Internationally acclaimed artist Ann Hamilton creates sensory environments filled with huge quantities of material substances - 10 tons of Linotype slugs, 750,000 pennies (the budget of a project, translated into the smallest monetary unit and laid into a skin of honey), 48,000 blue work pants and shirts. In the last decade, Hamilton has increasingly incorporated sound, video, and audience interaction in a way that aligns her more closely with performance artists such as Laurie Anderson than with traditional sculptors. Her multimedia works have been widely exhibited - from The Museum of Modern Art to the Venice Biennale - and she has been awarded MacArthur and NEA Visual Arts Fellowships. Her process-oriented installations, perhaps more accurately called tableaux vivants, are so particular to their sites that, after their initial showing, they survive only in photographs, sketches, and other descriptive documents. This book, the first major volume devoted to Hamilton's work, thus will be the only complete documentation of all of her temporal projects, as well as her photographs and early textile art.
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Book Description
Editorial Reviews
Amazon.com Review
Temporary installations are ubiquitous in art spaces today, but there is one artist whose mysterious and sensual room-sized works unsettle even the jaded viewer. In Ann Hamilton, art writer and independent curator Joan Simon offers an intensive guided tour of nearly two decades of projects that now exist only in the 300 evocative photographs that illustrate this book. Simon lucidly discusses Hamilton's explorations of time, language, and memory, beginning with the early pieces involving massive quantities of unlikely objects (a floor carpeted with thousands of pennies stuck in honey; a table covered with 14,000 human and animal teeth embedded in iron oxide) to the "slow emptying" of recent work in photography, video, and performance. While no book can re-create the complex of sounds, smells, and actions that make Hamilton's art so compelling, Simon helps those who have experienced some of the artist's works to understand their connection to the realm of ideas. --Cathy Curtis
From Library Journal
Hamilton's site-specific, multimedia installation pieces involve stunning arrangements and quantities of materials: a room lined with small canvas dummies, a table spread with human and animal teeth, or a floor covered in a "skin" of pennies and honey. These major works of art are almost always space- and time-sensitive, making this first comprehensive book on Hamilton, a MacArthur Fellow and internationally exhibited artist, all the more necessary. The former managing editor of Art in America and author of catalogs on numerous contemporary artists, Simon combines biographical information and interviews with discussions about the making of these pieces as well as their meaning. Her inviting introduction offers a succinct discussion of installation art, both in general and in relation to Hamilton's work, followed by a chronological presentation of her pieces. Meticulously illustrated with 300 photographs, this section begins in 1981 and ends with the now-running "mercy," a collaboration with Meredith Monk. The back matter, which is just as carefully planned and executed, includes a biographical chronology, a selected exhibition history, and more. Even those with little background in installation will gain access to the genre through the gorgeous photographs and in-depth text. Essential for all libraries with collections in contemporary art. Carolyn Kuebler, "Library Journal"
Copyright 2002 Cahners Business Information, Inc.
Copyright 2002 Cahners Business Information, Inc.
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This review is from: Ann Hamilton (Hardcover)
This is a great book about Ann Hamilton. It contains far more information if you would think with amazing big size photos of her work. While, it does missing a few of her works that contain more of audio in them. I still think this is a great book. Additional paper cover is pretty, but it gets damage very easily, so I don't like that. Without the paper cover, the solid cover is very plane and boring. I think the book could have used some more design though in its cover, but I forgive them because book is so good.
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