They feature in many of his works, and can be seen as a symbol of artistic creation. There is also an autobiographical resonance, as Dine's family owned a hardware store in Cincinnati. In these prints , the tools are presented as a series of discrete items, as if laid out for analysis and classification.
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Not on display. Artist Jim Dine born Part of Ten Winter Tools. Using materials that were readily available and relying on his intuition from years of working with drawing, painting, and printmaking materials, Dine was able to adapt his working methods to this new challenge. The catalog for the first exhibition that included these heliogravure prints, Jim Dine: Youth and the Maiden and Related Works , at the Graphische Sammlung Albertina, Vienna, , stated that the drawings were destroyed when the images were transferred to the printing plates.
The drawings subsequently surfaced in the exhibition Jim Dine: Glyptotek Drawings at The Nelson-Atkins Museum of Art, Kansas City, Missouri, revealing that in the end Dine created two works of art: the printed images in Glyptotek , and a series of forty drawings that, besides their intended intermediary printmaking function, make up the finished work of art Glyptotek Drawings.
Glossary of Terms Aquatint grain: An overall pattern that is applied to a printing plate to reproduce tone in printed form. This is accomplished by depositing a fine particulate layer of asphaltum or rosin dust on the surface of a printing plate. When exposed to acid, the voids around these particles are etched, creating a series of ink-holding recesses. Charcoal: A black drawing medium that is the carbon by-product of burned wood or other organic materials.
Charcoal for drawing is typically sold in two types: wood or vine charcoal — carbonized twigs of wood or vine — and compressed charcoal — ground charcoal compressed into stick form with little or no binder.
Wood or vine charcoal tends to have a brown undertone, while compressed charcoal is a denser black. Drypoint: An intaglio printmaking technique in which recessed lines are created directly on the printing plate using sharp metal tools. When printed, drypoint lines have a distinct soft appearance. Enamel paint: A glossy, quick-drying paint that can have an oil or resin binder. Etch: The chemical removal of metal from a printing plate using an acidic solution, such as ferric chloride.
When used to create intaglio printing plates, the ferric chloride eats away, or etches, the exposed areas of the metal printing plate to create ink-holding recesses. Graphite: A naturally occurring silvery-black drawing material that is an allotropic form of carbon.
Graphite is mixed with clay to create a variety of hardnesses used as pencil leads or drawing sticks. Heliogravure: An intaglio printmaking process also known as photogravure.
Traditionally, this process uses light in combination with a continuous tone photographic film positive transparency to create an acid-resistant gelatin ground on a copper printing plate.
The plate is then placed in a series of ferric chloride solutions used to etch the surface of the copper to transfer the image from the transparency to the printing plate. In the case of the heliogravure prints in Dine's Glyptotek , the Glyptotek Drawings were used as the positive transparencies. The elimination of the photographic film positive transparency is often referred to as direct gravure. India Ink: A modern, waterproof, black ink that contains a carbon black pigment, shellac, and a borax emulsifier.
Intaglio: A category of printmaking processes in which the image is created by recessed lines or textured areas below the surface of a metal plate. These recesses can be achieved by manual removal of the metal or by chemical removal using acid. To print the image, the plate is inked and wiped, leaving ink only in the recessed areas, and then printed onto a damp sheet of paper using a printing press. Characteristically, the printed ink is raised above the surface of the paper and the print often bears a plate mark.
Intaglio includes engraving, drypoint, mezzotint, etching, aquatint, and heliogravure. Intaglio plate scraper: A three-sided steel tool used to scrape away unwanted lines or burrs from intaglio plates. Kneaded eraser: A soft pliable eraser that is made of rubber, oil, abrasives, and proprietary ingredients. Lithographic crayon: A black greasy stick used to draw directly onto a lithographic stone or plate.
Lithographic crayons contain wax, tallow, soap, natural resin, and lamp-black pigment in varying proportions to produce five to seven hardnesses. Crayons come in the form of square sticks that are approximately two inches long, or the same ingredients can be cast into rods and wrapped in paper to create lithographic pencils.
Marker: A drawing instrument with a fiber tip to which a constant supply of ink is supplied from an attached reservoir. Pastel: A soft drawing stick made from finely ground natural or synthetic pigments mixed with a small amount of a water-soluble binder and a filler.
Spray fixative: A clear acrylic resin applied as a mist to a work of art with the purpose of adhering friable media. Commercial fixatives are sold in aerosol containers.
Spray paint: A liquid paint that is applied as a mist to a substrate. Commercial spray paints are sold in aerosol containers. Drawings of Jim Dine. New York: Focal Press, Also see: Sacilotto, Deli. Photographic Printmaking Techniques. New York: Watson-Guptill Publications, Sources Brodie, Judith, and Jim Dine. Boston: Museum of Fine Arts. Carpenter, Elizabeth. Minneapolis, Minn: Minneapolis Institute of Arts, Dine, Jim.
Jim Dine in Der Glyptothek. Dine, Jim, Personal conversations and correspondence, December —March Jim Dine: Drawing from the Glyptothek. Dine, Jim, and Deni M. Jim Dine: Glyptotek Drawings. Kansas City, Mo. Ellis, Margaret Holben, and M. Brigitte Yeh. Vol 19, No 3 September Dine has also repeated these experiments across a variety of media including drawing, prints, paintings, and sculptures.
