Porcelain enamel
Dimensions variable

Commission, Landmarks, The University of Texas at Austin, 2017

Health Learning Building (HLB)
30.27542, -97.73329

Health Discovery Building (HDB)
30.277845, -97.735078

Health Transformation Building (HTB)
30.277486, -97.735019

Accessible during regular business hours Monday through Friday, subject to closure for events. All visitors must check in at front desk.

O N E E V E R Y O N E is a series of photographic portraits by Ann Hamilton commissioned for the Dell Medical School. The series illuminates particular links between touch and vision, contact and caring. Hamilton photographed more than 530 participants from the Austin community. They stood behind a frosted, plastic material that puts in sharp focus whatever it touches, while progressively softening receding features. To viewers of the resulting portraits, the cloudy screen becomes the image surface, a translation that binds visual and tactile perception.

Touch has been key to Hamilton鈥檚 work from the outset. Among her earliest works was (suitably positioned) (1984), in which a man鈥檚 business suit covered in protruding toothpicks provoked in viewers a distinctly heightened experience of tactile sensitivity. Hamilton has combined the tactile and the photographic in many works; reflections (2000) is a series of photographs shot through multiple layers of slightly wavy glass that produced blurry images鈥攁 precedent for O N E E V E R Y O N E. Also creating soft-edged images was the small camera Hamilton placed inside her mouth for face to face (2001). Opening her lips exposed the film and transposed her (silenced) mouth into a speaking eye. By the end of the 1980s Hamilton had begun to produce the complex, community-engaging, site-related installations that have consumed the majority of her efforts since.

The democracy of art is perhaps Hamilton鈥檚 central principle, and it is clearly reflected in the remarkable openness of O N E E V E R Y O N E鈥攆rom its enormous range of participants to texts and images available freely in print and on the work鈥檚 website. That collaborative effort is deepened by Hamilton鈥檚 commitment to the extended community of the Dell Medical School. Hamilton references John Berger鈥檚 A Fortunate Man: The Story of a Country Doctor, which considers with great sympathy the relationships forged between a physician and his patients. A highly developed sense of touch, and an equal ability to see his patients clearly, as whole beings rather than as aggregated physical parts鈥攚hile at the same time understanding them to be inextricably connected to their town and its culture鈥攚ere central to Berger鈥檚 quietly heroic practice. Hamilton鈥檚 O N E E V E R Y O N E represents a similar devotion. 

 

LEARNING AT HOME WITH LANDMARKS

Bring the Landmarks collection into your home-learning environment. Check out how you can engage with this work by browsing the learning resources featured on this page:

  1. View Photo Gallery - Click on the arrows on the sides of the image above to to view images of the work. Spend time on each photo and examine details carefully as if you were with the work in person. 
  2. Play Audio Guide - Select 鈥淧lay Audio Guide鈥 in the upper right corner to hear a short audio guide about the art and gain a deeper understanding of its meaning.
  3. View Videos - Select 鈥淰iew Videos鈥 to watch a 3-minute video with the artist and to understand their process. 
  4. Activity Guides Choose the activity guide below best suited for young learners in your home.

Still have questions or want to share your Learning at Home with Landmarks experience with us? Keep the conversation going by tagging Landmarks on social media.

ACTIVITY GUIDES

Silhouette of hand

O N E E V E R Y O N E

2017

Ann Hamilton

American, born 1956

Subject: Color and Layering

Activity: Tissue Paper Drawings

Materials: Black marker, white paper, colored tissue paper, scissors, glue, paint brush

Vocabulary: Collage, Layer, Shapes

Introduction

At Dell Medical School students learn to become doctors. These photographs by Ann Hamilton are of people who have either received care or who have taken care of others. They look blurry because the artist hung a cloudy sheet of plastic in front of people before she took their photograph. She did this to help us focus on certain parts of the body, like a hand or a face. 

Questions

What does the world look like through a foggy window?

How are these photos different from the ones we take?

Can you imagine what this person is thinking or feeling?

If Ann Hamilton took your photo, how would you pose? 

Observations

Look at the portraits by Ann Hamilton. The parts of the people touching the plastic sheet are in focus, the rest of the picture is blurry. 

Activity

Use a black marker to draw a large drawing on a white sheet of paper. Try to use the whole sheet. The more simple the drawing is the better!

