We all know about the terrible gender disparity in the art world. As ladies, we live with systemic sexism on a daily basis.
At the center of Smack Mellon’s Dumbo gallery, Gil Yefman’s knitted wrecking ball of genitalia and bodily fluids hangs from the ceiling.
On the third floor, 2014 Whitney Biennial curator Stuart Comer professed to “provide a kaleidoscopic glimpse of this historic moment,” emphasizing work that seemed in flux and in transition from one medium to another, one state to another, or even across borders and identities.
The 2014 Whitney Biennial has many things: oversized ceramics, big abstract and figurative paintings, experimental jazz, videos of people having sex, and bead curtains. What it doesn’t have all that much of is politics.