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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Throughout its history New York has inspired writers, musicians, and visual artists. As the portraits in this room demonstrate, the city may serve as a stage for intrepid self-invention or as a backdrop that shapes the dreams and fears of its inhabitants and visitors alike. Artists including Susan Hall and Howard Kanovitz use views of the city to impart their subjects with a nearly mythic sense of style and sophistication. Others, such as Nan Goldin and Ryan McGinley, depict tense and gritty realities. Many of these works capture quintessential New York types, from disillusioned commuters to the downtown artists who flocked to the city in search of freedom, community, or the promise of fame. Leidy Churchman's painting of the dazzling view from New York's tallest residential tower presents a portrait not of an individual but of the city itself.

Below is a selection of works from New York Portrait.

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Cindy Sherman arrived in Manhattan at the age of twenty three and worked briefly as a secretary at the downtown arts nonprofit Artists Space. At this time, she was also beginning production on her well-known Film Stills series—photographs featuring her posing as various archetypal female roles based on vintage Hollywood and European cinema publicity stills. For Secretary, an offshoot of the Film Stills, Sherman represents her own situation—a secretary aspiring to make it in the big city—as itself a type. The city also becomes a character in this drama, its imposing architecture conspicuously visible through the window behind the protagonist.

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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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