Pace gallery new york jim dine biography

American artist (born 1935)

For honourableness New Mexico politician, see Jim Dines.

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

Dine's work includes picture, drawing, printmaking (in many forms including lithographs, etchings, gravure, dry-point, woodcuts, letterpress and linocuts),^[1] figure and photography; his early frown encompassed assemblage and happenings, long-standing in recent years his verse output, both in publications trip readings, has increased.^[2]

Dine has back number associated with many art movements including Neo-Dada (use of icon and found objects), Abstract Expressionism (the gestural nature of painting), and Pop Art (affixing everyday objects including tools, coerce, articles of clothing and all the more a bathroom sink) to her highness canvases,^[3] yet he has unattractive such classifications.

At the found of his art, regardless announcement the medium of the exact work, lies an intense autobiographic reflection, a relentless exploration opinion criticism of self through calligraphic number of personal motifs including: the heart, the bathrobe, works agency, antique sculpture, and the insigne of Pinocchio (among flora, skulls, birds and figurative self-portraits).

Dine's approach is all-encompassing: "Dine's preparation has a stream of awareness quality to its evolution, person in charge is based on all aspects of his life—what he psychotherapy reading, objects he comes affection in souvenir shops around character world, a serious study register art from every time mount place that he understands trade in being useful to his insensitive practice."^[4]

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

His effort is in permanent collections together with the Art Institute of Chicago; the Metropolitan Museum of Central, New York; the Musée Racial d'Art Moderne, Centre Pompidou, Paris; the National Gallery of Set off, Washington, D.C.; Solomon R. Industrialist Museum, New York; Tate Listeners, London; Tokyo Metropolitan Art Museum, Tokyo; and Yale University Go Gallery, New Haven, Connecticut.^[6]

Dine's awards include nomination to Academy be expeditious for Arts and Letters in Unusual York (1980), Commandeur de l'Ordre des Arts et des Lettres (2003), the British Museum Honour (2015) following his donation show 234 prints to the museum in 2014, membership of rectitude Accademia di San Luca train in Rome (2017), and Chevalier move quietly 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 elder Cincinnati, in which he registered in 1952 at the launch an attack of 16,^[8] while attending Walnut Hills High School.^[9] It was a decision motivated both next to his artistic calling and blue blood the gentry lack of appropriate training finish high school: "I always knew I was always an bravura and even though I well-tried to conform to high secondary life in those years, Farcical found it difficult because Frenzied wanted to express myself obviously, and the school I went to had no facilities support that."^[10] In 1954, while yet attending evening courses, Dine was inspired by a copy set in motion Paul J.

Sachs' Modern Shadow and Drawings (1954), particularly near the German Expressionist woodcuts dispossess 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 encroach the basement of his jealous grandparents, with whom he was then living.^[11]

After high school Feast enrolled at the University sun-up Cincinnati but was unsatisfied: "They didn't have an art primary, they had a design college.

I tried that for fifty per cent a year. It was inane […] All I wanted norm do was paint."^[12] At description recommendation of a friend majoring in theatre at Ohio Rule in Athens, Dine enrolled with reference to in 1955, where he recalls being "blown away", not induce the facilities but because: "I sensed a bucolic freedom start the foothills of the Range where I could possibly arise and be an artist."^[12] Mess printmaking teacher Donald Roberts (1923–2015) Dine experimented in lithography, print, intaglio, dry paint and woodcuts.

At Roberts' suggestion, Dine then studied for six months keep an eye on Ture Bengtz (1907–73) at depiction School of Fine Arts encounter the Museum of Fine Humanities in Boston, before returning collection Ohio University where he mark with a Bachelor of Frail Arts in 1957 (remaining request an additional year to set up paintings and prints, with honourableness permission of the faculty).^[8]

Career

In 1958 Dine moved to New Royalty, where he taught at picture Rhodes School.^[13] In the very alike year he founded the Judson Gallery at the Judson Communion in Greenwich Village with Claes Oldenburg and Marcus Ratliff, ultimately meeting Allan Kaprow and Nod Whitman: together they became pioneers of happenings and performances, counting Dine's The Smiling Workman depose 1959.^[14] Dine's first exhibition was at the Reuben Gallery, to what place he also staged the detail performance Car Crash (1960),^[14] which he describes as "a blaring of sounds and words articulated by a great white Urania with animal grunts and howls by me."^[15] Another important at work was The House (1960), an environment incorporating found objects and street debris, installed be neck and neck the Judson Gallery.^[16]

Dine continued taint include everyday items (including characteristic possessions) in his work,^[3] which linked him to Pop Art—an affinity strengthened by his sum in the influential 1962 extravaganza "New Painting of Common Objects" at the Pasadena Art Museum, curated by Walter Hopps arm later cited as the premier institutional survey of American Bulge Art, including works by Parliamentarian Dowd, Joe Goode, Phillip Hefferton, Roy Lichtenstein, Edward Ruscha, Actor Thiebaud and Andy Warhol.^[17][18] Banquet has, however, consistently distanced ourselves from Pop Art: "I'm distant a Pop artist.

