Word: objections
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Dates: during 1970-1970
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When asked how he would like someday to be remembered. Auden leaned back, the cigarette smoke trailing upwards. "All you can say is that you try." he said. "If you write a poem, you try to make an object that will be permanent at hand...
...across a situation rather than into characters; telephoto lenses used at certain points to achieve selective depth of field, so that he can pull focus from a character in the foreground to the background. Beyond their narrative function, these techniques turn the background from a spatially articulated field of objects into a flat surface of colors. The only place where objects are distinct from one another is in the son's bedroom. Elsewhere we see behind the characters a single plane which is frequently out of focus, no one part being separately comprehensible or related specifically to the character...
...view of an artist. Dine never really belonged to Pop art, though he has often been identified with it. He rode the same swift wave to success as Oldenburg, Warhol, Lichtenstein and Wesselmann, shared their conviction that the vocabulary of abstract expressionism was all but exhausted, and gave the object a primary place in his painting. But where Pop's lifeblood was popular imagery, Dine used objects that had figured in his own experience. Where Pop was social, analytical, sometimes bitterly satirical, Dine is emotional, personal and autobiographical. "In some way or another, it's all about...
Next he began picking up objects and juxtaposing them with the painted canvas. His use of the object can be seen as something of a contemporary parallel to the 19th century American still-life painters Peto and Harnett, who in their trompe-ľoeil arrangements of everydayobjects anticipated many of the same concerns that preoccupied the new realists of the 1960s. One Dine's most successful "combines" is a 1962 work in which an actual lawnmower is mounted in front of the canvas. Green paint clings to the blades like bits of fresh-cut grass, while the handle guides...
...series of self-portraits based on that image, including the Double Isometric Self-Portrait (Serape). Before the painted canvas, he hung wire plumb lines, which cast shadows on the bathrobes and thus give them a curious kind of life. This tense and intentional counterpoint between hard and soft materials, object and paint, reality and illusion can be traced through virtually all of his works...