The Whitney To Present “Making Knowing: Craft In Art, 1950–2019,” Highlighting Rarely Seen Artworks From The Museum’s Collection

On November 22, the Whitney Museum of American Art opens Making Knowing: Craft in Art, 1950–2019, an exhibition that foregrounds how visual artists have explored the materials, methods, and strategies of craft. Beginning in the 1950s—at a time when many artists embraced fiber arts and ceramics to challenge the dominance of traditional painting and sculpture—Making Knowing moves through the next seven decades, presenting works that speak to artists’ interests in domesticity, hobbyist materials, the decorative, vernacular American traditions, “women’s work,” and feminist and queer aesthetics.

Drawn primarily from the Whitney’s collection, the exhibition features over eighty artworks in a variety of media, including textiles, ceramics, painting, drawing, photography, video, and large-scale sculptural installation. The more than sixty artists represented include Anni Albers, Richard Artschwager, Ruth Asawa, Njideka Akunyili Crosby, Robert Gober, Shan Goshorn, Harmony Hammond, Eva Hesse, Sheila Hicks, Mike Kelley, Yayoi Kusama, Thomas Lanigan-Schmidt, Simone Leigh, Robert Morris, Claes Oldenburg, Pepón Osorio, Howardena Pindell, Ken Price, Robert Rauschenberg, Faith Ringgold, Miriam Schapiro, Arlene Shechet, Kiki Smith, Lenore Tawney, Peter Voulkos, Marie Watt, and Betty Woodman.

Liza Lou (b. 1969), Kitchen, 1991–96. Beads, plaster, wood and found objects, 96 × 132 × 168 in. (243.8 × 335.3 × 426.7 cm). Whitney Museum of American Art, New York; gift of Peter Norton 2008.339a-x. © Liza Lou. Photograph by Tom Powel, courtesy the artist

One of the greatest pleasures and responsibilities that comes with digging into the Whitney’s collection is the way it continually compels us to reevaluate our received ideas about taste, style, and even what counts as art at any moment,” remarks Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator. “By focusing on materials and techniques associated with craft, Making Knowing will offer jolts of surprise, emotion, provocation, and discovery through an incredible range of works, more than half of which have never been on display in our galleries.”

Harmony Hammond (b. 1944), Hug, 1978. Acrylic on fabric and wood, 64 × 30 1/4 × 14 in. (162.6 × 76.8 × 35.6 cm). Whitney Museum of American Art, New York; gift of Rosemary McNamara 2017.208a-b. © 2019 Harmony Hammond/Artists Rights Society (ARS), New York

Making Knowing is organized chronologically and thematically, beginning with a gallery of works from the 1950s. Throughout this decade, artists such as Ruth Asawa, Robert Rauschenberg, and Peter Voulkos experimented with wire, scavenged fabric, and clay. Others, including Sheila Hicks, Lenore Tawney, and Ann Wilson, explored weaving, both on and off the loom, and painting on found quilts. By employing marginalized craft media, they challenged the power structures that determined artistic value. Presenting these artists together reveals the profound influence that craft had on abstraction during this period.

Betty Woodman (1930–2018), Still Life #11, 1990. Glazed and polychromed ceramic, 35 × 10 1/4 × 7 5/8 in. (88.9 × 26 × 19.4 cm). Whitney Museum of American Art, New York; gift of Julia Childs Augur 92.25. © Betty Woodman0

Subsequent galleries demonstrate how artists working in the 1960s and 1970s frequently questioned why fine art was more accepted and valued than more vernacular or utilitarian traditions. Among them, Richard Artschwager, Eva Hesse, Yayoi Kusama, Robert Morris, Howardena Pindell, and Alan Shields experimented with unconventional materials such as rope, felt, and string, and in doing so influenced various art historical movements, including Pop Art, Minimalism, and Process art. In Shields’s J + K, 1972, the canvas border creates a satirically legitimizing frame for craft materials like strands of beads.

Alan Shields (1944–2005), J + K, 1972. Acrylic, thread, beads on canvas, 107 × 252 7/8 × 2 3/4 in. (271.8 × 642.3 × 7 cm). Whitney Museum of American Art, New York; gift of Paula Cooper 2017.165a-l. © Estate of Alan Shields

Making Knowing also highlights modes of making from the 1970s and 1980s frequently categorized as “women’s work.” While this phrase denigrated certain materials and aesthetics associated with femininity, artists purposefully worked in these ways in order to question gender roles in both the art world and society at large. Artists such as Barbara Chase-Riboud, Harmony Hammond, Kim MacConnel, Elaine Reichek, Miriam Schapiro, and Betty Woodman used cloth, embroidery, sewing, and ceramics to elevate the often-disparaged tradition of the “decorative,” and to attest to the impossibility of tethering these techniques to a single use or means of expression.

