Photographs by Corrado Serra.
“The Whitney Museum of American Art will open its new Renzo Piano designed home with an ambitious exhibition that reexamines the history of American art from 1900 to today. America Is Hard to See presents new perspectives on the Whitney’s collection, reflecting on art in the United States with more than 600 works by some 400 artists. The exhibition—its title taken from a Robert Frost poem that was also used by the filmmaker Emile de Antonio for one of his political documentaries—is the most extensive display to date of the Whitney’s collection.” — Whitney Museum of American Art
John Storrs, Forms in Space #1, (c. 1924), Marble
Sculptures: Left: Nancy Elizabeth, Prophet Congolais, (1931), Cherry. Right: Robert Laurent, The Flame, (c. 1917), Wood
Marsden Hartley, Forms Abstracted, (1913) Oil on canvas, with wood frame
Installation view: Floor 8
Installation view: Floor 7. Center: Alexander Calder, Calder’s Circus, (1926-1931), Wire, wood, metal, cloth, yarn, paper, cardboard, leather, string, rubber tubing, corks, buttons, rhinestones, pipe cleaners, and bottle caps
George Bellows, Dempsey and Firpo, (1924), Oil on canvas
Installation view: Floor 7
Left: John Chamberlain, Velvet White, (1962), Painted and chromium-plated steel. Center: Jackson Pollock, Number 27, 1950, Oil, enamel, and aluminum paint on canvas. Right: Arshile Gorky, The Betrothal, II, 1947, Oil and ink on canvas
David Smith, Hudson River Landscape, (1951), Welded painted steel and stainless steel
Installation view: Floor 6
Installation view: Floor 6
Installation view: Floor 6
Edward Ruscha, Large Trademark with Eight Spotlights, 1962, Oil, house paint, ink, and graphite pencil on canvas
James Rosenquist, Broome Street Trucks After Herman Melville, 1963, Oil on linen
Installation view: Floor 6
Installation view: Floor 6
Installation view: Floor 6
George Segal, Walk, Don’t Walk, (1976), Plaster, cement, metal, painted wood and electric light
Installation view: Floor 6
Eva Hesse, No title, (1969-1970), Latex, rope, string, and wire
Left: Anne Truitt, Triad, 1977, Acrylic paint on wood. Center: David Novros, No Title, (1969), Automotive paint on molded fiberglass and resin, six parts. Right: Sol LeWitt, Wall Structure, (1965), Painted wood
Installation view: Floor 6. Front: Donald Judd, Untitled, (1966), Painted steel
Installation view: Floor 6
Thomas Downing, Five, 1967, Acrylic on shaped canvas
Background: Donald Moffett, He Kills Me, 1987, Offset lithograph. Front: Barbara Kruger, Untitled (We Don’t Need Another Hero), (1987), Photoscreenprint on vinyl
Installation view: Floor 5
Installation view: Floor 5
Charles Ray, Boy, 1992, Painted fiberglass, steel, and fabric
Paul Chan, 1st Light, (2005), Video installation, black-and-white and color, silent, 14 min
Installation view: Floor 5. Center: David Hammons, Untitled, (1992), Human hair, wire, metallic mylar, sledge hammer, plastic beads, string, metal food tin, panty hose, leather, tea bags, and feathers
Mike Kelley, More Love Hours Than Can Ever Be Repaid and The Wages of Sin, 1987, Stuffed fabric toys and afghans on canvas with dried corn; wax candles on wood and metal base
Front: (Detail) Rachel Harrison, Claude Levi-Strauss, (2007), Wood, chicken wire, polystyrene, cement, acrylic, taxidermically preserved silver-laced Wyandotte hen and Black Minorca rooster with attached label and mount, USPS Priority Mail cardboard box, and Sharp UX-B20 Fax machine cardboard box. Back: (Detail) Mark Bradford, Bread and Circuses, 2007, Found paper, metal foil, acrylic, and string on canvas
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