Taylor’s paintings emphasize that golf and horse racing, though once exclusively activities for privileged white men, depended on the support of men who were almost invariably Black.
The High Line’s Mutations exhibition features motion-capture cameras for birds, audio of the Great Pacific Garbage Patch, and other uncanny interventions in the elevated park.
Artists are calling for the removal of Dana Schutz’s painting “Open Casket” from the 2017 Whitney Biennial, while others want more drastic action.
One of the themes of this year’s Whitney Biennial appears to be violence, and not every artist has the ability to transform it into a successful work of art.
This year, the Whitney Biennial includes plenty of painting. And — for the most part — the painting is on message. It’s eccentric figuration with political content.
In addition to the centuries of trauma that artists are exploring and attempting to reconcile with contemporary reality, there is also an underlying solidarity that weaves itself into the fabric of Non-fiction at the Underground Museum.
The painter Henry Taylor welcomed me into his live-work loft with particular openness. It didn’t take long for us to get real and talk about family, the stories behind the paintings, and the daily struggles.
Visiting Frieze New York on Randall’s Island is like being sucked into a black hole. You get on a ferry (or a bus, or a bike), enter a giant, spacious tent, and then time stops. Or it disappears. Or it slips away. Next thing you know, you stumble out dehydrated and drunk off your speakeasy cocktail and notice the sun starting to sink in the sky.