Christine Nguyen. © 2010 J. Paul Getty Trust
- Ph.D. University of California, Berkeley, 2008
- M.A. University of California, Berkeley, 2002
- B.A. Reed College, 2000
Sarah Hamill teaches surveys of modern and contemporary art and focused courses on the history of photography, modern and contemporary sculpture, and the intersections between media. Students in her courses have published their writing online, from an exhibition catalogue for a 2012 Allen Memorial Art Museum exhibition, Hybrid Images: The Photography of Sculpture, 1860 to 1990, to a collaborative blog of notes and photographs from a 2012 class trip to Marfa, Texas. Her students have also curated and designed a digital exhibition highlighting a selection of artists’ books from the Clarence Ward Art Library, sponsored by a Five Colleges of Ohio Next Generation Library grant, funded by the Andrew W. Mellon Foundation.
Hamill’s research explores the intersections between sculpture and photography. Selected recent publications include:
- David Smith in Two Dimensions: Photography and the Matter of Sculpture (Berkeley: University of California Press, forthcoming December 2014).
- “Picturing Autonomy: David Smith’s Photography and the Sculptural Group.” (Art History Vol. 37 No. 3, June 2014).
- “The Sculptural Object Circa 1960” book review of Jo Applin, Eccentric Objects: Rethinking Sculpture in 1960s America and Jeffrey Weiss and Clare Davies, Robert Morris: Object Sculpture 1960-1965, Oxford Art Journal Vol. 37 No. 2 (2014).
- “Polychrome in the Sixties: David Smith and Anthony Caro at Bennington,” in R. Peabody, ed. Anglo-American Exchange in Post-War Sculpture, 1945-1970. Getty Online Publications: 2011.
Hamill has presented her research at, among other venues, the Wexner Center for the Arts, the Museum of Modern Art, the High Museum, Emory University, the University of Southern California, and the Solomon R. Guggenheim Museum. In 2009-2010 she was a postdoctoral fellow at the Getty Research Institute.
Her current writing projects include essays on the videos of Erin Shirreff; Jeff Wall’s theory of “liquid intelligence”; and Henry Moore, primitivism, and the staging of his sculpture.
With Megan R. Luke (USC), she is preparing a manuscript that considers the role of the photography of sculpture in the writing of art history, aesthetics, and media theory. Their book project, provisionally titled Sculpture and Photography: The Art Object in Reproduction, recently was awarded a two-year Collaborative Research Fellowship from the American Council of Learned Societies. Hamill and Luke have co-organized a two-part symposium sponsored by the Clark Art Institute and the Getty Research Institute that bring together leading international scholars dedicated to the historiography of art and architecture, the histories of photography and sculpture, and the mediation of material artifacts as images. (Details on the Clark day are here and here; details on the GRI are here.)
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