Born in Long Island, New York, 1949.
EDUCATION
Tyler School of Art, Philadelphia, Pennsylvania, B.F.A., 1971.
Lives in Brooklyn, New York, and Cornwall, Connecticut.
SELECTED SOLO SHOWS
2019
Museum of Contemporary Art Chicago, Chicago, Illinois. Laurie Simmons: Big Camera/Little Camera.
2018
Modern Art Museum of Fort Worth, Fort Worth, Texas. Laurie Simmons: Big Camera/Little Camera.
Mary Boone Gallery, NYC, NY. Clothes Make the Man, Works from 1990-1994.
Salon 94, NYC, NY. 2017: The Mess and Some New.
2016
Addison Gallery of American Art, Andover, Massachusetts. Laurie Simmons: In and Around the House.
Sarah Moody Gallery of Art, Garland Hall, The University of Alabama, Tuscaloosa, Alabama. Laurie Simmons: Two Boys and The Love Doll.
2015
Contemporary Art Museum St. Louis, St. Louis, Missouri. Laurie Simmons: Two Boys and The Love Doll.
The Jewish Museum, NYC, NY. Laurie Simmons: How We See.
The Arts Club, London, England.
2014
Wilkinson Gallery, London, England. Kigurumi, Dollers and How We See.
Neues Museum, Nuremberg, Germany. The Fabulous World of Laurie Simmons.
2013
Gallery Met, Metropolitan Opera, NYC, NY. Two Boys.
Tomio Koyama Gallery, Tokyo, Japan. The Love Doll: Days 9-35.
2012
Baldwin Gallery, Aspen, Colorado. The Love Doll (Geisha): Days 31-36.
Gothenburg Museum of Art, Gothenburg, Sweden.
2011
Salon 94 Bowery, NYC, NY. The Love Doll Days: 1-30.
2010
JGM Galerie, Paris, France. The Love Doll: Jours 1-17.
Print Gallery at the New York Public Library, NYC, NY. Picture Perfect: Laurie Simmons, Photographs 1976-78.
2009
Tomio Koyama Gallery, Tokyo, Japan.
2008
Galeria Erna Hecey, Brussels, Belgium. Laurie Simmons: In and Around the House Photographs 1976-1978.
Carolina Nitsch Project Room, NYC, NY. Laurie Simmons: In and Around the House.
2007
The Nassau County Museum of Art, Roslyn, New York. Laurie Simmons: The Music of Regret and Other Works.
Skarstedt Gallery, NYC, NY. Color Coordinated Interiors 1983.
Distrito Cu4tro, Madrid, Spain.
Baldwin Gallery, Aspen, Colorado. Photographs 1998.
2006
Greenberg Van Doren, St. Louis, Missouri. Laurie Simmons: Long House and The Boxes.
Sperone Westwater, NYC, NY.
Museum of Modern Art, NYC, NY. The Music of Regret.
Tate Modern, London, England. The Music of Regret.
2005
Sperone Westwater, NYC, NY.
Distrito Cu4tro, Madrid, Spain. Laurie Simmons: The Long House.
Baldwin Gallery, Aspen, Colorado. Laurie Simmons: New Photographs.
2004
Sperone Westwater, NYC, NY. The Instant Decorator.
2002
Galerie 20/21, Essen, Germany.
2001
Baldwin Gallery, Aspen, Colorado.
2000
Skarstedt Fine Art, NYC, NY.
Deitch Projects, NYC, NY. Laurie Simmons & Peter Wheelwright: Kaleidoscope House.
1998
S.L. Simpson Gallery, Toronto, Canada.
Metro Pictures, NYC, NY.
Dorfman Projects, NYC, NY.
1997
The Baltimore Museum of Art, Baltimore, Maryland.
Dorfman Projects, NYC, NY. Clothes Make the Man.
Theoretical Events, Naples, Italy.
1996
Modernism Gallery, San Francisco, California. Works 1982-1994.
Savannah College of Art and Design, Savannah, Georgia. Laurie Simmons: Icons of Feminism.
1995
Galerie Philippe Rizzo, Paris, France.
S.L. Simpson Gallery, Toronto, Canada.
1994
Metro Pictures, NYC, NY.
1993
Fay Gold Gallery, Atlanta, Georgia. (with Cindy Sherman)
Galerie Philippe Rizzo, Paris, France. (with Sarah Charlesworth)
1992
Orangerie München, Munich, Germany.
Daniel Weinberg Gallery, Los Angeles, California.
S.L. Simpson Gallery, Toronto, Canada.
1991
Metro Pictures, NYC, NY.
Galerie Carola Mosch, Berlin, Germany.
1990
San Jose Museum of Art, San Jose, California.
Galerie Jablonka, Cologne, Germany.
1989
Daniel Weinberg Gallery, Los Angeles, California.
Galerie Jablonka, Cologne, Germany.
Metro Pictures, NYC, NY.
1988
Metro Pictures, NYC, NY.
1987
Walker Art Center, Minneapolis, Minnesota. Water Ballet/Family Collision.
1985
Weatherspoon Art Gallery, University of North Carolina, Greensboro, North Carolina.
Tyler School of Art, Philadelphia, Pennsylvania.
Josh Baer Gallery, NYC, NY.
1984
Galerie Tanja Grunert, Stuttgart, Germany.
International with Monument, NYC, NY.
1983
Metro Pictures, NYC, NY.
CEPA Gallery, Buffalo, New York.
1981
Diane Brown Gallery, Washington, DC.
Metro Pictures, NYC, NY.
1979
Artists Space, NYC, NY.
PS1 Contemporary Arts Center, NYC, NY.
University of Rhode Island, Kingston, Rhode Island.
