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FAIR TRADE

BY ERIC GREEN

A PAINTER’S GALLERY Movement, physicality, and presence define the artist roster in Nino Mier Gallery.

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ounded in 2015, Nino Mier Gallery is a contemporary art space focused on bringing a diverse and international program to Los Angeles. Defined as “a painter’s gallery,” just over a year after opening the original gallery, Nino Mier expanded into larger digs next door, which made it possible to show a comprehensive body of work in both spaces concurrently, and use the original gallery as a project room. Known for launching the careers of Jan-Ole Schiemann, Thomas Wachholz, and Jana Schröder, Nino Mier Gallery recently began working with mid-career artists such as André Butzer, Michael Bauer, Anke Weyer, and Anna Fasshauer. While the Rhineland and other regions in Germany are well represented within the Mier roster, the gallery also shows local artists such as Louise Bonnet, Celeste Dupuy-Spencer, and Eve Fowler. To round out the current program, the returning Dallas Art Fair exhibitor began working with Ben Sledsens, a young Belgian painter, and Ginny Casey, a New York-based artist. Dallas collector Eric Green visits with the returning gallerist. Eric Green: How was the overall experience during your first year as an exhibitor at the Dallas Art Fair? Nino Mier: I had attended the fair the year prior as a guest and was impressed with the energy and quality of the fair. It was a nobrainer for me, and I felt that we had a nice booth and placement. Everyone was extremely accommodating, and the collectors we met seemed very interested and focused. The fair team does an excellent job of inviting exhibitors to various events and collection

tours, which I think is a nice bonus when one is new to a city. EG: Is there anything in particular about the Dallas art scene and its collectors that sets it apart from what is going on elsewhere? NM: I think the close proximity of great institutions like the Nasher, the Dallas Museum of Art, and wonderful private foundations and collections is a unique aspect of Dallas. There is a lot to see in the short time when one is in town for the fair, but it is manageable and, quite frankly, really impressive. Dallas to me seems like a place where the residents are excited about the fair, and the exhibitors share the excitement equally—it is a remarkably welcoming place. EG: What do you have in store for the 10th edition of the Dallas Art Fair next April? NM: We will present a solo presentation of Berlin-based artist Anna Fasshauer. Her hand-bent, twisted, and painted outdoor and indoor sculptures are incredibly physical, yet whimsical. EG: Why did you choose to present a solo booth with Fasshauer in Dallas? NM: Walking around the Nasher Sculpture Center, we really felt that presenting what I believe is one of the most exciting young sculptors working today to a new audience in Dallas, one that truly understands and appreciates sculpture, felt like a great opportunity. We will be presenting mostly outdoor sculptures this year. EG: As a gallery with a painting-focused program, what drew you to Fasshauer’s sculptures? NM: We don’t focus on painting because they are paintings per se, it’s about movement, physicality, presence, and I suppose

This page, from left: Louise Bonnet, The Veil, 2017, oil on canvas, 60 x 72 in. Image courtesy of the artist and Nino Mier Gallery; Anna Fasshauer, Birdy Croissant, 2017, aluminum, lacquer, and steel plate, 99 x 50 x 87 in. Image courtesy of the artist and Nino Mier Gallery. Opposite: Celeste Dupuy-Spencer, We're All Everything, 2017, oil on linen, 62.75 x 72 in. Image courtesy of the artist and Nino Mier Gallery.

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