Not only a terrifying, sobering moment, it also brought … But … Continue reading →, Immediately after walking out of the Carnegie Museum of Art’s 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, I glanced down at my phone to read the news that a homicidal alt-right-er mowed down a group of counter-protesters in Charlottesville, killing Heather Heyer. Janet Yellen to Treasury? They’re from the 1960s, when Mr. Hammons, who was born in Springfield, Ill., in 1943, was in Los Angeles, closely aligned with a community of black artists. On the other hand, "Closed Circuit" (1997–2000), Lutz Bacher's single-channel video, represents the contraction of a year. 20. How did David Hammons "draw" his piece, Out of Bounds? Across the room is a painting or drawing on paper, also impressive in size and dated 2002, of what appear to be billowing clouds. Not only a terrifying, sobering moment, it also brought … Continue reading →. A detail of an untitled sculpture made from bottle caps, by David Hammons. Years ago it might have been jazz; this time he has filled Mnuchin’s imperious quarters with classical Japanese court music, further shaking up fixed notions of Otherness. To the left, with a title both punning and descriptive, is a piece called “Smoke Screen” (1990-95). The 1990s brought a subtle shift in thematic emphasis in Mr. Hammons’s art, from race to class. He has always treated race as a kind of Duchampian ready-made, to be defined and deployed at will. Otto Piene also made soot drawings during this period, and Yves Klein used charred pigments to make his "Untitled (fire-color painting)" of 1962. Watts still smoldered; Black Power was in forward drive. In fact, it seems to be a tentative step in the right direction. Sports are another way up and out, but again uncertain. In effect, this means she has chosen works that foreground the process of getting marks on the paper (when it is paper); the finished drawing is less the goal the vehicle that conveyed the artist there. In addition to notes for, as well as interpretations of, performances and dances by Merce Cunningham, John Cage, Vito Acconci, Christo, and others, one finds numerous drawings that function both as records and representations. It's a sort of breathing photograph, a photograph expanded. And if Mr. Hammons hasn’t technically organized the show of 34 objects, about half on loan from public and private collections, he has seriously messed with it. Indeed it is. Robert Morris's "Footprints From Traveling. The arrangement is only vaguely chronological, though there are early pieces near the start. Early life. The cloud patterns were made by a basketball dribbled repeatedly over the paper’s surface after being coated with what the checklist describes as “Harlem earth.”. An untitled sheet by Lee Bontecou (c.1958) looks remarkably like the scaled-armor plating of one of her sculptured works, although here she has used a blowtorch on paper and then scraped and polished various areas. Five years later, when Mr. Hammons had his first exhibition of new work at Mnuchin (then called L&M, with Dominique Lévy as a partner), overt references to racial blackness were pretty much gone, though politics was not. David Hammons Is Still Messing With What Art Means “Orange Is the New Black,” left, and an untitled work, part of a career survey of David Hammons at the Mnuchin Gallery. And then, simply, the film reverses, and the fingertip appears to wipe the letters into existence. Two current exhibits, including the Met's first-ever group show of video art, apply the temporal to the once-static field of visual art, Daniel Kunitz writes. It describes a narrative arc of sharp amplitude, and beautiful timing. At various points in the 1980s, he sold snowballs on a sidewalk near the Bowery, erected three-story-high basketball hoops in Brooklyn, and made sculptures from hair swept from Harlem barber shop floors. German artist Wolfgang Staehle renders the temporal explicit in "Eastpoint (September 15, 2004)," a view of mountains and river in the Hudson Valley, composed of some 8,000 still images synched to play over a single day. At the time, the new work, with its visual variety, humor and fulsome collage effects, generated cryptomodernist pleasures of its own and was hugely, and predictably, popular. For, as reductive as it feels, it is in what Rankine does not say but submits to the reader’s imagination—as the visual artist must—that she … It is a 40-minute edited loop of 10 months of footage from a surveillance camera mounted above the late art dealer Pat Hearn's desk, just after she was diagnosed with liver cancer. Ms. Jones asked. Leonardo da Vinci made a drawing, Madonna and Child with St. Anne and Infant St. John the Baptist, for a fresco of the same title (p. 172). Attempts to solve that problem have altered and expanded our aesthetic universe. “Orange Is the New Black,” left, and an untitled work, part of a career survey of David Hammons at the Mnuchin Gallery. Both of these quiet and comely shows look to the recent, and not so recent, past to demonstrate how the application of the temporal to the once-static realm of visual art results in an expanded field. In, for instance, "Whipping the Wall With Paint" (1975), Mr. McCarthy uses a canvas dipped in paint to "draw" on walls and columns. Submission of reader comments is restricted to NY Sun sustaining members only. David Hammons was born in 1943 in Springfield, Illinois, the youngest of ten children of a single mother. "Closed Circuit" until April 29 (1000 Fifth Ave. at 82nd Street, 212-535-7710); "Live/Work" until May 21 (11 W. 53rd St., between Fifth and Sixth avenues, 212-708-9400). However you read Mr. Hammons’s recent art, and many ways are possible, one central fact holds true: He is messing with — expanding, exploding — ideas of what art means, and especially what “black art” means, making it broad enough to be borderless, useless as a descriptive label by a controlling and abidingly racist market culture. It is a small — only eight pieces — and quirky show, reflecting the fact that the museum, under the auspices of the department of photography, began collecting video art a mere five years ago. If you are already a member, please log in here: Not yet a Supporting Member of the New York Sun? Only up close do you see the trace of imprinted words and lines.