Whitney Museum of American Art: Recent pages: WhitneyStories

Curating The Whitney Biennial Film Program

Whitney Museum of American Art — Sun, 05 May 2013 23:24:57 -0400

WhitneyStories/CuratingTheWhitneyBiennialFilmProgram

For Whitney Stories, Light Industry directors Ed Halter and Thomas Beard write about their experience in developing the film program for the 2012 Whitney Biennial.

Promo Demo

Whitney Museum of American Art — Sun, 05 May 2013 23:24:51 -0400

WhitneyStories/PromoDemo

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What Do You Think

Whitney Museum of American Art — Sun, 05 May 2013 23:24:49 -0400

WhitneyStories/WhatDoYouThink

Welcome

Whitney Museum of American Art — Sun, 25 Mar 2012 18:45:46 -0400

WhitneyStories/Welcome

Whitney Stories is an interactive magazine designed to provide a space for readers to engage with the multiple histories and narratives that make the Whitney a compelling place to visit—in the galleries or online.

Produced and published by Whitney staff, Whitney Stories grows and changes as the Museum does. Please be sure to subscribe to our RSS feed or social media channels to follow along as the Whitney’s story unfolds.

Issue2

Whitney Museum of American Art — Mon, 12 Mar 2012 13:49:53 -0400

WhitneyStories/Issue2

2012 Biennial

Whitney Museum of American Art — Mon, 12 Mar 2012 12:11:46 -0400

WhitneyStories/Blog/2012Biennial

Blog

Whitney Museum of American Art — Mon, 12 Mar 2012 12:08:00 -0400

WhitneyStories/Blog

Whitney Of The Future

Whitney Museum of American Art — Sun, 26 Feb 2012 19:02:20 -0500

WhitneyStories/WhitneyOfTheFuture

The Whitney Does Diy With Desert Island Comics

Whitney Museum of American Art — Thu, 26 Jan 2012 11:12:39 -0500

WhitneyStories/Issue2/TheWhitneyDoesDIYWithDesertIslandComics

The pioneering comic strip work of German-American artist Lyonel Feininger, subject of the retrospective Lyonel Feininger: At the Edge of the World on view at the Whitney from June through October, inspired the Desert Island Comic Zine Party, an all-day family event that energized the Museum on a mid-October afternoon. The fair, conceived in collaboration with the Brooklyn comic book shop Desert Island, featured local artists who shared work ranging from ’zines to totebags with families in a live book fair setting.

A revered illustrator and leading member of the German Expressionist groups Die Brüke (The Bridge) and Der Blaue Reiter (The Blue Rider), the American-born Feininger is fondly remembered for the comic strips he drew for the Chicago Sunday Tribune in 1906, The Kind-der-Kids and Wee Willie Winkie’s World, panels from which were on view in the exhibition.

To introduce the family participants to the work of Feininger, the Education Department developed a program around three themes central to comic book making: setting, character, and text. At stations positioned throughout the exhibition galleries and manned by museum educators, the mostly tween program participants considered these themes and drew their own one-panel comics in response to Feininger’s work. Who could pass up an opportunity to make art in the galleries on a weekend afternoon? Not many!

Meanwhile, the Museum was hosting the main event in the Lower Gallery: a full-scale, interactive comic book fair. A group of twelve comic book artists, most Brooklyn-based, had been invited by the Whitney and Desert Island owner Gabe Fowler to create an original- black-and-white line drawing prior to the event; limited-edition prints were offered for participants to collect as they visited each artist. A brightly colored book cover designed by the Museum’s graphic designdepartment tied the project together; after collecting drawings, kids were able to bind them into a complete comic book of their own.

The Zine Party is just one in a series of comics-related events that took place throughout the Museum during the fall season. The collaboration with Desert Island Comics was a first for the Museum: “Working with a partner—whether it’s a single artist or another entity—can sometimes be as challenging as it is rewarding. By working with Desert Island, we were able to meet and work with some amazing artists and illustrators, whose drawings helped us to make Feininger’s work accessible to younger audiences,” remarks Stina Puotinen, the Whitney’s senior coordinator of Family Programs.

