{"data":[{"id":"231","type":"exhibition","attributes":{"id":231,"title":"Addie Wagenknecht: Believe me","start_time":"2017-07-10T00:00:00.000-04:00","end_time":"2018-04-04T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2017","url":"/exhibitions/addie-wagenknecht-believe-me","primary_text":"\u003cp class=\"large\"\u003eAddie Wagenknecht's \u003ca href=\"/artport-commissions/believe-me/index.html\"\u003e\u003cem\u003eBelieve me\u003c/em\u003e\u003c/a\u003e references the familiar sight of a device's broken screen. It overlays the visual effect of cracks on a series of images that can be manipulated and loaded successively by refreshing the browser. Using the seemingly damaged screen as a central metaphor, \u003cem\u003eBelieve me\u003c/em\u003e evokes the distortions that digital technologies impose on our experience of the world, and each other. The failed or failing pixels change the colors, spaces, and meanings of the project's imagery, which ranges from politically charged scenes to the vernacular of the online environment, familiar interface elements and Internet folklore. The \u0026nbsp;slightly glitched, broken, readable yet abstracted imagery of \u003cem\u003eBelieve me\u003c/em\u003e—the two most often used words by Donald Trump according to sociolinguist Jennifer Sclafani's \u003ca href=\"http://www.cnn.com/2017/04/21/politics/donald-trump-president-speeches-favorite-phrases-trnd/index.html\"\u003eanalysis for CNN\u003c/a\u003e—questions the status of reality as it is mediated through our screens in a fake news and post-truth environment.\u003c/p\u003e\u003cp class=\"large\"\u003eViewers can manipulate \u003cem\u003eBelieve me\u003c/em\u003e by clicking and refreshing the page.\u003c/p\u003e","primary_media_id":2915,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2017-07-10T15:24:19.000-04:00","updated_at":"2026-06-04T12:31:13.867-04:00","block_editor":{"data":{"id":"2369","type":"block_editor","attributes":{"id":2369,"exhibition_id":231,"page_id":null,"created_at":"2025-06-16T12:34:35.008-04:00","updated_at":"2025-06-16T12:34:35.008-04:00","regions":[{"data":{"id":"22157","type":"region","attributes":{"id":22157,"position":1,"columns":12,"block_editor_id":2369,"created_at":"2025-02-19T09:52:00.992-05:00","updated_at":"2025-02-19T09:52:00.992-05:00","region_components":[{"data":{"id":"40428","type":"region_component","attributes":{"id":40428,"component_id":14698,"component_type":"TextComponent","position":1,"region_id":22157,"created_at":"2025-02-19T09:52:00.998-05:00","updated_at":"2025-02-19T09:52:01.007-05:00","component":{"data":{"id":"14698","type":"component","attributes":{"id":14698,"exhibition_id":231,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAddie Wagenknecht\u003c/strong\u003e's work blends conceptual approaches with forms of sculpture and hacking. She founded \u003ca href=\"http://www.deeplab.net/\"\u003eDeep Lab\u003c/a\u003e in 2014 and was a member of \u003ca href=\"http://fffff.at/\"\u003eFree Art \u0026amp; Technology (F.A.T.) Lab\u003c/a\u003e. Her projects have been shown at venues including MuseumsQuartier, Vienna, Austria; La Gaîté Lyrique, Paris, France; The Istanbul Modern; Whitechapel Gallery, London; and MU, Eindhoven, Netherlands. Wagenknecht's work has been featured in numerous academic papers, books, newspapers and magazines, among them \u003cem\u003eTIME\u003c/em\u003e, \u003cem\u003eThe Wall Street Journal\u003c/em\u003e, \u003cem\u003eVanity Fair\u003c/em\u003e, \u003cem\u003eThe Economist\u003c/em\u003e, and \u003cem\u003eThe New York Times\u003c/em\u003e. She holds a Masters degree from the Interactive Telecommunications Program at New York University, and has held fellowships at Eyebeam Art + Technology Center in New York City; Culture Lab UK; Institute HyperWerk for Postindustrial Design Basel (CH); and The Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"258","type":"exhibition","attributes":{"id":258,"title":"Carla Gannis: Lady Ava Interface","start_time":"2018-04-10T00:00:00.000-04:00","end_time":"2019-02-06T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/carla-gannis","primary_text":"\u003cp class=\"large\"\u003eReferencing Lady Ada Lovelace (1815–1852), known as the first computer programmer, \u003cem\u003eLady Ava Interface\u003c/em\u003e presents herself as an artificial intelligence assistant. At sunrise and sunset, she provides visitors to whitney.org with a menu of quirky, non-utilitarian calls to action and conjures a miniature Whitney from her smart phone. While software agents such as Siri, Alexa, and Cortana assist us with practical information to augment and increase our efficiency, Ava counteracts the generic and purely functional aspects of technology that we often use to begin and end our days. Ava's personage is inspired by the peculiar portraits of Italian Renaissance painter Giuseppe Arcimboldo who assembled images of fruits, vegetables, and fish into strange, yet still recognizable human likenesses. Artist \u003ca href=\"/artists/18614\"\u003eCarla Gannis\u003c/a\u003e represents Ava as an assortment of 3D-modeled emojis, clouds, and cookies—symbols of Internet culture—to form a cartoonish female android. Lady Ava Interface continues Gannis’s explorations of historical paintings through the iconography of smartphones and the Internet, investigating the evolution of symbolic languages throughout art history.\u003c/p\u003e","primary_media_id":61313,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2018-04-09T13:21:26.000-04:00","updated_at":"2026-06-04T12:30:49.666-04:00","block_editor":{"data":{"id":"2401","type":"block_editor","attributes":{"id":2401,"exhibition_id":258,"page_id":null,"created_at":"2025-06-16T12:34:36.050-04:00","updated_at":"2025-06-16T12:34:36.050-04:00","regions":[{"data":{"id":"22167","type":"region","attributes":{"id":22167,"position":1,"columns":12,"block_editor_id":2401,"created_at":"2025-02-19T09:52:01.242-05:00","updated_at":"2025-07-11T12:15:41.674-04:00","region_components":[{"data":{"id":"40438","type":"region_component","attributes":{"id":40438,"component_id":14706,"component_type":"TextComponent","position":1,"region_id":22167,"created_at":"2025-02-19T09:52:01.250-05:00","updated_at":"2025-07-11T12:15:41.687-04:00","component":{"data":{"id":"14706","type":"component","attributes":{"id":14706,"exhibition_id":258,"text":"\u003cp class=\"large\"\u003eSince her arrival in New York in the 1990s, \u003cstrong\u003eCarla Gannis\u003c/strong\u003e (b. 1970) has been exploring the language of the digital medium in physical and virtual works. Gannis received an MFA in painting from Boston University and is faculty and assistant chair of the Department of Digital Arts at Pratt Institute, New York. She has engaged with the virtual domain by collaging threads of networked communication, online art history, and speculative fiction to produce dark and often humorous explorations of the human condition. Gannis’ work has appeared in numerous exhibitions and screenings, nationally and internationally. Solo exhibitions and screenings include \u003cem\u003ePortraits in Landscape\u003c/em\u003e, Midnight Moment, Times Square Arts, NYC; \u003cem\u003eUntil the End of the World\u003c/em\u003e, DAM Gallery, Berlin; \u003cem\u003eA Subject Self-Defined\u003c/em\u003e, TRANSFER Gallery, Brooklyn; and \u003cem\u003eThe Garden of Emoji Delights\u003c/em\u003e, Hudson River Museum, Yonkers. Gannis’s speculative fiction has appeared in \u003cem\u003eDEVOURING THE GREEN:: fear of a human planet: a cyborg / eco poetry anthology\u003c/em\u003e, published by Jaded Ibis Press (2015).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1408","type":"exhibition","attributes":{"id":1408,"title":"Ashley Zelinskie: Twin Quasar","start_time":"2024-11-12T00:00:00.000-05:00","end_time":"2025-11-12T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2024","url":"/exhibitions/twin-quasar","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/21575\"\u003eAshley Zelinskie\u003c/a\u003e’s \u003cem\u003eTwin Quasar\u003c/em\u003e is a\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003ethree-dimensional artwork and space in the Whitney Museum Virtual Landscape that intertwines science with art history, building on the artist’s eight-year coordination with NASA's James Webb Space Telescope team and discussions with Tim Rawle, a scientist at the European Space Agency. The work uses two pieces from the Whitney Museum’s collection—\u003ca href=\"/artists/902\"\u003eLászló Moholy-Nagy\u003c/a\u003e’s painting\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/collection/works/357\"\u003e\u003cem\u003eSpace Modulator\u003c/em\u003e\u003c/a\u003e (1938–1940) and \u003ca href=\"/artists/188\"\u003eRosalind Bengelsdorf Browne\u003c/a\u003e’s watercolor\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/collection/works/2024\"\u003e\u003cem\u003eCompotier II\u003c/em\u003e\u003c/a\u003e (1938)—as sources and turns them into navigable 3D models, drawing parallels between phenomena in physics and the artists' exploration of space and form. When viewers approach the 3D models of the original works, the forms depicted in them reveal themselves as protruding from the virtual canvas, becoming layered in three-dimensional space and allowing viewers to navigate through the abstract shapes. The experience replicates the effects of gravitational lensing, a cosmic event occurring when massive objects such as black holes, galaxies, or dark matter bend light around spacetime, creating natural lenses that both magnify and distort. Gravitational lensing was first observed at an observatory in Arizona where scientists saw the light of a quasar—an extremely luminous galactic object—through a galaxy, and it appeared as though there were two quasars.\u003c/p\u003e\u003cp\u003eThis artwork is best experienced on a desktop device. It can also be experienced in the Apple Vision Pro through the \u003ca href=\"https://apps.apple.com/us/app/museum-explore-immersive-art/id6692502746\"\u003eMONA Museum app\u003c/a\u003e, allowing viewers to dynamically adjust their immersion between virtual and physical realities.\u003c/p\u003e\u003cp\u003eTechnical development for \u003cem\u003eTwin Quasar\u0026nbsp;\u003c/em\u003eis provided by James Tunick: CEO The IMC Lab\u003c/p\u003e","primary_media_id":60862,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-10-18T14:19:55.718-04:00","updated_at":"2026-06-04T12:09:15.181-04:00","block_editor":{"data":{"id":"4209","type":"block_editor","attributes":{"id":4209,"exhibition_id":1408,"page_id":null,"created_at":"2025-06-16T12:38:28.921-04:00","updated_at":"2025-06-16T12:38:28.921-04:00","regions":[{"data":{"id":"22271","type":"region","attributes":{"id":22271,"position":1,"columns":12,"block_editor_id":4209,"created_at":"2025-02-19T09:52:08.157-05:00","updated_at":"2026-02-11T16:43:14.823-05:00","region_components":[{"data":{"id":"40588","type":"region_component","attributes":{"id":40588,"component_id":14794,"component_type":"TextComponent","position":1,"region_id":22271,"created_at":"2025-02-19T09:52:08.165-05:00","updated_at":"2026-02-11T16:43:14.835-05:00","component":{"data":{"id":"14794","type":"component","attributes":{"id":14794,"exhibition_id":1408,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAshley Zelinskie\u003c/strong\u003e (b. 1987) is a Brooklyn-based conceptual artist employing media as vehicles in service of underlying concepts. Her works span a variety of media, from sculpture, canvas and print works to digital art, VR, and holograms. Each artwork is created using technologies such as 3D printing, computer-guided laser cutting, satellite plating technology, and gaming engines. Her work focuses on visualizing data in abstract forms and finding new and interesting ways to describe complex ideas. Ashley’s work has been featured by The New York Times, The New Yorker, Vice, Popular Science, Space.com, and Hyperallergic. Her work forms part of the permanent collection of the US Department of State Art in Embassies Program, has been exhibited at Sotheby’s New York, ArtScience Museum in Singapore and Art Center Nabi in Seoul. Ashley is a former resident of New Inc., the New Museum’s Art and Technology Incubator, and the Shapeways x  Museum of Art and design “Out of Hand” exhibition residency. She is currently working in coordination with NASA, the European Space Agency, and the Smithsonian and is a member of Onassis ONX XR studio in New York City.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1082","type":"exhibition","attributes":{"id":1082,"title":"Zhang Ga: étant donnés: to be looked at with two eyes, about 2 feet away (from the screen), for precisely one minute; clicked, even; red, yellow, blue","start_time":"2002-01-01T00:00:00.000-05:00","end_time":"2002-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"January 2002","url":"/exhibitions/zhang-ga","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8206\"\u003eZhang Ga\u003c/a\u003e’s Gate Page reimagined iconic artworks by Marcel Duchamp and Barnett Newman. Duchamp’s \u003cem\u003eÉtant donnés\u003c/em\u003e (1966) assemblage features a nude woman—lying in front of a landscape and holding a gas lamp—viewable only through peepholes in a wooden door. Zhang Ga xeroxed a reproduction of the tableau, animated it with flickering light shone through the woman’s handheld lamp, and streamed it live with a webcam. The title of the Gate Page also references Duchamp’s \u003cem\u003eTo Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour\u003c/em\u003e (1918), a painting between two glass panes, and updates it: not with one eye but two, not close to but two feet from the screen, and not for an hour but one minute. An interactive script interrupted the stream of the photocopied image with areas of red, yellow, and blue, alluding to Newman’s series \u003cem\u003eWho’s Afraid of\u003c/em\u003e \u003cem\u003eRed, Yellow and Blue\u003c/em\u003e (1966–70). While Newman’s canvases demand sustained contemplation, the color fields of the Gate Page appear only momentarily, echoing the short attention spans of screen culture. The work, now shown as a simulation of the original live stream, staged a dialogue between Duchamp’s optical provocations and Newman’s chromatic sublime, reframed as the flicker, click, and refresh of the internet.\u003c/p\u003e","primary_media_id":65106,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-08-24T00:12:31.540-04:00","updated_at":"2026-05-19T12:10:29.654-04:00","block_editor":{"data":{"id":"3673","type":"block_editor","attributes":{"id":3673,"exhibition_id":1082,"page_id":null,"created_at":"2025-06-16T12:38:18.640-04:00","updated_at":"2025-06-16T12:38:18.640-04:00","regions":[{"data":{"id":"23854","type":"region","attributes":{"id":23854,"position":1,"columns":12,"block_editor_id":3673,"created_at":"2026-03-09T11:09:44.504-04:00","updated_at":"2026-03-09T11:10:45.874-04:00","region_components":[{"data":{"id":"43923","type":"region_component","attributes":{"id":43923,"component_id":15761,"component_type":"TextComponent","position":1,"region_id":23854,"created_at":"2026-03-09T11:09:44.518-04:00","updated_at":"2026-03-09T11:10:45.883-04:00","component":{"data":{"id":"15761","type":"component","attributes":{"id":15761,"exhibition_id":1082,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eZhang Ga\u003c/strong\u003e (b. 1963; Hangzhou, China) is an artist, curator, writer, and educator working at the intersection of culture and technology. Formerly the director of the New York–based Netart Initiative, Zhang Ga has exhibited and lectured on media art worldwide and has published in \u003cem\u003eOctober\u003c/em\u003e, \u003cem\u003eFlash Art International\u003c/em\u003e, and with the MIT Press. He is the founding artistic director of Chronus Art Center, Shanghai and the former consulting curator of media art at the National Art Museum of China, Beijing, where he curated three editions of its international media art triennial. Other curatorial work includes \u003cem\u003eZHANG Peili\u003c/em\u003e (Red Brick Art Museum, Beijing, 2024–25), \u003cem\u003eTopologies of the Real\u003c/em\u003e (Shenzhen Museum of Contemporary Art and Urban Planning, China, 2023), and \u003cem\u003eMotion Is Action: 35 Years of Chinese Media Art\u003c/em\u003e (By Art Matters Museum, Hangzhou, China, 2023). Zhang Ga is distinguished professor and vice dean at the Central Academy of Fine Arts, Beijing.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"272","type":"exhibition","attributes":{"id":272,"title":"Will Pappenheimer: Proxy, 5-WM2A","start_time":"2014-01-01T00:00:00.000-05:00","end_time":"2014-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2014","url":"/exhibitions/proxy","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/17024\"\u003eWill Pappenheimer\u003c/a\u003e's \u003cem\u003eProxy, 5-WM2A\u003c/em\u003e is a virtual designer drug specifically commissioned for the 2014 Whitney Gala and \u003ca href=\"/2014-studio-party\"\u003eStudio Party\u003c/a\u003e. \u003cem\u003e5-WM2A\u003c/em\u003e (with the “street name” \u003cem\u003eProxy\u003c/em\u003e) can be consumed by guests on their mobile devices and tablets, offering enhanced visionary powers—and a safe experience. As guests view their surroundings through the screen of their mobile devices, hallucinatory virtual elements are overlaid onto the physical environment. The augmented reality application uses these perceptual alterations of the real world to refresh the museum experience. Proxy has been designed as a \"dissociative class” designer drug app that helps the Whitney community to leave behind and dissociate from its iconic Breuer location and transition to a \u003ca href=\"/about/our-building\"\u003enew building\u003c/a\u003e. Like most designer drugs, \u003cem\u003eProxy\u003c/em\u003e is fashioned to mimic and improve on the effects of the real and at the same time to escape classification as a controlled substance—or, in this case, controlled museum experience. As an artwork \u003cem\u003eProxy, 5-WM2A\u003c/em\u003e is a humorous yet pointed exploration of our addiction to our technological devices, of the accelerated merger of virtual and physical worlds, and of the ways in which these factors change our perception.\u003c/p\u003e","primary_media_id":7684,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2018-07-16T15:18:53.000-04:00","updated_at":"2026-05-15T11:23:40.196-04:00","block_editor":{"data":{"id":"2423","type":"block_editor","attributes":{"id":2423,"exhibition_id":272,"page_id":null,"created_at":"2025-06-16T12:34:36.427-04:00","updated_at":"2025-06-16T12:34:36.427-04:00","regions":[{"data":{"id":"22173","type":"region","attributes":{"id":22173,"position":1,"columns":12,"block_editor_id":2423,"created_at":"2025-02-19T09:52:01.441-05:00","updated_at":"2025-06-27T12:45:09.130-04:00","region_components":[{"data":{"id":"40444","type":"region_component","attributes":{"id":40444,"component_id":14712,"component_type":"TextComponent","position":1,"region_id":22173,"created_at":"2025-02-19T09:52:01.449-05:00","updated_at":"2025-06-27T12:45:09.146-04:00","component":{"data":{"id":"14712","type":"component","attributes":{"id":14712,"exhibition_id":272,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eWill Pappenheimer\u003c/strong\u003e is a Brooklyn-based artist and educator working in new media, performance, and installation with an interest in institutional or spatial interventions. His work often explores the confluence of and tension between the virtual and physical worlds. He is a founding member of the Manifest.AR collective and participated in highly publicized augmented reality interventions at the Museum of Modern Art, New York, in 2010 and the 54th Venice Biennale in 2011. Will Pappenheimer has exhibited internationally at institutions, festivals, and galleries including the Stedelijk Museum, Amsterdam; FACT, Liverpool; the Golden Thread Gallery, Belfast; FILE, São Paulo; the Institute of Contemporary Art and the Museum of Fine Arts, Boston; the Corcoran Gallery of Art, Washington; Fringe Exhibitions, Los Angeles; and Exit Art, Postmasters, Vertexlist, and DUMBO Arts Festival in New York. His projects have been commissioned by the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art and the Boston Convention Center's public art project ArtLab on D. His work has been cited and discussed in books—Gregory Ulmer, \u003cem\u003eElectronic Monuments\u003c/em\u003e; Christiane Paul, \u003cem\u003eDigital Art\u003c/em\u003e—as well as magazines and newspapers such as \u003cem\u003eArt in America\u003c/em\u003e, \u003cem\u003eThe New York Times\u003c/em\u003e, \u003cem\u003eWIRED\u003c/em\u003e, \u003cem\u003eModern Painters\u003c/em\u003e, \u003cem\u003eThe Boston Globe\u003c/em\u003e, \u003cem\u003eEL PAIS\u003c/em\u003e, \u003cem\u003eLiberation\u003c/em\u003e, \u003cem\u003eNY Arts International\u003c/em\u003e, and \u003cem\u003eArt US\u003c/em\u003e. He has been a speaker at The New Museum, the Whitney Museum of American Art, and the Eyebeam Art+Technology Center in New York; ETH Institute, Zurich, Switzerland; and a keynote speaker at the Stedelijk Museum, Amsterdam. Pappenheimer is a faculty member in the department of Art and Art History at Pace University, New York.