Tear or cut different colored tissue paper into shapes. Using a paintbrush, cover your drawing with a thin layer of glue. Don鈥檛 worry, the black lines will show when the glue dries! Create

a collage by layering the tissue paper onto the glue. Layer colors to create new colors. The shapes don鈥檛 need to match the drawing. Just use them to ll the entire sheet with colors! 

Look again

Look at your drawing and at Ann Hamilton鈥檚 photograph. Is your drawing blurry like the person in the photograph? 

Vocabulary

Collage - A work of art made by gluing paper, string, or other objects onto a sheet of paper

Shape - A form like a circle, square, or triangle

Layer - Placing one shape on top of another 

Silhouette of hand

O N E E V E R Y O N E

2017

Ann Hamilton

American, born 1956

Subject: Drawing Emotion

Activity: Make a silhouette with symbols and words that describe you

Materials: Flashlight; large sheet of paper; pencil; crayons, colored pencils, markers, or paint

Vocabulary: Silhouette, emotion

Introduction

Artist Ann Hamilton took photos of people behind a cloudy sheet of plastic to make these photographs. They are hanging in the Dell Medical School to represent all the different kinds of people who need care or who have cared for others. Even though they are blurry you can see details of a person鈥檚 face, hands, or an object they are holding. This helps the artist show us what the most important part of the picture is. 

Questions

What are some reasons why someone would have their picture taken?

If this person could talk, what do you think he or she would say?

Pretend you are inside this photograph. What does it feel like?

Can you assign a mood to these photographs? 

Activity

Create a silhouette of your head by standing sideways a foot away from a wall. Have a friend shine a  flashlight toward you so that your face casts a shadow against the wall. Have another friend tape a large sheet of paper to the wall and trace your profile. If you want a larger canvas lay down on a large sheet of paper and trace your entire body!



Use crayons, colored pencils, markers, or paint to  fill in your silhouette with facts you want people to know about you. What is your favorite food? Where do you like to go on vacation? What do you like to play with your friends? What makes you happy or sad? What is the most important thing about you? Use art to show who you are!

BTW

You can visit www.hamilton-landmarks.org to see more photographs taken for this project. 

Vocabulary

Silhouette - The outline of a person or object

Emotion - A strong feeling, like happy or sad 

Silhouette of hand

O N E E V E R Y O N E

2017

Ann Hamilton

American, born 1956

Subject: Mirror Images

Activity: Pick a figure and mirror the pose; answer the questions

Materials: Pencil or pen and paper; your imagination!

Vocabulary: Haiku

Introduction

O N E E V E R Y O N E is a series of photographs by Ann Hamilton for the Dell Medical School. She took more than 500 portraits of people who have received care or who have cared for someone else. By putting a cloudy sheet of plastic in front of the person in the picture, many of the peoples鈥 features are blurred, making it feel like it could be anyone, even you, in the photograph. 

Questions

Can you assign a mood or feeling to these images?

Why do you think the artist created blurry rather than clear portraits?



What do you think it feels like to be photographed behind a sheet of plastic?

What do you think you can see or hear behind the plastic? 

Observations

The cloudy atmosphere in the photographs ignites the sense of touch, something we don鈥檛 often see in photographs. 

Activity

Pick a figure that you find particularly interesting. Mirror their pose. Think about why he or she is holding their posture that way. Why are his hands in that position? Why is she making that facial expression? Imagine what that person could be thinking or what they have experienced.

After you鈥檝e lived in this person鈥檚 shoes, write a haiku as if you were this person. A haiku in a three-lined poem; the first line has 5 syllables; the second has 7; and the third has 5 again. They are short and sweet! For example:



Caring is a gift

of patience to a patient.

Give care and take care. 

BTW

You can see more photographs from this series at www.hamilton-landmarks.org

Look again

Share your haiku and see if your listeners can guess which photograph inspired you. 

Vocabulary

Haiku: A short, three-lined poem that originally developed in Japan 

MORE INFORMATION

鈥淟et鈥檚 be in touch,鈥 we say casually, although to be truly in touch is rare, a prized and intimate experience that cross-wires several systems of perception, emotion, and understanding. These are connections that Ann Hamilton has long explored with great depth and delicacy. In O N E E V E R Y O N E, a series of photo portraits commissioned by Landmarks for the Dell Medical School at The University of Texas at Austin, Hamilton illuminates particular links between touch and vision, contact and caring. Positioning subjects behind a material called Duraflex庐鈥攚hich has been aptly described as feeling a little like skin and, when looked through, as resembling a frosted shower curtain鈥擧amilton has photographed more than five hundred people. Among Duraflex鈥檚 properties: whatever touches the surface from behind is seen from the front in sharp focus, while everything else becomes progressively soft; in photographic terms, it creates a very shallow depth of field. To viewers of the resulting portraits, the plastic screen becomes the image surface, a translation that binds visual and tactile perception.

Touch has been key to Hamilton鈥檚 artistic practice from the outset. Among her earliest works was (suitably positioned) (1984), a man鈥檚 business suit covered in toothpicks, which made its wearer a human porcupine, and provoked in viewers a distinctly heightened experience of tactile sensitivity. By the end of the 1980s Hamilton had begun to produce the complex, site-related installations that have consumed the majority of her efforts since. For privation and excesses (1989), at Capp Street Project, San Francisco, she had thousands of pennies laid into a field of honey on the gallery floor; a woman wringing her hands in a honey-filled felt hat sat at the rear, and behind her, three sheep grazed in a pen. The full-body experience engaged viewers鈥 sense of smell. At the Dia Center for the Arts in New York City, tropos (1993鈥94) included a floor carpeted with horsehair. In myein, conceived for the United States Pavilion at the 48th Venice Biennale (1999), bright red powder drifted over walls marked with Braille, and visitors were invited to write with their fingers in the pigment that fell to the floor.

More than once, Hamilton has combined the tactile and the photographic. In abc-video (1994鈥99), a carefully inscribed alphabet was slowly erased and then, it seems, re-written by an inky fingertip. Developed in connection with myein, reflections (2000) is a series of photographs shot in the reflection made by multiple layers of slightly wavy glass, producing images of a figure that appears to be underwater鈥攁 precedent for O N E E V E R Y O N E鈥s blur. Also creating soft-edged images was the small camera Hamilton placed inside her mouth for face to face (2001). The work made the artist into a kind of pinhole apparatus鈥攐pening her lips exposed the film鈥攁nd transposed her (silenced) mouth into a speaking eye.

The Duraflex sheet behind which subjects stood during photo shoots for O N E E V E R Y O N E prevented them from seeing the camera, and although they heard Hamilton鈥檚 voice directing them, they felt themselves to be in a private space. In a public conversation with Jack Risley at The University of Texas at Austin, the artist said that the process created 鈥渁 quality of interiority,鈥 a valuable condition at a moment when 鈥渢he notion of private images and private space is changing.鈥 Hamilton has also said that trust鈥攚ith respect to the camera, and the artist鈥攚as another big issue in the process of creating these images. As it happens, trust is also essential to a relationship the subjects shared: all of them are either care providers, administrators, or patients from Austin鈥檚 extended medical community. Photo shoots were open to all and held at community health clinics, a student union, university campuses, a children鈥檚 hospital, a retirement community, and elsewhere. According to Hamilton, 鈥淭ouch and human recognition is the core of medicine,鈥 and she also noted a similarity between the way the subjects address themselves to her camera and the way patients present themselves to doctors. In both cases, 鈥淵ou offer yourself up.鈥

Typical for Hamilton鈥檚 work, O N E E V E R Y O N E is a project with several components. The primary element is an image library containing more than 20,000 photographs of roughly 530 people. Installed at Dell Medical School are a few dozen that have been printed on enameled porcelain panels, which are lustrous (they are finished with a thin layer of glass) and softly white鈥攍ike trays for medical instruments, as Hamilton points out. Whether at slightly more than life-size or somewhat smaller, the subjects are dignified, even grand, but also muffled鈥攓uieted鈥攂y the process, which prohibits the preening display so common in the age of social media. And the emphasis on touch is extended by Hamilton鈥檚 frequent focus on hands at the expense of faces. When the subjects make manual gestures, they consolidate the connection between touching and seeing. We see a man cradling a baby, a cross-generational handshake, and a flutter of fingers. Choices of physical self-presentation鈥攃lothing, ornaments鈥攆urther acquire, in some portraits, an emblematic force, forming additional accents, as in spoken language, of color, texture, and form.

