Whitney Museum of American Art

Located on 99 Gansevoort Street, the Whitney Museum of American Art is currently host to an art exhibit by Laura Owens. According to curators, her artwork portrays an “exploration of painting, architecture and perception”, which can be seen in her installation at the museum. In the late 1990s, Owens emerged from the Los Angeles art scene after receiving her masters from California Institute of the Arts. The experimental, abstract and innovative attitude she has towards art is displayed in her 60-painting-feature

Airport please.’ He grunted in response and took the next right onto Park avenue leading out of the upper east side. Sydney had recently moved into her one bedroom apartment on 74th street, to be closer to her newly acquired job at the Whitney Museum of American Art, in midtown Manhattan. 27 years of age, and Sydney still did not have a

The Whitney Museum of American Art has often been referred to a citadel of American Art, partially due to the museums façade, a striking granite building (Figure 1), designed by Bauhaus trained architect Marcel Breuer. The museum perpetuates this reference through its biennial review of contemporary American Art, which the Whitney has become most famous for. The biennial has become since its inception a measure of the state of contemporary art in America today. Since the Museum's opening in 1931

Alice Neel, one of the finest painters of her generation, is at the Norton Museum of Art February 14 through March 29, 1998. Both critics and the subjects of her paintings have written of Neel's ability to portray the dynamics of relationships. Kinships focuses on particular family relationships: siblings, domestic pairs, parents and children, and members of her own family. The exhibition was organized by the Tacoma Art Museum, and is sponsored by The Elizabeth Norton Society. Born in 1900, Alice

that her recent painting, depicting the corpse of civil rights icon Emmett Till, would spark a controversy. However, it is a disturbing aspect of our society when art has become a controlled medium. The case of Dana Schutz is one of many examples. The history behind Emmett Till’s violent death is sickening. An African-American boy born in 1941, Till was described as a child who, although faced with family hardships at times, lived happily. In 1955, he was visiting relatives in Mississippi

American Art during the Great Depression and before World War II sought to rebrand and rebuild a broken and desperate nation. In colonies around the country, artists banded together to study and support one another, and U.S. government programs of the WPA, FAP, and FSA provided opportunities for artists to create public works on a scale never seen before in this country. Like the LDS Church Welfare program begun at the same time, these art initiatives revived the individual’s dignity in the form

City in 1970 to study at Arts Students League. He is a artist who’s work I find really interesting. He is now world renowned for his unique sculptures being very oval in shape and funny looking. They are made of caster or metal and his sculptures are always doing some activity or motion. His beautiful artworks are now displayed in many institutions around the country being Brooklyn Museum, the Guggenheim Museum, the Whitney Museum of American Art and the Museum of Modern Art. Otterness has even been

primed. Then, we can set out over to the "execution art's" beginnings in a sketchy yet engrossing archival presentation, "Customs of Rented Island: Object Theater, Loft Performance, and the New Psychodrama — Manhattan, 1970-1980" at the Whitney Museum of American Art. New York City in the early 1970s was a wreck: bankrupt, or everything except, and going into disrepair. One focal point to specialists was the accessibility of shoddy, void space, prominently in the Lower Manhattan mechanical locale

Viewing autobiographical images is often a relational experience. Within contemporary art, autobiographical work opens up the possibility of creating new kinds of relationships between people of different backgrounds. It can operate both as a representation transference of lived experience and as an apparatus for experiential, relational viewing. When viewers encounter work that deals with the autobiography of the artist, they engage cognitive and affective processes that often involve identification

Right when the exhibition opened, it was not greeted well, especially by African - American artists. One of them, Parker Bright, stood in front of Open Casket, blocking it, but not that you could totally not see, with his back facing the viewer. On a back on his T-shirt was written “Black Death Spectacle”. Same afternoon, there was an