One of my first acquisitions for the BMA was this Jim Dine print. I was working on a small show of his works from the collection and was able to purchase two of Jim's more recent prints to round out the show. The inimitable Tru Ludwig and I set off to NYC to shop at Pace Prints. I knew for sure I wanted to acquire A Side View in Florida, a massive skull derived from Grey's Anatomy, but was open about a second print. Then Raven on Lebanese Border was unveiled, and we knew instantly this was the obvious choice. It has been on view in multiple exhibitions and was my go-to in the classroom because of its Baltimore-related subject matter, experimental printing methods, and multiple techniques. It is probably the work that I got the most use out of.
Jim Dine (American, born 1935)
Published by Pace Editions, Inc., New York; printed by Julia D'Amario
Raven on Lebanese Border, 2000
Sheet: 781 × 864 mm. (30 3/4 × 34 in.)
Plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.)
Soft ground etching and woodcut with white paint (hand coloring)
Baltimore Museum of Art: Purchased as the gift of the Print,
Drawing & Photograph Society, BMA 2007.224
Ann's art blog
A small corner of the interwebs to share thoughts on objects I acquired for the Baltimore Museum of Art's collection, research I've done on Stanley William Hayter and Atelier 17, experiments in intaglio printmaking, and the Baltimore Contemporary Print Fair.
What our Platemark listeners are saying
Listened to Platemark episode 102. Great stuff. I agree verbal exchanges with compatible minds on deeply shared content is rich, creative, wonderful, and hard to find. You both offered a delightful picture of how that has worked for you. And I felt [you were] courageous in the openness and visibility of your inner minds. Enjoyed it and learned a lot.