Jim Dine
Artist of the Month
An American artist....
Dine is closely associated with the development of Pop art in the early 1960s. Frequently he affixed everyday objects, such as tools, rope, shoes, articles of clothing, and even a bathroom sink, to his canvases. Characteristically, these objects were Dine’s personal possessions.
Jim Dine, an American Pop artist, used a lot of common images in his art, but is best known for his heart paintings. His creative style is one students can really appreciate as he liked to experiment with colors.
Jim Dine, an American Pop artist, used a lot of common images in his art, but is best known for his heart paintings. His creative style is one students can really appreciate as he liked to experiment with colors.
Tools
Many of his everyday objects paintings were tools.
Clothes
Part of the Hearts Series
The My Hero Project
Maddie wrote about Jim Dine and made a website all about him. You can learn more by clicking here: http://myhero.com/hero.asp?hero=J_Dine_LC_ems_US_2011_ul
White Gloves, Four Wheels 2007 oil and charcoal on wood 82 1/2 x 60 1/2 x 27 inches
The sculpture, paintings, and drawings that comprise Dine's most recent exhibition devote themselves exclusively to the spirit and imagery of the classic children's story, Pinocchio. Initially written by Carlo Collodi between 1881 and 1883 as a serial for an Italian newspaper, the story went on to inspire the book The Adventures of Pinocchio: Story of a Puppet in 1883 and was then adapted in 1941 to film by Walt Disney.
Dine was first introduced to Pinocchio at the age of six and recognized very early on the relevance of the tale as an allegory for the capricious struggle of making art and for the unpredictable existence these works of art lead after they leave the artists studio and enter into the world beyond. Pinocchio himself endures many harrowing situations. He is eaten by a fish, transformed into a donkey, forced into hard labor, and narrowly escapes annihilation in nearly every chapter of the story.
While Dine most certainly is aware of these scenarios, he has not included them in the works on display in Pinocchio as I knew him this Year. Rather, he has constructed his own translations on the novel's subject and underlying theme, and in emphasizing the transformative nature of art (by giving Pinocchio new life on paper, canvas, and wood), has underscored the relationship between material and maker.
Dine was first introduced to Pinocchio at the age of six and recognized very early on the relevance of the tale as an allegory for the capricious struggle of making art and for the unpredictable existence these works of art lead after they leave the artists studio and enter into the world beyond. Pinocchio himself endures many harrowing situations. He is eaten by a fish, transformed into a donkey, forced into hard labor, and narrowly escapes annihilation in nearly every chapter of the story.
While Dine most certainly is aware of these scenarios, he has not included them in the works on display in Pinocchio as I knew him this Year. Rather, he has constructed his own translations on the novel's subject and underlying theme, and in emphasizing the transformative nature of art (by giving Pinocchio new life on paper, canvas, and wood), has underscored the relationship between material and maker.