in multimedia digital studies at the American Film Institute in 1997. In 2000, she received the Moving Image award from Creative Capital, and in 2013, she was a Guggenheim Fellow. She received the first Shirley Clarke Avant-Garde Filmmaker Award in October 2006, the Women In Film Award from the St. Louis International Film Festival in 2006, and in 2009, she received the Teddy Award for best short film for her film A Horse Is Not a Metaphor at the Berlin International Film Festival. In 2010, Hammer published her autobiography, HAMMER! Making Movies Out of Sex and Life, which addresses her personal history and her philosophies on art. She taught film at The European Graduate School in Saas-Fee, Switzerland. In 2017, the Beinecke Rare Book and Manuscript Library at Yale University acquired her archives. Hammer's film collection, comprising her originals, prints, outtakes, and other material resides at the Academy Film Archive in Los Angeles, where a project is in progress to restore her complete film output. As of 2020, the archive has preserved nearly twenty of her films, including Multiple Orgasm, Sanctus, Menses, and No No Nooky T.V. After years of short-term relationships, she married human rights advocate Florrie R. Burke; in 1995, she made Tender Fictions, a film featuring images of Burke. They were partners for thirty-one years, until Hammer's death in 2019. Career Hammer's career worked within experimental 16 mm film and video, spanning five decades. Hammer was both innovative and productive. Her topics of work were wide-ranging, from the beauty of the body and love to the discussion of politics and society, and her body of work includes almost 100 films. Throughout her career, Hammer kept challenging herself and exploring new and unfamiliar topics. Her career could be divided into three stages according to her developing focus of work: early career stage (1960s–1970s), mid-career stage (1980s–mid-1990s), and late-career stage (mid-1990s–2018). 1960s–1970s: Early career and cultural feminism Her early films, made during her time at San Francisco State University, focused on female and homosexual topics and embodied the 1970s notion of cultural feminism. During this early stage of Hammer's career, especially in the mid-1970s, her role as the only women filmmaker who openly claimed as a lesbian was widely indicated in her works. Her works during this period were later critiqued as romanticism and essentialism. There are many physical and sexual representations of the female body, emphasizing the idea