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An Incomplete History of Protest at Whitney

An Incomplete History of Protest at Whitney

A new exhibition of works from the Whitney’s collection looks at how artists from the 1940s to the present have confronted the political and social issues of their day. Whether making art as a form of activism, criticism, instruction, or inspiration, the featured artists see their work as essential to challenging established thought and creating a more equitable culture. Many have sought immediate change, such as ending the war in Vietnam or combating the AIDS crisis. Others have engaged with protest more indirectly, with the long-term in mind, hoping to create new ways of imagining society and citizenship. An Incomplete History of Protest brings together some of the Whitney’s most powerful works by Mark Bradford, Paul Chan, Larry Clark, General Idea, Felix Gonzalez-Torres, Guerrilla Girls, Edward Kienholz, Glenn Ligon, Julie Mehretu, Toyo Miyatake, Senga Nengudi, Gordon Parks, Ad Reinhardt, Martha Rosier, and others.

TITLE: Annette Lemieux (b. 1957), Black Mass
YEAR: 1991
MEDIUM: Latex, rhoplex, gesso, and oil on canvas
DIMENSIONS: 95 13/16 x 105 x 1 13/16 in. (243.4 x 266.7 x 4.6 cm).
IMAGE CREDITS: Whitney Museum of American Art, New York; promised gift of Emily Fischer Landau P.2010.173 © Annette Lemieux


“Since its founding in the early twentieth century, the Whitney has served as a forum for the most urgent art and ideas of the day, at times itself attracting protest,” said Scott Rothkopf, the Whitney’s Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator. “From questions of representation to the fight for civil rights, An Incomplete History of Protest foregrounds issues that still incite protest today. At the root of this exhibition is the belief that artists play a profound role in transforming their time and shaping the future.” “The exhibition offers a sequence of case studies focused on how key concepts emerge at particular historical moments. Acknowledging that no exhibition can approximate the activism now happening in the streets and online, we wanted to reveal how artists approach protest with methodological, stylistic, and political complexity,” remarks David Breslin, DeMartini Family Curator and Director of the Collection.

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right: Annette Lemieux, Black Mass, 1991; Emma Amos, Coloring Lesson, 1995; Gary Simmons, Green Chalkboard (Triple X), 1993. Photograph by Ron Amstutz

The exhibition is organized in the following sections.

Resistance and Refusal
How artists in the aftermath of World War II and during the fight for civil rights used ideas of resistance and refusal to reject inherited policies, politics, and social norms. Among the artists included are Larry Clark, Toyo Miyatake, Gordon Parks, and Ad Reinhardt.

Strike, Boycott, Advocate: The Whitney Archives
In the 1960s and 1970s, during the war in Vietnam and the fight for civil and women’s rights, museums increasingly became sites of political action and protest. Using material from 1960-1971 gathered from the Whitney’s archives, the presentation in this gallery examines moments of collective, artist-led engagement with, and frequently in opposition to the Whitney. From disputes over the curatorial direction of the Museum to demands that it be more inclusive and accessible, artists have shaped the course of the Whitney and continue to do so today.

Spaces and Predicaments
Two works from 1969 and 1977 by artists who chose oblique, poetic, and abstract means to express engagement and opposition. Instead of working within a documentary or propagandistic tradition, the sculptures by Melvin Edwards and Senga Nengudi suggest that protest can be personal, allusive, and unclassifiable.

Stop the War
Opposition to the war in Vietnam started on college campuses in the early 1960s. Posters were essential tools of education and persuasion in the antiwar movement. In addition to calling for direct political action, artists also made singular works that reflected on the war in Vietnam. The Whitney recently acquired the Daniel Wolf Collection of Protest Posters, with funds from The American Contemporary Art Foundation, Inc. Related to the movement, a significant selection will be presented here for the first time. Edward Kienholz and Nancy Spero are included.

No Idle Gesture
Beginning in the 1960s, the feminist movement grew increasingly vocal and influential. Advocating for the legal and social rights of women, it addressed reproductive freedom, domestic and sexual violence, and the family, among other pressing concerns. These works focus on feminist explorations of labor, whether in the home or workplace. Guerrilla Girls, Howardena Pindell, Martha Rosier, Mierle Laderman Ukeles, and others are in this section.

Mourning and Militancy
During the 1980s and 1990s, AIDS and complications from it killed nearly half a million people in the United States, a disproportionate number of them gay men and people of colour. Many artists made activist work that criticized government inaction, promoted awareness and treatment, and expressed support for people fighting and living with the virus. Other works included make protest as personal and intimate as it is shared and monumental. AA Bronson, General Idea, and Felix Gonzalez-Torres are among the artists and collectives on view.

Abuse of Power
In the 1990s, artists witnessed and responded to the persistence of racialized violence in American society—a concern that remains pressing today. Many of these works are purposefully confrontational, speaking unapologetically to painful aspects of American history. Hock E Aye Vi Edgar Heap of Birds, Carl Pope, and others are included in this section.

The Usable Past
Comprising of artworks largely made after 2000 that evoke the concept of the “usable past”—the idea that a self-conscious examination of historical figures, moments, and symbols can shape current and future political formation.

