Whitney Biennial 1997
Mar 20–June 1, 1997
The Whitney Biennial 1997 was curated by Lisa Phillips and Louise Neri.
Artists
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Doug Aitken
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Roman Anikushin and Bob Paris
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Michael Ashkin
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Robert Attanasio
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Burt Barr
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Zoe Beloff
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Douglas Blau
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Louise Bourgeois
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Chris Burden
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Bureau of Inverse Technology
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Charles Burnett
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Vija Celmins
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Abigail Child
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Francesco Clemente
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Bruce Conner
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Bryan Crockett
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Philip-Lorca diCorcia
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Cheryl Dunye
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Sam Easterson
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Wendy Ewald
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William Forsythe
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Leah Gilliam
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Michael Gitlin
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Felix Gonzalez-Torres
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Dan Graham
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David Hammons
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Ken Jacobs
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Ilya Kabakov
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Martin Kersels
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Annette Lawrence
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Iara Lee
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Zoe Leonard
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Sharon Lockhart
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Charles Long and Stereolab
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Kristin Lucas
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Kerry James Marshall
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Antonio Martorell
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Paul McCarthy
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Christopher Münch
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Bruce Nauman
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Gabriel Orozco
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Tony Oursler
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Laura Parnes
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Jennifer Pastor
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Raymond Pettibon
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Richard Prince
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Charles Ray
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Jason Rhoades
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Matthew Ritchie
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Aaron Rose
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Edward Ruscha
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John Schabel
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Katy Schimert
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Glen Seator
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Paul Shambroom
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David Sherman
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Shahzia Sikander
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Shashwati Talukdar
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Diana Thater
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Cecilia Vicuña
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Kara Walker
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T. J. Wilcox
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Sue Williams
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Robert Wilson
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The Wooster Group
Installation Photography
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Lari Pittman, Once Awkward, Now Spacious and Elastic (1996); Lari Pittman, Once Left for Dead, Now Madly Kissed (1996); Lari Pittman, Once Inverted, Now Throw-Away and Exponential (1996); Lari Pittman, Once Religious and Descriptive, Now Secular and Fragrant (1997); Lari Pittman, Once Pastoral and Deceptive, Now Congested and Pragmatic (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Ed Ruscha, Bloated Empire (1997); Ed Ruscha, Brave Man’s Porch (1996); Ed Ruscha, Industrial Truck Bodies (1997); center: M. Ashkin, No.49 (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Kara Walker, Presenting Negro Scenes Drawn Upon My Passage Through the South and Reconfigured for the Benefit of Enlightened Audiences Wherever Such May Be Found. By Myself, Missus K.E.B.Walker, Colored (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Annette Lawrence, The Ancestors and Their Womb V (1995); Annette Lawrence, The Ancestors and Their Womb IV (1995); Annette Lawrence, The Ancestors and Their Womb II (1995); Annette Lawrence, Moons (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Paul Shambroom, Untitled (Minuteman II missile in truck, technician preparing for transport in Transporter erector vehicle, Ellsworth Air Force Base, S.D. (1992); Paul Shambroom, Untitled (Peacekeeper missile W87/Mk-21 Reentry vehicle(warhead)storage, each with 300 kiloton estimated yield, F.E. Warren Air Force Base, WY) (1992); Paul Shambroom, Untitled (B83 nuclear gravity bombs, each with estimated 1 megaton yield, Barksdale Air Force Base, Louisiana (1995). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Matthew Ritchie, Seven Earths (1995); Matthew Ritchie, The Binding Problem (1996); in case: Matthew Ritchie, Autogenesis (1996–97). Photograph by Geoffrey Clements
Explore works from this exhibition
in the Whitney's collection
View 17 works
In the News
“. . . too much of what’s here, even by artists who have looked strong elsewhere, seems tepid or tired or out of context. Unfamiliar artists mostly turn out to be unremarkable. The mix of fashionable and unfamiliar names seems calculated to appease insider tastes, which may partly account for why, despite its occasional inspired moments, the show also feels clinical rather than serendipitous.” —The New York Times
“The raucous, fun-house atmosphere of past biennials has evaporated like overboiled formula [. . .]. This year’s event looked sleek and sedate enough to serve as a spread in a shelter magazine.” —The New York Times
“. . . the show is chic and brash. But it isn’t Jeff Koons cynical, or in-your-face political, or wanly theoretical. What’s notable in the ’97 Biennial is the poignancy of its art.” —The Washington Post
“There is a lot to admire in the show which, as a whole, is intelligent and challenging.” —The Burlington Magazine
More from this series
Learn more about the Whitney Biennial, the longest-running survey of American art.