User talk:Megan keim/sandbox

For the singer, see Lorna Simpson (singer).

Lorna Simpson
Simpson in April 2009
Born	Lorna Simpson 1960 (1960) Brooklyn, New York
Nationality	American
Education	University of California-San Diego, MFA, 1985; School of Visual Arts, New York City, BFA, 1983
Known for	Photography, Film, Video
Movement	Conceptual photography
Spouse	James Casebere (m.2003-2014)
Awards	2010 ICP Infinity Award in Art, International Center of Photography, New York City, 2019 Lorna Simpson awarded Getty Medals

Danklebreaker JaCoB CeLeSLiE (talk) 19:33, 17 April 2019 (UTC)

Lorna Simpson:

Group Work

Early Life and Education:

Simpsons early text on photo work was inspired by artists like René MagritteRené Magritte and his piece L’usage de la parole #1 which translates to (The Use of Words #1). Simspon was interested in exploring how she would take photography that might have been just glanced at and overlay words onto it t make the image have much more importance and relevance. Simpsons courage to explore cultural and societal issues regarding sex and race then becoming so popular was far and few between in the United States at the time. Her text overlay on photos were not created by her but that paired with her photography is what really made her stand out from other artists doing similar things at the time.Danklebreaker JaCoB CeLeSLiE (talk) 18:37, 17 April 2019 (UTC)

Simpson began her education at the School of Visual Arts, NYC. She began school by studying painting before switching to photography and received a B.F.A. for Photography in 1983. She then furthered her education at the University of California, San Diego. Simpson received a M.F.A. for Visual Arts in 1985.Jameyjackson45 (talk) 21:40, 24 April 2019 (UTC)

Career:

Simpson attended a High School of Art and Design and then enrolled at a School of Visual Arts as a painting major. Her mind quickly changed and she went into photography and became an accomplished street photographer and then became a graduate of the New York School of the Visual Arts. She has also held an exhibition at New York's Josh Baer Gallery, the Wadsworth, Antheneum, and the Virginia Museum of Fine Arts. Throughout the 1980s and 1990s, Simpson was showing work through solo exhibitions all over the country, and her name was synonymous with photo-text artworks. In her early work around the 80s and 90s, she tries to portray African American women in a way that is not derogatory or actual representations of the women portrayed. Some artists that have influenced her work include David Hammons, Adrian Piper, and Felix-Gonzalex Torres; and even some writers like Ishmael Reed, Langston Hughes, Ntozake Shange, Alice Walker, and Toni Morrison because of their rhythmical voice. She was awarded a National Endowment for the Arts Fellowship in 1985, and in 1990, she became the first African-American woman to exhibit at the Venice Biennale in Italy[4] and also the first African-American woman to exhibit at the Museum of Modern Art. In 1990, Simpson had one woman exhibitions at several major museums, including the Denver Art Museum, Denver, Colorado, the Portland Art Museum, Portland, Oregon, and the Museum of Modern Art, New York.[5][6] Simpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997).[7]

The figure slowly started to disappear from Simpson's work around the end of 1992; where her focus was about wide-ranging aesthetic issues. Her interest in the human body remained during this time however she was trying to work through these issues without the image of the figure. By the 2000s she had started exploring the medium of video installations in order to avoid a paralysis brought on by outside expectations. In 2001 she was awarded the Whitney Museum of Art Award, and in 2007, her work was featured in a 20-year retrospective at the Whitney Museum of American Art in her hometown of New York City.[1][7][8]

Simpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, the Minneapolis Institute of Art, the Irish Museum of Modern Art[9],the Whitney and the Studio Museum in Harlem, The Whitney Museum of American Art and the Venice Biennale, where she was the first African American to participate. Her first European retrospective opened at the Jeu de Paume in Paris in 2013, then traveled to Germany, England, and Massachusetts.[10][11][12][13] As of now, Simpson's work can be found in galleries within the Chicago and California areas rather than with galleries in New York. She has also been one of a handful of African-American artists to exhibit at the Jamaica Arts Center in Queens, New York and then to the gallery in Soho.

