Sheila Hicks, Don Dudley, Arcmanoro Niles, and More Selected for
Dallas Museum of Art’s Permanent Collection
Left: Sheila Hicks, Zihzabal, 2018. Pigments, synthetic fibers, cotton, linen. Courtesy the artist and galerie frank elbaz.
Right: Don Dudley, LX, 2016. Acrylic on birch plywood. Courtesy the artist and Magenta Plains.
(DALLAS, TX - April 11, 2019) - The Dallas Art Fair and the Dallas Museum of Art (DMA) are pleased to announce the selections for the fourth annual Dallas Art Fair Foundation Acquisition Program, an acquisition gift for the Dallas Museum of Art’s permanent collection. The eight selected artworks are by Sheila Hicks, Don Dudley, Arcmanoro Niles, Samuel Levi Jones, Emmanuel Van der Auwera, Maja Ruznic, Nobutaka Aozaki, and Dike Blair.
This year marks the fourth edition of the program, which is an annual initiative devised to foster a relationship between the Dallas Museum of Art, the Dallas Art Fair, and the fair’s global network of participating galleries and artists. The 2019 program is generously funded with a $150,000 grant. The Dallas Art Fair Foundation Acquisition Program has funded $450,000 for the Dallas Museum of Art’s permanent collection to date.
Dr. Agustín Arteaga, The Eugene McDermott Director of the DMA and Dr. Anna Katherine Brodbeck, the Museum’s Hoffman Family Senior Curator of Contemporary Art, helped lead the group of donors that selected the works from the fair. Donors include Tricia and Gil Besing, Linda and David Rogers, Susan and Shawn Bonsell, Sheryl and Geoff Green, Dianne and Mark Laroe, Gowri and Alex N.K. Sharma, Marlene and John Sughrue, Cliff Risman, David and Zoe Bonnette, Fraser and Rhonda Marcus, and The Dallas Art Fair Foundation.
“The artists acquired from the Dallas Art Fair exemplify the historical strengths of our collection as well as our commitment to inclusivity across categories of nationality, race, gender, and medium,” says DMA Senior Curator Dr. Anna Katherine Brodbeck. “Included are artists who were part of the historic development of groundbreaking art movements from the 1960s to 1980s like Don Dudley, Dike Blair, and Sheila Hicks, younger artists like Samuel Levi Jones, Arcmanoro Niles, and Nobutaka Aozaki who are incorporating socio political content in their re-envisioning of those historic movements, and artists who are innovating time-based media in immersive installations like Emmanuel Van der Auwera. We look forward to the stories that these works can tell in the context of our encyclopedic Museum.”
“We’re thrilled to partner with the museum once again and help contribute to their impeccable collection. The DMA is a vital national art institution, and we are pleased to help bridge a dialogue between their permanent collection and our global exhibitors,” says Dallas Art Fair Director Kelly Cornell.
“We are delighted to continue our longstanding partnership with the Dallas Art Fair, whose generous fund has allowed the DMA to support promising, dynamic contemporary artists at the forefront of the field. We are excited for the opportunity to once again experience the best of local and international artistic production here in Texas through the Dallas Art Fair, which reinforces the strength of the thriving artistic community here in Dallas,” says DMA Director Dr. Agustín Arteaga.
Clockwise from left: Arcmanoro Niles, When You Give Your Love Away, 2018. Courtesy the artist and Rachel Uffner Gallery. Maja Ruznic, Azmira's Daughters, 2018. Courtesy the artist and Conduit Gallery. Nobutaka Aozaki, Street Can: Diet Coke (12 fl oz) (04/03/2014 Red Hook, Brooklyn), 2014. Courtesy the artist and Ulterior Gallery. Dike Blair, Untitled, 1986. Courtesy the artist and Karma. Samuel Levi Jones, Intercalate, 2018. Courtesy the artist and Galerie Lelong.
For its eleventh edition, the fair presented the donors with works from almost 100 exhibitors from over 30 different cities across North America, South America, Europe, the Middle East, and Asia. Beyond the Dallas Art Fair Foundation Acquisition Program, the fair continually seeks ways in which to further deepen its impact on the city’s cultural community and expand the offerings of the Dallas Art Fair to its exhibitors. This year, the fair launched 214 Projects, its permanent exhibition space in the Design District.
