1. 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)

  2. 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.

  3. “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

  4. “When in doubt, spray paint it gold.” —Rebecca Morris in her manifesto, For Abstractionists and Friends of the Non-Objective, a tongue-in-cheek yet absolutely sincere call to arms for practitioners of the form. See her work on the second floor of the Biennial.

    “When in doubt, spray paint it gold.” —Rebecca Morris in her manifesto, For Abstractionists and Friends of the Non-Objective, a tongue-in-cheek yet absolutely sincere call to arms for practitioners of the form. See her work on the second floor of the Biennial.

  5. When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye, it is in the mind.

    — Agnes Martin, born on this day in 1912.

  6. Words are becoming as legitimate as the more traditional subject matter of painting, drawing, video, and sculpture.

    — The Millions on writing in the 2014 Biennial.

  7. 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 BiennialIn 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.

  8. 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.

  9. Anything I can do to put more artists in more people’s faces is something I’ll say yes to.

    — Anthony Elms, one of the three curators of the 2014 Biennial, talks to The New York Times.

  10. People should fall in love with their eyes closed. Just close your eyes. Don’t look.

    — Andy Warhol in The Philosophy of Andy Warhol: From A to B and Back Again.

  11. 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 BiennialIn 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.

  12. 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.

  13. 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. 

  14. Photography records the gamut of feelings written on the human face; the beauty of the earth and skies that man has inherited; and the wealth and confusion man has created. It is a major force in explaining man to man.

    — Edward Steichen, whose work is on view in Edward Steichen in the 1920s and 1930s: A Recent Acquisition through February 23.

  15. Color is whatever comes out of the material and keeps it what it is.

    — Eva Hesse, who was born today in 1936.