External image

Black America Again (album cover)

She first exhibited paintings in 2015 at the 56th Venice Biennale, followed by a showing at the Salon 94 Bowery. [14][15]

In 2016 Simpson created the album artwork for Black America Again by Common. During the same year, she was featured in the book In the Company of Women, Inspiration and Advice from over 100 Makers, Artists, and Entrepreneurs. [16] In a 2017 issue of Vogue Magazine, Simpson showcased a series of portraits of 18 professional creative women who hold art central to their lives. The women photographed included Teresita Fernández, Huma Bhabha, and Jacqueline Woodson. Inspired by their resilience, Simpson said of these women, "They don't take no for an answer".[17]

Career in 2019:

Even at the age of 57, Simpson still pushes her artistic capabilities; with her latest addition to her portfolio being sculpture Simpson continues to expand the range of her reach to inspire and change how people think and view the world. In her earlier life, she first built her career upon being a conceptual photographer but then mixed up her media and started to add elements of video, installation, drawing, painting and also film into her pieces. Simpson's goal is to continue to influence the legacy of black artists today by speaking with artists and activists such as the Art Hoe Collective, a group of young women using social media to give marginalized groups a safe platform to broadcast their artwork.[18] When asked about her career Simpson says, "I've always done exactly what I wanted to do, regardless of what was out there. I just stuck to that and I'm a much happier person as a result. And I can't imagine trying to satisfy any particular audience. Danklebreaker JaCoB CeLeSLiE (talk) 18:44, 17 April 2019 (UTC) Megan keim (talk) 17:07, 22 March 2019 (UTC) Megan keim (talk) 01:17, 10 March 2019 (UTC) Megan keim (talk) 01:32, 28 February 2019 (UTC) Megan keim (talk) 15:21, 11 April 2019 (UTC)

Work:

Simpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of sex, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.[9] Simpson’s “interests in photography [has] always been paralleled by an interest in film, particularly in the way that one structurally builds sequences in film.” Simpson began working in film in 1997 with her work “Call Waiting”, she’s continued such work in subsequent years.

AishatuSaid (talk) 19:29, 10 March 2019 (UTC)

Work Final Revision (everything in bold added)

Simpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of sex, identity, race, culture, history, and memory. Primarily, Simpson is interested in exploring individual identities in her work and the intersectionality of identities. She is well known for her exploration of the black female identity, though she is also interested in all identities, in the American identity, in universal figures, and universality. Simpson is also interested in ambiguity in her work, she includes “gaps and contradictions so that not all the viewer’s questions are answered.” Simpson’s ambiguity often allows viewers to think, to take in her work and the larger questions that her work raises. Simpson’s “high level of conceptional sophistication and social awareness” has gained her much positive attention, as has her attention and use of political issues in her work. Simpson has “seized on conceptualism’s signature tropes-the grid, seriality, repletion, and, above all, language-in order to examine how our knowledge of the world comes to be organized.” Repetition of figures in “minimalist photographs” and text creates a “interplay of text and images” that “relies on repetition to make clear the difference that racialization makes.”AishatuSaid (talk) 08:03, 24 April 2019 (UTC) Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.[9] Simpson’s “interests in photography [has] always been paralleled by an interest in film, particularly in the way that one structurally builds sequences in film.” Simpson began working in film in 1997 with her work Call Waiting, she’s continued such work in subsequent years.08:03, 24 April 2019 (UTC)AishatuSaid (talk)

Lorna Simpson, Untitled (2 Necklines), 1989, 2 gelatin silver prints and 11 engraved plastic plaques, 40 x 100 in., National Gallery of Art, Washington, DC

Simpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.[19]

Easy for Who to Say, Simpson's work from 1989, displays five identical silhouettes of black women from the shoulders up wearing a white top that is similar to women portrayed in other of Simpson's works. The women's faces are obscured by a white-colored oval shape each with one of the following letters inside: A, E, I, O, U. Underneath the corresponding portraits are the words: Amnesia, Error, Indifference, Omission, Uncivil. In this work Simpson alludes to the racialization in ethnographic cinema and the revocation of history faced by many people of color.[20] Also, the letters covering the faces suggest “intimate multiplicity of positions she might occupy and attitudes she might assume-”, these potential thoughts are stopped, abruptly, by the words, “undermining not only the subjective position the figure would seek but also her grasp on any recognizable position at all.”AishatuSaid (talk) 08:03, 24 April 2019 (UTC)

