Jason Moran

Sept 20, 2019–Jan 5, 2020

5 men in hats in a circle, facing away from each other and playing 5 different pianos
5 men in hats in a circle, facing away from each other and playing 5 different pianos

Lorna Simpson, still from Chess, 2013. 3-channel HD video, black and white, sound, looped; 10:19 min. Edition of 3, with 1 AP. © Lorna Simpson. Courtesy the artist and Hauser & Wirth

The boundary-bursting artist Jason Moran (b. 1975) grounds his practice in the composition of jazz, bridging the visual and performing arts through spellbinding stagecraft. Heralded as one of the country’s leading jazz innovators, Moran transmutes his personal experience of the world into dynamic musical compositions that challenge the formal conventions of the medium. His experimental approach to art-making embraces the intersection of objects and sound, pushing beyond the traditional in ways that are inherently theatrical. 

This exhibition—the artist’s first solo museum show—presents the range of work Moran has explored, from his own sculptures and drawings to collaborations with visual artists to performances. Among the many artists with whom Moran has collaborated are Joan Jonas, Kara Walker, Lorna Simpson, Glenn Ligon, Stan Douglas, Carrie Mae Weems, Adam Pendleton, Theaster Gates, Julie Mehretu, Ryan Trecartin, and Lizzie Fitch. Originating in Minneapolis at the Walker Art Center in the spring of 2018, the show has traveled to the ICA Boston and the Wexner Center before its final stop at the Whitney. This grand finale in Moran's hometown of New York City will feature many performances by renowned jazz musicians and new live adaptations of works made with his most significant artistic collaborators.

Jason Moran is organized by the Walker Art Center, and curated by Adrienne Edwards with Danielle A. Jackson. The Whitney’s presentation is overseen by Adrienne Edwards, the Engell Speyer Family Curator and Curator of Performance, with Clémence White, senior curatorial assistant.

View performance series.

The exhibition is made possible with the generous support of the Andrew W. Mellon Foundation. Piano by Steinway & Sons.

In New York, the exhibition is sponsored by

Generous support for Jason Moran is provided by Erin and Peter Friedland, The Philip and Janice Levin Foundation, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Significant support is provided by Chip and Burwell Schorr, Norman and Melissa Selby, and the Joyce and George Wein Foundation.

Additional support is provided by Lisa and Dick Cashin.

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Collaborations

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Collaboration has been central to Moran’s experiments, and among the many artists with whom he has collaborated include The Bandwagon (Tarus Mateen and Nasheet Waits), Stan Douglas, Lizzie Fitch, Theaster Gates, Joan Jonas, Glenn Ligon, Julie Mehretu, Ashland Mines (Total Freedom), Alicia Hall Moran, Adam Pendleton, Adrian Piper, Lorna Simpson, Ryan Trecartin, Kara Walker, and Carrie Mae Weems.

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Theaster Gates and Jason Moran and The Bandwagon (Tarus Mateen and Nasheet Waits)
Excerpt from Looks of a Lot, 2014

Two men sitting on a stage with microphones.
Two men sitting on a stage with microphones.

Theaster Gates, and Jason Moran and The Bandwagon (Tarus Mateen and Nasheet Waits), performance still of Looks of a Lot, 2014. Performed at Symphony Center, Chicago, May 30, 2014. Performers: Jason Moran and The Bandwagon (Tarus Mateen and Nasheet Waits), Katie Ernst, Ken Vandermark, Theaster Gates, and the Kenwood Academy Jazz Band; film direction: RoundO Films (Radiclani Clytus, Gregg Conde, and Anthony Gannon). Commissioned by the Chicago Symphony Orchestra. Courtesy the artists and RoundO Films, New York. Photograph © Todd Rosenberg

Looks of a Lot, a collaboration between Jason Moran and artist Theaster Gates, explores themes of violence, absence, loss, and the resilience of the human spirit. Working with the Kenwood Academy Jazz Band in Chicago, as well as multi-reedist Ken Vandermark and vocalist Katie Ernst, Moran created a layered multimedia and jazz improvisation project. Gates’s sculptures made from salvaged materials served as music stands, and Moran sat on another sculpture, a multi-tiered shoe-shine chair, as he played a hand-cranked music box with a prepunched musical score. Utilizing traditional and nontraditional instruments, such as vintage minstrel windup toys and horns, Looks of a Lot brings together multiple narratives that resonate with the Chicago landscape. The excerpts presented here feature both concert and documentary footage detailing the process of collaboration.

Events

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Audio guides

Lorna Simpson, still from Chess, 2013. Three-channel video, black-and-white, sound; 10:19 min. (looped) Edition of 3, with 1 AP. Courtesy the artist and Hauser & Wirth. © Lorna Simpson

Find sound descriptions and transcripts of works with sound in this exhibition.

View guide

Explore works from this exhibition
in the Whitney's collection

View 2 works

In the News

“There’s a sense of movement and evocative purpose to everything [Jason Moran] does.” —Observer

“Jason Moran’s Jazz Journey at the Whitney Upends Space and Time” —The New York Times

On the Hour

A 30-second online art project:
Maya Man, A Realistic Day In My Life Living In New York City

Learn more about this project

Learn more at whitney.org/artport

On the Hour projects can contain motion and sound. To respect your accessibility settings autoplay is disabled.