As soon as, after I was in my 20s and an excessive amount of feeling the load of being a Black man in the US — somebody onto whom most individuals I encountered would venture their assumptions — I had the thought to create a t-shirt that may say, “Your space for projection here.” I really feel this phrase may caption a lot of the work featured in Rashid Johnson’s retrospective exhibition A Poem for Deep Thinkers on the Guggenheim Museum. Notably for an artist who in no way lacks thoughtfulness, this shouldn’t be the case.
In a dialog with MacArthur Fellow and poet Claudia Rankine, revealed in his 2023 Phaidon monograph, Johnson demonstrates that he’s delicate to sure logical pitfalls, reminiscent of Black individuals’s too-easy identification with Africanness. He recollects:
I grew up with a mom who was an African Historical past professor. She wore dashikis and coated our our bodies in shea butter. We have been additionally utilizing black cleaning soap. She was attempting to grasp learn how to outline her relationship to Blackness and to Africanness. She wished to offer us these practices as signifiers and instruments so we may undertake them and make them ours … I began enthusiastic about the humor and the absurdity in a few of that — the thought of 1’s capability to use an Africanness to themselves, however with out the rigour. Proper? It takes no rigour. It takes no analysis. It’s similar to: purchase it and put it in your physique. [Laughs]
His discernment is vital to this exhibition of 95 artworks which might be replete with references to Black identification, its rhetorical development and historic antecedents, and its visible codes, the dense thicket of signifiers within the forest that’s Blackness.
Set up view of Rashid Johnson: A Poem for Deep Thinkers on the Guggenheim Museum in New York (photograph David Heald © Solomon R. Guggenheim Basis, New York)
Johnson gestures to his personal mental buy on all of this by together with books in lots of the installations within the present. The volumes that I discover within the piece “Sanguine” (2025), which spans a lot of the museum’s prime stage, embody The Disaster of the Negro Mental (1967) by Harold Cruse, The Finish of Blackness (2004) by Debra J. Dickerson, and The Useless Lecturer (1964), a ebook of poetry by LeRoi Jones (who later grew to become Amiri Baraka, and whose poem supplies Johnson the present’s title).
“Sanguine” consists of a metal armature within the nooks of that are nestled books, ceramics, video displays, develop lights, crops, and shea butter. The piece operates on the intersection of a dwelling house, a library, and a backyard, an concept I am keen on, as a result of it melds areas which might be usually seen as having nothing to do with one another. The wall label describes it as a “‘house’ of creativity and a dynamic container for ideas,” which I don’t perceive since no explicit home is ever inventive. Persons are, and no construction holds concepts; individuals do, and typically so do books. But, this mashup of potent indicators pointing to home life, studious consideration, and a few type of progress doesn’t inform me what Johnson thinks about this life, what severe consideration yields, or what particular instructions this progress takes him in, except for a normal exploration of Blackness.
I recognize that there’s something primarily democratic concerning the concept of being rigorous. It implies that anybody can rise to sure mental plateaus by merely placing within the work, by doing the studying. Due to this fact, I did some myself and got here to grasp that the central argument made by Cruse within the ebook nestled in “Sanguine” is that Black People won’t ever purchase an equitable place throughout the bigger society till they develop their very own hubs of cultural affect and financial energy. So is that this present alleged to represent a part of this effort? Probably. However then I discover that Dickerson’s central competition in The Finish of Blackness is, in her personal phrases, that “I’m not saying blackness should go away — it is going away. The concept has lost its cohesion; it’s collapsing under the weight of its own contradictions and limitations.” Dickerson insists that we let go of a fixation with overcoming racism and as an alternative tackle native points that may be fastened.
Set up view of Rashid Johnson’s “Sanguine” (2025), with “God Portray ‘The Spirit’” (2023), oil on linen
I am not sure how to square this idea with an exhibition that is deeply beholden to the idea of Blackness. It’s unclear whether or not these books are supposed to signify which means by means of their content material, or whether or not their mere presence is supposed to point severe thought.
