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Overview of David Hammons
Active artist known for his unique style and political commentary.
Born in Springfield, Illinois, and relocated to California in 1962 to attend art school (Otis Art Institute).
Moved to New York in 1974.
Initially influenced by Pop Art and Black Nationalism, evolving into his own distinctive style.
Awarded a MacArthur Genius Grant.
Notably has chosen not to teach at a university, differing from many contemporaries.
Early Works and Techniques
Body Print Technique: Hammons used grease on his body to create a unique self-portrait by applying graphite over it, resulting in an impersonal yet innovative effect.
Example: "Pray for America"
Represents the artist's viewpoint post-riots, displaying a non-optimistic stance.
Injustice Case: Reflects the experience of Bobby Seale, a co-founder of the Black Panthers arrested at the 1968 Democratic Convention. The piece again shows Hammons' body print technique.
Conceptual Art and Symbolism
Spade with Chains (1970s):
A play on derogatory racial terminology linked with a literal representation of a spade, symbolizing agricultural labor and slavery.
The spade's shape also evokes themes of fertility from African artistry.
Detritus Works: Made from discarded materials, these pieces were an effort to confront public perceptions of art.
Example: Uses objects like tea bags and cockroaches, emphasizing a recycled artistic philosophy.
Winter Performance in 1983: Setup a blanket to sell snowballs, engaging in street theater as a commentary on public perception.
Artist's Philosophy
In an 1986 interview, Hammons outlined his views on art:
Disdain for Traditional Art: Claimed to have never liked art and viewed conventional success as unimportant.
Desire for Authenticity: Focused on street art to reflect everyday life rather than conforming to traditional galleries.
Political Engagement: His work often references racial identity and the social dynamics of the time.
Engaged in notions of poverty, art's relationships to economic factors, and emphasized the importance of creating art that resonates with reality.
Power of Street Art: Believed that art created in public spaces has more social impact than gallery-bound art.
Later Works and Socio-Political Commentary
Continued to explore themes around sports and societal goals through installations like basketball hoops symbolizing unattainable aspirations in pursuit of professional sports.
How You Like Me Now (1988): A large billboard project that tackled race and political visibility, provoking public reaction and reinforcing Hammons’ desire to navigate complex racial narratives.
Flying Carpet: A piece that incorporated humor and cultural commentary through the juxtaposition of an oriental rug and chicken wing bones.
Faith Ringgold
An artist from New York, recognized for her political art influenced by the sociopolitical climate of her time.
Early works contain depictions of societal violence and racial integration, employing pop art aesthetics.
Transitioned into quilting in the 1980s, integrating political issues with a focus on women's artistry and storytelling.
Notable Works and Themes
The Flag is Bleeding: A quilt highlighting racial themes, thus merging archived collective memory with textiles.
Postage Stamp for Black Power: Celebrates and critiques black identity through commercial and artistic symbolism.
Who's Afraid of Aunt Jemima?: A narrative quilt interweaving personal and political themes, questioning stereotypes.
Aerial Themes: Explored the idea of flight and empowerment, transitioning into expansive narratives reflected in her quilt series, combining visual art and storytelling.
Betty Saar
A native of California, known for her assemblage art that blends political issues with personal narratives.
Early works incorporated tarot and astrology; later moved towards more direct political commentary like The Liberation of Aunt Jemima, showcasing cooperation of history and personal identity in societal narratives.
Employed found objects and multi-layered meanings to provoke emotional reactions regarding African American history and identity.
Saar returned to themes of domesticity and cultural memory in much later works, reflecting on the complexity of feminine labor and heritage in African American history.