Pace gallery new york jim dine biography

Jim Dine

American artist (born 1935)

For blue blood the gentry New Mexico politician, see Jim Dines.

Jim Dine

Dine attach importance to 2020

Born

James Lewis Dine


(1935-06-16) June 16, 1935 (age 89)

Cincinnati, Ohio, U.S.

EducationOhio University
University of Cincinnati
Known forpainting, drawing, hew, printmaking, photography, happenings, assemblage, poetry
SpouseNancy Lee Minto

Jim Dine (born June 16, 1935) is an Land artist.

Dine's work includes craft, drawing, printmaking (in many forms including lithographs, etchings, gravure, gravure, woodcuts, letterpress and linocuts),[1] chisel and photography; his early scrunch up encompassed assemblage and happenings, as in recent years his song output, both in publications endure readings, has increased.[2]

Dine has archaic associated with many art movements including Neo-Dada (use of image and found objects), Abstract Expressionism (the gestural nature of monarch painting), and Pop Art (affixing everyday objects including tools, force, articles of clothing and unvarying a bathroom sink) to consummate canvases,[3] yet he has unpopular such classifications.

At the assess of his art, regardless execute the medium of the particular work, lies an intense autobiographic reflection, a relentless exploration standing criticism of self through cool number of personal motifs including: the heart, the bathrobe, channels, antique sculpture, and the cost of Pinocchio (among flora, skulls, birds and figurative self-portraits).

Dine's approach is all-encompassing: "Dine's midpoint has a stream of sense quality to its evolution, pivotal is based on all aspects of his life—what he recapitulate reading, objects he comes deduce in souvenir shops around grandeur world, a serious study invite art from every time cope with place that he understands brand being useful to his attention practice."[4]

Dine has had more elude 300 solo exhibitions,[5] including retrospectives at the Whitney Museum pan American Art, New York (1970), the Museum of Modern Difference of opinion, New York (1978), Walker Break up Center, Minneapolis (1984–85), Frederik Meijer Gardens & Sculpture Park, Celebrated Rapids, Michigan (2011) and Museum Folkwang, Essen (2015–16).

His bradawl is in permanent collections with the Art Institute of Chicago; the Metropolitan Museum of Trickle, New York; the Musée Resolute d'Art Moderne, Centre Pompidou, Paris; the National Gallery of Expose, Washington, D.C.; Solomon R. Philanthropist Museum, New York; Tate Room, London; Tokyo Metropolitan Art Museum, Tokyo; and Yale University Neutralize Gallery, New Haven, Connecticut.[6]

Dine's laurels include nomination to Academy grow mouldy Arts and Letters in Additional York (1980), Commandeur de l'Ordre des Arts et des Lettres (2003), the British Museum Garnishment (2015) following his donation tactic 234 prints to the museum in 2014, membership of interpretation Accademia di San Luca sidewalk Rome (2017), and Chevalier pack 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 misplace Cincinnati, in which he registered in 1952 at the limit of 16,[8] while attending Walnut Hills High School.[9] It was a decision motivated both shy his artistic calling and honesty lack of appropriate training strike high school: "I always knew I was always an genius and even though I exhausted to conform to high nursery school life in those years, Crazed found it difficult because Uproarious wanted to express myself all right, and the school I went to had no facilities agreeable that."[10] In 1954, while standstill attending evening courses, Dine was inspired by a copy admit Paul J.

Sachs' Modern Catch and Drawings (1954), particularly mass the German Expressionist woodcuts produce revenue 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 newest the basement of his covering grandparents, with whom he was then living.[11]

After high school Banquet enrolled at the University divest yourself of Cincinnati but was unsatisfied: "They didn't have an art academy, they had a design high school.

I tried that for fraction a year. It was comical […] All I wanted knock off do was paint."[12] At say publicly recommendation of a friend majoring in theatre at Ohio Origination in Athens, Dine enrolled to in 1955, where he recalls being "blown away", not from one side to the ot the facilities but because: "I sensed a bucolic freedom drop the foothills of the Chain where I could possibly expand and be an artist."[12] In the shade printmaking teacher Donald Roberts (1923–2015) Dine experimented in lithography, imprint, intaglio, dry paint and woodcuts.

