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<!-- EDIT BELOW THIS LINE -->'''Ann Hamilton''' (born 1956, Lima, Ohio) is a visual artist 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|Banff]] and [[Montreal]], Canada before deciding to pursue an MFA in sculpture at [[Yale University|Yale]] in 1983.<ref name=":8" /> From 1985 to 1991, she taught on the faculty of the [[University of California, Santa Barbara|University of California at Santa Barbara]]. Since 2001, Hamilton has served on the faculty of The [[Ohio State University]] where she is a Distinguished University Professor in the Department of Art.<ref name=":7" />
<!-- EDIT BELOW THIS LINE -->
'''Themes and inspiration'''
Though Hamilton studied textile design throughout her undergraduate career, she pointedly decided to focus on sculpture as a concentration in graduate school, as opposed to weaving. 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.” [simon] The relationship she creates between sculpture and textiles is evident in her work. 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, of people, and even of dictionaries; thus, the theme of reading and books often weaves through her installations and created objects.[simon] Her work also explores themes of humanity, from gender and the body to violence and power. {CITATION} As a conceptual artist working with video, sound, and interactive installation, the elements of time and change also play roles in her work. {CITATION}


==Themes and inspiration==
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.”<ref name=":0">{{Cite book|title=Ann Hamilton: An Inventory of Objects|last=Simon|first=Joan|publisher=Gregory R. Miller & Co., LLC.|year=2006|isbn=0974364851|location=New York, NY|pages=}}</ref> 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.<ref name=":1">{{Cite book|title=Ann Hamilton: Mneme|last=|first=|publisher=Tate Gallery|year=1994|isbn=185437138X|location=Liverpool|pages=10,}}</ref>


In addition to her educational background, her personal identity and interests directly inform her artistic creation. She identifies herself as [[Print culture|a reader]]: of space, of objects,<ref name=":0" /> 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.<ref name=":8">{{Cite journal|last=Simon|first=Joan|date=June 1999|title=Ann Hamilton: Inscribing Place|url=|journal=Art in America|doi=|pmid=|access-date=}}</ref> Her work also explores themes of humanity, from gender and the body to suffering and power.<ref name=":2">{{Cite news|url=|title=Representing America in a Language of Her Own|last=Dobrzynski|first=Judith H.|date=May 30, 1999|work=The New York Times|access-date=|via=}}</ref> As a [[Conceptual art]]ist working with video, sound, and interactive installation, the elements of time, change, and decay also play roles in her work.<ref>{{Cite web|url=http://www.armoryonpark.org/programs_events/detail/ann_hamilton|title=ANN HAMILTON: the event of a thread : Program & Events : Park Avenue Armory|website=Park Avenue Armory|access-date=2016-03-18}}</ref> 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 [[Site-specific art|spaces and cities in which they are created]], using objects that reflect the history and identity of the culture.<ref name=":1" />


'''Select Works
== Select works ==
'''''suitably positioned''- One of Hamilton’s first installations, suitably positioned, set the tone for her later works, encompassing many of her artistic methods: installation, object-making, and performance. For this piece, she constructed a suit made of a thrift-store men’s suit and toothpicks. 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. This work directly lead into her body object series. [simon pg 10]


=== 1984–1990 ===
''body object series''-
'''''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.<ref name=":0" /> For this piece, she constructed a suit made of a men’s thrift-store suit and [[toothpick]]s. 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.<ref name=":0" /> 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''.<ref name=":0" />
''the event of a thread''- In 2012, Hamilton exhibited her installation entitled the event of a thread at the Park Avenue Armory in New York City.[cite NYT article] The title of the exhibition references the The installation featured a white curtain that spanned the 55,000 square feet of the space, punctuated by large swings. Much of Hamilton’s installations are interactive and involve the audience’s experience.{CITATION} For this installation, specifically, the artist involved the use of radios in paper bags that were available for viewers to carry around; the audio on these radios was broadcasted by two actors from the theater company SITI (link?) who read selections of text by various authors at one end of the room. [cite NYT article] 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. [cite NYT article]


'''''body object series'''''
''Indigo Blue
Myein''


