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Jim Dine
Hole Punch (Jim Dine 30 Bones of My Body portfolio) tool dry point

1972

$3,000

About

The hand tool is undoubtedly Jim Dine’s most iconic motif. Meticulously catalogued in rows like scientific specimens or sketched individually, hammers, awls, brushes, saws and screwdrivers assume a visceral symbolism. Curvilinear handles evoke the contours of limbs or bones, and even metal points and blades seem organic under Dine’s thoughtful hand. In this series of dry point prints, each tool is positioned vertically. Standing in for the artist’s body, the phallic shapes are gently shaded, appearing pressed into a grey field. The delicate, soft quality of dry point lines enhances the intimate nature of these portraits. Paper 30 x 22 in. / 76.2 x 56 cm Image 9 x 6 in. / 23 x 15 cm Drypoint on Crisbrook Waterleaf paper, from Jim Dine's Thirty Bones of My Body portfolio of thirty drypoints, printed in an edition of 10 with three Artist's Proofs. Signed by the artist, dated 1972, and numbered in pencil. This drypoint comes from the archive of the publisher Petersburg Press.

Details

  • Artist
    Jim Dine (1935, American)
  • Creation Year
    1972
  • Dimensions
    Height: 30 in. (76.2 cm)Width: 22 in. (55.88 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
    This etching is not pre-owned and has been stored in the archives of the publisher since its publication.
  • Gallery Location
    New York, NY
  • Reference Number
    1stDibs: LU121125636891

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.
    Ships From: New York, NY
  • Return Policy

    A return for this item may be initiated within 7 days of delivery.

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About Jim Dine (Artist)

The Ohio-born artist Jim Dine brought his ever-shifting, multidisciplinary vision to New York in 1958, a time of transition in the American art world. Abstract Expressionism, which had dominated the scene for years, was on the wane, and a group of young artists, including Dine, Allan Kaprow, Jasper Johns and Robert Rauschenberg, was eager to replace it with a movement that flipped the traditional rules of art making on their head.


     Beyond dissolving the boundaries between mediums and genres, attaching found objects and detritus to their canvases, these revolutionaries began staging performative “happenings” in public spaces, redefining the very definition of a work of art. As Pop art took form, Dine used objects with personal significance, like his paintbrushes, to transform his paintings into two-dimensional sculptures. He was included in the Norton Simon Museum’s 1962 “New Painting of Objects,” often considered the first true Pop art exhibition in America, but he remained a chameleon, constantly changing his style, material and technique.


     More than his contemporaries, Dine has forged new paths in drawing, scrawling words and names across the canvas to create graphic, abstract landscapes. He is obsessed by certain motifs — such as hearts and his own bathrobe — which recur in various forms throughout his oeuvre. He has occasionally worked in classical genres, such as portraiture, as exemplified by the 1980 aquatint Nancy Outside in July. He has also co-opted the bold, graphic vocabulary of advertising and commercials, as in the sleek 2010 composition Gay Laughter at the Wake.

About the Seller
4.9 / 5
Located in New York, NY
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