User:Ciramya/sandbox
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The article I have selected to edit is Jim Hodges (artist).
I plan to contribute more images, descriptions about his work and some more information into his bibliography. In order to find some information, I will research through some published books from my school's library and scholarly articles from sites such as JSTOR.org. I would also like to create separate sections within the bibliography such as Education, Exhibits, and Personal Life to organize the Wiki page for easier access.
Outline: (editing parts of the article)
[edit]Through a variety of materials, Hodges realized that he can harmonize a spectrum of experiences defined separately by text, image, color, or sound.
Hodges is conscious about how he's wearing this landscape on his body - the camouflage pattern carries misrepresentation and ownership of this pattern by the military.
During the late 1990's, Jim Hodges emerged from an art world that pressured artists to respond to the AIDS epidemic. For all artists, both straight and gay, the responses to AIDS reflected in either anger or elegy. The responses eventually led to iconic artwork influenced by activists and artists associated with an advocacy group called the AIDS Coalition to Unleash Power (ACT UP). Despite the financial setbacks and tragic period, Hodges' work emerged through direct influence of his personal experience but more importantly, through his notions of love and acceptance towards oneself and of others in different circumstances.[1]
In 2010, Hodges was invited to speak about his dear friend and fellow artist Felix Gonzalez-Torres at Artpace in San Antonio, Texas. Rather than creating a Powerpoint presentation, Hodges collaborated with Carlos Marques da Cruz and Encke King in a 60-minute film called Untitled, (2010). The film quilted fragments from various social media outlets such as the 1980s AIDS/HIV activism of ACT UP, tv shows from The Golden Girls, Dynasty, and the Wizard of Oz, images of the burning oil fields of Iraq, the death camps of World War II, and many more. Hodges described this work as a fragment of a continuum which suggests that the film will never have a complete start or finish line because the film can always be added or reworked endlessly. In a way, Hodges attempted to mirror the content that Torres focused around before losing his life to the AIDS disease in 1996.
Notes from readings
[edit]"Experience and materiality have been defining subjects of Hodge's explorations in all media since the beginning of his career" - (Jim Hodges: Give More Than You Take Book)
Hodges was born into a Catholic family and he's the second son of six children.
During the period of 1987-1991, he worked with themes such as darkness, primitive and real.
Hodges was also coming out. He started to explore his sexuality through "night time excursions to New York's dance clubs". Through these experiences, the dark spaces served as his inspiration and substance. It also helped developed his deeper interest in temporality.
Hodges was interested in the idea of deconstructing materials in the language of painting, sculpting, and drawing.
For a short while, Hodges had financial struggles in maintaining an apartment and his work. However, after recognizing that he wanted to produce work with sustainable objects, he staged a two-day exhibit in the summer of 1991 called "The Everything Must Go Show!" (footnote). The event was a success which helped him in producing works such as "Untitled (Gate)" (footnote) pg 25[2]
His spiderwebs "as shy spider webs... clinging to the corners of various group shows in Manhatten" "they represent what has been abandoned, suggesting associations with memory and neglect"
Hodges has a strong connection with nature as seen throughout his work such as .... (provide examples) pg 28[2]
Works: "A Diary of Flowers" are flower drawings made from 535 napkins.
He's well known for his "poetic sensibility" throughout his work.
Around the year 2000, Hodges started to use music as an inventive tool. "Music for me is a way of looking at the body that is not quickly analyzed for its conceptual or intellectual quality." (footnote) pg. 56 [2]
"His webs are never populated, however; they represent what has been abandoned, suggesting associations with memory and neglect" - Untitled (Gate) 1991
The spider webs symbolizes as life and death, entrapment and entanglement all throughout history
"slight transformational gestures to alter meaning" - pg 66[2]
Jim Hodges "don't be afraid" 2004-2005 inkjet on vinyl dimensions variable, Worcester Art Museum, Massachusetts
description:
- a political time where the gov't seem to say we were not safe at all
- wanted to reach out to people by speaking in tongues
-"create a global chorus of voices conveying a collective message of love"
- united states refused to participate
Inspired or referenced from these artists:
Paul Thek because of how he used a variety of forms and materials
James Lee Byars and Richard Tuttle - especially Tuttle's immediacy of his practice and conveying a sense of "now-ness"
Bruce Nouman
Ad Reinhardt pg 121-122[2]
About keeping works that are unsuccessful:
"If I keep something, then I'm committing to it, and if survival is success, then nothing that is kept is unsuccessful" - 130[2]
... (more to be added)