Archive for the ‘Jim Dine’ Category

I have come to terms with a lot of things, because, when all’s said and done, there’s really very little one can do about a lot of things. You just accept them. The point is you just have to keep on working and you just have to keep on living.

January 25, 2009

Jim Dine

Car Crash #4

A leader of the Pop Art Movement, Jim Dine first studied at the University of Cincinnati, The Boston Museum of Fine Arts School and the University of Ohio. His first exhibition was with fellow artist and co-collaborator, Claes Oldenburg in 1959. In the Dadaist style, Dine used mixed media and the ready-made to produce his paintings. He began experimenting with performance art in the 1950’s. His later work is a return to traditional painting techniques incorporated with collage, printing, etching, and paper-making.

I do not think that obsession is funny or that not being able to stop one’s intensity is funny.

June 16, 2008

Happy Birthday Jim Dine

For over thirty years, the artwork of Jim Dine has represented the cutting-edge of contemporary artistic thought. As Dine’s popularity endures, so does much of his personal imagery. His images vary as much as the media with which he renders them does; in general, however, they evoke a fascination with the body.

Some of the artist’s corporeal references are obvious, such as the series of self-portrait, assemblage pieces of 1959 that substitute articles of clothing for actual body parts. Other references are more obscure. For example, his tool images – a symbol that reappears throughout his work – recall memories and emotions buried within the body (in this case, memories from his childhood).

Born in Ohio in 1935, Dine grew up working at a family-owned hardware store. Upon moving to New York in 1959, he immediately became part of the avant-garde art scene. At the time, many other artists responded to the broader culture with deadpan popular imagery; meanwhile, Dine created a unique style, electing to combine elements from popular culture with personal content. Using this as a guiding principle, he then selected images to represent both his inner self and his artistic persona. Eventually these images, including hearts, skulls, clothing, and tools, reached iconic status in his art, for they became blatantly self-referential.

The process of art-making itself, for Dine, is indeed a highly personal experience. In the case of his printmaking, Dine started with a basic image. Each time the artist viewed the image before him, he would respond to it by drawing gestural marks and adding bits of color. Dine returned to his work several times, gradually adding to the background atmosphere and subtly manipulating the lines surrounding the image. Every individual process brought about its own conclusion – whether or not the artwork produced the desired emotional effect – and as a whole, the finished piece represents a culmination of his satisfaction.