Lynn Gumpert, Grey Art Museum Director to Retire after a Wonderful Work

NYU’s Grey Art Museum Director Lynn Gumpert to Retire

LYNN GUMPERT in the Grey Art Museum’s new galleries 

at 18 Cooper Square for the exhibition 

Americans in Paris: 

Artists Working in Postwar France, 1946–1962 

Photo: Tracey Friedman / NYU

Lynn Gumpert, who has served as director of New York University’s Grey Art Museum since 1997, will retire in mid-April 2025. During her tenure, the museum (formerly the Grey Art Gallery) has presented more than 80 exhibitions focused on a wide range of topics, from abstract art from the Arab world to downtown galleries in New York City, expanded its collection, and moved to a larger and more accessible location at 18 Cooper Square.

As museum director, curator, administrator, and art historian, Lynn Gumpert raised the profile of the Grey by presenting ambitious exhibitions and engaging with faculty and students from across the university. Thanks to a significant gift from donors Dr. James Cottrell and Joseph Lovett, the Grey Art Museum will open the Cottrell-Lovett Study Center, a research space for scholars of all levels that offers access to the museum’s permanent collection of American, modern Asian, and Middle Eastern art.

NYU President Linda G. Mills said, “The Grey has an impact on New York’s cultural life that has far exceeded its size, with wonderful, carefully curated shows that have delighted art lovers and contributed to Greenwich Village’s—and NYU’s—reputation as a center for the arts.  For more than 25 years, Lynn Gumpert has been the Grey’s steward, as well as an exceptional colleague, a curator of groundbreaking exhibitions, and a guardian of the NYU Art Collection. We thank her, and wish her well.”

Provost Gigi Dopico added: “The scholarship that the Grey has generated over nearly half a century is remarkable. With landmark exhibitions, from The Downtown Show in 2006 to Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection in 2019, the Grey exemplifies New York University’s commitment to innovative ways of looking at art.”

Exhibition highlights organized during Lynn Gumpert’s tenure include Taking Shape: Abstraction from the Arab World, 1950s–1980s, Inventing Downtown: Artist-Run-Galleries in New York City, 1952–1965, and Americans in Paris: Artists Working in Postwar France,1946–1962, the critically-acclaimed exhibition that inaugurated the museum’s new location earlier last year.

The Grey Art Museum has also contributed to New York City’s cultural scene by hosting shows that otherwise would not have traveled here. They include The Beautiful Brain: The Drawings of Santiago Ramón y Cajal; Art after Stonewall, 1969–1989; Diane Arbus: Family Albums; and Maya Lin: Topologies.

Lynn Gumpert is co-curator of Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde, organized with the Montreal Museum of Fine Arts and the Musée de l’Orangerie. It opened at the Grey on October 1, 2024 and is accompanied by a book, Berthe Weill: Art Dealer of the Parisian Avant-Garde (Musée de l’Orangerie, Paris/Flammarion). Lynn Gumpert also edited Pow! Right in the Eye, Weill’s 1933 memoir (University of Chicago Press, 2022), and co-edited Americans in Paris (Grey Art Museum, NYU/Hirmer, 2022).

“It’s been an enormous honor and privilege to lead the Grey Art Museum for more than 28 years. Our holdings of modern Iranian, Turkish, and Indian art donated by our founder Abby Weed Grey in 1975 align wonderfully with New York University’s global vision. Likewise, our exceptional holdings of downtown New York School artworks through the 1990s complements NYU’s Special Collections at Bobst Library,” says Lynn Gumpert. “And, with our recent move from Washington Square East to 18 Cooper Square, our renovated facilities are now much more welcoming.”

Prior to joining NYU, Lynn Gumpert served as curator and senior curator at the New Museum of Contemporary Art from 1980–88 and was a consulting curator for The Gallery at Takashimaya from 1992–95. She wrote the first substantial monograph on French artist Christian Boltanski (Flammarion, 1992; 1994), and in 1999, she was honored by the French government with the distinction of the Chevalier of the Order of Arts and Letters.

