GENERAL DESCRIPTION
This ambitious work began as a single canvas and expanded to ten over the course of its creation. Arranged in an open circle of ten panels of increasing height, and still this provides an immersive environment. Drawing on commonly understood symbols, objects, and formats, Hodges expresses a spirit of human interconnectedness and interdependency in this work and others that are richly metaphorical. Jim Hodges applied gold leaf to create stylized arabesque patterns and to depict what might be a scene by a river, a lake, or a pond in a forest with light crashing through the trees.
Adapted from
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 116.
- 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.
NOTES
- updated provenance and geo x refs
- added text entry
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.
- acquisition justification from Changing Things (1998.44) Jim Hodges has been living and working in New York since the mid-1980s. His work, and exploration of a number of critical ideas which have been at the center of contemporary art practices and discourse for the last decade--the body, narrative and content, and the infusion of subjectivity in the reductive minimalist aesthetic, for example--is extremely fresh, original, and challenging. In the last few years, Hodges has had solo exhibitions in galleries in Paris, Santa Monica, and New York; significan group exhibitions include PRESENT TENSE: NINE ARTISTS IN THE NINETIES at the San Francisco Museum of Modern Art, Los Angeles County Museum of Art, The Guggenheim Museum, and The Saint Louis Art Museum.
minimalist and post-minimalist sculpture as well as the large-scale installations of Chris Burden and Mona Hatoum.
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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General Description
This ambitious work began as a single canvas and expanded to ten over the course of its creation. Arranged in an open circle of ten panels of increasing height, and still this provides an immersive environment. Drawing on commonly understood symbols, objects, and formats, Hodges expresses a spirit of human interconnectedness and interdependency in this work and others that are richly metaphorical. Jim Hodges applied gold leaf to create stylized arabesque patterns and to depict what might be a scene by a river, a lake, or a pond in a forest with light crashing through the trees.
Adapted from
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 116.
- 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.
Fun Facts
Archival Resources
Web Resources
Notes
- updated provenance and geo x refs
- added text entry
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.
- acquisition justification from Changing Things (1998.44) Jim Hodges has been living and working in New York since the mid-1980s. His work, and exploration of a number of critical ideas which have been at the center of contemporary art practices and discourse for the last decade--the body, narrative and content, and the infusion of subjectivity in the reductive minimalist aesthetic, for example--is extremely fresh, original, and challenging. In the last few years, Hodges has had solo exhibitions in galleries in Paris, Santa Monica, and New York; significan group exhibitions include PRESENT TENSE: NINE ARTISTS IN THE NINETIES at the San Francisco Museum of Modern Art, Los Angeles County Museum of Art, The Guggenheim Museum, and The Saint Louis Art Museum.
minimalist and post-minimalist sculpture as well as the large-scale installations of Chris Burden and Mona Hatoum.
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
2008.33.A-J
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object_notes_2_a-0145.xml.nores