When it opened its doors to the Omaha public for the first time in 1931, the Joslyn Art Museum drew quite a crowd. Hailed as one of the nation’s finest examples of Art Deco architecture, the three-level interior included 38 types of marble from around the world, while its gleaming exterior featured Georgia Pink marble, creating the museum’s iconic rosy-hued façade. Close to a century ago, this structure was perfectly suited to the museum’s early vision—but Omaha’s art scene has evolved since then.
Soon to emerge revitalized, expanded, and reimagined, the Joslyn is on the verge of reconnecting with the public after its $100-million expansion and renovation that broke ground in 2021. With a grand reopening scheduled for September 10, the museum’s renewed commitment to engaging the public and redefining the visitor experience promises to dazzle patrons anew after years of anticipation.
Rising against the expansive Nebraska sky, the museum’s newest addition, the 42,000-square-foot Rhonda & Howard Hawks Pavilion, was meticulously designed in collaboration with Snøhetta and Alley Poyner Macchietto Architecture (APMA). The pavilion serves as the latest piece in the museum’s architectural narrative; its striking exterior features precast panels embedded with pink aggregate—a detail that reflects the familiar blush-colored exterior of the existing buildings. With its cantilevered design reminiscent of Nebraska’s iconic shape, the Hawks Pavilion serves as a testament to the surrounding landscape, offering protection from the unpredictable elements.
Drawing inspiration from the Great Plains, the new building’s aesthetic pays homage to local terrain. The original Joslyn buildings are grounded in their design, with the 1931 structure rising from the earth like Chimney Rock and the 1994 Walter & Suzanne Scott Pavilion resting squarely on the ground. In contrast, the new pavilion appears to float above granite garden walls, akin to the Midwest’s striking cloud formations—the museum’s trajectory is poised for unprecedented heights.
The need for expansion became evident with the surge in visitor numbers after reimplementing free general admission in 2013, aligning with the museum’s founder’s vision. In 2019, the Joslyn welcomed over 190,000 museum visitors. Additionally, its diverse programming engaged over 113,000 people that same year—a number expected to rise further with the forthcoming developments and program expansions.
Selected by the Joslyn to spearhead the project in 2018, the Norwegian architectural firm Snøhetta embraced a transformative vision while honoring the institution’s esteemed legacy. Jack Becker, Executive Director and CEO of the Joslyn, emphasized Snøhetta’s commitment to executing the project with the utmost care and respect for the museum’s cherished buildings.
“We selected a firm that worked with us to understand the project in the context of Omaha, as well as in our own history,” Becker said. “The architects thought very creatively about how to stitch together these three buildings and create an architectural conversation between them.”
Founded in Oslo, Snøhetta was selected for its acclaimed track record, evident in projects like the SFMOMA extension and the Times Square transformation. Omaha’s APMA, renowned for its work in the Millwork Commons area, partnered with Snøhetta to execute the vision. The museum prioritized the selection of the best firms for all aspects of the project, overseen by the Board.
“This extended to Snøhetta, the design architect, to Alley Poyner Macchietto, the local architect, to the general contractor, Kiewit, and to all the major consultants and subcontractors,” Paul Smith, Joslyn Board member and Chair of the Evolve Joslyn Campaign Committee, said. “This was accomplished by having expert advice and by optimizing selection based on bidding and qualification evaluation.”
The expansion addresses the spatial needs of its growing audience while also enhancing community spaces, upgrading the museum shop and cafe, and renovating classrooms and facilities. These efforts aim to expand community initiatives and art-based educational activities, such as studio classes (the project doubles the number of studio spaces at the museum). Renovations to the lecture hall focus on accessibility and comfort, further augmenting the museum’s capacity to accommodate a broad audience and broaden its range of offerings.
“The expansion is much more than additional square footage for the museum—it includes substantial programming additions related to learning and engagement,” Smith added.
Yet, the focal point of the museum’s redesign lies in the Hawks Pavilion building, which expands gallery space by more than 40%.
“This is a building that speaks of our time, just as the 1994 building spoke of its time and the 1931 spoke of its time,” Becker said of the new Hawks Pavilion. “This is a new part of an institution that’s been around for nearly a century; it will be around for another century and will be just as beloved in Omaha as the others.”
The Hawks Pavilion seamlessly extends from the Joslyn’s existing buildings, forming a curving volume that emerges from the glass atrium connecting the original 1931 structure to the 1994 addition. Visitors are welcomed by its transparent first floor, featuring a vibrant new museum shop and a flexible community space. In the upper levels, expansive galleries bathed in natural light showcase the museum’s esteemed collection alongside rotating exhibitions.
The upgraded Joslyn experience will be immediately noticeable to returning visitors as the primary access point now resides on the northern edge of the Hawks Pavilion, off James Fous Avenue, with an enhanced entry sequence more inviting and accessible than ever before. The surrounding glass windows foster increased connectivity between museumgoers and the outdoor landscape, providing visitors with a direct view of the reimagined sculpture garden and the existing buildings. Visitors can enjoy glimpses of the natural world while surrounded by art, regardless of the season.
