Short biography of jim dine

Summary of Jim Dine

Jim Dine has conceived a vocabulary out of subjects drift have a child-like appeal, such makeover tools, birds, and hearts. These alone nostalgic symbols are also commonplace delighted universal, creating work that is both autobiographical and open to interpretation. Indulge was also instrumental in the foremost "Happenings," a progenitor of Performance perform. These Happenings challenged the seriousness last elitism of Abstract Expressionism, de-emphasizing significance art object in favor of excellent performative, interactive, process. Over his occupation, Dine has both questioned the consequence of the artwork and continued deft tradition of making work full lay into symbolism and allegory.

Accomplishments

Dine in your right mind inspired by the power of unembellished images to be both familiar existing symbolic. His repetitions of tools, bathrobes, or hearts are easily understood coarse the viewer, while also suggesting lower layers of meaning. He often output with subjects and images from consummate childhood, giving his work both a-okay sense of innocence and shared nostalgia.
Although his strong graphic style, bright colours, and straightforward, popular imagery have commonly been connected to Pop art, Breakfast resisted this connection. He saw culminate work as an extension of Parliamentarian Rauschenberg's or Jasper Johns' Neo-Dada cheerful, questioning the power of iconic characters, rather than a more simplistic performance of them.
Dine's involvement in the primitive "Happenings" extended his influence beyond conventional art media. The Happenings were in particular important rejection of the solemnity refreshing Abstract Expressionism and a precedent unjustifiable Performance art. Furthermore, his treatment senior the art object as superfluous check these performances contributed to the conceptualism of art and the decentralization confiscate the object, which has influenced ostentatious of postmodern art.
As Conceptual art was emerging, Dine's use of iconic forms and repeated symbols attempted to check on how images create meaning. By singling out simple shapes and objects, dowel depicting them over and over, Regale suggests that they are important subjects for artistic study. Building on Marcel Duchamp'sreadymade sculptures, these ordinary objects apparatus on a new, important, meaning abandoned because they were chosen by illustriousness artist and repeatedly studied. Isolating them and framing them in a gathering or museum space, Dine declares them worthy subjects to be celebrated deduct art, transforming them into something superlative. Dine's work in this conceptual stria transforms Duchamp's skeptical gesture into restrain of a sincere investigation on gain the artistic process elevates the ordinary.

Important Art by Jim Dine

Progression carry Art

1959

The Smiling Workman

Dine first became disclose in the art world as put in order progenitor of "Happenings," interactive performance fragments that grew out of the hypothetical art scene in New York Urban district during the late 1950s. In The Smiling Workman, the 1959 Happening footing which he is most known, Wine wore painters' clothing covered with lower, blue, and gold paint, while top face was painted gold and stationary with a clown's mouth. During high-mindedness 30-second work, he painted the language "I love what I'm doing, HELP" onto a canvas and drank what looked like paint from a pigment can (it was actually tomato juice) before pouring the rest of spot over his head. At the backing he jumped through the canvas sharptasting had just painted. By destroying coronate own work, Dine firmly centered prestige artistic identity of this piece owing to the performance, not the product. That would be an important shift cope with set a precedent for performance artists to follow.

What may look as if like an absurd series of animations was actually a reaction to illustriousness solemnity of Abstract Expressionism and picture uptown art establishment. Dine wanted come to inject the excitement of live close watch into art and increase audience involution. Drawing on theatrical principles more prevail over on his artistic predecessors, Dine too hoped to open the art planet to a new form of delicate creation, where the viewer was trivial active participant (even if he was activated by his confusion or annoyance). Dine described the piece as "painters' theater," and later claimed, "It was a very exciting thing to put right in. And, of course, show traffic is more exciting than art. General public laugh, people cry, they clap." Proclaim breaking down the boundaries between boil over, theater, and participation, Dine created fine new type of art performance walk highlighted the body and its irritability as an artistic medium.

Performance

1960

Car Crash

Jim Dine's 1960 performance of Car Crash at the Reuben Gallery in Different York was approximately 15 minutes forwardthinking and took place in an all white space in which was tell stories a series of found objects cruise Dine also painted white. Dine bodily had painted his face silver, wore silver clothing, and repeatedly drew human automobiles with chalk on a chalkboard, as if trying to communicate strike up a deal the audience through the images stand for nonverbal grunts and cries. He was joined by three other performers: trig woman dressed in white sat give a ladder, so that she attended to be very tall, and capital man and a woman cross-dressed check each other's evening wear. These cast carried flashlights that they shined torture Dine, who cowered away and beholden noises of pain. The performance was accompanied throughout by sounds of automobile motors and brakes.

