In Conversation: First Impressions of the 2014 Whitney Biennial by ArtSlant Team Terry Adkins, Etel Adnan, Alma Allen, Ei Arakawa, Uri Aran, Robert Ashley, Michel Auder, Lisa Anne Auerbach, Julie Ault, Darren Bader, Kevin Beasley, Gretchen Bender, Stephen Berens, Dawoud Bey, Jennifer Bornstein, Andrew Bujalski, Elijah Burgher, Triple Canopy, Lucien Castaing-Taylor, Sarah Charlesworth, Yve Laris Cohen, Public Collectors, Matthew Deleget, David Diao, Zackary Drucker, Paul Druecke, Jimmie Durham, Rhys Ernst, Rochelle Feinstein, Radamés “Juni” Figueroa, Morgan Fisher, Louise Fishman, Victoria Fu, Malik Gaines, Gaylen Gerber, Jeff Gibson, Jade Gordon, Sara Greenberger Rafferty, Tony Greene, Joseph Grigely, Miguel Gutierrez, Karl Haendel, David Hammons, Matt Hanner, Philip Hanson, Jonn Herschend, Sheila Hicks, Channa Horwitz, HOWDOYOUSAYYAMINAFRICAN?, susan howe, Jacqueline Humphries, Critical Practices Inc., Gary Indiana, Doug Ischar, Carol Jackson, Travis Jeppesen, Alex Jovanovich, Angie Keefer, Ben Kinmont, Shio Kusaka, Sensory Ethnography Lab, Chris Larson, Diego Leclery, Zoe Leonard, Sherrie Levine, Tony Lewis, Pam Lins, Fred Lonidier, Ken Lum, Shana Lutker, Dashiell Manley, John Mason, Keith Mayerson, Suzanne McClelland, Dave McKenzie, Bjarne Melgaard, Rebecca Morris, Joshua Mosley, Dona Nelson, Ken Okiishi, Pauline Oliveros, Joel Otterson, Laura Owens, Paul P., Taisha Paggett, Charlemagne Palestine, Véréna Paravel, Jessie Mott & Steve Reinke, David Robbins, Carissa Rodriguez, Sterling Ruby, Miljohn Ruperto, Jacolby Satterwhite, Peter Schuyff, Alexandro Segade, Allan Sekula, semiotext(e), Trevor Shimizu, Amy Sillman, Valerie Snobeck, A.L. Steiner, Catherine Sullivan, Emily Sundblad, Ricky Swallow, Tony Tasset, Sergei Tcherepnin, Philip Vanderhyden, Pedro Vélez, Charline von Heyl, David Foster Wallace, Dan Walsh, Alex Waterman, Donelle Woolford, Molly Zuckerman-Hartung at Whitney Museum of American Art
March 7th 1:00 PM - 9:00 PM
ArtSlant editors Natalie Hegert, Joel Kuennen, and Charlie Schultz met up at Agra, an Indian restaurant on Lexington Avenue, to discuss the opening of the 2014 Whitney Biennial, its surprises, best in show, and disappointments. They touch on trends and themes of scale, archives, lists, dongs, and objectness—parsing the line between artwork and artifact.
Charlie Schultz: I guess I’ll start by saying I found this year’s iteration of the [Whitney] Biennial to be far less crowded than in... [more]
TEXT IN THE EXPANDED FIELD
Ryan Wong reads into the prevalence of texts at the 2014 Whitney Biennial, looking at the relationship between art-making and text-making, curating and publishing.
Among the 103 participants in this year’s Whitney Biennial, the handful that have elicited the most speculation and skepticism are those known for producing not art objects but texts. In addition to publishing-oriented collectives, words take on a visual function in the poetry of Susan Howe, they form the structure of... [more]
What makes the SPRING/BREAK Art Show So Different, So Appealing?
Natalie Hegert chats with three SPRING/BREAK curators about their projects and what makes this show an Armory Week stand out.
The SPRING/BREAK Art Show inevitably feels like a huge art school party. Maybe because it’s held in a school. But also because of the almost cliquish camaraderie among the exhibitors, the artwork packed halls, the crowded downstairs bar area, and the perennial pack of artist-types chain-smoking outside. Having gone to grad schoo... [more]
The SPRING/BREAK Art Show inevitably feels like a huge art school party. Maybe because it’s held in a school. But also because of the almost cliquish camaraderie among the exhibitors, the artwork packed halls, the crowded downstairs bar area, and the perennial pack of artist-types chain-smoking outside. Having gone to grad school in NYC, it seems like I always run into people I know at SPRING/BREAK, either exhibiting, curating or just checking it out (because they know someone else who is exhibiting... [more]
It's undeniable that the proliferation, expansion and emboldening of the art fair is a distinct characteristic of our contemporary art world. The art fair industry over the last decade has grown exponentially, becoming a crucial part of the art landscape, developing from mere trade shows into elaborate events and necessary meeting grounds for art professionals. Charlie Schultz talks with Katelijne De Backer, the Director of Exhibitor Relations for SCOPE about the evolution of art fairs, her tenure as director of the Armory Show,... [more]
The first Armory Show in 1913 introduced European avant-garde painting and sculpture to the American public. Roughly a century later the New York fair has chosen contemporary works from China to be its focus. Sixteen galleries will travel to New York from Beijing, Shanghai, Hangzhou and Hong Kong next week and about half of them will be bringing the work of a young generation.
