Jim Dine, ‘Calico, Pl.3 (From 11 Pop Artist’S, Volume Iii)’, 1965, Waddington's
Jim Dine, ‘Calico, Pl.3 (From 11 Pop Artist’S, Volume Iii)’, 1965, Waddington's
Jim Dine, ‘Calico, Pl.3 (From 11 Pop Artist’S, Volume Iii)’, 1965, Waddington's

Published by Abrams Original Editions, New York

From the Catalogue:
American Realism is perhaps not a genre most associated with the American artist Jim Dine. His career, spanning nearly six decades, is anchored in his depiction of everyday objects and Calico, 1965 is the perfect representation of Dine’s inspiration of choice. Unlike Duchamp, Dine’s subjects (hammers, saws and screwdrivers) are deeply rooted in realism: growing up with plumbers, tools were the very fabric of daily life and became Dine’s most appealing subjects.

As the artist describes: “I feel the mystery of tools, the romance of tools not having been designed, but evolved through the use of people’s hands. A screwdriver isn’t always a screwdriver, you know.” Dine’s screwdriver is the main attraction in Calico, piercing through a white block of colour. Hardly idealized, Dine’s scene appears to be more collage-like in nature with rips and unrefined edges highlighting the imperfections of such materials.

Chaotic also expresses a surface flatness, a common element Dine shares with his American contemporaries, including Roy Lichtenstein, Ellsworth Kelly, Tom Wesselman and Jasper Johns. In this instance, the print appears one-dimensional, paying homage to graphic design traits embodied by the charming, small black and white cut-outs at the very top.
Courtesy of Waddington's

Signature: signed and numbered 115/200 in pencil


Private Collection, Toronto

About Jim Dine

Although often associated with both Pop Art and Abstract Expressionism, Jim Dine did not identify with a specific movement, producing a vast oeuvre of paintings, drawings, works on paper, sculpture, poetry, and performances. Emerging as a pioneer (together with Allan Kaprow, Claes Oldenburg, and Robert Whitman) of New York’s Happenings of the 1960s, Dine would carry the spontaneous energy of this movement throughout his style, which emphasized the exploration of everyday life. Personally significant objects were Dine’s primary motifs, as in his iconic series of hearts and robes. He championed a return to figuration after a period of more concept-dominated works, and is considered an important figure in Neo-Dada and a forerunner of Neo-Expressionism. “The figure is still the only thing I have faith in in terms of how much emotion it’s charged with and how much subject matter is there,” he once said.

American, b. 1935, Cincinnati, Ohio, based in New York, Paris and Walla Walla, Washington