{"data":[{"id":"1108","type":"exhibition","attributes":{"id":1108,"title":"Brody Condon: Fake Screenshot Contest","start_time":"2003-11-01T00:00:00.000-05:00","end_time":"2003-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2003","url":"/exhibitions/brody-condon","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eFake Screenshot Contest\u003c/em\u003e by \u003ca href=\"/artists/9181\"\u003eBrody Condon\u003c/a\u003e was a viral competition that invited participants to submit screenshots to symbolize the completion of a game, celebrate the mastery of a challenging level, or simply prove the existence of new titles in the market. Using techniques such as collaging, overlaying, and retouching, Condon made it difficult to tell whether the images from video games captured actual moments or were deliberately created, modified, or manipulated with digital tools. Reflecting on everyday achievements and the culture of the fantasy genre, Condon’s work blurred the boundary between the game world and the real world and questioned the line between representation of reality and artistic forgery.\u003c/p\u003e","primary_media_id":56560,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-25T19:50:02.414-04:00","updated_at":"2026-03-05T14:22:22.580-05:00","block_editor":{"data":{"id":"3723","type":"block_editor","attributes":{"id":3723,"exhibition_id":1108,"page_id":null,"created_at":"2025-06-16T12:38:20.468-04:00","updated_at":"2025-06-16T12:38:20.468-04:00","regions":[{"data":{"id":"23846","type":"region","attributes":{"id":23846,"position":1,"columns":12,"block_editor_id":3723,"created_at":"2026-03-05T14:22:11.184-05:00","updated_at":"2026-03-05T14:22:22.538-05:00","region_components":[{"data":{"id":"43901","type":"region_component","attributes":{"id":43901,"component_id":15752,"component_type":"TextComponent","position":1,"region_id":23846,"created_at":"2026-03-05T14:22:11.201-05:00","updated_at":"2026-03-05T14:22:22.547-05:00","component":{"data":{"id":"15752","type":"component","attributes":{"id":15752,"exhibition_id":1108,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eBrody Condon\u003c/strong\u003e (b. 1974, Tuxpan, Mexico) facilitates and documents game-like group encounters that experientially probe dissociative phenomena. His work has been presented at the Athens Biennale (2018); Berlin Biennale (2016); Stroom den Haag, Netherlands; Center for Contemporary Arts, Glasgow; Momentum: Nordic Biennale of Contemporary Art (2015), Moss, Norway; Edinburgh Art Festival; MoMA PS1’s \u003cem\u003eGreater New York\u003c/em\u003e; Hammer Museum, Los Angeles; New Museum, New York; Pace Wildenstein Gallery, New York; and the \u003ca href=\"/exhibitions/biennial-2004\"\u003e2004 Whitney Biennial\u003c/a\u003e, among others. He has lectured and taught workshops internationally at institutions including Yale University, New Haven, Connecticut; Royal Institute of Art Stockholm; Royal College of Art, London; Hammer Museum; School of Visual Arts, New York; The New School, New York; Columbia University, New York; Baltic Centre for Contemporary Art, Gateshead, United Kingdom; Carnegie Mellon University, Pittsburgh; and the Museum of Modern Art, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"370","type":"exhibition","attributes":{"id":370,"title":"1945 Annual Exhibition of Contemporary American Sculpture, Watercolors and Drawings","start_time":"1945-01-03T00:00:00.000-04:00","end_time":"1945-02-08T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/annual-1945-1","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1945annualsculp00whit\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41632,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“. . . one is likely to find this exhibition, considered as a whole, disappointing.” —\u003ca href=\"https://www.nytimes.com/1945/01/07/archives/art-in-a-new-year-whitney-sculpture-and-watercolors.html?smid=url-share\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“. . . even though the bulk of the work may be new and several pieces are unquestionably strong, the exhibition is not thereby rescued from a general atmosphere of dullness.” —\u003ca href=\"https://www.nytimes.com/1945/01/03/archives/whitney-museum-opens-new-show-second-half-of-annual-display.html?smid=url-share\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2019-03-05T19:22:30.552-05:00","updated_at":"2025-06-16T12:36:32.532-04:00","block_editor":{"data":{"id":"2589","type":"block_editor","attributes":{"id":2589,"exhibition_id":370,"page_id":null,"created_at":"2025-06-16T12:36:32.527-04:00","updated_at":"2025-06-16T12:36:32.527-04:00","regions":[]}}}}},{"id":"340","type":"exhibition","attributes":{"id":340,"title":"1964 Annual Exhibition of Contemporary American Sculpture","start_time":"1964-12-09T00:00:00.000-05:00","end_time":"1965-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/annual-1964","primary_text":"\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1964annualwhit\" \u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41602,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2464,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“A great deal of the sculpture on view [. . .] looks sufficiently ephemeral to suggest Christmas decorations, and possibly serves the function of attracting customers by creating a festive atmosphere.” —\u003ca href=\"https://www.nytimes.com/1964/12/09/archives/art-whitney-museums-annual-exhibition-opens-sculpturesonly-show.html?smid=url-share\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2019-03-05T18:43:02.354-05:00","updated_at":"2025-06-16T12:35:14.765-04:00","block_editor":{"data":{"id":"2529","type":"block_editor","attributes":{"id":2529,"exhibition_id":340,"page_id":null,"created_at":"2025-06-16T12:35:14.759-04:00","updated_at":"2025-06-16T12:35:14.759-04:00","regions":[]}}}}},{"id":"2060","type":"exhibition","attributes":{"id":2060,"title":"Adja Yunkers","start_time":"1972-02-15T00:00:00.000-05:00","end_time":"1972-03-26T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/adja-yunkers","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAdja Yunkers\u003c/em\u003e was curated by Robert Doty.\u003c/p\u003e","primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:59.040-05:00","updated_at":"2026-01-06T13:17:17.448-05:00","block_editor":{"data":{"id":"5489","type":"block_editor","attributes":{"id":5489,"exhibition_id":2060,"page_id":null,"created_at":"2025-06-16T12:38:37.553-04:00","updated_at":"2025-06-16T12:38:37.553-04:00","regions":[]}}}}},{"id":"322","type":"exhibition","attributes":{"id":322,"title":"Whitney Biennial 1995","start_time":"1995-03-23T00:00:00.000-05:00","end_time":"1995-06-04T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/biennial-1995","primary_text":"\u003cp class=\"large\"\u003eThe Whitney Biennial 1995 was curated by Klaus Kertess.\u003c/p\u003e\u003cp class=\"large\"\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1995biennialexhi0000whit\" \u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41584,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2472,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“The show [. . .] is low key. It feels spacious and respectful: each work has room to breathe and a viewer has room to think, since the emphasis is on art that doesn’t harangue you with its message.” —\u003ca href=\"https://www.nytimes.com/1995/03/24/arts/art-review-a-quirky-whitney-biennial.html?smid=url-share\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“. . . with metaphor as its stated theme and beauty as its big idea, this biennial [. . .] may make a lot of friends.” —\u003ca href=\"https://www.nytimes.com/1995/03/12/arts/art-a-critic-s-dozen-to-catch-at-the-biennial.html?smid=url-share\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“. . . tolerant to a fault.” —\u003ca href=\"https://www.proquest.com/historical-newspapers/shock-doughnuts-at-whitney-biennial/docview/903411455/se-2\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Washington Post\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“. . . trying to be all things to all people, showing some political art and some abstract painting [. . .]. In politics and in everyday life, being conciliatory is an important virtue, but in art it leads towards eclecticism, which is boring.” —\u003ca href=\"https://www.jstor.org/stable/886611\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Burlington Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2019-03-05T18:06:01.683-05:00","updated_at":"2025-06-16T12:34:47.581-04:00","block_editor":{"data":{"id":"2493","type":"block_editor","attributes":{"id":2493,"exhibition_id":322,"page_id":null,"created_at":"2025-06-16T12:34:47.575-04:00","updated_at":"2025-06-16T12:34:47.575-04:00","regions":[]}}}}},{"id":"55","type":"exhibition","attributes":{"id":55,"title":"Uncontained","start_time":"2007-02-08T00:00:00.000-05:00","end_time":"2007-04-29T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/uncontained","primary_text":"\u003cp class=\"large\"\u003eOn the second floor, with a selection of works from the Whitney's collection, \u003cem\u003eUncontained\u003c/em\u003e\u0026nbsp;ponders the complete overhaul of notions of space in American art during the second half of the twentieth century, particularly the transformation that occurred in the definition of sculpture. In sculpture, the statue expanded from a self-contained object into a work of art with variable boundaries. Alexander Calder, for example, used motion and forms abstracted from nature, while Naum Gabo penetrated the solidity of the object through openness and transparency. As the possibilities of materials and processes used in art expanded, sculpture developed unprecedented spatial complexities.\u003c/p\u003e","primary_media_id":3124,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":null,"videos_description":null,"created_at":"2017-04-03T12:46:36.000-04:00","updated_at":"2025-06-16T12:34:05.423-04:00","block_editor":{"data":{"id":"2113","type":"block_editor","attributes":{"id":2113,"exhibition_id":55,"page_id":null,"created_at":"2025-06-16T12:34:05.417-04:00","updated_at":"2025-06-16T12:34:05.417-04:00","regions":[]}}}}},{"id":"1079","type":"exhibition","attributes":{"id":1079,"title":"G.H. Hovagimyan: Cocktail Party","start_time":"2001-11-01T00:00:00.000-05:00","end_time":"2001-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2001","url":"/exhibitions/gh-hovagimyan","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8239\"\u003eG.H. Hovagimyan\u003c/a\u003e’s \u003cem\u003eCocktail Party\u003c/em\u003e features a series of synthetic party conversations delivered by computer-generated voices of various pitches and tones. The conversations take place across four virtual rooms: the den, garage, studio, and kitchen. When the work launches, users are randomly assigned to a room but can move to another by clicking “Enter Project” again on the landing page.\u003c/p\u003e\u003cp class=\"large\"\u003eThe work captures a machine’s attempt to simulate human social interaction, exploring the dynamics of small talk and chatter typical of parties and social gatherings. The conversations vary widely in content, from flirtation, arguments, ramblings, and insults to critical discussion of artworks and the role of the artist in a capitalist society. \u0026nbsp;\u003c/p\u003e","primary_media_id":56189,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-08-23T09:58:11.858-04:00","updated_at":"2026-03-05T17:34:19.605-05:00","block_editor":{"data":{"id":"3669","type":"block_editor","attributes":{"id":3669,"exhibition_id":1079,"page_id":null,"created_at":"2025-06-16T12:38:18.595-04:00","updated_at":"2025-06-16T12:38:18.595-04:00","regions":[{"data":{"id":"23851","type":"region","attributes":{"id":23851,"position":1,"columns":12,"block_editor_id":3669,"created_at":"2026-03-05T17:15:17.128-05:00","updated_at":"2026-03-05T17:34:19.509-05:00","region_components":[{"data":{"id":"43915","type":"region_component","attributes":{"id":43915,"component_id":15758,"component_type":"TextComponent","position":1,"region_id":23851,"created_at":"2026-03-05T17:15:17.248-05:00","updated_at":"2026-03-05T17:34:19.517-05:00","component":{"data":{"id":"15758","type":"component","attributes":{"id":15758,"exhibition_id":1079,"text":"\u003cp class=\"large\"\u003eAs an internet and new media pioneer, \u003cstrong\u003eG.H. Hovagimyan\u003c/strong\u003e (b. 1950; Plymouth, Massachusetts) created projects ranging from hypertext works to digital performance art, interactive installations, and HD video. His works have been exhibited at the Museum of Modern Art, New York; the Massachusetts Museum of Contemporary Art, North Adams; the Whitney Museum of American Art, New York; the New Museum, New York; the Walker Art Center, Minneapolis; Jeu de Paume, Paris; Musée d’Art Contemporain, Marseille; Musée d’Art Contemporain, Lyon; Centre Pompidou, Paris; Lincoln Center, New York; Institute for Contemporary Art Yerevan, Armenia; the Clocktower, New York; the Kitchen, New York; the Alternative Museum (1975–2000), New York; Eyebeam, New York; the MIT List Visual Arts Center, Cambridge, Massachusetts; La Gaîté Lyrique, Paris; Württembergischer Kunstverein, Stuttgart, Germany; STEIM Institute (1969–2020), Amsterdam; the National Centre for Contemporary Art, Moscow; Postmasters Gallery (1984–2025), New York; and the Pace University Digital Gallery (2003–13).