Incorrect Username, Email, or Password
This object does not yet have a description.

Identification and Creation

Object Number
2006.77.6
People
Jim Dine, American (Cincinnati, Ohio 1935 -)
Printed by Kelpra Studio
Published by Editions Alecto, London
Title
Tool Box VI
Other Titles
Series/Book Title: A Tool Box
Classification
Prints
Work Type
print
Date
1966
Culture
American
Persistent Link
https://hvrd.art/o/322089

Physical Descriptions

Medium
Red acrylic plastic portfolio box, title page, and ten screenprints with collaged elements: nine on various papers (one mounted on board) and one on plastic sheet
Technique
Screen print and collage
Dimensions
portfolio case: 60.96 x 48.26 x 3.81 cm (24 x 19 x 1 1/2 in.)
sheet: 60.3 x 47.9 cm (23 3/4 x 18 7/8 in.)
Inscriptions and Marks
  • inscription: each sheet signed in pencil, recto; numbered in pencil, verso

State, Edition, Standard Reference Number

Edition
26/150
Standard Reference Number
Mikro 42f

Acquisition and Rights

Credit Line
Harvard Art Museums/Fogg Museum, Margaret Fisher Fund
Copyright
© Jim DIne / Artist Rights Society (ARS), New York
Accession Year
2006
Object Number
2006.77.6
Division
Modern and Contemporary Art
Contact
am_moderncontemporary@harvard.edu
Permissions

The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request.

Descriptions

Commentary
Jim Dine's interest in tools is customarily attributed to his working in his grandfather's and then father's hardware store. Certainly tools were ideal instruments for representation in the new Pop lexicon of everyday objects. The tools depicted in "A Tool Box" were cut out of industrial design magazines and engineering textbooks and then screenprinted onto ten different surfaces, ranging from white paper to clear acetate to silver mylar to blue graph paper. Drawing on the model of Rauschenberg's combines, Dine then collaged objects to the prints. A comic absurdity pervades the depiction and the deployment of the tool, as well as the combination of elements in the compositions. For instance, four hammers are depicted above a huge pair of red lips.

Related Works

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Modern and Contemporary Art at am_moderncontemporary@harvard.edu