Figure 6: The same frottage pattern is visible in drawings that are on different supports. For example, the rough pattern is visible in Glyptotek Drawing [7] detail on a frosted plastic sheet on the left, as well as in Glyptotek Drawing [8] detail on paper on the right.
In Glyptotek Drawing [7] , the rough pattern appears in both positive, when Dine applied the charcoal and pastel, and in negative, when Dine subtracted the media figure 7. This suggests that the drawing was worked from start to finish on the same surface in one drawing session. In other drawings there are either two patterns, or only sections of the drawing that feature a pattern, thus demonstrating that Dine changed the white paper below the drawing, possibly over several drawing sessions.
Other patterns seen in some of these drawings do not come from below the supports, but from applied patterned surfaces. In Glyptotek Drawing [34], a diamond pattern resembling a wire mesh can be seen in both positive and negative figure 8. Dine used the mesh in this drawing to apply media, remove media, and manipulate it.
In other drawings, the patterns were not entirely intentional. In Glyptotek Drawings [21] and [31] , there is a second type of diamond pattern, which Dine confirmed is a shoe print figure 9 and assumed he must have stepped on these drawings.
Figure 8: The wire mesh Dine used to manipulate the media is seen in positive and negative in this detail of Glyptotek Drawing [34]. Even though this pattern was unintentional, the print was left on the drawing and transferred to the printing plate.
These shoe prints, along with fingerprints, smudges, tears, hairs, and drips from liquid media and heavily applied fixative, reveal Dine's working methods and become part of the history of the Glyptotek Drawings , and ultimately are transferred to the prints. It was necessary for light to penetrate the multi-layered drawings in order to achieve highlights in the final prints.
Dine devised innovative subtractive techniques to remove media, using erasers, sandpaper, knives, razor blades, and an intaglio plate scraper to create voids. Light, passing through these negative spaces, thus became Dine's drawing medium. In all of the drawings, evidence remains of Dine's use of erasers to subtract layers of friable media, whether it is a subtle highlight or a large area of subtraction with remaining eraser crumbs visible figure The crumbs that remain on the drawings are adhered into place by subsequent layers of fixative and are reproduced in printed form as an abstract tonal pattern.
A tonal pattern was not Dine's intention when he left these crumbs on the drawings but instead, as Dine mused, "[I] just left my tracks.
To create highlights in areas of fixed friable media or in areas of liquid media, Dine used more aggressive means of subtraction. Sandpaper allowed Dine to create large areas of highlights, leaving behind fine scratches in the surface of the drawing as evidence of its use figure The use of a knife, razor blade, or scraper afforded Dine more precise linear scraping, which could be wider or thinner depending on the angle of the tool figures Figure Fine scratches from Dine's use of sandpaper can be seen in this detail of Glyptotek Drawing [33].
Figure Linear scraping appears wider or thinner depending on the angle of the tool; the detail of Glyptotek Drawing [6] on the left shows wider scraping, while the detail of Glyptotek Drawing [36] on the right shows thinner scraping. Subtracting media is not unique to this series, but rather is a constant for Dine in the creation of drawings. In the past Dine has described a drawing as "something you. In the Glyptotek Drawings , Dine's main criterion for supports was translucency, which limited their thickness.
When using these subtractive techniques on paper supports, Dine worked more delicately to create shallow scrapings. The plastic supports, however, allowed Dine to be more aggressive in his scraping, either removing thin slivers of plastic from the surface or, in some drawings, cutting right through the supports figure Figure Thin slivers of plastic removed to create highlights in Glyptotek Drawing [14] can be seen still partially attached to the support in this detail.
Before starting the Glyptotek Drawings , Dine contacted master printer Kurt Zein in Vienna to determine what process would be used to transform his drawings into prints. This would be the first formal project Dine and Zein worked on together. Together, they decided that creating heliogravures , using the drawings as the positive transparencies, would best capture the subtle nuances of the drawings that Dine planned to make. This discussion, thus, guided Dine's material choices as described above.
Once Dine completed all forty drawings, he turned them over to Zein to have them transferred to copper printing plates and printed on Zerkall LITHO white mould-made printmaking paper. Heliogravure is an intaglio printmaking process, which traditionally uses light in combination with a continuous tone photographic film positive transparency to create an acid-resistant gelatin ground for transfer onto a copper printing plate.
To create this ground, the transparency is placed over a photosensitive layer of gelatin and exposed to an ultraviolet-containing light source. Areas of the gelatin that are exposed to light are hardened in proportion to the amount of light that penetrates the transparency, making these areas of gelatin less soluble and more acid resistant. This gelatin layer is then bonded to a plate prepared with an aquatint grain.
The plate is then placed in a series of ferric chloride solutions used to etch the surface of the copper and transfer the image from the transparency to the printing plate.
Figure Glyptotek Drawing [2] on the left with the corresponding heliogravure print on the right. In the case of the prints seen in Glyptotek , the Glyptotek Drawings were used in place of the photographic film positive transparency.