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"74","type":"exhibition","attributes":{"id":74,"title":"Heat Waves in a Swamp: The Paintings of Charles Burchfield","start_time":"2010-06-24T00:00:00.000-04:00","end_time":"2010-10-17T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/charles-burchfield","primary_text":"\u003cp class=\"large\"\u003eAlthough he lived next door to Niagara Falls, artist Charles Burchfield (1893–1967) chose to focus his nature-based art on the ground beneath his feet. Curated by artist Robert Gober, this exhibition features over one hundred major watercolors, drawings, oils on canvas, sketches, notebooks, journals, and doodles by this visionary American artist. Acclaimed by critics and known to a broad public audience during his lifetime, Burchfield is curiously under-appreciated today. Working almost exclusively in watercolor, Burchfield’s primary subject was landscape, often focusing on his immediate surroundings: his garden, the views from his windows, snow turning to slush, the sounds of insects and bells and vibrating telephone lines, deep ravines, sudden atmospheric changes, the experience of entering a forest at dusk, to name but a few. He often imbued these subjects with highly expressionistic light, creating at times a clear-eyed depiction of the world and, at other times, a unique mystical and visionary experience of nature.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eHeat Waves in a Swamp: The Paintings of Charles Burchfield\u003c/em\u003e was organized by the Hammer Museum, Los Angeles, in collaboration with the Burchfield-Penney Art Center, Buffalo, New York.\u003c/p\u003e\u003cp\u003e\u003cem\u003eHeat Waves in a Swamp\u003c/em\u003e\u0026nbsp;is made possible by The Joy and Jerry Monkarsh Family Foundation. \u0026nbsp;Major support is provided by the LLWW Foundation and Lynda and Stewart Resnick. \u0026nbsp;\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt is also realized through the generosity of The Horace W. Goldsmith Foundation, George Freeman, The Straus Family Fund, Rosette Varda Delug, Booth Heritage Foundation, The Fran and Ray Stark Foundation, the Wyeth Foundation for American Art, and the Robert Lehman Foundation.\u003c/span\u003e\u003cbr\u003e\u003cbr\u003eSignificant support for the presentation at the Whitney is provided by Carol and Charles Balbach, Aaron I. Fleischman and Lin Lougheed, and William and Rose-Marie Shanahan.\u003c/p\u003e","primary_media_id":3771,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":231,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"It's the last week to see Charles Burchfield's spooky, gorgeous watercolors at the Whitney.\"\u003cbr\u003e--The Approval Matrix, \u003ca href=\"http://nymag.com/arts/all/approvalmatrix/68804/\"\u003e\u003cem\u003eNew York Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eVideo: Curator Carrie Springer and reporter Dana Tyler walk through the exhibition\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://video.newyork.cbslocal.com/global/video/flash/popupplayer.asp?ClipID1=5047956\u0026h1=CBS%202%20At%20The%20Museum:%20Charles%20Burchfield\u0026vt1=v\u0026at1=News\u0026d1=164767\u0026LaunchPageAdTag=Homepage\u0026activePane=info\u0026rnd=54440021\"\u003eWCBS 2 News\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eVideo: Curator Carrie Springer discusses the exhibition\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://www.thirteen.org/sundayarts/video/the-paintings-of-charles-burchfield/511/\"\u003eWNET/Thirteen Sunday Arts\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eAudio slide show\u003cem\u003e,\u0026nbsp;\u003c/em\u003enarrated by critic Peter Schjeldahl: \"Mystical Realism\"\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://www.newyorker.com/online/multimedia/2010/07/05/100705_audioslideshow_burchfield\"\u003eThe New Yorker\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eReview: “An illuminating retrospective of the mystically inclined watercolor realist.”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.newyorker.com/arts/critics/artworld/2010/07/05/100705craw_artworld_schjeldahl\"\u003eThe New Yorker\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eReview: “This summer, if you’re looking for visionary company in the city . . .\u0026nbsp;he’s the artist for you.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2010/06/25/arts/design/25burchfield.html\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eSlide show: \"The Paintings of Charles Burchfield\"\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://www.nytimes.com/slideshow/2010/06/25/arts/design/20100625-burchfield-ss.html\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eReview: \"The landscapist swung between reality and hallucination.\"\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://www.timeout.com/newyork/museums/heat-waves-in-a-swamp-the-paintings-of-charles-burchfield-art-museums\"\u003eTime Out New York\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eReview: \"extrasensory visions of the American landscape\"\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://www.newcriterion.com/articles.cfm/Gallery-chronicle-6278\"\u003eThe New Criterion\u003c/a\u003e\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe Approval Matrix: \"Brilliant and Highbrow\"\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://nymag.com/arts/all/approvalmatrix/67286/\"\u003eNew York\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eReview: \"Burchfield infused his world with almost unbearable emotion.\"\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://www.ft.com/cms/s/2/163fdbfa-85ef-11df-9618-00144feabdc0.html\"\u003eThe Financial Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eReview:\u0026nbsp;“So go—experience these visionary paintings before they return to the darkness.”\u003cbr\u003e—\u003ca href=\"http://www.villagevoice.com/2010-07-06/art/whitney-looks-back-at-painter-charles-burchfield/\"\u003e\u003cem\u003eThe Village Voice\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"The Whitney Museum's Most Wanted\"\u003cbr\u003e--\u003ca href=\"http://blogs.wsj.com/speakeasy/2010/07/17/the-whitney-museums-most-wanted/\"\u003e\u003cem\u003eThe Wall Street Journal\u003c/em\u003e\u003c/a\u003e, Speakeasy blog\u003c/p\u003e\u003cp\u003eReview: \"Probably the best show to come to any area museum in the past year.\"\u003cbr\u003e--\u003cem\u003e\u003ca href=\"http://www.northjersey.com/arts_entertainment/97251054_The_fantastical_world_of_Charles_Burchfield_REVIEW_HEAT_WAVES_IN_A_SWAMP__THE_PAINTINGS_OF_CHARLES_BURCHFIELD.html\"\u003eThe Bergen Record\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Burchfield\u0026nbsp;channeled his experience of mystically animated nature into expansive watercolors of hallucinatory, sometimes nightmarish beauty.”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2010/06/20/arts/20weekaheadweb.html\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eReview: “A breathtaking exhibition”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.latimes.com/entertainment/news/arts/la-ca-burchfield11-2009oct11,0,4648618.story\"\u003eLos Angeles Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“It’s hard to imagine two American artists more different than Robert Gober and Charles Burchfield.”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2009/10/11/arts/design/11fink.html\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003cbr\u003e\u003cbr\u003e“A new look at an edgy realist”\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artnews.com/2010/07/01/a-new-look-at-an-edgy-realist/\"\u003eArt News\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":null,"videos_description":null,"created_at":"2017-04-03T12:46:45.000-04:00","updated_at":"2025-06-16T12:34:08.558-04:00","block_editor":{"data":{"id":"2139","type":"block_editor","attributes":{"id":2139,"exhibition_id":74,"page_id":null,"created_at":"2025-06-16T12:34:08.552-04:00","updated_at":"2025-06-16T12:34:08.552-04:00","regions":[]}}}}},{"id":"117","type":"exhibition","attributes":{"id":117,"title":"Jay DeFeo: A Retrospective","start_time":"2013-02-28T00:00:00.000-05:00","end_time":"2013-06-02T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/jay-de-feo","primary_text":"\u003cp class=\"large\"\u003eThis retrospective is the definitive exhibition to date of the work of Jay DeFeo (1929–89). At the outset of her career in the 1950s, DeFeo was at the center of a vibrant community of Beat artists, poets, and musicians in San Francisco. Although she is best known for her monumental painting \u003cem\u003eThe Rose\u003c/em\u003e\u0026nbsp;(1958–66, now in the Whitney's collection), which she spent eight years making and which later languished hidden behind a wall for two decades, DeFeo created an astoundingly diverse range of works spanning four decades. Her unconventional approach to materials and intensive, physical process make DeFeo a unique figure in postwar American art who defies easy categorization. The full breadth of her work will be presented for the first time in this exhibition of more than 130 objects. This astonishing array of collages, drawings, paintings, photographs, small sculptures, and jewelry will illuminate DeFeo's courageous experimentation and extraordinary vision.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eJay DeFeo: A Retrospective\u003c/em\u003e is organized by Dana Miller, Curator of the Permanent Collection.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eJay DeFeo: A Retrospective\u003c/em\u003e is provided by the National Committee of the Whitney Museum of American Art and The Andy Warhol Foundation for the Visual Arts.\u003c/p\u003e\u003cp\u003eGenerous support is provided by the Horace W. Goldsmith Foundation, the Lannan Foundation, and the National Endowment for the Arts.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cspan\u003e\u003ca href=\"https://www.arts.gov/\"\u003e\u003cimg alt=\"\" src=\"https://whitneymedia.org/assets/image/817902/nea-lockup-b_forweb.jpg\"\u003e\u003c/a\u003e\u003c/span\u003e\u003c/p\u003e\u003cp\u003eAdditional support is provided by Louisa Stude Sarofim, Susan Weeks and David Coulter, Francis H. Williams, M. Bernadette Castor and David R. Packard, the Clinton Hill/Allen Tran Foundation, Sarah Peter, the Elizabeth A. Sackler Museum Educational Trust, and an anonymous donor.\u003c/p\u003e\u003cp\u003eSpecial thanks to \u003ca href=\"http://www.jaydefeo.org/\"\u003eThe Jay DeFeo Trust\u003c/a\u003e.\u003c/p\u003e","primary_media_id":5558,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":258,"installation_series_id":259,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"If the rest of the world hasn’t yet caught up to DeFeo as equally essential and as master blasting as Eva Hesse, Lee Bontecou, Lee Lozano, and, yes, Ms. O’Keeffe—this exhibition says we must. And we will.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://artforum.com/archive/id=39694\" target=\"_blank\"\u003eArtforum\u003c/a\u003e\u003c/em\u003e (subscription required)\u003c/p\u003e\u003cp\u003e\"[\u003cem\u003eJay DeFeo: A Retrospective\u003c/em\u003e] gives you something more than any one masterpiece can: the eye, mind and heart of an artist who never stood still, one you can count yourself lucky to know.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2013/03/01/arts/design/jay-defeo-a-retrospective-at-the-whitney.html?smid=pl-share\u0026_r=0\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\". . . DeFeo deserves to be understood for the entirety of her career. Beyond rigid formalism, and beyond New York too, dozens of stories remain to be told about the American postwar generation, and this show was a welcome contribution to that still-delayed project.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.frieze.com/issue/review/jay-defeo/\" target=\"_blank\"\u003eFrieze\u003c/a\u003e\u0026nbsp;\u003c/em\u003e(subscription required)\u003c/p\u003e\u003cp\u003e\"Long overdue for an exhibition that would present the true scope of her accomplishments, [Jay DeFeo] is finally getting the attention she deserves in this ecstatic retrospective.\"\u003cbr\u003e—\u003cem\u003eArtnews\u003c/em\u003e\u003c/p\u003e\u003cp\u003eVideo: Curator Dana Miller speaks about Jay DeFeo's life and work.\u003cbr\u003e\u003cem\u003e\u003ca href=\"http://www.artinfo.com/news/story/878857/video-jay-defeo-a-retrospective-at-the-whitney-before-and\" target=\"_blank\"\u003e—Artinfo\u003c/a\u003e\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\"\u003cem\u003eThe Rose\u003c/em\u003e is an undeniable highlight of the exhibition. . . . But this carefully plotted retrospective, which in San Francisco presented approximately 130 paintings, drawings, collages, photographs and a few small sculptures in eight galleries, explores the breadth and diversity of DeFeo’s art.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artinamericamagazine.com/features/beyond-the-rose/\" target=\"_blank\"\u003eArt In America\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The works have a subtlety; they speak in a whisper, in hushed tones. But the story they tell is terrifically compelling.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.theparisreview.org/blog/2013/05/14/romance-of-the-rose-on-jay-defeo/\" target=\"_blank\"\u003eThe Paris Review\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The final work in the show,\u0026nbsp;\u003cem\u003eLast Valentine\u003c/em\u003e (1989), is of a heart shape in brown and white, with feathery strokes melting into a delicately rumpled, cream-white ground. It took my breath away.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.newyorker.com/arts/critics/artworld/2013/03/18/130318craw_artworld_schjeldahl\" target=\"_blank\"\u003eThe New Yorker\u0026nbsp;\u003c/a\u003e\u003c/em\u003e(subscription required)\u003c/p\u003e\u003cp\u003e\"The exhibition pays a long overdue tribute to a truly innovative figure in American art.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"https://www.openingceremony.us/entry.asp?pid=7787\"\u003eOpening Ceremony\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Jay DeFeo, Forgotten Female Beat Artist, Gets Her Due\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://nymag.com/thecut/2013/02/jay-defeo-forgotten-female-artist-gets-her-due.html\" target=\"_blank\"\u003eNew York Magazine\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Even the earliest and slightest works in\u0026nbsp;\u003cem\u003eJay DeFeo: A Retrospective\u003c/em\u003e . . . exude a fearlessness characteristic of her sensibility.