Jim Dine.

Contributor(s):

Material type: Film

FilmPublisher number: 6348158 | KanopyPublisher: Michael Blackwood Productions, 1970Publisher: [San Francisco, California, USA] : Kanopy Streaming, 2019Description: 1 online resource (streaming video file) (31 minutes): digital, .flv file, soundContent type:

two-dimensional moving image

Media type:

computer

Carrier type:

online resource

Subject(s):

Genre/Form:

Documentary films.

Online resources:

George Passmore, Gilbert Prousch, Jim Dine, Nancy DineSummary: Jim Dine’s compelling connection to words and writing is visceral in both his poetry and painting. The artist does not feel the two mediums are mutually exclusive, but rather that they have the ability to heighten one another. It is in this realm of overlap that Dine’s art exists. In reference to his use of words within his paintings, Dine says that, “making works from words rather than from color” is entirely the same thing. Whatever vessel or method one uses to create art then becomes their tool. Dine moves through his work, feverishly utilizing charcoal, paint, and his own hands to create pieces such as Picabia III (Groans) and Picabia II (Forgot). Dine’s style and structure evoke a chaotic stream of consciousness that allows his viewer to glance inside the artist’s mind. Whether it be words or objects, Dine seeks to bring forth meaning through focus and repetition. Symbols and images often repeat themselves in Dine’s pieces and his palpable interest in his subjects infuses them with a rare kind of poetic power.

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Film

In Process Record.

George Passmore, Gilbert Prousch, Jim Dine, Nancy Dine

Originally produced by Michael Blackwood Productions in 1970.

Jim Dine’s compelling connection to words and writing is visceral in both his poetry and painting. The artist does not feel the two mediums are mutually exclusive, but rather that they have the ability to heighten one another. It is in this realm of overlap that Dine’s art exists. In reference to his use of words within his paintings, Dine says that, “making works from words rather than from color” is entirely the same thing. Whatever vessel or method one uses to create art then becomes their tool. Dine moves through his work, feverishly utilizing charcoal, paint, and his own hands to create pieces such as Picabia III (Groans) and Picabia II (Forgot). Dine’s style and structure evoke a chaotic stream of consciousness that allows his viewer to glance inside the artist’s mind. Whether it be words or objects, Dine seeks to bring forth meaning through focus and repetition. Symbols and images often repeat themselves in Dine’s pieces and his palpable interest in his subjects infuses them with a rare kind of poetic power.

Mode of access: World Wide Web.

In English