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65-725: Hammons is a surname. Notable people with the surname include: David Hammons (born 1943), American artist David Hammons (Maine politician) (1808–1888), American politician Debbie Hammons (born 1950), American politician E. W. Hammons (1882–1962), American film producer Edden Hammons (1876–1955), American fiddler Foy Hammons , American football player and coach John Q. Hammons (1919–2013), American businessman John Tyler Hammons (born 1988), American politician Joseph Hammons (1787–1836), American politician See also [ edit ] Hammon (disambiguation) [REDACTED] Surname list This page lists people with

130-606: A Black woman at the base of the Henry Ward Beecher Monument in Columbus Park, Brooklyn. 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 Greasy Bags and Barbeque Bones. In 1980, Hammons took part in Colab 's ground-breaking The Times Square Show , which acted as

195-669: A Dynasty Production Manager 1998 The Prince of Egypt (digital operations manager) 1993 Freaked (production manager) Producer 2017 Horace Tapscott: Musical Griot (Documentary) (executive producer) Other 1982 A Different Image (Sound Assistant) Horace Tapscott: Musical Griot (2017) Nominated for AMAA 2017 AWARD FOR BEST DIASPORA DOCUMENTARY 2017 New Orleans Film Festival Documentary Official Selection Audience Award at 2017 Pan African Film Festival Best Documentary Feature Nomination at 2017 BlackStar Festival Grants Grants for her work include an Avant-Garde Masters Grant for experimental film from

260-465: A Dynasty was produced as her Project One film at UCLA. The film features McCullough's then two-year-old son and weaves together moving images and still photography in a personal portrait. The themes in the film include Egyptian and other African histories as well as the relationship between the Black Diaspora and Africa. It also expresses Afrofemcentrism, examines the location of family, destabilizes

325-795: A Japanese-born artist. 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 Whitney Biennial and Documenta need me, but I don't need them". Hammons has been philanthropic with other black artists, namely by buying their work and helping them gain recognition. 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

390-418: 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." 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

455-521: 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 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

520-591: A documentary about Black jazz pianist and composer Horace Tapscott ( Horace Tapscott: Musical Griot ), who stayed in Los Angeles even after attaining a national reputation so that he could continue to help the Watts community where he grew up. The film highlights Tapscott's musical education and career within the Watts Central Avenue Jazz tradition. Art Tatum , Earl Hines and Erroll Garner were all mentors to

585-453: A forum for exchange of ideas for a younger set of alternative artists in New York. His installation was made of glistening scattered shards of glass (from broken bottles of Night Train wine). 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. Traveling

650-407: A fox, a 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

715-633: A group of Los Angeles teachers. Commercial Career McCullough has served as the production coordinator for KCET-TV in Los Angeles, production manager for Pacific Data Images , worked for Cine Motion Pictures, Digital Domain , and has been the Manager of Recruitment & Academic Outreach at Rhythm and Hues Studios . After two decades working in film production and visual effects in Los Angeles, she has earned multiple credits on big studio feature films including The Prince of Egypt (1998), Toys (1992), and Ace Ventura: When Nature Calls (1995). McCullough

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780-616: A number of pairs of sneakers over the top of the work in Shoe Tree . 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. 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. His fur-coat artwork has a performance element to it. Hammons asked Dominique Levy,

845-523: A number of video works, including Phat Free (originally titled Kick the Bucket ), which was included in the Whitney Biennial and other venues. Hammons and Harsley have also collaborated on installations at New York's 4th Street Photo Gallery, a noted East Village artist exhibition and project space. In "The Window: Rented Earth: David Hammons", an early solo exhibition at the New Museum , Hammons dealt with

910-465: A pier was inspired by and created in tribute to Day's End, Cinical Inversion an earlier piece by Gordon Matta-Clark (1943-1978) where the earlier artist made five incisions into the Pier 52 building which stood on the same site previously. 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

975-404: A production class. Project One would be the starting point for many of the filmmakers of the L.A. Rebellion including Julie Dash and Carrol Parrott Blue. From Project One, McCullough produced what is believed to be her first film Chephren-Khafra: Two Years of a Dynasty. McCullough was fascinated by dance, but she felt that she had to look outside it for a way to express her creativity within

1040-428: A valuable commodity. This was most notably seen in his 1983 piece Bliz-aard Ball Sale . Hammons situates himself alongside street vendors in downtown Manhattan in order to sell snowballs which are priced according to size. This act serves both as a parody on commodity exchange and a commentary on the capitalistic nature of art fostered by art galleries. Furthermore, it puts a satirical premium on " whiteness ", ridiculing

1105-592: A way out of the ghetto. Hammons is noted to say, "It takes five to play on a team, but there are thousands who want to play—not everyone will make it, but even if they don't at least they tried." Higher Goals was on view at the Cadman Plaza Park 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,

