Whitney Biennial 2014
Mar 7–May 25, 2014
The 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.
Donna 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.”
This 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 new building 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.
Whitney curators Elisabeth Sussman and Jay Sanders, who organized the widely acclaimed 2012 Biennial, will advise on the exhibition.
Sponsored in part by
and 
Major support is provided by
Generous support is provided by The Brown Foundation, Inc.; The Keith Haring Foundation; Anne Cox Chambers; and anonymous donors.
Additional 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.
Funding for the 2014 Biennial is also provided by endowments created by Melva Bucksbaum, Emily Fisher Landau, and Leonard A. Lauder.
Support for the digital Whitney Guide, a Windows Phone app created exclusively for the 2014 Whitney Biennial, is provided by Microsoft.
2014 Biennial Artists
Academy Records and Matt Hanner Terry Adkins Etel Adnan Alma Allen Ei Arakawa and Carissa Rodriguez Uri Aran Robert Ashley and Alex Waterman Michel Auder Lisa Anne Auerbach Julie Ault Darren Bader Kevin Beasley Gretchen Bender Stephen Berens Dawoud Bey Jennifer Bornstein Andrew Bujalski Elijah Burgher Lucien Castaing-Taylor, Véréna Paravel, and Sensory Ethnography Lab Sarah Charlesworth Critical Practices Inc. Matthew Deleget David Diao Zackary Drucker and Rhys Ernst Paul Druecke Jimmie Durham Rochelle Feinstein Radamés “Juni” Figueroa Morgan Fisher Louise Fishman Victoria Fu Gaylen Gerber with David Hammons, Sherrie Levine, and Trevor Shimizu | Jeff Gibson Tony Greene curated by Richard Hawkins and Catherine Opie Joseph Grigely Miguel Gutierrez Karl Haendel Philip Hanson Jonn Herschend Sheila Hicks Channa Horwitz HOWDOYOUSAYYAMINAFRICAN? Susan Howe Jacqueline Humphries Gary Indiana Doug Ischar Carol Jackson Travis Jeppesen Alex Jovanovich Angie Keefer Ben Kinmont Shio Kusaka Chris Larson Diego Leclery Zoe Leonard Tony Lewis Pam Lins Fred Lonidier Ken Lum Shana Lutker Dashiell Manley John Mason Keith Mayerson Suzanne McClelland Dave McKenzie Bjarne Melgaard Rebecca Morris | Joshua Mosley My Barbarian (Malik Gaines, Jade Gordon and Alexandro Segade) Dona Nelson Ken Okiishi Pauline Oliveros Joel Otterson Laura Owens Paul P. taisha paggett Charlemagne Palestine Public Collectors Sara Greenberger Rafferty Steve Reinke with Jessie Mott David Robbins Sterling Ruby Miljohn Ruperto Jacolby Satterwhite Peter Schuyff Allan Sekula Semiotext(e) Amy Sillman Valerie Snobeck and Catherine Sullivan A.L. Steiner Emily Sundblad Ricky Swallow Tony Tasset Sergei Tcherepnin Triple Canopy Philip Vanderhyden Pedro Vélez Charline von Heyl David Foster Wallace Dan Walsh Donelle Woolford Molly Zuckerman-Hartung |
More from this series
Learn more about the Whitney Biennial, the longest-running survey of American art.
Events
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Wed,
May 28
Lower Manhattan Cultural Council Studio Visits: Sara Greenberger Rafferty And Jacolby Satterwhite
7 pm
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Sun,
May 25
Pauline Oliveros
All day
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Sun,
May 25
Michelle Grabner: Film and Video Selections
All day
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Sun,
May 25
Member Morning Viewing: 2014 Whitney Biennial
10–11 am
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Sat,
May 24
Pauline Oliveros
All day
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Sat,
May 24
Michelle Grabner: Film and Video Selections
All day
Whitney Stories
Audio Guides
Kids can hear directly from artists as they talk about the thoughts, processes, and ideas behind their work in the 2014 Whitney Biennial.
