whitney web

WHITNEY MUSEUM OF AMERICAN ART 51 INTERPRETATION OF


Whitney Museum building is built by Hito Steyerl’s immersive three dimensional
grid is modeled on motion capture studios, where body movements are recorded
and translated for use in computer imagery. The video on view within also features a motion capture studio. In that one, workers are forced to dance in order to generate
sunlight though they also dance as a form of resistance to their data mined servitude and video shifts between mock newscasts, drone footage, and personal narratives, moving between different levels of reality like a video game. The work hints at
the Internet while also critiquing its use.
WHITNEY MUSEUM OF AMERICAN ART 52 INTERPRETATION OF


WHITNEY MUSEUM OF AMERICAN ART 53 INTERPRETATION OF


WHITNEY MUSEUM OF AMERICAN ART 54 INTERPRETATION OF


WHITNEY MUSEUM OF AMERICAN ART 55 INTERPRETATION OF


Ben Coonley’s Trading Futures (2016)
tilts our gaze upward onto the small interior of a large cardboard geodesic dome
where a 360-degree video is projected.
The DIY aesthetic of the dome sits in stark contrast to, yet in perfect sync with, the
high tech space of Coonley’s video, whose complex transitions between 2D and 3D push this new technology to its limit. In the video, Coonley delivers a lecture on nancial trade futures and the technical prope of 3D, adopting different personae as he moves through a series of interior, exterior spaces, oating, and spinning, released from gravity by the optics of technology and space.
He uses 3D-animation software to assemble 360-degree live-action footage, cell phone photos, stereoscopic 3D video, and virtually rendered elements, creating and generate
a composite moving image that challenges the physical limits of well as visual.
WHITNEY MUSEUM OF AMERICAN ART 56 INTERPRETATION OF


WHITNEY MUSEUM OF AMERICAN ART 57 INTERPRETATION OF


WHITNEY MUSEUM OF AMERICAN ART 58 STAMP FOR


SEPTEMBER 16, 2016 -
JANUARY 9, 2017
Mary Heilmann: May First to September Twenty Seven Sunset Two Thousand Fifteen
WHITNEY MUSEUM OF AMERICAN ART 59 STAMP FOR


SEPTEMBER 16, 2016 -
JANUARY 9, 2017
T C RMEN HERRERA: LINES OF SIGHT
AmericSanELPeTgeEnMdsB: ER 16D,e2ce0m1b6er Twenty Second to June Twenty Nine From Calder to O’keeffe Two Thousand Twenty Four
- JANUARY 9, 2017
WHITNEY MUSEUM OF AMERICAN ART 60 STAMP FOR
HA


SIGHT
SEPTEMBER 16, 2016 -
JANUARY 9, 2017
CARMEN HERRERA: LINES OF S
IGHT
JANUARY 9, 2017
CARMEN HERRERA: LINES OF SI
SEPTEMBER 16, 2016
Shaping a Collection: July Seventeen to October Nineteen Five Decades of Gifts -Two Thousand Fouteen
WHITNEY MUSEUM OF AMERICAN ART 61 STAMP FOR
SGHT
IGHT


WHITNEY MUSEUM OF AMERICAN ART 62 STAMP FOR
Laura Poitras: February Fifth to May First Astro Noise Two Thousand Sixteen


Mirror Cells
May Thirteen to August Twenty First Two Thousand Sixteen
SEPTEMBER 16, 2016 SEPTEMBER 16, 2016 --
JANUARY 9, 2017
CARMEN HERRERA: LINES OF SIGHT
JANUARY 9, 2017
CARMEN HERRERA: LINES OF SIGHT
SEPTEMBER 16, 2016 --
JANUARY 9, 2017
CARMEN HERRERA: LINES OF SIGHT
SEPTEMBER 16, 2016 --
SEPTEMBER 16, 2016 JANUARY 9, 2017
JANUARY 9, 2017
SEPTEMBER 16, 2016 JANUARY 9, 2017
CARMEN HERRERA: LINES OF SIGHT
WHITNEY MUSEUM OF AMERICAN ART 63 STAMP FOR
CORY ARCANGEL: PRO TOOLS
MAY 26 – SEPT 11, 2011
WHITNEY MUSEUM