SELECTED GROUP SHOWS
2019
Tang Teaching Museum at Skidmore College, Saratoga Springs, New York. Like Sugar.
2017
Modern Art Museum of Fort Worth, Fort Worth, Texas. Figures from the Collection.
2015
James Barron Art, Cornwall, Connecticut. Cornwall Art.
Whitney Museum of American Art, NYC, NY. America is Hard to See.
Burlington City Arts, Burlington, Vermont. Taking Pictures.
Aliens Center for Contemporary Art, Beijing, China. M Home: Living in Space with RedStar Macalline Art Project.
Sala de Arte Santander, Madrid, Spain. All The World’s A Stage: Works from the Goetz Collection.
2014
The Flag Art Foundation, NYC, NY. Disturbing Innocence.
Pioneer Works, Brooklyn, New York. VICE Photo Show: Trompe-L’Oeil.
Salon 94 Bowery, NYC, NY. Duro Olowu: More Material.
2013
Museum of Art, Nova Southeastern University, Fort Lauderdale, Florida. Women’s World: Contemporary Views of Women by Women.
Amon Carter Museum of American Art, Fort Worth, Texas. Color! American Photography Transformed. (traveled to Dixon Gallery and Gardens, Memphis, Tennessee)
Mori Art Museum, Tokyo, Japan. All You Need is Love: From Chagall to Kusama and Hatsune Miku.
Milwaukee Art Museum, Milwaukee, Wisconsin. Color Rush: 75 Years of Color Photography in America.
2012
Museum of Contemporary Art, Chicago, Illinois. This Will Have Been: Art, Love, and Politics in the 1980s.
2011
City Gallery Wellington, Wellington, New Zealand. Tender is the Night.
Museum of Modern Art, NYC, NY. Pictures by Women: A History of Modern Photography.
Neuberger Museum of Art, Purchase College, Harrison, New York. The Deconstructive Impulse: Woman Artists Reconfigure the Signs of Power.
2010
Whitney Museum of American Art, NYC, NY. Off The Wall: Part 1-30 Performative Actions.
Gwangju Biennale 2010, Gwangju, South Korea.
Solyanka State Gallery, Moscow, Russia. InArt, InStars, InStyle.
2009
The Metropolitan Museum of Art, NYC, NY. The Pictures Generation, 1974-1984.
National Museum of Women in the Arts, Washington, DC. Role Models: Feminine Identity in Contemporary American Photography.
2008
Institute of Contemporary Art, Philadelphia, Pennsylvania. The Puppet Show.
Magasin Centre National d’Art Ceontemporain de Grenoble, Grenoble, France. Espèces d’espace: Les Années 1980, Première Partie (The Eighties, First Part).
2007
Museum of Contemporary Art, Kanazawa, Japan. Passion Complex: Selected Works from the Albright-Knox Gallery, 21st Century.
Centro Cultural do Brasil, Rio de Janeiro, Brazil. Brasil Des Focos.
Bruce Museum, Greenwich, Connecticut. Contemporary + Cutting Edge: Pleasure of Collecting, Part III.
2006
Museum of Texas Tech University, Lubbock, Texas. Woman Only! In Their Studios.
Sammlung Goetz, Munich, Germany. Imagination Becomes Reality: Part V: Fantasy & Fiction.
Contemporary Art Museum St. Louis, St. Louis, Missouri. The Collectibles.
2005
Museum of Modern Art, NYC, NY. Contemporary Voices: Works from the UBS Art Collection.
National Museum of Women in the Arts, Washington, DC. Steven Scott Collects: Donations and Promised Gifts to the Permanent Collection.
2004
SITE Santa Fe Fifth International Biennial, Santa Fe, New Mexico. Disparities and Deformations: Out Grotesque.
New Museum of Contemporary Art, NYC, NY. East Village USA.
2003
Walker Art Center, Minneapolis, Minnesota. Last Picture Show: Artists Using Photography, 1960-1982. (traveled to Hammer Museum, Los Angeles, California; Museo de Arte Contemporánea de Vigo, Vigo, Spain; Fotomuseum Winterthur, Zurich, Switzerland)
Orlando Museum of Art, Orlando, Florida. Constructed Realities: Contemporary Photography.
New York State Museum, Albany, New York. Strangely Familiar: Approaches to Scale in the Collection of the Museum of Modern Art.
2002
Henie Onstad Kunstsenter, Sandvika, Norway. A Doll’s House.
Whitney Museum of American Art, NYC, NY. American Century.
Des Moines Art Center, Des Moines, Iowa. Almost Warm & Fuzzy.
Whitney Museum of American Art, NYC, NY. Insites: Interior Spaces in Contemporary Art.
Artists Space, NYC, NY. Limited and Unlimited Editions.
Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York. S.O.S.: Scenes of Sounds.
Museum of Modern Art, NYC, NY. Open Ends, 11 Exhibitions of Contemporary Art from 1960.
International Center of Photography, NYC, NY. ICP Permanent Collection.
San Francisco Museum of Modern Art, San Francisco, California. The Darker Side of Playland: Childhood Imagery from the Logan Collection.
Tacoma Art Museum, Tacoma, Washington. Almost Warm & Fuzzy. (traveled to Scottsdale Museum of Contemporary Art, Scottsdale, Arizona; PS1 Contemporary Art Center, NYC, NY; Fundacio “La Caixa”, Barcelona, Spain; Crocker Art Museum, Sacramento, California; Art Gallery of Hamilton, Ontario, Canada; Memphis Brooks Museum of Art, Memphis, Tennessee; Cleveland Center of Contemporary Art, Cleveland, Ohio)
1999
San Francisco Museum of Modern Art, San Francisco, California. Looking at Ourselves: Works by Women Artists from the Logan Collection.
