Bill’s sound for the video is our collaboration, our form of touch across the physical distance between us. It was April I was in Ohio, and Bill was in New York.

Bill has performed at the Wexner Center many times, and his music always stirs a deeply felt place in me, a place I might now call HOPE. I called jazz guitarist Bill Frisell to ask if he might consider making a house recording for a video of the book. These figures, isolated and ethereal, are perhaps the alone together we are living in this moment. Hidden, but revealed by touch, the resulting portraits hold a sense of privacy and intimacy not possible in a time when we are so aware of every point of contact, of every surface we touch, or are in exchange touched by. Thick as an old phone book, its 1,200 pages are filled with images of people photographed behind a translucent membrane that renders in focus only those points where the body touches the material surface. The newsprint book in this video, made for sesquicentennial celebrations at The Ohio State University, is part of an ongoing public art project, O N E E V E R Y O N E. Marking the 20th anniversary of 9/11, the New York Transit Museum will host a virtual discussion about this project with artist Ann Hamilton Jan Ramirez, 9/11 Memorial & Museum Chief Curator and Sandra Bloodworth, director of MTA Arts & Design.

Artist Ann Hamilton created CHORUS, an expansive field of woven text in marble mosaic commissioned by MTA Arts & Design for the rebuilt WTC Cortlandt station. The reconstruction of the Cortlandt Street subway station, located below street level within the World Trade Center site, was a significant component of the rebuilding of Lower Manhattan.

Image: Patrick Cashin/Metropolitan Transportation Authority of the State of New York This two-day conference invites some of the generations of women who have passed through Yale’s portals since 1869/1969, as students and/or faculty, as artists, architectural and art historians, to ask: what is the meaning and utility of the category “woman artist” now?Ī discussion about the reconstruction of WTC Cortlandt with artist Ann Hamilton, the 9/11 Memorial & Museum, and MTA Arts & Design But with the critiques addressed to the category of “woman” from black feminism, from third- and fourth-wave feminisms, from postcolonial and queer theory, and from the LGBTQ and other global communities, combined with the recent rise of curatorial and art-market interest in women artists, we must turn back to Nochlin’s question in order to rephrase it. “Woman/Artist” seeks to interrogate the two terms of the category “woman artist,” as famously addressed fifty years ago in Linda Nochlin’s groundbreaking essay of 1971, “Why Have There Been No Great Women Artists?” In 1971, the “woman artist” was largely a white, Western, naturalized category. Ann Hamilton in conversation with Jenni Sorkin

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