inting and created a series of fascinating three-dimensional works. Another influential assemblage artist of the 1960s was the American Jim Dine. Like Rauschenberg, Dine was interested in merging the ideas of painting and sculpture into a single entity. Thus, "from 1959 until the mid-70s, Dine appended tools, household items and found objects onto his paintings and drawings" (Shapiro 5). In this way, Jim Dine became a forerunner for the use of assemblage in the modern sculpture of the 1980s. Interestingly, Dine himself began turning his attention toward bronze sculpture in the 1980s, as opposed to the assemblage type of sculpture that he had developed in his earlier career.
During the 1980s, the influence of assemblage art was particularly strong among young sculptors in Great Britain. These artists were especially interested in creating works of sculpture utilizing found objects. Because of this, by the mid-1980s, "a group of younger English sculptors was sifting through urban detritus, cleaning up their finds, putting them in sculpture, a
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