682:
317:
during this period, when he abandoned painting and gradually developed a process of creation through destruction. Color was reincorporated when he began using fabric flowers. Hodges did not intend this as an appropriation of nature but its antithesis: fake flowers. Abstractions of nature permeate Hodges' oeuvre and are further demonstrated through his interest in camouflage as a way to represent the landscape through an abstract medium. This is evident in his 2016 mirror-and-glass work
378:, Hodges offered the message "don't be afraid" for comfort and support to the citizens of America. He wrote a letter of invitation to all the UN delegates, incorporating their handwritten versions of this phrase to create a global chorus that conveyed a message of inclusion, strength, and optimism. Hodges had received more than one hundred translations in over seventy languages; the only country which refused to participate was the United States.
34:
421:, and images of the burning oil fields of Iraq and the death camps of World War II. Hodges described this work as a fragment of a continuum which could be added or reworked endlessly. Hodges attempted to mirror the content that shaped the life of Gonzalez-Torres before he lost his battle with AIDS in 1996.
360:
printed impressions. Hodges said that by using his saliva with his materials, it revealed a "sensuous act", where his hand would draw the images and his mouth would transmit it. This expressed Hodges' empowerment, and was intended to disrupt the preconception of bodily fluids as something horrifying.
316:
Originally influenced by the woods of his hometown of
Spokane, nature plays a reoccurring role throughout his works. In the years following his graduation from Pratt Institute, Hodges struggled to develop a theme within his works that would express his role as an artist. His use of color disappeared
288:
After living in
Dannheisser's basement for approximately four years, his creativity suffered. Only dedicating three days a week to making art, he eventually became poor, unstable, and lived in his studio illegally until Dannheisser kicked him out. However, after he became sober, his career picked up
284:
who let him use a studio in the basement of her foundation on Duane Street in exchange for working as a part-time art handler. During this time he abandoned his original medium of painting and started exploring materiality; this became his first major artistic crisis because he had realized that his
359:
In 1992 Hodges incorporated himself into the material of his pieces through the use of his saliva. He drew ink doodles of spider webs, clovers, chains, lines, spirals, and a matrix of dots, then blurred them with his saliva by pressing the wet images against another paper and created different
301:
Since the late 1980s, Hodges created a broad range of work exploring themes of fragility, temporality, love, and death. His works frequently employed different materials and techniques, from ready-made objects to more traditional media, such as metal chains, artificial flowers, gold leaf, and
681:
332:
During the late 1990s, artists responded to the AIDS epidemic with forms of expression ranging from the written word to abstract artistic statements reflected in anger or elegy. This movement led to iconic artwork influenced by advocacy group
351:(1990–1991) Hodges covered the surface of a sheet of paper with theatrical make-up, where the paper resembled skin and the makeup showed delight in its application. This piece, according to Hodges, alluded to his own homosexuality.
62:
337:(ACT UP). Hodges' work emerged through the direct influence of his personal experience, and through his notions of love and acceptance towards the self and those in other circumstances.
374:, to create a mural on the museum rotunda. During this time, the U.S. government was raising concerns of public safety with a series of alerts. Responding to this and the
429:
Hodges had been the subject of numerous solo exhibitions in the United States and Europe and his work had been included in various group exhibitions, including the 2004
459:
in Los
Angeles, closing on January 17, 2015. The retrospective was accompanied by a large-format appraisal of Hodges' work, edited by Jeffrey Grove and Olga Viso.
908:
305:
Hodges challenged the acceptance of traditionally feminine materials and craft by expanding the possibilities of these materials in his own works. As seen in
612:
2000: "Capp Street
Project: Subway Music Box," Tecoah Bruce Gallery of the Oliver Art Center, California College of Arts and Crafts, Oakland, California
302:
mirrored elements. Hodges' conceptual practice, which addressed overlooked and obvious touchstones of life, reflected human experience and mortality.
244:. He is known for his mixed-media sculptures and collages that involve delicate artificial flowers, mirrors, chains as spiderwebs, and cut-up jeans.
66:
979:
1065:
313:(1997), he consistently incorporated embroidery to magnify notions of domesticity, a mother's presence, and early notions of femininity.
995:
409:(2010). The film quilted fragments from various social media outlets such as the 1980s AIDS/HIV activism of ACT UP, TV shows such as
1060:
1030:
42:
116:
1035:
88:
467:
452:
1045:
690:, 2013. Inspired by the sunsets during his time in upstate New York, Jim Hodges embroidered this textile work out of denim.