Whitney Stories

Whitney Museum of American Art — Thu, 22 Dec 2011 15:15:45 -0500

Vlogging About Art The Whitney Vlog Project

Whitney Museum of American Art — Thu, 22 Dec 2011 14:56:37 -0500

WhitneyStories/Issue2/VloggingAboutArtTheWhitneyVlogProject

A group of Whitney staff surround a camera and tripod poised in the second floor galleries. The high-energy mix of art historical facts, insight, and humor that characterizes the resulting short film is distinctly different from the didactic tone sometimes associated with museums. What is perhaps even more impressive is that the members of the team that produced it are communicating with one another in two different languages.

The video is part of The Vlog Project, a new series of video blogs produced by the Whitney. These 3– to 4-minute original videos feature museum educators who are deaf communicating in American Sign Language (ASL), focussed on subjects ranging from interviews, single works on view and exhibitions to exploring the Museum’s educational partnership with a school for the Deaf.The series aims primarily to increase opportunities for audiences who are deaf and hard of hearing to learn about twentieth– and twenty-first-century art. More than five years ago, the Museum began Whitney Signs, free monthly ASL gallery tours led by museum educators who are deaf. The program soon became overwhelmingly popular, suggesting a need for extended ASL programming.

The Whitney vlogs also enable the Museum to participate in the discussion surrounding the expansion of ASL’s vocabulary of contemporary art terms. While American Sign Language is a highly visual language, it does not have standard lexicon for describing art materials, techniques, and movements. For example, the signs for the words “modern” and “contemporary” are the same in ASL, so the educator often has to improvise, manually spelling out missing terms letter by letter.

The vlogs combine sophisticated art interpretation, professional cinematography, and creative editing, through a collaborative production process by a Whitney team of both deaf and hearing staff. “We really had to learn to work in a new way to produce this series,” the Whitney’s Manager of Access and Community Programs, Danielle Linzer, explains. “The vlogs are essentially a multilingual collaboration. Not everyone on the team speaks; not everyone signs.”

Artist Christine S. Kim; dancer, actress, and art educator Lauren Ridloff; and Andrew Fisher, an art educator and stand-up comedian—all of whom are deaf—generate all the interpretive commentary and host the videos. Videographer Pierce Jackson, who is hearing, films each segment, Deaf video editor Jeremy Lee Sanchez directs the shoot and edits the footage. An entire team of staff, including interpretive media and education specialists who are hearing, work together to create the final cut, which includes open captioning to make the films accessible to a wider audience. These multiple perspectives, coupled with the engaging hosts’ clear, and entertaining discussions of the ideas around the art—not an easy feat!—have bolstered the videos’ appeal to both deaf and hearing audiences. The vlogs have quickly become some of the most popular video content produced by the Museum.

The international award-winning project—the vlogs won a 2011 Commendation for Sustainable Growth for accessible digital culture from the Jodi Mattes Trust on December 8—is on-going; to date, ten short films have been released online so far. Stay tuned!

—Danielle Linzer, Manager of Access and Community Programs as told to Sarah Meller, Digital Content and Marketing Coordinator

Picturing Progress

Whitney Museum of American Art — Thu, 22 Dec 2011 14:52:06 -0500

WhitneyStories/Issue2/PicturingProgress

Progress is well underway on the Whitney’s future home—in a way that everyone can see. On May 24, 2011, Mayor Michael Bloomberg presided over a groundbreaking ceremony at the building site, which is located at the corner of Washington and Gansevoort Streets; construction began soon thereafter. Since September, the team has been working on a below-grade structure, which will support the building.

Even a heavy building like the future Whitney requires a stable foundation on which to sit. The construction site lies in the Meatpacking District, an area of Manhattan, which was created by the city long ago by pouring landfill excavated from other building sites into the Hudson River. The changing water pressure from the Hudson produces tremendous force: after digging about a dozen feet into the ground, river water begins to seep out from beneath the landfill and into the construction site. To hold back this water, an underground wall is being built around the perimeter of the site. To prepare for it, the crew has been drilling long metal tubes called ‘piles’ approximately one hundred feet below the surface, which will secure the building’s foundation to the strong bedrock below.

Remember: the Museum will open to the public in 2015. Until then, follow along as we build the Whitney of the Future.

