Art Work: Whitney Staff Make Art

By J. Taylor Basker

The Whitney Museum, with 369 employees, is a large complex of many departments, missions and roles. It mounts an annual exhibit of its employees’ work at Westbeth Gallery, its neighbor in the far West Village. In September, diverse types of art were exhibited by workers from 18 departments as different as Accounting to Art Handling. Artists usually cannot live off their art so they develop other skills for survival, some of which are useful for museums. We will examine an artwork from each department at the Whitney.

The delicate gelatin silver print “An Intimate Conversation” by Isabella Ruiz, from the Advancement Department, depicts an advancing profile of a breast as an abstract element conveying the vulnerability of skin and longing. Artists are not known for their mathematical skills, yet Sean MacDonald of the Accounting Department produced multiple images of black and white inkjet prints. Entitled “Deconstruction of Abeyance,” it depicts semi-abstract images from his personal life journey. Abandoning his technical skills, Jehad Abu-Hamda of the A/V Department turned to real life tangible objects for his artist statement. Folding traditional kufiyahs into a type of map, his work “Resistance IS Existence!” was created for this year of ongoing pain for Palestinians. It expresses a large, visually compelling protest statement. Art Handling’s Julian Gilbert-Davis’ appreciation for moving objects produced “Associated,” a sculptural replica of a grocery store checkout counter. From the Carpentry Department, the skillful hands of Vaishu Ilankamban crafted handsome “Mirror Cabinets” based on the Persian tradition. Mirrors in many cultures traditionally were believed to hold access to other worlds and dimensions.

Multiple types of media appear in this exhibit, including book art. The zine of Mary Noe O’Sullivan of the Curatorial Department is a photo-essay of a military base in Seoul where she grew up. It is now caught between a ghost town and redevelopment. She reflects on the transience of geopolitical borders, occupation and urban reintegration. Ironically, before joining the Whitney, Giulia Nicita of Development created a prescient collage “Georgia” that featured the words “Plan Or Fall.” The skillful use of chiaroscuro in the semi-abstract enigmatic painting by Christine Zheng “I am learning to be less terrified of the remnants of my desires” is a traditional tour de force of oil on canvas. Zheng’s trained eye no doubt enhances the aesthetics of the Digital Department.

From the Education Department, Alex Syrenova installs an open suitcase filled with concrete along with an enlarged passport photo of the artist on fabric covering the stones. He tutors the viewer on the Sisyphean plight of the immigrant, victims of ICE and bureaucracy. Matt Larson of Exhibitions’ “Help, I’m a Rock,” an intricate complex tramp carved wall sculpture of milk, paint and rock on carved basswood, may reflect the daunting challenge and visual dilemmas of mounting exhibits at the Whitney. The colorful, chaotic and cheerful painting “All you can eat shrimp is back at Red Lobster / when will it be my turn to go home?” is a cacophony of unrelated forms that somehow converge and connect. Produced by Alexa Walkovitz of Facilities, it may convey the herculean task of managing the large, convoluted multi-part plant of the Whitney. Angela Dizon of Membership perhaps found relief from dealing with humans in her startling sculpture “Ophanim (rotting, blooming),” a glazed stoneware vessel with wheel-like handles crawling with dynamic organic protrusions, conveying the ophanim ─ Biblical mysterious celestial beings. From Research Resources, the torso and upper legs of an earth-bound sun worshiper appear in Emily Roz’s photorealistic painting “Scorcher.” It carefully examines the curves and crevices of the reclining female form in a bikini. Nathan J. Smith freely paints wild curved black lines over colorful abstract forms as an enigmatic autobiographic statement. Smith, from the Retail Department that stacks items in neat rows on shelves, asserts human freedom from imposed rational order in this image. Another polarity between work and art is seen in Elisa Flynn of Registration, who painted “Our Lady of Antifascism,” a wolf as a religious icon, standing in teargas, blessing protest. Registration of people for citizenship, voting, education, health care (especially for women) is the hallmark of the growth of fascism.

The heavy work of Security Department’s Jazmin Borda is relieved by the lightness of watercolor. “Safe Travels” blithely depicts an African-American woman on a subway. It received an award from the Art Students League. The most dramatic artwork in the exhibit is by Rob Reese of the Theater Department. “Proscenium” is an impressive installation of 36 four-inch lenses from theatrical lighting and other hardware, hanging, moving and bending light as one passes by, so the artwork appears as if viewed through a kaleidoscope. “The Entire History of You” is presented by Alyssa Andrews of Visitor and Member Experience, on bright yellow paper with hands decorated with intricate lines and symbols. Using her own hands, she guides the visitors to follow creases in palms to explore experience, self-identity and personal growth.

The museum’s Library Lunch Craft Hour group has members from various departments. They created a collaborative artwork inspired by what craft means to each of them. (Shalissa Aquino, Theda Berry, Taylor Beyrer, Ivy Blackman, Heather Cox, Angela Dizon, Abigail Hack, Micah Musheno, Clara Rojas-Sebesta). This visually striking mixed media piece is composed of individual squares combined into a type of quilt, showing a range of mediums and art practices.

The relationship of the work artists do, and the art they produce may be an unconscious dual dynamic. Their creativity enriches their work and their work may influence their art. Idioms such as “It may be a stroke of genius, back to the drawing board, paint a picture of what is needed and get something down to a fine art” demonstrate that the language of art influences the language of work. The exhibit Art Work shows that work can also successfully inspire art.