Ann Hamilton (artist)

Last updated

Ann Hamilton
2019AnnHamilton.jpg
Born
Lima, Ohio, United States
NationalityAmerican
EducationUniversity of Kansas, Lawrence, KS – BFA in Textile Design; Yale University, New Haven, CT – MFA in Sculpture
Known for
  • Installation
  • textiles
  • sculpture
  • video
  • performance
  • photography
  • printmaking
MovementInstallation art

Ann Hamilton is an American 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]

Contents

Personal life

Ann Hamilton was born in Lima, Ohio. [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 AnnHamilton.jpg
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 creating an interdisciplinary art with textiles "weaved" with photography and performance; often resulting in different elements combined in an image or includes textiles like pressed shirts or work uniforms. [7]

In addition to her educational background. 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 would create a board walk with trees following all the way down, stone edge that would be used as places to sit, overall the artists intended to create a peaceful place with 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, while the viewers’ swinging swayed the curtain. The audience was able to interact the space in ways such as: swinging, looking in through a window, lying on the ground, or 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 to animals. [25]

Cortlandt Street subway station project

New WTC Cortlandt 1 Station (30685500988).jpg

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. Intended for each person travelling through the station to have a different relationship with these words. [26]

O N E E V E R Y O N E

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. [27]

Select exhibitions

Hamilton has exhibited around the world, including: [28] [ non-primary source needed ]

Select works

Selected group exhibitions

Permanent public installations

Awards

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).[ citation needed ]

Recognition

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 35 of Hamilton's installations. [44] And in September 2015, Hamilton received the National Medal of Arts. [45]

Further reading

Related Research Articles

<span class="mw-page-title-main">Wexner Center for the Arts</span> Contemporary art, Ohio State University

The Wexner Center for the Arts is the Ohio State University's "multidisciplinary, international laboratory for the exploration and advancement of contemporary art."

<span class="mw-page-title-main">Perry Hoberman</span> American artist

Perry Hoberman, is an installation artist who has worked extensively with machines and media. His career has included stints with Laurie Anderson and the USC Interactive Media Division.

<span class="mw-page-title-main">Joan Jonas</span> American visual artist

Joan Jonas is an American visual artist and a pioneer of video and performance art, and one of the most important artists to emerge in the late 1960s and early 1970s. Jonas' projects and experiments were influential in the creation of video performance art as a medium. Her influences also extended to conceptual art, theatre, performance art and other visual media. She lives and works in New York and Nova Scotia, Canada.

Susan Weil is an American artist best known for her experimental three-dimensional paintings, which combine figurative illustration with explorations of movement and space.

<span class="mw-page-title-main">Lorna Simpson</span> American photographer and multimedia artist

Lorna Simpson is an American photographer and multimedia artist whose works have been exhibited both nationally and internationally. In 1990, she became the first African-American woman to exhibit at the Venice Biennale. She came to prominence in the 1980s and 1990s with photo-text installations such as Guarded Conditions and Square Deal that questioned the nature of identity, gender, race, history and representation. Simpson continues to explore these themes in relation to memory and history using photography, film, video, painting, drawing, audio, and sculpture.

<span class="mw-page-title-main">Alyson Shotz</span> American sculptor

Alyson Shotz is an American sculptor based in Brooklyn, New York. She is best known for experiential, large-scale abstract sculptures and installations inspired by nature and scientific concepts, which manipulate light, shadow, space and gravity in order to investigate and complicate perception. Writers suggest her work challenges tenets of monumental, minimalist sculpture—traditionally welded, solid, heavy and static—through its accumulation of common materials in constructions that are often flexible, translucent, reflective, seemingly weightless, and responsive to changing conditions and basic forces. Sculpture critic Lilly Wei wrote, "In Shotz’s realizations, the definition of sculpture becomes increasingly expansive—each project, often in series, testing another proposition, another possibility, another permutation, while ignoring conventional boundaries."

<span class="mw-page-title-main">María Elena González</span> Cuban-American artist (born 1957)

María Elena González is a Cuban-American sculptor based in Brooklyn and the Bay Area. She is known for objects, installations and public art that interweave post-minimalist form, conceptual art and concern for materials and craft. Her early work explored themes of memory, family, identity, loss and dislocation through formal, architectural and mapping modes that address site, place and social circumstances; her later work makes connections between nature and art, engaging a broad range of media and sensory experience. In 2020, artist and scholar Ellen Levy wrote "González's art re-invents nature as culture" through an "exquisite attunement" that uncovers formal and thematic analogies between both realms and synesthetic connections between visual and aural senses.