CA MEN HERRERA: LINES OF SIGHT
Richard Artschwager October Twenty Fifth TwoThousand Tweleve to SEPTEMBER 16Fe,b2ru0ar1y T6hird TwoThousand Thirteen
- JANUARY 9, 2017
CARMEN HERRERA: LINES OF SIGHT
WHITNEY MUSEUM OF AMERICAN ART 64 STAMP FOR
R


WHITNEY MUSEUM OF AMERICAN ART 65 STAMP FOR
Frank Stella: October Thirtieth TwoThousand Fifteen to A Retrospective February Seventh Two Thousand Sixteen


Cory Arcangel: May Twenty Sixth to September Eleventh Pro Tools Two Thousand Eleven
WHITNEY MUSEUM OF AMERICAN ART 66 STAMP FOR


WHITNEY MUSEUM OF AMERICAN ART 67 STAMP FOR
Real / Surreal October Sixth Two Thousand Eleven to February Twelve Two Thousand Twelve


WHITNEY MUSEUM OF AMERICAN ART 68 STAMP FOR
Stuart Davis: June Tenth to September Twenty Fifth In Full Wing Two Thousand Sixteen


Carmen Herrera: September Sixteen Two Thousand Sixteen to Lines of Sight January Ninth Two Thousand Seventeen
WHITNEY MUSEUM OF AMERICAN ART 69 STAMP FOR


C RMENHERRERA:LINESOFSIGHT CA
Signs &SEymPbToElsMBER 1J6un,e2T0w1en6ty Eighth to October Twenty Eighth
- JANUARY 9, 2017
Two Thousand Twelve
CARMEN HERRERA: LINES OF SIGHT CA
WHITNEY MUSEUM OF AMERICAN ART 70 STAMP FOR
AR
S
R


SEPTEMBER 16, 2016 -
JANUARY 9, 2017
CARMEN HERRERA: LINES OF SIGH
Alex Katz: October Third Two Thousand Four to
SEPTEMBER 16, 2016
Katherine and Elizabeth April Fifth Two Thousand Sixteen
- JANUARY 9, 2017
WHITNEY MUSEUM OF AMERICAN ART 71 STAMP FOR
T CA


SEPTEMBER 16, 2016 -
JANUARY 9, 2017
CARMEN HERRERA: LINES OF SIG
Sinister Pop November Fifteen Two Thousand Twelve to March Thirty First Two Thousand Thirteen
SEPTEMBER 16, 2016 -
JANUARY 9, 2017
CARMEN HERRERA: LINES OF SIGH
WHITNEY MUSEUM OF AMERICAN ART 72 STAMP FOR
H


ABOUT THE WHITNEY
As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. e Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collectionarguably
the nest holding of twentieth-century American art in the world is the Museum’s key resource. e Museum’s signature exhibition, the Biennial, is the country’s leading survey of the most recent developments in American art.
Innovation has been a hallmark of the Whitney since its beginnings. It was the rst museum dedicated to the work of living American artists and the rst New York museum to present
a major exhibition of a video artist (Nam June Paik in 1982). Such gures as Jasper Johns,
Cy Twombly, and Cindy Sherman were given their rst museum retrospectives by the Whitney. e Museum has consistently purchased works within the year they were created, o en
well before the artists became broadly recognized. e Whitney was the rst museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the rst museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.
Designed by architect Renzo Piano and situated between the High Line and the Hudson River, the Whitney’s new building vastly increases the Museum’s exhibition and programming space, providing the most expansive view ever of its unsurpassed collection of modern
and contemporary American art.
WHITNEY MUSEUM OF AMERICAN ART 73 ALL ABOUT


