Media Archive: 2022 Exhibitions

Carnegie Museum of Art Announces Artists Participating in the 58th Carnegie International, titled Is it morning for you yet?

The exhibition features new and historical works by over 100 artists and collectives

Pittsburgh, PA (June 22, 2022) –Today, Carnegie Museum of Art officially announces artists and collectives that will participate in the upcoming 58th Carnegie International. The exhibition, titled Is it morning for you yet?, runs from September 24, 2022 to April 2, 2023, and unfolds along two conceptual overlapping currents: historical works from the collections of international institutions, estates, and artists, alongside new commissions and recent works by contemporary artists.

Organized by Sohrab Mohebbi, the Kathe and Jim Patrinos Curator of the 58th Carnegie International and associate curator Ryan Inouye with curatorial assistant Talia Heiman, the exhibition traces the geopolitical imprint of the United States since 1945 to situate the “international” within a local context. The exhibition borrows its title from a Mayan Kaqchikel expression, where instead of saying “Good morning” it is customary to ask, “Is it morning for you yet?” Inspired by a conversation with artist Édgar Calel, who will present a new commission for the show, Is it morning for you yet? acknowledges that human beings’ internal clocks and experiences are different: when it’s morning for some, it might still be night for others.

“The artists participating at the 58th Carnegie International,” says Mohebbi “many of whom are showing art in the United States for the first time, combines a practice of reconstitution, reminding us that not only do our histories of pain and longing bind us, but furthermore, our narratives of resistance and survival help us reimagine the world.”

Eric Crosby, the Henry J. Heinz II Director of Carnegie Museum of Art, adds: “Our list of artists contributing to the 58th Carnegie International reflects the expansiveness of the curatorial platform we are evolving at Carnegie Museum of Art. It exemplifies how the museum, as an inquisitive and responsive institution, welcomes collaborators from across the region, our broader nation, and the globe. We invite their perspectives to activate the museum as a site for civic and social engagement, connecting our experiences to a larger whole.”

Participating Collectives, Institutions, Estates, and Artists are as follows:

Abdul Hay Mosallam Zarara

Ali Eyal

Võ An Khánh

Andy Robert

Angel Velasco Shaw

Anh Trần

Antonio Martorell with poetry by Ernesto Cardenal

Aziz Hazara

Banu Cennetoğlu

Carlos Cañas

Carlos Motta

Christian Nyampeta

Claes Oldenburg

Colectivo 3 (Aarón Flores, Araceli Zúñiga, Blanca Noval Vilar, and César Espinosa)

Dala Nasser

Daniel Lie

Denzil Forrester

Dia al-Azzawi

Diane Severin Nguyen

Doan Ket

Dogma Collection

Édgar Calel

Felix Gonzalez-Torres

Fereydoun Ave

Giana De Dier

Hiromi Tsuchida

Hyphen— (Akmalia Rizqita “Chita,” Grace Samboh, Ratna Mufida), presenting works by:

Kustiyah alongside Edhi Sunarso, Gregorius Sidharta Soegijo, Kartika, Rustamadji, Siti Ruliyati, Sriyani Hudyonoto, Sudarso, Trubus Soedarsono, Zaini

I Gusti Ayu Kadek Murniasih

Isabel De Obaldía

James “Yaya” Hough

Joong Seop Lee

Julian Abraham “Togar”

Tith Kanitha

Karen Tei Yamashita

Kate Millett

Krista Belle Stewart

Laal Collection

Laila Shawa

LaToya Ruby Frazier

Let’s Get Free: The Women and Trans Prisoner Defense Committee

Los Angeles Poverty Department

Louise E. Jefferson

Malcolm Peacock

Margarita Azurdia

Melike Kara

Michael Zinzun

Mire Lee

Mohammed Sami

Monira Al Qadiri

Museo de la Solidaridad Salvador Allende Collection presenting works by:

Alberto Pérez, Alfredo Portillos, Anders Åberg, Anonymous women, Bat T. Tchouloun, Carol Law, Derek Boshier, Eduardo Terrazas, Ernest Pignon-Ernest, Francisco Brugnoli, Gontran Guanaes Netto, Hanns Karlewski, Hugo Rivera-Scott, Leonilda González, Lilo Salberg, Luis Felipe Noé, Luis Tomasello, Maryse Eloy, Myra Landau, N. Bavoujav, Öyvind Fahlström, Patricia Israel, Paul Peter Piech, Ricardo Mesa, Ryszard Winiarski, Sambuungiin Mashbat, SANALBAT (S. Natsagdorj, N. Sandagdorj, N. Sukhbat), Valentina Cruz, Ximena Armas

