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Simone Leigh
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Simone Leigh (born 1967) is an American artist from Chicago with a studio in Brooklyn.[1][2] She works in various media including sculpture, installations, video, performance, and social practice. Leigh has described her work as auto-ethnographic, and her interests include African art and vernacular objects, performance, and feminism.[3] Her work is concerned with the marginalization of women of color and reframes their experience as central to society.[2][4] Leigh has said that her work is focused on "Black female subjectivity," with an interest in complex interplays between various strands of history.[5] She was named one of the 100 most influential people in the world by Time magazine in 2023.[6]

Key Information

Early life and education

[edit]

Simone Leigh was born in 1967 in Chicago, Illinois, to Jamaican immigrants who came to the United States as missionaries for the Church of the Nazarene.[7] She grew up mostly in South Shore on Chicago's South Side. Her neighborhood had become segregated by white flight beginning in the 1960s; nonetheless, she viewed the South Side of Chicago as a wonderful place for a black person to grow up.[1] Describing her childhood in an interview, Leigh stated "Everyone was black, so I grew up feeling like my blackness didn't predetermine anything about me. It was very good for my self-esteem. I still feel lucky that I grew up in that crucible."[8] She went to Kenwood Academy High School and like her three siblings excelled in her academics.[1]

Although her parents wanted her to go to a stricter religious school and live at home, Leigh chose Earlham College, associated with the Quakers, in Richmond, Indiana. She then became estranged from her parents and worked to put herself through college.[1] She received a BA in art with a minor in philosophy in 1990.[9][10]

Career

[edit]

"I came to my artistic practice via the study of philosophy, cultural studies, and a strong interest in African and African American art, which has imbued my object and performance-based work with a concern for the ethnographic, especially the way it records and describes objects."[11]

After graduating in 1990, Leigh planned to become a social worker. After an internship at the National Museum of African Art and stint at a studio near Charlottesville, Virginia, she embraced art as a career.[3] She moved to Williamsburg in Brooklyn and met her future husband (later divorced) an art photographer. As a young mother, she worked intently to get showings and galleries interested in her ceramics work but it was not until 2001 that she began to call herself an artist.[1] In 2015 she remarked, "I tried not to be an artist for a really long time but at a certain point I realized I was not going to stop doing it."[3]

Leigh combines her training in American ceramics with an interest in African pottery, using African motifs which tend to have modernist characteristics. Though she considers herself to be primarily a sculptor, she recently has been involved in social sculpture, or social practice work that engages the public directly.[11] Her objects often employ materials and forms traditionally associated with African art, and her performance-influenced installations create spaces where historical precedent and self-determination co-mingle.[11] She describes this combination representing "a collapsing of time."[12] Her work has been described as part of a generation's reimagining of ceramics in a cross-disciplinary context.[13] She has given artist lectures in many institutions nationally[14][15][16] and internationally, has taught in the ceramics department of the Rhode Island School of Design[17] and has fired ceramics as a visiting artist at Anderson Ranch Arts Center in Colorado.[18][19]

Leigh lecturing in 2013

In October 2020, Leigh was selected to represent the United States at the 2022 Venice Biennale.[20] She was the first black woman to do so. Her showing of works known as a presentation was entitled "Sovereignty". She was also awarded the Golden Lion for her work Brick House in the general exhibition.[21] Leigh created her first portrait sculpture, Sharifa, with Sharifa Rhodes-Pitts, a Harlem cultural historian, as her subject.[22] The film Conspiracy, featured in her solo show at the Biennale, was co-produced with filmmaker and visual artist Madeleine Hunt-Ehrlich.[23]

Works and critical reception

[edit]
Leigh working in her studio

Leigh has exhibited internationally including: MoMA PS1, Walker Art Center, Studio Museum in Harlem, Yerba Buena Center for the Arts, The Hammer Museum, The Kitchen, The Bronx Museum of the Arts, Tilton Gallery, Contemporary Arts Museum Houston, SculptureCenter, Pérez Art Museum Miami, Kunsthalle Wien in Vienna, L'appartement 22 in Rabat, Morocco, the Andy Warhol Museum in Pittsburgh, and the Association for Visual Arts Gallery in Cape Town, South Africa.[24] Leigh organized an event with a group of women artists, who performed in "Black Women Artists for Black Lives Matter" part of her solo exhibition, The Waiting Room at the New Museum in 2016.[25][26] Her large bronze sculpture of a woman, Sharifa, became the first sculpture by a living artist to be permanently displayed in the sculpture garden of the Art Institute of Chicago, after appearing at the Venice Biennial.[27] Leigh's work was selected among "the most important and relevant work" by curators Jane Panetta and Rujeko Hockley for the 2019 Whitney Biennial.[28][7]

During her residency at the New Museum, Leigh founded an organization called Black Women Artists for Black Lives Matter (BWAforBLM), a collective formed in direct response to the murder of Philando Castille, and in protest against other similar injustices against black lives.[11]

Simone Leigh is the creator of the Free People's Medical Clinic a social practice project created with Creative Time in 2014.[29] A reenactment of the Black Panther Party's initiative of the same name.[11] The installation was located in a 1914 Bed-Stuy brownstone called the Stuyvesant Mansion, previously owned by notable African-American doctor Josephine English (1920–2011). As an homage to this history, Leigh created a walk-in health center with yoga, nutrition and massage sessions, staffed by volunteers in 19th-century nurse uniforms.[30]

