Making Knowing: Craft in Art, 1950–2019
Nov 22, 2019–Feb 20, 2022
Liza Lou, Kitchen, 1991–96. Beads, plaster, wood and found objects, 96 × 132 × 168 in. (243.8 × 335.3 × 426.7 cm). Whitney Museum of American Art, New York; gift of Peter Norton 2008.339a-x. © Liza Lou. Photograph by Tom Powel, courtesy the artist
Making Knowing: Craft in Art, 1950–2019 foregrounds how visual artists have explored the materials, methods, and strategies of craft over the past seven decades. Some expand techniques with long histories, such as weaving, sewing, or pottery, while others experiment with textiles, thread, clay, beads, and glass, among other mediums. The traces of the artists’ hands-on engagement with their materials invite viewers to imagine how it might feel to make each work.
While artists’ reasons for taking up craft range widely, many aim to subvert prevalent standards of so-called “fine art,” often in direct response to the politics of their time. In challenging accepted ideas of taste—whether by embracing the decorative or turning away from traditional painting and sculpture in favor of functional items like bowls or blankets—these artists reclaim visual languages that have typically been coded as feminine, domestic, or vernacular. By highlighting marginalized modes of artistic production, these artists challenge the power structures that determine artistic value.
This exhibition provides new perspectives on subjects that have been central to artists, including abstraction, popular culture, feminist and queer aesthetics, and recent explorations of identity and relationships to place. Together, the works demonstrate that craft-informed techniques of making carry their own kind of knowledge, one that is crucial to a more complete understanding of the history and potential of art.
Drawn primarily from the Whitney’s collection, the exhibition will include over eighty works by more than sixty artists, including Ruth Asawa, Eva Hesse, Mike Kelley, Liza Lou, Ree Morton, Howardena Pindell, Robert Rauschenberg, Elaine Reichek, and Lenore Tawney, as well as featuring new acquisitions by Shan Goshorn, Kahlil Robert Irving, Simone Leigh, Jordan Nassar, and Erin Jane Nelson.
Making Knowing: Craft in Art, 1950–2019 is curated by Jennie Goldstein, Assistant Curator, and Elisabeth Sherman, Assistant Curator, with Ambika Trasi, Curatorial Assistant.
Support for Making Knowing: Craft in Art, 1950–2019 is provided by the Lenore G. Tawney Foundation.
Events
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Sat,
Mar 12
Sewing Circle with Marie Watt11 am–3 pm
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Fri,
Feb 25
Verbal Description Online: Making Knowing: Craft in Art, 1950–2019
10–11:30 am
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Sat,
Jan 22
Open Studio From Home:
Liza Lou11 am–12 pm
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Thurs,
July 1
Art History from Home:
Making Knowing12 pm
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Tues,
June 29
Art History from Home:
Making Knowing6 pm
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Thurs,
May 6
Art History from Home:
Making Knowing12 pm
Audio guides
Lenore G. Tawney, Four Petaled Flower II, 1974. Woven linen and steel rods, 87 1/2 × 85 1/4 × 1 1/4 in. (222.3 × 216.5 × 3.2 cm). Whitney Museum of American Art, New York; gift of the Lenore G. Tawney Foundation 2014.298. © Lenore G. Tawney Foundation
Hear from the artists and curators about works in the exhibition.
