Harmony Hammond: Against Seamlessness
[Hammond] pioneered a visual language that confronted gender, class, and sexual orientation within the higher realms of a painterly abstraction, bridging a sentient and materially rich abstraction with an active social awareness.
–Amy Smith-Stewart, The Aldrich Contemporary Art Museum
This book of work by Harmony Hammond includes reproductions of eight thickly-painted, monochrome and near-monochrome paintings. While these paintings engage with the history of modernist painting—more specifically, narratives of abstraction and monochrome—they come out of post-minimal and feminist concerns with materials and process rather than modernist reduction. They are formal, frontal, reductive, condensed.
[Hammond] pioneered a visual language that confronted gender, class, and sexual orientation within the higher realms of a painterly abstraction, bridging a sentient and materially rich abstraction with an active social awareness.
–Amy Smith-Stewart, The Aldrich Contemporary Art Museum
This book of work by Harmony Hammond includes reproductions of eight thickly-painted, monochrome and near-monochrome paintings. While these paintings engage with the history of modernist painting—more specifically, narratives of abstraction and monochrome—they come out of post-minimal and feminist concerns with materials and process rather than modernist reduction. They are formal, frontal, reductive, condensed.
[Hammond] pioneered a visual language that confronted gender, class, and sexual orientation within the higher realms of a painterly abstraction, bridging a sentient and materially rich abstraction with an active social awareness.
–Amy Smith-Stewart, The Aldrich Contemporary Art Museum
This book of work by Harmony Hammond includes reproductions of eight thickly-painted, monochrome and near-monochrome paintings. While these paintings engage with the history of modernist painting—more specifically, narratives of abstraction and monochrome—they come out of post-minimal and feminist concerns with materials and process rather than modernist reduction. They are formal, frontal, reductive, condensed.
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Paintings by Harmony Hammond
Foreword by Julia Bryan-Wilson
Essay by Tirza True LatimerPaperback
12.25 x 9.5 inches
36 pages / 14 images
Limited edition of 750 copies, signed and numbered by the artist
ISBN: 9781934435441
All Signed — $40 / Now RARE — $80 -
Harmony Hammond (b. 1944) is an artist, writer, and curator. A leading figure in the development of the feminist art movement in New York in the early 1970s, she received her BA from University of Minnesota in 1967 before moving to New York in 1969. 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). Since 1984, Hammond has lived and worked in northern New Mexico, teaching at the University of Arizona, Tucson from 1989 to 2006.
Hammond has exhibited in solo and group exhibitions worldwide, at venues including The Aldrich Contemporary Art Museum (Ridgefield, CT), Whitney Museum of American Art (NYC), Museum of Contemporary Art (Los Angeles), National Museum of Women in the Arts (Washington, DC), Centre Pompidou (Paris), Guggenheim Museum (Bilbao), MoMA PS1 (NYC), and the Vancouver Art Gallery. Her work is in the permanent collections of the Art Institute of Chicago, Brooklyn Museum (NYC), The Metropolitan Museum of Art (NYC), The Museum of Modern Art (NYC), National Museum of Women in the Arts (Washington, DC), New Mexico Museum of Art (Santa Fe, NM), Phoenix Art Museum (AZ), Walker Art Center (Minneapolis, MN), and Whitney Museum of American Art (NYC), among others. She is the recipient of many awards and fellowships, including the Anonymous Was A Woman Award (2014); the Lifetime Achievement Award, Women’s Caucus for Art (2014); the Distinguished Feminist Award, College Art Association (2013); Pollock-Krasner Foundation Fellowship (2007 and 1989); and Joan Mitchell Foundation Award (1998).
The artist’s book, Wrappings: Essays on Feminism, Art and the Martial Arts (1984), is a foundational publication on 1970s feminist art. Her groundbreaking book Lesbian Art in America: A Contemporary History (2000) received a Lambda Literary Award and remains the primary text on the subject. Her archive is housed at the Getty Research Institute (Los Angeles).