THE BUILDING
Designed by architect Renzo Piano and situated between the High Line
and the Hudson River, the Whitney's building in the Meatpacking District vastly increases the Museum’s exhibition and programming space, o ering the most expansive display ever of its unsurpassed collection of modern and contemporary American art.
Designed by architect Renzo Piano, the Whitney’s building in the Meatpacking District includes approximately 50,000 square feet of indoor galleries and 13,000 square feet of outdoor exhibition space and terraces facing the High Line. An expansive gallery for special exhibitions is approximately 18,000 square feet in area, making it the largest column-free museum gallery in New York City. Additional exhibition space includes a lobby gallery,
two oors for the permanent collection, and a gallery on the top oor.
According to Mr. Piano, “ e design for the new museum emerges equally from a close study of the Whitney’s needs and from a response to this remarkable site. We wanted to draw on its vitality and at the same time enhance its rich character. e rst big gesture, then, is the cantilevered entrance, which transforms the area outside the building into a large, sheltered public space. At this gathering place beneath the High Line, visitors will see the building entrance and the large windows on the west side to the Hudson River beyond. Here, all at once, you have the water, the park, the powerful industrial structures and mix of people, brought together and focused by this new building and the experience of art.”
e dramatically cantilevered entrance along Gansevoort Street shelters an 8,500-square-foot outdoor plaza or “largo,” a public gathering space steps away from the southern entrance
to the High Line. e building also includes an education center o ering state-of-the-art classrooms; a multi-use black box theater for lm, video, and performance with an adjacent outdoor gallery; a 170-seat theater with stunning views of the Hudson River; and a Works
on Paper Study Center, Conservation Lab, and Library Reading Room. e classrooms, theater, and study center are all rsts for the Whitney.
A retail shop on the ground- oor level contributes to the busy street life of the area.
A ground- oor restaurant and top- oor cafe are operated by renowned restaurateur Danny Meyer and his Union Square Hospitality Group.
Mr. Piano’s design takes a strong and strikingly asymmetrical form—one that responds to the industrial character of the neighboring lo buildings and overhead railway while asserting
a contemporary, sculptural presence. e upper stories of the building overlook the Hudson River on its west, and step back gracefully from the elevated High Line Park to its east.
e Metropolitan Museum of Art is presenting exhibitions and educational programming at the Whitney’s uptown building for a period of eight years, with the possibility of extending the agreement for a longer term.
WHITNEY MUSEUM OF AMERICAN ART 74 ALL ABOUT


THE MEATPACKING DISTRICT
An aerial view of the building, the city, and the Hudson River.
e Meatpacking District is a twenty-square-block neighborhood on the far West Side
of Manhattan. Surrounding the meatpacking plants just north of Gansevoort Street
are some of New York’s most notable restaurants, bars, fashion boutiques, clubs, and hotels. e neighborhood is bordered to the north and east by Chelsea, renowned for its art galleries, cultural organizations, and educational institutions. To the south is the West Village and its nineteenth-century townhouses, and unique shops. To the west is the Hudson River.
THE HIGH LINE
e High Line is New York City’s newest and most unique public park. Located thirty feet above street level on a 1930s freight railway, the High Line runs from Gansevoort Street in the Meatpacking District to 34th Street in Clinton/Hell’s Kitchen. It features an integrated landscape combining meandering concrete pathways with naturalistic plantings. Neighborhood Discount Program for members only : Gansevoort Street at night, with tail lights from cars rushing by e Whitney has one of the most expansive member discount programs of any museum in New York City.
WHITNEY MUSEUM OF AMERICAN ART 75 ALL ABOUT


HISTORY OF THE WHITNEY \ FOUNDING
e Whitney Museum of American Art was borne out of sculptor Gertrude Vanderbilt Whitney’s advocacy on behalf of living American artists. At the beginning of the twentieth century, artists with new ideas found it nearly impossible to exhibit or sell their work in the United States. Recognizing the obstacles these artists faced, Mrs. Whitney began purchasing and showing their work, thereby becoming the leading patron of American art from 1907 until her death in 1942.
In 1914, Mrs. Whitney established the Whitney Studio in Greenwich Village, where she presented exhibitions by living American artists whose work had been disregarded
by the traditional academies. By 1929 she had assembled a collection of more than 500 works, which she o ered with an endowment to e Metropolitan Museum of Art. When the o er was refused, she set up her own museum, one with a new and radically di erent mandate: to focus exclusively on the art and artists of this country. e Whitney Museum of American Art was opened in 1931 on West Eighth Street Village.
e Museum moved to an expanded site on West 54th Street in 1954. Having outgrown that building by 1963, the Museum acquired its Marcel Breuer-designed building on Madison Avenue at 75th Street, which opened in 1966. Programming at the Breuer building concluded on October 20, 2014. e Whitney’s new building at 99 Gansevoort Street .
e Whitney was the rst museum to take its exhibitions and programming beyond its own walls by establishing corporate-funded branch museums in other parts of New York City and the surrounding area. e Whitney branches were located in downtown Manhattan; at the Equitable Center at Seventh Avenue and 52nd Street; at Champion International Corporation in Stamford, Connecticut; and at the corporate headquarters of Altria originally the Philip Morris Companies on Park Avenue and 42nd Street.
WHITNEY MUSEUM OF AMERICAN ART 76 ALL ABOUT


