Advance Exhibition Schedule
Martine Gutierrez: Supremacy
Sept 2022—Mar 2023
This fall, the Whitney will display Martine Gutierrez’s Supremacy (2021) on the facade of 95 Horatio Street. Supremacy, a photo-performance in the artist’s signature chameleonic style, presents a newly created scene in which Gutierrez poses as a model surrounded by Barbie-like dolls. The work continues the artist’s investigation of how media propagates archetypes of women, beauty, and authenticity. A photograph reproduced as a 17-by-29-foot vinyl print, Supremacy will go on view in September, weather permitting, on the southwest corner of Gansevoort and Washington Streets, located directly across from the Whitney and the High Line. The work is the next in a series of public art installations organized by the Museum in partnership with TF Cornerstone and High Line Art.
The project is organized by Marcela Guerrero, Jennifer Rubio Associate Curator.
TIME MANAGEMENT TECHNIQUES
SEPT 24, 2022–JAN 2023
Time Management Techniques showcases photography from 1968 to 2019 by artists who examine the medium’s relationship to time. Drawn from the Whitney’s permanent collection, the exhibition features many recent acquisitions alongside works that have never before been exhibited. Despite employing vastly different techniques, aesthetics, and conceptual frameworks, each of the artists works against the immediacy often associated with photography to reflect a passage of time that is slowed down, expanded, or nonlinear. Some artists—including Darrel Ellis and Muriel Hasbun—employ a personal archive, reaching back into their individual and familial histories to challenge the linear way these stories are often told. Others use photography for its self-referential properties. Artists such as Blythe Bohnen and Katherine Hubbard record the duration and labor of making photographs, allowing the process to dictate the final form. Corin Hewitt and EJ Hill, among others, consider performance and photography together, using the image to both mark a moment and suggest the countless others that remain uncaptured. By making images that reflect on duration, the artists represented in this exhibition reveal time’s slipperiness. They articulate the artificial ways we attempt to divide, mark, and come to terms with time and its passing.
This exhibition is organized by Elisabeth Sherman, Assistant Curator at the Whitney Museum of American Art.
SEPT 30, 2022–FEB 2023
2 Lizards, a film by artists Meriem Bennani (b. 1988, Rabat, Morocco; lives and works in New York, NY) and Orian Barki (b. 1985, Israel; lives and works in New York, NY), depicts a surrealist view of the early months of the COVID-19 pandemic as it unfolded in New York City. In the film, two animated anthropomorphized lizards serve as protagonists, moving through a city gripped by a pandemic, extended isolation, and cries for social justice reform. It highlights the helplessness and uncertainty experienced by many at the time, as well as the unexpected moments of shared community and connection. Originally released as an eight-part episodic series on Bennani’s Instagram account, the Whitney’s presentation of 2 Lizards is its first institutional screening as a narrative film.
This installation is organized by Rujeko Hockley, Arnhold Associate Curator at the Whitney Museum of American Art.
Edward Hopper's New York
Oct 19, 2022—Mar 5, 2023
The city of New York was Edward Hopper’s home for nearly six decades (1908–67), a period that spans his entire mature career and coincides with a historic time of urban development. Edward Hopper’s New York is the first exhibition of its kind to focus on the artist’s rich and sustained relationship with the city that served as the subject, setting, and inspiration for so many of his most celebrated and persistently vexing pictures. The survey will take a comprehensive look at Hopper’s life and work through his depictions of the city—from his early impressions in sketches, prints, and illustrations, to his late paintings, in which New York served as a backdrop for his evocative distillations of urban experience. Drawing from the Whitney’s extensive holdings by the artist and amplified by key loans, the exhibition will bring together many of Hopper’s iconic city pictures such as Automat (1927), Early Sunday Morning (1930), Room in New York (1932), New York Movie (1939), and Morning Sun (1952), as well as several lesser-known yet critically important examples including the artist's watercolors of downtown New York and his painting November, Washington Square (1932/1958). The presentation will be significantly informed by a variety of materials from the Museum’s recently acquired Sanborn Hopper Archive—printed ephemera, correspondence, photographs, and journals that together inspire new insights into Hopper’s life. By exploring the artist’s work through the lens of New York, the exhibition offers a fresh take on this formidable figure and considers the city itself as a lead actor.
Edward Hopper’s New York is curated by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints, with Melinda Lang, Senior Curatorial Assistant.
IN THE BALANCE: BETWEEN PAINTING AND SCULPTURE, 1965–1985
OCT 19, 2022–MAR 5, 2023
In the Balance brings together artworks from the Whitney's collection that showcase how sculpture can explore painting's domain and how painting can take up sculptural concerns. These works upset preexisting ideas of what art can be and move beyond established limits of what artists can do. Regardless of whether they pour across or sit directly on the floor, the sculptures included in this exhibition investigate color, surface, and optical perception. Paintings highlight ideas like balance and objecthood and engage with traditions long associated with three-dimensional art.
Artists whose work is represented in the exhibition include Edna Andrade, Jane Kaufman, Alvin Loving, Alma Thomas, Mary Ann Unger, and more.
