BGuthrie Photos: NY -- NYC -- Whitney Museum of American Art -- Exhibit:

BGuthrie Photos: NY -- NYC -- Whitney Museum of American Art -- Exhibit: NY -- NYC -- Whitney Museum of American Art -- Exhibit: :

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. WHITCH_191220_01.JPG: The following pictures are from the page 2019_NY_Whitney_Choir NY -- NYC -- Whitney Museum of American Art -- Exhibit: Pope.L: Choir (6 photos from 2019)
  Pope.L Choir
2. WHITCH_191220_05.JPG: Pope.L and Language
3. WHITCR_191220_001.JPG: The following pictures are from the page 2019_NY_Whitney_Craft NY -- NYC -- Whitney Museum of American Art -- Exhibit: Making Knowing: Craft in Art, 1950–2019 (124 photos from 2019)
  Making Knowing Craft in Art, 1950-2019
4. WHITCR_191220_012.JPG: Sheila Hicks Vanishing Yellow, 1964 (reconstructed 2004)
5. WHITCR_191220_015.JPG: Sheila Hicks Untitled, 1969
6. WHITCR_191220_019.JPG: Anni Albers Line Involvements, 1964
7. WHITCR_191220_022.JPG: Ruth Asawa Untitled, 1955 (refabricated 1957-58)
8. WHITCR_191220_026.JPG: Ann Wilson Moby Dick, 1955
9. WHITCR_191220_030.JPG: Robert Rauschenberg Yoicks, 1954
10. WHITCR_191220_036.JPG: Peter Voulkos Red River, c 1960
11. WHITCR_191220_040.JPG: Chryssa Untitled (March 26, 1962) from Newspaper Book, 1962
12. WHITCR_191220_047.JPG: Lenore G. Tawney The Great Breath, 1964
13. WHITCR_191220_050.JPG: Agnes Martin
14. WHITCR_191220_061.JPG: Agnes Martin
15. WHITCR_191220_065.JPG: Lenore G. Tawney Spirit River, 1966
16. WHITCR_191220_069.JPG: Lenore G. Tawney Four Petaled Flower II, 1974
17. WHITCR_191220_076.JPG: Jackie Winsor Bound Logs, 1972-73
18. WHITCR_191220_082.JPG: Claes Oldenburg Giant BLT (Bacon, Lettuce, and Tomato Sandwich), 1963
19. WHITCR_191220_086.JPG: Yayoi Kusama Accumulation, c 1963
20. WHITCR_191220_087.JPG: Richard Artschwager Description of Table, 1964
21. WHITCR_191220_093.JPG: Eva Hesse No title, 1969-70
22. WHITCR_191220_098.JPG: Alan Shields J+K, 1972
23. WHITCR_191220_104.JPG: Howardena Pindell Untitled, 1974-75
24. WHITCR_191220_114.JPG: Robert Morris Felt, 1967-68
25. WHITCR_191220_118.JPG: Harmony Hammond Hug, 1978
26. WHITCR_191220_121.JPG: Betty Woodman Joined Vases, 1972
27. WHITCR_191220_126.JPG: Mary Frank Swimmer, 1978
28. WHITCR_191220_133.JPG: Kim MacConnel On TV, 1978
29. WHITCR_191220_139.JPG: Betty Woodman Hydrangea, 1987
30. WHITCR_191220_146.JPG: Barbara Chase-Riboud Zanzibar Table Gold, 1972
31. WHITCR_191220_149.JPG: Faith Ringgold Feminist Series: Of My Two Handicaps #10 of 20, 1972/1993
32. WHITCR_191220_156.JPG: Diane Simpson Apron Armour, 1976
33. WHITCR_191220_167.JPG: Emmi Whitehorse Another Blanket, 1983
34. WHITCR_191220_174.JPG: Arch Connelly Personal Explosion, 1984
35. WHITCR_191220_177.JPG: Arch Connelly Leaf, 1982
36. WHITCR_191220_180.JPG: Mike Kelley More Love Hours Than Can Ever Be Repaid and The Wages of Sin, 1987
37. WHITCR_191220_197.JPG: Lucas Samaras Box #124, 1988
38. WHITCR_191220_205.JPG: Pepon Osorio Angel: The Shoe Shiner, 1993
39. WHITCR_191220_224.JPG: Kiki Smith Familiars, 2001-02
40. WHITCR_191220_240.JPG: Charles LeDray Milk and Honey, 1994-96
41. WHITCR_191220_249.JPG: John de Fazio Crystal Meth Crucifix, 1999
42. WHITCR_191220_262.JPG: Rosie Lee Tompkins Three Sixes, 1986
