Taryn Simon

Taryn Simon, Memorandum of Understanding between the Royal Government of Cambodia and the Government of Australia Relating to the Settlement of Refugees in Cambodia. Ministry of Interior, Phnom Penh, Cambodia, September 26, 2014 (detail), from the series 'Paperwork, and the Will of Capital', 2015, archival inkjet print and text on archival herbarium paper in mahogany frame216 × 186 × 7 cm. Courtesy Gagosian Gallery © Taryn Simon 

Taryn Simon speaks about her new project, a collaboration with a nuclear facility in Russia

Trevor Paglen, Trinity Cube, 2015, irradiated glass from the Fukushima Exclusion Zone, Trinitite, 20 x 20 x 20 cm

Various venues, Fukushima & Watari Museum, Tokyo, Japan

Talks

Presents her recent work, A Living Man Declared Dead and Other Chapters I–XVIII (2012)

Talks

How do contemporary artists accept or reject the strategies of reportage?

Art has a long history of engagement with politics. Does recent so-called socially engaged or political art really effect change?

White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas (2007)

Taryn Simon’s photographs of restricted locations reveal an unsettling side to the American Dream