Officials Indiana Hoosiers 1820 University Bloomington Shirt
Rashid Johnson, The Broken Five, 2019. Ceramic tile, mirror tile, branded red oak flooring, vinyl, spray enamel, oil stick, black soap, wax, 97 1/4 ×1561/2 × 2 1/8 in. (247 × 397.5 × 5.4 cm). Looking at one of the earliest pieces in the Guggenheim exhibition—Mudcloth (2001), part of a series that saw Johnson scatter materials stereotypically associated with Black culture (in this case, chicken bones) onto photosensitized paper to emulate the 19th-century photogram process—Johnson feels nostalgic. “I remember the action of making it, where I was, and the desperation and ambition I felt. And being reunited with it, I can see how much of my more recent work is connected to it,” the artist says. “It’s really rewarding to know that although I’ve grown and am in a very different time in my life, those early works continue to have a substantive position and are still serious objects to me.” Opting to “push and pull back from a set chronology,” as the artist describes it, the show’s installation in the Guggenheim’s rotunda offers a fascinating view into Johnson’s mind. The magic of Frank Lloyd Wright’s genius design is its constant sense of surprise—an effect redoubled by the work of an artist like Johnson, who moves so fluidly between media. Spray-painted text canvases, sculptural installations incorporating black soap and shea butter—grooming products closely connected to the African diasporic community—and videos unfold around every corner, illustrating the breadth of Johnson’s practice, both conceptually and materially.Officials Indiana Hoosiers 1820 University Bloomington Shirt
Even more than suiting the way his mind works—“I often argue that we are too limiting in the way that we define ‘medium,’” Johnson reflects. “Consciousness can be a medium”—taking an expansive, changeable approach to form and discipline was simply what was done as Johnson was starting out. “When I first came into art in the mid-’90s, it was almost perfunctory that you would be experimenting with other media, whether it be photography, film, performance, or installation,” he says. Installation view, Rashid Johnson: A Poem for Deep Thinkers, April 18, 2025–January 18, 2026, Solomon. Guggenheim Museum, New York. That idea is most prominent in the Guggenheim show at the top of the rotunda, where Sanguine—a sprawling, site-specific installation composed of gridded steel structures with live potted plants, books by influential Black authors (one of numerous testaments to Johnson’s love of literature in the exhibition, which takes its name from a poem by Amiri Baraka), and videos—is mounted. The final Sanguine structure houses a film of the same name, which explores Johnson’s relationship with his father and son. As part of the installation, plants—including full-sized palm trees—are suspended from the Guggenheim’s ceiling, appearing to float in mid-air. “We hadn’t seen these grand gestures since before the height of the COVID pandemic, so we’re all so excited to have the museum return to form as a building that inspires artists to take risks and play with the architecture,” says Naomi Beckwith, deputy director and Jennifer and David Stockman Chief Curator of the Solomon R. Guggenheim Museum. Beckwith co-curated “A Poem for Deep Thinkers” with Andrea Karnes, interim director and chief curator of the Modern Art Museum of Fort Worth, Texas, where the exhibition will be on view from March 8 through October 4, 2026, before traveling to the Museum of Contemporary Art Chicago.
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