43. WHITCR_191220_271.JPG: Erin Jane Nelson Daufuskie Muscat, 2018
44. WHITCR_191220_274.JPG: Erica Baum Hem Allowed, 2018
45. WHITCR_191220_278.JPG: Erica Baum Fold Coat, 2018
46. WHITCR_191220_280.JPG: Liza Lou Kitchen, 1991-96 A full-scale and exactingly detailed kitchen encrusted in a rainbow of glistening beads, Liza Lou's monumental installation took five years to make. After researching kitchen design manuals as well as historical tracts about the lives of nineteenth-century women, Lou made drawings and three-dimensional models to achieve a loose outline of Kitchen's floor plan. She then fashioned the objects out of paper m�ch�, painted them, and applied the beads in a mosaic of surface pattern. This work, in Lou's words, "argues for the dignity of labor" -- a labor that here manifests as process and subject alike, and which is linked to gender, since crafts and kitchen work are traditionally female domains. Kitchen might also be read as a commentary on American life -- even the American dream -- with its ubiquitous products (Tide and Cap'N Crunch), aspirations (glittery surfaces and suburban assimilation), and realities (dishes in the sink and other kitchen drudgery).
47. WHITCR_191220_327.JPG: Housewife Beads the World! Plus! Program reveals the secrets of tough love!
48. WHITCR_191220_330.JPG: She rose to his Requirement Stopped the playthings of her life To take the honorable work ... of Wife
49. WHITCR_191220_350.JPG: Jeffrey Gibson Birds of a Feather, 2017
50. WHITCR_191220_356.JPG: Nick Cave Soundsuit #20, 2005
51. WHITCR_191220_362.JPG: Marie Watt Skywalker/Skyscraper (Axis Mundi), 2012
52. WHITCR_191220_369.JPG: Jordan Nassar A Lost Key, 2019
53. WHITCR_191220_373.JPG: Simone Leigh Cupboard VIII, 2018
54. WHITCR_191220_390.JPG: Njideka Akunyili Crosby Portals, 2016
55. WHITCR_191220_397.JPG: Kahlil Robert Irving 100's, 2018
56. WHITCR_191220_406.JPG: Shan Goshorn Red Flag, 2015
57. WHITCR_191220_411.JPG: Shan Goshorn Roll Call, 2016
58. WHITCR_191220_416.JPG: Viola Frey Me Man, 1983
59. WHITCR_191220_424.JPG: Paul McCarthy Walt Paul Store, WS, Snow White, 2019 Walt Paul Store, WS, Snow White and Dopey, 2019 Walt Paul Store, WS, Snow White, 2019
60. WHITCR_191220_441.JPG: David James Gilhooly Merfrog and Her Pet Fish, 1976
61. WHITCR_191220_450.JPG: Robert Arneson Whistling in the Dark, 1976
62. WHITCR_191220_453.JPG: Martin Puryear Untitled, 1990-97
63. WHITCR_191220_468.JPG: Ree Morton Signs of Love, 1976
64. WHITJM_191220_01.JPG: The following pictures are from the page 2019_NY_Whitney_Jason_Moran NY -- NYC -- Whitney Museum of American Art -- Exhibit: Jason Moran (17 photos from 2019)
  Jason Moran
65. WHITLH_191220_001.JPG: The following pictures are from the page 2019_NY_Whitney_Life_Hack NY -- NYC -- Whitney Museum of American Art -- Exhibit: Rachel Harrison Life Hack (65 photos from 2019)
66. WHITLH_191220_007.JPG: Enter Rachel Harrison Life Hack
67. WHITLH_191220_018.JPG: Dinner, 1991 Food, Ziploc bags, and jars
68. WHITLH_191220_039.JPG: Untitled (Poles for a Dangerous Art World), 1992
69. WHITRL_191220_01.JPG: The following pictures are from the page 2019_NY_Whitney_Licht NY -- NYC -- Whitney Museum of American Art -- Exhibit: Order and Ornament: Roy Lichtenstein’s Entablatures (13 photos from 2019)
