Staff Profiles

Adam D. Weinberg
Alice Pratt Brown Director

Adam D. Weinberg became the Alice Pratt Brown Director of the Whitney Museum in October 2003. During his tenure, the Whitney has presented major exhibitions on a range of artists, including William Eggleston, Yayoi Kusama, Sherrie Levine, Glenn Ligon, Gordon Matta-Clark, Georgia O’Keeffe, Ed Ruscha, and Jeff Koons; offered award-winning educational programs; and experienced dramatic growth in the permanent collection; and, in 2015, opened its new 220,000-square-foot building in the Meatpacking District.

From 1999 to 2003, Weinberg was the Director of the Addison Gallery of American Art at Phillips Academy. Prior to that, he was Senior Curator and Curator of the Permanent Collection at the Whitney. In 1991, Weinberg became the Artistic and Program Director of the American Center in Paris. He first joined the Whitney in 1989 as Director of the Whitney at Equitable Center. Beginning in 1981, Weinberg served as Director of Education and Assistant Curator at the Walker Art Center. 

Weinberg has curated exhibitions on artists from Edward Hopper, Richard Pousette-Dart and Isamu Noguchi to Alex Katz, Robert Mangold, Sol Lewitt, and Terry Winters. He has also organized numerous thematic exhibitions, including; The Architectural Unconscious: James Casebere and Glen Seater; Vanishing Presence (Walker Art Center, 1989); and On the Line: The New Color Photojournalism. For the Whitney, he curated the groundbreaking series Views from Abroad: European Perspectives on American Art (1995), with the Stedelijk Museum, the Museum für Moderne Kunst, and the Tate Gallery. He has also curated major public projects with such artists as Christian Boltanski, Yoko Ono, Nam June Paik, Mark Dion, Jessica Stockholder, and Andrea Zittel. He is the author of numerous catalogues and essays on contemporary and modern art, and has been a grant panelist for numerous federal, state, city, and private foundations.

Weinberg serves as a board member of the Andy Warhol Foundation for the Visual Arts; Storm King Art Center; The American Academy in Rome; and the Terra Foundation for American Art. He holds a BA from Brandeis University and a master’s degree from the Visual Studies Workshop, the State University of New York at Buffalo.

Donna De Salvo
Deputy Director for International Initiatives and Senior Curator

In addition to leading the curatorial team for the Whitney’s inaugural collection display America Is Hard to See, Donna De Salvo has curated Full House: The Whitney's Collection at 75 (2006) and Robert Irwin: Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York (1977) (2013). Among the exhibitions she has co-curated are Sinister Pop (2012–13, with Scott Rothkopf), Signs & Symbols (2012, with Jane Panetta), Lawrence Weiner: AS FAR AS THE EYE CAN SEE (2007–08, with Ann Goldstein) and Roni Horn aka Roni Horn (2009–10, with Carter Foster and Mark Godfrey). With Linda Norden, she co-curated Course of Empire: Paintings by Ed Ruscha for the United States Pavilion at the 51st Venice Biennale, an exhibition that was also presented at the Whitney (2005–06).

Prior to working at the Whitney, De Salvo served for five years as a Senior Curator at Tate Modern, London, where she curated such exhibitions as Open Systems: Rethinking Art c. 1970 (2005); Marsyas (Anish Kapoor’s 2003 work commissioned by Tate Modern for its Turbine Hall); and Century City: Art and Culture in the Modern Metropolis (2001). Among the exhibitions she has curated at other institutions are Hand-Painted Pop: American Art in Transition, 1955–1962 (MOCA Los Angeles, 1992–93), Staging Surrealism (Wexner Center for the Arts, 1997–98), and A Museum Looks at Itself: Mapping Past and Present at the Parrish Art Museum (Parrish Art Museum, 1992).

From 1981 to 1986, De Salvo was a curator at the Dia Art Foundation, where she worked closely with several of its artists, including John Chamberlain, Walter De Maria, Donald Judd, Cy Twombly, and Andy Warhol. A noted expert on the work of Andy Warhol, she was Adjunct Curator for the Andy Warhol Museum and was curator of Andy Warhol: Disaster Paintings, 1963 (Dia Art Foundation, 1986), Andy Warhol: Hand-Painted Images, 1960–62 (Dia Art Foundation, 1987), "Success is a Job in New York": The early art and business of Andy Warhol (Grey Art Gallery, 1989), and a retrospective of the artist’s work at Tate Modern (2002). She is currently developing a thematic retrospective of Warhol’s work to be presented at the Whitney in 2018.