This year’s curator for the Focus section is Philip Tinari. Formerly the Chief Editor of LEAP magazine, Tinari i... [more]
From Realism to Radicalism
Iona Whittaker speaks with Focus: China curator Philip Tinari about contemporary Chinese art at The Armory Show.
The first Armory Show in 1913 introduced European avant-garde painting and sculpture to the American public. Roughly a century later the New York fair has chosen contemporary works from China to be its focus. Sixteen galleries will travel to New York from Beijing, Shanghai, Hangzhou and Hong Kong next week and about half of them will b... [more]
March 6-9Opening Day: Mar 5, 12-8pm Early Access, 5-8pm MoMA vernissage ticket holdersPublic Hours: Mar 6-9, 12-7pm
It’s grand, it’s gorgeous, and it’s a pretty significant hike from the train or a long queue in a cab to roll up to the entrance. But of course worth the trip, worth the time, and worth the investment for collectors. The Armory Show is full of enthralling things, from the 20th century modern works on Pier 92, to the contemporary works on Pier 94. This... [more]
It's as if the artwork decamped from the gallery and took refuge amongst the luxury wares in the nearby designer outlet. I probably would not have noticed Andy Coolquitt’s installation in Maryam Nassir Zadeh’s hip boutique if I hadn’t been looking for it. The work’s prolix title, no I didn't go to any museums here I hate museums museums are just stores that charge you to come in there are lots of free museums here but they have names like real stores, suggests this Texas based... [more]
Stan Douglas’s mesmerizing, deceptively simple Luanda-Kinshasa floats somewhere between music video, installation art, and historical reenactment. The square-format video is projected at movie theater dimensions in one cavernous, blacked-out gallery of David Zwirner. In the video, cameras pan around a recording studio full of musicians in the middle of a jam session. They are conjuring the African-infused funk-jazz of the 1970s, full of hand drums, guitar scrapes, electric piano, and strong... [more]
The ghosts of the past are easily summoned in the paraphernalia of domestic nostalgia. But the familiarity of quotidian objects can also mask the deep value with which they are imbued by their owners, making our own history often so difficult to catalog. After all, a family heirloom is just another thing outside the family. These vessels of the past are always tinged with a sense of loss, and that sense of loss transforms and doubles when the story and sentiment are drained away. This is what mak... [more]
You think I’m describing your lover to you, exactly the night you met, twenty years ago. “But what about...” you begin, and think better of it, allowing me my impressions, limited and one-dimensional compared to yours—you, who sought and found all the ecstatic tickling flutters and sudden despairs of the heart, explored every hill and dale of their form, caught every nuance of manner and nervous tick.
But I’m not writing about your lover. This is about the paintings... [more]
Andy Denzler’s paintings might be best described as figurations abstracted by multiple techniques. The Swiss artist paints, repaints, scrapes off, then repaints the same subjects again. Nineteen of these rigorously worked canvases make up Denzler’s current solo show, “Between the Fragments,” his third with Claire Oliver.
Andy Denzler’s painterly process is central to his artistic practice. Working in stages, Denzler first marks off an outline of his subject with sk... [more]
Luhring Augustine’s Bushwick satellite currently hosts the “possibilities” of Michelangelo Pistoletto. An array of things, thoughts, and playful points of interest fill the floor and walls. Vastly ranging in scope, they generate a powerful effect that often feels absent in contemporary art.
The Minus Objects, 1965-66 speak to an interesting period of Pistoletto’s life and career. Around this time, the artist began to pioneer the predominantly Italian movement Arte Povera... [more]
“Must we learn again the simple, forthright experience of actually seeing a painting?” —William Gaddis
“In the end, we cultural theorists are the coroners of history, writing our forensic reports on a marble slab table about a murder victim—painting.” —Dr. Hope Ardizzone, Cultural Theorist/Author
One might arguably make the case, after viewing Julian Schnabel’s retrospective at The Brant Foundation Art Study Center, that he is the heir to Barnett Newman’... [more]
You Can't Pin Women Down: Designing Modern Women 1890-1990 by Roslyn Bernstein Anni Albers, Denise Scott Brown, Le Corbusier, Ray Eames, Loïe Fuller, Eileen Gray, April Greiman, Eszter Haraszty, Luba Lukova, Bonnie MacLean, Charlotte Perriand, Lilly Reich, Lucy Rie, Lella Vignelli, Eva Zeisel at MoMA (Museum of Modern Art)
October 5th, 2013 - September 21st
Three flat-bottomed brown paper bags, so simple, you could easily pass them by, stand dead center in the Kitchen Transformations section of the Designing Modern Women 1890-1990 exhibit at MoMA. On the adjacent label there are two names, Margaret E. Knight, the woman who patented the machine that made the bags in the 1870s-1880s, and Charles B. Stilwell, who, according to Juliet Kinchin, organizer of the exhibit and curator in the Department of Architecture and Design, made “subtle modifications&rdq... [more]