There's a nice line in one of the piece descriptions for this exhibition about how Dine looked for the noble in the everyday, or something to that effect, and I think that captures much of what I liked about this selection of his prints, both his recurring subjects (tools, skulls, dressing gowns; the hearts seemed like a different type of subject, even though he works and reworks them in a similar way to those others) and some of those that appear less frequently, including two of my favourites in "Blue Crommelynck Gate" (1982) and "The Pine in a Storm of Aquatint" (1978), the latter of which really smacked me between the eyes with its grandeur.
I hadn't come across Dine before. He was part of the New York avant garde of the 50s and 60s - some of these prints bear traces of the happenings that he was involved with - and remains active today.
I hadn't come across Dine before. He was part of the New York avant garde of the 50s and 60s - some of these prints bear traces of the happenings that he was involved with - and remains active today.
