“With film, it’s hard to locate the artwork: Is it the projected image? The projection beam? The room in which it’s being projected? It’s a constellation of things rather than a singular object. I think that’s a metaphor for how a lot of artists working in a broad range of media function now.”—Stuart Comer, one of the three curators of the 2014 Biennial. In the second installment of a three-part Q&A in Whitney Stories, Comer, Michelle Grabner, and Anthony Elms discuss their curatorial approaches as each organizes a floor of the exhibition.
“Authorship has become very slippery, and the ownership of ideas has become less interesting today than the rapid sharing of them.”—Michelle Grabner, one of the three curators of the 2014 Biennial, in The New York Times profile of HOWDOYOUSAYYAMINAFRICAN, a global collective whose work will be on view in the exhibition.
“What most informs my curating are conversations with living artists, trying to find secret histories that haven’t been properly acknowledged, and travel—getting out of my comfort zone to find new places and new conversations.”—Stuart Comer, one of the three curators of the 2014 Biennial. In the first installment of a three-part Q&A in Whitney Stories, Comer, Michelle Grabner, and Anthony Elms share their thoughts on curating the Museum’s signature exhibition.
“I wanted to make a film that could include … a sort of sense that I think we all have looking at New York City of seeing it in the present and past tense simultaneously.”—T. J. Wilcox, whose panoramic film installation, In the Air closes tomorrow.
“I need to go to a place where I don’t know what’s happening, because that place is where the work is.”—Sarah Michelson talks to Time Out New York about her latest dance, 4, which premiered at the Whitney last week.