User:AishatuSaid/sandbox

Article Evaluation: Photography page evaluation
Everything in the article seems relevant to the topic; however, it seems that a lot of the sections in the article relating to the topic are very short and lack enough excessive detail. Though none of the information seems to be out of date, the article might improve if more recent information about photography was included in the article. Perhaps a section of the article could be better dedicated to how phone cameras has effected the photography field? To improve the article I think that more current information regarding photography should be added and that some sections of the article need to be expanded. The article seems fairly neutral and does not seem to lack any viewpoints. It seems that the citation links for the articles work, though some of the citations are not open to the public.I do think that the citations seem reliable. Some of the concerns in the talk page pf the article is that the article lacks flow, cohesiveness, and thoroughly detailed technical sections.

Work (everything in bold added)
Work AishatuSaid (talk) 19:29, 10 March 2019 (UTC) Simpson began working in film in 1997 with her work “Call Waiting”, she’s continued such work in subsequent years. Lorna Simpson, Untitled (2 Necklines), 1989, 2 gelatin silver prints and 11 engraved plastic plaques, 40 x 100 in., National Gallery of Art, Washington, DC Simpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.[19] Easy for Who to Say, Simpson's work from 1989, displays five identical silhouettes of black women from the shoulders up wearing a white top that is similar to women portrayed in other of Simpson's works. The women's faces are obscured by a white-colored oval shape each with one of the following letters inside: A, E, I, O, U. Underneath the corresponding portraits are the words: Amnesia, Error, Indifference, Omission, Uncivil. In this work Simpson alludes to the racialization in ethnographic cinema and the revocation of history faced by many people of color.[20] Simpson's work Guarded Conditions, created in 1989, was one in a series in which Simpson has assembled fragmented Polaroid images of a female model whom she has regularly collaborated with. The body is fragmented and viewed from behind, while the back of the model's head is sensed as being in a state of guardedness towards possible hostility she can anticipate as a result of the combination of her sex and the color of her skin. The complex historical and symbolic associations of African-American hairstyles are also brought into play. The message of the text and the formal treatment of the image reinforce a sense of vulnerability. The fragmentation and serialization of bodily images disrupts and denies the body's wholeness and individuality. In attempting to read the work the viewer is provoked into confronting histories of appropriation and consumption of the black female body.[21] '''Simpson also incorporated the complicated relationship that African American women have with their natural hair in her work “Wigs”. Simpson’s “Wigs” did not include any figures, instead the wigs stood in the place of the women. The work has various social and political undertones about the surrounding culture and the beauty standards that the culture produces. The work might force a viewer to question why such beauty standards exists and how they are perpetuated by society.''' Simpson's work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex. In many of her works, the subjects are black women with obscured faces, causing a denial of gaze and the interaction associated with visual exchange. Simpson’s use of “turned-back figures” was used to not only “refuse the gaze” but to also “to deny any presumed access to the sitter’s personality, and to refute both the classificatory drives and emotional projections typically satisfied by photographic portraiture of black subjects.” It has also been suggested that these figures “stand for a generation’s mode of looking and questioning photographic representation.”  Through repetitive use of the same portrait combined with graphic text, her "anti-portraits" have a sense of scientific classification, addressing the cultural associations of black bodies.[22] In a 2003 video installation, Corridor, Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960.[23] Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn.[8] She has commented, "I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity."[7]AishatuSaid (talk) 23:36, 10 March 2019 (UTC)Simpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of sex, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.[9] Simpson’s “interests in photography [has] always been paralleled by an interest in film, particularly in the way that one structurally builds sequences in film.”

Work Final Revision (everything in bold added)
Simpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of sex, identity, race, culture, history, and memory. '''Primarily, Simpson is interested in exploring individual identities in her work and the intersectionality of identities. She is well known for her exploration of the black female identity, though she is also interested in all identities, in the American identity, in universal figures, and universality. Simpson is also interested in ambiguity in her work, she includes “gaps and contradictions so that not all the viewer’s questions are answered.” Simpson’s ambiguity often allows viewers to think, to take in her work and the larger questions that her work raises. Simpson’s “high level of conceptional sophistication and social awareness” has gained her much positive attention, as has her attention and use of political issues in her work. Simpson has “seized on conceptualism’s signature tropes-the grid, seriality, repletion, and, above all, language-in order to examine how our knowledge of the world comes to be organized.” Repetition of figures in “minimalist photographs” and text creates a “interplay of text and images” that “relies on repetition to make clear the difference that racialization makes.”''' AishatuSaid (talk) 08:03, 24 April 2019 (UTC)   Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.[9] Simpson’s “interests in photography [has] always been paralleled by an interest in film, particularly in the way that one structurally builds sequences in film.” Simpson began working in film in 1997 with her work Call Waiting, she’s continued such work in subsequent years.08:03, 24 April 2019 (UTC)AishatuSaid (talk) Lorna Simpson, Untitled (2 Necklines), 1989, 2 gelatin silver prints and 11 engraved plastic plaques, 40 x 100 in., National Gallery of Art, Washington, DC

Simpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.[19]

