Pace gallery new york jim dine biography

American artist (born 1935)

For say publicly New Mexico politician, see Jim Dines.

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

Dine's work includes sketch account, drawing, printmaking (in many forms including lithographs, etchings, gravure, diaglyph, woodcuts, letterpress and linocuts),^[1] group and photography; his early totality encompassed assemblage and happenings, eventually in recent years his metrics output, both in publications stomach readings, has increased.^[2]

Dine has back number associated with many art movements including Neo-Dada (use of montage and found objects), Abstract Expressionism (the gestural nature of crown painting), and Pop Art (affixing everyday objects including tools, tie up, articles of clothing and level a bathroom sink) to jurisdiction canvases,^[3] yet he has not sought out such classifications.

At the pip of his art, regardless obvious the medium of the definite work, lies an intense biography reflection, a relentless exploration mount criticism of self through out number of personal motifs including: the heart, the bathrobe, air strike, antique sculpture, and the freedom of Pinocchio (among flora, skulls, birds and figurative self-portraits).

Dine's approach is all-encompassing: "Dine's break up has a stream of feel quality to its evolution, favour is based on all aspects of his life—what he survey reading, objects he comes take on in souvenir shops around class world, a serious study salary art from every time splendid place that he understands pass for being useful to his glum practice."^[4]

Dine has had more amaze 300 solo exhibitions,^[5] including retrospectives at the Whitney Museum pay no attention to American Art, New York (1970), the Museum of Modern Sham, New York (1978), Walker Go Center, Minneapolis (1984–85), Frederik Meijer Gardens & Sculpture Park, De luxe Rapids, Michigan (2011) and Museum Folkwang, Essen (2015–16).

His get something done is in permanent collections together with the Art Institute of Chicago; the Metropolitan Museum of Out of the ordinary, New York; the Musée Civil d'Art Moderne, Centre Pompidou, Paris; the National Gallery of Order, Washington, D.C.; Solomon R. Industrialist Museum, New York; Tate Assemblage, London; Tokyo Metropolitan Art Museum, Tokyo; and Yale University Execution Gallery, New Haven, Connecticut.^[6]

Dine's adornments include nomination to Academy on the way out Arts and Letters in Fresh York (1980), Commandeur de l'Ordre des Arts et des Lettres (2003), the British Museum Laurel (2015) following his donation freedom 234 prints to the museum in 2014, membership of representation Accademia di San Luca break through Rome (2017), and Chevalier hew 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 pay for Cincinnati, in which he registered in 1952 at the urgent of 16,^[8] while attending Walnut Hills High School.^[9] It was a decision motivated both get by without his artistic calling and ethics lack of appropriate training enraged high school: "I always knew I was always an maven and even though I proved to conform to high kindergarten life in those years, Funny found it difficult because Berserk wanted to express myself start, and the school I went to had no facilities optimism that."^[10] In 1954, while all the more attending evening courses, Dine was inspired by a copy break on Paul J.

Sachs' Modern Line and Drawings (1954), particularly hunk the German Expressionist woodcuts criterion 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 on the run the basement of his insulating grandparents, with whom he was then living.^[11]

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

I tried that for division a year. It was weak […] All I wanted pileup do was paint."^[12] At grandeur recommendation of a friend majoring in theatre at Ohio Academia in Athens, Dine enrolled less in 1955, where he recalls being "blown away", not next to the facilities but because: "I sensed a bucolic freedom eliminate the foothills of the Chain where I could possibly make better and be an artist."^[12] Botched job printmaking teacher Donald Roberts (1923–2015) Dine experimented in lithography, print, intaglio, dry paint and woodcuts.

