Carnegie Museum of Art

Carnegie Museum of Art At Carnegie Museum of Art, we create experiences that connect people to art, ideas, and one another.
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The Carnegie Museum of Art's collection of more than 30,000 objects features a broad spectrum of visual arts, including painting and sculpture; prints and drawings; photographs; architectural casts, renderings, and models; decorative arts and design; and film, video, and digital imagery. Through our programming, exhibitions, and publications, we frequently explore the role of art and artists in co

nfronting key social issues of our time, combining and juxtaposing local and global perspectives. With our unique history and resources, we strive to become a leader in defining the role of art museums for the 21st century.

Eric Gyamfi’s installation, Stomata: Dr. Mahashe’s Open Frames (2026), commissioned for the 59th Carnegie International,...
06/23/2026

Eric Gyamfi’s installation, Stomata: Dr. Mahashe’s Open Frames (2026), commissioned for the 59th Carnegie International, stem from a central question: “If local contexts—including visual cultures, cosmologies, and technologies—played a significant role in the development and evolution of photography, what might a parallel history of the medium, developed in Kumasi, Ghana, look like?”

Through a series of experiments, Gyamfi created pinhole cameras to test refracted light, multiple apertures, heat, and plant vapors. These cameras are presented here alongside the photographs they produced. The images turn toward process, revealing the artist’s studio, darkroom materials, local flora, sunlight pouring through open windows, and stacks of books.

Embracing light leaks, blurred motion, and soft focus, Gyamfi’s selection of images includes himself and his collaborators to underscore the importance of shared inquiry in the artist’s practice.

Head to https://carnegieart.org/ to learn more and to plan your visit to the 59th Carnegie International, on view through January 3, 2027.

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Installation view of Eric Gyamfi, Stomata: Dr. Mahashe’s Open Frames (2026), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

Charles “Teenie" Harris took this photo of Sabre “Mother” Washington in 1954, as she celebrated her 109th birthday and w...
06/19/2026

Charles “Teenie" Harris took this photo of Sabre “Mother” Washington in 1954, as she celebrated her 109th birthday and was interviewed by the Pittsburgh-based, Black-owned radio station WILY-FM.

Mother Washington was born in 1845, during the time of slavery in the United States. The Emancipation Proclamation was signed in 1863, but Union Troops did not arrive in Galveston, Texas to communicate and enforce the law until June 19, 1865.

This day came to be known as Juneteenth, a celebration of emancipation as well as the imagination necessary in the continued struggle for freedom.

The museum is open today, and this photograph is presently on view alongside hundreds of other works by Harris in our collection galleries.

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Charles "Teenie" Harris, Sabre “Mother” Washington celebrates her 109th birthday at home on Conemaugh Street. Earsley Kincaid and Lee Doris of WILY radio station cover the occasion, 1954, Carnegie Museum of Art, Heinz Family Fund

Summer is almost here, and the Sculpture Court is the place to be! Check out this year’s full Inside Out lineup and star...
06/17/2026

Summer is almost here, and the Sculpture Court is the place to be! Check out this year’s full Inside Out lineup and start making your plans.

🌙 Inside Out Night—Dance your heart out, or relax into the magic hour and watch the stars come out as DJs, musicians, and dancers transform our Sculpture Court into a can’t-miss convergence of energy and beautiful people.

☀️ Inside Out Day—Gather with us to imagine, relax, play, and create, while immersed in art and performances by regional arts organizations, dance companies, and artists featured in the 59th Carnegie International.

Learn more online: https://carnegieart.org/series/inside-out/

Silät—meaning “announcement” in the Wichí language—is a collective of more than 100 women weavers from Santa Victoria Es...
06/15/2026

Silät—meaning “announcement” in the Wichí language—is a collective of more than 100 women weavers from Santa Victoria Este, a town located in the borderlands where Argentina meets Bolivia and Paraguay. Part of the broader Unión Textiles Semillas, the group centers weaving as a living practice of shared knowledge, memory, and purpose.

In If the word we, 59th Carnegie International, Silät presents Tewok: the river we weave (2026): an installation of 100 individual weavings, each representing a member. Created with chaguar fiber and natural and synthetic dyes, the works reflect personal and collective connections to the Pilcomayo River—known as Tewok in Wichí—which winds through borders and landscapes.

Together, the artists form a “forest” of textiles, inspired by the way trees grow: rooted, interconnected, and alive with stories of the river—what is known, remembered, and carried forward.

Plan your visit to the museum to experience Silät’s installation in person. Learn more and get tickets online: https://carnegieart.org/

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Installation view of Silät, Tewok: the river we weave (2026), in If the word we, the 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); first photo: Camilla Casas, Warhol Creative; photos 2–5: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

In remembrance of David Hockney (1937–2026), we’re taking a moment to share and reflect on the painting Divine (1979).A ...
06/12/2026

In remembrance of David Hockney (1937–2026), we’re taking a moment to share and reflect on the painting Divine (1979).

A highlight of the museum’s collection, this portrait depicts the legendary actor, singer, movie star, and drag persona Divine with the brilliant colors and striking patterns that were hallmarks of Hockney’s illustrious and influential career.

Carnegie Museum of Art is fortunate to have work by Hockney—spanning drawing, printmaking, and painting—in our collection. His work was exhibited in the 1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture and the 1982 Carnegie International.

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David Hockney, Divine, 1979, Carnegie Museum of Art, purchased with funds provided by Richard M. Scaife, © David Hockney

“To photograph reality is to photograph nothing.” —Duane Michals We are deeply saddened by the passing of artist Duane ...
06/10/2026

“To photograph reality is to photograph nothing.” —Duane Michals

We are deeply saddened by the passing of artist Duane Michals, whose vision and practice reshaped our understanding of photography as an artistic medium.