The works on display from the 1980s and 1990s exemplify how artists during this period looked at art and its relationship to devotional practices and often grappled with an ambivalence towards organized religion. Arch Connelly, Robert Gober, Mike Kelley, Lucas Samaras, Kiki Smith, and Rosie Lee Tompkins used wide-ranging materials including quilts, found and sewn textiles, candles, artificial flowers, and beads in artworks that reveal the relationship between the spiritual and the worldly. Working at the height of the AIDS crisis, several of these artists’ attention to handcrafting objects attempted to provide an emotionally reparative experience in the absence of aid from the government or religious authorities.

A gallery dedicated to artwork from the mid-1990s to the present broadly addresses issues of the body and place. Liza Lou’s monumental installation Kitchen, 1991–1996, is a handmade, life-size kitchen composed of sparkling beads. Through subject matter and materials, Lou combines the physical labor of domestic life and the painstaking making of an artwork. On view for the first time here are recent acquisitions by Shan Goshorn, Kahlil Robert Irving, Simone Leigh, Jordan Nassar, and Erin Jane Nelson.

Many of the artists in Making Knowing have taken up historically marginalized materials in order to upend hierarchies that have persisted in art history and in museum collecting practices,” explains co-curator Jennie Goldstein. Elisabeth Sherman, co-curator, continues, “Together they demonstrate that craft-informed techniques of making carry their own kind of knowledge, one that is indispensable to a more complete understanding of the history and potential of art.

Making Knowing offers a fresh look at a prominent, ever-present thread of the Whitney’s collection. The exhibition’s title reformulates the historical tension often separating craft and fine art by leveling the distinction between the world of the handmade, “making,” and the world of ideas, “knowing.”

Making Knowing: Craft in Art, 1950–2019 will be on view beginning November 22, 2019, in the Museum’s sixth-floor collection galleries. The Whitney’s sixth-floor galleries continue to serve as a space to present challenging, thematic exhibitions that explore and rethink various threads of the Museum’s collection. Past sixth-floor collection exhibitions include An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940–2017 (2017–2018) and Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (2018–2019).

Making Knowing: Craft in Art, 1950–2019 is curated by Jennie Goldstein, assistant curator, and Elisabeth Sherman, assistant curator, with Ambika Trasi, curatorial assistant.

Support for Making Knowing: Craft in Art, 1950–2019 is provided by the Lenore G. Tawney Foundation.

Archibald Motley: Jazz Age Modernist at The Whitney Museum of American Art

The most eye-opening take-away I got from attending the preview of (both) the new Whitney Museum of American Art in downtown Manhattan (99 Gansevoort Street, New York, NY 10014, (212) 570-3600, info@whitney.org) and the inaugural exhibit, America is Hard to See, is, as much as I love art (and how much I have read on the subject over the years), it was astonishing how much I DID NOT know.

We all know Jackson Pollack, but how much do we know about his wife, Lee Krasner, an accomplished artist in her own right whose own career often was seriously compromised by her role as supportive wife to Pollock, arguably the one of the most significant postwar American painter, as well as by the male-dominated art world? We know Mark Rothko, Andy Warhol, Jasper Johns and Georgia O’Keefe, but we should also know more about Arthur Dove, Imogene Cunningham, Florine Stettheimer, James Daugherty, Eldzier Cortor, Raphael Montanez Ortiz, Eva Hesse, Lari Pitmman, and Nam June Park, and so many others, all among the 400 artists represented in more than 600 works of arts in “America is Hard to See“.

The Whitney Museum of American Art was borne out of sculptor Gertrude Vanderbilt Whitney’s advocacy on behalf of living American artists. At the beginning of the twentieth century, artists with new ideas found it nearly impossible to exhibit or sell their work in the United States. Recognizing the obstacles these artists faced, Mrs. Whitney began purchasing and showing their work, thereby 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, where she presented exhibitions by living American artists whose work had been disregarded by the traditional

Archibald John Motley Jr. (1891-1981)

Archibald John Motley Jr. (1891-1981)

academies. By 1929 she had assembled a collection of more than 500 works, which she offered with an endowment to The Metropolitan Museum of Art. When the offer was refused, she set up her own museum, one with a new and radically different mandate: to focus exclusively on the art and artists of this country. The Whitney Museum of American Art was founded in 1930, and opened in 1931 on West Eighth Street in Greenwich Village.

