1989

  • Bits and Pieces, 1989

    Bits and Pieces, 1989

    prints and 7 engraved plaques73.5 x 23.5 x 2 inches (186.7 x 59.7 x 5.1 cm)

  • Dividing Lines, 1989

    Dividing Lines, 1989

    2 dye diffusion color (Polaroid) prints with 8 engraved plastic plaques57 x 71 x 1 inches (144.8 x 180.3 x 2.5 cm)

  • Easy for Who to Say, 1989

    Easy for Who to Say, 1989

    5 Dye Diffusion color Polaroid prints , 10 engraved plastic plaques (5 attached to prints)each individual print 20 x 24 inches (50.8 x 61 cm)"In Easy for Who to Say, five identically formatted Polaroid photographs are presented in a repeating horizontal line. But we do not see the faces that bear the portraits, since they are not vehicles of recognition. It is already quite clear that these enigmatic images are not portrayals but ciphers." -Okwui Enwezor

  • Good Twin / Evil Twin, 1989

    Good Twin / Evil Twin, 1989

    2 black and white silver gelatin prints, 12 engraved plastic plaques (2 attached to prints)total dimension: 41 x 65.25 inches (104.1 x 165.7 cm)Top: 2 plaques at 7.5 x 9.5 inches each (19.1 x 24.1)Bot.:2 plaques at 2 x 18 inches (5.1 x 45.7 cm) each

  • Guarded Conditions, 1989

    Guarded Conditions, 1989

    18 Dye Diffusion color Polaroid prints, 21 engraved plastic plaquesOverall: 84.25 x 148.25 x 1.625 inches (214 x 376.6 x 4.1 cm)"In Guarded Conditions, it is possible to detect the first signs of Simpson's linguistic code and the social reality that gives it its public and private meaning. As a solitary figure, the body stands primarily as a symbol of victimization. Dressed in a shapeless white shift and standing upon a wooden pedestal, the figure of the woman is located in multiple situations of institutional repression and surveillance, such as slave auctions, hospital examination rooms, and crimincal lineups. However, for Simpson the repetition of the turned-back figures transforms the row into "sentinels" -- a silent collective of guardians against "Sex Attacks/Skin Attacks." The row of figures with their arms folded behind their backs calls up images of those women who stand guard against the evils of world on the steps of black fundamentalist churches on Sunday mornings. Without this grounding in social

  • Kid Gloves, 1989

    Kid Gloves, 1989

    5 Dye Diffusion color Polaroid prints, 5 engraved plastic plaquestotal dimensions: 135 x 31 inches (342.9 x 78.7 cm)

  • Memory Knots, 1989

    Memory Knots, 1989

    5 circular black and white silver gelatin prints, 10 engraved plastic plaqueseach print 11 inches diameter (27.9 cm)overall installation 18 x 60 inches (45.7 x 152.4 cm)

  • Necklines, 1989

    Necklines, 1989

    3 black and white silver gelatin prints, 2 engraved plastic plaquesOverall: 69.375 x 67.625 x 1.625 inches (176.2 x 171.8 x 4.1 cm)"Several of Simpson's works engage us in the signifying ritual. In Necklines, 1989, for example, Simpson places the words "necktie," "neckline," "necklace," and "neckless" beneath three different shots of a woman's neck. Each repetition and revision of a word that begins with "neck" suggests another situation this woman may encounter. Perhaps she will be forced to compete "neck and neck" with men who wear "neckties," or she will engage in "necking" with her lover. The homonyms "necklace" and "neckless" suggest more gruesome scenarios such as being strangled or decapitated by a piece of her jewelry." -Yasmin Ramirez Harwood

  • Proof Reading, 1989

    Proof Reading, 1989

    4 black and white silver gelatin prints,4 engraved plastic plaques40 x 40 inches (101.6 x 101.6 cm)

  • Untitled (2 necklines), 1989

    Untitled (2 necklines), 1989

    two round black and white silver gelatin prints, 10 engraved black plastic plaques w/ white text, 1 red plaque white text68.5 x 70 inches (174 x 177.8 cm)"An untitled work from 1989 pairs two circular black-and-white close-ups of a woman's neck and shoulders with a vertical row of black plastic plaques bearing words corresponding to acts or objects that encircle, among them "lasso," "noose," and "collar." Our interpretation of these words might vacillate uncertainly between the innocuous and the insidious were it not for the red plaque below them: the phrase "feel the ground sliding from under you" swings the pendulum in the direction of lynchings and other terrors." - Bonita McLaughlin

  • Untitled (a lie is not a shelter), 1989

    Untitled (a lie is not a shelter), 1989

    black and white silver gelatin print

  • Untitled (a person is known for the company he keeps), 1989

    Untitled (a person is known for the company he keeps), 1989

    2 black and white silver gelatin prints, 2 engraved plastic plaques30 x 16 inches (76.2 x 40.6 cm)

  • Untitled (Copenhagen billboard), 1989

    Untitled (Copenhagen billboard), 1989

  • Untitled (prefer, reuse, decide), 1989

    Untitled (prefer, reuse, decide), 1989

    3 dye diffusion color Polaroid prints, 3 engraved circular Plexiglas plaques Overall: 24.75 x 71.75 x 1.375 inches (62.9 x 182.2 x 3.5 cm)Each Framed Print (plaques attached): 24.75 x 21.25 x 1.375 inches (62.9 x 54 x 3.5 cm)

  • Untitled (quick as lightning), 1989

    Untitled (quick as lightning), 1989

    2 black and white silver gelatin prints, 9 engraved plastic plaques

  • Untitled (Whitney Museum at 125th), 1989

    Untitled (Whitney Museum at 125th), 1989

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