EXHIBITIONS
Since its inception in 1931, the Whitney has championed American art by assembling a rich permanent collection and featuring a rigorous and varied schedule
of exhibition programs. By emphasizing seminal artists and artworks from the twentieth and twenty- rst centuries, the museum organizes important exhibitions both from our holdings and from the collections of individuals and institutions worldwide.
Exhibitions range from historical surveys and in-depth retrospectives of major twentieth century and contemporary artists to group shows introducing young or relatively unknown artists to a larger public. e Biennial, an invitational show of work produced in preceding two years, was introduced by Gertrude Vanderbilt Whitney in 1932. It is the only continuous series of exhibitions in the country to survey recent developments in American art and eWhitney also presents acclaimed exhibitions of lm and video, architecture.
PERMANENT COLLECTION
e Whitney’s collection includes over 21,000 works created by more than 3,000 artists in the United States during the twentieth and twenty- rst centuries. At its core
are Museum founder Gertrude Vanderbilt Whitney’s personal holdings, totaling some 600 works when the Museum opened in 1931.
WHITNEY MUSEUM OF AMERICAN ART 77 ALL ABOUT


ABOUT THE COLLECTION
e Whitney’s collection includes over 22,000 works created by more than 3,000 artists in the United States during the twentieth and twenty- rst centuries. At its core are Museum founder Gertrude Vanderbilt Whitney’s personal holdings, totaling some 600 works when the Museum opened in 1931. ese works served as the basis for the founding collection, which Mrs. Whitney continued to add to throughout her lifetime. e founding collection re ects Mrs. Whitney’s ardent support of living American artists of the time, particularly younger or emerging ones, including Peggy Bacon, George Bellows, Stuart Davis, Charles Demuth, Mabel Dwight, Edward Hopper, Yasuo Kuniyoshi, Reginald Marsh, and John Sloan. is focus on the contemporary, along with a deep respect for artists’ creative process and vision, has guided the Museum’s collecting ever since.
e collection begins with Ashcan School painting and follows the major movements
of the twentieth century in America, with strengths in Modernism and Social Realism, Precisionism, Abstract Expressionism, Pop Art, Minimalism, Postminimalism, art centered on identity and politics that came to the fore in the 1980s and 1990s, and contemporary work. e Museum’s signature exhibition is its biennial (and annual, during certain periods) survey of contemporary art, which has always kept the focus on the present, in the spirit
of its founder. e highlights of the collection are de nitive examples of their type, but there is also much variety and originality in works by less well-known gures. e collection includes all mediums; over eighty percent is works on paper.
e Whitney has deep holdings of the work of certain key artists, spanning their careers and the mediums in which they worked, including Alexander Calder, Mabel Dwight, Jasper Johns, Glenn Ligon, Brice Marden, Reginald Marsh, Agnes Martin, Georgia O’Kee e, Claes Oldenburg, Ed Ruscha, Cindy Sherman, Lorna Simpson, and David Wojnarowicz.
2008
A sketch of the museum pro le by Renzo Piano September 24, 2008
e New York City Council unanimously approves the project’s ULURP application.
August 11, 2008
e City Planning Commission unanimously approves the project’s ULURP application.
July 2, 2008
e Whitney presents its ULURP application at the City Planning Commission’s July 2008 public hearing.
June 30, 2008
Manhattan Borough President Scott M. Stringer recommends approval of the project’s ULURPapplication stating, “ e application meets the required ndings, satis es important public policy goals, has the support of the a ected community, and will facilitate
the development of a highly anticipated new public park as well as enhance the ability of
an important art institution to serve the public.”
WHITNEY MUSEUM OF AMERICAN ART 78 ALL ABOUT