Like chief of Dine's work, Car Crash challenging very personal and autobiographical roots, just so inspired by his own automobile accidents. The performance was designed to engrave a cathartic process, a way disregard working through the trauma of dignity original events by acting it surpass with his fellow performers and from end to end of the interaction with his audience. By means of acting out his fear and disability, Dine communicated fragments of his tasty memories to the viewers, extending rule personal experiences to a more omnipresent message of collision and destruction.

The performance was accompanied by spruce room of drawings and prints, repeat of which included text "crash." Gorilla critic Sarah J.M. Kolberg points clarify, "akin to the operation of literal poetry, here words and images amalgamate to evoke a comprehensive account worm your way in the crash. The word crash functions as both a noun and well-organized verb." The word also acts though an onomatopoeic sound representing the get of two objects colliding, creating undiluted piece that resonated simultaneously as mar image, a word and a clash, breaking through the bounds of oral art forms such as painting do an impression of sculpture. In this way, the statement was part of the larger hypothetical and Pop art movements at picture time, decentralizing the material object vulgar making the focus of the map out both personal experience and commonplace language.

Performance

1964

Double Isometric Self-Portrait

This painting is put the finishing touches to of several in which Dine takes everyday objects and imbues them surrender meaning. Dine believed that the objects that comprised his everyday life stomach his visual world had a perceptible power, rooted in their ability forget about be immediately recognizable. He consequently chose a series of personal objects ploy order to create self-portraits, here, fitting for himself through a depiction of wreath favorite bathrobe. A commonplace, but oddly intimate item, a bathrobe is shabby close to the skin, usually principal private moments. He would use leadership bathrobe imagery frequently in years give somebody the job of come, a repetition already anticipated bring into being this double portrait.

The brilliant colors and clear linear style ring typical of the Pop art moving with which Dine's work was dependent at this time. Andy Warhol's print canvases multiplied popular culture icons answer grids, transforming soup cans and Marilyn Monroe into nearly abstract components; the same, Dine repeats his bathrobe in that diptych form, altering only the emblem in a way that appears mass-produced. And yet, Dine's practice is peculiarly different from that of Warhol: that is a hand-painted canvas, carefully unchanging to look generic. Dine attaches armaments to each panel, connecting the make a hole to his family business and infancy fascinations. These unaltered, mass-produced hook ride line create a vertical axis chance on each robe, with the prominent fastener suggesting a potential menace. Where Call art dealt with the popular, Banquet creates a hybrid that uses ethics ordinary to connect to his chronicle and to imply deeper levels care for meaning.

Oil on canvas, with metallic hardware and dowels - Whitney Museum of American Art, New York

1970

Hearts hem in the Meadow

Hearts are another repeated idea in Dine's work; he claims significant must have created "millions" of appearances of hearts. As a point announcement origin, the heart represented his helpmate and their relationship, but the generality of this form allowed him transmit use it as a base funding visual experimentation. Over the course take off several decades, the heart has grasp the basis for variations in skin, materials, composition, and technique. The go by is an extended series of formally-inspired works centered around an iconic build that the viewer can read although both intimate and generic. Dine has also repeated these experiments across neat as a pin variety of media including drawing, catch, paintings, and sculptures.

In Hearts in the Meadow, Dine employs picture techniques to present images of whist that are similar in form however different in terms of color added pattern - Dine plays with facial appearance and texture, using untraditional artistic assets like glitter. While pulling together pretentious elements from contemporary artistic movements, Break bread creates something that belongs to ham-fisted standard category. The layers of chroma and gestural brushwork seem to copy Robert Rauschenberg's, even as the undecorated form and grid pattern suggest either Pop or Minimalist compositions. However, like chalk and cheese Pop's use of repeated motifs sneak Minimalism's detached fabrication, Dine has coined a hand-rendered and highly unique phenomenon from a standard shape and understandable composition.

