{ "objects" : [ { "embark_ID" : 940, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/940", "Disp_Access_No" : "1975.333.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Rainbow Faucet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jim Dine", "Sort_Artist" : "Dine, Jim", "Disp_Dimen" : "4 3/4 x 5 in. (12.1 x 12.7 cm)", "Disp_Height" : "4 3/4 in.", "Disp_Width" : "5 in.", "Dimen_Extent" : "", "Medium" : "Aluminum", "Support" : "", "Disp_Medium" : "Cast aluminum and paint", "Info_Page_Comm" : ""Seven Objects in a Box" "Seven Objects in a Box" was the first edition of Pop multiples - that is an editioned group of objects instead of prints. Rosa Esman, a young art collector on a budget, who attended all of the Pop shows and witnessed the popularity of the Warhol and Lichtenstein shopping bags, believed that Pop objects might be met with the same enthusiasm. She had already published the Pop print portfolio, "New York Ten," in 1964. Since artists had begun using or creating objects themselves - Warhol was making Brillo boxes and signing real Campbell soup cans, and Jasper Johns made sculptures of beer cans - Esman envisioned that the next step would be to have artists make a group of objects for a portfolio. The availability of new technology made it possible to create the artist's visions. For example, Tom Wesselmann's "Little Nude" could not have been created before World War II because the technology of vacuum-formed molding was not available. The artists also needed the ability to mass-produce the objects they designed. Luckily, New York was the perfect place to find offbeat cottage industries capable of producing 100 sand cast faucets and baked enamel sunrises. The result of Esman's effort is a combination of objects quite typical of each artist's personal work. Warhol used a still from a movie he made in 1963 called "The Kiss." The film froze on a close-up of a black man and a white woman kissing, a subject considered quite provocative at the time. Wesselmann's "Little Nude" is lifted right from his "Great American Nude" series, which he began in 1961, featuring highly simplified, stylized, abruptly cropped female bodies, usually focusing on the lips, nipples and genitalia. D'Arcangelo's "Side-View Mirror" takes his signature highway motif one step further by placing it in actual side-view mirror hardware. In the end, what is left is a series of small-scale mementos of each artist's larger works: mass-produced objects available to the public at a reasonable price so that "consumers" could also be "collectors." [Gallery label text]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.333.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.333.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.333.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.333.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31841", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1570, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1570", "Disp_Access_No" : "1975.329.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jim Dine", "Sort_Artist" : "Dine, Jim", "Disp_Dimen" : "22 1/8 x 16 15/16 in. (56.2 x 43 cm)", "Disp_Height" : "22 1/8 in.", "Disp_Width" : "16 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "From the portfolio "New York Ten" This work claims to be a self-portrait, although we don't actually see what we typically expect in a portrait - a face. One of the trademarks of Pop Art is the absence of the artist's hand - many of them wanted their work to look machine-made or mass-produced. Pop Art, as well as many other art movements throughout the ages, often prompted the question "What is art?" This work also invites the question "What is a portrait?" [Gallery label text] The self-portrait has been redefined by a number of artists in contemporary times. In Dine’s case, the substitution of a bathrobe for the artist’s face is a witty twist on an old theme, simultaneously conveying anonymity and “cozy familiarity,” in the words of one writer. Like Warhol’s Campbell’s soup can, Dine’s bathrobe has become a signature image of Pop art of the Sixties. In addition to his unconventional approach to self-portraiture, Dine’s printing technique “breaks the rules” as well. Rather than being centered on the paper, the image is asymmetrically placed, which creates a cropped effect. [Label text, 1997]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.329.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.329.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.329.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.329.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12741", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }