Whitney Biennial 2019 at Whitney Museum of American Art

Monday, May 27, 2019
Whitney Biennial 2019 at Whitney Museum of American Art

The essential exhibition of contemporary art, featuring 75 artists across multiple disciplines, including painting, film, performance and sound. 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.

Image:  John Edmonds, The Villain, 2018. Inkjet print, 30 × 24 in. (76.2 × 61 cm). Image courtesy the artist and Company, New York.

 

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.  

 

 John Edmonds, The Villain, 2018. Inkjet print, 30 × 24 in. (76.2 × 61 cm). Image courtesy the artist and Company, New York.

 

Curatorial Statement by Jane Pancetta and Rujecko 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.

 

Brendan Fernandes, The Master and Form, 2018. Performance view, Graham Foundation, Chicago, IL, 2018. Image courtesy the artist and Monique Meloche Gallery, Chicago. Photograph by Brendan Leo Merea

 

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, associate curator, and Rujeko Hockley, assistant curator, with Ramsay Kolber, curatorial project assistant.

 

Until 22 September, 2019

 

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