The film brings the viewer into the world of American artist David Hammons (Springfield 1943), who discreetly chose to place himself on the margins of the art system. His performances and sculptures constitute a critique of American society and the elite art world. His career began in the 1960s in Los Angeles as a student of Charles White. He became involved with the African-American culture of the 60s and 80s - from the Watts riots to the everyday life of the New York suburbs of the 80s.

The film links archival footage, animation and the testimonies of artists Lorna Simpson, Betye Saar, Suzanne Jackson and art historians Kellie Jones and Robert Farris Thompson to tell the story of his life, from the first works made from hair and threads, to sculptures with found objects such as Higher Goals (1986-7), imposing basketball hoops decorated with metal bottle caps bent to look like shells, ephemeral actions and performances such as the famous Bliz-aard Ball Sale (1983) in which Hammons sold snowballs of different sizes on a New York sidewalk.

Ramachandra Borcar's soundtrack, inspired by Hammon's approach, brings together a variety of musical instruments and styles, from afrojazz to hip hop, accompanied by a rhythm section made up of found objects.
Harold Crooks
is the canadian-american director/writer of The Price We Pay, which premiered at Toronto International Film Festival and was named “Best Canadian Documentary” for 2014. His previous works have been screened at international festivals as IDFA; CPH:DOX; TIFF and Sundance Film Festival.
Selected Filmography
2014 The Price We Pay; 2011 Surviving Progress (co-regista)

Judd Tully
is an American writer and journalist. His articles have been published in Flash Art, Artnews, The Washington Post, San Francisco Chronicle and The Art Newspaper, as well as on his blog juddtully.net. 

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