Jaune Quick-to-See Smith: Memory Map,on view at the Whitney Museum of American Art from April 19 through August 13, 2023, is a recognition of a groundbreaking artist’s work. For nearly five decades, Jaune Quick-to-See Smith, a citizen of the Confederated Salish and Kootenai Nation, has charted an exceptional and unorthodox career as an artist, activist, curator, educator, and advocate. The exhibition highlights how Smith uses her drawings, prints, paintings, and sculptures to flip commonly held historical narratives and illuminate absurdities in the dominant culture.
no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria is organized to coincide with the fifth anniversary of Hurricane Maria—a category 5 storm that hit Puerto Rico on September 20, 2017. The exhibition explores how artists have responded to the transformative years since that event by bringing together more than fifty artworks made over the last five years by an intergenerational group of more than fifteen artists from Puerto Rico and the diaspora. no existe un mundo poshuracán—a verse borrowed from Puerto Rican poet Raquel Salas Rivera—is the first scholarly exhibition focused on Puerto Rican art to be organized by a large U.S. museum in nearly half a century.
Fig. 21. Nighthawks, 1942. Oil on canvas, 33⁄) $ 60 in. (84.1 $ 152.4 cm). Art Institute of Chicago, IL; Friends of American Art Collection
Edward Hopper’s New York, on view at the Whitney Museum of American Art from October 19, 2022, through March 5, 2023, offers an unprecedented examination of Hopper’s life and work in the city that he called home for nearly six decades (1908–67). The exhibition charts the artist’s enduring fascination with the city through more than 200 paintings, watercolors, prints, and drawings from the Whitney’s preeminent collection of Hopper’s work, loans from public and private collections, and archival materials including printed ephemera, correspondence, photographs, and notebooks. From early sketches to paintings from his late in his career, Edward Hopper’s New York reveals a vision of the metropolis that is as much a manifestation of Hopper himself as it is a record of a changing city, whose perpetual and sometimes tense reinvention feels particularly relevant today.
Installation view of At the Dawn of a New Age: Early Twentieth-Century American Modernism (Whitney Museum of American Art, New York, May 4, 2022-January 2023). From left to right: Georgia O’Keeffe, Black and White, 1930; William Zorach, Woods in Autumn, 1913; Agnes Pelton, Sea Change, 1931; Henrietta Shore, Trail of Life, 1923. Photograph by Ron Amstutz
The Whitney Museum of American Art presents At the Dawn of a New Age: Early Twentieth-Century American Modernism, an exhibition of over sixty works by more than forty-five artists that highlights the complexity of American art produced between 1900 and 1930. The exhibition showcases how American artists responded to the realities of a rapidly modernizing period through an array of abstract styles and media. At the Dawn of a New Age features artworks drawn primarily from the Whitney’s collection, including new acquisitions and works that have not been on view at the Museum for decades. The exhibition provides a broader perspective on early twentieth-century American modernism by including well-known artists like Marsden Hartley, Oscar Bluemner, Elie Nadelman, Charles Burchfield, Aaron Douglas, and Georgia O’Keeffe, as well as groundbreaking, historically overlooked artists like Henrietta Shore, Charles Duncan, Yun Gee, Manierre Dawson, Blanche Lazzell, Ben Benn, Isami Doi, and Albert Bloch.
The Whitney Museum of American Art presents a series of free, on-site public programs and events celebrating Pride, June 9–12. Whitney Pride! will activate the Museum building and surrounding neighborhood with festivities for visitors of all ages. Whitney Pride! is part of the Museum’s ongoing commitment to support LGBTQ+ artists and communities and offer an inclusive space for all to gather and enjoy American art.
Ralph Lemon, Untitled, 2021. Oil and acrylic on paper, 26 × 40 in. (66.1 × 101.6 cm). Image courtesy the artist
The Whitney Museum of American Art announced today that sixty-three artists and collectives will be participating in Whitney Biennial 2022: Quiet as It’s Kept, co-organized by two Whitney curators, David Breslin and Adrienne Edwards. This will be the eightieth iteration in the long-running series of annual and biennial exhibitions launched by the Museum’s founder, Gertrude Vanderbilt Whitney, in 1932. The 2022 Biennial takes over most of the Whitney from April 6 through September 5, with portions of the exhibition and some programs continuing through October 23, 2022.
Roy Lichtenstein’s Studio, 741/745 Washington Street. Image via google maps
Dorothy Lichtenstein, widow of Roy Lichtenstein, and Adam D. Weinberg, Alice Pratt Brown Director of the Whitney Museum of American Art, today announced that the Lichtenstein family has promised to donate the late artist’s studio building to the Museum. The Whitney, which since moving downtown in 2015 has been a neighbor of the studio, operating four blocks north on Gansevoort Street, will adapt the space to serve as the first permanent home of its widely influential Independent Study Program, which was founded in 1968.
The radical, inventive art of Jasper Johns (b. 1930) continues to influence today’s artists like few others. In an unprecedented collaboration, the Whitney and the Philadelphia Museum of Art will stage a simultaneous retrospective—the largest of Johns’s seven-decade career—that offers a fresh take on the living legend. From his iconic flags to lesser-known and recent works, the exhibition will feature paintings, sculptures, drawings, and prints—nearly five hundred artworks across the two museums, many of which are from Johns’s personal collection and will be shown publicly for the first time.
