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This is a collection of photographs and interviews gathered from across the United States of people imprisoned for years before finally proving their innocence

Simon, Taryn

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Art --- art [discipline] --- Simon, Taryn

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Born in New York in 1975, Taryn Simon is at the forefront of contemporary photography practice. Her artistic medium is based around three equal elements: photography, text, and graphic design, which combined investigate the limitations of absolute understanding, examining the gaps between each element and how this can lead to disorientation and ambiguity. Simon's work ranges in focus and scope from a series of examinations of legal function specific to the United States: The Innocents, An American Index of the Hidden and Unfamiliar, and Contraband; to a four-year examination of politics, history and individual agency on a global scale: A Living Man Declared Dead and Other Chapters; to works based on obscure and little-known stories and archives, addressing the nature of the production and circulation of knowledge: Black Square and The Picture Collection. Committed but never limited to these concerns, Simon's work has established her as a pre-eminent exponent of a practice that engages equally with issues of pressing importance in the modern world, and with the politics of representation. Published in close collaboration with the artist, this publication is the first to draw together Taryn Simon's diverse and complex range of projects, produced since 2002. With new and published essays by amongst others Salman Rushdie, Homi Bhabha, Daniel Baumann, Tim Griffin, Tina Kuklieski, Hans Ulrich Obrist and Elisabeth Sussman. With an introduction by Simon Baker, Curator of Photography at Tate Modern.--Tate Publishing

Art --- photographs --- installations [visual works] --- sociology --- wars --- investigation --- Simon, Taryn --- Photographie --- mensenrechten --- social criticism

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In her monograph, 'An Occupation of Loss', artist Taryn Simon creates a detailed record of her years researching professional mourning, which culminated in a seminal performance at the Park Avenue Armory in 2016. During the installation, professional mourners from around the world simultaneously broadcast their lamentations within a monumental sculptural setting, enacting rituals of grief. The installation combined performance, sound, and architecture to consider the anatomy of grief and the intricate systems we use to manage fate and uncertainty. The book leads the reader through the complicated visa application process for the mourners invited to enter the United States, revealing the underlying structures governing global exchange, the movement of bodies, and the hierarchies of art and culture.

Taryn Simon --- Installations (Art) --- Performance art --- Weepers (Mourners) in art --- Bereavement in art --- fotografie --- eenentwintigste eeuw --- Simon Taryn --- Verenigde Staten --- portretfotografie --- rouw --- performances --- performance --- dood --- 7.071 SIMON --- 77.071 SIMON --- Simon, Taryn, --- Exhibitions

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In "Paperwork and the Will of Capital", Simon examines accords, treaties, and decrees drafted to influence systems of governance and economics, from nuclear armament to oil deals and diamond trading. All involve the countries present at the 1944 United Nations Monetary and Financial Conference in Bretton Woods, New Hampshire, which addressed the globalization of economics after World War II, leading to the establishment of the International Monetary Fund (IMF) and the World Bank. In images of the signings of these documents, powerful men flank floral centerpieces designed to underscore the importance of the parties present. Simon's photographs of the recreated centerpieces from these signings, together with their stories, underscore how the stagecraft of political and economic power is created, performed, marketed, and maintained. Each of Simon's recreations of these floral arrangements represents an “impossible bouquet”, a concept that emerged in Dutch still-life painting parallel to the country's seventeenth-century economic boom, which ushered in the development of modern capitalism. Then, the impossible bouquet was an artificial fantasy of flowers that could never bloom naturally in the same season and geographic location. Now the fantasy is made possible, both in the original signings and in Simons´' photographs by the global consumer market. -- publisher's statement.

politics --- flora [plants] --- flower pieces --- investigation --- power --- Art --- Simon, Taryn --- Plants in art --- Heads of state --- Signing ceremonies --- Photography of plants. --- 7.07 --- Photography of flowers --- Plants --- Heads of government --- Rulers --- State, Heads of --- Executive power --- Statesmen --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Simon, Taryn, --- Exhibitions --- 745.54 --- 7.043 --- Beeldende kunst ; 21ste eeuw ; 2000-2016 ; T. Simon --- Conceptuele kunst --- Kunst en politiek --- Papiersnijkunst ; papierknipkunst ; bloemen --- Simon, Taryn °1975 (°New York, Verenigde Staten) --- Thema's in de kunst ; bloemen en planten --- Document signing ceremonies --- Document signings --- Signings, Document --- Decoratieve kunstnijverheid ; knutseltechnieken ; papier --- Iconografie ; planten, bomen, vruchten --- Photography of plants --- fotografie --- eenentwintigste eeuw --- Simon Taryn --- Verenigde Staten --- stillevenfotografie --- plantenfotografie --- 77.071 SIMON --- Rites and ceremonies