The Whitney Announces 2020 Exhibition Schedule

It looks as if it will be another banner year of thought-provoking and wide-ranging exhibitions during the coming year at The Whitney Museum of American Art. (And one should not expect any less.) Announcing the schedule for 2020 at the Whitney Museum of American Art, Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator, noted: “In 2020 the Whitney will celebrate its ninetieth anniversary and fifth year downtown, so we’ve created a program that truly honors the spirit of artistic innovation both past and present. We remain focused on supporting emerging and mid-career artists, while finding fresh relevance in historical surveys from across the twentieth century. Also turning ninety, Jasper Johns closes out the year with an unprecedented retrospective that will reveal this American legend as never before to a new generation of audiences.”

Exterior shot of the The Whitney building. Photograph by Ben Gancsos ©2016

On February 17 the Museum opens Vida Americana: Mexican Muralists Remake American Art, 1925–1945, a major historical look at the transformative impact of Mexican artists on the direction of American art from the mid-1920s until the end of World War II. On October 28, in collaboration with the Philadelphia Museum of Art, a landmark retrospective of the work of Jasper Johns goes on view simultaneously at both museums, paying tribute to the foremost living American artist. In addition, the Whitney will devote exhibitions to Julie Mehretu and Dawoud Bey, prominent midcareer artists. The Mehretu exhibition, co-organized by the Whitney with the Los Angeles County Museum of Art, encompasses over two decades of the artist’s work, presenting the most comprehensive overview of her practice to date. In November, Dawoud Bey, one of the leading photographers of his generation, will receive his first full-scale retrospective, co-organized by the Whitney and the San Francisco Museum of Modern Art (SFMOMA).

The Whitney Museum of American Art

The Museum will also present Agnes Pelton: Desert Transcendentalist—organized by the Phoenix Art Museum—the first exhibition of work by the visionary symbolist in nearly a quarter century; and Working Together: The Photographers of the Kamoinge Workshop, an unprecedented exhibition organized by the Virginia Museum of Fine Arts, which chronicles the formative years of this collective of Black photographers who lived and worked in New York City. The year will also bring a range of focused exhibitions dedicated to emerging and midcareer artists, including Darren Bader, Jill Mulleady, Cauleen Smith, and Salman Toor, as well as Dave McKenzie and My Barbarian, who continue the Whitney’s commitment to performance and its many forms.

In September the Museum will also unveil David Hammons’s monumental public art installation Day’s End on Gansevoort Peninsula, across the street from the Whitney. The debut of this public artwork will be preceded by an exhibition entitled Around Day’s End: Downtown New York, 1970–1986, which will present a selection of works from the Museum’s collection related to the seminal work that inspired Hammons’s sculpture: Gordon Matta-Clark’s Day’s End (1975).

MAJOR EXHIBITIONS AND EVENTS

Vida Americana: Mexican Muralists Remake American Art, 1925–1945”, February 17–May 17, 2020

Jacob Lawrence. Panel 3 from The Migration Series, From every Southern town migrants left by the hundreds to travel north.,1940–41. Casein tempera on hardboard 12 × 18 in. (30.5 × 45.7 cm). The Phillips Collection, Washington, DC; acquired 1942. © 2019 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

The cultural renaissance that emerged in Mexico in 1920 at the end of that country’s revolution dramatically changed art not just in Mexico but also in the United States. With approximately 200 works by sixty American and Mexican artists, Vida Americana reorients art history, acknowledging the wide-ranging and profound influence of Mexico’s three leading muralists—José Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera—on the style, subject matter, and ideology of art in the United States made between 1925 and 1945. By presenting the art of the Mexican muralists alongside that of their American contemporaries, the exhibition reveals the seismic impact of Mexican art, particularly on those looking for inspiration and models beyond European modernism and the School of Paris.

