Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"I speak about the night, because I'm very respectful of it as a source of power and of information about one's own self. I trust the unconscious and it needs to be respected. I have years when I don't remember what I've dreamt in a profound way. I've had forty years of analysis, on and off, I mean straight I've had twenty. Without it I wouldn't be standing up. And besides art and Diana, it has saved me. And it's all of a piece, because they all have nourished my soul, and it's a soul, if I can speak impersonally about it, that really needs nourishing." Jim Dine, excerpted from Jim Dine: The Photographs, So Far, published by Steidl/Wesleyan University and Davison Art Center.
Published by Steidl. Text by Jim Dine. Photographs by Diana Michener.
In A Beautiful Day, American artist Jim Dine (born 1935) presents 17 poems, including new pieces written during the coronavirus lockdown; others are older works he has recently rediscovered and reshaped.
Read aloud by Jim Dine (born 1935), here are his poems (with, in Ron Padgett’s words, their “wonderfully goofy playfulness and a no-holds-barred, slightly scary exhilaration”), an autobiography, a remembrance of Robert Creeley and a song by Dine written some half-century ago.
In Jim Dine’s (born 1935) bluntly honest words, Electrolyte in Blue is a “long hate poem” about “the evil in our now small world and those who unleashed it,” exploring themes of anti-Semitism, racism, climate change, as well as the world leaders he condemns, prominent among them Donald Trump. Dine’s fury and disappointment are clear, yet his vision is not merely bleak. He lays his words over luminous etchings, aquatints and lithographs of botanical themes in buoyant color. Luscious foliage, flowers, fruit and vegetables celebrate the natural world and offer solace against the social, political and environmental concerns that Dine voices. The book is based upon the original Electrolyte in Blue, a unique book object in an edition of one, typeset and printed by hand by Ruth Lingen, with whom Dine has collaborated for decades.
During the peak of the Coronavirus lockdown in March 2020, Jim Dine (born 1935) recalibrated his creative routine and recorded his experiences as blurred self-portraits, studio still lifes and appropriated texts in book form.
Published by Steidl. Edited with text by Tobias Burg. Text by Susan Tallman.
Within Jim Dine’s (born 1935) diverse oeuvre, printmaking plays a consistent and overarching role. For six decades now, the artist’s enthusiasm for woodcuts, etching and lithography, for drypoint, monotypes and aquatints has not diminished—on the contrary, since 2001 Dine has produced over 750 prints in which he repeatedly discovers fresh expression for his iconic motifs: the hearts and bathrobes, the antique torsos and flowers, not to mention Pinocchio.
I Print is the latest in a series of scholarly catalogues raisonnés on Dine’s printed oeuvre and comprehensively documents all works produced since 2001, including information on their dimensions, print runs and papers, the complex printing processes that often combine techniques, as well as the printers and workshops involved in their realization. This opulent publication of nearly 400 pages also lists the artist’s books and portfolios that Dine has realized over the past 20 years; it is an indispensable reference for collectors, printmaking enthusiasts and academics alike.
Published by Steidl/Rosenwald-Wolf Gallery, University of the Arts, Philadelphia. Text by Jim Dine, Ruth Fine.
This book presents for the first time Jim Dine’s (born 1935) Secret Drawings, a series of 45 drawings made between 2012 and 2018 in his studios in Walla Walla, Washington, and Paris. These works are the product of Dine’s intense, restless processes of application, erasure and most importantly reworking, using materials as diverse as charcoal, China ink, pastel, fixative, oil enamel and acrylic paints, as well as collage.
The textures of the papers—“what I had on the floor and lying around”—vary greatly, as do Dine’s tools, from sticks, brushes, knives and rotary grinders to the artist’s bare hands. For Dine himself, these drawings hold a more personal secrecy: “84 years ago (I am 84 years old) I emerged from a dark place … I have been depicting this landscape ever since … the thicket of marks and the anatomical reference is all here on the paper.”
3 Cats and a Dog (Self-Portrait) comprises three photobooks by Jim Dine (born (1935)—Birds (2001), Entrada Drive (2005) and Tools (2017)—with a signed self-portrait etching printed over a lithograph. Dine’s photography is simultaneously a record of his immediate environment and a form of autobiography shaped by remembrance.
