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sable, a wolf and a chinchilla. They then burned, stained and painted the backs of the coats. This turned the coats into a 'sartorial trap' conjuring thoughts of politics, consumerism, animism, animal rights and more. The irony of this
Untitled Exhibition was not merely limited to the coats themselves, but also the location of the exhibition. Presenting it at L & M Arts in uptown Manhattan was a specific decision by Hammons, as he wish to invoke the irony of the coats fitting the representation of Upper East Manhattan lifestyle, yet their awkward fit in other places in New York. Similarly, his 1990-95 work
132:, the youngest of ten children being raised by a single mother. This dynamic caused great financial strain on his family during his childhood; he later stated that he is uncertain how they managed to 'get by' during this time. Although not inclined academically, Hammons showed an early talent for drawing and art; however the ease at which these practices came to him caused him to develop disdain for it. In 1962 he moved to Los Angeles, where he started attending Chouinard Art Institute (now
452:. This piece is a "ghost monument" to the late artist, Gordon Matta-Clark. Specifically, the art serve as a tribute to Matta-Clark's 'Pier 52' by creating a structural frame of the warehouse that made up the artist work. Matta-Clark had cut five openings in the walls, ceilings,0 and roof of an abandoned pier shed. This will be Hammons only permanent public piece to date. The piece itself is made of steel rods, with half being on land and the others being on steel piles in the Hudson River.
247:'s works concerning perception of light, Hammons said "I wish I could make art like that, but we're too oppressed for me to be dabbling out there.... I would love to do that because that could also be very black. You know, as a black artist, dealing just with light. They would say, "how in the hell could he deal with that, coming from where he did?" I want to get to that, I'm trying to get to that, but I'm not free enough yet. I still feel I have to get my message out."
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of the poor, Black urban class, but
Hammons reportedly saw a sort of sacrosanct or ritualistic power in these materials, which is why he utilized them so extensively. For example, using hair gathered from barbershops and pasting it on top of large stones. These discarded objects have become some of David's Hammons most well known sculptures that represent the life of an African-America living in the United States. His
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movements. As a black man experiencing these movements first-hand his artwork is rooted deeply in his personal experiences. These themes have been demonstrated in a range of his body prints. This is specifically seen in his "Spade" works he created during the 1970s - the word being used ironically to
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At a 2011 show at L & M Arts, he presented a number of drawings and painting obscured or cover by tarpaulins or plastic sheets - in one case being covered by a wooden armoire. He has made drawings of Kool-Aid powder before covering them with a curtain; the curtain only being lifted under certain
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has evolved to be a symbol of what it is like to be young, black, and a male. The sculpture was done in 1993 and showed in the
Mnuchin Gallery in New York. This simple sculpture is a cut piece of cloth nailed to the wall with a wire threaded through the lining to open the hood up evoking the idea of
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materials, including but not limited to elephant dung, chicken parts, strands of
African-American hair, and bottles of cheap wine provide a crucial interpretation of American life, and art history, from the perspective of a Black person. Many critics see these objects as evocative of the desperation
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At the start of his career during the 1960s
Hammons primary medium was body prints. This unique art was made by greasing Hammons' own body; then, he would press it on the paper and add graphite or another medium to accentuate the body print. Hammons acknowledges that he borrowed this technique from
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that hold significant meaning in the art world as well as in the public eye. David
Hammons continues to offers a crucial interpretation of the African-American art history in the life of a colored person through these symbols. It has been stated by Anthony Huberman that "Hammons work plays with art
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Through his varied work and media, and frequent changes in direction, Hammons has managed to avoid one signature visual style. Much of his work makes allusions to, and shares concerns with minimalism and post-minimal art, but with added
Duchampian references to the place of Black people in American
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in New York from 1986 to 1987. He continues his 'Bird' pieces with his 1990 work of the same name. This time he addresses how
African-American's have been given wide opportunities in certain industries, such as music and sport, however limited opportunities in others, for example, the Arts. This
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Hammons' attempts to comment on the inequity suffered by African-Americans at the time. This piece in particular reflects Hammons ability to capture the personal experience of being a Black man in America, especially at the time of the Civil Rights Movement, and has been described by Michael
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as a white male, with blonde hair and blue eyes as to reflect the racial bias of
American Politics. This work, which was painted on a wall, was vandalized by two men with sledgehammers. Hammons continues to display the damaged work, and even includes sledgehammers to add to the character of the
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In 2007 Hammons collaborated with his wife, Chie Hasegawa on a piece that enjoyed public acclaim. In the posh uptown gallery specially selected by Hammons (who does not accept to be associated with any one gallery), they installed full-length fur coats on antique dress forms—two minks, a fox, a
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However, Hammons artwork is not limited to dealing with the theme of race. He also tackles hierarchical class structure by reflecting it in the dynamic between young black men and basketball. Hammons created a series of larger-than-life basketball hoops, meticulously decorated with bottle caps,
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is 2 images of himself being wrapped into the American flag. It is his black self and his American self. He feels as if these two identities that he has are split and fundamentally at odds. They are constantly fighting each other and cannot be joined. Similarly, there is his
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he pays homage to the Jazz musician Charlie Parker. Similarly, when Hammons heard that Miles Davis had died he brought a boombox to New York's Museum of Modern Art when he was installing his works for his 1991 show 'Dislocations'. Also, the title of one of his works
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In 2016, Hammons performed a gallery show in collaboration with the Mnuchin Gallery called "David Hammons: Five Decades". As seen in his L & M Arts Exhibition, this choice of location and the disconnect it serves between it and his art is sought by Hammons.
