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furniture, drawing, architecture, landscapes and the human body. Blair carefully manipulates elements such as electrical cords unfurling like lines across color-fields of industrial carpet, Plexiglas and plywood, lightboxes, shipping crates and lamps, seeking a balance in which objects retain their specificity yet read together as singular works. Paralleling his gouaches, the earlier sculptures examine themes involving atmosphere, designed space and consumer culture, while his post-2006 works take up phenomenological issues relating to the body, such as ocular versus corporeal experience of images, objects and space.
106:(born 1952) is a New York-based artist, writer and teacher. His art consists of two parallel bodies of work: intimate, photorealistic paintings and installation-like sculptures assembled from common objects—often exhibited together—which examine overlooked and unexceptional phenomena of daily existence in both a romantic and ironic manner. Blair emerged out of the late 1970s New York art scene, and his work relates to concurrent movements such as the
313:(2001, 2004) and Mary Goldman (2005) inclined toward increasingly spare, refined presentation. They paired gouache paintings of lyrical water-streaked windows and flowers with electrical cord and geometric carpet lengths, glowing boxes and low-slung Minimalist objects, creating spaces that reviews describe as calming, mysterious and melancholic domestic tableaux (e.g.
246:, installation-like sculpture is abstract, but concrete and painterly. Together they investigate oppositions and liminal spaces—between nature and architecture, inside and outside, fullness and emptiness—and themes including pleasure and boredom, escapism and transcendence, and the intersection of designed environments, mass experience and desire.
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In 2017, Blair suspended his work on sculpture and took up oil painting. The subjects of those paintings are consistent which his gouaches—sometimes the same image—but the oils have a different physicality, including very slight impasto and intaglio. Around the same time, he began producing drawings,
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In the later 2000s, Blair placed greater emphasis on perceptual issues, introducing close-up paintings of women's eyes and painted shipping crates that simultaneously evoke functional objects, picture planes, space dividers, walls and figures. For the survey, "Dike Blair: Now and Again" (Weatherspoon
173:
In the early 1980s, he began—somewhat ironically—painting small, illusionistic gouaches of sailboats, initially from observation or memory, akin to Sunday painting. He eventually integrated them into wall constructions, shown at
Baskerville + Watson (1986) and Cash/Newhouse (1987). This work evolved
353:
described the show as an intimate and uncanny meditation on experiencing versus seeing, real versus illusionistic space. In exhibitions at
Gagosian (2010], Feature (2013), Linn LĂĽhn (2014) and JĂĽrgen Becker Gallery (2017), Blair continued to expand the range of allusions and effects, painting
300:
In the mid-1990s, Blair began producing décor-like works inspired by contemporary corporate and domestic design and guided by
Japanese flower arrangement rules. They compress installation-work elements of light, material, color and image into discrete, hybrid sculptures that evoke interiors,
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Blair's two bodies of work serve as counterpoints and foils for one another in regard to composition, color, texture and theme. His realistic, deadpan paintings (primarily untitled, painted in gouache, and derived from his own snapshots) are more literal, yet illusionistic; the
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writes that the paintings combine "a draftsman's attention to fact, a botanist's eye for type, and a detective's feel for telling clues," resulting in a no-man's-land genre "between illustration, photography, and forensic science." He likens the paintings to work by
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Blair's earlier gouaches focus on diaristic, largely
American scenes (bedside set-ups, cocktails, cigarette butt-littered ashtrays, soda cans, VHS tapes) and anodyne transitory environments (motels, lounges, lobbies, Las Vegas, Disneyland) that
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Art Museum, 2009), he produced a subtly staged and lit experience involving two sculpture courts—mirror layouts to one another invoking the space in its entirety—that flanked a series of galleries housing his gouaches;
293:. In later paintings, Blair turned to landscape, close-cropped flower images, views through obscured windows, and in the 2000s, to close-ups of eyes and nocturnal parking lots and snow scenes.
