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Jim Dine: The Photographs, So Far (Four Volume Set) [IMPERFECT Slipcase]

Publisher: Göttingen: Steidl and Partners, 2003
Edition: 1st Edition
Binding: Hardcover
ISBN: 388243905X
Condition: Fine / No dust jacket as issued
Item #: 113610

$350.00 save 50% $175.00


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First edition, first printing. Hardcover. Four volumes with green, red, yellow and blue cloth-covered boards respectively and title stamped in black on covers and spines, no dust jackets as issued. The four volumes are contained in a brick-red cloth covered slipcase with title printed on front. Photographs and text by Jim Dine. Edited by Stephanie Wiles. Essays by Andy Grundberg, Marco Livingstone and Stephanie Wiles. Interview with the artist by Jean-Luc Monterosso. Catalogue raisonné by Stephanie Wiles with the assistance of Julia D'Amario, Lauren Panzo and Edy Ferguson. Designed by Jim Dine, Diana Michener and Gerhard Steidl. 1046 pp., with 139 four-color and over 500 duotone plates beautifully printed by Steidl from scans made in the Steidl digital darkroom. 11-7/8 x 9 x 4-1/4 inches. Published on the occasion of the exhibition "Jim Dine, The Photographs, So Far," organized the Maison Européenne de la Photographie, Paris, and the Davison Art Center, Wesleyan University, Middletown, Connecticut.


Fine in Near Fine slipcase (bumped at two rear corners; all books in Fine condition).


Volume 1: Heliogravures; Volume 2: Digital Prints; Volume 3: Polaroids, Chromogenics & Gelatin Silver Prints; Volume 4: Text. From the publisher: "This catalogue raisonné marks the first comprehensive exhibition of photographs by Jim Dine. Since 1996, the internationally acclaimed artist has used cameras and lenses to make images that he has turned into prints using heliogravure and digital ink-jet processes, as well as conventional color and black and white photographic printing. Combining his zest for image making with a long devotion to self-expressive materiality, Dine imbues his photographs with an intensity that is occasionally traumatic but invariably beautiful. Dine's photographs present a familiar repertory of images: tools, hearts and a torso of Venus, as well as the more recent iconography of a crow, a skull, a Pinocchio doll, and an odd-couple ape and cat. For Dine photography is one among other media, the camera but one of many tools with which to make pictures. This refusal to privilege one method over another helps explain how, in the space of only six or seven years, he has managed to produce such a large number of haunting photographic images that remain consistent with the tenor of his art as a whole, while expanding its technical repertoire and range of possibilities."