ARTIST MONOGRAPHS

PUBLISHER
Dallas Museum of Art/Walker Art Center

BOOK FORMAT
Hardcover, 8.5 x 10.5 in. / 256 pgs / illustrated throughout.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2013 p. 46   

PRODUCT DETAILS
ISBN 9781935963028 TRADE
List Price: $65.00 CDN $75.00

AVAILABILITY
In stock

EXHIBITION SCHEDULE

Dallas, TX
Dallas Museum of Art, 10/06/13-01/12/14

Minneapolis, MN
Walker Art Center, 02/15/14-05/11/14

Boston, MA
Institute of Contemporary Art, 06/06/14-09/01/14

Los Angeles, CA
Hammer Museum, 10/05/14-01/17/15

Hodge’s labor-intensive art records time in incremental fragments.

  

DALLAS MUSEUM OF ART/WALKER ART CENTER

Jim Hodges: Give More Than You Take

Text by Jeffrey Grove, Olga Viso, Bill Arning, Susan Griffin, Helen Molesworth.

Featured image, "Movements (Stage IV)" (2009), is reproduced from <I>Jim Hodges: Give More Than You Take</I>.Since the late 1980s, Jim Hodges’ poetic reconsiderations of the material world have inspired a body of multimedia work in which the manmade and artificial are invested with emotion and authenticity. Co-published by the Dallas Museum of Art and the Walker Art Center, this volume accompanies the first comprehensive, scholarly exhibition to be organized in the United States of this critically acclaimed American artist. Examining over 25 years of his artistic career, this uniquely designed catalogue weaves together the voices of many to situate the artist’s work within issues of identity, social activism, illness, beauty, generosity and death. Contributions include an in-depth overview of Hodges’ career by Jeffrey Grove, Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art; an essay and interview with the artist by Olga Viso, Executive Director of the Walker Art Center; a reflection on Hodges’ early artistic development by Bill Arning, Director of the Contemporary Arts Museum, Houston; an essay on sentimentality and the artist’s recent video work by Helen Molesworth, Barbara Lee Chief Curator at the Institute of Contemporary Art, Boston; as well as ruminations on recurring motifs in the artist’s work by author Susan Griffin.
Born in 1957 in Spokane, Washington, New York-based artist Jim Hodges has been featured in numerous solo and group exhibitions in the U.S. and in Europe, including the 2004 Whitney Biennial and a solo exhibition at the Centre Georges Pompidou, Paris. Hodges’ work is included in the collections of notable institutions, among them the Dallas Museum of Art; the Walker Art Center, Minneapolis, MN; The Art Institute of Chicago; the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; the Philadelphia Museum of Art; the San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York.

Born in 1957 in Spokane, Washington, New York-based artist Jim Hodges has been featured in numerous solo and group exhibitions in the U.S. and in Europe, including the 2004 Whitney Biennial and a solo exhibition at the Centre Georges Pompidou, Paris. Hodges’ work is included in the collections of notable institutions, among them the Dallas Museum of Art; the Walker Art Center, Minneapolis, MN; The Art Institute of Chicago; the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; the Philadelphia Museum of Art; the San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York.

Featured image, "Movements (Stage IV)" (2009), is reproduced from Jim Hodges: Give More Than You Take.

Jim Hodges: Give More Than You Take

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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 11/1/2013

Jim Hodges: Give More Than You Take

Jim Hodges: Give More Than You Take

Jim Hodges' superb 25-year career retrospective, Give More Than You Take, opened last month at the Dallas Museum of Art. It remains on view there until January 12, when it will travel to the Walker Art Center in Minneapolis, the Institute of Contemporary Art in Boston and the UCLA Hammer Museum in Los Angeles. "Made up of more than 80 works, in an array of materials including a bell jar filled with handworked glass butterflies and plants and a wall-size curtain composed of stitched-together head scarves, his first comprehensive museum survey in the United States reveals his continued awareness of the fragility of life," according to Dorothy Spears of The New York Times, who cites Hodges fearlessness and sensitivity, as both a gay man coming out in the 1980s, and as an artist. "'On the bus of art history,' he said in a recent interview, 'I wanted to sit between Richard Tuttle and Yoko Ono.' He added that 'part of the process of identity, and becoming who we are, is in choosing those lineages.' Images below are reproduced from the absolutely stunning exhibition catalogue co-published by the Dallas Museum of Art and the Walker Art Center, forthcoming in late November.
continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 12/3/2013

Best of 2013: Jim Hodges: Give More Than You Take

Best of 2013: Jim Hodges: Give More Than You Take

Featured image—of Jim Hodges' poetic 2011 installation, "Untitled," at Gladstone Gallery, New York—is reproduced from Give More Than You Take, the catalog to Hodges' current traveling retrospective, published by the Dallas Museum of Art and the Walker Art Center. One of our top Holiday Gift Books of 2013, it is also a featured title at our booth at Art Basel Miami. Essayist Bill Arning describes the piece: "Hanging from the ceiling, a disco ball slowly spun, reflecting dots of stellar light that circled the room. It caused something akin to the delirium of that dance-party effect whereby one loses the sense of who or what is spinning—you, fellow dancers, or the room—but in the most languid manner. Though disco balls are most often associated with good times and festive occasions, here the pace of the spinning was lugubriously slow, almost glacial, and the silence moved viewers’ thoughts toward the infinite, as "Gate" had done so many years before… Over the course of an hour, the mirrored ball descended into a pond of black water chiseled out roughly in the floor. As the globe sank below the surface— slowly, like a moon sinking below the horizon—the lights on the wall, one by one, fluttered and disappeared… For me, each light soon came to represent one of my college-era crew: Larry, Stevie, Rob, James, Klaus. All long dead, most of them never made it out of their twenties. I have in my photo box an image in which the faces of six young men, cocktails in hand, smile out with the manic grins of uncontainable excitement of starting our adult lives, discovering sex, love, art, and careers. And, as a gay man in my fifties, I am far from unusual in knowing that I am the only one of those six men left alive. Then the last light vanished … the quiet descended, the ball was submerged. Again, as from the very beginning with Hodges, the work offered a simple idea, a beautiful realization, and an open invitation for viewers to interpret it through the lens of their own life experiences, as I just did. I looked around the room where many other folks sat on the floor and realized that my list of names was just one possible list to be recited that day, and that in addition to losses tied to AIDS, other losses—to cancer, accidents, drugs—were also present in the room. Just as the blanket of melancholia threatened to fall upon us, the ball began to spin again, emerging from the water.…" continue to blog


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