640:(1940): "It has haunted my heart forever!" This formative experience deepened in 1964 when Dine discovered a detailed figure of Pinocchio while purchasing tools: "It was hand painted, had a paper maché head, beautiful little clothes and articulated limbs. I took it home and I kept it on my shelf for 25 years. I did not do anything with it. I did not know what to do with it, but it was always with me. When I moved houses, I would take it and put it on the bookshelf or put it in a drawer and bring it out, essentially to play with it." Yet it was only in the 1990s that Dine represented Pinocchio in his art, first in a diptych; the next Pinocchios were shown at the 1997
735:(2014), in which Dine printed tool motifs on top of lithographs made from stones found in an art academy in Berlin and showing four decades of students' work from the German Democratic Republic. By overlaying his own personal vocabulary of tools, Dine engages with the symbolic tools of communism — the hammer and sickle of the Soviet Union, and the hammer and compass, ringed by rye, of the German Democratic Republic — and unsettles the assertion of any certain "truth", showing that "history is never a coherent narrative—although it might be presented as such with an ulterior motive—but rather a fragmented, layered and multi-sited process."
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geographically as any I could find in nature. It is a kind of landscape and within that landscape I could grow anything, and I think I did." The formal simplicity of the heart has made it a subject he could wholly claim as his own, an empty vessel for ongoing experimentation into which to project his changing self. The heart's status as a universal symbol of love further mirrors Dine's commitment to the creative act: "…what I was in love with was the fact that I was put here to make these hearts—this art. There is a similar sense of love in this method, this act of making art…"
668:"I have this reverence for the ancient world. I mean Greco-Roman society. This always interested me and the product of it is interesting to me and the literature is interesting—the historic literature. I have this need to connect with the past in my way…"—Jim Dine. As with Pinocchio, Dine's fascination with antique sculpture dates to early in his life: "I had always been interested as a child in 'the antique,' because my mother took me to the art museum in Cincinnati, and they had a few beautiful pieces." The antique has thus been present since his early work, for example in
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688:, which he visited in 1984, resulting in the 40 "Glyptotek Drawings" of 1987–88, made in preparation for a series of lithographs. Of the experience Dine recalls: "The museum director let me come in at night and, therefore, it was a meditation on the pieces I was drawing because I was alone. I felt a link between the ages of history and me and a communication between these anonymous guys who had carved these things centuries before me. It was a way to join hands across the generations, and for me to feel that I did not just grow like a
712:"I never stopped being enchanted by these objects." — Jim Dine. As with Pinocchio and antique sculpture, tools are a motif inextricably linked to Dine's childhood. His introduction to them came through his maternal grandfather, Morris Cohen, who ran The Save Supply Company hardware store in Cincinnati; Dine lived with Cohen for three years as a boy, and had daily contact with him until the age of 19. Dine recalls hammers, saws, drills, screwdrivers among various hardware paraphernalia; later, Dine worked in Cohen's store on Saturdays.
429:, in which he enrolled in 1952 at the age of 16, while attending Walnut Hills High School. It was a decision motivated both by his artistic calling and the lack of appropriate training at high school: "I always knew I was always an artist and even though I tried to conform to high school life in those years, I found it difficult because I wanted to express myself artistically, and the school I went to had no facilities for that." In 1954, while still attending evening courses, Dine was inspired by a copy of
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the paint department, the color charts looked to me like perfect, perfect jewel boxes." He recalls the sensual impact of "very, very beautiful" pristine white paint: "I would play with it by sticking one of his screwdrivers in and breaking the skin and moving it around. It was like white taffy. It had a fabulous smell of linseed oil and turpentine." Accordingly, he finds them "as mysterious and interesting an object as any other object. There's no aristocracy here."