Since its inception in 1931, the Whitney has championed American art and artists by assembling a rich permanent collection and featuring a rigorous and varied schedule of exhibition programs, which is why the upcoming exhibition, Archibald Motley: Jazz Age Modernist, (October 2, 2015–January 17, 2016) is so important. It introduces us to yet another artist we should know and whose work defined the life and times in America.

 Archibald J. Motley Jr., Blues, (detail), 1929. Oil on canvas, 36 x 42 inches (91.4 x 106.7 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Chicago, Illinois. © Valerie Gerrard Browne.

Archibald J. Motley Jr., Blues, (detail), 1929. Oil on canvas, 36 x 42 inches (91.4 x 106.7 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Chicago, Illinois. © Valerie Gerrard Browne.

Archibald Motley was one of the most important figures associated with the Harlem Renaissance (although he never lived in Harlem) and is best known as both a master colorist and a radical interpreter of urban culture.First shown at the Nasher Museum at Duke University in early 2014 and organized and curated by Professor Richard J. Powell (John Spencer Bassett Professor of Art, Art History & Visual Studies at Duke University), Archibald Motley: Jazz Age Modernist is the first full-scale survey of his paintings in two decades, featuring mesmerizing portraits and vibrant cultural scenes painted between 1919 to 1961. The installation at the Whitney Museum will be overseen by Carter E. Foster, Steven and Ann Ames Curator of Drawing.

Archibald J. Motley Jr., Barbecue, (detail), c. 1934. Oil on canvas, 39 x 44 inches (99.1 x 111.76 cm). Collection of the Howard University Gallery of Art, Washington, DC. © Valerie Gerrard Browne.

Archibald J. Motley Jr., Barbecue, (detail), c. 1934. Oil on canvas, 39 x 44 inches (99.1 x 111.76 cm). Collection of the Howard University Gallery of Art, Washington, DC. © Valerie Gerrard Browne.

 Archibald J. Motley Jr., Tongues (Holy Rollers), (detail), 1929. Oil on canvas, 29.25 x 36.125 inches (74.3 x 91.8 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Chicago, Illinois. © Valerie Gerrard Browne.

Archibald J. Motley Jr., Tongues (Holy Rollers), (detail), 1929. Oil on canvas, 29.25 x 36.125 inches (74.3 x 91.8 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Chicago, Illinois. © Valerie Gerrard Browne.

The exhibition will offer an unprecedented opportunity to carefully examine Motley’s dynamic depictions of modern life in his home town, Chicago, as well as in Jazz Age Paris and Mexico. Specifically, it will highlight his unique use of both expressionism and social realism and will resituate this underexposed artist within a broader, art historical context. The exhibition will be presented in the sky-lit eighth floor galleries of the new Whitney during its inaugural year.

Motley is one of the most significant yet least visible 20th-century artists, despite the broad appeal of his paintings. Many of his most important portraits and cultural scenes remain in private collections; few museums have had the opportunity to acquire his work. With a survey that spans 40 years, Archibald Motley introduces the artist’s canvases of riotous color to wider audiences and reveals his continued impact on art history.

According to Powell in a previous interview, ” There was a major retrospective of Archibald Motley that was done in the early 1990s by the Chicago Historical Society, now known as the Chicago History Museum. Why are we looking at him again? The show that was done in 1991 was a broad introduction to his art and career. It was less focused and broad and general. I had a chance to see that show and enjoyed it immensely. But as we have moved beyond that moment and into the 21st century and as we have moved into the era of post-modernism, particularly that category post-black, I really felt that it would be worth revisiting Archibald Motley to look more critically at his work, to investigate his wry sense of humor, his use of irony in his paintings, his interrogations of issues around race and identity.

Archibald J. Motley Jr., Mending Socks, 1924. Oil on canvas, 43.875 x 40 inches (111.4 x 101.6 cm). Collection of the Ackland Art Museum, The University of North Carolina at Chapel Hill. Burton Emmett Collection, 58.1.2801. © Valerie Gerrard Browne.

Archibald J. Motley Jr., Mending Socks, 1924. Oil on canvas, 43.875 x 40 inches (111.4 x 101.6 cm). Collection of the Ackland Art Museum, The University of North Carolina at Chapel Hill. Burton Emmett Collection, 58.1.2801. © Valerie Gerrard Browne.

