Per Skarstedt—a Swedish art dealer, aesthete, and collector with a continuous flow of buzzed-about,
tastefully designed renovation projects in the works—keeps three interconnected galleries,
with the most recent sited in London’s historic St. James’s area.
Under the auspices of his namesake gallery, Skarstedt will be bringing his triumvirate to the Dallas Art Fair in April.
Presenting exhibitions of modern and contemporary European and American artists of eminence,
Skarstedt’s exhibitions are historically grounded, comprehensively researched and straddle between the primary and secondary markets.
Elisabeth Karpidas (EK): What led you to become a first-time exhibitor at the Dallas Art Fair this year? Per Skarstedt (PS): It was an easy decision.
Dallas and the surrounding region are home to many amazing art museums,
including the Dallas Museum of Art, the Nasher (Sculpture Center), and the Modern Art Museum of Fort Worth.
And then there are the private foundations and the many, many great private collections.
EK: How has the gallery had to adapt to the non-stop scheduling of having both several gallery exhibitions and international art fairs?
PS: It’s pretty rough. We work around the clock. Each year we have about 15–18 gallery shows plus 7–8 art fairs, all with meaningful material.
EK: When selecting work for the gallery’s booth at an art fair, what kind of parameters do you have to consider and how does that change from fair to fair?
PS: Well at Frieze Masters you can only show works made before 1989, so that makes that one easy.
At FIAC and Miami we bring works in a price range from $100 thousand to $2 million. For Basel we show the very best we have.
EK: How do you view emerging artist and Fort Worth native Justin Adian’s work as walking the line between painting and sculpture?
PS: Justin’s wall sculptures are almost like “soft” paintings.
They share a niche with artists like Lynda Benglis and Richard Tuttle. It will be exciting for Justin’s work to
be shown at the Dallas Art Fair for the first time this year.
EK: As you’ve had your gallery for over two decades now, how has your model of exhibiting both primary
and secondary market works together allowed you to create a new dialogue with your exhibitions?
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