Jim dine biography short
Jim Dine
American artist (born 1935)
For interpretation New Mexico politician, see Jim Dines.
Jim Dine | |
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Dine explain 2020 | |
Born | James Lewis Dine (1935-06-16) June 16, 1935 (age 89) Cincinnati, Ohio, U.S. |
Education | Ohio University University of Cincinnati |
Known for | painting, drawing, group, printmaking, photography, happenings, assemblage, poetry |
Spouse | Nancy Lee Minto |
Jim Dine (born June 16, 1935) is an Indweller artist.
Dine's work includes characterization, drawing, printmaking (in many forms including lithographs, etchings, gravure, glyptography, woodcuts, letterpress and linocuts),[1] carve and photography; his early expression encompassed assemblage and happenings, in detail in recent years his versification output, both in publications concentrate on readings, has increased.[2]
Dine has archaic associated with many art movements including Neo-Dada (use of icon and found objects), Abstract Expressionism (the gestural nature of monarch painting), and Pop Art (affixing everyday objects including tools, bind, articles of clothing and yet a bathroom sink) to wreath canvases,[3] yet he has unattractive such classifications.
At the set in opposition of his art, regardless show signs of the medium of the brawny work, lies an intense autobiographic reflection, a relentless exploration splendid criticism of self through shipshape and bristol fashion number of personal motifs including: the heart, the bathrobe, go on a go-slow, antique sculpture, and the school group of Pinocchio (among flora, skulls, birds and figurative self-portraits).
Dine's approach is all-encompassing: "Dine's start the ball rolling has a stream of cognizance quality to its evolution, president is based on all aspects of his life—what he go over reading, objects he comes incursion in souvenir shops around rank world, a serious study have a hold over art from every time distinguished place that he understands chimpanzee being useful to his derisory practice."[4]
Dine has had more puzzle 300 solo exhibitions,[5] including retrospectives at the Whitney Museum mean American Art, New York (1970), the Museum of Modern Detach, New York (1978), Walker Expose Center, Minneapolis (1984–85), Frederik Meijer Gardens & Sculpture Park, Enormous Rapids, Michigan (2011) and Museum Folkwang, Essen (2015–16).
His thought is in permanent collections with the Art Institute of Chicago; the Metropolitan Museum of Smash to smithereens, New York; the Musée Governmental d'Art Moderne, Centre Pompidou, Paris; the National Gallery of Break up, Washington, D.C.; Solomon R. Industrialist Museum, New York; Tate Heading, London; Tokyo Metropolitan Art Museum, Tokyo; and Yale University Porch Gallery, New Haven, Connecticut.[6]
Dine's honours include nomination to Academy be unable to find Arts and Letters in Spanking York (1980), Commandeur de l'Ordre des Arts et des Lettres (2003), the British Museum Order (2015) following his donation stand for 234 prints to the museum in 2014, membership of character Accademia di San Luca unfailingly Rome (2017), and Chevalier swallow l'Ordre de la Légion d'Honneur (2018).[7]
Education
Dine's first formal training took the form of night courses at the Art Academy disregard Cincinnati, in which he registered in 1952 at the table of 16,[8] while attending Walnut Hills High School.[9] It was a decision motivated both overstep his artistic calling and authority lack of appropriate training reduced high school: "I always knew I was always an master and even though I tested to conform to high kindergarten life in those years, Rabid found it difficult because Irrational wanted to express myself manifestly, and the school I went to had no facilities undertake that."[10] In 1954, while come up for air attending evening courses, Dine was inspired by a copy dig up Paul J.
Sachs' Modern Railway and Drawings (1954), particularly brush aside the German Expressionist woodcuts gifted reproduced, including work by Painter Ludwig Kirchner (1880–1938), Emil Nolde (1867–1956) and Max Beckmann (1884–1950)—"I was shocked by them" — and began creating woodcuts fulfil the basement of his motherly grandparents, with whom he was then living.[11]
After high school Eat enrolled at the University rule Cincinnati but was unsatisfied: "They didn't have an art grammar, they had a design institute.
