Jim Dine (Paperback)

Jim Dine

ISBN 10: 3869307919 / ISBN 13: 9783869307916

Published by Steidl Publishers, Gottingen, 2014

About this Item

Paperback. This "history" came about because my friends, Sarah Dudley and Ulie Kuhle, litho printers in Berlin, were given about 100 litho stones from a former Socialist art academy in what was the D.D.R. The stones all had images on them drawn by forty years of students under the oppressive regime. I asked them to reactivate the stones and print them on Zerkall Paper 450 g/m^2. Most images I chose of the 100 were able to have life breathed into them. We had finally forty-five images. They editioned the lithographs and then sent them to us in Walla Walla, Washington. I drew and ground and bit copper plates to go over them. I wanted a black view of the image and a sense of Berlin in the East as I knew it when the horrible wall was still up. The etchers who came to work with me every summer over two and a half years have coaxed the exact mood I wanted out of the plates. A history that came about because the author's friends, Sarah Dudley and Ulie Kuhle, litho printers in Berlin, were given about 100 litho stones from a former Socialist art academy in what was the D D R. The stones all had images on them drawn by forty years of students under the oppressive regime. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9783869307916

Bibliographic Details

Title: Jim Dine (Paperback)

Publisher: Steidl Publishers, Gottingen

Publication Date: 2014

Binding: Paperback

Condition: new

About this title

Synopsis:

This history came about because my friends, Sarah Dudley and Ulie Kuhle, litho printers in Berlin, were given about 100 litho stones from a former Socialist art academy in what was the D.D.R. The stones all had images on them drawn by forty years of students under the oppressive regime. I asked them to reactivate the stones and print them on Zerkall Paper 450 g/m^2. Most images I chose of the 100 were able to have life breathed into them. We had finally forty-five images. They editioned the lithographs and then sent them to us in Walla Walla, Washington. I drew and ground and bit copper plates to go over them. I wanted a black view of the image and a sense of Berlin in the East as I knew it when the horrible wall was still up. The etchers who came to work with me every summer over two and a half years have coaxed the exact mood I wanted out of the plates.