Archibald John Motley, Junior (September 2, 1891, New Orleans, Louisiana – January 16, 1981, Chicago, Illinois) was an American painter. He studied painting at the Art Institute of Chicago during the 1910s and is most famous for his colorful chronicling of the African-American experience during the 1920s and 1930s, and considered one of the major contributors to the Harlem Renaissance.

Archibald J. Motley, Jr., Black Belt, (detail), 1934. Oil on canvas, 33 x 40.5 inches (83.8 x 102.9 cm). Collection of the Hampton University Museum, Hampton, Virginia. © Valerie Gerrard Browne.

Archibald J. Motley, Jr., Black Belt, (detail), 1934. Oil on canvas, 33 x 40.5 inches (83.8 x 102.9 cm). Collection of the Hampton University Museum, Hampton, Virginia. © Valerie Gerrard Browne.

Unlike many other Harlem Renaissance artists, Archibald Motley, Jr. never lived in Harlem—-he was born in New Orleans and spent the majority of his life in Chicago. His was the only black family in a fairly affluent, white, European neighborhood. His social class enabled him to have the benefit of classical training at the Art Institute of Chicago. He was awarded the Harmon Foundation Award in 1928, and then became the first African-American to have a one-man exhibit in New York City. He sold twenty-two out of the twenty-six exhibited paintings–an impressive feat for an emerging black artist.

Archibald J. Motley Jr., Self-Portrait (Myself at Work), 1933. Oil on canvas, 57.125 x 45.25 inches (145.1 x 114.9 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Chicago, Illinois. © Valerie Gerrard Browne.

Archibald J. Motley Jr., Self-Portrait (Myself at Work), 1933. Oil on canvas, 57.125 x 45.25 inches (145.1 x 114.9 cm). Collection of Mara Motley, MD, and Valerie Gerrard Browne. Image courtesy of the Chicago History Museum, Chicago, Illinois. © Valerie Gerrard Browne.

In 1927 he had applied for a Guggenheim Fellowship and was denied, but he reapplied and won the fellowship in 1929. He studied in France for a year, and chose not to extend his fellowship another six months. While many contemporary artists looked back to Africa for inspiration, Motley was inspired by the great Renaissance masters available at the Louvre. He found in the artwork there a formal sophistication and maturity that could give depth to his own work, particularly in the Dutch painters and the genre images of Delacroix, Hals, and Rembrandt. Motley’s portraits take the conventions of the Western tradition and update them–allowing for black bodies, specifically black female bodies, a space in a history that had traditionally excluded them.

Archibald J. Motley Jr., Brown Girl After the Bath, 1931. Oil on canvas, 48.25 x 36 inches (122.6 x 91.4 cm). Collection of the Columbus Museum of Art, Ohio. Gift of an anonymous donor, 2007.015. © Valerie Gerrard Browne.

Archibald J. Motley Jr., Brown Girl After the Bath, 1931. Oil on canvas, 48.25 x 36 inches (122.6 x 91.4 cm). Collection of the Columbus Museum of Art, Ohio. Gift of an anonymous donor, 2007.015. © Valerie Gerrard Browne.

Archibald J. Motley Jr., The Octoroon Girl, 1925. Oil on canvas, 38 x 30.25 inches (96.5 x 76.8 cm). Courtesy of Michael Rosenfeld Gallery, LLC, New York, New York. © Valerie Gerrard Browne.

Archibald J. Motley Jr., The Octoroon Girl, 1925. Oil on canvas, 38 x 30.25 inches (96.5 x 76.8 cm). Courtesy of Michael Rosenfeld Gallery, LLC, New York, New York. © Valerie Gerrard Browne.

Motley was incredibly interested in skin tone, and did numerous portraits documenting women of varying blood quantities (“octoroon,” “quadroon,” “mulatto”). These portraits celebrate skin tone as something diverse, inclusive, and pluralistic. The also demonstrate an understanding that these categorizations become synonymous with public identity and influence one’s opportunities in life. It is often difficult if not impossible to tell what kind of racial mixture the subject has without referring to the title. These physical markers of blackness, then, are unstable and unreliable, and Motley exposed that difference.

