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Laurie Simmons: Walking, Talking, Lying | 
 enlarge | Authors: Kate Linker, Laurie Simmons
Creator: Nancy Grubb
Publisher: Aperture
Category: Book
List Price: $50.00
Buy New: $13.58
You Save: $36.42 (73%)
New (18) Used (9) Collectible (1) from $9.95
Avg. Customer Rating:  1 reviews
Sales Rank: 761564
Media: Hardcover
Number Of Items: 1
Pages: 156
Shipping Weight (lbs): 2.7
Dimensions (in): 11.3 x 9.7 x 0.9
ISBN: 1931788596
Dewey Decimal Number: 779.092
EAN: 9781931788595
ASIN: 1931788596
Publication Date: October 15, 2005
Availability: Usually ships in 1-2 business days
Condition: Clean, Pristine Hardcover. No Markings or Edge Wear. Ships Immediately from NYC.
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| Editorial Reviews:
Product Description
The intimate ache of the dollhouse and its air of manipulation (whether as consumer object or ventriloquist dummy) has become as indelibly identified with pioneering photographer Laurie Simmons as with Ibsen. She's even designed a dollhouse for a toy company. Mostly self-taught, Simmons began working in the 1970s, when color and staged tableaux were first being explored by fine-art photographers, and has since mapped out a world all her own, mostly in haunting miniature. Over the past 25 years, her photographs have conveyed a bittersweet nostalgia for the 1950s while edgily commenting on consumerism, feminism, and other fraught aspects of postwar American culture. The accompanying essay by Kate Linker concentrates on selected series that cover the artist's entire oeuvre--from Ventriloquism, Walking Objects, and Lying Objects to the 1997 Self-Portraits and Caf of the Inner Mind--and so is essential reading for any photography aficionado.
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| Customer Reviews:
Simmons' photographs form an unforgettable impression January 4, 2006
1 out of 2 found this review helpful
Walking, Talking, Lying is a full-color gallery of most unusual photographic works by Laurie Simmons. Nearly all the photographs are of dolls or mannequins juxtaposed with objects and artifacts - from a doll-sized hourglass with very feminine lower torso and legs to a ventriloquist's dummy seated and posed as if for an expensive formal portrait. The text commentary by Kate Linker points out the binding themes of Simmons' work such as the confusion of individuals with their possessions, to the extent that they identify with inanimate objects. Simmons' photographs form an unforgettable impression in their fusion of human nonhuman simulacra in this singularly distinctive treasury.
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