\u003c/p\u003e"}}}}}},{"data":{"id":"41509","type":"region_component","attributes":{"id":41509,"component_id":3362,"component_type":"HorizontalRuleComponent","position":2,"region_id":22173,"created_at":"2025-04-30T14:15:12.119-04:00","updated_at":"2025-06-27T12:45:09.154-04:00","component":{"data":{"id":"3362","type":"component","attributes":{"id":3362,"exhibition_id":272}}}}}},{"data":{"id":"41510","type":"region_component","attributes":{"id":41510,"component_id":15028,"component_type":"TextComponent","position":3,"region_id":22173,"created_at":"2025-04-30T14:15:12.133-04:00","updated_at":"2025-06-27T12:45:09.162-04:00","component":{"data":{"id":"15028","type":"component","attributes":{"id":15028,"exhibition_id":272,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAbout augmented Reality (AR)\u003c/strong\u003e\u003cbr\u003eAugmented Reality is the term used for the enhancement of physical reality through the superimposition of computer-generated elements viewable on a smart phone or tablet, or through a head-mounted display.\u003c/p\u003e\u003cp class=\"large\"\u003eGoing to the Gala or Studio Party?\u003cbr\u003e\u003cstrong\u003eDownload the Layar augmented reality app to experience \u003cem\u003eProxy\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eProxy\u003c/em\u003e will allow visitors to see the museum environment in new, hallucinatory ways. To get the experience on your smart phone or tablet, please download the \u003ca href=\"http://get.layar.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eLayar\u003c/a\u003e augmented reality app in advance of the event.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://web.archive.org/web/20141221011259/http://get.layar.com/\"\u003eDownload Layar\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1124","type":"exhibition","attributes":{"id":1124,"title":"Jillian Mcdonald: To Vincent, with Love","start_time":"2005-02-01T00:00:00.000-05:00","end_time":"2005-02-28T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"February 2005","url":"/exhibitions/jillian-mcdonald","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eTo Vincent, with Love\u003c/em\u003e by \u003ca href=\"/artists/9925\"\u003eJillian McDonald\u003c/a\u003e humorously explores fan culture by featuring four video vignettes that depict the artist’s fictional romantic relationship with actor Vincent Gallo. In each scene—“On the Bed,” “At the Locker,” “In the Tub,” and “On the Phone”—the artist digitally inserts herself into footage from the film \u003cem\u003eBuffalo ’66\u003c/em\u003e (1998), in which Gallo stars as the main character, Billy Brown. In this imaginary romance, McDonald and Gallo seemingly share intimate moments, exchanging loving glances or sitting side by side in bed, yet the artist’s desire remains unfulfilled and unreciprocated. The work captures the impact of image manipulation and the online environment on fan fantasies. The Gate Page is a sequel to McDonald’s web and DVD project \u003cem\u003eMe and Billy Bob\u003c/em\u003e (2003), in which she inserted herself into scenes from the film \u003cem\u003eBandits\u003c/em\u003e (2001) with Billy Bob Thornton.\u003c/p\u003e","primary_media_id":65104,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-29T10:10:56.168-04:00","updated_at":"2026-05-14T16:35:56.468-04:00","block_editor":{"data":{"id":"3755","type":"block_editor","attributes":{"id":3755,"exhibition_id":1124,"page_id":null,"created_at":"2025-06-16T12:38:21.711-04:00","updated_at":"2025-06-16T12:38:21.711-04:00","regions":[{"data":{"id":"24204","type":"region","attributes":{"id":24204,"position":1,"columns":12,"block_editor_id":3755,"created_at":"2026-04-14T12:01:01.341-04:00","updated_at":"2026-04-14T12:01:26.962-04:00","region_components":[{"data":{"id":"44480","type":"region_component","attributes":{"id":44480,"component_id":15983,"component_type":"TextComponent","position":1,"region_id":24204,"created_at":"2026-04-14T12:01:01.377-04:00","updated_at":"2026-04-14T12:01:26.969-04:00","component":{"data":{"id":"15983","type":"component","attributes":{"id":15983,"exhibition_id":1124,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJillian McDonald\u003c/strong\u003e (b. 1971; Edmonton, Canada) is a professor at Pace University, New York. Her work has been exhibited and screened at Undercurrent, Air Circulation, and FiveMyles in Brooklyn; Régart, La Bande Vidéo, AxeNéo7, the Art Gallery of Regina, and the Esker Foundation in Canada; as well as at aCinema, Milwaukee; and the Philip J. Steele Gallery, Rocky Mountain College of Art and Design, Denver. Her work has been profiled in a CBC IDEAS documentary, the \u003cem\u003eNew York Times\u003c/em\u003e, and \u003cem\u003eCanadian Art\u003c/em\u003e. She has received a grant and awards from the New York Foundation for the Arts (2005) and the Canada Council for the Arts (2021, 2004, 2001), and participated in residencies including Wave Farm, Acra, New York; the Arctic Circle Expedition, Svalbard, Norway; Headlands Center for the Arts, Sausalito, California; the Glenfiddich Canadian Art Prize, Dufftown, Scotland; the Banff Centre for Arts and Creativity, Canada; and Harvestworks, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"548","type":"exhibition","attributes":{"id":548,"title":"Cotton puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha","start_time":"2004-06-23T00:00:00.000-04:00","end_time":"2004-09-26T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/drawings-of-ed-ruscha","primary_text":"\u003cp class=\"large\"\u003eThis landmark exhibition presents more than two hundred of Ed Ruscha’s original works on paper, ranging from depictions of vernacular objects, trademarks, and gas stations, to renderings of words and phrases in countless stylistic variations. His use of unusual media, including fruit and vegetable juices, gunpowder, blood, and tobacco juice, further attests to the ingenuity of this major American artist.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCotton puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha\u003c/em\u003e was curated by Margit Rowell.\u003c/p\u003e","primary_media_id":18713,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2020-08-14T14:47:40.708-04:00","updated_at":"2026-05-14T16:09:51.270-04:00","block_editor":{"data":{"id":"2845","type":"block_editor","attributes":{"id":2845,"exhibition_id":548,"page_id":null,"created_at":"2025-06-16T12:37:31.979-04:00","updated_at":"2025-06-16T12:37:31.979-04:00","regions":[]}}}}},{"id":"513","type":"exhibition","attributes":{"id":513,"title":"Course of Empire: Paintings by Ed Ruscha","start_time":"2005-11-17T00:00:00.000-05:00","end_time":"2006-01-29T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/course-of-empire","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCourse of Empire: Paintings by Ed Ruscha\u003c/em\u003e, the United States’ contribution to this year’s Venice Biennale, has its only presentation in the United States at the Whitney. A contemporary master and one of the most influential artists at work today, Ed Ruscha has redefined our vision of the American landscape. In this series of paintings, inspired by 19th-century American artist Thomas Cole's cycle The Course of Empire, Ruscha revisits his own 1992 series of five black-and-white Blue Collar paintings, making a new color picture in response to each of the original works. As described in a brochure written for the Venice exhibition, Ruscha. like Cole, \"makes progress his subject. . . . But whereas Cole chronicles the ravages of an overcivilized culture on an untrammeled American landscape, Ruscha’s images quietly remark on how ‘change comes over things.’\" A catalogue from the Venice presentation accompanies the exhibition.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCourse of Empire: Paintings by Ed Ruscha\u003c/em\u003e was presented by the Whitney in association with the Harvard University Art Museums. The exhibition was curated by Donna DeSalvo and Linda Norden.\u003c/p\u003e","primary_media_id":18885,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2393,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2020-08-14T14:47:20.967-04:00","updated_at":"2026-05-14T16:09:38.050-04:00","block_editor":{"data":{"id":"2775","type":"block_editor","attributes":{"id":2775,"exhibition_id":513,"page_id":null,"created_at":"2025-06-16T12:37:28.945-04:00","updated_at":"2025-06-16T12:37:28.945-04:00","regions":[]}}}}},{"id":"274","type":"exhibition","attributes":{"id":274,"title":"UBERMORGEN.COM: CLICKISTAN","start_time":"2010-05-28T00:00:00.000-04:00","end_time":"2010-09-03T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2010","url":"/exhibitions/clickistan","primary_text":"\u003cp class=\"large\"\u003eDuring the summer of 2010, \u003ca href=\"/artists/20022\"\u003eUBERMORGEN.COM\u003c/a\u003e, an artist duo composed of lizvlx and Hans Bernhard, were commissioned to create an interactive, engaging work designed to introduce a new worldwide audience to the importance of supporting the Whitney’s \u003ca href=\"/support/individuals/annual-fund\"\u003eAnnual Fund\u003c/a\u003e—and by extension, art in an increasingly global community.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eFor a limited time, users could support the \u003ca href=\"/support/individuals/annual-fund\"\u003eAnnual Fund\u003c/a\u003e by playing the games included in \u003cem\u003eCLICKISTAN\u003c/em\u003e, a work of computer game art that references early net art and classic coin-operated arcade games such as \u003cem\u003eSpace Invaders\u003c/em\u003e (1978), \u003cem\u003eDonkey Kong\u003c/em\u003e (1981), and \u003cem\u003ePac Man\u003c/em\u003e (1980). As you move through levels, you’ll score points in ways that aren’t immediately obvious. The retro feel of the games will inspire the inner gamer in many, and for those visitors who are knowledgeable about the history of net art, the visit will be even more rewarding.\u003c/p\u003e\u003cp class=\"large\"\u003eThe \u003cem\u003eCLICKISTAN\u003c/em\u003e soundtrack is inspired by early computer games, and is supplied by the 8-bit music website \u003ca href=\"http://micromusic.net/\"\u003emicromusic.net\u003c/a\u003e.\u003c/p\u003e","primary_media_id":7680,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2018-07-17T13:03:10.000-04:00","updated_at":"2026-05-14T16:07:12.701-04:00","block_editor":{"data":{"id":"2427","type":"block_editor","attributes":{"id":2427,"exhibition_id":274,"page_id":null,"created_at":"2025-06-16T12:34:36.516-04:00","updated_at":"2025-06-16T12:34:36.516-04:00","regions":[{"data":{"id":"22175","type":"region","attributes":{"id":22175,"position":1,"columns":12,"block_editor_id":2427,"created_at":"2025-02-19T09:52:01.495-05:00","updated_at":"2025-04-30T14:18:21.317-04:00","region_components":[{"data":{"id":"40446","type":"region_component","attributes":{"id":40446,"component_id":14714,"component_type":"TextComponent","position":1,"region_id":22175,"created_at":"2025-02-19T09:52:01.506-05:00","updated_at":"2025-04-30T14:18:21.326-04:00","component":{"data":{"id":"14714","type":"component","attributes":{"id":14714,"exhibition_id":274,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eUBERMORGEN.COM\u003c/strong\u003e is an artist duo created in Vienna, Austria, in 1995 by lizvlx and Hans Bernhard. Behind UBERMORGEN.COM we can find one of the most unmatchable identities—controversial and iconoclastic—of the contemporary European techno-fine-art avant-garde. Their open circuit of conceptual art, drawing, software art, pixel painting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. The computer and the network are (ab)used to create art and combine its multiple forms. the permanent amalgamation of fact and fiction points toward an extremely expanded concept of one’s working materials that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). “Ubermorgen” is the German word both for “the day after tomorrow” and “super-tomorrow.”\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003elizvlx (A/CH, *1973)\u0026nbsp;\u003c/strong\u003eis an Austrian net.artist working in the fields of digital imagery, media actionism and programming. She studied both commercial sciences and fine arts in Vienna and now works out of St. Moritz and Vienna. Using technology, computers, and sculpture as media since 1994, she has exhibited her net.art works in venues like the Ars Electronica (Austria), the Konsthall Malmoe (Sweden), the NTT ICC Museum (Japan), ARCO (Spain) or the Lentos Kunstmuseum (Austria). lizvlx was also a founding member of 194.152.164.137 and of netznetz.net. lizvlx is allergic to milk protein and enjoys changing hair colors.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eHans Bernhard (USA/CH/A, *1973)\u0026nbsp;\u003c/strong\u003eis a Swiss-American writer, actionist and digital artist working in the field of media hacking, txt-modification, conceptual art and net.art. Living and working in Vienna and St. Moritz. Since the mid-1990’s, he has been a frequent speaker at conferences and universities worldwide, and has exhibited his work in venues such as Laboral Gijon (Spain), SFMOMA (USA), ZKM (Germany), New Museum New York (USA), Museum of Contemporary Art Tokyo (Japan), MOCA Taipei (Taiwan) or Mumok Vienna (Austria). Hans Bernhard is a co-founder of etoy (www.etoy.com). He studied visual communication, digital art, and aesthetics in Vienna (Weibel), San Diego (Manovich), Pasadena (Lunenfeld), and Wuppertal (Brock). Hans Bernhard weighs 130 kgs (290 pounds), is keen on attention, and gets a new haircut in every city he travels to.\u003c/p\u003e"}}}}}},{"data":{"id":"41515","type":"region_component","attributes":{"id":41515,"component_id":3365,"component_type":"HorizontalRuleComponent","position":2,"region_id":22175,"created_at":"2025-04-30T14:18:21.268-04:00","updated_at":"2025-04-30T14:18:21.268-04:00","component":{"data":{"id":"3365","type":"component","attributes":{"id":3365,"exhibition_id":274}}}}}},{"data":{"id":"41516","type":"region_component","attributes":{"id":41516,"component_id":15031,"component_type":"TextComponent","position":3,"region_id":22175,"created_at":"2025-04-30T14:18:21.273-04:00","updated_at":"2025-04-30T14:18:21.273-04:00","component":{"data":{"id":"15031","type":"component","attributes":{"id":15031,"exhibition_id":274,"text":"\u003ch2\u003eFrom the curator\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCLICKISTAN\u003c/em\u003e by the artist team \u003ca href=\"http://www.ubermorgen.com/2010/index.html\" target=\"_blank\"\u003eUBERMORGEN.COM\u003c/a\u003e (lizvlx and Hans Bernhard) is a work of game art and an homage to the net art of the mid-90s: it invents its own territory—ruled by the click—and celebrates the pixel in imaginative variations. UBERMORGEN.COM are the new masters of Minimalist pixel painting. \u0026nbsp;Transparent pixels are blown out of proportion in order to create graphic shapes and abstractions, while copied-and-pasted scripts are resampled and recombined in order to—in UBERMORGEN.COM's words—use as many pre-existing pixels and produce as few originals as possible. This latter strategy is a nod to early net art, in which recycling and reproduction of existing information were the artistic method of choice. Likewise, in the spirit of early net art—such as the \u003ca href=\"http://easylife.org/form/competition/competition.html\" target=\"_blank\"\u003e\u003cem\u003eForm Art Competition\u003c/em\u003e\u003c/a\u003e organized by Russian net art pioneer Alexei Shulgin in 1997—\u003cem\u003eCLICKISTAN\u003c/em\u003e plays with the formal elements of the Web, enticing its players to click away on canvases of radio buttons and flying scroll bars. Players also encounter elements of net culture, such as a reference to the famous 2000-2002 Internet meme \"All your base are belong to us,\" a broken-English phrase originating from the opening scene of the video game \u003cem\u003eZero Wing,\u0026nbsp;\u003c/em\u003epoorly translated from Japanese. \u003cem\u003eCLICKISTAN\u003c/em\u003e's visual style and playful typography—such as the mixing of upper and lower case—allude to the “dirt style” design of net art before the dot com gold rush—the degraded aesthetic of the hobbyist, amateur, and geek. The work’s title references both early net art's exploration of the Web territory—in its resistance to traditional notions of ownership, authority, and the nation state—and the arrival of the click as the main paradigm of interaction, overruling previously established norms of dragging and dropping.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCLICKISTAN\u003c/em\u003e is also indebted to early computer games, particularly the coin-operated arcade games of the late 1970s and early 1980s, such as \u003cem\u003eSpace Invaders\u003c/em\u003e (1978), \u003cem\u003ePac-Man\u003c/em\u003e (1980), and \u003cem\u003eDonkey Kong\u003c/em\u003e (1981), whose pixellated characters were created with great economy of means. The new musical form inspired by early computer games—known as 8-bit or chiptune music and consisting of sound textures synthesized by the computer or video game console's sound chip—is referenced in CLICKISTAN's soundtrack supplied by the 8-bit music website \u003ca href=\"http://micromusic.net/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003emicromusic.net\u003c/a\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003eAs with other game art projects, \u003cem\u003eCLICKISTAN\u003c/em\u003e does not simply create an environment for play that follows established conventions, but instead engages, questions, and undermines them. UBERMORGEN.COM takes a decisively “userunfriendly” approach to many gaming routines: players' actions do not yield the expected results; some choices are impossible to make, some actions redundant, but, as in “real life,” they all lead to the next level or sometimes even have the same consequences; scores do not necessarily relate to the performed actions in any rational way. Players become aware of their expectations and are challenged to ask who or what created them in the first place.\u003c/p\u003e\u003cp class=\"large\"\u003eUBERMORGEN.COM's mode of operation has always been playfully subversive, and many of their projects have addressed the intersections of Internet culture, money, and branding. Their \u003cem\u003e\u003ca href=\"http://www.ubermorgen.com/EKMRZ_Trilogy/]\" target=\"_blank\"\u003eEkmrz Trilogy\u003c/a\u003e\u0026nbsp;\u003c/em\u003e(2005-2009) took critical approaches to Google and Amazon. Their \u003cem\u003eGenerator\u0026nbsp;\u003c/em\u003eseries included tools such as the \u003cem\u003eInjunction Generator\u0026nbsp;\u003c/em\u003e(2001), which allowed users to automatically generate a standard court order—in .pdf or .rtf format—claiming that a website of their choice was operating on an illegal basis. CLICKISTAN's use of visuals, text, and language reflects the overall tone of Ubermorgen's work, referencing their website's home pages (from 2000-2005) as well as the generators. \u003cem\u003eCLICKISTAN\u003c/em\u003e is a territory that lies somewhere at the core of Ubermorgen's work: a game that plays with art and commerce, celebrates the early days of net art and computer games, has an anarchic sense of humor, and only delivers the expected when it is time to pay.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"279","type":"exhibition","attributes":{"id":279,"title":"Jennifer Crowe and Scott Paterson: Follow Through","start_time":"2005-12-01T00:00:00.000-05:00","end_time":"2006-01-29T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/follow-through","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eFollow Through\u003c/em\u003e is a mobile, audio-visual artwork that has been created by \u003ca href=\"/artists/15255\"\u003eJennifer Crowe\u003c/a\u003e and \u003ca href=\"/artists/9201\"\u003eScott Paterson\u003c/a\u003e specifically for the Museum’s 5th Floor Permanent Collection galleries and is accessible to visitors on portable media players. The project is inspired by the discrepancy the artists found between the active and energetic art on view in the galleries and the rather passive and languid body language of museum visitors looking at that art. Referencing the structure of the existing audio tour, the artists invite visitors to engage in a set of exercises designed to bring well-established behavioral codes of museum attendance into relief. The project’s title has its roots in sports terminology where the term “follow-through” describes the act of carrying a motion—such as hitting a ball—to its natural completion. With \u003cem\u003eFollow Through\u003c/em\u003e, the artists are inviting visitors to complete the dynamics of the artworks in an experience that goes beyond the mental act of contemplating or interpreting them.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eFollow Through\u003c/em\u003e was curated by Christiane Paul.