Between the Waters

Mar 9–July 22, 2018

Painting of person with fin.
Painting of person with fin.

Cy Gavin, Aubade II (Spittal Pond), 2016. Acrylic, chalk and oil  on denim, 57 × 118in. (144.8 × 299.7 cm). Collection of Nick Cave, image courtesy of Sargent's Daughters

This exhibition brings together artists from across the United States—Carolina Caycedo, Demian DinéYazhi´ with Ginger Dunnill, Torkwase Dyson, Cy Gavin, Lena Henke, and Erin Jane Nelson—whose work responds to the precarious state of the environment through a personal lens. Experimenting with form and narrative in painting, video, and sculpture, these artists address how ideology—as much as technology, industry, and architecture—impacts all living things.

Though each contends with facts or histories that are real and observable, none takes a documentary approach. Rather, these artists adopt a highly subjective position, embracing emotion, intuition, spirituality, and myth to help understand our intrinsic place within the “natural” world. They share the sense that scientific, or “rational,” thought can reinforce a limited view of our planet and its inhabitants—one that assumes they can and should be controlled.

The works on view present a wide range of subjects, from the controversial transformation of New York in the mid-twentieth century by city official Robert Moses to the affirmation of a vital Indigenous presence in the face of institutionalized colonialism. They draw from distinct visual traditions, including Southern handcraft, sixteenth-century architecture, history painting, and hard-edge abstraction. Through their varied interests and formal approaches, all of these artists assert the relevance of individual experience and perspective to address concerns that are global in scale and effect. In the words of artist Torkwase Dyson, this exhibition is not just about “the way we connect...but understanding also the waters that are between us.”

The exhibition is organized by Elisabeth Sherman, assistant curator, and Margaret Kross, curatorial assistant.

Major support for Between the Waters is provided by John R. Eckel, Jr. Foundation.

This exhibition is part of the Whitney’s emerging artists program, sponsored by

Generous support is provided by Jackson Tang.

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Erin Jane Nelson

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In her ceramic works, Erin Jane Nelson memorializes barrier islands of the South Atlantic and Gulf coasts that will likely disappear with rising sea levels. Although they resemble travel keepsakes, Nelson’s ceramics subvert the souvenir and its connotations of leisure and escape. Drawing from vernacular Southern craft (such as sailor’s valentines and memory jugs), she reflects on how the changing climate has radically reshaped both the geography and the collective consciousness of these regions. Many of these nearly vanished sites have complicated legacies of colonialism, slavery, racism, environmental degradation, and militarism. “What are the monuments or memorials we are not able to see?” she asks. “What monuments are undoing themselves?”

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Erin Jane Nelson, Isle de Jean Charles, 2018

Installation shot.
Installation shot.

Erin Jane Nelson, Isle de Jean Charles, 2018 (installation view, Whitney Museum of American Art, New York). Resin, pinecone, glass, and archival inkjet print on glazed stoneware, 17 × 12 × 3 1/2 in. (43.2 × 30.5 × 8.9 cm). Collection of the artist; courtesy DOCUMENT, Chicago. Photograph by Ron Amstutz

Artists

Essay

Screenshot of a webchat.

Between the Waters Roundtable

Between the Waters is about individual voices each speaking on a series of relationships that could be described as ecological: between the land, the forms and ways of life that exist on the land, and the systems of use or governance of the land. The artists whose work is included in the exhibition—Carolina Caycedo, Demian DinéYazhi´ with Ginger Dunhill, Torkwase Dyson, Cy Gavin, Lena Henke, and Erin Jane Nelson—assert that our personal beliefs and ideological values cannot be separated from the material reality of a changing Earth. As they describe in this roundtable discussion, they also resist the categorical terminology and methodologies of rational systems of thought, instead looking to emotion and spirituality as alternative methods to consider the relationship between the natural world and ourselves, in which we are neither in control nor completely eclipsed, neither anthropocentric nor post-human.

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Perspectives

Explore works from this exhibition
in the Whitney's collection

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On the Hour

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Maya Man, A Realistic Day In My Life Living In New York City

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