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182:, and decorated and carpeted in mauve with plants and suburban benches; reviews described it, alternately, as suffused with loss and nostalgia, soothing, and surprisingly spiritual.
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and
Barnabus Rex. His early artwork consisted of abstract, formalist wall works made of acrylics and enamels poured and sprayed onto paper, Masonite and glass.
333:, "tastefully calibrating" momentary experience, while remaining ambivalent about the consequences for subjectivity of living in a thoroughly designed world.
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Blair has received a John S. Guggenheim
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448:(1988). His work belongs to the public collections of the Whitney Museum, Brooklyn Museum, Los Angeles County Museum of Art,
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into more widely known installations, such as his 1991 show at Ealan
Wingate, based around photographs he took at Disney's
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257:, Painted wood, carpet, rubber mat, fluorescent fixtures, vinyl, Duratrans, 22" (h) x 150" (w) x 92" (d), 2005.
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Blair's professional activities include writing and teaching. He has contributed articles and reviews to
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that the paintings are "rendered with a lucidity that extracts something metaphysical from the mundane."
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describes these later works largely devoid of people as "brimming over with unconquerable wanderlust."
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characterizes as background and details at "the edges of a sophisticated, travel-weary terrain."
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Prince, Richard. "Window On Their World: Dike Blair
Interviewed by Richard Prince,"
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Griffin, Tim. "The
Intangible Economy: Ricci Albenda, Stephen Hendee, Dike Blair,"
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compared the effect of these exhibitions to the ambient music of artists such as
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366:, 2014), which he adorned with paintings of eyes, interiors and other subjects.
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178:. The show featured mixed-media images installed in a darkened room scored to
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416:(1978, with Isabelle Anscomber). Blair taught in the painting department at
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in 2010. He lives in New York with his wife, costume designer Marie Abma.
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Blair was born in 1952 in New Castle, Pennsylvania. He studied art at the
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in 1977. He was part of the late 1970s New York art scene, performing at
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Blair, Dike. "Flip-Flopping
Fictions and the Interface of Some Spaces,"
452:, Musee Des Beaux Arts La Chaux De Fonds (Switzerland), MUMOK (Vienna),
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891:"The “Glimpse” Series: Dike Blair Contemplates Japan While in Rome,"
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790:"Tim Griffin talks with the curators of the 2004 Whitney Biennial,"
358:, 2010), benday-dot print patterns sometimes suggesting peepholes (
1335:, New York: Urizen Books, Inc., 1978. Retrieved November 20, 2020.
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773:. "Goings On About Town: Photography," October 28, 1991. p. 84.
1054:, November/December 2005, p. 141. Retrieved November 17, 2020.
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something that had not previously been part of his practice.
1289:, Spring/Summer 2008, p. 352–3. Retrieved November 20, 2020.
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Harper's, March 2000, p. 32–5. Retrieved November 20, 2020.
703:, September 1980, p. p. 17–23. Retrieved November 17, 2020.
1305:, Fall/Winter 2014, p. 352–3. Retrieved November 20, 2020.
362:, 2011), and minimal intimations of skies and landscapes (
1320:, Chicago: Whitewalls, 2007. Retrieved November 20, 2020.
1031:, October 10, 1999, p. LI14. Retrieved November 17, 2020.
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Blair, Dike. "A Reflection or Two (on Richard Prince),"
1108:, September 2013, p. 172–3. Retrieved November 17, 2020.
581:, November 2, 2001, p. E40. Retrieved November 17, 2020.
118:, while remaining distinct from and tangential to them.
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Abramovich, Alex. "Termite Art and the Modern Museum,"
761:, October 25, 1991, p. C5. Retrieved November 17, 2020.
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places his sculpture in a "blurred category" crossing "
1124:, November–December 2010. Retrieved November 17, 2020.
719:, January 1982, p. 78–80. Retrieved November 17, 2020.