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.sfgate.com/art/article/Jay-DeFeo-review-Fearless-art-4003945.php\" target=\"_blank\"\u003eSan Francisco Chronicle\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"I know of no other American painter of the postwar years who managed—even if only for a decade—to contain such profound expressive content in works of such ardent intensity and masterly control.\"\u003cbr\u003e—\u003ca href=\"http://online.wsj.com/article/SB10001424052970203347104578101242550263664.html?mod=googlenews_wsj\" target=\"_blank\"\u003e\u003cem\u003eThe\u0026nbsp;Wall Street Journal\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"\u003cem\u003eJay DeFeo: A Retrospective\u003c/em\u003e Gives Bay Area Legend Her Due At SFMOMA\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.huffingtonpost.com/2012/11/16/jay-defeo-a-retrospective_n_2118636.html\"\u003eHuffington Post\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":null,"videos_description":"","created_at":"2017-04-03T12:47:10.000-04:00","updated_at":"2025-06-16T12:34:15.697-04:00","block_editor":{"data":{"id":"2219","type":"block_editor","attributes":{"id":2219,"exhibition_id":117,"page_id":null,"created_at":"2025-06-16T12:34:15.682-04:00","updated_at":"2025-06-16T12:34:15.682-04:00","regions":[]}}}}},{"id":"329","type":"exhibition","attributes":{"id":329,"title":"Whitney Biennial 1979","start_time":"1979-02-06T00:00:00.000-05:00","end_time":"1979-04-01T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/biennial-1979","primary_text":"\u003cp class=\"large\"\u003eThe Whitney Biennial 1979 was curated by John G. Hanhardt, Barbara Haskell, Richard Marshall, Mark Segal, and Patterson Sims.\u003cbr\u003e\u003cbr\u003eView the full exhibition catalogue at the \u003ca href=\"https://archive.org/details/1979biennialexhi\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":41591,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2469,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“The Whitney Biennials have a perfect history of critical disapprobation. This 1979 version forestalls complaints as regards omissions at the outset since no unifying premises are declared.” —\u003ca href=\"https://www.jstor.org/stable/879576\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Burlington Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“. . . a potpourri of current work in a dizzying variety of styles and media.” —\u003ca href=\"https://www.nytimes.com/1979/02/16/archives/art-variety-of-styles-at-whitney-biennial.html?smid=url-share\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2019-03-05T18:28:28.115-05:00","updated_at":"2025-06-16T12:34:55.686-04:00","block_editor":{"data":{"id":"2507","type":"block_editor","attributes":{"id":2507,"exhibition_id":329,"page_id":null,"created_at":"2025-06-16T12:34:55.681-04:00","updated_at":"2025-06-16T12:34:55.681-04:00","regions":[]}}}}},{"id":"131","type":"exhibition","attributes":{"id":131,"title":"Whitney Biennial 2014","start_time":"2014-03-07T00:00:00.000-05:00","end_time":"2014-05-25T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/2014-biennial","primary_text":"\u003cp class=\"large\"\u003eThe 2014 Whitney Biennial will take a bold new form as three curators from outside the Museum—Stuart Comer (Chief Curator of Media and Performance Art at MoMA), Anthony Elms (Associate Curator at the Institute of Contemporary Art, Philadelphia), and Michelle Grabner (artist and Professor in the Painting and Drawing Department at the School of the Art Institute, Chicago)—each oversee one floor, representing a range of geographic vantages and curatorial methodologies.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eDonna De Salvo, Chief Curator and Deputy Director for Programs at the Whitney, noted: “The 2014 Biennial brings together the findings of three curators with very distinct points of view. There is little overlap in the artists they have selected and yet there is common ground. This can be seen in their choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years.”\u003c/p\u003e\u003cp class=\"large\"\u003eThis Biennial will be the last to take place in the Whitney Museum of American Art’s building at 945 Madison Avenue at 75th Street before the Museum moves downtown to its \u003ca href=\"/about/our-building\"\u003enew building\u003c/a\u003e in the spring of 2015. This is the 77th in the Museum’s ongoing series of Annuals and Biennials begun in 1932 by Gertrude Vanderbilt Whitney.\u003c/p\u003e\u003cp class=\"large\"\u003eWhitney curators Elisabeth Sussman and Jay Sanders, who organized the widely acclaimed 2012 Biennial, will advise on the exhibition.\u003c/p\u003e\u003cp\u003eSponsored in part by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.bcbg.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818171/bcbg-19.jpg\"\u003e\u003c/a\u003e and\u0026nbsp; \u003ca href=\"http://www.db.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818167/deutschebank33.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.sothebys.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818128/official_logo_sothebys_forweb.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Brown Foundation, Inc.; The Keith Haring Foundation; Anne Cox Chambers; and anonymous donors.\u003c/p\u003e\u003cp\u003eAdditional support is provided by 2014 Biennial Committee Chairs: Beth Rudin DeWoody and Rebecca and Marty Eisenberg, 2014 Biennial Committee members: Jill and Darius Bikoff, John J. Studzinski CBE, Philip Aarons and Shelley Fox Aarons, James Keith Brown and Eric Diefenbach, Glenn and Amanda Fuhrman, Barbara and Michael Gamson, Jill and Peter Kraus, Diane and Adam E. Max, and Carla Emil and Rich Silverstein; and the Consulate General of the Federal Republic of Germany.\u003c/p\u003e\u003cp\u003eFunding for the 2014 Biennial is also provided by endowments created by Melva Bucksbaum, Emily Fisher Landau, and Leonard A. Lauder.\u003c/p\u003e\u003cp\u003eSupport for the digital Whitney Guide, a Windows Phone app created exclusively for the 2014 Whitney Biennial, is provided by Microsoft.\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://www.microsoft.com/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818170/microsoft_logo_color-31.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e","primary_media_id":36765,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2148,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"State of Our Art, According to Whitney: A Guide to the 2014 Whitney Museum Biennial\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2014/02/28/arts/design/a-guide-to-the-2014-whitney-museum-biennial.html?_r=0\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Still Sensing the Presence of a Departed Composer: Robert Ashley’s Work Lives On at the Whitney Biennial\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2014/04/15/arts/music/robert-ashleys-work-lives-on-at-the-whitney-biennial.html?ref=arts\u0026_r=1\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Take Ecstasy With Me, A Tribute to Jose Esteban Munoz\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.huffingtonpost.com/kalup-linzy/jose-esteban-munoz_b_5190619.html?utm_hp_ref=arts\u0026ir=Arts\" target=\"_blank\"\u003eHuffington Post\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Whitney Biennial Goes Big with 3 Curators, 103 Participants\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://gotham-magazine.com/the-latest/pursuits/postings/whitney-biennial-goes-big-with-3-curators-103-participants\"\u003eGotham Magazine\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"The 2014 Whitney Biennial Is Taking Shape\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2013/11/15/arts/design/the-2014-whitney-biennial-is-taking-shape.html?_r=0\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"10 Things the 2014 Whitney Biennial List Tells Us\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artspace.com/magazine/news_events/2014_whitney_biennial_list\" target=\"_blank\"\u003eArtspace\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2017-04-03T12:47:19.000-04:00","updated_at":"2025-06-16T12:34:17.923-04:00","block_editor":{"data":{"id":"2247","type":"block_editor","attributes":{"id":2247,"exhibition_id":131,"page_id":null,"created_at":"2025-06-16T12:34:17.911-04:00","updated_at":"2025-06-16T12:34:17.911-04:00","regions":[{"data":{"id":"22127","type":"region","attributes":{"id":22127,"position":1,"columns":12,"block_editor_id":2247,"created_at":"2025-02-19T09:51:59.849-05:00","updated_at":"2025-05-19T18:21:46.874-04:00","region_components":[{"data":{"id":"40396","type":"region_component","attributes":{"id":40396,"component_id":7,"component_type":"JumplinkComponent","position":1,"region_id":22127,"created_at":"2025-02-19T09:51:59.861-05:00","updated_at":"2025-05-19T18:21:46.881-04:00","component":{"data":{"id":"7","type":"component","attributes":{"id":7,"exhibition_id":131,"text":"Artists"}}}}}},{"data":{"id":"40397","type":"region_component","attributes":{"id":40397,"component_id":14675,"component_type":"TextComponent","position":2,"region_id":22127,"created_at":"2025-02-19T09:51:59.886-05:00","updated_at":"2025-05-19T18:21:46.889-04:00","component":{"data":{"id":"14675","type":"component","attributes":{"id":14675,"exhibition_id":131,"text":"\u003ch2\u003e2014 Biennial Artists\u003c/h2\u003e\u003ctable style=\"width: 100%;\"\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd style=\"width: 33.3333%;\"\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Academy-Records-And-Matt-Hanner\"\u003e\u003cstrong\u003eAcademy Records and Matt Hanner\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eFounded 2000; based in Chicago, IL\u003cbr\u003eMatt Hanner: born 1971 in Columbus, OH;\u003cbr\u003edied 2011 in Porter, IN\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Terry-Adkins\"\u003eTerry Adkins\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1953 in Washington, DC\u003cbr\u003eDied 2014 in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Etel-Adnan\"\u003eEtel Adnan\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1925 in Beirut, Lebanon\u003cbr\u003eLives and works in Sausalito, CA, and Paris, France\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Alma-Allen\"\u003e\u003cstrong\u003eAlma Allen\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1970 in Heber City, UT\u003cbr\u003eLives and works in Joshua Tree, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Ei-Arakawa-And-Carissa-Rodriguez\"\u003eEi Arakawa and Carissa Rodriguez\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eArakawa: Born 1977 in Fukushima, Japan\u003cbr\u003eRodriguez: Born 1970 in New York, NY\u003cbr\u003eLive and work in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Uri-Aran\"\u003eUri Aran\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1977 in Jerusalem, Israel\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Robert-Ashley-And-Alex-Waterman\"\u003eRobert Ashley and Alex Waterman\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eAshley: Born 1930 in Ann Arbor, MI\u003cbr\u003eDied 2014 in New York, NY\u003cbr\u003eWaterman: Born 1975 in Portsmouth, VA\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Michel-Auder\"\u003eMichel Auder\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1945 in Soissons, France\u003cbr\u003eLives and works in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Lisa-Anne-Auerbach\"\u003eLisa Anne Auerbach\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1967 in Ann Arbor, MI\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Julie-Ault\"\u003eJulie Ault\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1957 in Boston, MA\u003cbr\u003eLives and works in Joshua Tree, CA and New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Darren-Bader\"\u003eDarren Bader\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1978 in Bridgeport, CT\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Kevin-Beasley\"\u003e\u003cstrong\u003eKevin Beasley\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1985 in Lynchburg, VA\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Gretchen-Bender-And-Philip-Vanderhyden\"\u003e\u003cstrong\u003eGretchen Bender\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1951 in Seaford, DE\u003cbr\u003eDied 2004 in New York, NY\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Stephen-Berens\"\u003e\u003cstrong\u003eStephen Berens\u0026nbsp;\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1952 in Fort Collins, CO\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Dawoud-Bey\"\u003e\u003cstrong\u003eDawoud Bey\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1953 in Queens, NY\u003cbr\u003eLives and works in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Jennifer-Bornstein\"\u003eJennifer Bornstein\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1970 in Seattle, WA\u003cbr\u003eLives and works in New York, NY, and Berlin, Germany\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Andrew-Bujalski\"\u003eAndrew Bujalski\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1977 in Boston, MA\u003cbr\u003eLives and works in Austin, TX\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Elijah-Burgher\"\u003e\u003cstrong\u003eElijah Burgher\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1978 in Kingston, NY\u003cbr\u003eLives and works in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Lucien-Castaing-Taylor-Verena-Paravel-And-Sensory-Ethnography-Lab\"\u003e\u003cstrong\u003eLucien Castaing-Taylor, Véréna Paravel, and Sensory Ethnography Lab\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eCastaing-Taylor: Born 1966 in Liverpool, UK\u003cbr\u003eParavel: Born 1971 in Neuchâtel, Switzerland\u003cbr\u003eLive and work in Boston, MA, and Paris, France\u003cbr\u003eSensory Ethnography Lab founded by Lucien Castaing-Taylor in 2006\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Sarah-Charlesworth\"\u003eSarah Charlesworth\u003c/a\u003e\u0026nbsp;\u003c/strong\u003e\u003cbr\u003eBorn 1947 in East Orange, NJ\u003cbr\u003eDied 2013 in Hartford, CT\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Critical-Practices-Inc\"\u003eCritical Practices Inc.