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The Artist – Jim Dine, all you need to know




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Jim Dine is one of the most popular American artists to live on this planet. He has worked in a wide range of mediums throughout the course of his career, including painting, performance, drawing, poetry, printing, book design, sculpture, photography, and more. His pictures of tools, large-scale nudes, self-portraits, and studies from nature and after antiquity are among the most beautiful and accomplished drawings of our time. His work has been included in several solo and group exhibitions and is held in the permanent collections of institutions all around the world.

Early days of Jim Dine

Dine emerged to prominence in the early 1960s, when his name became synonymous with pop art both domestically and internationally. His connection with pop’s cool demeanor, on the other hand, was a shaky one. He consistently favored the emotive and handcrafted above the emotionless and mechanical images with which he had a personal connection. In 1966, the artist remarked, “Pop is preoccupied with exteriors.” “I’m worried about the insides.”

Jim Dine was born in Cincinnati, Ohio, in 1935. His mother died when he was twelve, and he moved to live with his maternal grandparents shortly after. Dine spent his childhood working in his grandfather’s hardware business, where he learned to appreciate the beauty of hand tools. It’s hardly unexpected, however, that they would subsequently become a motif for him. “They seemed right…like relatives…as if their last name was Dine,” Dine says of his choice of tools as a subject.

In 1958, he moved to New York after graduation. He then teamed up with Allan Kaprow and Claes Oldenburg to produce a theatrical performance as an art intervention. The three of them pioneered “Happenings” in cooperation with musician John Cage. It was frantic performance art that contrasted sharply with the sombre tone of the popular New York expressionists. The Smiling Worker was their debut production, which took place in 1959.

Dine graduated from Ohio University with a B.F.A. in 1957 and participated in the university’s graduate programme the following year. However, in 1958, he relocated to New York, where he got acquainted with artists whose engagement in Happenings and art settings had a significant impact. In 1960, he received his first public recognition when he showed The House at the Judson and Reuben Galleries in lower Manhattan, together with Claes Oldenburg’s The Street and four short Happenings.

Making his way into arts

In the early 1960s, Dine’s popularity surged. In the early part of that decade, he mostly worked on paintings and mixed-media assemblages, although he never ceased sketching. Dine almost entirely resorted to sketching as he updated his creative objectives throughout the 1970s. Beginning with alterations suggested in tool drawings and collages in the early 1970s, the medium had a critical part in the metamorphosis, culminating in the drastic move to life drawing in 1974. Dine’s repertoire of expression still includes sketching thirty years later.

Dine presents compelling stand-ins for himself and enigmatic metaphors for his art through a limited selection of subjects that continue to be reinvented in various guises—tools, hearts, trees, birds, among others—through a limited selection of subjects that continue to be reinvented in various guises. Since the last major exhibition of Dine’s drawings, which took place over fifteen years ago, the medium has been an integral part of his creative process, embodying the essence of his artistic success in many ways.

Jim Dine’s contributions to modern art

Jim Dine’s contribution to modern art is his most well-known accomplishment. He is a poet and a pop artist from the United States. His contributions to the creation of Conceptual Art “Happenings” and Pop Art are two of his most important works. Dine is frequently assumed to be associated with the Neo-Dada movement.

Dine eventually gave up his musical career to devote his time and efforts to painting. He began to sketch, adding Pop sensibility from pictures and commercial products into his work. However, his position on the movement’s allegiance remained unaltered. In 1962, he produced a large amount of artwork, which helped to elevate his status as an artist. His work was compared to that of Andy Warhol, Roy Lichtenstein, Robert Dowd, Phillip Heffernan, and others of his generation. Walter Hopps produced the important art show New Painting of Common Objects at the Norton Simon Museum, which included his work among these artists. That art exhibition was deemed historic since it was the first Pop Art exhibition in the United States.

During a period of socio-political turmoil in the country, those pop musicians pioneered an artistic movement that startled everyone. In reality, the modern art scene was radically transformed by the art movement. Dine began experimenting with the attaching of objects on canvass in the 1960s. Those items are recognized to be autobiographical in nature. On the canvass of His Job #1, genuine things such as paintbrushes, cans, a piece of wood, and a screwdriver are shown. It is one of the most well-known examples of Pop Art.

Dine was unimpressed with his work, despite the fact that it garnered him financial success and critical praise. According to the occurrence, Robert Fraser’s gallery in London showed his art, which was confiscated by the authorities in a search due to its obscenity, and Fraser was fined. Dine relocated to London after the event, and Fraser continued to promote his works.

In the 1970s, when he returned to America, he created a series of drawings. Later, his art was shown at The Pace Gallery. The Virginia Museum of Fine Arts also purchased six of the artworks. He was also a jury member for the VMFA’s “The Next Juried Show.” While on the road for an exhibition, Sarah. R. Lafferty created Jim Dine: Drawings 1973– 1987, a book based on his work. If you are a person who loves the paintings of Dine, you can think about spending your money to buy them.

