Barbara | Hammer Evidentiary Bodies Staci Bu Shea and Carmel Curtis ae MUSEUM HIRMERContents ee 8 ‘Acknowledgements 9 Screaming for Lesbian Visibiity Gonzalo Casals " Introduction Staci Bu Shea and Carnet Curtis 7 Barbara Hammer: The Poetry of her Films \anlori Goleman 19 Making Lesbians Visibte: ‘The Experimental Documentaries of Barbara Hammer as Queer Archive Fron Gregg 27 Barbara Hammer and the ‘Mutabilty of Film ations from an Archivist) Mark Toscano 33 AA Video Letter to Barbara Hammer Joey Cercivect 30 ‘Tho Artist as Archivist, the Archive as Art ‘Ann Ovetkovich ar Ghoreographing the Lesbian Possibility: Barbara Hammer's Double Strength Keystyna Mazur 67 Ways of the Flesh: Barbara Hammer's Vertical Worlds izvana Bradley 63 ‘A Gonversation with Barbara Hammer Jamilah James 7 On Resisting Paradise Domitila Ofveri 79 Beyond Cultural Feminism: New Approaches to Barbara's Hammer's Early Films Greg Youmans @5 ‘Systems Breakdown: Medical Approaches David Napier in Conversation With Barbera Hammer 95 Dearest Barbara Flore Burke 101 ‘Author Biographies 105 Checklist 112 Credits / Colophon(F ) Gal) ZL at the 7 a oS A % \ a P Te R qs B Ui A ry R Ce A Ns A Saune: by wt 16 r ‘Sheri Knobs 3:08 aa E & R a L @) Sia? (arses 0,1 Fina by Srtara Hammer at th River Queen, 19708 0€ The Artist as Archivist, the Archive as Art ‘Ann Gvetkovich artists, filmmakers, losblans, and quoers and foster art scenes in Now York, San Francisco, and other places. For example, a sheat of hand-drawn flyers, ‘announcing (of who was claimed as a lesbian at that time, Fg 1 screenings for film rearetve also convoys a strong senso of Hammer's daly practice as an atat be- Cause it includes work that is not necessarily designed for public citculaton but registers the ethity along the way. This commitment to process is common for ‘many artists but carries <@daitional resonance in Hammer's case given the centrally ot “processing” to lesbian fem- Irist cultures. The "1870 sketchbook" included in the exhibition at Leste 'S @ Good example, especially because It combines a range of metho Sketches, watercolors, spray paintings, figurative and abstract images, -Lohman Museum 8 including pencil , some black and White, some color. There is both writing and drawing, including some sel images that read tke a mini-graphic narrative, anticipating what is now an important queen gonre; “the artist ‘Struggles in hor imagination” “surrenders herself"/"to a black hole” are sere of cap- a‘The As Acie, th Active a8 At Arn Cretonen C Ptintdstr inte & MMM Fa ae tt Stages Wh her maghaton ats Harm 187 sae 5"0-5"One shes do what one wrta""be ere Batre Hannes one ce ce ‘might be both an artist's manifesto and a feminist o, ‘struck through in favor ofa4 Some of ou best ccs are pal Barbara Hanmer, "970 sklehbook! plake an hour to draw a chalk cicie?/no, there iat time” ave followed by a circle formed by 8 singe line whose onds are crossed and the comment, hor {00k five minutes and secant she edge.” Below that a figurative drawing of a skeleton soveres with scribbles 's captioned: “de Kooning’s women, shit!/male nudes!" The, lesbian fominist artist at work in {he 1970s engages with the male giants of painting and opts for tre pleasure and simplicity ofthe Pencil ine for circles and scribbles. The exchange betwens ‘writing and drawing in roots eral narrative registors a commitment to process as beth meters motion on the ert ae tonal working-through. Hammers making of veual images, whether figures or lst lines and color fel, keeps thinking afloat, making it possione ee continue asking ‘auestions and also to gently poke fun at both the art werld and horse, prane fnal lage of this sketchbook, the line: “some of our best rocks are peopl,” accompanies pencil drawings of what could be elther heads or rocks, figures or abstractions, Tambating 216 contury interest Inthe iveliness of object. Hammer spit or play as she “lame across different styles and media inthis early sketchbook is also evident across her