Simpson's work Guarded Conditions, created in 1989, was one in a series in which Simpson has assembled fragmented Polaroid images of a female model whom she has regularly collaborated with. The body is fragmented and viewed from behind, while the back of the model's head is sensed as being in a state of guardedness towards possible hostility she can anticipate as a result of the combination of her sex and the color of her skin. The complex historical and symbolic associations of African-American hairstyles are also brought into play. The message of the text and the formal treatment of the image reinforce a sense of vulnerability. One can also note that the figures, though in similar poses, differ slightly in the placement of the figure’s feet, hair, and hands. These subtle differences might suggest, “the model’s shifting relationship to herself.”AishatuSaid (talk) 08:03, 24 April 2019 (UTC) The fragmentation and serialization of bodily images disrupts and denies the body's wholeness and individuality. In attempting to read the work the viewer is provoked into confronting histories of appropriation and consumption of the black female body.[21] Many critics associate this work with the slave auction, as a reminder that black “enslaved women were removed from the circle of human suffering so that they might become circulating objects of sexual and pecuniary exchange.” These women had no choice but to stand on the auction block and put themselves, their bodies, on display for sell. They become objects, a subject that Simpson often makes the focus of her work.

Simpson also incorporated the complicated relationship that African American women have with their natural hair in her work “Wigs”. Simpson’s “Wigs” did not include any figures, instead the wigs stood in the place of the women. The work has various social and political undertones about the surrounding culture and the beauty standards that the culture produces. The work might force a viewer to question why such beauty standards exists and how they are perpetuated by society.AishatuSaid (talk) 08:10, 24 April 2019 (UTC)

Simpson's work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex. In many of her works, the subjects are black women with obscured faces, causing a denial of gaze and the interaction associated with visual exchange. Simpson’s use of “turned-back figures” was used to not only “refuse the gaze” but to also “to deny any presumed access to the sitter’s personality, and to refute both the classificatory drives and emotional projections typically satisfied by photographic portraiture of black subjects.” It has also been suggested that these figures “stand for a generation’s mode of looking and questioning photographic representation”AishatuSaid (talk) 08:03, 24 April 2019 (UTC) Through repetitive use of the same portrait combined with graphic text, her "anti-portraits" have a sense of scientific classification, addressing the cultural associations of black bodies.[22]

In a 2003 video installation, Corridor, Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960.[23] Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn.[8] She has commented, "I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity."[7]

Simpson’s interest in using audio elements in her works to add “layering” helps to set the tone and mood of a composition. In Corridor music is used to create “an interesting melding visually of two time periods.” The music is sometimes lulling and others sharp, terrifying, and haunting, which correlates with the narrative. Simpson often uses “open-ended narratives” in photography and film because she is interested in “insinuating things”, she does this in Corridor, where “nothing really happens, it’s just a woman going kind of day-to-day, what she does over the course of a day.” A “texture” begins to appear that begins to tell viewers what might be going on, it begins to make viewers question “what’s missing from the picture” and “what [‘s] trying to [be] conveyed.” All of these questions begin to create a setting, a “time frame” or “period of time” to encourage a viewer to create or imagine or figure out a narrative, to figure out “these people lives during a particular period of time that is important politically.”The viewer can then digest that political environment in present day, they can find associations with their own political climate. In the case of Corridor, the women’s day to day life, and the mood of the video, dark and lonely, are more similar that one might expect. In this case, Simpson is considering identity again while also considering the past and the effect of the past on the present. Simpson is exploring race and class, the work attempts “to explore American identity and constructions of race.” AishatuSaid (talk) 08:03, 24 April 2019 (UTC)

Investigation of Simpsons Work:

