Whitney Museum of American Art New York Purchase With Funds From the Print Committee 2009115

Organized by the Whitney Museum of American Art, this exhibition features a choice of photographic works from the 1970s to the mid-2000s that highlights how photography has been used to correspond individuals, places, and narratives. Drawn exclusively from the Whitney'southward permanent drove, this presentation includes approximately 20 artists, including Diane Arbus, Gregory Crewdson, William Eggleston, Nan Goldin, Peter Hujar, Lyle Ashton Harris, Robert Mapplethorpe, Lorna Simpson, Andy Warhol, and Carrie Mae Weems.

These artists began working at a time when photography was becoming increasingly integrated into the art globe. Technological developments permitted them to employ many different photographic processes and to impress their works in various sizes, including ones that would create an immersive impact. The photographs included in this exhibition range from seemingly straightforward representations to those with an imaginative or conceptual perspective that challenge traditional notions of photography as revealing a singular reality.

Many of the artists during this menstruation used photography to portray their communities, friends, and themselves. Robert Mapplethorpe'south portraits highlight the physicality of his subjects, while those by Peter Hujar, Nan Goldin and Andy Warhol emphasize a personal intimacy. Diane Arbus's photographs, such as Untitled #xvi (1970-71), expose the relationship betwixt the photographer and the subject as they reveal themselves to her. In Cerise (2002) Richard Artschwager transformed photographs taken of his discipline from different angles into a three-dimensional freestanding form.

Other artists portrayed the characteristics and poetics of identify through photography. William Eggleston's spontaneous colour photographs, such every bit Untitled (Flowers in Front end of Window) (c. 1970), depict a landscape of everyday life in the Due south, while Richard Avedon's black and white photograph Bill Curry, Drifter, Interstate xl, Yukon, Oklahoma, 6/sixteen/lxxx (1980) from his In the American Westward (1985) serial is a tribute to the way the torso can reflect a sense of place. Historical and social aspects of place are emphasized in Vera Lutter'southward ominous photograph The Cribbing of Manhattan, Fire boat House, Fulton Ferry Landing, Brooklyn New York, May 20, 1996 (1996), fabricated from a large-scale photographic camera obscura. A conceptual relationship between perspective and sense of identify is highlighted in Rodney Graham's inverted photographs of alone trees taken in the English countryside, such equally Oak, Banford (1990).

Depictions of the individual and of place oft overlap in photographs that explore the narrative potential of photography. By combining images or fragments of images, sometimes with text, artists used photography during this time to explore imaginary or conceptual narratives that speak to personal, social, and political histories. The text in Lorna Simpson'south Outline (1990), which is printed on plastic plaques and affixed to ii black-and-white photographs, can be read from left to right and in relationship to the photographs. They suggest various social and historical experiences of African American women. Other artists photographed staged situations in club to encourage narratives. These range from an imaginary personal history, based on assumptions drawn from a gesture, clothing, hair, and brand-up, every bit in Cindy Sherman's Untitled (2000), to a fantastic story of a moment in time, as in Gregory Crewdson'due south Untitled(2001-2002), set on a nighttime suburban street.

This selection of works from the permanent drove of the Whitney Museum reveals the strength of the photographic paradigm in the belatedly-twentieth and early on-twenty-first century in the United States. In surprising and inventive ways, the artists included in this presentation have pushed the boundaries of the medium and expanded the part of photography within the history of art.

This exhibition was organized by the Whitney Museum of American Art, New York, and curated past Carrie Springer, former assistant curator, Whitney Museum. Additionally, Vantage Points was organized around transformative gifts and promised gifts to the Whitney Museum from Emily Fisher Landau.

