ART DEALER ASSOCIATIONS

Art Dealers Association of America (ADAA)

The Art Dealers Association of America (ADAA) is a non-profit membership organization of the nation’s leading galleries in the fine arts. Founded in 1962, ADAA seeks to promote the highest standards of connoisseurship, scholarship and ethical practice within the profession.

Art Dealers Association of California

Members deal primarily in fine painting, sculpture and graphic arts. They advocate the highest standards of connoisseurship, scholarship, and ethical practice within the profession, and seek to increase public awareness of the importance and responsibilities of reputable art dealers. ADAC members are committed to honest and responsible business dealings with artists, the art collecting public, museums and other art dealers.

Art Dealers Association of Canada (ADAC)

Is a not-for-profit organization founded in 1966. The association is the largest representation of major private commercial galleries in Canada, and members represent the country’s leading artists. ADAC’s mandate includes: stimulating the art market in Canada; and, encouraging the awareness of the visual arts, both nationally and abroad.

Association of International Photography Art Dealers (AIPAD)

With members in the United States, Australia, Canada, Europe and Japan, the Association has become a unifying force in the field of photography. AIPAD is dedicated to creating and maintaining high standards in the business of exhibiting, buying and selling photographs as art.

Boston Art Dealers Association

The Boston Art Dealers Association was formed in 1989 to foster cooperation among Boston’s contemporary art galleries and to create a unified voice of advocacy for contemporary art in Boston.

Charleston Gallery Association (CGA)

Charleston Gallery Association was formerly the French Quarter Gallery Association which was established over 20 years ago and included more than 25 galleries. Now we have an all-inclusive group incorporating the greater Charleston area with more than 40 art galleries currently participating.

The American Print Alliance

This should be considered as an archive site. As an organization they are not currently active. On the website you will find resources and useful links that might help in print research. The American Print Alliance is or was a consortium of non-profit printmakers’ councils in the United States and Canada.

Dallas Art Dealers Association (DADA)

The Dallas Art Dealers Association is an affiliation of established, independent gallery owners and not-for-profit art organizations in the metroplex. As a group, DADA is pledged to a high standard of ethical conduct, a devotion to consistent public service, and a dedication to professional integrity.

Denver Art Dealers Association

Members are selected for their individual contributions to the cultural life of greater Denver and adhere to ethical and lawful business practices. The art dealers and fine art galleries provides a unified voice on issues of mutual concern; to advance standards of excellence, raise awareness and stimulate growth in the visual arts throughout the front-range.

Fine Art Dealers Association (FADA)

Founded in 1990 as a non-profit membership organization of respected and established dealers from across the United States. Its members are dedicated to promoting and maintaining the highest degree of professionalism, scholarship and integrity in all business conducted with colleagues, institutions and the art buying public. Membership in FADA is highly selective and by invitation only.

Fort Worth Art Dealers Association (FWADA)

The members of the Fort Worth Art Dealers Association include independent art dealers, non-profit exhibition spaces, museums and university galleries. Association members are pledged to the maintenance of the highest standard of ethical conduct, committed to public service and dedicated to professional integrity.

International Fine Print Dealers Association (IFPDA)

IFPDA is a non-profit organization dedicated to ensuring the highest ethical standards and quality among fine print dealers, and to promoting greater appreciation of fine prints among art collectors and the general public. They support a wide variety of activities that foster a deeper understanding and appreciation of fine prints. Each year, the organization sponsors the IFPDA Fine Art Print Fair in New York City, the largest and most celebrated art fair dedicated to fine prints.

National Antique & Art Dealers Association of America

Is a nonprofit trade association of America’s leading dealers mutually pledged to safeguard the interests of those who buy, sell or collect antiques and works of art. Founded in 1954, NAADAA seeks to promote the best interests of the antique and art trade; to sponsor and organize antique and art exhibitions: and, to promote just, honorable and ethical trade practices

Portland Art Dealers Association (PADA)

The Portland Art Dealers Association, PADA, includes the city’s foremost art galleries, committed to representing the highest standards of fine art. Members of the association recognize the importance of integrity and responsibility in working with artists, collectors, museum professionals, and the entire cultural community.

San Francisco Art Dealers Association (SFADA)

Founded in 1972, is a non-profit organization composed of member galleries throughout the Bay Area. The Association is dedicated to promoting public awareness of the visual arts and furthering art education in the community. Members must be exhibiting art galleries who mount regularly changing exhibitions. All members are galleries of reputation with expert knowledge in the field of work they represent and have the highest ethical and professional standards in conducting business.

Seattle Art Dealers Association (SADA)

Established in 1990, the Seattle Art Dealers Association (SADA) consists of the city’s foremost dealers committed to representing the highest standards of fine art. Elected by their peers, members of the association adhere to the principles of integrity and responsibility in working with artists, collectors, museum professionals and the entire cultural community. The association works together to promote increased awareness of Seattle as the major international art center of the northwest.

The Antique Tribal Art Dealers Association (ATADA)

The ATADA members represent a Who’s Who of the American Indian and Tribal Art worlds. Members, offer buyers a guarantee that objects sold are as represented regarding age, authenticity and extent of restoration (if any). Furthermore, the guarantee allows buyers a full refund if the object proves to be other than represented. They also ensure that objects have been properly acquired and fall within the restrictions of laws.

Camille Graeser
Becoming a Concrete Artist

curated by Vera Hausdorff, conservator of the Camille Graeser Foundation

Museum Haus Konstruktiv presented a comprehensive exhibition on Swiss artist Camille Graeser (1892–1980) who, along with Max Bill, Richard Paul Lohse and Verena Loewensberg, was part of the innermost circle of Zurich Concretists. This exhibition focused on the period from the 1930s to the 1950s, supplemented by a selection of representative works from his main series. The exhibition made it possible to take a new look at Camille Graeser’s early work and to gain a deeper understanding of his career as an artist.

The presentation, which spanned two floors, looked at the question of how Camille Graeser, a furniture designer who ran his own studio in Stuttgart and took part in major exhibitions by the association Werkbund before having to return to Switzerland in 1933 as a result of the Nazis coming to power, subsequently came to be one of the main representatives of concrete art in Zurich. For this purpose, several of his interior designs and furnishings from the 1920s and 1930s were juxtaposed with his paintings, reliefs and sculptures from the late 1930s, and the manner in which Graeser developed his constructivist-concrete language of forms in the milieu of the Swiss artists’ association Allianz during the 1940s and 1950s was demonstrated.

Not only were the decisive steps in his progress as a painter shown, but also works by artists who influenced his oeuvre. Many of the exhibited pieces by Camille Graeser came from his estate; these were complemented by loaned works from Switzerland and abroad.

Accompanying the exhibition, a publication by the Camille Graeser Foundation, published by Wienenand Verlag, Cologne, is being published at the beginning of 2020.