In addition to these porcelain panels, a generous selection of images appear in a wordless book. Published in a run of 10,000 copies and distributed freely on campus, the book鈥檚 900 pages make it as thick as the kind of old-fashioned telephone directory it resembles. The thin, pliable, off-white paper of this publication evokes, as does Duraflex, the tenderness of skin, further modulating the color and resolution of the photographs. It also binds them into the kind of physical index of connectedness鈥攁 phonebook鈥攖hat has been abandoned in the digital age. An additional component of O N E E V E R Y O N E is a free newspaper in which a selection of the photographs will appear alongside contributions by scientists, philosophers, poets, and essayists. These essays are also available on the project鈥檚 website鈥攁 final and crucial component鈥攁long with at least one image of each participant, which may be downloaded for free.

These several image vehicles all place the subjects securely in the present, while framing them in many kinds of history. The blur that envelops O N E E V E R Y O N E鈥檚 subjects can be associated with a period, in the late nineteenth century, when the still-novel medium of photography was believed, by a surprising number (and range) of people, to be capable of capturing departed spirits; not coincidentally, it was a time when various spiritualists also promised such capture. Historian Tom Gunning writes, 鈥淣ot only did the darkness needed to protect the sensitized photographic plate from exposure serve as an analogy for the darkness in which mediums held their s茅ances, but photographs could also provide evidence of the existence of spirit beings.鈥 Impinging on the film or the plate鈥檚 emulsion, the dead made manifest their otherwise invisible presence. In the present, when more and more of our time is spent staring at images on screens, Gunning continues, 鈥淭he difference between our daily existence and that of phantoms becomes attenuated.鈥 In other words, we have become the ghosts once thought to be exposed in darkroom-born images; touch, in both cases, is the interface. Related, too, is the healing offered by Franz Anton Mesmer, an eighteenth-century Viennese doctor who, as Mark Alice Durant writes in The Blur of the Otherworldly, 鈥渢heorized that magnetism flowed through the universe via the fluidium.鈥 Mesmer believed that a diaphanous medium joined all bodies 鈥渋n the universal waltz of influence,鈥 which a skilled practitioner鈥攁 mesmerist鈥攃ould channel for medical benefit.

Hamilton, an avid reader, is interested in the writing of literary scholar Brian Rotman (he is a contributor to the O N E E V E R Y O N E newspaper), who argues in Becoming Beside Ourselves that both mind and God are ghost effects of the alphabet鈥攊mmaterial entities brought forth by writing鈥檚 capacity to sustain identity over time and space in the absence of the speaker鈥檚 body. 鈥淲riting, by rescuing speech from oblivion,鈥 Rotman concludes, 鈥渁llows utterance to live beyond itself.鈥 But Rotman believes that alphabetic writing is giving way to gestural languages caught in real time by digital technology, which is driven by a dispersed community of meaning. The digitally enabled 鈥淚鈥 is 鈥渋mmersive and gesturo-haptic,鈥 Rotman writes, and 鈥渋ncreasingly defined by the networks threading through it.鈥 Philosopher V铆lem Flusser, too, felt that language born of breath and inscribed in printed words was becoming obsolete. While 鈥渢he alphabet permits us to stabilize and discipline a transcendence of images that has been won, with effort, through speech,鈥 Flusser wrote, 鈥渢hinking is not a continuous, discursive process.鈥 Instead, we think in images, which are fluid, and our brains more resemble networked databases than inscribable clay tablets. Writing, Flusser predicted in 1987, is nearing an end.

Hamilton is also interested in the fact that we 鈥渓ive in a world of touch-less images鈥 where, paradoxically, pictures can be brought to life and manipulated by a finger placed on a computer screen鈥斺淭hat space of no space,鈥 she calls it. Digital screens (and photographs of all kinds) have played an important role in Hamilton鈥檚 work. But she does not altogether share Flusser鈥檚, or Rotman鈥檚, rather drastic vision of a post-bibliophilic future. Just as constant as touch in her work has been the presence of books and other forms of printed matter, which are also central to O N E E V E R Y O N E. Several times, books have entered her work as objects to be altered, such as tiny stones replacing typographic marks, or lines of text being slowly, systematically burnt with a stylus. In her conversation with Jack Risley, Hamilton said, 鈥淭he book is a beautiful democratic object. It鈥檚 portable, it has a rhythm, it鈥檚 in your hand. When you fall into a book you鈥檙e falling into another world that extends like a landscape even if it鈥檚 not literally one. That close at hand and far away which is how I would characterize reading is carried always in a book.鈥