\u003c/p\u003e\u003cp\u003eCo-commissioned by the Whitney Museum of American Art and Antenna Audio; sponsored by Antenna Audio\u003c/p\u003e","primary_media_id":2570,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2538,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2018-07-20T10:39:23.000-04:00","updated_at":"2026-05-14T15:55:03.620-04:00","block_editor":{"data":{"id":"2437","type":"block_editor","attributes":{"id":2437,"exhibition_id":279,"page_id":null,"created_at":"2025-06-16T12:34:36.681-04:00","updated_at":"2025-06-16T12:34:36.681-04:00","regions":[{"data":{"id":"22179","type":"region","attributes":{"id":22179,"position":1,"columns":12,"block_editor_id":2437,"created_at":"2025-02-19T09:52:01.622-05:00","updated_at":"2025-11-18T16:39:48.672-05:00","region_components":[{"data":{"id":"40450","type":"region_component","attributes":{"id":40450,"component_id":14718,"component_type":"TextComponent","position":1,"region_id":22179,"created_at":"2025-02-19T09:52:01.630-05:00","updated_at":"2025-11-18T16:39:48.681-05:00","component":{"data":{"id":"14718","type":"component","attributes":{"id":14718,"exhibition_id":279,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJennifer Crowe\u0026nbsp;\u003c/strong\u003e(b. 1974) is currently a new media producer in New York. Trained in the arts, her education includes an MA from Bard College’s Center for Curatorial Studies and a BA in Visual Arts and Communication from the University of California, San Diego. Jennifer has broad experience in the arts with a special interest in digital archives and fine art preservation. Projects include curating exhibitions at A.I.R. Gallery and The New Museum, initiating Rhizome.org’s Artbase, an online archive for Net-based artworks, and producing online companions for Peabody-Award winning art television shows at Thirteen/WNET New York Public Television. She has coordinated digital video archiving projects for Yale University, the Dance Heritage Coalition, and the EU’s international video preservation project PrestoSpace. She has lectured at various venues including the Dutch Electronic Arts Festival, the American Museum of the Moving Image, and the Guggenheim Museum.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eScott Paterson\u003c/strong\u003e (b. 1969) is an architect, interaction designer, and artist based in New York. He teaches studio courses in the MFA in Design and Technology Program at the Parsons School of Design and has also taught at Columbia University’s Graduate School of Architecture. Trained as an architect, his education includes a Bachelor of Architecture degree from the University of Minnesota and a Masters degree from Columbia University. He has received grants from the Walker Art Center, Parsons School of Design, and The Design Institute at the University of Minnesota. Paterson lectures internationally and his work has been exhibited at the Whitney Museum of American Art, the Walker Art Center, and the Banff Centre for the Arts, as well as in venues in Amsterdam, Berlin, Florence, and Mexico City.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2324","type":"exhibition","attributes":{"id":2324,"title":"Mabel Dwight: Cool Head, Warm Heart","start_time":"2026-02-20T00:00:00.000-05:00","end_time":"2026-08-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/mabel-dwight","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/388\"\u003eMabel Dwight\u0026nbsp;\u003c/a\u003e(1876–1955) wrote that keeping “a cool head and a warm heart” was essential to making art that would be a “living influence on the world.” Dwight came to New York at the turn of the century as an illustrator and later fell in with the downtown artists who frequented the Whitney Studio Club, a precursor to the Museum. She ultimately found her voice in the swooping lines and seamless gradients of lithography. This democratic print medium became her primary vehicle for portraying her constant subject: the people and places of New York.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eDwight’s self-described “socialist” vision of the world was of dignity across the socio-economic divides. Her crowd scenes depict individuals—usually rendered with a gently curving stroke, dramatic lighting, and delicate highlights— each taking part in a greater whole. Her intimate portraits offer uniquely expressive faces, and her overtly political images are as theatrical as her vision of the stage. All her subjects, whether selling balloons, strolling home, or waiting for the day to pass, possess the inner glow of what Dwight called “the stuff of life.” The life in Dwight’s prints came from her own—she spent her free time roaming the city, from Harlem to Staten Island, sketching in a notebook hidden inside her jacket. Back at her apartment, Dwight would revise her images and then carefully transfer them to a stone or a zinc plate, from which multiple impressions could be printed and inexpensively made available to the public.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eMabel Dwight: Cool Head, Warm Heart\u003c/em\u003e is curated by Dan Nadel, Steven and Ann Ames Curator of Drawings and Prints, Whitney Museum of American Art, with Eli Harrison, Curatorial Fellow, Whitney Museum of American Art.\u003c/p\u003e","primary_media_id":64192,"override_media_id":null,"sign_media_id":null,"feature_id":111,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-12-18T01:36:54.793-05:00","updated_at":"2026-05-13T16:25:58.158-04:00","block_editor":{"data":{"id":"5951","type":"block_editor","attributes":{"id":5951,"exhibition_id":2324,"page_id":null,"created_at":"2025-12-18T10:29:59.839-05:00","updated_at":"2025-12-18T10:29:59.839-05:00","regions":[]}}}}},{"id":"2425","type":"exhibition","attributes":{"id":2425,"title":"Andy Warhol Family Album","start_time":"2026-04-30T00:00:00.000-04:00","end_time":"2026-10-19T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/andy-warhol-family-album","primary_text":"\u003cp class=\"large\"\u003eFew American artists have shaped modern visual culture as profoundly as \u003ca href=\"/artists/1384\"\u003eAndy Warhol\u003c/a\u003e (1928–1987), whose experimentation with mass media helped define what it means to be an artist in an image-saturated age. Photography was central to Warhol’s philosophy and his obsession with self-representation. He carried a camera with him wherever he went, taking hundreds of thousands of photographs during his career. Warhol purchased his first Polaroid in the mid-1960s, and by the early 1970s, it would become his tool of choice: both the Big Shot model, ideal for close-ups with its fixed lens and bright flash, and the more versatile, portable SX-70. This technology was instrumental to his process—forming the first stages of his commissioned silkscreen portraits and a mode through which he could document compulsively, treating his own life as material.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAndy Warhol Family Album\u0026nbsp;\u003c/em\u003epresents a collection of Polaroids from 1972 to 1973 that captures Warhol’s immediate world of collaborators, celebrities, and friends. These photographs come from one of six Holson albums containing hundreds of snapshots Warhol maintained as a personal archive and named for the brand’s generic product type: the “family album.” Together the images—ranging from posed portraits and candid shots of guests visiting his home in Montauk, Long Island, to documentation of his travels to Europe and even pictures of his dog Archie—offer a varied glimpse into Warhol’s day-to-day life.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAndy Warhol Family Album\u003c/em\u003e is part of an ongoing initiative to present rarely seen works from the Whitney’s collection, following exhibitions of \u003ca href=\"/artists/472\"\u003eWanda Gág\u003c/a\u003e, \u003ca href=\"/artists/7729\"\u003eJeanne Moutoussamy-Ashe\u003c/a\u003e, and \u003ca href=\"/artists/964\"\u003eClaes Oldenburg\u003c/a\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAndy Warhol Family Album\u0026nbsp;\u003c/em\u003eis organized by Jennie Goldstein, Marion Boulton “Kippy” Stroud Curator of the Collection, and Roxanne Smith, Jennifer Rubio Assistant Curator of the Collection.\u003c/p\u003e\u003cp\u003eSignificant support for \u003cem\u003eAndy Warhol Family Album\u003c/em\u003e is provided by Susan and John Hess.\u003c/p\u003e","primary_media_id":64747,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2026-03-10T13:30:42.366-04:00","updated_at":"2026-05-13T16:02:19.321-04:00","block_editor":{"data":{"id":"6032","type":"block_editor","attributes":{"id":6032,"exhibition_id":2425,"page_id":null,"created_at":"2026-03-10T13:30:42.361-04:00","updated_at":"2026-03-10T13:30:42.361-04:00","regions":[]}}}}},{"id":"244","type":"exhibition","attributes":{"id":244,"title":"Nick Mauss: Transmissions","start_time":"2018-03-16T00:00:00.000-04:00","end_time":"2018-05-14T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/nick-mauss","primary_text":"\u003cp class=\"large\"\u003eFor his first solo museum exhibition in the United States, artist Nick Mauss (b. 1980) presents \u003cem\u003eTransmissions\u003c/em\u003e, a multidisciplinary work exploring the relationship between modernist ballet and the avant-garde visual arts in New York from the 1930s through ’50s. Over the past decade, Mauss has pursued a hybrid mode of working that merges the roles of curator, artist, and scholar. At the Whitney he brings together his own works, alongside historical photographs, sculptures, paintings, drawings, film and video from the Whitney’s holdings and those of other public and private collections—all presented within a layered exhibition design by Mauss that allows for the works to be seen in a new light.\u003c/p\u003e\u003cp class=\"large\"\u003eCentral to the exhibition is a daily performance by four dancers made in collaboration with Mauss as an interpretative reaction to the artworks and archival materials on display. For \u003cem\u003eTransmissions\u003c/em\u003e, Mauss cast dancers whose training includes ballet, though most have continued to practice in more contemporary forms. Their movements incorporate quotidian gestures and procedures from a dancer’s daily practice as well as a choreographed sequence that invokes ballet as it comes into tension with modern and contemporary techniques.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eIn the current vogue for contemporary dance in museums, the legacy of ballet remains relatively unexamined. This exhibition will consider the intersections of ballet not only with the visual arts but also with theater, fashion, and new representations of the body. The development of modernist ballet in New York in the decades bookending World War II served as an artistic catalyst, filter, and vibrant, shared vocabulary. European surrealist aesthetics and interdisciplinary experimentation bridged artistic and social worlds. Mauss also explores the overt and coded imaging of desire in art and dance of this time, emphasizing pre-queer histories within an exhibition that itself forges new modes of attention and engagement with history in the present.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, and Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography, with Greta Hartenstein, senior curatorial assistant, and Allie Tepper, curatorial project assistant.\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eNick Mauss: Transmissions\u003c/em\u003e is provided by Deutsche Bank and the Performance Committee of the Whitney Museum of American Art.\u003c/p\u003e\u003cp\u003eIn-kind support is provided by The Center for Ballet and the Arts at New York University.\u003c/p\u003e","primary_media_id":36684,"override_media_id":36927,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2311,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“‘Transmissions’ is a work of creative imagination as much as revelation. You go to sample it as history; you absorb it as poetry.”\u003cbr\u003e—\u003ca href=\"https://www.nytimes.com/2018/03/26/arts/dance/review-transmissions-nick-mauss-whitney-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Mauss hones in on a moment of synergy between art and dance.”\u003cbr\u003e—\u003ca href=\"http://www.nyartbeat.com/event/2018/AC3E\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eNew York Art Beat\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"Hidden histories, or those that remain outside dominant narratives, are paramount to Mauss’s research and practice.\" \u003cem\u003e\u003cbr\u003e—\u003c/em\u003e\u003ca href=\"https://www.villagevoice.com/2018/04/30/nick-mauss-relays-a-wellspring-of-dance-knowledge-in-the-whitneys-transmissions/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Village Voice\u003c/em\u003e\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“The jewel box exhibition, which incorporates swathes of media—projection, video, live performance, costume, stage design, sculpture, and photographs—with gossamer finesse.”\u003cbr\u003e—\u003ca href=\"https://www.vogue.com/article/nick-mauss-transmissions-exhibition-new-york-modernist-ballet-whitney-museum\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eVogue\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Mauss is not an artist who stands still for long, and the defining theme of his current work is movement.”\u003cbr\u003e—\u003ca href=\"https://garage.vice.com/en_us/article/bj5g5a/nick-mauss-is-an-artist-who-wont-stand-still\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eGARAGE\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“\u003cem\u003eTransmissions\u003c/em\u003e succeeds in showing, deftly and in detail, that ballet is not the rigid art form that some envision it to be.”\u003cbr\u003e—\u003ca href=\"https://hyperallergic.com/433863/nick-mauss-transmissions-whitney-museum/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eHyperallergic\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Forges new modes of attention, viewing, and an engagement with history in the present.”\u003cbr\u003e—\u003ca href=\"http://www.blouinartinfo.com/news/story/2916796/exhibition-at-the-whitney-explores-american-modernist-ballet\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eBLOUIN ARTINFO\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2017-10-25T11:37:21.000-04:00","updated_at":"2026-04-27T10:45:33.508-04:00","block_editor":{"data":{"id":"2387","type":"block_editor","attributes":{"id":2387,"exhibition_id":244,"page_id":null,"created_at":"2025-06-16T12:34:35.565-04:00","updated_at":"2025-06-16T12:34:35.565-04:00","regions":[{"data":{"id":"22163","type":"region","attributes":{"id":22163,"position":1,"columns":12,"block_editor_id":2387,"created_at":"2025-02-19T09:52:01.147-05:00","updated_at":"2026-04-27T10:45:33.451-04:00","region_components":[{"data":{"id":"40434","type":"region_component","attributes":{"id":40434,"component_id":14703,"component_type":"TextComponent","position":1,"region_id":22163,"created_at":"2025-02-19T09:52:01.154-05:00","updated_at":"2026-04-27T10:45:33.458-04:00","component":{"data":{"id":"14703","type":"component","attributes":{"id":14703,"exhibition_id":244,"text":"\u003ch2\u003ePerformances\u003c/h2\u003e\u003cp class=\"large\"\u003eThe choreography performed in this exhibition has been collectively generated by the following sixteen dancers in collaboration with Nick Mauss.\u003c/p\u003e\u003cdiv class=\"columns--3 columns--no-spacing\"\u003e\u003cp class=\"large\"\u003eAlexandra Albrecht\u003c/p\u003e\u003cp class=\"large\"\u003eKristina Bermudez\u003c/p\u003e\u003cp class=\"large\"\u003eMaggie Cloud\u003c/p\u003e\u003cp class=\"large\"\u003eBrandon Collwes\u003c/p\u003e\u003cp class=\"large\"\u003eAhmaud Culver\u003c/p\u003e\u003cp class=\"large\"\u003eJasmine Hearn\u003c/p\u003e\u003cp class=\"large\"\u003eElizabeth Hepp\u003c/p\u003e\u003cp class=\"large\"\u003eForrest Hersey\u003c/p\u003e\u003cp class=\"large\"\u003eAlexandra Jacob\u003c/p\u003e\u003cp class=\"large\"\u003eBurr Johnson\u003c/p\u003e\u003cp class=\"large\"\u003eMaki Kitahara\u003c/p\u003e\u003cp class=\"large\"\u003eEvelyn Kocak\u003c/p\u003e\u003cp class=\"large\"\u003eBenedict Nguyen\u003c/p\u003e\u003cp class=\"large\"\u003eMatilda Sakamoto\u003c/p\u003e\u003cp class=\"large\"\u003eQuenton Stuckey\u003c/p\u003e\u003cp class=\"large\"\u003eAnna Witenberg\u003c/p\u003e\u003c/div\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eMondays, 12-4 pm\u0026nbsp;\u003c/strong\u003e\u003cbr\u003ePerformers: Alex Jacob, Maggie Cloud, Anna Witenberg, Jasmine Hearn\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eWednesdays,\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003e12-4 pm\u003c/strong\u003e\u003cbr\u003ePerformers: Matilda Sakamoto, Kristina Bermudez, Burr Johnson, Alexandra Albrecht\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eThursdays,\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003e12-4 pm\u0026nbsp;\u003c/strong\u003e\u003cbr\u003ePerformers: Alex Jacob, Maggie Cloud, Burr Johnson, Quenton Stuckey\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eFridays\u003c/strong\u003e\u003cbr\u003e\u003cstrong\u003e12-4 pm\u0026nbsp;\u003c/strong\u003e\u003cbr\u003ePerformers: Matilda Sakamoto, Kristina Bermudez, Brandon Collwes, Quenton Stuckey\u003cbr\u003e\u003cstrong\u003e6-10 pm\u003c/strong\u003e\u003cbr\u003ePerformers: Evelyn Kocak, Ahmaud Culver, Anna Witenberg, Jasmine Hearn\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eSaturdays, 12-4 pm\u0026nbsp;\u003cbr\u003e\u003c/strong\u003ePerformers: Maki Kitahara, Elizabeth Hepp, Benedict Nguyen, Forrest Hersey\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eSundays, 12-4 pm\u0026nbsp;\u003c/strong\u003e\u003cbr\u003ePerformers: Maki Kitahara, Elizabeth Hepp, Brandon Collwes, Forrest Hersey\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e*Daily schedule subject to change\u003c/p\u003e"}}}}}},{"data":{"id":"41754","type":"region_component","attributes":{"id":41754,"component_id":3421,"component_type":"HorizontalRuleComponent","position":2,"region_id":22163,"created_at":"2025-05-19T18:09:48.935-04:00","updated_at":"2026-04-27T10:45:33.465-04:00","component":{"data":{"id":"3421","type":"component","attributes":{"id":3421,"exhibition_id":244}}}}}},{"data":{"id":"41755","type":"region_component","attributes":{"id":41755,"component_id":15120,"component_type":"TextComponent","position":3,"region_id":22163,"created_at":"2025-05-19T18:09:48.941-04:00","updated_at":"2026-04-27T10:45:33.470-04:00","component":{"data":{"id":"15120","type":"component","attributes":{"id":15120,"exhibition_id":244,"text":"\u003ch2\u003eCollaborators\u003c/h2\u003e\u003cp\u003e\u003cstrong\u003eAlexandra Albrecht\u003c/strong\u003e is a dancer and curator based in New York. She has longstanding collaborative relationships with Hilary Easton, Ryan McNamara, Jillian Peña (Bessie nomination, Outstanding Performer, \u003cem\u003ePolly Pocket: Expansion Pack\u003c/em\u003e, 2015), Stacy Grossfield Sperling, and Ani Taj/The Dance Cartel. She holds a BFA in dance and a BA in journalism from New York University.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eKristina Bermudez\u0026nbsp;\u003c/strong\u003ereceived her BFA from the Boston Conservatory after graduating from the Walnut Hill School for the Arts in Natick, MA. She has worked with Diane Arvanites, Zoe Scofield, Dwight Rhoden, Francesca Harper, Jodi Melnick, Bill T. Jones, and Amanda + James, among others, and is currently a member of Lauren Beirne Dance Works in Brooklyn. Kristina is a freelance choreographer and creates solo and group works in New York.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAhmaud Culver\u003c/strong\u003e was raised in Lancaster, California and began his formal training at CalArts, becoming a freelance dancer in Los Angeles for several years. In 2009, Ahmaud moved to New York City where he has worked with national and international dance companies and choreographers such as Karole Armitage, Limon's Collin Connor, Eglevsky Ballet, Augusto Solada BrazzDance, Saratoga Opera, Danza Concerto of Colombia. Ahmaud is a current member of 6yr with Armitage Gone! Dance.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMaggie Cloud\u003c/strong\u003e grew up in Sarasota, FL, and graduated from Florida State University with a BFA in dance. She has most recently performed in the work of Moriah Evans, Beth Gill, Neal Medlyn, John Jasperse, Pam Tanowitz, and Gillian Walsh. Maggie has taught at Chen Dance Center, Brooklyn Arts Exchange, and at the University of the Arts Pre-College Summer Institute. She’s currently working toward a master of science degree at Tri-State College of Acupuncture.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBrandon Collwes\u003c/strong\u003e trained at the Pittsburgh CLO in musical theater and jazz dance. He studied the George Balanchine technique at the Pittsburgh Ballet Theatre and the Creative and Performing Arts High School of Pittsburgh, where he started making his own choreography. He continued his studies at the Juilliard School and Purchase College, State University of New York. In 2003, he became a member of the CDF Repertory Understudy Group where he trained under Merce Cunningham and Robert Swinston. He joined the Merce Cunningham Dance Company in January 2006 and remained until the close of the Company in 2011. He currently dances with the Liz Gerring Dance Company and teaches around the globe while developing and performing his own work. Brandon is also a self-taught abstract painter inspired by natural movement and the street.