1050:
95:
513:
2017: "turning pages in the book of love / voltando pagine nel libro dell’amore", Massimo de Carlo
Gallery, Milan, Italy
375:
135:
597:
2002: "Jim Hodges: Subway Music Box," Day-Ellis
Gallery, Northwest Museum of Arts & Culture, Spokane, Washington
102:
451:. This exhibition opened at the Dallas Museum on October 6, 2013, and visited the Walker in Minneapolis, the
405:. Instead of a lecture, Hodges collaborated with Carlos Marques da Cruz and Encke King in a 60-minute film called
1055:
1040:
1070:
594:
2002: "Jim Hodges: Constellation of an
Ordinary Day," Jundt Art Museum, Gonzaga University, Spokane, Washington
648:
1995: "Jim Hodges," Bard Center for
Curatorial Studies and Hessel Museum of Art, Annandale-on-Hudson, New York
84:
1075:
434:
582:
2003: "Jim Hodges," Tang
Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York
967:
883:
567:
2005: "Jim Hodges: this line to you," Centro Galego de Arte
Contemporanea, Santiago de Compostela, Spain
390:
58:
326:
479:
996:
https://web.archive.org/web/20140702170953/http://www.icaboston.org/exhibitions/exhibit/jim-hodges/
321:, an immersive installation at Gladstone Gallery which was meant to call to mind an abstraction of
47:
771:
51:
1025:
570:
2005: "Look and See," Creative Time Commission at the Ritz Carlton Plaza Battery Park, New York
109:
1000:
858:
832:
519:
2016: "With Liberty and Justice for All," rooftop installation, The Contemporary Austin, Texas
591:
2003: "colorsound," Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts
257:
933:
1020:
448:
371:
8:
961:
537:
2014: "With Liberty and Justice For All (A Work in Progress)," Aspen Art Museum, Colorado
510:
2018: "Jim Hodges: silence stillness," Anthony Meier Fine Arts, San Francisco, California
265:
261:
253:
815:
573:
2005: "Directions - Jim Hodges," Hirshhorn Museum and Sculpture Garden, Washington D.C.
281:
745:
630:
1998: "Jim Hodges: Welcome," Kemper Museum of Contemporary Art, Kansas City, Missouri
507:
2019: "Jim Hodges," Pizzuti Collection of CMA, Columbus Museum of Art, Columbus, Ohio
483:
444:
531:
2014: "Jim Hodges: Give More Than You Take," Hammer Museum, Los Angeles, California
1005:
579:
2004: Jim Hodges: "Don’t be Afraid," Worcester Art Museum, Worcester, Massachusetts
471:
430:
241:
269:
194:
73:
552:
2009: "Jim Hodges: you will see these things," Aspen Art Museum, Aspen, Colorado
990:
814:
Spears, Dorothy. “Evidence of a Life Lived.” Vol. 10, no. 3, 2006, pp. 64–69.,
772:"'Jim Hodges: Give More than You Take,' Institute of Contemporary Art/ Boston"
1014:
973:
456:
277:
237:
666:
1989: "Historia Abscondita," Gonzaga University Gallery, Spokane, Washington
636:
1997: "Jim Hodges: no betweens and more" SITE Santa Fe, Santa Fe, New Mexico
478:(a nine-ton stainless steel abstraction of camouflage) was purchased by the
322:
522:
2016: "I dreamed a world and called it Love.," Gladstone Gallery, New York
621:
1999: "Jim Hodges: Cool Blue," Marc Foxx Gallery, Los Angeles, California
516:
2017: "Tracing the contour of our days," Baldwin Gallery, Aspen, Colorado
433:. Hodges is currently a senior critic in the Sculpture Department at the
398:
819:
669:
1986: "Master of Fine Arts Thesis Exhibition," Pratt Institute, New York
20:
833:"Choreographing Experiences in Space: Olga Viso Interviews Jim Hodges"
615:
2000: "Jim Hodges," Anthony Meier Fine Arts, San Francisco, California
534:
2014: "Jim Hodges," Anthony Meier Fine Arts, San Francisco, California
564:
2008: "Jim Hodges," Anthony Meier Fine Art, San Francisco, California
585:
2003: "Jim Hodges," Stephen Friedman Gallery, London, United Kingdom
561:
