ARTISTS
Dike Blair: Matinee
Edward Hopper House Museum & Study Center, Nyack, NY, is pleased to open an exhibition of work by DIKE BLAIR. Prompted by Hopper鈥檚 fascination with the cinematic, MATINEE: DIKE BLAIR explores Blair鈥檚 use of the filmic concept of mise-en-sc猫ne in his paintings, which, for the past forty years, he has based on his own intimate point-and-shoot photographs. As in cinema鈥損articularly the moody vignettes of film noir鈥搇ight is a character in its own right in the work of both artists, whether casting an eerie pallor on a vacant interior or illuminating the lip of a half-drunk glass.
Like Hopper, who drew inspiration from his frequent trips to the movie theater, Blair's works imply narratives without offering definitive plots. Blair鈥檚 works are installed at Edward Hopper House Museum so they unfold sequentially, inviting the viewer to stitch together a story from images and absences. MATINEE: DIKE BLAIR foregrounds the 鈥渞ealism鈥� of Blair and Hopper within the context of the utter irreality of the movies, leaving the viewer to marvel in the liminal state between fact and fiction, narrative and pictures.
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Edward Hopper House Museum & Study Center, Nyack, NY, is pleased to open an exhibition of work by DIKE BLAIR. Prompted by Hopper鈥檚 fascination with the cinematic, MATINEE: DIKE BLAIR explores Blair鈥檚 use of the filmic concept of mise-en-sc猫ne in his paintings, which, for the past forty years, he has based on his own intimate point-and-shoot photographs. As in cinema鈥損articularly the moody vignettes of film noir鈥搇ight is a character in its own right in the work of both artists, whether casting an eerie pallor on a vacant interior or illuminating the lip of a half-drunk glass.
Like Hopper, who drew inspiration from his frequent trips to the movie theater, Blair's works imply narratives without offering definitive plots. Blair鈥檚 works are installed at Edward Hopper House Museum so they unfold sequentially, inviting the viewer to stitch together a story from images and absences. MATINEE: DIKE BLAIR foregrounds the 鈥渞ealism鈥� of Blair and Hopper within the context of the utter irreality of the movies, leaving the viewer to marvel in the liminal state between fact and fiction, narrative and pictures.
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The idea for the exhibition 鈥淒ike Blair: Matinee,鈥� now at the Edward Hopper House, came from a discussion the artist had with curator Helen Molesworth in front of Edward Hopper鈥檚 1938 painting New York, Movie.
I tend to think of Photorealism as an -ism like any other. It had its moment (the late 1960s), its question (how to paint after Pop), and its heroes (e.g., Chuck Close).
