Can non-representational art reflect social change?
Focused on Whitten’s legacy-defining cumulative process, I AM THE OBJECT assembles a mesmerizing selection of works, each its own tiny universe.
Whitten’s paintings pay homage to his influences, including artists and close family. He thought of his works as “gifts” — personal dedications that reveal his subjects’ nuances and edges.
A new book from Hauser & Wirth compiles five decades of abstract artist Jack Whitten’s personal writings.
For the first time, those who have followed Jack Whitten’s career can see two different sides of the artist through two fully developed bodies of work designed for radically different purposes.
When Clement Greenberg, Frank Stella, and Donald Judd tried to define what makes a painting, they overlooked a central feature — capaciousness.
Whitten, an artist often situated in relation to the legacy of Abstract Expressionism but whose work ranged far beyond, died on January 20 at age 78.
Jack Whitten is the most relentless experimenter with materials in a generation of abstract artists who have yet to receive their due, perhaps because no one has come up with a catchy and marketable name for them, like the “Minimalists” or “The Pictures Generation.”
The art world did not begin to seriously deal with Jack Whitten’s merger of formal inventiveness and emotional content until the past decade, when he entered his seventies.
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.
SAVANNAH, Georgia — Traditionally, art history is contained on objects — the artifacts that artists leave behind and populate our museums and galleries, offering aesthetic arguments, disagreements, and manifestos. But the messier, less packaged-up side of art history is hidden in the people who lived it. That much was certainly clear from a lecture at Savannah College of Art and Design’s 2013 deFINE Art conference.