Paul Sietsema is a Los Angeles-based American artist who works primarily in film, painting and drawing. His work addresses the production, consumption, and proliferation of cultural objects, reflecting his interest in the possibility of an artwork to mediate information or meaning in a way that engages with the aesthetics of a specific time period. In the words of Sarah Robayo Sheridan, “Paul Sietsema compounds organic and artificial detritus in all his artwork, scavenging in history’s wake to identify specific tools of cultural production and foraging for concepts of art promulgated in the words of artists and attitudes of critics. He mines film as a vestige, the medium of the mechanical age, pressing and squeezing its very obsolescence through a contemporary sieve. In so doing, the artist hovers in the switchover between a bodily inscription in the image and a fundamental reconstitution of sight and representation in the matrix of the virtual. Where body stops and image starts is a divide collapsing through a series of innovations and accidents that go back as far as the people of Pompeii trapped in an emulsion that marked their death, but which paradoxically carried forward their image into eternity.”

<span class="mw-page-title-main">Zoe Leonard</span> American artist (born 1961)

Zoe Leonard is an American artist who works primarily with photography and sculpture. She has exhibited widely since the late 1980s and her work has been included in a number of seminal exhibitions including Documenta IX and Documenta XII, and the 1993, 1997 and 2014 Whitney biennials. She was awarded a Guggenheim Fellowship in 2020.

Barbara Bloom lives and works in New York City. She is a conceptual artist best known for her multi-media installation works. Bloom is loosely affiliated with a group of artists referred to as The Pictures Generation. For nearly twenty years she lived in Europe, first in Amsterdam then Berlin. Since 1992, she has lived in New York City with her husband, the writer-composer Chris Mann, and their daughter.

<span class="mw-page-title-main">Sarah Oppenheimer</span> American visual artist

Sarah Oppenheimer is a New York City-based artist whose projects explore the articulations and experience of built space. Her work involves precise transformations of architecture that disrupt, subvert or shuffle visitors' visual and bodily experience. Artforum critic Jeffrey Kastner wrote that Oppenheimer's artworks "typically induce a certain kind of vaguely vertiginous, almost giddy uncertainty" that over time turns "indeterminacies of apprehension into epistemological uncertainties, epistemic puzzlement into ontological perplexity."

<span class="mw-page-title-main">Mary Jo Bole</span> American sculptor, printmaker, and artist-bookmaker

Mary Jo Bole, is a sculptor, printmaker, and artist-bookmaker who lives and works in Columbus, Ohio. Bole is a widely exhibited artist who has shown her works in the United States and Europe. She was a professor of art at The Ohio State University in Columbus, Ohio.

<span class="mw-page-title-main">Annette Lemieux</span> American artist (born 1957)

Annette Lemieux is an American artist who emerged in the early 1980s along with the "picture theory" artists. Lemieux brought to the studio a discipline equally based on introspection, and the manifestations of an ideological minimalism. Process is a key component in the execution of her works over the past three decades, creating the lure to the confrontation of issues of social and historical urgency. Lemieux has been the recipient of awards from the National Endowment of the Arts and the Keiser Wilhelm Museum, Germany and an honorary Doctorate in Fine Arts from Monserrat College of Art. Presently, in addition to her studio and exhibition schedule, she is a senior lecturer at Harvard University in the area of visual and environmental studies.

<span class="mw-page-title-main">Simone Leigh</span> American artist from Chicago (born 1967)

Simone Leigh is an American artist from Chicago who works in New York City in the United States. She works in various media including sculpture, installations, video, performance, and social practice. Leigh has described her work as auto-ethnographic, and her interests include African art and vernacular objects, performance, and feminism. Her work is concerned with the marginalization of women of color and reframes their experience as central to society. Leigh has often said that her work is focused on “Black female subjectivity,” with an interest in complex interplays between various strands of history. She was named one of the 100 most influential people in the world by Time magazine in 2023.

<span class="mw-page-title-main">Kathy Goodell</span>

Kathy Goodell is an American contemporary artist based in New York City. She works in sculptural objects, installation, drawing and photography. She is a professor of painting and drawing at the State University of New York at New Paltz.

Judith Barry is an American artist, writer, and educator best known for her installation and performance art and critical essays, but also known for her works in drawing and photography. She is a professor and the director of the MIT Program in Art, Culture and Technology at the Massachusetts Institute of Technology, Cambridge, MA. She has exhibited internationally and received a number of awards.

<span class="mw-page-title-main">Dona Nelson</span> American painter (born 1947)

Dona Nelson is an American painter, best known for immersive, gestural, primarily abstract works employing unorthodox materials, processes and formats to disrupt conventional notions of painting and viewership. A 2014 New Yorker review observed, "Nelson gives notice that she will do anything, short of burning down her house to bully painting into freshly spluttering eloquence." Since 2002, long before it became a more common practice, Nelson has produced free-standing, double-sided paintings that create a more complex, conscious viewing experience. According to New York Times critic Roberta Smith, Nelson has dodged the burden of a "superficially consistent style," sustained by "an adventuresome emphasis on materials" and an athletic approach to process that builds on the work of Jackson Pollock. Writers in Art in America and Artforum credit her experimentation with influencing a younger generation of painters exploring unconventional techniques with renewed interest. Discussing one of Nelson's visceral, process-driven works, curator Klaus Kertess wrote, the paint-soaked "muslin is at once the tool, the medium, and the made."

