Silkscreen on Somerset Tub paper; Diptych
Left: 30 1/16 x 25 7/16 inches; Right: 59 11/16 x 34 5/8 inches
Edition of 50
Courtesy the artist
Incorporating examples of cultural appropriation and pop culture in her work, Anthea Hamilton (born 1978 in London, UK) mines countercultures in music, fashion, and design (such as disco in the 1970s) and their entrance into the mainstream. Hamilton questions the representation of cultural phenomena through popular media in her sculptures and videos. Her first solo institutional exhibition in the United States, Lichen! Libido! Chastity!, was on view at SculptureCenter in 2015 and for which she was nominated for the 2016 Turner Prize.
Displacement and association recur in many of Hamilton's works, which often occur through the merging of an image and an object. Originally created as Hamilton's contribution to SculptureCenter's 2014 publication What About Power? Inquiries into Contemporary Sculpture, Power examines the intersection of power and sculpture. The boot depicted exists within a code of fashion: the wearer makes a statement that may have been original once, but now has become part of a highly encoded system and historical narrative. Merging the fashion system of the boot with the language of graphic design and implicating the body into this convergence, the leg attached to the boot twists becomes the stem of the "p." In these prints design extends out of and even obscures the body.
Hamilton is based in London and has had solo exhibitions at firstsite in Colchester, UK (2012); the Tanks at Tate Modern, London, UK (2012); and the Chisenhale, London, UK (2009). Recent group exhibitions include Don't You Know Who I Am? – Art After Identity Politics at MuKHA, Antwerp (2014); the 10th Gwangju Biennale (2014); the Glasgow International (2014); and Better Homes (2013) at SculptureCenter.
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