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Ann Hamilton (artist)

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Ann Hamilton
Born (1956-06-22) June 22, 1956 (age 68)
Lima, Ohio, United States
NationalityAmerican
EducationUniversity of Kansas, Lawrence, KS – BFA in Textile Design; Yale University, New Haven, CT – MFA in Sculpture
Known forInstallation, textiles, sculpture, video, performance, photography, printmaking
MovementInstallation art

Ann Hamilton (born 1956) is a visual artist who emerged in the early 1980s known for her large-scale multimedia installations. After receiving her BFA in textile design from the University of Kansas in 1979, she lived in Banff, Alberta, and Montreal, Quebec, Canada before deciding to pursue an MFA in sculpture at Yale in 1983.[1] From 1985 to 1991, she taught on the faculty of the University of California at Santa Barbara. Since 2001, Hamilton has served on the faculty of the Department of Art at the Ohio State University. She was appointed a Distinguished University Professor in 2011.[2]

Personal life

Ann Hamilton was born on June 22, 1956, in Lima, Ohio. She grew up in a tight-knit family and was close to her grandmother. She has memories of sitting on the couch with her, reading, knitting, and doing needlepoint together.[3] She attended St. Lawrence University from 1974–1976; University of Kansas, BFA in Textile Design, 1979; Yale School of Art, MFA in Sculpture, 1985.[4] Currently she resides in Columbus, Ohio, with her husband Michael Mercil, also an artist.[5]

Themes and inspiration

Hamilton in 2019

Though Hamilton studied textile design throughout her undergraduate career, she pointedly decided to focus on sculpture instead of weaving as a concentration in graduate school. She claims that, when making that decision, she was “interested in the relationships between things in space. And more important than the things themselves is the way they come into relation.”[6] While in Canada, and while teaching at UC Santa Barbara, Hamilton began connecting her experience with textiles to photography and performance, creating an interdisciplinary artistic dialogue that is evident in her work, which often "weaves" different elements together into one image or includes textiles like pressed shirts or work uniforms.[7]

In addition to her educational background, her personal identity and interests directly inform her artistic creation. She identifies herself as a reader: of space, of objects,[6] of literary criticism, of poetry, and even of dictionaries; thus, the act of reading, words, and books often make their way into her installations, videos, and created objects.[1] Her work also explores themes of humanity, from gender and the body to suffering and power.[8] As a Conceptual artist working with video, sound, and interactive installation, the elements of time, change, and decay also play roles in her work.[9] Hamilton's installations are meant to be experienced with all the senses, often incorporating elements like sound and smell that urge the viewer to connect with and engage the work on a multi-sensory level. Her works also often respond to the spaces and cities in which they are created, using objects that reflect the history and identity of the culture.[7]

Select works

1984–1990

suitably positioned

One of Hamilton's first installations, suitably positioned, 1984, set the tone for her later works, encompassing many of her artistic methods: installation, object-making, photography, and performance.[6] For this piece, she constructed a suit made of a men's thrift-store suit and toothpicks.[10] She then stood, wearing the suit, for the duration of the installation within the studio with viewers walking around the artist without interacting with her. The suit was originally made as a part of a work titled room in search of a position, which, after exhibition, Hamilton believed didn't reach pictorial success and decided to rethink her use of these made objects.[6][11] However, Hamilton later incorporated the toothpick suit into an installation titled suitably positioned, which finally created a connection between the object, a suit, and the figure, herself within the suit. This installation was directly associated with her body object series.[6]

body object series

While working on suitably positioned, Hamilton began to think about her subject matter differently, hoping to create an installation that "demonstrates a relation instead of making a picture of a relation."[6] This thinking led Hamilton to begin creating her body object series, a collection of photographs first produced in 1984 with further editions produced in 1987, 1994, and 2006. Working with photographer Bob McMurtry on the series, Hamilton shot photographs of herself wearing constructed objects like her toothpick suit.[6] The coverings of the body in these photographs represent what Hamilton calls, "the articulation of the self at the boundaries of the body."[7]

privation and excesses

In San Francisco, Hamilton exhibited privation and excesses as a part of the Capp Street Project in 1989. The artist used $7,500 worth of pennies to cover a large portion of the gallery floor stuck to the surface by a thin coating of honey. In a chair on the edge of the field of honey and pennies, a figure (sometimes the artist herself) sat, wringing their hands in a hat full of honey.[7]