Chie Fueki is a Japanese American painter. She has had an active career exhibiting her work in commercial galleries, and has been awarded a Guggenheim Foundation Fellowship. Fueki's intricate paintings combine influences from both Eastern and Western traditions. She currently lives and works in Beacon, New York.

Sigrid Sandström is a Swedish artist and a professor of Painting at the Academy of Fine Arts in Helsinki. Her work is characterized by graphic abstraction, an embrace of color and difference in scale, and an array of techniques used to apply paint and other materials to canvas, ranging from cloths and rugs, to masking with tape, squeegee-ing and smearing, and collaging. She has also worked in film and video, most notably for her 2005 exhibition Her Black Flags at the Mills College Art Museum in Oakland, CA, and in sculpture and installation. Artforum critic Naomi Fry, reviewing a 2007 show at Edward Thorp Gallery, cited the artist's interest in landscape as subject and noted that Sandström "also grapples here with painting’s essential difficulty in the face of the sublime. As the works consistently teeter on the verge of abstraction, the interplay between a more traditional naturalism and geometric fragmentation provides a salient tension."

Ann Pibal is an American painter who makes geometric compositions using acrylic paint on aluminum panel. The geometric intensity is one of the key characteristics that defines her paintings.

References

  1. 1 2 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 8, 2022..
  4. ↑ 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", The Columbus Dispatch, Columbus, OH.
  6. 1 2 3 4 5 6 7 8 9 10 11 12 Simon, Joan (2006). Ann Hamilton: An Inventory of Objects. New York, NY: Gregory R. Miller & Co., LLC. ISBN   0974364851.
  7. 1 2 3 4 5 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. 1 2 3 4 5 6 7 Simon, Joan (2002). Ann Hamilton. Hamilton, Ann, 1956-. New York: Harry N. Abrams. ISBN   0810941600. OCLC   44841646.
  13. 1 2 3 Bruce, Chris; Solnit, Rebecca; Spector, Buzz (1992). Ann Hamilton Sao Paulo/Seattle. Seattle: Henry Art Gallery, University of Washington.
  14. 1 2 Sean Kelly announcement for Spoleto Festival, New York, 1992.
  15. ↑ Ann Hamilton, indigo blue, 1991/2007 · SFMOMA
  16. ↑ 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.
  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. 1 2 3 "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. 1 2 3 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. ↑ Great women artists. Phaidon Press. 2019. p. 170. ISBN   978-0714878775.
  24. ↑ "Time Stopped—And Then Suddenly Rushed Again Toward Us". The Huffington Post. December 6, 2012. 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 — About". O N E E V E R Y O N E. Retrieved December 12, 2019.
  28. ↑ Hamilton, Ann. "Biography" . Retrieved August 13, 2012.
  29. ↑ Ann Hamilton: the capacity of absorption • MOCA
  30. ↑ Dia | Program | Ann Hamilton: tropos
  31. ↑ ‘mneme’, Ann Hamilton, 1994–6 | Tate
  32. ↑ Projects 48: Anne Hamilton | MoMA
  33. ↑ 1998 - Musée d'art contemporain de Lyon
  34. ↑ Akira Ikeda Gallery: Ann Hamilton "the picture is still"
  35. ↑ "The Wanås Foundation | Independent Collectors". February 18, 2016.
  36. ↑ VERSE – Ohio State University Libraries
  37. ↑ "CEN Public Art", Seattle Public Library, Retrieved July 11, 2014.
  38. ↑ 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.
  39. ↑ Border Crossings. Arts Manitoba Publications. 2000.
  40. 1 2 3 4 5 6 7 Hillstrom, Laurie Collier; Hillstrom, Kevin (1999). Contemporary women artists. Detroit: St. James Press. ISBN   9781558623729.
  41. ↑ "The Heinz Awards: Ann Hamilton", The Heinz Awards, Retrieved July 10, 2014.
  42. ↑ "Anonymous Was A Woman Award, Past Winners" Archived November 3, 2011, at the Wayback Machine , Anonymous Was A Woman Award. Retrieved March 5, 2016.
  43. ↑ "Ann Hamilton – MacArthur Foundation", MacArthur Foundation, Retrieved July 10, 2014.
  44. ↑ "Ann Hamilton Project Archive Created at Ohio State", Ohio State University, Retrieved July 11, 2014. Archived April 2, 2014, at the Wayback Machine
  45. ↑ "National Medal of Arts Awardees Include John Baldessari, Ann Hamilton". artforum.com. Retrieved March 5, 2016.
  46. ↑ 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.
  47. ↑ Simon, Joan (2002). Ann Hamilton. New York: Harry N. Abrams, Inc. p. 280. ISBN   0-8109-4160-0.
  48. ↑ Simon, Joan (2006). Ann Hamilton: An Inventory of Objects. New York: Gregory R. Miller & Co., LLC. p. 312. ISBN   0-9743648-5-1.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.