Whitney Biennial 2019

May 17–Oct 27, 2019

The Whitney Biennial is an unmissable event for anyone interested in finding out what’s happening in art today. Curators Jane Panetta and Rujeko Hockley have been visiting artists over the past year in search of the most important and relevant work. Featuring seventy-five artists and collectives working in painting, sculpture, installation, film and video, photography, performance, and sound, the 2019 Biennial takes the pulse of the contemporary artistic moment. Introduced by the Museum’s founder Gertrude Vanderbilt Whitney in 1932, the Biennial is the longest-running exhibition in the country to chart the latest developments in American art.  

Read more about the exhibition in a statement by the curators.

View film screenings and performances.

En Español

Para la Bienal, nos complace ofrecer los siguientes recursos y programas en español: la guía móvil, visitas guiadas de la exposición los viernes y sábados por la tarde, y visitas guiadas gratuitas para las escuelas públicas y concertadas de la Ciudad de Nueva York. Los textos de pared de la exposición se encuentran disponibles en español en el Museo.

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Eddie Arroyo

1

Floor 6

Born 1976 in Miami, FL
Lives in Miami, FL

Eddie Arroyo’s urban landscape paintings focus on Miami’s Little Haiti, where he lives and works. The artist’s style recalls historical European landscapes as well as scenes by American artists such as Edward Hopper, but his subject matter—the gentrification of a primarily Black and Latinx neighborhood—is contemporary.                        

Arroyo painted the four panels featured in the Biennial over an extended period of time, depicting the same site as it appeared from 2016 to 2019. Their focus is a building that until recently housed the Cafe Creole—one of many businesses in the area bearing a mural by Serge Toussaint, a local artist and professional sign painter known for his portrayals of Little Haiti. The narrative that unfolds in Arroyo’s work chronicles the erasure of a community by real estate development—a force that he resists through the very act of making these paintings, as he works alongside local activists fighting to change the current trajectory of the neighborhood.

5825 NE 2nd Ave., Miami, FL 33137, 2017

A painting of street art on the side of a building.

Eddie Arroyo, 5825 NE 2nd Ave., Miami, FL 33137, 2017. Acrylic on canvas, 28 × 36 in. (71.1 × 91.4 cm). Image courtesy the artist and Spinello Projects, Miami. Photograph by Eddie Arroyo

A painting of street art on the side of a building.

  • Eddie Arroyo

    In 2019 Biennial Floor 6

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    Eddie Arroyo

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    Eddie Arroyo: I'm Eddie Arroyo. I'm an artist, I do a series of paintings of the Little Haiti area mostly.

    Little Haiti is located in Miami. I live over there right now, I've been there for about five years and I've been witnessing this transformation.

    Narrator: In these three paintings, Arroyo depicted the same building over the course of three years. In 2016, it was home to a restaurant called Café Creole, which broadcast its name with a colorful mural.

    Eddie Arroyo: In 2017, it seems that the business had been evicted, or maybe it was just not working for a reason. However, I'm suspicious about a business such as Café Creole not being successful in Little Haiti.

    The second one and the third one, the mural has been subsequently erased. And I came to find out that it's the owner that decided to do that. It wasn't an impulse from the people in the neighborhood.

    Café Creole, the 2016 version of that particular structure, is a mural painted by Serge Toussaint. He's a sign painter. For a number of years he has made it a personal objective to capture Little Haiti and have it represented through the murals.

    A lot of developers were not on board with it as opposed to the local businesses, so a number of his murals that initially were about “welcome to Little Haiti” were painted over white. Subsequently, gone under erasure and basically whitewashed, as far as I'm concerned. It reflects the tension of local developers seeing the potential of prosperity alongside Little Haiti and the identity of the neighborhood.

    Of course, as an artist this is my interpretation of what's happening. But I think that particular triptych is a good indicator of how this is unfolding, as we move forward in this late stage of urban redevelopment.

    For me, it's just a question of ownership and the decisions being made, and who has a stake and a voice, and what the future of a neighborhood or a place, an identity, is going to be.

Events

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Audio guides

A sculpture of 4 rolled pieces of tarp on top of each other leaning against a wall.

