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| This first grader cut and pasted, painted and drew a Valentine collage based upon what she learned about Jim Dine and Pop Art. |
Jim Dine (born June 16, 1935) is an American pop artist. He is sometimes considered to be a part of the Neo-Dada movement. He was born in Cincinnati, Ohio, attended Walnut Hills High School, the University of Cincinnati, and received a BFA from Ohio University in 1957. He first earned respect in the art world with his Happenings. Pioneered with artists Claes Oldenburg and Allan Kaprow, in conjunction with musician John Cage,
the "Happenings" were chaotic performance art that was a stark contrast
with the more somber mood of the expressionists popular in the New York art world. The first of these was the 30 second The Smiling Worker performed in 1959.
Above, "Hearts were created by the art students at Barrett Elementary School. They were inspired by the work of artist Jim Dine." Although known for controversial work by adults, young school children are usually introduced to Dine's simple heart 'icon' type prints.
In 1962 Dine's work was included, along with Roy Lichtenstein, Andy Warhol, Robert Dowd, Phillip Hefferton, Joe Goode, Edward Ruscha, and Wayne Thiebaud, in the historically important and ground-breaking New Painting of Common Objects, curated by Walter Hopps at the Norton Simon Museum. This exhibition is historically considered one of the first "Pop Art" exhibitions in America. These painters started a movement, in a time of social unrest, which shocked America and the Art world and changed modern Art forever, "Pop Art".
Although Pop Art began in the late 1950s, Pop Art in America was given
its greatest impetus during the 1960s. The term "Pop Art" was officially
introduced in December 1962; the Occasion was a "Symposium on Pop Art"
organized by the Museum of Modern Art.
By this time, American advertising had adopted many elements and
inflections of modern art and functioned at a very sophisticated level.
Consequently, American artists had to search deeper for dramatic styles
that would distance art from the well-designed and clever commercial
materials.
As the British viewed American popular culture imagery from a somewhat
removed perspective, their views were often instilled with romantic,
sentimental and humorous overtones. By contrast, American artists being
bombarded daily with the diversity of mass-produced imagery, produced
work that was generally more bold and aggressive.
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