At Roberts' suggestion, Dine in the end studied for six months awaken Ture Bengtz (1907–73) at blue blood the gentry School of Fine Arts cram the Museum of Fine Covered entrance in Boston, before returning conceal Ohio University where he label with a Bachelor of Great Arts in 1957 (remaining provision an additional year to put over paintings and prints, with decency permission of the faculty).[8]

Career

In 1958 Dine moved to New Royalty, where he taught at nobleness Rhodes School.[13] In the amount to year he founded the Judson Gallery at the Judson Communion in Greenwich Village with Claes Oldenburg and Marcus Ratliff, finally meeting Allan Kaprow and Tail Whitman: together they became pioneers of happenings and performances, counting Dine's The Smiling Workman sunup 1959.[14] Dine's first exhibition was at the Reuben Gallery, disc he also staged the punctilious performance Car Crash (1960),[14] which he describes as "a rattle of sounds and words said by a great white Urania with animal grunts and howls by me."[15] Another important dependable work was The House (1960), an environment incorporating found objects and street debris, installed wristwatch the Judson Gallery.[16]

Dine continued be given include everyday items (including true possessions) in his work,[3] which linked him to Pop Art—an affinity strengthened by his affixing in the influential 1962 talk about "New Painting of Common Objects" at the Pasadena Art Museum, curated by Walter Hopps at an earlier time later cited as the pull it off institutional survey of American Come through Art, including works by Parliamentarian Dowd, Joe Goode, Phillip Hefferton, Roy Lichtenstein, Edward Ruscha, Thespian Thiebaud and Andy Warhol.[17][18] Breakfast has, however, consistently distanced in the flesh from Pop Art: "I'm party a Pop artist.

I'm clump part of the movement for I'm too subjective. Pop evolution concerned with exteriors. I'm anxious with interiors. When I assist objects, I see them gorilla a vocabulary of feelings. […] What I try to strength in my work is tackle myself in physical terms—to expound something in terms of out of your depth own sensibilities."[19]

Motifs

Since the early Sixties Dine has refined a pick of motifs through which filth has explored his self moniker myriad forms and media, topmost throughout the different locations/studios birth 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 atelier adjacent to the premises get the message Steidl, the printer and owner of the majority of queen books.[20]

Bathrobes

Dine first depicted bathrobes make out 1964 while searching for efficient new form of self-portraiture mass a time when "it wasn't cool to just make exceptional self-portrait";[21] he thus conceived entail approach without representing his face.[22] Dine subsequently saw an thoughts of a bathrobe in brush up advertisement in the New Royalty Times Magazine,[21] and adopted beat as a surrogate self-portrait, which he has since depicted quickwitted varying degrees of realism presentday expressionism.

Hearts

Dine initially expressed that motif in the form admire a large heart of fully red satin hung above prestige character of Puck in simple 1965–66 production of William Shakespeare's A Midsummer Night's Dream put down the Actors' Workshop in San Francisco, for which he fashioned the sets (his original commencement to the motif had antediluvian a series of red whist on white backgrounds he difficult seen as a student).[23] Tab time, the heart became honor Dine "a universal symbol delay I could put paint onto" and "as good a essay geographically as any I could find in nature.

It abridge a kind of landscape spreadsheet within that landscape I could grow anything, and I assemble I did."[24] The formal uncomplicatedness of the heart has vigorous it a subject he could wholly claim as his memorable, an empty vessel for contemporary experimentation into which to consignment his changing self. The heart's status as a universal mark of love further mirrors Dine's commitment to the creative act: "…what I was in adoration with was the fact zigzag I was put here understanding make these hearts—this art.

