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Jim Dine
So I lean back (Oo La La) Jim Dine lithograph and Ron Padgett poetry pink bird

1970

$1,500

About

A sparrow perches at the center of a swath of pale pink, around which wraps hand-written lines from Ron Padgett’s poem “Ode to Clemens Laurrell”: “So I lean back against the willows / just to be free again / just to embrace the fleeting image / of a monumental and disastrous chord / struck on a defective Omaha / Sky and clouds tearing apart at sunset / and the tones fading on waves / of rising melody / in the flowing geography of the sky.” Dine's cursive conveys the spontaneity of a journal entry, and the intimacy of a letter between friends. A delicately sketched sparrow, perched between words, positions the text as both a formal element of the composition, and as a vessel for the sublime imagery of Padgett's verses. Paper 15 x 27.5 in / 43.2 x 70 cm Lithograph on handmade Hodgkinson wove paper; the full sheet, watermarked with the signatures of Jim Dine and Ron Padgett and initials of the publisher Petersburg Press. Signed by the artist lower left. From the Oo La La portfolio of 15 lithographs printed offset from zinc plates, drawn by both artists. Produced in collaboration with Ron Padgett and published by Petersburg Press, London. One of fifteen artist's proofs aside from the edition of 75. The late 1960s and early 70s saw Dine’s interest in literary pursuits grow: he illustrated and published a book of his own poetry entitled Welcome Home Lovebirds (Trigram Press, 1969), and he provided drawings and photographs for the publications of Padgett and other New York School poets: Ron Padgett’s translation of Apollinaire’s "Le Poète Assassiné” (Holt, Rinehart, and Winston, 1968), Ron Padgett and Tom Clark’s Bun (Angel Hair, 1968), and Fragment, by Ted Berrigan (Cape Goliard Press, London 1969). Cape Golliard also published a stylish monograph in 1970 reproducing photographs and drawings titled "The Adventures of Mr and Mrs Jim and Ron". In 1966, police raided a Jim Dine exhibition in London at the Robert Fraser Gallery. Fraser was charged under the Obscene Publications act and Dine was found to be indecent. After a meteoric rise to artistic prominence in New York, Dine had tired of the city’s intense art scene, and this incident was the final straw. He moved with his family to London in 1967 and began producing work at Petersburg Press, where he would become a longtime collaborator. As a student, Dine had cited the great American poets, Ron Padgett, Robert Creeley and Ted Berrigan, of the New York School as early inspirations, and in London, he eagerly took the opportunity to work with Padgett at Petersburg Press. Catalogue reference: Jim Dine Prints: 1970-1977. Exhibition Catalogue. Williams College: Williamstown, 1977: pp 50-51, no. 26

Details

  • Creator
  • Creation Year
    1970
  • Dimensions
    Height: 17 in. (43.18 cm)Width: 27.5 in. (69.85 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
    This print 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: LU121125614851

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    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.

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