Cubes And Anarchy An Installation

Whitney Museum of American Art — Thu, 22 Dec 2011 14:51:33 -0500

WhitneyStories/Issue2/CubesAndAnarchyAnInstallation

David Smith often proclaimed, “I belong with the painters.” ¹ While the artist’s practice has often been read as a three-dimensional strain of Abstract Expressionist painting, the late work he is best known for differs in the most literal sense: the objects are massive, stainless steel sculptures. These pieces account for nearly half of the approximately sixty works currently on view at the Whitney in David Smith: Cubes and Anarchy (on view through January 8, 2012).

While the works themselves are awe-inspiring, the logistics of installing an exhibition like this inevitably require extraordinary planning, a little luck, and a lot of hands. Curator Barbara Haskell worked closely with artist Charles Ray, whom she invited to consult on the installation process, and Peter Stevens, the executive director of the Smith Estate. This collaboration led to the unconventional decision to bring many of Smith’s paintings, drawings, and his rarely exhibited photographs into dialogue with his later sculptural pieces.

Between the organizing museum, the Los Angeles County Museum of Art, and the Whitney, registrars, couriers, art handlers, conservators, and exhibition designers also play an integral part in orchestrating and executing the process. Once the loan forms, deliveries, and couriers—works on loan are often personally escorted to a show’s venue—have been painstakingly coordinated for each piece, the real fun begins on the gallery floor. A very tight schedule allowed just two weeks for installation.

“Individual sculptures need to be placed in their final spot during each courier’s appointment,” says Curatorial Assistant Katie Josephson. “With painting exhibitions we can work around this by making large paper cutouts the size of each framed work and taping them to the wall in their appointed space, so that we can get a visual sense of how each room will be laid out even before each piece arrives. However, this practice is not effective for large-scale sculpture because we have no way of adequately demarcating the three-dimensional space that the work will take up.” Instead, Haskell and Josephson worked with exhibition designers to use CAD (computer-aided design) software to create a tentative floor plan before installation began. They also constructed a physical 3-D diorama with to-scale paper mockups that they manipulated as works came in.

Then of course there are the works of art themselves. As the registrar assigned to the exhibition, Melissa Cohen is one of the staff members entrusted with the care of the art objects during their time in the Whitney’s galleries. Over the installation process, Cohen completed meticulous condition reports on every work in the exhibition, and took further notes on the packing and handling of each object: “It isn’t as simple as ‘pulling a sculpture out of a crate.’ Consideration needs to be given to how you are going to move it off of the bottom of the crate and how it is going to travel the six inches between the bottom of the crate and the floor,” she describes. “Simply because sculptures are large does not mean that they are not extremely fragile. The surfaces of these sculptures are delicate and must be treated with care.”

The unique constraints of the Whitney’s building add an additional element to the already challenging process. Every piece on display in the Marcel Breuer–designed museum has to enter and exit the exhibition space through the Lobby and the large elevator—the same one that transports visitors daily into the galleries. This means that art preparators must carefully consider a work’s weight and size to determine if it is too large for the building, although occasionally works may be uncrated in the Lobby during hours the Museum is closed to the public, so that they can more easily enter the elevator car.

The sheer number and size of the crates necessitated that the bulk of the works be split into two shipments over two weeks, with individual crates accompanied by couriers also arriving during that period. One piece, the large and heavy painted steel sculpture Zig IV (1961), could not be installed until the day before the exhibition’s opening. To finalize the positions of the other works in the same gallery, all brought in by courier and many weighing over 2,000 pounds, Whitney art preparators created a near-scale cardboard model of Zig IV, just five inches off in dimensions from the original work, to stand in for the piece during the installation process.

“I am very lucky to have sculptors on the crew that can rise to the occasion,” the Whitney’s head preparator, Joshua Rosenblatt, says proudly of the detailed reproduction, which turned out to be quite impressive in its own right. After all, it’s this kind of behind-the scenes ingenuity that makes exhibitions like Cubes and Anarchy possible.

— Sarah Meller, Digital Content and Marketing Coordinator

¹ David Smith, quoted in David Smith by David Smith: Sculpture and Writings (London/New York: Thames & Hudson, 1968), 106.