Maia Ruth Lee, Bondage Baggage Prototype 4, 2018. Tarp, rope, tape, luggage, used clothing, and bedding, 67 × 35 × 21 in. (170.2 × 88.9 × 53.3 cm). Image courtesy the artist and Jack Hanley Gallery, New York. Photograph by Brad Farwell

A sculpture of 4 rolled pieces of tarp on top of each other leaning against a wall.

2019 Biennial
Floor 6

“It's a snapshot of contemporary art making in the United States today.”—Jane Panetta, 2019 Biennial co-curator

Hear from the artists and curators about works in the exhibition.

View guide
A close-up painting of and enlarged red telephone.

Keegan Monaghan, Incoming, 2016-17. Oil on canvas, 60 3/8 × 72 in. (153.4 × 182.9 cm). Collection of Ninah and Michael Lynne. Image courtesy the artist and James Fuentes Gallery, New York. Photograph by Jason Mandella

A close-up painting of and enlarged red telephone.

2019 Biennial
Floor 5

“It's a snapshot of contemporary art making in the United States today.”—Jane Panetta, 2019 Biennial co-curator

Hear from the artists and curators about works in the exhibition.

View guide
A beige, geometric sculpture with elements both hanging on the wall and on the floor.

Diane Simpson, Lambrequin and Peplum, 2017. Painted fiberboard crayon on polyester, and copper tacks, 109 × 50 × 31 in. (276.9 × 127 × 78.7 cm). Image courtesy the artist; Corbett vs. Dempsey, Chicago; JTT, New York; and Herald Street, London. Photograph by Tom Van Eynde

A beige, geometric sculpture with elements both hanging on the wall and on the floor.

2019 Biennial
Floor 1

“It's a snapshot of contemporary art making in the United States today.”—Jane Panetta, 2019 Biennial co-curator

Hear from the artists and curators about works in the exhibition.

View guide

Film Screenings and Performances

A dedicated screening program of eighteen films, selected by three guest curators, will immerse viewers in tales ranging from the world of global Black music, fashion, and visual culture to the discovery of a nine-thousand-year-old skeleton in Washington State. Performance works, from opera to social critique, will take place in the galleries, the theater, outdoors, and other spaces throughout the museum.

LEARN MORE

Exhibition Catalogue

Whitney Biennial 2019 catalogues in four colors standing up in a row.

Whitney Biennial 2019 catalogues

Whitney Biennial 2019 catalogues in four colors standing up in a row.

Coming in the midst of dramatic shifts in the cultural, social, and political landscapes, this book serves as an important resource on present-day trends in contemporary art in the United States. The catalogue features process images and source material from each of the Biennial participants, in addition to a commissioned text on each artist and essays by the curators on the themes of the exhibition.

Buy now

Explore works from this exhibition
in the Whitney's collection

View 88 works

In the News

“This year’s Whitney Biennial is organized by Jane Panetta and Rujeko Hockley, two astute young curators on the museum’s staff.” —The New Yorker

“There’s perhaps no better place to check out the contemporary art world’s up-and-comers than at New York City’s Whitney Museum of American Art, and this summer show is the crème de la crème.” —Forbes Travel Guide

“While the roster includes familiar names (Nicole Eisenman, Josh Kline) and new cult favorites (the unconventional collective Forensic Architecture, nominated for the 2018 Turner Prize), it also leaves room for plenty of unexpected discoveries.” —GARAGE

“The curators of the seventy-ninth Whitney Biennial take the pulse of American creativity at one of the most polarizing times in the country’s history.” —Elle

“While we used to believe art history was a progression of one ism and style to the next, artists are now inhabiting the beautiful ruins of the art of the past 125 years.” —New York Magazine

“In many ways, this year’s biennial is not just a passive reflection of what is happening in contemporary art, but also a statement about the importance of supporting and cultivating emerging artists, especially during challenging times.” —AM New York

“If there was ever a biennial you wouldn’t want to miss, it’s this one.” —New York Post

“A requisite for anyone who wants to explore the vast talent of 75 artists who push the boundaries of gender, race, and equity, wrestling with ideas and topics that are indispensable in today’s social dialogue . . . This is the art that defines our present.” —Forbes

