Archival inkjet print, 9 x 7″ on 17.5 x 13.5″ paper
Shipped in a 18 x 14″ mat
Signature: Signed and numbered by the artist
Ann Hamilton is a visual artist internationally recognized for the sensory surrounds of her large-scale multi-media installations. Noted for a dense accumulation of materials, her ephemeral environments create immersive experiences that poetically respond to the architectural presence and social history of their sites. This image comes from the common S E N S E, a current exhibition at Henry Art Gallery. Using materials and representations of animals, Hamilton creates an elegiac accounting of the finitude and threatened extinctions we share across species. She asks: “How are objects—once animated by a living context—re-animated in cultural imagination, as we recognize the reach and the limits of our hands to touch and our voice to call?” Born in Lima, Ohio, in 1956, Ann Hamilton received a BFA in textile design from the University of Kansas in 1979 and an MFA in sculpture from the Yale School of Art in 1985. Hamilton has served on the faculty of The Ohio State University since 2001, where she is a professor in the Department of Art. Hamilton represented the United States at the 48th Venice Biennale and is a recipient of the MacArthur Fellowship. Hamilton premiered her video piece, table, at Urban Video Project (UVP) in April 2014.
About Ann Hamilton
Ann Hamilton creates large-scale multimedia installations that combine sculpture, architecture, video, spoken and written word, and human presence. Hamilton’s immersive environments are oriented around sensory experiences in time and space; she explores the way that bodily and lingustic experiences form perceptions and memory. “What is the relationship between how our bodies know things and how we embody our knowledge through our actions and touch?” she asks. “What is the relationship between that and language?” The artist creates site-specific works, often inhabiting a space acoustically. For “phora” (2005), Hamilton used different exhibition spaces to explore the genesis of vocalization and vocal expression through sound and mixed-media installations. To create tropos (1993–1994), she covered a gallery floor with horsehair and employed an actor to sit at a table reading a book and burning its lines as she went, so that the word was transformed into material (smoke), which was in turn absorbed by the hair.
American, b. 1956, Lima, Ohio