Words On Walls

Whitney Museum of American Art — Thu, 22 Dec 2011 14:50:50 -0500

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“Before I worked in a museum,” says Head of Graphic Design Rebecca Gimenez, “it didn’t occur to me to wonder how the wall texts found their way onto the walls. They seemed inevitable, like the museum itself was talking to me.” In a way, this is exactly what happens: After the interpretive wall texts that accompany each exhibition are written by a curator and commented on by the Museum’s educators and editors, they are designed and typeset by Rebecca’s team. The designers work with curators and educators to determine the right font choice, layout, sizing, and other visual qualities. The final mediator in this collaborative process is the printer, who transfers the introductory texts and object labels to the gallery walls, giving the Museum voice to “talk” to its visitors.

While there are several methods for applying text to a wall, including adhesive vinyl lettering and printed paper mounted on boards, the Whitney prefers to screenprint its texts for aesthetic reasons: screenprinted lettering is seamless with the surface of the wall and remains even after it has been painted over for the next exhibition, becoming a permanent part of the Museum.

For its exhibition texts and graphics, the Whitney works with a master printer, Tom Black of T. E. Black Studio. Arriving in a van loaded with paint, scaffolding, and screens prepped over the preceding weeks, Black and his four-person crew screenprint texts and graphics directly onto the Museum’s walls a few days before the show opens.

Black has been developing his craft for more than forty years. After studying painting as an undergraduate, he began working as a packaging designer for International Typeface Corporation, mentored by such influential type designers as Ed Benguiat and Edward Rondthaler. In 1983 he opened T. E. Black Studio, making limited edition prints for artists and publishers. One day, as Black and his crew were helping an artist bring his work into the Queens Museum, the director of exhibitions asked if they could print an exhibition title on a wall. Today, the studio produces only museum graphics, and is responsible for the lion’s share of on-site printing for not only the Whitney but also the Museum of Modern Art, the Metropolitan Museum of Art, the Guggenheim, and others.

Rebecca recently asked Black a few questions about his practice for “Whitney Stories”:

Rebecca Gimenez: Has working at the Whitney affected your practice in any way?

Tom Black: One day as I entered the museum to print some wall graphics, I was surprised to find Lawrence Weiner there doing one of his typographic installations. This time he was carving the letters into the many layers of wall paint, perhaps an inch or more, and you could see all the colored layers exposed like tree rings. I was, quite frankly, surprised by how thick and how many layers there were exposed. Now, I have this image in my mind of the museum becoming incrementally smaller each time our screenprinting needs to be painted over to make way for a new exhibition. Consequently, whenever I hear a curator complaining about the lack of wall space, I feel just a little bit responsible!

RG: Tell me about your operation. What’s the studio like?

TB: Our team—our merry band!—is rather small. It’s a family business; my daughter is the owner now. Our studio is something of a hole in the wall, more like a factory than an art studio. In fact, it was a nail polish factory before we moved in thirty-three years ago. Actually, the technology area is tidy—it’s the printing area that is grimy. The tech people prepare the film and make the screens, and the printing folks play around with ink and print. There is some overlap in job descriptions—we try to make sure that few stay clean!

RG: How do you manage to transfer enormous graphics onto the Museum’s walls? Is there a maximum screen size?

TB: Our maximum screen size is determined by what will fit into our van. But since we print in increments, there is no maximum image size. We have printed some rather large images—sometimes we paint into printed images for various reasons of special effect. All of our staff members are artists, fortunately.

RG: How exactly do you get the results to appear straight on the wall? It seems like the process is more complicated than using a level and “hoping for the best.”

TB: Most of what is visible in our working procedure is a mechanical registration system that we have developed over the years, and which allows us to have very tight control over the position of the screen. However, what is not so apparent is the printer’s evaluation of the condition of the wall and all the adjustments he has to make to render a quality image. This is the craft.

RG: What happens when there’s a mistake in the screen? Can you correct things on the spot?

TB: Yes, we do make small on-the-spot corrections. Here again, because of our tight control, we are always able to return to a former position. Also, we ourselves make mistakes. We are human and are quite capable of proving it! I think that by approaching the process in small increments, the mistakes do not get out of hand and the work can be brought back on course.

RG: Logistics must be a challenge, working as you do around priceless works of art and the teams of people required to handle and protect them.

TB: Working around works of art is daunting for sure and it is our first consideration. It is, of course, the reason we are at the museum. Sometimes, we are provided an escort; however, I really do not consider them as offering any protection. I see [the objects’ safety] as our responsibility: to see that there is enough distance between our work and the art. We do carry a big insurance policy. In the face of “priceless,” it does not mean much!