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAhmaud Culver\u003c/strong\u003e was raised in Lancaster, CA, and began his formal training at CalArts, working as a freelance dancer in Los Angeles for several years. In 2009, Ahmaud moved to New York where he has worked with national and international dance companies and choreographers such as Karole Armitage, Limon’s Collin Connor, Eglevsky Ballet, Augusto Solada BrazzDance, Saratoga Opera, and Danza Concerto of Colombia. Ahmaud has been a company member of Armitage Gone! Dance for six years.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJasmine Hearn\u003c/strong\u003e is a native Houstonian holding her BA in dance from Point Park University, Pittsburgh. A Bronx-based choreographer, performer, and dancer, Jasmine currently collaborates with filmmaker Alisha B. Wormsley and is a company member with David Dorfman Dance. She has worked with Solange Knowles, Jenn Meridian, Claudette Johnson, and Lovie Olivia. In 2017 Jasmine was awarded a Bessie Award for Outstanding Performance as a part of the Skeleton Architecture ensemble and was an artist in residence at the Camargo Foundation in Cassis, France.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eElizabeth Hepp\u003c/strong\u003e holds a BFA from New York University Tisch School of the Arts. She studied the Cunningham technique with the Merce Cunningham Trust and participated in multiple repertory workshops. Elizabeth currently dances with Dusan Tynek Dance Theatre and Erick Montes/Danceable Projects. Elizabeth is also the production and administrative assistant for public programs at the New York Public Library.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eForrest Hersey\u0026nbsp;\u003c/strong\u003ewas raised in Ghent, KY, and trained at University of Louisville Dance Academy and the Youth Performing Arts School (YPAS), both in Louisville, KY. While earning a BFA from the Conservatory of Dance at Purchase College, State University of New York, he performed repertory by Ohad Naharin, Shannon Gillen, and Aszure Barton. Forrest then freelanced for Rushaun Mitchell and Nelly Van-Bommel before representing the Merce Cunningham Trust as part of the celebration of thirty-five years of the MacArthur Fellows Program. He currently dances for Liz Gerring Dance Company, Pigeonwing Dance, and ZviDance.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAlexandra Jacob\u003c/strong\u003e began her ballet training at the age of eight in Berkeley, CA. She joined the Dance Theatre of Harlem in 2004, then under the direction of Arthur Mitchell and later Virginia Johnson. During her ten years at the company, she performed featured roles by Arthur Mitchell, Peter Pucci, Donald Byrd, Christopher Huggins, Lowell Smith, Royston Maldoom, Michel Fokine, and George Balanchine. She has recently collaborated with Zana Bayne, Jaguar USA, Vie Active Activewear, Things Power Themselves, Beacon’s Closet, Tag Heuer, and Dirty Churches.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBurr Johnson\u003c/strong\u003e has danced for John Jasperse Projects, Helen Simoneau Danse, Kimberly Bartosik/daela, Christopher Williams, and Shen Wei Dance Arts. He has worked with Peter Sellars, Ryan McNamara, Walter Dundervill, Isabel Lewis, Marina Abramović/Givenchy, Mark Fell, Jack Ferver, Min Oh, and Yozmit. His choreographic work has been presented through Movement Research at Judson Church, Dixon Place, Elizabeth Dee Gallery, Abrons Art Center, Josée Bienvenu Gallery, Danspace Project, and New York Live Arts.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMaki Kitahara\u003c/strong\u003e is from Fukushima, Japan, and is an award-winning dancer, choreographer, and teacher. She has performed lead roles in ballet and contemporary dance works and also collaborated with professionals from other artistic fields in Japan and internationally. She was recently nominated for a New Face Award by the Agency for Cultural Affairs, Government of Japan. Her own solo work \u003cem\u003eMichi\u003c/em\u003e (2017) has been performed three times in New York. Maki was also featured in an article in the Japanese weekly newspaper \u003cem\u003eShukan NY Seikatsu\u003c/em\u003e regarding this solo work and the experiences that have shaped her career in dance.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEvelyn Kocak\u003c/strong\u003e studied for three years at the School of American Ballet before joining New York City Ballet as an apprentice in 2004. Evelyn joined the Staatsballett Berlin as a member of the corps de ballet in 2006 and danced there for four seasons. She returned to the United States to join Pennsylvania Ballet for the 2010–11 season and was promoted to soloist for the 2012–13 season. Evelyn has danced with the Suzanne Farrell Ballet, the Seattle Symphony, Tom Gold Dance, Claudia Schreier \u0026amp; Company, and in \u003cem\u003eSomething to Dance About\u003c/em\u003e, directed by Warren Carlyle. She has collaborated on projects with the visual artist Alex Prager and performance artists Madeline Hollander, Selina Grüter, and Michèle Graf\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBenedict Nguyen\u003c/strong\u003e is a dancer, writer, and arts advocate based in the South Bronx. They are a member of the National Center for Choreography’s year-long laboratory on dance writing. They have performed with Monstah Black in \u003cem\u003eHyperbolic! (The Last Spectacle)\u003c/em\u003e, among other projects. Benedict is a writer and collaborator with Johnnie Cruise Mercer/The Red Project NYC and is an administrator for Donna Uchizono and Jennifer Monson.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMatilda Sakamoto\u003c/strong\u003e is a choreographer and dancer born and raised in Los Angeles. Matilda received her BFA from Juilliard and is currently a freelance dancer and choreographer in New York. Matilda is also a visual artist and enjoys melding the worlds of dance and art in her work..\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eQuenton Stuckey\u003c/strong\u003e is from New Orleans and is largely a self-taught dancer. He performed only privately early in his career. In 2011, while a student at New York University, Stuckey briefly studied Afro-Cuban ballet at the Teatro Nacional de Cuba. Since then he has worked with choreographers ranging from Ryan McNamara at the Solomon R. Guggenheim Museum in New York to Jimmy Robert at the Philip Johnson Glass House in New Canaan, CT. In March 2017, Stuckey presented his own choreography at the Guggenheim’s Young Collectors Party. Quenton is currently a member of the Rod Rodgers Dance Company.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAnna Witenberg\u003c/strong\u003e is a performer and a choreographer. She graduated from Bard College in 2017 where she studied dance and gender and sexuality studies. She has worked extensively with Sarah Michelson, performing in \u003cem\u003etournamento\u003c/em\u003e at the Walker Art Center, Minneapolis, in 2015; \u003cem\u003eSeptember 2017 /|\u003c/em\u003e at Bard; and \u003cem\u003eOctober 2017 /\\\u003c/em\u003e at the Kitchen, New York, this past fall. Anna has performed in works by Beth Gill and Anna Sperber at American Dance Festival. She also performed with the Stephen Petronio Company in the restaging of Trisha Brown’s \u003cem\u003eGlacial Decoy\u003c/em\u003e (1979) at the Durham Performing Arts Center in 2016. Her own work was presented by Triskelion Arts in Brooklyn this past fall.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"103","type":"exhibition","attributes":{"id":103,"title":"Whitney Biennial 2012","start_time":"2012-03-01T00:00:00.000-05:00","end_time":"2012-05-27T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/2012-biennial","primary_text":"\u003cp class=\"large\"\u003eSculpture, painting, installations, and photography—as well as dance, theater, music, and film—fill the galleries of the Whitney Museum of American Art in the latest edition of the Whitney Biennial. With a roster of artists at all points in their careers the Biennial provides a look at the current state of contemporary art in America. This is the seventy-sixth in the ongoing series of Biennials and Annuals presented by the Whitney since 1932, two years after the Museum was founded.\u003c/p\u003e\u003cp class=\"large\"\u003eThe 2012 Biennial takes over most of the Whitney from March 1 through May 27, with portions of the exhibition and some programs continuing through June 10. The 2012 Biennial is in constant flux, with artists, works, and experiences varying over the course of the exhibition.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThe participating artists were selected by Elisabeth Sussman, Curator/Sondra Gilman Curator of Photography at the Whitney, and Jay Sanders, a freelance curator and writer who has spent the past ten years working both in the gallery world and on independent curatorial projects. Sussman and Sanders co-curated the Biennial’s film program with Thomas Beard and Ed Halter, the co-founders of \u003ca href=\"http://www.lightindustry.org/\"\u003eLight Industry\u003c/a\u003e, a venue for film and electronic art in Brooklyn\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/andrea-fraser\"\u003eRead an essay about the exhibition\u003c/a\u003e by Andrea Fraser.\u003c/p\u003e\u003cp\u003eSponsored in part by\u0026nbsp; \u003ca href=\"http://www.db.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818167/deutschebank33.jpg\" title=\"Deutsche Bank\" alt=\"Deutsche Bank\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by \u003ca href=\"http://www.sothebys.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818128/official_logo_sothebys_forweb.jpg\" title=\"Sotheby's\" alt=\"Sotheby's\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eLighting and audio by\u0026nbsp; \u003ca href=\"http://www.bentleymeeker.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818177/bentleyday.jpg\" title=\"Bentley Meeker\" alt=\"Bentley Meeker\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eExclusive hotel partner \u003ca href=\"http://www.thesurrey.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818178/surreyday.jpg\" title=\"The Surrey\" alt=\"The Surrey\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by the Brown Foundation, the National Committee of the Whitney\u0026nbsp;Museum of American Art, and the Jacques and Natasha Gelman Trust.\u003c/p\u003e\u003cp\u003eAdditional support is provided by the 2012 Biennial Committee, chaired by trustee Beth Rudin\u0026nbsp;DeWoody and Renee Preisler Barasch: Philip Aarons and Shelley Fox Aarons, Joanne Leonhardt\u0026nbsp;Cassullo, Rebecca and Marty Eisenberg, Glenn and Amanda Fuhrman, Diane and Adam E. Max,\u0026nbsp;Heather and Tony Podesta, Mari and Peter Shaw, John Studzinski, and an anonymous donor;\u0026nbsp;The Consulate General of the Federal Republic of Germany, and the E. T. Harmax Foundation.\u003c/p\u003e\u003cp\u003eFunding for the 2012 Biennial is also provided by endowments created by Melva Bucksbaum, Emily Fisher Landau, and Leonard A. Lauder.\u003c/p\u003e","primary_media_id":36041,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2149,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"Enchanting.\" —\u003cem\u003e\u003ca href=\"http://www.newyorker.com/arts/critics/artworld/2012/03/12/120312craw_artworld_schjeldahl\"\u003eThe New Yorker\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003ePeter\u0026nbsp;Schjeldahl's audio slideshow on the Biennial. —\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"[The Whitney Biennial]\u0026nbsp;presents a new model that is broader, more contemporary and more sincere than anything that has come before it.\" —\u003ca href=\"http://tmagazine.blogs.nytimes.com/2012/03/02/out-there-live-from-the-whitney-biennial/\"\u003e\u003cem\u003eT Magazine, New York Times\u003c/em\u003e\u0026nbsp;\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"One of the best Whitney Biennials in recent memory may or may not contain a lot more outstanding art than its predecessors, but that’s not the point. The 2012 incarnation is a new and exhilarating species of exhibition, an emerging curatorial life form, at least for New York.\" —\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2012/03/02/arts/design/2012-whitney-biennial.html?_r=1\u0026ref=arts\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\"Every two years, the Whitney Museum of American Art in New York City weighs in on what matters in the art world by mounting an exhibition that lays claim to showing the best, brightest and hippest that contemporary art has to offer. This Whitney Biennial, the 76th in the museum's history, is no exception . . .\" —\u003cem\u003e\u003ca href=\"http://www.npr.org/2012/03/03/147827757/whitneys-2012-biennial-exhibit-parts-with-the-past\"\u003eNPR\u003c/a\u003e\u003cbr\u003e\u003c/em\u003e\u003cbr\u003e\"The 2012 Whitney Biennial is a quiet, incomplete manifesto. It reimagines what a biennial is and explores the ways artists are taking matters into their own hands, resetting the agenda, and fighting back against an art world that had been focused on selling, buzz, and bigness.\" —\u003cem\u003e\u003ca href=\"http://nymag.com/arts/art/reviews/whitney-biennial-saltz-2012-3/\"\u003eNew York Magazine\u0026nbsp;\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2017-04-03T12:47:02.000-04:00","updated_at":"2026-04-27T10:35:51.629-04:00","block_editor":{"data":{"id":"2195","type":"block_editor","attributes":{"id":2195,"exhibition_id":103,"page_id":null,"created_at":"2025-06-16T12:34:13.090-04:00","updated_at":"2025-06-16T12:34:13.090-04:00","regions":[{"data":{"id":"22113","type":"region","attributes":{"id":22113,"position":1,"columns":12,"block_editor_id":2195,"created_at":"2025-02-19T09:51:59.119-05:00","updated_at":"2026-04-27T10:35:51.573-04:00","region_components":[{"data":{"id":"40380","type":"region_component","attributes":{"id":40380,"component_id":5,"component_type":"JumplinkComponent","position":1,"region_id":22113,"created_at":"2025-02-19T09:51:59.130-05:00","updated_at":"2026-04-27T10:35:51.583-04:00","component":{"data":{"id":"5","type":"component","attributes":{"id":5,"exhibition_id":103,"text":"Artists"}}}}}},{"data":{"id":"40381","type":"region_component","attributes":{"id":40381,"component_id":14667,"component_type":"TextComponent","position":2,"region_id":22113,"created_at":"2025-02-19T09:51:59.150-05:00","updated_at":"2026-04-27T10:35:51.599-04:00","component":{"data":{"id":"14667","type":"component","attributes":{"id":14667,"exhibition_id":103,"text":"\u003ch2\u003e2012 Biennial Artists\u003c/h2\u003e\u003cdiv class=\"columns--3 columns--no-spacing\"\u003e\u003cp class=\"large\"\u003eKai Althoff\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Thom-Andersen\"\u003eThom Andersen\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Charles-Atlas\"\u003eCharles Atlas\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Lutz-Bacher\"\u003eLutz Bacher\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Forrest-Bess-by-Robert-Gober\"\u003eForrest Bess(by Robert Gober)\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Michael-Clark\"\u003eMichael Clark\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Cameron-Crawford\"\u003eCameron Crawford\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Moyra-Davey\"\u003eMoyra Davey\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Liz-Deschenes\"\u003eLiz Deschenes\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Nathaniel-Dorsky\"\u003eNathaniel Dorsky\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Nicole-Eisenman\"\u003eNicole Eisenman\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Kevin-Jerome-Everson\"\u003eKevin Jerome Everson\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Vincent-Fecteau\"\u003eVincent Fecteau\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Andrea-Fraser\"\u003eAndrea Fraser\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/LaToya-Ruby-Frazier\"\u003eLaToya Ruby Frazier\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/K8-Hardy\"\u003eK8 Hardy\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Richard-Hawkins\"\u003eRichard Hawkins\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Werner-Herzog\"\u003eWerner Herzog\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Jerome-Hiler\"\u003eJerome Hiler\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Matt-Hoyt\"\u003eMatt Hoyt\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Dawn-Kasper\"\u003eDawn Kasper\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Mike-Kelley\"\u003eMike Kelley\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/John-Kelsey\"\u003eJohn Kelsey\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/John-Knight\"\u003eJohn Knight\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Jutta-Koether\"\u003eJutta Koether\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/George-Kuchar\"\u003eGeorge Kuchar\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Laida-Lertxundi\"\u003eLaida Lertxundi\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Kate-Levant\"\u003eKate Levant\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Sam-Lewitt\"\u003eSam Lewitt\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Joanna-Malinowska\"\u003eJoanna Malinowska\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Andrew-Masullo\"\u003eAndrew Masullo\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Nick-Mauss\"\u003eNick Mauss\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Richard-Maxwell\"\u003eRichard Maxwell\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Sarah-Michelson\"\u003eSarah Michelson\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Alicia-Hall-Moran-And-Jason-Moran\"\u003eAlicia Hall Moran and Jason Moran\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Laura-Poitras\"\u003eLaura Poitras\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Matt-Porterfield\"\u003eMatt Porterfield\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Luther-Price\"\u003eLuther Price\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Lucy-Raven\"\u003eLucy Raven\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/The-Red-Krayola\"\u003eThe Red Krayola\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Kelly-Reichardt\"\u003eKelly Reichardt\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Elaine-Reichek\"\u003eElaine Reichek\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Michael-Robinson\"\u003eMichael Robinson\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Georgia-Sagri\"\u003eGeorgia Sagri\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Michael-E-Smith\"\u003eMichael E. Smith\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Tom-Thayer\"\u003eTom Thayer\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Wu-Tsang\"\u003eWu Tsang\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Oscar-Tuazon\"\u003eOscar Tuazon\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/gisele-vienne-dennis-cooper-stephen-o-malley-and-peter-rehberg\"\u003eGisèle Vienne, Dennis Cooper, Stephen O'Malley, and Peter Rehberg\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2012-biennial/Frederick-Wiseman\"\u003eFrederick Wiseman\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eVincent Gallo\u003c/p\u003e\u003c/div\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"/exhibitions/2012-biennial/on-view\"\u003eView artists by floor\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"68","type":"exhibition","attributes":{"id":68,"title":"Whitney Biennial 2010","start_time":"2010-02-25T00:00:00.000-05:00","end_time":"2010-05-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/2010-biennial","primary_text":"\u003cp class=\"large\"\u003eThis year marks the seventy-fifth edition of the Whitney’s signature exhibition. While Biennials are always affected by the cultural, political, and social moment, this exhibition “simply titled \u003cem\u003e2010\u003c/em\u003e” embodies a cross section of contemporary art production rather than a specific theme. To underscore the idea of time as an element of the Biennial and to demonstrate the influence of the past on \u003cem\u003e2010\u003c/em\u003e, familiar and less well-known artists from previous exhibitions are brought together in \u003ca href=\"/exhibitions/CollectingBiennials\"\u003e\u003cem\u003eCollecting Biennials\u003c/em\u003e\u003c/a\u003e, an accompanying installation drawn from the Museum’s collection on view on the fifth floor. Balancing different media ranging from painting and sculpture to video, photography, performance, and installation,\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003cem\u003e2010\u003c/em\u003e also serves as a two-way telescope through which the Whitney’s past and future can be observed.