
03/17/2023
"Seeing is the true language of perception. Understanding is for words. As far as I am concerned, after I've made the work, I've said everything I can say."—David Smith
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Photo: on Instagram
The Whitney is your home for American art.
Operating as usual
"Seeing is the true language of perception. Understanding is for words. As far as I am concerned, after I've made the work, I've said everything I can say."—David Smith
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Photo: on Instagram
Check out this incredible illustration for an imagined The New Yorker cover featuring Edward Hopper's Automat (1927) and the Whitney by on Instagram!
It's , so we're legally obligated to share Wayne Thiebaud's Pie Counter from 1963. 🥧
Attracted to the rituals and cultural meanings surrounding them, Thiebaud began painting still lifes of everyday objects and American foods in the early 1960s.
"Pie has a long history and it has other implications: the idea of 'Pie in the Sky,' the old American preoccupation with Mom and Apple Pie, pie throwing contests, pie throwing in Chaplin films. One makes a pie out of ordinary stuff, like raisins, squash or apples and gift wraps it, in a sense with a crust. It’s very magical, very special," the artist explained.
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Wayne Thiebaud, Pie Counter, 1963. Oil on canvas, 29 13/16 × 35 15/16 in. (75.7 × 91.3 cm). Whitney Museum of American Art, New York; purchase, with funds from the Larry Aldrich Foundation Fund. © Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), New York
"As a whole, the atmosphere the show conjures is one of possibility, not only for survival, but also for collective renewal and resilience."—Clara Maria Apostolatos on no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria for Artsy
Don't miss the first scholarly exhibition focused on Puerto Rican art to be organized by a large U.S. museum in nearly half a century, on view at the Whitney through April 23.
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Installation view of no existe un mundo poshuracán: Puerto Rican Art In The Wake Of Hurricane Maria (Whitney Museum of American Art, New York, November 23, 2022-April 23, 2023). Gamaliel Rodríguez, Collapsed Soul, 2020-21. Photo: Ryan Lowry
Like many of you, we were sorry to see Edward Hopper's New York close last week. On the bright side, the Whitney is still your home for Hopper!
In addition to the videos, audio guides, and interactive map on the webpage, you can browse thousands (yes, thousands!) of Hopper collection works on our website: https://bit.ly/41W1vn4
Plus, visit the Museum's 7th floor for some face-to-face time with Hopper drawings and paintings from the Whitney's collection including Les Lavoirs ... Pont Royal (1907).
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Edward Hopper, Les Lavoirs ... Pont Royal, 1907. Oil on canvas, 23 1/2 × 28 3/4 in. (59.7 × 73 cm). Whitney Museum of American Art, New York; Josephine N. Hopper Bequest 70.1247. © Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York
Can grief and mourning be catalysts for political change? We invited artists from the exhibition no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria for a conversation about aspects of loss.
Join Garvin Sierra Vega, Gabriella N. Báez, Sofia Córdova, Awilda Sterling-Duprey, Lulu Varona, and Edra Soto to discuss the inextricable relationship between art and politics in Puerto Rico post-Hurricane Maria.
Luto y Lucha is presented online in both English in Spanish in partnership with El Centro: The Center for Puerto Rican Studies at Hunter College. Register for free: https://bit.ly/3ZRrJ8y
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Garvin Sierra Vega, Corazón (Heart), 2022. Digital image. Collection of the artist; courtesy Taller Gráfico PR. © 2022 Garvin Sierra Vega
Tomando el tropo de Puerto Rico visto como un "patio trasero" de los Estados Unidos, Yiyo Tirado Rivera construye castillos de arena con la forma de hoteles icónicos de la época arquitectónica conocida como modernismo tropical. El artista modeló La Co**ha a partir de un famoso hotel que inauguró en San Juan en 1958. La degradación lenta del hotel de arena durante la exhibición sugiere el riesgo de abandono que han sufrido otros hoteles a raíz de la crisis económica, y también alude a las grandes vicisitudes que trae el construir la infraestructura de Puerto Rico alrededor del consumo extranjero.
