Jim Dine's Biography And In Depth Descriptions And Interpretations Of Many Of His Works.

1190 words - 5 pages

Jim DineJim Dine was born in Cincinnati Ohio (then a quiet river town), during 1939, of a middle class Jewish family. His father owned a paint and plumbing supply store, and his grandfather owned a hardware store. His mother was loving and his childhood memories are pleasant ones.He took his first painting 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 arts, and Ohio University where (in 1957) he received his BFA. Dine moved to New York City, in 1958 and immediately became involved in "Happenings" (although it should be noted Dine rejected this term, preferring "painter's theater"), performance art stagings with Claes Oldenburg, and Allan Kaprow. By early 1959, he was a principal member of the Judson Group (a group of artists which gathered regularly at the Judson Gallery) along with Tom Wesselmann, George Segal, Robert Rauschenberg, 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 grandfather's 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 may have even been involved in this accident). White painted found objects adorned an enclosed space, Dine all silver with red lipstick scrawled anthropomorphic cars on a black board for approximately fifteen minutes. He broke the chalk, obsessively trying to communicate or explain, but only grunted (an example of his seeming inability to talk about his work, which I'll 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. The portraits, which were not really portraits but symbols of the self, evoke children's 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-seated phobias make him isolate himself, his message becomes ambiguous and he leaves conflicts unresolved; the pants in Green Suit are tattered and only a bound penis survives uncut, some have called it rude, crude, even childish. These are perfect examples of Dine's 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.Dine constructed his first environment (the House), presented his first...

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