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right, top to bottom: Mierle Laderman Ukeles, I Make Maintenance Art One Hour Every Day, September 16-October 20, 1976; Martha Rosler, Semiotics of the Kitchen, 1975; Guerrilla Girls, Bus Companies Are More Enlightened than NYC Art Galleries., 1989; Guerrilla Girls, Guerrilla Girls’ Pop Quiz., 1990; Guerrilla Girls, Missing in Action, 1991; Guerrilla Girls, How Many Women Had One-Person Exhibitions at NYC Museums Last Year?, 1985; Guerrilla Girls, If You’re Raped, You Might as Well “Relax and Enjoy It,” Because No One Will Believe You!, 1992; Guerrilla Girls, You’re Seeing Less than Half the Picture, 1989; Guerrilla Girls, Women in America Earn Only 2/3 of What Men Do, 1985; Guerrilla Girls, These Galleries Show No More than 10% Women Artists or None at All, 1985; Guerrilla Girls, At Last! Museums Will No Longer Discriminate against Women and Minority Artists, 1988; Guerrilla Girls, Guerrilla Girls Identities Exposed!, 1990; Guerrilla Girls, Top Ten Ways to Tell if You’re an Art World Token, 1995; Guerrilla Girls, The Advantages of Being a Woman Artist, 1988; Guerrilla Girls, We Sell White Bread, 1987; Guerrilla Girls, Traditional Values and Quality Return to the Whitney Museum, 1995; Guerrilla Girls, Guerrilla Girls Hits List, 1986; Guerrilla Girls, Supreme Court Justice Supports Right to Privacy for Gays and Lesbians., 1992; Suzanne Lacy, Learn Where the Meat Comes From, 1976. Photograph by Ron Amstutz

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right, top to bottom: Mary Kelly, Primapera, 1974 (printed 1996); Howardena Pindell, Free, White and 21, 1980; Vincent Gagliostro and Avram Finkelstein, Enjoy AZT, 1989; Joseph Wolin, Tom Starace, and Richard Deagle, American Flag, 1989; John Ahearn, Andrew Castrucci, John “Crash” Matos, Chris “Daze” Ellis, Jane Dickson, Jenny Holzer, Gary Simmons, and Martin Wong, The Usual Suspects, 1996; Barbara Kruger, (Girl don’t die for love), 1992; John Giorno, The world is getting empty…, 1993; Donald Moffett, He Kills Me, 1987; Kay Rosen, AIDS, 1994; Frank Moore, trial proof and study for the poster FACE IT—LICK IT, 1992; Gran Fury, (Men use condoms or beat it), 1988; Glenn Ligon, (Who will keep their dreams alive if we don’t wake up to reality?), 1992; Sue Coe, Aids and the Federal Government, 1990. Photograph by Ron Amstutz

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right: Ja’Tovia Gary, An Ecstatic Experience, 2015; Mark Bradford, Constitution III, 2013. Photograph by Ron Amstutz

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right: Andrea Bowers, San Luis Obispo County Telegraph-Tribune, September 14, 1981, 2004; Andrea Bower, Non-violent Protest Training, Abalone Alliance Camp, Diablo Canyon Nuclear Power Plant, 1981, 2004; Glenn Ligon, Untitled (Speech/Crowd) #2, 2000; AA Bronson, Feliz Partz, June 5, 1994, 1994/1999; Ja’Tovia Gary, An Ecstatic Experience, 2015. Photograph by Ron Amstutz

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right, top to bottom: General Idea, AIDS, 1988 (refabricated 2017); Dread Scott, A Man Was Lynched by Police Yesterday, 2015; Pro-Arts, Inc., Peace Needs No Excuse, 1970; Women Strike for Peace, Stop Bombing, c.1967-70; Irving White, Our foreign policy must always be an extension of this nation’s domestic policy…, 1968; Atomic Energy Group, “The streets of our country are in turmoil…”, 1970; Unidentified artist, Cry Freedom, 1967; Women Strike for Peace, End the Draft!, c.1967-70; Josephine Meckseper, March on Washington to End the War on Iraq, 9/24/05, 2005. Photograph by Ron Amstutz