She is the recipient of many awards, including: a Guggenheim Fellowship; the Venice Biennale Golden Lion (2022); The Herb Alpert Award; a Creative Capital grant; a Blade of Grass Fellowship; the Studio Museum in Harlem's Joyce Alexander Wein Artist Prize; the Guggenheim Museum's Hugo Boss Prize; United States Artists fellowship; and a Foundation for Contemporary Arts Grants to Artists award (2018).[31][32][33][34][35][36][37][38][39] She was named one of Artsy Editorial's "Most Influential Artists" of 2018.[40] Her work has been written about in many publications, including Art in America, Artforum, Sculpture Magazine, Modern Painters, The New Yorker, The New York Times, Small Axe, and Bomb magazine.[41][42][43][44][45][46]

Simone Leigh's work and practice is the subject of a 2023 monograph, edited by Eva Respini. The monograph includes essays and reflections on Leigh's work from a number of Black scholars, including from Hortense Spillers, Denise Ferreira da Silva, Saidiya Hartman, Christina Sharpe, and Dionne Brand, among others.[47][48]

Brick House

[edit]

The Brick House sculpture's torso combines the forms of a skirt and a clay Mousgoum domed hut (or teleuk)[49] while the sculpture's head is crowned with an afro framed by cornrow braids.[50] This 5,900-pound bronze bust is of a Black woman with a torso standing 16 feet high and 9 feet in diameter at its base.[50]Brick House is the inaugural commission for the High Line Plinth, a landmark destination for major public artworks in New York City since 2019, and is part of a series of art installations that will rotate every eighteen months[51] and the first space on the High Line dedicated solely to new commissions of contemporary art.[5] The content of Leigh's sculpture directly contrasts the location in which it is sited in New York since it is situated where "glass-and-steel towers shoot up from among older industrial-era brick buildings, and where architectural and human scales are in constant negotiation."[50] In 2020, another original Brick House was permanently installed in another urban location (albeit surrounded by a patch of grass) at the key gateway to the University City campus of University of Pennsylvania (near corner of 34th Street and Woodland Walk adjacent to Penn's School of Design).[52] Brick House is the first piece in Leigh's Anatomy of Architecture collection, an ongoing body of work where the artist combines architectural forms from regions as varied as West Africa and the Southern United States with the human body.[53] Brick House combines a number of different architectural styles: "Batammaliba architecture from Benin and Togo, the teleuk dwellings[54] of the Mousgoum people of Cameroon and Chad, and the restaurant named Mammy's Cupboard located on US Highway 61 south of Natchez, Mississippi."[50]

The Waiting Room

[edit]

The Waiting Room was exhibited at the New Museum in New York City from June to September 2016.[2] This exhibition honors Esmin Elizabeth Green, who died from blood clots after sitting in a waiting room of a Brooklyn hospital for 24 hours, and provides an alternative vision of health care shaped by female, African-American experience.[55] In an interview with the Guardian, Leigh says "obedience is one of the main threats to black women's health" and "what happened to Green is an example of the lack of empathy people have towards the pain of black women."[55] The Waiting Room involved public and private care sessions from different traditions of medicine such as herbalism, meditation rooms, movement studios, and other holistic approaches to healthcare. Outside of museum hours this exhibition became "The Waiting Room Underground" providing free, private workshops outside of the public eye, an homage to the healthcare work of the Black Panthers and the United Order of Tents.[55] Additionally this exhibition featured lectures; workshops on self-defense, home economics, and self-awareness; Taiko drumming lessons for LGBTQ youth, and summer internships with the museum for teens.[55] This work came after and is related to Leigh's previous project Free People's Medical Clinic (2014).[56]

Recognition

[edit]

Leigh is a recipient of the Venice Biennale Golden Lion (2022); the Studio Museum in Harlem's Joyce Alexander Wein Artist Prize (2017); John Simon Guggenheim Memorial Foundation Fellowship (2016); Anonymous Was a Woman Award (2016); Herb Alpert Award in the Arts (2016); A Blade of Grass Fellowship for Socially Engaged Art (2016);[11] Guggenheim Fellowship (2012); Louis Comfort Tiffany Foundation Biennial Award, Creative Capital Grantee, Lower Manhattan Cultural Council's Micheal Richards Award (2012); Joan Mitchell Foundation Grant, Artist-in-Residence The Studio Museum in Harlem (2010–11); NYFA Fellowship, Art Matters Foundation Grant (2009); Foundation for Contemporary Arts Grants to Artists Award (2018); and The Hugo Boss Prize (2018) (a $100,000 award facilitated by the Guggenheim Museum that ranks among the world's top art prizes).[31][57][58][5][59]

Art market

[edit]

As of 2021, Leigh was represented by Matthew Marks Gallery.[60] She was previously represented by Hauser & Wirth (2019–2021), David Kordansky Gallery (2019), and Luhring Augustine Gallery (2016–2019).[61][62]

In 2023, Leigh's sculpture Stick (2019), sold for $2.7 million at Christie's in New York, a record for the artist.[63] Her previous auction record, a life-size mixed media female head titled Birmingham (2012), was sold for $2.2 million at Sotheby's in New York in 2022.[64]