In Hearts in the Meadow , Dine employs collage techniques to present images of hearts that are similar in form but different in terms of color and pattern - Dine plays with color and texture, using untraditional artistic materials like glitter. While pulling together stylistic elements from contemporary artistic movements, Dine creates something that belongs to no standard category.
The layers of paint and gestural brushwork seem to echo Robert Rauschenberg's, even as the simple form and grid pattern suggest either Pop or Minimalist compositions. However, unlike Pop's use of repeated motifs or Minimalism's detached fabrication, Dine has created a hand-rendered and highly unique object from a standard shape and elementary composition. Although Dine is painting, his repeated use of a simple form explores how meaning can be created in ways akin to the contemporary development of Conceptual art.
By singling out one shape and returning to it repeatedly, Dine suggests to the viewer that it has significance to be discovered. Through his close focus on the simple form of the heart, and his repeated and prolonged attention to this iconic shape, Dine transforms a trite, almost meaningless subject into something that demands our attention and our consideration. Confronted with a series of hearts, the viewer begins to believe there must be some value to this subject, even though Dine has claimed his interest is largely visual.
This builds on the foundation provided by Marcel Duchamp and his readymades, suggesting that the artist transforms a subject by declaring it to be art. In choosing these subjects and putting them into an art context, the implication is that they must be art. While Duchamp used this strategy to undermine the intrinsic significance we associate with art, Dine incorporates this practice into an earnest investigation of how meaning is made.
In , Dine made a series of ten lithographs, each featuring a single monochromatic image of a workman's tool. Expanding on his fascination with this subject, these prints are also part of his exploration of lithography and the printing process and which required mastering a new set of artistic techniques.
The ten prints each feature an image of a single tool, as if they were meant for classification purposes. Although they are presented in a straightforward manner like Pop art, these tools are intended to convey deeper significance to the viewer. He believes that these everyday objects have an innate power, created by the fact that they are instantly recognizable and familiar to the viewer.
Tools such as paintbrushes, wrenches and wire-cutters make frequent appearances in Jim Dine's artistic oeuvre. As Mark Thistlethwaite explains, "tools appeal to Dine for many reasons, but three stand out: their connection to his adolescence, their association with work and the worker, and their formal beauty.
While many artists have traditionally represented themselves with the tools of art-making, Dine focused on tools used by the worker, most often iron-workers. Dine is interested in the iconic nature of these tools, which have simple shapes determined by their function.
In addition to the powerful strength of these specific objects, they carry mythological associations and allegorical suggestions of forging, creating, or molding through fire. When Dine began sculpting in the s, he also became interested in the history of sculpture and the appropriation of other artwork. This public installation combines these two themes, enlarging three versions of the classical Venus de Milo.
A Hellenistic sculpture from the 2 nd century BC, currently a centerpiece of the Louvre Museum's collection, this famous artwork is considered one of the most beautiful of classical art. To Dine, it also represents an archetype of artistic production, a point of origin for the traditional female nude, and an icon of sculptural artistic production.
In Dine's version, however, the classical beauty of the Venus de Milo is magnified to a monumental scale. Standing 14, 18, and 23 feet tall, these Venuses are an imposing presence on 6 th Avenue in Manhattan, further magnified by their position atop of pools of water, upon which they cast a reflection. Unlike the highly-finished marble of the original sculpture, Dine's Venuses are roughly molded and cast in bronze, which amplifies their uneven surface.
Still, because the original shape is so well-known, they are instantly recognizable, despite the change in scale and materials. Breaking with the rectilinear grid of midtown, the Venuses bring a sense of movement and life, but also humor into the monotony of modern urban architecture.
Even as Dine's forms are beautiful, they border on kitsch. While revered as high art, the Venus de Milo has been repeatedly appropriated by commercial products and souvenir reproductions. No matter what he changes about the physicality of the original, Dine cannot render the Venus unrecognizable; the power of the iconic shape is reconfirmed in these works.
Dine's artist book, Birds , consists of a series of black and white photographs of stuffed and dead birds. The subject is a deeply autobiographical one, as well as one with elements of universal appeal and dread.
Dine's fascination with birds dated back to his childhood and a memorable encounter with a bird, also named Jim, at the zoo. His interest in their suggestive and symbolic qualities was reignited by a provocative dream while traveling abroad in the s.
In Berlin, he purchased a taxidermied crow, two ravens, and two owls, which would become the subject of his book, Birds. He felt the birds haunted him, and the pictures have an equally haunting quality, with the birds' shining dead eyes staring up at the camera.
Dine has explained "the pictures were taken during many dark years. The photographs, which sometimes include parts of Dine's own body such as his hand alongside birds, suggest a childhood nightmare made real. They confront, and even embrace, the fundamental human experiences of fear, isolation, and death by confronting the viewer with close images of nearly unreal strangeness and dark beauty.
Photographing the birds under makeshift studio lights and assembling the photographs in a beautifully-produced artist book, Dine imbues ordinary birds with a sense of mystery, making them appear as mythological symbols rather than simply dead crows. This is an extension of Dine's earlier practices of taking everyday objects such as tools or bathrobes and demonstrating their compelling power.
The story of Pinocchio is a rich source for Dine, particularly in the series of sculptures that include this work. Once again, Dine adopts a popular icon, here from children's literature and popular Disney movie, to explore levers of narrative and symbolism. In this version of a Pygmalion story, Pinocchio is a wooden puppet, created by the kindly Geppetto, only to repeatedly betray the maker's love and trust before redeeming himself and becoming a "real boy.
And I identify with it. I was a liar, little boys are liars.
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