Ann Hamilton believes that projects can be considered, not as artifacts or something to be documented, but as their own material object?in this case, a book. While 'Sense' contains images that Hamilton has accumulated over many years, of people and of objects that conflate touch, light, and surface, the book also becomes an object in hand, a thing felt, an artwork in itself. Mallarmé begins 'The Book: Spiritual Instrument' with, ?Everything in the world exists to end up as a book.? While working on the building-wide project, the common SENSE with Sylvia Wolf, this idea inspired Hamilton: ??.maybe the form of the project is not the installation or the exhibition or all the weeks of time and programming?.maybe the actual form of the project is a book?.and the installation is the work and the process for generating the book?s questions and materials.?

Ohio State students, faculty and staff were photographed by artist and professor Ann Hamilton through a semi-transparent membrane that registersin focus only what immediately touches its surface while rendering more softly the gesture or outline of the body. In these images, touch-something we feel more than we see-is visible. In them, we feel the glance of cloth's fall, the weight of a hand, the press of a cheek, the possibility of recognition in portraits haunted by contact.Standing behind the semi-opaque film, one can hear but can not see, hidden until stepping toward the surface, guided by my voice. Each press of the object, the face, a hand, or cloth touching the membrane is revealed in focus, the shallow depth of field a consequence of the membrane's optical qualities. The images made in this exchange-between a subject that offers self or object and a voice that stands in for the visually absent camera-record an interiority that is perhaps more private, more vulnerable than the self we offer up in the world of a constantly present camera. Following and trusting the voice while having a sense of being hidden makes a space for this vulnerability. Each image is a tactile register of an exchange.

Ann Hamilton: An Inventory of Objects ISBN 0-9743648-5-1 / 978-0-9743648-5-8 Hardcover, 7 x 10.5 in. / 264 pgs / 150 color and 80 b&w. / U.S. $60.00 CDN $72.00 November / Art

"Cloth making -- among the oldest forms of human cultural production -- provides inspiration for Ann Hamilton's multi-venue project, 'habitus', located at three sites: The Fabric Workshop and Museum, Municipal Pier 9, and on social media. 'habitus' weaves text, textile, and image together as mediums for an imaginative and tactile exchange between artist and audience. The museum's galleries display Hamilton's selection of historical objects -- including literacy commonlace books, textile sample books, dolls, and needwork portfolios -- borrowed from Philadelphia museums and public collections. Printed passages from published writings referencing the social and material life of textiles, and collected through an open call to the public at http://cloth-a-commonplace.tumblr.com, will be available free to museum visitors. In the vast space of Municipal Pier 9 on the Delaware River, visitors propel a field of gigantic cylindrical curtains to billow to atmospheric proportion. As cloth swaddles us at birth and covers us in sleep; as a folded blanket can tell a story of trade; as a flag carries the symbol of a nation, Hamilton's multi-venue exhibition 'habitus' invites us to touch and be touched by the fabric of human experience"--Publisher's statement.

Ann Hamilton's family has moved to the western frontier of Pennsylvania, and she misses her old home in Gettysburg. There are no girls her age on Hamilton Hill, and life is hard. But when the Hamiltons survive a terrible storm and receive a surprise visit from George Washington, Ann realizes that pioneer life is exciting and special.

The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”

"Learning Mind: Experience Into Art is astonishing in its range of authors, depths of perception, and subjects, gliding elegantly among three thematic clusters, from 'Being of Being an Artist' to 'Making Art and Pedagogy' and, finally, to 'Experiencing Art.' The editors have brilliantly and imaginatively realized the promise of their anthology's tantalizing, terse title."--Moira Roth, author of Traveling Companions/Fractured Worlds "Jacob and Baas have gathered together an exceptional group of some of the most articulate writers about art of this generation, as well as some of the most intelligent, thoughtful, esteemed and socially engaged artists. The Learning Mind invites them to speak from their own experiences with art; what emerges are important biographical moments of insight about the way art is a device for transforming consciousness."--Jennifer Gonzalez, University of California, Santa Cruz

They all said that Bangladesh would be an experience... For Anne Hamilton, a three-month winter programme of travel and "cultural exchange" in a country where the English language, fair hair, and a rice allergy are all extremely rare was always going to be interesting, challenging, and frustrating. What they didn't tell Anne was that it would also be sunny, funny, and the start of a love affair with this unexplored area of Southeast Asia. A Blonde Bengali Wife shows the lives beyond the poverty, monsoons, and diarrhoea of Bangladesh and charts a vibrant and fascinating place where one minute Anne is levelling a school playing field "fit for the national cricket team," and then cobbling together a sparkly outfit for a formal wedding the next. Along with Anne are the essential ingredients for survival: a travel-savvy Australian sidekick, a heaven-sent adopted family, and a short, dark, and handsome boy-next-door. During her adventures zipping among the dusty clamour of the capital Dhaka, the longest sea beach in the world at Cox's Bazaar, the verdant Sylhet tea gardens, and the voluntary health projects of distant villages, Anne amasses a lot of friends, stories...and even a husband. A Blonde Bengali Wife is the "unexpected travelogue" that reads like a comedy of manners to tell the other side of the story of Bangladesh. All money earned from A Blonde Bengali Wife goes direct to the charity, Bhola's Children, of which the author and agent are active participants. A Blonde Bengali Wife isn't about Bhola but it is a tribute to Anne's journeys into Bangladesh and all the friends she has made there. Most of all, it is the story of the country that inspired Bhola's Children.

Do you: Meet unquantifiable resistance in merely hinting its time your headstrong parents leave their decades-old residence? Battle belligerently at daring to suggest household caregivers to your defiant folks, given their progressive inability to perform basic daily tasks? Serve up your total human capacity to your unappreciative relatives without coming close to filling their bottomless pit? Enter resident expert Carol-Ann Hamilton. Her unique termun-cope-ableperfectly describes her own intractable duo. Through painful personal experience across decades, Carol-Ann has discovered and tested twelve innovative Keys to Coping. Eureka! Success! Engage with the Impossible Parents Questionnaire and overcome 10 hair-yanking eldercare challenges Apply 6 LOVING attitudes and stay centered during crazy-making exchanges Gain 6 down-to-earth ACTION strategies that guarantee your targeted efforts will achieve headway Be inspired by others illuminating stories, knowing youre not alone anymore Benefit from Carol-Anns hard-won lessons. Share her poignant yet hilarious journey. Get the support you needNOW. Say good-bye to feeling victimized and over-burdened. Say hello to relief and hope in Coping with Un-cope-able Parents!