Barbara Jean Hammer (May 15, 1939 – March 16, 2019) was an American feminist filmmaker known for being one of the pioneers of lesbian film whose career spanned over 50 years. Hammer is known for having created experimental films dealing with women's issues such as gender roles, lesbian relationships and coping with aging and family. She resided in New York City and Kerhonkson, New York, and taught each summer at the European Graduate School.
Barbara Hammer at the 2014 Art+Feminism Wikipedia Editathon
Barbara Jean Hammer
May 15, 1939
Los Angeles, California, U.S.
|Died||March 16, 2019 (aged 79)|
Manhattan, New York City, U.S.
|Spouse(s)||Florrie R. Burke|
Life and careerEdit
Hammer was born in Los Angeles and grew up in Inglewood, the daughter of Marian (Kusz) and John Wilber Hammer. She became familiar with the film industry from a young age, as her grandfather worked as a cook for the American film director D.W. Griffith. Her maternal grandparents were Ukrainian.
In 1961, Hammer graduated with a bachelor's degree in psychology at the University of California, Los Angeles. She received a master's degree in English literature in 1963. In the early 1970s she studied film at San Francisco State University. This is where she first encountered Maya Deren's Meshes of the Afternoon, which inspired her to make experimental films about her personal life.
In 1974, Hammer was married and teaching at a community college in Santa Rosa, California. Around this time she came out as a lesbian, after talking with another student in a feminist group. After leaving her marriage, she "took off on a motorcycle with a Super-8 camera." That year she filmed Dyketactics, which is widely considered one of the first lesbian films. She graduated with a Masters in film from San Francisco State University.
She released her first feature film, an experimental documentary, Nitrate Kisses in 1992. It was nominated for the Grand Jury Prize at the 1993 Sundance Film Festival. It won the Polar Bear Award at the Berlin International Film Festival and the Best Documentary Award at the Internacional de Cine Realizado por Mujeres in Madrid. She earned a Post Masters in Multi-Media Digital Studies, at the American Film Institute in 1997. In 2000, she received the Moving Image award from Creative Capital and in 2013 she was a Guggenheim Fellow.
She received the first Shirley Clarke Avant-Garde Filmmaker Award in October 2006, the Women In Film Award from the St. Louis International Film Festival in 2006, and in 2009 the Teddy Award for the best short film for her film 'A Horse Is Not A Metaphor' at the Berlin International Film Festival.
Hammer's film collection, comprising her originals, prints, outtakes, and other material resides at the Academy Film Archive in Los Angeles, where a project is in progress to restore her complete film output.
Hammer created more than 80 moving image works throughout her life, and also received a great number of honors.
In 2007, Hammer was honored with an exhibition and tribute in Taipei at the Chinese Cultural University Digital Imaging Center. In New York in 2010, Hammer had a one-month exhibition at The Museum of Modern Art. Additionally, in 2013 she was granted a Guggenheim Fellowship for her film Waking Up Together. She also had exhibitions in London at The Tate Modern in 2012, in Paris at the Jeu de Paume also in 2012, in Toronto for the International Film Festival in 2013 and in Berlin at the Koch Oberhuber Woolfe in both 2011 and 2014.
Hammer received numerous awards during the span of her career. She was chosen by the Whitney Biennial in 1985, 1989, and 1993 for her films Optic Nerve, Endangered and Nitrate Kisses respectively. In 2006, she won both the first ever Shirley Clarke Avant-Garde Filmmaker Award from New York Women in Film and Television as well as the Women in Film Award from the St. Louis International Film Festival.
In 2008, Hammer received The Leo Award from the Flaherty Film Seminar. Her films Generations and Maya Deren’s Sink both won the Teddy Award in 2011 for Best Short Films. Her film A Horse Is Not A Metaphor won the Teddy Award for Best Short Film in 2009 it also won Second Prize at the Black Maria Film Festival. It was also selected for several film festivals: the Torino Gay and Lesbian Film Festival, Punta de Vista Film Festival, the Festival de Films des Femmes Creteil, and the International Women’s Film Festival Dortmund/Koln.
Style and receptionEdit
Hammer was an avant-garde filmmaker and focused a large sum of her films on feminist or lesbian topics. Through the use of experimental cinema, Hammer exposed her audiences to feminist theory. Her films, she said, are meant to promote “independence and freedom from social restriction.” 
Her films were regarded as being controversial because they focused on feminine taboo topics such as menstruation, the orgasm from the female perspective, and lesbianism. Hammer experimented with different film gauges in the 1980s, especially with 16mm film. She did this in order to show just how fragile film itself is. One of her most well-known films, Nitrate Kisses, “explores three deviant sexualities–S/M lesbianism, mixed-race gay male lovemaking, and the passions and sexual practices of older lesbians.”
Hammer's film Dyketactics (1974) illustrates the importance of the female body to her work, and is shot in two sequences. In the first sequence, the film depicts a group of nude women gathering in the countryside to dance, bathe, touch one another, and interact with the environment. In the second sequence, Hammer herself is filmed sharing an intimate moment with another woman within a Bay Area house. Between the two sequences, Hammer aimed to create an erotic film that used different film language than the mainstream, heterosexual erotic films of the time. She called it a "lesbian commercial".
Hammer's early films utilized natural imagery, such as trees and fruit, to be associated with the female body. Nitrate Kisses (1992) was her longest film to date when it was completed. The film comments on how members of the LGBT community are often left out of history and simultaneously works to remedy the problem by offering some of this lost history to its viewers.
