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Taryn Simon, Press XL, from the series Paperwork and the Will of Capital, 2015, Brooklyn Museum, New York © Taryn Simon

On View

The Slipstream
Reflection, Resilience, and Resistance in the Art of Our Time

Through March 20, 2022
Brooklyn Museum, New York
www.brooklynmuseum.org

The Slipstream draws examples from Brooklyn Museum’s contemporary art collection to contemplate the profound disruption that occurred in 2020. Borrowing its title from an aeronautical term that refers to the pull of the current that is left in the wake of a large and powerful object, the exhibition examines the placement and displacement of power that runs through American history and continues today. The show features more than sixty works by multiple generations of artists from the 1960s to the present day, including Titus Kaphar and Taryn Simon.

Taryn Simon, Press XL, from the series Paperwork and the Will of Capital, 2015, Brooklyn Museum, New York © Taryn Simon

Installation view, Taryn Simon: The Color of a Flea’s Eye: The Picture Collection, New York Public Library, 2020. Artwork © Taryn Simon. Photo: Rob McKeever

On View

Taryn Simon
The Color of a Flea’s Eye: The Picture Collection

Through May 15, 2022
New York Public Library
www.nypl.org

A project nine years in the making, The Color of a Flea’s Eye foregrounds the New York Public Library’s Picture Collection, whose storied images have been available, for more than a century, for the public to sift through in search of visual references of every conceivable kind. Intrigued by the Picture Collection since childhood, in 2012 Taryn Simon embarked on a study of its underlying patterns, codes, and orders. Her photography of its contents reveals it to be an inadvertent recorder of changing social mores, disclosing latent fault lines of power, race, and gender.

Installation view, Taryn Simon: The Color of a Flea’s Eye: The Picture Collection, New York Public Library, 2020. Artwork © Taryn Simon. Photo: Rob McKeever

Taryn Simon and Aaron Swartz, Image Atlas (2012), installation view, C/O Berlin Foundation © Taryn Simon. Photo: David von Becker

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Taryn Simon in
Send Me an Image: From Postcards to Social Media

May 29–September 2, 2021
C/O Berlin Foundation
co-berlin.org

This exhibition considers photography’s transformation from an illustrative medium to one of society’s most significant means of communicating today. The photographs and projects on view illuminate phenomena such as censorship, surveillance, and algorithmic regulation, which affect human activities in our data-driven era. Work by Taryn Simon is included.

Taryn Simon and Aaron Swartz, Image Atlas (2012), installation view, C/O Berlin Foundation © Taryn Simon. Photo: David von Becker

Taryn Simon, U.S. Customs and Border Protection, Contraband Room, John F. Kennedy International Airport, Queens, New York, 2007, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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Taryn Simon in
Future Food: Essen für die Welt von morgen

May 31–August 28, 2021
Deutsches Hygiene-Museum, Dresden, Germany
www.dhmd.de

This exhibition, whose title translates to Future Food: What Will We Eat Tomorrow?, investigates the political, ethical, and cultural significance of eating. This interdisciplinary show features works of contemporary art that address one of the most urgent questions of our time: “How will we—and can we—feed ourselves in the future?” Work by Taryn Simon is included.

Taryn Simon, U.S. Customs and Border Protection, Contraband Room, John F. Kennedy International Airport, Queens, New York, 2007, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

Installation view, Taryn Simon: An American Index of the Hidden and Unfamiliar, Louisiana Museum of Modern Art, Humlebaek, Denmark, April 21–May 30, 2021. Artwork © Taryn Simon

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Taryn Simon
An American Index

April 21–May 30, 2021
Louisiana Museum of Modern Art, Humlebaek, Denmark
louisiana.dk

The Louisiana Museum of Modern Art is presenting the entirety of Taryn Simon’s photographic series An American Index of the Hidden and Unfamiliar (2007), recently acquired for its collection. Documenting in photography and text objects, sites, and spaces that remain inaccessible or unknown to the American public, this unsettling body of work presents a rare portrait of the United States through the lenses of science, religion, medicine, entertainment, security, and politics.

Installation view, Taryn Simon: An American Index of the Hidden and Unfamiliar, Louisiana Museum of Modern Art, Humlebaek, Denmark, April 21–May 30, 2021. Artwork © Taryn Simon

Taryn Simon, Chapter XVIII, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11 © Taryn Simon

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Taryn Simon in
Dear Truth: Documentary Strategies in Contemporary Photography

February 5–May 2, 2021
Hasselblad Foundation, Gothenburg, Sweden
www.hasselbladfoundation.org

This exhibition explores how nine contemporary artists approach ideas of truth, facts, and objectivity, and how they, guided by ethical reflections, make urgent sociopolitical matters visible in their work. Their projects address some of the most challenging issues of our time: human rights, the environment, democracy, migration, technology, and violence. The truth plays a central role in their practices, not as an authoritarian or neutral vision, but as a starting point for socially engaged contemporary art. Work by Taryn Simon is included.

