Lorna Simpson Book Lab

1 Mar - 28 Apr 2018

London

About

Artist Lorna Simpson has been using found images since 2010, when she came upon her grandmother’s Ebony and Jet magazines from the 1950s to the 1970s. A selection of magazines from the artist's collection, a primary source material for her 2018 London exhibition ‘Unanswerable’, is presented here. Founded in 1945 and 1951 respectively by John H. Johnson in Chicago, Ebony (which is still published monthly) and Jet (now a digital magazine) celebrated African-American life and culture, honouring black identity by portraying daily life, refuting stereotypes, and inspiring readers to overcome barriers to success. Jet is particularly notable for its role in chronicling the Civil Rights Movement from its earliest years, while Ebony, for its part, ran a column from Dr. Martin Luther King called 'Advice for Living By'. The material has both a personal and a wider cultural significance for Simpson who describes how the magazines, ‘informed my sense of thinking about being black in America and are both a reminder of my childhood and a lens through which to see the past fifty years of history.’ About Book Lab The Hauser & Wirth Book Lab is a project devoted to exploring the important place that books and prints occupy in the practice of artists. Building upon Hauser & Wirth’s curatorial and publishing activities, the Lab presents thematic installations, displays, and programming that invite reflection, creative thinking, and further conversation about the world of printed matter and its connection to artists’ ideas and objectives.

Installation views

About the Artist

Born in Brooklyn, Lorna Simpson came to prominence in the 1990s 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.