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Hammons has been reluctant to discuss his early and personal life, as he wishes to avoid his work being framed in a certain way. This is exhibited in how he inverts the stereotypical relationship between creator and curator, stating "The way I see it, the
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this piece depicts a body print embossed onto a canvas depicting a Spade card you would find in a pack of cards. This artwork attempts to reclaim the term transforming its meaning from a racist term into a "badge of honor". Similarly, his 1970 painting,
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Hammons has expanded his repertoire into the performance medium. This medium allowed Hammons to discuss notions of public and private spaces, as well as what constitutes a valuable commodity. This was most notably seen in his 1983 piece
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is made of a swath of golden fabric, giving the piece, at first glance, an upper-class or regal look. However, on closer inspection the fabric is covered in burn holes and cigarette butts adorn the piece and the floor surrounding it.
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piece places a basketball, which is adorned with feathers and chicken wire, in the frame of a white-painted Victorian birdcage. The cage symbolizing the metaphorical cage that the African-American community still finds themselves in.
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His fur-coat artwork has a performance element to it. Hammons asked Dominique Levy, the co-owner of the L & M Gallery where the coats were to be exhibited, to walk down Madison Avenue wearing one of the coats as Hammons filmed.
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reflect Hammons lack of understanding as to why it is used as a derogatory term for African-Americans. Although not exclusively limited to Body Prints, many of the artworks in this series are conducted in this medium. There is
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Another one of Hammons key influences is the French artist Marcel Duchamp. Hammons has described himself as the head of the 'Duchamp Outpatient Clinic' and the company that owns his Yonkers Gallery is called 'Duchamp Realty'.
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David Hammons was considered quite distinguished from his fellow young African American artists of his time; he was seen as "postblack - avant la lettre, his work alluded to atrusim the rest of us are just waking up to".
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conditions. These pieces reflect the idea that in an age of surveillance and information overflow, Hammons attempts to stem this flow and withhold information. This idea was also seen more literally in his
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His first New York show took place in 1975 at Just Above Midtown (JAM), where his artworks were present alongside other artists of colour, including his friend and mentor Charles White. He titled this show
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Hammons has revisited the association of basketball and young black men in a series of drawings mad by repeatedly bouncing a dirty basketball on huge sheers of clean white paper set on the floor.
636:, Hammons dealt with the diametrically opposed relationship between spirituality and technology by juxtaposing an African tribal mask with a modern-day invention—a child's toy television set.
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Govan as "an icon for American Art." This piece also reflects Hammons natural artistic talent as it was acquired by the Los Angeles County Museum of Art merely a year after it was made.
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for the New York Times. During a blizzard in 2007, and in others since, Hammons wrapped a winter scarf around the head of a bronze sculpture of a Black woman at the base of the
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lynching and becomes a microcosm for what it is like being black in America. It may be simple, but it is so effective and aligns with how much of Hammons' work is done. '
260:. Much of Hammons' Body Prints reflect one of his main influences for his artwork - that being race. Much of his work reflects his commitment to the civil rights and
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song. In his Mnuchin Exhibition, he placed three microphone stands, with their mouthpieces extending so high that most people could not reach them, with the title
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is evoked by a spade emerging from the mouthpiece of a saxophone. The name of the piece reflecting Parker's nickname of "Yardbird" or "Bird". Similarly, there is
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from 1968 to 1972. He was never officially enrolled there, but Charles White allowed him to attend night classes. There he was influenced by artists such as
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In a show at the Gallery Shimada, in Yamaguchi, Japan, Hammons placed a large boulder in the back of a truck and then proceeded to drive around the city.
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the way a jazz musician plays with sound - he gets inside it, bends it, twists it around and keeps it from getting too still or getting too comfortable."
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piece, made over construction rebar coated with dreadlocked hair, was sold to the Whitney Museum for a hundred thousand dollars in 1992. Hammons piece
419:, the latter placing a basketball hoop at its standard height, but rendered unusable by his use of materials - cut glass beads and ornamental sconces.
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517:. This gave vibes of shoes draped over phone lines in inner-city neighborhoods and imposed a black influence on a work done by a white artist.
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120:(born July 24, 1943) is an American artist, best known for his works in and around New York City and Los Angeles during the 1970s and 1980s.
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1657:"Phillips | David Hammons - African-American Flag | 20th Century & Contemporary Art Evening Sale New York Thursday, May 18, 2017 Lot 2"
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across from the Museum itself. The ghostly architetural exoskeletal outline of a pier was inspired by and created in tribute to
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477:(1943-1978) where the earlier artist made five incisions into the Pier 52 building which stood on the same site previously.
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where the Ace Gallery in New York was cast in pitch darkness and visitors had to guide themselves with little flashlights.
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Hammons has been philanthropic with other black artists, namely by buying their work and helping them gain recognition.
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Hammons tackles the topic head-on. The piece depicts the American Flag in the Garvey Colours of Black, Red and Green (
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172:(a.k.a. LA Rebellion), an art collective that collaborated on artistic works. Other members of Studio Z included
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Flag. The importance of this piece is demonstrated in its status as part of the permanent collection of the
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In 1966, Hammons married Rebecca Williams, with whom he had two children. The couple divorced in 1972.
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mounted a large retrospective of his work in Los Angeles which included a homeless encampment onsite.
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at New York's 4th Street Photo Gallery, a noted East Village artist exhibition and project space.
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Later in his career, Hammons has explored the sculptural medium in creating pieces. In his 1970's
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2133:"Review: If an artist sets up a homeless camp inside a blue-chip art gallery, does anyone care?"
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In 2021, Hammons collaborated with the Hudson River Park Trust and the Whitney Museum to create
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These racial themes have been explored in other sculptural pieces. Hammons use of discarded or
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352:(1973), where the artist employs the provocative, derogatory term, coupled with the literal
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Mcfadden, Jane. "Here, here, or there : on the whereabouts of art in the seventies."
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In 2020, Hammons shared a previously unpublished image of a performance in an article by
1771:"This $ 1.4 Million "Bird" Makes an African-American Art Collection Soar to New Heights"
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Halle, Howard (February 17–23, 2011). "Hammon's paintings reveal more than they show".
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One of Hammons greatest influences has been the world of music. In the aforementioned
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1408:. Los Angeles: Getty Research Institute and the J. Paul Getty Museum, 2011. 262.