“Artist by artist, piece by piece, there’s a lot of quiet agitation in the air . . . A view of American art far more inclusive than it once was . . . The ethnic and gender mix is balanced to a degree unimaginable even a decade ago.” —The New York Times

“The show is by turns beautiful, elegant, formally complex, and even funny at times. It is also fierce.” —4Columns 

“Fresh and energizing” —Gothamist

“ . . . it’s a place where traditional boundaries give way to an animated spirit of inclusion . . . a good lesson for life . . . this Biennial makes thoughtful purpose its hallmark . . . Boom.” —The Boston Globe

“For an up-to-the-minute blockbuster that confronts some of today’s thorniest issues—race, class, gender, inequality—the Whitney’s 2019 Biennial is unexpectedly lovely to look at. . . . Much of the work here is subtle, thoughtful and meticulously engineered.” –Financial Times

Curatorial Statement
By Jane Panetta and Rujeko Hockley

Often described as a snapshot of art in the United States, the Biennial brings together work by individuals and collectives in a broad array of mediums. Over the past year and a half—an undeniably intense and polarized time in this country—we made hundreds of studio visits. While we often encountered heightened emotions, they were directed toward thoughtful and productive experimentation, the re-envisioning of self and society, and political and aesthetic strategies for survival. Although much of the work presented here is steeped in sociopolitical concerns, the cumulative effect is open-ended and hopeful.

Key issues and approaches emerge across the exhibition: the mining of history as a means to reimagine the present or future; a profound consideration of race, gender, and equity; and explorations of the vulnerability of the body. Concerns for community appear in the content and social engagement of the work and also in the ways that the artists navigate the world. Many of the artists included emphasize the physicality of their materials, whether in sculptures assembled out of found objects, heavily worked paintings, or painstakingly detailed drawings. An emphasis on the artist’s hand suggests a rejection of the digital and the related slick, packaged presentation of the self in favor of more individualized and idiosyncratic work.

While we were organizing this exhibition, broader debates in the public sphere surfaced at the Museum, which itself became the site and subject of protest, as it has been throughout its history. Fundamental to the Whitney’s identity is its openness to dialogue, and the conversations that have occurred here and across the country became a productive lens through which to synthesize our own looking, thinking, and self-questioning. 


The 2019 Whitney Biennial is organized by Jane Panetta and Rujeko Hockley, with Ramsay Kolber.

The film program is organized by Maori Karmael Holmes, Sky Hopinka, and Matt Wolf.

The performance program is organized by Jane Panetta, Rujeko Hockley, and Greta Hartenstein.

Whitney Biennial 2019 is presented by

   

Major support is provided by The Brown Foundation, Inc., of Houston; The Philip and Janice Levin Foundation; The Rosenkranz Foundation; and the Whitney’s National Committee.

Generous support is provided by Lise and Michael Evans; and the John R. Eckel, Jr. Foundation.

Significant support is provided by 2019 Biennial Committee Co-Chairs: Beth Rudin DeWoody, Bob Gersh, Miyoung Lee, and Fred Wilson; 2019 Biennial Committee members: Ashley Leeds and Christopher Harland, Diane and Adam E. Max, Annette and Paul Smith, Sarah Arison and Thomas Wilhelm, Bill Block, the Debra and Jeffrey Geller Family Foundation, Rebecca and Martin Eisenberg, Amanda and Glenn Fuhrman, Barbara and Michael Gamson, Marjorie and James D. Kuhn, Kourosh Larizadeh and Luis Pardo, Melanie Shorin and Greg S. Feldman, Dora and Cranford Stoudemire, and the William and Ellen Taubman Foundation; and Further Forward Foundation, the Kapadia Equity Fund, The Keith Haring Foundation Exhibition Fund, Katie and Amnon Rodan, and Sotheby’s.

Additional support is provided by the Barbro Osher Pro Suecia Foundation.

Funding is also provided by special Biennial endowments created by Melva Bucksbaum, Emily Fisher Landau, Leonard A. Lauder, and Fern and Lenard Tessler.

Curatorial research and travel for this exhibition were funded by an endowment established by Rosina Lee Yue and Bert A. Lies, Jr., MD.

New York magazine is the exclusive media sponsor.

More from this series

Learn more about the Whitney Biennial, the longest-running survey of American art.