The Walker Arts Center continues to flesh out what is considerably a very dynamic exhibition schedule for the next two years. Additions to the Walker Art Center’s 2020–2021 exhibition schedule include two new solo exhibitions by female artists, Faye Driscoll: Thank You for Coming(February 27–June 14, 2020) and Candice Lin(April 17–August 29, 2021) as well as a Walker collection show of women artists, Don’t let this be easy(July 16–March 14, 2021). For her first solo museum exhibition, Faye Driscoll incorporates a guided audio soundtrack, moving image works, and props to look back across the entirety of her trilogy of performances Thank You For Coming—Attendance(2014), Play(2016), and Space(2019)—works that were presented and co-commissioned by the Walker and subsequently toured around the world over the past six years. Another newly added exhibition, Candice Lin, is the first US museum solo show by the artist, co-organized by the Walker Art Center and the Carpenter Center for Visual Arts (CCVA). Lin is creating a site-specific installation that responds to the space of the gallery at each institution, allowing the shape of the work to evolve over the course of its presentation.
The Walker-organized exhibition Don’t let this be easy highlights the diverse and experimental practices of women artists spanning some 50 years through a selection of paintings, sculptures, moving image works, artists’ books, and materials from the archives.
The initiative is presented in conjunction with the Feminist Art Coalition (FAC), a nationwide effort involving more than 60 museums committed to social justice and structural change.
Other upcoming exhibitions include An Art Of Changes: Jasper Johns Prints, 1960–2018 (February 16–September 20, 2020), a survey of six decades of Johns’ work in printmaking drawn from the Walker’s complete collection of the artists’ prints including intaglio, lithography, woodcut, linoleum cut, screenprinting, lead relief, and blind embossing; The Paradox of Stillness: Art, Object, and Performance (formerly titiled Still and Yet) (April 18–July 26, 2020), is an exhibition that rethinks the history of performance featuring artists whose works include performative elements but also embrace acts, objects, and gestures that refer more to the inert qualities of traditional painting or sculpture than to true staged action.
Additional exhibitions include Michaela Eichwald’s (June 13–November 8, 2020) first US solo museum presentation, bringing together painting, sculpture, and collage from across the past 10 years of her practice; Designs for Different Futures (September 12, 2020 – January 3, 2021)—a collaborative group show co-organized by the Walker Art Center, Philadelphia Museum of Art, and the Art Institute of Chicago—brings together about 80 dynamic works that address the challenges and opportunities that humans may encounter in the years, decades, and centuries to come; Rayyane Tabet(December 10, 2020– April 18, 2021), a solo show by the Beirut-based multidisciplinary artist featuring a new installation for the Walker that begins with a time capsule discovered on the site of what was once an IBM manufacturing facility in Rochester, Minnesota.
AN ART OF CHANGES: JASPER JOHNS PRINTS, 1960–2018, February 16–September 20, 2020
When Jasper Johns’s paintings of flags and targets debuted in 1958, they brought him instant acclaim and established him as a critical link between Abstract Expressionism and Pop Art. In the ensuing 60 years, Johns (US, b. 1930) has continued to astonish viewers with the beauty and complexity of his paintings, drawings, sculpture, and prints. Today, he is considered one of the 20th century’s greatest American artists.
In celebration of the artist’s 90th birthday, An Art of Changes surveys six decades of Johns’s work in printmaking, highlighting his experiments with familiar, abstract, and personal imagery that play with memory and visual perception in endlessly original ways. The exhibition features some 90 works in intaglio, lithography, woodcut, linoleum cut, screenprinting, and lead relief—all drawn from the Walker’s comprehensive collection of the artist’s prints.
Organized in four thematic sections, the show follows Johns through the years as he revises and recycles key motifs over time, including the American flag, numerals, and the English alphabet, which he describes as “things the mind already knows.” Some works explore artists’ tools, materials, and techniques. Others explore signature aspects of the artist’s distinctive mark-making, including flagstones and hatch marks, while later pieces teem with autobiographical imagery. To underscore Johns’s fascination with the changes that occur when an image is reworked in another medium, the prints will be augmented by a small selection of paintings and sculptures.
Curator: Joan Rothfuss, guest curator, Visual Arts.
Exhibition Tour Carnegie Museum of Art, Pittsburgh: October 12, 2019–January 20, 2020 Walker Art Center, Minneapolis: February 16–September 20, 2020 Grand Rapids Art Museum, Michigan: October 24, 2020–January 24, 2021 Tampa Art Museum, Florida: April 28–September 6, 2021
It looks as if it will be another banner year of thought-provoking and wide-ranging exhibitions during the coming year at The Whitney Museum of American Art. (And one should not expect any less.) Announcing the schedule for 2020 at the Whitney Museum of American Art, Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator, noted: “In 2020 the Whitney will celebrate its ninetieth anniversary and fifth year downtown, so we’ve created a program that truly honors the spirit of artistic innovation both past and present. We remain focused on supporting emerging and mid-career artists, while finding fresh relevance in historical surveys from across the twentieth century. Also turning ninety, Jasper Johns closes out the year with an unprecedented retrospective that will reveal this American legend as never before to a new generation of audiences.”