palimpsest

In collaboration with Kathryn Clark, the palimpsest installation was part of a group exhibition at The New Museum of Contemporary Art, New York, "Strange Attractors: Signs of Chaos" in 1989.[12] The installation was organized into two zones, one that demonstrated memory lost and the other memory experienced.[12] The first was in the museum's street-side window-display space, whose back and side walls were covered with block-printed texts, using shoe polish as ink.[12] On a tall stool, under a broken strand of nichrome wire, a felt hat sat upended covered in beeswax and graphite.[12] The second part of the installation was a room that visitors could enter, filled with the scent of beeswax and the sound of paper fluttering.[12] The inner walls of the enclosed space were covered with small pieces of faded newsprint with handwritten memories, each attached with a single tack, constantly rustling from a fan affixed above the doorway.[12] In the center of the room stood a vitrine made of steel and glass, inside which there were two cabbages, reminiscent of cerebral hemispheres, being devoured by a colony of snails.[12]

1991–2000

indigo blue

indigo blue, one of Hamilton's best-known works was first exhibited in a garage near the public market in Charleston, South Carolina, in 1991.[13] She created the piece as a commissioned work as a part of the Places with a Past exhibition within the Spoleto Festival, in which artists chose a site and responded to both the historical and current context of the city.[14] The installation was an homage to labor, respectfully commenting on and remembering the process of manual work through sculptural elements like a pile of 47,000 blue work uniforms and sacks full of soybeans hanging on a wall.[13] Behind the stacked uniforms, a writer sat at another table, applying an eraser and saliva to small, blue-covered books, working one by one from back to front to remove the writing within, leaving the eraser shavings to accumulate within the books throughout the duration of the installation.[14] This action of erasing the past served as another memory of labor,[6] and the names embroidered on the shirts echoed the history of the laborers living in the city.[7] The back wall held the hanging bags of soybeans that slowly spilled and began to sprout from the humid air within the space, calling attention to the atmosphere of South Carolina.[13] The title of the exhibition, as well as the incorporation of blue objects, likewise referenced Charleston's history and indigo's economic significance as a plant and dye in the city.[6] The work was later acquired and exhibited by the San Francisco Museum of Modern Art in 2007.[15]

tropos

In 1993 she performed her piece tropos at Dia Center for the Arts. The Greek word tropos indicates a turn, physically or figuratively. For the art piece, Hamilton covered the entire warehouse floor with varying colored interwoven horse hair. She sat at a small table, located in the middle of the room. While sitting at the table, she studiously burned each word from a book with an electric heated coil.[16]

Allegheny Riverfront Park

(1993-2001) Between this time period, numerous designers and artists including Ann Hamilton came together to create a new park design for Allegheny Riverfront Park in Pittsburgh, Pennsylvania. This park would include a lower level that would be thirty five feet wide and nearly a mile long, as well as an upper level that would travel along Fort Dusquesne Boulevard. While knowing that the city had traffic, the artists wanted to keep true to the busy city aspect as well as create beauty in nature. They'd create a beautiful board walk with trees following all the way down, stone edge that would be used as places to sit, overall the artists would create a place to have both peace and a beautiful view of the city.[17]

2001–2010

the picture is still

This video was exhibited in Taura, Japan in 2001.[6][18] To create the video, Hamilton used a small surveillance camera positioned very near a black-and-white photograph of her son, over which she moved her hand in a continuous, slow motion. Because of the camera's position, the small lens, and the movement of her hand, which she calls "hand-seeing," the image in the video is often abstract and out of focus, a blur of mouths and noses.[6] The artist claims that the movement illustrates that "the picture is still...as in not moving...but also as in 'still here'...the way history haunts and inhabits the present."[6]

human carriage

The Solomon R. Guggenheim Museum's 2009 exhibition The Third Mind invited various American artists to contemplate and represent the ways in which Asian literature, art, and philosophy are incorporated into, changed by, and transform American cultural trajectories.[19] Hamilton participated in the exhibition, creating an installation entitled human carriage. The artist's installation reflected her interests in humanity, language, text, and physical material[20] and referenced the movement and transmission of cultural information and identity through the use of books and a manual mechanism of travel. The artist tied together cross-sections of book volumes, which she called "book weights," that were stored in piles at the top of the museum.[21] The book weights were then attached to a pulley system "carriage" operated by a "reader" at the top of the museum who manually returned the carriage to the bottom of the rotunda where the bound books accumulated in a pile. Along the building's existing spiral ramps, Hamilton also constructed a spiraling pipe that acted as a travel mechanism for a smaller bell carriage that housed Tibetan cymbals.[20] Prior to each book weight's descent, the "reader" released this bell carriage so that it slid along the pipe, filling the space with ringing as it spiraled through the rotunda before meeting the books at the end of the ramp.[20]

