1992

  • Bio, 1992

    Bio, 1992

    18 Polaroid prints, 9 engraved plastic plaques Overall: 98 x 162 inches (248.9 x 411.5 cm)"Using textual strategies that range from intermingled personal and historical chronologies of the body in Bio... Simpson traverses the broad terrain of subjugated knowledge about the physical female experience." -Beryl J. Wright

  • Boundaries, 1992

    Boundaries, 1992

    1 photo linen panel, text, 7 glass balls, steel stand67 x 24 x 10.5 inches (170.2 x 61 x 26.7 cm)

  • Eating Disorder, 1992

    Eating Disorder, 1992

    black and white photograph with over text on clear plastic

  • H.S., 1992

    H.S., 1992

    18 Dye Diffusion color Polaroid prints, 6 engraved Plexiglass plaques, 3 engraved plastic plaquesOverall: 98 x 162 inches (248.9 x 411.5 cm)Each Framed Print: 25.875 x 21.875 x 2 inches (65.7 x 55.6 x 5.1 cm)3 Plastic Plaques: each 3.5 x 16 x 0.125 inches (8.9 x 40.6 x 0.3 cm)

  • Holding and Breaking, 1992

    Holding and Breaking, 1992

    3 Dye Diffusion color Polaroid prints with engraved plexiglas73 x 20.5 inches (185.4 x 52.1 cm)

  • Landscape, 1992

    Landscape, 1992

    2 Dye Diffusion color Polaroid prints, engraved PlexiglassEach panel: 49.5 x 20.5 inches (125.7 x 52.1 cm)

  • Lower Region, 1992

    Lower Region, 1992

    3 Dye Diffusion color Polaroid prints, engraved Plexiglass25 x 60.5 inches (63.5 x 153.7 cm)

  • Magdalena, 1992

    Magdalena, 1992

    6 dye diffusion color Polaroid prints, 2 engraved plastic plaques63 x 78 inches (160 x 198.1 cm)

  • Nervous Conditions, 1992

    Nervous Conditions, 1992

    2 Dye Diffusion color Polaroid prints, engraved Plexiglass49.5 x 20.5 inches (125.7 x 52.1 cm)

  • Practical Joke, 1992

    Practical Joke, 1992

    2 dye diffusion color Polaroid prints26 x 43 inches (66 x 109.2 cm)

  • She, 1992

    She, 1992

    4 Polaroid prints, 1 engraved plastic plaque Overall: 29 x 85.25 inches (73.7 x 216.5 cm)"In works such as She (1992), the female form is beheaded by the word “Female,” which comes to replace a tangible subject identity with a hypercontextualized representation. This active deviance from portraiture’s claim that the face is the window to the soul is a defining element in Simpson’s work, which introduces gray into the black-and-white binaries of absence and presence, loss and possession, and the desired and the undesirable." -The Studio Museum in Harlem

  • Suit, 1992

    Suit, 1992

    3 dye diffusion color Polaroid pirnts, 1 engraved plastic plaque76 x 44.5 inches (193 x 113 cm)"Stretching across three panels, about six feet tall, in a business suit and short-cropped hair, it stands erect, a symbol of phallic power. This vertical axis of authority, however, is disturbed by a slight shift in the shoulders, the resting of hand on hip. Here is another classic pose: that of a black woman ready to give someone the business. As the plaque at right (the same side as the raised hand) states, she is: 'An average size woman in an average suit with illsuited thoughts.'" -Kellie Jones

  • Untitled (oblique story about absence), 1992

    Untitled (oblique story about absence), 1992

    photogravure print

  • Untitled (box suit shoe), 1992

    Untitled (box suit shoe), 1992

    18 Dye Diffusion color Polaroid prints, engraved plastic plaques90 x 162 inches (228.6 x 411.5 cm)

  • Untitled (lips), 1992

    Untitled (lips), 1992

    lithograph

  • Untitled (Wishbone), 1992

    Untitled (Wishbone), 1992

    photo, linen, glass

  • Hypothetical?, 1992

    Hypothetical?, 1992

    photograph, text, trumpet mouthpieces & audio dimensions variable

  • Hypothetical?, 1992 (detail)

    Hypothetical?, 1992 (detail)

  • Hypothetical?, 1992 (detail)

    Hypothetical?, 1992 (detail)

  • Hypothetical?, 1992 (detail)

    Hypothetical?, 1992 (detail)

portfolio