The selected works are:
Sheila Hicks
Zihzabal, 2018
Pigments, synthetic fibers, cotton, linen
19 5/8 × 19 5/8 in / 49.8 × 49.8 cm
Don Dudley
LX, 2016
Acrylic on birch plywood
11 1/2 × 60 × 3 1/4 in / 29.2 × 152.4 × 8.3 cm
Arcmanoro Niles
When You Give Your Love Away, 2018
Oil, acrylic, and glitter on canvas
68 × 36 in / 172.7 × 91.4 cm
Samuel Levi Jones
Intercalate, 2018
Deconstructed print portfolios on canvas
60 x 55 in
Nobutaka Aozaki
Street Can: Diet Coke (12 fl oz) (04/03/2014 Red Hook, Brooklyn), 2014
Reconstructed tin can, map, and plexiglas
5 1/2 × 5 1/8 × 8 1/8 in / 14 × 13 × 20.6 cm
Emmanuel Van der Auwera
VideoSculpture XX (World's 6th Sense), 2019
4 x 46 inch LCD screens, 2 x 55 inch LCD screens, 10 x tripods with custom plexiglass, HD video variable
Maja Ruznic
Azmira's Daughters, 2018
Oil on canvas
84 × 78 in / 213.4 × 198.1 cm
Dike Blair
Untitled, 1986
Gouache on paper
10 × 7 inches
Emmanuel Van der Auwera, VideoSculpture XX (World's 6th Sense), 2019. 4 x 46 inch LCD screens, 2 x 55 inch LCD screens, 10 x tripods with custom plexiglass, HD video variable. Installation view of 214 Projects. Courtesy the artist and Harlan Levey Projects.
VISUAL ASSETS
To see the full selection of artwork imagery, please visit our Dropbox folder here.
ABOUT THE DALLAS MUSEUM OF ART
Established in 1903, the Dallas Museum of Art (DMA) is among the 10 largest art museums in the country and is distinguished by its commitment to research, innovation, and public engagement. At the heart of the Museum and its programs is its global collection, which encompasses more than 24,000 works and spans 5,000 years of history, representing a full range of world cultures. Since the Museum’s return to free general admission in 2013, the DMA has welcomed more than four million visitors, including more than 800,000 in 2018. The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts. www.dma.org
ABOUT AGUSTÍN ARTEAGA
Dr. Agustín Arteaga assumed the role of The Eugene McDermott Director of the Dallas Museum of Art in September 2016. Under his leadership, the DMA has achieved two consecutive years of record attendance, closing its 2017 and 2018 fiscal years with its highest attendance in a decade and the second highest in the Museum’s history. The Museum welcomed nearly 830,000 visitors in FY 2018, an increase of more than 14% over 2016. Special exhibitions during his tenure include acclaimed presentations of México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco and the Avant Garde; Laura Owens; and The Power of Gold: Asante Royal Regalia from Ghana; and the highly popular installation of Yayoi Kusama: All the Eternal Love I Have for the Pumpkins. Arteaga has organized more than 100 exhibitions over the course of his career and has held the positions of Director of the Palacio de Bellas Artes, and Museo de Arte Moderno in Mexico City.
ABOUT ANNA KATHERINE BRODBECK
Dr. Anna Katherine Brodbeck is the Hoffman Family Senior Curator of Contemporary Art. Since joining the DMA in 2017, Brodbeck has curated several exhibitions across the breadth of contemporary art, including the current exhibition Jonas Wood, the first major museum survey of works by the exciting American painter. Brodbeck also served as installation curator for the Dallas presentations of Günther Förg: A Fragile Beauty (2018), the most comprehensive survey of Förg’s work to date, and Laura Owens (2018), the critically acclaimed mid-career survey of the American artist. She also curated the immensely popular presentation of Yayoi Kusama: All the Eternal Love I Have for the Pumpkins (2017) and co-curated Truth: 24 frames per second, the DMA’s first exhibition dedicated to time-based media. Additionally, she has organized the DMA’s exhibition series Concentrations, which spotlights emerging international artists and most recently featured the work of conceptual artist Runo Lagomarsino.
