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DALLAS ART FAIR AND DALLAS MUSEUM OF ART ANNOUNCE EIGHTH ANNUAL ACQUISITION PROGRAM SELECTIONS

Updated: Apr 9


FROM THE WIRES


(DALLAS, TX — April 4, 2024) — The Dallas Art Fair and the Dallas Museum of Art (DMA) today announced that three artworks from this year’s fair will join the museum’s permanent collection. The acquisitions were funded by the Dallas Art Fair Foundation Acquisition Program, an annual gift from the Dallas Art Fair Foundation that places works from the fair into the DMA’s collection. 

Yesterday, the DMA’s Hoffman Family Senior Curator of Contemporary Art Dr. Anna Katherine Brodbeck, the Lupe Murchison Curator of Contemporary Art Dr. Vivian Li, the Nancy and Tim and Hanley Assistant Curator of Contemporary Art Ade Omotosho, and Eugene McDermott Director Agustín Arteaga, and a group of fund donors previewed the fair, selecting artworks by Ailbhe Ní Bhriain, JooYoung Choi, and Thania Petersen for the museum’s permanent collection.



JooYoung Choi, The Table of Love, 2022. Acrylic, gouache, vinyl paint, carbon transfer, Gelli print, airbrush, 

Duralar, cut paper on canvas. 69.25 x 123 in. Courtesy the artist and Inman Gallery.


“This year’s acquisitions are some of the most ambitious acquired through the fund to date,” says Dr. Anna Katherine Brodbeck. “Collectively, they speak to the role the artists play as world builders, and will allow the DMA to speak to our audiences about the contemporary moment with all the beauty and complexity of their intricate work.”


In 2016, the Dallas Art Fair Foundation introduced the Dallas Art Fair Foundation Acquisition Program. This groundbreaking initiative empowers the Dallas Museum of Art to enrich its permanent collection by acquiring artworks showcased at the Dallas Art Fair. The unique partnership fosters vibrant connections between Dallas’ esteemed institutions and global galleries, while also enhancing the city's stature in the art market and community worldwide. The program has funded $875,000 for the Dallas Museum of Art’s permanent collection to date, including this year’s grant of $100,000. 


Thania Petersen, SJAMBOKLAND, 2022. Embroidery thread on cotton poplin, Japanese glass cut beads.

61.50h x 105w in / 156.21h x 266.70w cm. Copyright Thania Petersen. Courtesy of the artist and Nicodim Gallery. Photo: Yubo Dong.


“The Dallas Art Fair is proud to extend its legacy of supporting the Dallas Museum of Art in acquiring new work for their esteemed permanent collection,” says Kelly Cornell, Director of the Dallas Art Fair. “This collaborative effort between museum curators, generous donors, and the fair celebrates exceptional talent showcased by our exhibitors and underscores the global significance of the museum's collection.”

 

The 2024 donors are Jim Blake, Aleka Calsoyas, Sheryl and Geoff Green, Kristi Kirkpatrick, Marlo and Jeffrey Melucci, Cliff Risman, Linda and David Rogers, Gowri and Alex Sharma, Marlene and John Sughrue, and Teresa Tsai.


The selected works are:

Ailbhe Ní Bhriain

Interval I, 2023

Jacquard tapestry, cotton, wool, silk, Lurex

116.1 x 155.9 in.

Acquired from Kerlin Gallery

Thania Petersen

SJAMBOKLAND, 2022

Embroidery thread on cotton poplin, Japanese glass cut beads.

61.50h x 105w in / 156.21h x 266.70w cm.

Acquired from Nicodim Gallery

JooYoung Choi

The Table of Love, 2022

Acrylic, gouache, vinyl paint, carbon transfer, 

Gelli print, airbrush, Duralar, cut paper on canvas

69.25 x 123 in.

Acquired from Inman Gallery



VISUAL ASSETS

For high-res artwork images and captions, please view the Dropbox folder here.


ABOUT THE ARTISTS


Ailbhe Ní Bhriain (b. 1978 Clare, Ireland) Ailbhe Ní Bhriain is an Irish artist working with film, computer generated imagery, collage, tapestry, print and installation. Ní Bhriain’s work is rooted in an exploration of imperial legacy, human displacement and the Anthropocene. These intertwined subjects are approached through an associative use of narrative and a painstakingly crafted visual language that verges on the surreal. She sidesteps directive positions and familiar binaries, exposing instead the layers of ambiguity and contradiction embedded in these fraught issues. The resulting worlds she creates are at once idiosyncratic, irresistible and deeply unsettling. Her work has been exhibited widely both nationally and internationally and regularly involves collaboration with musicians and composers.


Ailbhe Ní Bhriain lives and works in Cork.


JooYoung Choi (b. 1982/1983  Seoul, South Korea) is an astro-futurist world builder, documenting the interconnecting narratives of a highly-structured, expansive fictional land called the Cosmic Womb through painting, video, sculpture, animation, puppetry, music, interactive community projects, and installation art. Choi's complex and thoughtful interdisciplinary projects merge the autobiographic with the fantastic to form a dynamic, heartfelt, and imaginative aesthetic practice. Guided by this narrative, Choi explores themes such as anti-racism, gender inclusivity, trans-racial adoptee rights, post-traumatic growth, and spirituality rooted in social justice. 


Born in Seoul, South Korea, Choi immigrated to Concord, New Hampshire in 1983 by way of adoption. While completing her BFA, she returned to South Korea and reunited with her birth family. Choi's work been exhibited at Crystal Bridges Museum of American Art (Bentonville, AR), Parrish Art Museum (Water Mill, NY), The Contemporary Arts Museum, Houston (Houston, TX), Project Row Houses, Houston, TX; The Wing Luke Museum of the Asian Pacific American Experience (Seattle, WA) and The Crow Museum of Asian Art (Dallas, Texas), among others. Choi participated in the Lawndale Artist Residency in Houston, TX (2014) and the Harvester Artist Residency in Wichita, KS (2018). She holds a BFA from Massachusetts College of Art and Design and a MFA from Lesley University. 


Choi lives and works in Houston, TX.


Thania Petersen (b. 1980, Cape Town, South Africa) is a multi-disciplinary artist who uses photography, performance and installation to address the intricacies and complexities of her identity in contemporary South Africa. Petersen’s reference points sit largely in Islam and in creating awareness about its religious, cultural and traditional practices. She attempts to unpack contemporary trends of Islamophobia through her analysis of the continuing impact of colonialism, European and American imperialism, and the increasing influence of right-wing ideologies. Threads in her work include the history of colonialist imperialism in Africa, Asia and the Middle East, as well as the social and cultural impact of westernized consumer culture. Her work is also informed by her Cape Malay heritage, and the practice of Sufi Islamic religious ceremonies. Petersen studied at Central Saint Martin’s College of Art in London. She has held solo exhibitions at WHATIFTHEWORLD, Cape Town, the AVA, Cape Town and at the Everard Read Gallery, Cape Town. She has participated in numerous group exhibitions both locally and abroad.


Peterson lives and works in Cape Town.



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