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Hammer Museum  The Hammer is fueled by dynamic exhibitions and 300 free programs annually that spark meaningful encounters with art and ideas. Show us your 📷s!


“I started making woodcuts because they were the most uncool thing I could do.” —Andrea Büttner

Earlier today on Facebook Live, curatorial assistant Ikechukwu Onyewuenyi gave us a tour of Büttner’s Hammer Project, now on view. Re-watch it now at facebook.com/HammerMuseum.

See the exhibition that @nytimes calls "the single most exciting and hope-inspiring historical group show of contemporary art in 10 years." Radical Women: Latin American Art, 1960–1985 is on view through December 31, 2017. #RadicalWomen

The Hammer’s courtyard was transformed this evening for our 15th annual #HammerGala honoring celebrated filmmaker @ava and award-winning writer @hilton.als with tribute speeches by writer, producer, and director J.J. Abrams and author Maggie Nelson. Event co-chairs included Jenni, Maggie, and Saree Kayne, Jessica Lange, Bottega Veneta creative director Tomas Maier, and Zachary Quinto. The evening was capped with a performance by Grammy-nominated band @haimtheband. Returning for the fifth year, @bottegaveneta partnered with the Hammer Museum to present this year’s Gala in the Garden, celebrating both artists and creative expression in Los Angeles. See more highlights from the evening on our blog.

“I always questioned the whole concept of feminism because I always felt as if it was imported from Europe or the United States. It’s a word that struck me as very middle class. And this issue of the influence of European culture, I’ve always been wary of that. Mexican women are different, and especially Mexican rural women. So it’s another context. That’s why I’ve been dedicated to things like lucha libre [Mexican wrestling] instead of keeping my eye on what’s happening in Paris. All of my colleagues were always in Paris.” —#RadicalWomen artist Lourdes Grobet interviewed in @latimes

Lourdes Grobet (Mexican, b. 1940), “La Briosa,” 1981, from the series La doble lucha (The double struggle), 1981-2005. Black-and-white photograph. 14 × 9 1/2 in. (35.5 × 24 cm). Collection of Lourdes Grobet. ©the artist.

In 2015 we presented @njidekaakunyilicrosby’s first solo exhibition in L.A., and today we are so happy that she has been named a MacArthur Fellow! Congratulations, Njideka!

Njideka Akunyili Crosby, “Ike Ya,” 2016 (detail). Acrylic, transfers, colored pencil, and charcoal on paper. 84 x 99 in. (213.4 x 251.5 cm). Hammer Museum, Los Angeles. Purchase. #MacFellow #NjidekaAkunyiliCrosby

Have you seen the @pstinla ads that say “There will be a box to make love in”? They’re referring to this work by #RadicalWomen artist Teresinha Soares. 👆 In its original conception, the viewer would interact with “Caixa de fazer amor (Lovemaking box)” by turning a handle connected to a windmill that, when spun, would set in motion a large red plush heart inside the box; the heart’s playful and overblown motion imitated the way a heart beats when one is in love. Another heart—this one split though with the potential to be joined—was formed in the upper part of the box by two faces almost touching each other. Both comic and celebratory, this work speaks of the tribulations of love and desire. 💕 #PSTLALA

Teresinha Soares (Brazilian, b. 1927), “Caixa de fazer amor (Lovemaking box),” 1967. Meat grinder, cloth, plastic tubes, two glass bottles with liquid, wires, oil paint. 23 5/8 × 21 5/8 × 14 9/16 in. (60 × 55 × 37 cm). Collection of Teresinha Soares. ©the artist.

“I have always painted with the desire of developing Indian art so that it may be judged on art standards rather on its value as a curio—I am attempting to record Indian customs and legends now, while they are alive, to make them a part of the great American culture before these, too, become lost, only to be fragmentarily pieced together by fact and supposition.” –Woodrow Wilson Crumbo #IndigenousPeoplesDay

Woodrow Wilson Crumbo, “Flute Dancer,” n.d. Screen print. 12 1/4 x 9 1/8 in. (31.1 x 23.2 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Gift of Mr. Willard Houghland.

An all-star lineup of L.A. musicians @carminaescobar @dorianwoodmusic @empressof @nitejewel @cecibastida @mealtany and @franciscamusic sang together on stage to cap off our tribute to Yma Sumac. Another beautiful concert night in the courtyard. #ymasumac #pstlala #radicalwomen

To avoid scandal, Henri de Toulouse-Lautrec preferred not to show this painting to a large audience.

Why? Viewers familiar with Lautrec’s work will understand what this pose signifies: these women are waiting to visit the doctor. In order to prevent the spread of venereal diseases, prostitutes were subjected to regular examinations, a wholly unhygienic procedure that was mandatory for all prostitutes at the time. While most painters depicting the subject show brothels as a place of pleasure and vice and prostitutes as vulgar and venal, Toulouse-Lautrec stands out, providing us with an image without moral judgment or voyeurism, almost like a reportage with its deliberate and photographic framing.

This work in our collection is currently at @museothyssen for their Picasso/Lautrec exhibition and is part of our “Where are they now?” blog series. Learn even more about this work on our blog.

The @latimes says #RadicalWomen “is a startling show you need to see, maybe twice.” ✌️

Patssi Valdez (American, b. 1951), “Portrait of Patssi,” 1975. Photography: Harry Gamboa Jr. Black-and-white photograph printed on poster paper. Private collection.

“I drew a line on one of my fingers and then I continued it on a sheet of paper. I took a photograph of that situation, I made a photogravure, I printed it, and, in pencil, I extended the line on the print. The line looks continuous, but in fact it not only goes through different spaces but was made at different times.” –Liliana Porter #RadicalWomen

Liliana Porter (Argentine, b. 1941), “Untitled (hands and triangle),” 1973. Gelatin silver print made from the original negative. Courtesy of the artist.

Just putting some love out into the world today. ❤️

From our #CoritaKent digital archive: Corita Kent, “yes #2,” 1976. Screenprint. Sheet: 11 1/4 x 11 1/4 in. (28.6 x 28.6 cm). Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Corita Kent Bequest.

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