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Ann Hamilton in "Spirituality"
Whether working with sculpture, textiles, film, and sound, or even her unique mouth-operated pinhole cameras, Ann Hamilton finds all her art to be about a “very fundamental act of making.” “When I’m making work,” she says, “there’s a point where I can’t see it. And then there’s that moment where you can see it—it’s like it bites you—and you think it might be beautiful.”
Filmed on location in Lexington, Virginia, where she is in the process of a new installation ghost: a border act, the segment travels with Hamilton to her home in Columbus, Ohio, where she is shown experimenting with bubbles that stretch from floor to ceiling.
More information and creditsCredits
Created by: Susan Sollins & Susan Dowling. Executive Producer & Curator: Susan Sollins. Executive Producer: Susan Dowling. Series Producer: Eve-Laure Moros Ortega. Associate Producer: Migs Wright. Production Coordinator: Laura Recht. Researcher: Quinn Latimer & Wesley Miller. Director: Deborah Shaffer. Editor: Kate Taverna. Director of Photography: Bob Elfstrom, Ken Kobland, Joel Shapiro, & Dyanna Taylor. Additional Photography: Chip Nusbaum & Anita Sieff. Assistant Camera: Ulli Bonnekamp, John Griffiths, Glen Piegari, Kipjaz Savoie, & Ben Wolf. Sound: Ray Day, John Fintel, Alan Sawyer, Scott Szabo, J.T. Takagi, & Eric Williams. Gaffer/Grip: Steve Carrillo, Kent Eanes, Dennis Hollyfield, Greg Szabo, & Lieven Van Hulle. Production Assistant: Mark Chevarria, Anya Dehr-Turrell, Chris Dowling, Heather Glass, Melissa Morgan, & Erin Wile. Animation Stand Photographer: Marcos Levy & City Lights. Assistant Avid Editor: Heather Burak & Matt Prinzig.
Introductory Segment | Artwork: Beryl Korot. Cast: S. Epatha Merkerson.
Creative Consultant: Ed Sherin. Art Design and Direction: Open, New York. Animation, Visual Effects & Compositing: Spontaneous Combustion. On-Line Editor: Don Wyllie & Frame:Runner NYC. Composer: Peter Foley. Music Supervisor: John Yaffé. Sound Editing: Margaret Crimmins, Greg Smith, & Dog Bark Sound. Sound Mix: Tony Volante & Soundtrack, New York. Post-Production Supervisor: Michael Weingrad & Keir Randall.
Artworks courtesy of: John Feodorov; Ann Hamilton; Shahzia Sikander; James Turrell; Deitch Projects; Whitney Museum of American Art; Lisa Sette Gallery; Sacred Circle Gallery/Daybreak Star; & Seattle Arts Commission. Archival photo of James Turrell courtesy of: Jeffery J. Kozera. Archival footage courtesy of: ZCZ Films Ltd.
Special Thanks: Anne C. Baker; Alison Beall; Michael Bond; The Brotman Family; William Bush; City Lights; Catherine Dee; Susan Delson; Krista Ferguson; Claudia Garthwait; Barbara Gladstone; Thomas G. Grace; Jill Hartz, Bayly Art Museum; Russell Hassell; Sean Kelly Gallery; Bruce Mac Corkindale; Cara Mertes; Margarita Moreno; Office of Housing, City of Seattle; Chris Pullman; Lyn Bolen Rushton; Sacred Circle Gallery/Daybreak Star; Azra Sikander; Gabe Silverman; Brooke Singer; Skystone Foundation; Tamberelli Video; Nancy Taylor; Darin Webb; & Whitney Museum @ Philip Morris.
Interns: Maytal Ahrony, Joyce Alcantara, Christina Darcy, Leslie Fritz, Johanna Goldfeld, Susannah Gust, Sage Lehman, Kelly McCoy, Genevieve Mercatante, Jeff Seelbach, & Stacy Wu.
Public Relations: Kelly & Salerno Communications. Legal Counsel: Albert Gottesman.
Major underwriting for Season 1 of Art in the Twenty-First Century is provided by Robert Lehman Foundation, PBS, National Endowment for the Arts, Corporation for Public Broadcasting, Rockefeller Brothers Fund, Agnes Gund and Daniel Shapiro, The Allen Foundation for the Arts, The Broad Art Foundation, The Jon and Mary Shirley Foundation, Bagley Wright Fund, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, The Horace W. Goldsmith Foundation, and The Foundation-to-Life.
Closed captionsAvailable in English, German, Romanian, Italian, Japanese, Korean, Chinese, Italian
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Ann Hamilton’s sensual installations often combine evocative soundtracks with cloth, filmed footage, organic material, and objects such as tables. She is as interested in verbal and written language as she is in the visual, and sees the two as related and interchangeable. In recent work, she has experimented with exchanging one sense organ for another: the mouth and fingers, for example, become like an eye, with the addition of miniature pinhole cameras.
“Part of making work is to allow those things perhaps that are always already there but not visible to us. And try to make them visible in a way that they’re experienceable.”
Ann Hamilton
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Ann Hamilton
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