At 83 years old, photographer Coreen Simpson continues to find excitement in her craft, having built an extraordinary career capturing some of the most influential figures of our time. Her newly released photo book, "Coreen Simpson: A Monograph," published as part of Aperture's Vision & Justice project, showcases decades of compelling imagery that reveals both the quiet luminosity and commanding presence of her subjects.
Simpson's path to photography began unconventionally. While working as an assistant curator at the Studio Museum in Harlem, she created an unofficial photography studio in her office and took it upon herself to photograph visiting artists. "I made up this whole thing, 'I'm Coreen Simpson, and I would like to do an official portrait of you,'" she recalls. This bold approach led to one of her most striking works - a 1978 portrait of author Toni Morrison.
The Morrison photograph exemplifies Simpson's artistic vision. The literary giant gazes directly into the camera with a cigarette held effortlessly in her hand, creating a powerful gesture of influence and authority. When Morrison initially moved to extinguish her cigarette for the shoot, Simpson intervened: "But it looks so glamorous with the cigarette. This is you. Allow me to take the picture." The resulting image captures shadows that seem to separate Morrison from the world, compelling viewers to reckon with her formidable presence.
Simpson's journey into photography began in 1976 when she realized she could create better images than those illustrating her freelance lifestyle writing. She contacted her friend Walter Johnson, a street photographer who worked at a Manhattan photo lab and whom she knew from her modeling days, asking him to teach her camera techniques. Once she learned the basics, she became unstoppable, driven by her belief that "great images are the key to having a successful published story."
"You have to feel good about yourself, and good about the article that you're presenting to the public," Simpson explains. "So what makes it good? It's the visuals. The visuals make it good." She attributes her photographic success to survival instincts developed during her childhood in foster care. "I like photography cause it's like you have to survive. You have to get the photograph, damn it. That's what the editor wants, and it's so exciting."
Beyond photography, Simpson built a successful jewelry business almost by accident. When her friend Richard, who worked for Vogue's chief curator, invited her to sell old clothes in the West Village, she brought some jewelry along. After several successful Saturdays selling items on a blanket, they decided to take jewelry-making classes to create more pieces. As her designs improved and she raised prices, downtown customers balked at the costs, leading a customer to suggest she sell in front of Bendels on 57th Street instead.
The jewelry business flourished in 1989 when editor Audreen Ballard commissioned Simpson to create a Black Cameo after she had trained for several years at the New School. The success of her Black Cameo line provided financial stability that supplemented her photography income. "When I'm making jewelry with my hands, I'm always thinking, what am I doing with photography?" Simpson reflects. "When I'm doing the photography, I'm thinking about the jewelry, so it works. It's very interesting how my mind works."
Simpson's portrait work spans from street photography in Harlem to iconic figures including James Baldwin, Jean-Michel Basquiat, and Andy Warhol, as well as capturing New York City's vibrant nightlife scene. Her camera, which she describes as a passport, has led to extraordinary opportunities. On the eve of Muhammad Ali's 1976 fight against Ken Norton at Yankee Stadium, she stood outside photographing attendees despite not having a ticket.
A chance encounter changed everything when a man approached asking if she'd like to meet Ali. "Of course!" she responded excitedly. "Come with me, and I will introduce you to him," he replied. Flashing her NBC work badge from her job as a union contractor, Simpson was invited to be the only photographer walking behind Ali as he entered the ring. After the fight, Ali invited her to attend the after-party events, leading to her first national magazine publication when she pitched the images to Black Sports magazine.
As a single mother raising two young children, Simpson persisted in creating opportunities by following her passions and refusing to accept rejection. She draws inspiration from James Baldwin's philosophy: "Go with the blood beats, and that means do what excites you. Whatever it is, just go [do] what excites you." Her advice to young photographers today reflects this spirit: "Don't wait for a magazine to give you an assignment."
Simpson's monograph reveals the full scope of her artistic vision, from black-and-white portraits that capture the heart and soul of subjects to experimental work featuring masks that challenge viewers' perceptions of women's bodies. Her compassionate approach to photography, combined with her entrepreneurial spirit and unwavering determination, has created a legacy that continues to inspire. "I've never gotten bored [with photography], but I used to get bored very easily with things," she says. "It's fascinating to me that it has just enriched my life completely."