1998
PS1 Contemporary Art Center, NYC, NY. Heaven: Private View.
Saint Louis Art Museum, St. Louis, Missouri. Defining Eye: Women Photographers of the 20th Century.
Neue Gesellschaft für bildende Kunst E.V., Berlin, Germany. Gesichter und Dinge.
1997
Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Making it Real.
1996
Whitney Museum of American Art, NYC, NY. Altered and Irrational.
Thread Waxing Space, NYC, NY. The Romper Room.
1995
Metro Pictures, NYC, NY. Actual Photos. (in collaboration with Allan McCollum)
White Columns, NYC, NY. Mini Mundus.
Lehman College Art Gallery, The City University of New York, Bronx, New York. Fact, Fiction and Truth: Contemporary Portraits.
Contemporary Arts Center, Chicago, Illinois. Is It Art?: Transgressions in Contemporary Art.
Katonah Museum of Art, Katonah, New York. Is It Art?: Transgressions in Contemporary Art.
Museum of Contemporary Art, Miami, Florida. The Monster Show.
Whitney Museum of American Art at Champion, Stamford, Connecticut. Playtime: Artists and Toys.
Musée d’Art Moderne de la Ville de Paris, Paris, France. Passions Privée.
Museum of Fine Arts, Boston, Massachusetts. Being Human.
1993
Kunsternes Hus, Oslo, Norway. Louise Lawler, Cindy Sherman, Laurie Simmons.
Museum of Contemporary Art, Helsinki, Finland. Louise Lawler, Cindy Sherman, Laurie Simmons.
International Center for Photography, NYC, NY. Commodity Image.
Center for Fine Arts, Miami, Florida. Photography.
Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin. Dolls in Contemporary Art. A Metaphor of Personal Identity.
Kunsternes Hus, Oslo, Norway. Network.
1992
Museo d'Arte Moderna e Contemporanea di Trento, Trent, Italy. American Art of the 80s.
Museum of Modern Art, NYC, NY. More Than One Photography.
Institute of Contemporary Art, Philadelphia, Pennsylvania. Devil on the Stairs: Looking Back on the Eighties. (traveled to Newport Harbor Art Museum, Newport Beach, California)
1991
Whitney Museum of American Art, NYC, NY. 1991 Biennial Exhibition.
Castello di Rivoli, Turin, Italy. Sguardo di Medusa.
Museum of Modern Art, NYC, NY. Pleasures and Terrors of Domestic Comfort.
Palazzo dell Albere, Trent, Italy. American Art of the 80s.
The Center for Photography, Woodstock, New York. The Surrogate Figure: Intercepted Identities in Contemporary Photography.
1990
Seibu Contemporary Art Gallery, Tokyo, Japan. Viewpoints Towards the 90s: Three Artists From Metro Pictures.
International Center of Photography, NYC, NY. The Indomitable Spirit.
Centre d’Art Santa Monica, Barcelona, Spain. To Be and Not to Be.
Museum of Contemporary Hispanic Art with the New Museum and the Studio Museum of Harlem, NYC, NY. The Decade Show.
National Museum of Modern Art, Kyoto, Japan.
Vienna Secession, Vienna, Austria. Modern Detour.
1989
Corcoran Gallery of Art, Washington, DC. Surrogate Selves.
Cincinnati Art Museum, Cincinnati, Ohio. Making Their Mark: Women Artists Move into the Mainstream, 1970-85. (traveled to New Orleans Museum of Art, New Orleans, Louisiana; Denver Art Museum, Denver, Colorado; Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania)
Museum of American Art, Smithsonian Institute, Washington, DC. The Photography of Invention: American Pictures of the 1980s.
Arnolfini, Bristol, England. Shifting Focus: An International Exhibition of Contemporary Women’s Photography. (traveled to Serpentine Gallery, London, England)
Museum of Contemporary Art, Los Angeles, California. A Forest of Signs: Art in the Crisis of Representation.
Whitney Museum of American Art, NYC, NY. The Desire of the Museum.
Whitney Museum of American Art, NYC, NY. Image World: Art and Media Culture.
1988
White Columns, NYC, NY. Female (Re)production.
Malmo Kunsthall, Malmo, Sweden. MATRIS.
Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin. Photography on the Edge.
Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts. Fabricated Photographs. (traveled to Museum of Art, Haifa, Israel)
1987
Walker Art Center, Minneapolis, Minnesota. Past/Imperfect: Eric Fischl, Vernon Fisher, Laurie Simmons. (traveled to Contemporary Arts Center, Cincinnati, Ohio; Institute of Contemporary Art, Philadelphia, Pennsylvania)
John and Mabel Ringling Museum of Art, Sarasota, Florida. This is Not a Photograph: Twenty Years of Large-Scale Photography, 1966-1986. (traveled to Akron Art Museum, Akron, Ohio; Chrysler Museum, Norfolk, Virginia)
Los Angeles County Museum of Art, Los Angeles, California. Photography and Art: Interactions Since 1946. (traveled to Museum of Art, Fort Lauderdale, Florida; Queens Museum,Flushing, New York; Des Moines Art Center, Des Moines, Iowa)
Moderna Museet, Stockholm, Sweden. Implosion: A Postmodern Perspective.
Baltimore Museum of Art, Baltimore, Maryland. Arrangements for the Camera: A View of Contemporary Photography.
1986
Metro Pictures, NYC, NY.
Queens Museum, Flushing, New York. The Real Big Picture.
Whitney Museum of American Art, Stamford, Connecticut. Photographic Fiction.
Metro Pictures, NYC, NY.