\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eFounded in 2010; based in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Matthew-Deleget\"\u003eMatthew Deleget\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1972 in Hammond, IN\u003cbr\u003eLives and works in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/David-Diao\"\u003e\u003cstrong\u003eDavid Diao\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1943 in Chengdu, Sichuan, China\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Zackary-Drucker-And-Rhys-Ernst\"\u003eZackary Drucker and Rhys Ernst\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eDrucker: Born 1983 in Syracuse, NY\u003cbr\u003eErnst: Born 1982 in Pomona, CA\u003cbr\u003eLive and work in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Paul-Druecke\"\u003ePaul Druecke\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1964 in Milwaukee, WI\u003cbr\u003eLives and works in Milwaukee, WI\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Jimmie-Durham\"\u003eJimmie Durham\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1940 in Washington, AR\u003cbr\u003eLives and works in Berlin, Germany\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Rochelle-Feinstein\"\u003eRochelle Feinstein\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1947 in New York, NY\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Radames-Juni-Figueroa\"\u003eRadamés “Juni” Figueroa\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1982 in Bayamón, Puerto Rico\u003cbr\u003eLives and works in San Juan, Puerto Rico\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Morgan-Fisher\"\u003eMorgan Fisher\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1942 in Washington, DC\u003cbr\u003eLives and works in Santa Monica, CA\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Louise-Fishman\"\u003e\u003cstrong\u003eLouise Fishman\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1939 in Philadelphia, PA\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Victoria-Fu\"\u003eVictoria Fu\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1978 in Santa Monica, CA\u003cbr\u003eLives and works in San Diego, CA, and Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Gaylen-Gerber-With-David-Hammons-Sherrie-Levine-And-Trevor-Shimizu\"\u003eGaylen Gerber with David Hammons, Sherrie Levine, and Trevor Shimizu\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eGerber: Born 1955 in McAllen, TX;\u003cbr\u003elives and works in Chicago, IL\u003cbr\u003eHammons: Born 1943 in Springfield, IL;\u003cbr\u003elives and works in New York, NY\u003cbr\u003eLevine: Born 1947 in Hazelton, PA;\u003cbr\u003elives and works in New York, NY\u003cbr\u003eShimizu: Born 1978 in Hawaii;\u003cbr\u003elives and works in New York, NY\u003c/p\u003e\u003c/td\u003e\u003ctd style=\"width: 33.3333%;\"\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Jeff-Gibson\"\u003eJeff Gibson\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1958 in Brisbane, Australia\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Tony-Greene-Curated-By-Richard-Hawkins-And-Catherine-Opie\"\u003eTony Greene curated by Richard Hawkins and Catherine\u0026nbsp;Opie\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1955 in San Francisco, CA\u003cbr\u003eDied 1990 in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Joseph-Grigely\"\u003e\u003cstrong\u003eJoseph Grigely\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1956 in East Longmeadow, MA\u003cbr\u003eLives and works in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Miguel-Gutierrez\"\u003eMiguel Gutierrez\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1971 in Flushing, NY\u003cbr\u003eLives and works in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Karl-Haendel\"\u003eKarl Haendel\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1976 in New York, NY\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Philip-Hanson\"\u003e\u003cstrong\u003ePhilip\u0026nbsp;Hanson\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1943 in Chicago, IL\u003cbr\u003eLives and works in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/John-Herschend\"\u003eJonn Herschend\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1967 in Branson, MO\u003cbr\u003eLives and works in San Francisco, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Sheila-Hicks\"\u003eSheila Hicks\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1934 in Hastings, NE\u003cbr\u003eLives and works in New York, NY, and Paris, France\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Channa-Horwitz\"\u003e\u003cstrong\u003eChanna Horwitz\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1932 in Los Angeles, CA\u003cbr\u003eDied 2013 in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/HOWDOYOUSAYYAMINAFRICAN\"\u003eHOWDOYOUSAYYAMINAFRICAN?\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eA global collective; founded in 2013\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Susan-Howe\"\u003e\u003cstrong\u003eSusan Howe\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1937 in Boston, MA\u003cbr\u003eLives and works in Guilford, CT\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Jacqueline-Humphries\"\u003eJacqueline Humphries\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003cbr\u003eBorn 1960 in New Orleans, LA\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Gary-Indiana\"\u003eGary Indiana\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1950 in Derry, NH\u003cbr\u003eLives and works in New York, NY, and Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Doug-Ischar\"\u003eDoug Ischar\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1948 in Honolulu, Hawaii\u003cbr\u003eLives and works in Chicago, IL, and Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Carol-Jackson\"\u003eCarol Jackson\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1962 in Los Angeles, CA\u003cbr\u003eLives and works in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Travis-Jeppesen\"\u003e\u003cstrong\u003eTravis Jeppesen\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1979 in Ft. Lauderdale, FL\u003cbr\u003eLives and works in London, England, and Berlin, Germany\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Alex-Jovanovich\"\u003eAlex Jovanovich\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003eBorn 1975 in Hobart, Indiana\u003cbr\u003eLives and works in Bronx, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Angie-Keefer\"\u003eAngie Keefer\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1977 in Huntsville, AL\u003cbr\u003eLives and works in Hudson, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Ben-Kinmont\"\u003eBen Kinmont\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1963 in Burlington, VT\u003cbr\u003eLives and works in Sebastopol, CA\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Shio-Kusaka\"\u003e\u003cstrong\u003eShio Kusaka\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1972 in Japan\u003cbr\u003eLives and works in Los Angeles, CA\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003c/strong\u003e\u003cstrong\u003eYve Laris Cohen\u003c/strong\u003e\u003cbr\u003eBorn 1985 in San Diego, CA\u003cbr\u003eLives and works in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Chris-Larson\"\u003eChris Larson\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1966 in St. Paul, MN\u003cbr\u003eLives and works in St. Paul, MN\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Diego-Leclery\"\u003eDiego Leclery\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003cbr\u003eBorn 1978 in Boulogne-Billancourt, France\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Zoe-Leonard\"\u003eZoe Leonard\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1961 in Liberty, NY\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Tony-Lewis\"\u003eTony Lewis\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1986 in Los Angeles, CA\u003cbr\u003eLives and works in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Amy-Sillman-And-Pam-Lins\"\u003ePam Lins\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003cbr\u003eBorn in Lake Forest, IL\u003cbr\u003eLives and works in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Fred-Lonidier\"\u003eFred Lonidier\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1942 in Lakeview, OR\u003cbr\u003eLives and works in San Diego, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Ken-Lum\"\u003eKen Lum\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1956 in Vancouver, Canada\u003cbr\u003eLives and works in Vancouver and Philadelphia, PA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Shana-Lutker\"\u003eShana Lutker\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1978 in Northport, NY\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Dashiell-Manley\"\u003eDashiell Manley\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1983 in Fontana, CA\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/John-Mason\"\u003eJohn Mason\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1927 in Madrid, NE\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Keith-Mayerson\"\u003eKeith Mayerson\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1966 in Cincinnati, OH\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Suzanne-McClelland\"\u003eSuzanne McClelland\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1959 in Jacksonville, FL\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Dave-McKenzie\"\u003e\u003cstrong\u003eDave McKenzie\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1977 in Kingston, Jamaica\u003cbr\u003eLives and works in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Bjarne-Melgaard\"\u003eBjarne Melgaard\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1967 in Sydney, Australia\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Rebecca-Morris\"\u003eRebecca Morris\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1969 in Honolulu, Hawaii\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003c/td\u003e\u003ctd style=\"width: 33.3333%;\"\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Joshua-Mosley\"\u003eJoshua Mosley\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1974 in Dallas, TX\u003cbr\u003eLives and works in Philadelphia, PA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/My-Barbarian\"\u003eMy Barbarian\u0026nbsp;(Malik Gaines, Jade Gordon and Alexandro\u0026nbsp;Segade)\u003c/a\u003e\u003c/strong\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003cbr\u003eFounded in 2000; based in New York, NY, and Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Dona-Nelson\"\u003e\u003cstrong\u003eDona Nelson\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1947 in Grand Island, NE\u003cbr\u003eLives and works in Lansdale, PA, and New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Ken-Okiishi\"\u003eKen Okiishi\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1978 in Ames, IA\u003cbr\u003eLives and works in New York, NY, and Berlin, Germany\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Pauline-Oliveros\"\u003ePauline Oliveros\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1932 in Houston, TX\u003cbr\u003eLives and works in Kingston, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Joel-Otterson\"\u003eJoel Otterson\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1959 in Los Angeles, CA\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Laura-Owens\"\u003eLaura Owens\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1970 in Euclid, OH\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Paul-P\"\u003ePaul P.