Human Interest: Portraits from the Whitney’s Collection

Apr 2, 2016–Apr 2, 2017

A black and white photograph by Dawoud Bey. Two young African American boys wear scout uniforms, with somber faces.
A black and white photograph by Dawoud Bey. Two young African American boys wear scout uniforms, with somber faces.

Dawoud Bey, Two Explorer Scouts, Brooklyn, New York, 1988 (printed 1999). Gelatin silver print, sheet: 23 7/8 × 20 in. (60.6 × 50.8 cm), image: 22 1/16 × 18 3/16 in. (56 × 46.2 cm). Whitney Museum of American Art, New York; gift of Arthur and Susan Fleischer  2012.194 © Dawoud Bey

Human Interest: Portraits from the Whitney’s Collection offers new perspectives on one of art’s oldest genres. Drawn entirely from the Museum’s holdings, the more than two hundred works in the exhibition show changing approaches to portraiture from the early 1900s until today. Bringing iconic works together with lesser-known examples and recent acquisitions in a range of mediums, the exhibition unfolds in eleven thematic sections on the sixth and seventh floors. Some of these groupings concentrate on focused periods of time, while others span the twentieth and twenty-first centuries to forge links between the past and the present. This sense of connection is one of portraiture’s most important aims, whether memorializing famous individuals long gone or calling to mind loved ones near at hand.

Portraits are one of the richest veins of the Whitney’s collection, a result of the Museum’s longstanding commitment to the figurative tradition, which was championed by its founder, Gertrude Vanderbilt Whitney. Yet the works included in this exhibition propose diverse and often unconventional ways of representing an individual. Many artists reconsider the pursuit of external likeness—portraiture’s usual objective—within formal or conceptual explorations or reject it altogether. Some revel in the genre’s glamorous allure, while others critique its elitist associations and instead call attention to the banal or even the grotesque.

Once a rarefied luxury good, portraits are now ubiquitous. Readily reproducible and ever-more accessible, photography has played a particularly vital role in the democratization of portraiture. Most recently, the proliferation of smartphones and the rise of social media have unleashed an unprecedented stream of portraits in the form of snapshots and selfies. Many contemporary artists confront this situation, stressing the fluidity of identity in a world where technology and the mass media are omnipresent. Through their varied takes on the portrait, the artists represented in Human Interest raise provocative questions about who we are and how we perceive and commemorate others.

Human Interest: Portraits from the Whitney’s Collection is curated by Dana Miller, Richard DeMartini Family Curator and Director of the Permanent Collection and Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator with Mia Curran, Curatorial Assistant; Jennie Goldstein, Assistant Curator; and Sasha Nicholas, consulting curator.

Human Interest: Portraits from the Whitney’s Collection is sponsored by

Delta

Max Mara

Major support is provided by Anne Cox Chambers and Helen and Charles Schwab.

Generous support is provided by The Brown Foundation, Inc., of Houston.

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Entry Gallery, Floor 7

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Selected works from the seventh-floor entry gallery appear in this section.

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A WOMAN IN THE SUN, 1961

Edward Hopper, Morning in a City, 1944, and A Woman in the Sun, 1961

In Hopper Drawing

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Edward Hopper, Morning in a City, 1944, and A Woman in the Sun, 1961

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Carter Foster: These two paintings, A Woman in the Sun from 1961 and Morning in a City from 1944 were done decades apart, but they are similar in many ways. And when hung together, we see how they seem to function as pendants, or almost like a series, where one is answering the other.

Narrator: The young woman in Morning in a City gazes out of a window onto an urban landscape, in a pose that recalls classical sculpture. She seems innocent in comparison to the older figure we see in A Woman in the Sun, unflatteringly described by Hopper to his wife Jo as a “wise tramp.”

Carter Foster: It's very interesting because the curtain billowing in, in A Woman in the Sun, pushed in by the air, is almost a continuation of the curtain in the earlier painting, Morning in a City.

We hang them together here to show how carefully Hopper thought of his paintings in tandem and how drawings probably played a function as the connective tissue when he's working the same theme across decades because Hopper would not have had this painting to refer to, the earlier painting, Morning in the City, when he was painting, A Woman in the Sun. But he did have the drawings that he made for that painting. 

Edward Hopper’s wife, Josephine Nivison Hopper, served as the model for the figure in A Woman in the Sun, as she did for many of the women depicted in his compositions. She was seventy-eight at the time this work was created; rather than faithfully adhering to realistic detail, Hopper transformed her appearance according to his own internal vision. Standing in the raking light that floods the room, her naked body meets the sun’s rays, yet her expression is enigmatic. The voyeuristic, almost cinematic scene invites the viewer to imagine a narrative—perhaps what happened the night before, and what the woman is thinking or feeling.

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A black and white photograph by Dawoud Bey. Two young African American boys wear scout uniforms, with somber faces.
A black and white photograph by Dawoud Bey. Two young African American boys wear scout uniforms, with somber faces.

Dawoud Bey, Two Explorer Scouts, Brooklyn, New York, 1988 (printed 1999). Gelatin silver print, sheet: 23 7/8 × 20 in. (60.6 × 50.8 cm), image: 22 1/16 × 18 3/16 in. (56 × 46.2 cm). Whitney Museum of American Art, New York; gift of Arthur and Susan Fleischer  2012.194 © Dawoud Bey

This audio guide highlights selected works in Human Interest: Portraits from the Whitney’s Collection, with commentary by students from PS 33 Chelsea Prep and Whitney Museum educator Melanie Adsit.

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Explore works from this exhibition
in the Whitney's collection

View 381 works

In the News

“Astutely geared to the selfie age, it might well have been subtitled 'Americans Are Strange to Look At,' which, in the two-hundred and fifty images here, we sure are: funny-strange, beautiful-strange, crazy-strange, dangerous-strange, inscrutable-strange.”
—The New York Times

“In Conversation: Barkley L. Hendricks with Laila Pedro”
—The Brooklyn Rail

“This 8-Foot Candle Portrait Mesmerized Me”
—New York Magazine

"The Whitney's Extraordinary Human Interest Exhibit is the Ultimate Portrait Show"
—NJ.com

"The mixed media show, grouped by era or thematically, includes a variety of perspectives that challenge who we are and how we perceive and record those around us"
—Blouin Art Info


“A collection that proves that more than just the faces of people can constitute portraits.”
—Chelsea News

"[Human Interest] delves into the art form in an unprecedented way."
—InStyle

"The Whitney Museum’s wide-angle collection show Human Interest reminds us that the democratization of portraiture started more than a century ago, and encourages us to think more broadly about what is or isn’t a portrait."
—Artspace 

"There are magnetic images everywhere."
—The New York Times

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.