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Lorna SimpsonRecall from the Exit Art/1st World Portfolio Silkscreen on Felt, Pencil Signed/N1998
1998
$8,800
£6,704.26
€7,730.27
CA$12,315.42
A$13,760.43
CHF 7,198.23
MX$168,747
NOK 91,979.74
SEK 87,221.16
DKK 57,695.19
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About the Item
LORNA SIMPSON
Recall, from the Exit Art/The First World Portfolio, 1998
Silkscreen on Felt
30 × 22 inches
Hand signed and numbered 17/50 on the front
Unframed
This impressive silkscreen on felt paper is based on a still from her 16 mm 1998 film, Recollection, Recall was shot during Simpson's artist residence at the Walker Art Center, Minneapolis. The film questioned what is real versus that which is fabricated, and how memory is selective. Other impressions of this desirable Simpson print are in the collection of the Whitney Museum of American Art and the Museum of Modern Art.
An impressive print. The photos do not do it justice. (there are a few very small visible spots of foxing or oxidation on the white part of the felt; see photos)
Lorna Simpason Biography
Born in Brooklyn, Lorna Simpson came to prominence in the 1980s with her pioneering approach to conceptual photography. Simpson’s early work—particularly her striking juxtapositions of text and staged images—raised questions about the nature of representation, identity, gender, race and history that continue to drive the artist’s expanding and multi-disciplinary practice today. She deftly explores the medium’s umbilical relation to memory and history, both central themes within her work.
Studying on the West Coast in the mid-1980s, Simpson was part of a generation of artists who utilized conceptual approaches to undermine the credibility and apparent neutrality of language and images. Her most iconic works from this period depict African-American figures as seen only from behind or in fragments. Photographed in a neutral studio space, the figures are tied neither to a specific place nor time. Drawing upon a long-standing interest in poetry and literature, the artist accompanies these images with her own fragmented text, which is at times infused with the suggestion of violence or trauma. The incredibly powerful works entangle viewers into an equivocal web of meaning, with what is unseen and left unsaid as important as that which the artist does disclose. Seemingly straightforward, these works are in fact near-enigmas, as complex as the subject matter they take on.
Over the past 30 years, Simpson has continued to probe these questions while expanding her practice to encompass various media including film and video, painting, drawing and sculpture. Her recent works incorporate appropriated imagery from vintage Jet and Ebony magazines, found photo booth images, and discarded Associated Press photos of natural elements—particularly ice, a motif that appears in her sculptural work in the form of glistening ‘ice’ blocks made of glass. The new work continues to immerse viewers in layers of bewitching paradoxes, threading dichotomies of figuration and abstraction, past and present, destruction and creation, and male and female. Layered and multivalent, Simpson’s practice deploys metaphor, metonymy, and formal prowess to offer a potent response to American life today.
-Courtesy Hauser & Wirth
- Creator:Lorna Simpson (1960, American)
- Creation Year:1998
- Dimensions:Height: 30 in (76.2 cm)Width: 22 in (55.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Very good condition however there are a few small visible spots of foxing or oxidation on the white part of the felt; see photos.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745216582892
Lorna Simpson
From collaging photos from ads in vintage issues of Jet and Ebony magazines to breaking down subjects into fragments of hair or the body, Lorna Simpson (b. 1960) takes a conceptual approach to photography in her ongoing examination of identity.
Whether it’s the 21 lithographs printed on felt of various hairstyles for her Wigs (Portfolio) (1994) or her Guarded Conditions (1989) series, which calls out the violence that Black women encounter with its fragmentation of a woman’s body across color Polaroid prints, Simpson’s best-known projects comprise text and image to confront conventional ideas of beauty, gender and race. In particular, she uses her own experiences in radical work that often challenges universally perpetuated beauty standards that have long excluded Black women.
Born in Brooklyn, New York, where she continues to live and work, Simpson initially took documentary photographs as she traveled the world in the 1970s. She then studied at the School of Visual Arts in New York and the University of California San Diego, earning her MFA in visual arts there in 1985. It was in graduate school in the 1980s that Simpson shifted her perspective in photography to grapple with complex ideas of objectivity. Some of her early projects combined text with studio images, mostly of Black women, to highlight how photographs are shaped by both context and expectations. Later expanding into film, painting, drawing and sculpture, Simpson has retained that interest in representation and memory at the center of her work, regardless of medium.
In 1990, Simpson became the first Black woman to exhibit at the Venice Biennale, and her career has included solo shows at the Museum of Modern Art in New York, the Los Angeles Museum of Contemporary Art and the Whitney Museum of American Art in New York.
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