As Powell later reiterated, “Motley [was] very attuned to the racial politics of his time. He knows that African Americans during this time struggled around issues of class and race and identity and that he can get a rise out of audiences and viewers when he explores a range of subjects that might be viewed by some people as stereotypic. He is consciously doing this. He is willfully doing this to get people to engage with the work, but also ultimately to move beyond a simplistic representation or a simplistic sense of what black people should or shouldn’t look like. He wants to mix things up to make you come to terms with the richness of the subject as it is represented from one painting to another.” Continue reading

The Whitney Museum of American Art Announces New Expansion of its Leadership Team

Appoints Donna De Salvo to New Position of Deputy Director for International Initiatives and Senior Curator, and Scott Rothkopf to Deputy Director for Programs and Chief Curator

Adam D. Weinberg, Alice Pratt Brown Director of the Whitney Museum of American Art, today announced that the Museum is expanding its leadership team by appointing Donna De Salvo to the new position of Deputy Director for International Initiatives and Senior Curator, and Scott Rothkopf to Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, effective July 1, 2015. The move is designed to bolster the Whitney’s leadership in response to the recent growth of the Museum, the ever-widening programming opportunities available in its new building, and in anticipation of the greater role the Museum expects to play on the internationally art front.

In her new role, Donna De Salvo, who has served as the Whitney’s Chief Curator and Deputy Director for Programs since 2006, will help lead the Museum’s efforts to define and communicate an expanded and more complex understanding of American art and artists in contemporary culture globally. In addition to organizing exhibitions, De Salvo will encourage greater visibility for the Whitney through programs, professional exchanges,

Donna De Salvo, the new Deputy Director for International Initiatives and Senior Curator at The Whitney Museum of American Art

Donna De Salvo, the new Deputy Director for International Initiatives and Senior Curator at The Whitney Museum of American Art

and institutional development. De Salvo will also be involved in long-term strategic planning for the institution.

In addition to leading the curatorial team for the Whitney’s inaugural collection display America Is Hard to See, Miss De Salvo has curated Full House: The Whitney’s Collection at 75 (2006) and Robert Irwin: Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York (1977) (2013). Among the exhibitions she has co-curated are Sinister Pop (2012–13, with Scott Rothkopf), Signs & Symbols (2012, with Jane Panetta), Lawrence Weiner: AS FAR AS THE EYE CAN SEE (2007–08, with Ann Goldstein) and Roni Horn aka Roni Horn (2009–10, with Carter Foster and Mark Godfrey). With Linda Norden, she co-curated Course of Empire: Paintings by Ed Ruscha for the United States Pavilion at the 51st Venice Biennale, an exhibition that was also presented at the Whitney (2005–06).

Prior to working at the Whitney, De Salvo served for five years as a Senior Curator at Tate Modern, London, where she curated such exhibitions such as Open Systems: Rethinking Art c. 1970 (2005); Marsyas (Anish Kapoor’s 2003 work commissioned by Tate Modern for its Turbine Hall); and Century City: Art and Culture in the Modern Metropolis (2001). Among the exhibitions she has curated at other institutions are Hand-Painted Pop: American Art in Transition, 1955–1962 (MOCA Los Angeles, 1992–93), Staging Surrealism (Wexner Center for the Arts, 1997–98), and A Museum Looks at Itself: Mapping Past and Present at the Parrish Art Museum (Parrish Art Museum, 1992).

From 1981 to 1986, De Salvo was a curator at the Dia Art Foundation, where she worked closely with several of its artists, including John Chamberlain, Walter De Maria, Donald Judd, Cy Twombly, and Andy Warhol. A noted expert on the work of Warhol, she was Adjunct Curator for the Andy Warhol Museum and was curator of Andy Warhol: Disaster Paintings, 1963 (Dia Art Foundation, 1986), Andy Warhol: Hand-Painted Images, 1960–62 (Dia Art Foundation, 1987), “Success is a Job in New York”: The early art and business of Andy Warhol (Grey Art Gallery, 1989), and a retrospective of the artist’s work at Tate Modern (2002). She is currently developing a thematic retrospective of Warhol’s work to be presented at the Whitney in 2018.

She has written catalogues and essays and lectured on a wide range of modern and contemporary artists, including Barbara Bloom, Lee Bontecou, John Chamberlain, William Eggleston, Isa Genzken, Robert Gober, Philip Guston, Wade Guyton, Ray Johnson, Anish Kapoor, Per Kirkeby, Barbara Kruger, Giorgio Morandi, Barnett Newman, Chris Ofili, Gerhard Richter, Robert Smithson, Cy Twombly, Mark Wallinger, and Gillian Wearing. A recipient of the Alfred H. Barr, Jr. Award from the College Art Association, she has participated in many international juries and review panels and has taught at the curatorial studies programs at Bard College and The Royal College of Art.

