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.
Columbia University exhibition thwarts the de-politicization of postwar abstract art with a series of provocative questions.
Some 500 satirical guerilla billboard ads posted across Europe featured texts such as “#SayYesToTheEndOfTheWorld” and “Low Fares to Plastic island.”
Open to scholars, artists, curators, and writers, this new fellowship embraces the interdisciplinary spirit of a pioneering fiber artist and comes with a $30,000 stipend.
Despite his reportedly encyclopedic knowledge of the region’s geologic and mineral makeup, Heizer has displayed a baffling incuriousness about the larger story of the land he digs, cuts, and plows.
Using the pressures of adolescence and indoctrination of the church as a framework, Campbell captures the stress endured by young women and their bodies.
These virtual talks will share details on the MFA and M.Arch programs, alumni experiences, financial aid and fellowships, student life, and more.
The investigation represents the first step of a process to return the works to families and descendants of those who originally owned them.
The menial work, combined $17/hour pay, no benefits, and a lack of support from higher-ups has reportedly led to severe staff shortages.
This new kunsthaus in Potsdam shows modern and contemporary works of art from East Germany in what was once a terrace restaurant.
Eliza Naranjo Morse and Jamison Chas Banks envisioned Giving Growth as a response to the forced isolation brought on by the COVID-19 pandemic.
Although Latinos represent 18.7% of the United States’s population as of the 2020 census, only 3.1% of lead roles in television shows feature them.
The museum and union have yet to agree on wages and healthcare.