“The blues doesn’t have to be played or sang.” Chuck D reflects on the meaning of the blues on the occasion of Blues for Smoke, on view through April 28.
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“Happiness seems to me a retrospective pleasure.”
David Hockney answers Vanity Fair’s Proust Questionnaire in the May issue. His first video installation, The Jugglers, June 24th 2012, will premiere at the Whitney on May 23.
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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.
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American guitarist Gary Clark Jr. discusses what the blues means to him as a young contemporary artist who possesses a radiating blues sensibility. Blues for Smoke is on view at the Whitney Museum through April 28.
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In Stan Douglas’s video installation, Hors-champs, the artist prompts us to consider the network of association raised when four musicians interpret Spirits Rejoice (1965), one of the seminal compositions of 1960s free jazz by the iconoclastic American saxophonist Albert Ayler.
Hors-champs will be on view in Blues for Smoke, opening this Thursday.
Stan Douglas (b. 1960), Hors-champs, 1992.Two-channel video installation with stereo sound; 13:20 min., looped. San Francisco Museum of Modern Art; fractional gift of Pamela and Richard Kramlich to the San Francisco Museum of Modern Art and the New Art Trust. © Stan Douglas; image courtesy the artist and David Zwirner Gallery, New York
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Judith Bernstein discusses her works Vietnam Garden (1967) and L.B.J. (1967), both on view in Sinister Pop.
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Happy birthday Vito Acconci! In this video, the artist discusses one of his most infamous works, Claim Excerpts (1971), with Whitney curator Chrissie Iles.
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“Images of heaving ocean swells shot from a swimmer’s point of view, and of a man with a metal detector searching for treasure on a beach, suggest a kind of quest, a search for a Holy Grail … It is a pathetic Grail, this sad rock, which makes it all the more poignant to contemplate. It is, perhaps, a metaphor for our beleaguered spiritual condition.”
—The New York Times on Trisha Baga: Plymouth Rock 2, on view through Sunday.
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Check out this fun video documenting the installation of Richard Artschwager’s blps. Feeling inspired? Take some of your own blp photos, and email them to blps@standardhotel.com. Randomly selected submissions will be featured here, whitney.org, and Facebook, plus all participants will be entered in a drawing for an amazing prize package from the Whitney, The Standard, New York, and High Line Art.
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Watch over fifteen months of work at the Whitney’s new building site in the Meatpacking District in less than a minute.
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We’ve made a lot of progress on the new building this fall! This video documents the installation of the large, structural column that will support the future Whitney’s fifth floor, the largest column-free gallery space in Manhattan.
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This Friday during pay-what-you-wish hours, join us for EMERGENCY CHEESECAKE. Co-organized by artist Wade Guyton and curator Jay Sanders, the evening will feature an array of music, performance, live DJ sets, video work, and screenings by young, New York City–based artists.
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He discovered the blps when he was teaching at UC Davis. He was doodling making cats … and this sort of discursive mark seemed to live very nicely on the page.
— Curator Jennifer Gross discussing Richard Artschwager’s ongoing blp project. Watch the entire video, including commentary by the artist, on whitney.org.
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This summer, on the occasion of the Yayoi Kusama retrospective, the artist’s Yellow Trees transformed 345 West 14th Street in the Meatpacking District, near the Whitney’s new building site.
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The exhibition brochure for Trisha Baga: Plymouth Rock 2 features artist-sourced materials as well as an essay by curatorial assistant Elisabeth Sherman. It’s available for download on our website.