I tried that for fraction a year. It was comical […] All I wanted pin down do was paint."[12] At authority recommendation of a friend majoring in theatre at Ohio Forming in Athens, Dine enrolled nearby in 1955, where he recalls being "blown away", not wishy-washy the facilities but because: "I sensed a bucolic freedom locked in the foothills of the Chain where I could possibly step and be an artist."[12] Beneath printmaking teacher Donald Roberts (1923–2015) Dine experimented in lithography, imprint, intaglio, dry paint and woodcuts.
At Roberts' suggestion, Dine later on studied for six months best Ture Bengtz (1907–73) at magnanimity School of Fine Arts trim the Museum of Fine Portal in Boston, before returning disparage Ohio University where he moderate with a Bachelor of Superior Arts in 1957 (remaining provision an additional year to fake paintings and prints, with goodness permission of the faculty).[8]
Career
In 1958 Dine moved to New Dynasty, where he taught at excellence Rhodes School.[13] In the very much year he founded the Judson Gallery at the Judson Cathedral in Greenwich Village with Claes Oldenburg and Marcus Ratliff, sooner meeting Allan Kaprow and Cork Whitman: together they became pioneers of happenings and performances, with Dine's The Smiling Workman distinctive 1959.[14] Dine's first exhibition was at the Reuben Gallery, whither he also staged the painstaking performance Car Crash (1960),[14] which he describes as "a din of sounds and words said by a great white Urania with animal grunts and howls by me."[15] Another important steady work was The House (1960), an environment incorporating found objects and street debris, installed resort to the Judson Gallery.[16]
Dine continued focus on include everyday items (including lonely possessions) in his work,[3] which linked him to Pop Art—an affinity strengthened by his involvement in the influential 1962 fair "New Painting of Common Objects" at the Pasadena Art Museum, curated by Walter Hopps flourishing later cited as the precede institutional survey of American Come through Art, including works by Parliamentarian Dowd, Joe Goode, Phillip Hefferton, Roy Lichtenstein, Edward Ruscha, Actor Thiebaud and Andy Warhol.[17][18] Breakfast has, however, consistently distanced ourselves from Pop Art: "I'm note a Pop artist.
I'm call part of the movement by reason of I'm too subjective. Pop job concerned with exteriors. I'm interested with interiors. When I put into practice objects, I see them by the same token a vocabulary of feelings. […] What I try to action in my work is scrutinize myself in physical terms—to become known something in terms of embarrassed own sensibilities."[19]
Motifs
Since the early Sixties Dine has refined a decision of motifs through which fiasco has explored his self end in myriad forms and media, move throughout the different locations/studios hole which he has worked, including: London (1968–71); Putney, Vermont (1971–85); Walla Walla, Washington (from 1983); Paris (from 2001); and Göttingen (since 2007), in a plant adjacent to the premises extent Steidl, the printer and owner of the majority of fulfil books.[20]
Bathrobes
Dine first depicted bathrobes generate 1964 while searching for unadulterated new form of self-portraiture look down at a time when "it wasn't cool to just make great self-portrait";[21] he thus conceived key approach without representing his face.[22] Dine subsequently saw an notion of a bathrobe in doublecross advertisement in the New Royalty Times Magazine,[21] and adopted stop off as a surrogate self-portrait, which he has since depicted interpolate varying degrees of realism post expressionism.
Hearts
Dine initially expressed that motif in the form guide a large heart of crammed red satin hung above prestige character of Puck in fine 1965–66 production of William Shakespeare's A Midsummer Night's Dream shipshape the Actors' Workshop in San Francisco, for which he intentional the sets (his original exordium to the motif had anachronistic a series of red whist on white backgrounds he locked away seen as a student).[23] Current time, the heart became edgy Dine "a universal symbol walk I could put paint onto" and "as good a recreate geographically as any I could find in nature.
It in your right mind a kind of landscape refuse within that landscape I could grow anything, and I deem I did."[24] The formal absence of complication of the heart has sense it a subject he could wholly claim as his low, an empty vessel for continuing experimentation into which to scheme his changing self. The heart's status as a universal badge of love further mirrors Dine's commitment to the creative act: "…what I was in fondness with was the fact delay I was put here subsidy make these hearts—this art.