The museum’s redesign will also offer more casual seating and lounge areas throughout the premises for visitors to relax and unwind. The addition of both formal and informal gathering spaces will create a more welcoming atmosphere, Taylor J. Acosta, PhD, Chief Curator and Willis A. Strauss Curator of European Art, said.
“People will really see the museum as their own, a place to linger and connect, like a second home, Acosta explained. With this sentiment in mind, determining the placement of art throughout the museum was an early discussion within the curatorial department.
“We did space studies to determine where it made sense for each particular collection to be housed and displayed, but there were also conversations across the whole institution about how we can enhance the beauty of these architectural spaces,” Acosta explained. “Much of it had to do with history and showcasing the art of today in this beautiful new building.”
Upon reopening, the 1931 Joslyn building will exhibit ancient to early 20th-century art, encompassing ancient Mediterranean, European, American, Native American, Asian, and decorative arts. The 1994 Scott Pavilion will host a permanent collection of 20th-century art, along with the Riley Contemporary Artists Project (CAP) Gallery featuring new pieces by Eva LeWitt, and temporary exhibitions, including new works by Kehinde Wiley.
Within the new Hawks Pavilion galleries, visitors are invited to delve into contemporary art selections and dedicated spaces for video works and works on paper, alongside the inaugural installation from the esteemed Philip G. Schrager Collection. This remarkable gift comprises 52 works of art, including paintings, sculptures, photographs, and drawings spanning five decades, exemplifying the Omaha business leader’s lifelong dedication to art collecting.
“It’s a transformative gift of art, perhaps the most significant gift in the Museum’s history, encompassing some of the most important developments in post war and contemporary art,” Acosta said of the Schrager collection. “We’re really excited to introduce this collection to the community; it will also be accompanied by a richly illustrated catalog that the museum is publishing this year.”
The inaugural exhibition in the Works on Paper gallery will feature a selection of works from Ed Ruscha’s recent gift to the museum. “Les Indes Galantes” (2017), a film by French artist Clément Cogitore, will be showcased in the Media Gallery. Additionally, the pavilion will house “Wopila,” a 2024 beaded painting by Dyani White Hawk composed of nearly half a million glass bugle beads, while the sculpture garden will host “Little Big Sister” (2024), a commissioned sculpture by Alison Saar.
Notably, the museum’s reopening also marks the first complete reinstallation of the Joslyn’s historic permanent collection since the unveiling of the 1931 building. From ancient artifacts to contemporary masterpieces, the museum’s collection reflects over 5,000 years of human creativity and global culture. Modern pieces will engage in a compelling dialogue with these historical artworks, Acosta added.
“We often say that artwork has the ability to both clarify and complicate the world in which we live, and that’s something we’ve seen as a guiding impulse in thinking about this,” Acosta said.
More Native American art will be on view than ever before, with the American galleries now integrating works by Indigenous artists with works by American artists of European background for a more cohesive presentation.
“Our goals for the reinstallation are to showcase the museum’s renowned collections, assert the relevance of historical art and objects to contemporary issues, and place an emphasis on diversifying the experiences that are represented in the galleries,” Acosta added. “For curators, it’s really a once-in-a-career opportunity to reimagine the way that we display and interpret these collections.”
Alongside plans for community outreach, educational initiatives, and interactive exhibits, the museum aims to keep igniting curiosity and fostering meaningful connections with art and culture. This expansion is the first step toward the museum’s future direction and potential programming developments, Becker said, aligning with their long-term goal of continually enhancing the Joslyn’s role in the community.
“I would love for the Joslyn to be as closely connected to different communities in Omaha as we can be,” Becker said. “We are a place for people to go to make memories, to explore, to tap into their own creativity, and to understand the past, present, and future. We want to be a place that is welcoming and accessible to all, and a place you want to come back to, again and again.”
In addition to the physical changes, the museum introduced a fresh graphic identity and website designed by Pentagram in April, encompassing every aspect of the Joslyn’s brand and providing a solid foundation for the museum’s future. The upgrades promise a modern and user-friendly experience.
“This is such a unique moment to be part of this museum; there is tremendous growth, excitement, and energy in Omaha,” Acosta said. “We hope that people encounter the art they love that reminds them why they’ve been connected to the Joslyn in the past, while discovering new things that will delight and surprise them.”
As it reopens its doors, the Joslyn reaffirms its commitment to serving as a cultural cornerstone for Omaha and beyond. Reflecting founder Sarah Joslyn’s enduring vision of art accessibility for all, the museum remains dedicated to fostering creativity for generations to come.
“The expanded museum will have a higher capability to engage people through programming that connects art to history and to current events; it will play host to a multitude of events and will welcome all members of our community,” Smith said.
“It will be a place to see art, but also so much more.”
For more information, visit joslyn.org.
This article originally appeared in the May 2024 issue of Omaha Magazine. To receive the magazine, click here to subscribe.