This style of filmmaking was met with mixed reactions. In a review of Hammer's films Women I Love (1976) and Double Strength (1978), critic Andrea Weiss noted, "It's become fashionable for women's bodies to be represented by pieces of fruit," and criticized Hammer for "adopting the masculine romanticized view of women.". According to Michael Schell "her relentless pursuit of an artistic vision, informed by the American tradition of experimental cinema, whose integrity was personal, not simply political, can pose a challenge to the assumptions of both sub- and mainstream cultures".
In 2017, the first Barbara Hammer Lesbian Experimental Filmmaking Grant was awarded, to Fair Brane.
Feminist/ lesbian works impactEdit
Through her controversial work, Hammer is considered as a pioneer of queer cinema. Her goal through her film work was to provoke discourse on those who are marginalized, and more specifically, lesbians who are marginalized. She felt that making films that show her personal experience renaming herself as lesbian will help start the conversation on lesbianism and get people to stop ignoring its existence.
Illness, right to die activism, and deathEdit
In 2006, Hammer was diagnosed with stage 3 ovarian cancer. After 12 years of chemotherapy, she fought for the right of self-euthanasia. She referenced this in her works, such as her 2009 film A Horse is Not a Metaphor, in which she expressed the ups and downs of a cancer patient. Through her experience, she became an advocate for Right to Die and fought for the New York Medical Aid in Dying Act.
- Schizy (1968)
- Barbara Ward Will Never Die (1969)
- Traveling: Marie and Me (1970)
- The Song of the Clinking Cup (1972)
- I Was/I Am (1973)
- Sisters! (1974)
- A Gay Day (1973)
- Dyketactics (1974)
- X (1974)
- Women's Rites, or Truth is the Daughter of Time (1974)
- Menses (1974)
- Jane Brakhage (1975)
- Superdyke (1975)
- Psychosynthesis (1975)
- Superdyke Meets Madame X (1975)
- Moon Goddess (1975) – with G. Churchman
- Eggs (1972)
- Multiple Orgasm (1976)
- Women I Love (1976)
- Stress Scars and Pleasure Wrinkles (1976)
- The Great Goddess (1977)
- Double Strength (1978)
- Home (1978)
- Haircut (1978)
- Available Space (1978)
- Sappho (1978)
- Dream Age (1979)
- Lesbian Humor: Collection of short films (1980–1987)
- Pictures for Barbara (1980)
- Machu Picchu (1980)
- Natura Erotica (1980)
- See What You Hear What You See (1980)
- Our Trip (1981)
- Arequipa (1981)
- Pools (1981) – with B. Klutinis
- Synch-Touch (1981)
- The Lesbos Film (1981)
- Pond and Waterfall (1982)
- Audience (1983)
- Stone Circles (1983)
- New York Loft (1983)
- Bamboo Xerox (1984)
- Pearl Diver (1984)
- Bent Time (1984)
- Doll House (1984)
- Parisian Blinds (1984)
- Tourist (1984–85)
- Optic Nerve (1985)
- Hot Flash (1985)
- Would You Like to Meet Your Neighbor? A New York Subway Tape (1985)
- Bedtime Stories (1986)
- The History of the World According to a Lesbian (1986)
- Snow Job: The Media Hysteria of AIDS (1986)
- No No Nooky T.V. (1987)
- Place Mattes (1987)
- Endangered (1988)
- Two Bad Daughters (1988)
- Still Point (1989)
- T.V. Tart (1989)
- Sanctus (1990)
- Vital Signs (1991)
- Dr. Watson's X-Rays (1991)
- Nitrate Kisses (1992)
- Out in South Africa (1994)
- Tender Fictions (1996)
- The Female Closet (1997)
- Devotion: A Film About Ogawa Productions (2000)
- History Lessons (2000)
- My Babushka: Searching Ukrainian Identities (2001)
- Resisting Paradise (2003)
- Love/Other (2005)
- Fucking Different New York (2007) (segment "Villa Serbolloni")
- A Horse is not a Metaphor (2009) (Teddy Award)
- Generations (2010)
- Maya Deren's Sink (2011)
- Welcome to this House (2015)
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- Radical light : alternative film & video in the San Francisco Bay Area, 1945-2000. Anker, Steve, 1949-, Geritz, Kathy, 1957-, Seid, Steve. Berkeley: University of California Press. 2010. p. 195. ISBN 9780520249103. OCLC 606760462.CS1 maint: others (link)
- Willis, Holly; Hammer, Barbara (1994). "Uncommon History: An Interview with Barbara Hammer". Film Quarterly. 47 (4): 7–13. doi:10.2307/1212978. JSTOR 1212978.
- Schell, Michael. "Barbara Hammer remembered in Seattle". Schellsburg. Retrieved May 30, 2019.
- Weiss, Andrea (1981). "Women I Love, Double Strength: Lesbian Cinema and Romantic Love". Jump Cut.
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- Harper, Glenn (1998). Interventions and Provocations: Conversations on Art, Culture, and Resistance. discoverE: SUNY Press. pp. 147–159. ISBN 0-7914-3726-4.
- "Right To Die Advocate: 'Living Has Been Terrific' But Now She Wants Control Over When It Ends". February 6, 2019. Retrieved March 13, 2019.
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- Greenberger, Maximilíano Durón and Alex (March 16, 2019). "Barbara Hammer, Pioneering Queer Experimental Filmmaker, Dead at 79".
- "The repository of the Experimental Television Center". Experimental Television Center- Rose Goldsen Archive of New Media Art. Cornell University Library. Retrieved June 24, 2015.
- Kleinhans, Chuck (2007). "Barbara Hammer: Lyrics and History". In Robin Blaetz (ed.). Women's Experimental Cinema. Duke University Press.
- Epstein, Sonia (2016). "Barbara Hammer and the X-rays of James Sibley Watson." Sloan Science & Film.
- Alexandra Juhasz, editor (2001). Women of Vision: Histories in Feminist Film and Video. University of Minnesota Press.