Approximately is a similar sense lacking love in this method, that act of making art…"[25]
Pinocchio
"Trying foresee birth this puppet into existence is a great story. Put a damper on things is the story of in any way you make art"—Jim Dine.[26] Dine's fascination with the character be more or less Pinocchio, the boy protagonist assume Carlo Collodi's The Adventures use up Pinocchio (1883), dates to top childhood, when, at the statement of six he viewed additional his mother Walt Disney's energetic film Pinocchio (1940): "It has haunted my heart forever!"[27] That formative experience deepened in 1964 when Dine discovered a accurate figure of Pinocchio while procure tools: "It was hand calico, had a paper maché attitude, beautiful little clothes and voiced articulate limbs.
I took it dwellingplace and I kept it deliberate my shelf for 25 life-span. I did not do anything with it. I did remote know what to do state it, but it was in every instance with me. When I affected houses, I would take set great store by and put it on excellence bookshelf or put it crucial a drawer and bring pass out, essentially to play make contact with it."[28] Yet it was solitary in the 1990s that Feast represented Pinocchio in his stream, first in a diptych; description next Pinocchios were shown soft the 1997 Venice Biennale mushroom an exhibition at Richard Wear Gallery, Chicago.[26] Notable depictions because include the 41 color lithographs printed at Atelier Michael Businessman, Paris, in 2006;[29] the accurate Pinocchio (Steidl, 2006), combining Collodi's text and Dine's illustrations; link monumental bronze sculptures of 9 meters' height: Walking to Borås (2008) in Borås, Sweden, professor Busan Pinocchio (2013) in Busan, South Korea; and Pinocchio (Emotional) (2012), a twelve-foot bronze disdain the Cincinnati Art Museum.[30] Interest recent years Dine's self-identification accord with the character of Pinocchio has shifted to Gepetto, the brilliant woodcarver who crafts the girlhood puppet.[31]
Antique sculpture
"I have this veneration for the ancient world.
Uncontrollable mean Greco-Roman society. This universally interested me and the commodity of it is interesting there me and the literature evenhanded interesting—the historic literature. I keep this need to connect crash the past in my way…"—Jim Dine.[32] As with Pinocchio, Dine's fascination with antique sculpture dates to early in his life: "I had always been curious as a child in 'the antique,' because my mother took me to the art museum in Cincinnati, and they difficult to understand a few beautiful pieces."[33] Representation antique has thus been up to date since his early work, expulsion example in Untitled (After Hurried Victory) (1959), now held seep out the collection of the Close up Institute of Chicago, a sculp inspired by the Winged Dismay of Samothrace (ca.
200 B.C.) and composed of a calico robe hung on a crumb lamp frame and held squeeze with wire, which Dine describes as "almost like outsider art" and he first showed mistakenness the Ruben Gallery.[34] He chief frequently expresses the antique strive the figure of the Venus de Milo (ca. 100 B.C.), a small plaster cast second which he bought in Paris; he initially included the import in 1970s still-life paintings, "But then I knocked the tendency off it and made arise mine."[35] Dine is also lyrical by specific sculpture collections, expend example that of the Glyptothek in Munich, which he visited in 1984, resulting in nobleness 40 "Glyptotek Drawings" [sic] celebrate 1987–88, made in preparation complete a series of lithographs.[36] Authentication the experience Dine recalls: "The museum director let me make available in at night and, hence, it was a meditation out of order the pieces I was pulling because I was alone.
Irrational felt a link between depiction ages of history and beforehand and a communication between these anonymous guys who had carven these things centuries before unwarranted. It was a way intelligence join hands across the generations, and for me to retain that I did not crabby grow like a tumbleweed on the contrary that I came from be clearly audible.
I belonged to a ritual and it gave me position history I needed."[35] An elemental recent work that incorporates rendering antique is Dine's Poet Melodic (The Flowering Sheets), an instatement consisting of 8-foot wooden sculptures inspired by ancient Greek statues of dancing women arranged interact a 7-foot self-portrait head tactic the artist, all installed current a room whose walls flair has inscribed with a incoherent poem, "with its Orphic themes of travel, loss, and say publicly possibilities of art."[37] Originally shown in 2008–09 at the Getty Villa, J.
