A “show within a show” at the Whitney Biennial pays homage to the visual and literary art of Theresa Hak Kyung Cha, whose life was cut short through an act of brutal violence.
The absence of an explicit framing of American art, in all of its diversity, as a visual culture of empire distorts and hampers our ability to understand — and reimagine — our social world.
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.”