William Shearburn Gallery

wish-i-may-wish-i-mightWish I May, Wish I Might , 2006, Oil and mixed media on canvas, 87″ x 110″

Fall, 2006
An exhibition of the artist’s works on paper, drawings and prints was presented by the William Shearburn Gallery, St. Louis, MO.

Galeria Vanguardria

face-factsFace Facts, 2006, Selenium toned silver gelatin print

Galeria Vanguardria
Summer 2006
In the Summer of 2006, an exhibition of painting, works on paper and photographs was presented by Galeria Vanguardia, Bilbao, Spain

American Art from the Smithsonian American Art Museum


Detail from 19 American Studies, 2006, mixed media, 9″ x 7″

American Art from the Smithsonian American Art Musuem
Summer 2006

Jane Hammond’s 19 American Studies is an artist book commissioned by the Smithsonian American Art Museum for their Summer 2006 issue of American Art.  The book features 19 paper collages, each one of which is a rebus for a notable American cultural figure, such as BB King (shown above). This commissioned rebus project grew out of a series of paintings shown at the Weatherspoon Museum in 2003.

Galeria Senda


Prepare for Chameleons, 2006, Oil and mixed media on canvas, 72″ x 86″

Galeria Senda
Spring 2006
In the Spring of 2006, an exhibition of paintings, works on paper and photographs was presented by Galeria Senda, Barcelona, Spain. The exhibition was accompanied by a catalogue with an essay by critic Juan Carlos Rego. Click here to read the essay in Spanish Articles about Jane Hammond.

Cover Art for Censoring Culture


Cover Art for Censoring Culture
Spring, 2006
The artist’s 1989 painting “Untitled (39, 26,101)” was chosen as the cover image for Censoring Culture: Contemporay Threats to Free Expresssion, a collection of essays edited by Robert Atkins and Svetlana Mintcheva, published by The New Press.

Recent Photographs at Dartmouth College


Perpetual Love, 2005, Selenium toned silver gelatin print

April 4th – May 7, 2006
In the Spring of 2006, the Jaffe-Friede and Strauss Galleries at Dartmouth College, Hanover, NH showed “Recent Photographs,” an exhibition of thirty-one silver gelatin prints made by the artist. The exhibition was accompanied by a catalogue with includes an essay by critic and writer David Levi Strauss.

The Biella Print Triennale at the Museo del Territorio Biellese, Biella, Italy


“Scrapbook,” 1995, print with lithography, silkscreen and collage, 55 x 46-1/2 x 10 inches, Edition of 45, Published by ULAE

March 19th -June 4, 2006
In the Spring of 2006, the artist’s prints were included in this survey of contemporary printmaking organized by  English curator Jeremy Lewison.  The exhibition was accompanied by a catalogue entitled “Art in the Age of Anxiety.”

The Community Project Inaugurated on the Big Island


Drawing from Fifth Grade Class, Holualoa School, Holualoa, HI


Drawing from Fifth Grade Class, Kealakehe Primary School, Kailua-Kona, HI


Drawing from Third Grade Class, Kealakehe Intermediate School, Kailua-Kona, HI

February -April 2006 
The artist’s “Community Project” is based on a notion from her own practice:  even a few defined elements can provide a boundless variability of expression.  She recently decided she will take a small “sample” of her lexicon, five or six elements and present them as neutrally as possible — i.e. like the tarot cards — to a great variety of people, of all ages, living all over the world.  She’ll then encourage them to create their own narratives, personal or imaginary, from these constituent elements and realize that narrative as a drawing.  The artist sees herself as a kind of facilitator but not “the artist.”  In a sense, the project is about the artist in all of us and the endless unpredictability of the human imagination.

In April of 2006, Jane was awarded an artist in residence grant by the Laila Art Fund to bring her Community Project to the Big Island of Hawaii, under the auspices of the Holualoa Foundation for Arts and Culture.  She brought the project to four middle schools, a public special needs school, a home for the elderly, a home for abused women and a women’s prison.  She returned with over 400 drawings and ten hours of unedited videotape documenting the visits.  The success of the project for all: the grantor, the venues, all the participating individuals, their institutions and the artist herself has encouraged Jane to proceed further with this unusual process-driven, experimental collaboration.  With the proper support, the artist hopes to bring the project to locations around the world.  Prospectively, Sweden is next with China and Trinidad to follow.  The final form of the project is still open and will become manifest as the drawings and video will allow.  For these Hawaiian visits, the lexicon of images presented was fire, water, clown, rope and tree.

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