Seizing on the trope of Puerto Rico as "America's playground," Yiyo Tirado Rivera builds castillos de arena, or sandcastles, in the shape of iconic hotels from the tropical modernism period of architecture. He modeled La Co**ha on the signature hotel that opened in San Juan in 1958. The slow degradation of the sandcastle over the course of the exhibition suggests the risk of dereliction that other hotels have faced as the economy worsens; it also speaks to the larger perils of building Puerto Rico's infrastructure around foreign consumption.
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Installation view of no existe un mundo poshuracán: Puerto Rican Art In The Wake Of Hurricane Maria (Whitney Museum of American Art, New York, November 23, 2022–April 23, 2023). Yiyo Tirado Rivera, Desplazamiento I (Puerta de Tierra) (Displacement I [Puerta de Tierra]), 2020
Every Ocean Hughes's The Piers Untitled (2009–23) is a photographic series that captures the piers on the west side of Manhattan.
The works show an area that once served as a gathering spot for q***r communities and a hub for underground cultures. Hughes considers the remaining pilings of the piers "unmarked memorials, found monuments, to the lives that needed that unregulated place. To those who died living q***rly. Those who died from neglect, poverty, AIDS, violence, and politics. And to those seeking life by crossing West Street."
On view through April 2 in our third floor gallery.
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Installation views of Every Ocean Hughes: Alive Side (Whitney Museum of American Art, New York, January 14, 2023- April 2, 2023). Photo: by Ron Amstutz
On International Women's Day today, we're honoring our founder Gertrude Vanderbilt Whitney.
In the beginning of the twentieth century, Mrs. Whitney—a sculptor herself—saw that American artists with new ideas had trouble exhibiting or selling their work. She began purchasing and showing their artwork, eventually becoming the leading patron of American art from 1907 until her death in 1942.
In 1914, Mrs. Whitney established the Whitney Studio in Greenwich Village, and by 1929 she had assembled a collection of more than 500 pieces. After her offer of this gift to the Met was declined, she set up her own institution, one with a distinctive mandate: to focus exclusively on the art and artists of the US. This year, the Whitney will celebrate its 92nd anniversary.
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Edward Steichen, Mrs. Harry Payne Whitney for "Vanity Fair", 1931. Gelatin silver print, 9 15/16 × 7 15/16 in. (25.2 × 20.2 cm). Whitney Museum of American Art, New York; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.238. © The Estate of Edward Steichen / Artists Rights Society (ARS), New York
We've reached the final day of Edward Hopper's New York. It's been a wonderful journey with all of you!
If you visited , what did you think? Was there anything that surprised you?
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Photos: , , , , .c, , , on Instagram
Celebra el último fin de semana de El Nueva York de Edward Hopper, con esta fotografía del artista de 1950.
La curadora Kim Conaty, escribió: "Formal pero humilde, el retrato captura al artista a sus sesenta y siete años en la cima de su carrera, pocos días después de la inauguración de su mayor retrospectiva hasta la fecha, en el Whitney Museum of American Art".
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Celebrate the final weekend of Edward Hopper's New York with this photograph of the artist from 1950.
Curator Kim Conaty writes: "Formal yet humble, the portrait captures the sixty-seven-year-old artist at the height of his career, mere days after the opening of his largest retrospective to date, at the Whitney Museum of American Art."
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Edward Hopper in his studio, New York, 1950. Photograph by George Platt Lynes. The Sanborn Hopper Archive at the Whitney Museum of American Art, Frances Mulhall Achilles Library and Archives, New York; gift of the Arthayer R. Sanborn Hopper Collection Trust, EJHA.0914
Now open! Refigured is our newest exhibition that reflects on interactions between digital and physical materiality. Located in our free Lobby Gallery, it includes video, animation, sculpture, and augmented reality.
The Guardian calls it, "a compelling exhibition that manages to bring a wealth of diversity of identities, approaches and media with just five pieces....It also feels fresh, a reflection of the Whitney going out and finding artists who are newer to its space, and bringing kinds of art less frequently seen there."