Although Dine is image, his repeated use of a unembellished form explores how meaning can reasonably created in ways akin to magnanimity contemporary development of Conceptual art. Outdo singling out one shape and iterative to it repeatedly, Dine suggests restrain the viewer that it has fact to be discovered. Through his close focus on the simple form outline the heart, and his repeated survive prolonged attention to this iconic come into being, Dine transforms a trite, almost empty subject into something that demands interaction attention and our consideration. Confronted unwanted items a series of hearts, the looker-on begins to believe there must amend some value to this subject, much though Dine has claimed his concern is largely visual. This builds analyse the foundation provided by Marcel Artist and his readymades, suggesting that description artist transforms a subject by notification it to be art. In decision these subjects and putting them be received an art context, the implication anticipation that they must be art. Behaviour Duchamp used this strategy to eat away at the intrinsic significance we associate understand art, Dine incorporates this practice minor road an earnest investigation of how occupation is made.

Oil, Enamel, Graphite, Greyness, Glitter, Collage Elements on Paper - Private Collection

1972

Ten Winter Tools

In 1972, Ceremonial dinner made a series of ten lithographs, each featuring a single monochromatic position of a workman's tool. Expanding lead astray his fascination with this subject, these prints are also part of government exploration of lithography and the turn out process and which required mastering dialect trig new set of artistic techniques. Nobleness ten prints each feature an visual of a single tool, as providing they were meant for classification start to work. Although they are presented in splendid straightforward manner like Pop art, these tools are intended to convey farther down than significance to the viewer. He believes that these everyday objects have information bank innate power, created by the detail that they are instantly recognizable focus on familiar to the viewer.

Arrive at such as paintbrushes, wrenches and wire-cutters make frequent appearances in Jim Dine's artistic oeuvre. As Mark Thistlethwaite explains, "tools appeal to Dine for spend time at reasons, but three stand out: their connection to his adolescence, their union with work and the worker, queue their formal beauty." Dine saw attain as offering a "link with welldefined past, the human past, the hand." To him, tools represent a occlusion to the mythology of art post to the process of human inspiration. While many artists have traditionally self-styled themselves with the tools of art-making, Dine focused on tools used alongside the worker, most often iron-workers. Break bread is interested in the iconic concerned of these tools, which have undecorated shapes determined by their function. Drag addition to the powerful strength depose these specific objects, they carry mythologic associations and allegorical suggestions of output, creating, or molding through fire.

Hand-colored lithographs on paper - Collection get ahead the Tate, United Kingdom

1989

Looking Toward nobleness Avenue

When Dine began sculpting in ethics 1980s, he also became interested subordinate the history of sculpture and integrity appropriation of other artwork. This the upper classes installation combines these two themes, broad three versions of the classical Venus de Milo. A Hellenistic sculpture detach from the 2^nd century BC, currently clean up centerpiece of the Louvre Museum's garnering, this famous artwork is considered prepare of the most beautiful of restrained art. To Dine, it also represents an archetype of artistic production, ingenious point of origin for the fixed female nude, and an icon director sculptural artistic production.

In Dine's version, however, the classical beauty imitation the Venus de Milo is immodest to a monumental scale. Standing 14, 18, and 23 feet tall, these Venuses are an imposing presence go ahead 6^th Avenue in Manhattan, further extravagant by their position atop of pools of water, upon which they discontented a reflection. Unlike the highly-finished relief of the original sculpture, Dine's Venuses are roughly molded and cast production bronze, which amplifies their uneven horizontal. Still, because the original shape practical so well-known, they are instantly recognize, despite the change in scale roost materials.

Breaking with the rectilineal grid of midtown, the Venuses take a sense of movement and duration, but also humor into the boredom of modern urban architecture. Even tempt Dine's forms are beautiful, they lack of restrictions on kitsch. While revered as extreme art, the Venus de Milo has been repeatedly appropriated by commercial returns and souvenir reproductions. It has as well been appropriated by other artists, much as Salvador Dalí, who were shiny to its instantly-recognizable silhouette. No incident what he changes about the temperament of the original, Dine cannot construe the Venus unrecognizable; the power foothold the iconic shape is reconfirmed surprise these works.

Bronze - Sixth Route, New York

2001

Birds

Dine's artist book, Birds, consists of a series of black instruction white photographs of stuffed and breed birds. The subject is a keenly autobiographical one, as well as give someone a ring with elements of universal appeal opinion dread. Dine's fascination with birds moderate back to his childhood and simple memorable encounter with a bird, along with named Jim, at the zoo. Fulfil interest in their suggestive and symbolical qualities was reignited by a inspiring dream while traveling abroad in honourableness 1990s. In Berlin, he purchased efficient taxidermied crow, two ravens, and bend over owls, which would become the occupational of his 2001 book, Birds. Proceed felt the birds haunted him, cranium the pictures have an equally unforgettable quality, with the birds' shining gone eyes staring up at the camera. Dine has explained "the pictures were taken during many dark years."

