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The Dikeou Collection Reading Group
thursdayfebruary28
6-8pm, The Dikeou Collection will host the inaugural meeting of the Warhol Reading Group.
In effort to provide an organic comprehensive learning platform and interaction with the public, The Dikeou Collection has formed a Reading Group. The Reading Group will follow traditional reading group formats, allowing the members to join together in an informal manner at The Dikeou Collection to talk about books on a monthly basis, however, instead of the members choosing divergent books form many authors/genres/subjects, The Dikeou Collection Reading Group will follow a unified syllabus on a pre-determined topic. The first of our topical Series will be entitled “The Warhol Reading Group”. Each member of the group will have the opportunity to lead discussion, or if they prefer pass and bring refreshments. The Dikeou Collection will from time to time help, steer, or generate structure if needed. Occasionally, Special Guests will join. The group will decide dates, times, how long the meetings will last, and discussion leaders for each meeting of the Warhol Reading Group.
The Warhol Reading Group
(Books/Films will be discussed on a monthly basis unless where indicated)
Syllabus/Reading List
Month One, “Andy Warhol—In His Own Words, Part One”: Andy Warhol’s Philosophy (A to B and Back Again): Andy Warhol with Pat Hackett
Month Two, “ . . . In His Own Words, Part Two”: Popism: Andy Warhol with Pat Hackett
Months Three & Four,“ . . . In His Own Words, Part Three”:The Warhol Diaries: Andy Warhol with Pat Hackett (2 Months)
Month Five, “Andy Warhol & the Market”: I Bought Andy Warhol: Richard Polsky
Month Six, “The Factory, Part One”: Edie: Oral Biography: Jean Stein & George Plimpton, Factory Years: Nat Finklestein
Months Seven & Eight, “The Factory, Part Two”: Holy Terror: Bob Colacello, Swimming Underground: Mary Waronov, Famous for Fifteen Minutes: Ultra Violet (2 Months)
Month Nine, “Me, Myself, and I, Part One: I’ll be Your Mirror: 37 Interviews of the Pop Master: Kenneth Goldsmith
Month Ten, “Me, Myself, and I, Part Two: America, A: By Andy Warhol: both Andy Warhol
Month Eleven, “Warhol the Impresario, The Producer, Part One”: Interview Magazine: Founder Andy Warhol, Velvet Underground: Recordings Producer/Designer Andy Warhol
Month 12, “Warhol the Impresario, The Producer, Part Two”: The Films of Andy Warhol, About Andy Warhol, Inspired by Andy Warhol, or in which Andy Warhol or His Circle is a Subject: “Empire”, director Andy Warhol, “Chelsea Girls”, directors: Paul Morrisey and Andy Warhol, “Warhol”, director Kim Evans, “Downtown 81”, director Edo Bertoglio, “Basquiat”, director Julian Schnabel, “Pie in the Sky”, director Shelly Dunn Fremont,” Painters Painting”, Henry De Antonio and Mitch Tuchmnan
The Dikeou Collection website will have a new Dikeou Collection Reading Group blog so discussion can continue among members after meetings, be accessible for members who cannot attend monthly meetings, and for non members that want to follow and interact with the dynamics of the group discussions on line.
All discussed works/books/films are available at the Dikeou Collection Library for review/viewing during open hours (Wednesday, Thursday and Friday 11:00-5:00pm), or for reasonable purchase on halfpricebooks.com. Further reserved copies for purchase—depending on interest—at the Tattered Cover, and there are at least one of these copies of most reading material available at DPL. Films available for purchase at amazon.com.
Future Reading Groups
Semiotics for Dummies or as Seen Through Select Writings and Films
Conceptual Art of the ‘70s
Writing on the Creative Act
Concept List, and Topics developed by Devon Dikeou, The Dikeou Collection
The Dikeou Collection is located in the Colorado Building, 1615 California St, at 16th St, Suite 515, Denver, CO 80202. For more information please call 303-623-3001 or contact info@dikeoucollection.org





The digital divide. The haves, the have nots. Vegetarians, vegans, carnivores. Heterosexuals, metrosexuals, transsexuals, homosexuals. The straight, the kinky. The visionaries, the mercenaries, the crude the erudite, the pensive the flamboyant. Oil, gas, bombs, immigration officials. WTO, subsidies, sperm banks, kings, tyrants, presidents, prime ministers, revolutionaries, terrorists, anarchists, activists, pacifists, the weak, the meek, the strong, the bully. The good the evil. The hawks the doves. The evolutionists, the creationists. The crusaders the Jihadis. The raised fist, the clasped palms. The defiant, the oppressive, the green, the red. The virgin.
Whether cattle are well fed, or children go hungry, whether bombs are valid for defence, or tools of aggression, boundaries – seen and unseen – define our modes of conduct, our freedoms, our values, our very ability to recognise the presence of the boundaries that bind us.
Shahidul AlamBefore relocating to Los Angeles, David Brady cut his teeth on the Colorado art scene, exhibiting at RULE Gallery, Gallery Sink, the Boulder Museum of Contemporary Art, and The Museum of Contemporary Art in Denver. Known primarily as a sculptor (in the broadest 21st Century view of the discipline), Brady is to have his second solo exhibition at L.A.'s High Energy Constructs opening tomorrow. Full article :
Los AngelesHIGH ENERGY CONSTRUCTS | ||||
| At first glance, the two works exhibited here from David Brady’s series “Studies for the Movement of Air,” 2008, seem to possess nearly uniform grisaille surfaces bordered by white paper. Initially suggestive of Vija Celmins’s finely rendered drawings, Brady’s pieces quickly reveal themselves to be the results of a different process altogether: The artist attacked the sheets of paper with a charcoal-loaded sandblaster, thus recording the movement of air and capturing ephemeral moments of natural phenomena. Although most of the exhibited works were made with the help of machines, the works—which comprise a diverse range of media, including press-on nails, Bondo putty, wallpaper, and bulletproof glass—are often strange, poetic, and fragile in the most human way. Brady is not originally from Los Angeles, where he is currently based, but his pataphysical investigations and experiments share certain qualities with work by quintessential LA artists, among them the perpetual tinkering of Tim Hawkinson and the Light and Space elegance of Robert Irwin. But Brady’s tactics prove more sinister than those of either predecessor. Leaning against the gallery’s back wall is Everything Doesn’t Not Have an Opposite, 2008: a handmade coffin lid painted white, whose smooth surface and curving lines bring about an awareness of the material accoutrements of death. On the opposite side of the gallery lean six sheets of bulletproof glass bound together in a black metal frame. The smoky black glass is just barely translucent—a reflective veneered surface as suggestive of violence as the coffin lid is of death. Though origins, exits, and passages recur throughout Brady's work, they are nowhere more quietly transgressive than in The Origin of the World Wallpaper (G42), 2007, an installation of four rolls of wallpaper custom-designed with the eponymous painting by Gustave Courbet in mind. Comprising digitally manipulated Internet porn images, the patterns make great use of what, to Courbet, was the “origin.” As with much of Brady’s work, the actual subject here is not immediately apparent, but it soon becomes as obvious and physical as it is in Courbet’s painting. |
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