\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1977 in Hamilton, Ontario, Canada\u003cbr\u003eLives and works in New York, NY, and Paris, France\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Taisha-Paggett\"\u003etaisha paggett\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1976 in Fresno, CA\u003cbr\u003eLives and works in Chicago, IL, and Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Charlemagne-Palestine\"\u003eCharlemagne Palestine\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1947 in Brooklyn, NY\u003cbr\u003eLives and works in Brussels, Belgium\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Public-Collectors\"\u003e\u003cstrong\u003ePublic Collectors\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eFounded in 2007; based in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Sara-Greenberger-Rafferty\"\u003eSara Greenberger Rafferty\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1978 in Evanston, IL\u003cbr\u003eLives and works in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Steve-Reinke-With-Jessie-Mott\"\u003eSteve Reinke with Jessie Mott\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eReinke: Born 1963 in Eganville, Ontario, Canada\u003cbr\u003eMott: Born 1980 in New York, NY\u003cbr\u003eLive and work in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/David-Robbins\"\u003eDavid Robbins\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1957 in Whitefish Bay, WI\u003cbr\u003eLives and works in Shorewood, WI\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Sterling-Ruby\"\u003eSterling Ruby\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1972 in Bitburg, Germany\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Miljohn-Ruperto\"\u003eMiljohn Ruperto\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1971 in Manila, Philippines\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Jacolby-Satterwhite\"\u003eJacolby Satterwhite\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1986 in Columbia, SC\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Peter-Schuyff\"\u003e\u003cstrong\u003ePeter Schuyff\u003c/strong\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1958 in Baarn, Netherlands\u003cbr\u003eLives and works in Amsterdam, Netherlands\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Allan-Sekula\"\u003eAllan Sekula\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1951 in Erie, PA\u003cbr\u003eDied 2013 in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Semiotext-e\"\u003eSemiotext(e)\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eFounded in 1974; based in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Amy-Sillman\"\u003eAmy Sillman\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1955 in Detroit, MI\u003cbr\u003eLives and works in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Valerie-Snobeck-And-Catherine-Sullivan\"\u003eValerie Snobeck and Catherine Sullivan\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eSnobeck: Born 1980 in Wadena, MN;\u003cbr\u003elives and works in New York, NY\u003cbr\u003eSullivan: Born 1968 in Los Angeles, CA;\u003cbr\u003elives and works in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/A-L-Steiner\"\u003eA.L. Steiner\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1967 in Miami, FL\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Emily-Sundblad\"\u003eEmily Sundblad\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1977 in Dalsjöfors, Sweden\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Ricky-Swallow\"\u003eRicky Swallow\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1974 in San Remo, Australia\u003cbr\u003eLives and works in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Tony-Tasset\"\u003eTony Tasset\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1960 in Cincinnati, OH\u003cbr\u003eLives and works in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Sergei-Tcherepnin\"\u003eSergei Tcherepnin\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1981 in Watertown, MA\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Triple-Canopy\"\u003eTriple Canopy\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eFounded in 2007; based in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003ca href=\"/exhibitions/2014-biennial/Gretchen-Bender-And-Philip-Vanderhyden\"\u003e\u003cstrong\u003ePhilip\u0026nbsp;Vanderhyden\u003c/strong\u003e\u003c/a\u003e\u003cbr\u003eBorn 1978 in Menasha, WI\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Pedro-Velez\"\u003ePedro Vélez\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1973 in Bayamón, Puerto Rico\u003cbr\u003eLives and works in Chicago, IL, and Milwaukee, WI\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Charline-Von-Heyl\"\u003eCharline von Heyl\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1960 in Mainz, Germany\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/David-Foster-Wallace\"\u003eDavid Foster Wallace\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1962 in Ithaca, NY\u003cbr\u003eDied 2008 in Claremont, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Dan-Walsh\"\u003eDan Walsh\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1960 in Philadelphia, PA\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Donelle-Woolford\"\u003eDonelle Woolford\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1977 in Conyers, GA\u003cbr\u003eLives and works in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003ca href=\"/exhibitions/2014-biennial/Molly-Zuckerman-Hartung\"\u003eMolly Zuckerman-Hartung\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003eBorn 1975 in Los Gatos, CA\u003cbr\u003eLives and works in Chicago, IL\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/table\u003e"}}}}}}]}}},{"data":{"id":"22128","type":"region","attributes":{"id":22128,"position":2,"columns":12,"block_editor_id":2247,"created_at":"2025-02-19T09:51:59.915-05:00","updated_at":"2025-05-19T18:21:46.896-04:00","region_components":[{"data":{"id":"40398","type":"region_component","attributes":{"id":40398,"component_id":3273,"component_type":"HorizontalRuleComponent","position":1,"region_id":22128,"created_at":"2025-02-19T09:51:59.923-05:00","updated_at":"2025-05-19T18:21:46.905-04:00","component":{"data":{"id":"3273","type":"component","attributes":{"id":3273,"exhibition_id":131}}}}}}]}}},{"data":{"id":"22129","type":"region","attributes":{"id":22129,"position":3,"columns":6,"block_editor_id":2247,"created_at":"2025-02-19T09:51:59.945-05:00","updated_at":"2025-05-19T18:21:46.911-04:00","region_components":[{"data":{"id":"40399","type":"region_component","attributes":{"id":40399,"component_id":8,"component_type":"JumplinkComponent","position":1,"region_id":22129,"created_at":"2025-02-19T09:51:59.956-05:00","updated_at":"2025-05-19T18:21:46.918-04:00","component":{"data":{"id":"8","type":"component","attributes":{"id":8,"exhibition_id":131,"text":"Whitney Guide"}}}}}},{"data":{"id":"40400","type":"region_component","attributes":{"id":40400,"component_id":14676,"component_type":"TextComponent","position":2,"region_id":22129,"created_at":"2025-02-19T09:51:59.973-05:00","updated_at":"2025-05-19T18:21:46.926-04:00","component":{"data":{"id":"14676","type":"component","attributes":{"id":14676,"exhibition_id":131,"text":"\u003ch2\u003eMake the most of your Biennial visit\u003cbr\u003e\u003cspan class=\"gray\"\u003ePick up a free Whitney Guide when you arrive\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003eWhitney Guide, a new Windows Phone app created exclusively for the 2014 Biennial, features interviews with Biennial artists, commentary from the Biennial curators, and a Kids Tour designed for 6–10 year olds.\u003c/p\u003e\u003cul\u003e\u003cli class=\"large\"\u003eTake a guided tour to hear from artists and curators\u003c/li\u003e\u003cli class=\"large\"\u003eBrowse the exhibition by floor to explore on your own\u003c/li\u003e\u003cli class=\"large\"\u003eAccess information about daily performances and events to ensure you don’t miss a thing\u003c/li\u003e\u003c/ul\u003e\u003cp\u003eSupport for the Whitney Guide is provided by Microsoft.\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"22130","type":"region","attributes":{"id":22130,"position":4,"columns":6,"block_editor_id":2247,"created_at":"2025-02-19T09:51:59.994-05:00","updated_at":"2025-05-19T18:21:46.932-04:00","region_components":[{"data":{"id":"40401","type":"region_component","attributes":{"id":40401,"component_id":13945,"component_type":"MediaComponent","position":1,"region_id":22130,"created_at":"2025-02-19T09:52:00.005-05:00","updated_at":"2025-05-19T18:21:46.939-04:00","component":{"data":{"id":"13945","type":"component","attributes":{"id":13945,"exhibition_id":131,"media_id":61369,"url":""}}}}}}]}}},{"data":{"id":"22895","type":"region","attributes":{"id":22895,"position":5,"columns":12,"block_editor_id":2247,"created_at":"2025-05-19T18:21:46.812-04:00","updated_at":"2025-05-19T18:21:46.853-04:00","region_components":[{"data":{"id":"41772","type":"region_component","attributes":{"id":41772,"component_id":3427,"component_type":"HorizontalRuleComponent","position":1,"region_id":22895,"created_at":"2025-05-19T18:21:46.831-04:00","updated_at":"2025-05-19T18:21:46.831-04:00","component":{"data":{"id":"3427","type":"component","attributes":{"id":3427,"exhibition_id":131}}}}}},{"data":{"id":"41773","type":"region_component","attributes":{"id":41773,"component_id":15130,"component_type":"TextComponent","position":2,"region_id":22895,"created_at":"2025-05-19T18:21:46.838-04:00","updated_at":"2025-05-19T18:21:46.838-04:00","component":{"data":{"id":"15130","type":"component","attributes":{"id":15130,"exhibition_id":131,"text":"\u003ch2\u003eCuratorial Statements\u003c/h2\u003e\u003ctable style=\"width: 100%;\"\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd style=\"width: 33.3333%;\"\u003e\u003ch3\u003eAnthony Elms\u003cbr\u003e\u003cspan class=\"gray\"\u003eSecond Floor\u003c/span\u003e\u003c/h3\u003eIf the Whitney Biennial is a snapshot of American art at this moment, and if any intimate encounter with American art at this moment must be mediated (as all intimacies these days are), then Marcel Breuer’s museum building here at 945 Madison Avenue is a well-disposed mediation for capturing twenty-four scenes of America. In assembling the artistsand groups I tried to answer a question of Breuer’s from his notes on the building: “What should a museum look like, a museum in Manhattan?”\u003cbr\u003e\u003cbr\u003eI looked to answer Breuer’s question with twenty-four artists and groups that fit a statement by poet Susan Howe: “I believed in an American aesthetic of uncertainty that could represent beauty in syllables so scarce and rushed they would appear to expand though they lay half-smothered in local history.” In part because, given the sprawl, assembling an overview of American art these days is a fool’s errand—America is constant expansion. And because, to paraphrase a position declared by musician Mayo Thompson: I try for timeliness, while reserving the right to ask my own dumb questions. After all, it is always preferable to make time rather than to mark time.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003ca\u003eArtists Selected by Anthony Elms\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eOn the Second Floor\u003c/strong\u003e\u003cbr\u003eAcademy Records and Matt Hanner\u003cbr\u003eTerry Adkins\u003cbr\u003eMichel Auder\u003cbr\u003eElijah Burgher\u003cbr\u003eJimmie Durham\u003cbr\u003eJoseph Grigely\u003cbr\u003eSusan Howe\u003cbr\u003eGary Indiana\u003cbr\u003eCarol Jackson\u003cbr\u003eDave McKenzie\u003cbr\u003eRebecca Morris\u003cbr\u003eMy Barbarian\u003cbr\u003ePaul P.\u003cbr\u003ePublic Collectors\u003cbr\u003eSteve Reinke with Jessie Mott\u003cbr\u003eAllan Sekula\u003cbr\u003eValerie Snobeck and Catherine Sullivan\u003cbr\u003eCharline von Heyl\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eIn Other Locations\u003c/strong\u003e\u003cbr\u003eAcademy Records and Matt Hanner\u003cbr\u003eRobert Ashley and Alex Waterman\u003cbr\u003eMiguel Gutierrez\u003cbr\u003eGary Indiana\u003cbr\u003eAngie Keefer\u003cbr\u003eZoe Leonard\u003cbr\u003eMy Barbarian\u003cbr\u003etaisha paggett\u003cbr\u003eCharlemagne Palestine\u003c/p\u003e\u003c/td\u003e\u003ctd style=\"width: 33.3333%;\"\u003e\u003ch3\u003eStuart Comer\u003cbr\u003e\u003cspan class=\"gray\"\u003eThird Floor\u003c/span\u003e\u003c/h3\u003eHow to define “American” in a survey of contemporary American art, especially one with as much history behind it as the Whitney Biennial, is a question that has often challenged, even vexed, curators. As an American who has spent much of the last thirteen years in the United Kingdom, I have been compelled by artists whose work is as hybrid as the significant global, environmental, and technological shifts reshaping the United States. The work I have brought together for the Biennial reflects this, whether through complex relationships between linguistic and visual forms; the interface of digital technologies with more traditional media, and the recorded past with the lived moment; the development of two-dimensional scores, scripts, and patterns into three- or even four-dimensional actions and environments; the challenging of binary conventions of gender; or the intricacy of cosmopolitan, cross-national identities. Ideas about migration and movement are raised here too, as are those related to a position (geographic or otherwise) at a kind of periphery, off the mainland so to speak. The surfaces and spaces of the gallery respond in kind, playing multiple roles—from white cube to theater to cinema to publishing forum, and sometimes all of these at once.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003ca\u003eArtists Selected by Stuart Comer\u003c/a\u003e\u003c/strong\u003e\u003cp\u003e\u003cstrong\u003eOn the Third Floor\u003c/strong\u003e\u003cbr\u003eEtel Adnan\u003cbr\u003eEi Arakawa and Carissa Rodriguez\u003cbr\u003eUri Aran\u003cbr\u003eLisa Anne Auerbach\u003cbr\u003eJulie Ault\u003cbr\u003eKevin Beasley\u003cbr\u003eLucien Castaing-Taylor and Véréna Paravel\u003cbr\u003eZackary Drucker and Rhys Ernst\u003cbr\u003eMorgan Fisher\u003cbr\u003eTony Greene curated by Richard Hawkins and Catherine Opie\u003cbr\u003eChanna Horwitz\u003cbr\u003eTravis Jeppesen\u003cbr\u003eYve Laris Cohen\u003cbr\u003eFred Lonidier\u003cbr\u003eDashiell Manley\u003cbr\u003eKeith Mayerson\u003cbr\u003eBjarne Melgaard\u003cbr\u003eKen Okiishi\u003cbr\u003eMiljohn Ruperto\u003cbr\u003eJacolby Satterwhite\u003cbr\u003eSemiotext(e)\u003cbr\u003eA. L. Steiner\u003cbr\u003eTriple Canopy\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eIn Other Locations\u003c/strong\u003e\u003cbr\u003eKevin Beasley\u003cbr\u003eAndrew Bujalski\u003cbr\u003eLucien Castaing-Taylor, Véréna Paravel, and Sensory Ethnography Lab\u003cbr\u003eZackary Drucker and Rhys Ernst\u003cbr\u003eRadamés “Juni” Figueroa\u003cbr\u003ePauline Oliveros\u003cbr\u003eSergei Tcherepnin\u003c/p\u003e\u003c/td\u003e\u003ctd style=\"width: 33.3333%;\"\u003e\u003ch3\u003eMichelle Grabner\u003cbr\u003e\u003cspan class=\"gray\"\u003eFourth Floor\u003c/span\u003e\u003c/h3\u003eAlthough it may be far-reaching to think that a Whitney Biennial could be organized as a curriculum for other artists, aiming at pedagogy seemed a worthy ambition. Not because I am an artist and a teacher, nor because I sought to create a democratic survey, but because I didn’t want the frame that the viewer will look through to be a purely subjective take on contemporary American art. Instead, I developed a fourth-floor curriculum that presents identifiable themes, generalities even, that are currently established in the textures of contemporary aesthetic, political, and economic realities. Within this curriculum, contours can be drawn around three overlapping priorities: contemporary abstract painting by women; materiality and affect theory; and art as strategy—in other words, conceptual practices oriented toward criticality. Theoretically, the works that I included will each demand from the viewer a varied network of analysis.