193:, Gouache, pastel and pencil on paper, 12" x 9", 2016.
795:, January 2004, p. 57–9. Retrieved November 18, 2020.
1188:, New York: Karma, 2019. Retrieved December 1, 2020.
1073:, January 2002, p. 141. Retrieved November 18, 2020.
600:, May 18, 2001, p. F16. Retrieved November 17, 2020.
1386:MUMOK (Museum of Modern Art Stiftung Ludwig Wien).
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875:News, April 10, 2009. Retrieved November 18, 2020.
625:, May 2010, p. 242–3. Retrieved November 17, 2020.
524:, March 2007, p. 315. Retrieved November 17, 2020.
354:crate-sculpture sides like pebbled-glass windows (
166:(1976) and frequenting art bars like Magoo’s, The
1564:Skowhegan School of Painting and Sculpture alumni
1026:"Stepping Beyond the Traditional in Still Lifes,"
893:News. March 1, 2011. Retrieved November 20, 2020.
1247:, Fall 2007, p. 14. Retrieved November 20, 2020.
217:; it belongs to the collections of the Whitney,
154:, Whitney Museum independent study program, and
951:, May 2004, p. 14. Retrieved November 17, 2020.
665:Stillman, Steele. "In the Studio: Dike Blair,"
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1361:Previous Winners. Retrieved November 20, 2020.
1156:, Issue #33, 2020. Retrieved December 1, 2020.
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911:Carlson, Ben. "Working Practice: Dike Blair."
669:, September 2009. Retrieved November 17, 2020.
499:Rian, Jeff. "Dike Blair, New York, New York,"
1544:School of the Art Institute of Chicago alumni
1092:, November 2001. Retrieved November 17, 2020.
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1317:Again : Selected Interviews and Essays
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344:, Oil on aluminum panel, 24" x 18", 2018.
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1539:Rhode Island School of Design faculty
1010:"Dike Blair at Mary Goldman Gallery,"
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837:Artists. Retrieved November 20, 2020.
817:Leguillon, Pierre. "Purple Horizon,"
639:Rian, Jeff. "Ouverture, Dike Blair,"
410:Again: Selected Interviews and Essays
7:
1329:Blair, Dike and Isabelle Anscomber.
928:, 70, August–October 2000, p. 66–71.
229:in 2009 and the Rome Prize from the
197:Blair's work has been shown at the
1559:20th-century American male artists
1357:Louis Comfort Tiffany Foundation.
728:Sturtevant, Alfred. "Dike Blair,"
483:Princenthal, Nancy. "Dike Blair,"
14:
1214:Blair, Dike. "Michael Goldberg,"
643:, November/December 1997, p. 104.
420:from 1997 to 2017, as well as at
65:Painting, sculpture, installation
1479:"DIKE BLAIR WITH STEEL STILLMAN"
833:Whitney Museum of American Art.
442:Louis Comfort Tiffany Foundation
223:Los Angeles County Museum of Art
1519:21st-century American sculptors
1514:20th-century American sculptors
1256:Blair, Dike and Michael Drake.
965:Saltz, Jerry. "Pulp Friction,"
873:"Guggenheim Fellows Announced,"
446:National Endowment for the Arts
156:University of Colorado, Boulder
1509:21st-century American painters
1499:20th-century American painters
225:, among others. He received a
52:University of Colorado Boulder
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1169:. Retrieved December 5, 2020.
1087:"Critics' Picks: Dike Blair,"
741:Heller, Sally. "Dike Blair,"
554:Wilk, Deborah. "Dike Blair,"
436:Awards and public collections
418:Rhode Island School of Design
374:Other professional activities
73:Realist, abstract, conceptual
1529:Painters from New York City
1524:American conceptual artists
237:Work and critical reception
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1457:Guggenheim Fellowship page
889:American Academy in Rome.
