Harmony Hammond

 October 23 - December 7, 2013
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Harmony Hammond
Installation view, Alexander Gray Associates (2013)
Rib (2013)
Oil and mixed media on canvas
90.25h x 72.5w in (229.24h x 184.15w cm)
Rib (2013)
Oil and mixed media on canvas
90.25h x 72.5w in (229.24h x 184.15w cm)
Blanco (2012–2013)
Oil and mixed media on canvas
90.5h x 73.5w in (229.87h x 186.69w cm)
Blanco (2012–2013)
Oil and mixed media on canvas
90.5h x 73.5w in (229.87h x 186.69w cm)
Lace I (2012)
Oil and mixed media on canvas
36h x 36w in (91.44h x 91.44w cm)
Lace I (2012)
Oil and mixed media on canvas
36h x 36w in (91.44h x 91.44w cm)
Red Bed (2011)
Oil and mixed media on canvas
80.5h x 50.5w in (204.47h x 128.27w cm)
Red Bed (2011)
Oil and mixed media on canvas
80.5h x 50.5w in (204.47h x 128.27w cm)
The Black Leaf (1976)
Oil and wax on canvas
14h x 45.5w in (35.56h x 115.57w cm)
The Black Leaf (1976)
Oil and wax on canvas
14h x 45.5w in (35.56h x 115.57w cm)
Chrysanthemums (1975)
Oil and wax on canvas
24h x 38w in (60.96h x 96.52w cm)
Chrysanthemums (1975)
Oil and wax on canvas
24h x 38w in (60.96h x 96.52w cm)
In Her Absence (1981)
Mixed media
34h x 86w in (86.36h x 218.44w cm)
In Her Absence (1981)
Mixed media
34h x 86w in (86.36h x 218.44w cm)
The Gift (1992-93)
Mixed media
53.5h x 36w in (135.89h x 91.44w cm)
The Gift (1992-93)
Mixed media
53.5h x 36w in (135.89h x 91.44w cm)
Flesh Journal #2 (1993)
Acrylic on latex
11.25h x 8.75w in (28.58h x 22.23w cm)
Flesh Journal #2 (1993)
Acrylic on latex
11.25h x 8.75w in (28.58h x 22.23w cm)
Untitled (1971)
Acrylic on paper and fabric
28.5h x 23.5w in (72.39h x 59.69w cm)
Untitled (1971)
Acrylic on paper and fabric
28.5h x 23.5w in (72.39h x 59.69w cm)
VT (2012- #1) (2012)
Monotype and watercolor on paper with grommets
15.5h x 11.25w in (39.37h x 28.58w cm)
VT (2012- #1) (2012)
Monotype and watercolor on paper with grommets
15.5h x 11.25w in (39.37h x 28.58w cm)
VT (2012- #4) (2012)
Monotype and watercolor on paper with grommets
15.5h x 11.25w in (39.37h x 28.58w cm)
VT (2012- #4) (2012)
Monotype and watercolor on paper with grommets
15.5h x 11.25w in (39.37h x 28.58w cm)
Aperture #2 (2013)
Monotype on paper with grommets
28h x 20w in (71.12h x 50.8w cm)
Aperture #2 (2013)
Monotype on paper with grommets
28h x 20w in (71.12h x 50.8w cm)

About the Exhibition

Press Release PDF 70 K

October 23 - December 7, 2013

Alexander Gray Associates presented its inaugural exhibition with Harmony Hammond, her first one-person exhibition in New York since the 1990s. Emphasizing Hammond’s long-standing commitment to process-based abstraction, the exhibition includes paintings and works on paper from the past five decades, with a focus on recent works. A fully-illustrated catalogue accompanies the exhibition.

Since emerging as part of the early 1970s wave of Feminist art and activism, Hammond has infused her painting, sculpture, and mixed-media artworks with social concerns, inviting Feminist and Queer conversations around artistic explorations of process and craft. Early works, including Chrysanthemums (1975) and The Black Leaf (1976), demonstrate Hammond’s interest in the painted object, and methods of process, layering and removal. Assemblage works including Untitled (1971), a painting on a shopping bag with fabric attachments, provide grounding for The Gift (1992–93), an enigmatic collage of vintage linoleum and a clock face retrieved from an abandoned farmhouse combined with human hair. In Flesh Journal II (1993), text is cut into cast latex pages; this embedded information is a precursor to Hammond’s latest monochrome works.

In her most recent work, Hammond pushes the surface of the subject and the painting’s relationship to the viewer. In Red Bed (2011), Blanco (2012–13) and Rib (2013), canvases are wrapped with pierced and grommeted straps, then painted in layers of oil and wax until it is difficult to discern sequence, materiality, or gesture. At once built-up yet ephemeral, the paintings, and related monotypes, defy traditional art and challenge canonical histories of painting and sculpture.

Related Press

  • Hammond New York Times November 14, 2013 PDF (130 K)
  • Hammond Wall Street Journal November 8, 2013 PDF (265 K)
  • Hammond Exhibition Catalogue October 23, 2013  PDF (1.1 MB)

Artist Info