ABOUT THE DALLAS ART FAIR
In the heart of the downtown arts district, the Dallas Art Fair offers collectors, arts professionals, and the public the opportunity to engage with a rich selection of modern and contemporary artworks presented by leading national and international galleries. Thoughtfully curated exhibitions and innovative programming encourage lively conversations and close looking in a robust and rapidly growing arts community. www.dallasartfair.com
ABOUT THE ARTISTS
Sheila Hicks (b. 1934, Hastings, Nebraska) is a path-breaking artist whose works blur the boundaries between painting and sculpture, art and craft. Having made supple, tactile and flexible material her medium of choice beginning in the mid-1950s, she has developed a unique approach and formal language, combining pictorial and spatial concerns. Based in Paris, France, since 1964, Hicks has founded workshops in Mexico, Chile, and South Africa, and has spent time working in Ireland, Germany, Morocco, Japan and India. She has exhibited in museums around the world. Recent exhibitions are: her retrospective Lignes de Vie, Centre Pompidou, Paris (2018); the 57th Venice Biennale (2017); the 77th Whitney Biennial (2014). In 2010, Sheila Hicks: 50 Years was presented at the Addison Gallery of American Art, the Institute of Contemporary Art, Philadelphia and the Mint Museum, North Carolina. In 2019, additional solo exhibits include Reencuentro at the Museo Chileno de Arte Precolombino, Santiago, Chile, and Seize and Weave Away at the Nasher Sculpture Center, Dallas, Texas, opening May 2019.
Don Dudley’s (b. 1930, Los Angeles, CA) oeuvre is a crucial historical link between the optical and surface-oriented sensibility of "Finish Fetish" West Coast Minimalism of the 1960s and New York 1970s Minimalism. Throughout his seventy-year career, Don Dudley has challenged artistic conventions and the traditional concept of painting by incorporating industrial materials in his work such as aluminum, lacquer, homasote and plywood, creating subtle and sophisticated wall works that stand out for both their elegance and formal intelligence. His work has been the subject of solo exhibitions at prominent institutions including P.S.1 Contemporary Art Center (1982) and New Museum of Contemporary Art (1984) in New York. Dudley’s first solo presentation was at New Gallery in Houston, Texas in 1958. The artist’s work is held in numerous public collections including San Francisco Museum of Modern Art, San Francisco, CA; Oceanside Art Museum, Oceanside, CA; Whitney Museum of American Art, New York, NY; Albright-Knox Art Gallery, Buffalo, NY; JPMorgan Chase Art Collection, New York, NY; Shearman & Sterling LLP, New York, NY; Simpson Thacher & Bartlett LLP, New York, NY; William R. Mercer Inc. New York, NY; Bowdoin College Museum of Art, Brunswick, ME; Becton Dickinson, Paramus, NJ; Southeast Banking Co., Miami, FL; and TRW Inc., Cleveland, OH, among others. Don Dudley lives and works in New York City and Kerhonkson, NY.
Arcmanoro Niles (b. 1989, Washington, D.C.) earned a BFA from Pennsylvania Academy of Fine Arts, an MFA from New York Academy of Art, and attended the Skowhegan School of Painting and Sculpture. He has participated in exhibitions at the University of Delaware, Newark, DE; the David C. Driskell Center, College Park, MD; Long Gallery, New York, NY; Guild Hall, East Hampton, NY; and Shanghai University, Shanghai, China; among others. His work is included in the collection of the Studio Museum in Harlem, the David C. Driskell Center at the University of Maryland, and in the Petrucci Family Foundation Collection of African American Art. A recipient of the Joan Mitchell Foundation Painters & Sculptors Grant, Niles lives and works in Brooklyn, NY.
Samuel Levi Jones (b. 1978, Marion, Indiana) is inspired by questions of authority, representation, and recorded history. His ongoing practice centers on physically undoing objects associated with systems of power and control. Jones often rearranges deconstructed books into grid-like compositions that expose their flaws and question their assumed command of the truth. As he explains, “I am ultimately thinking about information that is selectively left out.” His works examine urgent questions of how brutality is embedded in institutional systems such as law enforcement, education, and the medical industry. Museum exhibitions include Infinite Blue at the Brooklyn Museum, New York; After Fred Wilson at the Indianapolis Museum of Contemporary Art, Indiana; and Unbound at the Studio Museum in Harlem, New York. His work can be found in museum and public collections such as the Chazen Museum of Art, University of Wisconsin – Madison, Wisconsin; San Francisco Museum of Modern Art, California; Rubell Family Collection, Florida; Los Angeles County Museum of Art, California; Studio Museum in Harlem, New York; Whitney Museum of American Art, New York. In 2014, Jones was the recipient of the Joyce Alexander Wein Artist Prize, an annual award whose past recipients include prominent artists such as Leslie Hewitt, Glenn Ligon, and Lorna Simpson. Jones lives and works in Indianapolis, Indiana.
