Dine is considered to be one of the greatest living American artists and has had numerous solo shows in museums both in Europe and the United States.
JIM DINE Dine was born in 1935 in Cincinnati, Ohio. He studied at the University of Cincinnati and at the Boston School of Fine and Applied Arts from 1953 to 1957. 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.
Jim Dine and Chris Prater discussing Tool Box
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. Between 1959 and 1960 he was also 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 Venus de Milo. Dine is considered to be one of the greatest living American artists and has had numerous solo shows in museums both in Europe and the United States. The Whitney Museum of American Art, New York, has held a major retrospective of his work, and the Museum of Modern Art, New York, presented a retrospective of his etchings. His work is held in major public and private collections worldwide. Dine lives in New York and Putney, Vermont.
www.jimdineprints.co.uk
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Jim Dine 2002
A TOOL BOX 1966 saw Dine in Swinging London and he soon became caught up in the flourishing printmaking activity at Editions Alecto and Kelpra Studio. It was here that his first portfolio, A Tool Box, was produced, printed by master printer, Chris Prater. The series contains a plethora of complex images taken from industrial design magazines and archaic engineering text-books in addition to images like Donald Duck, an echo of Dine's American upbringing. The later prints of the series tend to focus on one image of tools, giving the subject matter an iconic feel. Surrounded by tools from an early age (both Dine's grandfather and his father owned hardware stores) the artist recalls: ... the tools were always available for me to play with ‌ It wasn't or isn't the craftsmanship that interests me, but the juxtaposition of tools. As well as the traditional techniques associated with screenprints, Dine also incorporated plastic sheet and graphpaper, strips of differently coloured cardboard, a real metal safety pin - even his signature for each print is on a separate piece of paper added to the prints.
As an art form the collage is a medium with which Dine became adept, as well as developing it to his own particular ends. On the surface these prints, like his paintings to which objects are attached, seem to lack subtlety and to combine images illogically. But despite any irregularity in the way the images are brought together, they are, in fact, skillfully controlled within a compositional arrangement that is often very formal. It is as if Dine is careful not to emphasise any possible shock effect that his use of ready made objects may have. While Dine's works may reflect a latter-day Dada influence, his intention seems much less nihilistic. What is more to the point is the conflicting sets of values that Dine underlines in his work. While seemingly self-contradictory, there is a deliberate play between images left in a raw state (be they actual objects or photographs) and illusionistic images that are often intentionally kept ambiguous.
A TOOL BOX A suite of 10 screenprints with photographic elements and collage, 1966, ed 150, signed in pencil, 60 x 48 cm. All prices include frame, vat and uk delivery.
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Tool Box I (black) signed in pencil 1966, edition 150, 60 x 48 cm photo-screenprint with collage of silver card strip, printed in black and white on J. Green 90lb imperial paper
ÂŁ1250
Tool Box II (secateurs) signed in pencil 1966, edition 150, 60 x 48 cm screenprint with photographic element and half-tone collage, printed in orange, white pink, grey, black on British Cartridge 94lb imperial paper
ÂŁ1250
Tool Box III (blue tracing) signed in pencil 1966, edition 150, 60 x 48 cm screenprint with photographic element printed in black with red horizontal strip for signature on natural tracing MS Royal paper
ÂŁ1950
Tool Box IV (silver) signed in pencil 1966, edition 150, 60 x 48 cm screenprint with photographic element printed in black with torn pieces of pink collage on Samuel Jones Silver Foil Card (All copies of this print have small dints in the silver card)
ÂŁ950
Tool Box V (child’s drawing) signed in pencil 1966, edition 150, 60 x 48 cm screenprint with photographic element and collaged drawing, printed in black on ivorette 6 sheet board
ÂŁ1250
Tool Box VI (Donald Duck) signed in pencil 1966, edition 150, 60 x 48 cm photo-screenprint with photo-collage (artist’s two children printed in sepia), printed in black with cyan, yellow, magenta on British Cartridge fluorescent 94lb imperial paper
ÂŁ1950
Tool Box VII (graph paper) signed in pencil 1966, edition 150, 60 x 48 cm screenprint with photographic element and collage of safety pin, printed in black on graph paper
ÂŁ750
Tool Box VIII (polka dot) signed in pencil 1966, edition 150, 60 x 48 cm screenprint with photographic element and collage of red piece of card, printed in black and metallic silver on J. Green 90 lb imperial
ÂŁ1450
Tool Box IX (shiny acetate) signed in pencil 1966, edition 150, 60 x 48 cm screenprint with photo-collage, printed in black and dark grey on matt polished acetate
ÂŁ1450
Tool Box X (12 colour strip) signed in pencil 1966, edition 150, 60 x 48 cm screenprint with photographic element and collage colour strips, printed in black on pasteless board 200lb imperial
ÂŁ2500
JIM DINE A TOOL BOX Tool Box I (black)
Tool Box VI (Donald Duck)
photo-screenprint with collage of silver card strip, printed in black and white on J. Green 90lb imperial paper
photo-screenprint with photocollage (artist’s two children printed in sepia), printed in black with cyan, yellow, magenta on British Cartridge fluorescent 94lb imperial paper
£1250
£1950 Tool Box II (secateurs)
Tool Box VII (graph paper)
screenprint with photographic element and half-tone collage, printed in orange, white pink, grey, black on British Cartridge 94lb imperial paper
screenprint with photographic element and collage of safety pin, printed in black on graph paper
£750
£1250 Tool Box III (blue tracing)
Tool Box VIII (polka dot)
screenprint with photographic element printed in black with red horizontal strip for signature on natural tracing MS Royal paper
screenprint with photographic element and collage of red piece of card, printed in black and metallic silver on J. Green 90 lb imperial
£1950
£1450
Tool Box IV (silver)
Tool Box IX (shiny acetate)
screenprint with photographic element printed in black with torn pieces of pink collage on Samuel Jones Silver Foil Card
screenprint with photo-collage, printed in black and dark grey on matt polished acetate
£1450
£950
Tool Box V (child’s drawing) screenprint with photographic element and collaged drawing, printed in black on ivorette 6 sheet board
Tool Box X (12 colour strip) screenprint with photographic element and collage colour strips, printed in black on pasteless board 200lb imperial
£2500
£1250
1966, edition 150, 60 x 48 cm, signed in pencil All prices include frame, vat and uk delivery www.jimdineprints.co.uk
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I love to make prints. I have made them all my life. Making prints is as important to me now as making drawings or paintings.
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