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A group of artists participating in the Whitney Museum's Independent Study Program (ISP) have withdrawn their work from a capstone exhibition at Westbeth Gallery to protest the museum's cancellation of a pro-Palestine performance. The performance, titled "No Aesthetics Outside My Freedom: Mourning, Militancy, and Performance," by artists Fadl Fakhouri, Noel Maghathe, and Fargo Tbakhi, was scheduled for May 12 as part of the ISP curatorial exhibition "a grammar of attention." The Whitney canceled it after viewing a recording of an earlier presentation, citing the performers' demand that attendees who believe in Israel leave the audience and the valorization of specific acts of violence. ISP Associate Director Sara Nadal-Melsió stated that the cancellation was imposed by Whitney leadership, including director Scott Rothkopf, and that the independence of the ISP has been seriously compromised.

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Charisse Pearlina Weston, a rising artist known for transforming industrial materials like shattered glass and concrete into harmonious abstract works, is the subject of a profile highlighting her rapid ascent. Her first solo exhibition with Jack Shainman Gallery, titled "Mis-/Mé- (Squeeze)," opened in New York's Chelsea and runs through December 20, 2025. Weston, who gained attention with a solo presentation at Patron gallery during Frieze New York 2024, was awarded a Guggenheim Fellowship in April 2025 and has an installation at the Cecilia Alemani-curated SITE Santa Fe International. She will also have dual representation at Art Basel Miami Beach next month.

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Sara Nadal-Melsió, the former associate director of the Whitney Museum's Independent Study Program (ISP), has spoken out about her termination in June 2025, which occurred shortly after the museum's director Scott Rothkopf announced a suspension of the 50-year-old program. In an essay published in Hyperallergic, Nadal-Melsió describes her dismissal as retaliation for her public protest against the Whitney's cancellation of a pro-Palestinian performance titled "No Aesthetic Outside My Freedom: Mourning, Militancy, and Performance." She characterizes the museum's actions as part of a broader pattern of institutional obfuscation, corporate culture, and disregard for workers' rights.