Jim Hodges exhibit looks at his use of negative space
Jim Hodges’ exhibition, “Give More Than You Take,” on view at the Hammer Museum from Oct. 3 to Jan. 18 highlights themes of nature and negative space in the artist’s 25-year career. The exhibition spans an entire gallery and spills into the museum lobby. “Give More Than You Take” includes more than 75 pieces and was previously shown at the Dallas Museum of Art in Dallas, Texas, and at the Walker Art Center in Minneapolis, Minnesota. Art should be considered in the context in which it is shown; thus, traveling exhibitions can be read differently depending on where they are placed, when they are shown and who sees them.
The exhibition includes a variety of installations, photographs, paintings and art created with repurposed materials. “Give More Than You Take” uses themes of nature, light and negative space to enchant and draw the viewer into a delicately crafted ecosystem. As the name suggests, Hodges’ work leaves the viewer with a curious sense of vacancy — the gallery becomes an abyss and seems reminiscent of a post-human environment. It suggests subtle touches of environmentalism and asks viewers to appreciate the beauty inherent in nature. This marriage of manmade materials and natural elements raises questions of human impact on the landscape and the impact of humanity on nature. Hodges’ work can be seen as the reverse of land art; it pulls themes of nature inside rather than taking the art outside.
Upon entering the gallery, viewers are greeted by “Untitled (Gate).” This installation acts as a passage into the exhibition and hints at the motifs of nature and vacancy. “Untitled (Gate)” is a spider web composed of steel, aluminum, copper and brass chains and charms hung in front of an empty cobalt blue entranceway. The delicate chains draw attention to the emptiness and depth of the entranceway. Deeper into the exhibition, viewers are confronted with a similarly sized entranceway partially blocked by menacing steel teeth inside the fragrant pine shed installation.
Hodges juxtaposes manmade materials with natural motifs, creating a connection between the organic and the artificial. For example, “Latin Rose” is a large-scale rose made of transparent tape and tarpaper. This piece floats eerily in the middle of the room — highlighting the rose’s transparency. Hodges’ use of transparent materials adds to the ephemerality of his exhibition and suggests the fleetingness of nature. “Ghost (2008)” features glass butterflies and leaves posed in a vitrine with a clear, glass flower in the center. The nearly invisible center flower surprises the viewer and contrasts with the vivid butterflies also trapped in the glass jar.
Though his work is far from simple, it holds an unpretentious elegance. Hodges balances bold colors and striking materials with empty space, white walls and subtle reflections of light. This balance is suggestive of the equilibrium and tranquility found in nature. The artist installed intricately carved and altered mirrors in the corners and near the ceiling of the galleries to demonstrate the importance of light. This series of works, entitled “Moments,” casts reflections onto other works in the gallery and use natural light from skylights to highlight the organic nature of the exhibition. While it is tempting to read these mirrors as constructed “suns,” that interpretation devalues the mirrors as mere imitations of nature. “Moments” not only recalls sunlight but also reflects distorted images of the viewer and emphasizes the scale and open layout of the gallery room. These mirrors can also be viewed as site-specific; they are inherently bound with the gallery space and influence the viewer’s perception of the room.
While Hodges’ art holds an innocent appeal, the Hammer Museum places his work adjacent to the gift shop. Viewers cannot help but be bombarded with tote bags, prints, and various souvenirs as they cross through the gift shop to reach the galleries. The shop is a stark reminder of commodification. Though the Hammer Museum is free, the strategic placement of the gift shop speaks to the role money plays in art institutions. While it is tempting to disregard the role commerce plays in artistic creation, art and the economy are inextricably bound. Even if artists do not work for commission, the flow of capital influences what is sold where and who has access. No creative production is completely outside the realm of capitalism and economic influences.
In a different setting, Hodges’ work might seem overwhelming or repetitive — motifs such as leaves, flowers and butterflies infuse his pieces. Yet, the blankness of the Hammer Museum’s gallery allows viewers to experience his work without a sense of claustrophobia. “Give More Than You Take” even extends into the museum lobby. It is here that the viewer can find a small, perhaps overlooked, piece. “Untitled (Happy Valentine’s Day)” (1996) is a small framed ballpoint pen drawing. This melancholy and fragile looking rural scene is dwarfed by the colored silk installation on the adjacent wall. Unlike Hodges’ other works, “Untitled (Happy Valentine’s Day)” is more traditional in the sense that it is hand-drawn and pastoral. It does not immediately seem to fit with the large-scale, colorful installations in the upstairs gallery and contrasts sharply with its surroundings. Yet, this drawing seems to sum up the vacancy and sense of nostalgia for nature the way a postcard idealizes the location it depicts. While a postcard is not a substitute for visiting the location, it presents a simplified view of what to expect there. “Untitled (Happy Valentine’s Day)” functions the same way — it hints at the themes of “Give More Than You Take” without revealing too much and invites the viewer to experience the exhibition for himself.
The artist will host a public lecture in the Graduate Fine Arts Building on USC’s University Park campus on Jan. 14 at noon.