Installation Photography
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). Drawings read in columns from top to bottom: My Barbarian, Home of the Teacher I, 2013; Landless Peasant II, 2013; In Praise of the Common Cause, 2013; Household I, 2013; Printing Press II, 2013; Store I, 2013; Mother and Baby with Flowers (After Cassatt), 2013; Patriotic Copper Depot II, 2013; Home of the Teacher III, 2013; Patriotic Copper Depot I, 2013; Prison II, 2013; I Have a Son Who Is Needed, 2013; Lenin to the Women: Show That You Can Fight, 2013; Landlady’s Visit, 2013; How?, 2013; Household II, 2013; Our Comrade, 2013; Factory (Suklinov Works), 2013; Mask, 2013; Illyitch, 2013; Landless Peasant III, 2013; Street, 2013; Your Son Has Been Shot, 2013; Home of the Teacher IV, 2013; He Went to the Wall Built By Men Just Like Him, 2013; In Praise of Communism, 2013; Landless Peasant I, 2013; Estate Kitchen (Butcher), 2013; City of Tver, 2013; Nothing You Do Does Anything, 2013; Masks, 2013; Household III, 2013; Hectograph, 2013; Store II, 2013; Patriotic Copper Depot III, 2013; Printshop at Night, 2013; Muratov Works, 2013; Before We Destroy Them All (And That Will Be Soon), 2013; Prison I, 2013; Illyitch’s Mother, 2013; Cashier, 2013; Unemployed Man, 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: My Barbarian, Unemployed Man, 2013; Policeman, 2013; Foreman, 2013; Woman in Black, 2013; Peasant, 2013; Prison Guard, 2013; Shopper, 2013; Gatekeeper, 2013; Butcher, 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Ben Kinmont, Sshhh, 2002–; Philip Hanson, A Divine Image: Seraphim (Blake), 2013; After Great Pain (Dickinson), 2013; A Divine Image : Pink Light (Blake), 2013; Ricky Swallow, Stair with Contents, 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Suzanne Mcclelland, Ideal Proportions (Steve and John), 2013; Ricky Swallow, Chair Study/Ripple (soot), 2013; Peter Schuyff, Sans Papier, 2004–14; Dawoud Bey, Braxton McKinney and Lavone Thomas (from The Birmingham Project), 2012; Maxine Adams and Amelia Maxwell (from The Birmingham Project), 2012; Ricky Swallow, Z Sculpture with String, 2013; Tony Lewis, Peoplecol, 2013; ceho (ceho), 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Sarah Charlesworth, Camera Work, 2009; Regarding Venus, 2012; Ricky Swallow, Z Sculpture with String, 2013; Chair Study/Ripple (soot), 2013; Shana Lutker, Protestation!, 2014; Gretchen Bender, People in Pain, 1988/2014. Photograph by Sheldan C. Collins
Installation view of the Whiteny Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Sterling Ruby, Basin Theology/Butterfly Wreck, 2013; Alma Allen, Untitled, 2013; Shelia Hicks, Pillar of Inquiry/Supple Column, 2013–14; WariWalk (stroller on the altiplane), 2014; Embedded Thoughts, 2013–14; Shana Lutker, Protestation!, 2014; Sarah Charlesworth, Camera Work, 2009; Regarding Venus, 2012; Ken Lum, Midway Shopping Plaza, 2014. Photograph by Ron Amstutz
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Joel Otterson, 187 Bottoms Up, 2013; Camp, 2013; (in tent) Rags to Riches, 1993–2013; Curtains Laced with Diamonds Dear for You, 2014; 84 Bottoms Up, 2013; Shelia Hicks, Pillar of Inquiry/Supple Column, 2013–14; Molly Zuckerman-Hartung, Notley, 2013; Amy Sillman, Mother, 2013–14; Amy Sillman and Pam Lins, Fells, 2013–14; Laura Owens, Untitled, 2014; Dona Nelson, String Beings, 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Molly Zuckerman-Hartung, Notley, 2013; Louise Fishman, Crossing the Rubicon, 2012; Ristretto, 2013; Shelia Hicks, Pillar of Inquiry/Supple Column, 2013–14; Alma Allen, Untitled, 2013; Untitled, 2013; Untitled, 2013; Dona Nelson, Okie Dokie, 2008; String Beings, 2013; David Robbins, Open-Air