1. Hopper Drawing opens today! The first major museum exhibition to focus on the drawings and creative process of Edward Hopper, this survey pairs many of the artist’s greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940) and Nighthawks (1942), with their preparatory drawings and related works. Top: Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65; Bottom: Edward Hopper (1882–1967), Nighthawks, 1942. Oil on canvas, 33 1/8 x 60 in. (84.1 x 152.4 cm). The Art Institute of Chicago; Friends of American Art Collection. © The Art Institute of Chicago. 

    Hopper Drawing opens today! The first major museum exhibition to focus on the drawings and creative process of Edward Hopper, this survey pairs many of the artist’s greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940) and Nighthawks (1942), with their preparatory drawings and related works.

    Top: Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65; Bottom: Edward Hopper (1882–1967), Nighthawks, 1942. Oil on canvas, 33 1/8 x 60 in. (84.1 x 152.4 cm). The Art Institute of Chicago; Friends of American Art Collection. © The Art Institute of Chicago. 

  2. Join us this Friday evening as artist Nate Lowman presents a live action painting performance as an homage to Jay DeFeo. Taking inspiration from the time-honored tradition of copying paintings in museums, Lowman will replicate a work currently on view in Jay DeFeo: A Retrospective, while opening up his own studio practice to the public. Admission is free during pay-what-you-wish. Above, watch Lowman speak with curator Chrissie Iles about his reinterpretation of another artist’s work: Yoko Ono’s Painting to Be Stepped On (1960). 

    Join us this Friday evening as artist Nate Lowman presents a live action painting performance as an homage to Jay DeFeo. Taking inspiration from the time-honored tradition of copying paintings in museums, Lowman will replicate a work currently on view in Jay DeFeo: A Retrospective, while opening up his own studio practice to the public. Admission is free during pay-what-you-wish.

    Above, watch Lowman speak with curator Chrissie Iles about his reinterpretation of another artist’s work: Yoko Ono’s Painting to Be Stepped On (1960). 

  3. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer XI. “This is the view from inside the wall behind The Rose. Looking out through the hole you can make out back of The Rose and one of the three feet that support the weight of the painting.”Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    XI. “This is the view from inside the wall behind The Rose. Looking out through the hole you can make out back of The Rose and one of the three feet that support the weight of the painting.”

    Jay DeFeo: A Retrospective is on view now through June 2. 

  4. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer X. “Minor adjustments are made so that the bolts can be slid into position. It’s pretty dark back there, so a flashlight is helpful.”Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    X. “Minor adjustments are made so that the bolts can be slid into position. It’s pretty dark back there, so a flashlight is helpful.”

    Jay DeFeo: A Retrospective is on view now through June 2. 

  5. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer VIII. “Now that The Rose is close to vertical, you can see the legs of the gantry are pushed back beyond the exterior sheetrock and into the recesses of the wall on either side of the painting. Without these holes the gantry would end up two feet away from the wall, complicating the transition from the gantry to the steel cleat.”Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    VIII. “Now that The Rose is close to vertical, you can see the legs of the gantry are pushed back beyond the exterior sheetrock and into the recesses of the wall on either side of the painting. Without these holes the gantry would end up two feet away from the wall, complicating the transition from the gantry to the steel cleat.”

    Jay DeFeo: A Retrospective is on view now through June 2. 

  6. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer VII. “A pallet jack is placed under the bottom of the piece, as it is slowly raised into position with the chain hoists. As the top of piece is raised into its vertical orientation, the bottom of the painting is driven back towards the wall.”Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    VII. “A pallet jack is placed under the bottom of the piece, as it is slowly raised into position with the chain hoists. As the top of piece is raised into its vertical orientation, the bottom of the painting is driven back towards the wall.”

    Jay DeFeo: A Retrospective is on view now through June 2. 

  7. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer VI. “As the height of The Rose is close to the maximum height of the gantry, several sheets of plywood are placed under the gantry to ensure that there is enough clearance from the top of the painting to the gantry’s I-beam. Two holes have also been cut into the walls that mirror the footprint of the gantry’s A-frame legs. This allows the gantry to be pushed back inside the wall and means that The Rose can sit flush against the wall, while still on the gantry.”Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    VI. “As the height of The Rose is close to the maximum height of the gantry, several sheets of plywood are placed under the gantry to ensure that there is enough clearance from the top of the painting to the gantry’s I-beam. Two holes have also been cut into the walls that mirror the footprint of the gantry’s A-frame legs. This allows the gantry to be pushed back inside the wall and means that The Rose can sit flush against the wall, while still on the gantry.”

    Jay DeFeo: A Retrospective is on view now through June 2. 

  8. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer V. “The hardest part is now over and The Rose is safely down. It is now placed on four dollies so it can be pushed into position. Under the bottom edge of the painting, the immense steel sub-frame and the supporting feet that the painting rest on are clearly visible.”Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    V. “The hardest part is now over and The Rose is safely down. It is now placed on four dollies so it can be pushed into position. Under the bottom edge of the painting, the immense steel sub-frame and the supporting feet that the painting rest on are clearly visible.”

    Jay DeFeo: A Retrospective is on view now through June 2. 