The protagonists of Birds are the white owl, symbol of innocence, and its jester-like companion, the black crow, who inhabited Dine’s Berlin studio in the winter of 1996.
Entrada Drive transports us to the silvery abundance of Los Angeles flora: the great succulents, fans of grass and proud birds of paradise encountered by Dine and his wife Diana Michener on their walks around their garden and to the Pacific Ocean while staying at 234 Entrada Drive in early 2001. Finally, we return to Dine’s studio in photos of the tools with which he makes art—paintbrushes, drills, hammers, pliers, scissors, saws, clamps and more.
In this limited edition of 500 boxed sets, each containing 52 books, Jim Dine (born 1935) redefines his life and art. The books are documents of an artistic consciousness, of Dine's biography, of his likes and dislikes, and of an exceptional imagination.
This book is American artist Jim Dine's (born 1939) letter to his "troops," a confessional address to the people he has collaborated with, to his friends and family.
Consisting of a long fluid poem and 18 color linocut portraits of those closest to Dine, this book explores the renowned pop artist's emotions and thoughts as he reflects on childhood memories, contemplates his current artistic practice ("This week I painted, painted, painted the possibility of permanent silence"), as well as more philosophical musings ("Earth gives birth to time and heaven in a jealous parliament").
This new Steidl book is an adaption with revised design and typography of Dine's original My Letter to the Troops of 2016, a limited edition of 40 featuring linocuts hand-printed on Arches vellum from the blocks at Atelier Michael Woolworth in Paris.
Jewish Fate is an evocative autobiographical poem by American artist Jim Dine (born 1939) accompanied by 18 lithographs of one of his favorite motifs—tools. Dine reminisces about his childhood days spent at his grandfather's hardware store in Cincinnati, Ohio, where he worked weekends and summers for ten years from the age of nine, sorting screws and opening barrels of nails to help out in the overflowing store.
Among the vivid memories of his former co-workers, one can trace the development of Dine's love for the aesthetics and utility of tools, the imagery of which continues to inform his artistic practices today. This longtime affection is seen in the drawings of hammers, rollers, brushes and wrenches depicted in this book, all realized in the artist's inimitable unfinished style.
When I was born, I came home to my grandfather's house. His name was Morris Cohen. He was my mother's father. I lived with him for three years until my parents built a small little house and we moved away. But from the time I was born until he died when I was 19, I either spoke to him or saw him every day. He owned a hardware store that catered to plumbers, electricians, woodworkers, contractors. It was an early version of a contractors' supply store. It was called The Save Supply Company. He was a very large man, and he felt he could do anything with his hands. He made tables, he fixed automobiles, he was an electrician, and he was lousy at all of it. But through sheer force of will, he forged ahead. —Jim Dine
Published by Steidl/Centre Pompidou. Text by Jim Dine. Interview by Bernard Blistène.
This book is the catalog to Jim Dine’s (born 1935) exhibition at the Centre Pompidou in Paris, covering four decades of his varied and prodigious output. Over the past years Dine has donated large personal selections of his art to museums across Europe and the US, including the British Museum, the Albertina in Vienna, the Museum of Fine Arts in Boston and the San Francisco Museum of Modern Art. One such gift to the Centre Pompidou, consisting of 24 paintings and sculptures from 1966 to the present, is the subject of this book. Featuring double-page reproductions of each work—covering Dine’s major motifs including his hearts, bathrobes, birds, self-portraits and tools—as well his new 40-page interview with Centre Pompidou director Bernard Blistène (supplemented with archival photos), this book is the most detailed survey to date of one of the most important contemporary artists.
This 'history' came about because my friends, Sarah Dudley and Ulie Kuhle, litho printers in Berlin, were given about 100 litho stones from a former Socialist art academy in what was the D.D.R. The stones all had images on them drawn by forty years of students under the oppressive regime. I asked them to reactivate the stones and print them on Zerkall Paper 450 g/m². Most images I chose of the 100 were able to have life breathed into them. We had finally forty-five images. They editioned the lithographs and then sent them to us in Walla Walla, Washington. I drew and ground and bit copper plates to go over them. I wanted a black view of the image and a sense of Berlin in the East as I knew it when the horrible wall was still up. The etchers who came to work with me every summer over two and a half years have coaxed the exact mood I wanted out of the plates. -Jim Dine
Published by Steidl. Text by Jim Dine. Introduction by Gabriele Conrath-Scholl.
