Tag: Whitney Museum of American Art

  • Andy Land 7: A Museum of One’s Own

    In May 1994, the opening of the Andy Warhol Museum in Pittsburgh was the art event of the year, drawing the bold-faced glitterati from both New York’s high society and downtown demimonde to the artist’s hometown in the hills of western Pennsylvania. The Voice devoted two stories to the occasion, with Elizabeth Hess raving about […]

  • Andy Land 4: A Saint, the Village Holy Man, and God Himself

    Three months after Andy Warhol’s unexpected death in February 1987, due to complications from gallbladder surgery, the Village Voice devoted a special twelve-page section to the artist and his legacy: Voice art critic Gary Indiana took stock of the work itself; Warhol’s former aide-de-camp Gerard Malanga explored the artist’s process; Factory superstar Viva shined a spotlight on […]

  • Dreamlands Sleepwalks Through the Art of Cinema

    As an exhibition, the Whitney’s “Dreamlands: Immersive Cinema and Art, 1905–2016” is a real disappointer. Its premise is unwieldy, unfocused: to trace the ways in which moving-image technologies have changed how artists present (and represent) their visions of the world — and/but/also, how inside of works of art and cinema here deemed “immersive,” these visions, […]

  • Finally in the Picture: Two Documentaries Give Undersung Artists Their Due

    About halfway through the documentary Everybody Knows…Elizabeth Murray, the neoexpressionist artist’s contemporary Joel Shapiro and her gallerist Paula Cooper address the tension that hangs around the careers of many artists who are also women. “She wanted to be — any woman does — wanted to be compared with men,” says Cooper. “And I think there […]

  • Gulf and Gucci: Sophia Al-Maria Goes Deep Into the Malls of Doha

    Sophia Al-Maria is a polymath: memoirist (author of The Girl Who Fell to Earth), theorist (she coined the concept of “Gulf Futurism”), and visual artist. Her interests converge in “Black Friday,” a small but engrossing exhibition at the Whitney that examines Doha malls as battlegrounds between the sacred and profane, Westernization and Islamic visual culture, […]

  • Danny Lyon Slows Life Down in Potent Images and Films

    Over the course of a six-decade career making images, the Brooklyn-born, Kew Gardens–raised Danny Lyon has been a tireless pulse-taker of an ever morphing landscape, documenting pivotal scenes in American history. He was there in the South, in the early Sixties, photographing black bodies being manhandled by helmeted police officers; in Lower Manhattan, in 1967, […]

  • Steve McQueen Uses FBI Files to Capture the Oppression of Surveillance

    In 1947, Paul Robeson was one of the most outspoken celebrities alive. A six-foot-three ex-athlete with a distinguished scholarly record and a resoundingly popular acting career — his “Ol’ Man River” in Show Boat was the bass heard ’round the world — Robeson was also a pronounced left-wing activist whose pro-Russian sympathies hindered his employability […]

  • Felix Bernstein Tackles His Most Ambitious Project Yet — a Justin Bieber Opera

    The spirit of Justin Bieber loomed large over the rehearsal — projected onto a screen, standing amid a swirling galaxy of stars. Bieber (played by Luke Smithers) wore a pair of white angel wings, white boxer-briefs, and an air of blank derision. Occasionally, he interrupted the scene beneath him to insult the artist, Felix Bernstein. […]

  • Women on the Verge: Solo Debuts by Two Artists With Breakout Potential

    How does the synthetic play with and against an experience of the real? How can the artificial lead us to understand the actual? Two young female artists, now receiving their first solo museum shows here in New York, are dealing with these questions in vastly different ways. In her sumptuous and affecting exhibition “Dead Treez” […]

  • The Flops Threaten to Overshadow the Fabulous at the Whitney’s Overstuffed Frank Stella Retrospective

    If you can’t stand Frank Stella’s work past, say, 1975, and if his wall sculptures register as oversized whatsits that take up too damn much space, then congratulations. The Whitney’s overstuffed, six-decade “Frank Stella: A Retrospective” is exactly the affirmation you needed. But if you ever doubted his lean, analytical paintings from the late 1950s […]

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