1. Stewart Uoo and Jana Euler: Outside Inside Sensibility opens tomorrow, May 10. In this exhibition, Uoo’s dystopic cyborg-mannequins are juxtaposed with Euler’s multilayered figurative painting within an environment designed by Uoo. Seen together, the works suggest new ways of thinking about contemporary portraiture.  Left: Jana Euler (b. 1982), How to be more than one without turning europe back to fascism, 2012. Acrylic and oil on canvas, 65 x 39.4 in. (165 × 100 cm). Private collection. Photograph by Hans-Christian Lotz; Image courtesy Sotoso, Brussles, and Dépendance, Brussels. Right: Stewart Uoo (b. 1985), Don’t Touch Me (Oil Spill), 2012. Polyurethane resin, ink, epoxy, wires, clothing, acrylic nails, accessories, ferrofluid, razor wire, hair, steel ball bearings, eyelashes, vinyl, insects, 63 × 16 × 45 in. (160 × 40.6 × 114.3 cm). Collection of the artist. Photograph by Joerg Lohse; image courtesy 47 Canal, New York

    Stewart Uoo and Jana Euler: Outside Inside Sensibility opens tomorrow, May 10. In this exhibition, Uoo’s dystopic cyborg-mannequins are juxtaposed with Euler’s multilayered figurative painting within an environment designed by Uoo. Seen together, the works suggest new ways of thinking about contemporary portraiture. 

    Left: Jana Euler (b. 1982), How to be more than one without turning europe back to fascism, 2012. Acrylic and oil on canvas, 65 x 39.4 in. (165 × 100 cm). Private collection. Photograph by Hans-Christian Lotz; Image courtesy Sotoso, Brussles, and Dépendance, Brussels. Right: Stewart Uoo (b. 1985), Don’t Touch Me (Oil Spill), 2012. Polyurethane resin, ink, epoxy, wires, clothing, acrylic nails, accessories, ferrofluid, razor wire, hair, steel ball bearings, eyelashes, vinyl, insects, 63 × 16 × 45 in. (160 × 40.6 × 114.3 cm). Collection of the artist. Photograph by Joerg Lohse; image courtesy 47 Canal, New York

  2. The 2013 Art Party auction preview and sale closes at 3 pm today. Browse works by artists like Andrea Bowers, Kim McCarty, and Harif Guzman, and then bid on works in person at the Whitney Art Party tomorrow. Proceeds benefit the Whitney’s Independent Study Program and other educational initiatives.

  3. The 2013 Art Party auction preview and sale is now online! Browse works by 2012 Biennial participants Liz Deschenes and Oscar Tuazon, as well as work by renowned artists like Matthew Day Jackson, Liz Magic Laser, and Judith Bernstein, among others. Purchase works online through April 30, or bid on works in person at the Whitney Art Party on May 1. Proceeds benefit the Whitney’s Independent Study Program and other educational initiatives.

    The 2013 Art Party auction preview and sale is now online! Browse works by 2012 Biennial participants Liz Deschenes and Oscar Tuazon, as well as work by renowned artists like Matthew Day Jackson, Liz Magic Laser, and Judith Bernstein, among others.

    Purchase works online through April 30, or bid on works in person at the Whitney Art Party on May 1. Proceeds benefit the Whitney’s Independent Study Program and other educational initiatives.

  4. Tell Him I have eyes only for Heaven / as I look to you / Queen mirror / of the heavenly court.

    Jay DeFeo inscribed the back of her painting The Eyes with this stanza from a contemporaneous poem by Philip Lamantia. The artist used the first line as the full title of the work for several years before it became known simply as The Eyes.

  5. Installation views of Jay DeFeo: A Retrospective (Whitney Museum of American Art, New York, February 28–June 2, 2013). Photographs by Sheldan C. Collins.

  6. The Jay DeFeo: A Retrospective exhibition catalogue—the first comprehensive monograph of her work—is available at the Whitney Shop. The book was recently featured in The New York Times. 

