{"id":2793,"date":"2025-01-02T23:22:11","date_gmt":"2025-01-02T23:22:11","guid":{"rendered":"https:\/\/friscotimes.org\/?p=2793"},"modified":"2025-01-02T23:22:11","modified_gmt":"2025-01-02T23:22:11","slug":"at-lorna-simpsons-show-a-constellation-of-galactic-and-human-history","status":"publish","type":"post","link":"https:\/\/friscotimes.org\/?p=2793","title":{"rendered":"At Lorna Simpson\u2019s Show, a Constellation of Galactic and Human History"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div data-testid=\"companionColumn-0\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">A reverberating hum in the air, a great rush of wind, a hot, sulfuric smell.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Such was the whirl of sensations that accompanied a meteorite when it landed in <a class=\"css-yywogo\" href=\"https:\/\/www.djournal.com\/lifestyle\/living\/baldwyns-unlikely-1922-meteorite-landing\/article_228f04ff-62a7-5da9-a2b3-681d655e4e7b.html\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Baldwyn, Miss. in 1922,<\/a> striking the earth just feet from where a Black tenant farmer named Ed Bush was standing. The rock had alighted on farmland owned by Bush\u2019s landlord, a white judge named Allen Cox. Seven years later, an entry on the meteorite was written up in a scientific volume called \u201c<a class=\"css-yywogo\" href=\"https:\/\/library.si.edu\/digital-library\/book\/mineralsfromeart03merr\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Minerals From Earth and Sky<\/a>,\u201d where Cox is named but Bush, anonymized, is described merely as a \u201cnegro tenant who was badly frightened\u201d by the event.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Lorna Simpson encountered this book several years ago and has since remained curious about the stuff-of-legends yet little-known story of Bush\u2019s cosmic encounter. Her show at Hauser &#038; Wirth in Chelsea is a body of work made in response to this bewildering kernel of human-and-galactic history.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Simpson meets the daunting beauty of the celestial sphere with a painterly language of stellar silvers and penumbral grays. At the heart of it she wrestles with a question: How do the hard, constraining realities of Earth \u2014 such as the historical obscuring of figures like Ed Bush \u2014 face the grand magnitude of that which lies beyond it?<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-1\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The exhibition, titled \u201c<a class=\"css-yywogo\" href=\"https:\/\/www.hauserwirth.com\/hauser-wirth-exhibitions\/lorna-simpson-earth-and-sky\/\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Earth &#038; Sky<\/a>\u201d (a nod to the geology book), navigates between the temporal and the otherworldly in two series of paintings and a multipart sculptural work. In the first gallery is \u201cUnnatural Constellation,\u201d a set of paintings by Simpson based on a 1960s Ebony magazine spread on gun violence in America. The second gallery features paintings based on depictions of meteorites, including the one that fell at Bush\u2019s feet. Together, they weave a dialogue on force \u2014 the forces of gravity and of violence, of the cosmic and the lethal.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-2\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Simpson, who started painting only about 10 years ago, after wide acclaim during her decades making photo-text works, enters ambitious formal terrain here, reaching new and formidable heights of abstraction. She has flirted with the edge of the abstract before, in landscape paintings like those from \u201cDarkening,\u201d her first solo show at <a class=\"css-yywogo\" href=\"https:\/\/www.hauserwirth.com\/hauser-wirth-exhibitions\/23584-lorna-simpson\/\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Hauser &#038; Wirth in New York, in 2019<\/a>.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">In \u201cEarth &#038; Sky,\u201d the paintings churn with an amplified density and thrilling ambiguity that feels closer than ever to the nonrepresentational. It\u2019s a fitting turn for paintings that emerge from meditations on outer space.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">In two paintings titled \u201cUnnatural Constellation,\u201d screenprinted images of bullet holes are exposed under silver paint. The bullet holes, abstracted into a shape that evokes a map of the stars, are somewhat elusive: At first, I did\u2019t realize what I was looking at. But this subterfuge is perhaps the very substance of the paintings. The works trick the eye into seeing the places where beauty becomes enfolded with violence, where the gleam of the universe is inflected with gore.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-3\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Nearby, a multimedia work titled \u201cEarth &#038; Sky (unknown fall)\u201d harks back to Simpson\u2019s explorations in text-based work. In two adjacent wall sculptures made from resin lettering, she presents the textbook entry on the Baldwyn meteorite and then recasts it by redacting words. The result is a sort of fragmented found poem in which charged words from the text, like \u201cfrightened,\u201d \u201cattracted\u201d and \u201cstruck,\u201d are isolated in negative space. After reading Simpson\u2019s version of it, the original story ripples with subtle currents of feeling. An actual meteorite sits on the floor below the wall sculptures, as if the story from Baldwyn is coming to life before our eyes.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Exuding a serene drama, Simpson\u2019s paintings of meteorites are the most gripping part of the exhibition. The artist begins these with a surface of gesso-coated fiberglass, onto which she screenprints images of meteorites from various catalogs and archives. Finally, she adds layers of acrylic wash that accumulate on the surface, forming an iridescent atmospheric haze. Veiled by this aqueous spillage \u2014 textured by the rough grain of the silk-screening process \u2014 the meteorites in the paintings seem not entirely solid. Rather, they appear to be floating or falling through liquidity, softened by buoyancy.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-4\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The paintings can set one adrift to wander in the breadth of geologic time \u2014 unmoored from the present. But Simpson sounds alarms that bring us back to earth. For example, two paintings carry a 26-line title telling the story of the <a class=\"css-yywogo\" href=\"https:\/\/www.amnh.org\/exhibitions\/permanent\/meteorites\/meteorites\/fragments-of-cape-york\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Cape York<\/a> meteorite, fragments of which were taken from where it landed in Greenland, where it was a vital source of iron for Indigenous communities; several were placed in the American Museum of Natural History. In 1897, the American explorer Robert Peary coaxed six Inuit people to travel from Greenland to New York with him, four of whom soon fell ill and died.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">With this history of colonial expropriation in view, the violence of the paintings in \u201cUnnatural Constellation\u201d begins to ring more clearly. The ethereal matters that swim within Simpson\u2019s paintings stand outside of time while simultaneously returning us to it, shocking us with the monumental force implied by the object falling from the sky.<\/p>\n<p class=\"css-798hid etfikam0\"><strong class=\"css-8qgvsz ebyp5n10\">Lorna Simpson: Earth &#038; Sky<\/strong><\/p>\n<p class=\"css-798hid etfikam0\">Through Jan. 11. Hauser &#038; Wirth, 542 West 22nd Street; 212-790-3900, hauserwirth.com.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>A reverberating hum in the air, a great rush of wind, a hot, sulfuric smell. Such was the whirl of sensations that accompanied a meteorite when it landed in Baldwyn,&hellip;<\/p>\n","protected":false},"author":389,"featured_media":2794,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3774,3779,4,3778,3775,3777,3773,3780,224,3776,3772],"tags":[],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>At Lorna Simpson\u2019s Show, a Constellation of Galactic and Human History - Frisco Times<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/friscotimes.org\/?p=2793\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"At Lorna Simpson\u2019s Show, a Constellation of Galactic and Human History - Frisco Times\" \/>\n<meta property=\"og:description\" content=\"A reverberating hum in the air, a great rush of wind, a hot, sulfuric smell. 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