Easy for Who to Say, Simpson's work from 1989, displays five identical silhouettes of black women from the shoulders up wearing a white top that is similar to women portrayed in other of Simpson's works. The women's faces are obscured by a white-colored oval shape each with one of the following letters inside: A, E, I, O, U. Underneath the corresponding portraits are the words: Amnesia, Error, Indifference, Omission, Uncivil. In this work Simpson alludes to the racialization in ethnographic cinema and the revocation of history faced by many people of color.[20] Also, the letters covering the faces suggest “intimate multiplicity of positions she might occupy and attitudes she might assume-” , these potential thoughts are stopped, abruptly, by the words, “undermining not only the subjective position the figure would seek but also her grasp on any recognizable position at all.” AishatuSaid (talk) 08:03, 24 April 2019 (UTC)

Simpson's work Guarded Conditions, created in 1989, was one in a series in which Simpson has assembled fragmented Polaroid images of a female model whom she has regularly collaborated with. The body is fragmented and viewed from behind, while the back of the model's head is sensed as being in a state of guardedness towards possible hostility she can anticipate as a result of the combination of her sex and the color of her skin. The complex historical and symbolic associations of African-American hairstyles are also brought into play. The message of the text and the formal treatment of the image reinforce a sense of vulnerability. '''One can also note that the figures, though in similar poses, differ slightly in the placement of the figure’s feet, hair, and hands. These subtle differences might suggest, “the model’s shifting relationship to herself.”''' AishatuSaid (talk) 08:03, 24 April 2019 (UTC) The fragmentation and serialization of bodily images disrupts and denies the body's wholeness and individuality. In attempting to read the work the viewer is provoked into confronting histories of appropriation and consumption of the black female body.[21] Many critics associate this work with the slave auction, as a reminder that black “enslaved women were removed from the circle of human suffering so that they might become circulating objects of sexual and pecuniary exchange.” '''These women had no choice but to stand on the auction block and put themselves, their bodies, on display for sell. They become objects, a subject that Simpson often makes the focus of her work.'''

'''Simpson also incorporated the complicated relationship that African American women have with their natural hair in her work “Wigs”. Simpson’s “Wigs” did not include any figures, instead the wigs stood in the place of the women. The work has various social and political undertones about the surrounding culture and the beauty standards that the culture produces. The work might force a viewer to question why such beauty standards exists and how they are perpetuated by society.'''AishatuSaid (talk) 08:10, 24 April 2019 (UTC)

Simpson's work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex. In many of her works, the subjects are black women with obscured faces, causing a denial of gaze and the interaction associated with visual exchange. Simpson’s use of “turned-back figures” was used to not only “refuse the gaze” but to also “to deny any presumed access to the sitter’s personality, and to refute both the classificatory drives and emotional projections typically satisfied by photographic portraiture of black subjects.” It has also been suggested that these figures “stand for a generation’s mode of looking and questioning photographic representation” AishatuSaid (talk) 08:03, 24 April 2019 (UTC) Through repetitive use of the same portrait combined with graphic text, her "anti-portraits" have a sense of scientific classification, addressing the cultural associations of black bodies.[22]

In a 2003 video installation, Corridor, Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960.[23] Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn.[8] She has commented, "I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity."[7]

'''Simpson’s interest in using audio elements in her works to add “layering” helps to set the tone and mood of a composition. In Corridor music is used to create “an interesting melding visually of two time periods.” The music is sometimes lulling and others sharp, terrifying, and haunting, which correlates with the narrative. Simpson often uses “open-ended narratives” in photography and film because she is interested in “insinuating things” , she does this in Corridor, where “nothing really happens, it’s just a woman going kind of day-to-day, what she does over the course of a day.” A “texture” begins to appear that begins to tell viewers what might be going on, it begins to make viewers question “what’s missing from the picture” and “what [‘s] trying to [be] conveyed.” All of these questions begin to create a setting, a “time frame” or “period of time” to encourage a viewer to create or imagine or figure out a narrative, to figure out  “these people lives during a particular period of time that is important politically.” The viewer can then digest that political environment in present day, they can find associations with their own political climate. In the case of Corridor, the women’s day to day life, and the mood of the video, dark and lonely, are more similar that one might expect. In this case, Simpson is considering identity again while also considering the past and the effect of the past on the present. Simpson is exploring race and class, the work attempts “to explore American identity and constructions of race.”''' '''AishatuSaid (talk) 08:03, 24 April 2019 (UTC)

Adding a Citation
Simpson’s use of “turned-back figures” was used to not only “refuse the gaze” but to also “to deny any presumed access to the sitter’s personality, and to refute both the classificatory drives and emotional projections typically satisfied by photographic portraiture of black subjects.” It has also been suggested that these figures “stand for a generation’s mode of looking and questioning photographic representation.” 

Aishatu's Peer Review for David Salle
I think this article does a good job of keeping a neutral tone. I like how neatly his educational information and use of different mediums and process is summed up. I do think that the article would benefit from more information about his life. For example, explaining what he studied at school or a brief summary of who John Baldessari was. Specifically mentioning John Baldessari as Salle’s mentor indicates that he had a big impact on Salle or that he was a big deal, you must explain why. I also think that the more could be said about Salle’s work. It might be a good idea to take a couple of Salle’s work’s and explain them in detail in the article to give the reader a better idea of his process and subject matter. I think that the article so far is a great start, you guys only need more content. I also think that adding a collections page was a great idea!