\u003cbr\u003e\u003cbr\u003eThe artists selected for this year’s exhibition provide diverse responses to the anxiety and optimism characteristic of this moment. At first glance, much of the work in \u003cem\u003e2010\u003c/em\u003e can appear intensely personal and concerned with simple gestures and everyday actions, which might seem at odds with a sense of community and social responsibility. More accurately, however, these artists can be seen as constructing models that can serve as the foundations of lasting communities and sustained critique. Many of the artists in \u003cem\u003e2010\u003c/em\u003e have created spaces for performances and potential encounters between themselves and individuals from different communities. These artists attempt to build collectivity in a new historical moment. Still other artists in\u0026nbsp;\u003cem\u003e2010\u003c/em\u003e look back to the history of modernism, in particular abstraction, as one way to forge a personal, experimental language while also rejuvenating the social potential of abstraction. Many of the images of the body presented in this exhibition are shaped by physical, spiritual, or social violence and bear the scars of war, discrimination, and hatred. These intimate perspectives of the body draw attention to larger social and political issues and are not cynical or hopeless but a form of regeneration, providing individual dignity and a chance to begin anew.\u003cbr\u003e\u003cbr\u003eThe fifty-five artists included in \u003cem\u003e2010\u003c/em\u003e are representative of a much larger and broader world where many more artists are operating and active, each of them part of a rich and lively system from which the Biennial as an exhibition draws its inspiration. This Biennial, like the many that have preceded it, is also directly or indirectly shaped by the Whitney’s distinctive Marcel Breuer building, the Museum’s collection, and the legacy of past Biennial exhibitions, curators, and artists.\u003c/p\u003e\u003cp\u003eSponsored in part by\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.db.com/usa/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/819737/db_day_larger.png\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.sothebys.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818128/official_logo_sothebys_forweb.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eFashion sponsor\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.tommyhilfiger.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/819738/tommy_day.png\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by Laura and Casey Wasserman, Donald R. Mullen, Jr., the National Committee of the Whitney Museum of American Art in honor of Peter Dominick, and the Brown Foundation Inc.\u003c/p\u003e\u003cp\u003eAdditional support is provided by the \u003cem\u003e2010\u003c/em\u003e Friends, chaired by trustee Beth Rudin DeWoody: Philip Aarons and Shelley Fox Aarons, Jill and Darius Bikoff Foundation, Stefan Edlis and Gael Neeson, Rebecca and Marty Eisenberg, Liz and Jay Fensterstock, Marilyn and Larry Fields, Charlotte and Bill Ford, Barbara and Michael Gamson, Melanie Shorin and Greg S. Feldman, and Amanda Steck and Glenn Fuhrman.\u003c/p\u003e\u003cp\u003eFunding for \u003cem\u003e2010\u003c/em\u003e is also provided by endowments created by Melva Bucksbaum, Emily Fisher Landau, and Leonard A. Lauder.\u003c/p\u003e\u003cp\u003eWine sponsor\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.bearflagwine.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/819739/wine_day.png\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eOfficial hotel\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.thesurrey.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/819740/surry_day.png\"\u003e\u003c/a\u003e\u003c/p\u003e","primary_media_id":3568,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2150,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“At a Biennial on a Budget, Tweaking and Provoking”\u003cbr\u003e—\u003ca href=\"http://www.nytimes.com/2010/02/26/arts/design/26biennial.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“I left the museum with a giant burst of happiness for the infinite creativity of America.”\u003cbr\u003e—\u003ca href=\"http://nymag.com/arts/art/reviews/64271/#ixzz0gXmTPb09\"\u003e\u003cem\u003eNew York\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eAudio Slideshow: “Handsome and Restrained”\u003cbr\u003e—\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“. . . this show offers a master class on curating. It balances formal with content-based works, while hinting at an overarching theme on which it hangs its hat.”\u003cbr\u003e—\u003ca href=\"http://newyork.timeout.com/articles/art/83237/2010-whitney-biennial-at-whitney-museum-of-american-art\"\u003e\u003cem\u003eTime Out New York\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Much of the work is the kind you want to spend time with—art that’s worth absorbing, considering, and remembering.”\u003cbr\u003e—\u003ca href=\"http://www.thedailybeast.com/blogs-and-stories/2010-02-24/best-of-the-whitney-biennial/\"\u003e\u003cem\u003eThe Daily Beast\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The Whitney is pre-eminent in its ability to take the temperature of American art.”\u003cbr\u003e—\u003ca href=\"http://www.guardian.co.uk/artanddesign/2010/mar/02/whitney-biennial-2010-american-art\"\u003e\u003cem\u003eThe Guardian\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Good, skillfully arranged, nourishing and digestible. It’s a spread of hard-won works of art you’re pleased to see.”\u003cbr\u003e—\u003ca href=\"http://www.silive.com/entertainment/arts/index.ssf/2010/02/post_11.html\"\u003e\u003cem\u003eStaten Island Advance\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“This is not only the greatest of Whitney Biennials, it is the greatest show ever produced by the Whitney Museum.”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artnet.com/magazineus/features/finch/whitney-biennial2-22-10.asp\"\u003eArtnet\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2017-04-03T12:46:43.000-04:00","updated_at":"2026-04-27T10:26:57.095-04:00","block_editor":{"data":{"id":"2135","type":"block_editor","attributes":{"id":2135,"exhibition_id":68,"page_id":null,"created_at":"2025-06-16T12:34:07.065-04:00","updated_at":"2025-06-16T12:34:07.065-04:00","regions":[{"data":{"id":"22106","type":"region","attributes":{"id":22106,"position":1,"columns":12,"block_editor_id":2135,"created_at":"2025-02-19T09:51:58.576-05:00","updated_at":"2026-04-27T10:26:57.045-04:00","region_components":[{"data":{"id":"40370","type":"region_component","attributes":{"id":40370,"component_id":2,"component_type":"JumplinkComponent","position":1,"region_id":22106,"created_at":"2025-02-19T09:51:58.589-05:00","updated_at":"2026-04-27T10:26:57.058-04:00","component":{"data":{"id":"2","type":"component","attributes":{"id":2,"exhibition_id":68,"text":"Artists"}}}}}},{"data":{"id":"40371","type":"region_component","attributes":{"id":40371,"component_id":14660,"component_type":"TextComponent","position":2,"region_id":22106,"created_at":"2025-02-19T09:51:58.614-05:00","updated_at":"2026-04-27T10:26:57.071-04:00","component":{"data":{"id":"14660","type":"component","attributes":{"id":14660,"exhibition_id":68,"text":"\u003ch2\u003e2010 Artists\u003c/h2\u003e\u003cdiv class=\"columns--3 columns--no-spacing\"\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/David-Adamo\"\u003eDavid Adamo\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Richard-Aldrich\"\u003eRichard Aldrich\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Michael-Asher\"\u003eMichael Asher\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Tauba-Auerbach\"\u003eTauba Auerbach\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Nina-Berman\"\u003eNina Berman\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Huma-Bhabha\"\u003eHuma Bhabha\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Josh-Brand\"\u003eJosh Brand\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/The-Bruce-High-Quality-Foundation\"\u003eThe Bruce High Quality Foundation\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/James-Casebere\"\u003eJames Casebere\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Edgar-Cleijne-And-Ellen-Gallagher\"\u003eEdgar Cleijne and Ellen Gallagher\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Dawn-Clements\"\u003eDawn Clements\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/George-Condo\"\u003eGeorge Condo\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Sarah-Crowner\"\u003eSarah Crowner\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Verne-Dawson\"\u003eVerne Dawson\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Julia-Fish\"\u003eJulia Fish\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Roland-Flexner\"\u003eRoland Flexner\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Suzan-Frecon\"\u003eSuzan Frecon\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Maureen-Gallace\"\u003eMaureen Gallace\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Theaster-Gates\"\u003eTheaster Gates\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Kate-Gilmore\"\u003eKate Gilmore\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Hannah-Greely\"\u003eHannah Greely\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Jesse-Aron-Green\"\u003eJesse Aron Green\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Robert-Grosvenor\"\u003eRobert Grosvenor\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Sharon-Hayes\"\u003eSharon Hayes\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Thomas-Houseago\"\u003eThomas Houseago\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Alex-Hubbard\"\u003eAlex Hubbard\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Jessica-Jackson-Hutchins\"\u003eJessica Jackson Hutchins\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Jeffrey-Inaba\"\u003eJeffrey Inaba\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Martin-Kersels\"\u003eMartin Kersels\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Jim-Lutes\"\u003eJim Lutes\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Babette-Mangolte\"\u003eBabette Mangolte\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Curtis-Mann\"\u003eCurtis Mann\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Ari-Marcopoulos\"\u003eAri Marcopoulos\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Daniel-McDonald\"\u003eDaniel McDonald\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Josephine-Meckseper\"\u003eJosephine Meckseper\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Rashaad-Newsome\"\u003eRashaad Newsome\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Kelly-Nipper\"\u003eKelly Nipper\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Lorraine-OGrady\"\u003eLorraine O’Grady\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/R-H-Quaytman\"\u003eR.H. Quaytman\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Charles-Ray\"\u003eCharles Ray\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Emily-Roysdon\"\u003eEmily Roysdon\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Aki-Sasamoto\"\u003eAki Sasamoto\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Aurel-Schmidt\"\u003eAurel Schmidt\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Scott-Short\"\u003eScott Short\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Stephanie-Sinclair\"\u003eStephanie Sinclair\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Ania-Soliman\"\u003eAnia Soliman\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Storm-Tharp\"\u003eStorm Tharp\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Tam-Tran\"\u003eTam Tran\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Kerry-Tribe\"\u003eKerry Tribe\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Piotr-Uklanski\"\u003ePiotr Uklański\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Lesley-Vance\"\u003eLesley Vance\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Marianne-Vitale\"\u003eMarianne Vitale\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Erika-Vogt\"\u003eErika Vogt\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Pae-White\"\u003ePae White\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/2010-biennial/Robert-Williams\"\u003eRobert Williams\u003c/a\u003e\u003c/p\u003e\u003c/div\u003e"}}}}}}]}}}]}}}}},{"id":"310","type":"exhibition","attributes":{"id":310,"title":"Jennifer and Kevin McCoy: Public Key / Private Key","start_time":"2019-03-05T00:00:00.000-05:00","end_time":"2019-10-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2019","url":"/exhibitions/public-key-private-key","primary_text":"\u003cp class=\"large\"\u003eJennifer and Kevin McCoy's \u003ca href=\"http://mccoyspace.com/publickey/index.html\"\u003e\u003cem\u003ePublic Key / Private Key\u003c/em\u003e\u003c/a\u003e explores museums' ownership of art and the role of donors in building museum collections. For this project, the artists donated an original artwork, a 16mm film, to the Whitney Museum's Special Collection on behalf of members of the public. Visitors to the \u003ca href=\"http://mccoyspace.com/publickey/index.html\"\u003eproject page\u003c/a\u003e can register their names and explain why they would be interested in becoming a donor. Fifty of them will be chosen by the artists on the basis of the originality of their submission.\u003c/p\u003e\u003cp class=\"large\"\u003eThe acquisition of an artwork for a museum collection typically ends the work's market life, permanently associating the donor with the gift. With \u003cem\u003ePublic Key / Private Key\u003c/em\u003e, the artists extend that market life: each donor receives a digital certificate, which they are free to transfer, gift, or sell at will. The digital certificates are based on a blockchain, a technology also used in cryptocurrencies to ensure the uniqueness of a transaction. The blockchain becomes a method of recording the work's provenance as the list of fifty donors evolves through the transfer of the digital certificates over time. The changing list of donors will be tracked for six months on whitney.org. The \u003cem\u003ePublic Key / Private Key\u0026nbsp;\u003c/em\u003efilm also has a blockchain key embedded in it and, should it be shown as part of an exhibition at the Whitney Museum, the first audience member to take note of and submit the key to the artists will become the fifty-first donor of record. \u003cem\u003ePublic Key / Private Key\u0026nbsp;\u003c/em\u003ecomplicates the traditional relationship between museum, benefactor, and audience, turning the public into donors as well as viewers, able to trade and transfer their title.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eDonors for \u003cem\u003ePublic Key / Private Key\u003c/em\u003e will be recorded through November 4, 2019.\u003c/strong\u003e\u003c/p\u003e","primary_media_id":41388,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"Artists Jennifer and Kevin McCoy combine an essay contest, a mysterious film, and a blockchain to shift the debate about arts patronage.\"\u003cbr\u003e—\u003ca href=\"https://news.artnet.com/exhibitions/public-private-key-whitney-1491694\"\u003e\u003cem\u003eartnet\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2019-02-19T17:17:21.357-05:00","updated_at":"2026-04-27T10:23:35.233-04:00","block_editor":{"data":{"id":"2475","type":"block_editor","attributes":{"id":2475,"exhibition_id":310,"page_id":null,"created_at":"2025-06-16T12:34:40.111-04:00","updated_at":"2025-06-16T12:34:40.111-04:00","regions":[{"data":{"id":"22193","type":"region","attributes":{"id":22193,"position":1,"columns":12,"block_editor_id":2475,"created_at":"2025-02-19T09:52:02.099-05:00","updated_at":"2026-04-27T10:23:35.099-04:00","region_components":[{"data":{"id":"40469","type":"region_component","attributes":{"id":40469,"component_id":14728,"component_type":"TextComponent","position":1,"region_id":22193,"created_at":"2025-02-19T09:52:02.106-05:00","updated_at":"2026-04-27T10:23:35.120-04:00","component":{"data":{"id":"14728","type":"component","attributes":{"id":14728,"exhibition_id":310,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJennifer and Kevin McCoy\u003c/strong\u003e’s multimedia artworks examine the genres and conventions of filmmaking, memory, and language. They are well-known for constructing subjective databases of narrative material and making fragmentary miniature film sets with lights, video cameras, and moving sculptural elements to create live cinematic events.\u003c/p\u003e\u003cp class=\"large\"\u003eThe McCoys' work has been widely exhibited in the U.S. and internationally at venues including the Centre Pompidou, Paris; the Museum of Modern Art, New York; BFI (British Film Institute), London; Hannover Kunstverein; the Beall Center, Irvine, CA; pkm Gallery, Beijing; the San Jose Museum of Art; Palazzo della Papesse, Siena; the Addison Museum of American Art, Andover, MA; the Sundance Film Festival, and Artists Space, New York. Their work is in the collections of the Museum of Modern Art; the Metropolitan Museum of Art, New York; the Milwaukee Art Museum; the 21C Museum; and the Speed Museum, Louisville, KY. They received a Creative Capital Award in 2003, the Wired Rave Award for Art in 2005, a Guggenheim Fellowship in 2011, and a Headlands Alumni Award in 2014.\u003c/p\u003e"}}}}}},{"data":{"id":"41764","type":"region_component","attributes":{"id":41764,"component_id":3424,"component_type":"HorizontalRuleComponent","position":2,"region_id":22193,"created_at":"2025-05-19T18:17:07.675-04:00","updated_at":"2026-04-27T10:23:35.133-04:00","component":{"data":{"id":"3424","type":"component","attributes":{"id":3424,"exhibition_id":310}}}}}},{"data":{"id":"41765","type":"region_component","attributes":{"id":41765,"component_id":15125,"component_type":"TextComponent","position":3,"region_id":22193,"created_at":"2025-05-19T18:17:07.680-04:00","updated_at":"2026-04-27T10:23:35.140-04:00","component":{"data":{"id":"15125","type":"component","attributes":{"id":15125,"exhibition_id":310,"text":"\u003ch2\u003eDonors of record\u003c/h2\u003e\u003cp\u003e\u003cstrong\u003eList as of July 22, 2019\u003c/strong\u003e\u003c/p\u003e\u003cdiv class=\"columns--3 columns--no-spacing\"\u003e\u003cp\u003eTim Medland\u003c/p\u003e\u003cp\u003eSylvia Grace Borda\u003c/p\u003e\u003cp\u003eJ. Arakaki\u003c/p\u003e\u003cp\u003eTheo Haegele\u003c/p\u003e\u003cp\u003eMisha Libman\u003c/p\u003e\u003cp\u003eAdrian Pobric\u003c/p\u003e\u003cp\u003eJanet M. Wolski\u003c/p\u003e\u003cp\u003eLaura Fong\u003c/p\u003e\u003cp\u003eAlexis Hyde\u003c/p\u003e\u003cp\u003eRita Guimarães\u003c/p\u003e\u003cp\u003e@zaphodok\u003c/p\u003e\u003cp\u003eJulia Bradshaw\u003c/p\u003e\u003cp\u003eDonna Champion\u003c/p\u003e\u003cp\u003eAubree J. Penney\u003c/p\u003e\u003cp\u003eWilliam Miles Nathan\u003c/p\u003e\u003cp\u003eDanny Goodwin\u003c/p\u003e\u003cp\u003eJon Bella\u003c/p\u003e\u003cp\u003ePaul D. McNair\u003c/p\u003e\u003cp\u003epandasnetwork.org\u003c/p\u003e\u003cp\u003ePatrick Meagher\u003c/p\u003e\u003cp\u003eNoa Dolberg\u003c/p\u003e\u003cp\u003eTaylor Healy\u003c/p\u003e\u003cp\u003eAnne Bracegirdle\u003c/p\u003e\u003cp\u003eVladimir Ivanov\u003c/p\u003e\u003cp\u003eHaley Patterson\u003c/p\u003e\u003cp\u003eDr. Aaron R. Brough\u003c/p\u003e\u003cp\u003eSherone Rabinovitz\u003c/p\u003e\u003cp\u003ePeter Rostovsky\u003c/p\u003e\u003cp\u003eJohn Powers\u003c/p\u003e\u003cp\u003eFurtherfield\u003c/p\u003e\u003cp\u003eJennifer Dalton\u003c/p\u003e\u003cp\u003eWilliam Powhida\u003c/p\u003e\u003cp\u003eMichael Connor\u003c/p\u003e\u003cp\u003eTim Whidden\u003c/p\u003e\u003cp\u003eMiyoung Lee\u003c/p\u003e\u003cp\u003eJack + Leigh Ruby\u003c/p\u003e\u003cp\u003eBert Green\u003c/p\u003e\u003cp\u003eTravis LeRoy Southworth\u003c/p\u003e\u003cp\u003eMichael Mandiberg\u003c/p\u003e\u003cp\u003eChristen Clifford\u003c/p\u003e\u003cp\u003eMan\u003c/p\u003e\u003cp\u003ePatrick Lichty\u003c/p\u003e\u003cp\u003eJennifer L. Ball\u003c/p\u003e\u003cp\u003ePaddy Anne Johnson\u003c/p\u003e\u003cp\u003eYael Kanarek\u003c/p\u003e\u003cp\u003eLoVid\u003c/p\u003e\u003cp\u003eMark Tribe\u003c/p\u003e\u003cp\u003eBob Szantyr\u003c/p\u003e\u003cp\u003eDavid Grubbs\u003c/p\u003e\u003cp\u003eTodd Mueller\u003c/p\u003e\u003c/div\u003e"}}}}}}]}}}]}}}}},{"id":"2301","type":"exhibition","attributes":{"id":2301,"title":"“Untitled” (America)","start_time":"2025-07-05T00:00:00.000-04:00","end_time":"2029-06-05T00:00:00.000-04:00","member_start_time":"2025-07-02T00:00:00.000-04:00","member_end_time":"2025-07-04T00:00:00.000-04:00","date_override":"","url":"/exhibitions/untitled-america","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eThis exhibition opened July 5, 2025 and will be on continuous view.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition features renowned works from the Whitney’s collection alongside recent acquisitions, highlighting key ideas and approaches in American art from 1900 through the early 1980s. Beginning with the Whitney’s robust holdings in figurative and realist traditions, the presentation considers how artists have responded to place and memory in the American landscape, popular culture and the rise of consumerism, the seductions and illusions of mass media, and the spatial and cultural dynamics of abstraction.