Kirjahaku

“I am an object maker.” Jim Dine 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 favourite and reoccurring 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. Born in 1935 in Cincinnati, Ohio, Jim Dine completed a Bachelor of Fine Arts at the University of Ohio in 1957, and has since become one of the most profound and prolific contemporary artists. Dine’s unparalleled career spans fifty years and his work is held in numerous private and public collections. His books at Steidl include Birds (2001), The Photographs, so far (2003), and Hot Dream (52 Books) (2008).

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. Born in 1935 in Cincinnati, Ohio, Jim Dine is a prolific painter, draughtsman, print-maker and photographer. Initially associated with the Pop movement, Dine’s career spans over forty years and his work is held in many private and public collections. His books with Steidl include Birds (2001), The Photographs, so far (2003) and Hot Dream (52 Books) (2008).

“Inspired by a semi-autobiographical book by the mid-20th century German printmaker HAP Grieshaber, I have used his idea to create a story of fifty 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 a thousand 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

Jewish Fate is an evocative autobiographical poem by Jim Dine (born 1935) accompanied by 18 lithographs of one of his favorite motifs, tools. The poem shows Dine reminiscing about his childhood days spent at his grandfather's hardware store in Cincinnati.

A trade edition of a 2016 limited edition, this book is Jim Dine's (born 1935) confessional address to the people he has collaborated with, to his friends and family. Consisting of a long poem and 18 color linocut portraits of those closest to Dine, the book explores his emotions, thoughts and memories.

Jim Dine records the early moments of the Coronavirus pandemic through notes on his daily creative routineDuring 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.

An opulent and scholarly catalogue raisonn of Dine's lifelong adventures in printmaking, from woodcuts to booksWithin 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 raisonn s 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.

New poems from Jim Dine mixing autobiography, politics and melancholyIn 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.

Jim Dine ist mit Werkzeugen aufgewachsen. Sein Grossvater, Morris Cohen, betrieb ein Eisenwarengeschaft und pflegte ein liebevolles Verhaltnis zu Hammern, Bohrern, Sagen, Zangen, Messern und Schraubenziehern. Cohen konnte damit einfach alles reparieren was den Enkel auf magische Weise anzog. Diese Anziehung ist von jeher in Jim Dines Werk spurbar. Und zwar in besonderer Weise: Bleiben die Hilfsmittel beinahe jeder Kulturtechnik zumeist im Verborgenen, stellt Dine ihre Asthetik extra heraus, macht sie zum Subjekt seiner Arbeit. Hier schliessen sich Handwerk und Kunst nicht aus, im Gegenteil: Sie starken einander. "Ich begann begeistert damit, Werkzeuge zu fotografieren, die sich auf dem Fussboden meines Ateliers hauften. Das waren eigentlich Objekte, die ich damals zeichnen wollte. Nachdem ich sie aber fotografiert hatte, schienen sie mir plotzlich Abbilder hoffnungsloser Landschaften zu sein oder Rontgenbilder von dem Larm in meinem Kopf." Vom Ambos bis zur Zange fuhrt Dine nahezu zartlich das merkwurdig Lebendige seiner Werkzeuge vor sowohl zufallig als auch arrangiert tummeln sich Farbbehalter und -tuben, Pinsel, Lappen, Schraubzwingen, alle Schneiden und Zangen mit rotem Griff, Scheren kopfuber und kopfunter, grune Spaten in Reih und Glied. Diese Fotografien markieren die poetische Seite und die Schonheit der stofflichen Gegenstandswelt. Tools have belonged to Jim Dines 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 Dines 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 photographsthemselves creations of a complex tool, the cameraare both true to the objective appearance of his tools, while opening up our field of imagination.