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Profile of @whitneymuseum - Whitney Museum of American Art

"He energizes this idea that art is the world." — donna_de_salvo on #HélioOiticica, whose first U.S. retrospective in two decades in on view at the Whitney through October 1. Tap the link in our profile to learn more.

1950 28 Sep 23, 2017 Whitney Museum of American Art

Tonight @ 7:30 pm: join us for a special screening of four historical films that dramatize #AlexanderCalder’s sculptures in motion and explore the artist’s relationship to cinema. The program will be introduced by curator and film scholar Victoria Brooks. Free during pay-what-you-wish! #CalderHypermobility #FlashbackFriday [Alexander Calder, Work in Progress, Teatro dell’Opera, Rome, 1968. Cinematography by Giulio Gianini. © 2017 CalderFoundation, New York / Artists Rights Society (ARS), New York]

4021 40 Sep 22, 2017 Whitney Museum of American Art

Untitled (Think/flag) was #WilliamCopley’s contribution to a portfolio released by Artists and Writers, Protest, Inc. to protest the War in Vietnam in 1967. The 16 artists who contributed to the portfolio, including Ad Reinhardt, Louise Nevelson, and Leon Golub, employed a range of aesthetic strategies, from graphic representations of anguished bodies to abstractions that critiqued the conflict in symbolic rather than literal ways. See more from the portfolio on view in An Incomplete History of Protest. #WhitneyCollection

7242 44 Sep 20, 2017 Whitney Museum of American Art

Feeling bummed about summer coming to an end? Look ahead to great exhibitions on the horizon! From toyinojihodutola’s first solo museum show to the most comprehensive exhibition of #LauraOwens’s work to-date, our fall lineup will have you excited for the season ahead. Tap the link in our profile to learn more. [Laura Owens, Untitled, 1997. Oil, acrylic, and airbrushed oil on canvas, 96 × 120 in. (243.8 × 304.8 cm). Whitney Museum of American Art, New York; promised gift of Thea Westreich Wagner and Ethan Wagner P.2011.274. © Laura Owens]

2178 6 Sep 20, 2017 Whitney Museum of American Art

This afternoon Alexander S. C. Rower, the president of the calderfoundation and grandson of the artist, activated #AlexanderCalder’s Scarlet Digitals (1945) as part of #CalderHypermobility. The primary axis of this hanging mobile is sharply sloped, creating a startling balancing act in which the lowest element nearly touches the floor. The sculpture’s expansive wingspan demands considerable space, but it does so without visually obstructing its environment. When set in motion, the multiple segments and delicate counterpoints create movements that are both sweeping and delicate. Visit our Facebook page to watch more. [© 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York]

2352 31 Sep 19, 2017 Whitney Museum of American Art

Learn more about #AlexanderCalder, the #WhitneyCollection & #HélioOiticica—drop in on a free tour! Tap the link in our profile to view the schedule for this weekend. [Visitors exploring Calder: Hypermobility (Whitney Museum of American Art, June 9–October 23, 2017). Photograph by Filip Wolak. © 2017 calderfoundation, New York / Artists Rights Society (ARS), New York]

4140 25 Sep 16, 2017 Whitney Museum of American Art

In 1973, #HélioOiticica and his friend and fellow Brazilian artist Neville D’Almeida embarked on a series of “quasi-cinema” works, which they named the Cosmococas: room-size installations consisting of slide projections, soundtracks, and places to relax. Oiticica and D’Almeida saw experimental cinema as a vital avenue of creation which could liberate them from consumer culture. These immersive environments are emblematic of much of the work Oiticica made in New York, where he began to experiment with film, sound, and imagery in a new way. The two Cosmococas on view in To Organize Delirium —CC5 Hendrix–War and Cosmococa 1: CC1 Trashiscapes—were installed following Oiticica’s meticulous notes for public exhibition. [📷 by bsgphoto]

2436 22 Sep 15, 2017 Whitney Museum of American Art

Back to school inspo, courtesy the #WhitneyShop. 🌈✏️🌈✏️

9722 53 Sep 14, 2017 Whitney Museum of American Art

Live on Instagram @ 1 pm: calderfoundation activates #AlexanderCalder's Untitled (c. 1934) in our theater! One of Calder's so-called noise-mobiles, the sculpture (pictured here on the left) relies on chance—not only of movement but also of sound or the lack thereof. Composed of repurposed pieces of pipe and a wooden sphere, the mobile itself is too big to fit inside the base hoop. When set in motion, the elements collide and create startling tonalities, evoking a sense of anticipation in the viewer. #CalderHypermobility [© 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York]

5321 31 Sep 13, 2017 Whitney Museum of American Art

We remember September 11 with Ellsworth Kelly’s Ground Zero (2003). Kelly first began conceiving a memorial at Ground Zero in 2001, when he imagined a large, gently sloping mound of earth covered in brilliant green grass. For thousands of years, cultures all over the world have used mounds as a way to revere the dead, and Kelly has said that ancient mounds of North America influenced some of the shapes in his work. When the artist saw this aerial photograph of Ground Zero published in nytimes in 2003, he was moved to make this collage of a prospective memorial. As envisioned by Kelly, pedestrians walking towards the memorial would see green curves at the intersection of the street and the mound, each block offering a different aperture and shape. Those looking down from neighboring buildings on the site would see an expanse of color, as if looking at the ocean or sky. #WhitneyCollection [ #EllsworthKelly (1923–2015), Ground Zero, 2003. Collage on paper (newsprint). Whitney Museum of American Art, New York; gift of an anonymous donor. © Ellsworth Kelly]