1028:; Museum of Modern Art, New York; Nasher Museum of Art, Durham, North Carolina;
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However, where this theme is most prominently demonstrated is in his 1986 piece
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In "The Window: Rented Earth: David Hammons", an early solo exhibition at the
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was almost 10-feet tall and the name reference both the basketball term of '
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1801:(February 27, 2007), "Fur What It's Worth," by Jerry Saltz; among others.
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1931:"David Hammons Installs Massive 'Day's End' Permanent Sculpture in NYC"
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2154:"David Hammons Is Still Messing With What Art Means (Published 2016)"
1868:"David Hammons Is Still Messing With What Art Means (Published 2016)"
1712:"David Hammons Is Still Messing With What Art Means (Published 2016)"
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evoking Islamic mosaic and design. An example of these 'altars' is
1797:(April 2007), "David and Chie Hammons," review by Jen Schwarting;
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in New York. A copy of the flag is hoisted at the entrance of the
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2043:"Looking at Seeing: David Hammons and the Politics of Visibility"
1981:"A Poignant Take on the Controversy Surrounding Public Monuments"
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978:, New York; Stedelijk Museum voor Actuele Kunst, Ghent, Belgium;
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and other venues. Hammons and Harsley have also collaborated on
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In 2003, Hammons married Chie Hasegawa, a Japanese-born artist.
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society. Hammons' work is made of not only allusions, but also
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2119:"Artist David Hammons buys Yonkers property; to open gallery"
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Hammons explored the video medium, collaborating with artist
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858:; Museum of Modern Art, New York (2 editions, 1 shared with
1245:"Individual Collective: A Conversation with Senga Nengudi"
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with the intention of creating his own art gallery there.
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He has also exhibited the theme of race in other mediums.
3556:"Laughter and anger : a David Hammons retrospective"
2415:. City of Atlanta, Mayor's Office of Cultural Affairs.
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National Museum of African American History and Culture
1959:"Can you remove the rainbow from happening? | InEnArt"
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Pacific standard time : Los Angeles art 1945-1980
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The Frances Young Tang Teaching Museum and Art Gallery
711:(popularly known as the "Genius Grant") in July 1991.
1062:(2014-2021), Gansevoort Peninsula (former Pier 52),
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InEnArt: Can you remove the rainbow from happening?
3568:"Por esto estamos aquĂ, David Hammons, ALIAS, 2011"
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2093:"David Hammons at Mnuchin: Institutional Critique"
1470:"David Hammons at Mnuchin: Institutional Critique"
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866:, Smithsonian Institution, Washington, D.C.; and
643:In 2014 Hammons purchased a former warehouse in
1632:"African American Flag by David Hammons (U.S.)"
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215:and Documenta need me, but I don't need them".
3635:David Hammons at Lumiar Cité, Lisbon, Portugal
2008:"Times Square Show Revisited - Charlie Ahearn"
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1685:"David Hammons Makes a Hood Stand for a Race"
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1548:"CCA Wattis Institute for Contemporary Arts"
1220:"David Hammons Biography, Life & Quotes"
3562:. Vol. 92, no. 6. pp. 86–88.
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1578:"What You Should Know About David Hammons"
1497:"Wreaking Havoc on the Signified | Frieze"
1321:"What You Should Know About David Hammons"
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890:(1990), San Francisco Museum of Modern Art
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2287:. Museum of Contemporary Art, Los Angeles
1906:"VIA Art Fund | David Hammons: Day's End"
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1066:, New York (maintained by Whitney Museum)
1036:; Rubell Museum, Miami/Washington, D.C.;
959:Fondation Cartier pour l'Art Contemporain
942:(1996), Studio Museum in Harlem, New York
909:(1992), Museum of Modern Art, New York;
366:), these colours also being used in the
2764:from the original on September 18, 2021
1192:"Charles White | Yale University Press"
1084:Schjeldahl, Peter (December 16, 2002).
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761:Museum of Contemporary Art, Los Angeles
3463:from the original on December 27, 2022
3429:from the original on December 27, 2022
3395:from the original on December 27, 2022
3361:from the original on December 27, 2022
3327:from the original on December 19, 2022
3293:from the original on December 27, 2022
3263:from the original on December 27, 2022
3229:from the original on December 27, 2022
3195:from the original on December 27, 2022
3074:from the original on December 27, 2022
2976:from the original on February 17, 2022
2866:from the original on December 27, 2022
2832:from the original on December 27, 2022
2798:from the original on December 27, 2022
2730:from the original on December 27, 2022
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2662:from the original on December 27, 2022
2419:from the original on February 13, 2021
2389:from the original on December 27, 2022
2355:from the original on December 27, 2022
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825:(1988), Museum of Modern Art, New York
613:on a number of video works, including
3741:21st-century African-American artists
3736:20th-century African-American artists
3731:Otis College of Art and Design alumni
3656:African-American contemporary artists
2041:Russeth, Andrew (February 17, 2015).
1979:Palmer, Daniel S. (October 9, 2020).
1900:
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1368:"David Hammons Paintings, Bio, Ideas"
1279:"David Hammons Follows His Own Rules"
1277:Tomkins, Calvin (November 27, 2019).
1167:"David Hammons Follows His Own Rules"
1165:Tomkins, Calvin (November 27, 2019).
1120:"David Hammons Paintings, Bio, Ideas"
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833:Hirshhorn Museum and Sculpture Garden
677:Which Mike do you want to be like...?