She has written catalogues and essays and lectured on a wide range of modern and contemporary artists, including Barbara Bloom, Lee Bontecou, John Chamberlain, William Eggleston, Isa Genzken, Robert Gober, Philip Guston, Wade Guyton, Ray Johnson, Anish Kapoor, Per Kirkeby, Barbara Kruger, Giorgio Morandi, Barnett Newman, Chris Ofili, Gerhard Richter, Robert Smithson, Cy Twombly, Mark Wallinger, and Gillian Wearing. A recipient of the Alfred H. Barr, Jr. Award from the College Art Association, she has participated in many international juries and review panels and has taught at the curatorial studies programs at Bard College and the Royal College of Art.

Scott Rothkopf
Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator

Scott Rothkopf served on the curatorial team responsible for the Whitney’s inaugural collection display America Is Hard to See. Since then, he has also curated Open Plan: Andrea Fraser (2016, with Laura Phipps), Human Interest: Portraits from the Whitney’s Collection (2016, with Dana Miller), and Virginia Overton: Sculpture Gardens (2016, with Laura Phipps). At the Whitney, he has also curated Mary Heilmann: Sunset (2015), Jeff Koons: A Retrospective (2014), Sinister Pop (2012–13, with Donna De Salvo), Wade Guyton OS (2012–13), Glenn Ligon: AMERICA (2011), Singular Visions (2010, with Dana Miller), and Whitney on Site: Guyton\Walker (2010). Rothkopf is currently organizing a mid-career retrospective of the Los Angeles-based painter Laura Owens that will open in November 2017.

Prior to joining the Whitney, Rothkopf served as Senior Editor of Artforum International from 2004 through 2009, where he was a frequent contributor of feature reviews and essays. He began his curatorial career at the Harvard University Art Museums, organizing Mel Bochner: Photographs, 1966–1969 (2002) and Huyghe + Corbusier: Harvard Project (2004, with Linda Norden). He also served as a contributing curator to the Biennale de Lyon in 2007, for a project with Guyton.

Rothkopf has published widely on the work of contemporary artists, including Paul Chan, Diller and Scofidio, Carroll Dunham, Katharina Fritsch, Eva Hesse, Jasper Johns, Sol LeWitt, Roy Lichtenstein, Josiah McElheny, Takashi Murakami, Laura Owens, Elizabeth Peyton, James Rosenquist, Ed Ruscha, Paul Thek, Kelley Walker, T. J. Wilcox, Terry Winters, and Karen Kilimnik, who was the subject of his 2007 book, Period Eye: Karen Kilimnik’s Fancy Pictures, co-authored with Meredith Martin. He also served as editor of Yourself in the World (2011), a volume of the collected writings and interviews of Glenn Ligon.

Rothkopf is a member of the board of trustees of the Louis Comfort Tiffany Foundation, and has been a visiting critic at Hunter College, Yale University’s School of Art, and the University of Southern California, among many others. He has served on numerous juries, including those of the Deste Foundation and the American Academy in Rome. He holds undergraduate and graduate degrees in the history of art and architecture from Harvard University.

Deputy Director for Advancement

Alexandra Wheeler leads the Museum's comprehensive fundraising efforts, with oversight of Major Gifts and Stewardship Programs, Corporate Membership and Sponsorship, Foundation and Government Relations and Special Events. Working closely with the Director, Campaign Committee and Trustee leadership, Ms. Wheeler also oversaw the Museum's recently completed $670 million campaign, which raised funds to build and support the Museum’s new downtown home.

Ms. Wheeler has more than twenty-five years of experience in fundraising and nonprofit arts management, including a previous tenure at the Whitney. From 1995 to 2000, she served as Campaign Manager and Director of Development at the Museum, overseeing a successful $50 million capital drive. Prior to returning in 2007 as the Associate Director for Development, Ms. Wheeler was Director of Major Gifts at Cambridge in America, supporting a £1 billion 800th Anniversary Campaign for the University of Cambridge. Previous leadership positions include Director of Development at Exit Art, where she created a professional development program and Executive Director of the Fund for Dance. She began her career in the arts in 1988 at the Foundation for the Joffrey Ballet.  Ms. Wheeler holds a BA from Brown University.

John S. Stanley
Chief Operating Officer

John S. Stanley was named Chief Operating Officer in 2010, after joining the Whitney in 2008 as its Deputy Director. As the senior member of the staff management and policy-making team, Stanley has responsibility for museum-wide activities and initiatives, acting as liaison with Museum staff, departments, trustees, the community, and external parties. Collaborating closely with the Director, Mr. Stanley oversees strategic planning (research & analysis, marketing, membership and business systems), exhibitions and collections management, facilities, communications, finance, the visitor experience group (visitor services, security, retail and restaurant), human resources, the Trustee office, legal, and publications. He led the team responsible for planning and constructing the Whitney’s new building.

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.