2008: "Jim Hodges," Stephen Friedman Gallery, London, United Kingdom
525:
2016: "Jim Hodges," Stephen Friedman Gallery, London, United Kingdom
389:
In 2010, Hodges was invited to speak about his friend and colleague
859:"Jim Hodges on AIDS, Social Change, and Felix Gonzalez-Torres' Art"
273:
657:
1994: "New AIDS Drug," Het Apollohuis, Eindhoven, The Netherlands
624:
1999: "every way," Museum of Contemporary Art, Chicago, Illinois
394:
174:
985:
443:
was a mid-career retrospective of Hodges' work organized by the
576:
2005: "Jim Hodges," Museum of Contemporary Art, Cleveland, Ohio
334:
810:
808:
555:
2009: "Jim Hodges: Love Etc.," Centre Georges Pompidou, Paris
540:
2012: "Jim Hodges: Drawings," Baldwin Gallery, Aspen, Colorado
72:
from the article and its talk page, especially if potentially
633:
1997: "Jim Hodges," Galerie Ghislaine Hussenot, Paris, France
504:
2019: "Unearthed," Grace Cathedral, San Francisco, California
402:
370:
In 2004 Hodges was invited by Susan Stoops, a curator at the
909:"don't be afraid Billboard by Jim Hodges - Hirshhorn Museum"
1001:
http://www.walkerart.org/magazine/2014/jim-hodges-olga-viso
805:
801:(vol. 39 ed.). Surface Design Journal. pp. 62–63.
642:
1996: "States," Fabric Workshop & Museum, Philadelphia
424:
498:
2022: "Location Proximity," Gladstone Gallery, New York
627:
1998: "Jim Hodges: Recent Work," CRG Gallery, New York
660:
1993: "Our Perfect World," Grey Art Gallery, New York
609:
2001: "Jim Hodges: 3 Drawings," CRG Gallery, New York
606:
2001: "Jim Hodges," Camargo Vilaça, São Paulo, Brazil
618:
1999: "Jim Hodges," Miami Art Museum, Miami, Florida
501:
2020: "LOVE POWER," Massimo De Carlo, Hong Kong, PRC
913:
Hirshhorn Museum and Sculpture Garden | Smithsonian
654:
1994: "A Diary Of Flowers," CRG Art, Inc., New York
546:2010: "Jim Hodges: New Work," Dieu Donné, New York
603:2002: "like this," Dieu Donné Papermill, New York
495:2022: "Impossible Flower," Baldwin Gallery, Aspen
1012:
1006:http://www.wbur.org/artery/2014/06/11/jim-hodges
639:1996: "yes," Marc Foxx, Santa Monica, California
285:concepts weren't connecting with his paintings.
651:1994: "Everything For You," Interim Art, London
588:2003: "Returning," Art Pace, San Antonio, Texas
549:2010: "Jim Hodges," Gladstone Gallery, Brussels
543:2011: "Jim Hodges," Gladstone Gallery, New York
528:2015: "Jim Hodges," Gladstone Gallery, Brussels
991:http://www.dma.org/art/exhibitions/JimHodges
600:2002: "this and this," CRG Gallery, New York
663:1991: "White Room," White Columns, New York
645:1995: "Jim Hodges," CRG Art, Inc., New York
354:
340:
280:, in 1986. That year he met art collector
247:
65:about living persons that is unsourced or
982:at Anthony Meier Fine Arts, San Francisco
856:
558:2008: "Jim Hodges," CRG Gallery, New York
474:in 2005. A recent large-scale sculpture,
136:Learn how and when to remove this message
19:For the governor of South Carolina, see
425:Exhibitions and permanent installations
1013:
796:
884:"Jim Hodges: Give More Than You Take"
857:Schmelzer, Paul (November 29, 2011).
468:Hirshhorn Museum and Sculpture Garden
376:destruction of the World Trade Center
830:
740:
738:
723:
721:
719:
717:
715:
713:
711:
709:
707:
705:
688:Untitled (one day it all comes true)
319:I dreamed a world and called it love
27:
964:at Stephen Friedman Gallery, London
769:
729:Jim Hodges: Give More Than You Take
489:
441:Jim Hodges: Give More Than You Take
325:room-encompassing paintings at the
13:
1066:20th-century American male artists
799:Jim Hodge: Give More than You Take
381:
363:
296:
236:(born October 16, 1957) is a
14:
1087:
955:
735:
702:
831:Viso, Olga (February 14, 2014).
