DEVON DIKEOU PLEASE QUATRE (LILAS DANS UN VERRE) 2011 Ongoing C-Print of a Hand Blown Glass Vase and Fresh Flowers Arranged to Replicate One of the 16 Last Paintings Edouard Manet Painted Before Dying 10 7/16” x 8 1/4”
Logan Lectures Spring 2018—Artists on Art: From Any Angle
This spring, DAM Contemporaries celebrates artists speaking about their work with four fresh perspectives.
Responding to John Baldessari’s quote, “Instead of looking at things, look between things,” Devon Dikeou will share a glimpse into the things in between that circulate her practice as an artist.
For Dikeou, this includes creating, editing and publishing zingmagazine, and co-creating Denver’s Dikeou Collection with her brother Pany Dikeou.
Doors open at 5:30 pm.
Free for DAM Contemporaries members and students with valid ID, $10 DAM volunteers, $15 DAM members, $20 nonmembers. Tickets can be purchased here
The Logan Lecture series is sponsored by Vicki and Kent Logan in affiliation with DAM Contemporaries, a DAM support group.
is when the mind senses and
reinterprets certain stimuli and reconfigures them into a recognizable form. An
example of this is seeing familiar objects or lifeforms in cloud formations, or
hearing speech patterns behind a veil of white noise. There is a strong psychological
drive to personify that which is non-human, and it is one that has served as
great creative inspiration for artists for centuries. Attuned to this phenomenon
is Anya Kielar, whose assemblages of old shower heads, brooms, and egg cartons
merge together to create Sand Face #1 and
Sand Face #2. Exhibited at Dikeou
Collection, the two works “face” one another on opposite walls, placing the
viewer between their staring eyes made of rope and sticks and coated with
boldly colored sparkling sand. The faces imbue inanimate objects with character
and emotion, but they also look at moments in art history that mark significant
shifts in cultural, aesthetic, and social values.
In a zingmagazine interview with Rachel Cole Dalamangas, Kielar
expressed that she is “fascinated by ancient cultures
and drawn to things that were made to carry out some symbolic purpose or that
had some kind of belief structure behind them.” She instills these objects with
energy and magic, transforming them from trampled waste into 21st-century
totems. In her artist statement Kielar compares covering the objects with sand to
entombment, in which “they
become more like archaeological relics that are part of an eccentrically hewn
alphabet. What they spell out is interchangeable and depends on how the viewer
projects their own identity complex.” This mode of thought spills into the world
of Surrealism, which found much inspiration from the archaeological and
ethnographic artifacts coming from Africa, Central and South America, and Asia.
The “projection” alluded to by Kielar can also be connected to the Surrealists’
interests in psychology and how the mind works on a subconscious level. Her
process of picking up random objects off the street and collaging them together
onto Masonite is akin to the Surrealist gesture of automatism.
ahead several decades and we see how Sand
Face #1 and Sand Face #2 fits
perfectly within the 1970s-era of funky arts & crafts. Fiber arts were
particularly popular during this era. From macramé plant holders and yarn-wrapped
gods eyes, to embroidered wall hangings and crocheted halter tops, these
homespun creations were crucial to the aesthetics of the 70s. Paint-by-number,
colored gravel, pet rocks, beading, tie-dye, pressed and wax-dipped flowers
were also prevalent. Characterized by a simple approach to design and forward use
of color, it is easy to see how the creative hobby trends of the 1970s emanate
from Kielar’s sand face creations.
is [stereotypically] characterized as a female activity, something that is done
in the home with domestic materials, and feminist artists of the 70s employed
crafts to communicate the limitations opposed on women as well as celebrate
their power. One of the strongest examples of this was the Womanhouse project/exhibition organized by Miriam Schapiro and Judy
Chicago in 1972 in California. Susan Frazier’s Aprons in the Kitchen, Faith Wilding’s Crocheted Environment, and Sandy Orgel’s Linen Closet showed how the female experience is defined by the
space, objects, and expectations associated with the home in ways that are both
positive and negative. Likewise, Kielar has used art as a way to explore the
complex nature of femininity, both universally and personally. The female
figures she depicts, or vestiges thereof, are sharp, uninhibited, and confident
but also playful, humorous, and inviting. Sand
Face #1 and Sand Face #2 are key
examples of how multifaceted women’s lives are, and, like the pareidolia experience, it is something that can
catch you off-guard but leave you feeling charmed.
Sarah Staton’s SupaStore
project began on the streets of London in the early 1990s and has since become
an ongoing venture that has taken place at museums, galleries
and alternative venues all over the world. As an artist with a long-standing
history with the Dikeou Collection and zingmagazine, we couldn’t pass up the
opportunity to exhibit SupaStore in
Denver when Staton proposed the idea last fall. Last month Staton journeyed
across the Atlantic to Denver to install SupaStore
Human – We are the Product at Dikeou Pop-Up: Colfax for a very rare
temporary exhibition within the permanent collection. In addition to installing
the project Sarah also lead a plaster casting workshop and presented an artist
talk at the opening. It is always a treat to welcome a Dikeou Collection artist to
Denver, and to host Sarah for a week and witness her make this project come
to life was certainly one of the highlights of the year.
