The Whitney's Collection: Selections from 1900 to 1965

Solo en Inglès

“I think that’s what our collection aims to be—to really ground people in the work of the particular moment, but also to show how historical work can have new resonance in our contemporary moment.”
—David Breslin, DeMartini Family Curator and Director of the Collection

Hear from a range of artists, curators, and scholars speaking about works on view.

Charles Demuth, My Egypt, 1927

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Adam Weinberg: Enormous concrete grain elevators loom at the center of this painting by Charles Demuth. 

Narrator: Adam Weinberg is the Alice Pratt Brown Director of the Whitney Museum.

Adam Weinberg: At the right, we see an almost elegant-looking smokestack—its plume of smoke barely discolors the clear blue sky. At the bottom left, a small chimney suggests rooftops of buildings dwarfed by the concrete structure behind them—as if the giant silos are actually pushing the older structures right off the edge of the canvas.

What does the presentation of these grain elevators tell us about the ideology behind them? The image is oddly sterile—painted in a precise, machine-like way. The surface of this painting is so pristine, you can hardly find a single brushstroke. It almost looks like a photograph. Rays of light bifurcating the canvas spotlight the building, but the light is cold, almost harsh. The painting’s title provides another clue—it’s called My Egypt. The title and the monumentality of these grain elevators suggest that Demuth is placing the architecture of American industry on par with the great monuments of the past, like the pyramids of ancient Egypt. In this painting we can see both the optimism and the anxiety of the period.

Large industrial building with rays of light crossing it.

Adam Weinberg: Enormous concrete grain elevators loom at the center of this painting by Charles Demuth. 

Narrator: Adam Weinberg is the Alice Pratt Brown Director of the Whitney Museum.

Adam Weinberg: At the right, we see an almost elegant-looking smokestack—its plume of smoke barely discolors the clear blue sky. At the bottom left, a small chimney suggests rooftops of buildings dwarfed by the concrete structure behind them—as if the giant silos are actually pushing the older structures right off the edge of the canvas.

What does the presentation of these grain elevators tell us about the ideology behind them? The image is oddly sterile—painted in a precise, machine-like way. The surface of this painting is so pristine, you can hardly find a single brushstroke. It almost looks like a photograph. Rays of light bifurcating the canvas spotlight the building, but the light is cold, almost harsh. The painting’s title provides another clue—it’s called My Egypt. The title and the monumentality of these grain elevators suggest that Demuth is placing the architecture of American industry on par with the great monuments of the past, like the pyramids of ancient Egypt. In this painting we can see both the optimism and the anxiety of the period.


Charles Demuth, My Egypt, 1927. Oil and graphite pencil on fiberboard, 35 3/4 × 30 in. (90.81 x 76.2 cm). Whitney Museum of American Art, New York; Purchase, with funds from Gertrude Vanderbilt Whitney 31.172.