1170-570: Is Spade , a 1974 print where the artist pressed his face against the shape leaving a caricature-like imprint of Negroid features. Also in the Spade series is Spade (Power for the Spade) 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, Black First, America Second,

1235-470: Is Spade with Chains (1973), where the artist employs the provocative, derogatory term, coupled with the literal gardening instrument , in order to make a visual pun between the blade of a shovel and an African mask, and a contemporary statement about the issues of bondage and resistance. In his seminal piece, African-American Flag Hammons tackles the topic head-on. The piece depicts the American Flag in

1300-461: 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 ' Injustice Case ' where he depicts himself bound to a chair and gagged. This image references the treatment of Bobby Seale during

1365-560: 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 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. ' In the Hood ' was recast in the cultural-limelight when images of the piece were used as profile pictures on social media for Black Lives Matter supporters following

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1430-483: Is a symbolic action" capable of releasing the subject from herself to allow her to "move from one space and time into another." She uses this as a means of self-determination and self-representation. As many of the other L.A. Rebellion filmmakers express in their works; it is crucial for a community to define itself on its own terms. McCullough chooses to represent the rituals and creative processes of these artists to allow them to speak for themselves. Despite allowing

1495-521: Is different from Wikidata All set index articles David Hammons David Hammons (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. David Hammons was born in 1943 in Springfield, Illinois , 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

1560-854: Is now Chair of the Visual Effects Department at Savannah College of Art and Design . Museum Exhibitions McCullough's works have been exhibited in universities, galleries, museums, festivals and programs within the United States and abroad including the Museum of Contemporary Art, Los Angeles (MOCA), Hammer Museum , Tate Modern, Whitney Museum, Coursitane Film Festival, Brooklyn Museum, American Film Institute , Muzeum Sztuki-Lodz, Poland, British Film Institute, Irish Film Institute, Houston Cinema Arts Film Festival, New Orleans Film Festival, ATLarge Music Film Festival, Pan African Film Festival, African Diaspora Intl. Film Festival, and upcoming projects at

1625-449: 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 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

1690-448: Is sought by Hammons. In 2014 Hammons purchased a former warehouse in Yonkers, New York with the intention of creating his own art gallery there. In 2019 Hauser & Wirth mounted a large retrospective of his work in Los Angeles which included a homeless encampment onsite. One of Hammons greatest influences has been the world of music. In the aforementioned Bird he pays homage to

1755-470: 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 CalArts ) from 1966 to 1968 and the Otis Art Institute from 1968 to 1972. He

1820-588: The Trial of the Chicago 7 and 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 Govan as "an icon for American Art." This piece also reflects Hammons natural artistic talent as it

1885-442: The killing of Trayvon Martin . 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, evoking Islamic mosaic and design. An example of these 'altars' is High Falutin' or Basketball Chandelier ,

1950-410: The surname Hammons . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Hammons&oldid=986164001 " Category : Surnames Hidden categories: Articles with short description Short description

2015-645: The Arts. This 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. 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,

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2080-794: The Garvey Colours of Black, Red and Green ( Pan-African Colours ), these colours also being used in the UNIA Flag. The importance of this piece is demonstrated in its status as part of the permanent collection of the Museum of Modern Art in New York. A copy of the flag is hoisted at the entrance of the Studio Museum in Harlem. These racial themes have been explored in other sculptural pieces. Hammons use of discarded or abject materials, including but not limited to elephant dung, chicken parts, strands of African-American hair, and bottles of cheap wine provide

2145-737: The Gray Center for Arts, Chicago and the Essay Film Festival in London, England. McCullough's films tend to involve the African diaspora, black feminism, and improvisation. They, “go beyond resisting spectatorship and create a space for the "assertion of critical black female spectatorship as”... “they allow new transgressive possibilities for the formulation of identity.’” In describing her own work, McCullough has said, “Stylistically, I have my own personal style. I like things that are offbeat, unusual. At

2210-552: 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 How Ya Like Me Now comes from a Kool Moe Dee song. In his Mnuchin Exhibition, he placed three microphone stands, with their mouthpieces extending so high that most people could not reach them, with

2275-767: The Vampire: The Vampire Chronicles (digital production manager: Digital Domain) 1994 Color of Night (visual effects production manager) 1993 Heart and Souls (production manager: Pacific Data Images, Inc.) 1992 Toys (production manager: PDI) 1987 Made in Heaven (visual effects production coordinator) Director 2017 Horace Tapscott: Musical Griot (Documentary) 1981 Shopping Bag Spirits and Freeway Fetishes: Reflections on Ritual Space (Video) 1980 World Saxophone Quarte t 1980 Fragments (Short) 1979 Water Ritual #1: An Urban Rite of Purification (Short) 1977 Chephren-Khafra: Two Years of

