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tagged: Whitney Biennial
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Text in the Expanded Field: The 2014 Whitney Biennial

by Ryan Wong
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 many of David Diao’s paintings and Gary Indiana’s sculptures. Artspace warned us to “Get ready to do some reading.” Carol Vogel, in her preview, told us to expect “Words and More... [more]
Posted by Ryan Wong on 3/7/14
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In Conversation: First Impressions of the 2014 Whitney Biennial

by ArtSlant Team
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 past Biennials, which struck me as a surprise because I thought I read that there were more artists in this Biennial than in previous years. [Indian music plays in the background...] Natalie Hegert: I felt like the last edition was very spacious as well…This year I was very struck by this tendency for the curators to go from very large objects to these tiny... [more]
Posted by ArtSlant Team on 3/7/14
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As Art and Magic: An Interview with Elijah Burgher

by Ana Finel Honigman
Elijah Burgher and I were at Sarah Lawrence College together. I remember sitting outside the cafeteria when someone asked for the definition of the word “puckish.” With Katharine Hepburn cool, Melissa Bent, later the founder of Rivington Arms Gallery, instantly replied: “Elijah.” I use “puckish” often and I always envision Elijah’s playful sexual spirit crouching over the word. Even if he weren’t part of my vocabulary, he’s been part of my home since college. When we were seniors taking an... [more]
Posted by Ana Finel Honigman on 3/2/14
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GEOslant: Natalie Hegert at the Whitney Biennial

by Natalie Hegert
“Be advised that the fourth floor galleries will be closing in about fifteen minutes for Sarah Michelson’s performance,” I was told when I arrived at the Whitney ticket counter, “So you should probably begin your visit there.” Yeesh. Fifteen minutes for an entire floor? I’d better hurry, I thought, as I dashed to the elevator. On the fourth floor, one of Michelson’s dancers was warming up, stretching her limbs out with a couple quick pas-de-bourrées over the dance floor—a site-specific work... [more]
Posted by Natalie Hegert on 3/26/12
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A Biennial Timeline

by Andrew Berardini
After reading over eighty years of articles about the Whitney Museum of American Art's series of annuals and biennials, one almost wonders, "Could they actually have been that bad?" Exempting this latest edition, the Whitney has, so as we can tell, the longest ongoing tradition in contemporary art of people really, really hating it. In an act of rebellion, we've decided to love the Whitney Biennial, not piece-by-piece, but the whole institution. We've always had a soft spot for... [more]
Posted by Andrew Berardini on 3/25/12
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