Skip to content
Installation view, Diane Simpson: 1977-1980, James Cohan, 48 Walker, New York, NY, February 15 - March 23, 2024.

Installation view, Diane Simpson: 1977-1980, James Cohan, 48 Walker, New York, NY, February 15 - March 23, 2024.

Image of DIANE SIMPSON's Chaise, 1979

DIANE SIMPSON

Chaise, 1979

Corrugated archival board, crayon

84 x 81 x 43 in
213.4 x 205.7 x 109.2 cm

 

JCG17081

Image of Diane Simpson's Pleated Column #2, 1978

DIANE SIMPSON

Pleated Column #2, 1978

Corrugated board, colored pencil, crayon

85 x 44 x 25 in
215.9 x 111.8 x 63.5 cm

 

JCG17076

Image of DIANE SIMPSON's Corrugated Drawing #2, 1978

DIANE SIMPSON

Corrugated Drawing #2, 1978

Corrugated board, latex paint, crayon, wood dowels

90 x 76 x 44 in
228.6 x 193 x 111.8 cm

 

JCG17074

Image of Diane Simpson's Constructed Painting #1, 1977

DIANE SIMPSON

Constructed Painting #1, 1977

Oil paint on paper on wood

64 x 37 in
162.6 x 94 cm

 

JCG17083

Image of DIANE SIMPSON's Constructed Painting #2, 1977

DIANE SIMPSON

Constructed Painting #2, 1977

Oil paint on paper on wood

60 x 64 x 3 in.
152.4 x 162.6 x 7.6 cm

 

JCG17084

Image of DIANE SIMPSON's Leaning Lookout, 1978

DIANE SIMPSON

Leaning Lookout, 1978

Corrugated board, colored pencil, crayon

105 x 65 x 45 in
266.7 x 165.1 x 114.3 cm

(JCG17077)

Image of DIANE SIMPSON's Dialogue, 1978

DIANE SIMPSON

Dialogue, 1978

Corrugated board, paper tape, crayon, wood dowels

73 1/2 x 99 x 36 1/2 in.
186.7 x 251.5 x 92.7 cm

 

JCG17079

Press Release

On the occasion of the newly announced representation of Diane Simpson, James Cohan is pleased to present Diane Simpson: 1977-1980, a historic exhibition of the artist’s foundational cardboard sculptures, on view from February 15 through March 23, 2024 at 48 Walker Street. This marks the artist’s first solo exhibition with the gallery.

 

For over four decades, Simpson has created rigorously constructed sculptures drawn from clothing, furniture, utilitarian objects, and architectural sources. Attentive to the formal qualities of these vernacular references, Simpson playfully alternates between two and three dimensional space by creating schematic drawings or plans of her various subjects and then, using the same tricks of pictorial illusion, translating them back into actual space. The results are curiously flattened three dimensional versions of familiar objects executed in a wide range of materials, from linoleum to perforated metal. 

 

This exhibition celebrates Simpson’s earliest sculptures, made in the late 1970s. This was a rich period of invention for the artist, exemplified by a significant shift in her practice from drawing and printmaking to sculpture – a generative leap from graphic to physical space. In the later part of her graduate studies, Simpson explored axonometric projection. In this visualization technique, a drawn shape is rotated axially away from the picture plane to reveal multiple sides of the object at once. This familiar method for depicting space dates as far back as ancient Chinese and Japanese scroll paintings, as in the 17th-century illustrations of The Tale of Genji, and later shows up in areas as diverse as Suprematist compositions and 19th-century architectural elevations. 

Back To Top