743:108 An East Village Review
595:"Portraits of Transience,"
1431:Weatherspoon Art Museum.
558:, September 2013, p. 110.
158:, and earned an MFA from
698:"Energism: An Attitude,"
231:American Academy in Rome
86:American Academy in Rome
36:New Castle, Pennsylvania
1534:American male sculptors
1475:, JĂĽrgen Becker Gallery
1418:Untitled (three panels)
1273:, #72, 2004, p. 96–107.
1218:, March 1991, p. 142–3.
430:University of Las Vegas
422:Art Institute of Boston
309:Blair's exhibitions at
207:Weatherspoon Art Museum
1504:American male painters
1473:Dike Blair artist page
1467:Dike Blair artist page
1461:Dike Blair artist page
1231:, #21, 2000, p. 144–8.
1165:The Modern Institute.
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16:American visual artist
1415:Portland Art Museum.
1008:Knight, Christopher.
745:, January 1987, p. 2.
593:Knight, Christopher.
487:, May 2002, p. 148–9.
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227:Guggenheim Fellowship
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82:Guggenheim Fellowship
915:, June 2007, p. 128.
808:, February 28, 2019.
450:Dallas Museum of Art
289:and the solitude of
1085:Williams, Gregory.
821:, July 2000, p. 40.
533:Schjeldahl, Peter.
503:, 2011, p. 194–207.
458:Portland Art Museum
426:New York University
360:Dance, Dance, Dance
108:Pictures Generation
1370:Armstrong, Annie.
1047:Balaschak, Chris.
1029:The New York Times
759:The New York Times
579:The New York Times
517:Richard, Frances.
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295:Christopher Knight
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1242:"Cameron Martin,"
1024:Harrison, Helen.
1013:Los Angeles Times
968:The Village Voice
949:The Brooklyn Rail
849:Brooklyn Museum.
687:, 2005, p. 78–81.
618:Martin, Cameron.
598:Los Angeles Times
327:The Brooklyn Rail
305:Later exhibitions
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146:Early career
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1549:1952 births
1133:Linn LĂĽhn.
501:Apartamento
412:(2007) and
274:Jerry Saltz
244:Postminimal
1493:Categories
1469:, Gagosian
1455:Dike Blair
1449:Dike Blair
1433:Dike Blair
1404:Dike Blair
1346:Dike Blair
1203:Dike Blair
1183:: Drawings
1181:Dike Blair
1167:Dike Blair
1135:Dike Blair
819:Beaux Arts
464:References
323:to want to
255:to want to
205:(Vienna),
138:writes in
128:Carl Andre
112:Minimalism
104:Dike Blair
96:Dike Blair
23:Dike Blair
1229:Art Press
685:ArtReview
641:Flash Art
388:Art Press
331:Brian Eno
325:, 2005).
203:Secession
168:Mudd Club
44:Education
1199:Artforum
1090:Artforum
1071:Artforum
990:Artforum
869:Artforum
793:Artforum
717:Artforum
701:Artforum
623:Artforum
522:Artforum
380:Artforum
351:Artforum
342:Untitled
321:, 2001;
319:And When
191:Untitled
140:Artforum
1485:9/18/09
1463:, Karma
1375:ARTnews
1359:"1995,"
1271:Parkett
1216:ARTnews
401:Parkett
396:Harpers
384:ARTnews
315:Some Of
311:Feature
287:Vermeer
272:critic
132:ikebana
122:critic
92:Website
1303:Purple
1287:Purple
1154:Purple
1122:Frieze
1106:Frieze
1052:Frieze
926:Artext
428:, and
406:Purple
398:, and
221:, and
213:, and
78:Awards
1390:Shine
180:Muzak
176:Epcot
130:with
70:Style
1332:Punk
1245:Bomb
730:Arts
414:Punk
392:Bomb
364:OHCE
317:and
281:and
164:CBGB
114:and
32:1952
29:Born
1495::
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1201:.
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