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This is your last week to see Heat
Waves in a Swamp: The Paintings of Charles Burchfield (recently
heralded as "spooky [and] gorgeous" by New York
Magazine's
Approval Matrix) and Barbara Kruger's
Whitney on Site installation, both on view through October
17.
Exhibitions
SEE
ALL
Exhibitions
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Heat Waves in a Swamp:
Curated by artist Robert Gober,
this exhibition features more than one hundred of Charles
Burchfield’s major watercolors, drawings, oils on canvas,
sketches, notebooks, journals, and doodles. Working almost
exclusively in watercolor, Burchfield’s primary subject was
the landscape around his home outside of Buffalo, New York.
He often imbued his subjects with highly expressionistic
light, sometimes creating a clear-eyed depiction of the
world, and at other times, a unique mystical and visionary
experience of nature.
Collecting Biennials
As a coda to the Biennial, the
Museum’s fifth floor is devoted to artists in the Whitney’s
collection whose works were shown in Biennials over the past
eight decades.
Collecting Biennials is installed as a kind of
historical survey within the Biennial, underscoring the
importance of previous Biennial exhibitions in the Museum’s
history and the formation of its collection. Work by one of
the artists in
2010, George Condo, is included in the mix.
Lee Friedlander: America by Car
Driving across most of the country in a rental car,
photographer Lee Friedlander applied the brilliantly simple
conceit of using the car's mirrors, windshield, and windows
as picture frames within which to record reflections of this
country's eccentricities and obsessions at the beginning of
the twenty-first century. The resulting images are full of
freshness and clarity while also revisiting themes from
older bodies of work.
Sara VanDerBeek: To Think of Time
Sara VanDerBeek's quiet,
semi-abstract photographs are based predominantly on
sculptural forms created by the artist. In the past, she has
collected pictures from various sources, including art
history books, archives, magazines, and newspapers,
incorporating them into sculptures that are made only to be
photographed in the artist's studio. In her work on view in
this exhibition, VanDerBeek continues this practice, yet she
couples it with ventures outside the studio as she meditates
on the nature of time as both a personal and collective
condition.
Paul Thek: Diver, A Retrospective
The first major U.S. retrospective of the legendary artist
Paul Thek,this exhibition explores Thek’s wide-ranging
career from his highly realistic sculptures of meat encased
in plexiglass boxes to his large-scale installation
environments to his colorful paintings on sheets of
newspaper. With his frequent use of highly perishable
materials, Thek accepted the ephemeral nature of his works,
embracing transience as a theme.
Whitney on Site
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Whitney on Site: Barbara Kruger
See the third installation of
Whitney on Site by Barbara Kruger at the site of the
Whitney's future downtown building on the corner of
Gansevoort and Washington Streets, through October 17.
Family Programs BACK
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Stroller Tour:
Heat Waves in a Swamp:
The Paintings of Charles Burchfield
October 15
12–1 pm
Whitney Teaching Fellows, PhD candidates in art history,
lead engaging tours of current exhibitions for new moms and
dads when the Museum is closed to the public. Crying babies
are welcome!
$25 per adult ($10 for members).
Registration is required.
Visit
whitney.org/families for a complete list of upcoming
family programs.
Shop
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Paul Thek: Diver, A
Retrospective
Catalogue
Published to accompany Thek’s first retrospective in the
United States, this landmark publication by Elisabeth
Sussman and Lynn Zelevansky includes nearly 300
chronologically arranged illustrations of sculptures,
paintings, prints, and other works featured in the
exhibition as well as four special “in-depth” image sections
focusing on key installations, projects, and pages from the
artist’s journals. With a bibliography, exhibition history,
and checklist of works in the exhibition, this overdue
acknowledgment of Thek’s brief, but broad-reaching career
will be the authoritative volume on the artist for years to
come. 304 pp. Whitney Museum of American Art, 2010.
IMAGE CREDITS
Paul Thek (1933-1988),
Afflict the Comfortable, Comfort the Afflicted,
c. 1985 (detail). Synthetic polymer on canvas board, 18 x 24
in. (45.7 x 61 cm). Collection of Gail and Tony Ganz © The
Estate of George Paul Thek; courtesy of Alexander and Bonin,
New York . Photograph by Douglas M. Parker Studio
Charles Burchfield,
Glory of Spring (Radiant Spring),
1950. Watercolor on paper, 401⁄8 x 293⁄4 in. (101.6 × 73.7
cm). Parrish Art Museum, Southampton, New York. Gift of Mr.
and Mrs. Alfred Corning Clark, 1959.
Philip Guston (1913-1980),
Cabal,
1977. Oil on canvas, overall: 68 x 116in. (172.7 x 294.6cm).
Whitney Museum of American Art, New York. 50th Anniversary
Gift of Mr. and Mrs. Raymond J. Learsy 81.38 © The Estate
of Philip Guston
Lee Friedlander,
Montana,
2008, from the series
America by Car,
1995-2009. Gelatin silver print, 15 × 15 in. (38.1 × 38.1
cm). Collection of the artist; courtesy Fraenkel Gallery,
San Francisco © Lee Friedlander, courtesy Fraenkel Gallery,
San Francisco
Sara VanDerBeek,
Foundation, Dorgenois Street,
2010. Chromogenic print 20 × 16 in.(50.8 × 40.6 cm).
Collection of the artist; courtesy of Metro Pictures, New
York and Altman Siegel Gallery, San Francisco © Sara
VanDerBeek 2010
Paul Thek (1933-1988),
Afflict the Comfortable, Comfort the Afflicted,
c. 1985. Synthetic polymer on canvas board, 18 x 24 in.
(45.7 x 61 cm). Collection of Gail and Tony Ganz © The
Estate of George Paul Thek; courtesy of Alexander and Bonin,
New York . Photograph by Douglas M. Parker Studio
Barbara Kruger's Whitney on Site installation. Photograph by
Graham Newhall
Moms and strollers in
Collecting Biennials,
2010. Photograph by Stina Puotinen
Whitney Museum of
American Art
whitney.org
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