Taryn Simon, Chapter XVIII, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11 © Taryn Simon

Taryn Simon, U.S. Customs and Border Protection, Contraband Room, John F. Kennedy International Airport, Queens, New York, 2007, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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Taryn Simon in
Spaces of No Control

October 1, 2020–February 19, 2021
Austrian Cultural Forum New York
www.acfny.org

Spaces of No Control is an international group exhibition that explores the notions of the modern city and its signifying dystopias of the twentieth and twenty-first centuries. This multifaceted show unites contemporary artists based in Austria and the United States to comment on current definitions of citizenship and public space. Work by Taryn Simon is included.

Taryn Simon, U.S. Customs and Border Protection, Contraband Room, John F. Kennedy International Airport, Queens, New York, 2007, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

Taryn Simon, Sausages (prohibited), 2010, from the series Contraband, 2010 © Taryn Simon

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Terminal

August 13, 2020–February 14, 2021
City Gallery Wellington, New Zealand
citygallery.org.nz

Terminal is an exhibition of international art made about the airport, not for it. The exhibiting artists variously address the airport as site, form, or symbol—often by subverting its iconography and processes, or by tackling its history and politics. Work by Andreas Gursky and Taryn Simon is included.

Taryn Simon, Sausages (prohibited), 2010, from the series Contraband, 2010 © Taryn Simon

Taryn Simon, Chapter XIV, 2011, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11 © Taryn Simon

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Taryn Simon in
Measure Your Existence

February 7, 2020–January 24, 2021
Rubin Museum of Art, New York
rubinmuseum.org

Measure Your Existence questions and expands the Buddhist concept of impermanence through artworks by six contemporary artists who explore duration, survival, memory, fate, history, loss, disappearance, and reappearance. Work by Taryn Simon is included.

Taryn Simon, Chapter XIV, 2011, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11 © Taryn Simon

Taryn Simon, Transatlantic Sub-Marine Cables Reaching Land, VSNL International, Avon, New Jersey, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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Taryn Simon in
We Never Sleep

September 24, 2020–January 10, 2021
Schirn Kunsthalle Frankfurt, Germany
www.schirn.de

This exhibition explores the “golden age” of espionage during the Cold War in the context of media super-exposure through the works of more than forty international artists. On view are a multitude of artistic strategies and unexpected objects: Paintings, photographs, videos, sculptures, and installations address the topic from a contemporary perspective. The works in the show touch on aspects of spy culture such as surveillance, paranoia, conspiracy, threat, camouflage, cryptography, manipulation, and propaganda. Work by Taryn Simon is included.

Taryn Simon, Transatlantic Sub-Marine Cables Reaching Land, VSNL International, Avon, New Jersey, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

Adriana Varejão, Horto Jerked-Beef Ruin (diptych), 2001 © Adriana Varejão

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Time for Outrage!
Art in Times of Social Anger

October 29, 2020–January 10, 2021
Kunstpalast Düsseldorf, Germany
www.kunstpalast.de

Based on a 2010 manifesto of the same title by former French resistance fighter Stéphane Hessel, the exhibition Time for Outrage! brought together more than forty international artists who visualize, reflect on, and comment on various facets of anger and rage in our society during this era of political turmoil and democratic crisis. Work by Taryn Simon and Adriana Varejão was included.

Adriana Varejão, Horto Jerked-Beef Ruin (diptych), 2001 © Adriana Varejão

Photo © Taryn Simon

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Taryn Simon
Assembled Audience

September 26–November 20, 2020
Wexner Center for the Arts, Ohio State University, Columbus
wexarts.org

Taryn Simon’s Assembled Audience (2018) draws on the notion of engineered applause, gathering individuals with varying political, corporate, and ideological allegiances into a single crowd. Simon assimilated recordings of single attendees applauding at local concerts, sporting events, and political rallies at three of the largest venues in the capital city of the bellwether state of Ohio. Her experiential installation wholly immerses the visitor in a darkened space punctuated only by the sound of randomized individual applause tracks; the same crowd never comes together twice. Presented for the first time in the city of its creation, Assembled Audience proves prescient in the isolation that it forecasted as these same gathering spaces, once crowd-filled, are now quieted by covid-19, the spaces respectively repurposed for eviction trials, police trainings, and a field hospital.

