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Here’s why Art Conspiracy in Dallas is closing after 18 years of fundraising

A person holds up a piece of art at an auction.
Can Turkyilmaz
A person holds up a painting of a road at an ArtCon auction. ArtCon auctions were more accessible to the public with a starting bid of $20.

Editor’s note: This story is part of an ongoing series for Arts Access examining the health and well-being of our North Texas arts economy.

Art Conspiracy in Dallas is known for throwing a good fundraiser.

Some might describe it as an art party. Once they hosted a show with an artist who created a life-size art piece based on the board game Operation and visitors were encouraged to pull out items like a shoe. Another time they brought in an electronica-infused dream rock band.

Now, Art Conspiracy is shutting down after 18 years of bringing together musicians and artists in support of local arts organizations. The nonprofit has worked with roughly 720 volunteers and raised over $466,000 for groups like Anita N. Martinez Ballet Folklorico and Girls Rock Dallas.

Geoff Barry, the president of Art Conspiracy, said the decision was made to shutter the organization because the model wasn’t sustainable.

“The model started out as a sort of one-off response to Katrina,” he said. “We never really evolved beyond that in terms of the way we worked with our volunteers and the way we handled our money.”

That meant volunteers were spending considerable time and effort putting together fundraisers on top of their full-time jobs. So in 2019, ArtCon faced a lull with a drop in volunteers and burnout.

Then the pandemic hit.

“It really, really hurt us. In late 2019, we were trying to reconfigure things and start to start to heavily recruit again. Then COVID just cut us off at the knees,” he said.

Barry said it’s been a difficult week coming to terms with the end of ArtCon, but he calls the decision necessary. It’s also been a mix of heartbreaking and hopeful.

“I would say heartbroken because that opportunity to reconnect with everyone isn't going to be there but hopeful because I've seen what the people in this community can do, even when they're on their own.”

ArtCon leveled the playing field for artists: A lottery determined who could participate, which meant emerging artists could create and show work alongside some of the city’s best known talent. ArtCon gave each artist an 18-by-18 board to create a work to be auctioned off at a giant party.

The fundraiser also made art accessible for the public, with a $10 ticket to enter the party and auction with a $20 starting bid for art. Many people bought their first piece of art at ArtCon. The nonprofit would also randomly select artists for shows, giving local emerging and high school artists opportunities to showcase their work.

Barry said his favorite memories from serving with ArtCon were artist days when local artists would come together the week before a fundraiser opened to the public. He remembers sharing a beer with artists who would stick around late into the night.

“That moment of exhaustion that sets in when you've completed it is a wonderful moment and you're looking at all the beautiful art that's been created,” he said.

While it’s been a difficult week, Barry said he’s grateful for the comments on a Facebook post announcing ArtCon’s closure. It reminded him of the impact the organization has had in North Texas.

ArtCon is donating the remainder of its funds to Foundation 45, which provides free mental health and recovery services in Deep Ellum.

Arts Access is an arts journalism collaboration powered by The Dallas Morning News and KERA.

This community-funded journalism initiative is funded by the Better Together Fund, Carol & Don Glendenning, City of Dallas OAC, Communities Foundation of Texas, The Dallas Foundation, Eugene McDermott Foundation, James & Gayle Halperin Foundation, Jennifer & Peter Altabef and The Meadows Foundation. The News and KERA retain full editorial control of Arts Access’ journalism.

Elizabeth Myong is KERA’s Arts Collaborative Reporter. She came to KERA from New York, where she worked as a CNBC fellow covering breaking news and politics. Before that, she freelanced as a features reporter for the Houston Chronicle and a modern arts reporter for Houstonia Magazine.