Museum Brandhorst

Located in the heart of Munich’s Kunstareal, one of Germany’s most popular cultural destinations, Museum Brandhorst sits in close proximity to the Alte Pinakothek, Neue Pinakothek, and Pinakothek der Moderne. The building itself makes an impressive statement from the outside with its striking architecture. The façade designed by the Berlin-based architecture practice Sauerbruch Hutton, composed of 36,000 ceramic rods in twenty-three different colors, is not only an architectural landmark of the city but also reflects the diversity of the artworks housed within.

The museum presents the collection of Udo and Anette Brandhorst, which was transferred to a foundation in 1993 and made accessible to the public in 2009. Since then, the institution has been a part of the Bavarian State Painting Collections: the State of Bavaria is responsible for the museum’s operations, while the Udo and Anette Brandhorst Foundation enables continuous expansion of the collection.

The Brandhorst Collection has grown rapidly since its inception. Thanks to the Udo and Anette Brandhorst Foundation and the generous donation of the Eva Felten Photography Collection, the holdings have tripled and now comprise over 2,000 works. Museum Brandhorst offers a multifaceted overview of art from the twentieth and twenty-first centuries and thereby houses one of the most exceptional collections of contemporary art in Germany.

A major focus of the collection lies in American art from the 1960s to the present. Of particular note is Europe’s most significant holdings of works by the artist Cy Twombly. His monumental “Lepanto” cycle (2001) is among the absolute highlights of the museum and is presented in a specially created space. Also on permanent display is his work series “Untitled (Roses)” (2008), which Twombly painted specifically for a gallery of the institution.

With over 120 artworks, Museum Brandhorst also houses the largest collection of Andy Warhol’s work outside of the United States. The cofounder of Pop Art is represented by early drawings from the 1950s as well as by iconic works from the 1960s—including “Round Marilyn” (1962), “Mustard Race Riot” (1963), and “Triple Elvis” (1963). Warhol’s significant late work is also comprehensively represented. His important series—from “Hammer and Sickle” (1975–76) through “Shadows” (1978–79) and the “Oxidation Paintings” (1977–78) to his monumental final work cycle “The Last Supper” (1986)—belong to the collection.

An in-depth engagement with individual artists is central to the history of the collection. The exceptional holdings of Twombly and Warhol are joined by outstanding bodies of work by Keith Haring, Roni Horn, Jacqueline Humphries, Arthur Jafa, Alex Katz, Mike Kelley, Louise Lawler, Cady Noland, Pope.L, Seth Price, and Kara Walker—to name just a few. Continuous dialogue with artists is pivotal here, as is engagement with current social and political issues: from consumer critism through structural racism and queer visibility to the role of digital technologies and individual life forms in a changing society: from consumer critique to questions of racism and diversity to the role of digital technologies and individual life forms in a changing society.

Another highlight of the collection was established in 2021 with the generous donation of the Eva Felten Photography Collection. It comprises around 450 works from the 1930s to the present, including numerous multipart and installation works by artists such as Diane Arbus, LaToya Ruby Frazier, Nan Goldin, Deana Lawson, Sherrie Levine, Thomas Ruff, Ed Ruscha, and Carrie Mae Weems. The collection conveys the multifaceted spectrum of photographic approaches—from the immediacy of street photography through conceptual practices to positions in social documentary photography. In addition to its strong foundation in the United States, the donation establishes global dimensions of the medium with central positions from Europe, Japan, the African continent, and Australia.

Museum Brandhorst is committed to a sophisticated yet accessible exhibition program that opens new perspectives on the collection in various formats and brings current developments in (contemporary) art to life. Comprehensive solo exhibitions of artists such as Alexandra Bircken, Kerstin Brätsch, Nicole Eisenman, or Wade Guyton engage in dialogue with historical surveys like “Painting 2.0: Expression in the Information Age” or “Future Bodies from a Recent Past: Sculpture, Technology, and the Body since the 1950s,” and with site-specific interventions inside and outside the museum.

The museum moreover places strong value on the publication of books. Catalogues not only accompany exhibitions and collection areas of focus but make independent contributions to art-historical discourse. They deepen central themes in art, reflect on social developments, and reveal new dimensions of contemporary artistic production.

Museum Brandhorst is a place of encounter with contemporary art. It is conceived not only as a space for exhibitions but also as a platform for research and exchange. Guided tours, workshops, and artist talks open new avenues of access. The Factory has emerged as a pioneering project in cultural education that annually inspires several thousand children and young people with their families as well as educational institutions—both on-site and digitally.

With its collection, exhibitions, and programs, Museum Brandhorst sets standards in the presentation and communication of contemporary art. It stimulates social debates and pursues the goal of inspiring the most diverse audience possible for art, while inviting active participation.