Photo © Taryn Simon

Taryn Simon, Oxalis tuberosa, Peru (7CFR) (prohibited), 2010, from the series Contraband, 2010 © Taryn Simon

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Civilisation, Photography, Now

June 13–October 18, 2020
Auckland Art Gallery Toi o Tāmaki, New Zealand
www.aucklandartgallery.com

Civilisation, Photography, Now features more than two hundred works from one hundred international photographers. The exhibition considers patterns of mass behavior and the complexities of life in twenty-first-century urban environments. This show originated at the National Museum of Modern and Contemporary Art, Seoul, as Civilization: The Way We Live Now. Work by Mike Kelley, Vera Lutter, and Taryn Simon is included.

Taryn Simon, Oxalis tuberosa, Peru (7CFR) (prohibited), 2010, from the series Contraband, 2010 © Taryn Simon

Taryn Simon, Finding Pursuant to Section 662 of the Foreign Assistance Act of 1961, as Amended, Concerning Operations in Foreign Countries Other than Those Intended Solely for the Purpose of Intelligence Collection. White House, Washington, D.C., United States, 1981, from the series Paperwork and the Will of Capital, 2015 © Taryn Simon

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Taryn Simon in
Pine’s Eye

February 29–August 30, 2020
Talbot Rice Gallery, University of Edinburgh, Scotland
www.trg.ed.ac.uk

Taking its name from that of Pinocchio (the word means “pine eye” in Italian), Pine’s Eye explores what it means to be human in times of ecological change. The exhibition offers alternative perspectives for how we understand ourselves in the face of environmental crisis. Work by Taryn Simon is included.

Taryn Simon, Finding Pursuant to Section 662 of the Foreign Assistance Act of 1961, as Amended, Concerning Operations in Foreign Countries Other than Those Intended Solely for the Purpose of Intelligence Collection. White House, Washington, D.C., United States, 1981, from the series Paperwork and the Will of Capital, 2015 © Taryn Simon

Taryn Simon, White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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Taryn Simon in
The World to Come: Art in the Age of the Anthropocene

March 19–August 16, 2020
DePaul Art Museum, Chicago
resources.depaul.edu

The World to Come: Art in the Age of the Anthropocene chronicles an era of rapid, radical, and irrevocable ecological change through works of art by more than forty-five international artists. Our age, a new geological epoch defined by human impact, has controversially been termed the Anthropocene. Despite the challenges of disaster and denial, artists in the exhibition respond with resistance, imagination, and new ways of seeing and thinking about the world to come. This exhibition originated at the Harn Museum of Art, University of Florida, in Gainesville. Work by Taryn Simon is included.

Taryn Simon, White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

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Taryn Simon in
Leonard Cohen: A Crack in Everything

October 24, 2019–April 13, 2020
Nikolaj Kunsthal, Copenhagen
www.nikolajkunsthal.dk

This multidisciplinary exhibition combining visual art, virtual reality, installations, performances, music, and writing offers the public a collection of new work commissioned from and created by local and international artists who have been inspired by Leonard Cohen’s style and recurring themes. This exhibition originated at the Musée d’art contemporain de Montréal. Work by Taryn Simon is included.

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

Gregory Crewdson, Untitled, 2006 © Gregory Crewdson

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Unseen
35 Years of Collecting Photographs

December 17, 2019–March 8, 2020
J. Paul Getty Museum, Los Angeles
www.getty.edu

Commemorating the thirty-fifth anniversary of the J. Paul Getty Museum’s collection of photographs, this exhibition reveals the breadth and depth of the Getty’s acquisitions through an array of its hidden treasures, none of which have been exhibited at the museum before. Spanning the history of the medium from its early years to the present day, Unseen highlights visual associations between photographs from different times and places to encourage fresh discoveries and underscore a sense of continuity and change within the history of the medium. Work by Gregory Crewdson and Taryn Simon is included.

Gregory Crewdson, Untitled, 2006 © Gregory Crewdson

Vera Lutter, Clock Tower, Brooklyn, XXXVI: June 16, 2009, 2009 © Vera Lutter

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Civilization
The Way We Live Now

September 13, 2019–February 2, 2020
National Gallery of Victoria, Melbourne, Australia
www.ngv.vic.gov.au

Civilization: The Way We Live Now features more than two hundred works from one hundred international photographers. The exhibition considers patterns of mass behavior and the complexities of life in twenty-first-century urban environments. This show originated at the National Museum of Modern and Contemporary Art, Seoul. Work by Mike Kelley, Vera Lutter, and Taryn Simon is included. 