February 17 the Museum opens Vida Americana: Mexican
Muralists Remake American Art, 1925–1945, a major
historical look at the transformative impact of Mexican artists on
the direction of American art from the mid-1920s until the end of
World War II. On October 28, in collaboration with thePhiladelphia Museum of Art,
a landmark retrospective of the work of Jasper Johns goes on
view simultaneously at both museums, paying tribute to the foremost
living American artist. In addition, the Whitney will devote
exhibitions to Julie Mehretu and Dawoud Bey, prominent
midcareer artists. The Mehretu exhibition, co-organized by the
Whitney with theLos Angeles
County Museum of Art, encompasses over two decades of the
artist’s work, presenting the most comprehensive overview of her
practice to date. In November, Dawoud Bey, one of the leading
photographers of his generation, will receive his first full-scale
retrospective, co-organized by the Whitney and the San
Francisco Museum of Modern Art (SFMOMA).
Museum will also present Agnes Pelton: Desert
Transcendentalist—organized by the Phoenix
Art Museum—the first exhibition of work by the visionary
symbolist in nearly a quarter century; and Working Together:
The Photographers of the Kamoinge Workshop, an unprecedented
exhibition organized by the Virginia
Museum of Fine Arts, which chronicles the formative years of
this collective of Black photographers who lived and worked in New
York City. The year will also bring a range of focused exhibitions
dedicated to emerging and midcareer artists, including Darren
Bader, Jill Mulleady, Cauleen Smith, and Salman Toor, as
well as Dave McKenzie and My Barbarian, who continue
the Whitney’s commitment to performance and its many forms.
September the Museum will also unveil David Hammons’s
monumental public art installation Day’s End on Gansevoort
Peninsula, across the street from the Whitney. The debut of
this public artwork will be preceded by an exhibition entitled Around
Day’s End: Downtown New York, 1970–1986, which will
present a selection of works from the Museum’s collection related
to the seminal work that inspired Hammons’s sculpture: Gordon
Matta-Clark’s Day’s End (1975).
EXHIBITIONS AND EVENTS
Americana: Mexican Muralists Remake American Art, 1925–1945”,
February 17–May 17, 2020
cultural renaissance that emerged in Mexico in 1920 at the end of
that country’s revolution dramatically changed art not just in
Mexico but also in the United States. With approximately 200 works by
sixty American and Mexican artists, Vida Americana reorients
art history, acknowledging the wide-ranging and profound influence of
Mexico’s three leading muralists—José Clemente Orozco, David
Alfaro Siqueiros, and Diego Rivera—on the style, subject
matter, and ideology of art in the United States made between 1925
and 1945. By presenting the art of the Mexican muralists alongside
that of their American contemporaries, the exhibition reveals the
seismic impact of Mexican art, particularly on those looking for
inspiration and models beyond European modernism and the School of
by both well-known and underrecognized American artists will be
exhibited, including Thomas Hart Benton, Elizabeth Catlett, Aaron
Douglas, Marion Greenwood, Philip Guston, Eitarō Ishigaki, Jacob
Lawrence, Isamu Noguchi, Jackson Pollock, Ben Shahn, Thelma Johnson
Streat, Charles White, and Hale Woodruff. In addition to
Orozco, Rivera, and Siqueiros, other key Mexican artists in the
exhibition include Miguel Covarrubias, María Izquierdo, Frida
Kahlo, Mardonio Magaña, Alfredo Ramos Martínez, and Rufino
Organized by Barbara Haskell, curator, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant. (See previously-posted article here.)
Mehretu, June 26–September 20, 2020
This mid-career survey of Julie Mehretu (b. 1970; Addis Ababa, Ethiopia), co-organized by The Whitney with the Los Angeles County Museum of Art (LACMA), covers over two decades of the artist’s career and presents the most comprehensive overview of her practice to date. Featuring approximately forty works on paper and more than thirty paintings dating from 1996 to today, the exhibition includes works ranging from her early focus on drawing and mapping to her more recent introduction of bold gestures, saturated color, and figuration. The exhibition will showcase her commitment to interrogating the histories of art, architecture, and past civilizations alongside themes of migration, revolution, climate change, and global capitalism in the contemporary moment. Julie Mehretu is on view at LACMA November 3, 2019–March 22, 2020, and following its presentation at the Whitney from June 26 through September 20, 2020, the exhibition will travel to the High Museum of Art, Atlanta, GA (October 24, 2020–January 31, 2021); and the Walker Art Center, Minneapolis, MN (March 13–July 11, 2021).
