Archives exist because there’s something that can’t necessarily be articulated. Something is said in the gaps between all the information.
Taryn Simon directs our attention to familiar systems of organization—bloodlines, criminal investigations, flower arrangements—making visible the contours of power and authority hidden within. Incorporating mediums ranging from photography and sculpture to text, sound, and performance, each of her projects is shaped by years of rigorous research and planning, including obtaining access from institutions as varied as the US Department of Homeland Security and Playboy Enterprises, Inc.
Born in New York, where she lives and works, Simon received a BA in semiotics from Brown University in 1997. In 2001 she was awarded a Guggenheim Fellowship for what would become her first major photographic and textual work: The Innocents (2002), which was exhibited at MoMA PS 1. Documenting cases of wrongful conviction in the United States, The Innocents calls into question photography’s function as a credible eyewitness and arbiter of justice.
In 2007 Simon’s series An American Index of the Hidden and Unfamiliar (2007) was presented at the Whitney Museum of American Art, New York. The photographs depict objects, sites, and spaces that are integral to America’s foundation, mythology, and daily functioning, but that remain inaccessible or unknown. These subjects include radioactive capsules at a nuclear waste storage facility, a black bear in hibernation, and the art collection of the CIA. The following year Simon began A Living Man Declared Dead and Other Chapters I–XVIII (2011), for which she traveled the world researching and recording bloodlines and their related stories. In each of the work’s eighteen “chapters,” the external forces of territory, power, circumstance, and religion collide with the internal forces of psychological and physical inheritance. The subjects documented by Simon include victims of genocide in Bosnia, test rabbits infected with a lethal disease in Australia, the first woman to hijack an aircraft, and the “living dead” in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. For Contraband (2010), Simon spent a week at JFK International Airport in New York, photographing the goods that were seized as they entered the US from abroad. An archive of global desires and perceived threats, Contraband encompasses 1,075 images of items set against crisp pale gray backgrounds. A formal inverse of these works can be found in Black Square (2006–), in which Simon isolates objects, documents, and individuals within a black field with precisely the same measurements as Kazimir Malevich’s 1915 Suprematist work of the same name.
In 2012–13 Simon began work on Image Atlas (2012–) and The Picture Collection (2013–), projects that bridge physical and digital archives. The former, created with computer programmer Aaron Swartz, investigates cultural differences and similarities by indexing top image results for given search terms across local search engines throughout the world. The latter was inspired by the New York Public Library’s picture archive, whose 1.2 million printed images, organized under more than 12,000 subject headings, comprise the largest circulating picture library in the world. In 2013 Simon also produced Birds of the West Indies, a two-part series that takes its title from a taxonomy by American ornithologist James Bond. Part I is a visual inventory of the women, weapons, and vehicles appearing in the film franchise featuring the fictional British spy James Bond; this visual database of interchangeable variables used in the production of fantasy examines the economic and emotional value generated by their repetition. In Part II, Simon identifies, photographs, and classifies every bird that appears in the first twenty-four James Bond films. Simon pored over every scene to discover these moments of chance, training her eye away from the agents of seduction—glamour, luxury, power, violence, sex—to look only in the margins.
In Paperwork and the Will of Capital (2015), Simon re-created centerpieces from official photographs of international political signings, underscoring how the stagecraft of power is created, performed, marketed, and maintained. The signings that inform the series involve the countries that were present at the 1944 United Nations Monetary and Financial Conference, in Bretton Woods, New Hampshire, which addressed the globalization of economies after World War II and led to the establishment of the International Monetary Fund and the World Bank. The concrete flower presses comprising the series’ sculptural component were included in the 2015 Venice Biennale. The following year Simon presented her first performance work, An Occupation of Loss (2016), in which professional mourners enact rituals of grief, broadcasting their lamentations from within a sculptural installation. Their sonic mourning is performed in recitations that include northern Albanian laments, which seek to excavate “uncried words”; Wayuu laments, which safeguard the soul’s passage to the Milky Way; Greek Epirotic laments, which bind the story of a life with its afterlife; and Yezidi laments, which map a topography of displacement and exile. Performed in New York in 2016 and in London in 2018, An Occupation of Loss probes the anatomy of loss and the intricate systems used to manage contingencies of fate and the uncertain universe.
