Laurie Simmons

Laurie Simmons was born on Long Island, New York, in 1949. She received a BFA from the Tyler School of Art, Philadelphia (1971). Simmons stages photographs and films with paper dolls, finger puppets, ventriloquist dummies, and costumed dancers as “living objects,” animating a dollhouse world suffused with nostalgia and colored by an adult’s memories, longings, and regrets. Simmons’s work blends psychological, political, and conceptual approaches to art making—transforming photography’s propensity to objectify people, especially women, into a sustained critique of the medium. Mining childhood memories and media constructions of gender roles, her photographs are charged with an eerie, dreamlike quality.

On first glance, her works often appear whimsical, but there is a disquieting aspect to Simmons’s child’s play, as her characters struggle over identity in an environment in which the value placed on consumption, designer objects, and domestic space is inflated to absurd proportions. Simmons’s first film, The Music of Regret (2006), extends her photographic practice to performance, incorporating musicians, professional puppeteers, Alvin Ailey dancers, Hollywood cinematographer Ed Lachman, and actress Meryl Streep.

She has received many awards, including the Roy Lichtenstein Residency in the Visual Arts at the American Academy in Rome (2005); and fellowships from the John Simon Guggenheim Memorial Foundation (1997) and the National Endowment for the Arts (1984). She has had major exhibitions at the Museum of Modern Art, New York (2006); Baltimore Museum of Art (1997); San Jose Museum of Art, California (1990); Walker Art Center, Minneapolis (1987); and she has participated in two Whitney Biennial exhibitions (1985, 1991). Simmons lives and works in New York.

Artist’s website

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Photography, Perfection, and Reality

In this interview, Laurie Simmons talks about how she got started in photography, and the roles that family, architecture, and symbolism play in her work.


“The Music of Regret”

Laurie Simmons discusses her 2006 film The Music of Regret, and how she came to use ventriloquist dummies in her earlier work.


“At this time in my life, I’m ready to accept or own a kind of romance and melancholy or melodrama that I wasn’t ready to reveal before. It was always there in my inner life as an artist, but I was too afraid to share it.”

Laurie Simmons