Emmanuel Van der Auwera (b. 1982, Belgium) lives and works in Brussels, Belgium. Through films, video sculptures, and protocol-based works, Van Der Auwera unravels the simulation and framing of messages, exploring filtering processes in the production, dissemination and perception of images. In consultation with scientists, technologists and members of various digital subcultures, his innovative practice provides warning tales for media aesthetics, consensus and truth parameters in the 21stcentury. Van der Auwera is a Laureate of a post-academic course at the Higher Institute of Fine Arts (HISK) in Ghent (2014-2015) and recipient of the Langui Award of the Young Belgian Art Prize (2015). His work has recently featured in exhibitions at Wiels Contemporary Art Centre (Brussels, Belgium), The Centre Pompidou (Paris, France), Palais de Tokyo (Paris, France), Centro per l’Arte Contemporanea Luigi Pecci (Prato, Italy), Arts Electronica (Linz, Austria), Casino Luxembourg (Luxembourg City), and MuZee (Ostend, Belgium) amongst others. In 2018, his works were acquired by The Kanal Foundation/Centre Pompidou (Brussels, Belgium), MuZee (Ostend, Belgium) and The Jordan Schnitzer Museum of Contemporary Art (Portland, Oregon).
Maja Ruznic (b. 1983, Bosnia and Herzegovina) is primarily a painter, a storyteller who conjures form and narrative from ground up mineral, smeared oil, and stained canvas. Ruznic immigrated to the United States with her family in 1995, settling on the West Coast where she eventually went on to study at the University of California, Berkeley, later earning an MFA from the California College of Arts. Ruznic’s often-quoted personal history – a refugee who escaped the Bosnian War – is only the beginning of her journey. Ruznic has recently shown work in Sarajevo, Denver, Istanbul, Austin, Vienna, San Francisco and Los Angeles. Ruznic’s work has been written about extensively, most notably in Juxtapoz, San Francisco Bay Guardian, Studio Visit Magazine, and twice in New American Paintings, including the cover as selected by curator Anne Ellegood. Ruznic is currently a finalist for the Richard Diebenkorn Teaching Fellowship, awarded in partnership with the San Francisco Art Institute and the Headlands Center for the Arts in San Francisco, CA. In the summer of 2017 Ruznic was artist in residence in Brittany with MICA’s Klotts International Program for Artists.
Nobutaka Aozaki was born and raised in Kagoshima, Japan, and received an MFA from Hunter College in 2012, after graduating from School of Visual Arts with a BFA in 2007. He also obtained BEd from Kumamoto University in 2000. Aozaki is currently based in Brooklyn, NY, and actively exhibiting locally and internationally. He works in various media from sculptures based on found objects to performative works that develop from his interactions with people on the street. Through a diverse range of modes and activities, he unbalances and refreshes the relationship between artist, object, and audience. His work was included in numerous exhibitions including: In Practice: Another Echo, Sculpture Center, Long Island City, NY (2018); An Evening with VECTOR, Whitney Museum of American Art, New York, NY (2018); Studio Program Artist Exhibition, Queens Museum, Queens, NY (2015); Crossing Brooklyn, Brooklyn Museum, Brooklyn, NY (2014); and C12 Emerging Artist Fellowship Exhibition, Marianne Boesky, New York, NY (solo, 2013).
Dike Blair (b. 1952, New Castle, Pennsylvania) lives and works in New York. His work explores the relationship between sculpture and painting, solidity and light, in mixed-media installations. His gouache still lifes and landscapes on paper are photorealist (painted from his own snapshots) and show objects such as Coke cans, VHS tapes, sci-fi paperbacks, eyes, and botanical forms. These more traditional, personal works are contrasted against sculpture that tends toward post-minimal formality and incorporates industrial elements like carpeting, lamps, and power cords. In recent hybrid sculptures, Blair enclosed framed gouache paintings and other objects within painted shipping crates, which could be unpacked to generate larger, transient works.
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