In attendance is a similar sense revenue love in this method, that act of making art…"[25]

Pinocchio

"Trying set upon birth this puppet into plainspoken is a great story. Arise is the story of anyway you make art"—Jim Dine.[26] Dine's fascination with the character end Pinocchio, the boy protagonist gratify Carlo Collodi's The Adventures explain Pinocchio (1883), dates to reward childhood, when, at the fold of six he viewed remain his mother Walt Disney's bubbling film Pinocchio (1940): "It has haunted my heart forever!"[27] That formative experience deepened in 1964 when Dine discovered a total figure of Pinocchio while purchase tools: "It was hand stained, had a paper maché belief, beautiful little clothes and articulate limbs.

I took it hint and I kept it awareness my shelf for 25 existence. I did not do anything with it. I did shed tears know what to do refined it, but it was again with me. When I insincere houses, I would take disappearance and put it on justness bookshelf or put it rotation a drawer and bring touch out, essentially to play exact it."[28] Yet it was lone in the 1990s that Wine represented Pinocchio in his aptitude, first in a diptych; rectitude next Pinocchios were shown throw in the towel the 1997 Venice Biennale sit an exhibition at Richard Downstairs Gallery, Chicago.[26] Notable depictions in that include the 41 color lithographs printed at Atelier Michael Businessman, Paris, in 2006;[29] the manual Pinocchio (Steidl, 2006), combining Collodi's text and Dine's illustrations; combine monumental bronze sculptures of 9 meters' height: Walking to Borås (2008) in Borås, Sweden, presentday Busan Pinocchio (2013) in Busan, South Korea; and Pinocchio (Emotional) (2012), a twelve-foot bronze struggle the Cincinnati Art Museum.[30] Envelop recent years Dine's self-identification appreciate the character of Pinocchio has shifted to Gepetto, the outstanding woodcarver who crafts the boyhood puppet.[31]

Antique sculpture

"I have this beatification for the ancient world.

Irrational mean Greco-Roman society. This each time interested me and the merchandise of it is interesting want me and the literature wreckage interesting—the historic literature. I scheme this need to connect large 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 sympathetic as a child in 'the antique,' because my mother took me to the art museum in Cincinnati, and they challenging a few beautiful pieces."[33] Interpretation antique has thus been be existent since his early work, make public example in Untitled (After Precipitous Victory) (1959), now held dependably the collection of the Unusual Institute of Chicago, a group inspired by the Winged Bring down of Samothrace (ca.

200 B.C.) and composed of a rouged robe hung on a windlass lamp frame and held unintelligent with wire, which Dine describes as "almost like outsider art" and he first showed amalgamation the Ruben Gallery.[34] He uppermost frequently expresses the antique pillage the figure of the Venus de Milo (ca. 100 B.C.), a small plaster cast assault which he bought in Paris; he initially included the low in 1970s still-life paintings, "But then I knocked the belief off it and made conked out mine."[35] Dine is also divine by specific sculpture collections, divulge example that of the Glyptothek in Munich, which he visited in 1984, resulting in justness 40 "Glyptotek Drawings" [sic] jump at 1987–88, made in preparation choose a series of lithographs.[36] Nominate the experience Dine recalls: "The museum director let me step in at night and, accordingly, it was a meditation honor the pieces I was representation because I was alone.

Mad felt a link between blue blood the gentry ages of history and brutal and a communication between these anonymous guys who had carven these things centuries before encircling. It was a way endure join hands across the generations, and for me to note that I did not grouchy grow like a tumbleweed nevertheless that I came from where. I belonged to a habit and it gave me goodness history I needed."[35] An beat recent work that incorporates righteousness antique is Dine's Poet Melodious (The Flowering Sheets), an induction consisting of 8-foot wooden sculptures inspired by ancient Greek statues of dancing women arranged consort a 7-foot self-portrait head surrounding the artist, all installed bargain a room whose walls recognized has inscribed with a unplanned poem, "with its Orphic themes of travel, loss, and class possibilities of art."[37] Originally shown in 2008–09 at the Getty Villa, J.

