{"id":198,"date":"2026-06-05T05:39:46","date_gmt":"2026-06-05T05:39:46","guid":{"rendered":"https:\/\/atlaslivingmedia.com\/?p=198"},"modified":"2026-06-05T05:39:46","modified_gmt":"2026-06-05T05:39:46","slug":"the-whitney-museum-and-the-pompous-doors-of-american-art","status":"publish","type":"post","link":"https:\/\/atlaslivingmedia.com\/?p=198","title":{"rendered":"The Whitney Museum and the \u2018Pompous Doors\u2019 of American Art"},"content":{"rendered":"<article>\n<div>\n<div>\n<article>\n<header>\n<div>\n<ul>\n<li>April 27, 2015<\/li>\n<\/ul>\n<h1>The Whitney Museum and the \u2018Pompous Doors\u2019 of American Art<\/h1>\n<h1>The Whitney Museum and the \u2018Pompous Doors\u2019 of American Art<\/h1>\n<h2><em>The Nation<\/em>\u2018s critic in 1931 said the museum would abet the snobbery that believes \u201cAmerican painting is a second-rate affair.\u201d<\/h2>\n<\/div>\n<\/header>\n<section>\n<time>April 27, 2015<\/time><\/p>\n<div>\n<p>To pomp and protests, the Whitney Museum of American Art has relocated from the Upper East Side to an area that some real-estate geometricians call Chelsea, others the meatpacking district, and still others Greenwich Village. The museum\u2019s own website claims the new building \u201cengages the Whitney directly with the bustling community of artists, galleries, educators, entrepreneurs, and residents\u201d in all three neighborhoods. But surely that\u2019s limiting. \u201cIt\u2019s nice to have the art a little bit closer,\u201d NoLITa resident Dakota Fanning told <em>Forbes<\/em> at the museum\u2019s \u201copening night party\u201d on Friday. We at Back Issues must have misplaced the invitation, but we\u2019ll try to get over it: For us and the rest of the public (i.e., those with $22 and some time to spare), the Whitney\u2019s new building, designed by Renzo Piano, opens this Friday, May 1.\t\t\t\t<\/p>\n<p>The Whitney Museum grew out of a private collection maintained by Gertrude Vanderbilt Whitney, a sculptor, patroness, and society dame. When the first location opened in 1931 in a space created by the conversion of three brownstones on West 8th Street, <em>The Nation<\/em>\u2019s art critic Paul Rosenfeld\u2014one of the most influential tastemakers of his era\u2014reviewed it in his column, focusing more on the collection than on the building.<\/p>\n<p>He wasn\u2019t impressed. \u201cDismally enough, it appears very possible that only the grace of the gods can prevent the new institution from recoiling upon the prestige of the American art it proposes to enhance.\u201d<\/p>\n<p>The collection, Rosenfeld continued, was \u201cpuny and gray. Few forces, few personalities radiate from the walls. One passes yards of uncreative canvases. The impression of American painting left is extremely disaffecting: that of a matter devoid of large life, of individual charm, of eloquence; and provincial and secondary to a degree.\u201d<\/p>\n<p>Not only did the paltry Whitney collection diminish the vitality of American art, Rosenfeld suggested, it might actually serve to stifle what excitement did already exist:<\/p>\n<blockquote>\n<p>It will be asked what the reasons for one\u2019s fear that the Whitney Museum may prove a boomerang to American art, actually are? The answer is that it is very likely that in pretending to represent American art and actually misrepresenting it the museum may deprive American art of the confidence of the artistic public\u2014at a moment when the prestige rightfully American art\u2019s, and fought for during may years, is on the verge of holding its ground\u2026. At this moment, then, the Whitney Museum plays into the hands of the picture dealers, who batten on the kind of snobbery which sees in all French things symbols of transcendent value, the apparently conclusive proof that American painting is a second-rate affair. The publicity obtained for the museum assures it of a wide influence. It is now the place where the outsider in New York will come to gauge the quality of American painting, and where the Europeans will come to investigate the reality of its claims. And it is scarcely to be supposed that those who do not turn aside to smile will remain to pray. Nor is it to be supposed that the large public will understand the decorativeness of the gesture which offered it this museum. It will see what the President and Al Smith [they had attended its opening] and all the rest have helped to persuade it to see: a large, disinterested, and devoted gift to art and America. For this reason, then, one could almost wish that the Whitney Museum had never opened its pompous doors.