グッゲンハイム美術館のインスタグラム(guggenheim) - 3月9日 00時57分

American artist, Lorna Simpson has been giving form to Black female subjectivity in her art for the past three decades. Her early photo-based work drew upon the relation between image and text exploited in Conceptual art, but her subject matter uniquely unpacks the experience of being an African-American woman in a white supremacist culture. “Flipside,” 1991, pairs the photo of an African mask and a Black woman with close-cropped hair, both facing away from the camera, refusing any engagement with its lens. The accompanying text reads: the neighbors were suspicious of her hairstyle. Different meanings emerge from the title and the imagery: the curves on the mask echo that of the ’60s hairdo known as the flip, which then evokes the era of intense civil rights activism in the United States, but also invokes the B-side of a 45 vinyl record, which is commonly thought to be the lesser of the two songs. Simpson never dictates meaning; rather, she lets the ideas and provocations in the work ricochet back and forth, inviting the viewer to enter where they may.
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