Mehretu is curated by Christine Y. Kim, associate curator
in contemporary art at LACMA, and Rujeko Hockley, assistant
curator at the Whitney.
Johns, Opens October 28, 2020
Johns (b. 1930) is arguably the most influential living American
artist. Over the past sixty-five years, he has produced a radical and
varied body of work marked by constant reinvention. In an
unprecedented collaboration, the Philadelphia Museum of Art and the
Whitney will stage a retrospective of Johns’s career simultaneously
across the two museums, featuring paintings, sculptures, drawings,
and prints, many shown publicly for the first time. Inspired by the
artist’s long-standing fascination with mirroring and doubles, the
two halves of the exhibition will act as reflections of one another,
spotlighting themes, methods, and images that echo across the two
venues. A visit to one museum or the other will provide a vivid
chronological survey; a visit to both will offer an innovative and
immersive exploration of the many phases, facets, and masterworks of
Johns’s still-evolving career.
The Whitney Museum of American Art announced today that its 2021 Biennial, the 80th edition, will be co-organized by two brilliant members of the Museum’s curatorial department, David Breslin and Adrienne Edwards. The 2021 Whitney Biennial exhibition will open in the spring of 2021 and is presented by Tiffany & Co., which has been the lead sponsor of the Biennial since the Museum’s move downtown.
Pratt Brown Director Adam D. Weinberg noted: “The central
aim of the Biennial is to be a barometer of contemporary American
art. Each Biennial is a reflection of the cultural and social moment
as it intersects with the passions, perspectives, and tastes of the
curators. David and Adrienne will be a great team. They are
inquisitive, curious, and are acutely attuned to the art of the
current moment. No doubt they will bring fresh outlooks to this
historic exhibition and reinvent it for these complex and challenging
a long history of exhibiting the most promising and influential
artists and provoking debate, the Whitney Biennial is the Museum’s
signature survey of the state of contemporary art in the United
States. The Biennial, an invitational show of work produced in the
preceding two years, was introduced by Gertrude Vanderbilt Whitney in
1932, and it is the longest continuous series of exhibitions in the
country to survey recent developments in American art.
Initiated by founder Gertrude Vanderbilt Whitney in 1932, the Whitney Biennial is the longest-running survey of American art. More than 3,600 artists have participated, including Edward Hopper, Georgia O’Keeffe, Jacob Lawrence, Alexander Calder, Louise Bourgeois, Joan Mitchell, Jackson Pollock, Willem de Kooning, Robert Rauschenberg, Claes Oldenburg, Roy Lichtenstein, Agnes Martin, Cy Twombly, Andy Warhol, Ellsworth Kelly, Richard Serra, Lynda Benglis, Frank Bowling, Joan Jonas, Barbara Kruger, Jean-Michel Basquiat, Jenny Holzer, David Wojnarowicz, Glenn Ligon, Yvonne Rainer, Zoe Leonard, Kara Walker, Cindy Sherman, Nan Goldin, Mike Kelley, Lorna Simpson, Renée Green, Wade Guyton, Julie Mehretu, Cecilia Vicuña, Mark Bradford, Daniel Joseph Martinez, Ellen Gallagher, Rachel Harrison, Wu Tsang, Nick Mauss, Sarah Michelson, Laura Owens, Postcommodity, Pope.L, Jeffrey Gibson, and Tiona Nekkia McClodden.
The biennials were originally organized by medium, with painting alternating with sculpture and works on paper. Starting in 1937, the Museum shifted to yearly exhibitions called Annuals. The current format—a survey show of work in all media occurring every two years—has been in place since 1973. The 2019 Biennial (still on partial view on the Museum’s sixth floor until October 27) was organized by two Whitney curators, Jane Panetta and Rujeko Hockley. It featured seventy-five artists and collectives working in painting, sculpture, installation, film and video, photography, performance, and sound.