335:(affixing everyday objects including tools, rope, articles of clothing and even a bathroom sink) to his canvases, yet he has avoided such classifications. At the core of his art, regardless of the medium of the specific work, lies an intense autobiographical reflection, a relentless exploration and criticism of self through a number of personal motifs including: the heart, the bathrobe, tools, antique sculpture, and the character of
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696:, an installation consisting of 8-foot wooden sculptures inspired by ancient Greek statues of dancing women arranged around a 7-foot self-portrait head of the artist, all installed in a room whose walls he has inscribed with a sprawling poem, "with its Orphic themes of travel, loss, and the possibilities of art." Originally shown in 2008–09 at the Getty Villa, J. Paul Getty Museum, Los Angeles, and echoing the 350–300 B.C.
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339:(among flora, skulls, birds and figurative self-portraits). Dine's approach is all-encompassing: "Dine's art has a stream of consciousness quality to its evolution, and is based on all aspects of his life—what he is reading, objects he comes upon in souvenir shops around the world, a serious study of art from every time and place that he understands as being useful to his own practice."
320:(born June 16, 1935) is an American artist. Dine's work includes painting, drawing, printmaking (in many forms including lithographs, etchings, gravure, intaglio, woodcuts, letterpress and linocuts), sculpture and photography; his early works encompassed assemblage and happenings, while in recent years his poetry output, both in publications and readings, has increased.
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at the Actors' Workshop in San
Francisco, for which he designed the sets (his original introduction to the motif had been a series of red hearts on white backgrounds he had seen as a student). In time, the heart became for Dine "a universal symbol that I could put paint onto" and "as good a structure
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Joca Seria, Nantes, and Steidl, Göttingen, 2020, is his most recent poetry publication, documenting how many of his poems are created directly in the studio—often written onto its walls—while creating other, visual works; on p. 185 he states: “My method of writing is not too different than my method
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in Athens, Dine enrolled there in 1955, where he recalls being "blown away", not by the facilities but because: "I sensed a bucolic freedom in the foothills of the
Appalachians where I could possibly develop and be an artist." Under printmaking teacher Donald Roberts (1923–2015) Dine experimented in
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Dine was thus inaugurated both into the practical functions of tools and their aesthetic possibilities: "I admired the beautiful enamel on the ceramic toilets and sinks. I admired the way different colors of conduit electric wire was in rolls next to each other, and the way it had been braided. In
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Since the early 1960s Dine has refined a selection of motifs through which he has explored his self in myriad forms and media, and throughout the different locations/studios in which he has worked, including: London (1968–71); Putnam, Vermont (1971–85); Walla Walla, Washington (since 1983); Paris
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As a motif that symbolizes raw materials being transformed into art — tools have unique status in Dine's practice as "artificial extensions of his hands, effectively allowing him to shape and form certain given conditions and objects more systematically," and as "'primary objects' that create a
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Dine first depicted bathrobes in 1964 while searching for a new form of self-portraiture at a time when "it wasn't cool to just make a self-portrait"; he thus conceived an approach without representing his face. Dine subsequently saw an image of a bathrobe in an advertisement in the
684:(ca. 100 B.C.), a small plaster cast of which he bought in Paris; he initially included the cast in 1970s still-life paintings, "But then I knocked the head off it and made it mine." Dine is also inspired by specific sculpture collections, for example that of the
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Dine continued to include everyday items (including personal possessions) in his work, which linked him to Pop Art—an affinity strengthened by his inclusion in the influential 1962 exhibition "New
Painting of Common Objects" at the Pasadena Art Museum, curated by
678:(ca. 200 B.C.) and composed of a painted robe hung on a found lamp frame and held together with wire, which Dine describes as "almost like outsider art" and he first showed at the Ruben Gallery. He most frequently expresses the antique through the figure of the
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but was unsatisfied: "They didn't have an art school, they had a design school. I tried that for half a year. It was ridiculous All I wanted to do was paint." At the recommendation of a friend majoring in theatre at
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731:(2009), three wooden Venus statues wearing girdles belts of tools—as well as depicting them in media including paintings, drawings, photographs and prints. An extraordinary printing series involving tools is
660:(2012), a twelve-foot bronze at the Cincinnati Art Museum. In recent years Dine's self-identification with the character of Pinocchio has shifted to Gepetto, the gifted woodcarver who crafts the boy puppet.