Nancy Buchanan

Naufus Ramírez-Figueroa

Nikki Arai

Pacita Abad

Patricia Belli

Philomé Obin

Pio Abad

Rafa Nasiri and Etel Adnan

Rafael Domenech

Vandy Rattana

Park Rehyun

Rini Templeton

Roberto Cabrera

Rosa Mena Valenzuela

Sanaa Gateja

Soun-Gui Kim

Susan Meiselas

Svay Ken

Tei Carpenter / Agency—Agency

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Thu Van Tran

Thuraya Al-Baqsami

Tishan Hsu

Tony Cokes

Trương Công Tùng

Yolanda Lopez

Yooyun Yang

Zahia Rahmani

With catalog contributions by:

Ana Álvarez

Arlette Quỳnh-Anh Trần

Bruce Hainley

Camila Palomino

Carlos Dada

Dan Leers

Dana Bishop-Root

Duy Lap Nguyen

Fahim Amir 

Freya Chou

Jean-Luc Nancy

Jenni Crain

José Esparza Chong Cuy

Laura Brown

Laura Kurgan, Dare Brawley, Brian House, Jia Zhang, and Wendy Hui Kyong Chun

Liz Park

Muheb Esmat

Myriam Ben Salah

Negar Azimi

Pablo José Ramírez

Pooja Bhatia

Rana Issa

Rasha Salti

Renée Akitelek Mboya

Robert M Ochshorn

Roger Nelson

Ryan Inouye

Sohrab Mohebbi

Talia Heiman

Thiago de Paula Souza

Thomas Keenan

Wingston González

Yeonsook “Rita” Lee

Support
The 58th Carnegie International, presented by Bank of America, is made possible by leadership support from Kathe and Jim Patrinos.

Major support is provided by the Carnegie International Endowment, The Fine Foundation, the Jill and Peter Kraus Endowment for Contemporary Art, and the Carnegie Luminaries.

Significant support is provided by Teiger Foundation, The Andy Warhol Foundation for the Visual Arts, The Susan J. and Martin G. McGuinn Exhibition Fund, and the Keystone Members of the Carnegie International. The 58th Carnegie International has been made possible in part by the National Endowment for the Humanities.

Generous support is provided by the The Heinz Endowments, the Heinz Family Foundation, Nemacolin, the Louisa S. Rosenthal Family Fund, and the Friends of the Carnegie International. This project is supported in part by the National Endowment for the Arts.

Additional support is provided by the Mondriaan Fund, the Akers Gerber Foundation, Carnegie Mellon University, Buchanan Ingersoll and Rooney, Highmark Blue Cross Blue Shield and Allegheny Health Network, NOVA Chemicals, Sotheby’s, Orange Barrel Media, Fort Pitt Capital, the Henry Moore Foundation, Advanced Auto Parts, Giant Eagle Foundation, UPMC and UPMC Health Plan, the Japan Foundation, the Fans of the Carnegie International, and the Carnegie Collective.

The 58th Carnegie International is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York, and is supported by Etant donnés Contemporary Art, a program from Villa Albertine and FACE Foundation, in partnership with the French Embassy of the United States.

Support for the exhibition catalogue is provided by Antenna Space Shanghai, De Buck Gallery, Experimenter, Greene Naftali, Hannah Hoffman Gallery, JTT New York NY, Luhring Augustine, Michael Werner Gallery, Modern Art, Rodeo London / Piraeus, Salon 94, and Stephen Friedman Gallery.

Carnegie Museum of Art is supported by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Mission
Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our collection of over 34,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. In addition, the museum houses the archive of more than 70,000 images by Pittsburgh photographer Charles “Teenie” Harris, whose work comprises one of the most detailed and intimate records of Black life in America. Through its programming, exhibitions, and publications, Carnegie Museum of Art frequently explores the role of art and artists in confronting key social issues of our time, combining and juxtaposing local and global perspectives. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. To learn more, please call 412.622.3131 or visit CMOA.org.

