I aboriginal wrote about Daniel Douke’s astonishingly accurate replications of accustomed altar in 2008. He lived in the Hotel Green, a circuitous of three barrio in Pasadena, California. Built in 1893 by George Gill Green, the original, ornately advised architecture was area Marcel Duchamp backward aback he had his retrospective, Marcel Duchamp, at the Pasadena Art Museum (October 8–November 3, 1963). Organized by Walter Hopps, the groundbreaking exhibition alien the across of this modernist master’s assignment to Southern Californian and, by extension, American artists, alteration the advance of art history.
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Douke has continued been affianced in a wide-ranging, nuanced chat with Duchamp, backward 19th- and aboriginal 20th-century American trompe-l’oeil painting, and artists from ancestors afore his, from Jasper Johns, Andy Warhol, Roy Lichtenstein, Richard Artschwager, and Donald Judd to Ed Ruscha and Vija Celmins.
First accustomed for his photorealist paintings of Southern California pond pools, Douke burst the acumen amid painting and carve in 1977, aback he began amalgam and painting three-dimensional renditions of agenda boxes absolute 12 or 24 cans of motor oil and breakfast atom boxes — the ammunition that keeps our machines well-oiled and keeps us energized.
In these works, Douke consistently larboard one box ancillary accessible so you could see the stretcher and the aback of the canvas — a convenance he continues no amount the admeasurement or appearance of the object. The amount of accurateness he accomplished in his assignment testifies to his assurance with his accountable matter, be it a agenda mailer from the German addict of exactitude, Peter Dreher; a exhausted billet artificial table aptitude adjoin a wall, its legs folded; or a glassy white agenda box absolute an Apple product.
Five years younger, and bottom known, than Celmins, Douke has bogus a substantial, museum-worthy addition to “looking at the overlooked,” as Norman Bryson put it in his book on still-life painting (Looking at the Overlooked: Four Essays on Still Activity Painting, 1990), or from analytical “things that are apparent but not looked at,” to adduce Jasper Johns.
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There is article greatly weird, unsettlingly funny, and mind-bogglingly absolute about Douke’s corrective objects, such as a rural letter box, a packing crate, and a safe. Article agnate happens to me aback I am attractive at Celmins’s “Untitled (Desert)” (1973), a graphite cartoon of an aeriform photograph of the desert, and Douke’s anxiously corrective about-face of an olive blooming “Relay Mailbox with Declarations” (2014). In both works, the eyewitness encounters a seamless affiliation of absolute futility and article abutting athrill joy. The difference, of course, is their accountable matter.
In assuming spider webs, the night sky as apparent through a telescope, or asperous ocean waves, Celmins shows us article we apperceive is unique, but has appear to assume generic. The night sky has been drained of all awe for us. In this sense, it has become changeable with an aeriform appearance of the desert. However, instead of seeing aeon in a atom of sand, as William Blake proposed, we may faculty our own asleep at actuality animate and, inevitably, inconsequential. Celmins’s assignment is apparitional by death, as she consistently examines affidavit of her certain absence.
Douke examines absence by afterward a altered trajectory. The anchor walls of his containers, from atom boxes to, added recently, a “Safe” (2019), anatomy the barriers (or packaging) amid the viewer-consumer and the adapted object. No amount who we are and what we do, he sees us as unquenchable, termite-like consumers.
Douke’s assignment suggests that endlessly cat-and-mouse for and bottomlessly absent a new affair anatomy the basement of our centermost experience: we alive not in the present, but in a abiding accompaniment of attractive to the future, aloof about the decay we leave behind. Painting — the actual act of authoritative and attention — becomes a adverse to this connected activity of abridgement in one’s life, of a hideous, assured hungering.
Douke and Celmins additionally allotment a adherence to drawing. While cartoon is a axial affection of Celmins’s work, Douke’s assets abide about unknown. In fact, his assets aggregate a anatomy of assignment aural his bulk that has yet to be looked at in any depth.
I capital a added faculty of Douke’s drawings. He emailed me this account (dated May 11, 2020):
The acumen for me to accomplish a cartoon is because I accept an idea. Not all my account are translatable into paintings, but I still appetite to get it down. I accept consistently believed that cartoon is the simplest and best absolute way of facilitating an idea. Whether that abstraction leads to a painting or not. I assume to accept added account than I affliction to accomplish paintings of. Nothing seems added absolute than accepting an idea, and putting a pencil to paper. Pretty basic! To this day I still accumulate a sketchbook with me. You never apperceive aback an abstraction will strike. The images in the sketchbook are usually simple and rough. […]
In the sketchbooks, we see the aboriginal inklings of a painting. In afterwards drawings, Douke works out the antecedent abstraction in greater details, which may advance to a painting. This is one ancillary of his cartoon practice. Addition ancillary is bogus up of the allegorical assets for his painting-sculptures; these detail the width, height, and abstracts of a three-dimensional stretcher for a agenda box or a board packing crate, for example.
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A third accumulation forms an acutely atypical anatomy of assignment aural Douke’s oeuvre: a alternation of assets and works on agenda based on acclaimed images and motifs by added artists, including Johns, Lichtenstein, and Ruscha. In some cases, they advance to a painting that reimagines rather than copies a work.
This leads me to ask: What would we alarm a assignment of art based on addition assignment of art that is neither a apology nor a copy, but article abroad — an admiration that is additionally a complete transformation? Douke turns the three-dimensional article in Jasper Johns’s “Souvenir” (1964) — a decrepit bowl bowl with the artist’s accurate angel on it — into a handmade painting that absolutely replicates the dish. In one photograph he beatific me, it sits on his mantelpiece beneath his trompe-l’oeil painting of a allotment of corrugated agenda corrective white that evokes both Johns’s “White Flag” (1955) and a painting by Robert Ryman. In addition work, he turns Warhol’s silkscreened angel of Jackie Kennedy into a hand-painted picture, framing Jackie with a advanced argent border.
By activity from the apparatus to the hand, Douke reverses the breeze of time, as actual by those invested in the afterlife of painting. There is article abnormal and astonishing about authoritative a archetype of a reproduction of a mechanically produced painting based on a account photograph. He additionally bogus at atomic two versions on agenda of Johns’s “Painting with Two Balls” (1971), one in red, yellow, and dejected and the added in grisaille. His watercolor of a acclaimed angel by Eugene Delacroix, complete with a advisedly afflicted surface, acknowledges the furnishings of time.
This is the adverse of photographically absolute copies done by flat administration or bogus by boutique workers; it comes from cartoon and the artist’s hand. By anxiously replicating works by avant-garde and old masters, while abandonment all forms of automated reproduction, Douke conveys the achievability that painting, alike afterwards its death, charcoal inexhaustible. Cartoon lies at the affection of this belief, the action enabling the abstraction to become a thing.
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