Word: dine
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...suit, stiff with splattered paint and age, its trousers nothing but ribbons. And bathroom sinks, garden tools, paint brushes, and the names of hundreds of people crammed onto one giant autograph book of a canvas. Last week, when Manhattan's Whitney Museum opened a retrospective exhibition of Jim Dine, 34, it was obvious that Dine's "pocket of felt objects" had spilled many times out of his poetry into...
From the worn-out loafers to the signatures of his friends, the show offers an unusually personal view of an artist. Dine never really belonged to Pop art, though he has often been identified with it. He rode the same swift wave to success as Oldenburg, Warhol, Lichtenstein and Wesselmann, shared their conviction that the vocabulary of abstract expressionism was all but exhausted, and gave the object a primary place in his painting. But where Pop's lifeblood was popular imagery, Dine used objects that had figured in his own experience. Where Pop was social, analytical, sometimes bitterly satirical...
Dream of Hardware. His love of objects, Dine figures, goes back to his boyhood in Cincinnati, where he worked after school in his father's hardware store. "I was completely bored by the selling," he recalls, "but in my boredom I found that daydreaming amongst objects of affection was very nice. Commercial paint-color charts were real jewel lists for me." After majoring in painting at Ohio University in Athens, he set off for New York in 1959. Happenings were what was happening, and Dine was soon in the thick of them. "Happenings were good because they...
...object can be seen as something of a contemporary parallel to the 19th century American still-life painters Peto and Harnett, who in their trompe-ľoeil arrangements of everydayobjects anticipated many of the same concerns that preoccupied the new realists of the 1960s. One Dine's most successful "combines" is a 1962 work in which an actual lawnmower is mounted in front of the canvas. Green paint clings to the blades like bits of fresh-cut grass, while the handle guides the eye into a surprising explosion of color suggesting a summery landscape...
...Dine saw an advertisement for a bathrobe in the New York Times. "There was nobody in the bathrobe," he explains, "but when I saw it, it looked like me." He made a series of self-portraits based on that image, including the Double Isometric Self-Portrait (Serape). Before the painted canvas, he hung wire plumb lines, which cast shadows on the bathrobes and thus give them a curious kind of life. This tense and intentional counterpoint between hard and soft materials, object and paint, reality and illusion can be traced through virtually all of his works...