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Sweden Wins a Eurovision Song Contest That Showed Solidarity With Ukraine

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After winning the competition last year, Ukraine should have been this year’s host, but Britain stepped in to help the war-torn nation.

The Eurovision Song Contest grand final, held in Liverpool, England, on Saturday, was meant to be Ukraine’s party.

After Ukraine won last year’s edition of the beloved, campy singing competition, the country won the right to host this year’s spectacle. But with Russia’s invasion showing no sign of ending, the event was relocated to Liverpool.

In the midst of a war, and with millions watching live, Ukraine’s entrant, Tvorchi, was among the favorites to win this year’s edition of the glamorous and, often, oddball event — a sign of the European public’s ongoing solidarity with Ukraine against Russia’s invasion.

Instead, Sweden crashed the celebration. Around midnight in the M&S Bank Arena, Eurovision’s hosts announced that the pop singer Loreen had won with “Tattoo,” a dance track that grows in intensity with each verse.

A camera crew films Loreen, in a tan body suit, lying on a plinth onstage, surrounded by smoke and lights.
Loreen performing onstage at the M&S Bank Arena, in Liverpool, on Saturday.Credit…Mary Turner for The New York Times

Loreen was the bookmakers’ favorite for the competition, thanks to both her catchy track and Eurovision pedigree, having won once before, in 2012. Her victory means that Sweden, a Eurovision-obsessed nation, will host next year’s contest.

Ukraine’s entry, the pop duo Tvorchi, finished in sixth place.

Eurovision, which started in 1956 and is now onto its 67th edition, is the world’s most-watched cultural event. Each year, entrants representing countries across Europe and beyond face off, performing original songs in the hope of securing votes from watching viewers and juries.

Britain’s public broadcaster, the BBC, which organized this year’s contest, promised it would host a party for Ukraine, and in Liverpool on Saturday, the war-torn country’s presence was inescapable. Eurovision fans walked the city carrying Ukrainian flags, and dozens of Ukrainian art installations could be seen in prominent locations around the city.

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How to pick the perfect voice over

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Picking the right voice over isn’t as simple as one may think. Despite the fact that the voice needs to suit your brand, you’re not only hiring a mere voice, but that voice may one day be the voice to represent you. 

For the layman, picking a voice over may seem as simple as looking through options available to you. This post will take you through how to approach the search from a professional perspective, to ensure you make the right decision. 


Know who you’re targeting

The first step to choosing a voice over is knowing your target audience. Identifying this early on will help you make an informed choice on what type of gender, tonality as well as the level of formality that you’d need for your brand. 

When it comes to picking between a male and female voice, you should have your target audience in mind in advance. Remember, you’re talking to your target audience, so you want to be relatable to them initially. 

Male voices tend to be hired for more authoritative campaigns, or for projects targeting a male-dominated audience. Whereas female voice overs tend to be perceived as more trustworthy, and are also hired for ad campaigns targeting women, or parents of young children. 

Are you advertising for a new men’s razor? In that case you’d want to hire a male voice over. Advertising for the new baby formula to wean toddlers off mother’s milk? You’d be better off hiring a female voice over. 

Bear in mind, the two aren’t mutually exclusive, some ad campaigns can benefit from the opposite sex targeting them, such as for a deodorant advert, and some ad campaigns targeting a broader audience, for which you’d just require a specific voice, whether male or female. 

The choice is yours, just know that the first step of the process is to identify your target audience


Formal or informal

The next step after identifying your target audience, is knowing whether you need a formal or informal voice. Though voice overs can turn a formal voice on and off, more often than not the voice over you select will naturally gravitate to one type or another. 

Formal voices will work great for corporate campaigns targeting a more serious audience, as well as for technical elearning courses and the such. Informal voices will work great for everyday consumer ad campaigns, as well as less technical elearning courses, dependent on niche of course. 

Usually when browsing voice overs you’d be able to play both examples and make your decision based on that, be sure to already have your decision in mind prior to listening through. This will help you ensure the right voice artist for you is chosen. 


Analyse their tone of voice

Tone of voice is very important in the voice over world. It’s the difference between an energetic advert, a sensual ad voice over, and a non memorable one. 

As voice overs can vary by age, this will also affect tone of voice. A younger, more youthful voice over will be more suitable for targeting a younger audience, and vice versa for the more seasoned of the voice overs

Tone of voice is not only important for conveying the tone that you wish to achieve, but also to add that extra bit of pizazz that can help convert your audience. If you carefully consider tone of voice properly when looking through your selection, you’ll be able to make a better informed decision. 


Check their past work

One last thing to consider when choosing a voice over, is to request a showreel of their past work. You never know what types of voices they’ve done in the past that may inspire your campaign. 

Sometimes you may initially have an idea of what type of voice you’d want to have for a project; For those who don’t, it’s good to get a bit of inspiration in this way. 

Choosing the perfect voice-over can be a tedious process indeed, but it doesn’t need to be. 

With a bit of careful attention and awareness of the key aspects of what to look for when searching for a voice, you can rest assured you’re making the right decision. 


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