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Public Collections

Dina’s work is in the permanent collections of museums and other institutions including the following.

  • Unveiling of Spring & Triangle at the Woodmere Art Museum

    From the museum’s press release: A new landmark sculpture has arrived at Woodmere! Woodmere Art Museum (Chestnut Hill PA) is proud to announce the installation of Spring & Triangle (2016) by Dina Wind (1938-2014). The 30-foot enlargement of a 3’ maquette from 1986 fulfills the late artist’s aspiration to realize her sculpture on a monumental public scale. Spring & Triangle is designed to interact with the mature trees and the natural environment of Woodmere’s historic landscape, and is sited on the museum’s front lawn.

  • Zigzag Fish #1-7, 1997

    Throughout the 1980’s and ‘90s Dina explored dynamic configurations of wall-mounted sculptures, often referencing schools of fish. She installed Zigzag fish in several ways, both as a vertical column and in a more scattered manner.

  • Black Earth #1, 1993

    For her 1993 Nexus solo show, Dina explored low, wide horizontal compositions, which in addition to her signature car parts, often included elements evocative of tending the earth such as wagon wheels and even a tractor seat.

  • Jewel #4

    From Dina’s Brooch series, Jewel #4 is unique in that it also has a painted surface, and was intended for the outdoors. Working with Woodmere director William Valerio, she selected its location on the museum's exterior stone walls, where it has remained since.

  • Still Life with Pitcher #2, 2000

    “A dynamic conversation between a curious group of found objects, each of which retains its own identity within the larger drama….The mix of benign, poetical, and aggressive objects is so masterfully counterbalanced that there exists a sense of implied motion.” William R. Valerio, PhD

  • Brooch #1 and Brooch #2, 1988

    Dina’s Brooches are a whimsical reference to her son John’s actual found-object jewelry pieces of the same time. The difference, of course, is scale. Hers are brooches for buildings, though in a sense the function is similar—to adorn, to enhance, and to call attention to oneself…

  • Black Islands, 2006

    Black Islands was first shown as an installation of three islands at Nexus Gallery, Philadelphia. At the time the West Collection acquired and exhibited one of the islands. The other two were reconfigured several times. After Dina’s death they were also accessioned by the West Collection, reuniting the complete body of work.

  • Hanging Gardens of Babylon, 2003/2015

    Originally created for a show at Nexus Gallery, Philadelphia in 2003, Hanging Gardens of Babylon then spent a decade as the centerpiece of Dina’s South Philadelphia studio. In 2015 the piece was accessioned by URBN Urban Outfitters, and was installed at their Navy Yard Headquarters.

  • Thoroughbred, 1990

    Dina worked with stainless steel throughout her career, grinding surfaces to catch the light and playfully crushing, folding, and twisting the material as if it were fabric or paper. Thoroughbred began as one of her ‘drawings in space’, but upon completion the resemblance to a proud and fast horse was undeniable.

  • Lady, 1986

    Lady was accessioned to the IDC sculpture garden following Dina’s death in 2014. It has become an unintended but apt portrait of the artist, now at home in the country of her birth, on the campus of a university to which she was deeply connected.

  • Sunrays, 1986

    Dina and Jerry were involved with IDC Herzliya, Israel’s first private, international university since it’s inception in 1994 (Jerry is the cofounder). A sculpture garden features prominently throughout the campus, and includes 3 of Dina’s pieces. Sunrays was the first piece to be accessioned, in 1996.

  • Purples over Black I-IV, 2006

    In 2006, Dina created a body of paper reliefs that related closely to her room-sized metal installation, Black Islands [hyperlink]. She was exploring the three-dimensional possibilities of torn and rolled paper, looking to evoke the ‘gutsiness’ of metal in a new (and more forgiving) material. Additionally, inspired by Lee Krasner’s repurposing of older works in newer, collage-based ones, here Dina used her own works-on-paper from the early 1980’s as raw materials.