Tools have been among Jim Dine's favorite motifs since his beginnings as an artist, and are a passion born in his childhood, when his grandfather and later his father ran a hardware store in Cincinnati. My Tools provides new insight into Dine's ongoing photographic exploration of this multifaceted theme. In large-format black-and-white and color photographs, as well as heliogravures produced between 2001 and 2014, he explores the formal vocabulary of individual objects, their materials, as well as their collective constellations and surrounding spaces. Dine defines himself as an artist through the tools and objects he creates with his own hands. His analog photographs-themselves creations of a complex tool, the camera-are both true to the objective appearance of his tools, while opening up our field of imagination.
Inspired by a semi-autobiographical book by the mid-twentieth century German printmaker HAP Grieshaber, I have used his idea to create a story of 50 years as a printmaker. The book includes interviews with my printers and memories of my life around the prints I made at that time. I have made over 1,000 prints so far and I am not done yet. There are key images illustrated, and the text attempts to marry the technical with my emotional feeling for the mediums, etching, lithography, woodcut and silkscreen. I have included recipes for variations on intaglio and some stories of my friendships with these gifted artisans who have produced this work. --Jim Dine
This book of new watercolors by Jim Dine continues his lifelong obsession with the character of Pinocchio. Dine first encountered Pinocchio through Disney's acclaimed animated film which he saw as a child in 1940, and later through Carlo Collodi's original text. Says Dine: "I have for many years been able to live through the wooden boy. His ability to hold the metaphor in limitless ways has made my drawings, paintings and sculpture of him richer by far. His poor burned feet, his misguided judgment, his vanity about his large nose, his temporary donkey ears all add up to the real sum of his parts. In the end it is his great heart that holds me. I have carried him on my back like landscape since I was six years old."
Jim Dine's status as a master draughtsman is unquestioned and this book presents the best of his most recent drawings. Hello Yellow Glove opens with one of Dine's most treasured motifs, Pinocchio. Using dense charcoal and dripping washes, Dine depicts the sinister edge to Carlo Collodi's story and Pinocchio's isolation in his quest to become a real boy. With similar dark layers and dissolving forms Dine also depicts botanical motifs such as the thistle and catalpa tree. In addition to these bodies of work, Hello Yellow Glove presents Dine's portrait of Gerhard Steidl, an ambitious suite of nine drawings made by the artist in his Göttingen studio. Alongside reproductions of the drawings are photographs of Dine taken by Steidl during the sittings, which form both a candid portrait of the artist and offer a rare glimpse into his working processes.
Published by MFA Publications, Museum of Fine Arts, Boston. Text by Clifford S. Ackley, Patrick Murphy.
Best known for his monumental images of bathrobes, tools and hearts that became icons of Pop art during the 1960s and 70s, Jim Dine remains one of the most inventive and prolific printmakers of our time. His prints currently number some 1,000 items, and at age 75, he continues to produce new works with remarkable zest and boundless energy. Dine’s prints are rooted in the spontaneous, gestural aesthetic of American Abstract Expressionism. Intensely physical in execution, they celebrate the artist’s touch. He supplements his energetic, full-body strokes not only by hand coloring but also by collaging with nontraditional media. He may also subtract, scratching or even gouging his surfaces, sometimes with power tools. The results show his great joy in working with the thick paper and rich inks and colors, or in the artist’s words, his love for “leaving my tracks.” Jim Dine Printmaker: Leaving My Tracks explores Dine’s etchings, woodcuts, lithographs and illustrated books from the last 50 years, drawing from the prints at the Museum of Fine Arts, Boston, where the artist has created an archive of his life’s work. Some 160 lush full-color images, along with text based on conversations between the artist and MFA curator Clifford S. Ackley, offer an intimate look into Dine’s deeply personal approach to his favorite subject matter.
