Adam D. Weinberg has been the Alice Pratt Brown Director of the Whitney Museum of American Art since 2003. Previously, Weinberg was the Director of the Addison Gallery of American Art at Phillips Academy, Andover, from 1999 to 2003.
Throughout the 1980s, Weinberg worked at Walker Art Center, Minneapolis, where he served as Director of Education and Assistant Curator. In 1989 he joined the Whitney for the first time as Director of the Whitney branch at the Equitable Center. Weinberg then assumed the post of artistic and program director of the American Center in Paris in 1991. He returned to the Whitney as Curator of the Permanent Collection in 1993 and was made Senior Curator in 1998.
Weinberg has curated dozens of exhibitions on artists ranging from Edward Hopper, Isamu Noguchi, and Richard Pousette-Dart to Sol LeWitt, Robert Mangold, Alex Katz, and Terry Winters. He has also organized numerous thematic exhibitions including The Architectural Unconscious: James Casebere and Glen Seator; A Year in the Collection, Circa 1952; Vanishing Presence; and On the Line: The New Color Photojournalism, and for the Whitney he organized the groundbreaking series Views from Abroad: European Perspectives on American Art with the Stedelijk Museum, the Museum für Moderne Kunst, and Tate Gallery. He has also curated major public projects with artists ranging from Mark Dion, Jessica Stockholder, and Andrea Zittel to Christian Boltanski, Annette Messager, Yoko Ono, and Nam June Paik. He is the author of numerous catalogs and essays on contemporary and modern art. Weinberg has served as board member for a diverse group of organizations including the American Federation of the Arts, Storm King Art Center, Williamstown Art Conservation Center, and the Minnesota Composers Forum. He has been a grant panelist for numerous federal, state, city, and private foundations. He holds a BA from Brandeis University and a Masters degree from the Visual Studies Workshop, the State University of New York at Buffalo.
Donna De Salvo was appointed the Whitney’s first chief curator in 2006. She joined the Whitney in 2004 after five years as a senior curator at Tate Modern, London.
At the Whitney, De Salvo co-curated Roni Horn aka Roni Horn (2009) with Carter Foster and Mark Godfrey, as well as Lawrence Weiner: AS FAR AS THE EYE CAN SEE (2007) with Ann Goldstein. In 2005, she co-curated, with Linda Norden, Course of Empire: Paintings by Ed Ruscha, the U.S. Pavilion organized by the Whitney for the 51st Venice Biennale. In addition, she was a member of the curatorial team for Full House: Views of the Whitney’s Collection at 75 (2006).
De Salvo has curated exhibitions, authored catalogues and essays, and lectured on a wide range of modern and contemporary artists. Her projects and thematic exhibitions include Open Systems: Rethinking Art c. 1970 (2005; Tate Modern, London); Marsyas (Anish Kapoor’s 2003 work commissioned by Tate Modern for its Turbine Hall); Century City: Art and Culture in the Modern Metropolis (2001; Tate Modern, London); Hand-Painted Pop: American Art in Transition, 1955–1962 (1992; The Museum of Contemporary Art, Los Angeles); Staging Surrealism (1998; Wexner Center for the Arts, Columbus, Ohio); and A Museum Looks at Itself: Mapping Past and Present at the Parrish Art Museum,1887–1992 (1993; The Parrish Art Museum, Southampton, New York).
A noted expert on the work of Andy Warhol, De Salvo served as adjunct curator for the Andy Warhol Museum, Pittsburgh, where she helped to establish its curatorial and archival programs. She has curated numerous exhibitions and authored catalogues on the artist including: Andy Warhol: Disaster Paintings, 1963 (1986; Dia Art Foundation, New York); Andy Warhol: Hand-Painted Images, 1960–62 (1987; Dia Art Foundation, New York); “Success is a job in New York”: The Early Art and Business of Andy Warhol (1989; Grey Art Gallery, New York University); and a Warhol retrospective held at Tate Modern in 2002.
From 1981 to 1986, De Salvo was a curator at the Dia Art Foundation. She also served as curator-at-large at the Wexner Center for the Arts, Columbus, Ohio; and Robert Lehman Curator, the Parrish Art Museum, Southampton, New York. De Salvo has served on many international juries and review panels, including the Hamlyn Awards, the Bennesse Prize, the Bucksbaum Award, the Judith Rothschild Foundation, and the Berlin Biennial. A past recipient of the Alfred H. Barr Jr. Award from the College Art Association, she has also been an Ahmanson Curatorial Fellow at the Museum of Contemporary Art, Los Angeles, and has taught for several curatorial programs, including those at Bard College, Annandale-on-Hudson, New York, and the Royal College of Art, London.
John S. Stanley was named Chief Operating Officer of the Whitney in 2010. As the senior member of the staff management and policy-making team, Stanley has general responsibility for museum-wide activities and initiatives, acting as liaison with museum staff, departments, trustees, the community, and external contacts. Collaborating closely with the Director, Stanley oversees Exhibitions and Collections Management, Marketing and Communications, Finance, Human Resources, Administration, the Trustee Office, Legal Services, Retail, Food Service, IT, and Publications.
Stanley began his museum career in 1979 at the Toledo Museum of Art and served as Chief Operating Officer and Deputy/Assistant Director from 1987 to 1995. He was Chief Operating Officer and Deputy Director for Programs and Services at the Museum of Fine Arts, Boston, from 1995 to 2008. A graduate of the University of Toledo, Stanley earned his MBA from Bowling Green State University, attended the Museum Management Institute at the University of California at Berkeley, and pursued postgraduate coursework in art history at the University of Toledo. He is Co-Founder and Chair of the New York City Museum COO/CFO Conference Group, begun in 2008, and has been Chairman of the Board of The Fenway Alliance, in Boston, a twenty-three member cultural and education consortium, since 2007.