Diego Rivera. The Uprising, 1931. Fresco on reinforced cement in a galvanized-steel framework, 74 × 94 1/8 in. (188 × 239 cm). Collection of Marcos and Vicky Micha Levy © 2019 Banco de México–Rivera–Kahlo/ARS. Reproduction authorized by the National Institute of Fine Arts and Literature (INBAL), 2019

Works by both well-known and underrecognized American artists will be exhibited, including Thomas Hart Benton, Elizabeth Catlett, Aaron Douglas, Marion Greenwood, Philip Guston, Eitarō Ishigaki, Jacob Lawrence, Isamu Noguchi, Jackson Pollock, Ben Shahn, Thelma Johnson Streat, Charles White, and Hale Woodruff. In addition to Orozco, Rivera, and Siqueiros, other key Mexican artists in the exhibition include Miguel Covarrubias, María Izquierdo, Frida Kahlo, Mardonio Magaña, Alfredo Ramos Martínez, and Rufino Tamayo.

María Izquierdo. My Nieces, 1940. Oil on composition board, 55 1/8 × 39 3/8 in. (140 × 100 cm). Museo Nacional de Arte, INBAL, Mexico City; constitutive collection, 1982 © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City. Reproduction authorized by El Instituto Nacional de Bellas Artes y Literatura, 2019.

Organized by Barbara Haskell, curator, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant. (See previously-posted article here.)

Julie Mehretu, June 26–September 20, 2020

Julie Mehretu, Invisible Sun (algorithm 4, first letter form), 2014, ink and acrylic on canvas 119 1⁄2 × 167 in., private collection, © Julie Mehretu, photograph by Carolina Merlano
Julie Mehretu, Black City, 2007. Ink and acrylic on canvas, 120 x 192 in. (304.8 x 487.7 cm). François Pinault Collection, Paris | Photo credit: Tim Thayer

This mid-career survey of Julie Mehretu (b. 1970; Addis Ababa, Ethiopia), co-organized by The Whitney with the Los Angeles County Museum of Art (LACMA), covers over two decades of the artist’s career and presents the most comprehensive overview of her practice to date. Featuring approximately forty works on paper and more than thirty paintings dating from 1996 to today, the exhibition includes works ranging from her early focus on drawing and mapping to her more recent introduction of bold gestures, saturated color, and figuration. The exhibition will showcase her commitment to interrogating the histories of art, architecture, and past civilizations alongside themes of migration, revolution, climate change, and global capitalism in the contemporary moment. Julie Mehretu is on view at LACMA November 3, 2019–March 22, 2020, and following its presentation at the Whitney from June 26 through September 20, 2020, the exhibition will travel to the High Museum of Art, Atlanta, GA (October 24, 2020–January 31, 2021); and the Walker Art Center, Minneapolis, MN (March 13–July 11, 2021).

Julie Mehretu, Hineni (E. 3:4), 2018, ink and acrylic on canvas, 96 × 120 in., Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle; gift of George Economou, 2019, © Julie Mehretu, photograph by Tom Powel Imaging
Julie Mehretu, Stadia II, 2004, ink and acrylic on canvas, 108 × 144 in., Carnegie Museum of Art, Pittsburgh, gift of Jeanne Greenberg Rohatyn and Nicolas Rohatyn and A. W. Mellon Acquisition Endowment Fund 2004.50, © Julie Mehretu, photograph courtesy of the Carnegie Museum of Art

Julie Mehretu is curated by Christine Y. Kim, associate curator in contemporary art at LACMA, and Rujeko Hockley, assistant curator at the Whitney.

Jasper Johns, Opens October 28, 2020

Jasper Johns (b. 1930), Three Flags, 1958. Encaustic on canvas, 30 5/8 × 45 1/2 × 4 5/8 in. (77.8 × 115.6 × 11.7 cm). Whitney Museum of American Art, New York; purchase with funds from the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, Laura-Lee Whittier Woods, Howard Lipman, and Ed Downe in honor of the Museum’s 50th Anniversary 80.32. Art © Jasper Johns/Licensed by VAGA, New York, NY