May 22, 2008
At its May 2008 board meeting, Community Board 2 unanimously votes to approve the Whitney’s new building project proposal and its associated zoning actions.
May 5, 2008
e Whitney’s new building project receives certi cation from the New York City Planning Commission, beginning the formal zoning process of public review known asULURP (Uniform Land Use Review Procedure) by the local Community Board, Borough President, Department of City Planning, and the City Council.
April 30, 2008
e Whitney releases the initial building designs at a public information session hosted by Community Board 2.
2009
Grasses and a path on the High Line October 12, 2009
e Whitney announces it has signed a contract with the City of New York to purchase the land on which the new building will be constructed.
June 8, 2009
e High Line opens to the public. Mayor Bloomberg says the Whitney's new building will be a major cultural anchor for the new park.
2010
Cargo boxes with giant words on them: You are not what you seem. Real Estate. Art. Money.
December 20, 2010
e Whitney's director, Adam D. Weinberg, presents a project update to Manhattan Community Board 2's Art and Institutions Committee.
October 14, 2010
e Whitney sells eight buildings with proceeds to go towards construction of the new building and to bolster the Museum’s endowment. Funding for the project reaches $475 million.
May 25, 2010
e Whitney announces it will break ground on the new building in May 2011 and raised $372 million in the leadership phase of the fundraising campaign for the project.
April 16, 2010
e Whitney announces a series of large-scale, commissioned works on the site of its future building for May–October, 2010.
WHITNEY MUSEUM OF AMERICAN ART 79 ALL ABOUT


2011
A group including Mayor Bloomberg and Renzo Piano gathers around a pile of dirt with red shovels.
November 27, 2011
In its City of the Future section, the New York Post cites the Whitney as one of the projects which will reshape New York City over the next 50 years.
October 24, 2011
It is announced that the education facilities in the new building will be named the Laurie M. Tisch Education Center, in honor of the philantropist and Whitney trustee. Funding for
the project reaches $524 million.
May 24, 2011
In a dramatic ceremony on the building site, the Whitney o cially breaks ground on its future building in the Meatpacking District.
May 21, 2011
More than 4000 people attend the Whitney's Community Day in the Meatpacking District, featuring free activities and artist collaborations for families, teens, and adults at various venues throughout the neighborhood.
May 20, 2011
e Whitney closes on the land purchase for the building site from the City of New York.
May 11, 2011
e Whitney and the Metropolitan Museum of Art announce a collaborative agreement for the Whitney's Breuer building on the Upper East Side.
March 10, 2011
e Whitney presents a project update to Manhattan Community Board 2's Land Use and Business Development Committee.
January 26, 2011
e Whitney presents an update to Manhattan Community Board 2's Construction Coordination Committee regarding upcoming work at the new building site.
2012
A crane hoists a steel beam to the top of the building December 17, 2012
A topping out ceremony is held to mark the installation of the highest steel beam of the nine-story structure.
September 24, 2012
Steel installation is completed for the cellar and rst three oors of the building.
WHITNEY MUSEUM OF AMERICAN ART 80 ALL ABOUT


August 14, 2012
e rst piece of structural steel is erected.
July 26, 2012
Excavation work and the building foundation are completed.
March 15, 2012
ea Westreich and Ethan Wagner make a promised gi of nearly 500 artworks to Whitney and 300 artworks to the Centre Pompidou. e Whitney announces a major exhibition of the works will occur in 2015-16, the opening year of the new downtown building.
2013
Artists tour the Whitney's new building site November 4, 2013
e Museum launches Whitney Stories, a video series and online publication presenting look behind the scenes at preparations for the new building.
September 2013
60- and 30-foot steel panels constituting the building's facade are hoisted into place.
July 2013
Windows are installed in the gallery spaces.
June 6, 2013
e Whitney announces a permanent installation commissioned for the the new building: four elevators designed by the late artist Richard Artschwager.
March 14, 2013
Installation of the building's exterior walls begins.
April 7, 2013
Artists tour the new building site with Whitney director Adam Weinberg and chief curator and deputy director for programs Donna De Salvo.
January 23, 2013
e Museum presents a project update to the Arts & Institutions Committee of Community.
WHITNEY MUSEUM OF AMERICAN ART 81 ALL ABOUT