Writing Desk, 2013; (on television) Television Commercial for the Suburban, 2010; Public Service Announcement (Independent Imagination), 2013; Television Commercial for The Poor Farm, 2013; Television Commercial (Gavin Brown at the Green Gallery), 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Dona Nelson, String Beings, 2013; John Mason, Blue Figure, 2002; Spear Form, Soft White, 1999; Vertical Torque, White, 1997; Tile Wall, 2010; Dan Walsh, Threshold, 2013; Outfit, 2013; Joel Otterson, Camp, 2013; (in tent) Rags to Riches, 1993–2013; 187 Bottoms Up, 2013; 84 Bottoms Up, 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Matthew Deleget, Zero-Sum, 2011–; Pedro Vélez, #TheMonochromaticArtCritics, 2014. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). Radames “Juni” Figueroa, Breaking the Ice, 2014. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Miljohn Ruperto and Ulrik Heltoft, Voynich Botanical Studies, Specimen 50r Zima, 2014; Voynich Botanical Studies, Specimen 06r Jaro, 2014; Voynich Botanical Studies, Specimen 56r Jaro, 2014; Ei Arakawa, Hawaiian Presence (Hawaii), 2014; (Behind hat) Miljohn Ruperto and Ulrik Heltoft, Voynich Botanical Studies, Specimen 40r Jaro, 2014; (behind hat) Voynich Botantical Studies, Specimen 55r Podzim, 2014; Voynich Botantical Studies, Specimen 52r Zima, 2014; Ei Arakawa, Hawaiian Presence (Kauai), 2014; Miljohn Ruperto, Janus, 2014; Ei Arakawa, Hawaiian Presence (Manhattan), 2014; Carissa Rodriguez, Limbs of the Pacific (TTC), 2014; Unknown artist, F.D.R. Cartier Victory Clock, 1938; Unknown artist, Cartier display box, 1938; Dashiell Manley, The Great Train Robbery (Scene 3 version C), 2013; The Great Train Roberry (Scene 3), 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Bjarne Melgaard, Think I’m Gonna Have A Baby, 2014; Records on wall: Travis Jeppesen, Neptune/Antoine Coysevox, 2014; Walking Figure I (City)/Thomas Houseago, 2014; Spiral Jeyy/Robert Smithson, 2014; Misc. Spill/Cady Noland, 2014. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). All paintings: Etel Adnan, Untitled, 2013; Case at left: New York: From The Triborough Bridge to South of Manhattan, New York, May 21, 1990, 1990; Center cases: New York, 1990, 1990; December From My Window, 1993; Five Senses for One Death, 1969; Back wall: Champs de Petrol, 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Triple Canopy installation (left room): Frank B. Rhodes, Untitled, 1980; Triple Canopy, Pointing Machines II (Basin Stands), 2014; Pointing Machines II (Chestertown, Maryland), 2013; Unknown artist, Photograph of We Go for the Union (c. 1840-50), 1962; Transparency of Catalyntje Post (c. 1747), c. 1979; Photograph of The Cat (c. 1840), 1962; Triple Canopy, Pointing machines III (Chestertown, Maryland), 2013; Unknown artist, Photograph of Oneida Chieftan Shikellamy (c. 1820), 1962; Lisa Anne Auerbach, You Can have your kumbaya, I’ll take the darkness (Black Sheep Sweater), 2013 & Journal Pants, Winter, 2012–13, 2013; No On 8 (Ghost), 2009 & Exhaust the Limits, 2012; We Are All Pussy Riot, We Are All Pussy Galore, 2013 & SxE Poseur, 2005; Let the Dream Write Itself, 2014. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right, starting from far wall: Keith Mayerson, Louise Bourgeois at her Salon, 2008; Sunrise over Elsinore, 2011; Night Cabin, 2011; Radiant Landscape (with Andrew and the Dogs), 2011; North America from Space, 2012; Times Square, 2011; Backstage at Dior, 2008; Model in Pink, 2009; Husbands (Andrew and I), 2011; My Family, 2013; The Abduction of Ganymede (Rescued from Eagle’s Nest), 2006; Elvis ’56, 2006; Andrew in the Proust Room on Our 40th Birthdays, 2010; Me in the Proust Room for Our 40th Birthdays, 2010; Clipper Ship “Comet”, 2007–08; Blue Boy (Ty Cashe), 1991; Lisa Anne Auerbach, American Megazine #2, 2014; You Can have your kumbaya, I’ll take the darkness (Black Sheep Sweater), 2013 & Journal Pants, Winter, 2012–13, 2013; No On 8 (Ghost), 2009 & Exhaust the Limits, 2012; We Are All Pussy Riot, We Are All Pussy Galore, 2013 & SxE Poseur, 2005. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Tony Greene, His Puerile Gestures, 1989; His Inversion, 1989; Untitled (yellow pour), 1990; Untitled (Wes), 1990; Untitled (Matt), 1990; Untitled (orange pour), 1990; Miljohn Ruperto, Janus, 2014; Kevin Beasley, Untitled (Jumped Man), 2014. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Semiotext(e) Installation: Semiotexte: New Series, 2014; Poster for the Nova Convention, 1978; Wallpaper, n.d.; Interview of Jack Smith by Sylvère Lotringer, 1978; Mike Kelley, Poster for the Chance Event, 1996; The Itinerary of Catastrophe, 2008; Paul Gellman, Excerpt from Gilles Deleuze From A to Z, 1996. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Valerie Snobeck and Catherine Sullivan, Image of Limited Good, 2014; Rebecca Morris, Untitled (#14-13), 2013; Dave McKenzie, The Beautiful One Has Come, 2012; Jimmie Durham, Choose Any Three, 1989; Charline Von Heyl, Folk Tales, 2013; Paul P, Writing Table for Nancy Mitford (Blitz era), 2013; Carol Jackson, BLEHH, 2011; Elijah Burgher, The Pattern of all patience 2, 2013–14; Academy Records and Matt Hanner, No Jets disc III parts 1 and 2, n.d.; The Spectre (full of stars), 2014; Carol Jackson, Slip, 2013; (TV) Dave McKenzie, Camera, 2012; Carol Jackson, Youthful Beast, 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Paul P, Writing Table for Nancy Mitford (Blitz era), 2013; Valerie Snobeck and Catherine Sullivan, Image of Limited Good, 2014; Charline Von Heyl, Folk Tales, 2013; Terry Adkins, Aviarium, 2014. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Terry Adkins, Aviarium, 2014; Gary Indiana, Untitled (Stanley Park), 2014; Carol Jackson, Pandemonium, 2013; Valerie Snobeck and Catherine Sullivan, Image of Limited Good, 2014. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Joseph Grigely, The Gregory Battcock Archive, 2009–14; Rebecca Morris, Untitled (#14-13), 2013; Untitled (#15-13), 2013. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). From left to right: Public Collectors, Malachi Ritscher, 2014; Public Collectors, Malachi Ritscher, 2014. Photograph by Sheldan C. Collins
Installation view of the Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7–May 25, 2014). Photograph by Sheldan C. Collins
Zoe Leonard, 945 Madison Avenue, 2014 (installation view, Whitney Museum of American Art, New York). Collection of the artist; courtesy the artist, Galerie Gisela Capitain, Murray Guy, and Galleria Raffaella Cortese. Photograph by Bill Jacobson Studio, New York
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Shop nowCuratorial Statements
Anthony ElmsIf 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?” | Stuart ComerHow 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. | Michelle GrabnerAlthough 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. |
In the News
"State of Our Art, According to Whitney: A Guide to the 2014 Whitney Museum Biennial"
—The New York Times
"Still Sensing the Presence of a Departed Composer: Robert Ashley’s Work Lives On at the Whitney Biennial"
—The New York Times
"Take Ecstasy With Me, A Tribute to Jose Esteban Munoz"
—Huffington Post
"Whitney Biennial Goes Big with 3 Curators, 103 Participants"
—Gotham Magazine
"The 2014 Whitney Biennial Is Taking Shape"
—The New York Times
"10 Things the 2014 Whitney Biennial List Tells Us"
—Artspace