Ann Hamilton believes that projects can be considered, not as artifacts or something to be documented, but as their own material object?in this case, a book. While 'Sense' contains images that Hamilton has accumulated over many years, of people and of objects that conflate touch, light, and surface, the book also becomes an object in hand, a thing felt, an artwork in itself. Mallarmé begins 'The Book: Spiritual Instrument' with, ?Everything in the world exists to end up as a book.? While working on the building-wide project, the common SENSE with Sylvia Wolf, this idea inspired Hamilton: ??.maybe the form of the project is not the installation or the exhibition or all the weeks of time and programming?.maybe the actual form of the project is a book?.and the installation is the work and the process for generating the book?s questions and materials.?

Ohio State students, faculty and staff were photographed by artist and professor Ann Hamilton through a semi-transparent membrane that registersin focus only what immediately touches its surface while rendering more softly the gesture or outline of the body. In these images, touch-something we feel more than we see-is visible. In them, we feel the glance of cloth's fall, the weight of a hand, the press of a cheek, the possibility of recognition in portraits haunted by contact.Standing behind the semi-opaque film, one can hear but can not see, hidden until stepping toward the surface, guided by my voice. Each press of the object, the face, a hand, or cloth touching the membrane is revealed in focus, the shallow depth of field a consequence of the membrane's optical qualities. The images made in this exchange-between a subject that offers self or object and a voice that stands in for the visually absent camera-record an interiority that is perhaps more private, more vulnerable than the self we offer up in the world of a constantly present camera. Following and trusting the voice while having a sense of being hidden makes a space for this vulnerability. Each image is a tactile register of an exchange.

Ann Hamilton: An Inventory of Objects ISBN 0-9743648-5-1 / 978-0-9743648-5-8 Hardcover, 7 x 10.5 in. / 264 pgs / 150 color and 80 b&w. / U.S. $60.00 CDN $72.00 November / Art

"Cloth making -- among the oldest forms of human cultural production -- provides inspiration for Ann Hamilton's multi-venue project, 'habitus', located at three sites: The Fabric Workshop and Museum, Municipal Pier 9, and on social media. 'habitus' weaves text, textile, and image together as mediums for an imaginative and tactile exchange between artist and audience. The museum's galleries display Hamilton's selection of historical objects -- including literacy commonlace books, textile sample books, dolls, and needwork portfolios -- borrowed from Philadelphia museums and public collections. Printed passages from published writings referencing the social and material life of textiles, and collected through an open call to the public at http://cloth-a-commonplace.tumblr.com, will be available free to museum visitors. In the vast space of Municipal Pier 9 on the Delaware River, visitors propel a field of gigantic cylindrical curtains to billow to atmospheric proportion. As cloth swaddles us at birth and covers us in sleep; as a folded blanket can tell a story of trade; as a flag carries the symbol of a nation, Hamilton's multi-venue exhibition 'habitus' invites us to touch and be touched by the fabric of human experience"--Publisher's statement.

Ann Hamilton's family has moved to the western frontier of Pennsylvania, and she misses her old home in Gettysburg. There are no girls her age on Hamilton Hill, and life is hard. But when the Hamiltons survive a terrible storm and receive a surprise visit from George Washington, Ann realizes that pioneer life is exciting and special.

'Five engrossing, resonant stories here, with no weak links' ― The Herald The world's first UNESCO city of literature, Edinburgh is steeped in literary history. It is the birthplace of a beloved cast of fictional characters from Sherlock Holmes to Harry Potter. It is the home of the Writer's Museum, where quotes from writers of the past pave the steps leading up to it. A city whose beauty is matched only by the intrigue of its past, and where Robert Louis Stevenson said, 'there are no stars so lovely as Edinburgh's street-lamps'. And to celebrate the city, its literature, and more importantly, its people, Polygon and the One City Trust have brought together writers – established and emerging – to write about the place they call home. Based around landmarks or significant links to Edinburgh each story transports the reader to a different decade in the city's recent past. Through these stories each author reflects on the changes, both generational and physical, in the city in which we live.