Jasper Johns (b. 1930) is arguably the most influential living American artist. Over the past sixty-five years, he has produced a radical and varied body of work marked by constant reinvention. In an unprecedented collaboration, the Philadelphia Museum of Art and the Whitney will stage a retrospective of Johns’s career simultaneously across the two museums, featuring paintings, sculptures, drawings, and prints, many shown publicly for the first time. Inspired by the artist’s long-standing fascination with mirroring and doubles, the two halves of the exhibition will act as reflections of one another, spotlighting themes, methods, and images that echo across the two venues. A visit to one museum or the other will provide a vivid chronological survey; a visit to both will offer an innovative and immersive exploration of the many phases, facets, and masterworks of Johns’s still-evolving career.

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Upcoming Exhibition Brings Together 200 Works By 60 American And Mexican Artists At The Whitney Museum In February 2020

The cultural renaissance that emerged in Mexico in 1920 at the end of that country’s revolution dramatically changed art not just in Mexico but also in the United States. Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will explore the profound influence Mexican artists had on the direction American art would take. With approximately 200 works by sixty American and Mexican artists, Vida Americana reorients art history, acknowledging the wide-ranging and profound influence of Mexico’s three leading muralists—José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros—on the style, subject matter, and ideology of art in the United States made between 1925 and 1945.

The Whitney Museum’s own connection to the Mexican muralists dates back to 1924 when the Museum’s founder Gertrude Vanderbilt Whitney presented an exhibition of the work of three Mexican artists—José Clemente Orozco, Luis Hidalgo, and Miguel Covarrubias—at the Whitney Studio Club, organized by artist Alexander Brook. It was Orozco’s first exhibition in the United States. A few years later, in 1926, Orozco also showed watercolors from his House of Tears series at the Studio Club; and the following year Juliana Force, Mrs. Whitney’s executive assistant and future director of the Whitney Museum, provided critical support for Orozco at a time when he desperately needed it by acquiring ten of his drawings. The Mexican muralists had a profound influence on many artists who were mainstays of the Studio Club, and eventually the Whitney Museum, including several American artists featured in Vida Americana, such as Thomas Hart Benton, William Gropper, Isamu Noguchi, and Ben Shahn.

Diego Rivera. The Uprising, 1931. Fresco on reinforced cement in a galvanized-steel framework, 74 × 94 1/8 in. (188 × 239 cm). Collection of Marcos and Vicky Micha Levy © 2019 Banco de México–Rivera–Kahlo/ARS. Reproduction authorized by El Instituto Nacional de Bellas Artes y Literatura, 2019.

Curated by Barbara Haskell, with Marcela Guerrero, assistant curator; Sarah Humphreville, senior curatorial assistant; and Alana Hernandez, former curatorial project assistant, Vida Americana: Mexican Muralists Remake American Art, 1925–1945 will be on view at the Whitney Museum of American Art from February 17 through May 17, 2020 and will travel to the McNay Art Museum in San Antonio, Texas, where it will be on display from June 25 through October 4, 2020. At the McNay Art Museum, the installation will be overseen by René Paul Barrilleaux.

Jacob Lawrence. Panel 3 from The Migration Series, From every Southern town migrants left by the hundreds to travel north.,1940–41. Casein tempera on hardboard 12 × 18 in. (30.5 × 45.7 cm). The Phillips Collection, Washington, DC; acquired 1942. © 2019 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Vida Americana is an enormously important undertaking for the Whitney and could not be more timely given its entwined aesthetic and political concerns,” said Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator. “It not only represents the culmination of nearly a decade of scholarly research and generous international collaboration but also demonstrates our commitment to presenting a more comprehensive and inclusive view of twentieth-century and contemporary art in the United States.”

María Izquierdo. My Nieces, 1940. Oil on composition board, 55 1/8 × 39 3/8 in. (140 × 100 cm). Museo Nacional de Arte, INBAL, Mexico City; constitutive collection, 1982 © 2019 Artists Rights Society (ARS), New York / SOMAAP, Mexico City. Reproduction authorized by El Instituto Nacional de Bellas Artes y Literatura, 2019.

