User:Ciramya/sandbox: Difference between revisions
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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. |
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. |
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=== '''Outline: (editing parts of the article)''' === |
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Outline: |
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Since the late 1980s, Hodges has created a broad range of work exploring themes of fragility, temporality, love and death utilizing an original and poetic vocabulary.<ref name=":1">{{cite web|url=http://www.stephenfriedman.com/artists/jim-hodges/|title=Jim Hodges|website=stephenfriedman.com|accessdate=February 17, 2017}}</ref> His works frequently deploy different materials and techniques, from ready-made objects to more traditional media, such as metal chains, artificial flowers, gold leaf and mirrored elements. Charting both the overlooked and obvious touchstones of life with equal attention and poignancy, Hodges’ conceptual practice reflects on the presence of the human experience and the idea of life and death.<ref name=":1" /> |
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| ⚫ | Hodges had also challenged the limits of feminine materials and craft by expanding the possibilities of these materials through his own poetic sensibilities. <ref>{{cite web|url=http://www.bu.edu/sequitur/2014/12/01/leonard_hodges/#more-339|title='Jim Hodges: Give More than You Take,' Institute of Contemporary Art/ Boston|website=bu.edu|publisher=SEQUITUR|last1=Leonard|first1=Stacey|accessdate=February 16, 2017}}</ref> As seen in works such as ''"With the Wind"'' (1997) and ''"You"'' (1997), he consistently incorporated embroidery to magnify notions of domesticity, a mother's presence, and early notions of femininity.<ref>{{cite book|title=Jim Hodge: Give More than You Take|date=2014|publisher=Surface Design Journal|edition=vol. 39|pages=62–63|last1=Riddle|first1=Mason|accessdate=February 16, 2017}}</ref> |
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Originally influenced by the woods he grew up with in Spokane, Washington, nature plays an reoccurring role throughout his works. Throughout the years of 1987-1991, he had struggled to develop a theme within his works that expresses his role as an artist. His use of color had also disappeared during this period. Afterwards, he had gradually developed a process of creation through destruction.<ref name=":02">{{Cite book|title=Jim Hodges: Give More Than You Take|publisher=Dallas Museum of Art|year=2013|isbn=|location=|pages=}}</ref> |
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| ⚫ | Hodges challenged the limits of feminine materials and craft by expanding the possibilities of these materials through his own poetic sensibilities. <ref>{{cite web|url=http://www.bu.edu/sequitur/2014/12/01/leonard_hodges/#more-339|title='Jim Hodges: Give More than You Take,' Institute of Contemporary Art/ Boston|website=bu.edu|publisher=SEQUITUR|last1=Leonard|first1=Stacey|accessdate=February 16, 2017}}</ref> As seen in works such as ''"With the Wind"'' (1997) and ''"You"'' (1997), he consistently incorporated embroidery to magnify notions of domesticity, a mother's presence, and early notions of femininity.<ref>{{cite book|title=Jim Hodge: Give More than You Take|date=2014|publisher=Surface Design Journal|edition=vol. 39|pages=62–63|last1=Riddle|first1=Mason|accessdate=February 16, 2017}}</ref> |
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"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) |
"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) |
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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" |
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" |
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Hodges has a strong connection with nature as seen throughout his work such as .... (provide examples) pg 28<ref name=":0" /> |
Hodges has a strong connection with nature as seen throughout his work such as .... (provide examples) pg 28<ref name=":0" /> |
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Works: "A Diary of Flowers" are flower drawings made from 535 napkins. |
Works: "A Diary of Flowers" are flower drawings made from 535 napkins. |
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The spider webs symbolizes as life and death, entrapment and entanglement all throughout history |
The spider webs symbolizes as life and death, entrapment and entanglement all throughout history |
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"slight transformational gestures to alter meaning" - pg 66<ref name=":0" /> |
"slight transformational gestures to alter meaning" - pg 66<ref name=":0" /> |
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Revision as of 18:26, 18 March 2017
 | This is a user sandbox of Ciramya. You can use it for testing or practicing edits. This is not the sandbox where you should draft your assigned article for a dashboard.wikiedu.org course. To find the right sandbox for your assignment, visit your Dashboard course page and follow the Sandbox Draft link for your assigned article in the My Articles section. |
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)
Since the late 1980s, Hodges has created a broad range of work exploring themes of fragility, temporality, love and death utilizing an original and poetic vocabulary.[1] His works frequently deploy different materials and techniques, from ready-made objects to more traditional media, such as metal chains, artificial flowers, gold leaf and mirrored elements. Charting both the overlooked and obvious touchstones of life with equal attention and poignancy, Hodges’ conceptual practice reflects on the presence of the human experience and the idea of life and death.[1]
Hodges had also challenged the limits of feminine materials and craft by expanding the possibilities of these materials through his own poetic sensibilities. [2] As seen in works such as "With the Wind" (1997) and "You" (1997), he consistently incorporated embroidery to magnify notions of domesticity, a mother's presence, and early notions of femininity.[3]
Originally influenced by the woods he grew up with in Spokane, Washington, nature plays an reoccurring role throughout his works. Throughout the years of 1987-1991, he had struggled to develop a theme within his works that expresses his role as an artist. His use of color had also disappeared during this period. Afterwards, he had gradually developed a process of creation through destruction.[4]
It wasn't until he began using fabric flowers when color was reintroduced. pg. 35[5] Through this material, Hodges didn't intend to appropriate nature, but he had intended to use the antithesis of nature: fake flowers.
Through a variety of materials, Hodges realized how he can harmonize a spectrum of experiences defined separated 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.
Notes from readings
"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[5]
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[5]
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 [5]
"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[5]
... (more to be added)
Notes
- ^ a b "Jim Hodges". stephenfriedman.com. Retrieved February 17, 2017.
- ^ Leonard, Stacey. "'Jim Hodges: Give More than You Take,' Institute of Contemporary Art/ Boston". bu.edu. SEQUITUR. Retrieved February 16, 2017.
- ^ Riddle, Mason (2014). Jim Hodge: Give More than You Take (vol. 39 ed.). Surface Design Journal. pp. 62–63.
{{cite book}}:|access-date=requires|url=(help) - ^ Jim Hodges: Give More Than You Take. Dallas Museum of Art. 2013.
- ^ a b c d e Jim Hodges: Give More Than You Take. Dallas Museum of Art. 2013.