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in Boston, before returning to Ohio
University where he graduated with a Bachelor of Fine Arts in 1957 (remaining for an additional year to make paintings and prints, with the permission of the faculty).
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620:"Trying to birth this puppet into life is a great story. It is the story of how you make art"—Jim Dine. Dine's fascination with the character of Pinocchio, the boy protagonist in
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and an exhibition at
Richard Gray Gallery, Chicago. Notable depictions since include the 41 color lithographs printed at Atelier Michael Woolworth, Paris, in 2006; the book
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In 1958 Dine moved to New York, where he taught at the Rhodes School. In the same year he founded the Judson
Gallery at the Judson Church in Greenwich Village with
517:(1960), which he describes as "a cacophony of sounds and words spoken by a great white Venus with animal grunts and howls by me." Another important early work was
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but that I came from somewhere. I belonged to a tradition and it gave me the history I needed." An important recent work that incorporates the antique is Dine's
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Dine initially expressed this motif in the form of a large heart of stuffed red satin hung above the character of Puck in a 1965–66 production of
578:(since 2001); and Göttingen (since 2007), in a studio adjacent to the premises of Steidl, the printer and publisher of the majority of his books.
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453:(1884–1950)—"I was shocked by them" — and began creating woodcuts in the basement of his maternal grandparents, with whom he was then living.
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For reproductions of all the drawings, which Dine gifted to the Morgan
Library & Museum, New York, in 2009, see: Jim Dine,
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as a permanent, site-specific installation housed in the purpose-built Jim Dine
Pavilion, adjacent to the Kunsthaus Göttingen.
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lithography, etching, intaglio, dry paint and woodcuts. At
Roberts' suggestion, Dine subsequently studied for six months with
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1991–2016: Spring Street
Workshop, New York, with printers including Julia D'Amario, Ruth Lingen, Katherine Kuehn, Bill Hall
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648:(Steidl, 2006), combining Collodi's text and Dine's illustrations; two monumental bronze sculptures of 9 meters' height:
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Quoted in: Gabriele Conrath-Scholl, “Jim Dine: My Tools—Favorite Objects, Metaphors, and Heavy Baggage” in: Jim Dine,
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connection with our human past and the hand." In Dine's own words, the tool is fundamentally "a metaphor for 'work'".
409:(2003), the British Museum Medal (2015) following his donation of 234 prints to the museum in 2014, membership of the
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of 1959. Dine's first exhibition was at the Reuben Gallery, where he also staged the elaborate performance
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1758:"Sculptural Group of a Seated Poet and Sirens (2) with unjoined fragmentary curls (304) (Getty Museum)"
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and Bob Whitman: together they became pioneers of happenings and performances, including Dine's
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Conrath-Scholl, “Jim Dine: My Tools—Favorite Objects, Metaphors, and Heavy Baggage” in: Dine,
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of painting. I collect imagery and put it together and take it apart. It’s a collage method.”
