Following Sunday’s large protest by Decolonize This Place, artists quietly installed an unauthorized exhibition calling on the museum to drop weapons manufacturer Warren Kanders from its board of trustees.
Members and supporters of activist group Decolonize This Place emphasized that Warren Kanders is only a symptom of a larger problem.
After Whitney Museum director Adam Weinberg published a letter to the public asserting the museum, “cannot right all the ills of an unjust world,” Decolonize This Place organized a December 9 protest in solidarity with Whitney staffers.
Three days after Hyperallergic published an article detailing the Whitney Museum’s connection to the ongoing migrant crisis at the US-Mexico border, more than 100 staffers at the Manhattan-based museum have signed a letter demanding that their employers respond to the article’s allegations.
Warren B. Kanders, a vice chairman at the Whitney Museum of American Art, purchased defense manufacturer “Safariland” in 2012 for $124 million.
This Friday, The Whitney will host a conversation with acquaintances of Andy Warhol on their personal experiences and interactions with the artist.
After two actions led by ACT UP activists encouraged the Whitney Museum to change a wall label, we went looking for people who could tell us who Wojnarowicz was and help us decipher his complex life and art.
Last night’s performance at the Whitney Museum reminded the audience that they are all on unceded indigenous land, while exploring the implication of settler colonialism.
The new pack of 50 stickers is based on a series of ceramic sculptures Owens made based on the beloved facial icons.
Thirty years is a long time to step away. Jill Kroesen was deeply enmeshed in the downtown performance scene of the 1970s before she disappeared.
In her memoir, The Girl Who Fell to Earth (2012), Sophia Al-Maria, who was raised as a bicultural Muslim, says she feels like a “deep-sea diver, adjusting constantly to the pressures of […] two very different environments.”
With the rise of artists desperate to align themselves with one compromised avant-garde tradition or another, it is useful to remember that Stuart Davis never fit in.