GENERAL DESCRIPTION
Jim Hodges's art references ideas of traditional beauty and intense emotion. Drawing on commonly understood symbols, objects, and formats, Hodges expresses a spirit of human interconnectedness and interdependency in works that are richly metaphorical. In Changing Things, Hodges placed 342 individual components of disassembled artificial silk flowers in a rhythmic pattern across a wall. Flowers, a token of romance and death, are a recurring motif for Hodges. Here they function as a poignant memento mori, underscoring the transitory nature of life and love. Hodges evokes the fragility and precariousness of life while celebrating its mysteries and beauty.
Adapted from
- Bonnie Pitman, ed., "Changing Things (1998.44); "and still this" (2008.33.a-j)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 348-49.
- Charles Wylie, Celebrating Sculpture: Modern and Contemporary Works from Dallas Collections, 2003.
- DMA unpublished material, 1998.
NOTES
- updated geo x refs and provenance
Jim Hodges belongs to a generation of younger artists who have dared to reference ideas of traditional beauty and intense emotion. Drawing on commonly understood symbols, objects, and formats, Hodges expresses a spirit of human interconnectedness and interdependency in works that are richly metaphorical. In Changing Things, Hodges placed 342 individual components of disassembled artificial silk flowers in a rhythmic pattern across a wall. Flowers, a token of romance and death, are a recurring motif for Hodges. Here they function as a poignant memento mori, underscoring the transitory nature of life and love. For the visually arresting and still this, Hodges gilded the surfaces of ten canvases with gold leaf in nature-inspired patterns suggesting trees, water, and clouds. HInged together, the canvases form a freestanding semicircle that envelops the viewer in an environment of dazzling richness.
Bonnie Pitman, ed., "Changing Things (1998.44); "and still this" (2008.33.a-j)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 348-49.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1998: CRG Gallery, New York, NY
From 1998: Dallas Museum of Art, purchased from above
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VIDEO ASSETS
IMAGE ASSETS
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ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
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Apply to objects where number equals 1998.44
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General Description
Jim Hodges's art references ideas of traditional beauty and intense emotion. Drawing on commonly understood symbols, objects, and formats, Hodges expresses a spirit of human interconnectedness and interdependency in works that are richly metaphorical. In Changing Things, Hodges placed 342 individual components of disassembled artificial silk flowers in a rhythmic pattern across a wall. Flowers, a token of romance and death, are a recurring motif for Hodges. Here they function as a poignant memento mori, underscoring the transitory nature of life and love. Hodges evokes the fragility and precariousness of life while celebrating its mysteries and beauty.
Adapted from
- Bonnie Pitman, ed., "Changing Things (1998.44); "and still this" (2008.33.a-j)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 348-49.
- Charles Wylie, Celebrating Sculpture: Modern and Contemporary Works from Dallas Collections, 2003.
- DMA unpublished material, 1998.
Fun Facts
Archival Resources
Web Resources
Notes
- updated geo x refs and provenance
Jim Hodges belongs to a generation of younger artists who have dared to reference ideas of traditional beauty and intense emotion. Drawing on commonly understood symbols, objects, and formats, Hodges expresses a spirit of human interconnectedness and interdependency in works that are richly metaphorical. In Changing Things, Hodges placed 342 individual components of disassembled artificial silk flowers in a rhythmic pattern across a wall. Flowers, a token of romance and death, are a recurring motif for Hodges. Here they function as a poignant memento mori, underscoring the transitory nature of life and love. For the visually arresting and still this, Hodges gilded the surfaces of ten canvases with gold leaf in nature-inspired patterns suggesting trees, water, and clouds. HInged together, the canvases form a freestanding semicircle that envelops the viewer in an environment of dazzling richness.
Bonnie Pitman, ed., "Changing Things (1998.44); "and still this" (2008.33.a-j)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 348-49.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1998: CRG Gallery, New York, NY
From 1998: Dallas Museum of Art, purchased from above
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1998.44
source file
object_notes_1_a-0226.xml.nores