. In Walking House (1989), Laurie Simmons creates a playful yet disconcerting image of the female body being consumed by expectations and responsibilities. Wires that help the hybrid doll-gun figure stay upright are only faintly visible. 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. 9 other works identified The Museo Reina Sofía radio station. Isolated against a seamless backdrop under the dramatic artificial light of a stage or studio, the figures in these photographs are perfect and alluring. close. Laurie Simmons; Walking House (Color), 1989 64 x 46 in. The three dummies each have thought bubbles located above their heads containing images of bodies. Later she recalled, "I was simply trying to recreate a feeling, a mood .
The sink is positioned at the center of the photograph, overlapping with an intersection between the lines of the wallpaper and is framed by enormous leaves, on the wallpaper, that draw attention to the ambiguities of scale within the image. Like many of her contemporaries, Simmons has used the material of popular culture to probe and often debunk its social values. Both the dolls and the stereotypes they embody evoke middle-class America in the 1950s. 18 other works identified Walking Microphone With Skirt, 1989/2014. There are blue valence curtains at the tops of two windows, only one of which is visible, cropped by the right side of the frame, and the carpet at the base of the figure is grey and textured; the aesthetic mimics that of a dollhouse and the scale of the doll and environment is not immediately clear. Endowing dolls, puppets, and ventriloquist dummies with a very human sense of longing and loneliness, Simmons creates psychologically astute critiques of women’s roles in their myriad incarnations from housewife to sex object. The sink is positioned at the center of the photograph, overlapping with an intersection between the lines of the wallpaper and is framed by enormous leaves, on the wallpaper, that draw attention to the ambiguities of scale within the image. 4 other works identified [Internet]. Simmons stages photographs and films with paper dolls, finger puppets, ventriloquist dummies, and costumed dancers as “living objects,” animating a dollhouse world suffused with nostalgia and colored by an adult’s memories, longings, and regrets. Both the dolls and the stereotypes they embody evoke middle-class America in the 1950s. 2 other works identified 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. In this black and white photograph, at the centre of the frame stands a revolver pistol that has been attached at its base to a pair of female doll legs. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.By Andrea Karnes, Andrianna Campbell, Michael Auping, William J. Simmons, and Omar KholeifBy Jeanne Greenberg Rohatyn, Laurie Simmons, and Lynne TillmanBy Sheila Heti / Nov 20, 2004–Jun 6, 2005 The Pictures Generation also includes Cindy … The figure is harshly spotlit, and just behind, its own dark, sharp shadow is visible against the plain light-colored backdrop. Jun 27, 2015–Mar 6, 2016 Laurie Simmons Lying House. 1990. Sep 28, 2000–Mar 4, 2001 Laurie Simmons was born on Long Island, New York, in 1949. In Walking House (1989), Laurie Simmons creates a playful yet disconcerting image of the female body being consumed by expectations and responsibilities. 1 other work identified
Sep 9, 1992–Feb 21, 1993 Simmons used her own house, in Cornwall, NY, almost as a life-size doll's house for this project, taking hundreds of photographs of the dolls in various domestic settings. Our site uses technology that is not supported by your browser, so it may not work correctly.
Laurie Simmons Walking House 1989. Nov 16, 2011–Feb 9, 2014 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. In In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at If you would like to reproduce text from a MoMA publication or moma.org, please email By visiting our website or transacting with us, you agree to this. From there, she put legs on a tomato, a … 1989 277. 13 other works identified Carta(s) Magazine. Please Laurie Simmons is an American artist, photographer and filmmaker. Simmons' interest in ventriloquist dummies, sprang from childhood memories of ventriloquism shows on television in the 1950s, had been developing throughout the 1980s, when she spent time at the Vent Haven Museum in Kentucky, home to a large collection of these figures. 1 other work identified
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.
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