Musée d’art Contemporain de Montreal Gallery, London, Canada. La Magie de l’Image.
Art Gallery of New South Wales, Sydney, Australia. Origins, Originality + Beyond.
International Center for Photography, NYC, NY. Art & Advertising: Commercial Photography by Artists.
Mint Museum of Art, Charlotte, North Carolina. The Fashionable Image: Unconventional Fashion Photography.
Long Beach Museum of Art, Long Beach, California. Remembrances of Things Past.
1985
Metro Pictures, NYC, NY. Louise Lawler, Laurie Simmons, James Welling.
Nature Morte, NYC, NY. Actual Photos. (in collaboration with Allan McCollum)
Münchner Stadtmuseum, Munich, Germany. The Nude in Photography.
Whitney Museum of American Art, NYC, NY. 1985 Biennial Exhibition.
White Columns, NYC, NY. The Seduction Show.
Pratt Institute Gallery, NYC, NY. Illuminating Color: Four Approaches in Contemporary Painting and Photography.
International with Monument, NYC, NY.
London Regional Art Gallery, London, Canada. Subjects and Subject Matter.
Laforet Museum, Tokyo, Japan. Correspondences: New York Art Now. (traveled to Tochigi Prefectural Museum of Fine Arts, Tochigi, Japan; Tazaki Hall Media, Kobe, Japan)
1984
PS1 Contemporary Art Center, NYC, NY. Family of Man.
International with Monument, NYC, NY. Still Like with Transaction.
Whitney Museum of American Art, NYC, NY. Visions of Childhood: A Contemporary Iconography.
Indianapolis Museum of Art, Indianapolis, Indiana. Painting and Sculpture Today.
Artists Space, NYC, NY. A Decade of New Art.
Metro Pictures, NYC, NY.
Visual Arts Museum, NYC, NY. …And the Livin’ Is Easy.
Amerika Haus Berlin, Berlin, Germany. Women of Influence.
Rotterdamse Kunststichting, Rotterdam, The Netherlands. Con Rumore.
Contemporary Arts Center, Cincinnati, Ohio. Disarming Images.
1983
Centre Georges Pompidou, Paris, France. Images Fabriquees. (traveled to Musée des Beaux-Arts, Nantes, France; Musée d’Art Actuel, Hasselt, Belgium)
Castelli Graphics, NYC, NY. Three-Dimensional Photography.
Tampa Museum, Tampa, Florida. Photography in America 1910-1983.
High Museum of Art, Atlanta, Georgia. Subjective Vision.
1982
Metro Pictures, NYC, NY.
White Columns, NYC, NY. Public Vision.
Institute of Contemporary Art, Philadelphia, Pennsylvania. The Image Scavengers.
1981
The Kitchen, NYC, NY. Pictures and Promises.
PS1 Contemporary Art Center, NYC, NY. Couches, Diamonds & Pie.
Castelli Graphics, NYC, NY. Love Is Blind.
Metro Pictures, NYC, NY. Photo.
Fort Worth Art Museum, Fort Worth, Texas. Body Language: Figurative Aspects of Recent Art. (traveled to Contemporary Arts Center, Cincinnati, Ohio)
Albright-Knox Art Gallery, Buffalo, New York. Figures: Forms and Expressions.
Artists Space, NYC, NY. 35 Artists Return to Artists Space.
1980
Portland Art Museum, Portland, Oregon. Invented Images.
Freedman Gallery, Albright College, Reading, Pennsylvania. Presences: The Figure and Manmade Environments.
CEPA Gallery, Buffalo, New York. Model Photography.
1979
Baltimore Museum of Art, Baltimore, Maryland. Selector’s Choice.
SELECTED BIBLIOGRAPHY
Hoban, Phoebe, Laurie Simmons: Avatar Artist For Our Age, RIOT MATERIAL, 4 June 2018.
Cascone, Sarah, “He Copies Me Much More Than I Copy Him”: Laurie Simmons and Carroll Dunham on 35 Years of Creative Cohabitation, ARTNET.COM, 17 May 2018.
Miller, Leigh Anne, Look Who’s Talking by Laurie Simmons, ART IN AMERICA, May 2018, p. 53.
Watts, Michael, Role Models, CHRISTIE’S MAGAZINE, May 2018, pp. 54-65.
Larocca, Amy, How Laurie Simmons’s Photographs (Including Pictures of Her Daughters in Body Paint) Ended Up in Two Galleries at Once, VULTURE.COM, 1 May 2018.
Lubow, Arthur, Stepping Outside the Dollhouse, THE NEW YORK TIMES, 29 April 2018, pp. AR28-AR29.
Kenigsberg, Ben, My Art, THE NEW YORK TIMES, 12 January 2018, p. C16.
Armstrong, Annie, Why Artists Are Using Dolls to Create Feminist Art, ARTSY, 26 September 2017.
Eckardt, Stephanie, How the Artist Laurie Simmons Made a Movie in Spite of Everything, W MAGAZINE, 2 May 2017.
Cohen, Alina, Glimpses of Laurie Simmons’s Life and Art in Her First Feature Film, HYPERALLERGIC.COM, 27 April 2017.
Keh, Pei-Ru, Character study: Laurie Simmons dons Hollywood personas in her first feature film, WALLPAPER, 25 April 2017.
Frankel, David, Stealing the Scene, ARTFORUM, 21 April 2017.
Indiana, Gary, Back in the Frame, T/THE NEW YORK TIMES STYLE MAGAZINE, 19 February 2017, p. 2227.
Yablonsky, Linda, The Future Is Female, ARTFORUM, 8 November 2016.