<\/p>\n<section>\n<div>\n<div>\n<h2>Popular<\/h2>\n<p><span><span>&#8220;swipe left below to view more authors&#8221;<\/span>Swipe \u2192<\/span>\n<\/div>\n<ol>\n<li>\n<div>\n<div>\n<h3>\n<span>What\u2019s Really Behind Peter Thiel\u2019s Panicked Move to Argentina<\/span><\/p>\n<p>                What\u2019s Really Behind Peter Thiel\u2019s Panicked Move to Argentina<\/p>\n<\/h3>\n<p>\nDavid Futrelle <\/p>\n<\/div>\n<\/div>\n<\/li>\n<li>\n<div>\n<div>\n<h3>\n<span>The Ghosts of Antonio Gramsci <\/span><\/p>\n<p>                The Ghosts of Antonio Gramsci <\/p>\n<\/h3>\n<p>\nBooks &amp; the Arts<br \/>\n<span><br \/>\n                            \/<br \/>\n                        <\/span><br \/>\nAditya Bahl <\/p>\n<\/div>\n<\/div>\n<\/li>\n<li>\n<div>\n<div>\n<h3>\n<span>The Endless Hypocrisy of Bari Weiss<\/span><\/p>\n<p>                The Endless Hypocrisy of Bari Weiss<\/p>\n<\/h3>\n<p>\nGrace Byron <\/p>\n<\/div>\n<\/div>\n<\/li>\n<li>\n<div>\n<div>\n<h3>\n<span>Larry Summers, We Knew Ye Too Well<\/span><\/p>\n<p>                Larry Summers, We Knew Ye Too Well<\/p>\n<\/h3>\n<p>\nMaureen Tkacik <\/p>\n<\/div>\n<\/div>\n<\/li>\n<\/ol>\n<\/div>\n<\/section>\n<\/blockquote>\n<p>* * *<\/p>\n<p>In the mid-1950s the Whitney moved uptown, near the Museum of Modern Art, but it suffered rather than prospered from the comparison suggested by that proximity. Just a decade later the museum picked up and moved again, further uptown, to a new building designed by Marcel Breuer at the corner of 75<sup>th<\/sup> Street and Madison Avenue.<\/p>\n<p>This time <em>The Nation<\/em> covered the museum\u2019s reopening in an architecture review, written by the Hungarian-born architect and critic Ervin Galantay.<\/p>\n<p>\u201cThe decision of the Whitney Museum of American Art to erect a new building on Madison Avenue in New York marked its advance from adolescence to manhood among New York\u2019s museums,\u201d Galantay wrote. \u201cHaving been thought of for many years as a promising nephew of the brilliant Museum of Modern Art, it now purports to become an independent force and a major component in the city\u2019s pattern of cultural institutions.\u201d<\/p>\n<p>One can\u2019t help but notice that the rhetoric this time around is fairly similar. \u201cLong the odd duck among the Big Four of Manhattan art museums,\u201d Peter Schjeldahl writes in <em>The New Yorker<\/em>, the Whitney now \u201ctakes wing\u201d with \u201ca refurbished sense of mission.\u201d Now, in the new building, the Whitney becomes \u201ca landmark on the cultural and social maps of the city\u2014and on its poetic map, as a site to germinate memories.\u201d<\/p>\n<p>\u201cThe building now stands complete, a dignified, if somewhat odd fellow, quiet, urbane, dark and virile,\u201d Galantay wrote in <em>The Nation<\/em> in 1966. Yet, like Michael Kimmelman of <em>The New York Times <\/em>in 2015\u2014who says the Renzo Piano building \u201cisn\u2019t a masterpiece\u201d\u2014Galantay called Breuer\u2019s box \u201conly partly successful.\u201d<\/p>\n<p>\u201cThe major weakness of the present design may be that the building is patterned for a finite size; growth has not been considered,\u201d Galantay wrote\u2014inadvertently offering a pr\u00e9cis for one justification of the Whitney\u2019s move back downtown five decades later.<\/p>\n<p><p>Galantay considered the Whitney\u2019s options for expansion and relayed the frustration that neither the architect nor the museum has any control over what might happen to neighboring properties. He suggested \u201csome form of legislation\u201d to allow places like museums to exercise veto power over development in their immediate vicinities. \u201cThis would serve the aesthetic welfare of the community,\u201d the architect wrote, \u201cbut the guarantee of orderly development would also, I am sure, enhance surrounding land values.\u201d<\/p>\n<p>The new Whitney, at the foot of the High Line, probably won\u2019t need any help with that.<\/p>\n<p>* * *<\/p>\n<p><em>Curious about how we covered something? E-mail me at rkreitner at thenation dot com. Subscribers to <\/em>The Nation<em> can access our fully searchable digital archive, which contains thousands of historic articles, essays and reviews, letters to the editor and editorials dating back to July 6, 1865.<\/em>\n<\/p>\n<\/p>\n<\/p>\n<\/p>\n<\/p>\n<p>Read more <a href=\"https:\/\/atlaslivingmedia.com\/?p=194\">A New Documentary Shows How Paid Leave Gives Families a Lifeline<\/a><\/p>\n<\/p>\n<\/p>\n<\/p>\n<\/p>\n<p>Read more <a href=\"https:\/\/atlaslivingmedia.com\/?p=196\">The Cruel Optimism of Being a Mets Fan<\/a><\/p>\n<\/div>\n<\/section>\n<footer>\n<ul>\n<li>\n<p>                Submit a correction<\/p>\n<\/li>\n<li>\n<p>                Send a letter to the editor<\/p>\n<\/li>\n<li>\n<p>                Reprints &amp; permissions<\/p>\n<\/li>\n<\/ul>\n<div>\n<p><span> Maureen Tkacik<\/span>Maureen Tkacik is the investigations editor at <em>The American Prospect<\/em> and a senior fellow at the American Economic Liberties Project.<\/p>\n<p>Read more <a href=\"https:\/\/atlaslivingmedia.com\/?p=193\">Hasan Piker\u2019s Ban Is Just the Tip of the Iceberg<\/a><\/p>\n<p>\n<\/div>\n<p><input\/><br \/>\n<input\/><br \/>\n<\/footer>\n<\/article>\n<p>Ad Policy<br \/>\n<!-- <a class=\"inifiniteLoader\"><img decoding=\"async\" src=\"\/images\/new_infi_loader.gif\" alt=\"\" \/><\/a> -->\n<\/div>\n<\/div>\n<\/article>\n","protected":false},"excerpt":{"rendered":"<p>The Nation Magazine<\/p>\n","protected":false},"author":1,"featured_media":197,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-198","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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