2011–2018

the event of a thread

In 2012, Hamilton exhibited her installation the event of a thread at the Park Avenue Armory in New York City.[22][23] The installation featured a white curtain punctuated by large swings that spanned the 55,000 square feet of space. The installation, like many of Hamilton's works, changed over time, involving the audience in an interconnected, multi-sensory experience of space.[24] For this installation, the artist involved the use of radios in paper bags that were available for viewers to carry around; the audio on these radios was broadcast by two actors from the theater company SITI who read selections of text by various authors at one end of the room.[22] On the other end, a writer sat at a desk, writing sentences. The artwork changed day to day; the murmurs, cell phone rings, and laughs of the viewers, as well as the sounds of reading, writing, and cooing pigeons filled the space with sound, while the viewers’ swinging swayed the curtain. The audience was able to experience the space in different ways: swinging, looking in through a window, lying on the ground, or simply walking through the exhibition.[22]

the common S E N S E

Hamilton was commissioned by museum director Sylvia Wolf to create new works for a museum-wide exhibition at the Henry Art Gallery in Seattle called the common S E N S E. Hamilton drew from collections at the Burke Museum of Natural History and Culture and holdings in the University of Washington Libraries Special Collections to create an exhibition about animals, the commonalities we share with animals, and our uses of animals.[25]

Cortlandt Street subway station project

The New York City Metropolitan Transportation Authority Arts and Design Program commissioned Hamilton to create an art project as a part of the reconstruction of Manhattan's Cortlandt Street subway station that was destroyed on September 11, 2001. This project, to be completed by 2018, is similar to her previous work, VERSE, in that it weaves together words, but in this specific case uses texts from notable historical documents like the Declaration of Independence and the Universal Declaration of Human Rights. The text is white and appears upon or within the surface of the white walls of the station, covering up to 70 percent of the walls' surface. As in much of her work, Hamilton intends this project to be experienced rather than simply viewed. Whether tourist, everyday commuter, or 9/11 survivor, each person travelling through the station will have a different relationship to these words.[26]

File:ONEEVERYONE - Ann Hamilton, 2017.jpg
ONEEVERYONE was completed by Ann Hamilton in 2017 and is on display as part of Landmarks, the public art program of The University of Texas at Austin.[27]

ONEEVERYONE

ONEEVERYONE was commissioned by the Dell Medical School as part of Landmarks, the public art program at The University of Texas at Austin. The commission was completed in 2017.[28] In this piece, Hamilton photographs numerous different people of all different races and ethnicity through a semi-transparent membrane or window. The only time the view could see an image clearly was when the person would touch the membrane. On two opposite sides, Hamilton would instruct the subject to move how she wanted, solely relying on her voice to instruct them. Hamilton feels as if this relates to the medical field in always waiting for answers, check ups, and having a semi blinded sense of what is going on and just relying on a voice, no physical person.[29]

Select exhibitions

Hamilton has exhibited around the world, including:[30][non-primary source needed]

Select works

  • "O N E E V E R Y O N E" (2017)[38]
  • the event of a thread (2012)
  • VERSE (2011)[39]
  • stylus (2010)
  • human carriage (2009)
  • The Meditation Boat (2005–2009)
  • tower · Oliver Ranch (2007)
  • voce (2006)
  • phora (2005)
  • corpus (2004)
  • Teardrop Park, a collaboration with Michael Mercil and Michael Van Valkenburgh (2004)
  • LEW wood floor at the Seattle Public Library (2004)[40]
  • lignum (2002)
  • Allegheny Park, a collaboration with Michael Mercil and Michael Van Valkenburgh (1993-2001)
  • the picture is still (2001)
  • ghost....a border act (2000)
  • myein (1999)[41]
  • mattering (1997)[42]
  • lineament (1994)
  • tropos (1994)
  • indigo blue (1991/2007)
  • privation and excesses (1989)
  • still life (1988)

Selected Group Exhibitions

  • Rites of Spring, Twining Gallery, New York, 1985[43]
  • Elements, Whitney Museum of American Art at Philip Morris, New York, 1987[43]
  • Stranger Attractors: Signs of Chaos, New Museum of Contemporary Art, New York, 1989[43]
  • New Works for New Spaces, Wexner Center for the Visual Arts, Columbus, Ohio, 1990[43]

