An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940–2017

Aug 18, 2017–Aug 27, 2018


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Spaces and Predicaments

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Included in the exhibition are two artists who chose personal, oblique, and allusive means to question how social spaces are made, engaged, and controlled. Although working abstractly, Senga Nengudi and Melvin Edwards explore how space can be considered in relation to gender and race. 

Made from nylon hosiery, a material that strongly suggests skin, Senga Nengudi’s Internal I (1977) evokes the resilience and fragility of the female body upon entering—and being defined by— society. Its bilaterally symmetrical form calls to mind a human figure that has been brutally stretched and flayed. 

Constructed from barbed wire, Melvin Edwards’s Pyramid Up and Down Pyramid (1969) was included in his one-person exhibition at the Whitney in 1970. The work’s material connotes prisons, animal pens, and physical pain within the vocabulary of minimal sculpture. The artist David Hammons remarked of Edwards’s work in the 1970 Whitney exhibition: “That was the first abstract piece of art that I saw that had cultural value in it for Black people. I couldn’t believe that piece when I saw it because I didn’t think you could make abstract art with a message.” Edwards himself said: “All systems have proven to be inadequate. I am now assuming that there are no limits and even if there are I can give no guarantees that they will contain my spirit and its search for a way to modify the spaces and predicaments in which I find myself.”


Artists


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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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Learn more at whitney.org/artport

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