She is part of The Pictures Generation, a name given to a group of artists who came to prominence in the 1970s. These leaves are as large as the sink itself and the faucets and support for the sink overwhelm the small basin, which is filled with water. .
Carta(s) Magazine.
In Simmons's first photographs, made in the mid–1970s, female dolls in dollhouse interiors cook and clean, performing the typical chores of a housewife. Collection of thought and debate. Jun 27, 2015–Mar 6, 2016 Simmons spent much of her childhood in her father's dentistry office, attached to the house, reading Life and Look and watching tropical fish in the waiting room. The first work in this series is a work from 1987 titled "Walking Camera I (Jimmy the Camera)", of Simmons' friend and former roommate, the late artist Jimmy De Sana, wearing an old-fashioned box camera costume. Gelatin silver print - Metropolitan Museum of Art, New York This color photograph features three male ventriloquist dummies, dressed in suits, gathered in a communal bathroom. Simmons also used objects on legs in her series, "Walking & Lying Objects", from the late 1980s. The floors are wooden and the dolls are surrounded by a number of objects, including blue and white vases in the foreground, black and white cushions on the couch and large cylindrical lamps beside a window in the background. 47 3/8" (211.4 × 120.4 cm).
Walking House (Little) 1991/2014 ©2017 Laurie Simmons. This photograph shows two female dolls in a light-filled living room, one of whom sits on a white couch and the other of whom stands, facing toward the camera, with her hand on the back of the couch. Laurie Simmons; Walking House (Color), 1989 64 x 46 in. Our site uses technology that is not supported by your browser, so it may not work correctly.
Laurie Simmons Lying House. Laurie Simmons Walking House 1989. Jun 27, 2015–Mar 6, 2016 Desacuerdos Magazine.
Since the mid-1970s, Simmons has staged scenes for her camera with dolls, ventriloquist dummies, objects on legs, and people, to create photographs that reference domestic scenes. 12 other works identified Jun 27, 2015–Mar 6, 2016 [Internet]. Laurie Simmons was born on the outskirts of New York City, in the beachside neighborhood of Far Rockaway, as the second of three daughters to a dentist and a housewife. The New Yorker /
The seated doll is modelled after a Caucasian woman, with wavy brown hair, while the standing doll is modelled after an Asian woman and has black hair with a fringe across her forehead. The bubble on the far right, showing three muscular women in a circle, naked with long hair whipping around them, is above a dummy that has turned away from a sink and mirror and toward the viewer. ©2020 The Art Story Foundation. The figure has long, straight hair, parted in the middle and brown, and is dressed entirely in red latex, which has been fashioned into a sleeveless minidress, a pair of gloves and thigh-high boots. 2 other works identified (162.6 x 116.8 cm.) The three dummies each have thought bubbles located above their heads containing images of bodies. Sep 28, 2000–Mar 4, 2001 Jun 27, 2015–Mar 6, 2016 1 other work identified "Like the objects they represent, these early prints are quite small, but Simmons's work soon grew in scale. [Internet]. Her arms reach diagonally backward, her hands touching the walls, which are pale blue with a decorative frieze running across the corner at the level of the figure's chest. The figure is harshly spotlit, and just behind, its own dark, sharp shadow is visible against the plain light-colored backdrop. Installation View "Kigurumi Dollers and How We See " Salon 94 Bowery 2014. ©2020 The Art Story Foundation. Laure Tixier’s series Plaid House (Maquette) (2005–11) explores domestic architecture from worldwide cultures in solid-colored felt sculptures that resemble miniature residential homes, tents, towers, or high-rise buildings.
Nov 20, 2004–Jun 6, 2005 The dummy on the far left, positioned beside a toilet and staring out of the frame, on a diagonal, is accompanied by the backsides of four naked women, standing close together, shown in black and white. From MCA Chicago, Laurie Simmons, Walking House (1989), Pigment print, 84 × 48 in Both women wear cream-colored silk slips and both look toward, though not at, the camera, their eyes angled downward. Edited and revised, with Summary and Accomplishments added by "Laurie Simmons Artist Overview and Analysis".
Simmons was heavily influenced by her suburban childhood, often drawing from her own memories to create a visual universe characterized by a sense of the uncanny created through combinations of the familiar and unfamiliar posed to provoke, rather than to answer, questions about relationships between play, the domestic sphere and sexuality. Walking Microphone With Skirt, 1989/2014. Jun 27, 2015–Mar 6, 2016 She received a BFA from the Tyler School of Art, Philadelphia (1971). Jun 27, 2015–Mar 6, 2016 This photograph shows a dollhouse sink set at an angle to, and casting a shadow on, wallpaper patterned with leaves and lines.
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