Samara Golden, The Meat Grinder’s Iron Clothes, 2017.

MAXIMILÍANO DURÓN/ARTNEWS

Much of the first Whitney Biennial in the museum’s new building will be staying in the new building.

Thanks to a surge in trustee gifts and donations, the Whitney acquired 32 works from this year’s biennial, up from just 12 acquisitions that followed the last edition of the show, which occurred in 2014. (The museum took a three-year break between shows as it moved to its new location.)

The new additions to the collection include the show-stopping installations by Samara Golden and Raúl de Nieves that occupied the fifth-floor window spaces of the museum’s new home in the Meatpacking District and Henry Taylor’s portrait of Philandro Castile, as well as work by a slew of artists who are entering the collection for the first time.

“The committees really came together and were extremely generous, as they wanted to mark the occasion of the first biennial of the new building,” Scott Rothkopf, who is deputy director for programs and chief curator at the Whitney, said in a phone interview on Monday. “It took a village in a way to acquire so many works, because it wouldn’t be possible with our ordinary budget.”

Rothkopf added that, while new additions to the collection did indeed increase nearly threefold over the 2014 figure of 12, the works the museum was able to secure are also “of a larger scale and a larger value”—the installations by Golden and de Nieves being prime examples.

“Samara’s ambitious work—one of the most complex pieces she has made so far—deftly incorporated the museum’s architecture and the river views to create a captivating, psychically charged environment,” Christopher Y. Lew, the co-curator of the 2017 biennial alongside Mia Locks, said in a news release. “This generous gift helps the Whitney to continue its engagement with large-scale installation.”

Artists entering the museum’s collection for the first time include Celeste Dupuy-Spencer, Shara Hughes, Carrie Moyer, Puppies Puppies, and Jessie Reeves.

“Although we’ve always collected from annuals and biennials, this year our biennial acquisitions feel like they have a new and stronger resonance within the context of our re-energized emerging artists program downtown,” Rothkopf said in an email. “We’ve acquired work from all of the solo shows, as well as examples by most of the artists in the group exhibitions [“Flatlands” and “Mirror Cells”]. At a time when so many emerging artists are being pursued so broadly by the market, including museums, we’ve found this strand of our program really serves as the bedrock of our contemporary acquisitions, because they grow out of a meaningful and publicly visible dialogue with our curators.”

The full list of works acquired is below.

Jo Baer
In the Land of the Giants (Spirals and Stars), 2012
Promised gift of Pamela M. and Robert B. Goergen

Larry Bell
Pacific Red V, 2017
Purchase, with funds from the Director’s Discretionary Fund, Josephine and Jason Kalisman, Beth Rudin DeWoody, Nathalie Marciano, Anthony and Celeste Meier, Ales Ortuzar, Ulysses de Santi and Graham Steele, Asher Waldfogel and Helyn MacLean, and Steven F. Roth

Raúl de Nieves
Beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end, 2017
Purchase, with funds from the Painting and Sculpture Committee, Mariel and Jack Cayre, and Jackson Tang

John Divola
Abandoned Painting B, 2007
Abandoned Paintings, 2007-2008
Purchase, with funds from the Photography Committee

Celeste Dupuy-Spencer
Veterans Day, 2016
Promised gift of Jenny Brorsen and Rich DeMartini

Oto Gillen
New York, 2015–2017
Promised gift of Robert Rosenkranz

Samara Golden
The Meat Grinder’s Iron Clothes, 2017
Promised gift of Danielle Ryan and Richard Bourke

Lyle Ashton Harris
Once (Now) Again, 2017
Purchase with funds from the Director’s Discretionary Fund and the Photography Committee

Shara Hughes
In the Clear, 2016
Purchase, with funds from Joel and Anne Ehrenkranz

Jon Kessler
Evolution, 2016
Purchase, with funds from the Painting and Sculpture Committee

Deana Lawson
Sons of Cush, 2016
Purchase, with funds from the Photography Committee and the Nias Foundation

Deana Lawson
Signs, 2016
Purchase, with funds from the Photography Committee and the Nias Foundation

An-My Lê
Monument, General P.G.T. Beauregard, New Orleans, Louisiana, 2016
Purchase with funds from the Photography Committee

An-My Lê
Film Set (“Free State of Jones”), Battle of Corinth, Bush, Louisiana, 2015-2017
Purchase with funds from the Photography Committee

Tala Madani
Shitty Disco, 2016
Purchase, with funds from Jonathan Sobel and Marcia Dunn

Park McArthur
Another word for memory is life, 2017
Purchase, with funds from the Painting and Sculpture Committee

Carrie Moyer
Glimmer Glass, 2016
Promised gift of Miyoung Lee and Neil Simpkins

Julien Nguyen
Executive Solutions, 2017
Purchase, with funds from the Painting and Sculpture Committee

Aliza Nisenbaum
MOIA’s NYC Women’s Cabinet, 2016
Gift of Jackson Tang in honor of Christopher Y. Lew

Aliza Nisenbaum
2 Years of Correspondence from Inmate 39807, 2016
Promised gift of Jenny Brorsen and Rich DeMartini

Puppies Puppies
Liberty (Liberté), 2017
Purchase, with funds from Brooke Garber Neidich and Daniel Miller Neidich in honor of Scott Rothkopf and Jonathan Burnham

Jessi Reaves
Ottoman with Parked Chairs, 2017
Purchase, with funds from Allison and Warren B. Kanders in honor of Scott Rothkopf and Jonathan Burnham

Cauleen Smith
I’m So Black That I Blind You, (2017)
Purchase, with funds from Mike De Paola in honor of Scott Rothkopf and Jonathan Burnham

Cauleen Smith
The Comedians, (2017)
Purchase, with funds from the Painting and Sculpture Committee and the Director’s Discretionary Funds

Cauleen Smith
No Wonder I Go Under, (2017)
Purchase, with funds from the Painting and Sculpture Committee and the Director’s Discretionary Funds

Cauleen Smith
I Have Nothing Left, (2017)
Purchase, with funds from the Painting and Sculpture Committee and the Director’s Discretionary Funds

Cauleen Smith
Black Flesh, (2017)
Purchase, with funds from the Painting and Sculpture Committee and the Director’s Discretionary Funds

Frances Stark
Ian F. Svenonius’s “Censorship Now” for the 2017 Whitney Biennial, Spread 1 of 8 (Sincerely), 2017
Purchase, with funds from the Painting and Sculpture Committee

Frances Stark
Ian F. Svenonius’s “Censorship Now” for the 2017 Whitney Biennial, Spread 3 of 8 (pp. 16–17) (the state, like a rampaging mob boss), 2017
Purchase, with funds from Nancy Carrington Crown and A. Steven Crown in honor of Scott Rothkopf and Jonathan Burnham

Henry Taylor
THE TIMES THAY AINT A CHANGING, FAST ENOUGH!, 2017
Purchase, with funds from Jonathan Sobel & Marcia Dunn

Torey Thornton
Painting, 2017
Purchase, with funds from David Ofer

Anicka Yi
The Flavor Genome, 2016
Promised gift of Robert Rosenkranz