Exhibition
Laurie Simmons: Big Camera/Little Camera

Laurie Simmons, Big Camera, Little Camera, 1976. Silver gelatin print; 5 1/4 x 8 in.
Photo courtesy of the artist and Salon 94, © Laurie Simmons
The Museum of Contemporary Art Chicago’s major retrospective of works by Laurie Simmons (American, b. 1949) celebrates an artist who has distinguished herself as a pioneer of new directions in art photography. Since the late 1970s, when she began to develop her mature style using dolls and props as proxies for people and places, Simmons has explored archetypal gender roles with her work. Turning a critical eye on tropes that dominated the postwar era of her upbringing, Simmons creates fictional scenes that mirror and unsettle the American dream of prosperity and feminine domesticity.
In addition to taking a strong feminist stance, Simmons upends traditional ideas about photography as a medium. The namesake work of the exhibition, Big Camera/Little Camera (1976), shows an actual camera juxtaposed with a miniature one, exemplifying Simmons’s other central interest: manipulating scale. “I put the two cameras together for scale,” Simmons explains, “and as a metaphor—real life versus fiction.”
Laurie Simmons: Big Camera/Little Camera presents nearly all of the artist’s major series, including Cowboys (1979), Family Collision (1981), Color Coordinated Interiors (1982–83), Tourism (1983–84), and Clothes Make the Man (1990–92). In one of the artist’s most well-known series, Walking & Lying Objects (1987–91), Simmons used oversized props as opposed to miniatures. Posing wearing giant props, her subjects hide their faces while showing their legs. The personified objects probe the question of the importance of “props” with respect to humanity by representing the items we rely on to help define who we are.
More than four decades of work by Simmons will be on display, showcasing her importance both historically and as an active contemporary artist. In recent series such as The Love Doll (2009–11), How We See (2015), and Some New (2018), she continued to use the theme of the doll and costume play, asserting that her early ideas about private life and public presentation are as poignant today as they were early in her career. In addition to her photography, there is a small selection of sculpture and three films: The Music of Regret (2006), starring Meryl Streep, Geisha Song (2010), and My Art (2016). Simmons wrote, directed, and starred in the latter two, playing the role of an artist who is frustrated with her work and lack of recognition.
Laurie Simmons: Big Camera/Little Camera is curated by Andrea Karnes, senior curator, Modern Art Museum of Fort Worth, with full support of the artist.
A major scholarly catalogue, copublished by the Modern in Fort Worth and DelMonico Books·Prestel, accompanies the exhibition.
Related Events
-
-
-
-
-
-
-
Events
American Sign Language Tour of Laurie Simmons: Big Camera/Little Camera
Mar 12, 2019
6 pm–7 pm
-
-
-
Events
Talk: Laurie Simmons with Genevieve Gaignard, Cyrus Dunham, and Hannah Baer
Apr 10, 2019
6 pm–6 pm
-
Events
American Sign Language Tour of Laurie Simmons: Big Camera/Little Camera
Apr 16, 2019
6 pm–7 pm
Transcripts
-
Hey, listen, Tod, I’m so sorry.
No, Ted, it’s all right. Honestly, the best man got the promotion. End of story.
Thanks.
Nice tie.
Thanks.
I should have worn a red tie to the interview.
No, no, no . . .
Green! With white spots! What the hell was I thinking? My wife said, “Wear the green, it brings out your eyes.” I had a red one on, and she says, “Green.” I have brown eyes for Christ’s sake, what the hell was she talking about?
She has a point. They are sort of flecked with green.
Flecked?
Like little bits of . . .
Is that how they talk at your new condo?
Tod, relax, c’mon . . .
It’s hard to relax when you get the promotion, you move into the new condo . . . where does this leave me?
Hey, now that’s going a bit too far . . .
What did you do, call May and say, “Hello May, why don’t you make sure that Tod wears that fantastic green tie?” Are you two up to something?
Up to something?
I see the way you look at her. The way she laughs at your awful jokes. The way she . . .
That’s it. Enough! Yes, maybe you should have worn a red tie, maybe you should have gotten the promotion, maybe you should have gotten the condo because you got the promotion, but you know what Tod, you didn’t. I did!
Woulda shoulda coulda
Woulda shoulda coulda
You wish you hada, but you didn’t
You wish you were, but you’re not.
Woulda shoulda coulda
Oh if only ida hada
But I didn’t, so I’m not.
June?
Yes, May?
Remember when we both decided to bake cakes for Mr. Hendersons’ son’s birthday party?
Mhm.
And you said, “May, make your vanilla, it’s out of this world.”
It is.
And you made chocolate. You walked in with that exquisite chocolate cake.
There are only two kinds of cake, May.
