Titus O.

On May 19 and 20, the first annual CADD Art Fair will herald the next step in Dallas’ bid in becoming an actual art destination – a more engaged producer, rather than simple consumer, of culture and its products. In just the last two years, we have witnessed the development of two artist residencies (La Reunion and the demise/immanent re-launch of a UTD effort,) the breaking ground for One Arts Plaza, the Rachofsky/Rose/Hoffman bequest to the DMA, and enough galleries opening that Dallas now has at least four semi-distinct arts “districts.” Judging solely from national, even international, press coverage, you’d be led to think (as a recent panel of art professionals in town discussed,) that Dallas might just be “the next New York.”

Alright, alright, let’s not get carried away. Even Los Angeles, arguably the most vital art scene in the US, is struggling to get the public interested in its dozens of new galleries. That said, the prospects in North Texas are nonetheless exciting for the art-engaged. Fitfully birthed over the last 12 months, the Contemporary Art Dealers of Dallas, or CADD, comprises 13 of the most significant galleries in town. They will celebrate the inauguration with a two-day art fair.

For the uninitiated, “art fair” in this context describes a relatively recent phenomenon in which a cadre of galleries band together to take over some large commercial venue and more along the lines of gun, car, boat or home shows, create a 2 or 3 day frenzy of art-feeding that would put a ravenous school of sharks to shame. Not to mention the parties. The most infamous, the Armory Fair in New York, recently rang up about $85 million in sales. When you consider that others, including fairs in London, Basel, Miami, LA, and elsewhere, do nearly as well, you can see how the face of art-as-business has changed.

With significantly more modest ambitions, CADD is still going about things geared to impress, with a well-designed website, gallery catalog, and an exclusive “invitation only” membership that distinguishes it from its 22 year-old cousin, DADA (Dallas Art Dealers Association.) While everyone in both camps is diplomatically downplaying any sense of rivalry, it’s clear that the galleries who formed CADD (most of them former DADA members, with a few remaining in both) wished to distinguish themselves from the sort of commercial/craft outlets that comprise the bulk of DADA’s gallery membership. There are many relative levels of art out there; as distinct, for instance, as chef Stephen Pyles is from Col. Sanders is from your Aunt Enid. The large number of non-profit, college, and museum spaces in DADA further muddles its intent. For some, CADD is a logical clarification, and evolution.

 The CADD Art Fair will just include the original member galleries this year, with the possibility open in future for participants from around Texas, and beyond. Managing to garner sponsorship from the Rachofsky’s, One Arts Plaza, John Eagle, and Neiman Marcus, among others, indicates that CADD aren’t the only ones who think they may be on to something. It should be an exciting chance to see the heaviest hitters in town roll out their best and brightest to dazzle and win us over, exhibiting to expectant scene watchers nationwide what DFW has to offer. In a significant leap of faith, the dealers are putting out the call. Now, it will be up to the public in north Texas to respond, demonstrating whether they’re ready to be the next international art destination, voting with their attendance and, CADD members hope, their open wallets.