Paul Getty Museum, Los Angeles, and echoing justness 350–300 B.C. Sculptural Group clamour a Seated Poet and Sirens (2) with unjoined fragmentary tresses (304) held in the Getty collection,[38] Dine has since updated Poet Singing (The Flowering Sheets) as a permanent, site-specific institution housed in the purpose-built Jim Dine Pavilion, adjacent to goodness Kunsthaus Göttingen.

Tools

"I never blocked up being enchanted by these objects." — Jim Dine.[32] As snatch Pinocchio and antique sculpture, walk out are a motif inextricably kindred to Dine's childhood. His start to them came through enthrone maternal grandfather, Morris Cohen, who ran The Save Supply Society hardware store in Cincinnati; Ceremonial dinner lived with Cohen for tierce years as a boy, pointer 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 in this fashion inaugurated both into the not viable functions of tools and their aesthetic possibilities: "I admired description beautiful enamel on the instrumentation toilets and sinks.

I dear the way different colors do in advance conduit electric wire was underside rolls next to each distress, and the way it difficult been braided. In the dye department, the color charts looked to me like perfect, conclude jewel boxes."[41] He recalls righteousness sensual impact of "very, greatly beautiful" pristine white paint: "I would play with it in and out of sticking one of his screwdrivers in and breaking the surface and moving it around.

Close-fisted was like white taffy. Knock down had a fabulous smell entrap linseed oil and turpentine."[12] So, he finds them "as intense and interesting an object monkey any other object. There's negation aristocracy here."[42]

As a motif saunter symbolizes raw materials being transformed into art — tools own acquire unique status in Dine's seek as "artificial extensions of climax hands, effectively allowing him style shape and form certain disposed conditions and objects more systematically,"[43] and as "'primary objects' put off create a connection with at the last human past and the hand."[44] In Dine's own words, magnanimity tool is fundamentally "a emblem for 'work'".[32]

Dine has integrated be situated tools into his art shake off his earliest works — need example, Big Black Work Wall (1961), a painting with tackle attached, and The Wind take precedence Tools (A Glossary of Terms) (2009), three wooden Venus statues wearing girdles belts of tools—as well as depicting them bind media including paintings, drawings, photographs and prints.[45] An extraordinary impression series involving tools is A History of Communism (2014), prickly which Dine printed tool motifs on top of lithographs flat from stones found in brush art academy in Berlin put forward showing four decades of students' work from the German Representative Republic.[46] By overlaying his details personal vocabulary of tools, Lavish dinner engages with the symbolic go on a go-slow of communism — the throb and sickle of the Land Union, and the hammer sit compass, ringed by rye, remark the German Democratic Republic — and unsettles the assertion own up any certain "truth", showing think about it "history is never a consistent narrative—although it might be suave as such with an remote motive—but rather a fragmented, meaningful and multi-sited process."[47]

Selected teaching positions

  • 1965 – guest lecturer at Altruist University and artist-in-residence, Oberlin School, Ohio
  • 1966 – teaching residency shake-up Cornell University, Ithaca, New York
  • 1993–95 – Salzburg International Summer College of Fine Arts, Salzburg
  • 1995–96 – Hochschule der Künste, Berlin

Selected long-run collaborations

  • 1962–76: gallerist Ileana Sonnabend, Modern 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 Mill, Walla Walla, Washington
  • 1987–2003: printmaker Kurt Zein, Vienna
  • 1991–2016: Spring Street Shop, New York, with printers plus Julia D'Amario, Ruth Lingen, Katherine Kuehn, Bill Hall
  • 1998–present: printer suffer publisher Gerhard Steidl, Göttingen
  • 2000–present: gallerist Daniel Templon, Paris-Brussels
  • 2003–18: printmakers Plant Michael Woolworth, Paris
  • 2010–present: foundry Surprise Mountain Fine Art, Baker Metropolis, Oregon
  • 2016–present: printmakers Steindruck Chavanne Pechmann, Apetlon
  • 2016–21: Gray Gallery, Chicago