Exhibitions

[edit]

Leigh has staged many solo shows at galleries and museums in the United States and internationally, as well as several solo public art installations. Her solo shows include Simone Leigh (2004) Momenta Art, New York;[1] if you wan fo' lick old woman pot, you scratch him back (2008), Rush Arts Gallery, New York;[65] You Don't Know Where Her Mouth Has Been (2012), The Kitchen, New York;[66] Gone South (2014), Atlanta Contemporary Art Center;[67] The Waiting Room (2016), New Museum, New York;[68] Psychic Friends Network (2016), Tate Modern, London;[69] inHarlem: Simone Leigh (2016), Marcus Garvey Park, Studio Museum in Harlem, New York;[70] Loophole of Retreat (2019), Solomon R. Guggenheim Museum, New York;[71] Brick House (2019), High Line, New York;[72] Simone Leigh (2021), Hauser & Wirth, Zurich;[73] Trophallaxis (2008–17), Pérez Art Museum Miami (2022–2023);[74] Sovereignty (2022), American pavilion, 59th Venice Biennale;[75] and Simone Leigh (2023), originating at the Institute of Contemporary Art, Boston.[76]

Leigh has also participated in many group exhibitions, including the Dakar Biennale (2014);[77] Berlin Biennale (2019);[78] Whitney Biennial (2019);[79] Prospect.5 (2021), Prospect New Orleans;[80] and The Milk of Dreams (2022), 59th Venice Biennale.[81]

Leigh was chosen to represent the United States at the 59th Venice Biennale in 2022. Her works from the Venice Biennale later made their United States premiere in Boston at the Institute of Contemporary Art.[82] The exhibition was titled Simone Leigh, and it also included ceramic, bronze, and video artwork from throughout her career. The exhibition was curated by Chief Curator Barbara Lee and deputy director for Curatorial Affairs Eva Respini,[83] who also curated the United States' pavilion at the 59th Venice Biennale. The exhibition ran at the ICA from April 6 to September 4, 2023. It then was displayed at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. from November 3, 2023, to March 3, 2024.[83] Then, the exhibition was jointly presented at the Los Angeles County Museum of Art (LACMA) and the California African American Museum (CAAM)[84] from May 26, 2024, to January 20, 2025.

Leigh exhibited 'Recent Sculptures' at the Turner Contemporary in Margate, Kent, England from October 2025.[85]

Personal life

[edit]

Leigh married art photographer Yuri Marder. Marder had been one of her roommates in Brooklyn when she first moved there. He was the grandson of a Holocaust survivor. They had one daughter together in the 1990s and later divorced.[1]

Notable works in public collections

[edit]

Bibliography

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Simone Leigh

View on Grokipedia
from Grokipedia

Simone Leigh (born 1967) is an American artist based in Brooklyn, New York, whose interdisciplinary practice includes ceramic and bronze sculptures, video works, installations, and social practice projects centered on Black female subjectivity and the African diaspora.
She earned a BA in fine arts with a minor in philosophy from Earlham College in Richmond, Indiana, in 1990, where exposure to campus ceramics influenced her early development in the medium.
Leigh began exhibiting her work in the early 2000s and has since held solo presentations at major institutions, including the Guggenheim Museum and Tate Modern.
In recognition of her contributions to contemporary art, she received the Hugo Boss Prize in 2018, resulting in a dedicated exhibition at the Guggenheim, and in 2022, she won the Golden Lion for Best Participant at the Venice Biennale—the first Black woman to achieve this—for her installation Sovereignty, which represented the United States pavilion.

Early life and education

Childhood and family influences

Simone Leigh was born in 1967 in , , the youngest of four children to Jamaican immigrant parents Gilbert Obadiah Leigh and Claire Leigh, both missionaries for the . Her father, originally from , immigrated to the and changed the family surname from Lee to Leigh; he served as a Nazarene preacher on Chicago's South Side, where he established social initiatives including day-care centers and a boys' home. Her mother, born in New York but relocated to during her early childhood, also pursued missionary work and emphasized education and cultural exposure for her children, arranging outings to exhibitions, concerts, and museums such as the Field Museum's exhibit. Leigh grew up in a large house in the South Shore neighborhood near the , within a heavily segregated African American community on the city's South Side, where her family adhered to the strict moral codes of Nazarene doctrine, including prohibitions on secular media like television and movies. Despite the religious constraints, her childhood included enriching activities such as music lessons, , and academic excellence at Kenwood High School in Hyde Park. At age 12, she learned of her partial Chinese ancestry through a grandmother's , adding complexity to her Jamaican and African American heritage. The family's devout environment fostered a rebellious streak in Leigh, leading her to reject Nazarene faith by age 17 and contributing to an independent worldview that later informed her artistic explorations of Black womanhood and . Her parents' separation, though without , and their decision to withhold financial support at age 19 upon discovering her interracial relationship resulted in a decade-long estrangement, underscoring tensions between familial expectations and personal autonomy. Elements of her upbringing, including Jamaican cultural ties and her father's charismatic community leadership, subtly shaped her interest in , self-taught practices, and themes of care and matriarchal resilience in her work.