Lynn Gumpert earned a BA from the University of California at Berkeley, and an MA in art history from the University of Michigan. A member of the Association of Art Museum Directors, she has served on various boards, including the Hauser & Wirth Institute.

Deputy Director Michèle Wong will be interim director.

GREY ART MUSEUM, New York University 

18 Cooper Square, New York, NY 10003

greyartmuseum.nyu.edu

Mostly New: Selections from the NYU Art Collection @ Grey Art Gallery, New York University

Mostly New: Selections from the NYU Art Collection

Grey Art Gallery, New York University

Through December 17, 2022

Kenji Nakahashi

Time – (A) c. 1980; printed 1985

Gelatin silver print, 11 x 14 in. 

Grey Art Gallery, NYU Art Collection

Anonymous gift, 2021.4.5

Courtesy of the Grey Art Gallery

The Grey Art Gallery at New York University presents Mostly New: Selections from the NYU Art Collection, the museum’s first exhibition since it closed in March 2020 due to the COVID-19 pandemic. The exhibition presents a compelling sampling of the New York University Art Collection, with more than 90 artworks by nearly 60 artists. Curated by the Grey Art Gallery’s Lynn Gumpert and Michèle Wong, the show features recent acquisitions of modern and contemporary art from the Middle East by artists such as Farah Al Qasimi, Shahpour Pouyan, and Parviz Tanavoli and spotlights photography, with works by Harry Callahan, Peter Hujar, and Kenji Nakahashi, among others. Mostly New also debuts a selection of works from the Grey’s newly acquired Cottrell-Lovett Collection, donated by longtime art patrons, social activists, and downtown Manhattan residents Dr. James Cottrell and Mr. Joseph Lovett. Included are paintings and prints by Downtown New York artists such as Donald Baechler, Deborah Kass, and Glenn Ligon. Established in 1958—and stewarded by the Grey Art Gallery since the museum’s opening in 1975—the New York University Art Collection now comprises over 6,000 objects. Following such exhibitions as New York Cool: Painting and Sculpture from the NYU Art Collection (2008), Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 (2017), and, most recently, Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection (2019), Mostly New offers visitors the opportunity to view never-seen and rarely displayed gems from a landmark academic art collection.

“While the Grey has been closed to the public, our staff has continued to care for and build the NYU Art Collection,” notes Lynn Gumpert, director of the Grey Art Gallery. “As the museum undergoes a major period of transition—thanks to the transformative gift from Joe Lovett and Jim Cottrell—Mostly New offers a fitting opportunity to refocus on the Grey’s core identity as a collecting institution.” Michèle Wong, the Grey’s Associate Director and Head of Collections and Exhibitions, adds, “As a longtime Grey staff member, I relish seeing both newer and older collection works together and on view— and reminding both the university community and our other audiences that the Grey provides a home for art and dialogue on NYU’s campus.” 

Keith Haring

Bill T. Jones, 1984

Color offset lithograph, 35 x 23 in.

Grey Art Gallery, NYU Art Collection

Gift of Denise Green, 2016.9.2

Courtesy of the Grey Art Gallery

Donald Baechler

The Lucky Ring, 2008

Silkscreen on paper, 19 x 14 in. 

Grey Art Gallery, NYU Art Collection 

Gift of Cottrell-Lovett Collection, 2021.5.3

Courtesy of the Grey Art Gallery

Exhibition Overview

Mostly New highlights one of the NYU Art Collection’s strongest components—modern American art from the 1940s to the present, particularly paintings and prints by artists who lived and worked in the rich cultural landscape of downtown New York City. Figurative works by luminaries like Keith Haring and Andy Warhol introduce viewers to other influential figures of the downtown arts scene in the 1980s, such as dancers Bill T. Jones and Jock Soto. Work by artist Donald Baechler, who emerged in the ’80s as part of the East Village creative community alongside the likes of Warhol and Haring, reveals the artist’s interest in formal issues of line, shape, and color. Likewise, Brooklyn-based artist Deborah Kass explores pop culture as it intersects with art history. A late painting by Grace Hartigan, an influential member of the New York School, shows how the artist blended her signature Abstract Expressionist sensibility with a renewed interest in the figure. Influenced by 1960s counterculture and life in her native California, work by Mary Heilmann presents an upbeat, eccentric view of geometric abstraction. While Glenn Ligon is best known for works comprising stenciled fragments of famous texts, a 2004 print presents a more abstract exploration of issues of identity and the Black experience. A rare portrait by photographer Adam Fuss commemorates art patrons Dr. James Cottrell and Joseph Lovett, who maintain vital friendships with artists whose work they collect.