Read the full article: https://bit.ly/3KIPxHi
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Rachel Rossin, still from The Maw Of, 2022. Web-based animation with augmented reality (AR). Commissioned by the Whitney Museum of American Art for its artport website and Kunst-Werke Berlin Institute for Contemporary Art AP.2022.1. © Rachel Rossin
"Rarely does a museum so effectively recalibrate the public’s understanding of a non-living artist."—The Art Newspaper on Edward Hopper's New York https://www.theartnewspaper.com/2023/03/01/edward-hoppers-new-york-was-far-from-reality
The Whitney Museum's exhibition reveals an artist who painted the tranquil city he wanted to see
Dorothea Rockburne wanted to "invent and experience a different pictorial space."
Here, curator Jennie Goldstein breaks down the optical illusion presented by the artist in Balance (1985).
There are just a few more days to see In the Balance: Between Painting and Sculpture, 1965–1985! The exhibition is on view through this Sunday, March 5.
The bad news is that we're in the final stretch of Edward Hopper's New York with the exhibition closing this Sunday, March 5. The good news is that if you're unable to visit the Museum there are still plenty of ways to enjoy Hopper online!
Discover videos, audio guides, a digital map, and an essay from curator Kim Conaty, and more at whitney.org/hopper.
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Edward Hopper, City Sunlight, 1954. Oil on canvas, 28 3/16 × 40 1/8 in. (71.6 × 101.9 cm). Hirshhorn Museum and Sculpture Garden, Washington, D.C.; gift of the Joseph H. Hirshhorn Foundation, 1966. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York
Explore a selection of newly added prints featuring some of Edward Hopper's most iconic works in the Whitney Shop online.
The Whitney Print on Demand collection features archival quality prints delivered directly to your door. These prints are produced on heavyweight acid-free paper, with high-density inks that are tested for 100-year stability.
Browse Hopper prints: https://bit.ly/3YW76b2
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Edward Hopper, Queensborough Bridge, 1913. Oil on canvas, 25 7/8 × 38 1/8 in. (65.7 × 96.8 cm). Whitney Museum of American Art, New York; Josephine N. Hopper Bequest 70.1184. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York
"Structurally, I just want to point out that in this piece, as well as all of Hopper's work, he's really using shadows and diagonal compositions to lead you through this image and to heighten the dramatic tension."—Artist Jane Dickson on Edward Hopper's Room in New York (1932)
For a new perspective on the beloved artist, listen to (or read a transcript of) artists, writers, and curators featured on the audio guide: https://bit.ly/3IgqA36. Available in both English and Spanish.
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Edward Hopper, Room in New York, 1932. Oil on canvas, 29 × 36 in. (73.7 × 91.4 cm). Sheldon Museum of Art, University of Nebraska, Lincoln; Anna R. and Frank M. Hall Charitable Trust. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York
We're thrilled to host no existe un mundo poshuracán artist Awilda Sterling-Duprey for 3 performances of Lacks Criticality (2018–23) on March 3, 4, and 5.
For the performance, Sterling-Duprey draws on the phenomenological forces of Hurricane Maria and their impact on Puerto Rican citizens' bodies, minds, emotions, and the physical environment.
Read more and book tickets: https://bit.ly/3KzjlGa
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Awilda Sterling-Duprey, Lacks Criticality, 2018. Performance view, Conwell Hall, Temple University, September 21, 2018. Courtesy the artist and Temple University. ©️ 2018 Awilda Sterling-Duprey. Photograph by Brian Mengini
You never know where you'll run into Hopper. Did you catch our Edward Hopper's New York posters in subway stations throughout NYC?
Now is your last chance to see this blockbuster exhibition inspiring a new look at the beloved artist and city. The exhibition closes March 5, so get your tickets now: https://whitney.org/tickets.
