This blog entry started life like many other summaries of Interviews – Artists 2010, but the sheer volume of information readily available on Jim Dine, and having just watched VL2 from Archive to Interview, I thought Dine would be a suitable artist to consider in detail.
The more I am reading, the more I am realizing that there isn’t just one ‘truth’ when it comes to viewing an artist and their work.
The first introduction to Dine was the interview in Interviews – Artists 2010. I found this interview stilted. Yes, I knew more about the man at the end of it, his home in Paris, his family background in hardware and tools, his love of poetry, but I felt the surface hadn’t really been scratched. The footnote highlighted that the interview had been conducted over the phone, which perhaps explained why I might feel this way.
Putney Winter Heart #8
I note this version of the series sold for $226,000 in 2001.
Lone Wolf, was an interview by New York poet Ilka Skobie. Skobie interviewed Dine at home in the Blue Mountain foothills, Walla Walla, Washington, saw him at work, and with his friends and support staff.
There is a warmth to the interview, that is lacking in the 2010 one. He talks more freely and Skobie’s style is narrative and informative. Dine’s love of poetry may have helped the interviewer.
The date of the interview is not clear, but it could have been February this year.
Taking prints from a wood cut.
The third interview, is focused on Dine’s proximity to, and view of, William S Burroughs’ art work, and the book, as an object, in contemporary art.
http://realitystudio.org/bibliographic-bunker/bunker-interviews/interview-with-artist-jim-dine/ an interview by Jim Birmingham for RealityStudio November 2007.
It is a probing interview but very focused on the interviewer’s specific agenda.
This final interview is a short, softer interview for the Tate Shot series, when Dine was 73 in 2008. It is focused around the exhibition of 52 books that Dine produced.
The style, method, focus of these interviews simply demonstrate that to gain a rounded perspective on any artist, it is necessary to interrogate a number of diverse sources. No one critic or writer has full access to the ‘truth’ of the subject.