Ann Hamilton是一位视觉艺术家，因其大型多媒体装置、公共项目和表演合作而享誉国际。她的现场响应过程使用常见的材料来唤起特定的地方，集体的声音和劳动社区。以密集的材料积累而闻名，她短暂的环境创造了身临其境的体验，诗意地回应了他们的建筑存在和社会历史。无论是住在四层楼高的建筑里，还是局限在顶针的表面上，汉密尔顿艺术的起源都是从手和嘴的主要投影向外延伸的。她对发出声音或用手塑造单词的关注将语言和文本置于她装置的触觉和隐喻中心。要进入它们的阈限性，就要平等地进入构建我们的记忆、理性和想象能力的感官和语言理解能力。

当一代又一代的技术将人类的存在放大到远远超过手所能触及的距离时，以个体身体的规模和速度，什么成为了制造的场所和形式?制造如何参与到蕴含知识的恢复和认知中?在一个媒体饱和的世界里，有哪些地方和形式可以让人体验到真实的、触觉的、发自内心的、面对面的体验?这些关注激发了现场响应装置的活力，这些装置构成了汉密尔顿在过去20年里的大部分实践。但是，在布料、声音、触觉、动作和人类手势的关系曾经让位于密集的物质性的地方，汉密尔顿现在的工作集中在阅读、说话和倾听等不那么物质性的行为上。在更复杂的建筑中，协作过程的影响改变了她的创作形式，其中观众在时间和空间上的运动现在成为作品的中心人物。

1956年出生于俄亥俄州利马，1979年获得堪萨斯大学纺织品设计学士学位，1985年获得耶鲁大学艺术学院雕塑艺术硕士学位。1985年至1991年，她在加州大学圣巴巴拉分校任教。汉密尔顿自2001年以来一直在俄亥俄州立大学任教，在那里她是艺术系的杰出教授。

在她的众多荣誉中，汉密尔顿曾获得美国国家艺术奖章、海因茨奖、麦克阿瑟奖学金、美国艺术家奖学金、NEA视觉艺术奖学金、路易斯·康福特·蒂芙尼基金会奖、斯科惠根雕塑奖章和古根海姆纪念奖学金。她曾代表美国参加1991年的圣保罗双年展和1999年的威尼斯双年展，并在世界各地广泛展出。她的主要委托项目包括西雅图滨水区(即将推出);《公园大道军械库》(2013);普利策艺术基金会，圣路易斯(2010);古根海姆博物馆，纽约(2009);当代美术馆，熊本，日本(2006);红之家基金会，安东尼·加尔伯特，巴黎，法国(2005);历史博物馆，斯德哥尔摩，瑞典(2004);麻省当代艺术馆，北亚当斯，马萨诸塞州(2003);赫什霍恩博物馆和雕塑花园，华盛顿特区(2003，1991);Wanas基金会，瑞典Knislinge (2002);池田明画廊，陶浦，日本(2001);当代艺术博物馆，里昂，法国(1997);范阿贝市立博物馆，埃因霍温，荷兰(1996);芝加哥艺术学院(1995);现代艺术博物馆，纽约(1994);利物浦泰特美术馆(1994);纽约迪亚艺术中心(1993);当代艺术博物馆，洛杉矶(1988)。

Ann Hamilton is a visual artist internationally acclaimed for her large-scale multimedia installations, public projects, and performance collaborations. Her site-responsive process works with common materials to invoke particular places, collective voices, and communities of labor. Noted for a dense accumulation of materials, her ephemeral environments create immersive experiences that poetically respond to the architectural presence and social history of their sites. Whether inhabiting a building four stories high or confined to the surface of a thimble, the genesis of Hamiltons art extends outwards from the primary projections of the hand and mouth. Her attention to the uttering of a sound or the shaping of a word with the hand places language and text at the tactile and metaphoric center of her installations. To enter their liminality is to be drawn equally into the sensory and linguistic capacities of comprehension that construct our faculties of memory, reason and imagination.

In a time when successive generations of technology amplify human presence at distances far greater than the reach of the hand, what becomes the place and form of making at the scale and pace of the individual body? How does making participate in the recuperation and recognition of embodied knowledge? What are the places and forms for live, tactile, visceral, face-to-face experiences in a media saturated world? These concerns have animated the site responsive installations that have formed the bulk of Hamiltons practice over the last 20 years. But where the relations of cloth, sound, touch, motion and human gesture once gave way to dense materiality, Hamiltons work now focuses on the less material acts of reading, speaking and listening. The influence of collaborative processes in ever more complex architectures has shifted her forms of making, wherein the movement of the viewer in time and in space now becomes a central figure of the work.

Born in Lima, Ohio, in 1956, Ann Hamilton received a BFA in textile design from the University of Kansas in 1979 and an MFA in sculpture from the Yale School of Art in 1985. From 1985 to 1991, she taught on the faculty of the University of California at Santa Barbara. Hamilton has served on the faculty of The Ohio State University since 2001, where she is a Distinguished University Professor in the Department of Art.

Among her many honors, Hamilton has been the recipient of the National Medal of the Arts, Heinz Award, MacArthur Fellowship, United States Artists Fellowship, NEA Visual Arts Fellowship, Louis Comfort Tiffany Foundation Award, Skowhegan Medal for Sculpture, and the Guggenheim Memorial Fellowship. She represented the United States in the 1991 Sao Paulo Bienal, the 1999 Venice Biennale, and has exhibited extensively around the world. Her major commissions include projects for Waterfront Seattle (upcoming); Park Avenue Armory (2013); The Pulitzer Foundation for the Arts, St. Louis (2010); The Guggenheim Museum, New York (2009); Contemporary Art Museum, Kumamoto, Japan (2006); La Maison Rouge Fondation de Antoine Galbert, Paris, France (2005); Historiska Museet, Stockholm, Sweden (2004); MASS MoCA, North Adams, Massachusetts (2003); The Hirshhorn Museum and Sculpture Garden, Washington D.C. (2003, 1991); The Wanas Foundation, Knislinge, Sweden (2002); Akira Ikeda Gallery, Taura, Japan (2001); The Musee dart Contemporain, Lyon, France (1997); The Stedelijk Van Abbemuseum, Eindhoven, The Netherlands (1996); The Art Institute of Chicago (1995); The Museum of Modern Art, New York (1994); The Tate Gallery, Liverpool (1994); Dia Center for the Arts, New York (1993); The Museum of Contemporary Art, Los Angeles (1988).