This weekend at the Biennial, HOWDOYOUSAYYAMINAFRICAN? debuts a new film. The spoken, chanted, sung, and screamed libretto explores the consequences of centuries of global racial strife that are thrust upon on those born of African descent.
HOWDOYOUSAYYAMINAFRICAN?, Good Stock on the Dimension Floor: An Opera, 2014. Video, color, sound; 54 minutes. Collection of the artists. © HOWDOYOUSAYYAMINAFRICAN?
#AmericanArtIs UP FOR DEBATE. The 2014 Biennial is on view now. See it today and tell us what you think.
Finishing touches! Installing the front window vinyl before the 2014 Biennial opens to the public today.
Andrew Bujalski’s Computer Chess is screening all weekend at the Biennial. The filmmaker will be in conversation with Biennial curator Stuart Comer on Sunday.
Andrew Bujalski, still from Computer Chess, 2013. NTSC analog video, black-and-white, sound; 92 minutes. © 2013 Computer Chess LLC.; courtesy the artist. Photograph by Alex Lipschultz
Sheila Hicks’s cascading installation in the 2014 Biennial is made of acrylic, linen, cotton, bamboo, and silk. Experience it in person starting Friday.
Putting the finishing touches on the 2014 Biennial. The exhibition opens Friday!
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.
The 2014 Biennial catalogue is now available! Pick one up at the Museum Shop.
The New York Times previews the 2014 Biennial, highlighting some of the themes—nostalgia, women revitalizing abstract painting, architecture, and more—that figure prominently in the seventy-seventh edition of the Museum’s signature exhibition.
Laura Owens (b. 1970), Untitled, 2013 (detail). Oil, Flashe, acrylic, bike wheels, training wheels, wagon wheels, and tricycle wheel on linen, 108 × 84 in. (274.3 × 213.4 cm), Private collection; courtesy the artist and Gavin Brown’s enterprise, New York. Photograph by Tom Powel
A first look at Tony Tasset’s 2014 Biennial work, Artists Monument, on view on 17th Street between Chelsea Piers and Pier 57 in Hudson River Park.
Artists Emily Sundblad and Sara Greenberger Rafferty posed in front of the Museum’s iconic windows for the latest issue of New York Magazine. See their work when the Biennial opens March 7.
Burgoyne Diller is one of the new artists featured in the latest installation of American Legends: From Calder to O’Keeffe, which showcases the Whitney’s holdings of artwork from the first half of the twentieth century alongside that of postwar figures.
Miss our Shared Spaces symposium on the museum in the age of social media? We documented the evening—peruse videos on whitney.org.
Enxuto & Love (2009), Anonymous Painting 3D #V2 GE_W202_03, 2013. Inkjet on cotton, 40 x 52 inches. Courtesy the artists
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.