There’s more than “one way” to select a Biennial, and therein lies my rub…Click any photo to enlarge.
Ahh…The Whitney Biennial. That semi-annual whipping post, “they don’t make Art like they used to” kind of a show of Contemporary American Art by “young and lesser known Artists” that, frankly, I gave up on and stopped going to, missing the last one at the “old” Whitney (now The Met Breuer) in 2014. This new one, the first in their new building, ends on June 11.
Liberty by Puppies Puppies, 2017. “Give me your tired tourists, yearning for a selfie moment, rife with sociopolitical comment,” with an incomparable background. At various times, it’s a real performer, at others, it’s a mannequin. At no time will the Nighthawk go out on that deck.
Oh! What I do in the name of “Art!” Ummm…You need some gel or something for those spikes. That Torch seems to be slipping. And? Where is that big book? Whatever you do? DON’T look down!
If you have any interest in Contemporary American Art you should see it if you can. Is it a “must see?” My initial impression, which I Posted here on March 31 (which this Post replaces) left me feeling there was much to see and impressed by some of what I’d seen. Having made 10 visits thus far, however, my answer is “No.” Unfortunately, though there are a number of memorable pieces on view, and I think it’s highly likely you’ll discover some new names you’ll put on your list that you’ll want to explore further, overall, it’s not a must see, in my opinion. Let’s face it- there are so many really, really good shows going on here now. If you’d ask me what to see that’s up at the moment? I would say about the Biennial, “See it if you have time,” after seeing the others.
As always, it wouldn’t be the Biennial without some hair-pulling, teeth-gnashing, and “Wtf moments.” In this edition’s case they are there, and fairly serious negatives, in my opinion, mostly regarding the choices of what is included and what has been omitted.
True, but I’d at least like to survive this show. In the Wake, 2017, 2 of 16 Banners by Cauleen Smith.
As for my lists, after two visits, the name Samara Golden made mine of Modern & Contemporary Artists- of any age, to keep an eye on. After 10 visits? She’s still there. During each one, my wonder never ceased every time I experienced her work…ummm…installation….ummm….ok…creation, The Meat Grinder’s Iron Clothes, 2017. It is, literally, one of the most astonishing Art works I have seen since…? I honestly don’t know. Maybe, ever.
Check your expectations at whichever side door you choose to go in to enter Samara Golden’s work.
It’s so big with so much to see it may well be un-photographable. Hmmm…where have I heard that before?
“Your looks are laughable
Unphotographable
yet your my favorite work of Art”*
It, literally, turns your world upside down it’s so disorienting. Like I said about the unforgettable Bruce Conner Retrospective when it was at MoMA, “Htf?,” substituting “How” for “What,” this work takes that “How” to the “nth” degree. Unfortunately for me, it’s a work that uses height as a key element, (as does “Liberty,” above). Being deathly afraid of heights I was unable during either visit to get close enough to the preferred viewing areas to really even see most of it and get the full effect. This is as close as I’ve managed to get (thanks to the Whitney staff for nailing me to the floor)-
One little bit of Samara Golden working her magic. Ok. I’m looking down at the sky, and up at the street. Whatever is going on? I’m not sitting in that chair.
During one visit, a viewer turned away and said, “It’s an optical illusion.” I didn’t reply, but thought to myself- “Yeah? So is the Mona Lisa. There’s no real woman up there on that canvas. There’s only oil paint, and whatever Leonardo Da Vinci put under it, and what’s been put over it up there. It’s what the Artist does with his or her materials that makes the miraculous thing called “Art.” I don’t understand exactly how that translation occurs, but I’m always glad when I it does, as with Samara Golden’s “The Meat Grinder’s Iron Clothes.”
Taken as a whole, I heartily applaud the up to the minute, very politically and socially aware bend to the show, which leaves plenty to think about, which both honors, and continues, the Whitney’s long-standing tradition of being involved.
Occupy Museum’s piece, Debtfair, recounts the historic rise of the mounting debt Artist face, as shown in this graph, trying to survive & create.
Samara Golden’s work does this, too, except she gives you very different things to think about. The feeling that came to my mind was the so-called “trip” section of Stanley Kubrick’s 2001: A Space Odyssey, forever my favorite film. I don’t want to say more about it to give readers a chance to experience it for themselves without anyone else’s words in their head (and that’s also why I’m including only one of the photos I attempted at this time). Ok, and also because I still don’t know what to make of it myself. To help me, I bought the brand new MoMA PS1 book for her The Flat Side Of The Knife, 2014 show there (of the same title) for background. After 10 visits, I’m not sure the book, interviews with the Artist, or ANYthing will help me better understand this work. (Note to self- You haven’t even read the information card for this piece. In fact? You don’t even know where it is!) You’re on your own to make of it as you will, and frankly? I prefer it that way. I wish more Contemporary Art “needed” less explaining.
