Table of Contents
Simone Leigh (born 1967, Chicago, Illinois, U.S.) is an American artist perhaps best known for her ceramic sculptures, though she also creates works involving video, installation, and social practice. Leigh often says that Black women are her primary audience, telling The New York Times in 2018 that she is interested in women “who…have been left out of the archive or left out of history,” and adding, “I still think there is a lot to mine in terms of figuring out the survival tools these women have used to be so successful, despite being so compromised.”
Early life and introduction to ceramics
Leigh was born the youngest of four children in the South Side of Chicago. Her father, Gilbert Obadiah Leigh, was born in Jamaica and later became a preacher of the Church of the Nazarene, a Protestant denomination stemming from the merger of several groups from the 19th-century Holiness movement. Her mother, Claire Leigh, was born in New York, but was sent to live in Jamaica as a child, where she became a Nazarene missionary. Simone Leigh was raised in a strict, fundamentalist household, but her mother also took her to museum exhibitions, classical music concerts, and sporting events. In the summers, Leigh visited Jamaica with her family. There she saw the complicated interplay of colonialism and resistance to it create what she described as “beauty in something that was horrifying at the same time.”
After graduating high school, Leigh enrolled in Earlham College, a Quaker school in Richmond, Indiana. She planned to become a social worker, but after taking a ceramics class where she learned the ancient method of coiling clay to create vessels, she continued working with the medium. Leigh became an art major so that she could have access to a studio. During a summer internship at the Smithsonian National Museum of African Art, Washington, D.C., Leigh learned about African pottery and other objects, especially those made by women. This experience contributed to her interest in Black women’s labour and the way in which their artmaking is frequently categorized as a “lesser art.” In 1990 Leigh received a B.A. degree in art with a minor in philosophy.
After graduating Leigh moved to New York City, where she continued her artistic practice while working various temporary and full-time jobs. At this time she was making large terra-cotta water pots, a project that she had started in college. She later told The New Yorker: “For ten years, I was obsessed with these water pots…It was a kind of perfect form, and it was something women had been making all over the world for centuries, this anonymous labor of women.” In 1994 Leigh married professional photographer Yuri Marder, with whom she had a daughter, Zenobia (born 1996). Leigh became a full-time mother and took a hiatus from art for the next five years.
Early work and The Waiting Room
After divorcing Marder in 2001, Leigh returned to artmaking. She had moved on from the pots, and her work began to transition to more abstract pieces. That same year she first showed her work in a group show at Rush Arts Gallery and, in 2004, she held her first solo exhibition at Momenta Art, both in New York City. Leigh continued to exhibit her work throughout the decade and began to receive grants, fellowships, and residencies, including one at the Studio Museum in Harlem (2010). She also began to expand her career internationally, showing her work in South Africa, Morocco, and Austria. Leigh also traveled abroad annually, finding connections in the works of African artists and working with Nigerian curator Bisi Silva.
In 2012 Leigh’s show at the Kitchen, an alternative-art space in New York City, showed Leigh exploring new mediums, including video and hanging sculptures. She subsequently integrated social practice—a type of collaborative art that often involves the participation of individuals as part of the medium—in her work. Leigh worked with Creative Time, a public arts organization in New York, to organize Free People’s Medical Clinic (2014). Inspired by the Black Panther Party’s social programs, the artwork offered free wellness services for the Brooklyn community, including HIV tests, Yoga lessons, and other benefits. She later explained to The Art Newspaper: “The clinic…was not intended to reach out to help Back women; that was a misunderstanding. It was more a display of the labour of Black women…to display the work that was already going on in the community.” In 2016 Leigh expanded the project to the New Museum, New York, creating The Waiting Room.
Anatomy of Architecture and other mature work
During the latter half of the 2010s, Leigh began to integrate the thatched-roof huts seen throughout Zimbabwe and Cameroon into her work. Speaking to The New York Times in 2018, she noted that the idea of huts as so-called primitive dwellings “has been used to humiliate [Black people] for years and years, when they are actually really quite beautiful and sophisticated objects.” For a 2016 Studio Museum commission, she created the installation a particularly elaborate imba yokubikira, or kitchen house, stands locked up while its owners live in diaspora. The work featured three to-scale clay-and-thatch structures that resemble the kitchen houses of rural areas of Zimbabwe. Although the cluster arrangement suggested a community, none of the huts had entrances. The installation thus created a sense of vacancy, perhaps akin to the effect of a diaspora.
In 2018 Leigh won the Guggenheim Foundation’s Hugo Boss Prize, and in 2019 she took part in the Whitney Biennial. That same year she became the first artist to be commissioned to create a public art piece for the High Line Plinth, New York. She erected Brick House (2019), a 16-foot (4.8-metre) bronze bust of a Black woman. The piece was part of her Anatomy of Architecture series, in which she joins the human figure with architectural forms, especially those from West Africa and the Southern United States. The shape of thatched-roof huts, for example, often serves as skirts and torsos.
“Sovereignty” at the 2022 Venice Biennale
In 2022 Leigh became the first Black woman to represent the United States at the Venice Biennale. Her exhibition, “Sovereignty,” often alluded to the 1931 Colonial Exposition in Paris, in which France and other colonial powers, including Belgium, Portugal, and the United States, replicated elements of the societies that lived in their empires. These reproductions included Western interpretations of local architecture that veered toward caricature. Leigh collaborated with architect Pierpaolo Martiradonna to transform the neo-Palladian structure of the U.S. pavilion in Venice into a stereotype of an African thatched hut, bringing to mind something one might have seen at the Colonial Exposition. She told The New York Times that year that the transformed building “has an over-the-top Blackness that I really like.” At the entrance she installed Satellite (2022), a towering bronze sculpture of an abstract female figure. It resembles the form of a D’mba, a female headdress often worn by the Baga people of West Africa at entertainment masquerades or to commune with their ancestors. In the 20th century European artists, such as Pablo Picasso, appropriated the form in their work without understanding its significance. The interior of the building displayed all new work by Leigh, but it spoke to many of her recurring themes. Cowrie shells, for example, which Leigh molds from watermelons, stand in for the female body and refer to racist stereotypes of Black people. Leigh’s work was also included in the Biennale’s central exhibition and won the Golden Lion for Best Participant.
Exhibitions and collections
Leigh has had solo exhibitions at the Guggenheim Museum, New York City; the Hammer Museum, Los Angeles; Tate Modern, London; and the Institute of Contemporary Art, Boston. Her work has been acquired by such museums as the Art Institute of Chicago, the Cleveland Museum of Art, and the Moderna Museet, Stockholm.
