Whitney Biennial 2014 Audio Guide Playlist
Hear directly from artists as they discuss the thoughts, processes, and ideas behind their work in the 2014 Biennial. The guide also features commentary from Biennial curators Stuart Comer, Anthony Elms, and Michelle Grabner.
LOUISE FISHMAN: I’m Louise Fishman.
NARRATOR: Fishman discusses her painting Ristretto.
LOUISE FISHMAN: This painting, it's more fragmentary than a lot of the other paintings. I like it particularly because of that quality. It still has the essence of the grid in it, and there's a lot of sanding, and a little bit of scraping. But it has a fleeting presence, which is slightly different than most of my paintings which tend to have more opacity.
NARRATOR: Both Ristretto and Crossing the Rubicon, the other painting shown here, are rooted in Fishman’s response to Venice. The artist has likened her experience of the Italian city to a religious conversion. In part, she was referring to the powerful experience of walking the same streets as the Renaissance masters. But the idea of conversion resonates in more subjective ways for her as well, opening up a chain of associations.
LOUISE FISHMAN: It’s funny, religious conversion is a phrase that an ex partner of mine, Ester Newton who's a cultural anthropologist, used to describe a feminism, the women's movement, as being a kind of religious conversion experience. The consciousness-raising group. That phrase comes from my own history because I, of course, spent a lot of time in those groups and getting a good feminist education.
NARRATOR: Fishman sees these paintings as existing on a continuum with that experience.
LOUISE FISHMAN: I mean, well, I got married. That's a pretty dramatic thing for someone who is—I’m seventy-five now, to be married to another woman, and to feel like it's just nothing special, but it is a kind of conversion experience to be going through that.
It's hard not to have things like that enter into my work. I'm susceptible to everything that comes my way. I mean, it's not that I'm not disciplined and selective in what I allow to be there, but there's so much of—I mean, just romance, for instance. There's a great deal of romance in these paintings.
- 100 Introduction to Whitney Biennial 2014
- 101 Sergei Tcherepnin
- 102 Charlemagne Palestine
- 205 Academy Records and Matt Hanner
- 210 Terry Adkins
- 203 Elijah Burgher
- 201 Jimmie Durham
- 209 Susan Howe
- 202 Carol Jackson
- 212 Rebecca Morris
- 204 Paul P.
- 208 Public Collectors
- 213 Martha Rosler on Allan Sekula
- 213-2 Anthony Elms on Allan Sekula
- 302 Etel Adnan
- 315 Ei Arakawa and Carissa Rodriguez
- 315-2 Stuart Comer on curating project-based art
- 304 Lisa Anne Auerbach
- 306 Julie Ault
- 312 Kevin Beasley
- 309 Zackary Drucker and Rhys Ernst
- 308 Morgan Fisher
- 313 Tony Greene
- 318 Fred Lonidier
- 319 Dashiell Manley
- 305 Keith Mayerson
- 301 Ken Okiishi
- 317 Semiotext(e)
- 404 Gretchen Bender, People in Pain, 1988
- 404-2 Philip Vanderhyden on re-making Gretchen Bender’s People in Pain, 1988
- 402 Dawoud Bey, The Birmingham Project, 2012
- 402-2 Dawoud Bey, Barack Obama, 2008
- 406 David Diao
- 409 Louise Fishman, Ristretto, 2013
- 401 Gaylen Gerber, Backdrop, n.d.
- 401-2 Gaylen Gerber on working with other artists
- 405 Karl Haendel
- 411 Sheila Hicks
- 421 Ben Kinmont
- 419 Zoe Leonard
- 424 Tony Lewis
- 407 Ken Lum
- 403 Shana Lutker
- 420 Joshua Mosley
- 417 Dona Nelson, String Beings, 2013
- 418 Joel Otterson, Curtains Laced with Diamonds Dear for You, 2014
- 425 Peter Schuyff
- 415 Amy Sillman, Mother, 2013–14
- 416 Amy Sillman and Pam Lins, Fells, 2013–14
- 426 Ricky Swallow
- 422 David Foster Wallace
- 413 Donelle Woolford
- 410 Molly Zuckerman-Hartung, Notley, 2013
- 410-2 Molly Zuckerman-Hartung on painting and sewing