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1639:"Cincinnati Art Museum: Jim Dine: In Celebration of Pinocchio at the Cincinnati Art Museum"
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and later cited as the first institutional survey of American Pop Art, including works by
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with Daniele Roccato and Fabrizio Ottaviucci, Chiesa dei Santi Luca e Martina, Rome, 2017
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1965 – guest lecturer at Yale University and artist-in-residence, Oberlin College, Ohio
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For details see: “Daniel Clarke, Litho Printer at Michael Woolworth’s Shop” in: Dine,
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Segue Series, with Diana Michener and Vincent Katz, Bowery Poetry Club, New York, 2005
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Sculptural Group of a Seated Poet and Sirens (2) with unjoined fragmentary curls (304)
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Gwendolyn Sasse, “Layering the Old and the New: The History of Communism” in: Dine,
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Dine has integrated real tools into his art from his earliest works — for example,
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630:(1883), dates to his childhood, when, at the age of six he viewed with his mother
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Dine has had more than 300 solo exhibitions, including retrospectives at the
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Tangent reading series with Diana Michener and Vincent Katz, Portland, 2008
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Poetry Project, with Dorothea Lasky, St. Mark's Church, New York, 2015
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1993–95 – Salzburg International Summer Academy of Fine Arts, Salzburg
362:, Essen (2015–16). His work is in permanent collections including the
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For an overview of Dine’s recent printmaking practice see: Jim Dine,
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Poetry Project, with Ted Berrigan, St. Mark's Church, New York, 1970
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Dine's first formal training took the form of night courses at the
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may have been created or edited in return for undisclosed payments
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1966 – teaching residency at Cornell University, Ithaca, New York
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Bastille reading with Marc Marder and Daniel Humair, Paris, 2010
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2010–present: foundry Blue Mountain Fine Art, Baker City, Oregon
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2016–present: printmakers Steindruck Chavanne Pechmann, Apetlon
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from the article and its talk page, especially if potentially
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Snite Museum of Art, University of Notre Dame, Notre Dame, IN
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1998–present: printer and publisher Gerhard Steidl, Göttingen
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Bastille reading with Marc Marder, Galerie Eof, Paris, 2014
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Dine has been associated with many art movements including
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1422:"Jim Dine - the Artist's face - National Portrait Gallery"
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1983–present: Walla Walla Foundry, Walla Walla, Washington
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with Vincent Broqua, University of Sussex, Brighton, 2017
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Ruth Fine, “Secret, Mysterious, Majestic” in: Jim Dine,
1835:, Steidl / Alan Cristea Gallery, Göttingen, 2014, p. 56
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Hirshhorn Museum and Sculpture Garden, Washington, D.C.
1487:, Steidl / SK Stiftung Kultur, Göttingen, 2014, p. 22
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with Karen Weiser, Dia Art Foundation, New York, 2016
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2003–18: printmakers Atelier Michael Woolworth, Paris
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held in the Getty collection, Dine has since updated
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Musée National d'Art Moderne, Centre Pompidou, Paris
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157:. It may require cleanup to comply with Knowledge's
2019:
Members of the American Academy of Arts and Letters
1744:"Jim Dine: Poet Singing (Getty Villa Exhibitions)"
1077:with Marc Marder, Poetry Foundation, Chicago, 2016
966:Louisiana Museum of Modern Art, Humelbeak, Denmark
2114:School of the Museum of Fine Arts at Tufts alumni
1527:"Jim Dine | Smithsonian American Art Museum"
1201:Poems To Work On: The Collected Poems of Jim Dine
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1844:For Dine’s photographs of tools, see: Jim Dine,
1188:I print. Catalogue Raisonné of Prints, 2001–2020
1035:with Ted Berrigan, Arts Lab, Soho, London, 1969
1222:"Jim Dine - Artists - Taglialatella Galleries"
954:Fogg Art Museum, Harvard University, Cambridge
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1277:"Jim Dine gives 234 prints to British Museum"
996:Snite Museum of Art, University of Notre Dame
766:1975–2008: printmaker Aldo Crommelynck, Paris
763:1962–76: gallerist Ileana Sonnabend, New York
407:Commandeur de l'Ordre des Arts et des Lettres
942:Bowdoin College Museum of Art, Brunswick, ME
772:1979–present: gallerist Alan Cristea, London
727:(1961), a painting with tools attached, and
356:Frederik Meijer Gardens & Sculpture Park
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415:Chevalier de l'Ordre de la LĂ©gion d'Honneur
331:(the gestural nature of his painting), and
64:Learn how and when to remove these messages
1831:, London, 2000, p. 4, cited in: Jim Dine,
1074:with Marc Marder, Galerie Eof, Paris, 2015
1025:Yale University Art Gallery, New Haven, CT
972:Minneapolis Institute of Arts, Minneapolis
852:about living persons that is unsourced or
775:1983–2018: gallerist Richard Gray, Chicago
441:woodcuts it reproduced, including work by
401:Dine's distinctions include nomination to
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1939:National Gallery of Art, Washington, D.C.