The democracy of art is perhaps Hamilton鈥檚 central principle, and it is clearly reflected in O N E E V E R Y O N E鈥檚 remarkable openness鈥攊ts enormous range of participants; the free distribution of its newspaper, and of its book, which Hamilton hopes will 鈥渃irculate throughout the community, hand to hand鈥; and the public availability of its website. An internationally celebrated artist, honored with a MacArthur fellowship in 1993 and the National Medal of the Arts in 2015 (among many other awards), and installations at major museums and public spaces around the world, she has had a wary relationship with the art market. Hamilton鈥檚 choice to live and work in Columbus, Ohio, where she grew up (she was born in Lima, Ohio, in 1956) reflects a wariness of art鈥檚 commercial capitals. Engaging with local communities is a through-line in her installations that brings together people from disparate disciplines as contributors, fabricators, performers, participants, and viewers; many of these terms become fluid in her work. Among the several installations involving expanses of billowing and swirling fabric (Hamilton鈥檚 BFA from the University of Kansas at Lawrence in 1979 was in textile design; she also received an MFA in sculpture from Yale in 1985) are two that required the audience to help set the cloth in motion. By pumping swings suspended from the vaulted ceiling of the great drill hall in New York鈥檚 Park Avenue Armory (the event of a thread, 2012颅鈥13), audience members caused a giant curtain to move up and down, and by pulling on ropes, viewers at an open-air pier in Philadelphia set in motion enormous swirling skirts, which were also animated by wind, and even by the movement of passersby (habitus, 2016).

Woven fabric is a social metaphor as well as a physical material in Hamilton鈥檚 installations. The stuff of shelter and privacy, communion and solitude, it also evokes an interweaving of knowledge and skills. Though not a traditional textile, Duraflex is a protective material. Produced by Bayer MaterialScience, it came to Hamilton鈥檚 attention as the result of a project undertaken for an exhibition at the Warhol Museum in Pittsburgh called Factory Direct, which wove together artists and the local industry. That collaborative effort is deepened by O N E E V E R Y O N E鈥檚 commitment to the extended community of the Dell Medical School. Along with the writing of Rotman, Hamilton cites John Berger鈥檚 book-length essay A Fortunate Man: The Story of a Country Doctor, which considers with great sympathy the relationships forged between a particularly thoughtful, generous physician in rural England and his patients. A highly developed sense of touch, and an equal ability to see his patients clearly, as whole beings rather than aggregated physical parts鈥攚hile at the same time understanding them to be inextricably connected to their town and its culture鈥攚as central to the doctor鈥檚 quietly heroic practice. Hamilton鈥檚 O N E E V E R Y O N E represents a similar devotion.

Nancy Princenthal is a New York鈥揵ased art critic and former senior editor of Art in America. She has written and lectured extensively on leading women artists such as Agnes Martin, Petah Coyne, Hannah Wilke, and Nancy Rubins. Princenthal is co-author of After the Revolution: Women Who Transformed Contemporary Art (2007) and The Reckoning: Women Artists of the New Millennium (2013). She is currently on faculty at the School of Visual Arts, New York. 

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Ann Hamilton: Stylus. St. Louis, MO: The Pulitzer Foundation for the Arts, 2012. With texts by Ann Hamilton, Matthias Waschek, and Steven Henry Madoff.

Ann Hamilton: Whitecloth. Ridgefield, CT: The Aldrich Museum of Contemporary Art, 1999. With an essay by Nancy Princenthal and a poem by Ann Lauterbach.

RECTO/VERSO: Video by Ann Hamilton. Hamilton, NY: Colgate University and Picker & Clifford Gallery, 2013. With texts by Susan Stewart and Linn Underhill.

Simon, Joan. Ann Hamilton. New York, NY: Harry N. Abrams, 2002.

Simon, Joan. Ann Hamilton: An Inventory of Objects. New York, NY: Gregory Miller, 2006.

View Ann Hamilton's website

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Commissioned by Landmarks for the Dell Medical School, O N E E V E R Y O N E includes photographs of more than five hundred members of the Austin community. The project welcomed the participation of all who had either provided or received care.

