Whitney Biennial 1997

Installation photography

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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, Past Times, 1997. Photograph by Geoffrey Clements

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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

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  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