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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. When Are All The Hands by Kaitlyn S. C. Hatch, Image 1.

    Kaitlyn S. C. Hatch

    When Are All The Hands, 2024

    Mixed media on paper

  2. Ratnasambhava, Ratna Family by Kaitlyn S. C. Hatch, Image 3.

    Kaitlyn S. C. Hatch

    Ratnasambhava, Ratna Family, 2023

    Limited edition print on 11pt cardstock

    17 x 11 in (43.18 x 27.94 cm)

  3. Amitabha, Padma Family by Kaitlyn S. C. Hatch, Image 3.

    Kaitlyn S. C. Hatch

    Amitabha, Padma Family, 2023

    Limted edition print on 11pt cardstock

    17 x 11 in (43.18 x 27.94 cm)

  4. Drawn to Berlin, Page 190-196 by Ali Fitzgerald, Image 7.

    Ali Fitzgerald

    Drawn to Berlin, Page 190-196, 2018

    Inkjet print on paper

    20 x 16.125 in (50.8 x 40.96 cm)

  5. Château Freyr, Belgium by Lynn Geesaman, Image 1.

    Lynn Geesaman

    Château Freyr, Belgium, 2004

    Chromogenic print

    28 x 28 in (71.12 x 71.12 cm)

  6. Belœil, Belgium by Lynn Geesaman, Image 1.

    Lynn Geesaman

    Belœil, Belgium, 2004

    Chromogenic print

    28 x 28 in (71.12 x 71.12 cm)

  7. Alice Walker, Rowan Oak, Miss. by William R. Ferris, Image 1.

    William R. Ferris

    Alice Walker, Rowan Oak, Miss., 1994

    Gelatin silver print

    13.5 x 9 in (34.29 x 22.86 cm)

  8. Untitled by Juan Genovés, Image 1.

    Juan Genovés

    Untitled, 1970

    Etching on paper

    19.8125 x 25.875 in (50.32 x 65.72 cm)

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About the artist

Harmony Hammond

American

b. 1944

Harmony Hammond 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 worked in northern New Mexico, teaching at the University of Arizona, Tucson from 1989–2006. Her groundbreaking book Lesbian Art in America: A Contemporary History (2000) received a Lambda Literary Award and remains the primary text on the subject. Hammond’s earliest feminist work combined gender politics with post-minimal concerns of materials and process, frequently occupying a space between painting and sculpture. She often combines fabric (what she labels as feminine materials) with non-art materials (e.g., hair, roofing) and paint.

Working in series since the 1980s, Hammond’s monotypes represent an extension of her interest in materials and processes to push the boundaries of traditional printmaking. Viewing the press as a collaborator, Hammond works in a “state of peripheral control,” or intentional unpredictability, allowing the pressure of the press to move the ink and activate the surface. By applying layers of wet-into-wet ink printed on handmade paper, she imbues these works with a sculptural quality and textured surface that recalls that of patinated metal, skin, and leather.