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003ca\u003eArtists Selected by Michelle Grabner\u003c/a\u003e\u003c/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eOn the Fourth Floor\u003c/strong\u003e\u003cbr\u003eAlma Allen\u003cbr\u003eGretchen Bender\u003cbr\u003eStephen Berens\u003cbr\u003eDawoud Bey\u003cbr\u003eJennifer Bornstein\u003cbr\u003eSarah Charlesworth\u003cbr\u003eDavid Diao\u003cbr\u003eLouise Fishman\u003cbr\u003eGaylen Gerber with Sherrie Levine, David Hammons, and Trevor Shimizu\u003cbr\u003eKarl Haendel\u003cbr\u003ePhilip Hanson\u003cbr\u003eSheila Hicks\u003cbr\u003eJacqueline Humphries\u003cbr\u003eBen Kinmont\u003cbr\u003eShio Kusaka\u003cbr\u003eChris Larson\u003cbr\u003eTony Lewis\u003cbr\u003ePam Lins\u003cbr\u003eKen Lum\u003cbr\u003eShana Lutker\u003cbr\u003eJohn Mason\u003cbr\u003eSuzanne McClelland\u003cbr\u003eJoshua Mosley\u003cbr\u003eDona Nelson\u003cbr\u003eJoel Otterson\u003cbr\u003eLaura Owens\u003cbr\u003eDavid Robbins\u003cbr\u003eSterling Ruby\u003cbr\u003ePeter Schuyff\u003cbr\u003eAmy Sillman\u003cbr\u003eRicky Swallow\u003cbr\u003ePhilip Vanderhyden\u003cbr\u003eDavid Foster Wallace\u003cbr\u003eDan Walsh\u003cbr\u003eDonelle Woolford\u003cbr\u003eMolly Zuckerman-Hartung\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eIn Other Locations\u003c/strong\u003e\u003cbr\u003eDarren Bader\u003cbr\u003eCritical Practices Inc.\u003cbr\u003eMatthew Deleget\u003cbr\u003ePaul Druecke\u003cbr\u003eRochelle Feinstein\u003cbr\u003eVictoria Fu\u003cbr\u003eJeff Gibson\u003cbr\u003eJonn Herschend\u003cbr\u003eHOWDOYOUSAYYAMINAFRICAN?\u003cbr\u003eDoug Ischar\u003cbr\u003eAlex Jovanovich\u003cbr\u003eBen Kinmont\u003cbr\u003eChris Larson\u003cbr\u003eDiego Leclery\u003cbr\u003eSara Greenberger Rafferty\u003cbr\u003eEmily Sundblad\u003cbr\u003eTony Tasset\u003cbr\u003ePedro Vélez\u003cbr\u003eDonelle Woolford\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/table\u003e\u003ch2\u003e\u003cbr\u003e\u003c/h2\u003e"}}}}}}]}}}]}}}}},{"id":"217","type":"exhibition","attributes":{"id":217,"title":"Calder: Hypermobility","start_time":"2017-06-09T00:00:00.000-04:00","end_time":"2017-10-23T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/calder-hypermobility","primary_text":"\u003cp class=\"large\"\u003eDaily gallery activations of Calder exhibition works will occur at the following times:\u003cbr\u003e\u003cstrong\u003eMonday–Thursday\u003c/strong\u003e: 12 pm, 2 pm, 4 pm\u003cbr\u003e\u003cstrong\u003eFriday\u003c/strong\u003e: 11 am, 12 pm, 2 pm, 4 pm, 7:30 pm, 8 pm, 9 pm\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eSaturday and Sunday\u003c/strong\u003e\u003c/span\u003e: 11 am, 12 pm, 1 pm, 2 pm, 3 pm, 4 pm\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eCalder: Hypermobility\u003c/em\u003e focuses on the extraordinary breadth of movement and sound in the work of Alexander Calder. This exhibition brings together a rich constellation of key sculptures and provides a rare opportunity to experience the works as the artist intended—in motion. Regular activations will occur in the galleries, revealing the inherent kinetic nature of Calder’s work, as well as its relationship to performance. Influenced in part by the artist’s fascination and engagement with choreography, Calder’s sculptures contain an embedded performativity that is reflected in their idiosyncratic motions and the perceptual responses they provoke.\u003c/p\u003e\u003cp class=\"large\"\u003eIn the early 1930s, Calder invented an entirely new mode of art, the mobile—a kinetic form of sculpture in which carefully balanced components manifest their own unique systems of movement. These works operate in highly sophisticated ways, ranging from gentle rotations to uncanny gestures, and at times, trigger unpredictable percussive sounds.\u0026nbsp;\u003cem\u003eCalder: Hypermobility\u003c/em\u003e\u0026nbsp;encompasses major examples of Calder’s work including early motor-driven abstractions, sound-generating Gongs, and standing and hanging mobiles.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eIn collaboration with the Calder Foundation, the exhibition will feature an expansive series of \u003ca href=\"/exhibitions/calder-hypermobility/activations-and-performances\"\u003eperformances and events\u003c/a\u003e, including a number of episodic, one-time demonstrations of rarely seen works, as well as new commissions, which will bring contemporary artists into dialogue with Calder’s innovations and illuminate the many ways in which his art continues to challenge and inform new generations. Participating artists include Christian Marclay with cellist Okkyung Lee, Abigail DeVille\u003cspan\u003e\u0026nbsp;with director Charlotte Brathwaite\u003c/span\u003e, Jack Quartet, Jill Magid, C. Spencer Yeh, Nora Schultz, \u003cspan\u003eMath Bass and Lauren Davis Fisher,\u0026nbsp;\u003c/span\u003eArto Lindsay, and more.\u003c/p\u003e\u003cp class=\"large\" dir=\"ltr\"\u003eMusician Jim O’Rourke has created an original composition to accompany the exhibition designed to be experienced as a sound walk for the show. Elements of jazz, modern composition, and field recordings interact as gradually reappearing musical components, forming a complex internal structure through their own motions.\u003cbr\u003e\u003cbr\u003eListen to music inspired by the exhibition as selected by Jim O'Rourke, on \u003ca href=\"https://open.spotify.com/user/thewhitneymuseum/playlist/2vTJPuoPWMBhf662UU26kU\"\u003eSpotify\u003c/a\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003eThe exhibition is organized by Jay Sanders, Engell Speyer Family Curator and Curator of Performance, with Greta Hartenstein, senior curatorial assistant, and Melinda Lang, curatorial assistant.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/calder-hypermobility/activations-and-performances\"\u003eView activations and performances\u003c/a\u003e.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eCalder: Hypermobility\u003c/em\u003e\u0026nbsp;is provided by the Dalio Foundation, the Jerome L. Greene Foundation, the Philip and Janice Levin Foundation, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Horace W. Goldsmith Foundation.\u003c/p\u003e\u003cp\u003eGenerous support is provided by Irma and Norman Braman, Fairfax Dorn and Marc Glimcher, the Fisher Family, Further Forward Foundation in honor of Susan R. Malloy, Norman and Melissa Selby, and Michelle Smith.\u003c/p\u003e\u003cp\u003eAdditional support is provided by the Mitzi and Warren Eisenberg Family Foundation.\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://jlgreene.org/\"\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/818153/gf02_h_logotype_bw_final-150.jpg\"\u003e\u003c/a\u003e\u003c/p\u003e","primary_media_id":1840,"override_media_id":2942,"sign_media_id":null,"feature_id":null,"artwork_series_id":1859,"installation_series_id":2333,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“One-time displays of rarely seen works, led by the foundation, as well as motorized sculptures that haven’t been seen in motion for decades” \u003ca href=\"https://www.nytimes.com/2017/06/01/arts/design/alexander-calder-at-the-whitney-hypermobility-and-shifting-perspectives.html\"\u003e\u003c/a\u003e\u003cbr\u003e\u003cem\u003e—\u003ca href=\"https://www.nytimes.com/2017/06/01/arts/design/alexander-calder-at-the-whitney-hypermobility-and-shifting-perspectives.html\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“The Whitney allows visitors to see the works as Calder intended—in motion.”\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003ca href=\"http://www.newyorker.com/magazine/2017/05/22/summer-art-preview\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eNew Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“A one-of-a-kind sound performance”\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.wsj.com/articles/a-calder-exhibition-where-the-mobiles-really-move-1495207976?mg=prod/accounts-wsj\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eThe Wall Street Journal\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“It is a show about motion that stops you in your tracks.”\u003cbr\u003e\u003cem\u003e—\u003ca href=\"http://www.wnyc.org/story/review-calder-without-circus/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eWNYC\u003c/a\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“A high-spirited showcase on the top floor of the Whitney Museum of American Art, goes a long way to recapturing the guile and peculiarity of his spinning wires and discs”\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.nytimes.com/2017/06/08/arts/design/when-it-comes-to-calder-the-same-piece-is-always-different.html?rref=collection%2Ftimestopic%2FCalder%2C%20Alexander\u0026action=click\u0026contentCollection=timestopics\u0026region=stream\u0026module=stream_unit\u0026version=latest\u0026contentPlacement=1\u0026pgtype=collection\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eNY Art Beat\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“\u003cem\u003eCalder: Hypermobility\u003c/em\u003e will be a popular show, if not for the sheer imagination on view”\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003ca href=\"http://observer.com/2017/06/alexander-calder-hypermobility-exhibition-whitney-review/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eObserver\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“'I always knew that Calder was not an entertainer, but you really see here that he is not trying to entertain you,' Rower says. 'And if it’s not entertaining, then what is it? It’s not a sculpture, it’s not a picture—it’s an experience.'”\u003cbr\u003e\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://news.artnet.com/exhibitions/the-whitney-calder-foundation-motorized-sculptures-984746\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eartnet\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"\u003cp\u003e\u003cstrong\u003eJim O’Rourke\u003c/strong\u003e - pedal steel, guitar, double bass\u003cspan\u003e\u003cbr\u003e\u003c/span\u003e\u003cstrong\u003eEiko Ishibashi\u003c/strong\u003e - piano\u003cspan\u003e\u003cbr\u003e\u003c/span\u003e\u003cstrong\u003eEivind Lonning\u003c/strong\u003e - trumpet\u003cspan\u003e\u003cbr\u003e\u003c/span\u003e\u003cstrong\u003eJoe Talia\u003c/strong\u003e - drums\u003c/p\u003e","videos_description":"","created_at":"2017-04-03T12:48:10.000-04:00","updated_at":"2025-06-16T12:34:32.090-04:00","block_editor":{"data":{"id":"2355","type":"block_editor","attributes":{"id":2355,"exhibition_id":217,"page_id":null,"created_at":"2025-06-16T12:34:32.085-04:00","updated_at":"2025-06-16T12:34:32.085-04:00","regions":[]}}}}},{"id":"1271","type":"exhibition","attributes":{"id":1271,"title":"Selections from the Permanent Collection","start_time":"1955-08-09T00:00:00.000-04:00","end_time":"1955-09-18T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/permanent-collection-1955-2","primary_text":null,"primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-02-27T17:09:08.548-05:00","updated_at":"2025-06-16T12:38:24.213-04:00","block_editor":{"data":{"id":"4017","type":"block_editor","attributes":{"id":4017,"exhibition_id":1271,"page_id":null,"created_at":"2025-06-16T12:38:24.206-04:00","updated_at":"2025-06-16T12:38:24.206-04:00","regions":[]}}}}},{"id":"860","type":"exhibition","attributes":{"id":860,"title":"Foirades/Fizzles","start_time":"1977-10-11T00:00:00.000-04:00","end_time":"1978-07-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/foirades-fizzles","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eFoirades/Fizzles\u003c/em\u003e was curated by Judith Goldman.\u003c/p\u003e","primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":null,"audio_description":null,"videos_description":null,"created_at":"2020-08-14T14:51:19.854-04:00","updated_at":"2026-01-06T14:12:55.544-05:00","block_editor":{"data":{"id":"3453","type":"block_editor","attributes":{"id":3453,"exhibition_id":860,"page_id":null,"created_at":"2025-06-16T12:38:11.885-04:00","updated_at":"2025-06-16T12:38:11.885-04:00","regions":[]}}}}},{"id":"86","type":"exhibition","attributes":{"id":86,"title":"Slater Bradley and Ed Lachman: Shadow","start_time":"2010-10-28T00:00:00.000-04:00","end_time":"2011-04-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/slater-bradley-and-ed-lachman","primary_text":"\u003cp class=\"large\"\u003eShadow (2010), a new video work by Slater Bradley in collaboration with Academy Award–nominated cinematographer Ed Lachman, takes as its inspiration the unfinished Hollywood film Dark Blood (1993), which was never completed due to the untimely death of its star, River Phoenix. Seventeen years later, Shadow presents a kind of prologue to the original film, revisiting Phoenix's character (here, by Ben Brock) while creating a new narrative which, when woven together with the original, creates a labyrinthine tale that blurs the lines between illusion and reality.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eSlater Bradley and Ed Lachman: Shadow\u003c/em\u003e is curated by Anne \u0026amp; Joel Ehrenkranz Curator Chrissie Iles.