Word: whitneys
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Dates: during 1980-1989
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...condition for a cultural institution, and it does so on some of the nation's highest-priced real estate. One offshoot of the increasing coziness between the arts and business has been that corporations now offer the use of lobby space in their office towers to cultural establishments. The Whitney Museum of American Art, for instance, displays works in three New York City office buildings. Arts institutions benefit by having highly visible locations; the companies are often allowed zoning easements because of their cultural support. Such deals, however, can be nerve-racking. Companies can borrow back exhibition space and even...
...social eminence today are content to entrust their faces to Andy Warhol's mingily cosmetic Polaroiding, but one would bet they would rather go to Sargent. And the public that liked Upstairs, Downstairs is going to like him -- a thought that may not have been too far from the Whitney Museum's calculations when it planned the retrospective of his work that opened there * earlier this month and will go to the Art Institute of Chicago in February...
...provoke a twinge of concern. Does Sargent signal a retreat from the standards the Whitney has battled for -- the commitment to glitz that gave us the 1985 Biennial, the taste for inflated prettiness set forth in its Alex Katz retrospective, the reluctance to edit that made Eric Fischl's show such a letdown? True, Director Tom Armstrong valiantly tries to establish a link by pointing, in a catalog note, to Sargent's "highly expressive manner and his treatment of subject matter and narrative content, all of which are of great interest to contemporary artists." However, Sargent's "manner...
...some, protesting runs in the family. Susan Tilson attended yesterday's protest against the Secretary of State with her son Whitney '89. While mom said that she has been to numerous protests, her son said that yesterday's was his first...
There are pure painters and there are American painters, and James Rosenquist, a survey of whose work since 1961 fills a floor of New York City's Whitney Museum this summer, is decidedly one of the latter. What other artist in the past 25 years has scanned the American scene more faithfully or brought such a compelling if fractured narrative out of its weird slippages and layerings of imagery? In the heyday of pop art, there was more stress on Rosenquist's means and less on his ends. One saw the devices from advertising, the billboard manner; one felt affronted...