Since the start of Jonathan Novak Contemporary Art, we have featured a wide variety of works on paper, paintings, sculpture and multiples from many artists. We are pleased to present this collection of unique works and multiples by some of the most recognized modern and contemporary masters. Spanning six decades, from 1960s to the present, these works encompass the gallery’s focus on post-war pieces from photorealism to pop. From the iconic robes of Jim Dine to the graphic and playful prints of Michael Craig-Martin, this selection truly has “something for everyone”.
The gallery has placed works in many museums and institutions including, most recently, the Rose Art Museum in Waltham, MA, the Perez Museum in Miami and the Musée Centre Pompidou in Paris
We hope you enjoy visiting our “booth”; we are excited to share these wonderful works with you.
From the Dine Print Catalogue Raisonné, published by STEIDL
Jim Dine editions are known for their strong, graphic style, bright colors, and straightforward imagery. By singling out simple shapes and objects and depicting them over and over, Dine suggests that these are important subjects for artistic study. The catalogue of Jim Dine editions includes many depictions of iconic imagery that have special meaning in the artist’s life. Dine frequently revisits certain powerful symbols and objects in endeavoring to create a deeper interpretation of the significance he attaches to them. He views this work as an examination of the impact of these archetypal symbols, rather than merely a celebration of them.
One autobiographical reference in Dine’s work is the focus on ordinary tools which appear in many of his works. During his childhood, Dine frequently visited his grandfather’s hardware store where he would amuse himself for hours playing with the tools and implements that were part of the store’s inventory. From these experiences came his fascination with tools as an extension of the artist’s hand and as a worthy subject of exploration.
The bathrobe is also representative of personal identity in Dine’s work. Dine explains that he was searching for a way to create self-portraits when he happened upon an ad for bathrobes in a magazine. He instantly recognized his own shape in the “uninhabited” bathrobe and it became a metaphorical representation of the artist himself and one of the most popular icons in Dine’s work.
Another major recurring element in Dine’s work is the heart. Through the heart motif, Dine explores many themes as well as countless combinations of media, color, form and texture. Dine once said of his heart iconography: “It’s a landscape for everything. It’s like Indian classical music — based on something very simple but building to a complicated structure. Within that you can do anything in the world. And that’s how I feel about my hearts.” (Milwaukee Journal Sentinel).
Jim Dine editions are produced using a variety of techniques. Inspired by his childhood workman’s background and the tools of his youth, Dine has experimented with many different forms of printmaking from woodcut, drawing with acid on copper, using grease on litho stones and drypoint: scratching directly onto a metal plate. Dine says he also enjoys the social nature of print-making because a team of artisans is required to complete the work whereas painting is a solitary pursuit. Jim Dine made his first print at the age of seventeen and has continued to produce amazing editioned works throughout his artistic life.