  Order and Ornament Roy Lichtenstein's Entablatures
70. WHITRL_191220_05.JPG: Artist's Studio "Look Mickey" (Study), 1973 Roy Lichtenstein
71. WHITRL_191220_10.JPG: Temple, 1964 Roy Lichtenstein
72. WHITRL_191220_11.JPG: Mural with Blue Brushstroke (Study), c 1985 Roy Lichtenstein
73. WHITSE_191220_004.JPG: The following pictures are from the page 2019_NY_Whitney_Select NY -- NYC -- Whitney Museum of American Art -- Exhibit: The Whitney's Collection: Selections from 1900 to 1965 (139 photos from 2019)
  The Whitney's Collection Selections from 1900 to 1965
74. WHITSE_191220_007.JPG: Gaston Lachaise Standing Woman, 1912-27
75. WHITSE_191220_008.JPG: Robert Henri Gertrude Vanderbilt Whitney, 1916
76. WHITSE_191220_025.JPG: John Steuart Curry Baptism in Kansas, 1928
77. WHITSE_191220_031.JPG: Thomas Hart Benton The Lord Is My Shepherd, 1926
78. WHITSE_191220_037.JPG: George Bellows Dempsey and Firpo, 1924
79. WHITSE_191220_071.JPG: Florine Stettheimer New York/Liberty, 1918-19
80. WHITSE_191220_082.JPG: Joseph Stella The Brooklyn Bridge: Variation of an Old Theme, 1939
81. WHITSE_191220_090.JPG: Margaret Bourke-White Dam at Fort Peck, Montana, 1936, printed c 1970
82. WHITSE_191220_094.JPG: Ilse Bing Dead End I (Smokestacks, Queensborough Bridge), 1936
83. WHITSE_191220_097.JPG: Andreas Feininger West Side Highway, New York, 1940
84. WHITSE_191220_098.JPG: Elizabeth Catlett Head, 1947
85. WHITSE_191220_102.JPG: Alice Neel Elsie Rubin, c 1958
86. WHITSE_191220_107.JPG: Charles Henry Alston The Family, 1955
87. WHITSE_191220_111.JPG: Isabel Bishop Subway Scene, 1957-58
88. WHITSE_191220_116.JPG: Andreas Feininger Gathering Machine, Book Binding, n.d.
89. WHITSE_191220_118.JPG: Alice Neel Pat Whalen, 1935
90. WHITSE_191220_123.JPG: Charles Demuth Buildings, Lancaster, 1930
91. WHITSE_191220_127.JPG: Charles Demuth My Egypt, 1927
92. WHITSE_191220_132.JPG: Charles Sheeler River Rouge Plant, 1932
93. WHITSE_191220_136.JPG: Elsie Driggs Pittsburgh, 1927
94. WHITSE_191220_140.JPG: Horace Pippin The Buffalo Hunt, 1933
95. WHITSE_191220_144.JPG: Herbert W. Gleason White Pond -- Blue Flag along Shore, 1908
96. WHITSE_191220_146.JPG: Herbert W. Gleason Partridge's Nest, near Brister's Spring, 1908
97. WHITSE_191220_150.JPG: Marsden Hartley Robin Hood Cove, Georgetown, Maine, 1938 Robin Hood Cove, Georgetown, Maine pictures the rugged natural simplicity that Marsden Hartley associated with Maine, the state in which he was born and where he resettled in 1937 after fifteen years of moving between the United States and Europe. His palette is softer here than in previous work, and although the location he depicts is isolated, the scene appears tranquil -- a testament, perhaps, to Hartley's belief that his birthplace was the source of his "private strength, both spiritually and aesthetically." The bold abstraction of his early work is traded for an expressiveness of mood and emotion, represented by the deep shadows and atmospheric reflections of the New England dusk. His reduction of trees and rocks to massive, almost carved shapes projects a sense of solemn grandeur. In capturing what he perceived as the archaic severity and elemental strength of Maine, Hartley's late landscapes convey the sense of renewal he found when he returned to his roots.