2340-601: The audience as the actors. Her short film Fragment s (1980) is a continuation into the exploration of ritual from Shopping Bag Spirits. Her 1980 short film World Saxophone Quartet is about a short conversation with the World Saxophone Quartet whose members comment on their work and motivation. Unlike her more formalist work, World Saxophone Quartet would go on to be picked up by PBS and shown at international film festivals, particularly during black history month. McCullough has completed substantial work toward

2405-492: The boundary between home and work, and visualizes cinematically unfamiliar ideas of the black female imagination. McCullough's Water Ritual #1: An Urban Rite of Purification is inspired by an experience with a friend who suffered a nervous breakdown and African spiritualism as it portrays a woman ritually stirring a mixture of soil and other substances in a calabash, then cups the mixture in her hands, and then blows it away. The film has been controversial because it then depicts

2470-459: 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. In 2020, Hammons shared a previously unpublished image of a performance in an article by Daniel S. Palmer 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

2535-483: The constraints of her role as a college student enrolled at UCLA and as the mother of two children. She was also interested in history, psychology and literature, particularly the work of Zora Neale Hurston . It was her love for photography drew her to experimental film and video, where she wanted to become the "Hurston of video" and to “tap the spirit and richness of [her] community by exposing its magic, touching its textures and trampling old stereotypes while revealing

2600-426: The damaged work, and even includes sledgehammers to add to the character of the piece. 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 conditions. These pieces reflect

2665-471: 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. 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

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2730-478: The film school was our factory and production facility. Each one of us was a mini film company producing our very special works. We basically learned from each other and struggled through a system that wasn't particularly nurturing. I don't think that the faculty really thought that there was a life for our work beyond film school", and that, "it was a highly politically charged environment." Independent Career McCullough's first film Chephren-Khafra: Two Years of

2795-690: The film was made in an area in Watts, L.A. that had been cleared to make way for the I-105 freeway. Shopping Bag Spirits and Freeway Fetishes: Reflections on Ritual Space consists of separate episodes documenting Los Angeles artists as they create works of improvisational art. McCullough interviews the artists and asks them about their ritual and creative processes, and her subjects include painter and sculptor Kinshasha Conwill; poet Kamau Daa'ood; sculptor David Hammons ; sculptor N'senga Negundi; musician Raspoeter Ojenke; and painter and sculptor Bettye Saar . In an interview about her film, McCullough stated that "ritual

2860-870: The head of the 'Duchamp Outpatient Clinic' and the company that owns his Yonkers Gallery is called 'Duchamp Realty'. Hammons received the MacArthur Fellowship (popularly known as the "Genius Grant") in July 1991. Barbara McCullough Born in New Orleans, McCullough moved to Los Angeles when she was 11 years old. Her father was a musician and because he was a blind veteran she had scholarship opportunities which allowed her to attend private school. She attended Bishop Conaty Memorial High School and after taking courses at Cal State L.A. and L.A. Community College, got into UCLA through an undergraduate affirmative action program. While attending UCLA she would become part of

2925-509: 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 Concerto in Black and Blue where the Ace Gallery in New York was cast in pitch darkness and visitors had to guide themselves with little flashlights. Hammons explored the video medium, collaborating with artist Alex Harsley on

2990-403: The interviewees the space within the film, McCullough occupies the lens and space outside of and surround each subject. She uses this space to speak for herself, to allow herself to become a subject. Under this lens, her work takes on a new meaning that allows the viewer to uncover each layer of the film. The filmmaker no longer exists as a viewer, they become as much a part of the experience for

3055-409: The latter placing a basketball hoop at its standard height, but rendered unusable by his use of materials - cut glass beads and ornamental sconces. . However, where this theme is most prominently demonstrated is in his 1986 piece Higher Goals . Hammons places an ordinary basketball hoop, net, and backboard on a three-story high pole - commenting on the almost impossible aspirations of sports stardom as

3120-475: The life of an African-America living in the United States. His Untitled piece, made over construction rebar coated with dreadlocked hair, was sold to the Whitney Museum for a hundred thousand dollars in 1992. Hammons piece In the Hood 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

3185-478: The paper and add graphite or another medium to accentuate the body print. Hammons acknowledges that he borrowed this technique from the French Artist, Yves Klein . 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 Black Power movements. As a black man experiencing these movements first-hand his artwork

3250-474: The piece and the floor surrounding it. In 2021, Hammons collaborated with the Hudson River Park Trust and the Whitney Museum to create Days End . 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