    The Jay DeFeo: A Retrospective exhibition catalogue—the first comprehensive monograph of her work—is available at the Whitney Shop. The book was recently featured in The New York Times. 

  7. In conjunction with his event SYNONYM FOR UNTITLED, artist Andrew Lampert designed a limited-edition set of seven postcards featuring photographs taken behind the scenes at the Whitney. To purchase, visit the Museum Shop while supplies last.

  8. We invite you to view these installation shots from Blues for Smoke. Now at the Whitney Museum of American Art through April 28.

    Installation views of Blues for Smoke (Whitney Museum of American Art, New York, February 7–April 28, 2013). Photograph by Sheldan C. Collins

  9. It took my breath away.

    — The New Yorker’s Peter Schjeldahl on Jay Defeo: A Retrospective

  10. This Friday, experience an immersive evening of live performance and culinary invention at SYNONYM FOR UNTITLED. Untitled chef Chris Bradley will prepare a tasting menu based on a grocery list created by artist Andrew Lampert, which makes associative pairings between artists in the Whitney’s collection and culinary ingredients. The evening will also feature contributions from poet Mónica de la Torre, cellist Okkyung Lee, and violinist C. Spencer Yeh. Visit whitney.org for more information. 

    This Friday, experience an immersive evening of live performance and culinary invention at SYNONYM FOR UNTITLED. Untitled chef Chris Bradley will prepare a tasting menu based on a grocery list created by artist Andrew Lampert, which makes associative pairings between artists in the Whitney’s collection and culinary ingredients. The evening will also feature contributions from poet Mónica de la Torre, cellist Okkyung Lee, and violinist C. Spencer Yeh. Visit whitney.org for more information. 

  11. In celebration of International Women’s Day, we’d like to share with you Christina Ramberg’s Istrian River Lady, now on view in Sinister Pop.   Christina Ramberg (1946–1995), Istrian River Lady, 1974. Acrylic on composition board, overall: 34 1/2 × 30 1/4in. (87.6 × 76.8 cm). Whitney Museum of American Art, New York; purchase, with funds from Mr. and Mrs. Frederic M. Roberts in memory of their son, James Reed Roberts 74.12. Image (C) Whitney Museum of American Art, courtesy the Estate of Christina Ramberg; Corbett vs. Dempsey, Chicago

    In celebration of International Women’s Day, we’d like to share with you Christina Ramberg’s Istrian River Lady, now on view in Sinister Pop.
     

    Christina Ramberg (1946–1995), Istrian River Lady, 1974. Acrylic on composition board, overall: 34 1/2 × 30 1/4in. (87.6 × 76.8 cm). Whitney Museum of American Art, New York; purchase, with funds from Mr. and Mrs. Frederic M. Roberts in memory of their son, James Reed Roberts 74.12. Image (C) Whitney Museum of American Art, courtesy the Estate of Christina Ramberg; Corbett vs. Dempsey, Chicago

  12. We’re thrilled to introduce the latest iteration of Sunrise/Sunset, launching this evening. goodmorning goodnight  by JODI explores visual and textual representations of the sun’s trajectory in an online environment. The project premieres tonight at 5:52 pm (EST) on whitney.org.

    Overlaid on a grid of latitudes and longitudes of the area surrounding the Whitney Museum are location-specific images of sunsets and sunrises culled from Panoramino, a photo sharing website. Viewers can follow the sun’s visual path in different locations around Manhattan superimposed with text via livedash.

    JODI (Joan Heemskerk and Dirk Paesmans), or Jodi.org, started pioneering Web art in 1994. Based in the Netherlands, they were among the first artists to investigate and subvert conventions of the internet, computer programs, and video and computer games.  