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Photos: Timothy Schenck
Horace Pippin was born in 1888. Pippin, one of the most prominent Black painters of the first half of the twentieth century, taught himself to paint after being shot and permanently disabled in World War I.
The artist served in the 369th infantry regiment, better known as the Harlem Hellfighters, a predominately Black unit that encountered enormous racism. Using his left hand to prop his injured right arm, he painted subjects ranging from interiors and landscapes to portraits of historical figures and scenes inspired by his memories of the war.
The Buffalo Hunt (1933) represents an imaginary scene in the American West, with a buffalo running in deep snow while pursued by a shadowy hunter. The work can be seen as an allegory of American history, where the hunted are in plain view, and the hunter remains hidden.
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Horace Pippin, The Buffalo Hunt, 1933. Oil on canvas, 21 5/16 × 31 5/16 in. (54.1 × 79.5 cm). Whitney Museum of American Art, New York; purchase 41.27
We're here to add some sunshine to your post-long weekend blues with Edward Hopper's Sunlight on Brownstones (1956).
In his late works such as this one, Hopper often incorporated solitary figures or small groups of individuals set in generic urban spaces that nonetheless capture particularities of New York City. Here, the artist merges set with setting: the figures on the brownstone steps appear to gaze upon a landscape, which is likely inspired by Central Park but takes on the fictive quality of a theatrical backdrop.
There are just a few more days to see ! Book your tickets now before the exhibition closes on March 5: whitney.org/tickets
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Edward Hopper, Sunlight on Brownstones, 1956. Oil on canvas, 30 3/8 × 40 1/4 in. (71.1 × 101.6 cm). Wichita Art Museum, Kansas; Roland P. Murdock Collection. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York
Spend your lunch break with some great art. This Thursday at noon, we're excited to offer a free online lecture with artist, curator, and doctoral student at The Institute of Fine Arts, New York University, Bentley Brown.
Painting the World Anew: Black Abstraction, 1960s–80s will explore the pioneering role of Black artists and Black creative spaces in NYC's contemporary art movements during that time.
Register: https://bit.ly/3ItYOS5
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Alvin Loving, Rational Irrationalism, 1969. Acrylic on shaped canvas (irregular), 82 1/8 × 97 in. (208.6 × 246.4 cm). Whitney Museum of American Art, New York; purchase, with funds from the Robert C. Scull Fund for Young Artists not in the Collection 69.74a-b © The Estate of Alvin D. Loving, Jr.; courtesy the Estate of Al Loving and Garth Greenan Gallery, New York
Puerto Rico's natural environment and political landscape are fertile terrain for many artists in no existe un mundo poshuracán.
This Wednesday, February 22, join us for a virtual panel moderated by Yarimar Bonilla, Director of the Center for Puerto Rican Studies at Hunter College, artists Frances Gallardo, Gabriela Salazar, Sofía Gallisá Muriente, Yiyo Tirado Rivera, Javier Orfón, and Gabriella Torres-Ferrer. The artists will discuss how they approach Puerto Rico's rich ecosystem as it survives amid decaying public services.
The program is presented in partnership with the Center for Puerto Rican Studies at Hunter College. Register for free: https://bit.ly/3Xtt18b
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Installation view of no existe un mundo poshuracán: Puerto Rican Art In The Wake Of Hurricane Maria (Whitney Museum of American Art, New York, November 23, 2022–April 23, 2023). Gabriella Torres-Ferrer, Untitled (Valora tu mentira americana) (Untitled [Value Your American Lie]). Photo: Ryan Lowry
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Spend your weekend at the Whitney! Enjoy time with collection favorites by Edward Hopper, Lee Krasner, Jay DeFeo, and many more.
Spend your weekend at the Whitney! Enjoy time with collection favorites by Edward Hopper, Lee Krasner, Jay DeFeo, and many more.
