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Yours, KOW

Über Alles / Protégée, 1971/1972

Series of photographs

Since the late 1960s, the feminist activist Barbara Hammer has replaced symbols of male power and libido with representations of lesbian love and sexuality, usually employing the means of film. Five photographs created in 1971/1972 occupy a special position in her oeuvre. Hammer documented spontaneous and unauthorized actions in the palatial interiors at the Neues Schloss, Stuttgart, and at the Galerie der Stadt Stuttgart where she posed next to lascivious sculptures by Auguste Rodin.

Barbara Hammer, Untitled, 1972, Gelatin Silver Print, 20.3 x 25.3 cm
Barbara Hammer, Untitled, 1972, Stuttgart Museum Performance, Gelatin Silver Print, 25.3 x 20.3 cm
Barbara Hammer, Untitled, 1972, Stuttgart Museum Performance, Gelatin Silver Print, 25.3 x 20.3 cm
Barbara Hammer, Untitled, 1972, Gelatin Silver Print, 25.3 x 20.3 cm
Barbara Hammer, Untitled, 1972, Stuttgart Museum Performance, Gelatin Silver Print, 25.3 x 20.3 cm
Barbara Hammer, Untitled, 1971, Stuttgart Museum Performance, Gelatin Silver Print, 35.4 x 27.9 cm
Barbara Hammer, Untitled, 1972, Neues Schloss Stuttgart Performance, Gelatin Silver Print, 25.3 x 20.3 cm
Barbara Hammer, Untitled, 1972, Stuttgart Museum Performance, Gelatin Silver Print, 25.3 x 20.3 cm
Barbara Hammer, Untitled, 1972, Stuttgart Museum Performance, Gelatin Silver Print, 25.3 x 20.3 cm
Barbara Hammer, Untitled, 1972, Stuttgart Museum Performance, Gelatin Silver Print, 20.3 x 25.3 cm

  • INDEX:

Barbara Hammer

Vintage photos 1972–1984
Collages 1979–2003
Works on paper 1968–1976
Evidentiary Bodies, 2018
A Horse Is Not A Metaphor, 2008
Resisting Paradise, 2003
Blue Film No 6: Love Is Where You Find It, 1998
Save Sex, 1993
Vital Signs, 1991
Dr. Watson's X-Rays, 1991
Sanctus, 1990
Still Point, 1989
Two bad daughters, 1988
T.V. Tart, 1988
Endangered, 1988
THE HISTORY OF THE WORLD ACCORDING TO A LESBIAN, 1988
Place Mattes, 1987
No No Nooky TV, 1987
Snow Job: The Media Hysteria of Aids, 1986
Hot flesh, 1985
Optic Nerve, 1985
Would You Like to Meet Your Neighbor? A New York Subway Tape, 1985
Reagan/Ferraro in Paris, 1984
Doll House, 1984
Tourist, 1984/1985
Tourist, 1984
Parisian Blinds, 1984
Have a Crush, 1983
Stone Circles, 1983
If You‘re Bi, Goodby, 1982
Audience, 1982
Pools, 1981
Sync Touch, 1981
Haircut, 1978
Double Strength, 1978
The Great Goddess, 1977
Women I Love, 1976
Multiple Orgasm, 1976
Psychosynthesis, 1975
"X", 1975
Superdyke, 1975
Dyketactics, 1974
Menses, 1974
I was / I am, 1973
Über Alles / Protégée, 1971/1972
Cleansed II, 1969
Clay I Love You II, 1968/69
Barbara Ward will never die, 1968
Aldebaran Seas, 1969
Death Of A Marriage, 1969
Contribution To Light, 1968
White Cassandra, 1968

Barbara Hammer was born in Hollywood in 1939. Her documentaries and experimental films are among the earliest and most comprehensive depictions of lesbian identity, love, and sexuality. For more than five decades, Hammer was an increasingly influential voice of queer feminism, and a chronicler of women's self-empowerment in the U.S. and many other places around the world. Following film retrospectives at New York's MoMA in 2010, Tate Modern, London in 2012, and her first solo exhibitions at KOW beginning in 2011, the art world began to take an interest in Hammer's now historic body of work, which includes performances, installations, and works on paper. Numerous institutional exhibitions and successes followed, and today Hammer is considered one of the greatest examples of politically engaged feminist art. Hammer was a teacher for many years and held a professorship at the European Graduate School in Saas-Fee (CH). She passed away in 2019. Since, her work is still ongoingly displayed in major solo exhibitions such as Would You Like To Meet Your Neighbor? (Skulpturenmuseum Marl 2023), Women I Love (Ratio 3, San Francisco 2022 and Frans Josefs Kai 3, Vienna 2021), tell me there is a lesbian forever (Company Gallery, New York 2021), Sisters! (La Virreina Centre de la Imatge, Barceola 2020).



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