Jim Dine

Jim Dine's vivid, candid and detailed reminiscences about his friendship and working relationship with Aldo Crommelynck, the printer of Matisse and Picasso, over a period now of more than 30 years are full of affection, humour and layer upon layer of information. In conversations with the art historian Marco Livingstone, Dine, one of the greatest post-war American artists, charts the extent to which his experience of working with a man who was not only a great printer, but also a skilled draughtsman, an aesthete, dandy and bon viveur, coloured and enriched his experience of France on every level, from an appreciation of its art and culture, its city life and countryside, to its food and its specialist shops - especially those in which to find the best tools and musical instruments.Dine's ruminations take some unexpected but illuminating detours, even into the making of bespoke bicycles, that prove deeply revealing of the specific nature of his love for France and of his many debts to an esteemed colleague, fellow traveller and much loved friend.

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 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.

Kyle Schlesinger's poems and prose texts speak in a voice that gets beneath the skin of these times, pointing us in and beyond ourselves. " The words are in the body / The body is in the mind" he tells us. And " What's on television" he asks, then admits " Just another hallucination." Green light and pink lighting permeate this work. " You wouldn't believe it / If I told you / That I was where / You thought you were / When we heard the news." We need these words of Kyle's to help us shoulder that news-- fake and otherwise-- aimed at us each day. The twoline poem, " Split," is worth quoting in full: " We were / Now we' re." And poems such as " It's a Freak Out" deliver a sophisticated humor. A wholly original book. -- Margaret Randall

Jim Dine redefines everything, his life and his (he)art in these 52 books. Trying to realize the depth of his aesthetic and profane reality, the books are also documents of an artistic consciousness, of an intense biography, of personal likes and dislikes, of formal richness and of exploding craftsmanship, of an exceptional imagination.These books invent the context for a new melody for the art of Jim Dine, for all the major byways of this seemingly inexhaustible creativity, which combines dream and reality — it is a composition for all the people who would like to sing a new song, maybe their own song.Dine has reflected authentically on his own identity and through it the identity of reality, nature, art, thoughts, feelings in an extraordinary poetic way: we see a POEM, we read an IMAGE. They are books one may read and regard as a summary of an unusual life.This Hot Dream first appeared as an idea 13 years ago. Steidl embraced and blessed the project so I went ahead. I stewed about it for two years then I stood around waiting to talk to Gerhard about it then finally I got down to putting the books together. My method, as in all my work, is the use of collage, painting and drawing, and correcting; coupled with my writing and my untouched photographs. The fact of making a book a week and the sensual possibilities i.e. the act of making a union with humans through the smell of the ink on the paper, the feel of the images and words. Hot Dream tells a lot about me, Dine, and bookmaking. Jim Dine, Göttingen, June 2018

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 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.

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).