Amie Dicke survey exhibition at Centraal Museum at Landhuis Oud Amelisweerd, Installation view
Amie Dicke’s work comprises a negotiation between everyday imagery and the validity of the whole of visual culture. Dicke prints images culled from various sources, from fashion magazines to Bauhaus catalogues, and charges them with a sense of physicality through dissolving the images from the paper. Elements are stripped back with sandpaper, caked in makeup, blotted with wine and surgically incised. Similar to her works with paper, Dicke’s “corrected artwork” series features panels coated with ink blown from ballpoint pens onto old artworks. Her abrasion and correction of established visual narrative attempts to both conceal an image while simultaneously deconstructing established visual cues, revealing alternate and new tactile experiences.
Amie Dicke’s (b. 1978, Rotterdam) work has been exhibited internationally in venues such as Schirn Kunsthalle, Frankfurt, Germany; Tate Modern and Project Space 176 in London; FLAG Art Foundation, New York; and Art Centre Silkeborg Bad in Denmark. Her work is included in several major collections including Gemeentemuseum The Hague, Collection Rob Defares, Direct Art Collection, the Zabludowicz Collection, Collection Rik Reinking, Takashi Murakami and the City Collection of Rotterdam through the Museum Boijmans van Beuningen. Recent solo exhibition history includes: EENWERK, Amsterdam, Netherlands; Granpalazzo (with Anat Ebgi), Rome, Italy; GEM Museum of Contemporary Art, The Hague, Netherlands; and Hiromi Yoshii Gallery, Toyko, Japan. Recent group exhibitions include: Anat Ebgi at Minnesota Street Project, San Francisco; Centquarte, Paris; Marres (House for Contemporary Culture), Maastricht; Castrum Peregrini, Amsterdam; Museum Kranenburgh, Bergen; Grimmuseum, Berlin; Museum of Old and New Art, Hobart Tasmania; and Murakami Takashi Kaikai Kiki Collection,Taipei. Dicke lives and works in Amsterdam.
"Fashion images are very dominant in the idea of beauty. And probably there is a logic or functionality behind this. But why do we keep bombarding ourselves with it? And enlarge it? That is a mystery to me and also really fascinates me." —Amie Dicke
8 Standout Artists to Watch from Felix Art Fair in L.A.
Another talented Dutch female artist, Amie Dicke is widely known for her cutting and altering of fashion magazine imagery, as captured in a new monograph of her amazing artworks, published by Walther Koenig. Making inventive use of existing photographs, she incises, sands and scratches the glossy surface of the fashion shots to make far edgier pictures. — Paul Laster
"If I had to say something about nothing I would refer to the space between words. Not long ago I got a collection of space bars. I found them in a place where they sell old typewriters and the space bars caught my attention because of their different colours and materials. Actually, the space bar may be the key we use the most in our keyboards, but what is interesting is that it says a lot more about what it is not written, about the connection of language…" —Amie Dicke
Artist Amie Dicke Shows How She Creates Space for New Femininity
Through the actions Dicke performs, "she questions the fashion image," Schavemaker believes. "By cutting, by sanding, by breaking everything away, space is created for a new image. A new femininity." —Cynthia Rood
Shadow play and white clouds – Amie Dicke at Landhuis Oud Amelisweerd
It's a beautiful, layered exhibition. The most beautiful aspect is the interaction between the artwork and the house. Oud Amelisweerd fits Dicke like a glove. The colors of the photos seamlessly blend with those of a door, a wooden floorboard, a fireplace. Sunlight stripes cut through the windows into the rooms: the bright white light lines replicate the cut-out strips of paper and aluminum. —Anna van Suchtelen
Amie Dicke at Oud Amelisweerd, Utrecht, Netherlands
Amie Dicke's solo exhibition with the Centraal Museum, Utrecht brings together a selection of works from the past 20 years. The exhibition is on view at Oud Amelisweerd, an historic country estate outside Utrecht, Netherlands through August 21.