2014
e exterior stairs under construction December
Danny Meyer’s Union Square Hospitality Group announces that Michael Anthony, executive chef of Gramercy Tavern, will also take on that role when the new Whitney’s ground- oor restaurant, Untitled, and eighth- oor Studio Cafe open in spring 2015.
November
At its annual Gala, the Whitney announces the opening date of the new building: May 1, 2015.
October 2014
Whitney sta begin to move into their new o ce spaces on the third and fourth oors.
September 2014
Work begins on the plaza and sidewalks.
June 2014
Installation of the exterior stairs begins.
May 2014
e Whitney announces the inaugural year exhibitions for its downtown home.
April 2014
ree of the building’s four Richard Artschwager designed elevators are installed.
e construction hoist is removed from the exterior, enabling the building’s nal enclosure.
March 2014
Work begins on gallery light tracks, which will soon receive light xtures. e galleries will be lit with energy e cient LEDs, contributing to the building’s LEED Gold certi cation. Stone oors, quarried in Spain and nished in Italy, are also installed in the lobby gallery.
WHITNEY MUSEUM OF AMERICAN ART 82 ALL ABOUT


SUPPORT THE NEW WHITNEY
e campaign for the new Whitney goes far beyond the creation of a new museum facility that showcases and safeguards the Museum’s irreplaceable collection. It is an investment in future generations of artists and the growing audiences who will engage with their work.
e campaign commenced quietly in January 2007 with extraordinary support from
the Board of Trustees. e American Art Foundation, under President Leonard A. Lauder, launched the campaign with a transformational leadership gi of $125 million out for endowment, helping to secure our future operations in the Museum downtown.
e City of New York, whose partnership and commitment made it possible to purchase the land for the Museum, also appropriated funds for the construction of the new sleek building. e State of New York provided signi cant and early support of the architectural design. e campaign’s success to date is also the result of the many individuals who have been so generous with their early support. With this extraordinary leadership start,
the Museum broke ground on May 24, 2011 and began the transformation of the Whitney, and of the downtown cultural scene.
A project of this scale succeeds only when each of us does their part. Each gi brings us closer to realizing the new Whitney—a museum committed to art, artists, and audiences in dynamic interaction. is is an opportunity that comes but once in a generation. Please join in transforming one of our nation’s great museums and be a part of shaping the future of contemporary art in New York. Visitors stand on the museum terraces.
$760 MILLION (100%) OF PROJECT GOAL HAS BEEN RAISED
FUNDRAISING GOALS
New Building Project Costs ($422 million)
Within over 200,000 square feet, the Museum has increased its gallery space by 60% and tripled its total space.
Endowment ($225 million)
Increasing the endowment is critical to securing the nancial foundation of the Whitney’s new home.
Capacity-Building ($113 million)
Providing support to ensure dynamic artistic and educational programming is essential while building the Museum downtown.
WHITNEY MUSEUM OF AMERICAN ART 83 ALL ABOUT


Whitney Museum of American Art Campaign O ce
99 Gansevoort Street
New York, NY 10014
(212) 671-1842
WHITNEY MUSEUM OF AMERICAN ART 84 ALL ABOUT


WHITNEY MUSEUM OF AMERICAN ART 85 ALL ABOUT


THIS WHIT HOUS WHIT
AS TH ART AMER OF T AMER BY LI TO C AND ARGU CENT MUSE EXHI THE
THE WOR THE AND MUSE WHIT 600 THES
WHITNEY MUSEUM OF AMERICAN ART 86 JOURNEY TO
B N
N
O I
W I
V O E
A U
B M
W K U T
N W E