680:
32:
926:
335:AIDS Coalition to Unleash Power
1061:American contemporary painters
1031:20th-century American painters
970:at Gladstone Gallery, New York
934:"look and see | Albright-Knox"
901:
876:
850:
824:
790:
763:
1:
1036:American installation artists
986:http://art.yale.edu/JimHodges
731:. Dallas Museum of Art. 2013.
453:Institute of Contemporary Art
435:Yale University School of Art
43:biography of a living person
7:
1046:Painters from New York City
70:must be removed immediately
10:
1092:
1051:Heritage University alumni
673:
18:
480:Albright-Knox Art Gallery
264:in 1980. He received his
208:
200:
190:
182:
157:
150:
695:
355:Saliva-transfer drawings
349:A Little Extra Something
342:A Little Extra Something
248:Early life and education
85:"Jim Hodges" artist
252:Jim Hodges was born in
1056:Pratt Institute alumni
1041:American male painters
797:Riddle, Mason (2014).
57:Please help by adding
1071:American embroiderers
486:on October 30, 2006.
466:was installed at the
391:Felix Gonzalez-Torres
258:Bachelor of Fine Arts
1076:American gay artists
976:at Gladstone Gallery
938:www.albrightknox.org
449:Dallas Museum of Art
372:Worcester Art Museum
327:Musée de l'Orangerie
289:with a piece called
63:Contentious material
750:stephenfriedman.com
455:in Boston, and the
266:Master of Fine Arts
262:Fort Wright College
254:Spokane, Washington
242:installation artist
282:Elaine Dannheisser
770:Leonard, Stacey.
484:Buffalo, New York
445:Walker Art Center
256:and received his
231:
230:
146:
145:
138:
120:
46:needs additional
1083:
949:
948:
946:
944:
930:
924:
923:
921:
919:
905:
899:
898:
896:
894:
880:
874:
873:
871:
869:
854:
848:
847:
845:
843:
828:
822:
812:
803:
802:
794:
788:
787:
785:
783:
767:
761:
760:
758:
756:
742:
733:
732:
725:
684:
490:Solo exhibitions
472:Washington, D.C.
431:Whitney Biennial
419:The Wizard of Oz
411:The Golden Girls
211:
171:
168:October 16, 1957
167:
165:
148:
147:
141:
134:
130:
127:
121:
119:
78:
59:reliable sources
36:
35:
28:
1091:
1090:
1086:
1085:
1084:
1082:
1081:
1080:
1011:
1010:
958:
953:
952:
942:
940:
932:
931:
927:
917:
915:
907:
906:
902:
892:
890:
882:
881:
877:
867:
865:
855:
851:
841:
839:
829:
825:
813:
806:
795:
791:
781:
779:
768:
764:
754:
752:
744:
743:
736:
727:
726:
703:
698:
691:
685:
676:
492:
464:Don't Be Afraid
427:
387:
368:
365:Don't Be Afraid
357:
345:
307:"With the Wind"
299:
297:Style and works
270:Pratt Institute
250:
227:
218:Don't Be Afraid
209:
195:Pratt Institute
191:Alma mater
178:
172:
169:
163:
161:
153:
142:
131:
125:
122:
79:
77:
56:
37:
33:
24:
17:
16:American artist
12:
11:
5:
1089:
1079:
1078:
1073:
1068:
1063:
1058:
1053:
1048:
1043:
1038:
1033:
1028:
1023:
1009:
1008:
1003:
998:
993:
988:
983:
977:
971:
965:
957:
956:External links
954:
951:
950:
925:
900:
875:
849:
823:
804:
789:
762:
734:
700:
699:
697:
694:
693:
692:
686:
679:
675:
672:
671:
670:
667:
664:
661:
658:
655:
652:
649:
646:
643:
640:
637:
634:
631:
628:
625:
622:
619:
616:
613:
610:
607:
604:
601:
598:
595:
592:
589:
586:
583:
580:
577:
574:
571:
568:
565:
562:
559:
556:
553:
550:
547:
544:
541:
538:
535:
532:
529:
526:
523:
520:
517:
514:
511:
508:
505:
502:
499:
496:
491:
488:
462:Hodges' piece
426:
423:
386:
380:
367:
362:
356:
353:
344:
339:
323:Claude Monet's
298:
295:
