Taryn Simon

  • Screenshot of Image Atlas search for term “Aaron Swartz.”
    passages March 09, 2013

    Aaron Swartz (1986–2013)

    IN 2012, I created Image Atlas in collaboration with programmer Aaron Swartz. Aaron was the founder of Demand Progress—which launched the campaign against Internet censorship bills (SOPA/PIPA)—as well as developer of theinfo.org and a contributing editor to The Baffler until his untimely death in January 2013.

    Image Atlas investigates cultural differences and similarities by indexing top image results for given search terms across local engines throughout the world. Visitors can refine or expand their comparisons from the fifty-seven countries currently available, and sort by Gross Domestic

  • Taryn Simon, Excerpt from Chapter VI, 2011, color photographs and text. From the series “A Living Man Declared Dead and Other Chapters I–XVIII,” 2011.


    THRILLERS ALWAYS COME WITH A STORY, their edge-of-your-seat sensation inseparable from cinematic plot. But what if the thrill came from the image alone? Both the photography of TARYN SIMON and the films of BRIAN DE PALMA pose singular pictures that instigate just this kind of suspense—a suspense that transpires in isolation, a vision disconnected, however momentarily, from narrative anticipation. Indeed, the pair collaborated in 2007 on De Palma’s film Redacted, producing a photograph that provided the last shot of the film and subsequently took on a life all its own. Invited to reunite

  • Odilon Redon, Domecy Decoration: Trees, Yellow Background, 1901, oil, distemper, 94 5/8 x 72 7/8".


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions and events were, in their eyes, the very best of 2011.


    Mary Reid Kelley, Sadie the Saddest Sadist (Armory Show, New York) Tucked away in the back of the Susanne Vielmetter Los Angeles Projects booth at the 2011 Armory Show was a monitor showing a costumed figure with exaggerated face paint, pacing in front of a hand-drawn black-and-white background. The piece was Mary Reid Kelley’s Sadie the Saddest Sadist, 2009, and the mixed metaphors, narrative snippets, and repurposed