Breslin was recently named the DeMartini Family Curator and
Director of Curatorial Initiatives, a role he will assume this
month. Since joining the Museum in 2016 as DeMartini Family Curator
and Director of the Collection, Breslin has spearheaded the Museum’s
collection-related activities, curating a series of major collection
exhibitions and overseeing acquisitions. Working closely with his
curatorial colleagues, he has organized or co-organized four timely
and thematized collection displays, including Where We Are:
Selections from the Whitney’s Collection, 1900–1960, An
Incomplete History of Protest: Selections from the Whitney’s
Collection, 1940–2017, Spilling Over: Painting Color
in the 1960s, and The Whitney’s Collection:
Selections from 1900 to 1965, which is currently on view on
the Museum’s seventh floor. In 2018, he co-curated (with David
Kiehl) the landmark retrospective David Wojnarowicz:
History Keeps Me Awake at Night.
came to the Whitney from the Menil Drawing Institute, where he
created an ambitious program of exhibitions and public and scholarly
events and helped to shape the design of the Institute’s new
facility. He also oversaw work on the catalogue raisonné of the
drawings of Jasper Johns and grew the collection. Prior to the
Menil, Breslin served as the associate director of the research and
academic program and associate curator of contemporary projects at
the Clark Art Institute in Williamstown, MA; he also oversaw
the Clark’s residential fellowship program and taught in the
Williams College Graduate Program in the History of Art.
Breslin co-edited Art History and Emergency: Crises in the Visual
Arts and Humanities (Yale University Press, 2016), a volume that
grew from a Clark Conference he organized with art historian Darby
2018, Adrienne Edwards was named Engell Speyer Family
Curator and Curator of Performance at the Whitney. Previously,
she served as curator of Performa since 2010 and as Curator at
Large for the Walker Art Center since 2016.
the Whitney, Edwards curated Jason Moran, the artist’s first
museum show, now on view on the Museum’s eighth floor. She
originated the exhibition at the Walker in 2018; it previously
traveled to the ICA Boston and the Wexner Center for the
Arts. The exhibition features a series of performances, Jazz on a
High Floor in the Afternoon, curated by Edwards and Moran. She
organized the event commencing the construction of David
Hammons’s Day’s End, featuring a commission by composer
Henry Threadgill and a “water” tango on the Hudson
River by the Fire Department of the City of New York’s
Marine Company 9. Earlier this year, Edwards organized Moved
by the Motion: Sudden Rise, a series of performances based on
a text co-written by Wu Tsang, boychild, and Fred Moten,
which presented a collage of words, film, movements, and sounds.
Performa, Edwards realized new boundary-defying commissions,
as well as pathfinding conferences and film programs with a wide
range of over forty international artists. While at the Walker, she
co-led the institution-wide Mellon Foundation Interdisciplinary
Initiative, an effort to expand ways of commissioning, studying,
collecting, documenting, and conserving cross-disciplinary works.
Edwards’s curatorial projects have included the critically
acclaimed exhibition and catalogue Blackness in Abstraction,
hosted by Pace Gallery in 2016. She also organized Frieze’s
Artist Awardand Live program in New York in 2018. Edwards
taught art history and visual studies at New York University
and The New School, and she is a contributor to the National
Gallery of Art’s Center for the Advanced Study in Visual Art’s
forthcoming publication Black Modernisms.
Rothkopf, the Whitney’s Senior Deputy Director and Nancy and Steve
Crown Family Chief Curator, said, “David and Adrienne truly
represent the best spirit and ideals of the Whitney. Not only are
they devoted to—and beloved by—living artists, but they bring to
the art of our time a deep historical and scholarly awareness. The
most recent editions of the Biennial have reaffirmed its vitality and
relevance, and I look forward to discovering how another pair of
Whitney curators will lend their voices to our signature exhibition.”
The first solo museum show of Jason Moran (b. 1975, Houston, Texas), the interdisciplinary artist who grounds his work in music composition, will make its New York debut at the Whitney September 20, 2019. Jason Moran, which originated at the Walker Art Center in Minneapolis in the spring of 2018, presents the range of art Moran has explored, from his own sculptures and drawings to collaborations with visual artists to performance and video.
An immersive installation will fill the Whitney’s eighth floor galleries from September 20, 2019 through January 5, 2020. The exhibition will be activated by in-gallery musical performances by the artist himself and by other musicians throughout the run of the show. Two marquee events unique to the Whitney’s presentation will include the New York premiere of Kara Walker’s Katastwóf Karavan (2018), a steam-powered calliope housed in a parade wagon, and a special twentieth anniversary concert for Moran’s trio, The Bandwagon.
Jason Moran is overseen at the Whitney by Adrienne Edwards, the Engell Speyer Family Curator and Curator of Performance, who originated the show at the Walker.
A renowned musician and composer known for jazz styles from stride piano to free improvisation, Moran’s experimental approach to artmaking aligns objects with sound in an effort to underscore their inherent theatricality. Whether executed through the medium of sculpture, drawing, or sound, his works bridge the visual and performing arts. In all aspects, Moran’s creative process is informed by one of the essential tenets of jazz music: the “set,” in which musicians come together to engage in a collaborative process of improvisation, riffing off of one another to create the musical experience.
