Introduction

The Dallas Biennial (DB) is an artist-run contemporary art exhibition that presents a fresh approach to the traditional biennial format. Launched in 2012, DB distinguishes itself through its experimental structure, decentralized presentations, and commitment to artist-led curation and organization. Unlike most biennials governed by institutional frameworks, DB was conceived by and for artists, reflecting the independent spirit of Dallas's growing contemporary art scene.

DB operates across multiple venues throughout Dallas, utilizing both conventional gallery spaces and unconventional sites to engage diverse audiences. Its nimble, adaptive format allows for varied presentation modes, from physical exhibitions and public interventions to digital platforms and publications. By challenging established biennial models, DB creates a unique context for contemporary art in Texas while connecting local artistic practices to global conversations.

Narrative & Themes

The Dallas Biennial embraces a non-hierarchical approach to curation, often exploring themes related to institutional critique, artistic autonomy, and the evolving relationship between local and global art contexts. Each edition develops its conceptual framework through collaborative processes among participating artists and curators, resulting in thematically cohesive yet diverse presentations.

Recent editions have engaged with themes such as digital connectivity, ecological sustainability, urban development, and the social role of art in community building. DB consistently questions conventional exhibition formats, experimenting with durational programming, interactive installations, and cross-disciplinary collaborations that blur boundaries between visual art, performance, music, and technology.

The biennial's distinctive approach includes embracing virtual and hybrid presentation formats alongside physical exhibitions. This strategy extends the reach of the biennial beyond geographic limitations while exploring how digital platforms can serve as creative spaces rather than mere documentation tools. Through these varied approaches, DB creates a multifaceted platform that reflects the complexity of contemporary artistic practice.

History & Context

The Dallas Biennial emerged in 2012 as an ambitious response to Dallas's evolving art landscape. Founded by artists Jesse Morgan Barnett, C.J. Davis, and Michael Mazurek, DB was conceived as an alternative to both commercial gallery systems and institutional exhibitions. The founders sought to create a platform that would highlight Dallas as a significant art center while operating outside traditional power structures.

Over its decade-long history, DB has grown from a modest artist-initiated project into a recognized component of Dallas's cultural calendar. While maintaining its independent spirit, the biennial has developed partnerships with local institutions, galleries, and educational organizations, creating a collaborative network that strengthens the city's art ecosystem while preserving the biennial's experimental ethos.

Exhibition Venues

The Dallas Biennial utilizes a diverse range of spaces throughout the city, from established galleries and museums to alternative venues, public spaces, and digital platforms. This distributed approach reflects DB's commitment to accessibility and its interest in exploring how context shapes the experience of art.

Core venues include The MAC (McKinney Avenue Contemporary), the Dallas Contemporary, CentralTrak, and various university galleries. Additionally, DB activates unconventional spaces such as vacant storefronts, industrial buildings, outdoor sites, and private residences. This strategy enables the biennial to engage with different neighborhoods and communities, creating multiple points of entry for diverse audiences.

In recent editions, DB has expanded its presentation platforms to include digital and virtual exhibitions, publications, radio broadcasts, and location-based apps. This multimodal approach reflects contemporary artistic practices while increasing the biennial's accessibility beyond physical attendance, allowing for engagement with audiences outside of Dallas.