Jim Dines biography Essay Example for Free

Jim eats biography EssayJim dine was born in Cincinnati Ohio ( wherefore a quiet river town), during 1939, of a middle class Jewish family. His father owned a key and plumbery supply store, and his grandfather owned a hardw ar store. His m early(a) was loving and his childhood memories are winsome ones.He took his first blushering classes at the Cincinnati Art Academy, while in high school. He then went on to attend the University of Cincinnati, the school of the Boston Museum of Fine cheats, and Ohio University where (in 1957) he received his BFA. eat locomote to modernistic York City, in 1958 and immediately became involved in Happenings (although it should be noted eat rejected this term, preferring painters theater), feat art stagings with Claes Oldenburg, and Allan Kaprow. By primal 1959, he was a principal member of the Judson Group (a group of artists which gathered on a regular basis at the Judson Gallery) on with Tom Wesselmann, George Segal, Robert Rauschen berg, and Roy Lichtenstein.In 1959 dine experimented with Conceptual Art, he made his first prints and performance pieces, and combined paintings and objects. In Five Feet of Colorful Tools, dine manipulated tools with a childlike aggression he spray-painted and spilled paint over tools such as those from his grandfathers hardware store. A yellow canvas is the background, for a series of polychrome tools, with shadows of bright spay-paint. The Car Crash Series is a grouping of prints and performance art, which commemorates the death of his friend (he whitethorn have even been involved in this accident). White painted found objects adorned an enclosed aloofness, eat all silver with red lipstick scrawled anthropomorphic cars on a black board for near fifteen minutes. He broke the chalk, obsessively trying to communicate or explain, but only grunted (an lawsuit of his seeming inability to talk ab go forth his work, which Ill address later).A third example of his early style is his highly emotional and personal in content combination paintings and objects groups of self-portraits, a collaged painting series of heads and a green suit assemblage. Theportraits, which were not reliablely portraits but symbols of the self, evoke childrens art. Trapped in a mute suffering the mouths are usually covered or deleted, their eyes calling out a silent unvoiced plea. Unlike his colleagues dine reaches toward literacy. In a commentary piece on how his deep-rooted phobias make him isolate himself, his message becomes ambiguous and he leaves conflicts unresolved the pants in Green courting are tattered and only a bound penis survives uncut, some have called it rude, crude, even childish. These are perfect examples of Dines lifelong preoccupation with the human form, found objects, and symbolism the use of suits and tools is a long-running theme for Dine the vigorous brushstrokes echo the Abstract expressionist concern with painting as a medium for articulating the self.Di ne constructed his first environment (the House), presented his first pegleg performance (the Smiling Workman), and produced mixed media collaged works in 1960. The House, was ruin of an exhibition he did with Oldenburg called Ray-Gun, the walls and ceiling of the gallery were eradicated by painted cloth, fragmented objects, slogans, crumpled paper, and hanging bedsprings. at sea throughout were cardboard signs reading breakfast is ready and go to work Dine said the collocation of these and other phrases along with surrounding domestic wreckage revealed the potential violence inherent to a home. This was amplified by the respective(a) body parts lost or hidden in the chaos. This collection of fragmented figures and discarded articles along with tattered elements is abbreviated in Bedspring (which was either inspired by, or part of, House) an assemblage of discarded clothing, bedsprings, and other trash from the New York City streets.House and Bedspring draw on the grit of eachd ay for impact. Dines first stage performance piece the Smiley-Workman, consisted of Dine writing I Love What Im Doing, HELP (on a large canvas). Dine then proceeded to drink red paint (tomato juice), which he then dumped (the remainder of) over his body he concluded this by diving through the canvas (which represented a literal transgression from the earth of the painter to the artifice of painting). Jim Dine also produced an oil painting/collage entitled Nancys Tie. Aluminum paint covers every inch of a huge piece of cloth, which was molded into a massive necktie and attach to the canvas this was covered in aluminum paint as well, adding to the monumentality of it.During the period from 1961-1965, Dine worked aroundly in oil paintings, producing several series of work most of which revolving around specific themes. In 1961 Dine produced hairsbreadth and Blonde copper oil paintings on canvas, which consisted of images of objects (often with their name) each focusing on a single thing. Hair is a funky variation, consisting of numerous black and brown curling brushstrokes, on a tan background, pair with the word hair. Whereas Blonde Hair is more minimalist a yellow monochrome, composed of slightly crinkly brushstrokes (for texture and differentiation). The presence of the body remains strong, even though Dine moves away from literal metonymic images, especially in works which include actual clothing Red Suspenders and OrangeTie. In 1962 Dine underwent psychoanalysis, which greatly influenced his work from then on. A series of tools represents Dines memories of his grandfathers hardware store where he worked in his youth. A series of rooms, such as Childs Blue Wall, involve the viewer physically in Dines remembrances, using paintings of the walls and real lamps and fixtures jutting out toward the viewer. Dine began using painters palettes in 1963 and 1964 the messy palettes stand for the confused arena of the soul. Dine produced series of Bathrobes starti ng in 1964 (the bathrobe symbolizing himself, the clothes make the man) that seem to anticipate inhabitatation. In 1966 Dine went on a two-year hiatus from painting, he began making sculptures of tools, furniture and boots, he also moved to London during this time.In 1968 and 1969, Dine produced many large-scale sculptures, and Name paintings. As his sculptures became larger, his interest in manipulating the space of the viewer became more pronounced, Five Chicken-Wire Hearts (The Heart represents his wife Nancy) is a good example of this. Dine created Name Painting 1 in 1969, it was an autobiographical portrait using only the names of every person he could remember meeting (up until 1965) in chronological order Name Painting 1 predicted a whole genre of writing art, which was yet to come.The 1960s were Jim Dines signature period he produced most of his more popular work during this time period. Jim Dine is a Pop Artist, who rejects the title bestowed upon him, he moves between expr essionistic distortion and stylistic refinement He was in the 60s, an expressionist who, through some territorial error, was granted a visa for entry into Pop country, from which, using its methods, he passionately strove to get out (Brian ODoherty). During his great decade, Dine attached himself to the idea of self-exposure, as a means of passage for the possibilities of expression. Jim Dine began his abiding pursuit of themes of the self, body and memory through a widely varied range of mediums.