1. This recent post via who-wore-it-better brings to light a striking resemblance between Brancusi’s Prodigal Son and the Whitney’s Marcel Breuer building. Who do you think wore it best? 

    This recent post via who-wore-it-better brings to light a striking resemblance between Brancusi’s Prodigal Son and the Whitney’s Marcel Breuer building. Who do you think wore it best? 

  2. With Calder’s The Cock’s Comb (1960) looking on, KOOL A.D., Amaze 88, and Loren Hell took the stage in the Museum’s lower gallery last night. The music continues through the weekend, as young artists present their contemporary spin on the blues tradition.

    With Calder’s The Cock’s Comb (1960) looking on, KOOL A.D., Amaze 88, and Loren Hell took the stage in the Museum’s lower gallery last night. The music continues through the weekend, as young artists present their contemporary spin on the blues tradition.

  3. Blues for Smoke opens today. This highly anticipated exhibition explores the blues not simply as a musical category but as an artistic sensibility—from John Coltrane to Jean-Michel Basquiat to the television show The Wire. Mark Morrisroe (1959–1989), Untitled, c. 1981. © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur

    Blues for Smoke opens today. This highly anticipated exhibition explores the blues not simply as a musical category but as an artistic sensibility—from John Coltrane to Jean-Michel Basquiat to the television show The Wire.

    Mark Morrisroe (1959–1989), Untitled, c. 1981. © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur

  4. Here are some photos taken during the Blues for Smoke press preview this morning. The exhibition, which explores the connection between the blues and a wide range of contemporary art, music, literature, and film, opens to the public tomorrow.

  5. “I use visual perception as a way of bringing people into my space.”—Richard Artschwager. Check out the artist’s retrospective, on view through Sunday. Installation view of Richard Artschwager! (Whitney Museum of American Art, New York, October 25, 2012–February 3, 2013). Photograph by Bill Orcutt

    “I use visual perception as a way of bringing people into my space.”—Richard Artschwager.

    Check out the artist’s retrospective, on view through Sunday.

    Installation view of Richard Artschwager! (Whitney Museum of American Art, New York, October 25, 2012–February 3, 2013). Photograph by Bill Orcutt

  6. This week is your last chance to catch Richard Artschwager!, the comprehensive retrospective that showcases the artist’s groundbreaking exploration of sculpture, painting, and drawing. Richard Artschwager (b. 1923), Exclamation Point (Chartreuse), 2008. Plastic bristles on a mahogany core painted with latex, 65 × 22 × 22 in. (165.1 × 55.9 × 55.9 cm). Gagosian Gallery, New York. © Richard Artschwager. Photograph by Robert McKeever

    This week is your last chance to catch Richard Artschwager!, the comprehensive retrospective that showcases the artist’s groundbreaking exploration of sculpture, painting, and drawing.

    Richard Artschwager (b. 1923), Exclamation Point (Chartreuse), 2008. Plastic bristles on a mahogany core painted with latex, 65 × 22 × 22 in. (165.1 × 55.9 × 55.9 cm). Gagosian Gallery, New York. © Richard Artschwager. Photograph by Robert McKeever

  7. View installation photographs of our current exhibition Sinister Pop. Installation view of Sinister Pop (Whitney Museum of American Art, New York, November 15, 2012–March 31, 2013). Photograph Ron Amstutz

    View installation photographs of our current exhibition Sinister Pop.

    Installation view of Sinister Pop (Whitney Museum of American Art, New York, November 15, 2012–March 31, 2013). Photograph Ron Amstutz

  8. View installation photographs of our current Richard Artschwager retrospective. Installation view of Richard Artschwager! (Whitney Museum of American Art, New York, October 25, 2012–February 3, 2013). Photograph by Bill Orcutt

    View installation photographs of our current Richard Artschwager retrospective.

    Installation view of Richard Artschwager! (Whitney Museum of American Art, New York, October 25, 2012–February 3, 2013). Photograph by Bill Orcutt

  9. In this impressive Whitney retrospective … I am reminded of what Ed Ruscha once said: “Good art should elicit a response of ‘Huh? Wow!’ as opposed to ‘Wow! Huh?’ ” That’s Artschwager.