Moran is one of the most vital and boundary-breaking creative voices
of our time, and his wide-ranging collaborations with other visual
and performing artists have had a profoundly generative effect on
their work as well as on his own artistic development,”
remarked Scott Rothkopf, the Whitney’s Senior Deputy Director and
Nancy and Steve Crown Family Chief Curator. “This exhibition
extends the Whitney’s long and vibrant history of presenting
artists who traverse the boundaries of the visual and performing arts
and brings together so many artists who are dear to the Museum. We’re
thrilled the show marks Adrienne Edwards’s curatorial debut in our
galleries and also Jason’s return to the Whitney, following his
appearances in Glenn Ligon: AMERICA in 2011 and our Biennial the
Jazz pianist, composer, and performance artist Jason Moran was born in Houston, Texas in 1975 and earned a degree from the Manhattan School of Music in 1997, where he studied with Jaki Byard. He was named a MacArthur Fellow in 2010 and has been the Artistic Director for Jazz at the Kennedy Center since 2014. Deeply invested in reassessing and complicating the relationship between music and language, Moran’s extensive efforts in composition, improvisation, and performance challenge the status quo while respecting the accomplishments of his predecessors.
is heartening to have the national tour of Jason’s exhibition
culminate in New York City, where he and so many of his collaborators
live and make their work. New York is where jazz has evolved, and the
venues that fostered it are referenced directly in the major
sculptures that serve as stages within the show,” noted
Edwards. “Presenting the exhibition at the Whitney makes for
a double ‘homecoming,’ since Jason and his collaborators have
long-standing histories with the Museum, having exhibited here or
featuring in our collection. Taking its cue from Jason’s art and
that of his collaborators, this show questions the boundaries between
artistic disciplines and how they are presented. It is a solo show
that is also a group show; it takes place in neither a white cube nor
a black box theater or nightclub, but rather in an in-between space
that is some combination of them all. It is a survey exhibition, yet
holds together like a singular art installation—at times a visual
art show and at other times a performance venue.”
Jason Moran, which originated at the Walker Art Center in Minneapolis in the spring of 2018, and has traveled nationally to the Institute of Contemporary Art in Boston and theWexner Center for the Arts, considers the artist’s solo and collaborative works as generative investigations that further the fields of experimental jazz, performance, and visual art. Shown together for the first time in this exhibition, Moran’s mixed-media “set” installations STAGED: Savoy Ballroom 1 (2015), STAGED: Three Deuces (2015), and STAGED: Slugs’ Saloon (2018) pay homage to iconic jazz venues of New York’s past. Collaboration has been central to Moran’s experiments, and among the many artists with whom he has collaborated are Stan Douglas, Lizzie Fitch and Ryan Trecartin, Theaster Gates, Joan Jonas, Glenn Ligon, Julie Mehretu, Adam Pendleton, Lorna Simpson, and Carrie Mae Weems. These collaborative works are exhibited here, many in a synchronized loop arranged by Moran on projection screens. Moran’s original musical scores and a recent selection of his charcoal drawings from the ongoing Run series, which give sculptural presence to sound, are also featured in the exhibition.
Sculptural vignettes based on storied New York City music venues, Moran’s STAGED works reimagine the architecture of these cultural landmarks and double as concert stages. STAGED: Savoy Ballroom 1 and STAGED: Three Deuces were part of Moran’s contributions to the 2015 Venice Biennale international exhibition All the World’s Future, curated by Okwui Enwezor. The latest sculpture from the series, STAGED: Slugs’ Saloon (2018), was commissioned for this exhibition by the Walker Art Center. Each is integrally connected to the social history and real politics of the venues for which they are named—important sites of invention and innovation in jazz that were also testing grounds of American policies of nondiscrimination at the height of the Jim Crow period of segregation.
The legendary Savoy Ballroom, which operated between 1926 and 1958 on Lenox Avenue in Harlem, was synonymous with the Swing Era and presented legendary big bands and performers, including Duke Ellington, Ella Fitzgerald, Cab Calloway, Chick Webb, and Count Basie. Moran’s STAGED: Savoy Ballroom 1 is lined with an ornate Dutch wax print fabric and features a lush curving wall and overhanging ceiling. The sculpture’s pristine veneer seems counter to the repetitive and droning prison work songs that emanate from speakers. Midtown Manhattan’s Three Deuces club, which operated on 52nd Street from the mid-1940s to 1950s, was an incubator for bebop pioneers like Dizzy Gillespie, Charlie Parker, and Max Roach. To evoke this seminal venue with STAGED: Three Deuces, Moran uses pale vinyl padding compressed under a barely eight-foot-tall ceiling and focuses on the corner of a room to conjure the compressed dimensions of the original venue.