ON SALE NOW! Reserve your tickets for Edward Hopper's New York! 🎟 https://bit.ly/3S4Q1bj As part of the exhibition, our conservation team is preparing to display ticket stubs from over 100 performances attended by Edward Hopper and his wife Josephine. Enjoy this behind-the-scenes look and book your tickets today! #HopperNY
This is the last weekend to see the 2022 #WhitneyBiennial! Don't miss the eightieth edition of our signature exhibition that surveys the landscape of American art. This evening from 7 to 10 pm we have Pay-What-You-Wish admission. Don't forget to reserve your tickets in advance: https://whitney.org/ticketing-info
🚨 This is your one week warning! 🚨 The #WhitneyBiennial is on view through next Monday, September 5. Don't miss the 80th edition of our signature exhibition, which highlights an intergenerational and interdisciplinary group of 63 artists and collectives.
Experience the magic of Alia Farid's Palm Orchard (2022), on view in the #WhitneyBiennial through September 5. 🌴 Farid fabricated this installation of artificial palm trees specifically for our 6th floor terrace. The work addresses the destruction of the ecology of south Iraq, the displacement of people, and the struggle for sovereignty.
The #WhitneyBiennial has surveyed the landscape of American art since 1932. Don't miss the latest edition of this signature series that echos and shapes cultural conversations, closing September 5. Tickets: https://whitney.org/ticketing-info — Video: SandenWolff
Artist Danielle Dean extrapolated landscape images from an archive of Ford Motor Company advertisements for her video work in the 2022 #WhitneyBiennial. Here, Dean explains the parallels between the advertisements and early Disney films, and how these methods of production inform her own work. Check out the full video: https://youtu.be/j1THd-lkz_M — Video: SandenWolff
Come to the Whitney this Monday and catch a rainbow! 🌈 It's your last chance to see the performance element of Alex Da Corte: ROY G BIV. Americo Da Corte, the artist's brother who is a professional housepainter, will be painting the cube its final shade of violet beginning at 10:30 am. Every few weeks of the 2022 #WhitneyBiennial Americo has visited the museum to paint this artwork another color. Don't miss the opportunity to see ROY G BIV in action! Reserve timed tickets: https://bit.ly/356cmQs — Video: Oresti Tsonopoulos
Check out Devin Kenny's most recent digital artwork Ongoing, Individual Adaptability or How to Quiet Quit on whitney.org 💻 Commissioned for artport, the Whitney's portal dedicated to Internet art and an online gallery space for commissions of net art, this two-part work explores artificial intelligence (AI) in the context of art institutions, creativity, collaboration, and labor. Discover more about Ongoing, Individual Adaptability or How to Quiet Quit: https://whitney.org/exhibitions/ongoing-individual-adaptability
We’ve teamed up with Apply Stickers to create packs featuring works from Whitney Biennial 2022: Quiet as It's Kept. Elevate your everyday essentials—from water bottles and laptops, to skateboards and more—with durable vinyl stickers of today’s most exciting contemporary American art. Purchase online here: https://bit.ly/3ovKUEb #ShopSunday
We're celebrating Jenny Holzer's birthday today. Enjoy this timelapse installation video from the 2009 exhibition Jenny Holzer: PROTECT PROTECT at the Whitney's Madison Avenue building. Whether she is using her own idiomatic texts, borrowing the words of international poets, or citing formerly classified materials containing policy debates, Holzer works between the public and private, the body politic and the body, the universal and the particular. Always timely, she provides a range of opinions, attitudes, and voices in works infused with formal beauty, sensitivity, and power.
