1. Detail of Lisa Anne Auerbach’s Let the Dream Write Itself (2014) via thejosephpisani.

    Detail of Lisa Anne Auerbach’s Let the Dream Write Itself (2014) via thejosephpisani.

  2. How are artworks altered through the creation of facsimiles? This Saturday, poet Caroline Bergvall, scholar Lisa Gitelman, and artist William Pope.L respond to this question, facilitated by Triple Canopy editors. Get your tickets now. 
Triple Canopy, Pointing Machines I (Chestertown, Maryland), 2013. Pigmented inkjet print, 22 1/2 × 15 in. (57.2 × 38.1 cm). Collection of Triple Canopy

    How are artworks altered through the creation of facsimiles? This Saturday, poet Caroline Bergvall, scholar Lisa Gitelman, and artist William Pope.L respond to this question, facilitated by Triple Canopy editors. Get your tickets now. 

    Triple Canopy, Pointing Machines I (Chestertown, Maryland), 2013. Pigmented inkjet print, 22 1/2 × 15 in. (57.2 × 38.1 cm). Collection of Triple Canopy

  3. In celebration of Earth Day, here’s Georgia O’Keeffe’s Summer Days, which was inspired by the deserts of New Mexico. Cast your vote now for the chance to see Summer Days in the great outdoors as part of Art Everywhere US.
Georgia O’Keeffe (1887–1986), Summer Days, 1936. Oil on canvas, 36 × 30 in. (91.4 × 76.2 cm). Whitney Museum of American Art, New York; gift of Calvin Klein 94.171. © 2014 Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York

    In celebration of Earth Day, here’s Georgia O’Keeffe’s Summer Days, which was inspired by the deserts of New Mexico. Cast your vote now for the chance to see Summer Days in the great outdoors as part of Art Everywhere US.

    Georgia O’Keeffe (1887–1986), Summer Days, 1936. Oil on canvas, 36 × 30 in. (91.4 × 76.2 cm). Whitney Museum of American Art, New York; gift of Calvin Klein 94.171. © 2014 Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York

  4. I found myself with 15 years of Western painting and art history studies under my belt, but suddenly realized that my own autobiography was more important to me than the 400 years of Western painting history that I had learned. I urgently wanted to figure out a way to abandon that conceptual sphere and to find something concrete that mattered to me.

    — 2014 Biennial artist Jacolby Satterwhite (via blackcontemporaryart)

  5. "When color becomes material, I’m really interested in that … When you put a bunch of string into a mess of paint, and the string takes on the color, the canvas also takes the color in unpredictable ways." —Dona Nelson talks about making String Beings (2013).

    Want to hear more from artists in the 2014 Biennial? Pick up a free Whitney Guide in the Lobby, a Windows Phone app featuring interviews with artists, commentary from the curators, and a tour for kids.

  6. A look at the fourth floor of the 2014 Biennial, curated by Michelle Grabner.

  7. The good thing about being an artist, is it’s a legitimate way of looking at things cross-eyed.

    — John Chamberlain, born today in 1927.

  8. “Bronze is a kind of beautiful alchemical wizardry.” —2014 Biennial artist Ricky Swallow

    “Bronze is a kind of beautiful alchemical wizardry.” —2014 Biennial artist Ricky Swallow

  9. Tickets for our annual Art Party on May 8 are on sale now! Proceeds support the Whitney’s Independent Study Program and other education initiatives.

    Tickets for our annual Art Party on May 8 are on sale now! Proceeds support the Whitney’s Independent Study Program and other education initiatives.

  10. A look at the third floor of the 2014 Biennial, curated by Stuart Comer.

  11. As part of the Biennial, Miguel Gutierrez will perform a duet with young dancer Mickey Mahar entitled Age & Beauty Part 1: Mid-Career Artist/Suicide Note or &:-/. The piece deals with mid-career anxiety, futurity, and tropes about the aging gay choreographer, and is the first of a three-part series of queer pieces addressing longevity, sustainability, aesthetic signature, and burnout. Get tickets.

  12. 2014 Biennial artist Fred Lonidier speaks about his work detailing labor issues in light assembly plants in Tijuana. Londier will be leading a Teach-In this Friday evening that considers the connection between art production and the regulation of labor.

  13. From Marsden Hartley to Cindy Sherman, there’s something for everyone in Art Everywhere USCast your vote now and tell us which iconic American artworks you want to see on billboards, trains, and buses across the country—including twenty from the Whitney’s permanent collection.

  14. For over four decades, Channa Horwitz produced works using a rigid formal vocabulary of her devising, built on a standardized grid and a system of notations based on the numbers 1 through 8, each assigned its own color. Horwitz developed the system as a way of marking and expressing time, movement, and rhythm.

    For over four decades, Channa Horwitz produced works using a rigid formal vocabulary of her devising, built on a standardized grid and a system of notations based on the numbers 1 through 8, each assigned its own color. Horwitz developed the system as a way of marking and expressing time, movement, and rhythm.

  15. A look at the second floor of the 2014 Biennial, curated by Anthony Elms.