Lorna Simpson (American, b. 1960). Parts, 1998. Photo screenprint on felt, edition 2/3. The Metropolitan Museum of Art, New York, Gift of the Peter Norton Family Foundation, 1998 (1998.456.6a-m)
«In my opinion, this artwork is dull compared to the other works in this gallery, and I don't think this piece would be popular among visitors. However, the lack of color gives these twelve felt panels—which depict fragments of a horse statue in a case—a mysterious aura. I wonder what the statue would have looked like in its entirety.»
Spies in the House of Art hints at postmodernist ideas, particularly surrealism and hyperrealism, so I get a sense of uncertainty when looking at this print. Doug Eklund, the curator of this exhibition, raised ideas about distortion in our discussion, and I think that concept is evident in this work. As I look closer, I feel like the parts of the statue are related but at the same time separate in their own time and space. I think that this same principle is reflected in the grid-like format of the print itself.
Read the text label that the artist includes with the photograph. How do you think the text relates to the work itself?
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