Permanent Public Installations

Awards

American for the Arts' Public Art Network (PAN) Award (2018), Heinz Award in the Arts and Humanities (2008), United States Artists Fellowship (2007), Environmental Design Research Association Place Design Award (2002), American Society of Landscape Architects Design Award (2002), the Larry Aldrich Foundation Award (1998), Progressive Architecture Citation Award (1997), the Wexner Center for the Arts Residency (1995), NEA Visual Arts Fellowship (1993), MacArthur Fellowship (1993) Skowhegan Medal for Sculpture (1992), the Louis Comfort Tiffany Foundation Award (1990), Award in the Visual Arts 9 (1990), the Guggenheim Memorial Fellowship (1989), and the Bessie Award, New York Annual Award in the Performing Arts (1988).[44][4]

Recognition

Hamilton has been the recipient of the 14th Annual Heinz Award in the Arts and Humanities,[45] United States Artists Fellowship, a Bessie Award in 1988, National Endowment for the Arts Visual Arts Fellowship, Anonymous Was a Woman Award,[46] Louis Comfort Tiffany Foundation Award, Skowhegan Medal for Sculpture, the Guggenheim Memorial Fellowship, and the MacArthur Fellows Program "Genius Grant".[47] In 2014, Ohio State University announced that it was compiling an archive called the Ann Hamilton Project Archive, which will maintain images of more than thirty-five of Hamilton's installations.[48] In September 2015, Hamilton received the National Medal of Arts.[49]

Further reading

  • Hamilton, Ann. (1996). The body and the object: Ann Hamilton, 1984–1996. Columbus, OH: Wexner Center for the Arts.[50]
  • Simon, Joan and Hamilton, Ann. (2002). Ann Hamilton. New York: Harry N. Abrams.[51]
  • Simon, Joan and Hamilton, Ann. (2006). Ann Hamilton: An Inventory of Objects. New York: Gregory R. Miller & Co.[52]

