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For the tenth year, the Dallas Museum of Art acquired works from the Dallas Art Fair to add to its permanent collection. The year’s fair was held April 16 – 19 at the Fashion Industry Gallery in the Dallas Arts District, offering collectors, arts professionals, and the public a chance to engage with a variety of modern and contemporary artworks presented by leading global and local galleries.
The acquisitions are made possible by the Dallas Art Fair Foundation + Dallas Museum of Art Acquisition Fund. Established in 2016, the fund has resulted in the acquisition of 78 works from the fair for the Dallas Museum of Art’s permanent collection through more than $1 million of Acquisition Fund donations.
“What the Dallas Art Fair does best is bring the voices shaping contemporary art to Dallas,” said Dallas Art Fair director Kelly Cornell. “Through the Acquisition Fund, that caliber of work enters the Dallas Museum of Art’s permanent collection—creating a lasting cultural impact well beyond the fair.”
Dallas Art Fair director Kelly Cornell and Dr. Vivan Li, the Dallas Museum of Art’s Lupe Murchison Curator of Contemporary Art at this year’s fair.
The acquisitions include six works by Nicole Eisenman, Gloria Klein, Caroline Monnet, Hasani Sahlehe and Raymond Saunders. Selections were made by the Dallas Museum of Art’s curators including Dr. Vivian Li, the Lupe Murchison Curator of Contemporary Art; Ade Omotosho, the Nancy and Tim Hanley Assistant Curator of Contemporary Art; Dr. Emily Friedman, the Allen and Kelli Questrom Assistant Curator of Prints and Drawings; Dr. Nicole R. Myers, the Chief Curatorial and Research Officer and the Barbara Thomas Lemmon Senior Curator of European Art; Brian Ferriso, the Eugene McDermott Director; and fund donors.
“As we celebrate the tenth anniversary of the acquisitions fund, we are proud to welcome works by these important artists into the collection,” Li said. “Spanning the mid-1970s to the present, their inventive, layered approaches to textile, painting, relief, drawing, and collage transform deeply personal perspectives into powerfully original work. These acquisitions reflect our ongoing commitment to Indigenous, LGBTQ, women, and African diaspora artists who are forging bold and compelling paths.”
ABOUT THE ARTISTS
Nicole Eisenman lives and works in Brooklyn, New York. She is a MacArthur Foundation Fellow and was inducted into the American Academy of Arts and Letters in 2018. Her work was included in both the 2019 Venice Biennale and the 2019 Whitney Biennial. Solo exhibitions include What Happened at the Museum Brandhorst, Munich, Germany (2023), traveling to Whitechapel Gallery, London, United Kingdom (2023) and MCA Chicago, Chicago, IL (2024); Heads, Kisses, Battles: Nicole Eisenman and the Moderns at Kunsthalle Bielefeld, Bielefeld, Germany (2021), traveling to Aargauer Kunsthaus, Aarau, Switzerland (2022), Fondation Vincent Van Gogh, Arles, France (2022), and Kunstmuseum Den Haag, Netherlands (2022); Giant Without a Body at the Astrup Fearnley Museet, Oslo, Norway (2021); Sturm und Drang at the Contemporary Austin, Austin, TX (2020); and Baden Baden Baden, at the Staatliche Kunsthalle, Baden-Baden, Germany (2019).
Gloria Klein (b. 1936, Brooklyn, NY; d. 2021) is an American abstract painter whose mature works are rooted in repetition and systemic order. She came of age in 1970s New York, amid rapid aesthetic and cultural shifts. Guided by an enigmatic and self-determined logic, her 1970s works feature patterned fields that push against the limits of comfort. Repeated diagonal strokes form dense frequencies evoking psychological or urban chaos: the jostling of bodies in a crowd, visual overload of signage, or coded language of digital information. Color is the carrier and distributor of meaning; she visualizes the complexity of people and society – its problems and solutions, movements, feelings, and experiences – through pure abstraction. She pulls viewers into an environment of order and disruption. Klein’s obsessive pursuit of order exposes a tension between the cool authority of a system and the messy realities of lived experience. Formulas falter and the rigidity of the grid yields to the stress testing of her palette.
