Jim Hodges’s sculpture “Craig’s closet” sits in the heart of Greenwich Village, a neighborhood whose gay male residents were disproportionately affected by HIV/AIDS.
Agha Shahid Ali and Timothy Liu’s poems feature artwork by Jim Hodges and Nancy Spero.
The expansive installation, created by artist Jim Hodges, was made of more than 5,000 separately cut pieces of colored glass.
MIAMI BEACH — In an apparent attempt to show more shiny baubles than all of the art fairs combined, the Bass Museum of Art last week opened One Way: Peter Marino, a perversely perfect complement to its other major exhibition, GOLD.
LOS ANGELES — It’s a rare opportunity to be present at the birth of an exhibition as well as the death of one. It affords the prospect of seeing how the same group of artworks can shift greatly in meaning, beauty, and cohesion based on the varying location and curation of an exhibition.
DALLAS — It’s rare that I walk into an art museum or gallery exhibition and am unequivocally blown away, but occasionally you can catch lightning in a bottle. That was the case with the Jim Hodges exhibition Give More Than You Take, currently on view at the Dallas Museum of Art (DMA).
Sometimes an exhibition reminds you of why exhibitions exist, those surprising moments when usually dull curatorial exercises become transcendent experiences, reinvigorating overlooked corners of art history. I Am Still Alive at the Museum of Modern Art is one of those exhibitions, defiant and vivacious as anything I’ve seen in New York in the past few years. The show focuses entirely on drawing, demonstrating contemporary drawing’s engagement with the politics of living and everyday life. This is art as struggle and art as achievement, nowhere more reaffirmed than in On Kawara’s telegrams sent to the artist’s dealers and friends simply stating: “I am still alive.” To make art and to fight through problems and conflicts, social or personal, through the medium of art is to be alive.