For press inquiries, please contact: Elle Moody at elle@suttoncomms.com

Carnegie Museum of Art Announces Gordon Parks in Pittsburgh, 1944/1946

The exhibition showcases a previously unexplored body of the acclaimed photographer’s work, capturing an indelible view of World War II–era Pittsburgh

Four side by side images of Gordon Parks
Left to right: Gordon Parks (American, 1912–2006), “The cooper’s room where the large drums and containers are reconditioned. Here a workman lifts a drum from a boiling lye solution which has cleaned from it grease and dust particles.”, March 1944; “Two workmen pulling pans of red-hot grease that has just been poured from a cooking kettle. After it is cooled it can be lifted out in solid chunks and carried away on flat cars.”, March 1944; “A workman at the cooper plant.”, March 1944; “Harvey Turner, William Schwartz and William B. Wilson, grease makers.”, September 1946. Courtesy Gordon Parks Foundation.

Pittsburgh, PA (March 14, 2022) – From April 30 to August 7, 2022, Carnegie Museum of Art presents Gordon Parks in Pittsburgh, 1944/1946, an in-depth presentation into Parks’s photographs of the Penola, Inc. grease plant in Pittsburgh and its workers who supplied essential goods to U.S. troops during World War II. This examination of an important chapter in Parks’s landmark career explores a narrative that is seldom told and still resonates today. The exhibition, which features more than 50 photographs that have not yet been seen by the public, will be paired with special programming, community events, and a publication featuring essays by artist LaToya Ruby Frazier and writer Mark Whitaker, among others.

By the early 1940s, Parks, a self-taught photographer who grew up in rural Kansas during segregation, had established himself as a photographer who freely navigated the fields of press and commercial photography with an unparalleled humanist perspective. It was at this time that Parks’s work caught the eye of Roy Stryker, who launched the documentary photography program at the U.S. Farm Security Administration. Stryker was soon hired by Standard Oil to capture the Penola grease plant as part of a public relations effort during World War II. In March 1944 and September 1946, Parks was tasked by Stryker to travel to Pittsburgh to photograph the plant, its workers, and the range of their activities manufacturing “Eisenhower grease,” a new, critical material that fueled U.S. troop efforts toward the end of World War II to defeat Nazi Germany. Parks’s visit coincided with the height of the plant’s productivity—at the time, it was nearly double that of its next-largest competitor, and it would ultimately produce nearly five million pounds of lubricant to support the country’s war effort. The resulting photographs—dramatically staged and lit, striking in their compositions— foreground the importance of the story of industry and war preparation in the U.S., which was a source of pride for the workers and people of Pittsburgh. Photographs in this exhibition will have visitors may recognize acquaintances, family members, or even themselves in these images.

Parks’s highly anticipated second visit to Pittsburgh in 1946 was covered by local newspaper. The Pittsburgh Courier, one of the nation’s most prominent Black newspapers, which sent its preeminent photographer, Charles “Teenie” Harris, to document the event. In 2001, Carnegie Museum of Art acquired Harris’s archive, which chronicles life in Pittsburgh from the 1930s through the 1970s. Among the more than 70,000 negatives are Harris’s pictures of Gordon Parks. Like Harris, Parks’s photographs during his time in Pittsburgh endure as a record of humanity and everyday life in the mid-20th century, telling countless stories that have been overlooked. Although Parks’s images of Penola, Inc. were intended as marketing tools to help humanize the corporation’s public image, his pictures speak to the importance of making individual experience visible. Parks’s documentation of workers divided by roles, race, and class is a snapshot of persistent issues in labor and industry. Far from an impassive observer, Parks wanted his photographs to convey meaning and help improve the lives of his subjects, many of whom were discriminated against because of their race. He would continue this approach in his next position as the first African American staff photographer at LIFE magazine.

Dan Leers, curator of photography at Carnegie Museum of Art says, “Gordon Parks in Pittsburgh, 1944/1946 is a deep dive into an iconic photographer’s work during a momentous time in Pittsburgh. Through his photographs, Parks celebrated the lives of individual workers, capturing their skill, dedication, and camaraderie as they supplied materials for U.S. troops on the front lines during wartime. The poignancy and respect with which Parks photographed his subjects is breathtaking, unforgettable, and certainly resounding.”
This exhibition is made possible through a partnership between Carnegie Museum of Art and the Gordon Parks Foundation. Gordon Parks: Pittsburgh Grease Plant, 1944/1946, the accompanying catalogue published by Steidl that includes more than 100 previously unpublished photographs, will be available for purchase at stores.carnegiemuseums.org/carnegie-museum-of-art

In addition, the exhibition will be accompanied by the following programming:

May 19, 2022, at 6 p.m.
Exhibition Reception and Gordon Parks: Pittsburgh Grease Plant, 1944/1946 Book Launch Galleries and Carnegie Museum of Art Theater

Join Dan Leers, curator of photography at Carnegie Museum of Art, and Mark Whitaker, author
of Smoketown: The Untold Story of the Other Great Black Renaissance, for a conversation about the publication and exhibition. Event is pay what you wish to attend; register at CMOA.org/exhibition/gordon-parks.