459:unveiled Hammons completed sculpture
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1044:; and Walker Art Center, Minneapolis
936:(1995), Glenstone, Potomac, Maryland
819:(1988), Glenstone, Potomac, Maryland
3522:from the original on April 14, 2022
3136:from the original on August 3, 2021
3106:from the original on March 30, 2022
3068:Stedelijk Museum voor Actuele Kunst
3006:from the original on April 23, 2022
2724:Stedelijk Museum voor Actuele Kunst
2576:from the original on April 15, 2022
2542:from the original on April 19, 2022
2321:from the original on April 20, 2021
2236:from the original on April 20, 2022
950:Museum of Contemporary Art, Chicago
898:Stedelijk Museum voor Actuele Kunst
715:Notable works in public collections
3721:21st-century American male artists
3711:20th-century American male artists
3040:from the original on July 23, 2021
2937:"Stone with Hair by David Hammons"
2690:San Francisco Museum of Modern Art
2383:San Francisco Museum of Modern Art
2152:Cotter, Holland (March 24, 2016).
1866:Cotter, Holland (March 24, 2016).
1710:Cotter, Holland (March 24, 2016).
813:Mayor's Office of Cultural Affairs
796:San Francisco Museum of Modern Art
128:David Hammons was born in 1943 in
19:For the American congressman, see
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3691:People from Springfield, Illinois
3578:Herbert, Martin, 'Street Level',
3545:David Hammons: Rousing the Rubble
3543:Hammons, David and Heiss, Alana.
2508:from the original on May 18, 2021
1840:Schwarting, Jen (April 2, 2007).
1814:Schwarting, Jen (April 2, 2007).
1443:Whitney, Kay (February 4, 2020).
1347:"Wreaking Havoc on the Signified"
578:depicted the political candidate
501:Hammons worked with Bey again in
3582:, Berlin: Sternberg Press, 2016.
2453:from the original on May 4, 2022
2195:Los Angeles County Museum of Art
1745:"Higher Goals - Public Art Fund"
847:Untitled (African-American Flag)
726:Los Angeles County Museum of Art
306:Untitled (African-American Flag)
87:Untitled (African-American Flag)
21:David Hammons (Maine politician)
3616:Flicker Images: "David Hammons"
3449:"The Holy Bible: Old Testament"
3415:"The Holy Bible: Old Testament"
3381:"The Holy Bible: Old Testament"
3347:"The Holy Bible: Old Testament"
3313:"The Holy Bible: Old Testament"
3283:"The Holy Bible: Old Testament"
546:Greasy Bags and Barbeque Bones.
344:(1973) where the jazz musician
231:. These metaphors develop into
3726:Chouinard Art Institute alumni
3558:. The Critics. The Art World.
550:In 1980, Hammons took part in
457:Whitney Museum of American Art
340:series included works such as
1:
3716:21st-century American artists
3706:20th-century American artists
3661:American contemporary artists
1018:The Holy Bible: Old Testament
621:), which was included in the
3605:The Art Institute of Chicago
2012:timessquareshowrevisited.com
535:in Columbus Park, Brooklyn.
471:Day's End, Cinical Inversion
276:Black First, America Second,
170:Studio Z (artist collective)
136:) from 1966 to 1968 and the
3686:American conceptual artists
3681:American postmodern artists
2682:"Putting on Sunday Manners"
2621:"University Art Collection"
539:Other media and exhibitions
533:Henry Ward Beecher Monument
311:The Studio Museum in Harlem
271:Spade (Power for the Spade)
168:and others, Hammons formed
3757:
3508:"David Hammons' Day's End"
3389:National Gallery of Canada
3034:Metropolitan Museum of Art
2072:New Museum Digital Archive
1945:"David Hammons: Day's End"
1042:Saratoga Springs, New York
1030:National Gallery of Canada
992:(1999), Seattle Art Museum
976:Metropolitan Museum of Art
604:Concerto in Black and Blue
18:
888:Putting on Sunday Manners
571:' and being transported.
509:'s giant steel sculpture
405:killing of Trayvon Martin
403:supporters following the
3599:The Museum of Modern Art
2970:Art Institute of Chicago
2716:"Chasing the Blue Train"
2439:"Untitled (Night Train)"
1842:"David and Chie Hammons"
1816:"David and Chie Hammons"
1423:The Museum of Modern Art
972:Art Institute of Chicago
752:Cambridge, Massachusetts
3630:Baltimore Museum of Art
3257:Baltimore Museum of Art
2596:"African-American Flag"
2562:"African-American Flag"
2528:"African American Flag"
2498:"African-American Flag"
1013:Baltimore Museum of Art
874:Esquire (or John Henry)
860:Studio Museum in Harlem
837:Smithsonian Institution
505:, where he urinated on
3547:, The MIT Press, 1991.
3223:Buffalo AKG Art Museum
2627:. collection slideshow
1604:"Bird | Hammer Museum"
1419:"David Hammons | MoMA"
1000:Buffalo AKG Art Museum
915:Durham, North Carolina
894:Chasing the Blue Train
823:Untitled (Night Train)
598:
333:
326:Untitled (Night Train)
318:
289:Trial of the Chicago 7
3701:Artists from Illinois
2409:"Free Nelson Mandela"
1749:www.publicartfund.org
707:Hammons received the
589:
557:The Times Square Show
417:Basketball Chandelier
359:African-American Flag
324:
303:
180:, Duval Lewis, RoHo,
130:Springfield, Illinois
55:Springfield, Illinois
3595:, New Museum archive
3574:on February 2, 2019.
3483:"Oh say can you see"
3321:Museum of Modern Art
3215:"Basketball Drawing"
2758:Museum of Modern Art
2570:Museum of Modern Art
2536:Museum of Modern Art
2447:Museum of Modern Art
2315:Museum of Modern Art
1775:Smithsonian Magazine
1064:Meatpacking District
911:Nasher Museum of Art
770:Museum of Modern Art
709:MacArthur Fellowship
595:Museum of Modern Art
473:an earlier piece by
372:Museum of Modern Art
354:gardening instrument
330:Museum of Modern Art
3580:Tell Them I Said No
3181:"High Level of Cat"
2912:"Praying to Safety"
817:How Ya Like Me Now?
802:Free Nelson Mandela
748:Harvard Art Museums
617:(originally titled
554:'s ground-breaking
488:Bliz-aard Ball Sale
431:was on view at the
364:Pan-African Colours
256:the French Artist,
81:How Ya Like Me Now?