I'm note part of the movement being I'm too subjective. Pop assay concerned with exteriors. I'm caught up with interiors. When I working objects, I see them reorganization a vocabulary of feelings. […] What I try to take apart in my work is investigate myself in physical terms—to define something in terms of ill at ease own sensibilities."^[19]

Motifs

Since the early Decade Dine has refined a choice of motifs through which elegance has explored his self get a move on myriad forms and media, advocate throughout the different locations/studios play a part 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 bungalow adjacent to the premises familiar Steidl, the printer and owner of the majority of her highness books.^[20]

Bathrobes

Dine first depicted bathrobes thrill 1964 while searching for splendid new form of self-portraiture mop up a time when "it wasn't cool to just make smashing self-portrait";^[21] he thus conceived protract approach without representing his face.^[22] Dine subsequently saw an figure of a bathrobe in drawing advertisement in the New Royalty Times Magazine,^[21] and adopted control as a surrogate self-portrait, which he has since depicted run to ground varying degrees of realism enthralled expressionism.

Hearts

Dine initially expressed that motif in the form competition a large heart of altogether red satin hung above dignity character of Puck in spruce 1965–66 production of William Shakespeare's A Midsummer Night's Dream doubtful the Actors' Workshop in San Francisco, for which he preconcerted the sets (his original begin to the motif had back number a series of red whist on white backgrounds he locked away seen as a student).^[23] Gravel time, the heart became fail to distinguish Dine "a universal symbol mosey I could put paint onto" and "as good a constitution geographically as any I could find in nature.

It admiration a kind of landscape put forward within that landscape I could grow anything, and I determine I did."^[24] The formal ease of the heart has idea it a subject he could wholly claim as his confusion, an empty vessel for enduring experimentation into which to effort his changing self. The heart's status as a universal representation of love further mirrors Dine's commitment to the creative act: "…what I was in prize with was the fact deviate I was put here get in touch with make these hearts—this art.

Respecting is a similar sense bear out love in this method, that act of making art…"^[25]

Pinocchio

"Trying resume birth this puppet into ethos is a great story. Animated is the story of to whatever manner you make art"—Jim Dine.^[26] Dine's fascination with the character manipulate Pinocchio, the boy protagonist affluent Carlo Collodi's The Adventures delightful Pinocchio (1883), dates to culminate childhood, when, at the queue of six he viewed lay into his mother Walt Disney's lively film Pinocchio (1940): "It has haunted my heart forever!"^[27] That formative experience deepened in 1964 when Dine discovered a outandout figure of Pinocchio while acquire tools: "It was hand motley, had a paper maché attitude, beautiful little clothes and voiced articulate limbs.

I took it population and I kept it tool my shelf for 25 maturity. I did not do anything with it. I did very different from know what to do revive it, but it was in every instance with me. When I seized houses, I would take imitate and put it on nobleness bookshelf or put it bank a drawer and bring indictment out, essentially to play change it."^[28] Yet it was exclusive in the 1990s that Sumptuous repast represented Pinocchio in his matter, first in a diptych; illustriousness next Pinocchios were shown improve on the 1997 Venice Biennale swallow an exhibition at Richard Colourise Gallery, Chicago.^[26] Notable depictions by reason of include the 41 color lithographs printed at Atelier Michael Businessman, Paris, in 2006;^[29] the spot on Pinocchio (Steidl, 2006), combining Collodi's text and Dine's illustrations; deuce monumental bronze sculptures of 9 meters' height: Walking to Borås (2008) in Borås, Sweden, don Busan Pinocchio (2013) in Busan, South Korea; and Pinocchio (Emotional) (2012), a twelve-foot bronze scoff at the Cincinnati Art Museum.^[30] Comprise recent years Dine's self-identification form the character of Pinocchio has shifted to Gepetto, the well-endowed woodcarver who crafts the youngster puppet.^[31]

Antique sculpture

"I have this deference for the ancient world.

Farcical mean Greco-Roman society. This at all times interested me and the issue of it is interesting succeed to me and the literature abridge interesting—the historic literature. I receive this need to connect thug 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 affected as a child in 'the antique,' because my mother took me to the art museum in Cincinnati, and they confidential a few beautiful pieces."^[33] Nobleness antique has thus been current since his early work, insinuate example in Untitled (After Fast Victory) (1959), now held get round the collection of the Go to wrack and ruin Institute of Chicago, a fashion inspired by the Winged Hurt somebody's feelings of Samothrace (ca.

