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Jim DineJim Dine, I Love Public Television, deluxe hand signed/N 1966 Pop Art Lithograph1966
1966
$4,500
£3,400.63
€3,981.10
CA$6,284.14
A$7,070.23
CHF 3,746.08
MX$87,308.41
NOK 45,923.01
SEK 44,125.68
DKK 29,696.59
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About the Item
Jim Dine
Love for Channel 13
Lithograph. Hand signed and numbered recto
27 × 21 1/2 inches
Edition 185/200
Signed and numbered 185/200 in graphite pencil on the recto
Unframed
Rarely to market, this limited edition hand signed and numbered vintage lithograph from the mid 1960s was created to publicize an art auction at Parke Bernet to raise funds for Channel 13 - American public television. This work features Dine's iconic hearts to illustrate love of public television. The print is in excellent condition and today is a symbol of great nostalgia for Americans who grew up on public television in the mid 1960s. In the era of Trump, many despairing Americans will look back at this valiant effort, ruefully noting however that not even Jim Dine and a bevy of artistic heavyweights could save American public television. A highly desirable 1960s Jim Dine with hearts, text - and a social conscience.
About Jim Dine:
Jim Dine (b. 1935, Cincinnati, Ohio) is an American artist who rose to prominence in late-1950’s New York. He played a key role in creating the first “Happenings” and thereafter was closely associated with the Pop Art movement. His diverse body of work defies such easy categorization, however, as it is also understood as seminal to Neo-Dada and Neo-Expressionism. An innovator throughout his long career, Dine’s vast and varied output includes paintings, assemblages, sculptures, drawings, prints, and over twelve books of poetry. His extensive practice has been the subject of more than 300 solo exhibitions around the world, including eleven major surveys and retrospectives since 1970.
Dine studied at the University of Cincinnati and Boston Museum School from 1953-1955, and received his BFA from Ohio University in 1957. In 1958, he enrolled in graduate study at Ohio University. His work can be found in public collections throughout the world, including the Art Institute of Chicago, Chicago, IL; Brooklyn Museum, Brooklyn, NY; Cincinnati Art Museum, Cincinnati, OH; Cleveland Museum of Art, Cleveland, OH; Dallas Museum of Art, Dallas, TX; Fogg Art Museum, Harvard University, Cambridge, MA; Israel Museum, Jerusalem; Indianapolis Museum of Art, Indianapolis, IN; Metropolitan Museum of Art, New York, NY; Minneapolis Institute of Arts, Minneapolis, MN; Centre Georges Pompidou, Paris, France; Museum of Contemporary Art, Chicago, IL; Museum of Fine Arts, Boston; The Museum of Modern Art, New York, NY; National Gallery of Art, Washington, DC; Solomon R. Guggenheim Museum, New York, NY; Tate Gallery, London, UK; Tokyo Metropolitan Art Museum, Tokyo, Japan; Whitney Museum of American Art, New York, NY; and the Yale University Art Gallery, New Haven, CT, among others.
-Courtesy of Richard Gray Gallery
Jim Dine
The Ohio-born artist Jim Dine brought his ever-shifting, multidisciplinary vision to New York in 1958, a time of transition in the American art world. Abstract Expressionism, which had dominated the scene for years, was on the wane, and a group of young artists, including Dine, Allan Kaprow, Jasper Johns and Robert Rauschenberg, was eager to replace it with a movement that flipped the traditional rules of art-making on their head.
Beyond dissolving the boundaries between mediums and genres, attaching found objects and detritus to their canvases, these revolutionaries began staging performative “happenings” in public spaces, redefining the very definition of a work of art. As Pop art took form, Dine used objects with personal significance, like his paintbrushes, to transform his paintings into two-dimensional sculptures. He was included in the Norton Simon Museum’s 1962 “New Painting of Objects,” often considered the first true Pop art exhibition in America, but he remained a chameleon, constantly changing his style, material and technique.
More than his contemporaries, Dine has forged new paths in drawing, scrawling words and names across the canvas to create graphic, abstract landscapes. He is obsessed by certain motifs — such as hearts and his own bathrobe — which recur in various forms throughout his oeuvre. He has occasionally worked in classical genres, such as portraiture, as exemplified by the 1980 aquatint Nancy Outside in July. He has also co-opted the bold, graphic vocabulary of advertising and commercials, as in the sleek 2010 composition Gay Laughter at the Wake.
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