Lorna Simpson, Untitled (2 Necklines), 1989, 2 gelatin silver prints and 11 engraved plastic plaques, 40 x 100 in., National Gallery of Art, Washington, DC Simpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.[19] Easy for Who to Say, Simpson's work from 1989, displays five identical silhouettes of black women from the shoulders up wearing a white top that is similar to women portrayed in other of Simpson's works. The women's faces are obscured by a white-colored oval shape each with one of the following letters inside: A, E, I, O, U. Underneath the corresponding portraits are the words: Amnesia, Error, Indifference, Omission, Uncivil. In this work Simpson alludes to the radicalization in ethnographic cinema and the revocation of history faced by many people of color.[20] Simpson's work Guarded Conditions, created in 1989, was one in a series in which Simpson has assembled fragmented Polaroid images of a female model whom she has regularly collaborated with. The body is fragmented and viewed from behind, while the back of the model's head is sensed as being in a state of guardedness towards possible hostility she can anticipate as a result of the combination of her sex and the color of her skin. The complex historical and symbolic associations of African-American hairstyles are also brought into play. The message of the text and the formal treatment of the image reinforce a sense of vulnerability. The fragmentation and serialization of bodily images disrupts and denies the body's wholeness and individuality. In attempting to read the work the viewer is provoked into confronting histories of appropriation and consumption of the black female body.[21] Simpson also incorporated the complicated relationship that African American women have with their natural hair in her work “Wigs”. Simpson’s “Wigs” did not include any figures, instead the wigs stood in the place of the women. The work has various social and political undertones about the surrounding culture and the beauty standards that the culture produces. The work might force a viewer to question why such beauty standards exists and how they are perpetuated by society. Simpson's work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex. In many of her works, the subjects are black women with obscured faces, causing a denial of gaze and the interaction associated with visual exchange. Simpson’s use of “turned-back figures” was used to not only “refuse the gaze” but to also “to deny any presumed access to the sitter’s personality, and to refute both the classificatory drives and emotional projections typically satisfied by photographic portraiture of black subjects.” It has also been suggested that these figures “stand for a generation’s mode of looking and questioning photographic representation.” Through repetitive use of the same portrait combined with graphic text, her "anti-portraits" have a sense of scientific classification, addressing the cultural associations of black bodies.[22] In a 2003 video installation, Corridor, Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960.[23] Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn.[8] She has commented, "I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity."[7]AishatuSaid (talk) 23:36, 10 March 2019 (UTC) Danklebreaker JaCoB CeLeSLiE (talk) 18:46, 17 April 2019 (UTC)

Private Life:

Lorna Simpson now resides and works in Brooklyn where she still takes photographs, shoots videos, and even owns her own studio. Simpson had an 11 year marriage with James Casebere before divorcing in 2014. Casebere is a photographer and an American contemporary artist. Together the couple shared a studio in their four-story house located in Brooklyn, NY. The house was designed by David Adjaye in 2006. Simpson still resides and works in this house today, buying out her ex-husband's share in it after their split. Together, Lorna Simpson and James Casebere have a daughter named Zora. Jameyjackson45 (talk) 21:18, 24 April 2019 (UTC)

Zora Casebere, student at Columbia University, is taking after her mother in some ways as she starts her career. Casebere is exploring some of the same territory that her mother Lorna Simpson explored at the beginning of her career which is no coincidence. Casebere often looks through the African beauty magazines that her mother has collected over the years and still collects. Casebere is currently trying her hand at Instagram by taking self-photographs of herself posed with her hair styled and makeup. She makes videos often describing how to take care of your hair if you have hair like hers and how to do your makeup to look more natural. Simpson does support her daughter trying her hand at being a well known name in the art world with a 21st century adaptation.

Simpson is still making art and doing exhibitions as of 2019 and in the year 2019 was awarded the "Getty Models 2019" award. Simpsons style has not changed too much from what she has always done with photography but she has explored other mediums to make her art. However she still only explores the interaction of African America Women in society . In final she has new mediums although she has stayed true to her original societal issues.Danklebreaker JaCoB CeLeSLiE (talk) 18:31, 17 April 2019 (UTC)

Awards:

• 1985 National Endowment for the Arts Fellowship
• 1989 Awards in the Visual Arts, AVA 9
• 1990 Louis Comfort Tiffany Award, Louis Comfort Tiffany Foundation, New York City, NY
• 1994 College Art Association Grant
• 1998 Hugo Boss Prize 1998 Finalist, Solomon R. Guggenheim Foundation, New York City, NY
• 2001 The Whitney Museum of American Art Award, the Cartier Foundation for Contemporary Art, New York City, NY
• 2003 Distinguished Artist-in-Residence, Christian A Johnson Endeavor Foundation, Colgate University, Hamilton, NY
• 2008 Women's Art: Women's Vision Honoree, National Women's History Project
• 2010 International Center of Photography's Infinity Award
• 2013 Artist-in-Residence, Addison Gallery of American Art, Andover, Massachusetts

Jameyjackson45 (talk) 17:03, 21 April 2019 (UTC)

• 2019 Lorna Simpson awarded Getty Medals

Danklebreaker JaCoB CeLeSLiE (talk) 19:33, 17 April 2019 (UTC)

Article Evaluation

The Reaper (Miró painting) Would adding more information about how the painting got lost and/or damaged help the reader better understand the situation; because right now it just states that it could be either lost or damaged but no one really knows because the artist was ok with their work being gone?

