Centerfield | “Multiple Possibilities” with Dan Devening on Art:21 blog

January 25, 2011 · Print This Article

Our latest “Centerfield” column is now up on Art21 blog. This week, I talked to Chicago artist/educator/gallerist Dan Devening of devening projects + editions. In particular, I wanted to learn more about the editions side of Dan’s project, because I often feel that artists’ multiples gets short shrift when it comes to contemporary art discourse. Devening Projects will be opening a new exhibition of artist’s multiples on January 30th alongside a new “Kabinett” exhibition featuring works by Andreas Fischer and Melissa Pokorny. An excerpt from the Art:21 interview is below; please click on over to Art:21 to read the full piece! Also, the Art:21 interview is excerpted from a much lengthier transcript. We’ll be posting the full exchange with Dan Devening here on the blog tomorrow.

Claudine Ise: Can you take us through the process – both the creative and production sides—of creating an edition/multiple?

Dan Devening: In most cases, when I propose the publication of an edition with an artist, I’ll show them a bunch of examples of recent work and use those examples to open a door to what’s possible within the project. Mostly, I’m hoping that they’ll take up the challenge and approach the process as an experience that can expose their practice to something new. Because there is the necessity that the work be an edition, the requirement that there be multiple copies of the work sets up a nice set of parameters. The artist may have some ideas about how they might proceed and if that’s the case, we’ll start talking about production methods or options. The great thing about doing editions with artists is that they’re artists; they’re trained to be creative problem solvers, so I’ve never been disappointed with the editions that have come out of these conversations. For example, a recent piece from Nathaniel Robinson called Dreg is a resin-cast styrofoam cup. It’s a one-to-one replica of the real thing—including teeth marks near the rim—that also includes a set of greasy fingerprints on the inside of the cup. I don’t know how Nathaniel made this edition of three and I don’t think I ever want to know. The mystery of this modest little object is its beauty. My only fear with Dreg is that someone will mistakenly throw it in the trash. (Read  more).

Nathaniel Robinson, “Dreg.” Pigmented polyurethane resin, acrylic paint.