Rothe, E. Nina, The Reluctant Feminist: An Interview with ‘My Art’ Filmmaker Laurie Simmons, HUFFINGTON POST, 8 September 2016.
Shockman, Elizabeth, Tiny furniture, art and being the mom of Lena Dunham, PUBLIC RADIO INTERNATIONAL, 16 April 2016.
Feeney, Mark, Scenes of domestic life at the Addison, THE BOSTON GLOBE, 17 February 2016.
Larocca, Amy, The Dance of the Seven Handbags, NEW YORK MAGAZINE, 8-21 February 2016.
West, Sam, New Art Exhibit: “Two Boys and The Love Doll” Deals with the Loneliness of Modern Life, THE CRIMSON WHITE, 21 January 2016.
Hering, Deirdre, The Lifeless Eyes of Laurie Simmons’s Human Dolls, HYPERALLERGIC.COM, 22 July 2015.
Thurman, Judith, Doll’s Play, THE NEW YORKER, 19 March 2015.
Zhong, Fan, Eyes Wide Shut, W MAGAZINE, 19 March 2015.
Feinstein, Laura, Internet Explorer, GOOD MAGAZINE, 5 March 2015.
Anderson, Kristin, Doll Parts: Laurie Simmons on Her Surreal New Show, STYLE.COM, 5 March 2015.
Russeth, Andrew, Eyes Wide Shut, ARTNEWS, 5 March 2015.
Sanchez, Gabriel, Critics Pick’s, ARTFORUM, 18 April 2014.
Larkin, Daniel, How Laurie Simmons Makes Dolls Lie, HYPERALLERGIC.COM, 17 April 2014.
Simmons, William J., Cornered Pictures, BIG RED & SHINY, 17 April 2014.
Laster, Paul, Laurie Simmons, Kigurumi, Dollers and How We See, TIME OUT NEW YORK, 10 April 2014.
Lombardi, D. Dominick, Welcome to the Dollerhouse, ART SLANT, 9 April 2014.
Johnson, Ken, Pluralism with Bug Zappers and Doll People, THE NEW YORK TIMES, 3 April 2014.
Staff, Body of Evidence, ARTVOICE, 3 April 2014.
Hutt, John, Laurie Simmons: Kigurumi, Dollers and How We See at Salon 94, MUSÉE MAGAZINE, April 2014.
Grunthaner, Jeffrey, How Laurie Simmons Dolls People Up, ARTNET, 11 March 2014.
Staff, Lena Dunham’s Artist Mother Laurie Simmons Unveils Armory Week Solo Show, ARTLYST, 4 March 2014.
Bui, Phong, Laurie Simmons, THE BROOKLYN RAIL, 4 March 2014.
Solway, Diane, Doll Face, W MAGAZINE, 4 March 2014.
Heti, Sheila, Laurie Simmons, INTERVIEW MAGAZINE, 1 March 2014.
La Force, Thessaly, Laurie Simmons, VOGUE, March 2014.
Staff, Salon 94 gets all dolled up, ART MEDIA AGENCY, 18 February 2014.
Mc Cormick, Carlo, Laurie Simmons: Kigurumi, Dollers and How We See, PHOTOGRAPH, 2014.
Staff, Laurie Simmons, THE NEW YORKER, 2014.
Vogel, Carol, To Accompany an Opera, THE NEW YORK TIMES, 6 September 2013.
Staff, Portraits of the Artists, and Curators, and Gallerists, and Collectors, WALL STREET JOURNAL, September 2013.
Staff, Interview with Laurie Simmons, THE JOURNAL, January 2013.
Lim, James, Getting Comfortable With a Japanese “Love Doll”, NEW YORK MAGAZINE, 14 November 2012.
Browne, Alix, Living Large, T/THE NEW YORK TIMES STYLE MAGAZINE, 4 November 2011.
Staff, 18 Questions for Artist Laurie Simmons, ARTINFO, 25-27 March 2011.
Johnson, Ken, Laurie Simmons: “The Love Doll: Days 1-30”, THE NEW YORK TIMES, 3 March 2011.
Giuliano, Mike, Visual Arts: New BMA show is photo-sensitive, HOWARD COUNTY TIMES, 3 March 2011.
Lerner, Sarah, Laurie Simmons: “The Love Doll: Days 1-30”, TIME OUT NEW YORK, 2 March 2011.
Ashman, Angela, Laurie Simmons: “The Love Doll: Days 1-30”, THE VILLAGE VOICE, March 2011.
Robinson, Walter, Laurie Simmons: “My Daughter The Sex Doll”, ARTNET, 26 February 2011.
Yablonsky, Linda, Laurie Simmons’ Love Doll, THE NEW YORK TIMES, 21 February 2011.
King, Joyann, Welcome to the Doll House: Laurie Simmons, HARPER’S BAZAAR, 16 February 2011.
Laster, Paul, A Day in the Life of a Life-Size Doll, FLAVORPILL, 14 February 2011.
Chou, Kimberly, A Day in the Life of a Life-Size Doll, WALL STREET JOURNAL, 12 February 2011.
Singer, Maya, Home is where the art is, STYLE.COM, February 2011.
Lobel, Michael, Scale Models, ARTFORUM, October 2010, pp. 256-259.
Thornton, Sarah, Side by Side. Carroll Dunham and Laurie Simmons, soldiering on together, THE ECONOMIST ONLINE, 11 August 2010.
Mellyn, Sean, Paper Monet: Interview with Sean Mellyn, BOMB, 29 July 2010.
Matthew, Kirsten, Laurie Simmons: Master of Puppets, DIRTY, 2010.
Staff, Conversations: Laurie Simmons and Marvin Heiferman, ART IN AMERICA, April 2009, pp. 110-121.