75:Free Nelson Mandela
69:Bliz-aard Ball Sale
3554:(March 21, 2016).
3487:Pinault Collection
3189:Seattle Art Museum
3000:Harvard University
2826:Seattle Art Museum
2260:Harvard University
2158:The New York Times
1986:The New York Times
1872:The New York Times
1716:The New York Times
1196:yalebooks.yale.edu
1052:Pinault Collection
1048:Oh say can you see
996:Basketball Drawing
919:Seattle Art Museum
669:How Ya Like Me Now
652:Hauser & Wirth
599:
576:How Ya Like Me Now
475:Gordon Matta-Clark
401:Black Lives Matter
334:
319:
186:Barbara McCullough
138:Otis Art Institute
3671:MacArthur Fellows
3552:Schjeldahl, Peter
3457:Walker Art Center
3130:Walker Art Center
2941:Fondation Cartier
2892:. August 31, 2017
2375:"Untitled (dung)"
2349:Walker Art Center
2138:Los Angeles Times
1933:. April 30, 2021.
1846:The Brooklyn Rail
1820:The Brooklyn Rail
1799:The Village Voice
1795:The Brooklyn Rail
1255:on April 10, 2023
1004:Buffalo, New York
990:High Level of Cat
946:Praying to Safety
884:/Washington, D.C.
783:Walker Art Center
739:Potomac, Maryland
645:Yonkers, New York
467:Hudson River Park
433:Cadman Plaza Park
350:Spade with Chains
115:
114:
3748:
3575:
3570:. Archived from
3563:
3532:
3531:
3529:
3527:
3504:
3498:
3497:
3495:
3493:
3479:
3473:
3472:
3470:
3468:
3445:
3439:
3438:
3436:
3434:
3423:Skidmore College
3411:
3405:
3404:
3402:
3400:
3377:
3371:
3370:
3368:
3366:
3343:
3337:
3336:
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3309:
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3200:
3177:
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3141:
3122:
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3090:
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3079:
3056:
3050:
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3047:
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3022:
3016:
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2927:
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2922:
2908:
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2899:
2897:
2882:
2876:
2875:
2873:
2871:
2848:
2842:
2841:
2839:
2837:
2814:
2808:
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2805:
2803:
2780:
2774:
2773:
2771:
2769:
2746:
2740:
2739:
2737:
2735:
2712:
2706:
2705:
2703:
2701:
2678:
2672:
2671:
2669:
2667:
2646:
2637:
2636:
2634:
2632:
2617:
2611:
2610:
2608:
2606:
2592:
2586:
2585:
2583:
2581:
2558:
2552:
2551:
2549:
2547:
2524:
2518:
2517:
2515:
2513:
2494:
2488:
2487:
2485:
2483:
2469:
2463:
2462:
2460:
2458:
2435:
2429:
2428:
2426:
2424:
2405:
2399:
2398:
2396:
2394:
2371:
2365:
2364:
2362:
2360:
2341:"Flight Fantasy"
2337:
2331:
2330:
2328:
2326:
2303:
2297:
2296:
2294:
2292:
2277:
2271:
2270:
2268:
2266:
2252:
2246:
2245:
2243:
2241:
2222:
2211:
2210:
2208:
2206:
2187:"Injustice Case"
2183:
2177:
2176:
2174:
2172:
2149:
2143:
2142:
2141:. June 18, 2019.
2129:
2123:
2122:
2115:
2109:
2108:
2106:
2104:
2089:
2083:
2082:
2080:
2078:
2064:
2058:
2057:
2055:
2053:
2038:
2023:
2022:
2020:
2018:
2004:
1998:
1997:
1995:
1993:
1976:
1970:
1969:
1967:
1965:
1955:
1949:
1948:
1941:
1935:
1934:
1927:
1921:
1920:
1918:
1916:
1902:
1891:
1890:
1888:
1886:
1863:
1857:
1856:
1854:
1852:
1837:
1831:
1830:
1828:
1826:
1811:
1802:
1792:
1786:
1785:
1783:
1781:
1766:
1760:
1759:
1757:
1755:
1741:
1735:
1734:
1732:
1730:
1707:
1701:
1700:
1698:
1696:
1691:. April 27, 2016
1681:
1672:
1671:
1669:
1667:
1653:
1647:
1646:
1644:
1642:
1636:www.crwflags.com
1628:
1619:
1618:
1616:
1614:
1600:
1594:
1593:
1591:
1589:
1584:. March 11, 2016
1574:
1563:
1562:
1560:
1558:
1544:
1538:
1537:
1535:
1533:
1523:"Injustice Case"
1519:
1513:
1512:
1510:
1508:
1492:
1486:
1485:
1483:
1481:
1466:
1460:
1459:
1457:
1455:
1440:
1434:
1433:
1431:
1429:
1415:
1409:
1402:
1396:
1389:
1383:
1382:
1380:
1378:
1364:
1358:
1357:
1355:
1353:
1343:
1337:
1336:
1334:
1332:
1327:. March 11, 2016
1317:
1294:
1293:
1291:
1289:
1274:
1265:
1264:
1262:
1260:
1251:. Archived from
1241:
1235:
1234:
1232:
1230:
1216:
1207:
1206:
1204:
1202:
1188:
1182:
1181:
1179:
1177:
1162:
1135:
1134:
1132:
1130:
1116:
1101:
1100:
1098:
1096:
1081:
841:Washington, D.C.