6899 37 Sep 11, 2017 Whitney Museum of American Art

In The Line by artist duo ___eteam___, viewers become spectators who move along a line of computer-generated figures, standing one after the other. The work is a new commission for Artport—the Whitney's portal to Internet & new media art. Tap the link in our profile to enter the project. #InternetArt #NewMediaArt

1408 7 Sep 10, 2017 Whitney Museum of American Art

Every Friday at 11 am, #AlexanderCalder’s motorized piece Untitled (1938)—pictured here second from the right—will be activated for 10 minutes. One of 8 sculptures whose motors were restored specifically for #CalderHypermobility, this particular work has never before been exhibited—either during Calder’s lifetime or after. The barely perceptible yet complex movement of this work is delicate and meditative. Activated by a small motor, the drive belt is a string that turns 3 wooden discs. As the discs slowly rotate, 4 stacked tetrahedrons of wire expand and contract in a helical motion. One complete cycle of the sculpture lasts about an hour, making it well suited for contemplative observation. [Installation view of Calder: Hypermobility (Whitney Museum of American Art, June 9–October 23, 2017). Photograph by Ron Amstutz. © 2017 CalderFoundation, New York / Artists Rights Society (ARS), New York]

3175 19 Sep 8, 2017 Whitney Museum of American Art

Happy #BacktoSchoolNYC! Did you know that Whitney offers free Guided Visits for NYC Public Schools? Tap the link in our profile to learn more about our school & educator programs. #WhitneyCollection #JosephStella #BrooklynBridge [📷 by Andrew Kist]

2129 12 Sep 7, 2017 Whitney Museum of American Art

#HélioOiticica believed that leisure was essential to creativity—so take a break, and curl up with a good book today! #ReadABookDay 📕📙📗📘

5366 35 Sep 6, 2017 Whitney Museum of American Art

One of the galleries in An Incomplete History of Protest gathers together recent artworks that evoke the “usable past”—the concept that a self-conscious examination of historical figures, moments, and symbols can shape current and future political formation. While initially resembling a purely abstract painting, #MarkBradford’s Constitution III (2013) contains excerpts from the United States Constitution. His embedding of this language within an aggressively worked surface suggests that the founding document is also a living one, subject to modification and debate. #WhitneyCollection

7141 42 Sep 5, 2017 Whitney Museum of American Art

Experience works by #AlexanderCalder as the artist intended—in motion! #CalderHypermobility features major examples of Calder’s work including early motor-driven abstractions, sound-generating Gongs, and standing and hanging mobiles. The exhibition includes daily activations, one-time demonstrations of rarely seen works, and new commissions that bring contemporary artists into dialogue with Calder’s innovations. Tap the link in our profile to learn more and buy tickets.

2292 23 Sep 3, 2017 Whitney Museum of American Art

We’re open every day through #LaborDay, and until 10 pm tonight! Savor the end of summer enjoying our outdoor spaces or cool off in the galleries exploring #HélioOiticica, #AlexanderCalder, works from the #WhitneyCollection, and more. #WhitneyMuseum

4786 32 Sep 2, 2017 Whitney Museum of American Art

Soon after emigrating from Paris to New York in 1938, #LouiseBourgeois made Quarantania (1941), one of her earliest carved and painted sculptures. Comprising five upright wood forms on a low base, Quarantania resembles a group of standing figures huddled together. Bourgeois’s three-dimensional works from this period, which she called “Personages,” offered her a way to reimagine people she had left behind in her native France; it is not incidental that she came from a family of five. Additional echoes from her past emerge: the five elements might also evoke sewing needles or weaving shuttles, tools used in her family’s tapestry restoration trade. At the same time, the forms have a totemic quality that gives them a wider resonance, reflecting efforts by Bourgeois and her contemporaries to develop abstract, universal languages that would transcend time and national boundaries. The sculpture could also be read as a family portrait: by 1941, Bourgeois and her husband were the parents of three children. #WhitneyCollection

3291 28 Aug 31, 2017 Whitney Museum of American Art

#HélioOiticica created his largest installation Eden (1969) for his first major solo exhibition at the whitechapelgallery in London (it also happened to be the only one to take place during his lifetime). At this time the artist increasingly saw imagery as an instrument of oppression, too easily decontextualized with a resulting distortion of meaning. With Eden he created an open-ended work that was an “instrument for reflection” and a “proposition for behavior.” Visitors enter a sand garden punctuated by places for rest, contemplation, reading, and listening to music; these structures, called Nests, Penetrables, and Bólides, reappear throughout Oiticica’s career. Eden expresses some of Oiticica’s theories about creativity, described with the inventive words “suprasensorial” and “creleisure.” The suprasensorial exists in works that “lead each person to find his or her own inner freedom,” especially through improvisation. Creleisure posits that leisure is essential to creativity and is a reflection of Oiticica’s desire to share the exhilaration of the artistic experience with the public. [📷 by bsgphoto]

2116 22 Aug 30, 2017 Whitney Museum of American Art

Strolling through meatpackingny? Don’t miss 95 Horatio Street, a new site-specific work by #DoHoSuh at the corner of Washington and Gansevoort Streets across from the Museum. For the work, Suh mines the history of the #MeatpackingDistrict to visually reconnect this space with the former railway that once occupied the neighborhood. Although today the High Line ends at Gansevoort Street, it previously continued downtown, running through various industrial buildings. The 95 Horatio Street site was formerly the Manhattan Refrigerating Company, which had a private siding for the railway, allowing direct access to St. John’s Terminal further downtown. Suh’s digitally rendered image evokes the history of the site but also connects to the current repurposed use of highlinenyc, which affords a unique view of his project at the southern terminus (pictured here!). #PublicArt [📷 by Ronald Amstutz]​

7169 54 Aug 28, 2017 Whitney Museum of American Art
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