\u003c/p\u003e\u003cp class=\"large\"\u003eIn 1930 sculptor and philanthropist \u003ca href=\"/artists/1415\"\u003eGertrude Vanderbilt Whitney\u003c/a\u003e founded the Whitney Museum of American Art as a means of supporting living artists and creating a platform for contemporary American art. Her vision has inspired the Museum’s collecting practice for nearly a century, even as the very idea of “America” has continued to evolve. \u003cem\u003e“\u003c/em\u003e\u003ca href=\"/collection/works/27963\"\u003e\u003cem\u003eUntitled” (America)\u003c/em\u003e\u003c/a\u003e pays homage to artist \u003ca href=\"/artists/3454\"\u003eFelix Gonzalez-Torres\u003c/a\u003e, whose work of the same title illuminates a window in the exhibition, creating a passage between the Museum and the world beyond. Writing about this work, Gonzalez-Torres reflected: “America has always been an unattainable dream, a place to dream about. . . . The America that I now know is still a place of light, a place of opportunities, of risks, of justice, of racism, of injustice, of hunger and excess, of pleasure and growth. Democracy is a constant job, a collective dedication.” In that spirit, this presentation invites viewers to explore the distinct visions of “America” put forth by artists as they took stock of the pressing ideas of their time and imagined new possibilities.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003e“Untitled” (America)\u003c/em\u003e is organized by Kim Conaty, Nancy and Steve Crown Family Chief Curator, with Antonia Pocock, Curatorial Assistant.\u003c/p\u003e\u003cp class=\"large\"\u003eThis presentation of the Whitney’s collection is dedicated to the memory of Leonard A. Lauder, Chairman Emeritus.\u003c/p\u003e\u003cp\u003e\u003cem\u003eUntitled (America)\u0026nbsp;\u003c/em\u003eis sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823977/MM_logo_black.jpg\" style=\"height:25px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Judy Hart Angelo, the Barbara Haskell American Fellows Legacy Fund, Lise and Michael Evans, Meg and Bennett Goodman, The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely, Stephanie March and Dan Benton, and The Ron and Kerry Moelis Family Foundation.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Jill and Darius Bikoff and Elizabeth Marsteller Gordon.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Erving and Joyce Wolf Foundation, Timothy Greensfelder, the O’Grady Foundation, Susanne and William E. Pritchard III, the Thomas \u0026amp; Linda Koehn Foundation, and an anonymous donor.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Ann Ames.\u003c/p\u003e\u003cp\u003eSpanish translation for “\u003cem\u003eUntitled” \u0026nbsp;(America)\u003c/em\u003e is made possible through the support of Claudia Laviada and Carlos Rohm, and Stephanie March and Dan Benton.\u003c/p\u003e","primary_media_id":63991,"override_media_id":null,"sign_media_id":42148,"feature_id":107,"artwork_series_id":null,"installation_series_id":2650,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-06-11T10:53:23.306-04:00","updated_at":"2026-04-20T16:11:19.625-04:00","block_editor":{"data":{"id":"5851","type":"block_editor","attributes":{"id":5851,"exhibition_id":2301,"page_id":null,"created_at":"2025-06-16T12:38:42.524-04:00","updated_at":"2025-06-16T12:38:42.524-04:00","regions":[]}}}}},{"id":"1383","type":"exhibition","attributes":{"id":1383,"title":"At Odds With","start_time":"2024-05-09T00:00:00.000-04:00","end_time":"2024-05-24T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 9, 2024–May 24, 2024","url":"/exhibitions/at-odds-with","primary_text":"\u003cp data-pm-slice=\"1 1 []\" class=\"large\"\u003e\u003cstrong\u003e2024 ISP Studio Exhibition\u003c/strong\u003e\u003cbr\u003e\u003cstrong\u003eMay 9, 2024–May 24, 2024\u003c/strong\u003e\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\" class=\"large\"\u003eWestbeth Gallery, 55 Bethune Street\u003cbr\u003eOpening: Thursday, May 9, 6–8 pm\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\" class=\"large\"\u003eGallery Hours for ISP: Wednesday–Sunday: 1-6 pm; Closed Monday, Tuesday\u003c/p\u003e\u003cp class=\"large\"\u003eThe Studio Program exhibition, \u003cem\u003eAt Odds With,\u003c/em\u003e presents recent work by the 2023–24 Elaine G. Weitzen ISP Studio Program Fellows S Emsaki, Kimi Hanauer, sadé powell, Albert Samreth, Shobun Baile, Mae Howard, Alison Nguyen, Elliot Reed, Omolola Ajao, José De Sancristóbal, Daniel Ramos, tarah douglas, Kearra Amaya Gopee, Emily Velez Nelms, and Jennifer Teresa Villanueva, and Helena Rubinstein Curatorial Fellow Ella den Elzen. Curated by Juana Berrío, the exhibition will be on view May 9–24 at Westbeth Gallery, a nonprofit fine arts gallery located across the street from the ISP at 55 Bethune St, New York, NY 10014. An opening reception for \u003cem\u003eAt Odds With\u003c/em\u003e will be held at Westbeth Gallery on Thursday, May 9 from 6–8 pm.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eWheelchair Accessibility\u0026nbsp;\u003c/strong\u003e\u003cbr\u003eThe Westbeth Gallery is located within a courtyard, which has two step-free accessible entrances.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBank Street Courtyard Entrance\u003c/strong\u003e\u003cbr\u003eThe doorway from the street leads directly to a ramp, providing access to the courtyard. From there, proceed straight ahead and then turn left to reach the main gallery doors.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e55 Bethune Street Entrance\u003c/strong\u003e\u003cbr\u003eA ramp with handrails guides you from the sidewalk to the lobby. Upon entering the lobby, turn right and continue to the end of the hallway. Pass through the two sets of push-button glass doors that will lead you to the courtyard. Once in the courtyard, go straight ahead and then turn right to reach the gallery doors.\u003c/p\u003e\u003cp\u003eWestbeth gallery has a wheelchair accessible bathroom.\u003c/p\u003e\u003cp class=\"large\"\u003eThere is no ticketing required, admission is free.\u003c/p\u003e","primary_media_id":58586,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2623,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-04-16T14:33:12.785-04:00","updated_at":"2026-04-17T14:35:17.769-04:00","block_editor":{"data":{"id":"4171","type":"block_editor","attributes":{"id":4171,"exhibition_id":1383,"page_id":null,"created_at":"2025-06-16T12:38:25.705-04:00","updated_at":"2025-06-16T12:38:25.705-04:00","regions":[{"data":{"id":"22251","type":"region","attributes":{"id":22251,"position":1,"columns":12,"block_editor_id":4171,"created_at":"2025-02-19T09:52:07.172-05:00","updated_at":"2026-04-17T14:35:17.575-04:00","region_components":[{"data":{"id":"40555","type":"region_component","attributes":{"id":40555,"component_id":14778,"component_type":"TextComponent","position":1,"region_id":22251,"created_at":"2025-02-19T09:52:07.180-05:00","updated_at":"2026-04-17T14:35:17.618-04:00","component":{"data":{"id":"14778","type":"component","attributes":{"id":14778,"exhibition_id":1383,"text":"\u003cp data-pm-slice=\"1 1 []\" class=\"large\"\u003e\u003cstrong\u003eStudio Program Elaine G. Weitzen Fellows\u003c/strong\u003e\u003cbr\u003eOmolola Ajao\u003cbr\u003eShobun Baile\u003cbr\u003etarah douglas\u003cbr\u003eElla den Elzen\u003cbr\u003eS Emsaki\u003cbr\u003eKearra Amaya Gopee\u003cbr\u003eKimi Hanauer\u003cbr\u003eMae Howard\u003cbr\u003eEmily Velez Nelms\u003cbr\u003eAlison Nguyen\u003cbr\u003esadé powell\u003cbr\u003eDaniel Ramos\u003cbr\u003eElliot Reed\u003cbr\u003eAlbert Samreth\u003cbr\u003eJosé De Sancristóbal\u003cbr\u003eJennifer Teresa Villanueva\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eHelena Rubinstein Curatorial Program Fellow\u003c/strong\u003e\u003cbr\u003eElla den Elzen\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eCurator\u003c/strong\u003e\u003cbr\u003eJuana Berrío\u003c/p\u003e"}}}}}},{"data":{"id":"41759","type":"region_component","attributes":{"id":41759,"component_id":3422,"component_type":"HorizontalRuleComponent","position":2,"region_id":22251,"created_at":"2025-05-19T18:14:54.559-04:00","updated_at":"2026-04-17T14:35:17.662-04:00","component":{"data":{"id":"3422","type":"component","attributes":{"id":3422,"exhibition_id":1383}}}}}},{"data":{"id":"41760","type":"region_component","attributes":{"id":41760,"component_id":15122,"component_type":"TextComponent","position":3,"region_id":22251,"created_at":"2025-05-19T18:14:54.591-04:00","updated_at":"2026-04-17T14:35:17.707-04:00","component":{"data":{"id":"15122","type":"component","attributes":{"id":15122,"exhibition_id":1383,"text":"\u003cp\u003eGenerous support for the Independent Study Program is provided by Joanne Leonhardt Cassullo, the Elaine Graham Weitzen Foundation for Fine Art, the Dorothea L. Leonhardt Foundation, the Helena Rubinstein Foundation, and Diane and Robert Moss.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Capital Group Charitable Foundation, Margaret Morgan and Wesley Phoa, Gloria H. Spivak, and the Whitney Contemporaries through their annual Art Party benefit.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1391","type":"exhibition","attributes":{"id":1391,"title":"Shifting Landscapes","start_time":"2024-11-01T00:00:00.000-04:00","end_time":"2026-01-25T00:00:00.000-05:00","member_start_time":"2024-10-30T00:00:00.000-04:00","member_end_time":"2024-10-31T00:00:00.000-04:00","date_override":"","url":"/exhibitions/shifting-landscapes","primary_text":"\u003cp class=\"large\"\u003eWhile the landscape genre has long been associated with picturesque vistas, \u003cem\u003eShifting Landscapes\u003c/em\u003e considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eShifting Landscapes\u003c/em\u003e is organized by Jennie Goldstein, Jennifer Rubio Associate Curator of the Collection; Marcela Guerrero, DeMartini Family Curator; Roxanne Smith, Senior Curatorial Assistant; with Angelica Arbelaez, Rubio Butterfield Family Fellow; with thanks to Araceli Bremauntz-Enriquez and J. English Cook for research support.\u003c/p\u003e\u003cp\u003eReview \u003ca href=\"/exhibitions/shifting-landscapes/accessibility-information\"\u003eaccessibility information\u003c/a\u003e before visiting Shifting Landscapes.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eShifting Landscapes\u0026nbsp;\u003c/em\u003eis provided by Judy Hart Angelo, the Henry Luce Foundation, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by the Terra Foundation for American Art.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Keith Haring Foundation Exhibition Fund.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/827961/___.png\" style=\" height: 36px;\"\u003e\u003c/em\u003e\u003c/p\u003e","primary_media_id":63993,"override_media_id":null,"sign_media_id":62775,"feature_id":99,"artwork_series_id":null,"installation_series_id":2632,"perspective_series_id":null,"press_highlights":"","audio_description":"\u003cp\u003e\u003cspan data-teams=\"true\"\u003eChelsey Pellot, Assistant Manager of Foundation \u0026amp; Government Relations, writes about the perfect soundtrack for\u0026nbsp;\u003c/span\u003e\u003cspan data-teams=\"true\"\u003e\u003ca href=\"/exhibitions/shifting-landscapes\"\u003e\u003cem\u003eShifting Landscapes\u003c/em\u003e\u003c/a\u003e\u003c/span\u003e\u003cspan data-teams=\"true\"\u003e\u003cem\u003e.\u003c/em\u003e\u003c/span\u003e\u003c/p\u003e\u003cp\u003eWith its themes of cultural resistance, reclamation, and preservation, Bad Bunny’s 2025 album, \u003cem\u003eDeBÍ TiRAR MáS FOTo\u003c/em\u003e\u003cem\u003eS,\u003c/em\u003e is the perfect soundtrack to \u003cem\u003eShifting Landscapes\u003c/em\u003e. Song by song, it directly overlaps with the exhibition’s core issues, offering a unique sonar and visual experience when paired together. \u0026nbsp;\u003c/p\u003e\u003cp\u003eThe album’s opening track, \u003cem\u003eNUEVAYoL\u003c/em\u003e, pays homage to New York City’s influence on Puerto Rican culture, a history explored in \u003cem\u003eShifting Landscapes\u003c/em\u003e’s New York Cityscapes section, which features Nuyorican artists such as J\u003ca href=\"/artists/69\"\u003eean-Michel Basquiat\u003c/a\u003e, \u003ca href=\"/artists/20466\"\u003eMiguel Luciano\u003c/a\u003e, \u003ca href=\"/artists/20499\"\u003eHiram Maristany\u003c/a\u003e, \u003ca href=\"/artists/19093\"\u003eSophie Rivera\u003c/a\u003e, and \u003ca href=\"/artists/20993\"\u003eRigoberto Torres\u003c/a\u003e. These artists demonstrate that the influence goes both ways—Puerto Rico has had an immense impact on how we experience the Big Apple or la gran manzana. \u0026nbsp;\u003c/p\u003e\u003cp\u003eThe song\u003cem\u003e\u0026nbsp;LO QUE LE PASÓ A HAWAii\u003c/em\u003e draws parallels between Hawai’i and Puerto Rico’s complex relationships to the United States. It provides a somber soundtrack to Piliāmo‘o’s photographs depicting how the multiyear construction of the H-3 Interstate in O‘ahu, initiated by the U.S. government, impacted local communities.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003ePERFuMITO NUEVO\u003c/em\u003e captures the essence of the other-worldly figure portrayed in \u003ca href=\"/artists/20273\"\u003eDalton Gata\u003c/a\u003e’s painting \u003ca href=\"/collection/works/65159\"\u003e\u003cem\u003eI Don’t Need You To Be Warm\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;w\u003c/em\u003eith its ethereal sound and dreamlike lyrics. Wearing a billowing furry coat, shiny black stiletto boots, and a crown of fire atop flowing blond hair, “The figure in Gata’s painting fashions a sense of self-confidence that is alluring,” the exhibition’s curator, Marcela Guerrero, observes. “She might very well be who Bad Bunny is singing about when he says ‘No parece leo ni escorpio; Pa mí que ella tiene su propio signo; Fría, sentimental, está en temporada de portarse mal.’” (“She doesn’t look like a Leo or Scorpio; I think she has her own sign; cold, sentimental, she’s in the season of misbehaving.”) \u0026nbsp;The exploration of evolving political, ecological, and social issues, and how artists portray the world around them, is the crux of \u003cem\u003eShifting Landscapes\u003c/em\u003e, and mirrors Bad Bunny's similar inspirations and motivations behind his powerful work of art, \u003cem\u003eDeBÍ TiRAR MáS FOTo\u003c/em\u003e\u003cem\u003eS\u003c/em\u003e.\u003c/p\u003e","videos_description":"","created_at":"2024-07-11T17:09:04.456-04:00","updated_at":"2026-04-15T15:18:43.182-04:00","block_editor":{"data":{"id":"4187","type":"block_editor","attributes":{"id":4187,"exhibition_id":1391,"page_id":null,"created_at":"2025-06-16T12:38:26.591-04:00","updated_at":"2025-06-16T12:38:26.591-04:00","regions":[]}}}}},{"id":"1136","type":"exhibition","attributes":{"id":1136,"title":"Myron Turner: Bstat Zero","start_time":"2006-02-01T00:00:00.000-05:00","end_time":"2006-02-28T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"February 2006","url":"/exhibitions/myron-turner","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/10615\"\u003eMyron Turner\u003c/a\u003e’s \u003cem\u003eBstat Zero\u003c/em\u003e is an interactive “log analyzer” examining the logs that record visits to web servers and revealing the hidden architecture and interconnectedness of websites. When activated, it was a cooperative project focusing on the sites of new media artists and groups. Instead of standard web-traffic statistics, the tool emphasizes the origins of that traffic, such as specific countries, domains, IP addresses, browsers, and referral sources, including search engines and other websites. \u003cem\u003eBstat Zero\u003c/em\u003e originally performed cross-site comparisons by operating in two versions: one hosted on participating artists’ websites and another on BstatZero.org, where archives from participants were collected and analyzed. The project enabled users to explore patterns of viewership across multiple sites, examining who was visiting, how they arrived, and when. By exposing these data trails, \u003cem\u003eBstat Zero\u003c/em\u003e challenged the boundaries between public and private information online and offered insight into the relationship between the individual and the network.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003eBstat Zero\u003c/em\u003e relies on a network of sites that are no longer active, along with CGI scripts that may no longer function correctly.\u003c/p\u003e","primary_media_id":56634,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-03T10:02:44.200-04:00","updated_at":"2026-04-14T16:54:12.298-04:00","block_editor":{"data":{"id":"3777","type":"block_editor","attributes":{"id":3777,"exhibition_id":1136,"page_id":null,"created_at":"2025-06-16T12:38:22.019-04:00","updated_at":"2025-06-16T12:38:22.019-04:00","regions":[{"data":{"id":"24213","type":"region","attributes":{"id":24213,"position":1,"columns":12,"block_editor_id":3777,"created_at":"2026-04-14T16:51:43.422-04:00","updated_at":"2026-04-14T16:54:12.264-04:00","region_components":[{"data":{"id":"44490","type":"region_component","attributes":{"id":44490,"component_id":15992,"component_type":"TextComponent","position":1,"region_id":24213,"created_at":"2026-04-14T16:51:43.448-04:00","updated_at":"2026-04-14T16:54:12.270-04:00","component":{"data":{"id":"15992","type":"component","attributes":{"id":15992,"exhibition_id":1136,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMyron Turner\u003c/strong\u003e (b. 1935; Winnipeg, Canada) combines photography, lightboxes, printmaking, and computers in his work. He has exhibited in galleries and artist-run centers throughout Canada, as well as in the United States, the United Kingdom, and South America. His digitally produced woodblock prints have won several awards at Boston Printmakers North American Biennials. Turner has worked with the web as a medium since 1994, and his web-based art has been included in online exhibitions and collections such as the runme.org software art repository, the Rhizome Artbase, Machinista 2003, and the JavaMuseum. In Canada, he has received new media grants from the Banff Centre for Arts and Creativity (1998, 1999, 2000) and cofounded the Manitoba Visual Arts Program in 1994.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1107","type":"exhibition","attributes":{"id":1107,"title":"Fragments of a Faith Forgotten: The Art of Harry Smith","start_time":"2023-10-04T00:00:00.000-04:00","end_time":"2024-01-28T00:00:00.000-05:00","member_start_time":"2023-09-28T00:00:00.000-04:00","member_end_time":"2023-10-02T00:00:00.000-04:00","date_override":"","url":"/exhibitions/harry-smith","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/14419\"\u003eHarry Smith\u003c/a\u003e (1923–1991) was a painter, filmmaker, folklorist, musicologist, and collector as well as a radical nonconformist whose work defies categorization. Although his creative output includes paintings, films, poetry, music, and sound recordings, it also consists of extensive collections of overlooked yet revealing objects, such as string figures and found paper airplanes. His best-known work, a compilation of recordings from the 1920s and 1930s titled the \u003cem\u003eAnthology of American Folk Music\u003c/em\u003e, achieved cultlike status among many musicians and listeners since it was first published in 1952.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eFragments of a Faith Forgotten: The Art of Harry Smith\u003c/em\u003e puts the artist's life on display alongside his art and collections. It follows him from an isolated Depression-era childhood in the Pacific Northwest—a time when he was immersed in ecstatic religious philosophies and Native American ceremony—to his bohemian youth of marijuana, peyote, and intellectualism in postwar Berkeley, California. The exhibition also traces his path through the milieus of bebop and experimental cinema in San Francisco to his decades in New York, where he was an essential part of the city's avant-garde fringe.\u003c/p\u003e\u003cp class=\"large\"\u003eKeenly attuned to changing technology, Smith embraced innovation and used whatever was new and of the moment. At the same time, his lifelong interest in abstract art, ancient traditions, metaphysics, spiritualism, folk art, and world music came to the fore even as he devised ingenious ways of collecting sounds and creating films. These concerns make Smith's work feel increasingly prescient as collecting and sharing come into view as creative acts that are necessary for drawing meaning from the glut of images and juxtaposition of cultures we encounter every day.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is co-organized by the Whitney Museum of American Art and the Carpenter Center for the Visual Arts at Harvard University, where a version of the project will open in July 2024. The exhibition is curated by artist Carol Bove; Dan Byers, the John R. and Barbara Robinson Director of the Carpenter Center for the Visual Arts; Rani Singh, Director of the Harry Smith Archives; Elisabeth Sussman, Curator at the Whitney Museum of American Art; with Kelly Long, Senior Curatorial Assistant, and McClain Groff, Curatorial Project Assistant, at the Whitney Museum of American Art.\u003c/p\u003e\u003cp class=\"large\"\u003ePlease read about the exhibition’s \u003ca href=\"/exhibitions/harry-smith/accessibility-information\"\u003eaccessibility information\u003c/a\u003e before visiting \u003cem\u003eFragments of a Faith Forgotten: The Art of Harry Smith.\u003c/em\u003e\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eFragments of a Faith Forgotten: The Art of Harry Smith\u003c/em\u003e is provided by The Andy Warhol Foundation for the Visual Arts.\u003c/p\u003e\u003cp\u003eIn New York, generous support is provided by Judy Hart Angelo, The Philip and Janice Levin Foundation, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The June Leaf and Robert Frank Foundation.