98. WHITSE_191220_155.JPG: Georgia O'Keeffe The White Calico Flower, 1931
99. WHITSE_191220_160.JPG: Georgia O'Keeffe Flower Abstraction, 1924
100. WHITSE_191220_168.JPG: Georgia O'Keeffe The Mountain, New Mexico, 1931
101. WHITSE_191220_171.JPG: Georgia O'Keeffe Summer Days, 1936
102. WHITSE_191220_177.JPG: Andrew Wyeth Winter Fields, 1942 When many American artists were turning toward abstraction, Andrew Wyeth remained a realist, producing precise, evocative paintings of the places he knew best. Winter Fields depicts a dead, frozen crow Wyeth found near his home in Chadds Ford, Pennsylvania. He took the bird into his studio, sketched it, and then painted it in exquisite detail from a worm's-eye view, which magnifies the bird relative to its surroundings and thereby suggests the wider significance of its death. Completed during World War II, Winter Fields recalls similarly unflinching photographs of corpses lying on battlefields. Yet Wyeth resented comparisons of his work to photography and said he despised cameras. In fact, despite its apparent precision, Winter Fields subtly distorts reality. The distant trees are as sharply focused as the crow in the foreground -- an impossibility for both the human eye and the camera lens. This visual effect compresses the pictorial space toward the surface, and is accentuated by the lacelike, overlapping blades of grass, which create a delicate surface pattern.
103. WHITSE_191220_184.JPG: Edward Hooper (Self-Portrait), 1925-30
104. WHITSE_191220_188.JPG: Edward Hopper Early Sunday Morning, 1930 Early Sunday Morning is one of Edward Hopper's most iconic paintings. Although he described this work as "almost a literal translation of Seventh Avenue," Hopper reduced the New York City street to bare essentials. The lettering in the window signs is illegible, architectural ornament is loosely sketched, and human presence is merely suggested by the various curtains differentiating discrete apartments. The long, early morning shadows in the painting would never appear on a north-south street such as Seventh Avenue. Yet these very contrasts of light and shadow, and the succession of verticals and horizontals, create the charged, almost theatrical, atmosphere of empty buildings on an unpopulated street at the beginning of the day. Although Hopper is known as a quintessential twentieth-century American realist, and his paintings are fundamentally representational, this work demonstrates his emphasis on simplified forms, painterly surfaces, and studiously constructed compositions.
105. WHITSE_191220_195.JPG: Edward Hopper New York Interior, c 1921
106. WHITSE_191220_201.JPG: Edward Hopper Queensborough Bridge, 1913
107. WHITSE_191220_205.JPG: Edward Hopper Soir Bleu, 1914
108. WHITSE_191220_218.JPG: Edward Hopper A Woman in the Sun, 1961 As Edward Hopper matured he left more and more visual detail out of his paintings and focused on the psychological reality of his subjects. In A Woman in the Sun, a nude female stands in a shaft of raking light from a nearby window. The room has been reduced to its simplest architectural components. The few judicious details that remain -- a pair of black pumps, the turned wood bedposts, and the vaguely delineated painting on the wall -- only accentuate the barrenness of the scene and the figure. The voyeuristic, almost cinematic setting suggests a narrative, enticing the viewer to imagine the events that may have occurred prior to the scene we now view, and what will happen next. Hopper's wife, Josephine Nivison Hopper, served as the model for this figure as she did for many of the women who appeared in his paintings. She was seventy-eight at the time of this painting, but Hopper transformed her, like the rest of the scene, according to his own internal vision rather than faithfully adhering to realistic detail.