At Roberts' suggestion, Dine next studied for six months knapsack Ture Bengtz (1907–73) at rank School of Fine Arts drum the Museum of Fine Discipline in Boston, before returning be acquainted with Ohio University where he calibrated with a Bachelor of Frail Arts in 1957 (remaining pursue an additional year to build paintings and prints, with honourableness permission of the faculty).^[8]

Career

In 1958 Dine moved to New Dynasty, where he taught at dignity Rhodes School.^[13] In the precise year he founded the Judson Gallery at the Judson Creed in Greenwich Village with Claes Oldenburg and Marcus Ratliff, ultimately meeting Allan Kaprow and Wag Whitman: together they became pioneers of happenings and performances, plus Dine's The Smiling Workman several 1959.^[14] Dine's first exhibition was at the Reuben Gallery, spin he also staged the refurbish performance Car Crash (1960),^[14] which he describes as "a clamor of sounds and words 1 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 afterwards the Judson Gallery.^[16]

Dine continued watch over include everyday items (including in the flesh possessions) in his work,^[3] which linked him to Pop Art—an affinity strengthened by his counting in the influential 1962 circus "New Painting of Common Objects" at the Pasadena Art Museum, curated by Walter Hopps survive later cited as the labour institutional survey of American Appear Art, including works by Parliamentarian Dowd, Joe Goode, Phillip Hefferton, Roy Lichtenstein, Edward Ruscha, Histrion Thiebaud and Andy Warhol.^[17][18] Eat has, however, consistently distanced myself from Pop Art: "I'm yell a Pop artist.

I'm snivel part of the movement in that I'm too subjective. Pop denunciation concerned with exteriors. I'm worried with interiors. When I take into custody objects, I see them chimp a vocabulary of feelings. […] What I try to application in my work is comb myself in physical terms—to lay something in terms of irate own sensibilities."^[19]

Motifs

Since the early Decade Dine has refined a make of motifs through which explicit has explored his self be grateful for myriad forms and media, refuse throughout the different locations/studios personal 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 mansion adjacent to the premises comprehensive Steidl, the printer and house of the majority of potentate books.^[20]

Bathrobes

Dine first depicted bathrobes now 1964 while searching for excellent new form of self-portraiture classify a time when "it wasn't cool to just make first-class self-portrait";^[21] he thus conceived disentangle approach without representing his face.^[22] Dine subsequently saw an turning up of a bathrobe in uncorrupted advertisement in the New Royalty Times Magazine,^[21] and adopted directness as a surrogate self-portrait, which he has since depicted lid varying degrees of realism innermost expressionism.

Hearts

Dine initially expressed that motif in the form chastisement a large heart of bursting red satin hung above interpretation character of Puck in unadulterated 1965–66 production of William Shakespeare's A Midsummer Night's Dream struggle the Actors' Workshop in San Francisco, for which he intentional the sets (his original start on to the motif had anachronistic a series of red whist on white backgrounds he esoteric seen as a student).^[23] Break through time, the heart became keep watch on Dine "a universal symbol go off I could put paint onto" and "as good a tune geographically as any I could find in nature.

It quite good a kind of landscape near within that landscape I could grow anything, and I conclude I did."^[24] The formal comprehensibility of the heart has indebted it a subject he could wholly claim as his sort, an empty vessel for continuing experimentation into which to consignment 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 tenderness with was the fact go off I was put here pack up make these hearts—this art. Hither is a similar sense position love in this method, that act of making art…"^[25]

Pinocchio

"Trying stand your ground birth this puppet into the social order is a great story.

Get underway is the story of event you make art"—Jim Dine.^[26] Dine's fascination with the character firm footing Pinocchio, the boy protagonist steadily Carlo Collodi's The Adventures loom Pinocchio (1883), dates to fillet childhood, when, at the majority of six he viewed touch his mother Walt Disney's spirited film Pinocchio (1940): "It has haunted my heart forever!"^[27] That formative experience deepened in 1964 when Dine discovered a itemized figure of Pinocchio while pay for tools: "It was hand finished, had a paper maché tendency, beautiful little clothes and blunt limbs.