There are extra references to studying in images reminiscent of “The Reader” (2008), which reveals the artist in a white gown mendacity on a chaise lounge, a ebook with a purple cowl obscuring his face from the viewer, as if that tome is what we have to see to start to “see” him. Within the virtually eight-minute video “Black and Blue” (2021), Johnson may be seen studying at a desk whereas his son works dutifully on an issue and his spouse appears on. Within the video included in “Sanguine,” Johnson, his father, and his son are all proven in a front room studying, donning African masks, and making ready a meal. This means that the data gleaned from books locations them in nearer proximity to their Africanness, and that that is all crucial sustenance for them. Mental engagement with the methods and technique of being Black is clearly a deep situation for the artist. There’s a lot studying happening, however I ponder the place the apprehended data reveals up.
I don’t discover it within the aphoristic phrases drawn by hand on mirrors, such because the 2008 spray enamel items “Promised Land” and “Run,” and the 2010 “Fly Away.” What I gathered from these are pretty simplistic imperatives and descriptives. The thought of a promised land is embedded within the Black Christian lexicon and fuels a few of the resentment for the shortage of reparations legitimately because of the Black neighborhood of the US. These are highly effective phrases. They hyperlink to actions and concepts that form the expertise of nearly all of Black individuals right here, even when like me they’re immigrants. We now have completed a whole lot of operating — in athletic competitions, political contests, educational settings to show our value. As soon as, Black individuals ran from slave catchers for his or her survival. We now have usually wished to fly away from unjust circumstances. Nevertheless it’s not clear how these phrases apply to us proper now. Johnson just isn’t recontextualizing these forceful phrases sufficient to evoke a selected, distinctive which means, however slightly counting on their historic efficiency to do the work for him. What are we alleged to run from or towards? In what route? What does the promised land appear to be? How will we acknowledge it?
Element view of Rashid Johnson’s “Sanguine” (2025), that includes books by Harold Cruse and Debra J. Dickerson
Rashid Johnson, “Fireplace Pit ‘High Life’” (2022), bronze, and “Stay Black and Die” (2005), from the series Things I need to do, spray enamel on felt
The installation pieces require more parsing. “Post Prison Writings (2012) is an open, circular, steel armature with a clean, mid-century modern aesthetic and stained red oak flooring, black soap paintings, small mounds of shea butter, and books by Eldridge Cleaver and Frantz Fanon. Taken altogether these items might suggest an emblem, the crest of a house or family. I imagine that Johnson might see these items as a complex visual sign for Blackness. But I find these references far too general, vague, and undetermined. If the suggestion is that Blackness is constituted through a variety of scholarship, signs, and materials that are both personal and communally shared, well, that is something Black arts production has been demonstrating for at least a hundred years. This work reminds me of what an undergraduate English professor once told me about analyzing literary themes: The subject matter of a story or poem is what the author discusses, but what the author says about the subject constitutes the theme. In other words, despite my grasp of the references, they don’t essentially cohere into which means. It feels just like the artist just isn’t performing as a information, however slightly as a hype man. To me, the questions the exhibition poses are whether or not these items are literally born of mental rigor and, even when they’re, whether or not such cerebral diligence makes for a deep expertise.
Rashid Johnson, “Post Prison Writings” (2012), metal, stained purple oak flooring, paint, black cleaning soap, wax, oyster shells, shea butter, and books
Rashid Johnson, “Promised Land” (2008), spray enamel on mirror
Wanting on the collection of Anxious Males work, reminiscent of “Untitled Anxious Audience” (2019), the simplified faces product of black cleaning soap and wax have eyes scratched in an obsessive round movement and mouths that include vertical and horizontal abrasions. These facial options seem deeply fearful, so shaken that they appear to be vibrating. It is a totally different type of exactitude, one which’s emotional slightly than mental, and it’s right here that the work takes on better resonance. Discovering this extra fulsome which means might should do with the work originating in a weak, private place. Johnson has talked overtly about coping with social anxiousness. By plumbing the character of a self that struggles bodily and emotionally, he finds a extra convincing connection to viewers who grapple with the identical illness.
The misunderstanding — flogged by teachers, largely artwork historians, who deal primarily with visible artwork — is that rigor is the sine qua non of aesthetic manufacturing. However I argue that it’s perception, which is extra nebulous and intuitive and maybe more durable to determine.