Formal training and initial artistic pursuits

Leigh enrolled at , a Quaker institution in , after graduating from High School in . There, she pursued a degree, majoring in with studies in art, completing it in 1990. Unlike traditional paths to artistic practice, Leigh did not attend a dedicated , instead integrating her emerging interest in ceramics—sparked by an elective class—into her broader philosophical coursework, which included exposure to feminist and post-colonial theory. Initially intending a career in , Leigh's trajectory shifted during this ceramics course, where she mastered the ancient technique for vessel construction, fostering an early affinity for tactile, functional forms rooted in utilitarian traditions. The campus environment, rich with works, further immersed her in the medium, leading to self-directed experimentation that marked her initial artistic pursuits beyond academic requirements. These college-era efforts emphasized hand-building and glazing, laying groundwork for her later explorations of female domesticity and cultural artifacts, though still informal and unexhibited at the time. Post-graduation, Leigh relocated to , where she supported herself through non-artistic employment while continuing independent ceramic practice in informal settings, such as community studios, refining skills without structured mentorship or graduate-level training. This phase represented her transition from academic exposure to self-sustained pursuit, prioritizing material experimentation over institutional validation.

Artistic development

Emergence and early themes

Leigh's emergence as a professional artist occurred in the early after she relocated to , where she pursued ceramics independently following her . Her debut exhibition took place in 2001 at Rush Arts Gallery in , presenting a chandelier-like hanging clay sculpture that highlighted her initial experimentation with form and material. This followed her production of large terra-cotta water pots in the late 1990s, inspired by utilitarian objects tied to anonymous women's labor across global cultures, which she fired in makeshift outdoor kilns. A solo show at Momenta Art in ensued in 2004, solidifying her presence in the local scene alongside group exhibitions and residencies at institutions like the Cultural Council. Early works emphasized abstract forms such as rosettes and suspended pieces built on armatures, blending functionality with symbolic intent. These pieces drew from traditions, incorporating motifs like power objects and face jugs to interrogate historical associations of women's bodies with labor and utility. Leigh's initial themes centered on female subjectivity, race, and beauty, often anthropomorphizing forms to evoke collective rather than individual identity—fusing feminine silhouettes with domestic tools or ceremonial objects from the . Her practice reflected a of visual languages, merging African, American Southern, and elements to challenge stereotypes and highlight resilience amid historical marginalization. This auto-ethnographic approach, informed by self-study in and cultural overlaps across geographies, positioned her sculptures as sites for examining adaptation and in Black women's experiences. By prioritizing salt-glazed ceramics and , Leigh established a material vocabulary that evoked premodern artifacts while confronting modern racial dynamics.

Evolution of materials and techniques

Leigh's engagement with ceramics began in the late 1980s during her studies at Earlham College, where she worked under instructor Michael Thiedeman to create large terra-cotta water pots, drawing initial influences from Japanese ceramics and the forms documented in Graham Connah's Nigerian Pottery. Following her BA in philosophy and art in 1990, she moved to New York and apprenticed at an architectural ceramics firm, replicating subway tiles and refining glazing and firing methods that informed her hand-building techniques. An undergraduate internship at the Smithsonian National Museum of African Art exposed her to West and Southern African ceramic construction, leading to early stoneware pieces featuring salt glazing, cowrie shell motifs, and face jugs echoing those produced by enslaved African American potters in the 19th century. Into the and , Leigh scaled her ceramic practice to figurative busts and vessels in terracotta, , and epoxy, as in No Face (Black) (2015) and (2004), where she clustered porcelain teeth within mirrored installations or added raffia skirts to evoke architectural and bodily . These works emphasized textured, unglazed surfaces and modular assembly, reinterpreting historical vessel forms to subvert ceramics' ties to utilitarian labor while incorporating organic fibers for dimensionality. A pivotal shift occurred in 2019 with her adoption of bronze casting, prompted by commissions requiring permanence for public sites; she modeled full-scale clay forms—using up to 11,000 pounds of imported French clay for the 2022 Venice Biennale series—before employing ceramic molds and lost-wax processes at foundries like Stratton Sculpture Studio. This technique underpinned Brick House (2019), a 16-foot commission for the High Line involving seven months of casting, and extended to later bronzes like Satellite (2022), Herm (2023), and Sentinel (over 9 feet tall), translating clay's malleability into durable, enlarged iterations of prior motifs such as eyeless faces and shell encrustations. Clay modeling remained foundational, enabling precise textural fidelity across media while accommodating monumental ambitions unattainable in fired ceramics alone.

Major works

Architectural and sculptural forms

Leigh's architectural and sculptural forms frequently integrate elements of vernacular African architecture with abstracted representations of the female body, employing materials such as and to evoke structures like anthill dwellings and tower-like forms. These works challenge conventional monumentality by blending organic, bodily contours with built environments, often referencing specific cultural architectures such as the Batammaliba hut from and , characterized by its conical, mud-based construction. A prominent example is Brick House (2019), a 16-foot-tall bust depicting a Black woman whose lower torso morphs into a skirt-like architectural base resembling a clay building or silo, weighing 5,900 pounds and measuring 9 feet in diameter at its base. Commissioned for the inaugural Plinth in and unveiled in April 2019, the sculpture draws from diverse influences including teleuk dwellings of the and the roadside stand in , symbolizing resilience and communal labor through its monumental scale and textured surface achieved via before casting. The Trophallaxis series (2008–2017), meaning the biological exchange of sustenance among organisms, features suspended clusters that mimic architectural lattices and bodily orifices, emphasizing transmission and protection in Black female subjectivity. These forms, often in black terracotta and , suspend from ceilings to suggest both organic networks and structural frameworks, as seen in installations where they evoke mammary or architectural motifs of support and enclosure. Leigh's broader sculptural practice extends these motifs into public commissions, where bronze patinas and ceramic glazes replicate earthen building techniques, prioritizing endurance and cultural specificity over figurative realism.