May 26, 2022, at 6 p.m.
In Conversation: Neighbors
Scaife Galleries

How do we find ourselves when our histories are in an archive? With a focus on photographers Charles “Teenie” Harris and Gordon Parks, artist and co-founder of BOOM Concepts
DS Kinsel will facilitate a multigenerational conversation that contends with the experience of finding family members and community histories in the museum’s exhibitions and collections. Event is pay what you wish to attend; register at CMOA.org/exhibition/gordon-parks.

Learn more about at Gordon Parks in Pittsburgh, 1944/1946 at: CMOA.org/exhibition/gordon-parks

Support
Support is provided by the Virginia Kaufman Fund and The Fellows of Carnegie Museum of Art.

Carnegie Museum of Art is supported by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Premier Partners
Fort Pitt Capital, Highmark Blue Cross and Blue Shield, and Nova Chemicals

Health and Safety
Since the start of the COVID-19 pandemic, Carnegie Museums of Pittsburgh has continued to follow government and public health guidance to keep staff and visitors safe. On February 25, 2022, The Centers for Disease Control (CDC) classified Allegheny, Armstrong, Beaver, Butler, Washington, and Westmoreland counties as having low community infection levels. Considering this assessment and additional guidelines by the CDC, masks are optional for visitors to Carnegie Museums. Masks are available on-site if you should need one. Visitors experiencing COVID-19 symptoms are kindly asked to remain at home. To learn more about our Health and Safety measures, please visit cmoa.org/visit/health-safety.

Mission
Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our collection of over 34,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. In addition, the museum houses the archive of more than 70,000 images by Pittsburgh photographer Charles “Teenie” Harris, whose work comprises one of the most detailed and intimate records of Black life in America. Through its programming, exhibitions, and publications, Carnegie Museum of Art frequently explores the role of art and artists in confronting key social issues of our time, combining and juxtaposing local and global perspectives. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. To learn more, please call 412.622.3131 or visit CMOA.org.

For press inquiries, please contact: Elle Moody at Elle@suttoncomms.com:.

Carnegie Museum of Art Presents Zoe Zenghelis: Fields, Fragments, Fictions

The exhibition marks the first solo exhibition of Zenghelis’s paintings in the United States

Zoe Zhengelis Walking City
Zoe Zheneglis Walking City

Zoe Zhengelis Happiness
Zoe Zhengelis Happiness

Pittsburgh, PA (February 16, 2022) – Carnegie Museum of Art announces Zoe Zenghelis: Fields, Fragments, Fictions, the first solo exhibition featuring the paintings of artist and educator Zoe Zenghelis in the United States. Opening March 26 and on view through July 24, 2022, the monographic show will celebrate the interdisciplinary breadth of Zenghelis’s art practice by bringing her independent work in dialogue with her collaborative projects and teaching methods, as well as with objects from the museum’s permanent collection. The exhibition will be staged in the galleries of the Heinz Architectural Center at Carnegie Museum of Art, one of the nation’s foremost institutes for the study and curation of architecture. Zenghelis together with Theodossis Issaias, Associate Curator, Heinz Architectural Center, and Hamed Khosravi, architect and educator at the Architectural Association School of Architecture have collaborated at every step of the way to select and present this important body of work.

Born in Athens in 1937, Zoe Zenghelis studied stage design and painting in London, where she has lived and worked since the late 1950s. In 1975, Zenghelis—alongside architects Rem Koolhaas and Elia Zenghelis and artist Madelon Vriesendorp—co-founded the architectural practice Office for Metropolitan Architecture (OMA). OMA’s early projects were realized through images as visual manifestos and provocations that offered a polemical critique to the discipline of architecture. Instead of a single totalizing vision of the city, OMA celebrated the multiplicity of metropolitan life and the surrealism of the everyday. This collaborative work and Zoe Zenghelis’s approach to artmaking redefined the visual culture of architecture and opened new possibilities for thinking about space and the built environment through the medium of painting. Zenghelis collaborated with Vriesendorp to transpose this exploration into a teaching method at the Color Workshop, an experimental course they taught together at the Architectural Association School of Architecture (AA) in London from 1982 until 1993. By fostering a studio culture based on play and discovery, they cultivated the spatial imagination of students and challenged established conventions of architectural representation.