Performance continues to intersect with Simon’s photographic work. Her 2018 exhibition at MASS MoCA, North Adams, Massachusetts, included two performance-based works, A Cold Hole (2018) and Assembled Audience (2018). In the former, Simon transports the ancient ritual of cold water immersion into the museum, inviting the public to seek the uncertain opportunity for a quick fix. Cold-water plunges’ long history of notable participants includes Apache leader Geronimo, who employed cold-water immersion to prepare boys for manhood and battle; biologist Charles Darwin; and Russian President Vladimir Putin. The shock of plunging into freezing water overrides thought and elicits from participants a gasp like that experienced during sudden death, sleep arrhythmia, and birth. Assembled Audience probes the phenomenon of engineered applause. Over a one-year period, Simon recorded the claps of individuals attending events at the three largest venues in Columbus, Ohio, a city nicknamed “Test City, USA” because its demographics so closely mirror those of the nation as a whole. She layered these recordings into a dense soundscape that plays in a darkened space, gathering individuals with divergent political, corporate, and ideological allegiances into a single crowd that surrounds the viewer. The MASS MoCA exhibition also featured the first major museum installation of Simon’s bookwork, a central aspect of her carefully researched multimedia work.
Photo: courtesy the artist and MASS MoCA, North Adams, Massachusetts
The Color of a Flea’s Eye: The Picture Collection
July 14–September 11, 2021
976 Madison Avenue, New York
Extended through May 19, 2018
Paperwork and the Will of Capital
February 27–May 19, 2018
Merlin Street, Athens
Extended through July 8, 2016
Paperwork and the Will of Capital
April 14–July 8, 2016
Paperwork and the Will of Capital
February 18–March 26, 2016
555 West 24th Street, New York
Gagosian Quarterly Summer 2023
The Summer 2023 issue of Gagosian Quarterly is now available, featuring Richard Avedon’s Marilyn Monroe, actor, New York, May 6, 1957 on its cover.
Gagosian Quarterly Fall 2022
The Fall 2022 issue of Gagosian Quarterly is now available, featuring Jordan Wolfson’s House with Face (2017) on its cover.
Taryn Simon and Teju Cole
This spring, as part of the Lambert Family Lecture Series at the Wexner Center for the Arts, Taryn Simon joined Teju Cole for an online conversation about her artistic practice and creative process.
Taryn Simon: An Occupation of Loss
In Taryn Simon’s performance work An Occupation of Loss (2016), professional mourners enact rituals of grief, simultaneously broadcasting their lamentations from within a sculptural installation. This video by filmmaker Boris B. Bertram documents the April 2018 performance of this work with Artangel in Islington, London.
The New York Public Library’s Picture Collection
Joshua Chuang, the Robert B. Menschel Senior Curator of Photography at the New York Public Library, discusses the institution’s singular Picture Collection, the artist Taryn Simon’s rigorous engagement with it, and four instances of its little-known role in the history of art making.
Gagosian Quarterly Summer 2021
The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.
Cast of Characters
James Lawrence explores how contemporary artists have grappled with the subject of the library.
Gagosian Quarterly Summer 2019
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
From Mortal Bodies to Immortal Crowds
Two immersive installations by Taryn Simon presented at MASS MoCA in 2018–19 examined the rituals of cold-water plunges and applause. Text by Angela Brown.
The Bigger Picture
Free Arts NYC
Meredith Mendelsohn discusses the impact of Free Arts NYC and its mission to foster creativity in children and teens, on the occasion of its twenty-year anniversary.
Obscuring the Index
Taryn Simon’s 2016 exhibitions spanned the globe. Angela Brown brings us highlights from six museums.
Fairs, Events & Announcements
June 23–29, 2021
A storyteller and researcher driven by the mutability of fact and the documentary potential of fiction, Taryn Simon directs our attention to systems of organization—bloodlines, circulating picture collections, mourning rituals, ceremonial flower arrangements—revealing the structures of power and authority hidden within. Working in photography, sculpture, text, sound, performance, and installation, she traces lineages of objects, families, nations, and histories.
Photo: Brigitte Lacombe
Taryn Simon’s Cutaways (2012) is available online from June 23 through July 22 as part of Artist Spotlight: Taryn Simon. At the close of the taping of a video interview for Prime Time Russia in Moscow, Simon was asked to sit in silence and stare at the newscasters for several minutes so that the producers could gather additional footage for the editing process. Cutaways presents this footage as an autonomous work.