Heliogravures made in this manner are often referred to as direct gravures vi , as the step in which the drawing would be photographed to make a positive transparency is eliminated, making the process more direct. Jim Dine was born in Cincinnati, Ohio. His parents were second-generation immigrants from Eastern Europe and practicing Jews, an identity which influenced his artistic career. He later claimed he was "raised in a family of ironmongers and the tools were always around me.
He was particularly fascinated by the "metaphorical" or "mythic" quality of the tools of iron-working; they would inspire his works of the early s, where he attached tools to canvases creating combinations of found object and pictorial image. Dine first became known in the art world as a progenitor of "Happenings," interactive performance pieces that grew out of the experimental art scene in New York City during the late s.
In The Smiling Workman , the Happening for which he is most known, Dine wore painters' clothing covered with red, blue, and gold paint, while his face was painted gold and red with a clown's mouth.
During the second work, he painted the words "I love what I'm doing, HELP" onto a canvas and drank what looked like paint from a paint can it was actually tomato juice before pouring the rest of it over his head.
At the end he jumped through the canvas he had just painted. By destroying his own work, Dine firmly centered the artistic identity of this piece as the performance, not the product.
This would be an important shift and set a precedent for performance artists to follow. What may seem like an absurd series of actions was actually a reaction to the solemnity of Abstract Expressionism and the uptown art establishment.
Dine wanted to inject the excitement of live performance into art and increase audience involvement. Drawing on theatrical principles more than on his artistic predecessors, Dine also hoped to open the art world to a new form of artistic creation, where the viewer was an active participant even if he was activated by his confusion or annoyance. Dine described the piece as "painters' theater," and later claimed, "It was a very exciting thing to be in.
And, of course, show business is more exciting than art. People laugh, people cry, they clap. Jim Dine's performance of Car Crash at the Reuben Gallery in New York was approximately 15 minutes long and took place in an entirely white space in which was placed a series of found objects that Dine also painted white. Dine himself had painted his face silver, wore silver clothing, and repeatedly drew anthropomorphic automobiles with chalk on a blackboard, as if trying to communicate with the audience through the images and nonverbal grunts and cries.
He was joined by three other performers: a woman dressed in white sat on a ladder, so that she appeared to be very tall, and a man and a woman cross-dressed in each other's evening wear.
These performers carried flashlights that they shined at Dine, who cowered away and made noises of pain. The performance was accompanied throughout by sounds of car motors and brakes. Like most of Dine's work, Car Crash had very personal and autobiographical roots, literally inspired by his own automobile accidents. The performance was designed to be a cathartic process, a way of working through the trauma of the original events by acting it out with his fellow performers and through the interaction with his audience.
By acting out his fear and helplessness, Dine communicated fragments of his emotional memories to the viewers, extending his personal experiences to a more universal message of collision and destruction.
The performance was accompanied by a room of drawings and prints, many of which included text "crash. Kolberg points out, "akin to the operation of concrete poetry, here words and images combine to evoke a comprehensive account of the crash. The word crash functions as both a noun and a verb. In this way, the performance was part of the larger conceptual and Pop art movements at the time, decentralizing the material object by making the focus of the piece both personal experience and commonplace language.
This painting is one of several in which Dine takes everyday objects and imbues them with meaning. Dine believed that the objects that comprised his everyday life and his visual world had a distinct power, rooted in their ability to be immediately recognizable. He consequently chose a series of personal objects in order to create self-portraits, here, representing himself through a depiction of his favorite bathrobe.
A commonplace, but strangely intimate item, a bathrobe is worn close to the skin, usually in private moments. He would use the bathrobe imagery frequently in years to come, a repetition already anticipated in this double portrait.
The bright colors and clear linear style are typical of the Pop art movement with which Dine's work was associated at this time. Andy Warhol's silkscreen canvases multiplied popular culture icons into grids, transforming soup cans and Marilyn Monroe into nearly abstract components; similarly, Dine repeats his bathrobe in this diptych form, altering only the colors in a way that appears mass-produced.
And yet, Dine's practice is markedly different from that of Warhol: this is a hand-painted canvas, carefully made to look generic. Dine attaches hardware to each panel, connecting the work to his family business and childhood fascinations. Why does Jim Dine paint hearts? Where does Jim Dine live? What university did Jim Dine go to? How do you paint a canvas on a heart?
How did it develop pop art? Previous Article What year did Karl Marx die? Next Article What are the 4 types of mass media? Without the human body to give the garment a point of specificity or individuality, the robe became an everyman as much as a self-portrait. Although without a body, head or hands, he stands resolute and confident. The stained cavity of his absent chest presents an internal glow of strength and power and the robe acts as a kind of cape that provides superhuman powers.
Seemingly with his tongue firmly planted in his cheek, this image of the hero in his own bathroom is a particularly human and poignant portrait of the artist at age Dine continued to exploit the bathrobe motif for over 30 years.
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