Breaking Ground

Whitney Museum of American Art — Tue, 19 Jul 2011 12:46:19 -0400

WhitneyStories/WhitneyOfTheFuture/BreakingGround

On May 24th, Mayor Michael Bloomberg presided over a ground-breaking ceremony for the Museum’s new site in the Meatpacking District. In a decidedly unconventional take on the traditional ritual, the morning began with percussion quartet So Percussion summoning revelers to their seats with a performance of an excerpt from composer and longtime Whitney artist Steve Reich’s Drumming. The excitement was palpable, as the crowd comprised the Whitney’s closest community of supporters—artists, patrons, and longtime friends of the Museum for whom the day’s festivities were less a formality than a true celebration of a project decades in the making. The Museum began its earliest expansion efforts in the 1980s with a series of proposals that were, for various reasons, ultimately unrealized.

“Today is not the end of the beginning, but the beginning of the beginning,” exclaimed Alice Pratt Brown Director Adam D. Weinberg. He began with warm thanks to city officials, the architects, and the Whitney’s board and staff, many of whom were present in the packed tent, which was pitched directly atop the building site. In speaking about the Museum, Weinberg invoked the words of Flora Miller Biddle, granddaughter of founder Gertrude Vanderbilt Whitney, Honorary Chairman of the Museum, and patron of the arts who has long supported the Museum’s mission, echoing her oft-quoted characterization of the Whitney “not as a building, but a living idea.” Biddle spoke next, reaffirming her family’s commitment to her grandmother’s mission. Manhattan Borough President Scott M. Stringer, Whitney Board of Trustees Co-Chairs Robert J. Hurst and Brooke Garber Neidich, Board President Neil G. Bluhm, and architect Renzo Piano also spoke enthusiastically about their roles in the project. As Piano triumphantly hoisted a scale model of the building over his head, he proclaimed, “What we want to do, is this!”

Into The Future With Cheryl

Whitney Museum of American Art — Mon, 18 Jul 2011 17:33:37 -0400

WhitneyStories/WhitneyOfTheFuture/IntoTheFutureWithCHERYL

Mapping The Whitney In New York City

Whitney Museum of American Art — Mon, 18 Jul 2011 14:17:22 -0400

WhitneyStories/WhitneyOfTheFuture/MappingTheWhitneyInNewYorkCity

The subway ride between the Whitney’s Upper East Side home and the site of our building project at Washington and Gansevoort Streets, in the Meatpacking District, isn’t so long—it only takes about 40 minutes door-to-door. While the uptown-to-downtown trek will become a part of the daily lives of Whitney staff who are involved with the building process, the Museum has occupied more sites throughout the city than even longtime city dwellers may realize.

As a member of one of the city’s most prominent families, the Museum’s founder, Gertrude Vanderbilt Whitney, was raised at 1 West 57th Street, in a sprawling French Renaissance-style home that spanned an entire city block and whose entrance faced the most fashionable corner of Fifth Avenue—Bergdorf Goodman department store currently occupies the site, in fact. At that time, people of her social status rarely ventured far beyond their immediate surroundings. For example, after marrying Harry Payne Whitney in 1896, Gertrude moved only as far as the house next door, which was given as a gift to the young couple by Harry’s father.

Reblogging Cory Arcangel

Whitney Museum of American Art — Mon, 18 Jul 2011 14:13:19 -0400

WhitneyStories/WhitneyOfTheFuture/RebloggingCoryArcangel

“Re-blogging” is a way of populating a website by posting images, texts, videos, or other forms of “found” web content discovered while browsing the Internet. The term “blogging” first came into use at the end of the 1990s to describe a form of online publishing whose historical roots lie in Usenet, a computer network communications system popular among early adopters long before the establishment of the World Wide Web. Bloggers have always borrowed content from one another; a set of social codes governing linking and source citation emerged around these casual exchanges, published on popular blogging platforms. With the advent of social media during the first decade of the millennium, however, networked publishing platforms such as Tumblr and Twitter have popularized the re-blog as a means of appropriating others’ content, while rendering the rules that governed the early “social web” increasingly complicated if not altogether obsolete.