3315-453: The place of Black people in American society. Hammons' work is made of not only allusions, but also metaphors . These metaphors develop into symbols 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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3380-676: The same time I like my films to reflect the diversity of my background as a Black person as well as the different influences that affect me. When I do something, I am trying to show the universality of the Black experience. So even though I am dealing with something very offbeat and different, there is still a certain line of universality that runs through my work.” Influences She has cited Maya Deren , Jonas Mekas , and Senga Nengundi as influences. Visual effects 1996 The Nutty Professor (production manager: Rhythm & Hues) 1995 Ace Ventura: When Nature Calls (production manager: Rhythm & Hues, Inc.) 1994 Interview with

3445-513: The second wave of the popularly known L.A. Rebellion filmmakers which was dominated by women of color including Alile Sharon Larkin, Julie Dash, Jacqueline Frazier, Melvonna Ballenger , O. Funmilayo Makarah, and Carroll Parrott Blue. Being a UCLA student, McCullough partook in Project One which was a rite of passage for aspiring film students which had them write, direct, and edit a motion picture during their first academic quarter before they had had

3510-466: The superficial luxury of racial classification as well as critiquing the hard social realities of street vending experienced by those who have been discriminated against in terms of race or class. This performance was captured by the Black photographer and friend, Dawoud Bey . Hammons worked with Bey again in Pissed Off , where he urinated on Richard Serra 's giant steel sculpture T.W.U ; before tossing

3575-549: The title Which Mike do you want to be like...? (Referencing Mike Tyson , Michael Jordan and Michael Jackson ). He dedicated an exhibition at the Hauser & Wirth Gallery in Los Angeles to Ornette Coleman , describing him as "the Duchamp of music, the one who changed everything". Another one of Hammons key influences is the French artist Marcel Duchamp. Hammons has described himself as

3640-818: The untold stories reflective of African American life.” McCullough would go on to earn her B.A. in Communications Studies and her M.F.A. in Theater Arts, Film and Television Production at UCLA , and her work secured her position as an influential representative of the Los Angeles School of Black Filmmakers. The women filmmakers of the Los Angeles School shared the movement's desire to communicate their ideas about black people's history and experience in film or video, but they also often sought to emphasize women's experiences, and McCullough's work in particular

3705-663: 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. In May 2021 the Whitney Museum of American Art unveiled Hammons completed sculpture Day's End in Hudson River Park across from the Museum itself. The ghostly architetural exoskeletal outline of

3770-624: 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." 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". On James Turrell '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

3835-401: The woman going back into the crumbling structure of the building behind her and urinating on the ground. McCullough explained that the woman was intended to symbolize all displaced people from developing countries who are forced to live according to the values of other cultures. Her act of defiance in a strange land asserts her freedom over her own body. The film was shot in 16mm black and white,

3900-400: The young Tapscott in the 1940s, when Central Avenue hosted a number of jazz clubs. The film includes a series of interviews with Tapscott, footage of his performances as a solo artist and with his combo, archival material that documents the historical contributions of African Americans to the cultural life of Los Angeles, and excerpts of a lecture on jazz and the blues that Tapscott delivered to

3965-430: 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 Smoke Screen 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

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4030-507: Was acquired by the Los Angeles County Museum of Art merely a year after it was made. Later in his career, Hammons has explored the sculptural medium in creating pieces. In his 1970's Spade series included works such as Bird (1973) where the jazz musician Charlie Parker 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

4095-456: Was almost 10-feet tall and the name reference both the basketball term of ' Traveling ' and being transported. He has also exhibited the theme of race in other mediums. How Ya Like Me Now depicted the political candidate Jesse Jackson 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

4160-1144: Was never officially enrolled there, but Charles White allowed him to attend night classes. There he was influenced by artists such as Charles White , Bruce Nauman , John Baldessari , Noah Purifoy , and Chris Burden , all of whom would soon be internationally known. During his time in LA, he met Senga Nengudi , a performance and conceptual artist with whom he later shared a studio. With Nengudi and others, Hammons formed Studio Z (artist collective) (a.k.a. LA Rebellion), an art collective that collaborated on artistic works. Other members of Studio Z included Maren Hassinger , Ronn Davis , Duval Lewis, RoHo, Franklin Parker , Barbara McCullough , Houston Conwill , and Joe Ray (artist) . In 1974 Hammons settled in New York City, where he slowly became better known nationally. He still lives and works in New York. In 1966, Hammons married Rebecca Williams, with whom he had two children. The couple divorced in 1972. In 2003, Hammons married Chie Hasegawa,

4225-419: Was preoccupied with the themes of creativity and ritual. She would later recall about her time at UCLA that "it was unwritten philosophy that you weren't just a student but an independent filmmaker existing in a community of independent filmmakers who supported each other's work as best they could. Most of the time, no one had any real financial support, and it took some of us years to complete our projects. But

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