As I was reading the article I felt as though that every piece of information flowed from one topic to the next: starting with a small paragraph of what the painting was to then the background information on the painter and what he was going through to then what happened with the painting. The only piece of information that I found distracting was when the article talked about how the artist’s work was inspired by a specific song. Personally I think I would have been fine without knowing that piece of information. More background information on the artist himself would have been helpful because I personally didn’t know the artist and the background portion only gave a few sentences. Personally, the more background information given the better. I also feel as if there is more to the story than what was said about the painting going missing; did anyone investigate the loss of the painting or did they not just because the artist was ok with their painting being gone? The background and the loss painting facts/information could be improved. Maybe more information on the medium of the painting and the artist’s thought process? It would help to be able to visually see a photo of the painting, even if only a few black and white photos are readily available. The article describes in words what it looks like but you can only do so much with descriptive words. The only viewpoints that I see as underrepresented was that there was no investigation or further information on the painting being lost or destroyed, no one really knows and I think that it is important to know. From the citations that I checked, it looks as if most of the citations were shorter which makes it hard to compare it to the article because they are so short with information; which is maybe why this particularly article is short to begin with? Megan keim (talk) 21:19, 10 February 2019 (UTC)Megan Keim

Megan, I just want to bring it to your attention that this is in the middle of all of your group's work on Lorna Simpson! Cloud.UCM (talk) 14:07, 11 April 2019 (UTC)

Peer Reviews

Eas50930: I really like what you guys have added to this article, and I do feel like I already learned more about this artist by reading the information written. However, one problem I did feel I noticed was the issue of neutrality. When reading, I could definitely feel like I knew you liked this artist, which is not ideal. For example, in the second sentence it stated that Simpson's work was not derogatory. Since this is an opinion, I feel like it would be more effective to mention that "her goal was to make work that was not derogatory." I also read a line stating something like "she still continues to inspire other women," which could use the same change. Also, maybe the section about describing her specific works could have its own heading, solely for organizational purposes. Finally, I noticed that in some of the in-text citations, I couldn't click on them to be taken to the bibliography. Great work, though!Eas50930 (talk) 23:54, 16 March 2019 (UTC)

Autumn Cunningham: Lorna Simpson has a good lead article that is simple to understand. The first section, I believe, is a good jumping point for the start of the article. The structure of the article seems to be deliberate in that the headings make sense in what they are trying to group together and communicate. There are more headings than just Lorna's work. I also enjoy how there is a heading that includes an article evaluation. Most of the page does seem to be balanced. There is a similar weight of information amongst the topics. I do not see any content that is not bias towards one side or another. I checked through the sources and I believe that they are reliable. I believe this because their information is neutral as well. — Preceding unsigned comment added by Autumn.cunningham (talk • contribs) 00:21, 17 March 2019 (UTC) — Preceding unsigned comment added by Danklebreaker JaCoB CeLeSLiE (talk • contribs)

Ucmartstudent: I love what you guys have going here! You all have done well at maintaining an unbiased page. I also appreciated the way that headings were structured. They were easy to follow, very informational, and educational. Is she a very personal person? is that why her personal life is very minimal? You all might think about adding to that section or simply removing it? I love that you have a listing for her publications as well! Great work guys! I think you have a very successful page going! I can't wait to see how this page ends up. Good luck with your final submission! --Ucmartstudent (talk) 20:15, 17 March 2019 (UTC)

BG0129: The article is very well-informed and there are a variety of sources, making it feel like a complete Wikipedia page. My only critique would be to break up the paragraphs more so the reader doesn't get overwhelmed by the large blocks of text in each section. Otherwise, you did a really good job at staying unbiased and providing sources, and I would just keep an eye on grammar throughout the article. BG0129 (talk) 21:37, 22 March 2019 (UTC)

Potential Sources

Source 1 Title: Lorna Simpson’s Fabricated Truths Author: Elder, Nika Source: Art Journal. Spring 2018, Vol. 77 Issue 1, p30-53. 24p Document Type: Article

Article has information about Lorna herself and her art works; in specific with her photography work. Topics discussed in the article include: her challenge to the traditional portrait photographs in her work, the photography of African American women by Simpson and works of artists like Wilke and Antin.

