Salon 94


Laurie Simmons in “A Critics Guide to the Lower East Side” in the New York Times

​Ken Johnson writes "Laurie Simmons has been using photography to investigate stereotypical representations of femininity for many years. The large, glossy color photographs in “Kigurumi, Dollers and How We See” picture unknown people in costumes with whole-head masks that make them resemble big-eyed, teenage-girl dolls. Kigurumi is a subgenre of Japanese “cosplay” (costume play). Shot in the oddly diminutive rooms of a derelict house, the photographs create an intriguing tension between reality and fantasy."

Kigurumi, Dollers and How We See up until April 27 at Salon 94 Bowery

Please click here for the full article.

Beautiful cover by Laurie Simmons for Musee Magazine

​Musee Magazine

Laurie Simmons has been photographing dolls for a while now, but this is the first time she has used models inside the dolls, or rather made models of the dolls. She uses both male and female models although the dolls are feminine.

Kigurumi dolls are not a uniquely  japanese phenomenon, Simmons just borrows the word. Kigurumi has no single word that it can be translated into, kigurumi dolls are bulky costumes of cartoon characters, like the type you would see at disneyland. Simmons takes this and creates her series. The result is at once foreign and familiar. looking at the people in costumes we see that they are more human that her previous doll work; which adds to the overall eerie quality. Simmons is a great artist who utilizes photography and is branching out of non animate objects to animate objects that are still different enough to make us question where the line is between model and costume. When does makeup become a costume? Are the Kigurumi costumes that different from putting clothes on a model? Simmons thinks of the kigurumi and makeup as a mask, shielding the wearer from the outside world and creating a unique space with anonymity. Simmons prefers to have us ask questions rather than give us answers. Review by John Hutt

The lovely Sarah Kueng and Lovis Caputo in this months W Magazine

​W Magazine April 2014

Sarah Kueng, 33, and Lovis Caputo, 34, met while students in industrial design at Zurich University of the Arts and began making conceptual work like Copy, distorted replicas of furniture by designers such as Marcel Wanders and Maria Pergay; and 5 Stars Cardboard, a series of faux fancy hotel suites. But it doesn’t take much thinking to appreciate Never Too Much, the Swiss design duo’s latest body of work, which was on view earlier this year at Salon 94 Freemans in New York. The splashy, hand-painted leather and enameled stools and benches, as well as the hand-painted leather bowls, come as a complete sock in the eye. All the pieces are one of a kind, but their painstaking production belies total functionality. “I used the bowls to serve pasta and salad,” swears the duo’s gallerist, Jeanne Greenberg-Rohatyn.

For a link for the article please click here.

On Artnet: March Madness Show, “Transition Game” Hits NY at Salon 94 Freemans

​The Knicks are fighting for a playoff spot, your coworkers are poring over their NCAA brackets, hoping for a miracle, and now New York’s Salon 94 gallery is getting into the act with “Transition Game,” a group exhibition exploring the intersection of basketball, art, and the civil rights movement.

Curated by Fabienne Stephan and Adam Shopkorn, the show features paintings and photographs of college and high school basketball stars from the 1950s,’60s, and ’70s byHoward KanovitzLucien SmithRichard Avedon, and Lorna Simpson. If less-than-stellar results in your March Madness pool have you feeling down this weekend, head to the Lower East Side for hyper-realistic portraits done by Kanovitz based on photos he took for Sports Illustrated, and Avedon’s 1963 portrait of Lew Alcindor, better known as Kareem Abdul-Jabbar.

To read this article online, click here.

Laurie Simmons’ “Kigurumi, Dollers, and How We See” Exhibition Reviewed in The New Yorker

​"Since the seventies, Simmons’s photographs have been raising questions about identity and role play, and her new color pictures are no exception: most of them portray “dollers,” people who dress up as the wide-eyed girls in Japanese anime. Wearing outsized heads, the figures’ cloying cuteness is subverted by sexy outfits: mermaids, miniskirts, latex. Some pose like fashion models in cramped attic rooms; others take selfies in the snow. But, whatever their guise, Simmons’s subjects remain unnervingly alien—recalling the sideshow grotesquerie of her earlier photographs of ventriloquists’ dummies more than the seductively human affect of her recent pictures of love dolls. These creatures aren’t lovable; they’re nightmarish and all the more memorable for it. Through April 28."

To read the article online, click here.

Transition Game Opens Tomorrow


Opening reception - Friday, March 28

6-8 PM

Salon 94 Freemans 1 Freeman Alley

March 28 - April 28

Salon 94 is pleased to present Transition Game, a group exhibition curated by Fabienne Stephan and Adam Shopkorn. The exhibition serves to provide a snapshot into the parallel evolution of basketball and civil rights in America during the mid to late 1960s.

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