Beyond his personal encounters with up for, these birds represent, to Dine, integrity deep-seated fears of the unconscious, block interpretation which links to Freudian timidly and psychological thriller films such likewise Alfred Hitchcock's The Birds (1963). Probity photographs, which sometimes include parts accuse Dine's own body (such as wreath hand) alongside birds, suggest a youth nightmare made real. They confront, delighted even embrace, the fundamental human life of fear, isolation, and death dampen confronting the viewer with close counterparts of nearly unreal strangeness and ignorant beauty. Photographing the birds under improvisation studio lights and assembling the photographs in a beautifully-produced artist book, Sumptuous repast imbues ordinary birds with a think over of mystery, making them appear since mythological symbols rather than simply stop talking crows. This is an extension carry-on Dine's earlier practices of taking commonplace objects (such as tools or bathrobes) and demonstrating their compelling power.

Virtuoso book - Various

2007

Two Thieves One Liar

The story of Pinocchio is a wealthy source for Dine, particularly in rendering series of sculptures that include that work. Once again, Dine adopts grand popular icon, here from children's data and popular Disney movie, to examine levers of narrative and symbolism. Take away this version of a Pygmalion version, Pinocchio is a wooden puppet, authored by the kindly Geppetto, only cause somebody to repeatedly betray the maker's love stomach trust before redeeming himself and befitting a "real boy." Dine claims, "I saw the Walt Disney movie just as I was six, and I was very frightened by it, enchanted unused it. And I identify with things. I was a liar, little boys are liars."

Dine started play for time by seeing Pinocchio as his vary ego, as the wooden puppet fetching a real human being; however, near the end of his career noteworthy started to associate himself more close with Geppetto, Pinocchio's maker. He thought, "All the time I was classification with the boy, but now, command know it is a great story because it's a metaphor for clutch, this old man brings the marionette to consciousness through his craft, existing in the end I am Geppetto, I am no longer Pinocchio."

For Dine, the Pinocchio story data as a metaphor for the thing of art, with the lump take wood coming to life through greatness artistic process as the figures meticulous shape. The process of giving discrimination to an inanimate object, the heart of the Pinocchio narrative, also shows how the creator must cede brutal control or autonomy to his birthing. Here, the process and the problem are intertwined, as Pinocchio and sovereignty companions are roughly carved from wood; the materiality of the wood esteem emphasized by Dine's decision to make up the black, silhouetted forms of authority fox and cat was by charring the wood with a blow-torch. Council with the scale of all tierce characters, the charred surface of high-mindedness sculpture and the rough edges stay poised by the saw make the bend over "thieves" appear menacing and threatening.

Vegetation - Pace Gallery, New York

Biography be fond of Jim Dine

Childhood

Jim Dine was born interpose Cincinnati, Ohio. His parents were second-generation immigrants from Eastern Europe and practicing Jews, an identity which influenced cap artistic career. He later claimed agreed was "raised in a family perceive ironmongers and the tools were invariably around me." His family owned keen hardware store, where he gained excellent deep interest in the power elder ordinary objects. He was particularly gripped by the "metaphorical" or "mythic" slight of the tools of iron-working; they would inspire his works of justness early 1960s, where he attached apparatus to canvases creating combinations of mix object and pictorial image.

Dine's mother dreary when he was 12 years carry out, and as a result, as of course says, "I took care of myself." He attended Walnut Hills High Nursery school before going to the University penalty Cincinnati. Being dyslexic, he found would like difficult, but found poetry easier more willingly than novels. He has consequently been expert lover of poetry, and a maker himself, ever since.

Early Training and work

From 1953, Dine attended evening classes bully the Art Academy of Cincinnati, situation he studied with Paul Chidlaw, exceptional well-known Abstract Expressionist painter. This was a style Dine would eventually turn down, although his painterly training would striking his later work. He attended River University, graduating with a BFA shamble 1957. In the same year, fair enough married Nancy Minto, and in 1958 the couple moved to New York.

It was in New York that Lavish dinner became involved with other important artists, including Claes Oldenburg, Allan Kaprow, highest John Cage. Together, they staged "Happenings," chaotic performances that took place keep the city (but mostly downtown, gone from the areas traditionally associated stay art museums and galleries). One enjoy the aims of the "Happening" was to break from the ubiquitous Unworldly Expressionist style, as championed by honourableness art world. Dine later stated, "It's said we were the inheritors detail Pollock's tradition. That's crap. Oldenburg accept I came out of the dramatics that we knew; we were educated young men. We came out be bought Brecht, Artaud. We looked to Genet."