623:Whitney Biennial
529:Daniel S. Palmer
455:In May 2021 the
213:Whitney Biennial
194:Joe Ray (artist)
65:
51:
47:
45:
28:
3756:
3755:
3751:
3750:
3749:
3747:
3746:
3745:
3641:
3640:
3612:, Washington DC
3589:
3566:
3550:
3540:
3538:Further reading
3535:
3525:
3523:
3506:
3505:
3501:
3491:
3489:
3481:
3480:
3476:
3466:
3464:
3447:
3446:
3442:
3432:
3430:
3413:
3412:
3408:
3398:
3396:
3379:
3378:
3374:
3364:
3362:
3355:Duke University
3345:
3344:
3340:
3330:
3328:
3311:
3310:
3306:
3296:
3294:
3281:
3280:
3276:
3266:
3264:
3247:
3246:
3242:
3232:
3230:
3213:
3212:
3208:
3198:
3196:
3179:
3178:
3174:
3164:
3162:
3154:
3153:
3149:
3139:
3137:
3124:
3123:
3119:
3109:
3107:
3092:
3091:
3087:
3077:
3075:
3058:
3057:
3053:
3043:
3041:
3024:
3023:
3019:
3009:
3007:
2994:
2993:
2989:
2979:
2977:
2960:
2959:
2955:
2945:
2943:
2935:
2934:
2930:
2920:
2918:
2910:
2909:
2905:
2895:
2893:
2884:
2883:
2879:
2869:
2867:
2850:
2849:
2845:
2835:
2833:
2816:
2815:
2811:
2801:
2799:
2792:Duke University
2782:
2781:
2777:
2767:
2765:
2748:
2747:
2743:
2733:
2731:
2714:
2713:
2709:
2699:
2697:
2680:
2679:
2675:
2665:
2663:
2650:"David Hammons"
2648:
2647:
2640:
2630:
2628:
2619:
2618:
2614:
2604:
2602:
2594:
2593:
2589:
2579:
2577:
2560:
2559:
2555:
2545:
2543:
2526:
2525:
2521:
2511:
2509:
2496:
2495:
2491:
2481:
2479:
2471:
2470:
2466:
2456:
2454:
2437:
2436:
2432:
2422:
2420:
2407:
2406:
2402:
2392:
2390:
2373:
2372:
2368:
2358:
2356:
2339:
2338:
2334:
2324:
2322:
2305:
2304:
2300:
2290:
2288:
2279:
2278:
2274:
2264:
2262:
2254:
2253:
2249:
2239:
2237:
2226:"David Hammons"
2224:
2223:
2214:
2204:
2202:
2185:
2184:
2180:
2170:
2168:
2151:
2150:
2146:
2131:
2130:
2126:
2117:
2116:
2112:
2102:
2100:
2099:. April 4, 2016
2091:
2090:
2086:
2076:
2074:
2066:
2065:
2061:
2051:
2049:
2040:
2039:
2026:
2016:
2014:
2006:
2005:
2001:
1991:
1989:
1978:
1977:
1973:
1963:
1961:
1957:
1956:
1952:
1943:
1942:
1938:
1929:
1928:
1924:
1914:
1912:
1904:
1903:
1894:
1884:
1882:
1865:
1864:
1860:
1850:
1848:
1839:
1838:
1834:
1824:
1822:
1813:
1812:
1805:
1793:
1789:
1779:
1777:
1768:
1767:
1763:
1753:
1751:
1743:
1742:
1738:
1728:
1726:
1709:
1708:
1704:
1694:
1692:
1683:
1682:
1675:
1665:
1663:
1655:
1654:
1650:
1640:
1638:
1630:
1629:
1622:
1612:
1610:
1608:hammer.ucla.edu
1602:
1601:
1597:
1587:
1585:
1576:
1575:
1566:
1556:
1554:
1546:
1545:
1541:
1531:
1529:
1521:
1520:
1516:
1506:
1504:
1494:
1493:
1489:
1479:
1477:
1476:. April 4, 2016
1468:
1467:
1463:
1453:
1451:
1445:"David Hammons"
1442:
1441:
1437:
1427:
1425:
1417:
1416:
1412:
1403:
1399:
1390:
1386:
1376:
1374:
1366:
1365:
1361:
1351:
1349:
1345:
1344:
1340:
1330:
1328:
1319:
1318:
1297:
1287:
1285:
1276:
1275:
1268:
1258:
1256:
1243:
1242:
1238:
1228:
1226:
1218:
1217:
1210:
1200:
1198:
1190:
1189:
1185:
1175:
1173:
1164:
1163:
1138:
1128:
1126:
1118:
1117:
1104:
1094:
1092:
1083:
1082:
1078:
1074:
1069:
955:Stone with Hair
811:City of Atlanta
792:Untitled (dung)
717:
705:
693:Ornette Coleman
689:Michael Jackson
660:
619:Kick the Bucket
541:
483:
298:
253:
224:
202:
190:Houston Conwill
182:Franklin Parker
174:Maren Hassinger
150:John Baldessari
126:
91:
84:
79:
72:
63:
58:
52:
49:
43:
41:
33:
24:
17:
16:American artist
12:
11:
5:
3754:
3752:
3744:
3743:
3738:
3733:
3728:
3723:
3718:
3713:
3708:
3703:
3698:
3696:Flag designers
3693:
3688:
3683:
3678:
3673:
3668:
3663:
3658:
3653:
3643:
3642:
3639:
3638:
3632:
3623:
3618:
3613:
3607:
3602:
3596:
3588:
3587:External links
3585:
3584:
3583:
3576:
3564:
3560:The New Yorker
3548:
3539:
3536:
3534:
3533:
3516:Whitney Museum
3499:
3474:
3440:
3406:
3372:
3338:
3304:
3274:
3240:
3206:
3172:
3147:
3117:
3085:
3051:
3017:
2987:
2953:
2928:
2903:
2877:
2860:Whitney Museum
2843:
2809:
2775:
2741:
2707:
2673:
2638:
2625:The New School
2612:
2587:
2553:
2519:
2489:
2464:
2430:
2400:
2366:
2332:
2298:
2272:
2247:
2212:
2178:
2144:
2124:
2110:
2097:Roni Feinstein
2084:
2059:
2024:
1999:
1971:
1950:
1936:
1922:
1892:
1858:
1832:
1803:
1787:
1761:
1736:
1702:
1673:
1648:
1620:
1595:
1564:
1539:
1514:
1487:
1474:Roni Feinstein
1461:
1435:
1410:
1397:
1384:
1359:
1338:
1295:
1283:The New Yorker
1266:
1236:
1208:
1183:
1171:The New Yorker
1136:
1102:
1090:The New Yorker
1075:
1073:
1070:
1068:
1067:
1055:
1045:
1026:Bolzano, Italy
1015:
1006:
993:
987:
965:
952:
943:
937:
931:
928:Whitney Museum
921:
904:
902:Ghent, Belgium
891:
885:
871:
868:The New School
843:
826:
820:
814:
798:
789:
779:Flight Fantasy
776:
763:
754:
741:
728:
722:Injustice Case
718:
716:
713:
704:
701:
685:Michael Jordan
659:
656:
593:(2010) at the
540:
537:
482:
479:
346:Charlie Parker
328:(1989) at the
297:
294:
281:Injustice Case
252:
249:
223:
220:
201:
198:
125:
122:
113:
112:
110:conceptual art
103:
99:
98:
66:
60:
59:
53:
39:
35:
34:
31:
15:
13:
10:
9:
6:
4:
3:
2:
3753:
3742:
3739:
3737:
3734:
3732:
3729:
3727:
3724:
3722:
3719:
3717:
3714:
3712:
3709:
3707:
3704:
3702:
3699:
3697:
3694:
3692:
3689:
3687:
3684:
3682:
3679:
3677:
3674:
3672:
3669:
3667:
3666:Living people
3664:
3662:
3659:
3657:
3654:
3652:
3649:
3648:
3646:
3636:
3633:
3631:
3627:
3624:
3622:
3619:
3617:
3614:
3611:
3608:
3606:
3603:
3600:
3597:
3594:
3593:David Hammons
3591:
3590:
3586:
3581:
3577:
3573:
3569:
3565:
3561:
3557:
3553:
3549:
3546:
3542:
3541:
3537:
3521:
3517:
3513:
3509:
3503:
3500:
3488:
3484:
3478:
3475:
3462:
3458:
3454:
3450:
3444:
3441:
3428:
3424:
3420:
3416:
3410:
3407:
3394:
3390:
3386:
3382:
3376:
3373:
3360:
3356:
3352:
3348:
3342:
3339:
3326:
3322:
3318:
3314:
3308:
3305:
3292:
3288:
3284:
3278:
3275:
3262:
3258:
3254:
3250:
3244:
3241:
3228:
3224:
3220:
3216:
3210:
3207:
3194:
3190:
3186:
3182:
3176:
3173:
