Jim Dine’s photography exhibit “Jim Dine, The Photographs, so far,” now being displayed in the Zilkha Gallery and Davison Art Center, is a must see. Dine’s striking combination of images and words creates a distinctive and intriguing display.
Born in 1935, Dine has had a long career as a painter, sculptor, draftsman and printmaker. In addition, he gained fame as a pioneer in the pop art movement. The exhibit is one of the first opportunities the public has had to view his newest foray into the world of photography.
The show in Zilkha includes photogravures (etchings made from photographic images), digital ink jet prints, and gelatin silver and chromogenic prints. A small display of his other prints is in the Davison Art Center. The exhibit came to Wesleyan after a stint at the Hasselblad Center in Sweden and Die Photographische Sammlung/SK Stiftung Kultur in Germany.
The content of Dine’s work varies as much as his technique. His images range from close, raw portraits such as the striking “Black Eyes, White Stars,” to compositionally complex and careful shots like “Arm Study.” The photos are all beautiful examples of composition, with color or subtle lines gently encouraging the viewer’s eye across the print. Although they are mostly of objects, his work carries an undeniable human feel. For example, in “Arm Study,” several tools and an arm descend from the upper right to center of the photo. Shot in black and white, the photo has beautiful contrast, particularly on the arm, where each line and vein is visible and open to the viewer’s scrutiny.
Dine also plays with light in this photo, using reflection off the tools and a brush to encourage our eye down the arm and across to the lower left corner of the photo, where a table leg shimmers in what we assume to be sunlight, although it’s highly possible that Dine shoots exclusively with controlled light sources.
A running theme in the photography exhibit is Dine’s use of words, phrases and poetry in his shots. Often there is a phrase written on the wall behind a shot, or across the bottom. In some prints, the writing is the focus of the image. With these, Dine seems to be encouraging the viewer to examine the different power of photography as opposed to actually seeing the words written in the form of a print or painting.
For example, in his photo “Marjorie and Eunice,” the words “We Die” are written on what appears to be cardboard on the back wall. The words are not the emphasis of the photo, however; the eye is immediately drawn to a picture of two women lying on the table. The table, cluttered with tools, is a prime example of Dine’s use of color in composition: the consistent red of the tools’ handles pulls the viewer’s gaze across the print and back down to the lower center.
There are two upcoming events planned along with the exhibit. On Sept. 30 at 8 p.m., in the Center for the Arts Cinema, former New York Times photography critic Andy Grundberg will give a talk entitled “Concrete Photography.” On Oct. 1 from 5 to 7 p.m. a gala reception for the artist will take place in the Zilkha Gallery, culminating in a conversation between Dine and exhibit curator Stephanie Wiles at 5:30. Both events are free and open to the public. The Dine exhibit will be on display until Dec. 12.
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