Cory Arcangel’s web-based projects take these cultural shifts in stride, playing with the language of the Web as a means of reflecting the Internet back onto itself. He credits Eyebeam’s reBlog project, a piece of software that enables users to find and repurpose blog content, with introducing him to the term. On his Tumblr blog, What a Misunderstanding, Arcangel posts each week’s winner from the New Yorker’s “Cartoon Caption Contest,” replacing the winning caption with the exclamation “What a misunderstanding!” For another website, Sorry I Haven’t Posted, Arcangel chooses posts, culled by an algorithm, which contain the phrase known to every failed blogger, and re-blogs their apologies and empty promises to post more frequently. Posted without commentary, these words and images relay the unintentional humor people reveal through their online behavior.

Choreographing Community

Whitney Museum of American Art — Tue, 12 Jul 2011 15:38:12 -0400

WhitneyStories/WhitneyOfTheFuture/ChoreographingCommunity

This April, choreographer Elizabeth Streb’s STREB Extreme Action Company teamed up with The Lesbian, Gay, Bisexual & Transgender Community Center‘s Youth Enrichment Services program (Y.E.S.) for a Whitney-sponsored residency. The collaboration was in part born out of both organizations’ preexisting relationships with the Museum, but also out of their shared values. At Y.E.S., the arts play a central role in supporting an inclusive community. In a similar spirit, Streb’s brand of risk-taking movement challenges participants to push the limits of their bodies, while encouraging creativity and collaboration.

On May 21, after nearly two months of working closely with STREB company members, a group of five young people proudly debuted the fruits of this partnership, performing their piece of original choreography, “Flowers in the City,” outside on the Standard Hotel’s plaza during Community Day, the Whitney’s daylong celebration in the Meatpacking District.

The performance was inaugurated in typical STREB fashion, with one of the performers shouting, “Dancers ready?” from the center of the stage, defined by an arrangement of oversized purple mats in the center of the plaza. In STREB’S PopAction technique, this question enables the temporal and spatial precision demanded by the dance’s high-impact movement. Yet it also works to warn the audience of other sounds to come—namely, those produced as performers’ bodies start to hit the ground. Equal parts circus and science, PopAction encourages dancers to defy both force and gravity, and this often results in daring prone falls, partnering stunts, and loud drops.

As soon as the dancers replied “Ready!”, the group boldly began to perform a series of challenging skills and maneuvers with fearlessness and cohesion, but, most important, confidence. Watching the performance, it was hard to believe that no one in the group had prior experience with the technique. But their knowledge of other kinds of movement was put to good use. Although PopAction provides a basic lexicon, it is a constantly evolving dance form. “Once a STREB dancer has this foundation, they are free to create new vocabulary that reflects their own physicality, pool of knowledge, and creativity,” Cassy Joseph, the company member of more than three years who led the residency, explained.

In “Flowers in the City,” this call for collaboration led to the inclusion of vogue. The house dance form, which developed in New York’s gay ballroom scene in the ‘60s and ‘70s, was introduced when two participants demonstrated a "dip” during a rehearsal. (A dip is an iconic vogue move, in which a dancer falls backwards with one leg tucked behind their body.) Joseph promptly added it to the end of a combination, and this ultimately led to the addition of stylized dips, floorwork, and posing all inspired by vogue.

While many watching may not have recognized the combination of two different dance forms, it was clear to all that the group was inspired by STREB. It was also a perfect example of what can be created when people with diverse experiences come together to create something totally new.

Duis Magna Odio

Whitney Museum of American Art — Wed, 08 Jun 2011 20:30:11 -0400

WhitneyStories/WhitneyOfTheFuture/DuisMagnaOdio

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Duis magna odio, gravida in cursus id, viverra dapibus ligula. Aenean augue nibh, convallis vel molestie vitae, consequat sed metus. Nulla facilisi. Quisque sollicitudin euismod leo, ut porta metus porttitor a. Aliquam et augue dolor, ut elementum ipsum. Aenean auctor ipsum nec justo convallis sed imperdiet arcu aliquet. Suspendisse adipiscing auctor fringilla. Vivamus justo metus, laoreet ut porttitor nec, tristique et odio. Nunc quis arcu tellus, ac ullamcorper magna. Morbi varius lectus nec sem aliquet id vulputate enim imperdiet. Duis non lacus magna. Cras quis faucibus lorem. Aliquam volutpat tincidunt magna, quis dignissim nisi vulputate in. Nam ornare urna ac lacus porttitor id convallis enim aliquet. Maecenas adipiscing egestas justo nec iaculis. Proin a imperdiet nulla. Cras scelerisque, ante at dictum pharetra, erat metus tempus lacus, id elementum diam purus a tellus. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos.