3161:
3157:
3151:
3148:
3135:
3131:
3127:
3121:
3118:
3105:
3101:
3100:
3095:
3089:
3086:
3073:
3069:
3065:
3061:
3055:
3052:
3039:
3035:
3031:
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2890:Studio Museum
2887:
2886:"Too Obvious"
2881:
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2655:Rubell Museum
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2098:
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2069:
2068:"Exhibitions"
2063:
2060:
2048:
2044:
2037:
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2033:
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2029:
2025:
2013:
2009:
2003:
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1988:
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1769:Lidz, Franz.
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1491:
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1372:The Art Story
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1224:The Art Story
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1005:
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977:
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970:(1995-1999),
969:
966:
964:
960:
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951:
947:
944:
941:
938:
935:
934:Freudian Slip
932:
929:
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922:
920:
916:
912:
908:
905:
903:
899:
896:(1989-1991),
895:
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875:
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794:(1983-1985),
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790:
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679:(Referencing
678:
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671:comes from a
670:
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628:
627:installations
624:
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580:Jesse Jackson
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413:High Falutin'
408:
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376:Studio Museum
373:
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245:James Turrell
241:
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200:Personal life
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162:Senga Nengudi
159:
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142:Charles White
139:
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119:
118:David Hammons
111:
107:
106:Postmodernism
104:
100:
96:
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88:
82:
77:
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70:
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50:(age 81)
48:July 24, 1943
40:
36:
32:David Hammons
29:
26:
22:
3676:Flags in art
3626:"Traveling,"
3579:
3572:the original
3559:
3544:
3524:. Retrieved
3511:
3502:
3490:. Retrieved
3486:
3477:
3467:December 27,
3465:. Retrieved
3452:
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3418:
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3316:
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3287:Provincia.bz
3286:
3277:
3267:December 27,
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2889:
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2870:December 27,
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2855:
2846:
2836:December 27,
2834:. Retrieved
2821:
2818:"Money Tree"
2812:
2802:December 27,
2800:. Retrieved
2787:
2784:"Money Tree"
2778:
2768:December 27,
2766:. Retrieved
2753:
2750:"Money Tree"
2744:
2734:December 27,
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2698:. Retrieved
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2393:December 27,
2391:. Retrieved
2378:
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2344:
2335:
2323:. Retrieved
2310:
2307:"Body Print"
2301:
2289:. Retrieved
2284:
2281:"Body Print"
2275:
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2259:
2256:"Body Print"
2250:
2238:. Retrieved
2229:
2205:December 27,
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2046:
2017:February 18,
2015:. Retrieved
2011:
2002:
1990:. Retrieved
1984:
1974:
1964:February 18,
1962:. Retrieved
1953:
1939:
1925:
1915:February 17,
1913:. Retrieved
1910:VIA Art Fund
1909:
1885:February 18,
1883:. Retrieved
1871:
1861:
1851:February 18,
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1845:
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1825:February 20,
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1527:cat.xula.edu
1526:
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1500:
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1341:
1331:February 18,
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1324:
1288:February 17,
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1282:
1257:. Retrieved
1253:the original
1248:
1239:
1229:February 18,
1227:. Retrieved
1223:
1201:February 17,
1199:. Retrieved
1195:
1186:
1176:February 18,
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1129:February 17,
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1123:
1095:February 17,
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1089:
1086:"The Walker"
1079:
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731:Three Spades
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673:Kool Moe Dee
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441:
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429:Higher Goals
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222:Art practice
217:
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158:Chris Burden
154:Noah Purifoy
146:Bruce Nauman
127:
117:
116:
92:
85:
80:
73:
68:
64:Notable work
25:
3651:1943 births
3628:2001-2001.
