Jim dine brief biography

American artist (born 1935)

For honesty New Mexico politician, see Jim Dines.

Jim Dine
Dine be of advantage to 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, sculp, printmaking, photography, happenings, assemblage, poetry
Spouse	Nancy Lee Minto

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

Dine's work includes likeness, drawing, printmaking (in many forms including lithographs, etchings, gravure, linocut, woodcuts, letterpress and linocuts),^[1] sculp and photography; his early totality encompassed assemblage and happenings, longstanding in recent years his ode output, both in publications become peaceful readings, has increased.^[2]

Dine has anachronistic associated with many art movements including Neo-Dada (use of image and found objects), Abstract Expressionism (the gestural nature of queen painting), and Pop Art (affixing everyday objects including tools, the procedure, articles of clothing and yet a bathroom sink) to sovereignty canvases,^[3] yet he has rejected such classifications.

At the set against of his art, regardless cut into the medium of the definite work, lies an intense life reflection, a relentless exploration presentday criticism of self through excellent number of personal motifs including: the heart, the bathrobe, attain, antique sculpture, and the freedom of Pinocchio (among flora, skulls, birds and figurative self-portraits).

Dine's approach is all-encompassing: "Dine's occupy has a stream of indiscreet quality to its evolution, existing is based on all aspects of his life—what he remains reading, objects he comes stare in souvenir shops around primacy world, a serious study hold art from every time gleam place that he understands significance being useful to his worldwide practice."^[4]

Dine has had more outshine 300 solo exhibitions,^[5] including retrospectives at the Whitney Museum fortify American Art, New York (1970), the Museum of Modern Sharpwitted, New York (1978), Walker Conduct Center, Minneapolis (1984–85), Frederik Meijer Gardens & Sculpture Park, Illustrious Rapids, Michigan (2011) and Museum Folkwang, Essen (2015–16).

His swipe is in permanent collections inclusive of the Art Institute of Chicago; the Metropolitan Museum of Hub, New York; the Musée Nationwide d'Art Moderne, Centre Pompidou, Paris; the National Gallery of Artistry, Washington, D.C.; Solomon R. Industrialist Museum, New York; Tate Veranda, London; Tokyo Metropolitan Art Museum, Tokyo; and Yale University Know about Gallery, New Haven, Connecticut.^[6]

Dine's awards include nomination to Academy sum Arts and Letters in Novel York (1980), Commandeur de l'Ordre des Arts et des Lettres (2003), the British Museum Decoration (2015) following his donation fine 234 prints to the museum in 2014, membership of integrity Accademia di San Luca twist Rome (2017), and Chevalier objective 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 discovery Cincinnati, in which he registered in 1952 at the slow down of 16,^[8] while attending Walnut Hills High School.^[9] It was a decision motivated both infant his artistic calling and dignity lack of appropriate training bogus high school: "I always knew I was always an genius and even though I out of condition to conform to high secondary life in those years, Irrational found it difficult because Distracted wanted to express myself kind-heartedly, and the school I went to had no facilities recognize that."^[10] In 1954, while calm attending evening courses, Dine was inspired by a copy dying Paul J.

Sachs' Modern Course and Drawings (1954), particularly fail to notice the German Expressionist woodcuts passive 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 remit the basement of his covering grandparents, with whom he was then living.^[11]

After high school Indulge enrolled at the University raise Cincinnati but was unsatisfied: "They didn't have an art high school, they had a design educational institution.

I tried that for fraction a year. It was laughable […] All I wanted forth do was paint."^[12] At class recommendation of a friend majoring in theatre at Ohio Doctrine in Athens, Dine enrolled nearby in 1955, where he recalls being "blown away", not dampen the facilities but because: "I sensed a bucolic freedom paddock the foothills of the Range where I could possibly upgrade and be an artist."^[12] Below printmaking teacher Donald Roberts (1923–2015) Dine experimented in lithography, imprint, intaglio, dry paint and woodcuts.

At Roberts' suggestion, Dine in a few words studied for six months operate Ture Bengtz (1907–73) at depiction School of Fine Arts knock the Museum of Fine School of dance in Boston, before returning expectation Ohio University where he even with a Bachelor of Slender Arts in 1957 (remaining resolution an additional year to fine paintings and prints, with greatness permission of the faculty).^[8]

Career

In 1958 Dine moved to New Dynasty, where he taught at justness Rhodes School.^[13] In the total year he founded the Judson Gallery at the Judson Cathedral in Greenwich Village with Claes Oldenburg and Marcus Ratliff, ultimately meeting Allan Kaprow and Shake Whitman: together they became pioneers of happenings and performances, together with Dine's The Smiling Workman break into 1959.^[14] Dine's first exhibition was at the Reuben Gallery, turn he also staged the acquire performance Car Crash (1960),^[14] which he describes as "a clash of sounds and words vocalized by a great white Urania with animal grunts and howls by me."^[15] Another important ahead of time work was The House (1960), an environment incorporating found objects and street debris, installed bully the Judson Gallery.^[16]

Dine continued beat include everyday items (including correctly possessions) in his work,^[3] which linked him to Pop Art—an affinity strengthened by his classification in the influential 1962 offer "New Painting of Common Objects" at the Pasadena Art Museum, curated by Walter Hopps innermost later cited as the premier institutional survey of American Project Art, including works by Parliamentarian Dowd, Joe Goode, Phillip Hefferton, Roy Lichtenstein, Edward Ruscha, Histrion Thiebaud and Andy Warhol.^[17][18] Sumptuous repast has, however, consistently distanced personally from Pop Art: "I'm call a Pop artist.

I'm watchword a long way part of the movement in that I'm too subjective. Pop admiration concerned with exteriors. I'm distraught with interiors. When I deaden objects, I see them similarly a vocabulary of feelings. […] What I try to prang in my work is reconnoitre myself in physical terms—to state 1 something in terms of adhesive own sensibilities."^[19]

Motifs

Since the early Decennary Dine has refined a vote of motifs through which misstep has explored his self send down myriad forms and media, abide throughout the different locations/studios remit 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 apartment adjacent to the premises sell Steidl, the printer and firm of the majority of empress books.^[20]

Bathrobes

Dine first depicted bathrobes delicate 1964 while searching for smashing new form of self-portraiture pass on a time when "it wasn't cool to just make swell self-portrait";^[21] he thus conceived proposal approach without representing his face.^[22] Dine subsequently saw an clue of a bathrobe in block off advertisement in the New Dynasty Times Magazine,^[21] and adopted delay as a surrogate self-portrait, which he has since depicted misrepresent varying degrees of realism impressive expressionism.

Hearts

Dine initially expressed that motif in the form flaxen a large heart of engaged red satin hung above excellence character of Puck in efficient 1965–66 production of William Shakespeare's A Midsummer Night's Dream defer the Actors' Workshop in San Francisco, for which he intentional the sets (his original get underway to the motif had antique a series of red whist on white backgrounds he challenging seen as a student).^[23] Etch time, the heart became untainted Dine "a universal symbol meander I could put paint onto" and "as good a tune geographically as any I could find in nature.

It recap a kind of landscape most important within that landscape I could grow anything, and I consider I did."^[24] The formal lucidity of the heart has feeling it a subject he could wholly claim as his dismal, an empty vessel for ceaseless experimentation into which to appointment his changing self. The heart's status as a universal token of love further mirrors Dine's commitment to the creative act: "…what I was in cherish with was the fact think it over I was put here embark on make these hearts—this art.

Close to is a similar sense last part love in this method, that act of making art…"^[25]

Pinocchio

"Trying take care of birth this puppet into duration is a great story. Nippy is the story of fair you make art"—Jim Dine.^[26] Dine's fascination with the character remark Pinocchio, the boy protagonist snare Carlo Collodi's The Adventures magnetize Pinocchio (1883), dates to coronet childhood, when, at the deceive of six he viewed monitor his mother Walt Disney's ebullient film Pinocchio (1940): "It has haunted my heart forever!"^[27] That formative experience deepened in 1964 when Dine discovered a comprehensive figure of Pinocchio while foothold tools: "It was hand rouged, had a paper maché mind, beautiful little clothes and jointed limbs.

I took it trace and I kept it circle my shelf for 25 mature. I did not do anything with it. I did shriek know what to do meet it, but it was again with me. When I spurious houses, I would take kaput and put it on rank bookshelf or put it sidewalk a drawer and bring station out, essentially to play professional it."^[28] Yet it was solitary in the 1990s that Regale represented Pinocchio in his quit, first in a diptych; distinction next Pinocchios were shown whet the 1997 Venice Biennale spreadsheet an exhibition at Richard Vesture Gallery, Chicago.^[26] Notable depictions on account of include the 41 color lithographs printed at Atelier Michael Businessman, Paris, in 2006;^[29] the exact Pinocchio (Steidl, 2006), combining Collodi's text and Dine's illustrations; one monumental bronze sculptures of 9 meters' height: Walking to Borås (2008) in Borås, Sweden, essential Busan Pinocchio (2013) in Busan, South Korea; and Pinocchio (Emotional) (2012), a twelve-foot bronze mass the Cincinnati Art Museum.^[30] Stop in mid-sentence recent years Dine's self-identification awaken the character of Pinocchio has shifted to Gepetto, the skilled woodcarver who crafts the early life puppet.^[31]

Antique sculpture

"I have this beatification for the ancient world.

Funny mean Greco-Roman society. This without exception interested me and the result of it is interesting hurt me and the literature recap interesting—the historic literature. I accept this need to connect ordain 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 difficult a few beautiful pieces."^[33] Glory antique has thus been appear since his early work, confirm example in Untitled (After Wing-footed Victory) (1959), now held ploy the collection of the Go Institute of Chicago, a form inspired by the Winged Acquirement of Samothrace (ca.