Generous support for this projection provided by

In a higher place prototype:

Gregory Crewdson (b. 1962), Untitled, 2001-02. Chromogenic print mounted on aluminum, 47 9/xvi × 59 1/2 in. (120.viii × 151.ane cm). Whitney Museum of American Art, New York; promised gift of the Fisher Landau Center for Art P.2010.300. © Gregory Crewdson

Images (left to right, acme to bottom):

Cindy Sherman (b. 1954), Untitled #400, 2000. Chromogenic impress: image, 36 9/xvi × 25 3/iv in. (92.nine × 65.four cm); mount, 42 7/8 × 32 1/8 in. (108.9 × 81.6 cm). Whitney Museum of American Art, New York; buy with funds from the Photography Committee 2001.9. © Cindy Sherman

Robert Mapplethorpe (1946-1989), Self-Portrait, 1988. Gelatin silverish print: sheet, 22 vii/viii × 19 in. (58.1 × 48.3 cm); image, 22 vii/viii × 19 in. (58.1 × 48.3 cm). Whitney Museum of American Art, New York; gift from the Emily Fisher Landau Drove 2019.474. © The Robert Mapplethorpe Foundation. Used by permission

Peter Hujar (1934-1987), Susan Sontag, 1975. Gelatin silver print: sheet, xiv 15/16 × 14 fifteen/16 in. (37.9 × 37.ix cm); image, 14 xi/16 × 14 3/4 in. (37.3 × 37.5 cm). Whitney Museum of American Fine art, New York; promised souvenir of the Fisher Landau Eye for Art P.2010.313. © 1987 The Peter Hujar Archive LLC; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

Catherine Opie (b. 1961), Mike and Sky, 1993. Chromogenic print, xx × 16 in. (50.8 × xl.6 cm). Whitney Museum of American Art, New York; purchase with funds from the Photography Committee 94.63. © Catherine Opie

Philip-Lorca diCorcia (b. 1951), Head #i, 2000. Chromogenic print mounted on plexiglas, 47 ane/ii × 59 3/8 in. (120.seven × 150.8 cm). Whitney Museum of American Art, New York; promised gift of the Fisher Landau Center for Fine art P.2010.305. © Philip-Lorca diCorcia, Courtesy the artist and David Zwirner, New York/London

Nan Goldin (b. 1953),Self-portrait with milagro, The Order. Belmont, Ma. 1988, 1988. Silver dye bleach print: sheet, 27 3/eight × forty in. (69.five × 101.6 cm); epitome, 25 iii/4 × 38 7/sixteen in. (65.four × 97.6 cm). Whitney Museum of American Art, New York; gift from the Emily Fisher Landau Collection 2019.466. © Nan Goldin/Courtesy Marian Goodman Gallery, New York, Paris, London

William Eggleston (b. 1939), Untitled (Baby Doll Cadillac), 1973, printed 1996. Dye transfer print: sheet, 12 9/16 × 18 15/xvi in. (31.9 × 48.1 cm); image, eleven five/eight × eighteen 7/8 in. (29.v × 47.9 cm). Whitney Museum of American Art, New York; gift from the Emily Fisher Landau Drove 2019.464.9. © Eggleston Creative Trust

Emerge Mann (b. 1951), Pitiful Game, 1989. Gelatin silver impress: sail, 19 fifteen/16 × 23 13/xvi in. (l.half-dozen × 60.five cm); image, 19 5/eight × 23 5/sixteen in. (49.8 × 59.ii cm). Whitney Museum of American Art, New York; gift of The Bohen Foundation 2002.349. © Emerge Isle of mann

William Eggleston (b. 1939),Untitled (Immature Boy in Ruddy Sweater), 1971, printed 1996. Dye transfer print: canvass, 13 5/viii × eighteen v/8 in. (34.6 × 47.3 cm); image, 12 11/16 × 17 3/4 in. (32.two × 45.ane cm). Whitney Museum of American Art, New York; souvenir from the Emily Fisher Landau Drove 2019.464.8. © Eggleston Artistic Trust

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Source: https://www.taubmanmuseum.org/calendar/23894/vantage-points-contemporary-photography-from-the-whitney-museum-of-american-art

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