Installations and multimedia projects

Simone Leigh's installations often incorporate , video, and sculptural elements to explore themes of Black female subjectivity and communal care, frequently drawing on historical and ethnographic references. These works extend beyond static into interactive or performative spaces, such as clinics or waiting areas that facilitate . In 2014, Leigh presented Free People's Medical Clinic in 's Bedford-Stuyvesant neighborhood, commissioned by Creative Time as part of the Black Radical Brooklyn series. The installation functioned as a pop-up offering free holistic services by practitioners, emphasizing anonymous labor and practices rooted in African American traditions. It included sculptural components like shell-adorned structures evoking , serving as sites for workshops on herbalism and energy healing. Leigh's The Waiting Room (2016), exhibited at the in New York, combined a physical installation with a three-month residency program led by holistic health experts. The space featured waiting-room aesthetics with publications on Black , alongside a 3-channel video projection depicting an unidentified in contemplative poses, underscoring themes of endurance and interiority. This project marked a continuation of Leigh's clinic motif, providing private classes for community partners while critiquing institutional medical histories. Trophallaxis (2008–2017), a site-specific sculptural installation at the , derived its title from the zoological term for mouth-to-mouth food transfer among social insects, symbolizing nurturing exchanges. Comprising over 150 glazed orbs suspended in a monumental form resembling a mound or breast-like structure, it highlighted the Black female body as a cultural signifier through organic, vessel-like forms clustered in interdependent arrays. The work's scale and materiality evoked communal architectures from African and contexts. For the 2018 Hugo Boss Prize, Leigh created Loophole of Retreat (2019) at the , integrating bronze sculptures with a site-specific sound installation. The audio component, co-designed with sound artists, featured layered recordings of laughter, handclaps, and vocal improvisations from an all-Black female chorus, drawing from ' 1861 of hiding in an attic "loophole." The exhibition extended into a public program of performances and discussions, later influencing Leigh's 2022 presentation. Leigh's multimedia projects frequently incorporate video to animate sculptural forms, as seen in the looped projections within The Waiting Room series, where close-up footage of anonymous figures fosters voyeuristic intimacy. These elements, often paired with performative activations, underscore her interest in ephemeral exchanges over object permanence.

Specific commissions like Brick House

Brick House is a monumental by Simone Leigh, measuring 16 feet (4.9 meters) in height, depicting a bust of a Black woman whose lower torso merges into architectural forms evoking a skirt and a clay building structure. Commissioned as the inaugural work for the Plinth in , it was unveiled on June 5, 2019, and remained on view until spring 2021, positioned to overlook Tenth Avenue. The piece was fabricated by sculpting a ceramic prototype using 9,000 pounds of clay over a wire mesh frame, followed by casting in 6,000 pounds of at a in . A version of Brick House was installed at the entrance to the campus at 34th and Walnut Streets in November 2020, serving as a gateway marker emphasizing women's contributions to and culture. The sculpture draws on motifs from African and American Southern architectural traditions, integrating human and built forms to explore themes of resilience and presence. Brick House was subsequently exhibited in the international section of the 59th Biennale's "Milk of Dreams" show in 2022, positioned at the entrance to the Arsenale, where it contributed to Leigh's broader presentation amid her concurrent U.S. pavilion representation. Other commissions by Leigh include site-specific works like the temporary installation at the , which preceded similar large-scale bronzes acquired by institutions such as UT Landmarks in 2021, though these maintain her signature fusion of figurative and architectural elements without the specific titling of Brick House.

Exhibitions and public presentations

Solo exhibitions

Simone Leigh's solo exhibitions have primarily featured her signature sculptures incorporating materials such as , , raffia, and , often exploring themes of embodiment, , and care labor. These presentations have occurred at prominent galleries and museums, highlighting her evolution from intimate ceramic works to large-scale installations. In 2016, Leigh presented her first solo museum exhibition in Los Angeles at the Hammer Museum, featuring recent ceramics and a site-specific installation that drew on domestic and architectural motifs. That same year, "The Waiting Room" at the New Museum in New York showcased her explorations of healing spaces and vernacular objects, including vessel forms and bulb-like structures. Leigh received the 2018 Hugo Boss Prize, leading to "Loophole of Retreat" at the in 2019, where she created a multi-part installation with a 16-foot-tall brick-faced tower, dome structure, and performance elements convened for Black women artists and scholars. In 2020, her exhibition at David Kordansky Gallery in displayed new sculptures following major institutional projects, emphasizing figurative and architectural forms. The 2021 solo at Hauser & Wirth in included ceramic busts, raffia-skirted figures, and bronze works, marking an expansion in scale and materiality. In 2022, Leigh represented the at the with a solo in the American Pavilion, featuring monumental sculptures like "" and installations evoking communal gathering spaces; this was the first such solo by a Black woman artist for the U.S. Major museum surveys followed, including "The Loophole" at the Institute of Contemporary Art, , in 2022, which toured to the (November 3, 2023–March 3, 2024), presenting new bronzes such as Bisi, Herm, and Vessel alongside earlier motifs like cowrie shells and face vessels. A concurrent solo at [Tate Modern](/page/Tate Modern), London, in late 2023 further surveyed her practice. Upcoming presentations include a touring exhibition co-presented by the Los Angeles County Museum of Art and the African American Museum in 2025, and "Recent Sculptures" at , opening October 3, 2025.