This beautiful historical estate will serve as the backdrop for a solo exhibition by a renowned Dutch contemporary artist every spring and summer for five years. Artist Amie Dicke is leading the way, with her work on display from April 16 to August 21. —Utrecht Nieuws
In recent years Dicke has developed various techniques to manipulate images: she scrapes away parts, cuts them up or covers them with ink or make-up. In this way Dicke makes you look at an image anew. This exhibition brings together a selection of works from the past 20 years, which dialogue with the historic interior spaces of the mansion. —Mousse
"To me, it’s really about touching, marking the place where I am, it has to do with being in the Now. My work is not about history, any more than it was ever about beauty -- it’s about paying attention.” —Amie Dicke
Amie Dicke solo exhibition at Anat Ebgi Gallery, Los Angeles
By adding space where there was none, and creating work that eludes the conventions of two- and three- dimensional forms, Dicke continuously distorts and realigns the possibilities of our visual experience. “They are almost a movie in one still,” she says of these intriguing assemblages. —Kingdom of The Netherlands
It is a series of horizontal image compositions made up of fragments of images Dicke sourced from books and magazines, as well as snapshots taken with her camera, which she refers to half-jokingly as the “cold eye”. Of the images, she says “the spaces between them and the spaces they depict are of equal importance.” —A Fabio
Whether she's cutting and altering fashion magazines or powdering vintage books with layers of make-up, Amie Dicke says her role as an artist is to "point" at the magic that's hiding in plain sight, revealing associations and resonances that might otherwise go unnoticed. —Mark Smith
Dicke's attitude becomes clear when I see the work "Worktable" (2016) in the basement, which is related to the installation "Cosed Eyes" (2016). A selection of books from her private collection lies open, but the pages have become mostly unreadable. Dicke covered them with a thick layer of foundation in various house-tone colors. The work is made on location, as becomes evident in the basement. —Lotte van Geijn
Most people expect artists to paint, but that's the one thing Amie Dicke doesn't do. Her artistic expression is more diverse, expressed with sculpture, works on paper and research into found objects that share a common essence. —38 Hours in Amsterdam
In Review | Amie Dicke: Redundancies, Voids and Metaphors of the ‘Real’
Much of Dicke’s investigations have to do with the visual redundancies, voids and the metaphorical meanings assigned to objects, making this a fun show for the cerebral thinker, or for one who thinks there’s such a thing as “real” in relation to visual art. —Alicia Eler
In this new series of work, Dicke interrogates the language of visual culture through breaks, spaces and intervals of absence. She spoke about the way she often lays hundreds of images out on a table and arranges them until they make sense or can talk to one another. —Beverly Western
Amie Dicke’s visual poetry is about intimacy and confrontation
Dicke is best when she intervenes in what is there, then something new emerges, something tactile that slips between your fingers and your understanding. Just like with good poetry - but with Dicke it becomes poetry of the touch.—Hans den Hartog Jager
For her COS magazine submission, Amie was compelled to investigate the idea of space and compression by folding a square meter of delicate sketch paper to the point where it could be carried in that most intimate of hidden spaces, the pocket. —COS Magazine
“For me, the work is about the fact that our memories contain a multitude of images, but that these become faded, distorted or sometimes even completely lost over time. In that sense, our memories are the result of a battle between different images.” —Amie Dicke
The best new female-fronted shows | Amie Dicke @ Anat Ebgi
Dutch artist Amie Dicke has come a long way from the gothic magazine pages that made her name. Her current LA show explores the subtext of images with lots obscuring, obtuseness and sheer skill. —Francesca Gavin
