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Across basketball drawings (1995–2012) and Kool Aid paintings (2003–2007), Hammons stages chance procedures against rigid instructions, using stereotypical motifs of Blackness to both celebrate Black culture and challenge American practices of stereotyping, monetizing, and fetishizing. The works investigate commercialism and production as structures shaping perceptions of Black life.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":10,"@type":76,"position":81},"https://docshare.wps.com/document/story-novel/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/david-hammons-basketball-and-kool-aid/135698/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/david-hammons-basketball-and-kool-aid/135698.png","ImageObject",300,407,{"name":92,"@type":93},"Ezra","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-09-24","2026-08-21",true,{"@type":102,"interactionType":103,"userInteractionCount":19},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What is the exhibition “David Hammons: Basketball and Kool Aid” about?","Question",{"text":112,"@type":113},"It examines Hammons’s use of basketball and Kool Aid imagery, showing how everyday materials and procedures support both celebration and critique of American stereotyping of Black life.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How were the basketball drawings created?",{"text":117,"@type":113},"Hammons coated balls in charcoal and dirt (often from Harlem streets) and bounced them onto paper from random angles, producing shadowy, ambiguous traces and markings.",{"name":119,"@type":110,"acceptedAnswer":120},"What tension between chance and instruction appears in the Kool Aid works?",{"text":121,"@type":113},"The Kool Aid paintings play with chance effects while also referencing directive beverage instructions, which Hammons transforms by writing them in Japanese calligraphy that reconfigures language.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},135698,1787317631,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":8,"category_name":10,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":19,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":24,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":129,"read_time":39},1099514068035,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","David Hammons at Nahmad Contemporary, and Elsewhere  \nInstallation view of David Hammons: Basketball and Koolaid. Courtesy of Nahmad Contemporary, New York.  \nDavid Hammons: Basketball and KoolAid  \nNahmad Contemporary  \nMay 1 through June 25, 2021 By ZOË HOPKINS, June 2021  \nThis past year, New York City has been awash with the work of David Hammons. February ushered in a widely celebrated exhibition of his body prints at the Drawing Center, where visitors were privileged to more than a decade of these resplendent visualizations of embodied life. And last month, the Gansevoort Peninsula across from the Whitney Museum was christened with Day’s End, Hammons’s new permanent public sculptural installation that resuscitates a work by Gordon Matta-Clark of the same title. Further uptown, Nahmad Contemporary completes a trifecta of sorts, dazzling its visitors with an exhibition oftwo of Hammons’s lesser-known series: his collection of basketball prints and kool aid paintings.  \nFeaturing over a dozen works, David Hammons: Basketball and Kool Aid is an ode to Hammons’s unique command of everyday materials and social criticism. The exhibition foregrounds Hammons’s experimentations with the titular sport and beverage, stereotypical motifs of Blackness which Hammons uses to articulate a celebration of Black culture alongside a critique of America’s stereotyping, monetizing, and fettishizing ofit. The show spans an impressively wide stretch of years, the basketball works dating between 1995 and 2012 and the  \nkool aid works dating 2003-2007. To this end, the exhibition is also an invitation to investigate the works in the show and the themes that they draw on—commercialism, mass production, and how these structures inform stereotypes of Black life—within the broader arc ofHammons’s career.  \nDavid Hammons, Untitled (Basketball Drawing), 2006-2007. Courtesy of Nahmad Contemporary, New York.  \nThe basketball works are the product of chance encounters between ball and paper: Hammons created the series by coating balls in charcoal and dirt—usually collected from the streets of Harlem—and bouncing them off the paper from random angles. These interactions give birth to nebulous dances of shadow and light. Beneath and inside the haze of charcoal, we can barely discern arching lines, bold faced logos, and other markings a basketball conventionally bears on its surface. Though the basketball is the primary symbol of concern, its meanings are enriched by an elaborate and wildly surprising web of materials including rock, asphalt, alarm clocks,  \nand suitcases. These material interventions cleverly place basketball within the broader schema of American racial capitalism. For example, in Untitled (Basketball Drawing) (2006-2007), a monumental diptych rests precariously atop a jagged asphalt from an outdoor court, slanted atan incline that suggests the possibility of toppling to the floor, thus prompting a comparison to the precarious security that professional sports guarantee Black youth.  \nTucked away in one of the gallery’s smaller rooms is the Basketball installation (1998), an inside joke in three parts. A vase beckons us to peer into its interior, where we discover a basketball mercilessly trapped inside, having been inflated only after it was placed in the vase. Offering a cruel bait, a basketball hoop juts proudly from a half-painted log resting on the floor, a few feet away yet entirely unreachable. The sculptural component of the work is quietly minimalist in comparison to the prints that polka-dot the walls: earthy brown basketball prints, strikingly bold against the white walls. Finally, Hammons’s touch seeps into the room via a set of instructions accompanying the installation.“No more than ten prints on a wall”Hammons instructs with rigid specificity. And then, in a few lines that resonate with something akin to bathos, Hammons leaves it all up to our discretion: “jug with ball can be placed anywhere in the room. Tree can be placed an","cbCaieqTxKVl9RFK","https://ap.wps.com/l/cbCaieqTxKVl9RFK","pdf",1905459,"English","# Exhibition Overview\n## Basketball Works and Materials\n## Basketball Installation and Instructions\n## Kool Aid Works and Japanese Calligraphy","[{\"question\":\"What is the exhibition “David Hammons: Basketball and Kool Aid” about?\",\"answer\":\"It examines Hammons’s use of basketball and Kool Aid imagery, showing how everyday materials and procedures support both celebration and critique of American stereotyping of Black life.\"},{\"question\":\"How were the basketball drawings created?\",\"answer\":\"Hammons coated balls in charcoal and dirt (often from Harlem streets) and bounced them onto paper from random angles, producing shadowy, ambiguous traces and markings.\"},{\"question\":\"What tension between chance and instruction appears in the Kool Aid works?\",\"answer\":\"The Kool Aid paintings play with chance effects while also referencing directive beverage instructions, which Hammons transforms by writing them in Japanese calligraphy that reconfigures language.\"}]","David Hammons: Basketball and Kool Aid | PDF"]