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Jim DineRainbow Quilt Heart Pop Art Vintage Offset Lithograph Poster Jim Dine, Maeght1983
1983
About the Item
Jim Dine, Monotypes et Gravures, Galerie Maeght, Paris, 1983.
Vintage Offset Lithograph Poster American contemporary pop art.
A colorful heart quilt in a rainbow of colors.
Jim Dine (born June 16, 1935) is an American pop artist. He is sometimes considered to be a part of the Neo-Dada movement.He was born in Cincinnati, Ohio. In 1953, he attended evening classes at The Art Academy of Cincinnati taught by the influential instructor, Paul Chidlaw. Dine received a BFA from Ohio University in 1957.
He first earned respect in the art world with his Happenings. Pioneered with artists Claes Oldenburg and Allan Kaprow, in conjunction with musician John Cage, the "Happenings" were chaotic performance art that was a stark contrast with the more somber mood of the expressionists popular in the New York art world. The first of these was the 30-second The Smiling Worker performed in 1959.
In 1962 Dine's work was included, along with Roy Lichtenstein, Andy Warhol, Robert Dowd, Phillip Hefferton, Joe Goode, Edward Ruscha, and Wayne Thiebaud, in the historically important and ground-breaking New Painting of Common Objects, curated by Walter Hopps at the Norton Simon Museum. This exhibition is historically considered one of the first "Pop Art" exhibitions in America. These painters started a movement, in a time of social unrest, which shocked America and the art world. The Pop Art movement fundamentally altered the nature of modern art.
In the early 1960s, he began attaching objects, particularly tools of autobiographical significance, to his canvases. Job #1 from 1962, in the collection of the Honolulu Museum of Art, which incorporates paint cans, paint brushes, a screwdriver, and a piece of wood is an example of such a pop art work. These provided commercial as well as critical success, but left Dine unsatisfied. In September 1966 police raided an exhibition of his work displayed at Robert Fraser's gallery in London, England. Twenty of his works were seized and Fraser was charged under the Obscene Publications Act of 1959, Dine's work was found to be indecent but not obscene and Fraser was fined 20 guineas. The following year Dine moved to London and continued to be represented by Fraser, spending the next four years developing his art.
Returning to the United States in 1971 he focused on several series of drawings. Since 1976 Dine has been represented by The Pace Gallery. In the 1980s sculpture resumed a prominent place in his art. In the time since then there has been an apparent shift in the subject of his art from man-made objects to nature.
In 1984 the Walker Art Center in Minneapolis, Minnesota, exhibited his work as "Jim Dine: Five Themes". 1987 saw the publication of the book Jim Dine: Drawings 1973 - 1987, to coincide with a touring exhibition. In 1989 the Minneapolis Institute of Arts hosted Jim Dine Drawings: 1973–1987. In 1983, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1994.
In 2004 the National Gallery of Art in Washington, D.C. organized the exhibition "Drawings of Jim Dine." In the summer of 2007 he participated in the Chicago public art exhibition "Cool Globes: Hot Ideas for a Cooler Planet." In Canada, he first exhibited at the Galerie de Bellefeuille alongside artists Chuck Close, Tom Hopkins and Jennifer Hornyak in 2009. Dine also exhibited regularly with the Alan Cristea Gallery in London and had a show there in April 2010.
As of 2016, Jim Dine is exclusively represented by Richard Gray Gallery in Chicago and New York.
Dine previously worked on a commercial book, paintings, and sculptures that focused on Pinocchio. Another large bronze sculpture of Pinocchio by Jim Dine exists near the entrance of the Cincinnati Art Museum.
Collections
Dine's work is part of numerous public collections including the British Museum, London;[ the Centre Georges Pompidou, Paris; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Honolulu Museum of Art; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the San Francisco Museum of Modern Art, California; the Smithsonian American Art Museum, Washington, D.C.; the Solomon R. Guggenheim Museum, New York; the Tate Modern, London; the Walker Art Center, Minneapolis; the Whitney Museum of American Art, New York; the Virginia Museum of Fine Arts, Richmond, Virginia; and the Crystal Bridges Museum of American Art, Bentonville, Arkansas.
- Creator:Jim Dine (1935, American)
- Creation Year:1983
- Dimensions:Height: 31.25 in (79.38 cm)Width: 21 in (53.34 cm)Depth: 0.1 in (2.54 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:never framed. minor wear commensurate with age. please see photos.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38214259522
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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