This exhibition is organized by Jennie Goldstein, Assistant Curator at the Whitney Museum of American Art.
no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria
Nov 23, 2022—Apr 23, 2023
Organized to coincide with the fifth anniversary of Hurricane Maria—a category five storm that hit Puerto Rico on September 20, 2017—the Whitney presents no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria. This exhibition brings together over fifty works by an intergenerational group of more than fifteen artists from Puerto Rico and the Diaspora, recognizing the ways artists have responded to the transformative years since the hurricane. Made between 2017 and 2022, these works seek to analyze the cracks left by the storm in the very structure of Puerto Rico's politics, culture, and society through painting, video, installation, performance, poetry, and never-before-seen commissions. no existe un mundo poshuracán—a verse borrowed from Puerto Rican poet Raquel Salas Rivera—is the first scholarly exhibition focused on Puerto Rican art to be organized by a large U.S. museum in nearly half a century.
While the exhibition centers on Hurricane Maria, it is also defined by the larger context that surrounded and exacerbated the aftermath of the storm. This chain of events includes the austerity measures implemented by the PROMESA law (also referred to as La Junta); the deaths of 4,645 Puerto Ricans as a consequence of the hurricane; the ouster of governor Ricardo Rosselló that led to the Verano del 19 (Summer of 2019); the string of earthquakes in early 2020; the COVID-19 pandemic, and much more.
This exhibition is organized by Marcela Guerrero, Jennifer Rubio Associate Curator, with Angelica Arbelaez, Rubio Butterfield Family Fellow and Sofía Silva, former Curatorial & Education Fellow in US Latinx Art.
EVERY OCEAN HUGHES: ALIVE SIDE
JAN 14–APR 2, 2023
Using humor, intimacy, and direct address with distinct visual and sculptural forms, Every Ocean Hughes’s (formerly known as Emily Roysdon; b. 1977, Easton, MD; lives and works between Easton and Stockholm) current series of works are connected by the artist’s interest in transitions, thresholds, kinship, legacy, and queer life. This four-part presentation at the Whitney includes a new commission for the Museum, a performance that tells a mythic story of a community of characters who have the ability to make round-trip crossings to the underworld. The commission is the third part in a multidisciplinary series inspired by the artist’s training in death care. Prior works include Help the Dead (2019), a sixty-minute musical that mimes the form of a workshop, and One Big Bag (2021), a forty-minute single-channel video installation that uses a mobile corpse kit—a bag filled with everyday objects that death doulas carry to care for the newly dead. With a matter-of-fact demeanor and intense physicality, the performer guides the viewer into the largely uncharted waters of corpse care—practical, political, and spiritual. Featured alongside the performances and video is The Piers Untitled (2010–23), a photographic series that captures the piers on the west side of Manhattan as an unmarked memorial to the marginalized communities and underground cultures that once occupied this unregulated waterfront.
This exhibition is organized by Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs.
JAUNE QUICK-TO-SEE SMITH: MEMORY MAP
APR 19–AUG 2023
In spring 2023, the Whitney will present the first New York retrospective of Jaune Quick-to-See Smith (b.1940, citizen of the Confederated Salish and Kootenai Nation), an overdue but timely look at the work of a groundbreaking artist. Jaune Quick-to-See Smith: Memory Map brings together nearly five decades of Smith’s drawings, prints, paintings, and sculptures in the largest and most comprehensive showing of her career to date. Smith’s work engages with contemporary modes of making, from her idiosyncratic adoption of abstraction to her reflections on American Pop art and neo-expressionism. These artistic traditions are incorporated and reimagined with concepts rooted in Smith’s own cultural practice, reflecting her belief that her “life’s work involves examining contemporary life in America and interpreting it through Native ideology.” Employing satire and humor, Smith’s art tells stories that flip commonly held conceptions of historical narratives and illuminate absurdities in the formation of dominant culture. Smith’s approach importantly blurs categories and questions why certain visual languages attain recognition, historical privilege, and value.
Across decades and mediums, Smith has deployed and reappropriated ideas of mapping, history, and environmentalism while incorporating personal and collective memories. The retrospective will offer new frameworks in which to consider contemporary Native American art and show how Smith has led and initiated some of the most pressing dialogues around land, racism, and cultural preservation—issues at the forefront of contemporary life and art today.
This exhibition is organized by Laura Phipps, Assistant Curator at the Whitney Museum of American Art, with Caitlin Chaisson, Curatorial Project Assistant.
APR 19–AUG 2023
Josh Kline (b. 1979, Philadelphia, PA; lives and works in New York, NY) is one of the leading artists of his generation. Kline is best known for creating immersive installations using video, sculpture, photography, and design to question how emergent technologies are changing human life in the twenty-first century. In spring 2023, the Whitney will present the first U.S. museum survey of the artist's work. Kline often utilizes the technologies, practices, and forms he scrutinizes—digitization, data collection, image manipulation, 3D printing, commercial and political advertising, and productivity-enhancing substances—aiming them back at themselves. Some of his most well-known videos use early deep fake software to speculate on the meaning of truth in a time of post-truth propaganda. At its core, Kline’s prescient practice is focused on work and class, exploring how today’s most urgent social and political issues—climate change, automation, disease, and the weakening of democracy—impact the people who make up the labor force. The exhibition will survey over a decade of the artist’s work, including new installations and moving image works that address the climate crisis. Presented for the first time at the Whitney, these new science-fiction works approach the hotter, more dangerous future on the horizon from the perspective of essential workers who will inevitably be left to pick up the pieces. In an era defined by escalating crises, Kline’s work offers a visceral warning and calls for a more human future.
This exhibition is organized by Christopher Y. Lew, former Nancy and Fred Poses Curator at the Whitney Museum of American Art and current Chief Artistic Director at the Horizon Art Foundation, with McClain Groff, Curatorial Project Assistant.