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Michèle Gerber Klein, The Robert Mapplethorpe Foundation, and the Yurman Family Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823795/Default_Logo_AWF.jpg\" style=\" height: 35px;\"\u003e\u003c/p\u003e","primary_media_id":55656,"override_media_id":null,"sign_media_id":null,"feature_id":54,"artwork_series_id":null,"installation_series_id":2605,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Looking through ‘Fragments,' you’ll see things that feel familiar and unremarkable, but together they embody a remarkable set of connections. You’re seeing the traces of the person who made the connections first and brought a riot of dissimilar notions into a single space.” —\u003ca href=\"https://www.artforum.com/columns/sasha-frere-jones-harry-smiths-fragments-of-a-faith-forgotten-512490/\"\u003e\u003cem\u003eArtforum\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“‘Far-out’ is an accurate, but inadequate, descriptor for the high-flying (and often plain high) cultural magus named Harry Smith” —\u003ca href=\"https://www.nytimes.com/2023/10/07/arts/design/harry-smith-whitney-review-artist-collector.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…this show will garner much-deserved attention and a far wider audience than he achieved in his lifetime.” —\u003ca href=\"https://artlyst.com/reviews/new-york-gallery-art-notes-autumn-2023-ilka-scobie/\"\u003e\u003cem\u003eArtlyst\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The exhibition makes the viewer want to enter a time machine and be transported back to one of his hotel room collections.” —\u003ca href=\"https://brooklynrail.org/2023/11/artseen/Harry-Smith-Fragments-of-a-Faith-Forgotten\"\u003e\u003cem\u003eBrooklyn Rail\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...a potent dose of homegrown uplift” —\u003ca href=\"https://www.nytimes.com/2023/09/02/arts/design/holland-cotter-art-exhibitions-museums-fall.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...an unusual, but thrilling new show” —\u003ca href=\"https://news.artnet.com/multimedia/the-art-angle-podcast-artist-carol-bove-on-curating-legendary-polymath-harry-smith-2365920\"\u003e\u003cem\u003eArtnet\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"\u003cp class=\"large\"\u003eThe highly influential multivolume \u003cem\u003eAnthology of American Folk Musi\u003c/em\u003ec, first released by Folkways Records in 1952, marks Smith’s efforts to preserve American song as both art and artifact. Most, but not all, of the tracks are available on Spotify. The version here is not complete, but it is very close.\u003c/p\u003e\u003cp class=\"large\"\u003eAnd in this podcast minisode hear from\u003cem\u003e\u0026nbsp;\u003c/em\u003eGreil Marcus, acclaimed music author, journalist, and critic, about the broad and lasting impact of Smith's\u003cem\u003e\u0026nbsp;\u003c/em\u003eAnthology.\u003c/p\u003e","videos_description":"","created_at":"2023-09-19T14:50:43.498-04:00","updated_at":"2026-04-14T16:52:21.749-04:00","block_editor":{"data":{"id":"3721","type":"block_editor","attributes":{"id":3721,"exhibition_id":1107,"page_id":null,"created_at":"2025-06-16T12:38:20.428-04:00","updated_at":"2025-06-16T12:38:20.428-04:00","regions":[{"data":{"id":"22241","type":"region","attributes":{"id":22241,"position":1,"columns":12,"block_editor_id":3721,"created_at":"2025-02-19T09:52:05.861-05:00","updated_at":"2026-04-14T16:52:21.453-04:00","region_components":[{"data":{"id":"40539","type":"region_component","attributes":{"id":40539,"component_id":35,"component_type":"JumplinkComponent","position":1,"region_id":22241,"created_at":"2025-02-19T09:52:05.867-05:00","updated_at":"2026-04-14T16:52:21.543-04:00","component":{"data":{"id":"35","type":"component","attributes":{"id":35,"exhibition_id":1107,"text":"My Harry"}}}}}},{"data":{"id":"40540","type":"region_component","attributes":{"id":40540,"component_id":14768,"component_type":"TextComponent","position":2,"region_id":22241,"created_at":"2025-02-19T09:52:05.880-05:00","updated_at":"2026-04-14T16:52:21.601-04:00","component":{"data":{"id":"14768","type":"component","attributes":{"id":14768,"exhibition_id":1107,"text":"\u003ch2\u003eMy Harry\u003c/h2\u003e\u003cp class=\"large\"\u003eFrom December 8–10, 2023 we hosted \u003cem\u003eMy Harry\u003c/em\u003e, a weekend of programs bringing together some of Smith’s devoted friends and aficionados, all of whom have championed the unclassifiable artist, filmmaker, musicologist, and collector since his death in 1991. This mini-festival celebrated his eclectic life and serpentine pursuits with a series of talks, conversations, listening sessions, screenings, games, and live music.\u003c/p\u003e\u003cp\u003e\u003ca href=\"/my-harry\" class=\"btn\"\u003eLearn More about the My Harry Events\u003c/a\u003e\u003c/p\u003e"}}}}}},{"data":{"id":"41511","type":"region_component","attributes":{"id":41511,"component_id":3363,"component_type":"HorizontalRuleComponent","position":3,"region_id":22241,"created_at":"2025-04-30T14:16:07.166-04:00","updated_at":"2026-04-14T16:52:21.614-04:00","component":{"data":{"id":"3363","type":"component","attributes":{"id":3363,"exhibition_id":1107}}}}}},{"data":{"id":"41512","type":"region_component","attributes":{"id":41512,"component_id":15029,"component_type":"TextComponent","position":4,"region_id":22241,"created_at":"2025-04-30T14:16:07.172-04:00","updated_at":"2026-04-14T16:52:21.637-04:00","component":{"data":{"id":"15029","type":"component","attributes":{"id":15029,"exhibition_id":1107,"text":"\u003ch2\u003eRelated events \u0026amp; resources\u003c/h2\u003e\u003cp class=\"large\"\u003eIn conjunction with this exhibition, there are many events celebrating Smith’s centenary and the wide range of his interests, from music and art to spiritualism and metaphysics. We've gathered a list of Harry Smith–related happenings in and around New York City in addition to the Whitney’s programs and events. And check out the Harry Smith Archives for additional reading and resources.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/harry-smith/new-york-events\" class=\"btn\"\u003eEvents in and around New York City\u003c/a\u003e\u003ca href=\"https://harrysmitharchives.com/\" class=\"btn\"\u003eHarry Smith Archives\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1135","type":"exhibition","attributes":{"id":1135,"title":"Abe Linkoln + Marisa Olson: ABE \u0026amp; MO “SING THE BLOGS”","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"January 2006","url":"/exhibitions/linkoln-olson","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eABE \u0026amp; MO “SING THE BLOGS”\u003c/em\u003e is a conceptual online “album” featuring \u003ca href=\"/artists/10614\"\u003eAbe Linkoln and Marisa Olson\u003c/a\u003e singing posts from their favorite blogs. The Gate Page explores the genre-defining characteristics of blogs and their role as the “voice of the people.” Selecting the “greatest hits” from these online journals—such as the satirical Harriet Miers blog’s responses to her US Supreme Court nomination—the artists engage in a process of reblogging. Linkoln’s selected posts speak to musical genres at large, while Olson’s seek to find harmony within the selections. The project challenges traditional understanding of authorship and questions the role and voice of the artist in the digital age. By framing the blog as a performative stage on which they can potentially copy and spread materials in slight variations, the artists’ album references meme culture and the transformative nature of sampling.\u003c/p\u003e\u003cp\u003eSome of the linked sites related to this project are no longer online, but are available on the Internet Archive.\u003c/p\u003e","primary_media_id":56632,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-03T09:37:38.335-04:00","updated_at":"2026-04-14T16:48:21.175-04:00","block_editor":{"data":{"id":"3775","type":"block_editor","attributes":{"id":3775,"exhibition_id":1135,"page_id":null,"created_at":"2025-06-16T12:38:21.993-04:00","updated_at":"2025-06-16T12:38:21.993-04:00","regions":[{"data":{"id":"24212","type":"region","attributes":{"id":24212,"position":1,"columns":12,"block_editor_id":3775,"created_at":"2026-04-14T16:47:34.854-04:00","updated_at":"2026-04-14T16:48:21.153-04:00","region_components":[{"data":{"id":"44489","type":"region_component","attributes":{"id":44489,"component_id":15991,"component_type":"TextComponent","position":1,"region_id":24212,"created_at":"2026-04-14T16:47:34.864-04:00","updated_at":"2026-04-14T16:48:21.164-04:00","component":{"data":{"id":"15991","type":"component","attributes":{"id":15991,"exhibition_id":1135,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAbe Linkoln\u003c/strong\u003e (aka \u003ca href=\"/artists/20911\"\u003eRick Silva\u003c/a\u003e, b. 1977; Piracicaba, Brazil) is a Brazilian-American artist whose videos, websites, and installations explore virtuality, futurology, and speculative ecologies. His work has been exhibited worldwide at institutions including the Centre Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville, Arkansas; and the Modern Art Museum of Fort Worth. He has had solo exhibitions at TRANSFER, New York; Wil Aballe Art Projects, Vancouver, Canada; New Shelter Plan, Copenhagen; and Ditch Projects, Springfield, Oregon. He has been featured in \u003cem\u003eArtforum\u003c/em\u003e, \u003cem\u003eWIRED\u003c/em\u003e, and Rhizome’s Net Art Anthology. He lives in Eugene, Oregon, where he is an associate professor at the University of Oregon.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eMarisa Olson\u003c/strong\u003e (b. 1977; Augsburg, Germany) combines performance, video, new media, painting, drawing, and installation in her work to address the cultural histories of technology and wellness, experiences of gender, and the politics of participation within pop culture. She is a founding member of the Nasty Nets internet surfing club, a former editor and curator of Rhizome, and the former associate director of the gallery SF Camerawork, San Francisco. Her work has been presented by institutions such as the New Museum, New York; Tate Modern, London, and Tate Liverpool, United Kingdom; the Venice Biennale (2007); Fotomuseum Winterthur, Switzerland; and the National Museum of Contemporary Art, Athens, Greece. It has also been featured in the \u003cem\u003eNew York Times\u003c/em\u003e, \u003cem\u003eInterview\u003c/em\u003e, \u003cem\u003eFrieze\u003c/em\u003e, \u003cem\u003eArt in America\u003c/em\u003e, \u003cem\u003eArt21\u003c/em\u003e, \u003cem\u003eLe Monde\u003c/em\u003e, and the \u003cem\u003eWall Street Journal\u003c/em\u003e, among others.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1133","type":"exhibition","attributes":{"id":1133,"title":"George Legrady: Making Visible the Invisible","start_time":"2005-11-01T00:00:00.000-05:00","end_time":"2005-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2005","url":"/exhibitions/george-legrady","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eMaking Visible the Invisible\u003c/em\u003e by \u003ca href=\"/artists/10286\"\u003eGeorge Legrady\u003c/a\u003e is a data visualization project based on statistical analysis of the book and media circulation in the Seattle Central Library. The Gate Page is a database that tracks hourly data of library checkouts, including books, CDs, DVDs, and other materials. The data at the library is classified in two separate categories: fiction and nonfiction items arranged by discipline according to the Dewey Decimal Classification System. The Gate Page features the number of books checked out, a map highlighting current circulating books according to their Dewey classification category, an hourly histogram of circulation activities, and the top twenty most active Dewey categories. Clicking on each category reveals a chronological list of titles checked out during the previous hour. One of the longest continuously running online data visualization sites to date, the work\u003cem\u003e\u0026nbsp;\u003c/em\u003ereveals the ways in which information flows and how subjects of interest evolve over time, making visible the invisible patterns of collective knowledge consumption.\u003c/p\u003e\u003cp class=\"large\"\u003eProject credits: George Legrady, concept and artistic direction; Andreas Schlegel, web design and interface.\u003c/p\u003e","primary_media_id":56630,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T23:12:03.572-04:00","updated_at":"2026-04-14T16:43:30.702-04:00","block_editor":{"data":{"id":"3771","type":"block_editor","attributes":{"id":3771,"exhibition_id":1133,"page_id":null,"created_at":"2025-06-16T12:38:21.945-04:00","updated_at":"2025-06-16T12:38:21.945-04:00","regions":[{"data":{"id":"24211","type":"region","attributes":{"id":24211,"position":1,"columns":12,"block_editor_id":3771,"created_at":"2026-04-14T16:43:30.632-04:00","updated_at":"2026-04-14T16:43:30.654-04:00","region_components":[{"data":{"id":"44488","type":"region_component","attributes":{"id":44488,"component_id":15990,"component_type":"TextComponent","position":1,"region_id":24211,"created_at":"2026-04-14T16:43:30.649-04:00","updated_at":"2026-04-14T16:43:30.649-04:00","component":{"data":{"id":"15990","type":"component","attributes":{"id":15990,"exhibition_id":1133,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eGeorge Legrady\u003c/strong\u003e (b. 1950; Budapest, Hungary) has explored born-digital processes in fine arts since the mid-1980s. His work has ranged from a fusion of computation with photography to multilinear interactive narratives to site-specific installations using custom software for real-time visualization. His installations have been exhibited internationally since the early 1990s at venues including the Cornerhouse Gallery (1985–2015), Manchester, United Kingdom; the Museum of Contemporary Art Kiasma, Helsinki; Centre Georges Pompidou, Paris; Ars Electronica, Linz, Austria; DEAF (Dutch Electronic Art Festival), Netherlands; the San Francisco Museum of Modern Art; and the National Gallery of Canada. He has received awards from Creative Capital Foundation (2002); the Daniel Langlois Foundation for the Art, Science, and Technology (2000); the Canada Council for the Arts (1992, 1994, 1997); and the National Endowment for the Arts (1996).\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eAndreas Schlegel\u003c/strong\u003e (b. 1975; Stuttgart, Germany) is a Singapore-based artist and educator whose practice bridges art, design, and technology. His solo and collaborative works have been exhibited at the Institute of Contemporary Arts Singapore, National Gallery Singapore, Groninger Museum in the Netherlands, Total Museum of Contemporary Art in Seoul, and Tainan Art Museum in Taiwan, among others. He holds degrees from UC Santa Barbara and Merz Akademie, Stuttgart, and teaches at LASALLE College of the Arts, University of the Arts Singapore.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1132","type":"exhibition","attributes":{"id":1132,"title":"John F. Simon Jr.: A Look Inside “Mobility Agents” Code Improvisations: Hatch Tool","start_time":"2005-10-01T00:00:00.000-04:00","end_time":"2005-10-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"October 2005","url":"/exhibitions/john-f-simon-jr","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/5339\"\u003eJohn F. Simon Jr.\u003c/a\u003e’s \u003cem\u003eA Look Inside “Mobility Agents” Code Improvisations: Hatch Tool\u003c/em\u003e presents six applets excerpted from his larger project \u003cem\u003eMobility Agents\u003c/em\u003e, an artist’s book and software project co-published by the Whitney Museum of American Art and Printed Matter, Inc. The six code improvisations—Slope, Straight, Cross, Cactus, Klee, and Double Klee—invite users to explore basic variables by using their cursor to draw on the screen. The work\u003cem\u003e\u0026nbsp;\u003c/em\u003eexplores how software translates data into visual expression on the computer screen and showcases the wide variety of marks that can be generated with the “Hatch Tool.” Simon’s work illustrates how every line, mark, and motion on screen results from numerous creative decisions that serve as a deeply individual form of expression.\u003c/p\u003e\u003cp\u003eThis project relies on Java applets, emulated through \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e","primary_media_id":56628,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T22:44:16.879-04:00","updated_at":"2026-04-14T16:40:48.919-04:00","block_editor":{"data":{"id":"3769","type":"block_editor","attributes":{"id":3769,"exhibition_id":1132,"page_id":null,"created_at":"2025-06-16T12:38:21.917-04:00","updated_at":"2025-06-16T12:38:21.917-04:00","regions":[{"data":{"id":"24210","type":"region","attributes":{"id":24210,"position":1,"columns":12,"block_editor_id":3769,"created_at":"2026-04-14T16:35:16.763-04:00","updated_at":"2026-04-14T16:40:48.716-04:00","region_components":[{"data":{"id":"44487","type":"region_component","attributes":{"id":44487,"component_id":15989,"component_type":"TextComponent","position":1,"region_id":24210,"created_at":"2026-04-14T16:35:16.774-04:00","updated_at":"2026-04-14T16:40:48.738-04:00","component":{"data":{"id":"15989","type":"component","attributes":{"id":15989,"exhibition_id":1132,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJohn F. Simon Jr.\u003c/strong\u003e (b. 1963; Shreveport, Louisiana), a software art pioneer, holds degrees in fine art, geology, planetary science, and computer art. Throughout his career, Simon has explored various mediums, including plotter drawings, acrylic sculptures, charcoal, LCD screens, and web-based systems. Drawing inspiration from contemplative drawing practices, Simon’s daily drawings inform his larger artworks. His works have been featured in major exhibitions and are in the collection of institutions such as the Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art in New York; as well as the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art. His seminal work \u003cem\u003eEvery Icon\u003c/em\u003e was included in the \u003ca href=\"/exhibitions/biennial-2000\"\u003e2000 Whitney Biennial\u003c/a\u003e, and he collaborated with Björk to develop an app for her groundbreaking album \u003cem\u003eBiophilia\u003c/em\u003e (2011).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1131","type":"exhibition","attributes":{"id":1131,"title":"Benjamin Fry: computational information design | sketches","start_time":"2005-09-01T00:00:00.000-04:00","end_time":"2005-09-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"September 2005","url":"/exhibitions/benjamin-fry","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8181\"\u003eBenjamin Fry\u003c/a\u003e’s \u003cem\u003ecomputational information design | sketches\u003c/em\u003e acts as an entry portal to four interactive sketches that combine information visualization, data mining, and graphic design to interpret complex datasets. Each sketch offers a unique approach to data representation and explores how visualization shapes new understandings of information. The sketch \u003cem\u003eisometricblocks\u003c/em\u003e looks at deviations in genetic data among individuals, specifically so-called single-nucleotide polymorphisms (SNPs or “snips”), single-letter changes that occur every few thousand letters in the genome and exhibit distinct patterns. Researchers look for these patterns in genome sections of hundreds of people in search of diseases such as Crohn’s—a dataset used in \u003cem\u003eisometricblocks\u003c/em\u003e. The \u003cem\u003edistellamap\u003c/em\u003e sketch visualizes the internal operations of code within six Atari 2600 cartridge games, among them \u003cem\u003eCombat\u003c/em\u003e and \u003cem\u003ePac-Man\u003c/em\u003e. The maps show the code as columns of assembly language, with conditional statements—such as “if x is true, go to y —visualized as curves drawn from the point of the statement to its destination. The sketch \u003cem\u003esalary vs. performance\u003c/em\u003e analyzes the relationship between team spending and rankings during the 2005 Major League Baseball season; and \u003cem\u003ezipdecode\u003c/em\u003e allows users to input US postal codes to see their corresponding geographic locations on a map.