Night Fields, Day Fields is a survey of Jim Dine's sculpture from 1959 to 2009. Dine is commonly seen as a prolific painter, printmaker and photographer whose central practice is drawing, but this book shows that sculpture is just as important in his oeuvre. Here we discover Dine's favorite and recurring motifs: hearts, tools, skulls and Pinocchio, as well as classical sculpture in the form of Venus de Milo and Winged Victory. Dine's media are as diverse as his themes and include bronze, wood, glass and found objects. His styles are similarly manifold, testament to an artist who has shrugged off the trappings of Pop art to develop an eclectic body of styles that is unique and authoritative in contemporary art.
Published by Steidl & Partners. Introduction by Gabriele Conrath-Scholl. Text by Susanne Lange, Jim Dine.
Jim Dine may be best known for his prints, paintings and sculptural works--and for being one of the founders of Pop art--but he has also been making photographs since 1996. Most of the photographs are set up in the studio. Often featuring multiple exposures, Gothic imagery and automatic-writing-like text, they tend to convey a tinge of Surrealism. Dine has said about his practice, “I don’t use Photoshop with all the things you can do. I photograph and then I preview. I preview all day until I get it right, but I get it right by changing the objects.” For this volume, which will be eye-opening even to Dine’s most familiar fans, the artist has selected a group of self-portraits, portraits he has taken of friends and relatives--both alive and dead--and portraits of Pinochio, the fictional character he has been reimagining for the last several years.
Thanks to Carlo Collodi, the real creator of Pinocchio, I have for many years been able to live thru the wooden boy. His ability to hold the metaphor in limitless ways has made my drawings, paintings and sculpture of him richer by far. His poor burned feet, his misguided judgment, his vanity about his large nose, his temporary donkey ears all add up to the real sum of his parts. In the end it is his great heart that holds me. I have carried him on my back like landscape since I was six years old. Sixty-four years is a long time to get to know someone, yet his depth and secrets are endless. This book is for the Boy. Pinocchio has long been a significant motif in Jim Dine's work, and this book is his illustrated version of Collodi's original, dark story. Set far from a traditional fairy-tale world, containing as it does the hard realities of the need for food, shelter and other basic measures of daily life, its allegory, satire and wit are the perfect subject for Dine's graphic drawings.
“The winter in L.A. that year was kind of a 'grey July.' Diana and I lived at 234 Entrada Drive in January and February of 2001. These photographs are a memoir of what our eyes saw in our garden and when we walked to the Pacific Ocean. We also [rode] into the Santa Monica Mountains on our bicycles, crossing Sunset Boulevard just where it goes into Pacific Palisades. We did this every day, winding our way through more L.A. suburbia till we reached the fire trail into the mountains (where wilder animals than us live). We hardly ever saw a neighbor to make up stories about. Our landlady was called Denise de Graf. She was ever vigilant about our comings and goings. I also think we lived just to the north of the late Christopher Isherwood's house but maybe I dreamt that. That winter all we thought about was our work and getting back to Paris.”
This Goofy Life of Constant Mourning is the sincere title of a long visual poem by artist Jim Dine. The result of years of photographing poems after he has written them on walls and objects, it presents a symbiotic marriage of three very personal elements: his photographs, his handwriting and his words. While unique in and of itself, this particular body of work is in keeping with Dine's greater oeuvre, a multi-disciplinary enterprise in which the artist seeks to access his unconscious. Regardless of which media Dine is working in, he maintains a familiar but ever-expanding repertory of images: tools, hearts and a torso of Venus, plus the more recent iconography of crows, skulls, a Pinocchio doll and an odd-couple ape and cat. As with his paintings, sculptures and graphic work, for which he is better known, Dine seeks to record his physical and emotional presence concretely, not gesturally. The camera is but one of the many tools he has at his disposal for making such pictures. Though he has been making art for over four decades, producing paintings, sculptures, drawings and prints, as well as performance works, stage and book designs, poetry and even music, Dine has only been working with photography since 1996.
Published by Steidl/Wesleyan Universtiy and Davison Art Center. Edited by Stephanie Wiles. Essays by Andy Grundberg, Marco Livingstone and Jean-Luc Monterosso.
