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Jim DinePinocchio (Framed Pop Art Screen Print by Jim Dine) 2008
2008
About the Item
Limited edition 'Pinocchio' screen print by Pop Art icon, Jim Dine (b. 1935)
Published by Lincoln Center for the Performing Arts
41 x 29.5 inches in black frame
Seven color screen print and woodcut
Signed and editioned by the artist
Edition 25/118
Excellent condition and ready to hang
Jim Dine reinterprets Carlo Collodi's 'Pinocchio' with this series of screen prints published by Lincoln Center. The Pinocchio motif first appeared in Dine's work in 1998 and became a fascination of the artist's. He explains, "Thanks to Carlo Collodi, the real creator of Pinocchio, I have for many years been able to live thru the wooden boy.... His poor burned feet, his misguided judgment, his vanity about his large nose, his temporary donkey ears all add up to the real sum of his parts. In the end it is his great heart that holds me." Dine also thought the idea of a wooden object becoming human acts as a metaphor for art and represents the "ultimate alchemical transformation". He later made a self-portrait of himself as Geppetto, making reference to the artist as creator.
The seven color screen print is signed a dated by the artist. It's completed with a black frame, 8 ply white mat, and non-glare glass. The piece is in excellent condition and ready to hang.
About the artist:
Considered a pioneer of both the Happenings and Pop art in the 1960s, Jim Dine is known merging familiar objects from popular culture with autobiographical content to make work distinguished by its bold, graphic style. Often repeating certain generic themes and motifs—such as hearts, skulls, and tools (as well as the Disney version of Pinocchio)—in multiple forms and mediums, his interest in seriality and the everyday are emblematic of the Pop style, yet Dine's work is simultaneously distinguished by his masterful draftsmanship.
In 1962, Dine was one of eight artists—along with Andy Warhol, Roy Lichtenstein, Ed Ruscha—included in the seminal New Paintings of Common Objects exhibition curated by Walter Hopps at the Pasadena Art Museum (now the Norton Simon Museum), which is often credited with defining the then-emerging field of Pop art. The next year, his work was exhibited in Six Painters and the Object at the Guggenheim Museum, curated by Lawrence Alloway, which presented the work of six artists who would come to be among the most celebrated figures in postwar American art: Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, and Andy Warhol.
Since his first exhibitions at the Judson Gallery in downtown New York in 1959, Dine's work has been exhibited regularly at major museums and galleries internationally. In addition to notable surveys of Pop art, Dine has been included in significant international shows such as Documenta 4 in 1967, Documenta 5 in 1972, and Documenta 6 in 1977, the Venice Biennale in 1964 and 1997, as well as the 1973 Whitney Biennial and its precursor, the Whitney Annual, in 1965, 1966, 1967, and 1969. Dine has been the subject of hundreds of solo shows, including exhibitions at the Morgan Library and Museum, the J. Paul Getty Museum, and the National Gallery of Art in 2004.
- Creator:Jim Dine (1935, American)
- Creation Year:2008
- Dimensions:Height: 41 in (104.14 cm)Width: 29.5 in (74.93 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Hudson, NY
- Reference Number:1stDibs: LU2276280972
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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