Similarly, STAGED: Slugs’ Saloon pays homage to the celebrated East Village jazz venue that presented music from 1964 to 1972 on East Third Street. Often referred to as a “jazz dive”, Slugs’ Saloon showcased free jazz and some of the most important avant-gardists of the era, including Albert Ayler, Ornette Coleman, Cecil Taylor, and Sun Ra. While the original space was described as narrow and oftentimes tightly packed, Moran’s Slugs’ Saloon is open with two mirrors flanking the stage and a multitier platform with a wooden floor that holds a vintage upright piano and drum set. The lower level holds a single chair and Wurlitzer Americana II jukebox, programmed with whistling tunes and samplings of audience incantations from the Village Vanguard.
Moran’s drawings from the Run series, originally shown at Luhring Augustine in 2016 for his first gallery exhibition, offer highly gestural entrees into the artist’s process. To create the works, Moran tapes elongated pieces of paper on the keys of a piano or keyboard and caps his fingers with charcoal. The paper then catches the movements of his playing. Reminiscent of Robert Morris’s series of Blind Time drawings, the works also bring to mind David Hammons’s basketball drawings and body prints or the impromptu drawings created by Joan Jonas during live performances. Achieved through acts of repetition, the Run series reveals the usually private and deliberate process of jazz composition and the artist’s performance practice, offering viewers an intimate view of his body’s movements in relation to the piano.
Projects and collaborations, central to Moran’s practice, are represented in the exhibition through the presentation of the artist’s work with leading visual artists. Since 2005, Moran has completed four collaborations with pioneering video performance artist Joan Jonas, and the evolution of much of Moran’s visual work, such as his extension of performance techniques to the process of drawing in the Run series or his transposition of traditional cultural forms into contemporary art, can be tracked through his work with Jonas. Moran first collaborated with Jonas on the music for The Shape, the Scent, the Feel of Things, an opera performed for the first time in 2005 at Dia: Beacon, and later on Reading Dante (2007–10), Reanimation (2012), and They Come to Us without a Word II (2015). For his first foray into filmmaking, artist Glenn Ligon tapped Moran to compose the score for Death of Tom (2008), an abstract re-creation of a scene from Edwin S. Porter’s fourteen-minute silent film version of Uncle Tom’s Cabin. In Stan Douglas’s six-hour, single-channel film Luanda-Kinshasa (2013) depicting a fictional jazz-funk band in a recording session sometime in the mid-1970s, Moran appears as the band leader and worked with Douglas on song sequencing for this intricately composed film.
Exclusive to the presentation of Jason Moran at the Whitney will be the temporary installation of Kara Walker’s Katastwóf Karavan (2018) outside in front of the Museum. A steam-powered calliope housed in a parade wagon featuring silhouetted scenes on all four sides in Walker’s distinctive style, Katastwóf Karavan debuted in 2018 at the Prospect.4 Triennial in New Orleans. Katastwóf Karavan takes its title from the Haitian Creole phrase for “caravan of catastrophe” and alludes to the subjugation, violence, and humiliation of life for African Americans in the Antebellum South. The work also plays songs and sounds programmed by Walker and Moran that the artists associate with the long history of African American protest music. In the Prospect.4 Triennial, Moran played the work live via keyboard for two improvised performances. Moran will present another improvised performance with the work at the Whitney in October 2019.
Moran’s recording and performing activity has included collaborations with masters of the jazz form, including Charles Lloyd, Bill Frisell, and the late Sam Rivers. His work with his acclaimed trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records. Moran has a long-standing collaborative practice with his wife, the mezzo-soprano and composer Alicia Hall Moran. For the 2012 Whitney Biennial, together they organized BLEED, a five-day performance gathering that featured more than ninety performers, including Rashida Bumbray, Bill Frisell, Joan Jonas, Lorraine O’Grady, Esperanza Spalding, and Kara Walker. In 2016, Moran and Hall Moran formed the indie label YES RECORDS. Releases include Moran’s critically-acclaimed live solo piano recording, The Armory Concert (2016), as well as Thanksgiving at the Vanguard (2017), and BANGS (2017). Moran, who teaches at the New England Conservatory of Music in Boston, has produced several film scores and soundtracks, including the scores for Ava DuVernay’s films Selma and 13th.
Moran’s work has been presented by institutions including the Walker Art Center, the Philadelphia Museum of Art, Park Avenue Armory, the Dia Art Foundation, the Whitney Museum of American Art, Harlem Stage, and Jazz at Lincoln Center. His first solo museum exhibition Jason Moran premiered in Minneapolis at the Walker Art Center from April 26 through August 26, 2018 and traveled to the Institute of Contemporary Art in Boston from September 19 through January 21, 2019. It was on view at the Wexner Center for the Arts through August 11, 2019 before its U.S. finale in Moran’s hometown of New York City at the Whitney.
