Red Cross, 2019-2020
Oil and mixed media on canvas
92 3/4 x 76 1/2 x 4 1/4 in (235.6 x 194.3 x 10.8 cm)
Collection of the Tia Foundation
Rib, 2013
Oil and mixed media on canvas
90 1/4 x 72 1/2 in (229.36 x 184.15 cm)
Presence II — VIII, 1971-72
Mixed media
Dimensions variable
Chenille #9, 2019
Oil and mixed media on gessoed burlap and canvas
73 x 70 in (185.42 x 177.8 cm)
Erasure #1, 2002
Mixed media
47 1/4 x 35 3/4 in (120.02 x 90.81 cm)
Hug, 1978
Mixed media
64 x 29 x 14 in (162.56 x 73.66 x 35.56 cm)
Collection of the Whitney Museum of American Art
Bandaged Grid #6, 2016
Oil and mixed media on canvas
76 1/2 x 56 1/2 in (194.31 x 143.51 cm)
Green Veil, 1975
Oil and Dorland's Wax Medium on canvas
20 1/4 x 20 1/4 in (51.44 x 51.44 cm)
Collection of the Minneapolis Institute of Art
Coverup, 2012
Oil and mixed media on canvas
68 1/2 x 60 3/4 in (173.99 x 154.43 cm)
Collection of the Minneapolis Institute of Art
Floorpiece II — VI, 1973
Cloth and acrylic
Dimensions variable
Double Bandaged Quilt #1 (Horizontal), 2019
Oil and mixed media on canvas
57 x 104 1/2 in (144.78 x 265.43 cm)
Grommetype #8, 2017
Monotype on grommeted Twinrocker paper
13 x 10 1/4 in (33.02 x 26.04 cm)
Inappropriate Longings, 1992
Mixed media
Overall dimensions of installation variable
left panel: 92 x 73 1/4 x 1 3/4 in, center panel: 92 x 73 x 1 3/4 in, right panel: 93 x 74 1/2 x 7 1/2 in
Letting the Weather Get In, 1977
Oil and Dorland's Wax Medium on canvas
14 x 45 1/2 in (35.56 x 115.57 cm)
Chenille #7, 2018
Oil and mixed media on canvas
58 1/4 x 118 1/4 x 5 1/2 in (148 x 300.4 x 14 cm)
Bag VI, 1971
Cloth and acrylic
54 x 22 in (137.16 x 55.88 cm)
Buffer, 2011
Oil and mixed media on canvas
44 1/2 x 50 1/2 in (113.03 x 128.27 cm)
Collection of the New Mexico Museum of Art
Untitled, 1995
Mixed media
In 2 parts: 74 x 41 x 2 in each
74 x 82 x 2 in overall
Bandaged Grid #1, 2015
Oil and mixed media on canvas
44 1/8 x 76 1/2 x 2 1/2 in (112.39 x 194.31 x 6.35 cm)
Hunkertime, 1979–1980
Mixed media
Dimensions variable
Collection of the Brooklyn Museum
Blood Journals (Giorno I - X), 1994
Mixed media in 10 parts
In 10 parts, each: 15 x 11 in (38.1 x 27.94 cm)
Bandaged Grid #9, 2020
Oil and mixed media on canvas
78 1/4 x 110 1/4 x 4 in (198.8 x 280 x 10.2 cm)
Aperture #2, 2013
Monotype on grommeted Twinrocker paper
28 x 20 in (71.12 x 50.8 cm)
Harmony Hammond, 2019. Photo: Clayton Porter
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 attended the University of Minnesota from 1963–67 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 1989–2006. Hammond’s earliest feminist work combined gender politics with post-minimal concerns of materials and process, frequently occupying a space between painting and sculpture.
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 attended the University of Minnesota from 1963–67 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 1989–2006. Hammond’s earliest feminist work combined gender politics with post-minimal concerns of materials and process, frequently occupying a space between painting and sculpture.
For years, she has worked with found and repurposed materials and objects such as rags, straw, latex rubber, hair, linoleum, roofing tin, and burnt wood as well as buckets, gutters and water troughs as a means of introducing content to the world of abstraction. Hammond’s near-monochrome paintings of the last decade participate in the narrative of modernist abstraction at the same as time they insist on an oppositional discourse of feminist and queer content. Their focus on materiality and the indexical, suggesting topographies of body and place, derives from and remains in conversation with her feminist work of the 1970s. A second ongoing series of overtly political work in various media ranging from bronze sculpture to digital prints, deals with issues of intolerance, censorship, and self-censorship.
A survey exhibition of Harmony Hammond’s work opened in 2019 at The Aldrich Contemporary Art Museum in Ridgefield, CT, and traveled to the Sarasota Museum of Art, FL in 2020. Hammond has exhibited nationally and internationally in venues such as the MCA Chicago, IL (2019); Des Moines Art Center, IA (2019); Brooklyn Museum, NY (2018 and 1985); Museum of the City of New York, NY (2016); New Mexico Museum of Art, Sante Fe, NM (2016); Museum Moderner Kunst Stiftung, Ludwig, Vienna, Austria (2016); Rose Art Museum, Waltham, MA (2015); RedLine Art Space, Denver, CO (2014); National Museum of Women in the Arts, Washington, D.C. (2011); MoMA PS1, Queens, NY (2008); Vancouver Art Gallery, Canada (2008); Museo de Arte Contemporaneo Internacional Rufino Tamayo, Mexico City, Mexico (2007); Neue Galerie, Graz, Austria (2007); Museum of Contemporary Art, Los Angeles, CA (2007); SITE Santa Fe, NM (2002); Hammer Museum, Los Angeles, CA (1996); New Museum, New York, NY (1982); Downtown Whitney Museum, New York, NY (1978); and Walker Art Center in Minneapolis, MN (1968), among others.
Hammond’s work is in the permanent collections of the Art Institute of Chicago, IL; Brooklyn Museum, NY; Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; National Museum of Women in the Arts, Washington, DC; New Mexico Museum of Art, Santa Fe, NM; Phoenix Art Museum, AZ; Wadsworth Atheneum, Hartford, CT; Walker Art Center, Minneapolis, MN; and Whitney Museum of American Art, New York, NY, among others. Her archive is in the permanent collection of the Getty Research Institute, Los Angeles, CA. She has received fellowships from the John Simon Guggenheim, Joan Mitchell, Pollock–Krasner, Esther and Adolph Gottlieb, and Art Matters Foundations, the New York State Council on the Arts, and the National Endowment for the Arts among others. Hammond’s book, Wrappings: Essays on Feminism, Art and the Martial Arts, (TSL Press, 1984) is a foundational publication on 1970s feminist art. Her groundbreaking book Lesbian Art in America: A Contemporary History (Rizzoli, 2000) received a Lambda Literary Award and remains the primary text on the subject. In 2013, Hammond was honored with The College Art Association Distinguished Feminist Award. She received both the College Art Association's Women's Caucus for Art Lifetime Achievement Award and Anonymous was a Woman Award in 2014.
Art Institute of Chicago, IL
Bartlett Center for the Visual Arts, Oklahoma State University, Stillwater, OK
Brooklyn Museum, Brooklyn, NY
Denver Art Museum, Denver, CO
Everson Museum, Syracuse, NY
Grey Art Gallery, New York University, New York, NY
Leslie-Lohman Museum, New York, NY
Library of Congress, Washington, DC
Lyman Allyn Art Museum, New London, CT
Metropolitan Museum of Art, New York, NY
Minneapolis Institute of Arts, Minneapolis, MN
Museum of Contemporary Art, Los Angeles, CA
The Museum of Modern Art, New York, NY
Museum of Texas Tech University, Lubbock, TX
National Museum of Women in the Arts, Washington, DC
New Mexico Arts, State Public Art Collection, NM
New Mexico Museum of Art, Santa Fe, NM
Orlando Museum of Art, FL
Phoenix Art Museum, AZ
Rendez-vous International Sculpture Site, Saint-Jean-Port-Joli, Quebec
RISD Museum, Providence, RI
Roswell Museum, NM
Ruth Chandler Williamson Gallery, Scripps College, Claremont, CA
St. Thomas More Chapel, Fordham University, Bronx, NY
Tia Collection, Santa Fe, NM
Tucson Museum of Art, AZ
University of New Mexico Art Museum, Albuquerque, NM
University of Massachusetts, Amherst, MA
Wadsworth Atheneum Museum of Art, Hartford, CT
Walker Art Center, Minneapolis, MN
Weatherspoon Art Museum, University of North Carolina, Greensboro, NC
Weisman Museum, University of Minnesota, Minneapolis, MN
Western Michigan University, Kalamazoo, MI
Whitney Museum of American Art, New York, NY
Harmony Hammond included in the group exhibition Queer Threads, curated by John Chaich at the San Jose Museum of Quilts & Textiles, CA.
Harmony Hammond included in the group exhibiton The Double: Identity and Difference in Art Since 1900 at the National Gallery of Art, Washington, DC.
Harmony Hammond included in the group exhibition Women's Work at Lyndhurst in Tarrytown, NY.
Harmony Hammond and Jennie C. Jones included in the group exhibition No Forms curated by Margot Norton at Hill Art Foundation in New York.
Harmony Hammond and Steve Locke included in the group exhibition Under My Skin at Campeche Gallery in Mexico City.
Harmony Hammond included in a panel discussion of her group exhibition The Printer's Proof: Artist and Printer Collaborations held at Albuquerque Museum, NM.
Melvin Edwards, Harmony Hammond, and Joan Semmel included in Making Community: Prints from Brandywine Workshop and Archives, Brodsky Center at PAFA, and Paulson Fontaine Press at Pennsylvania Academy of the Fine Arts, Philadelphia, PA.