Rendering of the proposed project, Day’s End by David Hammons, as seen from the Whitney Museum of American Art. Courtesy Guy Nordenson and Associates.
On April 29, 2021, the Whitney announced the completion of David Hammons’s permanent public sculpture Day’s End (2021), one of the largest public art projects completed in the United States this year. Located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum, Day’s End was developed in collaboration with the artist and Hudson River Park Trust. The sculpture derives its inspiration and name from multi-media artist Gordon Matta-Clark’s 1975 intervention in which he cut openings into the existing, abandoned Pier 52 shed. With exquisite simplicity, Hammons’s artwork traces the outlines, dimensions, and location of the original Pier 52 shed in slender steel pipes. Visible from numerous vantage points at the Museum and from multiple locations along the Hudson River Park promenade, the sculpture measures 52 feet high at its peak, 325 feet long, and 65 feet wide.
Dawoud Bey (b.1953, Queens, NY) has committed more than four decades to photographing underrepresented subjects and fostering dialogue that addresses African American history and contemporary society and politics. The artist’s first retrospective in twenty-five years, An American Project,, explores the arc of Bey’s career from 1975 to 2017 through nearly eighty works across eight major series. Reflecting the evolution of Bey’s vision, the exhibition examines his enduring engagement with portraiture, place, and history. From early portraits in Harlem and classic street photography to multi-panel studio portraits and nocturnal landscapes, Bey has consistently focused his lens on Black individuals, foregrounding the uniqueness of his subjects while reflecting the profound and ongoing effects of the history of the United States. Co-organized with the San Francisco Museum of Modern Art, An American Project will be on view at the Whitney from April 17, 2021 through October 3, 2021. The exhibition is co-curated by Corey Keller, curator of photography at SFMOMA, and Elisabeth Sherman, assistant curator at the Whitney Museum of American Art, New York.
Co-organized by the Los Angeles County Museum of Art and the Whitney Museum of American Art, Julie Mehretu is a midcareer survey that will unite more than seventy paintings and works on paper dating from 1996 to the present, reflecting the breadth of Mehretu’s multilayered practice. Born in Addis Ababa, Ethiopia, in 1970 and based in New York City, Mehretu has created new forms and found unexpected resonances by drawing on the histories of art and human civilization. Her play with scale and technique, as evident in intimate drawings, large canvases, and complex forms of printmaking, will be explored in depth.
Julie Mehretu at The Whitney. Image taken from Zoom press preview courtesy of The Whitney
Filling the Whitney’s entire fifth floor gallery, the exhibition will take advantage of the expansive and open space to create dramatic vistas of Mehretu’s often panoramic paintings. The first-ever comprehensive survey of Mehretu’s career, Julie Mehretu is organized by Christine Y. Kim, curator of contemporary art at LACMA, with Rujeko Hockley, assistant curator at the Whitney. The installation at the Whitney is overseen by Hockley and on view from March 25 through August 8, 2021.
Salman Toor’s first solo museum exhibition—originally scheduled to open in March 2020 but postponed due to the pandemic—will be presented by the Whitney Museum of American Art from November 13, 2020 to April 4, 2021. Primarily making intimate oil-on-panel works, Toor expands the tradition of figurative painting by melding sketch-like immediacy with disarming detail to create affecting views of young, queer Brown men living in New York City and South Asia. Salman Toor: How Will I Know is part of the Whitney’s emerging artists program, which most recently included solo shows by Kevin Beasley and Eckhaus Latta, and will be on view in the first-floor John R. Eckel, Jr. Foundation Gallery, which is accessible to the public free-of-charge.
The much anticipated exhibition, Working Together: The Photographers of the Kamoinge Workshop will finally unveil at The Whitney on November 21st. This groundbreaking exhibition features over 150 photographs by fourteen early members of the Kamoinge Workshop, nine of whom are living and working today.
The exhibition pays homage to Gordon Matta-Clark’s legendary Day’s End (1975) and features works by twenty-two artists who engaged with the Meatpacking District and West Side piers, among other downtown Manhattan locations, in the 1970s and early 1980s. Around Day’s End also anticipates David Hammons’s monumental public artwork Day’s End, located directly across from the Whitney Museum in Hudson River Park. Drawn primarily from the Whitney’s collection, the exhibition is organized by Laura Phipps, assistant curator, with Christie Mitchell, senior curatorial assistant, and runs through October 25, 2020.
Pope.L: Instigation, Aspiration, Perspiration, is a trio of exhibitions organized by The Museum of Modern Art, the Whitney Museum of American Art, and Public Art Fund. Utilizing both public and private spaces, the expansive presentation addresses many elements of the artist’s oeuvre, from singular early works to a monumental new installation and a new large-scale performative work inspired by the artist’s iconic crawl series on the streets of New York City. Let’s begin there, with the Public Art Fund and Pope. L: conquest on September 21, 2019.
The first solo museum show of Jason Moran (b. 1975, Houston, Texas), the interdisciplinary artist who grounds his work in music composition, has made its debut at the Whitney. The exhibition, Jason Moran, presents the range of art Moran has explored, from his sculptures and drawings to collaborations with visual artists to performance and video.
The annual Whitney Staff Art Show will be returning to Westbeth Art Gallery for its fourth year, featuring established and emerging artists ~ all are talented Whitney museum staff members.