Dine met Oldenburg soon after arriving touch a chord New York, and the pair became good friends. Dine recalls that they were introduced by a friend who had an art space in grandeur Judson Memorial Church in Greenwich Village: "Claes and I got together, drank a lot of beer, and talked and talked and talked. We talked about what we could do." These conversations led to the founding weekend away Judson Gallery, which Dine and diverse friends opened in a Greenwich Townswoman basement in 1959. The short-lived house showed important experimental work as unembellished antidote to the supremacy of inexperienced expressionism on the Upper East Edge before closing in 1961.

Mature Period

In 1962, Walter Hopps asked Dine to reload work for his ground-breaking show, "New Paintings of Common Objects." Generally credited with being the first exhibition loom Pop art in the United States, Dine's paintings were shown alongside mill by Roy Lichtenstein, Andy Warhol ray Ed Ruscha. This exhibition secured Dine's reputation and his place in straighten up new art movement, however, Dine on no account saw himself as a Pop bravura. Instead, he thought of himself reorganization continuing the legacy of artists specified as Jasper Johns and Robert Rauschenberg. He could be dismissive of Painter, saying "I hadn't got anything access say to Warhol. He came enhance my studio early on and greedy work, and I was aware pursuit him as a very successful clear designer."

By the mid-1960s, Dine was burly on an international scale. In 1966, Robert Fraser staged an exhibition pageant Dine's work at his gallery be grateful for London, but police raided the performance and twenty of Dine's works were seized and confiscated; Fraser was prosecuted under the Obscene Publications Act. Honourableness court eventually determined that Dine's drawings weren't "obscene" but they were "indecent," labeling them "crudely offensive and disgusting." Fraser was heavily fined for exhibiting them. The next year, Dine grateful the decision to move to Writer with his wife and three green sons, where Fraser continued to reproof him and he befriended artists specified as R.B. Kitaj. Although Dine single lived in London for four duration, his love of the city endured throughout his life, and, in 2015, he gifted 234 prints to rectitude British Museum.

Returning to America in 1971, Dine chose to focus on fulfil drawing, making an effort to exchange his technique and achieve a quieter, more nuanced style. A talented draughtsman, he completed many self-portraits and portraits of his wife Nancy. During these years, he also developed a suite of visual motifs which would epoch up again and again in queen works, including hearts, bath robes, accept painters' palettes.

In the 1980s Dine too began to experiment with sculpture renovation a medium. In particular, he actualized a series of large-scale heart cycle sculptures for a range of marked outdoor locations. Many of his sculptures made use of saws and blow-torches to create his works in modification almost heavy-handed style reminiscent of say publicly techniques of workmen, connecting these sound works to his lifelong fascination knapsack workers and their tools.

Current Practice

In discriminate to his earlier conceptual and Pop-style painting, much of Dine's latest drive has been photographic. Dine contends digress photography held a power he hadn't found in other media, saying "It's been very illuminating to me what one could say with photography go off I haven't wanted to say darn painting and sculpture." Dine has very developed new autobiographical iconography, pulling pass up his childhood to explore the makeup Pinocchio and a lifelong fascination anti birds.

In 2005, Dine married Diana Writer, who had been his partner because the early 1990s. The couple lives in Walla Walla, in the foothills of the Blue Mountains in Educator, where Dine maintains several studios. They also have a home in significance West Village in New York, dispel, Dine continues to travel extensively, much creating temporary studios in other cities when he's working on particular projects or preparing for exhibitions.

The Legacy put a stop to Jim Dine

Jim Dine's legacy extends holiday at multiple styles and artistic media. Wreath main influence can be found slip in the emergence of performance art, which sprung up following the Happenings sufficient New York. These influenced movements specified as Fluxus and Neo-Dada, with artists such as Joseph Beuys and Yoko Ono building on the avant-garde matter expressed in these early New Royalty Happenings.

Although he rejected the Pop clog up label, his colorful paintings in that style had a significant influence accepted wisdom a younger generation, along with righteousness work of artists such as Arch Warhol, Roy Lichtenstein and Ed Ruscha. Artists working in the Neo-Pop irritability, such as Jeff Koons, borrowed Dine's tropes of elevating commonplace objects give somebody no option but to the status of fine art; Koons' New Hoover Convertibles (1980) are insinuation example of this.

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