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.

Download checklist

Sponsored by

 

Back

18 / 23

Previous Next

Rational Irrationalism

18

The transformed consumer landscape of the 1960s opened up tremendous possibilities for artists. Rather than carving or modeling by hand, sculptors could take plans to fabricators and have works produced to commercial standards with industrial processes. Suddenly a vast range of new materials was readily available, including neon, latex, lead, resin, and Plexiglas. The factory became a studio and the hardware store a source of art supplies.

The artists who came to be known as Minimalists, such as Donald Judd and Robert Morris, used these new materials and production processes to pursue simple geometric forms with high finishes and to work on a new scale midway between the human and the architectural. The resulting sculpture emphasized the relationships among the viewer’s body, the work, and the environment, encouraging the viewer to focus on the complexities of perceptual experience. At the same time, other artists explored these issues in shaped canvases and reliefs that toyed with the sometimes strange relationship between actual physical experience and spatial illusionism, as in Al Loving’s Rational Irrationalism.

The rigid geometries of these works were followed by a response from artists who sought to use the new materials in more spontaneous ways that captured the sense of making art as an active process subject to forces like gravity or the movement of the artist’s body. In 1969, the Whitney included many of these figures—Eva Hesse, Rafael Ferrer, Richard Serra, and Keith Sonnier—in the exhibition of Anti-Illusion: Procedures/Materials. The exhibition also included contemporary music, dance, and visual art as captured in videos of Yvonne Rainer and Trisha Brown.

Below is a selection of works from this chapter.

Back

4 / 9

Previous Next

ALVIN LOVING (1935-2005), RATIONAL IRRATIONALISM, 1969

Alvin Loving (1935-2005), Rational Irrationalism, 1969. Acrylic on shaped canvas (irregular), 82 1/8 × 97 in. (208.6 × 246.4 cm). Whitney Museum of American Art, New York; purchase, with funds from the Robert C. Scull Fund for Young Artists not in the Collection 69.74a-b © The Estate of Alvin D. Loving, Jr.; courtesy the Estate of Al Loving and Garth Greenan Gallery, New York

In Rational Irrationalism, Al Loving layered open cubes and juxtaposed warm and cool colors to create an optical play of three-dimensionality on a flat support. The interlocking modules form a geometric shape that recurs in the form of the canvas itself. Loving’s paintings from the 1960s garnered significant attention, and in 1969 he became the first African American artist to receive a one-person show at the Whitney.

In the 1960s, Loving was one of several African American artists seen by some as being out of step with the Black Arts Movement, which asserted the urgent need for art particularly reflective of African Americans’ everyday struggles, usually through figurative work. Loving, however, believed that “art is about needs that have not been met”—whether political or aesthetic.

Artists

Events

View all

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.

View guide

Explore works from this exhibition
in the Whitney's collection

View 646 works

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

Learn more about this project

Learn more at whitney.org/artport

On the Hour projects can contain motion and sound. To respect your accessibility settings autoplay is disabled.