109. WHITSE_191220_225.JPG: Edward Hopper Seven A.M., 1948 In her diary entry for September 22, 1948, Josephine Hopper recorded the completion of her husband Edward's most recent painting: "E. has done this canvas in 16 days. I find on looking back he stretched it on Labor Day Sept. 6. This [is] a very short time." The painting she describes, Seven A.M., depicts an anonymous storefront cast in the oblique, eerie shadows and cool light of early morning. If the fullness of summer is suggested by the lush foliage at the left, the mood is decidedly off-season and desolate. The store's shelves stand empty, and the few odd products displayed in the window provide no evidence of the store's function. A clock on the wall confirms the time given in the title, and indeed the painting seems to depict a specific moment and place. Yet a series of Hopper's preparatory sketches reveal that he experimented with significant compositional variations, depicting a figure in the second-story window. He even considered setting the painting at another time of day. Josephine Hopper described the storefront as a "blind pig," a front for some illicit operation, perhaps alluding to the painting's forbidding overtones.
110. WHITSE_191220_229.JPG: Edward Hopper (Three Studies of the Artist's Hands), 1943
111. WHITSE_191220_233.JPG: Edward Hopper (Two Self-Portraits and Two Studies of Hands). c. 1900
112. WHITSE_191220_238.JPG: Edward Hopper (Self-Portrait and Hand Studies), c. 1900
113. WHITSE_191220_243.JPG: Edward Hopper Artist's ledger - Book II, 1907–1962 After Edward Hopper completed a painting or other work he intended to sell, such as a watercolor or print, he would make a small sketch of it for his records, documenting his compositions in precisely rendered configurations of bold strokes and intricate cross-hatching. The sketches, which were kept in ordinary ledger books from Woolworth's five-and-dime store, chronicle a lifetime of work. Hopper's wife, Josephine (Jo) Nivison Hopper added lively descriptions of each work, often imagining anecdotal details that Hopper -- a man of few words -- never discussed himself. The ledger books document the business end of Hopper's creative practice, as Jo Hopper logged the date of completion, description, sale price, and buyer for each work. The ledgers also include lists of exhibited works, references to articles and reviews, and details about trips and prizes, making them an invaluable resource for art historians and scholars.
114. WHITSE_191220_313.JPG: Beatrice Wood Embracing Couple, c 1932
115. WHITSE_191220_329.JPG: Kay Sage No Passing, 1964
116. WHITSE_191220_332.JPG: Man Ray La Fortune, 1936
117. WHITSE_191220_334.JPG: Federico Castellon The Dark Figure, 1938
118. WHITSE_191220_338.JPG: Paul Cadmus Sailors and Floosies, 1938
119. WHITSE_191220_343.JPG: Paul Cadmus Fastasia on a Theme by Dr. S., 1946
120. WHITSE_191220_349.JPG: Yves Tanguy The Wish, 1949
121. WHITSE_191220_351.JPG: Robert Vickrey The Labyrinth, 1951
122. WHITSE_191220_353.JPG: George Tooker The Subway, 1950
123. WHITSE_191220_356.JPG: Peter Blume Light of the World, 1932
124. WHITSE_191220_360.JPG: Jared French State Park, 1946
125. WHITSE_191220_365.JPG: Henry Koerner Mirror of Life, 1946
126. WHITSE_191220_374.JPG: Archibald John Motley, Jr. Gettin' Religion, 1948
127. WHITSE_191220_381.JPG: Jacob Lawrence's War Series describes first-hand the sense of regimentation, community, and displacement that the artist experienced during his service in the United States Coast Guard during World War II. Lawrence served his first year in St. Augustine, Florida, in a racially segregated regiment where he was first given the rank of Steward's Mate, the only one available to black Americans at the time. He befriended a commander who shared his interest in art, however, and he went on to serve in an integrated regiment as Coast Guard Artist, documenting the war in Italy, England, Egypt, and India. Those works are lost, but in 1946 he received a Guggenheim Fellowship to paint the War Series. The fourteen panels of the series present a narrative which progresses from Shipping Out to Victory. In the panels, Lawrence adopted the silhouetted figures, prominent eyes, and simplified, overlapping profiles that are typical of Egyptian wall painting. And like the ancient painters, he transformed groups of figures into surface patterns, eschewing modeling and perspective in favor of the immediacy of bold, abstracted forms. In their alternation between vertical and horizontal formats, single figures and groups, and intense action and contemplation, the fourteen panels of the War Series testify to Lawrence's belief that one cannot "tell a story in a single painting."