Donna De Salvo stated, “I am delighted to be entrusted with the responsibilities of this new position to carry forward our work and to further enhance and extend what American art means on a world stage. I believe we have created a framework, both architecturally and programmatically, that provides endless possibilities in future. I am especially excited by the prospect of working together with Scott Rothkopf in his new role and on our expanded mission for the Museum.”

Scott Rothkopf, presently Nancy and Steve Crown Family Curator and Associate Director of Programs, joined the Whitney as Curator in 2009. In his new role, he will oversee the curatorial department and exhibition activities, direct the growth and display of the collection, and shape the Whitney’s programmatic vision. Taking advantage of the Museum’s new and greatly increased indoor and outdoor spaces, he will oversee expanded visual,

Scott Rothkopf, The Whitney's new  Deputy Director for Programs and Chief Curator

Scott Rothkopf, The Whitney’s new Deputy Director for Programs and Chief Curator

performing, and media arts offerings as well as continue to organize exhibitions himself.

Rothkopf most recently served on the curatorial team responsible for the Whitney’s inaugural collection display America Is Hard to See. At the Whitney he has also curated Mary Heilmann: Sunset (2015), Jeff Koons: A Retrospective (2014), Sinister Pop (2012–13, with Donna De Salvo),Wade Guyton OS (2012–13), Glenn Ligon: AMERICA (2011), Singular Visions (2010, with Dana Miller), and Whitney on Site: Guyton\Walker (2010).

Prior to joining the Whitney, Rothkopf served as Senior Editor of Artforum International from 2004 through 2009, where he was a frequent contributor of feature reviews and essays. He began his curatorial career at the Harvard University Art Museums, organizing Mel Bochner: Photographs, 1966–1969 (2002) and Huyghe + Corbusier: Harvard Project (2004, with Linda Norden). He also served as a contributing curator to the Biennale de Lyon in 2007, for a project with Guyton.

Rothkopf has published widely on the work of contemporary artists, including Paul Chan, Diller and Scofidio, Carroll Dunham, Katharina Fritsch, Eva Hesse, Jasper Johns, Sol LeWitt, Roy Lichtenstein, Josiah McElheny, Takashi Murakami, Laura Owens, Elizabeth Peyton, James Rosenquist, Ed Ruscha, Paul Thek, Kelley Walker, T. J. Wilcox, Terry Winters, and Karen Kilimnik, who was the subject of his 2007 book, Period Eye: Karen Kilimnik’s Fancy Pictures, co-authored with Meredith Martin. He also served as editor of Yourself in the World (2011), a volume of the collected writings and interviews of Glenn Ligon.

Rothkopf is a member of the board of trustees of the Louis Comfort Tiffany Foundation, and has been a visiting critic at Hunter College, Yale University’s School of Art, and the University of Southern California, among many others. He has served on numerous juries, including those of the Deste Foundation and the American Academy in Rome. He holds undergraduate and graduate degrees in the history of art and architecture from Harvard University.

Rothkopf stated, “The Whitney has long been known as the artists’ museum, a reputation that captures our intimate and profound commitment to artists and their work. In our new home we will further develop our venturesome approach to challenging exhibitions, collection displays, and an innovative performance program, as well as create new connections among them. It is a great honor to be chosen to take this project forward and to expand on the extraordinary accomplishments of Donna De Salvo.”

In announcing the new positions, Weinberg stated, “The Whitney is poised to take on greater challenges and growing its leadership is essential to extending the Museum’s reach. No one is better prepared to take on the important work of redefining the Whitney’s role on the international stage than Donna De Salvo, whose experience, insight, and innovative thinking have been central to our move downtown. As can be seen in the presentation of the Whitney’s collection in our new home, led brilliantly by Donna, we are exploring as never before the layered, nuanced, and changing meanings of the term ‘American art’ within contemporary global culture. In her new role, Donna will build on that experimentation and thinking.

Scott Rothkopf has brought a singular combination of scholarship, critical acumen, and curatorial talent to the Whitney,” Weinberg continued. “His achievements over the past half-dozen years have been remarkable; his vision, inventiveness, and leadership abilities are manifest. We’re proud to welcome him as our new Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, charged with overseeing all facets of the Museum’s curatorial program. Scott’s enthusiasm, energy, and passion for the Whitney’s mission—with living artists at its core—make him the perfect choice to expand and enrich our curatorial offerings at this historic turning point for the Whitney. We are particularly grateful to our trustee Nancy Crown and her husband Steve for so generously endowing this position.