\u201d which isn\u2019t bubble wrap at all, but rather hard acrylic the artist made with molds. Despite the radically different subjects the two works both play with tactility, of hard versus soft material, and share the ability to draw in a viewer then confound their sense of tactile reality.<\/p>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-1\" class=\"admz \">\n<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlist1-uid0\" class=\" adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234701880\" data-slide-index=\"1\" data-slide-position-display=\"2\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">2.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Sergio Miguel at Deli Gallery<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-4.36.52-PM.png?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-4.36.52-PM.png?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-4.36.52-PM.png?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-4.36.52-PM.png?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-4.36.52-PM.png?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-4.36.52-PM.png?w=1280 1280w\" alt=\"Installation shot of Sergio Miguel's work at Deli Gallery\" width=\"799\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\">Installation shot of Sergio Miguel&#8217;s work at Deli Gallery<\/div>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Deli Gallery<\/span><\/div>\n<\/figure>\n<div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Otherworldly paintings by the Mexican artist Sergio Miguel at <a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Deli Gallery<\/a> toe the line between art historical and ultra-contemporary. In each of the three pictures by Miguel on view in the booth a young boy, pale, clad in a dark, dour outfit, either stands next to, cuddles, or is enveloped by a wiry dragon creature. There is no sign of fear, only the malaise that comes with impending puberty and the frigid, grey seascape in the background. The works are heavily influenced by the Spanish colonial style of Casta painting seen in portraits commissioned by Spanish aristocrats, but seen through a postcolonial lens. These\u2019s boys aren\u2019t of the noble class, which just enhances their stature. It\u2019s disarming, even a little unnerving, to see a child hold a monster so tenderly while looking so disenchanted, but the boys are safe. Miguel made sure of it with the pictures\u2019 frames which he made and which feature imposing dagger-like points at each corner.<\/p>\n<\/div>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234701883\" data-slide-index=\"2\" data-slide-position-display=\"3\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">3.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Kenny Nguyen at Sundaram Tagore<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/KN005-1p.jpg?w=555\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 710px, (max-width: 1440px) 710px, (max-width: 2560px) 710px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/KN005-1p.jpg?w=222 222w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/KN005-1p.jpg?w=444 444w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/KN005-1p.jpg?w=555 555w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/KN005-1p.jpg?w=710 710w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/KN005-1p.jpg?w=947 947w\" alt=\"\" width=\"532\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\">Kenny Nguyen, <em>Encounter Series No. 22<\/em> (2024)<\/div>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Sundaram Tagore Gallery<\/span><\/div>\n<\/figure>\n<div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\"><a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Kenny Nguyen<\/a>\u2019s free-hanging silk and acrylic works on canvas are at once, soft, sculptural, and sensuous. When hanging from the wall they seem to billow and ripple with the gentlest of breezes though they are quite still. But they aren\u2019t stiff. Nguyen, who was at the booth, said the works are made flat, woven on the floor. After they dry they can be sculpted on the wall.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\">\u201cTo me, it\u2019s like \u2026 our identity changing every single day,\u201d Nguyen told\u00a0<em>ARTnews<\/em>. \u201cSo why can\u2019t a piece of art have that kind of interactive, reflective way of being in the world?\u201d<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\">The texture and depth of Nguyen\u2019s work is offset and complimented by surreal photographs by Karen Knorr. The deeply conceptual works feature animals from every genus\u2014elegant birds, turtles, and foxes\u2014expertly superimposed, complete with realistic shadows, into Venetian palazzos and Indian palaces. It\u2019s an overt and somehow subtle way of engaging with the idea of otherness and how we treat those who inhabit the world around us.<\/p>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x\" class=\"admz \">\n<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid1\" class=\" adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234701886\" data-slide-index=\"3\" data-slide-position-display=\"4\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">4.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Scott Reeder at Saenger Galer\u00eda\u00a0<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-5.11.01-PM.png?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-5.11.01-PM.png?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-5.11.01-PM.png?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-5.11.01-PM.png?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-5.11.01-PM.png?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Screen-Shot-2024-04-04-at-5.11.01-PM.png?w=1280 1280w\" alt=\"a slice of toast drives a motor boat while a stick of butter rests on the deck.