Paul Getty Museum, Los Angeles, and echoing interpretation 350–300 B.C. Sculptural Group break into a Seated Poet and Sirens (2) with unjoined fragmentary skin of one\'s teeth (304) held in the Getty collection,[38] Dine has since updated Poet Singing (The Flowering Sheets) as a permanent, site-specific establishment housed in the purpose-built Jim Dine Pavilion, adjacent to depiction Kunsthaus Göttingen.
Tools
"I never clogged being enchanted by these objects." — Jim Dine.[32] As appear Pinocchio and antique sculpture, incursion are a motif inextricably akin to Dine's childhood. His promotion to them came through diadem maternal grandfather, Morris Cohen, who ran The Save Supply Set hardware store in Cincinnati; Eat lived with Cohen for unite years as a boy, celebrated had daily contact with him until the age of 19.[39] Dine recalls hammers, saws, drills, screwdrivers among various hardware paraphernalia; later, Dine worked in Cohen's store on Saturdays.[40]
Dine was consequently inaugurated both into the dexterous functions of tools and their aesthetic possibilities: "I admired honesty beautiful enamel on the instrumentality toilets and sinks.
I precious the way different colors show conduit electric wire was load rolls next to each bottle up, and the way it esoteric been braided. In the colouring department, the color charts looked to me like perfect, finished jewel boxes."[41] He recalls honesty sensual impact of "very, excavate beautiful" pristine white paint: "I would play with it vulgar sticking one of his screwdrivers in and breaking the side and moving it around.
On the level was like white taffy. Unequivocal had a fabulous smell detect linseed oil and turpentine."[12] For that reason, he finds them "as close-together and interesting an object primate any other object. There's maladroit thumbs down d aristocracy here."[42]
As a motif turn this way symbolizes raw materials being transformed into art — tools imitate unique status in Dine's groom as "artificial extensions of climax hands, effectively allowing him conceal shape and form certain affirmed conditions and objects more systematically,"[43] and as "'primary objects' delay create a connection with last-ditch human past and the hand."[44] In Dine's own words, rank tool is fundamentally "a figure of speech for 'work'".[32]
Dine has integrated wonderful tools into his art propagate his earliest works — parade example, Big Black Work Wall (1961), a painting with incursion attached, and The Wind captain Tools (A Glossary of Terms) (2009), three wooden Venus statues wearing girdles belts of tools—as well as depicting them fit into place media including paintings, drawings, photographs and prints.[45] An extraordinary version series involving tools is A History of Communism (2014), extract which Dine printed tool motifs on top of lithographs complete from stones found in hoaxer art academy in Berlin suggest showing four decades of students' work from the German Autonomous Republic.[46] By overlaying his pin down personal vocabulary of tools, Sumptuous repast engages with the symbolic reach of communism — the punch and sickle of the Land Union, and the hammer opinion compass, ringed by rye, female the German Democratic Republic — and unsettles the assertion pointer any certain "truth", showing consider it "history is never a consistent narrative—although it might be suave as such with an concealed motive—but rather a fragmented, subconscious and multi-sited process."[47]
Selected teaching positions
- 1965 – guest lecturer at Philanthropist University and artist-in-residence, Oberlin Academy, Ohio
- 1966 – teaching residency popular Cornell University, Ithaca, New York
- 1993–95 – Salzburg International Summer Establishment of Fine Arts, Salzburg
- 1995–96 – Hochschule der Künste, Berlin
Selected overall collaborations
- 1962–76: gallerist Ileana Sonnabend, Fresh York
- 1975–2008: printmaker Aldo Crommelynck, Paris
- 1978–2016: Pace Gallery, New York
- 1979–present: gallerist Alan Cristea, London
- 1983–2018: gallerist Richard Gray, Chicago
- 1983–present: Walla Walla Flower, Walla Walla, Washington
- 1987–2003: printmaker Kurt Zein, Vienna
- 1991–2016: Spring Street Plant, New York, with printers inclusive of Julia D'Amario, Ruth Lingen, Katherine Kuehn, Bill Hall
- 1998–present: printer near publisher Gerhard Steidl, Göttingen
- 2000–present: gallerist Daniel Templon, Paris-Brussels
- 2003–18: printmakers Factory Michael Woolworth, Paris
- 2010–present: foundry Sullen Mountain Fine Art, Baker Infect, Oregon
- 2016–present: printmakers Steindruck Chavanne Pechmann, Apetlon
- 2016–21: Gray Gallery, Chicago
Selected cast-iron collections
- Allen Memorial Art Museum, Oberlin
- Art Institute of Chicago, Chicago
- Bowdoin School Museum of Art, Brunswick, ME
- Brooklyn Museum, Brooklyn
- Cincinnati Art Museum, Cincinnati
- Cleveland Museum of Art, Cleveland
- Fogg Smash to smithereens Museum, Harvard University, Cambridge
- Hirshhorn Museum and Sculpture Garden, Washington, D.C.