Gloede, Marc, Laurie Simmons, Erna Hecey, ART IN AMERICA, March 2009, p. 156.
Lau, Vanessa, Rose Land, W MAGAZINE, November 2008, pp. 104-106.
Wilson, Eric, Graphic, Graceful and Slightly Perverse, THE NEW YORK TIMES, 11 September 2008, p. B8.
Lau, Vanessa, Leg Work, WWD.COM, 6 September 2008.
Johnson, Ken, Laurie Simmons: In and Around the House, THE NEW YORK TIMES, 27 June 2008.
Staff, Laurie Simmons, THE NEW YORKER, 23 June 2008, p. 11.
Hamilton, Patrick, Twenty Thousand Streets Under the Sky, NEW YORK REVIEW OF BOOKS, 2008.
Rosenberg, Karen, Laurie Simmons: Color Coordinated Interiors, THE NEW YORK TIMES, 19 October 2007.
Sheets, Hilarie M., In the Studio: Laurie Simmons, ART+AUCTION, October 2007, pp. 72-78.
Budick, Ariella, This artist’s camera does lie, NEWSDAY, 2 July 2007.
Yablonsky, Linda, Hollywood’s New Wave, ARTNEWS, December 2006, p. 145.
Valdez, Sarah, Gallery: Laurie Simmons, PAPER, June/July 2006, p. 128.
Staff, Goings on About Town: Laurie Simmons, THE NEW YORKER, 12 June 2006, p. 30.
Cohen, David, Gallery Going: Nordic Gloom & Dancing Mannequins, NEW YORK SUN, 8 June 2006, p. 15.
Braso, Emma, Laurie Simmons, EXIT EXPRESS, June 2006, p. 32.
Wright, Karen, Gallery, MODERN PAINTERS, June 2006, p. 135.
Lipsky-Karasz, Elisa, Eye View: Art, W MAGAZINE, June 2006, p. 124.
Staff, Goings on About Town, THE NEW YORKER, 29 May 2006, pp. 6, 18.
Scott, Andrea K., First Picture Show, TIME OUT NEW YORK, 18 May 2006, p. 77.
Claridge, Laurann, Let Them Eat Cake, PAPER CITY MAGAZINE, May 2006, p. 20.
Dannatt, Adrian, New York: Diary, THE ART NEWSPAPER, May 2006, p. 41.
Yablonsky, Linda, The Sound of Silence, ARTFORUM, May 2006, pp. 75, 308.
Tassini, Eugenio, Stile Collage, IO DONNA, April 2006, pp. 339, 341.
Sheets, Hilarie M., Laurie Simmons, ARTNEWS, March 2006, pp. 131-132.
Princenthal, Nancy, Laurie Simmons, “The Music of Regret” at Salon 94, ART IN AMERICA, February 2006, p. 53.
Marcoci, Roxana, Perceptions at Play: Giacometti through Contemporary Eyes, ART JOURNAL, Winter 2005, p. 19.
Staff, Don’t Miss!, TIME OUT NEW YORK, 15 December 2005, p. 118.
Smith, Roberta, Performance Art Gets Its Biennial, THE NEW YORK TIMES, 4 November 2005, pp. E33, E39.
Rappolt, Mark, Bookmark: Laurie Simmons: Walking Talking Lying, MODERN PAINTERS, November 2005, p. 110.
Mendelsohn, Meredith, Live from New York, ARTNEWS, November 2005, p. 43.
M.D., Acquisitions: Laurie Simmons, GUGGENHEIM MAGAZINE, Winter 2004, p. 11.
Staff, Laurie Simmons at Sperone Westwater, ART IN AMERICA, October 2004, p. 158.
Romeo, Filippo, lezioni di bon ton, CASE DA ABITARE, June 2004, pp. 56-65.
MacAdam, Barbara A., Laurie Simmons: Sperone Westwater, ARTNEWS, June 2004, p. 112.
Brakewood, John Peter, Laurie Simmons: Collages Volages, ART ACTUEL, May/June 2004, pp. 60-61.
Miretti, Stefania, La Passione per i Detersivi, AMICA, May 2004, pp. 133-136.
Glueck, Grace, Laurie Simmons: “The Instant Decorator”, THE NEW YORK TIMES, 26 March 2004, p. E36.
Diaz, Eva, Laurie Simmons, “The Instant Decorator”, TIME OUT NEW YORK, 11-18 March 2004, p. 80.
Staff, Laurie Simmons, THE NEW YORKER, 8 March 2004, pp. 15, 17-18.
Staff, Art Listings, TIME OUT NEW YORK, 4-11 March 2004, p. 59.
Loos, Ted, House Rules, VOGUE, March 2004, p. 406.
Staff, Laurie Simmons: The Instant Decorator, THE ART NEWSPAPER, March 2004, p. 3.
Kellogg, Craig, Quintessentially Barcelona, INTERIOR DESIGN, March 2004, pp. 140-144.
Yablonsky, Linda, Better, More Surreal Homes and Collages, THE NEW YORK TIMES, 15 February 2004, p. 18.
Hainley, Bruce, “Designs for Living”: Margo Leavin Gallery, ARTFORUM, December 2003, p. 151.
Staff, The Instant Decorator (Wood Paneled Den), BOMB, Fall 2003.
Steinberg, Claudia, Schöner Wohnen, ARCHITEKTUR & WOHNEN, March 2003.
Smith, Roberta, For a Paian to Heroic Women, a Place at History’s Table, THE NEW YORK TIMES, 20 September 2002, p. E34.
Aletti, Vince, Voice Choices, THE VILLAGE VOICE, 18 June 2002, p. 73.