\" width=\"835\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\">Scott Reader\u2019s <em>Bread and Butter (Motorboat), 2023<\/em><\/div>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Saenger Galer\u00eda<\/span><\/div>\n<\/figure>\n<div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">No one could be blamed for thinking that the art world takes itself far too seriously. One of the joys of the <a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Dallas Art Fair<\/a> is that it avoids traditional art world pretention while earnestly loving art. Scott Reeder\u2019s\u00a0<em>Bread and Butter\u00a0<\/em>paintings at the Mexico City-based gallery Saenger Galer\u00eda take that joviality to a creamy, delicious level. In one picture, a slice of toast drives a motorboat in a pristine blue sea while a stick of butter slowly melts in the sun while laid out on the deck on a beach towel. In another, a stick of butter and a slice of toasted bread gaze lovingly at each other (though they don\u2019t have eyes) while sharing a glass of wine under a cabana as palm trees sway and, in the background, the sunset sinks deep into a gorgeous orange yellow sky.<\/p>\n<\/div>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234701892\" data-slide-index=\"4\" data-slide-position-display=\"5\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">5.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Andrea Geyer at Hales\u00a0<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Andrea-Geyer-Constellations-Nora-Holt-after-Carl-Van-Vechten-2022-Hand-cut-archival-print-on-rag-paper-85.7-x-61.3-cm-33-3_4-x-24-1_8-in-Edition-of-1-plus-1-artists-proof-A_GEY0121-Photo-by-JSP-Art-Photography.jpg?w=400\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 512px, (max-width: 1440px) 512px, (max-width: 2560px) 512px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Andrea-Geyer-Constellations-Nora-Holt-after-Carl-Van-Vechten-2022-Hand-cut-archival-print-on-rag-paper-85.7-x-61.3-cm-33-3_4-x-24-1_8-in-Edition-of-1-plus-1-artists-proof-A_GEY0121-Photo-by-JSP-Art-Photography.jpg?w=160 160w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Andrea-Geyer-Constellations-Nora-Holt-after-Carl-Van-Vechten-2022-Hand-cut-archival-print-on-rag-paper-85.7-x-61.3-cm-33-3_4-x-24-1_8-in-Edition-of-1-plus-1-artists-proof-A_GEY0121-Photo-by-JSP-Art-Photography.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Andrea-Geyer-Constellations-Nora-Holt-after-Carl-Van-Vechten-2022-Hand-cut-archival-print-on-rag-paper-85.7-x-61.3-cm-33-3_4-x-24-1_8-in-Edition-of-1-plus-1-artists-proof-A_GEY0121-Photo-by-JSP-Art-Photography.jpg?w=400 400w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Andrea-Geyer-Constellations-Nora-Holt-after-Carl-Van-Vechten-2022-Hand-cut-archival-print-on-rag-paper-85.7-x-61.3-cm-33-3_4-x-24-1_8-in-Edition-of-1-plus-1-artists-proof-A_GEY0121-Photo-by-JSP-Art-Photography.jpg?w=512 512w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/Andrea-Geyer-Constellations-Nora-Holt-after-Carl-Van-Vechten-2022-Hand-cut-archival-print-on-rag-paper-85.7-x-61.3-cm-33-3_4-x-24-1_8-in-Edition-of-1-plus-1-artists-proof-A_GEY0121-Photo-by-JSP-Art-Photography.jpg?w=683 683w\" alt=\"A geometric collage of portrait of a woman.\" width=\"384\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\">Andrea Geyer, <em>Constellations (Nora Holt after Carl Van Vechten)<\/em>, 2022<\/div>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy the artist and Hales, London and New York. Photo by JSP Art Photography.<\/span><\/div>\n<\/figure>\n<div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Two photographic collages by Andrea Geyer\u2019s are among the best works at the fair. The images, from the artist\u2019s\u00a0<em>Constellation\u00a0<\/em>series, are reimagined portraits of influential women who held salons that would go on to influence the cultural and political time the lived in. The photographs, originally taken by Harlem Renaissance photographer Carl Van Vechten, have been turned into geometric collage while retaining the immediacy and intimacy of a portrait.\u00a0\u00a0The image of<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\"> Nora Holt<\/a>, the first black women to earn a master\u2019s degree in music, is the most pleasing, and the most geometrically scattered of the two.\u00a0Van Vechten\u2019s patterned chunky floral backdrop adds depth to the puzzle while, in the center, Holt\u2019s kind face radiates enough to light up a city block.<\/p>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-1\" class=\"admz \">\n<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid2\" class=\" adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234701895\" data-slide-index=\"5\" data-slide-position-display=\"6\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">6.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Kathleen Ryan at Josh Lilley<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/IMG_3491.jpg?w=450\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 576px, (max-width: 1440px) 576px, (max-width: 2560px) 576px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/IMG_3491.jpg?w=180 180w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/IMG_3491.jpg?w=360 360w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/IMG_3491.jpg?w=450 450w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/IMG_3491.jpg?w=576 576w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/IMG_3491.jpg?w=768 768w\" alt=\"\" width=\"431\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\">Installation shot of Josh Lilley&#8217;s booth with Kathleen Ryan\u2019s wonderfully grotesque <em>Bad Lemon (Shaggy<\/em><\/div>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Daniel Cassady<\/span><\/div>\n<\/figure>\n<div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Everything in Josh Lilley\u2019s booth is worth a long look, from Tom Anholt\u2019s new series of introspective, dreamlike pictures to Genesis Belanger\u2019s stone, porcelain, wood, and steel exploration of fetishized feminine experience. But the star of the show is Kathleen Ryan\u2019s wonderfully grotesque\u00a0<em><a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Bad Lemon<\/a> (Shaggy),\u00a0<\/em>a giant decomposing lemon made of glittering gemstones from her\u00a0<em>Bad Fruit\u00a0<\/em>series. Lilley is presenting the work ahead of the artist\u2019s forthcoming landmark survey exhibition\u00a0<em>Kathleen Ryan<\/em>\u00a0at Hamburger Kunsthalle this May. The work is disturbing in its allure and dynamic enough to spend hours studying how it looks from different angles and that way the light catches the gemstones are you move around the work. Also on view is Ryan\u2019s play on the Vanitas painting,\u00a0<em>Bad Fruit (Old Fashioned),\u00a0<\/em>a limp, deflated looking orange slice made from the fender of a Volkswagen, brilliantly bejeweled, and skewered with a cherry-colored bowling ball.