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."<ref name=":0" /> 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.<ref name=":0" /> The coverings of the body in these photographs represent what Hamilton calls, "the articulation of the self at the boundaries of the body."<ref name=":1" />


'''''privation and excesses'''''
'''Sculpture'''
''Still Life
Book Sculptures
Indigo Blue''


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.<ref name=":1" />
'''Photography'''
''Book Weights
face to face
body object series''


=== 1991–2000 ===
'''Public Projects'''
'''''indigo blue'''''
''San Francisco Library
LEW wood floor at the Seattle Public Library
VERSE at The William Oxley Thompson Memorial Library, Ohio State University''


''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.<ref name=":4">{{Cite book|title=Ann Hamilton Sao Paulo/Seattle|last=Bruce|first=Chris|last2=Solnit|first2=Rebecca|last3=Spector|first3=Buzz|publisher=Henry Art Gallery, University of Washington|year=1992|isbn=|location=Seattle|pages=}}</ref> She created the piece as a commissioned work as a part of the ''Places with a Past'' exhibition within the [[Spoleto Festival USA|Spoleto Festival]], in which artists chose a site and responded to both the historical and current context of the city.<ref name=":5">Sean Kelly announcement for Spoleto Festival, New York, 1992.</ref> 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.<ref name=":4" /> 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.<ref name=":5" /> This action of erasing the past served as another memory of labor,<ref name=":0" /> and the names embroidered on the shirts echoed the history of the laborers living in the city.<ref name=":1" /> 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.<ref name=":4" /> The title of the exhibition, as well as the incorporation of blue objects, likewise referenced Charleston's history and [[Indigo dye#History of natural indigo|indigo's economic significance as a plant and dye]] in the city.<ref name=":0" /> The work was later acquired and exhibited by the [[San Francisco Museum of Modern Art]] in 2007.<ref name=":7" />
'''Video and Sound'''

''abc
=== 2001–2010 ===
phora
'''''the picture is still'''''
follow''

This video was exhibited in Taura, Japan in 2001.<ref name=":0" /> 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.<ref name=":0" /> 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."<ref name=":0" />

'''''human carriage'''''

The [[Solomon R. Guggenheim Museum]]'s 2009 exhibition ''[http://www.guggenheim.org/new-york/exhibitions/past/exhibit/2716 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.<ref>{{Cite web|url=http://www.guggenheim.org/new-york/exhibitions/past/exhibit/2716|title=The Third Mind: American Artists Contemplate Asia, 1860–1989|website=www.guggenheim.org|access-date=2016-03-18}}</ref> 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<ref name=":6">{{Cite web|url=http://web.guggenheim.org/exhibitions/thirdmind/index.html?_ga=1.203729936.1660051640.1453394014|title=The Third Mind: American Artists Contemplate Asia, 1860-1989|last=|first=|date=|website=|publisher=Guggenheim Museum|access-date=March 18, 2016}}</ref> and referenced the movement and transmission of cultural information and identity through the use of books and a manual mechanism of travel.<ref name=":7">{{Cite web|url=http://www.annhamiltonstudio.com/projects/human_carriage.html|title=Ann Hamilton Studio|website=www.annhamiltonstudio.com|access-date=2016-03-18}}</ref> 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.<ref name=":7" /> 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.<ref name=":6" /> 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.<ref name=":6" />

=== 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.<ref name=":3">{{Cite news|url=http://www.nytimes.com/2012/12/07/arts/design/ann-hamilton-at-the-park-avenue-armory.html?_r=1|title=The Audience as Art Movement: Ann Hamilton at the Park Avenue Armory|last=Smith|first=Roberta|date=December 6, 2012|work=The New York Times|access-date=March 18, 2016|via=}}</ref> 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.<ref>{{Cite web|url=http://www.huffingtonpost.com/2012/12/06/ann-hamilton-armory-installation-photos_n_2246241.html|title='Time Stopped—And Then Suddenly Rushed Again Toward Us'|website=The Huffington Post|access-date=2016-03-18}}</ref> 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 broadcasted by two actors from the theater company [[Saratoga International Theater Institute|SITI]] who read selections of text by various authors at one end of the room.<ref name=":3" /> 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.<ref name=":3" />