This exhibition is accompanied by a 272-page publication, published in conjunction with the Walker Art Center’s 2018 exhibition, which considers the artist’s practice and his collaborative works as interdisciplinary investigations that further the fields of experimental jazz and visual art. Edited by Adrienne Edwards, it features an interview with the artist, and essays by Philip Bither, Okwui Enwezor, Danielle Jackson, Alicia Hall Moran, George E. Lewis, and Glenn Ligon. These texts are accompanied by a photo essay by Moran, a section documenting the creation of Moran’s STAGED sculptures, installation views from the Walker, photographs and other ephemera, and a complete list of works included in the Walker exhibition.
Moran is organized by the Walker Art Center, and curated by Adrienne
Edwards with Danielle A. Jackson. The Whitney’s presentation is
overseen by Adrienne Edwards, the Engell Speyer Family Curator and
Curator of Performance.
Jason Moran is sponsored by Delta. Generous support for Jason Moran is provided by The Philip and Janice Levin Foundation and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Significant support is provided by Norman and Melissa Selby and the Joyce and George Wein Foundation.
The Frist Art Museum presents Chaos and Awe: Painting for the 21st Century, a sweeping survey of paintings from around the world that invite contemplation of seemingly ungraspable forces shaping contemporary society, from the ideological to the technological. Organized by Frist Art Museum chief curator Mark Scala, the exhibition will be on view in the museum’s Ingram Gallery from June 22 through September 16, 2018. It will be presented at the Chrysler Museum from November 15, 2018, through April 28, 2019.Continue reading →
SFMOMA to Debut Major Vija Celmins and René Magritte Exhibitions in 2018
The Train: RFK’s Last Journey, Susan Meiselas, John Akomfrah and Alexander Calder Among the Highlights of SFMOMA’s Ambitious Exhibition Schedule
Museum Takes Its Popular “Send Me SFMOMA” Initiative Global with Partnerships in the U.S., Europe, Asia and New Zealand, Enabling Other Institutions to Share Their Collections in New Ways
The San Francisco Museum of Modern Art (SFMOMA) announced details of its 2017–18 exhibition schedule and cutting-edge digital initiatives. One of the world’s foremost museums of modern and contemporary art, the newly expanded and transformed SFMOMA opened in May 2016, with nearly triple the exhibition space and a greatly augmented collection. Since then the museum has broadened its activities serving artists, scholars and more than 1.2 million visitors in its first year.
“We are committed to presenting an expansive spectrum of art from the 20th and 21st centuries, revisiting the innovations of modern artists — including René Magritte and Robert Rauschenberg — and introducing our large audiences to the important and timely work of contemporary artists such as Vija Celmins, John Akomfrah, and Susan Meiselas,” said Neal Benezra, Helen and Charles Schwab Director at SFMOMA. “Since our opening last spring, we have welcomed more than twice the number of visitors the museum received historically, with more families and youth visitors than ever before. In the coming year, we look forward to engaging visitors with seven floors of dynamic art and design exhibitions, while connecting a devoted body of online followers to the riches of the collection.”
Looking Back on the Opening Year
Since its May 2016 opening, the expanded and transformed SFMOMA, designed by Snøhetta, has served as an engaging gathering place for diverse audiences, enabling the museum to foster deeper ties with its community.
The museum can now display a greater breadth of its 34,000 works of architecture and design, media arts, painting and sculpture and photography, as well as postwar and contemporary art from its groundbreaking partnership with the Doris and Donald Fisher Collection. Currently on view at the museum are Julie Mehretu’s site-specific painting HOWL, eon (I, II)(2017), created as part of a new art commissioning program; a major Walker Evans retrospective, for which SFMOMA is the only U.S. venue; Soundtracks, the museum’s first large-scale group exhibition centered on the role of sound in contemporary art; and New Work: Kerry Tribe, the premiere of the artist’s immersive video installation, commissioned by SFMOMA, which offers insight into the world of Standardized Patients — professional actors trained to portray real patients in a simulated clinical environment as part of medical students’ training.
In support of SFMOMA’s mission to engage with the art and artists of our time, the museum has made two major curatorial appointments since opening, including the appointment of Eungie Joo to the newly established role of curator of contemporary art. The role cements the museum’s commitment to new generations of artists across all mediums, as well as new thinking and scholarship on a local, national and international level. Clément Chéroux, entering his second year as senior curator of photography, has brought a global perspective and deep expertise in the realm of modern and contemporary photography.