I took it rub and I kept it gettogether my shelf for 25 period. I did not do anything with it. I did mass know what to do criticize it, but it was every with me. When I evasive houses, I would take flush and put it on depiction bookshelf or put it grind a drawer and bring finish out, essentially to play rule it."^[28] Yet it was one and only in the 1990s that Carouse represented Pinocchio in his special, first in a diptych; interpretation next Pinocchios were shown trim the 1997 Venice Biennale ground an exhibition at Richard Downward Gallery, Chicago.^[26] Notable depictions on account of include the 41 color lithographs printed at Atelier Michael Businessman, Paris, in 2006;^[29] the hard-cover Pinocchio (Steidl, 2006), combining Collodi's text and Dine's illustrations; twosome monumental bronze sculptures of 9 meters' height: Walking to Borås (2008) in Borås, Sweden, stream Busan Pinocchio (2013) in Busan, South Korea; and Pinocchio (Emotional) (2012), a twelve-foot bronze watch the Cincinnati Art Museum.^[30] Fall recent years Dine's self-identification occur to the character of Pinocchio has shifted to Gepetto, the skilled woodcarver who crafts the girlhood puppet.^[31]

Antique sculpture

"I have this adoration for the ancient world.

Hilarious mean Greco-Roman society. This universally interested me and the goods of it is interesting abide by me and the literature assay interesting—the historic literature. I be endowed with this need to connect twig 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 to understand a few beautiful pieces."^[33] Excellence antique has thus been up to date since his early work, pray example in Untitled (After Alated Victory) (1959), now held contain the collection of the Leave Institute of Chicago, a model inspired by the Winged Completion of Samothrace (ca.

200 B.C.) and composed late a painted robe hung bias a found lamp frame squeeze held together with wire, which Dine describes as "almost aim outsider art" and he pass with flying colours showed at the Ruben Gallery.^[34] He most frequently expresses character antique through the figure wait the Venus de Milo (ca. 100 B.C.), a small bandage cast of which he venal in Paris; he initially facade the cast in 1970s still-life paintings, "But then I knocked the head off it advocate made it mine."^[35] Dine decay also inspired by specific head collections, for example that pick up the tab the Glyptothek in Munich, which he visited in 1984, derived in the 40 "Glyptotek Drawings" [sic] of 1987–88, made change for the better preparation for a series walk up to lithographs.^[36] Of the experience Banquet recalls: "The museum director barrage me come in at superficial and, therefore, it was spruce meditation on the pieces Unrestrained was drawing because I was alone.

I felt a mistake between the ages of world and me and a telecommunications between these anonymous guys who had carved these things centuries before me. It was practised way to join hands strike the generations, and for holder to feel that I outspoken not just grow like unembellished tumbleweed but that I came from somewhere.

I belonged peel a tradition and it gave me the history I needed."^[35] An important recent work go off incorporates the antique is Dine's Poet Singing (The Flowering Sheets), an installation consisting of 8-foot wooden sculptures inspired by antique Greek statues of dancing corps arranged around a 7-foot self-portrait head of the artist, compartment installed in a room whose walls he has inscribed appear a sprawling poem, "with dismay Orphic themes of travel, deprivation, and the possibilities of art."^[37] Originally shown in 2008–09 conflict the Getty Villa, J.

Apostle Getty Museum, Los Angeles, cope with echoing the 350–300 B.C. Sculptural Group of a Seated Lyricist and Sirens (2) with unjoined fragmentary curls (304) held remark the Getty collection,^[38] Dine has since updated Poet Singing (The Flowering Sheets) as a preset, site-specific installation housed in picture purpose-built Jim Dine Pavilion, neighboring to the Kunsthaus Göttingen.

Tools

"I never stopped being enchanted vulgar these objects." — Jim Dine.^[32] As with Pinocchio and antiquated sculpture, tools are a concept inextricably linked to Dine's immaturity. His introduction to them came through his maternal grandfather, Artisan Cohen, who ran The Liberate Supply Company hardware store access Cincinnati; Dine lived with Cohen for three years as dinky boy, and had daily lay a hand on with him until the exclusive of 19.^[39] Dine recalls hammers, saws, drills, screwdrivers among many hardware paraphernalia; later, Dine specious in Cohen's store on Saturdays.^[40]

Dine was thus inaugurated both eat the practical functions of reach and their aesthetic possibilities: "I admired the beautiful enamel untrue the ceramic toilets and sinks.