  13. Join us this Thursday evening for Greil Marcus: Jay DeFeo and All that Jazz, as the author and critic discusses Jay DeFeo’s stylistic inventions, physical processes, and improvisational approach to materials. As Marcus argues, “in the deepest, fiercest, and most playful moments of her work, Jay DeFeo’s work was jazz,” too. Get your tickets now. Jay DeFeo (1929–1989), Dove One, 1989. Oil on linen, 16 x 20 in. (40.6 x 50.8). Collection of Dan and Claire Carlevaro. © 2013 The Jay DeFeo Trust / Artists Rights Society (ARS), New York. Photograph by Ben Blackwell  

    Join us this Thursday evening for Greil Marcus: Jay DeFeo and All that Jazz, as the author and critic discusses Jay DeFeo’s stylistic inventions, physical processes, and improvisational approach to materials. As Marcus argues, “in the deepest, fiercest, and most playful moments of her work, Jay DeFeo’s work was jazz,” too. Get your tickets now.

    Jay DeFeo (1929–1989), Dove One, 1989. Oil on linen, 16 x 20 in. (40.6 x 50.8). Collection of Dan and Claire Carlevaro. © 2013 The Jay DeFeo Trust / Artists Rights Society (ARS), New York. Photograph by Ben Blackwell

     

  14. This Wednesday, Blues for Smoke curator Bennett Simpson discusses the vitality and innovation at the core of the blues tradition as a major catalyst for experimentation within modern and contemporary art. Get your tickets now. Jack Whitten (b. 1939), Black Table Setting (Homage to Duke Ellington), 1974. Acrylic on canvas, 72 × 60 inches. Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Purchase with funds provided by Jack Drake and Joel and Karen Piassick

    This Wednesday, Blues for Smoke curator Bennett Simpson discusses the vitality and innovation at the core of the blues tradition as a major catalyst for experimentation within modern and contemporary art. Get your tickets now.

    Jack Whitten (b. 1939), Black Table Setting (Homage to Duke Ellington), 1974. Acrylic on canvas, 72 × 60 inches. Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Purchase with funds provided by Jack Drake and Joel and Karen Piassick

  15. timelightbox: © 2013 The Jay DeFeo Trust / Artists Rights Society (ARS), New York Photograph by M. Lee Fatherree Jay DeFeo: A Retrospective, opens today at the Whitney and features nearly 150 of DeFeo’s works, many of which will be exhibited for the first time. The show traces motifs and themes the artist examined throughout her career in drawings, photographs, collages, jewelry, and the monumental paintings for which she is best known. The exhibition is organized by Dana Miller, curator of the permanent collection at the Whitney, and will be on view in the fourth-floor Emily Fisher Landau Galleries through June 2, 2013. Always eager to work with new media, DeFeo began to explore photography. A 1973 National Endowment for the Arts grant allowed her to buy a medium-format camera and install a darkroom in her home. She incorporated her photographs into highly inventive collages. These works, much like her paintings and drawings, were the result of an iterative process of building an image, breaking it down, and then reworking it again. This open-ended and labor intensive process, which the artist described as a “cliff-hanging experience,” allowed for highly expressionistic forms and an astonishing range of surfaces.

    timelightbox:

    © 2013 The Jay DeFeo Trust / Artists Rights Society (ARS), New York

    Photograph by M. Lee Fatherree

    Jay DeFeo: A Retrospective, opens today at the Whitney and features nearly 150 of DeFeo’s works, many of which will be exhibited for the first time. The show traces motifs and themes the artist examined throughout her career in drawings, photographs, collages, jewelry, and the monumental paintings for which she is best known. The exhibition is organized by Dana Miller, curator of the permanent collection at the Whitney, and will be on view in the fourth-floor Emily Fisher Landau Galleries through June 2, 2013.

    Always eager to work with new media, DeFeo began to explore photography. A 1973 National Endowment for the Arts grant allowed her to buy a medium-format camera and install a darkroom in her home. She incorporated her photographs into highly inventive collages. These works, much like her paintings and drawings, were the result of an iterative process of building an image, breaking it down, and then reworking it again. This open-ended and labor intensive process, which the artist described as a “cliff-hanging experience,” allowed for highly expressionistic forms and an astonishing range of surfaces.