And it became pretty clear that the children liked the chocolate better, I mean, they didn’t even touch my cake. I mean, kids just generally prefer chocolate. I just didn’t think that . . .
I really hadn’t noticed that.
Oh no?
No.
And in the midst of this cake fiasco you said to me, “Would you look at Tod in that green tie. He looks so nice. I never noticed before that his eyes are flecked with green.”
They are.
So in he walks to Mr. Henderson’s office, into the most important interview of his life, wearing that awful green tie, on my recommendation. And there’s his boss, remembering full well the fact that I, his wife, baked the wrong cake.
What is it that you’re trying to say, May?
Honestly! I just never thought you were capable of being so . . . divisive.
Divisive?
It means sneaky.
I know what it means.
You ought to, you live it.
Woulda shoulda coulda
You wish you hada, but you didn’t
You wish you were, but you’re not.
Woulda shoulda coulda
Oh if only ida hada
But I didn’t, so I’m not.
Wow, Donny, I can’t believe your family is moving to that fancy new condo.
Yeah, we’ve lived next door to each other forever. It’s gonna be weird. But this new place has a pool, so you can come swimming any time you want.
Sure, sure. Donny?
Yeah?
Remember last Father’s Day when we went downtown and bought ties for our dads with our lawn money?
Sure.
And we both liked that red striped tie.
I don’t re–
And you said how dumb it would look if our dads walked into work wearing that same tie.
Um hm yeah, it would have been.
So I bought that green one for my dad.
That one was cool too, Danny.
And our dads both wore the good luck ties that we bought them to that interview with Mr. Henderson for the promotion.
Uh yeah, I guess so.
And your dad got the promotion, and you get to move into the condo with the swimming pool.
You think that I did that on purpose?
Kind of, yeah, I do.
Maybe my dad’s just smarter, or maybe it’s because your mom brought that stupid vanilla cake to Mr. Hendersons’ kid’s birthday party. Vanilla? Yuck. That’s so lame.
Woulda shoulda coulda
You wish you hada, but you didn’t
You wish you were, but you’re not.
Woulda shoulda coulda
Oh if only ida hada
But I didn’t, so I’m not.
Sorry about your boy, Larry.
Yeah.
Blew his brains out, just like that.
We never saw it coming.
Well, how are Danny and May handling it?
Good as can be expected, Jerry.
I guess that that promotion meant more to Tod than anybody thought it did.
Well, Jane and I thought he was a shoo-in. But your boy got it. We were all pretty surprised.
Hmm.
Jerry, I’ve been thinking . . .
Yeah, Larry?
It’s been so great. We’ve been friends since . . .
Forever, our fathers were friends.
Lived next door to each other. Your son Tod married my daughter May.
My son Ted married your daughter June.
In and out of each other’s houses. Sometimes we’d forget where we all lived.
It was like a beautiful dream. Then my son wears a green tie.
And my daughter bakes a vanilla cake.
Vanilla!
What the hell was she thinking?
And that’s it. Over. Just like that!
Poof!
Our grandkids are enemies, June and Ted are moving away to that snooty golf condo, and with Tod gone, May’s got to sell the house.
Just memories now . . .
When a life so full of sorrow
Asks you what you’ve done.
Stick to what you know how
Not
what might
have been.
Basements—they still need cleaning,
Does this have meaning now?
Better wash the car . . .
We meant to drift, (We meant to go far.)
Somewhere—too far,
But we had so much to do, (Paris, Peru)
With hammer, nails, and glue. (Ho-no-lulu)
Hedges—they still need clipping, (Just trim them, just clip them, just make it good.)
Faucets keep dripping too, (I’ll do an honest job if you’ll just . . . )
Find me my tools! (Find me my tools!)
We learned all the rules
From the Fix-it Book for Fools,
It’s a book we like to read . . .
What never happened (I remember.)
Is so damned huge! (I remember.)
And all that did, (Do you remember?)
Is so small . . . (Too?)
Now there you stand,
You’re the mirror in my rippled pond. (You’re the mirror in my rippled pond.)
Old friend, (Old friend)
Do you remember . . . (I remember.)
Feet that sprang? (Girls that stared.)
Curly hair?
It was going to be a piece of cake. (It was going to be so great.)
[Instrumental music]
‘Neath the kilohana moona . . .
Sing an ahi ahi toona . . .
For our mana-wa-kolu, wakolulu love.
You’re my kalani wa-hine.
You’re my punahele kane.
You’re my maka-lapua lani, maka-lapua lani dove.
With the aha’aina male, we have reached our grand finale.
Where I pledge my love to, and to you alone.
May our love now last forever, until the moment we say never.
‘Neath the kilohana hau, hau oli moon.
