Art Build, '37 Addition, Room 126
Personal Office Hours:
Tuesdays 3:00-4:00, & Thursdays 11:00-12:00
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 (from 1750 to the present), focused courses on the history of photography, modern and contemporary sculpture, and art historiography, as well as an introductory survey. Her students 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. Select recent publications include:
- David Smith in Two Dimensions: Photography and the Matter of Sculpture(Oakland: University of California Press, 2015). (Awarded a Meiss/Mellon Author’s Book Award and a Wyeth Foundation for American Art Publication Grant, College Art Association, and a Henry Moore Foundation Publication Grant, )
- “Eduardo Chillida: A Sculpture of Interiority,” in Eduardo Chillida: Rhythm-Time-Silence, exhibition catalogue. New York: Ordovas Gallery, 2015.
- “Picturing Autonomy: David Smith’s Photography and the Sculptural Group.”(Art History 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 37 No. 2 (2014).
Hamill’s article on the videos of Erin Shirreff and the photography of sculpture in contemporary art is forthcoming from Art Journal in 2017. An essay on Clarence Kennedy, Adrian Stokes, and photography as ‘carving’ is forthcoming in a volume Hamill co-edited with Megan R. Luke titled Sculpture and Photography: The Art Object in Reproduction (Los Angeles: Getty Publications, forthcoming 2017). The volume also includes a co-authored essay with Luke that considers the role of the photography of sculpture in the writing of art history, aesthetics, and media theory
Current writing projects include: an article on the aesthetics and theory of the photographic detail for the history of sculpture, focusing on Clarence Kennedy; an essay on the photography of Ugo Mulas; and a book-length manuscript on the 1970s sculptures and films of Mary Miss.
Hamill has presented her research at, among other venues, the Whitney Museum of American Art, 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.
With Megan R. Luke, Hamill was awarded a 2013-15 Collaborative Research Fellowship from the American Council of Learned Societies. They also co-organized a two-part symposium sponsored by the Clark Art Institute and the Getty Research Institute that brought 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. (Video of the Clark and Getty events.)