JIM DINE  (1935 - )
Born in 1935 at Cincinnati, Ohio. He studied at the University of Cincinnati and at the Boston School of Fine and Applied Arts in Boston, Massachusetts from 1953 to 1957. In 1957 he received a Bachelor of Fine Arts degree from the Ohio University, Athens. He moved to New York in 1959. He staged his first Happenings with Claes Oldenburg and Allan Kaprow at the Judson Gallery, New York. He had his first one- man exhibition at the Reuben Gallery, New York. Between 1960 and 1965 he had various guest professorships, among others at Yale University, New Haven, and Oberlin College, Ohio. He was represented at the Venice Biennale in 1964, and at the documents "4" in Kassel in 1968.
From the early 1970s Dine's
oil paintings, prints (perhaps his most successful work, usually
sensitive and simple depictions of tools, robes, etc.) and drawings
became increasingly figurative. In 1957 he received a bachelor
of fine arts degree from Ohio University. After graduation, he
moved to New York City and became involved with Robert Rauschenberg,
Claes Oldenburg, and Roy Lichtenstein whose work moved away from
abstract expressionism toward pop art.
Dine incorporated images
of everyday objects in his art, but he diverged from the coldness
and impersonal nature of pop art by making works that fused personal
passions and everyday experiences. His repeated use of familiar
and personally significant objects, such as a robe, hands, tools,
and hearts, is a signature of his art. In his early work, Dine
created mostly assemblages in which he attached actual objects
to his painted canvases. From 1959 to 1960, Dine also was a pioneer
of happenings, works of art that took the form of theatrical
events or demonstrations.
In 1967 Dine and his family
moved to London, England, where he devoted his energies to printmaking
and drawing. Dine's attention turned to sculptural work in the
early 1980s when he created sculptures based on the sculpture
Venus de Milo.
His recent art uses imagery
borrowed from ancient Greek, Egyptian, and African objects. In
his paintings, drawings, sculptures, graphics, collages and assemblages
he combined different techniques with handwritten texts and words
and set real everyday objects against undefined backgrounds.
The objects were both commonplace and personal, both poetic and
ironic, reflecting his feelings about life. His constantly varied
bathrobe, transparent to the gaze of the world, was a kind of
metaphor for a self-portrait.
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