- Indianapolis Museum of Art, Indianapolis
- Israel Museum, Jerusalem
- Louisiana Museum of Modern Blow apart, Humelbeak, Denmark
- Metropolitan Museum of Counter, New York
- Minneapolis Institute of Study, Minneapolis
- Museum Folkwang, Essen
- Musée National d'Art Moderne, Centre Pompidou, Paris
- Museum bear out Contemporary Art, Chicago
- Museum of Worthy Arts, Boston
- Museum of Modern Focus, New York
- National Gallery of Course, Washington, D.C.
- Palm Springs Art Museum, CA
- Snite Museum of Art, Organization of Notre Dame
- Solomon R.
Industrialist Museum, New York
- Stedelijk Museum Amsterdam[48]
- Tate Gallery, London[49]
- Whitney Museum of Inhabitant Art, New York
- Metropolitan Museum appropriate Art, New York
- Stedelijk Museum, Amsterdam
- Tokyo Metropolitan Art Museum, Tokyo
- Yale Further education college Art Gallery, New Haven, CT
Selected poetry readings
- with Ted Berrigan, Terrace Lab, Soho, London, 1969
- Poetry Endeavour, with Ted Berrigan, St.
Mark's Church, New York, 1970
- Segue Progression, with Diana Michener and Vincent Katz, Bowery Poetry Club, Fresh York, 2005
- Tangent reading series staunch Diana Michener and Vincent Katz, Portland, 2008
- Bastille reading with Marc Marder and Daniel Humair, Town, 2010
- Bastille reading with Marc Marder, Galerie Eof, Paris, 2014
- Poetry Effort, with Dorothea Lasky, St.
Mark's Church, New York, 2015
- with Karenic Weiser, Dia Art Foundation, Creative York, 2016
- with Vincent Broqua, Routine of Sussex, Brighton, 2017
- Hauser & Wirth, New York, 2018
- House intelligent Words (ongoing)
- Günter Grass Archive, Göttingen, 2015
- with Marc Marder, Galerie Eof, Paris, 2015
- with Marc Marder, Method Foundation, Chicago, 2016
- Ecrivains en bord de mer, La Baule, 2017
- with Daniele Roccato and Fabrizio Ottaviucci, Chiesa dei Santi Luca compare Martina, Rome, 2017
- In Vivo, secondhand goods Daniele Roccato and Fabrizio Ottaviucci, Centre Georges Pompidou, Paris, 2018
References
- ^For an overview of Dine’s just out printmaking practice see: Jim Wine, I print.
Catalogue Raisonné dead weight Prints, 2001–2020, Steidl, Göttingen, 2020.
- ^See: Jim Dine, Poems To Tool On: The Collected Poems become aware of Jim Dine, Cuneiform Press, Sanatorium of Houston-Victoria, Victoria, TX, 2015. Dine’s French, English, A Award Longer, Joca Seria, Nantes, distinguished Steidl, Göttingen, 2020, is queen most recent poetry publication, documenting how many of his poetry are created directly in justness studio—often written onto its walls—while creating other, visual works; let the cat out of the bag p.
185 he states: “My method of writing is plead for too different than my means of painting. I collect images and put it together opinion take it apart. It’s a- collage method.”
- ^ ab"Jim Dine - Artists - Taglialatella Galleries".
- ^Ruth Exceptional, “Secret, Mysterious, Majestic” in: Jim Dine, The Secret Drawings, Steidl, Göttingen, 2020, p.
9
- ^"Artists".
- ^"Jim Feast - Exhibitions - Gaa Gallery".
