![Jim Dine, “Night Fields, Day Fields,” 1999, 78" x 53" x 36” (courtesy of Vancouver Biennale) Jim Dine, “Night Fields, Day Fields,” 1999, 78" x 53" x 36” (courtesy of Vancouver Biennale)](https://www.gallerieswest.ca/downloads/31604/download/Jim%20Dine%2C%20%E2%80%9CNight%20Fields%2C%20Day%20Fields%2C%E2%80%9D%201999%2C%2078%E2%80%9D%20x%2053%2522%20x%2036%E2%80%9D%20%28courtesy%20of%20Vancouver%20Biennale%29.jpg?cb=76538d19a752f6236a1113586e9a664a&w={width}&h={height})
Jim Dine, “Night Fields, Day Fields,” 1999, 78" x 53" x 36” (courtesy of Vancouver Biennale)
A new public art installation by Jim Dine is on view now in Vancouver.
The temporary installation, Night Fields, Day Fields, has been installed at 745 Thurlow Street and is a street art interpretation of the Venus de Milo “and a challenge to its historic ideals of feminine beauty, gender identity, and the hallowed traditional museum,” according to a news release.
Waterborne enamel on bronze, the installation is number four from an edition of six and was created in 1999.
Born in Ohio, Dine is an American artist whose work has been associated with Neo-Dada, Abstract Expressionism and Pop Art. Renowned for his depictions of Pinocchio, Dine has had more than 300 solo exhibitions, including retrospectives at the Whitney Museum of American Art, the Museum of Modern Art and the Walker Art Center. His work is in myriad permanent collections including the Art Institute of Chicago; the Metropolitan Museum of Art; the Musée National d'Art Moderne, Centre Pompidou in Paris; and the Tate Gallery in London, England.
“I’m not sure Jim Dine would have anticipated his sculpture on a busy street corner in the heart of downtown Vancouver, but it’s the perfect public space for his Pop Art reinterpretation of the classic Venus de Milo,” says Barrie Mowatt, Vancouver Biennale's founder and artistic director. “Are the twin figures lovers, is this a backlash to the historic standards of feminine beauty, is it about gender identity, or the faceless anonymity of contemporary urban existence?”
The installation is a partnership between the Vancouver Biennale, Downtown Van and QuadReal, a real estate firm.
Source: Vancouver Biennale