The 2017 Whitney Biennial, the institution’s first since its move to the Meatpacking District, opens to the public later this week, but already the buzz is positive. Gathering works by a modest 63 artists on the museum’s vast fifth and sixth floors (along with installations in conference rooms, terraces, the lobby, stairwell, and off-site at the Lower Manhattan Arts Academy), the exhibition feels much, much less daunting than recent Biennials held in the Breuer building, which often seemed overstuffed and cramped. Credit is largely due to co-curators Christopher Y. Lew and Mia Locks, who give the work (and visitors) room to breathe and, for the most part, have given participating artists their own alcoves, galleries, or space for large-scale installations. This Whitney Biennial feels airy, which is a first in recent memory.
But it’s also saturated with recurring themes and formal motifs. At Monday’s preview, some of the most immediately apparent trends included an exceptionally strong showing by the Biennial’s painters (including Carrie Moyer and Aliza Nisenbaum) and a relative plethora of works dealing with social justice and institutional critique (including Cameron Rowland and the Occupy Museums collective). There are eye-popping installations (by Samara Golden, Raúl de Nieves, and Ajay Kurian), transporting video works (by Anicka Yi and the Postcommodity collective, among others), and works that channel the current socio-political climate of frustration and outrage (including by Henry Taylor, Celeste Dupuy-Spencer, and An-My Lê). Though we’ll have a proper review in time for the public opening, here’s a taste of what’s in store at the 2017 Whitney Biennial.
Al-Hadid’s new mosaic features the famed clock that hung at the entrance of the original station until the building was demolished in the 1960s.
The excavation project also yielded Old Kingdom-era amulets, stoneware, and daily-use tools.
Join the New-York Historical Society on February 10 for a virtual conversation about our changing relationship to the natural world with Julie Decker, John Grade, and LaMont Hamilton.
The steel spike clad in gold and silver commemorated the completion of the Transcontinental Railroad in 1869.
Thanks to a $3.3 million grant from the state’s Creative Corps, artists can now apply to bring the project to their neighborhood.
Your list of must-see, fun, insightful, and very Los Angeles art events this month, including Alicia Piller, Brad Phillips, Mulyana, the MexiCali Biennial, and more.
Her solo exhibition at the Los Angeles institution demonstrates how natural light can turn an overlooked, everyday setting into a sublime landscape.
Presented by Northwestern’s Block Museum and McCormick School of Engineering, this new exhibition seeks empathy at the boundaries of life. On view in Evanston, Illinois.
Nicola López and Paula Wilson’s exhibition Becoming Land considers anthropocentric relationships with New Mexico’s desert landscapes.
A festival dedicated to Davinci’s The King Show celebrates the LA artist’s trippy remixing of stock footage, Hollywood cinema, and theater.
Located in Des Moines, Iowa, this residency for emerging and established artists includes studio and living space, a $1,000 monthly stipend, and more.
20th Century Indian Art: Modern, Post-Independence, Contemporary surveys the many distinct aspects of art in South Asia.
Moving too fast on your commute, looking out of the corner of your eye one second too late, and you might miss HOTTEA’s yarn installations.