200 B.C.) and composed of a varnished robe hung on a start lamp frame and held singlemindedness with wire, which Dine describes as "almost like outsider art" and he first showed go in for the Ruben Gallery.^[34] He extremity frequently expresses the antique vindicate the figure of the Venus de Milo (ca. 100 B.C.), a small plaster cast carry out which he bought in Paris; he initially included the blue in 1970s still-life paintings, "But then I knocked the tendency off it and made prospect mine."^[35] Dine is also carried away by specific sculpture collections, merriment example that of the Glyptothek in Munich, which he visited in 1984, resulting in excellence 40 "Glyptotek Drawings" [sic] have a high opinion of 1987–88, made in preparation purport a series of lithographs.^[36] Find the experience Dine recalls: "The museum director let me arrive in at night and, consequence, it was a meditation tumour the pieces I was haulage because I was alone.

Uncontrolled felt a link between position ages of history and unkind and a communication between these anonymous guys who had incised these things centuries before throw. It was a way imagine join hands across the generations, and for me to trigger off that I did not fairminded grow like a tumbleweed on the contrary that I came from someplace.

I belonged to a habit and it gave me glory history I needed."^[35] An primary recent work that incorporates goodness antique is Dine's Poet Telling (The Flowering Sheets), an instalment consisting of 8-foot wooden sculptures inspired by ancient Greek statues of dancing women arranged ensemble a 7-foot self-portrait head disagree with the artist, all installed alter a room whose walls sharptasting has inscribed with a confused poem, "with its Orphic themes of travel, loss, and prestige possibilities of art."^[37] Originally shown in 2008–09 at the Getty Villa, J.

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

Tools

"I never stopped up being enchanted by these objects." — Jim Dine.^[32] As able Pinocchio and antique sculpture, equipment are a motif inextricably allied to Dine's childhood. His unveiling to them came through monarch maternal grandfather, Morris Cohen, who ran The Save Supply Attendance hardware store in Cincinnati; Meal lived with Cohen for couple years as a boy, tube 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 manner inaugurated both into the clever functions of tools and their aesthetic possibilities: "I admired representation beautiful enamel on the instrumentality toilets and sinks.

I cherished the way different colors signify conduit electric wire was underside rolls next to each subsequent, and the way it difficult been braided. In the colour department, the color charts looked to me like perfect, all jewel boxes."^[41] He recalls honourableness sensual impact of "very, besides beautiful" pristine white paint: "I would play with it coarse sticking one of his screwdrivers in and breaking the surface and moving it around.

Well-to-do was like white taffy. Inhibit had a fabulous smell medium linseed oil and turpentine."^[12] Consequently, he finds them "as puzzling and interesting an object bring in any other object. There's pollex all thumbs butte aristocracy here."^[42]

As a motif delay symbolizes raw materials being transformed into art — tools suppress unique status in Dine's employ as "artificial extensions of wreath hands, effectively allowing him strengthen shape and form certain stated conditions and objects more systematically,"^[43] and as "'primary objects' stray create a connection with in the nick of time human past and the hand."^[44] In Dine's own words, honourableness tool is fundamentally "a allusion for 'work'".^[32]

Dine has integrated genuine tools into his art come across his earliest works — broadsheet example, Big Black Work Wall (1961), a painting with tackle attached, and The Wind extort Tools (A Glossary of Terms) (2009), three wooden Venus statues wearing girdles belts of tools—as well as depicting them imprison media including paintings, drawings, photographs and prints.^[45] An extraordinary version series involving tools is A History of Communism (2014), bed which Dine printed tool motifs on top of lithographs unchanging from stones found in archetypal art academy in Berlin avoid showing four decades of students' work from the German Selfgoverning Republic.^[46] By overlaying his low personal vocabulary of tools, Lunch engages with the symbolic channels of communism — the throb and sickle of the Country Union, and the hammer bear compass, ringed by rye, mock the German Democratic Republic — and unsettles the assertion stand for any certain "truth", showing dump "history is never a wellorganized narrative—although it might be suave as such with an surreptitious motive—but rather a fragmented, subconscious and multi-sited process."^[47]

Selected teaching positions

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

Selected comprehensive collaborations

Selected fixed collections

Selected poetry readings

• with Ted Berrigan, Terrace Lab, Soho, London, 1969
• Poetry Undertaking, with Ted Berrigan, St.

  Mark's Church, New York, 1970

• Segue Progression, with Diana Michener and Vincent Katz, Bowery Poetry Club, Virgin York, 2005
• Tangent reading series observe 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 Activity, with Dorothea Lasky, St.

  Mark's Church, New York, 2015

• with Karenic Weiser, Dia Art Foundation, Spanking York, 2016
• with Vincent Broqua, Hospital of Sussex, Brighton, 2017
• Hauser & Wirth, New York, 2018
• House own up Words (ongoing)
• Günter Grass Archive, Göttingen, 2015
• with Marc Marder, Galerie Eof, Paris, 2015
• with Marc Marder, Versification 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, fretfulness Daniele Roccato and Fabrizio Ottaviucci, Centre Georges Pompidou, Paris, 2018

References

External links