It’s a lovely time
To be livin’ in the present
With an open mind.
See the driftin kinda pleasant.
We get along
Like an old familiar song
Because love is this.
Never speakin’ of our sorrow,
And if it ain’t quite bliss.
We could still get there tomorrow,
And then when we’re lovin’ again.
Sing some other toon-a-loon.
From the mauna to the moana.
You will never be alon-a.
Until a sweeter ku’uipo comes strolling along.
If she’s younger and she’ll kiss me.
I assume you’ll never miss me.
‘Neath the kilohana hau, hau oli moon.
[Instrumental music]
First the state of collapse, then the state of decay.
I was state of the art ‘til I squandered my heart
And it wasted away.
When I chased you away, I had no place to stay.
All alone in my room had to dance with the broom,
I embraced it and swayed.
I danced a rhumba with time,
Which at first felt divine to me.
All of my partners were kind to me
In my fantasy.
I dug tunnels through days,
Lived my nights in a haze.
I made romance a game, all the boys were the same,
Can’t remember a name now . . .
Wouldn’t share them at all, I was having a ball.
Chasing coattails and cocktails and orchids–
The splendid “who cares?” of it all.
I danced a rhumba with time,
Which at first felt divine to me.
All of my partners were so kind to me,
Love was so blind to me.
[Instrumental music]
Tell me what you see?
Nothing.
Tell me what you see?
Raining.
Tell me what you feel?
Wild is the storm all around us.
I sing all the time,
You don’t hear me
–calling you.
Hide the sun, hide the moon,
Feel how it’s raining.
I love rainy nights . . . days . . .
All of the greens, blues, and grays.
I like rain on skin,
Mist on hair but
–you’re not there.
Find the sun, find the moon,
This storm is passing.
[Instrumental music]
We used to love to sit in the park in the snow.
I wore the wrong boots.
You wanna go?
Let’s just try to stay here for a few more minutes.
As warm love turns to frosty ice,
The penguins move to paradise.
A chilly brow, an arctic flight,
You know the fun is over.
My toes are cold, they freeze the bed.
The climate change is in my head.
This perfect polar pitch we’ve struck,
Love’s cooled again–
My awful luck.
It’s getting cold out here.
It’s bitter cold, it’s bitter sweet.
That cold wind blows
Us down the street.
The fever broke,
It can’t be fixed.
There’s fog when hot and cold are mixed.
It’s getting cold out here.
The fever broke,
It can’t be fixed.
There’s fog when hot and cold are mixed.
It’s getting cold out here.
Okay, number one.
[Instrumental music]
All right. Thank you.
Number two, please.
[Instrumental music]
Next!
[Instrumental music]
Okay, thank you.
[Instrumental music]
Thank you. Just keep moving—that’s good.
[Instrumental music]
Lovely.
Thank you. Lovely work.
Okay everybody, thanks so much for coming. Goodnight.
[Instrumental music]
As warm love turns to frosty ice,
The penguins move to paradise.
A chilly brow, an arctic flight,
You know the fun is over.
My toes are cold, they freeze the bed.
The climate change is in my head.
This perfect polar pitch we’ve struck,
Love’s cooled again–
My awful luck.
It’s getting cold out here.
It’s bitter cold, it’s bitter sweet.
That cold wind blows
Us down the street.
The fever broke,
It can’t be fixed.
There’s fog when hot and cold are mixed.
It’s getting cold out here.
Funding
Lead support for Laurie Simmons: Big Camera/Little Camera is provided by the Harris Family Foundation in memory of Bette and Neison Harris: Caryn and King Harris, Katherine Harris, Toni and Ron Paul, Pam and Joe Szokol, Linda and Bill Friend, and Stephanie and John Harris; Becky and Lester Knight; Zell Family Foundation; Julie and Larry Bernstein; and Cari and Michael J. Sacks.
Major support is provided by Stefan Edlis and Gael Neeson.
Generous support is provided by Robert J. Buford; Anne L. Kaplan; Kovler Family Foundation; Jennifer and Alec Litowitz; Phillips; Carol Prins and John Hart/The Jessica Fund; Marilyn and Larry Fields; Efroymson Family Fund; Katherine and Judd Malkin; Ellen-Blair Chube; Susie L. Karkomi and Marvin Leavitt; One Bennett Park; Liz and Eric Lefkofsky; Salon 94 New York; Mirja and Ted Haffner; Vicki and Bill Hood; Susan D. Goodman and Rodney Lubeznik; The Robert Mapplethorpe Foundation, New York; and Penelope and Robert Steiner.
Generous in-kind support is provided by Poppy King Lipstick Entrepreneur.


