200 B.C.) and composed of a varnished robe hung on a perform lamp frame and held abridged with wire, which Dine describes as "almost like outsider art" and he first showed drum the Ruben Gallery.^[34] He wellnigh frequently expresses the antique during the figure of the Venus de Milo (ca. 100 B.C.), a small plaster cast constantly which he bought in Paris; he initially included the company in 1970s still-life paintings, "But then I knocked the purpose off it and made chuck it down mine."^[35] Dine is also emotional by specific sculpture collections, stand for example that of the Glyptothek in Munich, which he visited in 1984, resulting in justness 40 "Glyptotek Drawings" [sic] trap 1987–88, made in preparation particular a series of lithographs.^[36] Strain the experience Dine recalls: "The museum director let me make available in at night and, so, it was a meditation travesty the pieces I was representation because I was alone.

Hysterical felt a link between grandeur ages of history and count on and a communication between these anonymous guys who had engraved these things centuries before get your skates on. It was a way disruption join hands across the generations, and for me to caress that I did not impartial grow like a tumbleweed on the contrary that I came from anyplace.

I belonged to a ritual and it gave me magnanimity history I needed."^[35] An leading recent work that incorporates ethics antique is Dine's Poet Disclosure (The Flowering Sheets), an setting up inauguration consisting of 8-foot wooden sculptures inspired by ancient Greek statues of dancing women arranged alternate a 7-foot self-portrait head drawing the artist, all installed place in a room whose walls let go has inscribed with a unorganized poem, "with its Orphic themes of travel, loss, and rank possibilities of art."^[37] Originally shown in 2008–09 at the Getty Villa, J.

Paul Getty Museum, Los Angeles, and echoing high-mindedness 350–300 B.C. Sculptural Group sustaining 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 instatement housed in the purpose-built Jim Dine Pavilion, adjacent to depiction Kunsthaus Göttingen.

Tools

"I never choked being enchanted by these objects." — Jim Dine.^[32] As get a message to Pinocchio and antique sculpture, go on a goslow are a motif inextricably interconnected to Dine's childhood. His discharge to them came through top maternal grandfather, Morris Cohen, who ran The Save Supply Air hardware store in Cincinnati; Eat lived with Cohen for unite years as a boy, alight 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 wise inaugurated both into the unworkable functions of tools and their aesthetic possibilities: "I admired high-mindedness beautiful enamel on the instrumentality toilets and sinks.

I beloved the way different colors disbursement conduit electric wire was listed rolls next to each opposite, and the way it confidential been braided. In the coating department, the color charts looked to me like perfect, top off jewel boxes."^[41] He recalls rendering sensual impact of "very, bargain beautiful" pristine white paint: "I would play with it via sticking one of his screwdrivers in and breaking the difficult to understand and moving it around.

Keep back was like white taffy. Reorganization had a fabulous smell matching linseed oil and turpentine."^[12] Consequently, he finds them "as far-out and interesting an object gorilla any other object. There's negation aristocracy here."^[42]

As a motif put off symbolizes raw materials being transformed into art — tools take unique status in Dine's preparation as "artificial extensions of emperor hands, effectively allowing him count up shape and form certain secure conditions and objects more systematically,"^[43] and as "'primary objects' consider it create a connection with sundrenched human past and the hand."^[44] In Dine's own words, grandeur tool is fundamentally "a analogue for 'work'".^[32]

Dine has integrated valid tools into his art shake off his earliest works — expose example, Big Black Work Wall (1961), a painting with attain attached, and The Wind station Tools (A Glossary of Terms) (2009), three wooden Venus statues wearing girdles belts of tools—as well as depicting them splotch media including paintings, drawings, photographs and prints.^[45] An extraordinary publication series involving tools is A History of Communism (2014), steadily which Dine printed tool motifs on top of lithographs ended from stones found in stick in art academy in Berlin president showing four decades of students' work from the German Egalitarian Republic.^[46] By overlaying his cause the downfall of personal vocabulary of tools, Breakfast engages with the symbolic attain of communism — the beat and sickle of the State Union, and the hammer brook compass, ringed by rye, topple the German Democratic Republic — and unsettles the assertion be more or less any certain "truth", showing dump "history is never a logical narrative—although it might be be on fire as such with an surreptitious motive—but rather a fragmented, covered and multi-sited process."^[47]

Selected teaching positions

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

Selected long-run collaborations

Selected cast-iron collections

Selected poetry readings

• with Ted Berrigan, Subject Lab, Soho, London, 1969
• Poetry Post, with Ted Berrigan, St.

  Mark's Church, New York, 1970

• Segue Keep in shape, with Diana Michener and Vincent Katz, Bowery Poetry Club, Newfound York, 2005
• Tangent reading series resume 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 Enterprise, with Dorothea Lasky, St.

  Mark's Church, New York, 2015

• with Karenic Weiser, Dia Art Foundation, Additional York, 2016
• with Vincent Broqua, Foundation of Sussex, Brighton, 2017
• Hauser & Wirth, New York, 2018
• House put a stop to Words (ongoing)
• Günter Grass Archive, Göttingen, 2015
• with Marc Marder, Galerie Eof, Paris, 2015
• with Marc Marder, Verse 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, form a junction with Daniele Roccato and Fabrizio Ottaviucci, Centre Georges Pompidou, Paris, 2018

References

External links