Michals was born in 1932 in a steelworker’s family and was raised in McKeesport, Pennsylvania. A self-taught photographer, Michals spent his career exploding the established traditions of the medium. His messages and poems inscribed on the photographs and his visual stories created through sequencing images expanded the creative possibilities of photography in the late twentieth century.

As a child, Michals attended Saturday art classes at the museum. He has numerous works in the museum’s collection, was the subject of the 2014 solo exhibition Storyteller: The Photographs of Duane Michals, and is an honorary member of Carnegie Museum of Art’s advisory board.

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Duane Michals, The Spirit Leaves the Body, 1968, Carnegie Museum of Art, The Henry L. Hillman Fund, © Duane Michals

Supra, an installation by artist Jasleen Kaur that is currently on view in the 59th Carnegie International, moves betwee...
06/08/2026

Supra, an installation by artist Jasleen Kaur that is currently on view in the 59th Carnegie International, moves between telescopic detail and broader forces.

Upon entering the gallery, viewers pass beneath one of the four physical structures that constitute the installation: a lintel composed of weighty Encyclopaedia Britannica volumes—a threshold that evokes ideas of ownership, tradition, and the home.

Beyond this passage, the space opens into an interior section of a room that feels both expansive and intimate. Its elements—textured wallpaper, a wooden door, and painted yellow walls—are reminiscent of a community center or makeshift place of gathering. A simulation of the sun refracts light through two windows made of privacy glass and faux stained glass.

Resting on a windowsill is a miniature reproduction of the 16th-century Babri Masjid in Ayodhya, India, demolished by Hindu nationalists in 1992. Cast in uranium glass, the object intermittently flickers and glows a vivid green. Nearby, a gold-plated cast of the artist’s teeth rests along the edge of the sill. Each structure is an attempt at reconstruction and historical correction.

Learn more about the 59th Carnegie International and plan your visit by heading to the link in our bio.

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Commissioned for the 59th Carnegie International with additional support from Somerset House Studios.

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Installation view (detail) of Jasleen Kaur, Supra (2026), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

In 2017, artist Wu Tsang began an ongoing exploration of Bizet’s Carmen with collaborators across music, dance, and thea...
06/05/2026

In 2017, artist Wu Tsang began an ongoing exploration of Bizet’s Carmen with collaborators across music, dance, and theater. Drawn to the opera’s mythic force, Tsang considers Carmen a figure shaped by cliché and fantasy yet always just beyond definition.

Presented in the museum’s Hall of Architecture as part of the 59th Carnegie International, on our way to general strike (2026) is a moving image and sound installation that brings together a layered archive of Carmen across stage and screen, alongside Tsang’s own interpretations. Expanding the character’s story, the work lingers on themes of subjectivity, performance, and resistance.

Long interested in ways of being in the world that elude control and confinement, Tsang further dramatizes the figure, myth, and musicality of the protagonist’s subjectivity. In doing so, the artist centers the universal desire to forge new mythologies about our lives as an integral and enduring aspect of Carmen’s tradition.

If the word we, 59th Carnegie International is on view through January 3, 2027. Learn more about the exhibition to plan your visit at https://carnegieart.org/

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Installation view of Wu Tsang, on our way to the general strike (2026), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

06/03/2026

📅 Mark your calendar—Inside Out, our free summer event series, returns on July 2!

Meet us in the Sculpture Court, where art is all around you, for a summer of performance, music, art, and fun! Inside Out is your summer vibe—express yourself with others and experience a cooling breeze of fresh sounds, movement, and connection with artists across our region’s neighborhoods and beyond.

Visit us online learn more and to check out the full lineup of events: https://carnegieart.org/series/inside-out/

🪩 Thursday, July 2, 16, 30 5–10p.m.
🎨 Saturday, July 11, 25, August 8, noon–5 p.m.
🌕 Saturday, August 15, 7p.m.–midnight
🎟️ Inside Out is always free!

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Photos: Sean Eaton and Zachary Riggleman

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Funding for Inside Out is provided by Highmark Blue Cross Blue Shield

For the 59th Carnegie International, artist Miller Robinson presents DOCTORS HAVE THE RITE TO SUCK (2026), a newly commi...
06/02/2026

For the 59th Carnegie International, artist Miller Robinson presents DOCTORS HAVE THE RITE TO SUCK (2026), a newly commissioned, two-part installation spanning the Hall of Sculpture balcony and the Hall of Miniatures.

On the Hall of Sculpture balcony, more than 40 baskets by Yurok, Pomo, Hupa, Karuk, and other Indigenous makers from northwestern California—currently in the care of —are arranged in five groupings on white marble plinths that echo the architecture of the space.

In the adjacent Hall of Miniatures, Robinson places 20 Indigenous baskets alongside the artist’s own works and video, exploring contemporary California Indigenous identity. Throughout the room, swarms of “medicine moths” made from fish bones collected at the Salton Sea fill the wood-paneled gallery. A recurring form in Robinson’s practice, these moths evoke “ancestors’ flight,” bridging worlds while holding a balance between sky and sea.

By bringing baskets out of storage and into dialogue with Greek and Roman casts and miniature colonial interiors, Robinson challenges museum conventions and centers Native presence. The baskets are not static objects—they are living relatives.

DOCTORS HAVE THE RITE TO SUCK, which was awarded the Fine Prize, is on view in the Hall of Miniatures and on the Hall of Sculpture balcony.

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Installation view of Miller Robinson, DOCTORS HAVE THE RITE TO SUCK (2026), in If the word we, 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (May 2, 2026–January 3, 2027); photo: Zachary Riggleman / © Carnegie Museum of Art, Pittsburgh

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