\u003c/p\u003e\u003cp class=\"large\"\u003eThe video is thirteen-and-a-half minutes long and screens continuously in the Kaufman Astoria Studios Film \u0026amp; Video Gallery.\u003c/p\u003e","primary_media_id":4093,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":1922,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2017-04-03T12:46:51.000-04:00","updated_at":"2025-06-16T12:34:09.979-04:00","block_editor":{"data":{"id":"2161","type":"block_editor","attributes":{"id":2161,"exhibition_id":86,"page_id":null,"created_at":"2025-06-16T12:34:09.974-04:00","updated_at":"2025-06-16T12:34:09.974-04:00","regions":[{"data":{"id":"22108","type":"region","attributes":{"id":22108,"position":1,"columns":12,"block_editor_id":2161,"created_at":"2025-02-19T09:51:58.765-05:00","updated_at":"2025-02-19T09:51:58.765-05:00","region_components":[{"data":{"id":"40374","type":"region_component","attributes":{"id":40374,"component_id":4,"component_type":"JumplinkComponent","position":1,"region_id":22108,"created_at":"2025-02-19T09:51:58.785-05:00","updated_at":"2025-02-19T09:51:58.814-05:00","component":{"data":{"id":"4","type":"component","attributes":{"id":4,"exhibition_id":86,"text":"Curatorial statement"}}}}}},{"data":{"id":"40375","type":"region_component","attributes":{"id":40375,"component_id":14662,"component_type":"TextComponent","position":2,"region_id":22108,"created_at":"2025-02-19T09:51:58.826-05:00","updated_at":"2025-02-19T09:51:58.858-05:00","component":{"data":{"id":"14662","type":"component","attributes":{"id":14662,"exhibition_id":86,"text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe following text was written by Anne \u0026amp; Joel Ehrenkranz Curator Chrissie Iles.\u003c/em\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eArtists have long engaged with the mythology of Hollywood, creating a hybrid of art and cinema that has become an important strand of contemporary art. Shadow (2010), a video installation by Slater Bradley in collaboration with Academy Award–nominated cinematographer Ed Lachman, takes as its inspiration the unfinished Hollywood film Dark Blood (1993) for which Lachman was the cinematographer. In the film, River Phoenix plays a disturbed, young, half–Navajo widower who lives like a hermit near a nuclear testing site in the Nevada desert, waiting for the apocalypse and making kachina dolls that he believes have magic powers. Phoenix’s character’s wife died from radiation poisoning from the site. A married couple becomes stranded when their car breaks down in the desert and they are rescued by the widower, who falls in love with the woman. The film progresses to a dramatic ending in which the young man dies, but because of Phoenix’s own untimely death, the final scenes were never filmed.\u003cbr\u003e\u003cbr\u003eBased on Lachman’s memories and impressions of filming Dark Blood seventeen years prior, Shadow constructs a prologue that imagines the widower’s life just before he meets the couple. Although it contains references to what takes place in the original film (now the future) and is haunted by Phoenix’s ghostly presence, major elements of the original—the couple, the car breaking down, the attraction of the widower to the woman—do not appear in Bradley and Lachman’s film, and parts of their story—the little girl, the deserted house, the bar—do not appear in the original. The two narratives are woven together by threads of fact and fiction whose boundaries are never made clear. The bar in Shadow was the one frequented by Phoenix while filming the original movie, for example, and the location, near the Capitol Reef in Utah, is the same as in Dark Blood. The photographs found by the widower in the prologue were discovered by chance by Lachman and Bradley in the bar. They were taken in 1993 and show Lachman and Phoenix at work on Dark Blood. In a further twist, Ben Brock, who plays Phoenix as the widower, bears an uncanny resemblance to Slater Bradley. Shadow thus becomes a triple portrait of the actor, the cinematographer, and the artist, transforming a conventional cinematic narrative into a labyrinthine tale that blurs the lines between illusion and reality, past and future.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"126","type":"exhibition","attributes":{"id":126,"title":"Robert Indiana: Beyond LOVE","start_time":"2013-09-26T00:00:00.000-04:00","end_time":"2014-01-05T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/robert-indiana","primary_text":"\u003cp class=\"large\"\u003eRobert Indiana (b. Robert Clark, 1928) first emerged on the wave of Pop Art that engulfed the art world in the early 1960s. Bold and visually dazzling, his work embraced the vocabulary of highway signs and roadside entertainments that were commonplace in post war America. Presciently, he used words to explore themes of American identity, racial injustice, and the illusion and disillusion of love. The appearance in 1966 of what became his signature image, \u003cem\u003eLOVE,\u003c/em\u003e\u0026nbsp;and its subsequent proliferation on unauthorized products, eclipsed the public’s understanding of the emotional poignancy and symbolic complexity of his art. This retrospective reveals an artist whose work, far from being unabashedly optimistic and affirmative, addresses the most fundamental issues facing humanity—love, death, sin, and forgiveness—giving new meaning to our understanding of the ambiguities of the American Dream and the plight of the individual in a pluralistic society.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eRobert Indiana: Beyond LOVE\u0026nbsp;\u003c/em\u003eis organized by Barbara Haskell, Curator.\u003c/p\u003e\u003cp\u003eMajor support for\u0026nbsp;\u003cem\u003eRobert Indiana: Beyond LOVE\u003c/em\u003e is provided by Morgan Art Foundation.\u0026nbsp;\u003c/p\u003e\u003cp\u003eGenerous support is provided by Shirley and William Lehman, The Lunder Foundation, and the Robert B. Mayer Family.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAdditional support is provided by The Gage Fund, Inc., Virginia and Herbert Lust, the Overbrook Foundation, and Barbaralee Diamonstein-Spielvogel.\u003c/p\u003e","primary_media_id":11423,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":268,"installation_series_id":269,"perspective_series_id":null,"press_highlights":"\u003cp\u003e\"Far too many of us think of [Robert Indiana] as a one-hit wonder. This is a major injustice, which Barbara Haskell, curator at the Whitney Museum of American Art, has addressed with an impressively comprehensive retrospective of Indiana's career.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.artinamericamagazine.com/reviews/-robert-indiana/\" target=\"_blank\"\u003eArt in America\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“\u003cem\u003eBeyond LOVE\u003c/em\u003e is a spectacular exhibition and an important opportunity to rediscover the whole career of a singular figure in American art.”\u003cbr\u003e—\u003ca href=\"http://www.bbc.com/culture/story/20131008-pop-arts-neglected-master\" target=\"_blank\"\u003eBBC\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"[Indiana's] paintings are gateways between the visual and the verbal, the private and the public, the physical and the metaphysical, and the conscious and the unconscious. Richly ambiguous, they unsettle fixed categories. And they are ravishing to behold.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nytimes.com/2013/09/27/arts/design/robert-indiana-and-beyond-love-at-the-whitney.html?ref=arts\u0026_r=0\" target=\"_blank\"\u003eThe New York Times\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Top 10 Artist Retrospectives Happening This Fall\"\u003cbr\u003e\u0026nbsp;—\u003cem\u003e\u003ca href=\"http://www.artphaire.com/top-10-artist-retrospectives-happening-this-fall/\" target=\"_blank\"\u003eArtphaire\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Video: At Home and in the Studio With Robert Indiana\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.blouinartinfo.com/news/story/947169/video-at-home-and-in-the-studio-with-robert-indiana\" target=\"_blank\"\u003eArtInfo\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Robert Indiana Opens Up About His First U.S. Retrospective at the Whitney Museum\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.vogue.com/culture/article/robert-indiana-opens-up-about-his-first-us-retrospective-at-the-whitney-museum/#1\" target=\"_blank\"\u003eVogue\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003eAudio: \"Art Talk: What Does\u0026nbsp;\u003cem\u003eLOVE\u003c/em\u003e Have To Do With It?\"\u003cbr\u003e—\u003ca href=\"http://www.wnyc.org/story/art-talk-reading-painting/?utm_source=sharedUrl\u0026utm_media=metatag\u0026utm_campaign=sharedUrl\" target=\"_blank\"\u003eWNYC\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\"How New York Fell Back in Love With Robert Indiana\"\u003cbr\u003e—\u003cem\u003eThe Art Newspaper\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"In a rare interview at his home on Vinalhaven, Maine, the artist talks about Pop art, politics and his conflicted feelings over his most famous work,\u0026nbsp;\u003cem\u003eLOVE\u003c/em\u003e\"\u003cbr\u003e—\u003cem\u003eThe Art Newspaper\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“'It’s quite staggering,' Indiana said of the exhibition. . . . 'I can’t believe I did all this work. I should be exhausted, and I am exhausted.'\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.nydailynews.com/life-style/love-artist-work-subject-retrospective-article-1.1468570#ixzz2g7aOOxUd\" target=\"_blank\"\u003eNew York Daily News\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"A long overdue celebration of the depth and breath of the 85-year-old Indiana’s work over five generations.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.forbes.com/sites/kathryntully/2013/09/26/the-value-of-robert-indianas-art-has-been-eclipsed-by-love/\" target=\"_blank\"\u003eForbes\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Unlike the ethereally ironic Warhol, the deadpan faux-comic-book Lichtenstein or the facilely absurd gigantist Oldenburg, Mr. Indiana meant absolutely every word he ever stenciled onto a canvas or one of his early totemic sculptures.\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://online.wsj.com/article/SB10001424052702303918804579109614173758196.html#articleTabs%3Darticle\" target=\"_blank\"\u003eThe Wall Street Journal\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\"Lisa Perry Creates a Special Line In Collaboration with Robert Indiana\"\u003cbr\u003e—\u003cem\u003e\u003ca href=\"http://www.vogue.com/vogue-daily/article/lisa-perry-creates-a-special-line-in-collaboration-with-robert-indiana/#1\" target=\"_blank\"\u003eVogue\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e","audio_description":null,"videos_description":"","created_at":"2017-04-03T12:47:16.000-04:00","updated_at":"2025-06-16T12:34:17.370-04:00","block_editor":{"data":{"id":"2237","type":"block_editor","attributes":{"id":2237,"exhibition_id":126,"page_id":null,"created_at":"2025-06-16T12:34:17.364-04:00","updated_at":"2025-06-16T12:34:17.364-04:00","regions":[]}}}}},{"id":"927","type":"exhibition","attributes":{"id":927,"title":"Jaune Quick-to-See Smith:\u003cbr\u003eMemory Map","start_time":"2023-04-19T00:00:00.000-04:00","end_time":"2023-08-13T00:00:00.000-04:00","member_start_time":"2023-04-13T00:00:00.000-04:00","member_end_time":"2023-04-17T00:00:00.000-04:00","date_override":"","url":"/exhibitions/jaune-quick-to-see-smith","primary_text":"\u003cp class=\"large\"\u003eThis exhibition is the first New York retrospective of Jaune Quick-to-See Smith (b. 1940, citizen of the Confederated Salish and Kootenai Nation), an overdue but timely look at the work of a groundbreaking artist. \u003cem\u003eJaune Quick-to-See Smith: Memory Map\u003c/em\u003e brings together nearly five decades of Smith’s drawings, prints, paintings, and sculptures in the largest and most comprehensive showing of her career to date.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eSmith’s work engages with contemporary modes of making, from her idiosyncratic adoption of abstraction to her reflections on American Pop art and neo-expressionism. These artistic traditions are incorporated and reimagined with concepts rooted in Smith’s own cultural practice, reflecting her belief that her “life’s work involves examining contemporary life in America and interpreting it through Native ideology.” Employing satire and humor, Smith’s art tells stories that flip commonly held conceptions of historical narratives and illuminate absurdities in the formation of dominant culture. Smith’s approach importantly blurs categories and questions why certain visual languages attain recognition, historical privilege, and value. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eAcross decades and mediums, Smith has deployed and reappropriated ideas of mapping, history, and environmentalism while incorporating personal and collective memories. The retrospective will offer new frameworks in which to consider contemporary Native American art and show how Smith has led and initiated some of the most pressing dialogues around land, racism, and cultural preservation—issues at the forefront of contemporary life and art today.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by Laura Phipps, Associate Curator at the Whitney Museum of American Art, with Caitlin Chaisson, Curatorial Project Assistant.\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eJaune Quick-to-See Smith: Memory Map\u0026nbsp;\u003c/em\u003eis provided by Judy Hart Angelo; the Carl \u0026amp; Marilynn Thoma Foundation; Lise and Michael Evans; the Henry Luce Foundation; the Horace W. Goldsmith Foundation; Kevin and Rosemary McNeely, Manitou Fund; the Terra Foundation for American Art; and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eMajor support is provided by Forge Project, Garth Greenan Gallery, Sueyun and Gene Locks, and Susan and Larry Marx.