<\/p>\n<\/div>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234701889\" data-slide-index=\"6\" data-slide-position-display=\"7\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">7.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Rick Shaefer at Sears-Peyton Gallery<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/shaef111A.jpg?w=769\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 985px, (max-width: 2560px) 985px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/shaef111A.jpg?w=308 308w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/shaef111A.jpg?w=615 615w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/shaef111A.jpg?w=769 769w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/shaef111A.jpg?w=985 985w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/shaef111A.jpg?w=1280 1280w\" alt=\"A brown hued drawing of forest bath.\" width=\"737\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><em>Path with Two Birches and an Old Maple<\/em> (2023) by Rick Shaefer<\/div>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Sears-Peyton Gallery<\/span><\/div>\n<\/figure>\n<div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Inspired by the European masters of etching and landscapes like Ruisdael, van Huysum, D\u00fcrer, and Rembrandt, the large-scale\u00a0<em>Path with Two Birches and an Old Maple\u00a0<\/em>(2023) look is not only easy to look at but provides a wealth of experiences depending on how close you are the picture. Stand a foot or two away and lean in: you see a free, confident hand loosely playing with pencil and ink. Step back and the picture, with all its natural depth, snaps into focus. It has all the heft of a D\u00fcrer but updated with a modern scale. Also notable are the large-scale, painterly photographs and cyanotypes by Thomas Hager, which evoke the old-world mysticism of the American South.<\/p>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x-2\" class=\"admz \">\n<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid3\" class=\" adw-300 adh-250\" data-is-adhesion-ad=\"\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234701898\" data-slide-index=\"7\" data-slide-position-display=\"8\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\"><span class=\"c-gallery-vertical-featured-image__number\">8.<\/span><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">Matthew Chambers at Brackett Creek Exhibitions<\/span><\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/MC-DAF-1.jpg?w=473\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 606px, (max-width: 1440px) 606px, (max-width: 2560px) 606px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/MC-DAF-1.jpg?w=189 189w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/MC-DAF-1.jpg?w=379 379w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/MC-DAF-1.jpg?w=473 473w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/MC-DAF-1.jpg?w=606 606w, https:\/\/www.artnews.com\/wp-content\/uploads\/2024\/04\/MC-DAF-1.jpg?w=808 808w\" alt=\"A drawing of a hand holding a glass of scotch.\" width=\"454\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\">Matthew Chambers, <em>Two fingers of good scotch make the glass 1\/2 full<\/em> (20<\/div>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy Brackett Creek Exhibitions<\/span><\/div>\n<\/figure>\n<div>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">The Dallas Art Fair\u2019s ethos\u2014elegant, slightly camp, profoud without pretense,\u00a0and blithely relaxed\u2014is represented in Matthew Chamber\u2019s drawings. The works are as simple as they are beautiful, and fun to look at as well. One of the most talked about pieces at the fair was a drawing of a cowboy, riding a horse on the booth\u2019s outer wall.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\">\u201cWe had a feeling it might strike a chord here in Dallas,\u201d one of the dealers was overheard saying at the booth. \u201cThree people tried to buy in within the last 15 minutes, but it\u2019s the picture of a hand with holding a glass of scotch that was the toast of the second floor. A rolled-up sleeve, a heap of gold bracelets around the delicate wrist, and vibrant red nail polish, all hint at the personality behind the hand. It isn\u2019t a stretch to imagine it belongs to the kind of woman who is wise beyond her years, and the best person to take the middle seat at a dinner party, and great at karaoke. Underneath the drawing is scrawled the words \u2018Two fingers of good scotch make the glass 1\/2 full.&#8217;\u201d<\/p>\n<\/div>\n<\/div>\n<\/article>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The 2024 edition of the Dallas Art Fair opened to VIPs on Thursday and, while the city\u2019s Fashion Industry Gallery was bustling, the fair did not lose the intimacy that makes it such a distinctive experience. One of the strengths of the DAF is that art dealers frequently bring interesting, off-beat work confident in the [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2097,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-2096","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Best Booths at the 2024 Dallas Art Fair, Where High Meets Low and Elegance Is Simplicity - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"The 2024 edition of the Dallas Art Fair opened to VIPs on Thursday and, while the city\u2019s Fashion\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/best-booths-at-the-2024-dallas-art-fair-where-high-meets-low-and-elegance-is-simplicity\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Best Booths at the 2024 Dallas Art Fair, Where High Meets Low and Elegance Is Simplicity - 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