Participation in biennials and group shows

Leigh represented the at the 59th International Art Exhibition of La Biennale di Venezia in 2022, presenting the exhibition at the American Pavilion, which featured sculptures, installations, and her debut video work . This marked the first time an African American woman was selected for the U.S. representation at the event. Her sculptures appeared in the at the of American Art in both 2012 and 2019, including works such as Stick from a series begun in 2016 during the latter iteration. Leigh participated in Documenta 14 in and in 2017, the 32nd Bienal de in 2016, and the 10th for in 2018. She also exhibited in the Sydney and Sharjah , among other international surveys. Notable group exhibitions include Grief and Grievance: Art and Mourning in America at the in New York in 2021, which addressed themes of loss and racial injustice through . Earlier presentations featured her work at the in shows such as 30 Seconds Off an Inch in 2010 and The Bearden Project in 2012. Additional group contexts encompass The Contemporary Figure at the in 2020 and Duro Olowu: Seeing at the .

Recent and upcoming displays

In 2023 and 2024, a major survey of Leigh's work, organized by the Institute of Contemporary Art Boston, traveled to the in (November 3, 2023–March 3, 2024), where it featured three new bronze sculptures—Bisi, Herm, and Vessel (all 2023)—alongside earlier pieces exploring themes of female subjectivity and . The exhibition then moved to a joint presentation at the Los Angeles County Museum of Art and California African American Museum (May 26, 2024–January 20, 2025), displaying over 35 works including nine from her 2022 pavilion. From April 28 to November 5, 2025, the in , , hosted Simone Leigh: Anatomy of Architecture, Leigh's first solo in the country, featuring sculptures and installations that examine forms inspired by African and diasporic histories. Concurrently, in , , presented Simone Leigh: Recent Sculptures (October 3, 2025–March 15, 2026), showcasing two monumental works—Bisi (2023), a 15-foot figure evoking Yoruba , and Untitled (2023–2024), a glazed vessel form—curated to highlight transatlantic cultural dialogues. Looking ahead, Leigh's largest exhibition to date is scheduled for the Royal Academy of Arts in starting September 2027, encompassing new monumental sculptures focused on , matrilineage, and resistance under authoritarian contexts, with over 30 works spanning her career. Additionally, her installations remain on long-term view at Glenstone Museum in , as part of Anatomy of Architecture.

Recognition and awards

Prestigious honors and prizes

Simone Leigh received the John Simon Guggenheim Memorial Foundation Fellowship in 2016, recognizing her innovative exploration of Black female subjectivity through , video, and installation. In 2017, she was awarded the Joyce Alexander Wein Artist Prize by the , a $50,000 honor granted annually to an African American artist demonstrating exceptional innovation and potential, selected from nominations by art professionals. Leigh won the Hugo Boss Prize in 2018, the Guggenheim Museum's biennial award for significant achievement in , which included a $100,000 cash prize and a solo exhibition titled Loophole of Retreat at the museum in 2019. Her representation of the at the 59th in 2022 earned her the for best national participation, the event's highest honor for a pavilion, marking the first time two women artists—Leigh and —received the award simultaneously. Additional recognitions include the Foundation for Contemporary Arts Grant in 2018 and the Soros Arts Fellowship in 2020, supporting her ongoing projects in and socially engaged .

Institutional roles and affiliations

Simone Leigh has held residencies at key cultural institutions, providing platforms for her socially engaged practice. In 2010, she was selected for the residency program at the , which culminated in a solo exhibition of her ceramic and installation works exploring Black female subjectivity. During her 2016 artist residency at the in New York, Leigh convened and founded Black Women Artists for (BWAforBLM), a of Black women artists formed in response to ongoing police violence against Black communities, including events such as public forums and solidarity actions. The group emerged from discussions prompted by incidents like the 2016 , emphasizing communal activism within the art world. In the same year, Leigh participated in a residency at Tate Exchange in , where she developed the , a series of intergenerational workshops, forums, and performances focused on and knowledge transmission among . These residencies underscore her affiliations with institutions prioritizing experimental and community-oriented art, though she has not held formal teaching positions or board seats at academic or nonprofit entities based on available records.

