Artist
Jim Hodges American, born 1957
Print studio
Highpoint Center for PrintmakingMinneapolis, established 2001
Publisher
Highpoint EditionsMinneapolis
Publisher
Walker Art CenterMinneapolis
CultureAmerican
Titles
- ‘ɹǝɯɯnS ɟo’
Date2016
Printed inMinneapolis, Minnesota, United States
Published inMinneapolis, Minnesota, United States
MediumIntaglio (sugar lift, spit bite and drypoint with scraping and burnishing), screenprint in light blue ink, woodcut in dark blue ink and collage of inkjet prints, printed chine collé on Gampi paper, on wove paper, printer's proof 4/4, besides an edition of 28
DimensionsPlate: 34 × 24 in. (86.4 × 61 cm)
Sheet: 41 × 30 1/2 in. (104.1 × 77.5 cm)
Sheet: 41 × 30 1/2 in. (104.1 × 77.5 cm)
Credit LineMuseum purchase funded by the Alvin S. Romansky Prints and Drawings Accessions Endowment Fund and Linda and David Dillahunty
Object number2017.269
Not on view
Explore Further
Department
Prints and DrawingsObject Type
Exhibition History"Fear and Wonder: Sublime Landscapes on Paper – Selections from the Museum’s Collection," Museum of Fine Arts, Houston, February 12–August 4, 2019.
"To the Skylark," The Museum of Fine Arts Houston, Oct. 28, 2020 – July 27, 2021. [Inaugural Installation: Kinder Building 207: No Catalog]
Inscriptions, Signatures and Marks
Recto: Inscribed in graphite, below plate, left: PP 4/4
Recto: Inscribed in graphite, below plate, center: ɹǝɯɯnS ɟo
Recto: Signed and dated in graphite, below plate, right: Jim Hodges 2016
Verso: [inaccessible]
Recto: Inscribed in graphite, below plate, center: ɹǝɯɯnS ɟo
Recto: Signed and dated in graphite, below plate, right: Jim Hodges 2016
Verso: [inaccessible]
Recto: Signed and dated in graphite, below plate, right: Jim Hodges 2016
Verso: [inaccessible]
Verso: [inaccessible]
Recto: Chopmark, below plate, left: [Highpoint Center for Printmaking]
Verso: [inaccessible]
Verso: [inaccessible]
Cataloguing data may change with further research.
If you have questions about this work of art or the MFAH Online Collection please contact us.
Jim Hodges
2015
Etching, aquatint, sugar lift, spit bite and drypoint in colors with scraping and burnishing on wove paper and brown Gampi paper; screenprint in white ink on white Gampi paper, and hand-cut Beva film, printer’s proof 1/4
2021.502
John Clement
2007
Engraving with angle grinder on gampi and wove paper, printed chine collé, 1/3 artist’s proof, besides an edition of 25
2018.634
Nicole Eisenman
2012–2017
Etching, drypoint, aquatint (spit bite, white ground, sugarlift, and flat etch), with scraping and polishing, printed chine collé on gampi and wove paper, edition 5/15
2019.11
Kerry James Marshall
2010
Aquatint, spit bite aquatint, and sugar-lift aquatint in colors with softground and hardground etching, scraping and burnishing, drypoint, collage and handcoloring on wove paper, artist’s proof 10/10
2017.284
Kiki Smith
2006
Spit bite in colors, aquatint with flat bite, hard ground and soft ground etching, and drypoint, printed chine collé on Gampi paper, on wove paper, edition 8/20
2017.136
Susan Rothenberg
1988
Mezzotint with aquatint, scraping, burnishing, and roulette with chine-collé on gampi on laid paper, edition 13/44
2014.160
Suzanne Manns
1992
Sugar lift aquatint with open-bite, scraping, and burnishing, solvent transfer, and pastel, on wove paper printed relief in yellow
93.162
Carroll Dunham
2006
Lithograph on wove paper, printer’s proof, 4/4, aside from the edition of 5
2021.400.5
Carroll Dunham
2006
Lithograph on wove paper, printer’s proof, 4/4, aside from the edition of 5
2021.400.6
Carroll Dunham
2006
Lithograph on wove paper, printer’s proof, 4/4, aside from the edition of 5
2021.400.12
Carroll Dunham
2006
Lithograph on wove paper, printer’s proof, 4/4, aside from the edition of 5
2021.400.11
Carroll Dunham
2006
Lithograph on wove paper, printer’s proof, 4/4, aside from the edition of 5
2021.400.14