1166:Learn how and when to remove this message
990:National Gallery of Art, Washington, D.C.
923:Learn how and when to remove this message
187:Learn how and when to remove this message
124:Learn how and when to remove this message
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960:Indianapolis Museum of Art, Indianapolis
729:The Wind and Tools (A Glossary of Terms)
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1944:National Gallery of Victoria, Melbourne
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1626:Catalogue Raisonné of Prints, 2001–2020
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781:1987–2003: printmaker Kurt Zein, Vienna
753:1995–96 – Hochschule der Künste, Berlin
505:and Marcus Ratliff, eventually meeting
456:After high school Dine enrolled at the
2024:Members of the Academy of Arts, Berlin
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1263:"Jim Dine - Exhibitions - Gaa Gallery"
999:Solomon R. Guggenheim Museum, New York
2084:Honorary members of the Royal Academy
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1016:Metropolitan Museum of Art, New York
969:Metropolitan Museum of Art, New York
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358:, Grand Rapids, Michigan (2011) and
327:(use of collage and found objects),
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981:Museum of Contemporary Art, Chicago
702:Poet Singing (The Flowering Sheets)
694:Poet Singing (The Flowering Sheets)
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2104:20th-century American male artists
2004:21st-century American male artists
1461:"Graham Hunter Gallery - Jim Dine"
1318:"Graham Hunter Gallery - Jim Dine"
1062:Hauser & Wirth, New York, 2018
951:Cleveland Museum of Art, Cleveland
936:Allen Memorial Art Museum, Oberlin
656:(2013) in Busan, South Korea; and
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2079:20th-century American printmakers
1949:National Portrait Gallery, London
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948:Cincinnati Art Museum, Cincinnati
939:Art Institute of Chicago, Chicago
769:1978–2016: Pace Gallery, New York
758:Selected long-term collaborations
45:This article has multiple issues.
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2109:Walnut Hills High School alumni
2094:Knights of the Legion of Honour
2069:20th-century American sculptors
2054:University of Cincinnati alumni
1934:Jonathan Novak Contemporary Art
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670:Untitled (After Winged Victory)
382:, Washington, D.C.; Solomon R.
53:or discuss these issues on the
2049:Obscenity controversies in art
1999:21st-century American painters
1989:20th-century American painters
1829:Subjects, Alan Cristea Gallery
1653:"Jim Dine | Poet Singing"
1543:Steidl, Göttingen, 2010, p. 16
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806:2016–21: Gray Gallery, Chicago
344:Whitney Museum of American Art
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652:(2008) in BorĂĄs, Sweden, and
392:Tokyo Metropolitan Art Museum
153:, a violation of Knowledge's
830:biography of a living person
675:Winged Victory of Samothrace
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437:(1954), particularly by the
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1019:Stedelijk Museum, Amsterdam
993:Palm Springs Art Museum, CA
984:Museum of Fine Arts, Boston
857:must be removed immediately
739:Selected teaching positions
627:The Adventures of Pinocchio
403:Academy of Arts and Letters
396:Yale University Art Gallery
95:. The specific problem is:
16:American artist (born 1935)
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2099:21st-century American Jews
1384:"Jim Dine Art, Bio, Ideas"
1368:About the Love of Printing
1190:, Steidl, Göttingen, 2020.
1003:Stedelijk Museum Amsterdam
435:Modern Prints and Drawings
398:, New Haven, Connecticut.