Kimmelman, Michael, Laurie Simmons Photographs 1978-1979: “Interiors” and “Big Figures”, THE NEW YORK TIMES, 7 June 2002, p. E36.
Schoeneman, Deborah, The Force is with festival trophies, THE NEW YORK POST, 12 May 2002, p. 50.
Stang, Alanna, Honey, I Shrunk the House, INTERIORS, October 2001.
Sterling, Susan Fisher, Reflecting on Women, Place, Memory, and Desire: Contemporary Photography in NMWA’s Collection, NATIONAL MUSEUM OF WOMEN IN THE ARTS, Summer 2001, pp. 12-17.
Hummer, Tracey, Modern Reduced, SMOCK, Spring/Summer 2001, pp. 39-42.
Ritchie, Matthew, People in Glass Houses, FRIEZE, March 2001, pp. 62-63.
Jones, Amelia, Body Art/Performing the Subject, NEW OBSERVATIONS, Winter 2000.
Staff, Ask Dr. Hip, U.S. NEWS & WORLD REPORT, 13 November 2000.
Suqi, Rima, Rainbow High, PAPER, October 2000, p. 48.
Viladas, Pilar, Welcome to the Dollhouse, THE NEW YORK TIMES HOME DESIGN, Fall 2000, p. 50.
Wheelright, Peter, Peek-A-Boo Views, NEST: A QUARTERLY OF INTERIORS, Fall 2000.
Barzun, Jacques, The Coming Age, HARPER’S MAGAZINE, April 2000, pp. 61-62, 65.
Walters, Helen, Rhapsody on Blue, CREATIVE REVIEW, March 2000, pp. 73-76.
Staff, Laurie Simmons: A House without Dolls, LIFE MAGAZINE, Spring 2000, p. 53.
Feinstein, Rochelle, Leftovers, ART ON PAPER, January/February 1999, pp. 34-35.
Schlesinger, Toni, Shelter: Where Do We Go From Here?, THE VILLAGE VOICE, 27 October 1998, pp. 70-78, 123-124.
Aletti, Vince, Voice Choices, THE VILLAGE VOICE, 20 October 1998, p. 89.
Schwendener, Martha, Laurie Simmons, TIME OUT, 15-22 October 1998, p. 57.
Halkes, Petra, Phantom Strings and Hairless Breaths, The Puppet in Modern and Postmodern Art, PARACHUTE, Fall 1998, pp. 140-143.
Pedersen, Victoria, Exploring the Past, PAPER, September 1998, p. 146.
Steinberg, Michael, Still Lives, HOUSE AND GARDEN, June 1998, pp. 66-68.
Hayt, Elizabeth, The Ultimate Still Lifes, ELLE, June 1998, p. 62.
Codrington, Andrea, Public Eye, THE NEW YORK TIMES, 20 November 1997.
Shottenkirk, Dena. New York in Brief, INTERNATIONAL CONTEMPORARY ART, September/November 1997, p. 43.
Ahrens, Frank, Laurie Simmons Toys with Reality, THE WASHINGTON POST, 20 July 1997, pp. G1, G8.
Goldberg, Vicki, The Doll Houses That Sheltered So Many Dreams, THE NEW YORK TIMES, Arts and Leisure, 6 July 1997, p. 31.
Homes, A.M., Normal Obsessions, VANITY FAIR, June 1997, p. 102.
Halle, Howard, Four on the Floor, TIME OUT NEW YORK, 17-24 April 1997, p. 41.
Goldberg, Vicki, Photographs That Lie — & Tell the Truth, THE NEW YORK TIMES, Arts and Leisure, 30 March 1997, pp. C33-C34.
Zimmer, William, Life with a Twist; Fiction-Based Photography, Realism in Paint, THE NEW YORK TIMES, Arts – Connecticut, 30 March 1997, p. C12.
Rimanelli, David, A/Drift, ARTFORUM INTERNATIONAL, February 1997, p. 83.
Schwendener, Martha, Catch My Drift, TIME OUT, 12-19 December 1996, p. 40.
Smith, Roberta, Finding Art in the Artifacts of the Masses, THE NEW YORK TIMES, Arts and Leisure, 1 December 1996, pp. 43-44, 46.
Gladwell, Malcolm, The Science of Shopping, THE NEW YORKER, 4 November 1996, pp. 66-75.
Yablonsky, Linda, Laurie Simmons, BOMB, Fall 1996, pp. 18-23.
Staff, The Next Hundred Years, THE NEW YORK TIMES MAGAZINE, 26 September 1996, p. 186.
Sabbag, Robert, The Invisible Family, THE NEW YORK TIMES MAGAZINE, 11 February 1996, pp. 32-39.
Smith, Roberta, A Neo-Surrealist Show With a Revisionist Agenda, THE NEW YORK TIMES, 12 January 1996, p. C23.
Zimmer, William, Portraits That Use Absence As A Vehicle of Expression, THE NEW YORK TIMES, Arts and Leisure, 22 October 1995, p. 16.
Hagen, Charles, Two Teams That Challenge Tradition, THE NEW YORK TIMES, 16 June 1995.
Zimmer, William, An Exhibition in New Rochelle That Showcases Sheer Invention, THE NEW YORK TIMES, Arts and Leisure, 1 January 1995, p. 12.
Vine, Richard, Laurie Simmons at Metro Pictures, ART IN AMERICA, December 1994, p. 95.
Decter, Joshua, Stupidity as Destiny: American Idiot Culture, FLASH ART, October 1994, pp. 73-76.
Sischy, Ingrid, Photography – Wooden Ideas, THE NEW YORKER, 30 May 1994, p. 24.