Funding for O N E E V E R Y O N E was provided by the capital improvement project for the Dell Medical School. This project would not have been possible without generous assistance from many, including:

Leadership

Andr茅e Bober and Landmarks

Pat Clubb and University Operations

Douglas Dempster and the College of Fine Arts

Gregory Fenves and the Office of the President

Clay Johnston and Dell Medical School

Landmarks Advisory Committee

Bob Rawski and the Office of Facilities Planning and Construction

David Rea and the Office of Campus Planning and Facilities Management

Frederick Steiner and the Campus Master Planning Committee

Project Team

Nisa Barger, project manager, Landmarks

Andr茅e Bober, curator and director, Landmarks

Ann Hamilton, artist

Veronica Harris, Office of Facilities Planning and Construction

Page Sutherland Page

Jim Shackelford, Office of Facilities Planning and Construction

Bill Simpson, Office of Facilities Planning and Construction

Chris Upton, Office of Facilities Planning and Construction

Vault Fine Art Services

Partners

Central Health/Southeast Health and Wellness Center

The Contemporary Austin

Dell Children's Medical Center of Central Texas

Seton Healthcare Family

Dell Medical School

Department of Art & Art History

Humanities Institute

Huston-Tillotson University

North Central Health Center

The Senate Chamber at the Texas State Capitol

Visual Arts Center

Westminster Retirement Community

Special Thanks

Adam Boley, photography assistant

John Daigre, Dell Medical School

Deb Duval, event coordinator

Kara Gut, Ann Hamilton Studio

Gilles Heno-Coe, Landmarks

Lisa Jones, Dell Medical School

Emily Kelly and the Visual Arts Center

Jennalie Lyons, development, Landmarks

Nicole Monahan, Ann Hamilton Studio

Jessica Naples, Ann Hamilton Studio

Emily Nobel, translator

Nick Nobel, external relations, Landmarks

Nancy Princenthal, curatorial contributor

Ricardo Puemape, facility manager, Dell Medical School

Jack Risley, Department of Art & Art History

Nicole Rome, Ann Hamilton Studio

Carl Solway, Carl Solway Gallery

Pauline Strong and the Humanities Institute

Gary Susswein and University Communications

Stephanie Taparauskas, development, Landmarks

Amanda Tofflemire, Dell Medical School

Catherine Zinser, education, Landmarks

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O N E E V E R Y O N E, a public art project by Ann Hamilton, is framed by the idea that human touch is the most essential means of contact and a fundamental expression of physical care. Commissioned by Landmarks for the Dell Medical School, it began as a campaign to photograph more than five hundred members of the Austin community. The project welcomed any person who had ever received or provided care鈥攅veryone.

With more than twenty-one thousand images, the photographs of O N E E V E R Y O N E expanded to assume multiple forms: architectural porcelain enamel panels that line the corridors of the medical school; a newsprint publication featuring contributions by poets, philosophers, scientists, and essayists; a book intended to circulate freely that holds at least one portrait of each participant; a website where the same photographs may be downloaded; an exhibition in collaboration with the Visual Arts Center; and a library of images that will enhance future buildings of the medical complex.

The relationship between photographer, camera, and subject is central to Hamilton鈥檚 concept and follows naturally from her early photographic experiments. These featured self-portraits (body object series) as well as images made by placing a pinhole camera in her mouth, causing it to function both as shutter and eye (face to face).

To create O N E E V E R Y O N E, participants stood behind a semi-transparent membrane that focused only the points of the body touching the material. The subjects, directed by the artist to turn in various ways, could not see through the membrane and relied on the sound of her voice for guidance. Hamilton describes this condition as analogous to the experience of medical care: the sitters, like the patients, offer themselves for physical examination. In doing so, they accept vulnerability and extend trust.

Her resulting portraits share an ethereal quality. They capture expressions of intense inward focus as the subjects鈥攗nable to see behind the membrane鈥攕hed recognition of the camera and concentrated on the artist鈥檚 verbal prompts. Faces are elusive, obscured by the material that only renders sharply the contact of touch. By trading literal appearance for a less tangible resemblance, a different kind of portrait emerges鈥攐ne that is at once intimate and ineffable.

O N E E V E R Y O N E extends the broad and most consequential themes of Hamilton鈥檚 art: the primacy of sense experience; the systematic representation of the individual; the commonalities of peoples in all their manifestations; and the power and poignancy of communal exchange.

鈥擜ndr茅e Bober, Landmarks Director

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