Collection Research Assistant Hannah Cole arranges the pages of a Culling Richards artist book and Sarah places one of her SupaScarfs. Rough cut aluminum weapons by Lito Kattou adorn the walls in the background.
Sarah’s daughter Ozziline models a painted coat by Lindsey Mendick.
A workshop where participants cast their body parts was held the night before the opening. While most people cast their hands and feet, a couple brave souls opted for the elbow and the ear. Results varied.
Scenes from SupaStore Human - We are the Product opening reception and artist talk.
Faux beard or Nicole Wermers merkin? You be the judge.
Minerva, the Roman goddess of art, trade, handicrafts and wisdom, has become the public face of the SupaStore and represents the classical origins of these now mechanized exchanges. Her spears accompany Paula Linke’s frozen summer fruit t-shirts and her shield with Steve Kado’s AGPTL: BAG.
Limited edition #DicktatorDon by Dd Davies, Ejaz Christian’s HeartFlyLove GIF, and Community Kunst playing cards by GAS.
Mouse nibbled huckleberry seeds, aka Alien Heads, by Nicola Tyson.
Ceramic foam Face Necklaces by Saelia Aparicio look good enough to eat.
Malverde Hands, plaster hands with nails did, by Dikeou Collection’s art preparator Dmitri Obergfell.
T-shirts featuring Dikeou Superstars Lawrence Seward, Lisa Kereszi, Sarah Staton, Justin Goldwater, and Tracy Nakayama.
SupaPimp sunglasses accompanied by hand, elbow, and ear casts.
Artfully inspired cleaning brushes by Joanne Tatham and Tom O’Sullivan with Tanya Ling pink handprinted sweatshirt.
SupaLuxe cashmere throws by Sean Sullivan Saved NY. Welcome to blanket country!
The Dikeou Collection is thrilled to welcome artist Sarah Staton to Denver as she presents SupaStore Human – We are the Product at Dikeou Pop-Up: Colfax, 312 E Colfax Ave, Denver CO. A plaster casting workshop will be held prior to the opening on Thursday, December 14 from 6-8pm. SupaStore Human will open with a public reception and artist talk on Friday, December 15, from 6-8pm. Items presented in the SupaStore will be available for purchase.
Sarah Staton (born 1961) is an artist based in London, England, whose diverse practice melds sculpture, painting, architecture, design, publishing, fashion, and technology to create objects and spaces that are simultaneously aesthetic and utilitarian. Initiated in 1993, Sarah Staton’s SupaStore started as a DIY art sale experiment that has transpired at dozens of museums, galleries, and alternative venues over the years, the most recent at Midway Contemporary Art in Minneapolis. Over one hundred artists, ranging from up-and-coming contemporaries, unknowns, and established artists have had a piece they created for sale at the SupaStore. SupaStore Human – We are the Product reflects how technology and automation has impacted social interaction, commerce, and manufacturing. As the goddess of art, trade, handicrafts and wisdom, Minerva (in her many guises) has become the public face of the SupaStore and represents the classical origins of these now mechanized exchanges.
On Thursday, December 14 (6-8pm) Sarah will lead a plaster casting workshop at Dikeou Pop-Up: Colfax where participants will cast their hands, arms and feet. The castings will become part of the SupaStore Human installation. Please join us for the official public opening of SupaStore Human – We are the Product on Friday, December 15 (6-8pm) at Dikeou Pop-Up: Colfax with artist talk at 6:45pm. Both the workshop and the opening reception are free and open to the public. SupaStore Human will be on view through February 2018.
Sarah Staton is Senior Tutor in Sculpture at the Royal College of Art, and has exhibited internationally at museums and galleries like Tate Modern, Hauser and Wirth, Mount Stuart, and Osan Museum of Contemporary Art among many others. Her bleach on denim anti-painting, “Endless Column,” is exhibited at Dikeou Collection and her “10 SupaStore SupaStars” portfolio comprised of lithographs by past SupaStore artist participants is on view at Dikeou Pop-Up: Colfax. Additionally, Sarah Staton has three artworks represented in Devon Dikeou’s ongoing installation ‘Not Quite Mrs. De Menil’s Liquor Closet” at Dikeou Collection. She has also curated projects in zingmagazine issues 4 and 15, as well in forthcoming issue 25.