For more than 60 years, Zenghelis’s practice has remained consistent. With thick layers of paint, abstract geometries, assemblies of forms, and eruptive color palettes, she meticulously composes pictorial surfaces on stretched canvas or card. Populated with building fragments, abstract tectonics, and metropolitan landscapes, Zenghelis’s paintings construct worlds of imagination and fiction. From seductive metropolitan formations and dystopian landscapes to floating buildings and cityscapes of disturbing stillness, the poetics of Zenghelis are an inquiry to the city and its architecture. “My paintings became influenced by my architectural experiences, but they work differently as conceptual views of my own world of images,” says Zenghelis. “My affinity with architecture is thematic and goes into a genre that could be called pure fiction. The straight rendering gets reduced to conceptual elements that are of a different nature; they are in a state of dematerialization to enter the world of imagination.”

Zoe Zenghelis: Fields, Fragments, Fictions will be anchored by four narratives and areas of practice. These include: the artist’s independent projects from 1982 to today (“Cities of Our Choice”); Zenghelis’s work as a teacher and a learner (“Spaces of Learning”); the urban projects of OMA and the modes of collaboration and creative exchange between the four founding members (“Metropolitan Affairs”); and the lesser-known projects of OMA in the Mediterranean islands in relation to Zenghelis’s long-standing engagement with landscape paintings of her homeland, Greece (“Arcadias Inverted”). The show is punctuated with objects from the museum’s permanent collection, selected by the artist to situate her work in a constellation of influences and relations between her students, friends, and teachers—real or imaginary.

“Zenghelis, with determination and poetic force, brings wonder and imagination into the discipline of architecture,” adds Theodossis Issaias and Hamed Khosravi. “Tectonic plates are carried away by clouds, cities walk on idle fields, and buildings are suspended from the sky. If they appear more elusive, it is to disguise Zoe Zenghelis’s urgent question: how will we create the Cities of Our Choice’?”

In celebration of the exhibition, Carnegie Museum of Art will host a series of programs and panels.
• April 30, 2022, at 10 a.m.—1 p.m. Workshop: HomeScapes—Cities, Color, Belonging. Multidisciplinary practitioner, architect, filmmaker, and educator, Sarah Akigbogun will lead an interactive design workshop. The workshop is co-presented with the Carnegie Mellon University School of Architecture. $15 – Space is limited, please register in advance. Fee includes museum admission.
• April 30, 2022, at 1:30 p.m.—3 p.m. Gallery Meet and Greet. Join us in the gallery for informal tours and a conversation guided by the artist Zoe Zenghelis and the organizers of the show, Theodossis Issaias and Hamed Khosravi. This event is free with museum admission.
• April 30, 2022, at 3 p.m.—5 p.m. In Conversation: Zoe Zenghelis. Join artist Zoe Zenghelis in a roundtable conversation with Theodossis Issaias, Hamed Khosravi, and multidisciplinary practitioner Sarah Akigbogun. Zenghelis will discuss her artistic process, educational methods, and tensions and potentials of collaborative work and collective authorship as a co-founding member of the architectural firm Office for Metropolitan Architecture. A reception at the Café Carnegie at Carnegie Museum of Art will follow. The event is co-presented with the Carnegie Mellon University School of Architecture and coincides with the 75th Annual International Conference of the Society of Architectural Historians in Pittsburgh. This event is free.

More information about Zoe Zenghelis. Fields, Fragments, Fictions and its events can be found at https://cmoa.org/exhibition/zoe-zenghelis/

Support
The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art is supported by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Premier Partners
Highmark Blue Cross and Blue Shield, Nova Chemicals, and Fort Pitt Capital

Health and Safety
Since the start of the COVID-19 pandemic, Carnegie Museums of Pittsburgh has continued to follow government and public health guidance to keep staff and visitors safe. To prevent the spread of COVID- 19 in areas with high transmission, the Centers for Disease Control and Prevention strongly recommends that every person—vaccinated and unvaccinated—wear a mask when inside public spaces. For that reason, all visitors aged 2 and above are required to wear masks while inside our museums, and our staff members and volunteers will be wearing masks too. Visitors experiencing COVID-19 symptoms are kindly asked to remain at home. To learn more about our Health and Safety measures, please visit cmoa.org/visit/health safety.