"I once banned magazines, but found myself buying one a little later. It is like an addiction and like any addiction it is difficult to quit. The balance between fascination and frustration provides inspiration." —Amie Dicke
Existing objects and images gradually find their way to the studio, where the artist works on themes deeply human and individual, involving emotions like shame, fear, and aggression, as well as the collective; the history of a specific place and memories associated with it; the Afterimage. —De Groene Amsterdammer
Artist Amie Dicke Inspires Prabal Gurung’s Spring Collection
Dicke is known for her collages of abstract images from fashion magazines. If you do a Google Image search for them and compare them to Gurung’s new pieces, you’ll see the influences very clearly. —Merle Ginsberg
In the installation, Dicke fills gaps in frames, tears in fabric upholstery, and holes in the ceiling with gold-colored rescue blankets. Dicke previously created an installation at this location, where she covered the furniture in one of the rooms with plastic and then removed the furniture – "Claustrophobic" (2009). What remains are the plastic covers. Like shadows, like an aura, of what once was. —Saskia Vredeveld
What Lies Beneath: Amie Dicke, Dawn Mellor and Goth Pop Art
Dicke’s cutpaper collages, which consist of photographs torn from current fashion magazines or peeled from busstops, the Dutch artist takes contemporary fashion imagery and alters it to reveal the spectres of grunge behind the polish and decay beneath the glamour. —Ana Finel Honigman
"The knowledge that things will decay, fall apart, lose their shine and that their colors will fade is what makes them so beautiful, but at the same time it frustrates me. Destruction is the dark side, but at the same time it creates a place for the new." —Amie Dicke
In collusion and at odds with the worlds of fashion and beauty, crystallized in contemplation and dissolved in spun-sugar decadence, Dicke's work embraces the obsession with the exterior that defines contemporary Western culture. —Aimee Walleston
But, like an addiction, Dicke's fascination with fashion refused to disappear. One of her latest projects involves driving nails into magazine images, a violent act that is a critique of the fashion industry, she says, but also of her own obsession with it. —Flaunt
Amie Dicke—whose work can be seen at the Von Der Hoyt Museum in Germany from April 22—uses an exact knife to remove the features from models in bus-stop posters and editorial spreads, reducing the remainder of their elegant bodies to sinewy designs as she leaves their hands, hair and pouting upper lips untouched. —Vogue
Dissecting fashion's fluff, fabric, and fantasy, Dicke reveals its underlying morbidity. With an X-acto knife as her scalpel, she slices off the flesh and features of slinky models from bus-stop posters and fashion spreads. —D'Amelio Terras
Dicke’s work lands at the intersection of collage, sculpture, feminist intervention, and fashion. Whichever path you take, its instinctual, almost primal qualities assure that it will fascinate. —Bethany Anne Pappalardo
Ana Finel Honigman, “Artists’ Models,” British Vogue, April 1, 2007.
Solve Sundsbo and Amie Dicke, "Something Just Fell Apart," Numero, March 2006.
Carmen Biker, “Der Fluch des Einhorns,” Berliner Zeitung, April 11, 2006.
Andreas Schlaegel, “Amie Dicke,” Der Tagesspiegel, March 25, 2006.
Kate Sennert, "Paper Dolls," V Magazine, Winter 2005.
Bethany Anne Pappalardo, "Amie Dicke," ARTFORUM, Fall 2004.
Ana Finel Honigman, “Amie Dicke: New Season, New Girls, New Look,” Modern Painters, December 1, 2004.
Nick Hackworth, "Skin Deep," Dazed and Confused, October 2004.
First Conversation, Amie Dicke with K. Schippers, Ed. of 30, 2015.
Nabelld (Aferimage), interview with Amie Dicke by Laura Stamps (Curator of Modern and Contemporary Art, Gemeentemuseum Den Haag), 2012.
Right on Time, Flaunt Magazine, no. 97, 2008.
Void, Fully illustrated catalogue, Artimo, 2005.
Amie Dicke: THIS IS ME
This short documentary about artist Amie Dicke takes us on a journey through her studio as she prepares for exhibitions and explains her practice. Driven by the need to grasp and touch images in order to understand them, Dicke’s works raise questions about how we as a society form judgments and make decisions with the eye.