Taryn Simon, Cutaways, 2012 © Taryn Simon
Felix Art Fair 2021
July 29–August 1, 2021
Hollywood Roosevelt, Los Angeles
Gagosian is pleased to participate, for the first time, in the Felix Art Fair at the Hollywood Roosevelt, with a presentation of contemporary paintings, sculptures, photographs, and works on paper.
Duane Hanson, High School Student, 1990–92, 1 of 2 unique versions © 2021 Estate of Duane Hanson/Licensed by VAGA at Artists Rights Society (ARS), New York
Taryn Simon in
Shift: Music, Meaning, Context
Through August 6, 2023
Museum of Contemporary Photography, Columbia College Chicago
Shift: Music, Meaning, Context explores how music changes in form and interpretation as it moves across time, bodies, and place. This exhibition, produced in collaboration with the Goethe-Institut Chicago, combines video, sound, and photography to transform the museum’s galleries into a unique choral mélange. Work by Taryn Simon is included.
Taryn Simon, Professional Mourners: Mrike Nokaj, Kalash Tossouni Boudoyan, Amar Ozmanyan, Aziz Tamoyan, Lala Ismayilova, Haji Rahila Jafarova, Lama Tashi Galay, [Redacted], Lama Phurba Tshering, Goama Marcel Nana, Paul Nana, Rasmane Nana, Yamba Nana, Pong Pon, Pong Rean, Seng Son, [Chen Jian], [Hu Xinglian], [Redacted], [Redacted], [Redacted], Aníbal González, [Redacted], [Redacted], Hanna Koduah, [Redacted], Nota Kaltsouni, Vangelis Kotsos, Nikos Menoudakis, Alagu Adaikkan, Muniyammal Bose, [Redacted], [Redacted], [Redacted], Busara Azimbaeva, Toktokan Chancharova, Siah anak Tutong, Zamfira Ludovica Muresan, Patimat Alibekova, Zakhra Maldaeva, Ana Luisa Montiel, Marisol Montiel, 2018 © Taryn Simon
Taryn Simon in
Selections from the Collection
September 17, 2022–April 16, 2023
George Eastman Museum, Rochester, New York
Since the invention of photography, the documentation of war has been a subject of interest to the camera and consumers. People have long relied on photographs to view and grapple with the harsh realities of war and conflict. This selection ranges from the Crimean War (1853–56) to the Afghanistan War (2001–21). The works challenge us to think critically about how photography documents and disseminates information about war, and how photographers’ approaches to recording war has shifted over time. Work by Taryn Simon is included.
Taryn Simon, Imperial Office of the World Knights of the Ku Klu Klan (KKK), Sharpsburg, Maryland, 2007, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon
Taryn Simon in
16th Biennale de Lyon: Manifesto of Fragility
September 14–December 31, 2022
Various locations in Lyon, France
Manifesto of Fragility, curated by Sam Bardaouil and Till Fellrath for the 16th Biennale de Lyon in France, explores fragility as one of few universally felt truths in our divided world. Ten photographs from Taryn Simon’s series, Paperwork and the Will of Capital (2015), are included in the exhibition, among the work of more than two hundred artists. In the series, Simon addresses the instability of executive decision-making and the precarious nature of survival by examining accords, treaties, and decrees drafted to influence systems of governance and economics. All involve the countries present at the 1944 United Nations Monetary and Financial Conference, which addressed the globalization of economies after World War II.
Installation view, 16th Biennale de Lyon: Manifesto of Fragility, Fagor Factory, Lyon, France, September 14–December 31, 2022. Artwork © Taryn Simon. Photo: Blaise Adilon
It Begins with an Idea
April 23–November 27, 2022
Fondazione Prada, Venice
Curated by Udo Kittelmann in collaboration with Taryn Simon, this exhibition fills three floors of Ca’ Corner della Regina and is the result of an in-depth research process carried out with Fondazione Prada and a scientific board chaired by Giancarlo Comi and composed of physicians, philosophers, scientists, and researchers. It is part of a multidisciplinary project of the same name launched by Fondazione Prada in November 2020 and centering on the brain, a unique organ due to the complexity of its functions, which are fundamental in the characterization of human beings.
Installation view, Human Brains: It Begins with an Idea, Fondazione Prada, Venice, April 23–November 27, 2022. Artwork © Taryn Simon. Photo: Marco Cappelletti, courtesy Fondazione Prada