291:Flesh Suspense
249:
246:
229:
228:
226:
225:
220:
214:
212:
206:
205:
202:
201:Known for
198:
197:
192:
188:
187:
184:
180:
179:
173:
159:
155:
154:
151:
144:
143:
67:poorly sourced
40:
38:
31:
15:
9:
6:
4:
3:
2:
1088:
1077:
1074:
1072:
1069:
1067:
1064:
1062:
1059:
1057:
1054:
1052:
1049:
1047:
1044:
1042:
1039:
1037:
1034:
1032:
1029:
1027:
1026:Living people
1024:
1022:
1019:
1018:
1016:
1007:
1004:
1002:
999:
997:
994:
992:
989:
987:
984:
981:
978:
975:
972:
969:
966:
963:
960:
959:
939:
935:
929:
914:
910:
904:
889:
888:walkerart.org
885:
879:
864:
863:walkerart.org
860:
853:
838:
837:walkerart.org
834:
827:
821:
817:
811:
809:
800:
793:
777:
773:
766:
751:
747:
741:
739:
730:
724:
722:
720:
718:
716:
714:
712:
710:
708:
706:
701:
689:
683:
678:
677:
668:
665:
662:
659:
656:
653:
650:
647:
644:
641:
638:
635:
632:
629:
626:
623:
620:
617:
614:
611:
608:
605:
602:
599:
596:
593:
590:
587:
584:
581:
578:
575:
572:
569:
566:
563:
560:
557:
554:
551:
548:
545:
542:
539:
536:
533:
530:
527:
524:
521:
518:
515:
512:
509:
506:
503:
500:
497:
494:
493:
487:
485:
481:
477:
473:
469:
465:
460:
458:
457:Hammer Museum
454:
450:
446:
442:
438:
436:
432:
422:
420:
416:
412:
408:
404:
400:
396:
392:
384:
379:
377:
373:
366:
361:
352:
350:
343:
338:
336:
330:
328:
324:
320:
314:
312:
308:
303:
294:
293:(1989–1990).
292:
286:
283:
279:
275:
271:
267:
263:
259:
255:
245:
243:
239:
235:
224:
221:
219:
216:
215:
213:
207:
203:
199:
196:
193:
189:
185:
181:
176:
170:(age 66)
160:
156:
149:
140:
137:
129:
118:
115:
111:
108:
104:
101:
97:
94:
90:
87: –
86:
82:
81:Find sources:
75:
71:
68:
64:
60:
54:
53:
49:
44:
39:
30:
29:
26:
22:
941:. Retrieved
937:
928:
916:. Retrieved
912:
903:
891:. Retrieved
887:
878:
866:. Retrieved
862:
852:
840:. Retrieved
836:
826:
798:
792:
782:February 16,
780:. Retrieved
775:
765:
755:February 17,
753:. Retrieved
749:
746:"Jim Hodges"
728:
687:
476:look and see
475:
463:
461:
440:
439:
428:
418:
414:
410:
406:
388:
382:
369:
364:
358:
348:
346:
341:
331:
318:
315:
310:
306:
304:
300:
290:
287:
268:degree from
260:degree from
251:
233:
232:
223:Look and See
222:
217:
210:Notable work
177:, Washington
132:
123:
113:
106:
99:
92:
80:
69:
52:verification
45:
25:
1021:1957 births
943:February 5,
918:February 5,
893:February 5,
399:San Antonio
309:(1997) and
183:Nationality
1015:Categories
980:Jim Hodges
974:Jim Hodges
968:Jim Hodges
962:Jim Hodges
778:. SEQUITUR
234:Jim Hodges
164:1957-10-16
152:Jim Hodges
96:newspapers
21:Jim Hodges
868:April 16,
842:March 26,
329:, Paris.
204:Sculpture
126:June 2017
48:citations
820:24556715
447:and the
407:Untitled
383:Untitled
278:New York
274:Brooklyn
238:New York
186:American
74:libelous
674:Gallery
415:Dynasty
395:Artpace
240:-based
175:Spokane
110:scholar
818:
776:bu.edu
417:, and
385:(2010)
112:
105:
98:
91:
83:
816:JSTOR
696:Notes
403:Texas
311:"You"
117:JSTOR
103:books
41:This
945:2019
920:2019
895:2019
870:2017
844:2017
784:2017
757:2017
158:Born
89:news
50:for
470:in
397:in
393:at
347:In
272:in
1017::
936:.
911:.
886:.
861:.
835:.
807:^
774:.
748:.
737:^
704:^
482:,
437:.
413:,
401:,
276:,
166:)
61:.
947:.
922:.
897:.
872:.
846:.
786:.
759:.
162:(
139:)
133:(
128:)
124:(
114:·
107:·
100:·
93:·
76:.
55:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.