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Chrissy Taylor and Lee Broughton, Stephanie and Tim Ingrassia, Ashley Leeds and Christopher Harland, Susan Hayden, John and Susan Horseman Collection/Horseman Foundation, The Keith Haring Foundation Exhibition Fund, the National Endowment for the Arts, Brooke Garber Neidich and Daniel M. Neidich, and Nancy and Fred Poses.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Furthermore: a program of the J. M. Kaplan Fund and Komal Shah and Gaurav Garg.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/828339/thomafoundation-positive.jpg\" style=\" height: 36px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg src=\"https://whitneymedia.org/assets/image/827961/___.png\" style=\"height:36px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp;\u003cimg src=\"https://whitneymedia.org/assets/image/828001/large_TER_PMS-660C_Lockup_Medium.jpg\" style=\" height: 36px;\"\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/828473/2018-Horizontal-Logo-with-url-thumb_0.png\" style=\"height:56px;\"\u003e\u003c/p\u003e","primary_media_id":55024,"override_media_id":null,"sign_media_id":null,"feature_id":49,"artwork_series_id":null,"installation_series_id":2558,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Her work has helped to prove that modernism and indigeneity can coexist across a range of mediums and materials, including the hybrid of collage and abstract painting that has become a signature style.” —\u003ca href=\"https://www.vulture.com/article/jaune-quick-to-see-smith-artist-profile-memory-map.html\"\u003e\u003cem\u003eNew York Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“After working tirelessly to ‘break the buckskin ceiling,’ the artist and activist comes to the Whitney with a retrospective that redefines what ‘American’ means.” —\u003ca href=\"https://www.nytimes.com/2023/04/20/arts/design/jaune-quick-to-see-smith-whitney-art.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Bringing the experience of Indigenous communities to the fore and drawing on a wide range of art-historical references, Smith’s work challenges commonly held conceptions of history and explores contemporary American life.” —\u003ca href=\"https://www.apollo-magazine.com/jaune-quick-to-see-smith-whitney-new-york/\"\u003e\u003cem\u003eApollo Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…a feeling that the paintings and installations are at home in these galleries, lovingly hung by true believers in her art and, at once, something entirely new.” —\u003ca href=\"https://thevillagesun.com/at-the-whitney-a-powerful-native-american-voice-and-a-21st-century-visionary\"\u003e\u003cem\u003eThe Village Sun\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Smith is a visionary artist who should be far better known by the public and accepted into the discourse of contemporary American art. This exhibition should help push in that long-overdue direction.” —\u003ca href=\"https://www.artandantiquesmag.com/memory-map/\"\u003e\u003cem\u003eArt \u0026amp; Antiques Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Smith refuses the aloofness of the white avant-garde in favor of something fierce and necessary—and, tragic to say, endlessly relevant for our time.” —\u003ca href=\"https://4columns.org/d-souza-aruna/jaune-quick-to-see-smith\"\u003e\u003cem\u003e4Columns\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…Smith is both a force for reckoning and a force to be reckoned with.” —\u003ca href=\"https://www.newyorker.com/goings-on-about-town/art/jaune-quick-to-see-smith-2023\"\u003e\u003cem\u003eThe New Yorker\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Step into the captivating world of Jaune Quick-to-See Smith's exhibition at the Whitney Museum, and prepare to be moved by the profound depth and resonance of her work.” —\u003ca href=\"https://www.artandobject.com/news/3-shows-female-artists-see-nyc-spring\"\u003e\u003cem\u003eArt \u0026amp; Object\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“[Smith] more than just takes up space there, she owns it.” —\u003ca href=\"https://www.forbes.com/sites/chaddscott/2023/05/31/juane-quick-to-see-smith-continues-breaking-the-buckskin-ceiling/?sh=3749ab2e404e\"\u003e\u003cem\u003eForbes\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“More specific than the work of exposing the constructed nature of our national history, then, Smith’s art realigns art history, an intervention that is especially significant because it is staged within the Whitney’s halls.” —\u003ca href=\"https://www.studiointernational.com/index.php/jaune-quick-to-see-smith-memory-map-review-whitney-museum-of-american-art-new-york\"\u003e\u003cem\u003eStudio International\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“This prolific and impactful artist Jaune Quick-to-See Smith, with her very apt name, is an artist to seek out.” —\u003ca href=\"https://www.buddhistdoor.net/features/how-we-perceive-and-are-perceived-memory-map-the-art-of-jaune-quick-to-see-smith/\"\u003e\u003cem\u003eBuddhistdoor Global\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Artist Jaune Quick-to-See Smith certainly has her own way of seeing—and painting—America.”\u0026nbsp;—\u003ca href=\"https://www.cbsnews.com/video/jaune-quick-to-see-smith-raising-indigenous-voices-throughout-her-art/\"\u003e\u003cem\u003eCBS Sunday Morning\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"\u003cp\u003eJaune Quick-to-See Smith on the occasion of \u003ca href=\"/exhibitions/jaune-quick-to-see-smith\"\u003eJaune Quick-to-See Smith: Memory Map\u003c/a\u003e.\u003c/p\u003e","videos_description":"","created_at":"2020-11-18T01:30:35.564-05:00","updated_at":"2026-03-26T17:05:23.581-04:00","block_editor":{"data":{"id":"3567","type":"block_editor","attributes":{"id":3567,"exhibition_id":927,"page_id":null,"created_at":"2025-06-16T12:38:13.014-04:00","updated_at":"2025-06-16T12:38:13.014-04:00","regions":[]}}}}},{"id":"909","type":"exhibition","attributes":{"id":909,"title":"Fall Exhibition of Paintings, Prints, Sculpture from the Permanent Collection","start_time":"1934-10-02T00:00:00.000-05:00","end_time":"1934-10-18T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/permanent-collection-fall-1934","primary_text":null,"primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2020-08-14T14:51:36.193-04:00","updated_at":"2025-06-16T12:38:12.828-04:00","block_editor":{"data":{"id":"3547","type":"block_editor","attributes":{"id":3547,"exhibition_id":909,"page_id":null,"created_at":"2025-06-16T12:38:12.823-04:00","updated_at":"2025-06-16T12:38:12.823-04:00","regions":[]}}}}},{"id":"587","type":"exhibition","attributes":{"id":587,"title":"Lorna Simpson: Cameos and Appearances","start_time":"2002-10-11T00:00:00.000-04:00","end_time":"2003-01-26T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/lorna-simpson-cameos","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eLorna Simpson: Cameos and Appearances\u003c/em\u003e was curated by Sylvia Wolf.\u003c/p\u003e","primary_media_id":48592,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2397,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2020-08-14T14:48:05.295-04:00","updated_at":"2025-06-16T12:37:35.045-04:00","block_editor":{"data":{"id":"2921","type":"block_editor","attributes":{"id":2921,"exhibition_id":587,"page_id":null,"created_at":"2025-06-16T12:37:35.040-04:00","updated_at":"2025-06-16T12:37:35.040-04:00","regions":[]}}}}},{"id":"1278","type":"exhibition","attributes":{"id":1278,"title":"Reginald Marsh","start_time":"1955-09-21T00:00:00.000-04:00","end_time":"1955-11-06T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/reginald-marsh","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eReginald Marsh\u003c/em\u003e was curated by Lloyd Goodrich.\u003c/p\u003e","primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-02-27T17:16:20.239-05:00","updated_at":"2025-06-16T12:38:24.343-04:00","block_editor":{"data":{"id":"4031","type":"block_editor","attributes":{"id":4031,"exhibition_id":1278,"page_id":null,"created_at":"2025-06-16T12:38:24.338-04:00","updated_at":"2025-06-16T12:38:24.338-04:00","regions":[]}}}}},{"id":"870","type":"exhibition","attributes":{"id":870,"title":"The Painters' America: Rural and Urban Life, 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Hills.\u003c/p\u003e","primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2020-08-14T14:51:26.244-04:00","updated_at":"2026-01-06T16:27:04.172-05:00","block_editor":{"data":{"id":"3473","type":"block_editor","attributes":{"id":3473,"exhibition_id":870,"page_id":null,"created_at":"2025-06-16T12:38:12.188-04:00","updated_at":"2025-06-16T12:38:12.188-04:00","regions":[]}}}}},{"id":"1719","type":"exhibition","attributes":{"id":1719,"title":"Reviewing Television","start_time":"1984-12-14T00:00:00.000-05:00","end_time":"1985-03-03T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/reviewing-television","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eReviewing Television\u003c/em\u003e was curated by John Hanhardt.\u003c/p\u003e","primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:25.229-05:00","updated_at":"2026-01-06T13:18:09.918-05:00","block_editor":{"data":{"id":"4819","type":"block_editor","attributes":{"id":4819,"exhibition_id":1719,"page_id":null,"created_at":"2025-06-16T12:38:33.371-04:00","updated_at":"2025-06-16T12:38:33.371-04:00","regions":[]}}}}},{"id":"905","type":"exhibition","attributes":{"id":905,"title":"Drawings by Joseph Boggs Beale 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Baur.\u003c/p\u003e","primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-01-17T14:19:12.565-05:00","updated_at":"2025-06-16T12:38:39.656-04:00","block_editor":{"data":{"id":"5733","type":"block_editor","attributes":{"id":5733,"exhibition_id":2187,"page_id":null,"created_at":"2025-06-16T12:38:39.650-04:00","updated_at":"2025-06-16T12:38:39.650-04:00","regions":[]}}}}},{"id":"1953","type":"exhibition","attributes":{"id":1953,"title":"Print Making/New Forms","start_time":"1976-04-07T00:00:00.000-05:00","end_time":"1976-05-19T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/print-making-new-forms","primary_text":null,"primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:47.730-05:00","updated_at":"2026-01-06T13:17:34.402-05:00","block_editor":{"data":{"id":"5279","type":"block_editor","attributes":{"id":5279,"exhibition_id":1953,"page_id":null,"created_at":"2025-06-16T12:38:36.218-04:00","updated_at":"2025-06-16T12:38:36.218-04:00","regions":[]}}}}},{"id":"547","type":"exhibition","attributes":{"id":547,"title":"Ed Ruscha and Photography","start_time":"2004-06-24T00:00:00.000-04:00","end_time":"2004-09-26T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/ed-ruscha-photography","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eEd Ruscha and Photography\u003c/em\u003e was curated by Sylvia Wolf.\u003c/p\u003e","primary_media_id":18758,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2381,"perspective_series_id":null,"press_highlights":"","audio_description":null,"videos_description":null,"created_at":"2020-08-14T14:47:38.591-04:00","updated_at":"2025-06-16T12:37:31.958-04:00","block_editor":{"data":{"id":"2843","type":"block_editor","attributes":{"id":2843,"exhibition_id":547,"page_id":null,"created_at":"2025-06-16T12:37:31.953-04:00","updated_at":"2025-06-16T12:37:31.953-04:00","regions":[]}}}}},{"id":"884","type":"exhibition","attributes":{"id":884,"title":"Another Chance for Cities: Some Approaches to Architecture, Technology, and Town Planning: The Current Program of the New York State Urban Development Corporation","start_time":"1970-09-15T00:00:00.000-04:00","end_time":"1970-10-04T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/another-chance-for-cities","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAnother Chance for Cities: Some Approaches to Architecture, Technology, and Town Planning: The Current Program of the New York State Urban Development Corporation\u003c/em\u003e was curated by Robert A.M. Stern and John Singerman.\u003c/p\u003e","primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2020-08-14T14:51:29.992-04:00","updated_at":"2025-06-16T12:38:12.408-04:00","block_editor":{"data":{"id":"3501","type":"block_editor","attributes":{"id":3501,"exhibition_id":884,"page_id":null,"created_at":"2025-06-16T12:38:12.402-04:00","updated_at":"2025-06-16T12:38:12.402-04:00","regions":[]}}}}},{"id":"1889","type":"exhibition","attributes":{"id":1889,"title":"Cy Twombly: Paintings and Drawings 1954-1977","start_time":"1979-04-10T00:00:00.000-05:00","end_time":"1979-06-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/cy-twombly-1979","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCy Twombly: Paintings and Drawings 1954-1977\u003c/em\u003e was curated by David Whitney.\u003c/p\u003e","primary_media_id":null,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":null,"audio_description":null,"videos_description":null,"created_at":"2025-01-17T14:18:41.488-05:00","updated_at":"2026-01-06T13:17:45.943-05:00","block_editor":{"data":{"id":"5155","type":"block_editor","attributes":{"id":5155,"exhibition_id":1889,"page_id":null,"created_at":"2025-06-16T12:38:35.480-04:00","updated_at":"2025-06-16T12:38:35.480-04:00","regions":[]}}}}},{"id":"2401","type":"exhibition","attributes":{"id":2401,"title":"Bill Viola","start_time":"1998-02-12T00:00:00.000-05:00","end_time":"1998-05-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":null,"url":"/exhibitions/bill-viola-1998","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eBill Viola\u003c/em\u003e was curated by David A. 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