'''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 (IRT Broadway – Seventh Avenue Line)|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 [[United States Declaration of Independence|Declaration of Independence]] and the [[Universal Declaration of Human Rights]]. The text will be white and will appear upon or within the surface of the white walls of the hub, 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.<ref>{{Cite news|url=http://www.nytimes.com/2015/04/30/nyregion/at-cortlandt-street-subway-station-art-woven-from-words.html?rref=collection%2Ftimestopic%2FHamilton%2C%20Ann&action=click&contentCollection=timestopics&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=collection|title=At Cortlandt Street Subway Station, Art Woven from Words|last=Dunlap|first=David W.|date=April 29, 2015|work=The New York Times|access-date=March 18, 2016|via=}}</ref>

== Awards and honors<ref name=":7" /> ==
* [http://www.heinzawards.net/recipients/ann-hamilton Heinz Award]
* [https://www.macfound.org/fellows/162/ MacArthur Fellowship]
* [http://www.unitedstatesartists.org/fellows/ann-hamilton United States Artists Fellowship]
* NEA Visual Arts Fellowship
* Louis Comfort Tiffany Foundation Award
* Skowhegan Medal for Sculpture
* [http://www.gf.org/fellows/all-fellows/ann-k-hamilton/ Guggenheim Memorial Fellowship]
* 1991 Sao Paulo Bienal (US representative)
* 1999 Venice Biennale (US representative)

== Commissions<ref name=":7" /> ==
* Waterfront Seattle (upcoming)
* Park Avenue Armory (2013)
* The Pulitzer Foundation for the Arts, St. Louis (2010)
* [[Solomon R. Guggenheim Museum|The Solomon Guggenheim Museum]], New York (2009)
* Contemporary Art Museum, Kumamoto, Japan (2006)
* La Maison Rouge Fondation de Antoine Galbert, Paris, France (2005)
* Historiska Museet, Stockholm, Sweden (2004)
* MASS MoCA, North Adams, Massachusetts (2003)
* The Hirshhorn Museum and Sculpture Garden, Washington D.C. (2003, 1991)
* The Wanas Foundation, Knislinge, Sweden (2002)
* Akira Ikeda Gallery, Taura, Japan (2001)
* The Musee d'art Contemporain, Lyon, France (1997)
* The Stedelijk Van Abbemuseum, Eindhoven, The Netherlands (1996)
* The Art Institute of Chicago (1995); The Museum of Modern Art, New York (1994)
* The Tate Gallery, Liverpool (1994)
* Dia Center for the Arts, New York (1993)
* The Museum of Contemporary Art, Los Angeles (1988)

==References==
{{reflist}}

[[:Category:1956 births]]
[[:Category:Living people]]
[[:Category:American conceptual artists]]
[[:Category:American textile artists]]
[[:Category:People from Lima, Ohio]]
[[:Category:Artists from Ohio]]
[[:Category:Ohio State University faculty]]
[[:Category:University of California, Santa Barbara faculty]]
[[:Category:Yale School of Art alumni]]
[[:Category:University of Kansas alumni]]
[[:Category:American women artists]]
[[:Category:20th-century women artists]]
[[:Category:21st-century women artists]]

Latest revision as of 21:08, 13 April 2016

Ann Hamilton (born 1956, Lima, Ohio) is a visual artist 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 and Montreal, 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 Ohio State University where she is a Distinguished University Professor in the Department of Art.[2]

Themes and inspiration

[edit]

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.”[3] 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.[4]

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,[3] 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.[5] As a Conceptual artist working with video, sound, and interactive installation, the elements of time, change, and decay also play roles in her work.[6] 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.[4]

Select works

[edit]

1984–1990

[edit]

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.[3] For this piece, she constructed a suit made of a men’s thrift-store suit and toothpicks. 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.[3] 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.[3]

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."[3] 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.[3] The coverings of the body in these photographs represent what Hamilton calls, "the articulation of the self at the boundaries of the body."[4]

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.[4]

1991–2000

[edit]

