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Jim DineThe Robert Fraser Gallery Print (famous Deluxe Edition of the Swinging Sixties)1965
1965
About the Item
Jim Dine
The Robert Fraser Gallery Print, 1965
Lithograph on wove paper (Deluxe hand signed limited edition)
Hand signed and numbered 75/100 in graphite by Jim Dine lower right front
31 3/4 × 20 1/4 inches
Unframed
This cool Jim Dine lithograph was published on the occasion of his historic London exhibition at the Robert Fraser Gallery in June 1965. This work is hand signed and numbered by the artist from the limited edition of 100 - Deluxe signed limited edition (apart from the poster edition which was unsigned). In late 1966, after showing Dine’s works, the Fraser Gallery was served a summons under an antiquated vagrancy law that prohibited the public display of “obscene” material. As a statement issued by the gallery at that time indicated, 21 of Dine’s drawings, “some of them showing various parts of the human body, were seized by the police,” along with copies of the exhibition’s catalog. A court later ruled the exhibition, but not the confiscated artworks, to have been indecent and charged Fraser a fine. A 2015 article in Hypoallergic recounts how Robert Fraser, referring to the British government’s heavy-handedness, sent a telegram to Dine in the U.S. It stated, “REGINA VERSUS VAGINA. LOVE, ROBERT.” Eton-educated Robert Fraser - known as "Groovy Bob" (the title of a later biography on him) was the son of a wealthy financier (his father was a trustee of the Tate Gallery) who set his son up as a gallerist in the heart of London. Fraser would become known as one of the top dealers and promoters of Pop Art in London during the Swinging Sixties. His hip gallery (and parties) were frequented by luminaries like Mick Jagger, Keith Richards, Marianne Faithfull, and Paul and Linda McCartney; John and Yoko; Francis Bacon, Jim Dine, Claes Oldenburg, Andy Warhol, Keith Haring, and Jean-Michel Basquiat; the British Pop artists Peter Blake, Jann Haworth, Clive Barker, Richard Hamilton, and Eduardo Paolozzi - along with many wealthy collectors, socialites and trendsetters. The Robert Fraser Gallery became a focal point for modern art in Britain, and through his exhibitions he helped to launch and promote the work of many important new British and American artists including Peter Blake, Clive Barker, Bridget Riley, Jann Haworth, Richard Hamilton, Gilbert and George, Brian Clarke, Eduardo Paolozzi, Andy Warhol, Harold Cohen, Jim Dine and Ed Ruscha. Long after Fraser's death, PACE Gallery organized a homage to "Groovy Bob", and decades later, his influence in the worlds of art and music has been more fully appreciated.
- Creator:Jim Dine (1935, American)
- Creation Year:1965
- Dimensions:Height: 31.75 in (80.65 cm)Width: 20.25 in (51.44 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745212819352
Jim Dine
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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