Lorna Simpson’s Black American Sublime 

As an ardent admirer of Lorna Simpson’s work, I find it necessary to express my mixed feelings regarding Source Notes — a solo exhibition showcasing her paintings at The Met. While the conceptual framework remains powerful, intertwining archival elements from Ebony and Jet magazines with striking imagery of Arctic glaciers and meteorite landscapes, the execution at such a grand scale presents notable challenges.

Simpson integrates significant historical narratives, notably featuring Matthew Henson, an African-American Arctic explorer who may have been the first to reach the North Pole in 1909. This approach firmly embeds Black history within the Romantic painting tradition, recalling the Burkean sublime, which captures the awe and terror evoked by vast landscapes. Art enthusiasts will find rich connections to the sublime works of artists like Caspar David Friedrich or Peder Balke, both of whom have had recent exhibitions at The Met.

However, these remarkable themes do not always translate effectively to the scale of the paintings, which can reach dimensions of 12 by 8 1/2 feet (~3.7 by 2.6 meters). Though Simpson’s photographic collages deliver a potent compositional impact, some of the larger paintings paradoxically feel like pixelated images enlarged beyond their optimal resolution. The expansive canvas surface causes certain works, such as “Ice 8” (2018) and “Vanish” (2019), to come across as visually sparse upon close inspection, lacking the depth that defines much of Simpson’s earlier photographic pieces. It raises questions about the current art market’s inclination towards larger works, sometimes at the expense of artistic nuance. In this context, some of the smaller photo collages, displayed under glass, emerge as the most compelling pieces within the exhibition.

Nonetheless, this isn’t an argument for photographers to remain confined to their traditional mediums. Two specific paintings demand attention for their potential: “Night Fall” (2023) captivates with its icy portrayal of a woman set against an inverted waterfall, with fluid pigments cascading from her chest like dye in water. The rugged contours of the encasing rocks evoke the wings of a blue morpho butterfly. Experiencing this piece is akin to a chilling embrace. It’s a formidable artwork, and one can only hope that it finds a permanent home in a museum rather than a private collection.

Similarly, “Detroit (Ode to G.)” (2016) presents a more cohesive composition, aided by its modular structure, which resonates with the explosive energy it seeks to depict.

The uneven quality present in Source Notes might indicate a rushed exhibition timeline or perhaps a mismatch between what the artist envisions and what can be achieved by the gallery. I found myself wishing for an iteration of the exhibition that paired her dynamic photo collages with a more curated selection of her larger paintings, showcasing her full artistic prowess.

The exhibition Lorna Simpson: Source Notes will be on display at the Metropolitan Museum of Art (1000 Fifth Avenue, Upper East Side, Manhattan) through November 30. It is curated by Lauren Rosati.