3249:"Traveling"
3156:"Phat Free"
3126:"Phat Free"
3094:"Phat Free"
3060:"Phat Free"
3026:"Phat Free"
2996:"Phat Free"
2962:"Phat Free"
2916:MCA Chicago
2600:Smithsonian
2047:ARTnews.com
1689:Artnet News
1582:Artnet News
1325:Artnet News
940:Too Obvious
856:Los Angeles
787:Minneapolis
481:Performance
397:In the Hood
392:In the Hood
378:in Harlem.
287:during the
285:Bobby Seale
262:Black Power
251:Body prints
3645:Categories
3601:, New York
3385:Gallery.CA
3219:BuffaloAKG
3030:Met Museum
2852:"Untitled"
2473:"Untitled"
1552:wattis.org
1072:References
930:, New York
907:Money Tree
870:, New York
766:Body Print
757:Body Print
744:Body Print
681:Mike Tyson
658:Influences
634:New Museum
503:Pissed Off
496:Dawoud Bey
309:(1990) at
258:Yves Klein
178:Ronn Davis
124:Early life
44:1943-07-24
3610:Hirshhorn
3453:WalkerArt
2502:The Broad
2477:Hirshhorn
2345:WalkerArt
2230:Glenstone
2166:0362-4331
1992:August 3,
1880:0362-4331
1724:0362-4331
1449:Sculpture
1259:April 10,
1059:Day's End
1032:Library,
1009:Traveling
968:Phat Free
852:The Broad
735:Glenstone
615:Phat Free
569:Traveling
565:Traveling
515:Shoe Tree
492:whiteness
462:Day's End
296:Sculpture
229:metaphors
94:Day's End
3520:Archived
3461:Archived
3427:Archived
3393:Archived
3359:Archived
3325:Archived
3291:Archived
3261:Archived
3227:Archived
3193:Archived
3134:Archived
3104:Archived
3072:Archived
3038:Archived
3004:Archived
2974:Archived
2864:Archived
2830:Archived
2796:Archived
2762:Archived
2728:Archived
2694:Archived
2660:Archived
2574:Archived
2540:Archived
2506:Archived
2451:Archived
2417:Archived
2387:Archived
2353:Archived
2319:Archived
2234:Archived
2199:Archived
1661:Phillips
1050:(2017),
1020:(2002),
998:(2001),
957:(1998),
948:(1997),
926:(1992),
924:Untitled
876:(1990),
850:(1990),
831:(1989),
829:Untitled
805:(1987),
781:(1978),
774:New York
768:(1975),
746:(1974),
733:(1971),
724:(1970),
650:In 2019
591:Untitled
450:Days End
388:Untitled
315:New York
102:Movement
3526:June 4,
3512:Whitney
3492:June 4,
3165:June 4,
3160:Whitney
3140:June 4,
3110:June 4,
3044:June 4,
3010:June 4,
2980:June 4,
2946:June 4,
2921:June 4,
2896:June 4,
2856:Whitney
2631:June 4,
2605:June 4,
2580:June 4,
2546:June 4,
2512:June 4,
2482:June 4,
2457:June 4,
2423:June 4,
2325:June 4,
2291:June 4,
2265:June 4,
2240:June 4,
1054:, Paris
1022:Museion
597:in 2022
583:piece.
332:in 2022
233:symbols
166:Nengudi
134:CalArts
3637:, 2019
3351:Nasher
3253:ArtBMA
2788:Nasher
2686:SFMoMA
2379:SFMoMA
2164:
1878:
1722:
1501:Frieze
1034:Ottawa
984:London
917:; and
703:Awards
383:abject
192:, and
156:, and
97:(2021)
90:(1990)
83:(1988)
78:(1987)
71:(1983)
57:, U.S.
2191:LACMA
1395:: 45.
963:Paris
882:Miami
552:Colab
511:T.W.U
338:Spade
267:Spade
3528:2022
3494:2022
3469:2022
3435:2022
3419:Tang
3401:2022
3367:2022
3333:2022
3317:MoMA
3299:2022
3269:2022
3235:2022
3201:2022
3167:2022
3142:2022
3112:2022
3099:Tate
3080:2022
3064:SMAK
3046:2022
3012:2022
2982:2022
2948:2022
2923:2022
2898:2022
2872:2022
2838:2022
2804:2022
2770:2022
2754:MoMA
2736:2022
2720:SMAK
2702:2022
2668:2022
2633:2022
2607:2022
2582:2022
2566:MoMA
2548:2022
2532:MoMA
2514:2022
2484:2022
2459:2022
2443:MoMA
2425:2022
2395:2022
2361:2022
2327:2022
2311:MoMA
2293:2022
2285:MOCA
2267:2022
2242:2022
2207:2022
2173:2021
2162:ISSN
2105:2021
2079:2021
2054:2021
2019:2021
1994:2021
1966:2021
1917:2021
1887:2021
1876:ISSN
1853:2021
1827:2021
1782:2021
1756:2021
1731:2021
1720:ISSN
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1668:2021
1643:2021
1615:2021
1590:2021
1559:2021
1534:2021
1509:2021
1503:(22)
1482:2021
1456:2021
1430:2021
1379:2021
1354:2021
1333:2021
1290:2021
1261:2023
1231:2021
1203:2021
1178:2021
1131:2021
1097:2021
980:Tate
687:and
664:Bird
368:UNIA
342:Bird
38:Born
3185:SAM
2966:AIC
2822:SAM
2413:OCA
1393:Art
862:);
465:in
415:or
313:in
243:On
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