ARTIST MONOGRAPHS

PUBLISHER
Gregory R. Miller & Co./The Aldrich Contemporary Art Museum

BOOK FORMAT
Hardcover, 9 x 11.5 in. / 142 pgs / 70 color.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2019 p. 142   

PRODUCT DETAILS
ISBN 9781941366233 TRADE
List Price: $45.00 CDN $62.00 GBP £40.00

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In stock

EXHIBITION SCHEDULE

Ridgefield, CT
Aldrich Contemporary Art Museum, 03/03/19–09/15/19

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GREGORY R. MILLER & CO./THE ALDRICH CONTEMPORARY ART MUSEUM

Harmony Hammond: Material Witness

Five Decades of Art

Foreword by Cybele Maylone. Text by Amy Smith-Stewart.

"Cinch I" (2011–12) is reproduced from 'Harmony Hammond: Material Witness.'

An activist and a curator as well as a trailblazing artist, feminist and lesbian scholar, New Mexico–based Harmony Hammond (born 1944) has enjoyed a career spanning nearly fifty years and many mediums, all of which are brought together for the first time in Material Witness, which accompanies the artist’s museum survey of the same name at the Aldrich Contemporary Art Museum.

Hammond’s groundbreaking painting and installation practice unites minimalist and postminimalist concerns with feminist art strategies, employing marginalized craft traditions in the service of abstraction, and working through a wide cast of materials: fabric, rope, pine needles, hair, blood, bone and wood, mixed with traditional sculptural and painting materials.

Harmony Hammond: Material Witness restages the most significant installations of Hammond’s career and presents them alongside her major paintings, sculptures, works on paper and ephemera. Fully illustrated, and with an essay by exhibition curator Amy Smith-Stewart, this is the first and definitive monograph on Harmony Hammond and her revolutionary practice.


"Cinch I" (2011–12) is reproduced from 'Harmony Hammond: Material Witness.'

PRAISE AND REVIEWS

Frieze

Evan Moffit

[In 'Material Witness'] abstraction is a direct invocation of women’s bodies and the work they produce. Intense textures lend her paintings and sculptures an erotic charge; here, surface is a window onto the interior self.

AFAR

Allison C. Meier

Throughout, materials such as burlap, pine needles, bone, hair, blood, charred wood, and linoleum are augmented with paint, bronze, and graphite to elevate women’s craft traditions into reflections of the female body and its strength.

Spike Art Magazine

In these works [...] Hammond's advocation for resistance and female strength in life and art is a message conveyed with boy ferocity and grace.

Art in America

Faye Hirsch

[Material Witness] testifies to Hammond’s status as a productive and rigorous maker who demonstrates a consistent knack for transforming the neutral forms of abstraction into corporeal metaphor.

4Columns

Rachel Churner

Material Witness [...] stresses the variety of materials the artist has used from 1971 to the present, and it emphasizes the metaphorical valences of menstrual blood, hair, rags, straw, rusted tin, and, above all, paint.

Hyperallergic

Sharmistha Ray

Harmony Hammond’s work can appear bewildering at first, expansive in its diametrical explorations, and sprawling in its material juxtapositions.

Brooklyn Rail

Meredith Mendelsohn

In this long-overdue career survey, Harmony Hammond proves, if there were ever any doubt, that abstract art can be politically charged and bursting with content.

New York Times

Holland Cotter

Ms. Hammond’s art has beauty too, but of a prickly, irritant kind: it’s burlap — sometimes sandpaper — as opposed to silk. No surprise that, in a market-driven art world resistant to what can’t be classified and resentful of work that refuses to ingratiate, the spotlight has been a long time coming her way.

Artforum

Ashton Cooper

In Hammond’s formulation, however, abstraction is not a mode of expressing the “real” self or the truths of the unconscious, as had been explained in preceding decades. Rather, abstraction is an explicitly feminist and queer tool for visualizing and exploring the ever-changing textures of subjectivity.

Harmony Hammond: Material Witness

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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/8/2019

'Harmony Hammond: Material Witness' Book Release at the Aldrich

'Harmony Hammond: Material Witness' Book Release at the Aldrich

Sunday, September 8, from 3–5 PM, The Aldrich Contemporary Art Museum presents the launch of Harmony Hammond: Material Witness, Five Decades of Art, co-published with Gregory R. Miller & Co.
continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 8/19/2019

Feminist, queer, prophetic and imperative: Harmony Hammond, 'Material Witness'

Feminist, queer, prophetic and imperative: Harmony Hammond, 'Material Witness'

"Presence II" (1971) is reproduced from Harmony Hammond: Material Witness, Five Decades of Art, published to accompany the game-changing septuagenarian's first career retrospective, on view through September 15 at The Aldrich Contemporary Art Museum in Connecticut. "Her visual work, which she refers to as 'the painting body,' radiates a 'felt content' that bridges hard-lived awareness and feminist and queer ideologies with abstract and material concerns," essayist Amy Smith-Stewart writes. "In doing so, Hammond imbues her works with tenderized moments, infused with fingering and fixing, as she deftly juxtaposes, mediates, integrates and interweaves orthodoxly antagonistic forces like art-craft, painting-sculpture, wall-floor, angle-curve, part-whole, self-collective, inside-outside, male-female, to herald a handmade abstract expression that is percipient in its ability to maintain emblematic elasticity. In a century where historical dualities are becoming more fluid, an examination of Hammond's life work feels not only prophetic, but also imperative." To read Holland Cotter's glowing review of the Aldrich show, continue to The New York Times. continue to blog


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