128. WHITSE_191220_432.JPG: Franz Kline Mahoning, 1956
129. WHITSE_191220_436.JPG: Norman Lewis American Totem, 1960
130. WHITSE_191220_446.JPG: Jackson Pollock Number 27, 1950, 1950
131. WHITSE_191220_456.JPG: Hedda Sterne New York, NY, 1955, 1955
132. WHITSE_191220_461.JPG: George Morrison The Antagonist, 1956
133. WHITSE_191220_473.JPG: Willem de Kooning Door to the River, 1960
134. WHITSE_191220_480.JPG: Joan Mitchell Hemlock, 1956
135. WHITSE_191220_483.JPG: Tom Wesselmann Still Life Number 36, 1964
136. WHITSE_191220_489.JPG: Roy Lichtenstein Little Big Painting, 1965
137. WHITSE_191220_495.JPG: Marisol Women and Dog, 1963-64
138. WHITSE_191220_508.JPG: Rosalyn Drexler Marilyn Pursued by Death, 1963
139. WHITSE_191220_514.JPG: Andy Warhol Elvis 2 Times, 1963
140. WHITSE_191220_518.JPG: Jasper Johns Three Flags, 1958
141. WHITSE_191220_523.JPG: Allan D'Arcangelo Madonna and Child, 1963
142. WHITSE_191220_533.JPG: Alexander Calder Hanging Spider, c 1940
143. WHITSE_191220_538.JPG: Arthur Lee Rhythm, c 1930
144. WHITSE_191220_541.JPG: David Smith Lectern Sentinel, 1961
145. WHITWO_191220_01.JPG: The following pictures are from the page 2019_NY_Whitney_Wolf NY -- NYC -- Whitney Museum of American Art -- Exhibit: Alan Michelson: Wolf Nation (4 photos from 2019)
146. WHITWO_191220_04.JPG: Alan Michelson: Wolf Nation Oct 25, 2019–Jan 12, 2020 Alan Michelson (b. 1953) has critically and poetically foregrounded Indigenous models of political, social, and environmental relationships for more than thirty years. A New York-based Mohawk member of Six Nations of the Grand River, Michelson draws upon historical memory and Indigenous philosophy to reveal and challenge disturbing colonial legacies. His methodically researched, site-based multimedia works uncover suppressed histories to envision more equitable relationships. This exhibition, centered around Wolf Nation (2018), presents four works in video, sound, print, and augmented reality that investigate the layered histories of place through forms distilled from diverse sources such as wampum belts, moving panoramas, Indigenous horticulture, colonial maps, state historic markers, and scenic wallpaper. Each moving-image work is horizontal or circular in form, echoing Indigenous concepts of time and space: multi-perspectival and cyclical rather than singular and linear. By creating works that affirm Indigenous relationality and also survivance -- a state of active presence and resistance -- Michelson allows us to see the potent, parallel worldviews of Native cultures.
147. WHITWO_191220_07.JPG: Alan Michelson and Steven Fragale Town Destroyer, 2019 Town Destroyer is an augmented reality installation addressing the Sullivan Expedition, George Washington's scorched-earth campaign against the Haudenosaunee (Iroquois Confederacy of Mohawk, Oneida, Onondaga, Cayuga, Seneca, and Tuscarora Nations). When activated through the downloadable app, a bust of Washington -- represented on a frieze of scenic wallpaper in his Virginia estate, Mount Vernon -- becomes a screen onto which a challenging history unfolds. Pressured to choose sides in the Revolutionary War, the Haudenosaunee fought alongside both British and American forces. Washington, known as Han�daga:yas or Town Destroyer to them, dispatched armies who burned and plundered sixty of their villages, including hundreds of houses, farms, and orchards, forcing thousands to flee as refugees. In the aftermath of the war, the Haudenosaunee were dispossessed of millions of acres of their homelands, which were seized and incorporated into the bulk of what is now New York State.
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