Jim Dine, surrounded by photographers,
at the inauguration of his work
Walking to Borås (behind him on the left),
May 16, 2008.
|Birth name||Jim Dine|
June 16, 1935 |
|Field||painting, drawing, sculpture, printmaking|
University of Cincinnati
|Movement||Neo-Dada, Pop Art|
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.
Birth of American "Pop Art"
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 and changed modern Art forever, "Pop Art".
In the early 1960s Dine produced pop art with items from everyday life. 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. He exhibits regularly with the Alan Cristea Gallery in London and had a show there in April 2010.
Dine previously worked on a commercial book, paintings, and sculptures that focused on Pinocchio.
- Claes Oldenburg
- Cy Twombly
- Jim Dine: A Self-Portrait on the Walls, a 1995 documentary
- Marcel Duchamp
- Pop Art
- Michael Woolworth
- Chris Bruce, compiler, with an essay by Jim Dine. Extending the Artist's Hand: Contemporary Sculpture from the Walla Walla Foundry. Pullman, Washington: Museum of Art, Washington State University, 2004. ISBN 978-0-9755662-0-6
- John Coplans, "New Paintings of Common Objects", Artforum, November, 1962. (Illustrations)
- Jones, Jonathan (November 3, 2001). "My name is Jimmy". London: Guardian.co.uk. Retrieved 2010-02-07.
- Lafferty, S. R., (1987) Jim Dine: Drawings 1973 - 1987, Contemporary Arts Center, ISBN 0-917562-50-X, ISBN 978-0-917562-50-1
- Vanderstaay, Marilynn, "Don't miss Galerie de Bellefeuille's holiday show" Westmount Examiner. Montreal: 15 Dec. 2009. Web.
- Drawings of Jim Dine at the National Gallery of Art
- Past Exhibition of Drawings of Jim Dine at the National Gallery of Art
- Jim Dine on ArtCyclopedia
- Encyclopedia of Artists: Volume 2 (2000), William H. T. Vaughan (ed), Oxford: OUP ISBN 0-19-521572-9