Nullam vitae mi non turpis ultricies pellentesque eu et risus. Sed commodo vulputate dictum. Sed in nunc eu erat tincidunt cursus. Sed eget mi nec lacus blandit blandit ut sed sem. Nam tincidunt, urna eget dapibus molestie, nulla risus varius lectus, sed facilisis mi magna eu tellus. Nulla tincidunt leo vel lacus lobortis fermentum. Fusce tincidunt eros non neque mollis ultricies. Integer lobortis purus id augue posuere adipiscing facilisis sem mattis. Aliquam nec eros ac nulla faucibus ornare. Nulla feugiat diam et ligula tincidunt sit amet dignissim dui dapibus. Etiam aliquam arcu vel nulla mollis varius. Nam faucibus elit pretium nulla fermentum nec commodo felis vulputate. Duis ut vestibulum libero. Curabitur et nulla quam. Sed viverra neque vitae neque porta pharetra.

Cras faucibus, dui sed bibendum posuere, ante orci ornare nisi, a fringilla sapien velit at diam. Praesent augue libero, vehicula non mollis non, adipiscing a eros. Vestibulum sollicitudin faucibus placerat. Pellentesque eget viverra sem. Mauris et nisi a neque sagittis varius in pharetra eros. Integer ipsum nisl, ullamcorper vitae elementum et, placerat id augue. Fusce tincidunt blandit commodo. Cras leo augue, sodales pharetra rhoncus non, interdum quis orci. Sed felis nibh, pulvinar sed malesuada a, ultricies non enim. Nulla vel viverra lorem. Phasellus lacus ipsum, tincidunt nec cursus ac, condimentum eu elit. Etiam euismod, ligula a auctor consequat, augue velit gravida mauris, a molestie libero quam eget turpis. Ut tincidunt nisl et dui consectetur ullamcorper. Donec gravida fermentum aliquet. Donec fringilla diam vitae leo luctus fermentum. Ut feugiat aliquet eros, vitae gravida arcu faucibus at. Nulla aliquam pulvinar volutpat.

Cras Faucibus

Whitney Museum of American Art — Tue, 07 Jun 2011 05:12:33 -0400

WhitneyStories/WhitneyOfTheFuture/CrasFaucibus

Aenean ut dignissim justo. Sed mollis mollis gravida. Duis vel consectetur tellus. Proin laoreet enim quis lectus consectetur sit amet condimentum nisl pretium. Nullam pellentesque dolor at est viverra congue. Quisque eget sem tortor. Proin in mi eros, ut adipiscing tellus. Cras placerat lacus sed dolor aliquet pulvinar. Proin vulputate, sapien ut pretium eleifend, arcu enim sodales elit, vitae feugiat massa est at nulla. Quisque et justo est. Nam arcu odio, volutpat id tempor ut, malesuada sed felis. Etiam sagittis hendrerit leo, nec iaculis quam tincidunt ac. Integer dapibus, felis in tristique scelerisque, ante lectus semper nunc, id porttitor nunc metus vitae lectus. Etiam vitae eros mi. Ut id fermentum velit. Quisque vitae quam ac justo malesuada dapibus.

Curabitur Neque Ante

Whitney Museum of American Art — Tue, 07 Jun 2011 04:21:50 -0400

WhitneyStories/WhitneyOfTheFuture/CurabiturNequeAnte

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nulla suscipit convallis mi volutpat commodo. Suspendisse quis nisi ac risus vestibulum volutpat. Morbi tempor pharetra sem, quis blandit nisi placerat a. Donec sit amet dictum lorem. Proin ullamcorper mattis neque at egestas. Donec imperdiet molestie massa id fringilla. Ut in nisl nulla, at tempus mauris. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Nunc posuere molestie nibh dapibus condimentum. Vestibulum dignissim semper mauris quis consequat. Donec quis tortor pharetra orci vestibulum convallis non sed elit. Suspendisse porta viverra sagittis. In hac habitasse platea dictumst. Nullam ut risus ac nisi vulputate pulvinar at ac tortor. Suspendisse vitae gravida augue. Phasellus egestas eros sit amet elit feugiat at interdum nisl hendrerit.

