of sculptural works in wood, antler, horn, and
ivory; pottery; textiles; an impressive concentration
122
of basketry; and an expansive grouping of
beaded and quilled regalia. Most were produced
against the backdrop of Euro-American colonization
in the 1700s, 1800s, and early 1900s,
and they express both the complexity, vibrancy,
and variation of historical Native life and the
dynamics of encounter.
In addition to their broad collection of singular
works, the Dikers have assembled concentrations
in a number of genres. Their collection of
contemporary Native American dolls has been
featured at the Denver Art Museum, the Montclair
Art Museum, and the National Museum of
the American Indian. They have also acquired
a group of objects by contemporary Northwest
Coast glass artist Preston Singletary.
A large and important collection of paintings
and drawings by a group of American artists
known as the Indian Space Painters from the
late 1930s and 1940s is also signifi cant, and it
is with these works that the historical Native
American objects in the apartment perhaps resonate
most fully. The Space Painters sought to
expand the visual language of European abstraction
to encompass an emotional dimension, and
they were drawn to Native American forms as
a source of inspiration. They were particularly
interested in the forms of the Northwest Coast,
which are rooted in the convergence of image,
symbol, and myth.
The Dikers maintain they are drawn to Native
American works principally from an aesthetic
viewpoint, informed by the same sensibilities and
criteria they would bring to a European or American
abstract painting or sculpture. Although
they are aware of the deep cultural meanings and
historical signifi cance inherent in many Native
works, their primary criterion in selecting pieces
is aesthetic merit—the related aspects of technical
quality, formal organization, and expressive
power. As collectors, they seek advice and opinions
from knowledgeable dealers, other collectors,
auction houses, and scholars. In contrast to
those collectors who rely on one or two dealers
exclusively, the Dikers have worked with many
over time, but there is no question that several
of their fi nest works came from George Terasaki,
Donald Ellis, and Gene Quintana. They have
also purchased actively from auctions, and they
follow their own inclinations and vision when it
comes to acquisitions.
During their early years of collecting modern
American and European works, the Dikers
were introduced by a friend to Pre-Columbian
art. They were struck by the sophistication of
abstraction found in so many of the traditions;
indeed, it helped them see European and American
painting and sculpture with a renewed and
nuanced appreciation. It was also a transitional
moment: With their fi rst purchase, they ventured
into a world of collecting where the artist was
unknown and one had to assess the work on its
own merit in comparison with others of its kind.
As Chuck has said, “We were collecting a culture,
not a name.” The initial interest in Pre-Columbian
works soon gave way to the art of indigenous
North America, which felt more personally relevant
since they live in the United States.
In 1972, Chuck and Val visited Santa Fe—the
fi rst of many trips to the region—and during
that trip they acquired their fi rst piece of Native
American art. For a number of years, they
owned a home in the community, and they
still attend Indian Market and the antique Indian
expos every year in August. In her essay
in First American Art, Margaret Dubin cites an
Apache basketry jar, purchased from a gallery
in Taos, as the couple’s fi rst acquisition; today,
Val recalls that it may have been, instead, the
“pumpkin” pot—the Acoma jar featured on the
cover of Frank and Harlow’s groundbreaking
publication, Historic Pottery of the Pueblo Indians:
1600–1880. Perhaps the two works were
acquired on the same trip. In any event, an immersion
into California basketry followed these
fi rst acquisitions, including the purchases of a
major piece by Louisa Keyser (fi g. 13) and an
extremely rare Chumash “coin” basket (fi g. 11).
Gradually the collection expanded into all regions,
including top examples of most of the signifi
cant artistic forms of expression.
The Dikers have become widely known in the
fi eld over the years for the depth and quality
of their aesthetic vision. They fi nd great fulfi lment
in sharing the collection with others and
are deeply committed to its educational value.
They are dedicated philanthropists who believe
that great works of art should be available to
FIG. 5 (above):
Atlatl. Alutiiq or Sugpiaq,
Kodiak Island, Alaska.
C. 1750–1780.
Wood, walrus ivory. H: 48.9 cm.
On loan from the Charles and Valerie
Diker Collection. Photo courtesy of
the Metropolitan Museum of Art.
TRIBAL PEOPLE