Mission
Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our collection of over 34,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. In addition, the Museum houses the archive of more than 70,000 images by Pittsburgh photographer Charles “Teenie” Harris, whose work comprises one of the most detailed and intimate records of Black life in America. Through its programming, exhibitions, and publications, Carnegie Museum of Art frequently explores the role of art and artists in confronting key social issues of our time, combining and juxtaposing local and global perspectives. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. To learn more, please call 412.622.3131 or visit For press inquiries, please contact: Elle Moody at Elle@suttoncomms.com:.

Carnegie Museum of Art presents Working Thought

35 contemporary artists and filmmakers consider economic inequality and labor in a new group exhibition opening March 5 and running through June 26, 2022

L-R: Martin Wong, Ten Brooklyn Storefronts, from the Sunset Park Series (detail), 1985, acrylic on canvas, in 10 parts, 18 x 14 in. Courtesy P.P.O.W. and a private collector

Margarita Cabrera, Space in Between (detail), 2019, Border Patrol uniform fabric, copper wire, thread, and terracotta pot. Courtesy of the artist and Talley Dunn Gallery.

Jill Freedman, Hands Like a Shawl, 1968, gelatin silver print, 11 x 14 in. Courtesy of the Jill Freedman Estate

L-R: Martin Wong, Ten Brooklyn Storefronts, from the Sunset Park Series (detail), 1985, acrylic on canvas, in 10 parts, 18 x 14 in. Courtesy P.P.O.W. and a private collector. Margarita Cabrera, Space in Between (detail), 2019, Border Patrol uniform fabric, copper wire, thread, and terracotta pot. Courtesy of the artist and Talley Dunn Gallery. Jill Freedman, Hands Like a Shawl, 1968, gelatin silver print, 11 x 14 in. Courtesy of the Jill Freedman Estate

Pittsburgh, PA (February 2, 2022) – From March 5 to June 26, 2022, Carnegie Museum of Art presents Working Thought, a major group exhibition that examines that examines the role of contemporary artists to consider and question the many ways economic inequality and labor have shaped American life past and present. Curated by Eric Crosby, the museum’s Henry J. Heinz II Director, Working Thought showcases contemporary artwork across media and generations, highlighting connections between diverse artistic practices. Through various programs, the exhibition provides a platform for discussion, inviting museum visitors to reflect on their own lived experiences through the works on view. A film series, presenting the work of five filmmakers, will also be an integral part of the exhibition.

Working Thought features works by 35 established and mid-career contemporary artists and filmmakers, including Fred Lonidier, who merges strategies of conceptual photography with activism; Margarita Cabrera, whose work invites the collaboration and involvement of immigrant communities; and Jessica Jackson Hutchins, whose kiln-fused glass works respond to contemporary social issues, in addition to works by Theaster Gates, Rodney McMillian, Jessica Vaughn, Andrea Bowers, and many others.

A combination of new commissions and loans are presented alongside works from the museum’s collection, positioning the collection in a new light and within the context of the history of Pittsburgh as a capital of industry. Many recent acquisitions on display will be on view at the museum for the first time, including Jaune Quick-to-See Smith’s Trade Canoe: The Surrounded (2018) and works by Cameron Rowland, Moyra Davey, and Jill Freedman. The exhibition probes the connections between art, economy, and labor within the larger historical relationship between Carnegie Museum of Art, Andrew Carnegie, and the city of Pittsburgh. The museum’s origins can be traced to 1886 with Andrew Carnegie’s initial concept: a museum that would “bring the world” to the people of Pittsburgh, particularly those who worked in the steel magnate’s empire. Traces of this dedication to industry and toil can still be seen today in John White Alexander’s mural The Crowning of Labor surrounding the 1907 Grand Staircase. “Carnegie Museum of Art is a readymade frame for Working Thought, and the exhibition is intended to take root here in site-specific ways. When I moved to Pittsburgh in 2015, I was struck by how present the city’s deep history of industry was not only in the built environment but also in the museum itself,” says Eric Crosby. “I hope the diverse range of artists and artworks featured in Working Thought will provide multiple points of entry into the timely and relevant social issues that the show addresses, shedding light on the power of art to challenge our most deeply seated assumptions.”