Source 2 Title: “Bye, Bye Black Girl”: Lorna Simpson’s Figurative Retreat Author: Copeland, Huey Source: Art Journal. Summer 2005. Vol. 64, No.2, pp.62-77 Document Type: Article This article has some of her previous works, along with photographs, and gives more insight to each of her artworks. Shows about 15 of Lorna’s previous works.

Source 3 Title: Interview with Lorna Simpson Author: Smucker, Ronica Sanders Publication Title: Hurricane Alice; Providence Volume 11, Issue 2 December 31, 1995

Megan keim (talk) 22:39, 17 February 2019 (UTC)

All Information Requested that has or can be added

Early Life and Education What all did she do when she traveled to Europe and Africa? Did she look to any other artists for inspiration while attended school in New York? Simpsons early text on photo work was inspired by artists like René MagritteRené Magritte and his piece L’usage de la parole #1 which translates to (The Use of Words #1). Simspon was interested in exploring how she would take photography that might have been just glanced at and overlay words onto it t make the image have much more importance and relevance. What made her go back to school after traveling? What did her teachers from the University of California think of her as an artist (Allan Kaprow, Eleanor Antin, Babette Mangolte, Jean-Pierre Gorin, David Antin)? What made her a distinct artist?

Career This section really only talks about her solo exhibitions and where her work was featured; so maybe we can find more information about how her career was started and how she was able to get these solo exhibitions and how she became so well known. There is always a back story and I don’t really see that yet with Lorna.

Work Lorna's work that she has allowed people to see and document has always included African American women interacting or challenging a society

Private Life Lorna Simpson resides in Brooklyn NY. today and still takes photographs, shoots videos, and even owns her own studio. Simpson has one daughter named Zora Casebere. Casebere is taking after her mother in some ways as she starts her career. Casebere is exploring some of the same territory that her mother Lorna Simpson explored at the beginning of her career which is no coincidence. Casebere often looks through the African beauty magazines that her mother has collected over the years and still collects. Casebere is currently trying her hand at Instagram by taking self-photographs of herself posed with her hair styled and makeup. She makes videos often describing how to take care of your hair if you have hair like hers and how to do your makeup to look more natural. Simpson does support her daughter trying her hand at being a well known name in the art world with a 21st century adaptation. Simpson is still making art and doing exhibitions as of 2019 and in the year 2019 was awarded the "Getty Models 2019" award. Simpsons style has not changed too much from what she has always done with photography but she has explored other mediums to make her art. However she still only explores the interaction of African America Women in society . In final she has new mediums although she has stayed true to her original societal issues.Danklebreaker JaCoB CeLeSLiE (talk) 18:29, 17 April 2019 (UTC)

Questions were presented by: — Preceding unsigned comment added by Danklebreaker JaCoB CeLeSLiE (talk • contribs) 18:29, 17 April 2019 (UTC) Megan keim (talk) 22:54, 17 February 2019 (UTC)

Adding a Citation

In her early work around the 80s and 90s, she portrays African American women in a way that is not derogatory or actual representations of the women portrayed.

Even at the age of 57, Lorna still pushes her artistic capabilities; with her latest addition to her portfolio being sculpture. In her earlier life, she first built her career upon being a conceptual photographer but then added video, installation, drawing, and even painting later in her career.

Megan keim (talk) 02:19, 28 February 2019 (UTC)

Peer Review- David Salle group

I really enjoyed reading about David Salle however I wish I knew more about his background information: like where he went to school, does he have a family, where he grew up, and more personal information like that, it doesn't need to be a lot but I think that that is important when reading about artists. One thing that I really liked was how you explain some of the exhibitions that Salle has been apart of. I'm not sure if this was done purposefully but in the "work" section, second paragraph, there are two sentences that are repeated from the very beginning and it stuck out to the me in this paragraph because they are so close together so I would take one of them out. The article seems to be unbiased which is very helpful to the reader as well. There are some instances where a reference could be used like with the quote in the "work" section and in the "collections" section too; because that it something that would have to be referenced unless you personally visited every single one of those locations. All in all I like the flow of this article and how unbiased it seems! Maybe just think about adding some photos of his work, some background information on him, and maybe elaborating on the different media and processes that Salle uses. Great job and I can't wait to see where the article ends up!! Megan keim (talk) 02:06, 21 March 2019 (UTC)

Formatted to look more like a wikipedia page by Danklebreaker JaCoB CeLeSLiE (talk) 19:47, 17 April 2019 (UTC)