368:Metropolitan Museum of Art
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1848:, Steidl, Göttingen, 2017
945:Brooklyn Museum, Brooklyn
608:A Midsummer Night's Dream
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427:Art Academy of Cincinnati
354:, Minneapolis (1984–85),
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2034:American modern painters
2029:American collage artists
1689:A Printmaker’s Document,
1030:Selected poetry readings
963:Israel Museum, Jerusalem
790:2000–present: gallerist
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458:University of Cincinnati
364:Art Institute of Chicago
262:University of Cincinnati
2074:American male sculptors
2059:Artists from Cincinnati
2014:Jewish American artists
1929:Encyclopædia Britannica
1657:Cristea Roberts Gallery
1618:A Printmaker’s Document
1592:A Printmaker’s Document
1332:A Printmaker’s Document
1141:by replacing them with
1133:Knowledge's style guide
590:New York Times Magazine
380:National Gallery of Art
346:, New York (1970), the
2044:Ohio University alumni
1994:American male painters
1872:A History of Communism
1859:A History of Communism
1833:A History of Communism
1731:The Glyptotek Drawings
975:Museum Folkwang, Essen
844:Please help by adding
733:A History of Communism
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496:Honolulu Museum of Art
329:Abstract Expressionism
1554:Paris Reconnaissance,
658:Pinocchio (Emotional)
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443:Ernst Ludwig Kirchner
411:Accademia di San Luca
163:neutral point of view
2039:American pop artists
1954:Royal Academy of Art
1903:"Jim Dine born 1935"
1514:Paris Reconnaissance
1498:Paris Reconnaissance
1305:Paris Reconnaissance
1139:improve this article
850:Contentious material
686:Glyptothek in Munich
439:German Expressionist
413:in Rome (2017), and
405:in New York (1980),
348:Museum of Modern Art
106:improve this article
91:to meet Knowledge's
2089:Sculptors from Ohio
1236:The Secret Drawings
1111:Constructs such as
725:Big Black Work Wall
603:William Shakespeare
511:The Smiling Workman
494:by Jim Dine, 1962,
476:Museum of Fine Arts
472:School of Fine Arts
350:, New York (1978),
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833:needs additional
664:Antique sculpture
634:'s animated film
571:Westmount, Quebec
539:Phillip Hefferton
470:(1907–73) at the
384:Guggenheim Museum
352:Walker Art Center
315:
314:
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178:
134:
133:
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93:quality standards
84:This article may
68:
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1889:www.stedelijk.nl
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1184:
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1157:
1143:named references
1106:
1105:
1098:
928:
921:
917:
914:
908:
906:
865:
846:reliable sources
823:
822:
815:
794:, Paris-Brussels
650:Walking to BorĂĄs
543:Roy Lichtenstein
449:(1867–1956) and
370:, New York; the
238:
234:
232:
225:James Lewis Dine
213:
199:
198:
192:
185:
174:
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159:content policies
144:
136:
129:
122:
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109:
79:
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71:
60:
38:
37:
30:
23:politician, see
2129:
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2124:
2123:
2122:
2120:
2119:
2118:
2009:Jewish painters
1969:
1968:
1920:
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1212:
1199:See: Jim Dine,
1198:
1194:
1185:
1181:
1172:
1161:
1155:
1152:
1131:discouraged by
1107:
1103:
1096:
1032:
929:
918:
912:
909:
866:
864:
843:
824:
820:
813:
760:
741:
710:
666:
654:Busan Pinocchio
642:Venice Biennale
618:
599:
584:
563:
503:Claes Oldenburg
485:
463:Ohio University
423:
376:Centre Pompidou
360:Museum Folkwang
310:Nancy Lee Minto
260:
258:Ohio University
249:
239:
236:
230:
228:
227:
226:
216:
204:
193:
182:
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161:, particularly
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80:
76:
39:
35:
28:
17:
12:
11:
5:
2127:
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2036:
2031:
2026:
2021:
2016:
2011:
2006:
2001:
1996:
1991:
1986:
1981:
1967:
1966:
1961:
1956:
1951:
1946:
1941:
1936:
1931:
1926:
1924:British Museum
1919:
1918:External links
1916:
1913:
1912:
1894:
1876:
1863:
1850:
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1807:
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1066:House of Words
