America Is Hard to See

May 1–Sept 27, 2015

A mural faces the gallery windows and the Hudson River.
A mural faces the gallery windows and the Hudson River.

Running People at 2,616,216 (1978–79) by Jonathan Borofsky installed on the West Ambulatory, 5th floor, the inaugural exhibition, America Is Hard to See (May 1–September 27, 2015). Whitney Museum of American Art, New York. Photograph © Nic Lehoux

Drawn entirely from the Whitney Museum of American Art’s collection, America Is Hard to See takes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the twentieth century to the present. Comprising more than six hundred works, the exhibition elaborates the themes, ideas, beliefs, and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious effort to unsettle assumptions about the American art canon.

The title, America Is Hard to See, comes from a poem by Robert Frost and a political documentary by Emile de Antonio. Metaphorically, the title seeks to celebrate the ever-changing perspectives of artists and their capacity to develop visual forms that respond to the culture of the United States. It also underscores the difficulty of neatly defining the country’s ethos and inhabitants, a challenge that lies at the heart of the Museum’s commitment to and continually evolving understanding of American art.

Organized chronologically, the exhibition’s narrative is divided into twenty- three thematic “chapters” installed throughout the building. These sections revisit and revise established tropes while forging new categories and even expanding the definition of who counts as an American artist. Indeed, each chapter takes its name not from a movement or style but from the title of a work that evokes the section’s animating impulse. Works of art across all mediums are displayed together, acknowledging the ways in which artists have engaged various modes of production and broken the boundaries between them.

America Is Hard to See reflects the Whitney’s distinct record of acquisitions and exhibitions, which constitutes a kind of collective memory—one that represents a range of individual, sometimes conflicting, attitudes toward what American art might be or mean or do at any given moment. By simultaneously mining and questioning our past, we do not arrive at a comprehensive survey or tidy summation, but rather at a critical new beginning: the first of many stories still to tell.

America Is Hard to See is organized by a team of Whitney curators, led by Donna De Salvo, Chief Curator and Deputy Director for Programs, including Carter E. Foster, Steven and Ann Ames Curator of Drawing; Dana Miller, Curator of the Permanent Collection; and Scott Rothkopf, Nancy and Steve Crown Family Curator and Associate Director of Programs; with Jane Panetta, Assistant Curator; Catherine Taft, Assistant Curator; and Mia Curran, Curatorial Assistant.

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Fighting with All Our Might

10

Following the catastrophic stock market crash of October 29, 1929, many American artists committed themselves to using the expressive power of their art in the struggle for social change. By 1933, one quarter of the workforce was unemployed and signs of the Great Depression were everywhere: homeless men, women, and children; soup kitchens; shantytowns; protests, strikes, and lockouts.

Artists worked to document these problems and also to ameliorate them. Some joined the government programs formed by President Franklin D. Roosevelt’s New Deal, which aimed to revive the nation by creating jobs, aiding farms and small businesses, and regulating finance. Photographers such as Walker Evans and Dorothea Lange were hired to document farm life for the Resettlement Administration; printmakers working for the Federal Art Project made more than 11,000 prints. Some of these artists were committed to Roosevelt’s progressivism, while others went so far as to become members of the Communist Party of the United States. As the printmaker Mabel Dwight observed: “Art has turned militant. It forms unions, carries banners, sits down uninvited, and gets underfoot. Social justice is its battle cry.” As military preparations for World War II revitalized industry and the economy recovered, many artists shifted their attention to the war and the threat of fascism, continuing to agitate for a more just and humane world.

Below is a selection of works from this chapter.

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PHILIP GUSTON (1913-1980), DRAWING FOR CONSPIRATORS, 1930

Philip Guston (1913-1980), Drawing for Conspirators, 1930. Graphite pencil, pen and ink, colored pencil, and wax crayon on paper, 22 11/16 × 14 9/16 in. (57.6 × 37 cm). Whitney Museum of American Art, New York; purchase, with funds from The Hearst Corporation and The Norman and Rosita Winston Foundation, Inc. 82.20 © The Estate of Philip Guston

Philip Guston was just seventeen years old when he made this drawing. As a teenager growing up in Los Angeles, he had seen members of the Ku Klux Klan, and this work was probably based on that experience. From an early age, Guston was involved in left-wing politics and his sociopolitical concerns are clearly demonstrated in this boldly depicted scene. Dramatic modeling and the looming presence of the central figure convey the theme of oppression, as does the symbolic rope that hangs over blocks representing Louisiana and Mississippi. Guston’s visual analogy between the victim of a lynching and the crucified Christ can be seen at the back of the composition. The hooded figure in the foreground recurs throughout Guston’s work.

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Audio guides

People gathered for a talk in the gallery.
People gathered for a talk in the gallery.

Carol Mancusi-Ungaro addresses Jay DeFeo's The Rose (c. 1958–1966)

99 Objects

Listen to selections from the in-gallery programs series named in honor of the Whitney’s new address, 99 Gansevoort Street. Artists, writers, Whitney curators and educators, and an interdisciplinary group of scholars focus on individual works of art from the Museum’s collection on view in America Is Hard to See.

View guide
A mural faces the gallery windows and the Hudson River.
A mural faces the gallery windows and the Hudson River.

Running People at 2,616,216 (1978–79) by Jonathan Borofsky installed on the West Ambulatory, 5th floor, the inaugural exhibition, America Is Hard to See (May 1–September 27, 2015). Whitney Museum of American Art, New York. Photograph © Nic Lehoux

America Is Hard to See

Hear directly from artists and curators on selected works from the exhibition.

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Explore works from this exhibition
in the Whitney's collection

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In the News

“2015 was the Year of the Whitney…the cross-disciplinary approach taken by America Is Hard to See and Collected by Thea Westreich Wagner and Ethan Wagner, is becoming the model for a new generation of curators.”
—Hyperallergic

“2015 belonged to the Whitney…both my museum—and my show—of the year.”
—Adrian Searle in The Guardian

"Best of 2015: Our Top 20 NYC Art Shows"
—Hyperallergic

"The museum’s inaugural show in its new building, America Is Hard to See, tells a different story of modern and contemporary American art than the lily-white version we’re used to"
—The New Yorker

Interview: Curator Scott Rothkopf speaks about America Is Hard to See on Slate's Culture Gabfest
—Slate

"New Whitney Museum Signifies a Changing New York Art Scene"
—The New York Times

"With its abundantly sumptuous holdings, the museum tells us how we got where we are, offering a teeming lineage of the art of this country"
—Hyperallergic

"The Whitney Opens With a Winner"
—Artnews

"Review: New Whitney Museum’s First Show, America Is Hard to See"
—The New York Times

"Curators at the Whitney Museum of American Art discuss their largest exhibition to date at their new downtown location, designed by architect Renzo Piano"
—The Wall Street Journal

"The exhibition will include plenty of crowd-pleasers—Hopper, O’Keeffe, Calder’s “Circus”—but, with the Whitney’s brilliant chief curator, Donna De Salvo, at the helm, expect major twists in the conventional art-historical plot."
—The New Yorker

"The Whitney Museum, Soon to Open Its New Home, Searches for American Identity"
—The New York Times

"One of this year's most anticipated art world events"
—Huffington Post

On the Hour

A 30-second online art project:
Maya Man, A Realistic Day In My Life Living In New York City

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