1. Susan Howe’s poems on view in the 2014 Biennial draw on a wide variety of texts, spanning American, British, and Irish poetry and folklore as well as critical and art historical sources. She cuts out sentences and fragments of pages, pasting and taping them to create a new text that retains the typefaces, spacing, and rhythms of the originals. These compositions are then made into letterpress prints.
Susan Howe, Untitled (from Tom Tit Tot), 2013. Letterpress print, 12 × 9 in. (30.5 × 22.9 cm). Collection of the artist. © Susan Howe

    Susan Howe’s poems on view in the 2014 Biennial draw on a wide variety of texts, spanning American, British, and Irish poetry and folklore as well as critical and art historical sources. She cuts out sentences and fragments of pages, pasting and taping them to create a new text that retains the typefaces, spacing, and rhythms of the originals. These compositions are then made into letterpress prints.

    Susan Howe, Untitled (from Tom Tit Tot), 2013. Letterpress print, 12 × 9 in. (30.5 × 22.9 cm). Collection of the artist. © Susan Howe

  2. During the nearly fifteen years that Vincent Punch has been a guard at the Whitney, he has seen myriad exhibitions, snapped countless candid photos, and developed a distinct eye for spontaneous visual arrangements that take place every day in the galleries. In this Whitney Stories video, he shares his observations on working as a guard, and offers his unique perspective on the Whitney and its future.

  3. Zackary Drucker and Rhys Ernst’s collaborative short film She Gone Rogue is screening every half hour during Museum hours, beginning at 11:15 am.

    Zackary Drucker and Rhys Ernst’s collaborative short film She Gone Rogue is screening every half hour during Museum hours, beginning at 11:15 am.

  4. Exploring the 2014 Biennial this weekend? Pick up a free Whitney Guide in the Lobby, a Windows Phone app created exclusively for the Biennial featuring interviews with artists, commentary from the curators, and a tour for kids.

    Exploring the 2014 Biennial this weekend? Pick up a free Whitney Guide in the Lobby, a Windows Phone app created exclusively for the Biennial featuring interviews with artists, commentary from the curators, and a tour for kids.

  5. The 2014 Biennial is on view through May 25. See it today at the Whitney, or everywhere else tomorrow. 

    The 2014 Biennial is on view through May 25. See it today at the Whitney, or everywhere else tomorrow. 

  6. nicks-lunchbox-service:

Later than lunchtime drawing: The Whitney Museum under construction on Gansevoort Street, where The High Line begins.

    nicks-lunchbox-service:

    Later than lunchtime drawing: The Whitney Museum under construction on Gansevoort Street, where The High Line begins.

  7. Shio Kusaka’s ceramic pots, bowls, and vases are “poetic, seductive vessels” says Architectural Digest. See them on the fourth floor.

    Shio Kusaka’s ceramic pots, bowls, and vases are “poetic, seductive vessels” says Architectural Digest. See them on the fourth floor.

  8. Join us for the third and final week of screenings featuring the work of Lucien Castaing-Taylor, Véréna Paravel, and Sensory Ethnography Lab. This week’s screenings include a rotating selection of work by filmmakers Diana Allan, Ilisa Barbash, Lucien Castaing-Taylor, Libbie Cohn, Aryo Danusiri, Ernst Karel, Toby Kim Lee, Helen Mirra, Véréna Paravel, Xu Ruotao, J.P. Sniadecki, Stephanie Spray, Katherine Tygielski, Pacho Velez, Pawel Wojtasi, and Huang Xiang. Visit whitney.org for a full schedule. 
Lucien Castaing-Taylor (b. 1966) and Véréna Paravel (b. 1971), still from Leviathan, 2012. Single-channel video, color, sound, 87 minutes. Courtesy Cinema Guild

    Join us for the third and final week of screenings featuring the work of Lucien Castaing-Taylor, Véréna Paravel, and Sensory Ethnography Lab. This week’s screenings include a rotating selection of work by filmmakers Diana Allan, Ilisa Barbash, Lucien Castaing-Taylor, Libbie Cohn, Aryo Danusiri, Ernst Karel, Toby Kim Lee, Helen Mirra, Véréna Paravel, Xu Ruotao, J.P. Sniadecki, Stephanie Spray, Katherine Tygielski, Pacho Velez, Pawel Wojtasi, and Huang Xiang. Visit whitney.org for a full schedule. 