Hagen, Charles, Review, THE NEW YORK TIMES, 6 May 1994, p. C19.
Wallis, Brian, Mike Kelley’s “The Uncanny”, ART IN AMERICA, October 1993, p. 55.
Staff, October Portfolio One, OCTOBER, Fall 1993.
Flippo, Chet, Confederacy of Dummies, HARPER’S BAZAAR, July 1993, p. 38.
Hagen, Charles, Two Goals in One Show: Diversity and Unity, THE NEW YORK TIMES, 29 May 1992, p. C28.
Goldberg, Vicki, How to Warm a Postmodernist’s Heart, THE NEW YORK TIMES, 9 February 1992, p. H33.
Hagen, Charles, Constructing a Universe of Chimeras, THE NEW YORK TIMES, 25 October 1991, p. C28.
Kalina, Richard, Laurie Simmons at Metro Pictures, ART IN AMERICA, February 1990, p. 14.
Grundberg, Andy, The Mellowing of Postmodernists, THE NEW YORK TIMES, Arts and Leisure, 17 December 1989.
Smith, Roberta, Laurie Simmons: Photographs, Louise Lawler: Installation, THE NEW YORK TIMES, Arts and Leisure, 8 December 1989.
Cameron, Dan, Recent Work by Laurie Simmons, FLASH ART, November/December 1989, pp. 116-118.
Kozloff, Max, Hapless Figures in an Artificial Storm, ARTFORUM, November 1989, pp. 131-136.
Raynor, Vivian, Photographic Works of Fantasy, THE NEW YORK TIMES, 17 May 1989.
Woodward, Richard B., Taking Toys Seriously: Mini-Movement or Side Show?, THE NEW YORK TIMES, Arts and Leisure, 26 February 1989, pp. 40-41.
Heartney, Eleanor, Laurie Simmons at Metro Pictures, ART IN AMERICA, June 1988, pp. 160-161.
Caley, Shaun, Laurie Simmons, Metro Pictures, FLASH ART, May/June 1988, p. 108.
Woodward, Richard B., Laurie Simmons, Metro Pictures, ARTNEWS, May 1988, p. 161.
Smith, Roberta, Art: “Media Post Media,” A Show of 19 Women, THE NEW YORK TIMES, 15 January 1988.
Staff, Ventriloquism by Laurie Simmons, ARTFORUM, December 1987, pp. 93-99.
Squiers, Carol, The Monopoly of Appearances, FLASH ART, February/March 1987, pp. 98-100.
Squiers, Carol, Photography and the Commercial Arena, PARKETT, No. 11, 1986, pp. 125-129.
Heartney, Eleanor, Art and the Electronic Fishbowl, ARTNEWS, December 1986, p. 156.
Grundberg, Andy, The Mix of Art and Commerce, THE NEW YORK TIMES, 28 September 1986, pp. 29, 35.
Cameron, Dan, Post-Feminism, FLASH ART, February/March 1986, pp. 80-83.
Indiana, Gary, Talking Back, THE VILLAGE VOICE, 11 February 1986, p. 84.
Raynor, Vivian, Split Vision, THE NEW YORK TIMES, 10 January 1986.
Mc Kenna, Christine, 13 Artists Share Their “Remembrances”, LOS ANGELES TIMES, 3 January 1986, p. 8.
Smith, Roberta, Allan McCollum and Laurie Simmons at Nature Morte, ART IN AMERICA, January 1986, pp. 138-139.
Rinder, Larry, Laurie Simmons and Allan McCollum: Nature Morte, FLASH ART, December 1985-January 1986.
Levin, Kim, Art Walk, THE VILLAGE VOICE, 22 October 1985, p. 42.
Linker, Kate, Ex-posing the Female Model, PARACHUTE, September/October/November 1985, pp. 15-17.
Liebman, Lisa, Almost Home, ARTFORUM, Summer 1985, pp. 57-61.
Cameron, Dan, A Whitney Wonderland, ARTS MAGAZINE, Summer 1985, pp. 66-69.
Marzorati, Gerald, Picture Puzzles: The Whitney Biennial, ARTNEWS, Summer 1985, pp. 74-78.
Linker, Kate, Laurie Simmons, ARTFORUM, March 1985.
Grundberg, Andy, Ultra Downtown Pictures, THE NEW YORK TIMES, 15 February 1985, p. C20.
Warren, Ron, Laurie Simmons, ARTS MAGAZINE, February 1985, p. 39.
Linker, Kate, From Imitation, to the Copy, to Just Effect: on Reading Jean Baudrilard, ARTFORUM, April 1984.
Hagen, Charles, In Plato’s Cave, ARTFORUM, February 1984, p. 78.
Squiers, Carol, Undressing the Issues, THE VILLAGE VOICE, 5 April 1983.
Grundberg, Andy, Seeing the World as Artificial, THE NEW YORK TIMES, 27 March 1983.
Linker, Kate, On Artificiality, FLASH ART, March 1983, pp. 33-35.
Smith, Roberta, Appropriation Uber Alles, THE VILLAGE VOICE, 11 January 1983, p. 73.
Cohen, Ronny H., Color Photography: 5 New Views, ARTFORUM, October 1981.
Cohen, Ronny H., Love is Blind, ARTFORUM, October 1981.
Grundberg, Andy, Mixing Art and Commerce, THE NEW YORK TIMES, 24 May 1981.
Smith, Roberta, Laurie Simmons, THE VILLAGE VOICE, 6 May 1981.
Grundberg, Andy, Still Life Comes Alive, MODERN PHOTOGRAPHY, August 1980.
Lifson, Ben, Laurie Simmons, THE VILLAGE VOICE, 12 February 1979.
