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Jim DineThe New French Tools 3 (For Pep)1984
1984
$9,500
£7,263.87
€8,320.81
CA$13,398.85
A$14,583.08
CHF 7,792.68
MX$176,108
NOK 97,934.89
SEK 91,090.85
DKK 62,160.38
About the Item
JIM DINE
The New French Tools 3 (For Pep)
Etching, aquatint and electric tools on tan wove paper, 1984.
Image Size: 23 1/2 x 19 1/4inches, full margins.
Signed, dated and numbered 2/50 in pencil, lower margin.
Printed by Atelier Crommelynck, Paris. Published by Pace, New York.
From New French Tools. D'Oench/Feinberg 173.
A very good impression.
Dine's New French Tools series marked his return to these common place subjects of the 1960s and 1970s. The copper plates used in these etchings were extensively worked using power tools in the Atelier Commelynck, Paris workshop. The plate for the present work would later be reworked in the following year to produce Tools and Dreams. The titles for the New French Tools set relate to Dine's memories of Paris, "Pep" being the nickname of the printer Aldo Crommelynck's wife. Crommelynck had a close working relationship with Dine, together they collaborated on more than 100 prints.
Dine is inspired by the power of simple images to be both familiar and symbolic. His repetitions of tools, bathrobes, or hearts are easily understood by the viewer, while also suggesting deeper layers of meaning. He often works with subjects and images from his childhood, giving his work both a sense of innocence and shared nostalgia. Jim Dine has created a vocabulary out of subjects that have a child-like appeal, such as tools, birds, and hearts. These personally nostalgic symbols are also commonplace and universal, creating work that is both autobiographical and open to interpretation. Dine was also instrumental in the first "Happenings," a progenitor of Performance art. These Happenings challenged the seriousness and elitism of Abstract Expressionism, de-emphasizing the art object in favor of a performative, interactive, process. Over his career, Dine has both questioned the status of the artwork and continued a tradition of making work full of symbolism and allegory.
Jim Dine studied at the University of Cincinnati and the Boston Museum School, and received his B.F.A. from Ohio University, Athens, where he was also enrolled in the graduate program. Dine moved to New York City in 1958, where he had his first group (1959) and solo (1960) exhibitions. He instantly became an active figure in the New York art world, creating and staging many of the first “Happenings” along with artists Claes Oldenburg and Robert Whitman. Since his first solo exhibition in 1960, Dine’s paintings, sculptures, photography, and prints have been the subject of nearly 300 solo exhibitions worldwide. In 2008, Dine became the first contemporary artist invited to exhibit at the J. Paul Getty Museum.
Dine’s work is held in more than 70 important public collections worldwide, including the Albright-Knox Art Gallery, Buffalo; The Art Institute of Chicago; The Cleveland Museum of Art; Hakone Open-Air Museum, Hakone-machi, Japan; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; The Israel Museum, Jerusalem; The Metropolitan Museum of Art, New York; Moderna Museet, Stockholm; Musée national d’art moderne, Centre Pompidou, Paris; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Stedelijk Museum; Amsterdam; Tate Gallery; London; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York.
- Creator:Jim Dine (1935, American)
- Creation Year:1984
- Dimensions:Height: 42 in (106.68 cm)Width: 36 in (91.44 cm)Depth: 2 in (5.08 cm)
- More Editions Sizes:Impression 2 edition of 50Price: $9,500
- Medium:
- Movement Style:
- Period:
- Condition:This piece is in a brand new custom frame with uv protective plexigalss.
- Gallery Location:Hinsdale, IL
- Reference Number:Seller: 22211stDibs: LU138427819192
Jim Dine
The Ohio-born artist Jim Dine brought his ever-shifting, multidisciplinary vision to New York in 1958, a time of transition in the American art world. Abstract Expressionism, which had dominated the scene for years, was on the wane, and a group of young artists, including Dine, Allan Kaprow, Jasper Johns and Robert Rauschenberg, was eager to replace it with a movement that flipped the traditional rules of art-making on their head.
Beyond dissolving the boundaries between mediums and genres, attaching found objects and detritus to their canvases, these revolutionaries began staging performative “happenings” in public spaces, redefining the very definition of a work of art. As Pop art took form, Dine used objects with personal significance, like his paintbrushes, to transform his paintings into two-dimensional sculptures. He was included in the Norton Simon Museum’s 1962 “New Painting of Objects,” often considered the first true Pop art exhibition in America, but he remained a chameleon, constantly changing his style, material and technique.
More than his contemporaries, Dine has forged new paths in drawing, scrawling words and names across the canvas to create graphic, abstract landscapes. He is obsessed by certain motifs — such as hearts and his own bathrobe — which recur in various forms throughout his oeuvre. He has occasionally worked in classical genres, such as portraiture, as exemplified by the 1980 aquatint Nancy Outside in July. He has also co-opted the bold, graphic vocabulary of advertising and commercials, as in the sleek 2010 composition Gay Laughter at the Wake.
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