  9. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer IV. “While lowering The Rose, particular care needs to be taken to insure both the metal feet of the painting’s sub-frame remain on the floor at all times. The chain hoists need to be lowered at different rates to accomplish this. Communication, concentration, and synchronization are key. Scott Atthowe, who is overseeing the installation, scrutinizes the positioning of the gantry, chain hoists, and painting and calls out directions to orchestrate this complex maneuver.”Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    IV. “While lowering The Rose, particular care needs to be taken to insure both the metal feet of the painting’s sub-frame remain on the floor at all times. The chain hoists need to be lowered at different rates to accomplish this. Communication, concentration, and synchronization are key. Scott Atthowe, who is overseeing the installation, scrutinizes the positioning of the gantry, chain hoists, and painting and calls out directions to orchestrate this complex maneuver.”

    Jay DeFeo: A Retrospective is on view now through June 2. 

  10. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer III. “Once removed from the A-frame cart, The Rose is lowered onto its edge and then onto its back. Raising and lowering The Rose in this position is by far the most challenging aspect of the entire installation. A large portion of the weight is concentrated in the lower third of the painting, which makes it extremely unbalanced and unwieldy in this orientation.”Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    III. “Once removed from the A-frame cart, The Rose is lowered onto its edge and then onto its back. Raising and lowering The Rose in this position is by far the most challenging aspect of the entire installation. A large portion of the weight is concentrated in the lower third of the painting, which makes it extremely unbalanced and unwieldy in this orientation.”

    Jay DeFeo: A Retrospective is on view now through June 2. 

  11. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer II. “Shackles are attached to the top of the steel sub-frame, so the painting can be lifted from the metal A-frame cart and set down on the floor. The restrictive size of the Whitney’s elevators necessitates the use of this cart. If the painting were to ride flat on its back—instead of on its edge—it would not fit into either the freight or large passenger car.” Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    II. “Shackles are attached to the top of the steel sub-frame, so the painting can be lifted from the metal A-frame cart and set down on the floor. The restrictive size of the Whitney’s elevators necessitates the use of this cart. If the painting were to ride flat on its back—instead of on its edge—it would not fit into either the freight or large passenger car.” 

    Jay DeFeo: A Retrospective is on view now through June 2. 

  12. The Installation of The Rose from an Art Handler’s PerspectiveBy Graham Miles, Whitney art handler Documented by Paula Court, photographer I. “You can see a steel cleat has been bolted to the wall directly above the red scissor lift. The cleat pins The Rose vertically in position, supporting the balance but not the weight of the painting.”  Jay DeFeo: A Retrospective is on view now through June 2. 

    The Installation of The Rose from an Art Handler’s Perspective
    By Graham Miles, Whitney art handler 
    Documented by Paula Court, photographer 

    I. “You can see a steel cleat has been bolted to the wall directly above the red scissor lift. The cleat pins The Rose vertically in position, supporting the balance but not the weight of the painting.” 

    Jay DeFeo: A Retrospective is on view now through June 2. 

  13. The Installation of The Rose from an Art Handler’s Perspective The most challenging aspect of installing Jay DeFeo’s The Rose for the Whitney’s current retrospective was not transporting the nearly one-ton painting to New York from California—where the exhibition had finished a successful run at SFMOMA—but took place once the painting was inside the Museum’s doors. Follow along as Whitney art handler Graham Miles explains the process, as documented by photographer Paula Court.  Jay DeFeo: A Retrospective is on view through June 2.  Jay DeFeo, The Rose, 1958–66. Oil with wood and mica on canvas, 128 7/8 × 92 1/4 × 11 in. (327.3 × 234.3 × 27.9 cm). Whitney Museum of American Art, New York; gift of the Estate of Jay DeFeo and purchase with funds from the Contemporary Painting and Sculpture Committee and the Judith Rothschild Foundation  95.170  © 2013 The Jay DeFeo Trust / Artists Rights Society (ARS), New York

    The Installation of The Rose from an Art Handler’s Perspective

    The most challenging aspect of installing Jay DeFeo’s The Rose for the Whitney’s current retrospective was not transporting the nearly one-ton painting to New York from California—where the exhibition had finished a successful run at SFMOMA—but took place once the painting was inside the Museum’s doors.

    Follow along as Whitney art handler Graham Miles explains the process, as documented by photographer Paula Court. 

    Jay DeFeo: A Retrospective is on view through June 2. 

    Jay DeFeo, The Rose, 1958–66. Oil with wood and mica on canvas, 128 7/8 × 92 1/4 × 11 in. (327.3 × 234.3 × 27.9 cm). Whitney Museum of American Art, New York; gift of the Estate of Jay DeFeo and purchase with funds from the Contemporary Painting and Sculpture Committee and the Judith Rothschild Foundation  95.170  © 2013 The Jay DeFeo Trust / Artists Rights Society (ARS), New York

  14. See seventeen months of construction on our new building in the Meatpacking District in only fifty seconds! Slated to open in 2015. To learn more, visit whitney.org.

  15. Experience the cold weather from the warmth of the Museum with this Joel Meyerowitz photograph, on view now in Sinister Pop. Joel Meyerowitz (b. 1938), JFK Airport, 1968, from The Early Works, 1999. Gelatin silver print. Whitney Museum of American Art, New York; Gift of Ronald B. Milch 2000.286.1

    Experience the cold weather from the warmth of the Museum with this Joel Meyerowitz photograph, on view now in Sinister Pop.

    Joel Meyerowitz (b. 1938), JFK Airport, 1968, from The Early Works, 1999. Gelatin silver print. Whitney Museum of American Art, New York; Gift of Ronald B. Milch 2000.286.1