1063:
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931:
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854:poorly sourced
827:
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808:
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798:
795:
792:Daniel Templon
788:
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665:
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598:
595:
583:
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573:, Canada, 2009
562:
559:
551:Wayne Thiebaud
484:
481:
422:
419:
313:
312:
307:
303:
302:
269:
268:Known for
265:
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83:
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43:
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33:
15:
9:
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3:
2:
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2020:
2017:
2015:
2012:
2010:
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2002:
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1997:
1995:
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1984:Living people
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1962:
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1854:
1847:
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1834:
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1824:
1817:
1811:
1804:
1798:
1789:
1783:Ibid. pp. 7–8
1780:
1773:
1767:
1759:
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1389:
1388:The Art Story
1385:
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1189:
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1159:
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1140:
1136:
1135:for footnotes
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927:
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916:
905:
902:
898:
895:
891:
888:
884:
881:
877:
874: –
873:
869:
868:Find sources:
862:
858:
855:
851:
847:
841:
840:
836:
831:
826:
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802:
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713:
705:
703:
699:
695:
691:
687:
683:
682:
681:Venus de Milo
677:
676:
671:
661:
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643:
639:
638:
633:
629:
628:
623:
622:Carlo Collodi
613:
610:
609:
604:
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592:
591:
579:
572:
567:
558:
556:
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548:
547:Edward Ruscha
544:
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448:
445:(1880–1938),
444:
440:
436:
432:
431:Paul J. Sachs
428:
418:
416:
412:
408:
404:
399:
397:
394:, Tokyo; and
393:
389:
385:
381:
378:, Paris; the
377:
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365:
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285:
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259:
256:
252:
247:
243:
237:(age 89)
235:June 16, 1935
223:
219:
212:
207:
200:
191:
188:
173:
170:November 2023
164:
160:
156:
152:
149:This article
147:
143:
138:
137:
128:
125:
117:
107:
102:
100:
97:Overlong and
94:
90:
89:
82:
73:
72:
67:
65:
58:
57:
52:
51:
46:
41:
32:
31:
26:
22:
1906:
1897:
1888:
1879:
1871:
1866:
1858:
1853:
1845:
1840:
1832:
1828:
1823:
1815:
1810:
1802:
1797:
1788:
1779:
1771:
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1752:
1738:
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1701:
1696:
1688:
1683:
1675:
1656:
1647:
1633:
1625:
1621:
1617:
1612:
1604:
1599:
1591:
1586:
1566:
1561:
1553:
1548:
1540:
1535:
1521:
1513:
1497:
1492:
1484:
1479:
1468:. Retrieved
1464:
1455:
1443:. Retrieved
1439:
1430:
1416:
1402:
1391:. Retrieved
1387:
1367:
1362:
1339:
1331:
1326:
1312:
1304:
1285:. Retrieved
1283:. 2015-03-04
1281:the Guardian
1280:
1271:
1257:
1243:
1235:
1230:
1204:
1200:
1195:
1187:
1182:
1162:
1156:October 2021
1153:
1146:
1130:
1124:
1118:
1112:
1086:
1065:
1008:Tate Gallery
919:
910:
900:
893:
886:
879:
867:
856:
839:verification
832:
732:
728:
724:
722:
718:
714:
711:
701:
697:
693:
689:
679:
673:
669:
667:
657:
653:
649:
645:
635:
625:
619:
606:
600:
588:
585:
576:
527:Walter Hopps
523:
518:
514:
510:
507:Allan Kaprow
500:
491:
455:
451:Max Beckmann
434:
424:
400:
388:Tate Gallery
386:, New York;
341:
322:
317:
316:
215:Dine in 2020
183:
167:
155:terms of use
150:
120:
111:
104:Please help
96:
85:
61:
54:
48:
47:Please help
44:
1979:1935 births
1581:Ibid. p. 17
1500:, pp.158–60
1148:quick guide
632:Walt Disney
555:Andy Warhol
531:Robert Dowd
468:Ture Bengtz
288:photography
284:printmaking
108:if you can.
