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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Mother and Child (Nancy and Olivia) by Alice Neel, Image 2.

    Alice Neel

    Mother and Child (Nancy and Olivia), 1982

    Lithograph in colors on Arches paper

    31 x 28 in (78.74 x 71.12 cm)

  2. Dollar Sign by Andy Warhol, Image 1.

    Andy Warhol

    Dollar Sign, 1982

    Screenprint on Lenox Museum Board

    20 x 15.875 in (50.8 x 40.32 cm)

  3. Amaryllis by Martha Dunigan, Image 1.

    Martha Dunigan

    Amaryllis, 1978

    Woodcut on paper

    17.5 x 21 in (44.45 x 53.34 cm)

  4. Nijinsky As Petrouchka, Study #1 by Ann Carter Pollard, Image 1.

    Ann Carter Pollard

    Nijinsky As Petrouchka, Study #1, 1978

    Woodcut on rice paper

    21.5 x 14.5 in (54.61 x 36.83 cm)

  5. Untitled by Donald Richard Sexauer, Image 1.

    Donald Richard Sexauer

    Untitled, 1973

    Etching on paper

    9.875 x 7.125 in (25.08 x 18.1 cm)

  6. The Pit, Canto XXII, from Inferno by Ron Kowalke, Image 1.

    Ron Kowalke

    The Pit, Canto XXII, from Inferno, 1970

    Etching on paper

    22 x 29.5 in (55.88 x 74.93 cm)

  7. Composition by Max Ernst, Image 1.

    Max Ernst

    Composition, 1968

    Etching on paper

    13 x 10.25 in (33.02 x 26.04 cm)

  8. Monhegan Shoreline by Reuben Tam, Image 1.

    Reuben Tam

    Monhegan Shoreline, c. 1960

    Lithograph on paper

    22.5 x 28.625 in (57.15 x 72.71 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.