Whitney Biennial 1977: Contemporary American Art
Feb 19–Apr 3, 1977
Whitney Biennial 1977: Contemporary American Art was curated by John G. Hanhardt, Barbara Haskell, Mark Segal, Patterson Sims, and Marcia Tucker.
View the full exhibition catalogue at the Internet Archive.
Artists
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Vito Acconci
11 works in the collection -
Nicholas Africano
2 works in the collection -
John Baldessari
40 works in the collection -
Lewis Baltz
20 works in the collection -
Jennifer Bartlett
18 works in the collection -
Lynda Benglis
5 works in the collection -
Mel Bochner
15 works in the collection -
Joan Brown
2 works in the collection -
Chris Burden
5 works in the collection -
Peter Campus
12 works in the collection -
Vija Celmins
11 works in the collection -
Chuck Close
43 works in the collection -
Robert Cumming
90 works in the collection -
Richard Estes
5 works in the collection -
Howard Fried
4 exhibitions -
Ron Gorchov
3 works in the collection -
Duane Hanson
1 work in the collection -
Michael Heizer
7 works in the collection -
Nancy Holt
2 works in the collection -
Joan Jonas
11 works in the collection -
Allan Kaprow
1 work in the collection -
Barry Le Va
15 works in the collection -
Brice Marden
91 works in the collection -
Agnes Martin
25 works in the collection -
Duane Michals
2 works in the collection -
Ree Morton
1 work in the collection -
Elizabeth Murray
49 works in the collection -
Bruce Nauman
51 works in the collection -
Jim Nutt
5 works in the collection -
Nam June Paik
29 works in the collection -
Dorothea Rockburne
8 works in the collection -
Robert Ryman
15 works in the collection -
Richard Serra
24 works in the collection -
Joel Shapiro
43 works in the collection -
Charles Simonds
1 work in the collection -
Alan Sondheim
2 exhibitions -
Keith Sonnier
5 works in the collection -
Pat Steir
39 works in the collection -
David True
2 works in the collection -
Richard Tuttle
47 works in the collection -
Woody Vasulka
3 exhibitions -
William Wegman
53 works in the collection -
H.C. Westermann
11 works in the collection -
Jackie Winsor
2 works in the collection -
Joe Zucker
10 works in the collection -
Terry Allen
2 exhibitions -
Brian Connell
1 exhibition -
Stephen A. Davis
2 exhibitions -
Terry Fox
2 exhibitions -
James Hill
1 exhibition -
Andy Mann
2 exhibitions -
Ilene Segalove
2 exhibitions -
Willie Walker
1 exhibition -
Dennis Oppenheim
25 works in the collection -
Alfred J. Jensen
5 works in the collection -
Alan Saret
6 works in the collection
Installation Photography

Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Joel Shapiro, Running Man (1976); Joel Shapiro, Untitled (1976); Joel Shapiro, Untitled (House on Field) (1975–76); Joel Shapiro, Fallen Tree (1976). Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Jim Nutt, I can Do It (1975–76); Jim Nutt, I Like You (1975); Jim Nutt, I’d Rather Stay (On the other Hand) (1975–76); Jim Nutt, Which Side Are You ON? (1975–76). Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Nicholas Africano, Cynthia’s Legs (1976); Nicholas Africano, Nicholas Watching (1976); Nicholas Africano, Rubbing Anna’s Legs (1976). Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Alfred Jensen, Doric Order; Alfred Jensen, Great Occupation; H.C. Westermann, Fools Gold; H.C. Westermann, Machine Dedicated to Spike Jones. Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Robert Cumming, Crutch-Arrow (1976); Robert Cumming, 2 Easel Chairs (1976); Robert Cumming, Distracted in Mid-Stride; Robert Cumming, Spike Heeled Man Kneels to Read (1975); Robert Cumming, Men’s Spike Heels (1975). Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: James Hill, Gorilla James in the Studio (1976); James Hill, Africa N.Y. Nights (1976); Richard Estes, Murano Glass (1976); Richard Estes, Double Self Portrait (1976); Richard Estes, Bridal Accessories (1975). Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: David True, Blue Sea (1976); David True, Green Wedge (1976); Dorothea Rockburne, Golden Section: Square Separated by Parallelogram with Diamond (1974); Dorothea Rockburne, Noli Me Tangere (1976); Dorothea Rockburne, Sepulcro (1976); center: Michael Heizer, Circle (1976). Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Chuck Close, Bob I/154 (1973); Chuck Close, Bob II/616 (1973); Chuck Close, Bob III/2464 (1973); Chuck Close, Robert/104,072 (1973–74); Chuck Close, Leslie (1973). Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Alan Saret, Single Filament Flexible Network Sculpture (1974–77); bottom: Alan Saret, Proposal for Nebraska State Highway Bicentennial Projects (1974); top: Alan Saret, Great Stair Place (1974); Ozalid prints. Photograph by Eeva Inkeri


Installation view of the 1977 Biennial Exhibition (Whitney Museum of American Art, New York, February 15–April 3, 1977). From left to right: Elizabeth Murray, Searchin (1976); Elizabeth Murray, Desire (1976); Elizabeth Murray, Beginner (1976); center: Jackie Winsor, Green Place (1976). Photograph by Eeva Inkeri

In the News
“The Whitney Museum’s 1977 Biennial has been praised by some and harshly criticized by others who have denounced many of the entries as trivial, silly, pretentious, or vulgar. [. . .] The vituperations should not cause spectators to overlook numerous other works of real quality . . .” —Art Journal
“Recent experience gives us ample reason to know in advance that the specialty of these shows—the thing that gives them their special quality and flavor—is a surpassing esthetic boredom. They seem to be governed by a positive hostility toward—a really visceral distaste for—anything that might conceivably engage the eye in a significant or pleasurable visual experience.” —The New York Times
“. . . one of the few places where American artists can uninhibitedly display their efforts in a non-commercial showcase.” —The New York Times
More from this series
Learn more about the Whitney Biennial, the longest-running survey of American art.