I consider Nick Cave’s 2014 “Untitled,” which consists of a darkly bronzed arm with an outstretched hand affixed to a wall on the shoulder, an overflow of white towels hiding a lot of the limb. It eloquently evokes one of many important points of racist ideology, which is a discount of an entire human being to a physique that exists to serve others. Lorna Simpson’s perceptive 1986 piece “Waterbearer” succinctly conveys an expertise shared by many Black girls who’re requested to offer an account solely to have their testimony ignored. Marrying the story to a photographic picture of a Black lady’s again concurrently narrows and widens the scope of individuals the artist identifies as her main viewers. And, most poignantly for me, there’s Glenn Ligon’s “Condition Report” (2000), which makes use of a duplicate of a conservator’s precise situation report on his art work to subtly characterize the harms which have come to his personal physique (or my very own) over time. These items exist throughout the identical custom that Johnson works in: conceptual artwork. However this work comes out of intuitive approaches much less anxious about proving their relevance or rigor.
Rashid Johnson’s “Untitled Totem” (2021), solid bronze and crops (left), and “Untitled Anxious Audience” (2019), ceramic tile, black cleaning soap, and wax (all images Seph Rodney/Hyperallergic)
Rashid Johnson, “The Broken Five” (2019), ceramic tile, mirror tile, branded purple oak flooring, vinyl, spray enamel, oil stick, black cleaning soap, and wax
When Johnson is extra embedded within the materials, he’s extra convincing. I’m taking a look at “The Broken Five” (2019), a haunting portrait of 5 individuals, their faces very like the anxious males elsewhere within the exhibition. The dominant tones are stone and beige, however these distinction with the black, reds, blues, and purples that form the our bodies. Damaged and reassembled tiles and mirrors with gestural portray and spray enamel compose the figures, all convened to make a picture of what life appears like when it’s assembled piecemeal, instinctually — which is what most of our lives are like. With the determine on the correct, there’s a gap within the chest the place their coronary heart is perhaps. We’re all bits of shade and bits of dross attempting to make ourselves identified. That is evocative of the everlasting wrestle for people who’re born to die, to hold on, to make which means earlier than we go. Extra of this, please. I don’t perceive why a lot of the present lacks this perception and vitality. Due to this fact, I return to studying to grasp Johnson’s selections.
There’s a passage from an essay, “Questions Posed Externally: Rashid Johnson’s Aesthetic Invitations” by Sampada Aranke, revealed in the identical Phaidon monograph talked about above, which clarifies why he took sure approaches. Johnson talks about encountering Richard Tuttle’s “Tenth Cloth Octagonal” (1967) on the Artwork Institute of Chicago. He describes the work as “an irregularly shaped piece of cloth affixed to the gallery wall.” His response was visceral: “I was like, ‘What the Fuck is that?’ It just brought all this ire, this frustration, this disappointment. Was I being frozen out? Was I being made fun of? Are there these critical underpinnings, is there this world here that I don’t have access to?”
Aranke concludes that the way in which Johnson processes this shock is to “make works responding to the invitation it represented.” Moderately than rejecting it as missing in which means, and subsequently unworthy of consideration, he took it to be a pathway to a sure type of company.
I feel this makes some form of sense: to discover a strategy to be a part of the sport being performed slightly than sit on the sidelines, your abilities unappreciated. However I discover Richard Tuttle’s work to be among the many most vapid and tedious artwork being proven at the moment. It lacks rigor, perception, even care. It’s work that celebrates the flexibility to make benign, detached objects that however appeal to essential scrutiny and monetary funding, as a result of it feels highly effective to make this work, and it appears like freedom. Rashid Johnson has extra to supply than clanging symbols collectively to make some noise indicating his presence. The artwork scene sees him, and we’re prepared for the poetry that has true depth.
Rashid Johnson: A Poem for Deep Thinkers continues on the Solomon R. Guggenheim Museum (1071 Fifth Avenue, Higher East Facet, Manhattan) by means of January 18, 2026. The exhibition was curated by Naomi Beckwith.