The award-winning artist exhibited widely in group and solo exhibitions throughout the 1970s and 80s and was actively involved in alternative art networks. She exhibited in A Lesbian Show (1978) curated by Harmony Hammond at 112 Green St. Workshop, contributed work for Heresies Magazine “Lesbian Art and Artists” issue (1977), curated 10 Downtown 10 Years (1977) at MoMA P.S.1., and was active with the Criss-Cross Art Cooperative group. Klein exhibited her work at galleries and museums, including The Aldrich Museum, Ridgefield, CT; The Brooklyn Museum, Brooklyn, NY; P.S.1., Long Island City, NY; Hunter College, New York, NY; 112 Workshop, New York, NY; and A.I.R., New York, NY, among many others.
Caronline Monnet, Kingdom, 2026, Roof underlayment, polyester thread 28 1⁄4 x 57 1⁄2 in, Acquired from Blouin Division
Caroline Monnet is a multidisciplinary artist of Anishinaabe and French ancestry, originally from the Outaouais region, who lives and works in Mooniyang/Montreal. Her work grapples with colonialism’s impact, updating outdated systems with anishinaabeg methodologies.
Her work has been shown in solo exhibitions, notably at the Montreal Museum of Fine Arts (Canada), Kunsthalle Schirn (Frankfurt, Germany), Arsenal art contemporain (New York, USA), Centre International d’Art et du paysage de l’île de Vassivière (France) and the University of Toronto Art Museum (Canada). The artist has also exhibited at the Whitney Biennial (New York, USA), the Toronto Art Biennial (Canada), Musée d’art contemporain (Montréal, Canada), Baltimore Museum of Art (USA), Institute of Contemporary Art (Boston, USA) and National Gallery of Canada (Ottawa, Canada), among others.
Hasani Sahlehe makes tactile and brightly hued abstract paintings that foreground the physicality of the painted surface in order to explore the phenomenological impact of color and shape and the nuances of human perception. His large-scale canvases are immersive, not unlike the ineffable sensation of listening to music – a major conceptual touchstone for his practice as well as a key component of his production process. In the studio, Sahlehe channels the emotive quality of music, synthetically constructing a painted space from the experience of sound. He also pursues the enigmatic work of giving form to memories and feelings – exploring a composition’s potential for communicating otherwise formless ideas and sensations.
In his recent work, Sahlehe applies color to raw canvas using two distinct methods of application. Thick and pourable acrylic gel sits on top of the painting surface like a glossy coating, while paint added with an airbrush penetrates the canvas for a softer effect. Sahlehe exploits the enticing tension between these textures.
Previous works have depicted symbols with significance in ancient cosmologies such as suns, waterfalls, and rainbows. More recently, Sahlehe draws inspiration from ancient and Indigenous large scale monumental architecture and sites – using these to create his own versions of sacred sites. Using color, texture, scale, and iconography, Sahlehe sets out to make paintings that offer the potential for producing introspective and spiritual space.
Raymond Saunders, Untitled, 1990-2000, Acrylic and pencil on paper 25 ⅝ x 19 ¾ in, Acquired from Andrew Kreps Gallery
Raymond Saunders was born in Pittsburgh in 1934 and worked in Oakland, California until his passing. Last year, the Carnegie Museum of Art, Pittsburgh, canonized his work with Raymond Saunders: Flowers from a Black Garden, the largest-ever American institutional show and the most comprehensive consideration of his practice to date. In 2024 Andrew Kreps Gallery and David Zwirner presented the double-venue solo show Post No Bills, and in 2022 Saunders work was the subject of a solo exhibition at Sonoma Valley Museum of Art, titled Raymond Saunders: On Freedom and Trust. In 2021, Andrew Kreps Gallery and Casemore Gallery presented the exhibition Raymond Saunders, 40 Years: Paris/ Oakland across two locations in San Francisco.
Saunders obtained his BFA from the Carnegie Institute of Technology, before moving to California, where he earned his MFA at the California College of Arts and Crafts. Saunders joined the faculty of California State University East Bay, Hayward, in 1968, eventually becoming an arts professor at California College of the Arts in Oakland, CA. In 2017, his work was included in the traveling exhibition Soul of a Nation: Art in the Age of Black Power, 1963 – 1983, organized by London’s Tate Modern. He was also included in the traveling exhibition Now Dig This!: Art and Black Los Angeles, 1960 – 1980, organized by the Hammer Museum in Los Angeles. Saunders’s works are included in the permanent collections of the The Metropolitan Museum of Art, New York, NY; the Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; the San Francisco Museum of Modern Art, San Francisco, CA; the Carnegie Museum of Art, Pittsburgh, PA; and the Walker Art Center, Minneapolis, MN, among others.
Learn more: Dallas Museum of Art
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