With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
PORTLAND — Way back in 1989, the Guerrilla Girls called attention to the fact that less than 5% of the artists in Metropolitan Museum of Art’s Modern Art sections were female, but 85% of the nude works on display featured women. Twenty-five years later, it should be common practice not to create shows that are noninclusive, mostly white, and mostly male. But the patriarchy is still going strong, even in the liberal mecca that is Portlandia.
There may be some great-looking specimens of postwar art in Re-View: Onnasch Collection — an exhibition that turns Hauser & Wirth’s cavernous Chelsea outpost into a mini-museum offering the kind of intimate experiences that have been all but lost in New York’s uptown behemoths — but the show also arrives with some huge caveats.
BASEL, Switzerland — Fifty-five years ago, the exhibition The New American Painting arrived at the Kunsthalle Basel. It was the first stop on a yearlong tour that touted the work of seventeen Abstract Expressionists before eight European countries — the first comprehensive exhibition to be sent to Europe showing the advanced tendencies in American painting. All but five of the original artists from the show had work on view at last weekend’s Art Basel, where postwar American painting and sculpture dominated the halls.