The Whitney Museum of American Art in New York has elevated Adrienne Edwards to the role of Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs.
Joining the Whitney in 2018 as a performance curator, Edwards was later appointed as director of curatorial affairs in 2021. She is currently curating the upcoming exhibition “Edges of Ailey,” a comprehensive showcase exploring the life and art of renowned choreographer Alvin Ailey (1931-1989), set to open this September.
Aside from curating exhibitions, Edwards has been spearheading a significant research and collecting project. Her recent promotion to a higher management position is effective as of Feb. 26. In her expanded leadership capacity, reporting to Whitney Museum Director Scott Rothkopf, she will now provide guidance on the museum’s artistic initiatives, Independent Study Program, and overall strategic direction.
Adrienne Edwards; Photo By Bryan Derballa
“Adrienne is recognized around the world as one of the most visionary curators and thinkers of our time. Each of her shows creates an innovative new exhibition model, especially in how performance is presented in museums,” Rothkopf stated. “I am excited that Adrienne’s expertise and talent for discovering new artists will shape our artistic endeavors at the Whitney as she collaborates with Gregg Bordowitz to further develop the ISP as a hub of interdisciplinary exploration.”
Edwards is a curator, scholar, and writer. Before joining the Whitney, she held positions as a curator at Performa in New York from 2010 to 2018, where she curated groundbreaking live events, film screenings, and symposiums, and commissioned innovative pieces by global artists. She was also a curator-at-large at the Walker Art Center from 2016 to 2018 and an independent curator for “Blackness in Abstraction” at Pace Gallery in New York in 2016. Edwards holds a Ph.D. in performance studies from New York University and has taught art history and visual studies at NYU and The New School, in addition to presenting lectures and publications.
“Adrienne is recognized around the world as one of the most visionary curators and thinkers of our time. Each of her shows creates an innovative new exhibition model, especially in how performance is presented in museums.”
— Whitney Museum Director Scott Rothkopf
At the Whitney, Edwards is responsible for overseeing the performance program, which she has expanded and taken in new directions. Throughout her six-year tenure, her curatorial projects have encompassed “Jason Moran” (2018-20), the first solo museum exhibition of Jason Moran, the jazz pianist, composer, and performance artist. The exhibition traveled from the Walker Art Center to ICA Boston and Wexner Center for the Arts before concluding at the Whitney.
She also curated “Moved By the Motion: Sudden Rise” (2019), a performance series based on text by Wu Tsang, boychild, and Fred Moten; “The Story I Tell Myself” (2021), the first solo museum exhibition of Dave McKenzie; and a 20-year retrospective of My Barbarian, the artist collective comprising Malik Gaines, Jade Gordon, and Alexandro Segade (2021-22). Edwards was also involved in the collaboration with David Hammons on “Day’s End” (2014-21), the permanent public monument adjacent to the museum overlooking the Hudson River.
In 2022, Edwards chaired the International Jury of the 59th Venice Biennale and co-curated the “Whitney Biennial 2022: Quiet as It’s Kept.” This autumn, she will present “Edges of Ailey” (Sept. 25-February 2025), which delves into the life and enduring impact of Ailey, the iconic figure who founded Alvin Ailey American Dance Theater in 1958.
Looking ahead, Edwards expressed enthusiasm about her new expanded responsibilities, contributing significantly to the Whitney’s artistic mission and broader institutional vision.
“I am thrilled by the opportunities afforded by this enhanced role to support my work across various art forms, collaborating with artists committed to excellence and innovation, and exploring histories and fields often overlooked due to their unconventional nature,” Edwards remarked in a statement.
“Since I joined the Whitney almost six years ago, the boundary-pushing exhibitions, commissions, and publications I have brought to life have received consistent and generous support and advocacy from the Museum. The chance to be part of the leadership team under Scott’s leadership presents an exciting prospect to envision and realize the potential of the Whitney’s future. I eagerly anticipate partnering with visionary artist and director Gregg Bordowitz to shape the future path of the esteemed Independent Study Program, especially at such a crucial juncture in its history, with new leadership and a dedicated facility at the Lichtenstein Studio.” CT
BOOKSHELF
Adrienne Edwards edited the exhibition catalog “Jason Moran,” co-edited the exhibition catalogs “My Barbarian” and “Whitney Biennial 2022: Quiet as It’s Kept,” and co-authored the fully illustrated volume “Carrie Mae Weems: Kitchen Table Series” with Sarah Elizabeth Lewis. Edwards has also contributed to numerous other publications, including “Ellen Gallagher: Accidental Records,” “Adam Pendleton: Black Dada Reader,” and “Adam Pendleton” (2020) and “Wangechi Mutu” (2023), both part of the Phaidon Contemporary Artists Series. “member: Pope.L, 1978–2001” accompanied the Museum of Modern Art show. “Rodney McMillian: History is Present Tense” and Ralph Lemon: Modern Dance,” are critical volumes on the practice of each artist. In addition, “Blackness in Abstraction” documents the group exhibition Edwards organized at Pace Gallery in New York.
