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clyfford still | museum
Black construction paper with a red line drawn in pastel moving upwards
Clyfford Still, PP-734, 1975 (detail). Pastel on paper, 18 x 12 in. Clyfford Still Museum, Denver, CO. © City and County of Denver / ARS, NY

Held Impermanence (Artists Select: Katherine Simóne Reynolds)

Jan 17–Sep 14, 2025

Artworks change over time; their materials carry the stain of what conservators describe as inherent vice. We see paintings that need to rest, heal, and bear marks that suggest metaphors of viscera, bile, and wounds through their surfaces, condition, and textures. In the Clyfford Still Archives, archivists have worked to organize Still’s manuscripts, diaries, photographs, and ephemera, which also collectively mark the passage of time and its effects. Here, we find the impulse on Still’s part to document, witness, and rebuke a fallen world, a world ruined by war, market forces, and the thin values of modernity. And yet, the existence of the Clyfford Still Museum belies the extent to which the works and papers, the things Still held back in reserve, did manifest a future. Put differently, a ruin is still a future, and a wounded body is still one capable of future healing.

In the Museum’s largest six galleries, Katherine Simóne Reynolds illuminates competing desires held in constant tension at the Clyfford Still Museum. The collection reflects Still’s ambitious attempt to keep his collection intact, a commitment that allows us to see his works alongside paintings made in painful transitions, and others that bear the scars of time. Held Impermanence asks visitors to consider healing and rest over time; how we respond to this collection with our bodies; and to contend with his and our mortality—and, with it, a shared desire to hold impermanence.

Guest Curator Bio

Katherine Simóne Reynolds feels you looking and, at times, enjoys it. Her practice investigates emotional dialects and psychogeographies of Blackness within the Black Midwestern landscape, conversations on the “non,” and the importance of “anti-excellence.” Her work cautiously attempts to physicalize emotions and experiences by constructing works that include photo-based works, film, choreography, sculpture, and an anxious writing/curatorial practice. Utilizing Black embodiment, vulnerabilities, and the interior alongside her own personal narrative as a place of departure has made her question her own navigation of ownership, inclusion, and authenticity within a contemporary gaze. She draws inspiration from Black glamour, residue, and the Black church while interrogating the notion of “authentic care.” Her practice deals with Blackness from her perspective, and she continuously searches for what it means to produce “Black Work.”

Reynolds has exhibited and performed work within many spaces and institutions, including the Pulitzer Arts Foundation, Museum of Modern Art New York, The Luminary, and the Graham Foundation. She has exhibited in national and international group and solo shows and has spoken at The Contemporary Art Museum of Saint Louis, The Saint Louis Art Museum, and the Black Midwest Initiative Symposium at the University of Minnesota. Reynolds was also the 2022 Fellow at The Graham Foundation. Alongside her visual art practice, She has embarked on curatorial projects at The Luminary, SculptureCenter, and exhibitions for Counterpublic 2023. Her latest projects will be on view at The Stanley Museum of Art and The Clyfford Still Museum in 2024.

Katherine Simóne Reynolds
Katherine Simóne Reynolds self-portrait