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.

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

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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The American art world grew rapidly in the first half of the twentieth century, instilling artists with both confidence and uncertainty. Excited by new opportunities yet pressed to distinguish themselves from their renowned European counterparts, American artists became preoccupied with depicting themselves and their intimate circles of friends, lovers, and collaborators in other fields. One such community was the Whitney Museum itself, along with its precursor, the Whitney Studio Club. Many of the portraits on view here reflect its early history as a magnet for figures such as Edward Hopper at a time when few artists had found institutional support or even gathering places for likeminded colleagues. Other works capture the vital presence of émigrés, such as Marcel Duchamp and Joseph Stella, or point to the rising prominence of women artists, such as Isabel Bishop and Georgia O’Keeffe. Alternately styled as virtuoso, hero, technician, bohemian, or everyman, both the creators and subjects of these portraits staked a claim to their authority as artists, addressing themselves directly to an audience increasingly attuned to their endeavors.

Below is a selection of works from Portrait of the Artist.

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Arnold Newman (1918–2006), Yasuo Kuniyoshi, New York City, 1941. Gelatin silver print, sheet: 7 7/8 × 9 15/16 in. (20 × 25.2 cm); image: 7 3/4 × 9 7/8 in. (19.7 × 25.1 cm). Whitney Museum of American Art, New York; gift of Mr. and Mrs. Benjamin Weiss 91.50.5

Photographer Arnold Newman began taking portraits of artists in 1941 because, as he said, he wanted to “work with positive personalities, people who did something with their lives, and with life.” Newman developed what he described as an “environmental” approach to portraiture: instead of posing his subjects in front of a false backdrop, he photographed them in their homes or places of work, often surrounded by their own art. Newman captured the artist Yasuo Kuniyoshi in his Fourteenth Street studio, seated next to several folk art objects. By the time Newman took this photograph, Kuniyoshi had amassed a large collection of Americana. “I picked up all kinds of materials,” the Japanese-born artist recounted, including “cigars and toys and weather vanes . . . I picked them for shapes, colors, textures.” Kuniyoshi incorporated these objects, which he imbued with symbolic meanings, into his still life paintings. Newman’s image offers the viewer insight into Kuniyoshi’s artistic process and his investment in the history of American culture.

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Audio guides

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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