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What’s New

How is digital technology changing the way that we look at works of art and the experience we have in a museum? What kind of attention is required by a work of art? Such questions are becoming increasingly urgent as more and more museums allow visitors to use photography and social media in the galleries. How to Look, a new program organized by the Education department in collaboration with Michael Lobel, writer, critic, and Professor of Art History at Purchase College, State University of New York, challenges visitors to  put away their smartphones, slow down, and engage deeply with works of art.

 

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On view in the exhibition, Jeff Koons: A RetrospectiveOne Ball Total Equilibrium Tank, (Spalding Dr. J 241 Series), (1985) continues to resonate with me since I first saw it in the Whitney’s 1987 Biennial exhibition.

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In preparation for the Whitney’s move to the Meatpacking District, I have been archiving many photographs and audio clips from past public programs. This has allowed me to track the development of the Museum’s public programs since the 1980s, and appreciate how the architecture of a museum can impact how artists work and how audiences experience live events.

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On July 19, Family Programs welcomed more than 1,000 participants to a special Jeff Koons Family Opening. On each floor of the Jeff Koons: A Retrospective exhibition, families responded to the artist’s work through close observation, discussion, and art making.

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With the opening of Jeff Koons: A Retrospective, the artist’s first major museum presentation in New York, Public Programs presented a conversation about the artist and the exhibition between Scott Rothkopf, the Whitney’s Nancy and Steve Crown Family Curator, Associate Director of Programs, and Rachel Kushner, author of Telex from Cuba and The Flamethrowers and a contributor to the exhibition catalogue. 

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On Saturday, July 12, over sixty people participated in Try This!, free, drop-in activities for families and children in the Jeff Koons: A Retrospective exhibition.

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In anticipation of the Whitney’s move to the Meatpacking District, the Education department’s temporary studio space was donated to Socrates Sculpture Park in Astoria, Queens. It was moved piece by piece and placed on flatbed trucks to be transported to storage while Socrates staff makes plans for the structure’s use at the park.

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In June 2014, Community and Access Programs organized a collaboration between the Whitney's Independent Study Program, artist Mary Mattingly, and youth in the Hudson Guild’s Beacon after-school program.

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In spring 2014, Pauline Noyes became the Coordinator of School and Educator Programs in the Whitney’s Education department. Now that she’s had some time to settle in, I asked Pauline a few questions.

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