Critical reception

Artistic merits and influences

Simone Leigh's artistic practice draws extensively from African and African diasporic traditions, including vernacular objects such as face jugs and shells, which she integrates into and bronze forms to evoke historical and cultural resonances. Her influences also encompass , ancestry among Black potters, architects, and scholars, and premodern techniques from West African and Native American ceramics, which inform her auto-ethnographic approach to . Leigh transforms everyday forms like houses, jugs, and pots into abstracted figures of , blending performance elements with installations that prioritize anonymity and labor embedded in these objects. In technique, Leigh employs salt-glazed ceramics and for , often creating faceless heads adorned with delicate rosettes or shell-like motifs in varying hues, which allow for a tactile exploration of form over literal representation. This shift from ceramics to larger-scale bronzes has enabled monumental sculptures that emphasize materiality and scale, drawing from architectural motifs to challenge conventional portraiture. Critics have praised Leigh's merits for centering female subjectivity through incisive, unadorned intercessions that prioritize the concerns and intellectual fluidity of , fostering spaces of care and transformation without national or individualistic markers. Her works are lauded for pulling from diverse traditions to address historical misrepresentations, employing graphic research and social action to highlight the anonymity of labor in . This approach has been recognized for its reverence toward women's bodies and practices, rendering majestic, weighty forms that resist reductive narratives.

Criticisms of style and thematic focus

Critic Seph Rodney, writing in Hyperallergic in July 2019, critiqued Leigh's stylistic approach in the exhibition Loophole of Retreat at the as overly withholding and inert. He described her sculptures, such as Sentinel (Variation I) (2019), as "assertive but blank," observing that they "don’t seduce; [they] don’t explain, [and] don’t invite you in" but instead "repel," fostering a "zone of reserve" that silences the viewer and resists reciprocal engagement. This opacity, achieved through materials like brick, raffia, and porcelain in faceless, abstracted forms, was seen by Rodney as checking viewer impulses for emotional connection or interpretation, potentially limiting the work's accessibility beyond those already attuned to its referential silences. Thematically, Rodney linked this stylistic restraint to Leigh's emphasis on female interiority and historical erasure, interpreting the resulting "debris of " as a deliberate refusal of explanatory narratives rooted in Pan-African and feminist traditions. However, he implied this focus could constrain dialogue, prioritizing unyielding resistance over broader provocation or elucidation, which might reinforce insularity rather than challenge dominant gazes more confrontationally. Such observations echo occasional broader reservations in about the risks of thematic insularity in identity-centered practices, though explicit detractors remain few amid predominant praise for Leigh's innovations in ceramics and monumental scale.

Political engagement and controversies

Public statements on politics and society

In 2016, during her residency at the , Simone Leigh founded the collective Black Women Artists for (BWAforBLM), convening over 100 Black women artists in response to ongoing institutionalized violence against Black lives, including the police . The group organized a public event on September 1, 2016, featuring healing workshops, performances, and discussions emphasizing the interdependence of care, action, visibility, , and in combating . Leigh has publicly critiqued systemic racism and white privilege, asserting that denial of these issues is willful rather than due to ignorance. In a 2020 conversation, she stated, "I don’t believe that people don’t understand white privilege and systemic racism. I think they willfully deny it, and it’s really not my job to explain racism to white people," likening the expectation to explain oppression to bearing the burden after being assaulted. She has dismissed such explanations as "racial kindergarten," arguing that Black scholarship has advanced beyond basic advocacy for white audiences. Her statements often highlight as a framework for , drawing from historical models like medical clinics. In a 2014 , Leigh described her installations as focused on "Funk, God, , and Medicine as sites of black radical , expression, and world building," while noting challenges in implementing free healthcare models against profit-driven systems. She has advocated for art that imagines post-abolition realities, stating in 2019, "Thinking about abolition or moments of political upheaval, what do we want to make after that? I want to explore that, so the work can still have this grittiness, while there’s also a healthy aspect of being able to imagine another reality." In recent comments, Leigh has addressed broader political pressures, describing the U.S. as operating "under full-time fascism" and viewing the Trump administration as a that exposed national fault lines. She positions art as a tool to process and resist such conditions, emphasizing Black women's knowledge production in care and resilience as strategies for amid societal opacity toward Black histories.

Debates over identity politics in her oeuvre

Leigh's sculptures and installations, which frequently evoke anonymous Black female figures drawing from African, Caribbean, and American vernacular forms, have elicited debates over whether they advance as a vehicle for empowerment or reinforce insular communal narratives at the expense of universality. Critics from within progressive circles have faulted her for emphasizing representation over confrontation with power structures; during the , activists including Hannah Black protested the inclusion of works like Leigh's Brick House, arguing they prioritized "inclusion, discussion, and representation" rather than "real politics" targeting institutional complicity, such as the museum's ties to weapons manufacturer Warren B. Kanders. Leigh responded on , defending her praxis as rooted in historical references—like the communal architecture of Southern Black churches—that demand viewer contextualization, though this stance drew further scrutiny for presuming audience alignment with her cultural lexicon. Dissenting analyses extend this to charge her oeuvre with isolating non-insiders, rendering political content "empty" by subordinating individual nuance to collective Black feminist subjectivity. An opinion in The Student Life (2025) critiqued Leigh's Biennial and LACMA contributions for a disconnect between form and intent, where convoluted explanatory texts fail to bridge experiential gaps, exemplifying how identity-focused can "isolate the viewer from her ideas" and prioritize demographic signaling over substantive radicalism. Such views align with broader skepticism in art discourse toward ' dominance, where exhibitions like As We Were Saying: Art and Identity in the Age of 'Post' (2014) positioned Leigh's figural explorations of the "other" as probing difference's enduring matter amid claims of post-racial or post-critical shifts, yet risked artists within racial categories. Proponents counter that Leigh's non-representational strategies—employing abstraction and refusal—sidestep identity politics' pitfalls of legibility and assimilation, fostering opacity that preserves Black women's autonomy from voyeuristic consumption. Academic arguments frame pieces like Underground (2017) as enacting "refusal" to engage dominant representational demands, thus innovating beyond reductive group essentialism toward ethical withdrawal. This tension underscores institutional art criticism's tendency—prevalent in academia and galleries—to valorize identity themes as inherently progressive, often overlooking causal limits on cross-cultural resonance or artistic universality in favor of affinity-based validation.