Andrew Roberts embraces zombies as allegorical figures in his work and stand-ins for the artist himself. Listen as the artist discusses how he uses zombies to recognize humanity. Discover Roberts's work in #WhitneyBiennial, on view until September 5. Watch the full video: https://bit.ly/3oyp2b9
We're kicking off the 4th of July weekend with On Kawara's JULY 4, 1967. 🎇 Listen as curator Laura Phipps tells us about Kawara's Today series in under 60 seconds. — Images: #OnKawara, JULY 4, 1967, 1967. Acrylic on canvas, 13 1/4 × 17 in. (33.7 × 43.2 cm). Whitney Museum of American Art, New York; purchase, with funds from the Painting and Sculpture Committee 2014.150. © On Kawara, Courtesy David Zwirner, New York/London On Kawara, FEB. 14, 1967, 1967. On Kawara, JUNE 16, 1966, 1966. On Kawara, MAY 22, 1979, 1979. OCT. 11, 1980, 1980. All: Dia Art Foundation; Gift of Lannan Foundation. © One Million Years Foundation. Photo: Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York
"From a quite early age, I understood color in relationships to matters of the heart." Discover the power of color with #WhitneyBiennial artist, Alex Da Corte as he explains his ever evolving video installation and performance work ROY G BIV. 🎨 Throughout the run of the exhibition, the artist's brother Americo, a professional housepainter, paints the cubicle structure in the order of the colors of the rainbow. Don't miss the next ROY G BIV performance this Saturday beginning at 11 am. Watch as the cube turns blue! See Da Corte's full video profile here: https://youtu.be/Cj7mPuYFPBg — Video: SandenWolff
In honor of Gordon Matta-Clark's birthday, let's look back at his artwork Day's End (1975) and how this piece inspired artist David Hammons to create a public art installation outside the Whitney. Opened to the public in 2021, Hammons's Day's End reflects the exact location and dimensions of the Pier 52 shed used in Matta-Clark's intervention. Check out the full video here: https://youtu.be/uecdwXKuUco — Video: SandenWolff. Artwork © 2021 David Hammons
Let's take a closer look at Calder's Circus (1926–1931). 🎪 This talented clown is one of the 70-plus miniature figures and animals that comprise this beloved work. Transporting the artwork in several suitcases, #AlexanderCalder gave performances in his studios for artists such as Piet Mondrian, Le Corbusier, and Fernand Léger, as well as at the homes of friends and art patrons in Paris and New York. The work features nearly 100 accessories, including nets, flags, carpets, and lamps, and over thirty musical instruments, phonographic records, and noisemakers. Check out the full video here: https://bit.ly/39pUPY9, and see all the elements of Calder's Circus on view now at the Museum. — Excerpt from Le Cirque de Calder, 1961. Directed by Carlos Vilardebó. Société Nouvelle, Pathé Cinema, Paris. ©️ 2022 Calder Foundation, New York / Artists Rights Society (ARS), New York
There are queer artists among us! Our #Pride Month celebrations continue with Pride on the Whitney Lawn. Mark your calendar for next weekend! 🏳️🌈 We're transforming Gansevoort Street in front of the Museum into a pedestrian-only, grassy thoroughfare all weekend long. Relax on the Whitney Lawn and enjoy family-friendly activities including artmaking, performances, photo booths, giveaways, and more. Poetry readings from LGBTQ+ artists and a writing workshop hosted by Regie Cabico—poet, educator, and member of A Gathering of the Tribes—will be held on Saturday afternoon. This event is free, but tickets to the Museum must be reserved separately—get all the details: https://whitney.org/pride-2022
Artist Dyani White Hawk draws from generations of Lakota artists and traditions to create her massive 14-foot-long beaded abstract painting. "I am merely a singular part in a long chain of artists that come from a shared history, and I'm really grateful that I get to be a part...of that ongoing lineage."—Dyani White Hawk White Hawk spoke with us about her artistic practice and her work Wopila|Lineage (2022), on view now in the #WhitneyBiennial. Full video: https://youtu.be/i0p2GBCv5q8 — Video: Sandenwolff
Checkmate ♟ Learn more about George Morrison's dynamic abstraction The Antagonist (1956), a work composed of contrasting forms that the artist referred to as chess pieces. Hear from Assistant Curator Laura Phipps in this 60 seconds. — George Morrison, The Antagonist, 1956. Oil on canvas, 34 1/8 × 50 1/16 in. (86.7 × 127.2 cm). Whitney Museum of American Art, New York; gift of Mrs. Helen Meredith Norcross
"How do we define what is American?" Hear from #WhitneyBiennial 2022 co-curators David Breslin and Adrienne Edwards on how they expand the boundaries of American art in the Museum's landmark exhibition. Get a glimpse into the minds of the curators in the full video: https://youtu.be/GG_-O33829c — Video: SandenWolff
Member Night at the Whitney is back! Let's celebrate this Thursday from 7:30 to 10 pm with a night of music, open galleries, talks, tours, shopping discounts, and more. Enjoy a special preview of our latest exhibition At the Dawn of a New Age: Early Twentieth-Century American Modernism, which opens to the public on Saturday. More: https://bit.ly/3vZsNJZ
Every Friday during the duration of the #WhitneyBiennial, Jason Rhoades's Sutter's Mill will be assembled and dismantled in the Museum's fifth floor gallery. The work is based on the California sawmill where the 1848 discovery of gold set off the California Gold Rush. A decade later, this land was purchased by Nancy and Peter Gooch, a formerly enslaved couple who eventually owned more than four hundred acres that were ultimately taken by the state under eminent domain laws to build a public park. Read more about the installation at whitney.org/biennial2022.