The new SFMOMA has become a place of conversation, collaboration and learning across disciplines, as nearly 50,000 K–12 students have been brought into the museum to explore the arts since the building’s opening. Public dialogue has flourished in the SFMOMA community through more than 100 events and programs, including Public Tours and Artist Talks. Coinciding with the 2017 FOG Design+Art Fair, the symposium Yours, Mine, and Ours: Museum Models of Public-Private Partnership brought together international museum leaders and visionary collectors to discuss the current and future state of collaboration between museums and collectors. Also in the past year, the Performance in Progress program brought three groundbreaking commissioned live works to the museum, and the new Modern Cinema film series, established by SFMOMA and SFFILM, presented more than 50 film screenings. In September 2017, the museum launched Public Knowledge, a two-year initiative in partnership with the San Francisco Public Library that aims to promote public dialogue on the cultural impact of urban change through artist projects, research collaborations, public programs, and publishing. Participating artists include Burak Arikan, Bik Van der Pol, Minerva Cuevas, Josh Kun and Stephanie Syjuco.
SFMOMA’s digital offerings also expanded greatly in the past year, with the generous support of Bloomberg Philanthropies, offering pioneering digital experiences to visitors at the museum and online. The SFMOMA app, a 2017 Webby Award honoree with over 100,000 downloads, reinvented the museum audio guide with location-aware technology and unique gallery tours voiced by Errol Morris, Philippe Petit and the cast of HBO’s Silicon Valley. Other popular interactive elements include the digital photogram kiosk Self Composed, developed in partnership with Adobe Design, in the Pritzker Center’s Photography Interpretive Gallery and touch screens and digital tables in the galleries that allow visitors to explore artworks and the careers of artists more deeply.
SFMOMA’s restaurant In Situ also received rave reviews for its innovative concept and menu. It was awarded the San Francisco Chronicle’s Restaurant of the Year in 2016, named one of Eater’s Best New Restaurants in America in 2017 and became a finalist in the prestigious James Beard Awards’ Best New Restaurant category.
In 2018 SFMOMA will present major exhibitions of René Magritte and Vija Celmins, each of whom redefined the boundaries of art with their very distinct practices.
A global exclusive presentation,René Magritte: The Fifth Season(May 19–October 28, 2018) will focus on the latter half of Magritte’s career, a period of remarkable artistic transformation and revitalization. Featuring more than 50 paintings and a dozen works on paper, the exhibition will reveal Magritte as an artist who subverts our expectations of the world around us. The Fifth Season will open with the artist questioning the modernism of his youth, experimenting with elements of Impressionism, Fauvism and Expressionism, and follow his developing strategies for illuminating the ways that paintings both create and expose the gaps between appearance and reality.
Spotlighting the work of one of the most important artists of her generation,Vija Celmins: To Fix the Image in Memory(December 2018–March 2019) will be the first North American retrospective of the artist’s work in more than 25 years. In a continuation of SFMOMA’s commitment to exhibiting and collecting artists who emerged in the 1960s, the exhibition will highlight Celmins’ “re-descriptions” of the physical world through art as a way of understanding human consciousness through lived experience. SFMOMA will present the global debut of this retrospective, which will feature 140 works including paintings, drawings, and sculptures.
The Pritzker Center for Photography, the largest space dedicated to photography in any art museum in the United States, will continue to highlight SFMOMA’s dedication to the medium withThe Train: RFK’s Last Journey, examining a historically important event from different perspectives; Selves and Others: Gifts to the Collection from Carla Emil and Rich Silverstein, looking at the complexity of identity through portraits; and Carolyn Drake: Wild Pigeon, presenting a recent acquisition.
The Train: RFK’s Last Journey, March 17–June 10, 2018
On June 8, 1968, three days after the assassination of Senator and Democratic presidential candidate Robert F. Kennedy, his body was carried by a funeral train from New York City to Washington, D.C. for burial at Arlington National Cemetery. Just two months after the assassination of Martin Luther King, Jr. and five years after President John F. Kennedy’s death, Robert Kennedy’s passing united diverse communities grieving the loss of a politician who had represented hope for much of the nation during a tumultuous decade.
In conjunction with the 50th anniversary of his death, The Train: RFK’s Last Journey looks at this historical journey through three distinct artists’ projects shown together for the first time. Presented in three rooms, each dedicated to one artist, the exhibition features approximately 80 photographs, a video installation and a 70mm film projection.
“This multidisciplinary exhibition shows how art can inform and expand our understanding of history through photographs, videos and documents from different points of view,” said Clément Chéroux, senior curator of photography at SFMOMA. “By bringing historical andcontemporary works together in dialogue, we aim to demonstrate a fresh approach to photography at SFMOMA.”Continue reading →