Comprised of paintings, portable frescoes, films, sculptures, prints, photographs, and drawings, as well as reproductions of in-situ murals, Vida Americana will be divided into nine thematic sections and will occupy the entirety of the Whitney’s fifth-floor Neil Bluhm Family Galleries. This unprecedented installation, and the catalogue that accompanies it, will provide the first opportunity to reconsider this cultural history, revealing the immense influence of Mexican artists on their American counterparts between 1925 and 1945.

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“Isamu Noguchi, Archaic/Modern” at the Smithsonian American Art Museum Presents a Fresh Perspective on the Innovative Vision of This Modern Master

noguchi-portrait

Isamu Noguchi, 1968. Russell Lynes, photographer. Russell Lynes papers, 1935-1986. Archives of American Art, Smithsonian Institution

Isamu Noguchi (1904-1988) was among the most innovative American sculptors of the 20th century. His design for “Sculpture to Be Seen from Mars” (1947) anticipates the space age by several decades. Even as he created works that were far ahead of his time, Noguchi frequently found inspiration in ancient art and architecture-from Egyptian pyramids and Buddhist temples to Zen gardens and American Indian burial mounds. “Isamu Noguchi, Archaic/Modern” explores how the ancient world shaped this artist’s vision for the future. The Smithsonian American Art Museum is the sole venue for this exhibition, which is expanded from an earlier installation at The Isamu Noguchi Foundation and Garden Museum, New York.

age

Isamu Noguchi, Age, 1981, basalt. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

atomic-haystack

Isamu Noguchi, Atomic Haystack, 1982-83, hot-dipped galvanized steel. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

Isamu Noguchi, Archaic/Modern” is on view in the Smithsonian American Art Museum‘s main building from November 11, 2016 through March 19, 2017. Dakin Hart, senior curator at The Isamu Noguchi Foundation and Garden Museum, New York, and Karen Lemmey, curator of sculpture at the Smithsonian American Art Museum, organized the exhibition.

Lunar Table, 1961-1965

Isamu Noguchi, Lunar Table, 1961-65, granite. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

Magic Mountain, 1984

Isamu Noguchi, Magic Mountain, 1984, Mikage granite and wood. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

Isamu Noguchi-born in Los Angeles, raised and educated in Japan, Indiana, New York and Paris-was among the first American artists to think like a citizen of the world,” said Betsy Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “The exhibition is the latest in a series of major shows to examine the contributions of such international artists as Nam June Paik, Christo, Yasuo Kuniyoshi and Tamayo, and their broad perspectives.”

pregnant-bird

Isamu Noguchi, Pregnant Bird, 1958, Greek marble. The Isamu Noguchi Foundation and Garden Museum, New York. Photo by Kevin Noble. © The Isamu Noguchi Foundation and Garden Museum, New York.

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JW Marriott Marquis Miami And Christie’s Celebrate Miami’s Art Deco Landscape With Pre-sale Exhibition During Miami Art Week 2013

Global Brand Partners Host 20th Century Decorative Arts & Design Pre-Sale Exhibition

JW Marriott® (www.marriott.com, www.jwmarriottmarquismiami.com) and Christie’s have banded together to present a pre-sale exhibition of 20th Century Decorative Arts and Design and Ettore Sottsass: Important Works from a Private Collection during Miami Art Week 2013, December 2 – December 9, 2013. With its unique integration of 20th Century furniture, jewelry, drawings and decorative objects, both collections are truly unparalleled, and feature important works of 20th Century design by Antoni Gaudí, Jean-Michel Frank, Eugene Printz, Jean Royere, Isamu Noguchi, Fernando and Humberto Campana, and Claude Lalanne. The exhibition will be open to the public from daily from 10 a.m. to 5 p.m. Thursday, December 5 – Sunday, December 8.

JW Marriott Hotels & Resorts.  (PRNewsFoto/Marriott International, Inc.)

JW Marriott Hotels & Resorts. (PRNewsFoto/Marriott International, Inc.)