Puerto Rican artist and performer Awilda Sterling-Duprey recently performed . . . blindfolded in the midst of #WhitneyBiennial installation. These dance-drawings, a series of works begun in 2020, involve the artist blindfolding herself to make intense jittery, abstract marks on paper and walls in response to jazz improvisation. You'll encounter the product of Sterling-Duprey’s performance in the fifth floor gallery. The Biennial is now open to Members, and opens to the public on April 6. Check out all the upcoming Biennial performances: https://bit.ly/3NNPn0z — Awilda Sterling-Duprey, . . . blindfolded, 2020–. Performance, Whitney Biennial 2022: Quiet as It's Kept, Whitney Museum of American Art, 2022. Image by Oresti Tsonopoulos, Alex Munro, Jack Pearce, and Nick Schiarizzi
The #WhitneyBiennial has surveyed the landscape of American art, echoing and shaping the cultural conversation, since 1932. In this video, co-curators David Breslin and Adrienne Edwards take us behind-the-scenes as the Whitney prepares for its signature exhibition. The eightieth edition of the Biennial opens in one week on April 6. Full video: https://youtu.be/TUXJiz9OWps
Members see the 2022 #WhitneyBiennial first. Starting this Thursday, March 31, Whitney Members get 5 days to explore the exhibition before it opens to the public on April 6. Don't miss your chance to preview the eightieth edition of this landmark exhibition featuring over 60 artists and collectives whose dynamic works reflect the challenges, complexities, and possibilities of the American experience today. Learn more and join today: https://bit.ly/2GASzMI
There is a hidden self portrait in this action-packed painting by George Bellows from 1924. Curatorial Assistant Roxanne Smith shares the story in under 60 seconds. — George Bellows, Dempsey and Firpo, 1924. Oil on canvas, 51 1/8 × 63 1/4 in. (129.9 × 160.7 cm). Whitney Museum of American Art, New York; purchase, with funds from Gertrude Vanderbilt Whitney 31.95
Recognize this Jennifer Packer painting from the 2019 #WhitneyBiennial? Curator Jane Panetta tells us about some of the unique details in A Lesson in Longing (2019), which is on view now in Jennifer Packer: The Eye Is Not Satisfied With Seeing. See the full exhibition walkthrough with Panetta on our YouTube channel: https://youtu.be/OvYrqE1l_Os
The 6th floor terrace is getting a makeover. Artist Alia Farid and the Whitney's expert art handlers are transforming this outdoor space for the upcoming #WhitneyBiennial. In the exhibition catalogue, Farid writes: "At the Whitney, I’m presenting an installation of artificial palm trees and a film shot in Southern Iraq. . . The artificial palm trees are stand-ins for the lush palm groves that once covered large areas of the south." Don't miss Farid's work alongside 60+ other artists in the 2022 Whitney Biennial, opening on April 6. Read more about the exhibition and reserve tickets: whitney.org/biennial2022
Talkingstick at the Rubin Museum of Art
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