Solomon R. Guggenheim Museum

Further explore the exhibition’s theme of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: This lushly dark black-and-white photo, "Untitled #14 (Site of John Brown’s Tannery)," is from the 2017 series "Night Come Tenderly, Black." Dawoud Bey’s photo evokes twilight. There is just enough light to make out most of the details, though some features have beco...

Further explore the exhibition’s theme of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: This sepia-toned photograph by Lyle Ashton Harris from 2010, "Untitled (Back #150 Lyle)," is approximately 2 feet high by 1 1/2 feet wide. The artist himself poses for the camera in this portrait. The large-format Polaroid photograph is cropped to focus on the back o...

Further explore the exhibition’s theme of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: "J’Accuse! No. 3," from 1965, is a black-and-white drawing on paper with crayon and charcoal by Charles White. Measuring just over 2 feet in diameter, its circular shape creates a unique frame for the composition, dominated by swirling lines, like plumes of smoke gat...

Further explore the exhibition’s theme of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: "Disremembered X" is a work created by Doris Salcedo in 2020 and 2021, inspired by her conversations with American mothers who lost their children to gun violence. There are four pieces in this installation, resembling ghostly shrouds. The dimensions vary, but each i...

Further explore the exhibition’s themes of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: "Day Glow (Backlash)" is part of a collection called The Great Society, in which Tomashi Jackson has created a distinct way of viewing imagery from the civil rights era through layered, multimedia works that play with color, form, and semi-visibility. She uses mater...

Further explore the exhibition’s themes of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: "Pledge," by Hank Willis Thomas, is edition two of two from 2018. This large screenprint on retroreflective vinyl is mounted on Dibond, a thin aluminum panel, and measures 8 feet wide by 6 1/2 feet high. Most of the image appears like a photo negative, an inversion...

Further explore the exhibition’s themes of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: A member of the Lac Seul First Nation (Anishinaabe), artist Rebecca Belmore’s "Mixed Blessing" from 2011 is a mixed-media installation of an adult-sized kneeling figure leaning forward, obscured by a black cotton jacket with a hood pulled over its head. Thick, strai...

Further explore the exhibition’s themes of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: This work by Titus Kaphar, "The Jerome Project (Asphalt and Chalk) III" from 2014, is about 4 feet high by 3 feet wide. Kaphar uses chalk on asphalt paper to create layered portraits, using mugshots of different incarcerated men who are all named Jerome. This is not...

Further explore the exhibition’s themes of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: "Black Light #3.2: Invisible Woman #1" was painted in 1968. It demonstrates artist Faith Ringgold’s commitment to advancing Black aesthetics through the color palette, design, and even the naming of the works in the series it is part of. At 2 1/2 feet tall and 2 fee...

Further explore the exhibition’s themes of semi-visibility through a slow-looking exercise related to these works. Transcript Narrator: Three impressionistic black-and-white photographs from Ming Smith’s extensive "Invisible Man Series" elegantly demonstrate several distinct features of her natural-light observational photography style. These include shooting in low light, blurred images, capturin...

Further explore the exhibition’s themes of semi-visibility through a slow-looking exercise related to this work. Transcript Narrator: A vibrant lime-green color, punctuated by a framework of fluorescent bulbs along the ceiling, saturates the gallery and bathes Sandra Mujinga’s "Spectral Keepers" in an eerie light. As visitors adjust to the hazy lighting, they are faced with four imposing figures a...

Join curator Ashley James as she shares the origins of the exhibition during a live recording of the Art from the Outside podcast with co-host Amitha Raman. Transcript Ashley James: Welcome everyone, to the first look of "Going Dark: The Contemporary Figure at the Edge of Visibility." I’m Ashley James, Associate Curator of Contemporary Art at the Guggenheim Museum and curator of Going Dark. Before...

Poet Cameron Awkward-Rich recites this poem inspired by verbal description techniques. "Trans Study: Untitled 4 (Facial Expression)" was written after John Edmond’s "Untitled 4 (Facial Expression)," on view in "Going Dark: The Contemporary Figure at the Edge of Visibility. " Cameron Awkward-Rich was invited to write a poem in response to this artwork by Guggenheim’s 2023 Poet-in-Residence, Ama Cod...

Guggenheim Poet-in-Residence Ama Codjoe recites this poem inspired by verbal description techniques. "Thirteen Ways of Looking" is written after David Hammons’ "Close Your Eyes and See Black," on view in "Going Dark: The Contemporary Figure at the Edge of Visibility." Transcript Ama Codjoe: Hi, I’m Ama Codjoe, and I’m reading “Thirteen Ways of Looking,” after David Hammons’s "Close Your Eyes and S...

Guggenheim Poet-in-Residence Ama Codjoe recites this poem inspired by verbal description techniques. "If They Come in the Morning" is written after Kerry James Marshall’s "Black Painting" – on view in "Going Dark the Contemporary Figure at the Edge of Visibility" – and after Fred Hampton. Transcript Ama Codjoe: Hi I’m Ama Codjoe, and I’m reading “If They Come in the Morning,” after Kerry James Mar...