The JW Marriott Marquis Miami is situated in Miami’s new Metropolitan Miami development. The first-to-market JW Marriott property boasts 313 guestrooms, inclusive of 56 suites, along with a broad array of amenities, including renowned chef-restaurateur, Daniel Boulud’s db Bistro Moderne.  Offering a diverse setting for business, meeting and pleasure travel pursuits, the 41-story hotel features three concierge levels; 80,000-square-feet of total function space including a 20,000 sq. ft. Grand Ballroom; and one of the most unique indoor sports, lifestyle and entertainment complexes of any hotel in the U.S. The 50,000-square-foot, two-story indoor facility includes a NBA-approved basketball arena, tennis court, Mariano Bartolome Golf School, virtual bowling alley, billiards, full-service enliven spa and salon and more. Owned and operated by Met 2 Hotels LLC, the JW Marriott Marquis Miami is located at 255 Biscayne Boulevard Way, Miami, FL. (For additional information and booking please visit www.jwmarriottmarquismiami.com.)

JW Marriott Marquis Miami and Christie's Celebrate Miami's Art Deco Landscape with Pre-Sale Exhibition During Art Week 2013.  (PRNewsFoto/Marriott International, Inc.)

JW Marriott Marquis Miami and Christie’s Celebrate Miami’s Art Deco Landscape with Pre-Sale Exhibition During Art Week 2013. (PRNewsFoto/Marriott International, Inc.)

As official hotel partner of Art Basel Miami Beach 2013, Design Miami, Art Miami, and the Perez Art Museum, the JW Marriott Marquis Miami (www.jwmarriottmarquismiami.com) is immersed in the growing art scene already present in the city. Besides it’s more than $250,000 in sponsorships, and its support of other arts orginazations such as the Miami International Symphony Orchestra, Florida Grand Opera and others, the hotel and JW Marriott brand boast a strategic partnership with Christie’s, the world’s leading art auction house.  The partnership began during Art Basel Miami Beach 2010 when the hotel featured a popular exhibition of Post-War and Contemporary highlights which included pieces from artists such as Andy Warhol, Antony Gormley and Damien Hirst. Continue reading

FASHION SHOW REVIEW: TRINA TURK 2013 FALL/WINTER COLLECTION

By PHILLIP D. JOHNSON

Images by PHILLIP D. JOHNSON

A genuine Californian, born and bred, Designer TRINA TURK—and the essence of her design aesthetic—is based as much on her upbringing, as well as on her lifelong appreciation for Mid-Century Modernist architecture, artistry and craftsmanship (CHARLES AND RAY EAMES, LOUIS KAHN, OSCAR NIEMEYER, ISAMU NOGUCHI, EERO SAARINEN, JOSEPH EICHLER, EDITH HEATH, CLIFF MAY, EILEEN GRAY, GEORGE NELSON) that has its nucleus in the Golden State. Turk is both inspired by and represents the lifestyle of California: optimistic, progressive, accessible, effortless, colorful, and confident. Her popular swimwear, ready-to-wear, accessory, and home collections are influenced by her love of 1960s and ’70s vintage apparel and jewelry as well as modernist and graphic art, and mid-century modern architecture. She is widely known for her use of dynamic colors and signature prints, including bright floral, bold graphics and vintage inspired jacquards.

Trina Turk 2013 Fall/Winter Collection (Photo Credit: Phillip D. Johnson)

Trina Turk 2013 Fall/Winter Collection (Photo Credit: Phillip D. Johnson)

From the beginning of her career, launching the brand with her photographer husband, JONATHAN SKOW, in 1995, she has championed the effortless flair and sunny optimism of this native mindset through the prism of her carefully crafted women’s ready-to-wear and accessories collections, a menswear line called MR TURK, and residential décor and textiles collections.

Trina Turk 2013 Fall/Winter Collection (Photo Credit: Phillip D. Johnson)

Trina Turk 2013 Fall/Winter Collection (Photo Credit: Phillip D. Johnson)

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