Whitney Biennial 2012 Audio Guide Playlist
This audio guide allows visitors to hear directly from artists as they discuss the thoughts, processes, and ideas behind their work in the 2012 Whitney Biennial exhibition.
RICHARD MAXWELL: My name is Richard Maxwell.
NARRATOR: During his residency on the Whitney’s fourth floor, Maxwell is directing open rehearsals of his next play.
We’re rehearsing, right, that’s what we’re doing—we’re rehearsing. And you could obviously look at it as a performance simply because people are going to be watching it. And a lot of people are going to be watching it; it’s an open rehearsal therefore it would qualify as a performance. I don’t like this idea; I don’t like that we could be thought of as mocking something up for the purposes of looking like a rehearsal. I like the idea of actually working.
I’m not seeking interaction. But if interaction happens we’re not going to ignore it. It’s a weird thing to foment some kind of happening or event with passersby, but they’re in the room. And one thing I talk to my actors about quite a bit is this idea of not denying anything that’s in the room, acknowledging what’s there and this separation or this fourth wall that gets talked about in theater just isn’t there. I feel like it’s a one-room experience. And a lot of times I think that because of the story gets told we’re tempted into a world that is not there, that is pretend. But I really believe in the actors having one, at least one, foot grounded in the room that we’re in. And that there isn’t this kind of hierarchy between stage and audience.
Marcel Breuer’s design is definitely highlighted in whatever we’re going to do, because I’m just so impressed with the scale and the proportions and just the sheer size of that space.
It’s a room that, actually, it’s inviting thought. It’s supporting thought—that’s what it feels like to me. Maybe because it’s surprisingly intimate. It’s vast, but when you actually are there and it’s empty and you’re talking it’s very alive and you feel very close to whoever you’re talking to, regardless of what the spatial relationship is almost.
In a way we’re flipping what theater is thought of, as product-based, and looking at the process of it. And I’m wondering if that is a way of thinking about belonging in the room that you happen to be in.
NARRATOR: To hear Maxwell read from his book, Theater for Beginners, please tap the screen.
- 120 Oscar Tuazon
- 220 Thom Andersen
- 221 Forrest Bess (by Robert Gober)
- 2212 Forrest Bess (by Robert Gober)
- 222 Moyra Davey (photography)
- 2222 Moyra Davey (photography)
- 223 Moyra Davey (Les Goddesses)
- 224 Matt Hoyt
- 225 George Kuchar
- 226 Laida Lertxundi
- 227 Joanna Malinowska
- 2272 Joanna Malinowska
- 228 Laura Poitras
- 229 Matt Porterfield
- 230 Luther Price (films)
- 231 Michael Robinson
- 232 Wu Tsang (Wildness)
- 233 Frederick Wiseman
- 320 Lutz Bacher (Pipe Organ)
- 321 Lutz Bacher (The Celestial Handbook)
- 322 Cameron Crawford
- 323 Liz Deschenes
- 324 Nicole Eisenman
- 325 Vincent Fecteau
- 326 LaToya Ruby Frazier
- 3262 LaToya Ruby Frazier
- 327 Dawn Kasper
- 328 Jutta Koether
- 3282 Jutta Koether
- 329 Kate Levant
- 330 Sam Lewitt
- 3302 Sam Lewitt
- 331 Andrew Masullo
- 332 Nick Mauss
- 3322 Nick Mauss
- 333 Luther Price (slide projections)
- 334 Elaine Reichek
- 335 Tom Thayer
- 420 Charles Atlas
- 421 Lutz Bacher (What are you Thinking and Baseballs)
- 422 Richard Maxwell
- 4222 Richard Maxwell
- 423 Sarah Michelson
- 424 Alicia Hall Moran and Jason Moran
- 4242 Alicia Hall Moran and Jason Moran
- 426 Wu Tsang (Green Room)
- 427 Gisèle Vienne with Dennis Cooper, Stephen O’Malley, and Peter Rehberg
- 521 Lucy Raven
- 522 The Red Krayola
- 523 Georgia Sagri