As part of Working Thought, five independent films will be screened in the Carnegie Museum of Art Theater. Each film will be introduced by a local expert whose background engages with the topic of that film. Screening dates and times and film names and directors are as follows:

• March 17, 2022, at 6:00 p.m. American Factory (2019) — directed by Steven Bognar and Julia Reichert
• April 9, 2022, at 1:30 p.m. Killer of Sheep (1978) — directed by Charles Burnett
• April 28, 2022, at 6:00 p.m. Harlan County, USA (1976) — directed by Barbara Kopple
• May 21, 2022, at 1:30 p.m. Lightning Over Braddock: A Rustbowl Fantasy (1988) — directed
by Tony Buba
• June 16, 2022, at 6:00 p.m. Welfare (1975) — directed by Frederick Wiseman

A May Day (International Workers’ Day) celebration will also accompany the exhibition and provide a platform for discussion on art’s capacity to illuminate and reframe past and present conditions of economic inequality and labor. On April 21, 2022, from 6–8 p.m. in the museum’s Hall of Architecture and throughout the Working Thought galleries, various artists and the museum’s curators will come together for a public celebration of the exhibition. The evening will feature contemporary interpretations of work songs by regional musicians. On April 23, 2022, beginning at 10:30 a.m., artists in the exhibition, in partnership with community organizations, will lead public artmaking workshops throughout the museum in preparation for May Day. There will also be docent-led tours throughout the run of the exhibition as part of the museum’s ongoing Date with a Docent program for visitors. The exhibition will also include an In Conversation series of events taking place featuring special guest speakers at Carnegie Museum of Art’s Theatre. This series will also be live streamed for virtual audiences to enjoy:

• Thursday, March 10, 6:00 p.m. In Conversation: Curators with Meg Onli, Director and Curator of the Underground Museum in Los Angeles. Meg and fellow curators will discuss how museums can learn from artists whose work has transformative impacts.
• Saturday, April 23, 3:30 p.m. In Conversation: Artists with Pittsburgh-based artist Naomi Chambers. Naomi and participating artists of Working Thought will discuss how artists lead conversations about labor and economy and what relationships artists create and sustain between their art practices and the communities in which they live and work.
• Saturday, May 7, 2:00 p.m. In Conversation: Siblings with artist Carmen Winant and historian Gabriel Winant. Carmen and Gabriel will address the complexities and contradictions of domestic and feminized labor as seen through photography in their respective work.

More information about Working Thought and its events can be found at cmoa.org/exhibition/working-thought.

Support
Significant support for the exhibition is provided by Kathe and Jim Patrinos, the Susan J. and Martin G. McGuinn Exhibition Fund, and the Virginia Kaufman Fund.

Generous support is provided by Brian Wongchaowart, with additional support from the Ford Family Foundation, Nancy and Woody Ostrow, and The Fellows of Carnegie Museum of Art. Support for curatorial research has been provided by The Andy Warhol Foundation for the Visual Arts. a platform for discussion on art’s capacity to illuminate and reframe past and present conditions

Carnegie Museum of Art is supported by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Premier Partners
Fort Pitt Capital, Highmark Blue Cross Blue Shield, and NOVA Chemicals.

Health and Safety
Since the start of the COVID-19 pandemic, Carnegie Museums of Pittsburgh has continued to follow government and public health guidance to keep staff and visitors safe. To prevent the spread of COVID- 19 in areas with high transmission, the Centers for Disease Control and Prevention strongly recommends that every person—vaccinated and unvaccinated—wear a mask when inside public spaces. For that reason, all visitors aged 2 and above are required to wear masks while inside our museums, and our staff members and volunteers will be wearing masks, too. Visitors experiencing COVID-19 symptoms are kindly asked to remain at home. To learn more about our Health and Safety measures, please visit cmoa.org/visit/health-safety.

Mission
Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our collection of over 34,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. In addition, the Museum houses the archive of more than 70,000 images by Pittsburgh photographer Charles “Teenie” Harris, whose work comprises one of the most detailed and intimate records of Black life in America. Through its programming, exhibitions, and publications, Carnegie Museum of Art frequently explores the role of art and artists in confronting key social issues of our time, combining and juxtaposing local and global perspectives. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. To learn more, please call 412.622.3131 or visit CMOA.org.

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