Taryn Simon’s Guggenheim Exhibition Reconfigures the Shape of Photography

The Solomon R. Guggenheim Museum will unveil Taryn Simon's exhibition on 5 December 2023. This marks a significant moment, as it is the first time since 1959 that the rotunda will feature Simon's new photography and video installations designed specifically for the space.

Simon examines power and visibility through her art. Her work, A Living Man Declared Dead and Other Chapters I–XVIII (2011), meticulously cataloged bloodlines and bureaucracies. The Guggenheim project continues this exploration, though specific details about the works remain limited. Simon has redefined photography by incorporating video and sculptural elements.

Naomi Beckwith, Deputy Director and Chief Curator, highlighted the exhibition's importance during a press preview on 10 October. She stated, "This is a deliberate statement on the inclusivity of contemporary practice," aiming to redefine photography's role alongside painting and installation art. This unprecedented focus on lens-based media contrasts with previous exhibitions like Carrie Mae Weems’s 2014 survey.

Simon’s installation reflects the Guggenheim’s gradual integration of photography, particularly after acquiring the Robert Mapplethorpe archives in 2012. Unlike Mapplethorpe’s confined silver prints, Simon’s images will flow through the rotunda’s inclined walkways, creating a dynamic interaction as viewers ascend or descend. Beckwith noted this interaction as "critical to Simon’s conceptual layering."

The exhibition's scale emphasizes photography's evolving role in contemporary discourse. Curator Lizzie MacDougall, who collaborated with Simon, remarked, "The medium has outgrown its two-dimensional origins. The digital age forces us to grapple with images as objects and experiences. Simon’s work epitomizes this tension—images are no longer inert; they act." This perspective aligns with trends at institutions like MoMA and Tate Modern, which increasingly view photography as a multidisciplinary tool.

Simon’s meticulous approach extends to material choices. Prints will be produced on heavy rag paper with deckled edges, enhancing their tactile quality. Video components, shot in 4K resolution, juxtapose permanence with ephemerality. If frames are used, they will be hand-finished to echo the building’s pale concrete.

A key aspect of the exhibition is how audiences navigate Simon’s materials. The Guggenheim’s spiral layout disrupts linear progression, a challenge Simon embraces. Beckwith remarked, "She’s structured the installation to reward wandering," emphasizing Simon’s interest in how information accumulates unevenly. Viewers may encounter video sequences mid-loop or textual fragments out of context, reinforcing themes of fragmentation and systemic opacity.

This exhibition raises logistical questions for the institution. The rotunda’s non-orthogonal walls and varying light conditions have historically limited photographic displays. To address this, Simon has collaborated with lighting designers and conservators to ensure stability and legibility. Technical lead Evgeny Polyakov stated, “The precision of Simon’s work leaves no room for approximation. This is a meticulous calibration of not just light but time, as videos loop and fade in perfect synchronization with natural illumination.”

An open question remains: will Simon’s innovations resonate with the museum’s diverse audience? Previous exhibitions expanding photography's scope, like Photo-Poetics: An Anthology (2015), attracted specialists more than general visitors. However, Simon’s reputation for navigating art and social commentary may bridge this gap.

The exhibition runs through April 2024. While details about the accompanying catalogue are pending, early indications suggest essays by Beckwith and theorist Ariella Azoulay. Azoulay's critiques of photography's role in colonial frameworks signal the intellectual depth the museum aims to convey.

Simon’s Guggenheim debut critiques how institutions shape medium-specific discourse. By dedicating the rotunda to photography and video, the Guggenheim joins a movement of museums rethinking these media's place in curatorial narratives. The success of Simon’s ambitious experiment will depend on the audience's willingness to embrace new forms of visual engagement.