1973:Categories
1885:"Jim Dine"
1827:Jim Dine,
1792:Ibid. p. 9
1770:Jim Dine,
1704:, pp. 9–10
1539:Jim Dine,
1470:2023-06-20
1436:"Jim Dine"
1393:2022-11-30
1366:Jim Dine,
1357:Ibid. p. 8
1343:Ibid. p. 7
1330:Jim Dine,
1287:2022-11-30
1094:References
883:newspapers
872:"Jim Dine"
690:tumbleweed
447:Emil Nolde
390:, London;
296:assemblage
292:happenings
242:Cincinnati
231:1935-06-16
50:improve it
21:New Mexico
1440:Sotheby's
1249:"Artists"
1120:loc. cit.
1068:(ongoing)
913:June 2022
835:citations
646:Pinocchio
637:Pinocchio
616:Pinocchio
582:Bathrobes
535:Joe Goode
519:The House
515:Car Crash
421:Education
337:Pinocchio
280:sculpture
254:Education
56:talk page
25:Jim Dines
2064:Neo-Dada
1816:My Tools
1805:, p. 111
1803:My Tools
1628:, p. 11.
1594:, p. 191
1485:My Tools
1010:, London
861:libelous
417:(2018).
325:Neo-Dada
318:Jim Dine
272:painting
203:Jim Dine
114:May 2021
86:require
19:For the
1874:, p. 58
1818:, p. 17
1678:, p. 15
1622:I print
1307:, p.158
1087:In Vivo
897:scholar
474:at the
333:Pop Art
276:drawing
101:-heavy.
99:WP:PUFF
88:cleanup
1964:Steidl
1861:, p. 7
1857:Dine,
1801:Dine,
1716:Dine,
1700:Dine,
1691:p. 124
1687:Dine,
1674:Dine,
1603:Dine,
1590:Dine,
1565:Dine,
1552:Dine,
1516:, p.18
1512:Dine,
1496:Dine,
1445:18 Jun
1303:Dine,
899:
892:
885:
878:
870:
597:Hearts
561:Motifs
492:Job #1
483:Career
366:; the
306:Spouse
300:poetry
248:, U.S.
1846:Tools
1772:Tools
1720:p. 15
1607:p. 17
1569:p. 16
1114:ibid.
904:JSTOR
890:books
708:Tools
1907:Tate
1556:p.18
1447:2023
1129:are
1126:idem
1123:and
876:news
837:for
553:and
246:Ohio
221:Born
624:'s
605:'s
165:.
1975::
1905:.
1887:.
1709:^
1665:^
1655:.
1624:.
1574:^
1505:^
1463:.
1438:.
1386:.
1375:^
1348:^
1296:^
1279:.
1213:^
1117:,
848:.
549:,
545:,
541:,
537:,
533:,
433:'
374:,
298:,
294:,
290:,
286:,
282:,
278:,
274:,
244:,
233:)
59:.
1909:.
1891:.
1760:.
1746:.
1659:.
1641:.
1529:.
1473:.
1449:.
1424:.
1410:.
1396:.
1320:.
1290:.
1265:.
1251:.
1224:.
1169:)
1163:(
1158:)
1154:(
1145:(
926:)
920:(
915:)
911:(
901:·
894:·
887:·
880:·
863:.
842:.
229:(
190:)
184:(
172:)
168:(
127:)
121:(
116:)
112:(
66:)
62:(
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
