Dike Blair is an American artist born in 1952 in PA. He studied at the Colorado University after the Skowhegan School, attended the Withney Museum program and studied at the MFA School of the Art Institute of Chicago.
He has collaborate from 1988 to different projects, he has been the associated editor of Purple Magazine and collaborate with The Thing website. Since 1977, his work has been showed the more often in New York, but also in Europe, Slovakia and Mexico.
For more info :
email : firstname.lastname@example.org
address : 235, 11th Street NYC / NY 10003-7305.
STATEMENT IDEAL OFFICE BY DIKE BLAIR
my Ideal Office
I want my Ideal Office to embody pleasure, lightness, and efficiency. We’re calling this office “art”, which is appropriate, but we could also call it interior “design” or “decoration”. Art, design, and decoration are involved in a kind of shell game in which the pea of meaning appears under different covers at different times. Good design, and there is a lot of good design at the moment, is functioning in the formal and emotional spheres that were formerly the realm of sculpture. Not coincidentally, artists have been foraging in the territories of architecture and design. This has led to a class of hybrids, and my Ideal Office might be considered one such. Whether art or design is originally conceived of as having a decorative function, it invariably takes one on; and I think this is a situation in which art should relinquish its primary critical function and enjoy its role as a decorative handmaiden.
So, with the Ideal Office I’d love to create a conversation rather than an intervention. The main conversationalists are Christian Ghion, Bruno Fattorini, Patricia Urquiola Jasper Morrison and Andreas Brandolini and the more anonymous designers at Snowcrash and Habitat. I’ve tried to fashion a flavored matrix to hold their designs in interesting suspension.
Working on the Ideal Office fulfills several fantasies. One is a consumer’s dream, choosing high-end furniture from catalogues, paying little mind to budget. The other is the fantasy of the office as a place, in contrast to my studio, where meaningful work gets done in an orderly way. Finally, it’s my great desire that the workers of Outcasts find this environment stimulating and easy. The office worker is certainly as necessary a chip as the artist is in the processor of modern life.