David Hammons' Tarpaulin Paintings are a striking series that embodies his critical approach to art, blending the lines between painting and sculpture, high art and everyday materials. A notable work from this series, showcased at Phillips, combines abstractly painted canvas with an industrial plastic tarp, challenging traditional art hierarchies and material value. Hammons’ use of everyday materials like tarps not only questions the sanctity of traditional canvas but also incorporates a narrative of the black urban experience, replacing the white marble of classical sculpture with black tarpaulin as a bold statement against the white-centric art historical canon (Phillips).
These paintings have been part of broader exhibitions, such as the one at Mnuchin Gallery, which highlighted major series from Hammons' five-decade career. Alongside Body Prints, found-object assemblages, and other notable works, the Tarp paintings underscore Hammons' enduring critique of institutional elitism within the art world. His work subtly parodies and defies the conventions of art presentation and curation, playing with visibility and the notion of 'finished' art (Mnuchin Gallery).
At a show at L&M Arts, reviewed in artcritical, Hammons draped abstract paintings with materials like cheap plastic bags, fabrics, and tarps, sometimes revealing parts of the paintings beneath. This method questions the visibility and accessibility of abstract art, making a statement on how such art is presented and perceived. The review reflects on Hammons' ability to engage with race and politics through innovative, often provocative means, though it suggests that the particular series may have ventured into the realm of the formulaic (artcritical).
In another exhibition, "Harmolodic Thinker" at Hauser & Wirth, Hammons explored themes of homelessness and invisibility, with site-specific works that directly addressed societal issues like the LA homeless crisis. The Tarp series featured prominently, with paintings covered in materials suggestive of shipping and protection, challenging notions of authorship and the traditional gallery presentation. By doing so, Hammons continues his exploration of art's ephemeral nature and its intersection with real-world issues, pushing the viewer to reconsider the boundaries between art spaces and lived reality (AGOTT).
Hammons’ Tarpaulin Paintings and related works represent a profound commentary on the art world, societal issues, and the material value of art. Through these works, he invites viewers to engage in deeper reflection on the role of art and the artist in addressing and reflecting upon contemporary social issues and cultural dynamics.
