This year’s show is the first since a tumultuous 2019 edition rocked by protests over former trustee Warren B. Kanders’s connections to tear gas manufacturing.
The next biennial, previously slated for the spring of 2021, has now been delayed by a year due to the pandemic.
Edwards and Breslin, two of the museum’s in-house curators, will curate the 80th edition of the biennial.
The open archive provides public access to information about artists and their artworks dating back to the biennial’s first edition in 1932.
Artist Michael Rakowitz withdrew his participation, opposing the “toxic philanthropy” of Whitney vice chairman Warren Kanders.
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.
See highlights from the 2017 Whitney Biennial, which opens to the public later this week.
There are no Texas quail rigs in the Whitney Biennial, but then again New York casts a long shadow of bullshit over American aesthetics, its credentialed scenesters busy strip-mining consumer culture to produce elaborate corporate pranks.
In the New York Times, Carol Vogel reports on the future of the Whitney Biennial, that ever-controversial summary of American art. For the 2014 edition of the show, there are a few new surprises — mainly, that the old, monolithic model of curating has been totally dismantled.
To walk into the artist Robert Gober’s installation of paintings, photographs and writings by Forrest Bess — a visionary painter and self-described, self-surgically-altered “pseudo-hermaphrodite” — was to encounter art frontloaded with (as the reader put it) “cultural significance while also being visually intoxicating, or mesmerizing, you can choose a description.”
I left the 2012 Whitney Biennial with a feeling of leadenness that no amount of free coffee (available at Monday’s press preview, and many thanks for that) or Werner Herzog’s video ode to beauty (“Hearsay of the Soul,” 2012) could alleviate.
Tonight’s Whitney Biennial VIP Party brought together two sectors of the art world that continue to butt heads in this post-Occupy Wall Street world. Chic art world partygoers were lined up on Madison Avenue waiting to drink champagne at the Sotheby’s-sponsored Biennial, while a few dozen protesters and an inflatable cat were bringing attention to the museum’s association with the auction house that has locked out union art handlers since early August.