References

  1. ^ a b Simon, Joan (June 1999). "Ann Hamilton: Inscribing Place". Art in America.
  2. ^ Ann Hamilton, Distinguished Professor | College of Arts and Sciences
  3. ^ "Ann Hamilton — Making, and the Spaces We Share". On Being. Retrieved March 5, 2016.
  4. ^ a b Contemporary women artists. Hillstrom, Laurie Collier, 1965-, Hillstrom, Kevin, 1963-. Detroit: St. James Press. 1999. ISBN 1-55862-372-8. OCLC 40869639.{{cite book}}: CS1 maint: others (link)
  5. ^ Ohio State art professor Ann Hamilton to get national medal - Entertainment - The Columbus Dispatch - Columbus, OH
  6. ^ a b c d e f g h i j k l Simon, Joan (2006). Ann Hamilton: An Inventory of Objects. New York, NY: Gregory R. Miller & Co., LLC. ISBN 0974364851.
  7. ^ a b c d e Ann Hamilton: Mneme. Liverpool: Tate Gallery. 1994. pp. 10. ISBN 185437138X.
  8. ^ Dobrzynski, Judith H. (May 30, 1999). "Representing America in a Language of Her Own". The New York Times.
  9. ^ "ANN HAMILTON: the event of a thread : Program & Events : Park Avenue Armory". Park Avenue Armory. Retrieved March 18, 2016.
  10. ^ Artspace. Artspace, Incorporated. 1989.
  11. ^ Arts Magazine. Art Digest Incorporated. 1990.
  12. ^ a b c d e f g 1949-, Simon, Joan (2002). Ann Hamilton. Hamilton, Ann, 1956-. New York: Harry N. Abrams. ISBN 0810941600. OCLC 44841646. {{cite book}}: |last= has numeric name (help)CS1 maint: multiple names: authors list (link)
  13. ^ a b c Bruce, Chris; Solnit, Rebecca; Spector, Buzz (1992). Ann Hamilton Sao Paulo/Seattle. Seattle: Henry Art Gallery, University of Washington.
  14. ^ a b Sean Kelly announcement for Spoleto Festival, New York, 1992.
  15. ^ Ann Hamilton, indigo blue, 1991/2007 · SFMOMA
  16. ^ 1956-, Hamilton, Ann (1995). Ann Hamilton : tropos, 1993 : October 7, 1993-June 19, 1994, Dia Center for the Arts. Cooke, Lynne., Kelly, Karen J., 1964-, Dia Center for the Arts (New York, N.Y.). New York City: Dia Center for the Arts. ISBN 0944521274. OCLC 33928016. {{cite book}}: |last= has numeric name (help)CS1 maint: multiple names: authors list (link)
  17. ^ "Ann Hamilton Studio". www.annhamiltonstudio.com. Retrieved December 12, 2019.
  18. ^ Monica E. McTighe (2012). Framed Spaces: Photography and Memory in Contemporary Installation Art. UPNE. pp. 151–. ISBN 978-1-61168-251-9.
  19. ^ "The Third Mind: American Artists Contemplate Asia, 1860–1989". www.guggenheim.org. Archived from the original on March 4, 2016. Retrieved March 18, 2016.
  20. ^ a b c "The Third Mind: American Artists Contemplate Asia, 1860-1989". Guggenheim Museum. Retrieved March 18, 2016.
  21. ^ Joan M. Marter (2011). The Grove Encyclopedia of American Art. Oxford University Press. pp. 1–. ISBN 978-0-19-533579-8.
  22. ^ a b c Smith, Roberta (December 6, 2012). "The Audience as Art Movement: Ann Hamilton at the Park Avenue Armory". The New York Times. Retrieved March 18, 2016.
  23. ^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 170. ISBN 978-0714878775. {{cite book}}: |last1= has generic name (help)
  24. ^ "Time Stopped—And Then Suddenly Rushed Again Toward Us". The Huffington Post. Retrieved March 18, 2016.
  25. ^ "Touchy, feely: Ann Hamilton's wondrous exhibition at the Henry". The Seattle Times. October 23, 2014. Retrieved March 23, 2016.
  26. ^ Dunlap, David W. (April 29, 2015). "At Cortlandt Street Subway Station, Art Woven from Words". The New York Times. Retrieved March 18, 2016.
  27. ^ "O N E E V E R Y O N E". LANDMARKS. June 16, 2016. Retrieved July 17, 2020.
  28. ^ "O N E E V E R Y O N E by Ann Hamilton". LANDMARKS. December 2, 2016. Retrieved July 17, 2020.
  29. ^ "O N E E V E R Y O N E — About". O N E E V E R Y O N E. Retrieved December 12, 2019.
  30. ^ Hamilton Studio, Ann. "Biography". Retrieved August 13, 2012.
  31. ^ Ann Hamilton: the capacity of absorption • MOCA
  32. ^ Dia | Program | Ann Hamilton: tropos
  33. ^ ‘mneme’, Ann Hamilton, 1994–6 | Tate
  34. ^ Projects 48: Anne Hamilton | MoMA
  35. ^ 1998 - Musée d'art contemporain de Lyon
  36. ^ Akira Ikeda Gallery: Ann Hamilton "the picture is still"
  37. ^ https://independent-collectors.com/exhibitions/wachtmeister-wanas-konst/image/cikscnrr201411af72p8d8739/ann-hamilton-lignum-2002-the-wanas-foundation-sweden-house-floor-staircase
  38. ^ [1]
  39. ^ VERSE - Ohio State University Libraries
  40. ^ "CEN Public Art", Seattle Public Library, Retrieved July 11, 2014.
  41. ^ Eleanor Heartney; Helaine Posner; Nancy Princenthal; Sue Scott (November 4, 2013). After the Revolution: Women Who Transformed Contemporary Art. Prestel Verlag. pp. 163–. ISBN 978-3-641-10821-2.
  42. ^ Border Crossings. Arts Manitoba Publications. 2000.
  43. ^ a b c d e f g Hillstrom, Laurie Collier; Hillstrom, Kevin (1999). Contemporary women artists. Detroit: St. James Press.
  44. ^ "Ann Hamilton's O N E E V E R Y O N E Award". LANDMARKS. June 13, 2018. Retrieved June 3, 2020.
  45. ^ "The Heinz Awards: Ann Hamilton", The Heinz Awards, Retrieved July 10, 2014.
  46. ^ "Anonymous Was A Woman Award, Past Winners" Archived November 3, 2011, at the Wayback Machine, Anonymous Was A Woman Award. Retrieved March 5, 2016.
  47. ^ "Ann Hamilton – MacArthur Foundation", MacArthur Foundation, Retrieved July 10, 2014.
  48. ^ "Ann Hamilton Project Archive Created at Ohio State", Ohio State University, Retrieved July 11, 2014. Archived April 2, 2014, at the Wayback Machine
  49. ^ "National Medal of Arts Awardees Include John Baldessari, Ann Hamilton". artforum.com. Retrieved March 5, 2016.
  50. ^ Hamilton, Ann; Wexner Center for the Arts (January 1, 1996). The body and the object: Ann Hamilton, 1984–1996. Columbus, Ohio: Wexner Center for the Arts, Ohio State University. ISBN 1-881390-13-6. OCLC 36102802.
  51. ^ Simon, Joan (2002). Ann Hamilton. New York: Harry N. Abrams, Inc. p. 280. ISBN 0-8109-4160-0.
  52. ^ Simon, Joan (2006). Ann Hamilton: An Inventory of Objects. New York: Gregory R. Miller & Co., LLC. p. 312. ISBN 0-9743648-5-1.
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