Hammond’ s work has been included in many group exhibitions, including Women in Abstraction, Centre Pompidou, Paris, France (2021), traveled to Guggenheim Museo Bilbao, Spain (2021) Making Knowing: Craft in Art, 1950–2019, Whitney Museum of American Art, New York (2019) Wack!: Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles, CA (2007), traveled to National Museum of Women in the Arts, Washington, DC (2007) MoMA PS1, Queens, NY (2008) and Vancouver Art Gallery, British Columbia (2008), among others. Other one-person exhibitions of her work include Becoming/UnBecoming Monochrome, RedLine, Denver, CO (2014) Big Paintings 2002–2005, Center for Contemporary Arts, Santa Fe, NM (2005) Monster Prints, SITE Santa Fe, NM (2002) and Ten Years 1970–1980, Glen Hanson Gallery and W.A.R.M, Minneapolis, NM (1981), among others.
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A second ongoing series of overtly political work in various media ranging from bronze sculpture to digital prints, deals with issues of intolerance, censorship, and self-censorship.Ī survey exhibition of Hammond’s work, Material Witness, Five Decades of Art, was presented in 2019 at The Aldrich Contemporary Art Museum in Ridgefield, CT, and traveled to the Sarasota Art Museum, Ringling College of Art and Design, FL in 2020.
Their focus on materiality and the indexical, suggesting topographies of body and place, derives from and remains in conversation with her feminist work of the 1970s. Hammond’s near-monochrome paintings of the last decade participate in the narrative of modernist abstraction at the same as time they insist on an oppositional discourse of feminist and queer content. Hammond’s earliest feminist work combined gender politics with post-minimal concerns of materials and process, frequently occupying a space between painting and sculpture.įor years, she has worked with found and repurposed materials and objects such as rags, straw, latex rubber, hair, linoleum, roofing tin, and burnt wood as well as buckets, gutters and water troughs as a means of introducing content to the world of abstraction. Since 1984, Hammond has lived and worked in northern New Mexico, teaching at the University of Arizona, Tucson, from 1989–2006. She was a co-founder of A.I.R., the first women’s cooperative art gallery in New York (1972) and Heresies: A Feminist Publication on Art & Politics (1976).
A leading figure in the development of the feminist art movement in New York in the early 1970s, she attended the University of Minnesota from 1963–67 before moving to New York in 1969. Being performers is just one of the facets of the art activity of VestAndPage, and it represents a translation of their theoretical armature.Harmony Hammond (b.1944) is an artist, writer, and curator.
The current book, with its two sections, one devoted to theoretical aspects (written by Andrea Pagnes) and a second one devoted to artistic practice (written by Andrea Pagnes and Verena Stenke) coming as a result of the experience of VestAndPage, extensive touring, workshops and teaching, shows us that it is important to be not only a practicing entity of this form of art, but also to attempt a deeper understanding of the art phenomenon in general, which has undergone uncountable changes in both definition and concrete aspects in recent years.
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The Pdf of the Spanish version of the book (2013) titled "La Caída de Fausto | Consideraciones sobre el Arte Contemporáneo y el Arte de Acción" is downloadable for free at: "What distinguishes Pagnes and Stenke from other artists is that besides their constant practice which has taken them in major art centers around the world, they are also interested in the theoretical aspects of communication, in decoding the hidden fabric of art and of artistic activity. Pdf of the complete book published on 2010.
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