Ut eu commodo eros. Donec posuere pellentesque quam, ut malesuada augue blandit sed. Nunc at leo ac felis rutrum rhoncus. Nunc at elit nunc. Suspendisse eleifend scelerisque lorem, in lacinia enim mollis id. Nunc magna nulla, consectetur accumsan fermentum et, rhoncus in dui. In odio neque, mattis ut dignissim eu, laoreet ac lectus. Donec ut metus tellus, semper tincidunt dui. Etiam a mi tellus. Curabitur malesuada pellentesque est et congue. Fusce rutrum lacinia elit, non pellentesque dolor congue sit amet. Maecenas justo sem, dictum consequat scelerisque sed, volutpat elementum odio. Sed a lectus in lacus rhoncus tincidunt. Phasellus aliquam varius aliquet. Aenean ac imperdiet orci. Ut eu nunc nisl. Sed mollis diam nec ligula ornare sed semper mauris ornare. Nam adipiscing tincidunt dui eu sagittis.

Curabitur neque ante, varius eget commodo sed, bibendum non purus. Integer malesuada imperdiet volutpat. Aliquam a cursus justo. Integer porta tristique purus aliquam ultrices. Sed rutrum risus non ipsum tempus ac lacinia dui scelerisque. Curabitur ullamcorper pulvinar purus, vel suscipit est vehicula eget. Phasellus posuere euismod sapien at accumsan. Sed quis erat non eros posuere tempor at et ligula. Cras ut nisl sem. Mauris porta ultricies velit. Praesent vitae varius odio. Duis odio lectus, venenatis eget vestibulum vitae, varius nec dui. Aenean mattis venenatis lacus vel mollis. Praesent vehicula lorem eget quam tincidunt fermentum. Nunc ultricies blandit sagittis. Nunc nunc ante, convallis ac volutpat et, rutrum id tellus. Phasellus vel metus vel risus convallis consequat sit amet id lorem. Curabitur congue ultrices magna sit amet accumsan. Praesent vitae laoreet sapien.

In Hac Habitasse Platea Dictumst

Whitney Museum of American Art — Tue, 07 Jun 2011 04:20:23 -0400

WhitneyStories/WhitneyOfTheFuture/InHacHabitassePlateaDictumst

In hac habitasse platea dictumst. Quisque sem lectus, laoreet sit amet sodales ut, volutpat sit amet mi. Mauris at eros nisi, eget sollicitudin felis. Suspendisse lobortis velit sed mauris pretium porta congue lacus iaculis. Pellentesque a leo quis diam hendrerit fermentum at non risus. Maecenas sodales ligula laoreet urna sollicitudin rhoncus. Vestibulum iaculis lacus vel purus tristique ut lobortis nisl posuere. Cras hendrerit iaculis eros, sed sagittis nunc rutrum eget. Vestibulum porta facilisis rutrum. Donec adipiscing, felis a dignissim convallis, turpis dui sollicitudin quam, non facilisis risus quam ac ante. Mauris sit amet libero a ligula aliquam ullamcorper. Duis viverra consectetur tortor sit amet egestas.

Phasellus vitae urna a turpis sodales dapibus a sed diam. Aliquam dignissim interdum lectus vitae blandit. Pellentesque felis mauris, sollicitudin tempor auctor a, pellentesque non ligula. In ac libero vel tortor ultricies vestibulum vel vitae mi. Etiam eu arcu quis arcu pellentesque porta. Nulla facilisi. Vestibulum lobortis leo eget lacus faucibus tristique. Suspendisse sit amet posuere quam. Cras sit amet purus varius ante aliquet mattis eu eget nulla. Maecenas accumsan ligula ac lacus malesuada auctor. Donec lacus purus, convallis ac commodo sit amet, faucibus eget sem. Etiam tempus, ipsum eget semper molestie, erat erat mollis purus, et pulvinar massa orci sed neque. Quisque sit amet semper arcu. Cras quis imperdiet libero. Duis ullamcorper risus quis leo lobortis dignissim. Mauris elementum congue mauris non sodales. Nullam tincidunt erat et arcu vehicula venenatis porta tortor suscipit. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus.