Cover for 1997 Biennial catalogue
Whitney Biennial 1997
Mar 20–June 1, 1997
Cover for 1997 Biennial catalogue
The Whitney Biennial 1997 was curated by Lisa Phillips and Louise Neri.
More from this series
Learn more about the Whitney Biennial, the longest-running survey of American art.
Installation Photography
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Richard Prince, Pretty Good (1996); Richard Prince, My Best (1996); Richard Prince, So Much (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Douglas Blau, Sacred Allegory (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Lari Pittman, Once Awkward, Now Spacious and Elastic (1996); Lari Pittman, Once Left for Dead, Now Madly Kissed (1996); Lari Pittman, Once Inverted, Now Throw-Away and Exponential (1996); Lari Pittman, Once Religious and Descriptive, Now Secular and Fragrant (1997); Lari Pittman, Once Pastoral and Deceptive, Now Congested and Pragmatic (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Diana Thater, Electric Mind (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Chris Burden, Pizza City (1991–96). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Byron Crockett, Ignis Fatuus (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Louise Bourgeois, Arched Figure, No.1 (1997); Louise Bourgeois, Torso (1996); Louise Bourgeois, Couple III (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Louise Bourgeois, Arched Figure, No.1 (1997); Louise Bourgeois, Pink Days and Blue Days (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Richard Phillips, Alien (1996–97); Richard Phillips, Peel (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Ed Ruscha, Bloated Empire (1997); Ed Ruscha, Brave Man’s Porch (1996); Ed Ruscha, Industrial Truck Bodies (1997); center: M. Ashkin, No.49 (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Kara Walker, Presenting Negro Scenes Drawn Upon My Passage Through the South and Reconfigured for the Benefit of Enlightened Audiences Wherever Such May Be Found. By Myself, Missus K.E.B.Walker, Colored (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Charles Long and Stereolab, Bubble Gum Station (1995); Charles Long and Stereolab, 3 to 1 in Groovy Green (1995). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Gary Seator, B.D.O. (1997); Kerry James Marshall, Pastime (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Kerry James Marshall, Watts 1963 (1995); Kerry James Marshall, Our Town (1995); Kerry James Marshall, Pastime (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Jennifer Pastor, The Four Seasons: Winter, Fall, Summer (1994–95). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Felix Gonzalez-Torres, Untitled (America) (1994–95). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Felix Gonzalez-Torres, Untitled (for parakette) (1994). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Jason Rhoades, Uno Momento, theater in my dick/a look to physical ephemeral (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Jason Rhoades, Uno Momento, theater in my dick/a look to physical ephemeral (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Annette Lawrence, The Ancestors and Their Womb V (1995); Annette Lawrence, The Ancestors and Their Womb IV (1995); Annette Lawrence, The Ancestors and Their Womb II (1995); Annette Lawrence, Moons (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Paul Shambroom, Untitled (Minuteman II missile in truck, technician preparing for transport in Transporter erector vehicle, Ellsworth Air Force Base, S.D. (1992); Paul Shambroom, Untitled (Peacekeeper missile W87/Mk-21 Reentry vehicle(warhead)storage, each with 300 kiloton estimated yield, F.E. Warren Air Force Base, WY) (1992); Paul Shambroom, Untitled (B83 nuclear gravity bombs, each with estimated 1 megaton yield, Barksdale Air Force Base, Louisiana (1995). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Paul McCarthy, Santa Chocolate Shop (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Matthew Ritchie, Seven Earths (1995); Matthew Ritchie, The Binding Problem (1996); in case: Matthew Ritchie, Autogenesis (1996–97). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Katy Schimert, The Five Senses (1997). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). Sue Williams, Big and Multi Colored (1996); Sue Williams, Large Blue Gold and Itchy (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Antonio Martorell, Unlaced Atlas (Mandillo des Cajado 1 (Europe) (1996); Antonio Martorell, Unlaced Atlas II (Carribean) (1996). Photograph by Geoffrey Clements
Installation view of the 1997 Biennial Exhibition (Whitney Museum of American Art, New York, March 20–June 15, 1997). From left to right: Shahzia Sikander, Ready to Leave ? (1997); Ilya Kabakov, Treatments with Memories (1997). Photograph by Geoffrey Clements
In the News
“. . . too much of what’s here, even by artists who have looked strong elsewhere, seems tepid or tired or out of context. Unfamiliar artists mostly turn out to be unremarkable. The mix of fashionable and unfamiliar names seems calculated to appease insider tastes, which may partly account for why, despite its occasional inspired moments, the show also feels clinical rather than serendipitous.” —The New York Times
“The raucous, fun-house atmosphere of past biennials has evaporated like overboiled formula [. . .]. This year’s event looked sleek and sedate enough to serve as a spread in a shelter magazine.” —The New York Times
“. . . the show is chic and brash. But it isn’t Jeff Koons cynical, or in-your-face political, or wanly theoretical. What’s notable in the ’97 Biennial is the poignancy of its art.” —The Washington Post
“There is a lot to admire in the show which, as a whole, is intelligent and challenging.” —The Burlington Magazine