about

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Hope Sandrow

A conceptual artist who’s multidisciplinary art practice is her ‘way’ of life; real engagements with the world that inform and direct Sandrow’s artistic vision. In the mediums of still, video, mixed media, installation, sculpture, new media, performance and social practice she creates art works representing the natural history of everyday life to (re)generate discourse on notions of nature, culture, art, identity, gender, science, history, the politics of power and myth. At critical times, such as now, Sandrow’s role is as participant like that of the viewer; more often as Observer in works that involve interaction between artists with the public and the natural world. These two interviews explore the interrelationship of Sandrow’s art to life, creative process to art history in her own words: “Hope Sandrow speaks with Artforum” (from a May 2016 2 hour interview); Pollock-Krasner House and Study Center ” Art of Change: Hope Sandrow” (March 10, 2022).

A practice exhibited in her ongoing artist in residence open air studio Shinnecock Hills spacetime that references the social and cultural history in and around Sandrow’s own “backyard” 24/7 (since March 2006). Inspired by a Chance Encounter while walking amidst Shinnecock Hills painted by William Merritt Chase when he lived, painted here (1893-1900). A study within a micro environment, paralleling the macrocosm Earth. In the realms of the personal and the public: open air studio Silanggana The Fabric of time and space spacetime; Town of Southampton Arts and Culture Committee; Sketches of Local History Shinnecock Canal Canoe Place. open air studio spacetime is (November 2017) an artist project fiscally sponsored by New York Foundation for the Arts. And The Fabric of time and space spacetime commissioned by US State Department Art in Embassies (2016 - 2018): Sandrow revisited (2016) the sites of an earlier commission timespace to create new works permanently installed (November 2018) at the US Embassy Jakarta. Informed by conversations with Bali Aga and Mangarrai Indigenous weavers, Komodo wood carvers, and World Wildlife Indonesia professionals overseeing Komodo National Park.

Earlier site specific commissions and projects range from (1980-1991) “On the Streets” (1978 - 1985) of Manhattan and Pier 34 (1983-84, Note 1) to the galleries of the Metropolitan Museum of Art and Hirshhorn Museum and Sculpture Garden (Museum Studies: Hope and Fear,1985 - 1988) to the art collections of Adriana and Robert Mnuchin (A Force Unknown to the Public, 1986) and Dakis Joannou (Setting for Human Interaction, 1987) to the 68th and 69th Regiment Armories where Modern Art was first exhibited in America (Memories Spaces Time, 1988 - 1999; Artist & Homeless Collaborative 1990 - 1996); The Spirit of Art as Activism: Artist & Homeless Collaborative: Making Art, Reclaiming Lives, 1995). And collaborating with colleagues in Coalition for Freedom of Expression, Visual Aids, Women’s Action Coalition (WAC). Exhibited in the New-York Historic Society exhibit Art for Change: The Artist & Homeless Collaborative curated by Rebecca Klassen and Laura Mogulescu (December 3 2021 - April 3 2022). Learn more: Artnews Top Story March 17: How a New York Artist Used Her Work to Offer a Respite for Homeless Women During the ‘90s; Pollock-Krasner House and Study Center ” Art of Change: Hope Sandrow” NYC- Arts: Episode February 3 (starting at 3 minutes thru 4:48 minutes). To her own Manhattan studio Flag for the Nineties (1992) for Vera List. The Brooklyn Bridge Anchorage for Creative Time Material Matters (1995) to the waters offshore New York in Water Life Memories Spaces Time for the Whitney Museum (1998). To those surrounding the Indonesian Islands of Bali, Komodo and Flores where skeletal remains of ancient humanoids were found in timespace (1999 - 2006) for The Nature Conservancy. Eureka spacetime at The Washington Monument in Baltimore for Contemporary Museum (2005 - 6); Shinnecock godt tegn spacetime (2006-7) at PS1/MOMA directed by Alanna Heiss. The Sky is Falling (2008) for Agnes Gund. Sandrow’s video Sur Rodney (Sur) performing Free Advice in Radical Presence curated by Valerie Cassel Oliver at Yerba Buena Center, Walker Art Center, CAMH, Grey Art Gallery; Studio Museum in Harlem (2012-15) and the inaugural Platform: Genius Loci with Curator Andrea Grover Parrish Art Museum (Nov 3 2012 - March 2013); Open Air Studio The Sky is Falling Against the Grain curated By Lowery Stokes Sims and Elizabeth Kirrane (traveling exhibit originating Museum of Art & Design Sept 2012 - January 2014). Art for Change: The Artist & Homeless Collaborative curated by Rebecca Klassen and Laura Mogulescu New-York Historical Society (December 3 2021 - April 3 2022). Read more: Artnews Top Story March 17: How a New York Artist Used Her Work to Offer a Respite for Homeless Women During the ‘90s; Pollock-Krasner House and Study Center ” Art of Change: Hope Sandrow”; NYC- Arts: Episode February 3 starting at 3 minutes thru 4:48 minutes.

Including public collections: the Metropolitan Museum of Art, The Museum of Modern Art, and the Whitney Museum of American Art in NYC; Corcoran Gallery of Art in DC; Houston Museum of Fine Art, Texas; Parrish Art Museum Southampton New York. Sandrow is the recipient of two NEA Fellowships: Artmatters Fellowship; Skowhegan Governors Award. Cited in publications including Artforum, Art in America, Artnews, Bomb, Flash Art, New York Times, Southampton Press, Sculpture Magazine, Washington Post. Private collections include Agnes Gund, Laura Flanders, Dakis Joannou, Dorothy Lichtenstein, Vera List, Gracie Mansion; Penny McCall; Adriana and Robert Mnuchin. Stephania and James McClennan; Sur Rodney Sur.

Early Influences

“I don’t believe in art. I believe in artists.” Marcel Duchamp installed (1952) “LARGE GLASS”. Read more...

Note 1: Sandrow’s installation sited on windows with views of the city, nearby David Wojnarowicz’s installation