Elsewhere, the other highlights, for me, are- the brilliant choice of having Henry Taylor and Photographer Deana Lawson (who share a real life working dialogue) share a gallery (Mr. Taylor’s biggest work is in the lobby area just off the elevator on the 6th floor, as I wrote about, and pictured, in my Post on Henry Taylor). Deana Lawson is, undoubtedly, one of the stars of this Biennial. For weeks after the show opened, I heard her name on people’s lips just about every where I went. Amazingly, you can still buy an original work of hers, in a signed and numbered limited edition of 50 on Light Work’s excellent site, here, for $300.00! They also have an excellent edition of Contact Sheet dedicated to her, which was available there for $12.00. Neither will last long.
Installation view of the Deana Lawson-Henry Taylor gallery.
Deana Lawson, Sons of Kush, 2016. Apologies for the glare.
The Artists, KAYA (Painter Kerstin Bratsch and Sculptor Debo Eilers), impressed me with their unique works, as Artists striving to bend boundaries between mediums, possibly following the path of Frank Stella, and they succeed to memorable effect in the works shown here.
SERENE, Processione (ALIMA), Processione (JAKE), Processione (TIN), all 2017, by KAYA (Painter Kerstin Bratsch and Sculptor Debo Eilers)
Painters Jo Baer, Aliza Nisenbaum, Celeste Dupuy-Spencer, and Dana Schulz stood out, for different reasons, but perhaps most importantly as far as I’m concerned, they show the ongoing vitality of Painting in 2017.
Veteran’s Day, 2016, Celeste Dupuy-Spencer, “looks at figures who engaged in meaningful resistance. These include the Abraham Lincoln Brigade, the international volunteers who fought against Franco in the Spanish Civil War, Muhammad Ali, and Karl Marx and Engels,” per the info card.
Paintings outdoors? At night? One of an interesting series of work by Ulrike Muller, yes, seen outside on the 5th Floor, at night.
Jo Baer, Dusk (Bands and End-Points), 2012
The Whitney & the Biennial’s curators have taken a fair amount of heat for the inclusion of Dana Schulz’ Open Casket. Further on the controversy front, an entire gallery was devoted to Frances Stark’s series Censorship NOW, which consisted of a series of huge, painted, double page reproductions (with underscores in blood red paint) from the 2015 book of the same name by musician, writer, D.J., etc. Ian F. Svenonius. While her/their point is fascinating, I was left wondering if she/they chose the right targets. As with the other works I’ve shown thus far, it’s worth seeing for yourself and making your own mind up.
Frances Stark, Censorship NOW, 2017, large, painted reproductions, with notations, of the book of the same name by musician Ian F. Svenonius.
I will say that a good deal of the Biennial I most likely won’t see because I’m not particularly drawn to film & video. As for the negative aspects of this Biennial. I’m quite puzzled by a good deal of what’s installed on the 5th floor. This wouldn’t be so frustrating for me except for the fact that I can’t understand why so many deserving Artists, who I feel should be here, are not.
Yes, there was snow on the ground as the Biennial opened as seen on the 5th floor roof deck. I have nothing to say about anything else in this photo.
In line with my ongoing policy against being negative about Art or Artists, I’m not going to get specific about the latter. With regards to the former, there is a long list of Painters and Photographers, especially, who I feel are serious omissions. Here’s a short list-
Painters (in no particular order)- Where is Andy Piedilato? Jeff Elrod? Fahamu Pecou? Hope Gangloff? (Heck, Rod Penner is only 2-3 years older than Henry Taylor.)
Drawings-Ethan Murrow? Emil Ferris?
Photographers (By my count, there are only SIX in the show! Not counting, Artists, like Oto Gillen, who display stills from video. I don’t consider that Photography.)- Where is Gregory Halpern? Mike Brodie? (He’s 32, and though he says he’s “retired,” he deserves to be here.) Matt Black? Ahndraya Parlato?
In closing there is one thing I will say about Samara Golden’s “Meat Grinder’s Iron Clothes.” Already, it’s apparent that no matter how many times in the years to come I visit the western end of the Whitney’s 5th floor I will think back to this work having been there, and marvel at how she did it…
“Hey,” I’ll say to no one in particular nearby in the future. “Did you see THAT?”
“Yeah,” someone I haven’t yet met will say. “They don’t make Biennials like they used to.”
*- Soundtrack for this Post is “My Funny Valentine,” written by Rogers & Hart and published by Warner/Chappell Music, Inc.
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