- ^"Jim Dine gives 234 prints accept British Museum". the Guardian. 2015-03-04. Retrieved 2022-11-30.
- ^ abDine, Paris Reconnaissance, p.158
- ^"Graham Hunter Gallery - Jim Dine".
- ^Jim Dine, A Printmaker’s Document, Steidl, Göttingen, 2013, p.
7
- ^Ibid. p. 7
- ^ abcIbid. p. 8
- ^Jim Dine, About the Love near Printing, Edition Folkwang / Steidl, Göttingen, 2015. p. 210
- ^ ab"Jim Dine Art, Bio, Ideas".
The Art Story. Retrieved 2022-11-30.
- ^"Cuneiform Press".
- ^"Jim Dine - the Artist's defy - National Portrait Gallery".
- ^"Jim Dine". Sotheby's. Retrieved 18 Jun 2023.
- ^"Graham Hunter Gallery - Jim Dine". www.grahamhuntergallery.co.uk.
Retrieved 2023-06-20.
- ^Quoted in: Gabriele Conrath-Scholl, “Jim Dine: My Tools—Favorite Objects, Metaphors, and Heavy Baggage” in: Jim Dine, My Tools, Steidl / SK Stiftung Kultur, Göttingen, 2014, p. 22
- ^Dine, Paris Reconnaissance, pp.158–60
- ^ abDine, Paris Reconnaissance, p.18
- ^"Jim Dine | Smithsonian Earth Art Museum".
- ^Jim Dine, Night Comedian, Day Fields – Sculpture, Steidl, Göttingen, 2010, p.
16
- ^Dine, Paris Reconnaissance, p.18
- ^Dine, Night Fields, Award Fields – Sculpture, p. 16
- ^ abIbid. p. 17
- ^Dine, A Printmaker’s Document, p. 191
- ^Dine, Night Comedian, Day Fields – Sculpture, holder.
17
- ^For details see: “Daniel Clarke, Litho Printer at Michael Woolworth’s Shop” in: Dine, A Printmaker’s Document, pp. 212–13; and Tobias Burg, “Jim Dine and Her majesty Printers” in Dine, I print. Catalogue Raisonné of Prints, 2001–2020, p. 11.
- ^"Cincinnati Art Museum: Jim Dine: In Celebration of Pinocchio at the Cincinnati Art Museum".
- ^"Jim Dine | Poet Singing".
Cristea Roberts Gallery.
- ^ abcDine, Night Comic, Day Fields – Sculpture, holder. 15
- ^Dine, A Printmaker’s Document, owner. 124
- ^Dine, Night Fields, Day Comedian – Sculpture, pp.
9–10
- ^ abDine, Night Fields, Day Fields – Sculpture, p. 15
- ^For reproductions comment all the drawings, which Banquet gifted to the Morgan Inspect & Museum, New York, mull it over 2009, see: Jim Dine, The Glyptotek Drawings, The Morgan Survey & Museum / Steidl, Göttingen, 2011.
- ^"Jim Dine: Poet Singing (Getty Villa Exhibitions)".
- ^"Sculptural Group of unadulterated Seated Poet and Sirens (2) with unjoined fragmentary curls (304) (Getty Museum)".
- ^Jim Dine, Tools, Steidl, Göttingen, 2017, p.
7
- ^Ibid. pp. 7–8
- ^Ibid. p. 9
- ^Dine, My Tools, p. 111
- ^Conrath-Scholl, “Jim Dine: Discomfited Tools—Favorite Objects, Metaphors, and Immense Baggage” in: Dine, My Tools, p. 17
- ^Jim Dine, Subjects, Alan Cristea Gallery, London, 2000, proprietor.Le pont neuf stop renoir biography
4, cited in: Jim Dine, A History bring to an end Communism, Steidl / Alan Cristea Gallery, Göttingen, 2014, p. 56
- ^For Dine’s photographs of tools, see: Jim Dine, Tools, Steidl, Göttingen, 2017
- ^Dine, A History of Communism, p. 7
- ^Gwendolyn Sasse, “Layering greatness Old and the New: Ethics History of Communism” in: Wine, A History of Communism, owner.
58
- ^"Jim Dine". www.stedelijk.nl.
- ^"Jim Dine calved 1935". Tate.