    Lucien Castaing-Taylor (b. 1966) and Véréna Paravel (b. 1971), still from Leviathan, 2012. Single-channel video, color, sound, 87 minutes. Courtesy Cinema Guild

  9. Peter Schuyff makes the carvings on view in the Biennial by holding a knife in place and rhythmically moving a pencil along its edge—all without looking at what he’s doing.

    Peter Schuyff makes the carvings on view in the Biennial by holding a knife in place and rhythmically moving a pencil along its edge—all without looking at what he’s doing.

  10. Semiotext(e) has produced twenty-eight pamphlets as part of its contribution to the 2014 Biennial, written by philosophers, writers, and critics associated with the press. The series includes new, commissioned works, as well as previously unpublished texts by such influential twentieth-century figures as Simone Weil, Julio Cortazar, and Jean Baudrillard. Purchase the entire set at the Museum Shop.

    Semiotext(e) has produced twenty-eight pamphlets as part of its contribution to the 2014 Biennial, written by philosophers, writers, and critics associated with the press. The series includes new, commissioned works, as well as previously unpublished texts by such influential twentieth-century figures as Simone Weil, Julio Cortazar, and Jean Baudrillard. Purchase the entire set at the Museum Shop.

  11. The Biennial is bustling this weekend. Today, catch My Barbarian’s final performance, screenings by Sensory Ethnography Lab, or join a docent-led gallery tour.

    The Biennial is bustling this weekend. Today, catch My Barbarian’s final performance, screenings by Sensory Ethnography Lab, or join a docent-led gallery tour.

  12. 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.

  13. “Windows have lost their justification of existence in this building; only a very few remain, and only to establish a contact with the outside.” —Marcel Breuer in notes he made as he designed the Museum’s building in 1965. Zoe Leonard looked to these notes as inspiration for her camera obscura in the Biennial.

    “Windows have lost their justification of existence in this building; only a very few remain, and only to establish a contact with the outside.” —Marcel Breuer in notes he made as he designed the Museum’s building in 1965. Zoe Leonard looked to these notes as inspiration for her camera obscura in the Biennial.

  14. Happy first day of spring!
Edward Hopper (1882–1967), Le Pavillon de Flore in the Spring, 1907. Oil on canvas. Whitney Museum of American Art, New York; Josephine N. Hopper Bequest. © Heirs of Josephine N. Hopper, licensed by Whitney Museum of American Art

    Happy first day of spring!

    Edward Hopper (1882–1967), Le Pavillon de Flore in the Spring, 1907. Oil on canvas. Whitney Museum of American Art, New York; Josephine N. Hopper Bequest. © Heirs of Josephine N. Hopper, licensed by Whitney Museum of American Art

  15. For David Diao's 40 Years of His Art, one of his paintings on view in the 2014 Biennial, the artist created a fake invitation ostensibly from the Museum of Modern Art’s Board of Trustees for a reception celebrating a fictitious Diao retrospective. The design is copied from a 1939 invitation to the Trustees’ reception for Pablo Picasso: 40 Years of His Art.
David Diao (b. 1943), 40 Years of His Art, 2013. Acrylic and vinyl on canvas, 40 × 60 in. (101.5 × 153 cm). Collection of the artist; courtesy Postmasters Gallery, New York. © David Diao

    For David Diao's 40 Years of His Art, one of his paintings on view in the 2014 Biennial, the artist created a fake invitation ostensibly from the Museum of Modern Art’s Board of Trustees for a reception celebrating a fictitious Diao retrospective. The design is copied from a 1939 invitation to the Trustees’ reception for Pablo Picasso: 40 Years of His Art.

    David Diao (b. 1943), 40 Years of His Art, 2013. Acrylic and vinyl on canvas, 40 × 60 in. (101.5 × 153 cm). Collection of the artist; courtesy Postmasters Gallery, New York. © David Diao