Jim Dine became truly excited about the possibilities of photography when he realized that the medium offered the opportunity to quickly and directly access his unconscious, something he seeks to do in all of his art-making. Regardless of which media Dine is working in, he maintains a familiar but ever-expanding repertory of images: tools, hearts and a torso of Venus, plus the more recent iconography of crows, skulls, a Pinocchio doll, and an odd-couple ape and cat. As with his paintings, sculptures and graphic work, for which he is better known, Dine seeks to record his physical and emotional presence concretely, not gesturally. The camera is but one of the many tools he has at his disposal for making such pictures. This refusal to privilege one method over another helps explain how, in the space of only six or seven years, Dine has managed to produce such a large number of haunting photographic images that remain consistent with the tenor of his art as a whole while expanding its technical repertoire and range of possibilities. Though he has been making art for over four decades, producing paintings, sculptures, drawings and prints, as well as performance works, stage and book designs, poetry and even music, Dine has only been working with photography since 1996. Using heliogravure and digital ink-jet processes as well as conventional color and black-and-white photographic printing, Dine imbues his photographs with an intensity that is occasionally traumatic but invariably beautiful. This catalogue raisonn» marks the first comprehensive publication on the photographs of Jim Dine.
Published by Guggenheim Museum Publications. Edited by Germano Celant and Clare Bell. Interview by Julia Blaut.
Jim Dine is one of America's best-known image-makers. This book, published to accompany the first major exhibition of Dine's work from the 1960s, reproduces a broad selection of his early mixed-media works, paintings and sculptures. Many of the works featured in this volume contain elements of the now-familiar themes of Dine's career: tools, robes, hearts, palettes and domestic interiors. Bringing together fascinating performance photographs with vivid full-color reproductions, the book is the first to explore the complex relationship between Dine's mixed-media works and his environments and theater pieces.
Published by The Minneapolis Institute of Arts. By Elizabeth Carpenter with an essay by Joseph Ruzicka. Foreword by Richard Campbell and Evan M. Maurer.
One of the most recognizable of American artists, and one of America's most innovative printmakers, Jim Dine has created a multidisciplinary oeuvre tied together by his continued use and reinvention of familiar imagery. Hearts, bathrobes, skulls, tools, the Crommelynck gate, Venus de Milo, self-portraits, plants, and flowers--Dine infuses these personal metaphors with new meanings and continually depicts them in novel and diverse contexts. Over time, some of these motifs have become recognized as clearly symbolic: the bathrobe figures as a self-portrait, the heart as a symbol of his love for wife Nancy. And also over time, Dine has added new images to his iconic repertory. Mountains, ancient Greco-Roman sculpture, owls, hands, trees, apes, Pinocchio, and ravens figure prominently in the prints he has made since 1985. This catalogue raisonne fully documents Dine's evolving imagery and technical experimentation from the late 80s through the millennium, including his limited-edition illustrated books, and establishes his absolute maturity as an artist. A glossary of printmaking terms, a selected print exhibition history and bibilography, and a discussion of his poetry and literary leanings make this catalog complete.
PUBLISHER The Minneapolis Institute of Arts
BOOK FORMAT Clothbound, 9.5 x 12 in. / 256 pgs / 400 color.
PUBLISHING STATUS Pub Date 6/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9780912964867TRADE List Price: $65.00 CDN $75.00
A childhood encounter with a crow at a zoo led to a lifetime fascination with avian life for the American artist Jim Dine. This encounter with the bird was perceived by the young Dine with a mixture of fear, fascination and a deeper understanding of his unconscious world, and from it grew a mythic personal symbolism, which he explores in Birds, a series of remarkable black-and-white photographs. Here, an everyday, unspectacular bird might appear to the beholder as a character of mythology, as a jester at a Medieval court, or as a strange messenger from a world behind the scenes. These are rich, intimate, darkly detailed images imbued with symbolism and meaning. They are also beautiful and compelling, particularly as published in this spectacular volume, which, with 36 images printed using a technique called heliogravure, and with a Japanese binding, is a truly beautiful object in itself, and reveals a new aspect of Dine's work.