My investigation into the financial realities at the Whitney Museum following the controversial Tear Gas Biennial made me realize nonprofit endowments are not doing okay.
The museum has recognized the collective bargaining unit, bypassing the union election.
Since the start of the pandemic, the Whitney has laid off approximately 20% of its staff.
Mehretu’s remarkable mid-career survey blazes through the Whitney Museum of Art, illuminating over two decades of her extensive practice.
Debuting May 1, McKenzie’s Disturbing the View takes its inspiration from New York’s “squeegee men.”
The influential collective created a rigorous yet non-hierarchical sphere of influence, which challenges the very tidiness of retrospectives like Working Together.
It seems that, in reinscribing the Mexican muralists who were “written out” of American history, the curators of Vida Americana replaced one exclusion with another.
Toor’s long-awaited Whitney debut shapes a new narrative, one that
centers the brown, queer body.
Proposing an overdue historical corrective, Vida Americana is a reminder that neither the US or European avant-garde maintained a monopoly on Modernism.
The letter, authored by three artists included in the now-canceled Collective Actions, urges the Whitney to seriously examine its practices and policies to better represent and engage with historically excluded communities.
An interview series spotlighting New York’s creative community. Hear directly from artists, curators, and art workers about their current projects and personal quirks.
Through multi-sensorial installations, Alan Michelson holds genocidal colonizers accountable and affirms the continued survival of Indigenous people.