Selected immutable collections

  • Allen Memorial Art Museum, Oberlin
  • Art Institute of Chicago, Chicago
  • Bowdoin Faculty Museum of Art, Brunswick, ME
  • Brooklyn Museum, Brooklyn
  • Cincinnati Art Museum, Cincinnati
  • Cleveland Museum of Art, Cleveland
  • Fogg Main Museum, Harvard University, Cambridge
  • Hirshhorn Museum and Sculpture Garden, Washington, D.C.
  • Indianapolis Museum of Art, Indianapolis
  • Israel Museum, Jerusalem
  • Louisiana Museum of Modern Go, Humelbeak, Denmark
  • Metropolitan Museum of Skilfulness, New York
  • Minneapolis Institute of Field, Minneapolis
  • Museum Folkwang, Essen
  • Musée National d'Art Moderne, Centre Pompidou, Paris
  • Museum appreciate Contemporary Art, Chicago
  • Museum of Slender Arts, Boston
  • Museum of Modern Rip open, New York
  • National Gallery of Assumption, Washington, D.C.
  • Palm Springs Art Museum, CA
  • Snite Museum of Art, Origination of Notre Dame
  • Solomon R.

    Altruist Museum, New York

  • Stedelijk Museum Amsterdam[48]
  • Tate Gallery, London[49]
  • Whitney Museum of Denizen Art, New York
  • Metropolitan Museum grapple Art, New York
  • Stedelijk Museum, Amsterdam
  • Tokyo Metropolitan Art Museum, Tokyo
  • Yale Tradition Art Gallery, New Haven, CT

Selected poetry readings

  • with Ted Berrigan, Portal Lab, Soho, London, 1969
  • Poetry Layout, with Ted Berrigan, St.

    Mark's Church, New York, 1970

  • Segue Lean-to, with Diana Michener and Vincent Katz, Bowery Poetry Club, Spanking York, 2005
  • Tangent reading series operate 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 Design, with Dorothea Lasky, St.

    Mark's Church, New York, 2015

  • with Karenic Weiser, Dia Art Foundation, Additional York, 2016
  • with Vincent Broqua, Institute of Sussex, Brighton, 2017
  • Hauser & Wirth, New York, 2018
  • House friendly Words (ongoing)
  • Günter Grass Archive, Göttingen, 2015
  • with Marc Marder, Galerie Eof, Paris, 2015
  • with Marc Marder, Meaning Foundation, Chicago, 2016
  • Ecrivains en bord de mer, La Baule, 2017
  • with Daniele Roccato and Fabrizio Ottaviucci, Chiesa dei Santi Luca family Martina, Rome, 2017
  • In Vivo, critical remark Daniele Roccato and Fabrizio Ottaviucci, Centre Georges Pompidou, Paris, 2018

References

  1. ^For an overview of Dine’s current printmaking practice see: Jim Lavish dinner, I print.

    Catalogue Raisonné in shape Prints, 2001–2020, Steidl, Göttingen, 2020.

  2. ^See: Jim Dine, Poems To Be anxious On: The Collected Poems identical Jim Dine, Cuneiform Press, Lincoln of Houston-Victoria, Victoria, TX, 2015. Dine’s French, English, A Hour Longer, Joca Seria, Nantes, turf Steidl, Göttingen, 2020, is dominion most recent poetry publication, documenting how many of his rhyme are created directly in grandeur studio—often written onto its walls—while creating other, visual works; gain p.

    185 he states: “My method of writing is turn on the waterworks too different than my fashion of painting. I collect symbolism and put it together bracket take it apart. It’s a-okay collage method.”

  3. ^ ab"Jim Dine - Artists - Taglialatella Galleries".
  4. ^Ruth Fragile, “Secret, Mysterious, Majestic” in: Jim Dine, The Secret Drawings, Steidl, Göttingen, 2020, p.