    —  Jerry Saltz of New York magazine on Richard Artschwager!.

  10. Trisha Baga: Plymouth Rock 2 opens today. Using a two-channel video, Baga taps into the metaphor of the mythologized but historically dubious landing site of the Pilgrims to create her own fractured narrative. View images of her work on our website. Trisha Baga (b. 1985), still from Plymouth Rock, 2012. Two-channel video projected from memory cards, acrylic on canvas (three parts), spray paint on CD player, foil, bubble-wrapped plinth, box of electrical wires, spray paint and acrylic on foam, and water bottle, dimensions variable; 27:12 min. Collection of the artist; courtesy Greene Naftali, New York

    Trisha Baga: Plymouth Rock 2 opens today. Using a two-channel video, Baga taps into the metaphor of the mythologized but historically dubious landing site of the Pilgrims to create her own fractured narrative. View images of her work on our website.

    Trisha Baga (b. 1985), still from Plymouth Rock, 2012. Two-channel video projected from memory cards, acrylic on canvas (three parts), spray paint on CD player, foil, bubble-wrapped plinth, box of electrical wires, spray paint and acrylic on foam, and water bottle, dimensions variable; 27:12 min. Collection of the artist; courtesy Greene Naftali, New York

  11. The saddest story of an object, where it becomes a symbol, and then is moved from place to place through overly elaborate processes, broken in half and brought back together … Right now they’ve built a gazebo around it to protect it from the rain. A rock protected from the rain. It’s my favorite sculpture story.

    —  Artist Trisha Baga on the story of Plymouth Rock, which loosely inspired her work Plymouth Rock 2, opening tomorrow. 

  12. It’s much more interesting to me to see the leftovers of something and use your imagination than to see it being made.

    — Artist Sarah Sze at last night’s annual Annenberg Lecture. We’ll let you know when the audio is posted on our website.

  13. On November 5, Sarah Sze joins Whitney Director Adam Weinberg for the annual Annenberg Lecture. Reserve a free ticket.  Sarah Sze, Notepad, 2008 (detail). Color offset lithograph and laser engraving, bound as composition pad, dimensions variable. Edition no. 24/40. Printed and published by LeRoy Neiman Center for Print Studies, Columbia University, New York. Whitney Museum of American Art, New York; purchase with funds from the Print Committee  2008.299 © Sarah Sze

    On November 5, Sarah Sze joins Whitney Director Adam Weinberg for the annual Annenberg Lecture. Reserve a free ticket. 

    Sarah Sze, Notepad, 2008 (detail). Color offset lithograph and laser engraving, bound as composition pad, dimensions variable. Edition no. 24/40. Printed and published by LeRoy Neiman Center for Print Studies, Columbia University, New York. Whitney Museum of American Art, New York; purchase with funds from the Print Committee  2008.299 © Sarah Sze

  14. Don’t miss the dots! Yayoi Kusama’s outdoor installation at Hudson River Park will be de-installed tomorrow. Kusama’s retrospective continues at the Whitney through this Sunday.  Yayoi Kusama with her installation Guidepost to the New Space at Hudson River Park Pier 45, New York, July 2012. Image courtesy Gagosian Gallery, New York

    Don’t miss the dots! Yayoi Kusama’s outdoor installation at Hudson River Park will be de-installed tomorrow. Kusama’s retrospective continues at the Whitney through this Sunday. 

    Yayoi Kusama with her installation Guidepost to the New Space at Hudson River Park Pier 45, New York, July 2012. Image courtesy Gagosian Gallery, New York

  15. On September 20, 2012, the Whitney Contemporaries visited artist Dustin Yellin’s studio/exhibition space, The Intercourse, in Red Hook, Brooklyn. From afar, Yellin’s works look somewhat like aquariums. They’re made of various materials layered between panes of glass.

    On September 20, 2012, the Whitney Contemporaries visited artist Dustin Yellin’s studio/exhibition space, The Intercourse, in Red Hook, Brooklyn. From afar, Yellin’s works look somewhat like aquariums. They’re made of various materials layered between panes of glass.