The Summer 1992

Jim Dine made this painting, "The Summer," with bold strokes and a vibrant palette of reds, blues, yellows, and blacks. Just imagine him in the studio, attacking the canvas, layering these marks with an urgency and intensity that feels both chaotic and deeply considered. I like to think of the physicality of painting: the push and pull, the weight of the brush in your hand. Look at how the colors clash and harmonize, creating a push-pull of hot and cold. In some areas, the paint is thick, almost sculptural, while in others, it's been thinned down, allowing the white of the canvas to peek through. These sharp lines might echo Diebenkorn's or even Guston's mark-making. There's a conversation happening between artists, across time. Each stroke is a gesture, a decision, an expression of the artist's inner world. Painting is an ongoing, ever-evolving dialogue, a space where ambiguity and uncertainty reign, and where new meanings can emerge with each viewing.