Exhibition of early and recent works by Harmony Hammond opens at White Cube Bermondsey

The First Art Newspaper on the Net    Established in 1996 Tuesday, June 18, 2024

Exhibition of early and recent works by Harmony Hammond opens at White Cube Bermondsey
Harmony Hammond, 'Inside the White Cube', White Cube Bermondsey 12 September - 3 November 2019 © the artist. Photo © White Cube (Ollie Hammick).

LONDON.- White Cube is presenting an exhibition by Harmony Hammond at Bermondsey. Her first solo show in Europe, it features early and recent works, ranging in date from 1971 to 2019.

Artist, curator, author and activist, Hammond was born in 1944 in Chicago but has lived and worked in New Mexico since 1984. A pivotal figure in the feminist art movement in New York during the 1970s, her early work combined gender politics with both a minimal and post-minimal understanding of materials and process, a focus that continues to this day. Frequently occupying a unique space between painting and sculpture, Hammond’s abstract, monochrome oil on canvas paintings incorporate additional materials such as fabrics, push pins, metal grommets and rope into their compositions, creating active, textural surfaces that appear to refute inherent notions of monochromatic purity. She says: ‘I’ve always been interested in bringing sociopolitical content into the world of abstraction. Incorporating materials and objects, with their geographies, histories, and associations, is one way of doing this.’

While Hammond’s recent ‘near monochrome’ large-scale works emerge from the trajectory of modernist abstraction, at the same time they question and disrupt it, evincing how paint in itself can be a carrier of meaning and how the canvas can be a site of ‘indexical intent’. Hammond’s earliest work in the exhibition, entitled Bag VI (1971), takes the form of a handbag made from painted and layered strips of cloth, which the artist refers to as three-dimensional brush strokes. Made from materials recycled from women friends while Hammond was living in New York in the 1970s – a time of heightened political consciousness – the works reference the gendered body, women’s traditional textile arts and creative practices of non-Western cultures.

The notion of recycling materials into new structural or metaphorical capacities continues in recent work: warm-white monochrome canvases are composed with grids of grommeted burlap, rope, push pins or straps, all overlaid with thick layers of paint. Showing ruptures and seams, the agglomerated material elements appear to emerge from and disappear into the canvas, creating a sense of three-dimensional relief, casting a shadow on the off-white coverlet below. Punctuated with protrusions, holes, seams and fraying edges, they foreground notions of suture and concealment – of hidden layers, spaces or narratives that lie beneath the surface. In the work Chenille #7 (2018), for example, a composition created from burlap coffee sacks cut open and collaged to the stretched canvas, a frayed flap of the burlap hangs slightly away from the painting surface, revealing what might be a raw wound underneath. The flap is flanked on either side by pieced and patched panels of grommeted canvas with trails of paint-encrusted rope hanging down. Similar concerns are explored in Bandaged Quilt #1 (2018-19), a dynamic, geometric composition created from overlapping strips of burlap and canvas, applied from the edge of the work towards its centre, in a basic pieced quilt pattern. Repeatedly overlaid, the material, suggestive of bandages, does not quite cover the entire surface, leaving an exposed blood-red slit or wound at the painting’s centre. With paint accumulating around the edge of each strip, the effect is of a rippling and receding cuboid space that in turn creates a poised and palpable tension between the irregularity of its soft material and overall geometric arrangement.

For Hammond, the canvas can be considered a metaphorical body, a place where surface and skin meet. ‘Monochrome refuses disembodiment,’ she has said. ‘It allows one to escape figuration but presence the body. All painting is about the skin of paint. The skin of paint calls up the body, and therefore the painting body. At their best, the paintings transmute the painting field into the body.’

Today's News

September 24, 2019

Artemis Gallery presents museum-worthy antiquities, Asian and ethnographic art

Old lady discovers Renaissance masterpiece in her kitchen

Christie's to offer the Collection of James and Marilynn Alsdorf

Museo Picasso Málaga opens Calder-Picasso exhibition

Exhibition at Ordovas focuses on Peggy Guggenheim's little known first gallery

Exhibition of early and recent works by Harmony Hammond opens at White Cube Bermondsey

New exhibition recreates four of Umberto Boccioni's sculptures destroyed in 1927

Hauser & Wirth opens its first solo exhibition of Ed Clark's work

Tampa Museum of Art opens 'Ordinary/Extraordinary: Assemblage in Three Acts'

Keeping the thread alive at a Vietnam silk village

Pace Gallery presents a site-specific installation by Yto Barrada

Sneakers, toys and street art land in Phillips with 'Tongue + Chic' sneaker exhibition & '24/7' online sale

Zurich Asia to offer rare stamps and philatelic treasures

Two creative crossings unveiled on Kensington High Street

Johnny Cash-owned bed will headline Ripley Auctions' October 19 sale

25+ works by KAWS to lead the collection of Ryan Brant at Sotheby's

Major works by contemporary designers and modern Italian masters lead Phillips' design sale this October

First U.S. museum exhibition to showcase graffiti and street art painted directly on gallery walls opens

Josh McNorton appointed as new Cultural Director of Wembley Park Arts

Perrotin New York presents a solo exhibition by NY based artist Leslie Hewitt

Allen Memorial Art Museum appoints two new curators

Two Nashville nonprofits help make art ownership possible for those in need

France's 'Little Brown Bear' author dies aged 90

Nicole Kidman, Ansel Elgort and the cast of The Goldfinch join Sotheby's Old Master paintings specialists

Planning to Cruise to Belize? Here's 5 Things You Should Know

6 Ways to Turn Your Small Business into Big Business

Focus On Home Decor Within Budget And Avoid Falling For The Debt Trap

Top Artwork Ideas in Casinos

Traits That Define a Professional Writer

Cashmere Scarf - The Most Popular Wardrobe Essential in 2019

A Brief Guide On Vape Types For Beginners

Vape Batteries - Comparison Between Rechargeable And Disposable

12 Ways to Protect Your Home from Burglars

The Evolution of Masculinity in Art, From Ancient Greece to Modern Times

Understanding What The Different Advantages And Disadvantages Of Virtual Reality Are

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Royalville Communications, Inc

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful