Medium
Image rights
© David Hammons

Since the 1960s, David Hammons has confronted American cultural stereotypes and racial issues through wittily incisive sculptures, installations, performances, and body prints. Placing himself somewhere between Arte Povera and Dada, Hammons has made art from the refuse and cast-offs of stereotypical African-American life: chicken wings, Thunderbird and Night Train bottles, dreadlock clippings, basketball hoops, elephant dung, and bottle caps. From his X-ray-like body prints made with grease, to his "Spade" series of garden spades (a reclamation of the racial slur), to Pissed Off (1981), in which he urinated against a Richard Serra sculpture, Hammons combines political sentiment with powerful aesthetic statements.

High auction record
$7.0m, Phillips, 2013
Blue-chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA), San Francisco Museum of Modern Art (SFMOMA)
Selected exhibitions
2019
The Collection (1) | 20 Years of S.M.A.K.S.M.A.K. Museum of Contemporary Art
Basquiat’s “Defacement”: The Untold StoryGuggenheim Museum
2016
Five DecadesMnuchin Gallery
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The Door (Admissions Office), 1969

Wood, acrylic sheet, and pigment construction
79 × 48 × 15 in
200.7 × 121.9 × 38.1 cm
Location
Brooklyn
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Medium
Image rights
© David Hammons

Since the 1960s, David Hammons has confronted American cultural stereotypes and racial issues through wittily incisive sculptures, installations, performances, and body prints. Placing himself somewhere between Arte Povera and Dada, Hammons has made art from the refuse and cast-offs of stereotypical African-American life: chicken wings, Thunderbird and Night Train bottles, dreadlock clippings, basketball hoops, elephant dung, and bottle caps. From his X-ray-like body prints made with grease, to his "Spade" series of garden spades (a reclamation of the racial slur), to Pissed Off (1981), in which he urinated against a Richard Serra sculpture, Hammons combines political sentiment with powerful aesthetic statements.

High auction record
$7.0m, Phillips, 2013
Blue-chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA), San Francisco Museum of Modern Art (SFMOMA)
Selected exhibitions (3)
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Series by this artist

Other works from Witness: Art and Civil Rights in the Sixties
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