\u003c/p\u003e","primary_media_id":56627,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T21:09:51.111-04:00","updated_at":"2026-04-14T16:31:25.972-04:00","block_editor":{"data":{"id":"3767","type":"block_editor","attributes":{"id":3767,"exhibition_id":1131,"page_id":null,"created_at":"2025-06-16T12:38:21.887-04:00","updated_at":"2025-06-16T12:38:21.887-04:00","regions":[{"data":{"id":"24209","type":"region","attributes":{"id":24209,"position":1,"columns":12,"block_editor_id":3767,"created_at":"2026-04-14T16:30:46.448-04:00","updated_at":"2026-04-14T16:31:25.936-04:00","region_components":[{"data":{"id":"44486","type":"region_component","attributes":{"id":44486,"component_id":15988,"component_type":"TextComponent","position":1,"region_id":24209,"created_at":"2026-04-14T16:30:46.458-04:00","updated_at":"2026-04-14T16:31:25.943-04:00","component":{"data":{"id":"15988","type":"component","attributes":{"id":15988,"exhibition_id":1131,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eBenjamin Fry\u003c/strong\u003e (b. 1975; Ann Arbor, Michigan) creates work combining computer science, statistics, graphic design, and data visualization to explore information. With \u003ca href=\"/artists/9612\"\u003eCasey Reas\u003c/a\u003e in 2001, he created \u003ca href=\"https://processing.org/\"\u003eProcessing\u003c/a\u003e, an open-source programming language and environment. His work has been shown in the \u003ca href=\"/exhibitions/biennial-2002\"\u003e2002 Whitney Biennial\u003c/a\u003e and the 2003 and 2006 Cooper Hewitt Smithsonian Museum National Design Triennial, as well as at the Museum of Modern Art and the International Center of Photography in New York; Ars Electronica, Linz, Austria; and in the films \u003cem\u003eMinority Report\u003c/em\u003e (2002) and \u003cem\u003eHulk\u0026nbsp;\u003c/em\u003e(2003). Fry was selected as one of Fast Company’s Fifty Most Influential Designers in America (2011) and as one of Slate’s Top Right (2011) and received the National Design Award for Interaction Design (2011).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1129","type":"exhibition","attributes":{"id":1129,"title":"C5: GPS Media Player","start_time":"2005-06-01T00:00:00.000-04:00","end_time":"2005-07-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"June/July 2005","url":"/exhibitions/c5","primary_text":"\u003cp class=\"large\"\u003eThe artist collective \u003ca href=\"/artists/15337\"\u003eC5\u003c/a\u003e’s \u003cem\u003eGPS Media Player\u003c/em\u003e was developed as part of its \u003cem\u003eLandscape Initiative\u003c/em\u003e (2001–7), a series of projects exploring data visualization systems as art. Engaged with mapping, navigation, and land search through Geographic Information Systems (GIS), the series consisted of three parts—\u003cem\u003eThe Analogous Landscape\u003c/em\u003e, \u003cem\u003eThe Perfect View\u003c/em\u003e, and \u003cem\u003eThe Other Path\u003c/em\u003e—for which C5 members (Joel Slayton, Steve Durie, Geri Wittig, Bruce Gardner, Jack Toolin, Brett Stalbaum, Amul Goswamy, Matt Mays) undertook massive performative expeditions all over the world. For \u003cem\u003eThe Analogous\u003c/em\u003e \u003cem\u003eLandscape\u003c/em\u003e, for example, they climbed peaks such as Mounts Whitney and Shasta in California and Mount Fuji in Japan. Their respective journeys were tracked by GPS and Digital Elevation Modeling (DEM). \u003cem\u003eThe C5 GPS Media Player\u003c/em\u003e, a visual interface, allows users to navigate and explore the GPS tracks stored in the C5 Landscape Database. Users can conduct comparative track analyses, sorted by the \u003cem\u003eLandscape Initiative\u003c/em\u003e projects, artist, or events. Each track traces a hiker’s journey from a first-person perspective through images and text recorded during the trek. Blending conceptual, performance, and land art with research, business, and exploratory adventure, the project investigates shifting understandings of the landscape in information visualization and reconsiders the role of exploration in art.\u003c/p\u003e\u003cp\u003eThe original \u003cem\u003eGPS Media Player\u003c/em\u003e is no longer online, but documentation is available at \u003ca href=\"http://www.c5corp.com/venues/camerawork/index.shtml\"\u003ec5corp.com\u003c/a\u003e\u003c/p\u003e","primary_media_id":56625,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T19:25:06.095-04:00","updated_at":"2026-04-14T16:27:59.643-04:00","block_editor":{"data":{"id":"3763","type":"block_editor","attributes":{"id":3763,"exhibition_id":1129,"page_id":null,"created_at":"2025-06-16T12:38:21.837-04:00","updated_at":"2025-06-16T12:38:21.837-04:00","regions":[{"data":{"id":"24208","type":"region","attributes":{"id":24208,"position":1,"columns":12,"block_editor_id":3763,"created_at":"2026-04-14T16:27:13.660-04:00","updated_at":"2026-04-14T16:27:59.217-04:00","region_components":[{"data":{"id":"44485","type":"region_component","attributes":{"id":44485,"component_id":15987,"component_type":"TextComponent","position":1,"region_id":24208,"created_at":"2026-04-14T16:27:13.669-04:00","updated_at":"2026-04-14T16:27:59.231-04:00","component":{"data":{"id":"15987","type":"component","attributes":{"id":15987,"exhibition_id":1129,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eC5\u003c/strong\u003e (active 1990–2009, San Jose, California) was an art collective that specialized in cultural production informed by the blurred boundaries of research, art, and business practice. C5’s guiding principle was “theory as product” and their work focused on the development of tactical strategies involving information visualization, databases, and distributed networks. C5 projects have been featured at institutions such as the Institute of Contemporary Arts, London; the Whitney Museum of American Art, New York; the Walker Art Center, Minneapolis; the Center for Critical Inquiry and Cultural Studies at Arizona State University, Phoenix; and the Cantor Arts Center, Stanford University, California. C5 representatives have participated in international symposia and festivals including Transmediale, Berlin; Ars Electronica, Linz, Austria; Auckland University of Technology, New Zealand; and the Second International Biennial, Buenos Aires (2002).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1127","type":"exhibition","attributes":{"id":1127,"title":"Erik Loyer: Living and Active","start_time":"2005-05-01T00:00:00.000-04:00","end_time":"2005-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 2005","url":"/exhibitions/erik-loyer","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9999\"\u003eErik Loyer\u003c/a\u003e’s Gate Page \u003cem\u003eLiving and Active\u0026nbsp;\u003c/em\u003eprovided a portal to his award-winning project \u003cem\u003eThe Lair of the Marrow Monkey\u0026nbsp;\u003c/em\u003e(1998), a dynamic, abstract interface that allowed users to play with text to construct poetic narratives and reflections on memory. The Gate Page consists of an array of letters that jump around in a rectangular frame and, accompanied by sounds, assemble themselves in response to the viewer’s cursor. While the letters never fall neatly into a linear line of text, they are still recognizable as the biblical phrase \"For the word of God is living and active\" (Hebrews 4:12). Loyer’s Gate Page makes the meaning of the quote palpable, treating letters and words not as static signs but a dynamic, living, and active force that shapes lives.\u003c/p\u003e\u003cp\u003eThis project links to \u003cem\u003emarrowmonkey.com\u003c/em\u003e which is no longer online. It is partially accessible on the \u003ca href=\"https://web.archive.org/web/20050406172532/http://marrowmonkey.com/menu.html\"\u003eInternet Archive\u003c/a\u003e, though it relies Shockwave .dcr files that are no longer readily playable.\u003c/p\u003e","primary_media_id":56613,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-29T11:50:07.528-04:00","updated_at":"2026-04-14T16:16:57.800-04:00","block_editor":{"data":{"id":"3761","type":"block_editor","attributes":{"id":3761,"exhibition_id":1127,"page_id":null,"created_at":"2025-06-16T12:38:21.812-04:00","updated_at":"2025-06-16T12:38:21.812-04:00","regions":[{"data":{"id":"24207","type":"region","attributes":{"id":24207,"position":1,"columns":12,"block_editor_id":3761,"created_at":"2026-04-14T16:03:13.694-04:00","updated_at":"2026-04-14T16:16:57.739-04:00","region_components":[{"data":{"id":"44484","type":"region_component","attributes":{"id":44484,"component_id":15986,"component_type":"TextComponent","position":1,"region_id":24207,"created_at":"2026-04-14T16:03:13.722-04:00","updated_at":"2026-04-14T16:16:57.745-04:00","component":{"data":{"id":"15986","type":"component","attributes":{"id":15986,"exhibition_id":1127,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eErik Loyer\u003c/strong\u003e (b. 1972; San Francisco, California) explores how interactive media change the way we share stories and experiences. In games, apps, comics, websites, and videos, he has used digital media to interweave present and past, music and poetry, performance and archive. Loyer founded the interactive media studio Opertoon in 2008, releasing narrative-driven works while also developing creative tools for exploring digital temporality used in classrooms, workshops, and commercial releases. He has created over a dozen interactive documentaries in collaboration with leading scholars, artists, and organizations such as the Martin Luther King Jr. Research and Education Institute at Stanford University in California. Loyer’s work has been commissioned by the Museum of Contemporary Art, Los Angeles, and the San Francisco Museum of Modern Art. His work has been exhibited across the United States and Europe.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1033","type":"exhibition","attributes":{"id":1033,"title":"Amelia Winger-Bearskin: Sky/World Death/World","start_time":"2022-12-15T00:00:00.000-05:00","end_time":"2023-04-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/amelia-winger-bearskin","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/20683\"\u003eAmelia Winger-Bearskin\u003c/a\u003e’s \u003cem\u003eSky/World Death/World\u0026nbsp;\u003c/em\u003ecombines animations and poetic text connecting sunrise and sunset to Indigenous creation myths. The \u003cem\u003eSky/World\u003c/em\u003e of sunrise references the Haudenosaunee origin story of Sky Woman who belonged to the sky people, a tribe rooted in the celestial heavens before the world was created. After falling through a hole created by an uprooted tree, Sky Woman creates a home on earth out of the oceans and mud with the help of animals. Winger-Bearskin pairs abstract animations of dawn created in a game engine with the question “Who benefits from your burnout?,” using it as a prompt for reflecting on the sharing of life. The \u003cem\u003eDeath/World\u003c/em\u003e of sunset asks the question “What is made bright by the loss of your light?” and hints at the thin veil between sleep and death while evoking renewal. The accompanying animation mixes abstract visuals with a video clip of the artist herself that once was part of one of her artworks. The work had disappeared, and the footage was recovered from the Internet Archive, a testament to both the ephemerality of digital work and the potential of recovery. The questions raised in \u003cem\u003eSky/World Death/World\u003c/em\u003e were originally written by Winger-Bearskin for a series of billboards by the artist collective For Freedoms of which she is a member.\u003c/p\u003e","primary_media_id":54434,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2022-12-09T11:11:40.590-05:00","updated_at":"2026-04-14T14:45:20.771-04:00","block_editor":{"data":{"id":"3627","type":"block_editor","attributes":{"id":3627,"exhibition_id":1033,"page_id":null,"created_at":"2025-06-16T12:38:15.930-04:00","updated_at":"2025-06-16T12:38:15.930-04:00","regions":[{"data":{"id":"22225","type":"region","attributes":{"id":22225,"position":1,"columns":12,"block_editor_id":3627,"created_at":"2025-02-19T09:52:05.156-05:00","updated_at":"2026-04-14T14:45:20.655-04:00","region_components":[{"data":{"id":"40513","type":"region_component","attributes":{"id":40513,"component_id":14754,"component_type":"TextComponent","position":1,"region_id":22225,"created_at":"2025-02-19T09:52:05.164-05:00","updated_at":"2026-04-14T14:45:20.663-04:00","component":{"data":{"id":"14754","type":"component","attributes":{"id":14754,"exhibition_id":1033,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAmelia Winger-Bearskin\u003c/strong\u003e (b. 1979) is an artist who uses artificial intelligence to make a positive impact on communities and the environment. She is the founder of the AI Climate Justice Lab and the Talk to Me About Water collective. Winger-Bearskin’s award-winning podcast Wampum.Codes explores an ethical framework for software development based on Indigenous values of co-creation. In 2022 she was awarded a Sundance Art Of Practice Fellowship for her project \u003cem\u003eSKY WORLD/CLOUD WORLD\u003c/em\u003e. In 2018 she served as a delegate at the summit “Fostering Universal Ethics and Compassion through Museums” hosted by the Dalai Lama in Dharamsala, India. Winger-Bearskin is a Banks Family Preeminence Chair of Artificial Intelligence and the Arts at the Digital Worlds Institute at the University of Florida. She is Haudenosaunee (Iroquois) and an enrolled member of the Seneca-Cayuga Nation of Oklahoma, Deer Clan, on her mother’s side and Jewish/Baháa’í on her late father’s side.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1134","type":"exhibition","attributes":{"id":1134,"title":"Simon Goldin + Jakob Senneby: Flack Attack","start_time":"2005-12-01T00:00:00.000-05:00","end_time":"2005-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"December 2005","url":"/exhibitions/goldin-senneby","primary_text":"\u003cp class=\"large\"\u003eWith their Gate Page, \u003ca href=\"/artists/14410\"\u003eGoldin+Senneby\u003c/a\u003e (founded 2004, Stockholm, Sweden) explored the participatory production of a magazine in \u003cem\u003eThe Port\u003c/em\u003e, a community-driven space they initiated inside the online 3D world \u003cem\u003eSecond Life\u003c/em\u003e. The space was accessible to \u003cem\u003eSecond Life\u003c/em\u003e inhabitants, as well as potentially all internet users, who were invited to contribute articles, images, and comments to the magazine on a Wiki-like platform within \u003cem\u003eThe Port\u003c/em\u003e. Over the course of December 2005, editorial meetings were held every Tuesday, Thursday, and Sunday and documented with minutes and images published through the Gate Page. What resulted was a print-on-demand magazine titled \u003cem\u003eFlack Attack\u003c/em\u003e \u003cem\u003e(on Autonomy)\u003c/em\u003e, which examined networked public spheres and the paradoxes of autonomy within commodified digital environments. As both a spatial and networked experiment, \u003cem\u003eFlack Attack\u003c/em\u003e transformed magazine production into a process-driven, participatory platform that considered authorship, community, and creative autonomy in the age of social software.\u003ca href=\"https://web.archive.org/web/20070501094351/http:/www.theport.tv/wp/wordpress/\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://web.archive.org/web/20070501094351/http:/www.theport.tv/wp/wordpress/\"\u003etheport.tv\u003c/a\u003e\u003cbr\u003e\u003ca href=\"https://web.archive.org/web/20060206084902/http://www.objectsofvirtualdesire.com/\"\u003eobjectsofvirtualdesire.com\u003c/a\u003e\u003cbr\u003e\u003ca href=\"https://web.archive.org/web/20061014180100/http://www.flackattack.org/faw/index.php?title=Main_Page\"\u003eflackattack.org\u003c/a\u003e\u003c/p\u003e\u003cp\u003eMany sites linked throughout this project are no longer online, but are available on the Internet Archive. Further description of the project can be found on \u003ca href=\"https://goldinsenneby.com/publications/flack-attack/\"\u003egoldinsenneby.com\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56631,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-03T09:12:55.259-04:00","updated_at":"2026-04-14T14:44:48.413-04:00","block_editor":{"data":{"id":"3773","type":"block_editor","attributes":{"id":3773,"exhibition_id":1134,"page_id":null,"created_at":"2025-06-16T12:38:21.969-04:00","updated_at":"2025-06-16T12:38:21.969-04:00","regions":[{"data":{"id":"23841","type":"region","attributes":{"id":23841,"position":1,"columns":12,"block_editor_id":3773,"created_at":"2026-03-05T12:39:33.699-05:00","updated_at":"2026-04-14T14:44:48.374-04:00","region_components":[{"data":{"id":"43895","type":"region_component","attributes":{"id":43895,"component_id":15749,"component_type":"TextComponent","position":1,"region_id":23841,"created_at":"2026-03-05T12:39:33.861-05:00","updated_at":"2026-04-14T14:44:48.383-04:00","component":{"data":{"id":"15749","type":"component","attributes":{"id":15749,"exhibition_id":1134,"text":"\u003cp class=\"large\"\u003eFounded in 2004, Goldin+Senneby—Stockholm-based artists \u003cstrong\u003eSimon Goldin\u003c/strong\u003e (b. 1971; Umeå, Sweden) and \u003cstrong\u003eJakob Senneby\u003c/strong\u003e (b. 1981; Stockholm, Sweden)—have explored the structural correspondences between conceptual art and finance capital. Their works include the ghostwritten detective novel \u003cem\u003eHeadless\u003c/em\u003e (2007–15), about an offshore company in the Bahamas; \u003cem\u003eEternal Employment\u0026nbsp;\u003c/em\u003e(2022),\u003cem\u003e\u0026nbsp;\u003c/em\u003ea proposal for a job at a train station; and \u003cem\u003eFlare-Up / Flare-Up\u003c/em\u003e (2025), an exploration of the bodily experiences of an autoimmune disease. They have had solo exhibitions at Tensta konsthall, Stockholm; Artspace Aoteaora, Auckland; Kadist, Paris; the Power Plant, Toronto; NOME, Berlin; and the MIT List Visual Arts Center, Cambridge, Massachusetts. Their work has been included in the Eleventh Gwangju Biennale (2016), Thirteenth Istanbul Biennial (2013), Manifesta 9 (2012); and the Twenty-Eighth São Paulo Biennial (2008). They are represented in the collections of Moderna Museet, Stockholm; Centre Pompidou, Paris; and the Museum of Modern Art, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1098","type":"exhibition","attributes":{"id":1098,"title":"Natalie Bookchin: Metapet Splash","start_time":"2003-05-01T00:00:00.000-04:00","end_time":"2003-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 2003","url":"/exhibitions/natalie-bookchin","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eMetapet Splash\u003c/em\u003e is an entry page to \u003ca href=\"/artists/8923\"\u003eNatalie Bookchin\u003c/a\u003e’s online game \u003cem\u003eMetapet\u003c/em\u003e (2002), which relaunched in an updated version on May 1, 2003, and exists as an archive today. The work explored the social and political concerns surrounding genetic engineering, corporate culture, and the electronic gaming industry. Players took on the role of the corporate manager of a Metapet, a hybrid species created by inserting a gene from a trained dog into a human to create a more obedient worker. The player’s challenge was to find the right balance between a firm hand and a gentle coax; offering promotions or vacations, for example, would make the bioengineered pet work more efficiently. Bookchin’s game placed the player at the center of corporate biotech culture and made them experience the role of a complicit manager.\u003c/p\u003e\u003cp\u003eThe original \u003cem\u003eMetapet\u003c/em\u003e is no longer online, but it can still be partially viewed on the \u003ca href=\"https://web.archive.org/web/20040609024101/http://www.metapet.net/\"\u003eInternet Archive\u003c/a\u003e, and more information about the project is available at \u003ca href=\"https://bookchin.net/projects/metapet/\"\u003ebookchin.net/projects/metapet\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56381,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-05T17:17:21.563-04:00","updated_at":"2026-04-14T14:44:29.365-04:00","block_editor":{"data":{"id":"3705","type":"block_editor","attributes":{"id":3705,"exhibition_id":1098,"page_id":null,"created_at":"2025-06-16T12:38:19.212-04:00","updated_at":"2025-06-16T12:38:19.212-04:00","regions":[{"data":{"id":"24137","type":"region","attributes":{"id":24137,"position":1,"columns":12,"block_editor_id":3705,"created_at":"2026-04-06T10:13:56.294-04:00","updated_at":"2026-04-14T14:44:29.319-04:00","region_components":[{"data":{"id":"44374","type":"region_component","attributes":{"id":44374,"component_id":15918,"component_type":"TextComponent","position":1,"region_id":24137,"created_at":"2026-04-06T10:13:56.349-04:00","updated_at":"2026-04-14T14:44:29.328-04:00","component":{"data":{"id":"15918","type":"component","attributes":{"id":15918,"exhibition_id":1098,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eNatalie Bookchin\u003c/strong\u003e (b. 1962; New York, New York) has made single and multi-channel video and sound works, films, interactive installations, photographs, performances, texts, net art, online computer games, embroidery, drawing, and hacktivist public interventions. Her work has been shown at venues including MoMA PS1, the Kitchen, and the International Center of Photography in New York; the Los Angeles County Museum of Art and the Museum of Contemporary Art, Los Angeles; the Massachusetts Museum of Contemporary Art, North Adams; Tate Modern, London; Centre Pompidou, Paris; and La Virreina Center de la Imatge, Barcelona. She has received awards and fellowships from the California Arts Council (2002); the Guggenheim Foundation (2002); the Center for Cultural Innovation (2009–11); the Durfee Foundation (2007); the Rockefeller Foundation (2004); the California Community Foundation (2007); the Jerome Foundation (1999); the Daniel Langlois Foundation for Art, Science, and Technology; and the Yaddo (2016) and MacDowell (2016) communities, among others.\u003c/p\u003e"}}}}}}]}}}]}}}}}],"meta":{"total":1614},"links":{"prev":null,"next":"https://whitney.org/api/exhibitions?page=2","first":"https://whitney.org/api/exhibitions?page=1","last":"https://whitney.org/api/exhibitions?page=54"}}