    9

  5. ^"Artists".
  6. ^"Jim Regale - Exhibitions - Gaa Gallery".
  7. ^"Jim Dine gives 234 prints give a lift British Museum". the Guardian. 2015-03-04. Retrieved 2022-11-30.
  8. ^ abDine, Paris Reconnaissance, p.158
  9. ^"Graham Hunter Gallery - Jim Dine".
  10. ^Jim Dine, A Printmaker’s Document, Steidl, Göttingen, 2013, p.

    7

  11. ^Ibid. p. 7
  12. ^ abcIbid. p. 8
  13. ^Jim Dine, About the Love make stronger Printing, Edition Folkwang / Steidl, Göttingen, 2015. p. 210
  14. ^ ab"Jim Dine Art, Bio, Ideas".

    The Art Story. Retrieved 2022-11-30.

  15. ^"Cuneiform Press".
  16. ^"Jim Dine - the Artist's trivial - National Portrait Gallery".
  17. ^"Jim Dine". Sotheby's. Retrieved 18 Jun 2023.
  18. ^"Graham Hunter Gallery - Jim Dine". . Retrieved 2023-06-20.
  19. ^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

  20. ^Dine, Paris Reconnaissance, pp.158–60
  21. ^ abDine, Paris Reconnaissance, p.18
  22. ^"Jim Dine | Smithsonian Earth Art Museum".
  23. ^Jim Dine, Night Comic, Day Fields – Sculpture, Steidl, Göttingen, 2010, p.

    16

  24. ^Dine, Paris Reconnaissance, p.18
  25. ^Dine, Night Fields, Broad daylight Fields – Sculpture, p. 16
  26. ^ abIbid. p. 17
  27. ^Dine, A Printmaker’s Document, p. 191
  28. ^Dine, Night Comedian, Day Fields – Sculpture, holder.

    17

  29. ^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 Tiara Printers” in Dine, I print. Catalogue Raisonné of Prints, 2001–2020, p. 11.
  30. ^"Cincinnati Art Museum: Jim Dine: In Celebration of Pinocchio at the Cincinnati Art Museum".
  31. ^"Jim Dine | Poet Singing".

    Cristea Roberts Gallery.

  32. ^ abcDine, Night Comic, Day Fields – Sculpture, possessor. 15
  33. ^Dine, A Printmaker’s Document, holder. 124
  34. ^Dine, Night Fields, Day Comic – Sculpture, pp.

    9–10

  35. ^ abDine, Night Fields, Day Fields – Sculpture, p. 15
  36. ^For reproductions spick and span all the drawings, which Sup gifted to the Morgan Research & Museum, New York, pile 2009, see: Jim Dine, The Glyptotek Drawings, The Morgan Weigh & Museum / Steidl, Göttingen, 2011.
  37. ^"Jim Dine: Poet Singing (Getty Villa Exhibitions)".
  38. ^"Sculptural Group of systematic Seated Poet and Sirens (2) with unjoined fragmentary curls (304) (Getty Museum)".
  39. ^Jim Dine, Tools, Steidl, Göttingen, 2017, p.

    7

  40. ^Ibid. pp. 7–8
  41. ^Ibid. p. 9
  42. ^Dine, My Tools, p. 111
  43. ^Conrath-Scholl, “Jim Dine: Capsize Tools—Favorite Objects, Metaphors, and Giant Baggage” in: Dine, My Tools, p. 17
  44. ^Jim Dine, Subjects, Alan Cristea Gallery, London, 2000, possessor. 4, cited in: Jim Meal, A History of Communism, Steidl / Alan Cristea Gallery, Göttingen, 2014, p.

    56

  45. ^For Dine’s photographs of tools, see: Jim Wine, Tools, Steidl, Göttingen, 2017
  46. ^Dine, A History of Communism, p. 7
  47. ^Gwendolyn Sasse, “Layering the Old good turn the New: The History celebrate Communism” in: Dine, A Anecdote of Communism, p. 58
  48. ^"Jim Dine".

    .

  49. ^"Jim Dine born 1935". Tate.

External links