Page 45 - Studio International - April 1970

Notes on Jim Dine created his first lithographs at Uni- Cut and Snip, an unreality heightened by the
versal Limited Art Editions in 1962, at a time ironic inclusion of the titles as part of the
when his art was involved with the objects and
Jim Dine's situations that surround one in the home. image; the removed liquid distance of Pink
Bathroom and Black Bathroom; the humorous
Lithographs are printed on paper, and in but jewel-like presence of White Teeth. Four
Lithographs almost all Dine's lithographs much or most C-Clamps is only the second lithograph that he
of the paper is clearly visible, an integral part did; it is printed on a yellow, white-flecked
of the work. Tatyana Grosman recalls that Auvergne paper; to have 'overcome its dan-
Tony Towle several of his lithographs came into being gerous 'specialness' is a superb achievement.
because of an interest in a particular paper. The genuine tour de force is Dine's strength.
(The artist has written of Mrs Grosman: The late poet Frank O'Hara wrote of his own
`Working with Tanya Grosman at Universal work, 'You just go on your nerve.' And in any
Limited Art Editions on Long Island has been medium that is what Jim Dine does. He has a
the catalyst for everything.... She has made tremendous and sure facility, and uses with
me aware of paper.') complete confidence any image or theme
Dine's household tools and bathroom graphics which preoccupies his sensibility at the time.
An Informal Tie
Edition 10 are domestic still-life of a very high order, But in lithography one must wait for proofs,
Etchings on Rives BFK while including as well a fascinating indirect no matter how quickly one works ... 'Prints are
101 x 66 cm.
lyric narration. The tone of the works varies the reason for some of my paintings. Litho-
2
Little Flesh Tie considerably: the risk of simple presentation graphs take enough time, more than anything
(From the same series)
in Pliers and Four C-Clamps; the casual vir- else I do, so that they make me think about
3 tuosity of Toothbrushes; the vaguely disturbing everything.'
Universal Tie 1961
(From the same series) unreality of Brush After Eating and the diptych Eleven Part Self Portrait (Red Pony) is the port-