CHICAGO — The Art Institute of Chicago is currently showcasing the innovative work of Diane Simpson, featuring her first three outdoor sculptures on the rooftop terrace. This exhibition marks a significant milestone in Simpson’s career, alongside a group show at the gallery Corbett vs. Dempsey, where two notable pieces are on display.
Simpson’s sculptures stand apart from traditional works due to their unique three-dimensional perspectives. Unlike conventional sculptures that maintain a consistent view as one moves around them, her creations present contradictory angles. From one side, a piece may appear deep, while from another, it may seem flat. This visual complexity arises from Simpson’s method of inspiration, which involves starting with real-world objects—such as samurai armor and furniture—and translating them through isometric projection. This drawing technique, prevalent in engineering and historical art, maintains parallel lines and angles, creating a sculptural experience that challenges the viewer’s perception of space.
Diane Simpson, born in 1935 in Joliet, Illinois, has enjoyed a remarkable career resurgence in recent years, particularly notable given her age. Over the past decade, she has achieved several significant milestones, including her first participation in the Whitney Biennial and her first solo exhibitions in museums. While her earlier career relied heavily on connections and timing, Simpson’s persistence and innovative approach have garnered her newfound recognition.
Throughout her career, Simpson has divided her work into distinct series, each beginning with a common theme—such as headgear or architectural elements. She employs a wide array of materials, often unrelated to her original inspirations, including medium density fiberboard (MDF), metal, and textile. Her meticulous fabrication process, conducted without assistance, showcases her inventiveness. The clever joints and curvatures in her sculptures, achieved through various techniques, exemplify her artistic mastery.
In the current exhibition at Corbett vs. Dempsey, two of Simpson’s works highlight her unique approach. “Thinly Veiled” (1985) draws inspiration from historical European garments, presenting a form that evokes both clothing and architectural design. “Neckline – extended” (2011) stands at seven feet tall, its cascading structure resembling a garment while also challenging viewers to interpret its form from different perspectives.
Simpson’s latest outdoor installation, titled “Good for Future,” includes three new commissions on the Art Institute’s terrace. The title references a note she made in the 1980s, encapsulating her ongoing creative journey. These sculptures, featuring alternating colors of periwinkle, sky blue, and olive, resonate with the Chicago skyline while inviting viewers to engage with various interpretations of their forms, from architectural references to abstract shapes.
The exhibitions are currently open to the public, with “Good for Future” running until April 19, 2026, at the Art Institute of Chicago, and the group show at Corbett vs. Dempsey continuing until February 28. These displays not only celebrate Simpson’s artistic achievements but also provide a compelling insight into her evolving practice and the unique challenges she presents to the conventions of sculpture.
