0% Sellers Fees on Howard Hodgkin Prints

Way We Live Now

Howard Hodgkin created his four-part print series The Way We Live Now in 1990, to accompany the release of Susan Sontag’s seminal book. Each is a painted etching in glorious colour, depicting figurative elements— including a telephone or an ashtray— echoing Sontag’s narrative regarding her experiences of the AIDS pandemic.

Sell Your Art
with Us

Join Our Network of Collectors. Buy, Sell and Track Demand

Submission takes less than 2 minutes & there's zero obligation to sell
The Only Dedicated Print Market IndexTracking 48,500 Auction HistoriesSpecialist Valuations at the Click of a Button Build Your PortfolioMonitor Demand & Supply in Network Sell For Free to our 25,000 Members

Meaning & Analysis

The Way We Live Now is a series created by British painter Howard Hodgkin in 1990, comprising of four painted etchings. The prints were made and published exclusively for the release of Susan Sontag’s seminal book The Way We Live Now, and visually accompany the writer’s narration. Sontag’s story, which first appeared in the New Yorker in 1986, presented an interchange between written and visual culture that aimed to reclaim visibility for the gay community suffering from the ongoing spread of the AIDS pandemic, as well as defending the community from the pejorative repercussions of the pandemic on the mediatic representation of gay sexuality and promiscuity.

Each of Hodgkin's prints within this series follows Sontag's narrative and forms a visual representation of the sick mans journey, from hospital to home. Each title evokes a different stage of the story. As You’d Been Wont focuses on the message of irrevocability within the book, of something that was once had and now is lost. But He Did Stop Smoking refers to a comment made by the sick man’s loved ones as they noticed the fast decline in his health, with AIDS still not having a name and its causes uncertain. In Touch, Checkin In embodies the solidarity from friends following the man’s diagnosis, and finally The Hospital Room Was Choked With Flowers touches upon the gestures of love for the dying man.

In true Hodgkin’s style, however, the prints produced are not simple visual narrations, as much as they are representations of emotional states. In this series, the theme of loss and death take hold of the artist’s production as he himself navigated feelings of helplessness towards the lives that were being lost at the time. Despite being colourful, the prints are haunted by touches of grey, dark shades that symbolise the heavy spirit dominating the book.

Discover live market data against your collection

The only dedicated prints portfolio management system in the world. Add your collection to track value in real time.

Track demand on our trading floor

Track live demand in works from our artist's portfolios and view access to the works you're looking for.

What to
Invest in Now

Data-driven market commentary on what's driving growth, supply & demand in the Prints and Multiples market.