Artists participating in SupaStore Human – We are the Product include Saelia Aparicio, Fiona Banner, Gerry Bibby and Henrik Olesen, Simon Bill, Merlin Carpenter, Ejaz Christilano, Jude Crilly, Jeremy Deller, Enrico David, Aaron Flint Jamison, Freee, GAS (Kelsey Olson and Katelyn Farstad), Alison Gill, Justin Goldwater, Natalie Price Hafslund, Anthea Hamilton, Cira Huwald, NSRD designed by HIT, Steve Kado, Ken Kagami, Lito Kattou, Miguel Soto Karelovic, Lisa Kereszi, Adriana Lara, Tanya Ling , Paula Linke, Dan Mitchell, Adam McEwen, Sean McNanney Saved NY, Peles Empire, Tracy Nakayama, Dmitri Obergfell, Hadrian Pigott, Paloma Proudfoot, PROVENCE and Nolan Simon, Josephine Pryde, Cullinan Richards, Lawrence Seward, Allison Jones and Milly Thompson, Will Thompson, Demelza Watts, Nicola Wermers, Seyoung Yoon, and Anand Zenz.
For inquiries please email firstname.lastname@example.org
RESERVED FOR LEO CASTELLI: SINCE CEZANNE (After Clive Bell) 2010 Lateral View Wall: C-Print Wall Mural of Name Plate Reserving a Table in Perpetuity for the Preeminent Art Dealer Leo Castelli Floor: 2 Tables and 4 Chairs from the Restaurant Mezzogiorno Photographed at Independent Art Fair in 2010
In 1951 Leo Castelli curated the groundbreaking Ninth Street
Show that marked the emergence of Abstract Expressionism, thus beginning a new
chapter in the history of art. Six years later he opened his eponymous gallery
in New York City that continued this trend of showcasing revolutionary art from
America and Europe. Dubbed “the godfather of the contemporary art world” by
Dennis Hopper, it is arguable that Castelli would not have found himself in
this position without the initial influence and ongoing support of his wife,
partner, and friend, Ileana Sonnabend. Together, Leo and Ileana championed the
avant-garde, the difficult, the misunderstood art of the 20th
century and gave it the visibility and support it needed to succeed. Devon Dikeou
created her installations Reserved for
Leo Castelli and Reserved for Ileana
Sonnabend as an homage to these important figures. Both are exhibited at
Dikeou Collection and remind us that, in large part because of them, we are
able to experience the complex and progressive dialogues put forth by the
variety of contemporary artists represented in the collection.
RESERVED FOR ILEANA SONNABEND: “BUDDHA OR MACHIAVELLI” (Brenda Richardson about Ileana Sonnabend as quoted by Calvin Tomkins— The New Yorker) 2010 Ongoing Wall: C-Print of Name Plate Reserving a Table in Perpetuity for the Preeminent Art Dealer Ileana Sonnabend Floor: 1 Table and 2 Chairs from the Restaurant Mezzogiorno Photographed at NADA Miami Beach in 2010
Leo Castelli’s gallery moved around over the years and
established multiple locations in Manhattan, predominantly centralized in the
Upper East Side and SoHo. Though Leo and Ileana divorced in 1959, they remained
close associates, and she started her own gallery near one of Leo’s SoHo outposts.
Naturally, being in such close proximity, they shared space with one another
amicably in both public and private realms. One of these spaces was
Mezzogiorno, an Italian restaurant that specializes in Florentine fare where art
dealers would wine and dine curators, artists, and collectors. Leo was at
Mezzogiorno so often that he joked a table should be permanently reserved just
for him, and so it happened. A brass plaque inscribed with “Reserved for Leo
Castelli” and the name of the restaurant below was hung on the wall next to a
four-top table. Later Ileana was given the same plaque, only her table sat just
two, a nuanced jab at women’s status in the business of art. Upon seeing these
plaques years later, Devon Dikeou immediately recognized their great symbolic
Dikeou’s art aims to define the spaces that act as interfaces
between the artist, the context of viewing the art, and the collector. Her interest in the role of
liminal spaces that serve as significant yet overlooked areas where important
things occur, like major art exchanges at a small neighborhood restaurant, make
the “Reserved” plaques the perfect subjects within her scope of practice.
Dikeou photographed each of the plaques and printed them in two sizes – one to
match the exact dimensions of the real plaque and mural-sized to fill an entire
wall. The wall-sized murals are accompanied by dining sets from Mezzogiorno; a
table for two for Ileana, and a table for four for Leo. Each of these
installations were originally exhibited at art fairs, which Dikeou calls “the
most fluid arena of art world market.” Today they exist at Dikeou Collection,
another fluid environment but one where monetary exchange is absent, just like
the dealers who are absent from their tables. The installation becomes a space
where viewers can reflect on the tremendous influence these people had on the
art world without overt reference to their wheelings and dealings. As Dikeou
notes in her artist statement, “the plaques exist reserving a table in eternity
for each art world deity, or perhaps their angels.”
Mezzogiorno has always taken pride in its status as a hub
for artists and folks in the fashion and entertainment industries. Their
website features an engaging gallery page with photos of their beloved patron,
artist drawings, and press archives. Above is a clip from a cartoon published
in a 1993 Vanity Fair article about
the acclaimed eatery, with Ileana sharing a glass of wine with John Baldessari at
her table for two, and Leo canoodling with Umberto Eco, Jasper Johns, and James