Art market and economic impact

Auction performance and sales records

Simone Leigh's auction performance has demonstrated robust demand, particularly for her large-scale and mixed-media sculptures, with prices escalating in tandem with her rising institutional profile. As of , Artprice records 53 auction results for her works, primarily sculptures, ranking her 131st among the world's top-selling living s by turnover. Her current record was set on May 14, 2025, when Sentinel IV (2020), a from an edition of three (dimensions 325.1 x 63.5 x 38.1 cm), sold for $5,737,000 including at 21st Century Evening Sale in New York—$2.65 million above her prior benchmark, representing an 85% increase. This surpassed the previous high of $3.08 million for Las Meninas II (2019), a terracotta, , raffia, and figurative work (181.6 x 196.9 x 157.5 cm), realized at Contemporary Evening Auction on May 18, 2023. Leigh achieved her first sub-$1 million threshold-crossing sale in May 2022 at New Now Evening Auction, establishing an initial seven-figure benchmark amid broader market enthusiasm for contemporary Black women artists. In the spring 2023 sales cycle, she updated her record twice within a week: first with Stick (2019), a (215.9 x 160 x 160 cm), fetching $2.7 million at on , followed by the Las Meninas II result at . Recent market data from Artsy indicates a strong sell-through rate of 86.6% over the last 36 months, with four lots sold annually on average and realized prices averaging approximately $1 million—27% above estimates—underscoring consistent bidder interest despite a selective offering of her works at . Lower-end , such as smaller ceramics or photographs, have ranged from $500 upward, but premiums accrue to monumental pieces evoking Black female subjectivity through abstracted forms.

Influence of institutional support on valuation

Simone Leigh's ascent in the has been markedly accelerated by endorsements from prestigious institutions, which provide curatorial validation and enhanced visibility to high-net-worth collectors, thereby elevating demand and prices for her works. Her selection to represent the at the 59th in 2022 with the exhibition , the first by a Black woman artist for the U.S. pavilion, coincided with a surge in performance; prior to the Biennale, her highest result was $403,000 for No Face (House) (2020) at in November 2021, but by May 2023, Las Meninas II (2019) fetched $3.1 million at , more than seven times the prior peak. This institutional , including the Biennale's estimated $7 million funded through public and foundation support, signals artistic legitimacy in a market where curatorial choices by bodies like the U.S. State Department and NEA influence collector confidence. Post-Biennale, Leigh's sculptures commanded escalating records, with Stick (2019) selling for an undisclosed sum exceeding prior benchmarks in May 2023 at , followed by Sentinel IV (2020) achieving $5.74 million (including fees) at New York in May 2025, an 85% increase over her previous high. Such trajectories reflect how biennial-scale exposure amplifies liquidity, as evidenced by 53 documented auction results by 2025, predominantly sculptures, with prices scaling from mid-six figures pre-2022 to multimillions thereafter. Gallery affiliations, often intertwined with institutional momentum, further buttress valuation; Leigh's transition from (until 2021) to Matthew Marks Gallery aligned with her prominence, facilitating sales in the $400,000 range for large-scale pieces shortly after. Institutional exhibitions at venues like the (2022 Biennial) and forthcoming shows at of Arts (2027) sustain this cycle, where museum acquisitions and loans to public collections reduce available supply while endorsing rarity, driving premiums amid collector competition. Critics note that such support, while merit-based in Leigh's case through consistent thematic rigor, can inflate values beyond intrinsic material costs—her glazed and works—by leveraging in an sensitive to prestige signals.

Personal life

Family and relationships

Leigh was born in 1967 in to parents of Jamaican descent who served as missionaries for the . Her father, Gilbert Obadiah Leigh, worked as a preacher after immigrating from . She grew up on Chicago's South Side amid , influenced by her family's religious commitments. In 1994, Leigh married photographer Yuri Marder, whom she had known as a . Their , , was born in 1996, after which Leigh paused her artistic career to serve as a full-time mother for five years. The marriage ended in , with Leigh and Marder sharing custody of . Limited public details exist on subsequent relationships, reflecting Leigh's emphasis on in personal matters.

Health, residence, and daily practice

Simone Leigh resides and maintains her studio in , New York, specifically in the Red Hook neighborhood. Little public information exists regarding Leigh's personal , with no documented major medical conditions or issues reported in biographical accounts; she has sustained an active career involving physically demanding studio work into her late 50s. Leigh's daily artistic practice revolves around interdisciplinary production in her studio, encompassing ceramics, , video, and projects that explore female subjectivity and historical narratives. Her routine historically balanced studio time with curatorial and community-oriented initiatives, such as free health workshops and installations providing services like and herbalism, though these have evolved into more sculptural focus in recent years.

References

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