Guggenheim Poet-in-Residence Ama Codjoe recites this poem, originally published as a zine during her residency. Transcript Ama Codjoe: "Poetic Encounters: Prompts for Engagement, Curiosity, and Wonder," by Ama Codjoe, 2023 Guggenheim poet-in-residence. Poetic Encounters. The first time I visited the Guggenheim Museum was to see the exhibition "Picasso Black and White" in 2012. The person I was kin...

Ama Codjoe shares her relationship with poetry and her goals for the residency. Transcript Ama Codjoe: Poetry is a way of existing in the world. So I think of it not just as a writing practice but as a way of looking and noticing and paying attention. In that way, it’s porous. It’s, I mean—everything about your life can be in a poem. That could be a phrase. It could be, like, a painting, a piece o...

La curadora Kyung An habla sobre la proyección internacional de los artistas experimentales coreanos.  Transcript Kyung An: Soy Kyung An, curadora asociada de arte asiático y organizadora de la exposición "Solo los jóvenes". Nos encontramos en el Nivel 5 de la torre, en la galería titulada “La aldea global”. En esta sección se muestran obras de arte experimental que fueron pioneras de la vanguardi...

La curadora Kyung An examina cómo evolucionó la experimentación artística en el contexto del cambiante panorama político coreano de la década de 1970.  Transcript Kyung An: Soy Kyung An, curadora asociada de arte asiático y organizadora de la exposición Solo los jóvenes. Nos encontramos en el Nivel 4 de la torre, en la galería titulada “La lógica de la resistencia”. En la década de 1970, los artis...

La curadora Kyung An comparte sus conocimientos sobre los colectivos de artistas que aparecen en el Nivel 2 de la torre, cuyo rechazo del arte tradicional coreano marcó el inicio del movimiento del arte experimental. Transcript Kyung An: Soy Kyung An, curadora asociada de arte asiático y organizadora de la exposición "Solo los jóvenes". Nos encontramos en el Nivel 2 de la torre, en la galería titu...

策展人安辉景讨论韩国实验艺术家的国际影响力。  Transcript Kyung An: 我叫安辉景，我是亚洲艺术副策展人，本次《唯有青春》展览由我策划。我们现在位于塔楼5层，这个展厅题为《世界村》。这一部分展示在全球前卫艺术界前沿的实验艺术作品，包括1973年第八届巴黎双年展上李健龙的树雕《肉体条款》，以及1979年圣保罗双年展上朴贤基的《无题（电视石塔）》。作为大型国际展览，双年展有助于在传统美术博物馆以外发展当代艺术创作和...

策展人安辉景探讨在韩国政局动荡的1970年代，艺术家实验方式的演变。  Transcript Kyung An: 我叫安辉景，我是亚洲艺术副策展人，本次《唯有青春》展览由我策划。我们现在位于塔楼4层，这个展厅题为《反抗的逻辑》。到了1970年代，艺术家超越了我们在2层所看到的1960年代作品中对韩国传统艺术的拒绝。他们开始探讨权力结构，以及语言和时间对他们的生活和工作的影响。通过这些探索，他们除了行为表演之外，还开始采用摄影和视频等...

策展人安辉景分享对塔楼2层展览中的艺术家团体的阐释，他们对韩国传统艺术的拒绝标志着实验艺术运动的开始。  Transcript Kyung An: 我叫安辉景，我是亚洲艺术副策展人，本次《唯有青春》展览由我策划。我们现在位于塔楼2层，这个展厅题为《一个新开始》。这个展厅展示了实验艺术家最早的主题和探讨的问题。在这里，您会看到1960年代成立的早期实验艺术家团体。他们志在拒绝韩国当时的艺术体制，并创造一种新的视觉语言。 当您走进...

策展人安辉景讨论韩国实验艺术家的国际影响力。  Transcript Kyung An: 欢迎您来参观《唯有青春：1960至1970年代的韩国实验艺术》。本展聚焦一群独树一帜的韩国艺术家和团体，他们勇于通过实验来对抗和重新想象不断变化的现状。 《唯有青春》展览位于古根海姆三个楼层的塔楼展厅。这是北美地区首个探索极具影响力的韩国实验艺术运动的展览，展出作品80余件。 我叫安辉景。我是所罗门·R·古根海姆博物馆亚洲艺术副策展人，这次展览由...

La curadora Kyung An le da la bienvenida a la exposición. Transcript Kyung An: Le damos la bienvenida a la exposición "Solo los jóvenes: Arte experimental en Corea, décadas de 1960 y 1970", una exposición dedicada a artistas y colectivos coreanos que transgredieron los géneros artísticos y apostaron por la experimentación para confrontar y reinventar su realidad cambiante. "Solo los jóvenes" se pr...