The NYU Art Collection also boasts significant photography holdings. Brooklyn-born photographer Emil Cadoo, who eventually moved to Paris in hopes of escaping racism in the United States, combined images of human and botanical subjects with textured overlays that expressed the subject’s inner psyche. Photojournalist and Lower Manhattan resident Danny Lyon turned his camera toward large-scale demolition projects going on in the neighborhood in the late 1960s. Harry Callahan’s experimental prints represent an important juncture in the history of photography when the creative capacities of the camera were explored. Cindy Sherman assumes a variety of guises for her self-portraits, appropriating characters from well-known stories as well as art history. Like Sherman, drag performance artist and actor Ethyl Eichelberger donned the identities of influential historical figures, as seen in photos by Peter Hujar, a chronicler of downtown New York’s creative vanguard and queer communities during the 1970s and ’80s. Work by Japanese-born New York transplant Kenji Nakahashi reveals the abstract imagery in everyday settings, like city subway stations. Miwa Yanagi applies a more socially conscious eye to the world around her—her series Elevator Girls investigates gender norms for Japanese women in the late 1990s.

Farah Al Qasimi

Living Room Vape, 2017

Archival inkjet print, 26 1/4 x 35 in. 

Grey Art Gallery, NYU Art Collection

Gift of Sultan Sooud Al Qassemi 

on behalf of Barjeel Art Foundation, 2018.1

Courtesy of the Grey Art Gallery

In line with the principles of the museum’s founder, Abby Weed Grey, the Grey Art Gallery also ­­­collects modern and contemporary art from the Middle East. Mostly New particularly highlights work by artists from Iran, where Mrs. Grey traveled eight times in the 1960s and ’70s. Parviz Tanavoli is one of Iran’s foremost sculptors and, through his close friendship with Abby Grey, helped shape the museum’s remarkable holdings. Like his sculptures, Tanavoli’s works on paper utilize motifs from Persian culture, including symbols of folklore and mysticism and objects found in bazaars. A 1965 work by Marcos Grigorian—a pioneering Iranian artist and professor at the University of Tehran—reflects the artist’s preoccupation with earth and mud as artistic medium­, recalling the Iranian desert. Informed by Persian miniature painting, work by Tehran-born artist Shiva Ahmadi features mythical creatures and enthroned figures characterized by ornate patterns, rich textures, and vivid hues. Shahpour Pouyan’s reinterpretation of traditional Persian miniature painting is absent of all figures, drawing attention instead to the landscape and domestic settings. Having moved away from her native Iran as a young child, Samira Abbassy uses her work as a means of exploring her relationship to Iranian culture and broader issues of identity. A photograph by the Emirati-born artist Farah Al Qasimi—donated by the founder of the Sharjah-based Barjeel Art Foundation, who collaborated with the Grey on Taking Shape: Abstraction from the Arab World, 1950s–1980s (2020)—offers viewers a playful glimpse into life in the Persian Gulf.

Mostly New: Selections from the NYU Art Collection is organized by the Grey Art Gallery, New York University, and curated by Lynn Gumpert and Michèle Wong. Generous support is provided by the Grey’s Director’s Circle, Inter/National Council, and Friends; and the Abby Weed Grey Trust.

Related Post: History of the NYU Art Collection

GREY ART GALLERY, NEW YORK UNIVERSITY 

100 Washington Square East, New York, NY 10003

greyartgallery.nyu.edu