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right, top to bottom: Edward Kienholz, The Non War Memorial, 1970; Student Mobilization Committee to End the War in Vietnam, Hell No We Won’t Go, c.1969; Unidentified artist, Unite, c.1965-70; Women Strike for Peace, Stop the War, c.1967-70; Leif Skoogfors, John Kerry, 1971; Pro-Arts, Inc., Your Tax Dollars at Work, 1969; Janos Dannavitz, The War Makes Me Sick, 1967; New Mobilization Committee to End the War in Vietnam, No Christmas-as-usual, c.1971; Students for a Democratic Society, Come to Detroit Nov. 3, Elections are a Hoax…, 1970; Unidentified artist, Tin soldiers and Nixon coming… (Kent State), 1971; Yoko Ono and John Lennon, War is Over! If You Want It, 1969; International Union of Students, Stop U.S. Dirty War in Viet Nam, 1966; Lambert Studios, Inc., War Is Good Business, Invest Your Son, 1969; Unidentified artist, The United States government must end its systematic oppressions of political dissidents…, 1970; Brian Shannon, …But You Can’t Fool All of the People All the Time, 1971; Napalm Graphics, Johnson Pull Out Like Your Father Should Have, 1967; Kiyoshi Kuroyima, Fuck the Draft, 1968; Vietnam Peace Parade Committee, They can do anything we let them get away with…, 1971; Unidentified artist, Cambodia Too?, 1970; Tom Lafferty and Ken Deardoff, War is Hell! As the Man Who Fought One, 1968; Antioch Bookplate Co., Help Free America from Our Tragic Involvement in Vietnam, 1969; Clergy and Laymen Concerned, Is This What You’d Call “Phased Withdrawal?”, 1972; Vietnam Referendum ’70 Committee, Let the People Vote on War!, 1970; Michael Lynne, Give a Damn, Mend America, 1968; Robert L. Ross, Eat Me, 1967; Pro-Arts, Inc., Peace Needs No Excuse, 1970; Women Strike for Peace, Stop Bombing, c.1967-70; Richard Avedon and Marvin Israel, Who Has a Better Right to Oppose the War?, 1969; Gross National Product, Resist, 1968; Unidentified artist, Untitled, 1970; Women Strike for Peace, No More…Stop the War!, c.1967-70; Student Mobilization Committee to End the War in Vietnam, Would You Buy a Used WAR from This Man?, 1969; New Mobilization Committee to End the War in Vietnam, Rich Man’s War, the People Pay, 1967; Northern California Peace Action Coalition, March & Rally against the War…, c.1960-70; Irving White, Our foreign policy must always be an extension of this nation’s domestic policy…, 1968; Atomic Energy Group, “The streets of our country are in turmoil…”, 1970; A. Lunsford, “Those who have had a chance for four years…”, 1972; Robert Owen Bastian, Untitled, c.1965-70; National Peace Action Coalition, 25 Years After, 1970; Unidentified artist, Help End Demonstrations, 1968; Unidentified artist, March against Death, Peace Pilgrimage, San Francisco, Nov. 15, 1969, 1969; Pandora Productions, The Vacation Visit Beautiful Vietnam, 1966; United Women’s Contingent, “When Women Decide This War Should End, This War Will End”, 1971; Student Mobilization Committee to End the War in Vietnam, Out of S.E. Asia Now! Join the SMC, 1969; Student Mobilization Committee to End the War in Vietnam, U.S. out of Vietnam Now! Bring All the GI’s Home Now, 1970; The Union of Vietnamese in the United States, Nguyen Thai-Binh. Born: 1948—Assassinated: July 2, 1972, c.1972; Unidentified artist, Give Peace a Chance, 1969; Unidentified artist, The Battle of My Lai, 1971; Unidentified artist, “Never think that war, no matter how necessary nor how justified, is not a crime…”, 1970; Don Peterson, Untitled (Toronto), 1968; Student Mobilization Committee to End the War in Vietnam, “We are 1,366 active-duty servicemen. We are opposed to the American involvement in the war in Vietnam…”, 1969; Unidentified artist, Save Lives, Not Face, 1967; Unidentified artist, Cry Freedom, 1967; Women Strike for Peace, End the Draft!, c.1967-70; Sigmund Abeles, Vietnam Summer 1967, 1967; Vietnam Day Committee, University of California, Berkeley, Rock & Roll Benefit Dance…The Jefferson Airplane, 1966; William Weege, Napalm, 1967; Greg Daily, Peace Victory, 1971; Mierle Laderman Ukeles, I Make Maintenance Art One Hour Every Day, September 16-October 20, 1976. Photograph by Ron Amstutz

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right: Tim Rollins and K.O.S., The Whiteness of the Whale II (after Herman Melville), 1991; Carl Pope, Some of the Greatest Hits of the New York City Police Department: A Celebration of Meritorious Achievement in Community Service, 1994; Hock E Aye VI Edgar Heap of Birds, Relocate Destroy, In Memory of Native Americans, In Memory of Jews, 1987. Photograph by Ron Amstutz

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From top to bottom: Nancy Spero, Hours of the Night, 1974; Edward Kienholz, The Non War Memorial, 1970. Photograph by Ron Amstutz

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Installation view of An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017 (Whitney Museum of American Art, New York, August 18, 2017–). From left to right: Black Panther Party for Self-Defense, The Racist Dog Policemen Must Withdraw Immediately from Our Communities…, c.1970; Charles B. Hinman, Red Figure, 1967; William N. Copley, Untitled (Think/flag), 1967; Allan D’Arcangelo, Dipped, 1967; Nancy Grossman, Head 1968, 1968. Photograph by Ron Amstutz

An Incomplete History of Protest is organized by David Breslin, DeMartini Family Curator and Director of the Collection; Jennie Goldstein, assistant curator; and Rujeko Hockley, assistant curator; with David Kiehl, curator emeritus; and Margaret Kross, curatorial assistant.

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