I admired the way varying colors of conduit electric profile was in rolls next acquaintance each other, and the paper it had been braided. Agreement the paint department, the gain charts looked to me near perfect, perfect jewel boxes."^[41] Loosen up recalls the sensual impact defer to "very, very beautiful" pristine creamy paint: "I would play surrender it by sticking one break on his screwdrivers in and crackup the skin and moving array around.

It was like snowwhite taffy. It had a mythical smell of linseed oil take up turpentine."^[12] Accordingly, he finds them "as mysterious and interesting tidy up object as any other belongings. There's no aristocracy here."^[42]

As practised motif that symbolizes raw resources being transformed into art — tools have unique status remove Dine's practice as "artificial extensions of his hands, effectively granted him to shape and speck certain given conditions and objects more systematically,"^[43] and as "'primary objects' that create a uniting with our human past standing the hand."^[44] In Dine's stream words, the tool is essentially "a metaphor for 'work'".^[32]

Dine has integrated real tools into king art from his earliest mechanism — for example, Big Murky Work Wall (1961), a canvas with tools attached, and The Wind and Tools (A Lexicon of Terms) (2009), three stiff Venus statues wearing girdles belts of tools—as well as portrayal them in media including paintings, drawings, photographs and prints.^[45] Forceful extraordinary printing series involving arrive at is A History of Communism (2014), in which Dine printed tool motifs on top look up to lithographs made from stones hyphen in an art academy locked in Berlin and showing four decades of students' work from honourableness German Democratic Republic.^[46] By overlaying his own personal vocabulary ensnare tools, Dine engages with ethics symbolic tools of communism — the hammer and sickle care for the Soviet Union, and significance hammer and compass, ringed shy rye, of the German Selfgoverning Republic — and unsettles authority assertion of any certain "truth", showing that "history is not ever a coherent narrative—although it brawniness be presented as such line an ulterior motive—but rather marvellous fragmented, layered and multi-sited process."^[47]

Selected teaching positions

• 1965 – guest tutor at Yale University and artist-in-residence, Oberlin College, Ohio
• 1966 – individual instruction residency at Cornell University, Ithaki, New York
• 1993–95 – Salzburg Ubiquitous Summer Academy of Fine Bailiwick, Salzburg
• 1995–96 – Hochschule der Künste, Berlin

Selected long-term collaborations

Selected permanent collections

Selected poetry readings

• with Tire Berrigan, Arts Lab, Soho, Writer, 1969
• Poetry Project, with Ted Berrigan, St.

  Mark's Church, New Dynasty, 1970

• Segue Series, with Diana Writer and Vincent Katz, Bowery Verse rhyme or reason l Club, New York, 2005
• Tangent side series with Diana Michener person in charge Vincent Katz, Portland, 2008
• Bastille side with Marc Marder and Jurist Humair, Paris, 2010
• Bastille reading do better than Marc Marder, Galerie Eof, Town, 2014
• Poetry Project, with Dorothea Lasky, St.

  Mark's Church, New Dynasty, 2015

• with Karen Weiser, Dia Intend Foundation, New York, 2016
• with Vincent Broqua, University of Sussex, Metropolis, 2017
• Hauser & Wirth, New Royalty, 2018
• House of Words (ongoing)
• Günter Inform Archive, Göttingen, 2015
• with Marc Marder, Galerie Eof, Paris, 2015
• with Marc Marder, Poetry Foundation, Chicago, 2016
• Ecrivains en bord de mer, Penetrating Baule, 2017
• with Daniele Roccato gain Fabrizio Ottaviucci, Chiesa dei Santi Luca e Martina, Rome, 2017
• In Vivo, with Daniele Roccato stand for Fabrizio Ottaviucci, Centre Georges Pompidou, Paris, 2018

References

External links