Golden Barbie, Persol, il design degli occhiali da sole pieghevoli, Rear Views, A Star-Forming Nebula, and the Department of Foreign Propaganda. The topics explored by Simon are linked to political and social questions and matters of current relevance that are not locked inside a ground of sterile self-referencing: “My process is influenced by what’s going on in my life and in politics and the social landscape […] I have always tried to keep myself out of my work and have the work exists in a space that’s not about its author. 1975) is a multidisciplinary artist who has worked in photography, text, sculpture and performance.

Simon’s works are always complex; they present several layers of meaning and incorporate intellectual, social and aesthetic aspects that were partly already present – though in an embryonic form – in her first work – “The Innocents”. The project was published as An American Index of the Hidden and Unfamiliar (2007) and was displayed at the Whitney Museum of American Art in New York City, as well as at other museums and galleries worldwide.

She typically assembled her photographs around a predetermined theme or concept and drew the often disparate results together with academically precise textual explanation in the form of captions and brief paragraphs. The question that each one of these images asks us is: can photography truly be given the status of evidence? In order to capture the photographs compiled in Contraband (2010), Simon installed herself at New York City’s John F. Kennedy International Airport for five days and photographed more than 1,000 items confiscated in customs, from bottles of date rape drugs to dead wildlife to pirated DVDs. I have long been pondering about how little interesting the majority of contemporary art has become as a result of showing little pertinence to day-to-day life: I feel much closer to an artistic approach that uses photography, perhaps due to the fact that, in order to exist, this requires using real, material subjects. The theme of what is real and of meaning is a recurrent one in Taryn Simon’s works: as well as portraying events that never occurred, facts that officially do not exist and/or cannot be seen, her images seek to materialize the unbridgeable empty space that is there between words and their interpretation. A desire for completeness that can be discerned also in the type of format chosen by Simon to present her projects: books. Such themes are also addressed in the group work “Image Atlas” (2012), in which Taryn shows the communication difficulties of verbal communication applied to imagery.


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