Vera Lutter, Clock Tower, Brooklyn, XXXVI: June 16, 2009, 2009 © Vera Lutter

Installation view, Reflections: Matt Black × Gana Art, Gana Art Center and Gana Art Hannam, Seoul, November 1, 2019–January 5, 2020. Artwork © Sterling Ruby

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Reflections
Matt Black × Gana Art

November 1, 2019–January 5, 2020
Gana Art Center and Gana Art Hannam, Seoul
ganaart.com

In collaboration with filmmaker Matt Black, this exhibition is centered around his short film series titled Reflections, which features conversations with contemporary artists. Through his interviews, Black paints a picture of the rapidly changing contemporary art scene, revealing the stories behind the artworks. Following the film’s theme, Gana Art has curated this exhibition to feature works by these artists, which include Dan Colen, Rachel Feinstein, Jeff Koons, Harmony KorineSterling Ruby, Taryn Simon, and Blair Thurman, among others.

Installation view, Reflections: Matt Black × Gana Art, Gana Art Center and Gana Art Hannam, Seoul, November 1, 2019–January 5, 2020. Artwork © Sterling Ruby

Taryn Simon, Exploding Warhead, Test Area C-80C, Eglin Air Force Base, Florida, 2007 (detail) © Taryn Simon

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Taryn Simon in
Aichi Triennale

August 1–October 14, 2019
Various locations in Japan
aichitriennale.jp

The fourth iteration of the Aichi Triennale features an international contemporary art exhibition alongside film, performing arts, and music programs, bringing together more than eighty individual artists and artist groups across a range of expressive domains to showcase their cutting-edge works. Work by Taryn Simon is included.

Taryn Simon, Exploding Warhead, Test Area C-80C, Eglin Air Force Base, Florida, 2007 (detail) © Taryn Simon

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

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Taryn Simon in
Leonard Cohen: A Crack in Everything

April 12–September 8, 2019
Jewish Museum, New York
thejewishmuseum.org

This multidisciplinary exhibition combining visual art, virtual reality, installations, performances, music, and writing offers the public a collection of new work commissioned from and created by local and international artists who have been inspired by Leonard Cohen’s style and recurring themes. This exhibition originated at the Musée d’art contemporain de Montréal. Work by Taryn Simon is included.

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

Installation view, What is an edition, anyway?, McEvoy Foundation for the Arts, San Francisco, May 24–September 7, 2019. Photo: Henrik Kam

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What is an edition, anyway?

May 24–September 7, 2019
McEvoy Foundation for the Arts, San Francisco
www.mcevoyarts.org

What is an edition, anyway? explores the traditions, conditions, and inventive expressions of the contemporary artist’s multiple. Photography, performance, illustration, technology, and installation further explore the notion of the edition as an idea reproduced in limited quantities. Work by Richard Prince and Taryn Simon is included.

Installation view, What is an edition, anyway?, McEvoy Foundation for the Arts, San Francisco, May 24–September 7, 2019. Photo: Henrik Kam

Taryn Simon, Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan, 2004–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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Taryn Simon in
The Future Starts Here

March 21–August 4, 2019
ArkDes, Stockholm
arkdes.se

The Future Starts Here brings together groundbreaking technologies and designs currently in development in studios and laboratories around the world. Visitors are guided by a series of ethical and speculative questions to connect the subject matter to the choices that we all face in our everyday lives. This show originated at the Victoria & Albert Museum in London. Work by Taryn Simon is included.

Taryn Simon, Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan, 2004–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

Taryn Simon, Agreement to form a Palestinian national unity government. Mecca, Saudi Arabia, February 8, 2007, from the series Paperwork and the Will of Capital, 2015 © Taryn Simon

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Taryn Simon in
Durch die Blume–Florale Metamorphosen

April 6–July 21, 2019
Kunstverein Heilbronn, Germany
www.kunstverein-heilbronn.de

In celebration of the Federal Horticultural Show, which in 2019 takes place in Heilbronn, Kunstverein Heilbronn is hosting Durch die Blume–Florale Metamorphosen, which examines Yves Bélorgey’s depictions of everyday architecture from the 1950s, ’60s, and ’70s and pairs it with the themes of gardens and parks. Work by Taryn Simon is included.

Taryn Simon, Agreement to form a Palestinian national unity government. Mecca, Saudi Arabia, February 8, 2007, from the series Paperwork and the Will of Capital, 2015 © Taryn Simon