She studied at the Art Students League between 1895 and 1899 with William Merritt Chase.
Dimock described her classes at the Art Students League:
In a room innocent of ventilation, the job was to draw Venus (just the head) and her colleagues.
We were not allowed to hitch bodies to the heads——yet.
The dead white plaster of Paris was a perfect inducer of eye-strain, and was called "The Antique."
One was supposed to work from "The Antique" for two years.
The advantage of "The Antique" was that all these gods and athletes were such excellent models: there never was the twitch of an iron-bound muscle.
Venus never batted her hard-boiled egg eye, and the Discus-thrower never wearied.
They were also cheap models and did not have to be paid union rates.

— Edith Dimock
She then studied with Chase at the New York School of Art.
She shared a studio in the Sherwood building, and artist's cooperative building on 57th Street in Manhattan, with May Preston and another artist.
The three women held weekly open houses and became known as the lively "Sherwood Sisters".
The women gathered with male artists from the Ashcan School, including William Glackens and James Moore Preston, at Mouquin's and Cafe Francis.
Following her marriage in 1904, Dimock continued to sign her works using her maiden name.

In 1904 her works were shown at the American Water Color Society exhibition:
Miss Dimock is not unorthodox at all.
She comes to her world very unconventionally, free from pictorial prejudice, and with a purpose which is not complicated by unsettled notions.
Her attitude to life is the precise antithesis of the attitude that prevails in this exhibition, where unattached sentiment rules and the 'picture instinct' is so much too strong for original observation.
Here is an artist with a definite aim, a keen fresh vision.

— Evening Star review
She made watercolor genre scenes "though charming, often displayed a caustic sense of humor."

She illustrated Grace Van Rensselaer Dwight's children's book of nine short stories, The yellow cat and her friends which was published in 1905 and Kate Forrest Oswell's Stories Grandmother Told, which was published in 1912.

Her works were shown in 1908 with seven other painters at the Macbeth Galleries at the Ashcan School.
Dimock exhibited at the New York Armory Show of 1913, where she showed 8 works, Sweat Shop Girls in the Country, Mother and Daughter, and six paintings, all entitled Group.

In 1928 her watercolor Contemporary portraits were shown with Beaulah Stevenson's at the Whitney Studio Club and were then part of a traveling show to the Art Students League in New York, Fogg Museum of Art, Denver Art Museum, Minneapolis Institute of Arts, the California Palace of the Legion of Honor in San Francisco, and the Arts and Crafts Club in New Orleans.
The Whitney Studio Club, led by women patrons, held a solo exhibition of Dimock's work.
She studied at the Art Students League between 1895 and 1899 with William Merritt Chase. Dimock described her classes at the Art Students League:
In a room innocent of ventilation, the job was to draw Venus (just the head) and her colleagues. We were not allowed to hitch bodies to the heads——yet. The dead white plaster of Paris was a perfect inducer of eye-strain, and was called "The Antique." One was supposed to work from "The Antique" for two years. The advantage of "The Antique" was that all these gods and athletes were such excellent models: there never was the twitch of an iron-bound muscle. Venus never batted her hard-boiled egg eye, and the Discus-thrower never wearied. They were also cheap models and did not have to be paid union rates.
— Edith Dimock
She then studied with Chase at the New York School of Art. She shared a studio in the Sherwood building, and artist's cooperative building on 57th Street in Manhattan, with May Preston and another artist. The three women held weekly open houses and became known as the lively "Sherwood Sisters". The women gathered with male artists from the Ashcan School, including William Glackens and James Moore Preston, at Mouquin's and Cafe Francis. Following her marriage in 1904, Dimock continued to sign her works using her maiden name.
In 1904 her works were shown at the American Water Color Society exhibition:
Miss Dimock is not unorthodox at all. She comes to her world very unconventionally, free from pictorial prejudice, and with a purpose which is not complicated by unsettled notions. Her attitude to life is the precise antithesis of the attitude that prevails in this exhibition, where unattached sentiment rules and the 'picture instinct' is so much too strong for original observation. Here is an artist with a definite aim, a keen fresh vision.
— Evening Star review
She made watercolor genre scenes "though charming, often displayed a caustic sense of humor."
She illustrated Grace Van Rensselaer Dwight's children's book of nine short stories, The yellow cat and her friends which was published in 1905 and Kate Forrest Oswell's Stories Grandmother Told, which was published in 1912.
Her works were shown in 1908 with seven other painters at the Macbeth Galleries at the Ashcan School. Dimock exhibited at the New York Armory Show of 1913, where she showed 8 works, Sweat Shop Girls in the Country, Mother and Daughter, and six paintings, all entitled Group.
In 1928 her watercolor Contemporary portraits were shown with Beaulah Stevenson's at the Whitney Studio Club and were then part of a traveling show to the Art Students League in New York, Fogg Museum of Art, Denver Art Museum, Minneapolis Institute of Arts, the California Palace of the Legion of Honor in San Francisco, and the Arts and Crafts Club in New Orleans. The Whitney Studio Club, led by women patrons, held a solo exhibition of Dimock's work.
Edith Dimock