by Paddy Johnson on March 16, 2017
Out of the ten Whitney Biennials I’ve seen, this is the first one that could have used a vomit warning. But here we are, in Trump’s America, a future many of us never wanted to imagine, let alone live through. What is the purpose of art in this New America? This year’s Biennial bears no answers. Art doesn’t exist to defend its purpose and even if it did this exhibition was organized prior to the election. Nevertheless, it does bring then-simmering themes to a boil. So, while almost none of the work is Trump themed, as a whole the exhibition reads as a responsive to the challenges the country faces—increasing income inequality across the board, failing institutions, and the rise of hate-fueled violence. If art is a mirror, then this year’s Biennial should scare the shit out of you.
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by Michael Anthony Farley on March 13, 2017
The week is of course dominated by two news items: The Whitney Biennial and The Wintery Downfall.
After the blizzard, Wednesday is a great opportunity to get yourself in the snowy mood, art-wise. Enjoy doses of culture from freezing, windswept regions, including Marsden Hartley’s Maine at The Met Breuer (if you’re missing the Whitney’s old digs) and Berlin-based Danish/Norwegian duo Elmgreen & Dragset in conversation with Dan Cameron at The Flag Art Foundation. Later, catch the Icelandic thriller Hevn at Scandinavia House’s New Nordic Cinema screening series.
Other highlights include Fort Gansevoort’s female-perspective sports show March Madness Thursday night and TRANSFER’s four year birthday party, which will feature affordable editions from some of our favorite digital artists.
Oh yeah, and make time to check out the Biennial. I’m told it’s good, but “traumatic”. An appropriately bleak show to match our physical and political climate?
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