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.[7] 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.[8] 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.[7] 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.[8] This action of erasing the past served as another memory of labor,[3] and the names embroidered on the shirts echoed the history of the laborers living in the city.[4] 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.[7] 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.[3] The work was later acquired and exhibited by the San Francisco Museum of Modern Art in 2007.[2]

2001–2010

[edit]

the picture is still

This video was exhibited in Taura, Japan in 2001.[3] 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.[3] 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."[3]

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.[9] 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[10] and referenced the movement and transmission of cultural information and identity through the use of books and a manual mechanism of travel.[2] 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.[2] 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.[10] 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.[10]

2011–2018

[edit]

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.[11] 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.[12] 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 broadcasted by two actors from the theater company SITI who read selections of text by various authors at one end of the room.[11] 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.[11]

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 will be white and will appear upon or within the surface of the white walls of the hub, 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.[13]

Awards and honors[2]

[edit]

Commissions[2]

[edit]
  • Waterfront Seattle (upcoming)
  • Park Avenue Armory (2013)
  • The Pulitzer Foundation for the Arts, St. Louis (2010)
  • The Solomon Guggenheim Museum, New York (2009)
  • Contemporary Art Museum, Kumamoto, Japan (2006)
  • La Maison Rouge Fondation de Antoine Galbert, Paris, France (2005)
  • Historiska Museet, Stockholm, Sweden (2004)
  • MASS MoCA, North Adams, Massachusetts (2003)
  • The Hirshhorn Museum and Sculpture Garden, Washington D.C. (2003, 1991)
  • The Wanas Foundation, Knislinge, Sweden (2002)
  • Akira Ikeda Gallery, Taura, Japan (2001)
  • The Musee d'art Contemporain, Lyon, France (1997)
  • The Stedelijk Van Abbemuseum, Eindhoven, The Netherlands (1996)
  • The Art Institute of Chicago (1995); The Museum of Modern Art, New York (1994)
  • The Tate Gallery, Liverpool (1994)
  • Dia Center for the Arts, New York (1993)
  • The Museum of Contemporary Art, Los Angeles (1988)

References

[edit]
  1. ^ a b Simon, Joan (June 1999). "Ann Hamilton: Inscribing Place". Art in America.
  2. ^ a b c d e f "Ann Hamilton Studio". www.annhamiltonstudio.com. Retrieved 2016-03-18.
  3. ^ 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.
  4. ^ a b c d e Ann Hamilton: Mneme. Liverpool: Tate Gallery. 1994. pp. 10, . ISBN 185437138X.{{cite book}}: CS1 maint: extra punctuation (link)
  5. ^ Dobrzynski, Judith H. (May 30, 1999). "Representing America in a Language of Her Own". The New York Times.
  6. ^ "ANN HAMILTON: the event of a thread : Program & Events : Park Avenue Armory". Park Avenue Armory. Retrieved 2016-03-18.
  7. ^ a b c Bruce, Chris; Solnit, Rebecca; Spector, Buzz (1992). Ann Hamilton Sao Paulo/Seattle. Seattle: Henry Art Gallery, University of Washington.
  8. ^ a b Sean Kelly announcement for Spoleto Festival, New York, 1992.
  9. ^ "The Third Mind: American Artists Contemplate Asia, 1860–1989". www.guggenheim.org. Retrieved 2016-03-18.
  10. ^ a b c "The Third Mind: American Artists Contemplate Asia, 1860-1989". Guggenheim Museum. Retrieved March 18, 2016.
  11. ^ 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.
  12. ^ "'Time Stopped—And Then Suddenly Rushed Again Toward Us'". The Huffington Post. Retrieved 2016-03-18.
  13. ^ Dunlap, David W. (April 29, 2015). "At Cortlandt Street Subway Station, Art Woven from Words". The New York Times. Retrieved March 18, 2016.

Category:1956 births Category:Living people Category:American conceptual artists Category:American textile artists Category:People from Lima, Ohio Category:Artists from Ohio Category:Ohio State University faculty Category:University of California, Santa Barbara faculty Category:Yale School of Art alumni Category:University of Kansas alumni Category:American women artists Category:20th-century women artists Category:21st-century women artists

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