Installation Views
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Ree Morton, Signs of Love, 1976; Ruth Asawa, Untitled (S.270, Hanging Six-Lobed, Complex Interlocking Continuous Form within a Form with Two Interior Spheres), 1955, refabricated 1957–58. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–February 20, 2022). From left to right: Simone Leigh, Cupboard VIII, 2018; Ree Morton, Signs of Love, 1976. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Alice Adams, Sheath, 1964; Sheila Hicks, Vanishing Yellow, Made in Switzerland, 1964; Sheila Hicks, Untitled, 1969; Anni Albers, Line Involvements II, 1964; Anni Albers, Line Involvements VI, 1964. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Sheila Hicks, Vanishing Yellow, Made in Switzerland, 1964; Sheila Hicks, Untitled, 1969; Ann Wilson, Moby Dick, 1955; Jackie Winsor, Bound Logs, 1972-73. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Peter Voulkos, Red River, c. 1960; Robert Rauschenberg, Yoicks, 1954; Ruth Asawa, Untitled (S.270, Hanging Six-Lobed, Complex Interlocking Continuous Form within a Form with Two Interior Spheres), 1955, refabricated 1957-58. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Anni Albers, Line Involvements II, 1964; Anni Albers, Line Involvements VI, 1964; Ann Wilson, Moby Dick, 1955; Robyn Brentano and Andrew Horn, Cloud Dance, 1979; Lenore G. Tawney, Four Petaled Flower II, 1974; Lenore G. Tawney, Spirit River, 1966; Agnes Martin, Untitled, c. 1960; Agnes Martin, Untitled, c. 1960; Lenore G. Tawney, The Great Breath, 1964. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Robyn Brentano and Andrew Horn, Cloud Dance, 1979; Lenore G. Tawney, Four Petaled Flower II, 1974; Lenore G. Tawney, Spirit River, 1966; Agnes Martin, Untitled, c. 1960; Agnes Martin, Untitled, c. 1960; Lenore G. Tawney, The Great Breath, 1964; Chryssa, Untitled (March 26, 1962) from Newspaper Book, 1962; Peter Voulkos, Red River, c. 1960; Robert Rauschenberg, Yoicks, 1954; Ruth Asawa, Untitled (S.270, Hanging Six-Lobed, Complex Interlocking Continuous Form within a Form with Two Interior Spheres), 1955, refabricated 1957-58. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Lenore G. Tawney, Four Petaled Flower II, 1974; Lenore G. Tawney, Spirit River, 1966. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Agnes Martin, Untitled, c. 1960; Agnes Martin, Untitled, c. 1960; Lenore G. Tawney, The Great Breath, 1964; Chryssa, Untitled (March 26, 1962) from Newspaper Book, 1962. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Ann Wilson, Moby Dick, 1955; Robyn Brentano and Andrew Horn, Cloud Dance, 1979; Lenore G. Tawney, Four Petaled Flower II, 1974. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Emmi Whitehorse, Another Blanket, 1983; Robert Morris, Felt, 1967–68; Eva Hesse, No Title, 1969–70; Jackie Winsor, Bound Logs, 1972–73. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Claes Oldenburg, Giant BLT (Bacon, Lettuce, and Tomato Sandwich), 1963; Yayoi Kusama, Accumulation, c. 1963; Richard Artschwager, Description of Table, 1964. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Howardena Pindell, Untitled, 1974–75; Alan Shields, J + K, 1972. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Harmony Hammond, Hug, 1978; Diane Simpson, Apron Armour, 1976; Emmi Whitehorse, Another Blanket, 1983; Miriam Schapiro, The Beauty of Summer, 1973–74; Robert Morris, Felt, 1967–68. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Claes Oldenburg, Giant BLT (Bacon, Lettuce, and Tomato Sandwich), 1963; Richard Artschwager, Description of Table, 1964; Yayoi Kusama, Accumulation, c. 1963; Howardena Pindell, Untitled, 1974–75. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Robyn Brentano and Andrew Horn, Cloud Dance, 1979; Lenore G. Tawney, Four Petaled Flower II, 1974; Claes Oldenburg, Giant BLT (Bacon, Lettuce, and Tomato Sandwich), 1963; Yayoi Kusama, Accumulation, c. 1963; Howardena Pindell, Untitled, 1974–75; Alan Shields, J + K, 1972. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Harmony Hammond, Hug, 1978; Diane Simpson, Apron Armour, 1976; Emmi Whitehorse, Another Blanket, 1983; Miriam Schapiro, The Beauty of Summer, 1973–74. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Harmony Hammond, Hug, 1978; Diane Simpson, Apron Armour, 1976; Emmi Whitehorse, Another Blanket, 1983; Miriam Schapiro, The Beauty of Summer, 1973–74. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Betty Woodman, Joined Vases, 1972; Elaine Reichek, Silver & Gold, 1976; Howardena Pindell, Untitled, 1974–75; Alan Shields, J + K, 1972. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Barbara Chase-Riboud, Zanzibar Table Gold, 1972; Faith Ringgold, Feminist Series: Of My Two Handicaps #10 and 20, 1972; Betty Woodman, Hydrangea, 1987; Kim MacConnel, On TV, 1978. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Mary Frank, Swimmer, 1978; Betty Woodman, Joined Vases, 1972. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Robert Gober, Untitled, 1991; Pepón Osorio; Angel: The Shoe Shiner, 1993; Erica Baum, Hem Allowed, 2018; Erica Baum, Fold Coat, 2018; Erin Jane Nelson, Daufuskie Muscat, 2018; Rosie Lee Tompkins, Three Sixes, 1986. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Kiki Smith, Familiars, 2001–02; Pepón Osorio; Angel: The Shoe Shiner, 1993; Rosie Lee Tompkins, Three Sixes, 1986; Thomas Lanigan-Schmidt, A Rite of Passage: The Velvet Cat Tail and the Silk Tiger Lily, 1987–88; John de Fazio, Crystal Meth Crucifix, 1999. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Charles LeDray, Milk and Honey, 1994–96; Elaine Reichek, Silver & Gold, 1976; Alan Shields, J + K, 1972; Pepón Osorio; Angel: The Shoe Shiner, 1993; Arch Connelly, Leaf, 1982; Arch Connelly, Personal Explosion, 1984. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Mike Kelley, More Love Hours Than Can Ever Be Repaid and The Wages of Sin, 1987; Pepón Osorio; Angel: The Shoe Shiner, 1993; Robert Gober, Untitled, 1991; Kiki Smith, Familiars, 2001–02. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Lucas Samaras, Box #124, 1988; Robert Gober, Untitled, 1991; Kiki Smith, Familiars, 2001–02. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Arch Connelly, Leaf, 1982; Arch Connelly, Personal Explosion, 1984; Mike Kelley, More Love Hours Than Can Ever Be Repaid and The Wages of Sin, 1987. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Rosie Lee Tompkins, Three Sixes, 1986; Thomas Lanigan-Schmidt, A Rite of Passage: The Velvet Cat Tail and the Silk Tiger Lily, 1987–88; John de Fazio, Crystal Meth Crucifix, 1999. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Charles LeDray, Milk and Honey, 1994–96; Harmony Hammond, Hug, 1978; Diane Simpson, Apron Armour, 1976. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Erica Baum, Hem Allowed, 2018; Erica Baum, Fold Coat, 2018; Erin Jane Nelson, Daufuskie Muscat, 2018. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Marie Watt, Skywalker/Skyscraper (Axis Mundi), 2012; Simone Leigh, Cupboard VIII, 2018; David James Gilhooly, Merfrog and Her Pet Fish, 1976; Liza Lou, Kitchen, 1991–96. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Kahlil Robert Irving, 100’s, 2018; Njideka Akunyili Crosby, Portals, 2016; Marie Watt, Skywalker/Skyscraper (Axis Mundi), 2012; Simone Leigh, Cupboard VIII, 2018. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Simone Leigh, Cupboard VIII, 2018; Liza Lou, Kitchen, 1991–96. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). Liza Lou, Kitchen (detail), 1991–96. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Kahlil Robert Irving, 100’s, 2018; Njideka Akunyili Crosby, Portals, 2016. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Jeffrey Gibson, BIRDS OF A FEATHER, 2017; Nick Cave, Sound Suit #20, 2005; Marie Watt, Skywalker/Skyscraper (Axis Mundi), 2012; Jordan Nassar, A Lost Key, 2019; Shan Goshorn, Roll Call, 2016; Shan Goshorn, Red Flag, 2015. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Jordan Nassar, A Lost Key, 2019; Shan Goshorn, Roll Call, 2016; Shan Goshorn, Red Flag, 2015; Kahlil Robert Irving, 100’s, 2018. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Sterling Ruby, Basin Theology/The Pipe, 2013; Betty Woodman, Still Life Vase #11, 1990; Paul McCarthy, Walt Paul Store, WS, Snow White, 2013; Paul McCarthy, Walt Paul Store, WS, Snow White and Dopey, 2013; Paul McCarthy, Walt Paul Store, WS, Snow White, 2013; Katy Schimert, The Five Senses, 1997. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Mary Heilmann, Monochrome Chairs, 2015; Arlene Shechet, A Night Out, 2011. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Ron Nagle, Oogakadoozie, 1999; Robert Arneson, Whistling in the Dark, 1976; Richard Shaw, Mike Goes Back to T., 1980; David James Gilhooly, Merfrog and Her Pet Fish, 1976; Arlene Shechet, Y Wabi N, 2007; Sterling Ruby, Basin Theology/The Pipe, 2013; Betty Woodman, Still Life Vase #11, 1990; Paul McCarthy, Walt Paul Store, WS, Snow White, 2013; Paul McCarthy, Walt Paul Store, WS, Snow White and Dopey, 2013; Paul McCarthy, Walt Paul Store, WS, Snow White, 2013; Katy Schimert, The Five Senses, 1997. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: David James Gilhooly, Merfrog and Her Pet Fish, 1976; Arlene Shechet, Y Wabi N, 2007; Richard Shaw, Mike Goes Back to T., 1980; Kenneth Price, Nail Polish and Lipstick, 1980; Robert Arneson, Whistling in the Dark, 1976; Paul McCarthy, Walt Paul Store, WS, Snow White and Dopey, 2013; Paul McCarthy, Walt Paul Store, WS, Snow White, 2013; Paul McCarthy, Walt Paul Store, WS, Snow White, 2013; Katy Schimert, The Five Senses, 1997; Betty Woodman, Still Life Vase #11, 1990; Arlene Shechet, A Night Out, 2011. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: David James Gilhooly, Merfrog and Her Pet Fish, 1976; Arlene Shechet, Y Wabi N, 2007; Richard Shaw, Mike Goes Back to T., 1980; Kenneth Price, Nail Polish and Lipstick, 1980; Robert Arneson, Whistling in the Dark, 1976. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Arlene Shechet, A Night Out, 2011; Paul McCarthy, Walt Paul Store, WS, Snow White, 2013; Paul McCarthy, Walt Paul Store, WS, Snow White and Dopey, 2013; Paul McCarthy, Walt Paul Store, WS, Snow White, 2013; Betty Woodman, Still Life Vase #11, 1990; Katy Schimert, The Five Senses, 1997. Photograph by Ron Amstutz
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Simone Leigh, Cupboard VIII, 2018; Kahlil Robert Irving, 100’s, 2018; Elaine Reichek, Sampler (The Ultimate), 1996; Elaine Reichek, Sampler (Kruger/Holzer), 1998. Photograph by Ron Amstutz
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In the News
"This is not your mother’s craft show." —artnet News
"Making Knowing: Craft in Art, 1950–2019 casts a broad net over the museum’s permanent collection and comes up with a haul of interesting connections." —Artsy
"Whitney curators Jennie Goldstein and Elisabeth Sherman have assembled a compelling argument for the importance of craft in contemporary art over the past 70 years." —Galerie
"Making Knowing is a useful and corrective survey of craft’s presence in postwar U.S. art." —Mousse Magazine
"The crafted artworks in Making Knowing demonstrate the value of things handmade throughout art history. The works reconcile creative expression within broader culture, using the imagination as a voice." —CR Fashion Book
"[A] long overdue boon for any ardent supporter of this previously maligned visual field." —Architectural Digest