171:, called it "pious, often arid". The art historian Robert Hughes vehemently criticized lack of painting, and the "wretched pictorial ineptitude" of the artists, dismissed the abundance of text as "useless, boring mock documentation", and mocked the focus on "exclusion and marginalization ... a world made bad for blacks, Latinos, gays, lesbians and women in general." The largely shared sentiment was that the public felt alienated by the confrontational demands of the artwork. It was the first Whitney Biennial to treat video works with the same attention to space as sculpture, designating two entire galleries to them. Text-heavy Installations demanded attention and participation from the audience. The artists made it extremely difficult to take in the work as a passive viewer.
165:'s metal buttons bearing the message "I can't imagine ever wanting to be white." The 1993 Whitney Biennial was the most diverse exhibit by a major American museum up until that time. In 1970 less than 1% of artists at the Whitney Museum were non-white. In 1991, only 10% of artists were non white. Vanessa Faye Johnson stated that despite intentions, the "lack of exchange and dialogue, the simplification of complex issues in the Biennial" effectively cast the artists largely as victims in the eyes of the public. Roberta Smith, an art critic for
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years in New York that are essentially overlooked. But I just felt it was time for an intervention." Poet
Christa Bell explained: "ur entire participation was a protest... Just because people don't know that doesn't mean it is any less of a protest. Withdrawal was the final act of protest. Black people en masse being inside of an institution like the Whitney, presenting art, is itself a form of protest. We just followed it through to its inevitable conclusion."
186:'s exhibition. Eunsong Kim and Maya Isabella Mackrandilal criticized the piece: "The insertion of people of color into white space doesn't make it less colonial or more radical—that's the rhetoric of imperialistic multiculturalism, a bullshit passé theory." and suggest this pieces treats "othered bodies subcontractable."
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Yams
Collective member and artist Sienna Shields said "Every Whitney Biennial I have ever been to, you can barely count the number of black artists in the show on one hand. I didn't want to be a part of that," Shields said. "There are so many amazing artists of color that I have known in the past 12
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The 2014 Whitney
Biennial was also somewhat controversial for its lack of diversity, 9 out of the 109 artists were black or African American, including Donelle Woolford, a fictional character developed by 52-year-old white artist Joe Scanlan. She was the only black female artist included in curator
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The
Whitney Biennial often extends to sculpture exhibitions in Central Park. The 2008 edition took over the Park Avenue Armory as a space for performance and installation art. The 2014 Whitney Biennial is the last one in the museum's Marcel Breuer building. The museum is leaving the Upper East Side
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The
Whitney Museum had a long history beginning in 1932 of having a large group exhibition of invited American artists every year called the 'Whitney Annual'. In the late sixties, it was decided to alternate between painting and sculpture, although by the 1970s the decision was to combine both
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In the past the
Whitney Museum has tried different ways to organize its biennial. It has used its own staff members and invited outside curators, including Europeans, to present the show. In 2010 it even asked a former art dealer, Jay Sanders, who would later become a Whitney curator, to help
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The determination of what constitutes "American art" (and whether non-citizens of the United States who work or show in
America may be included in the biennial) has been subject to different interpretations by various biennial curators. In 2006, European-born curators
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Additionally, The YAMS Collective, or HOWDOYOUSAYYAMINAFRICAN?, a collective of 38 mostly black and queer artists, writers, composers, academics, filmmakers and performers participated and withdrew from the 2014 Biennial as a protest of the
Whitney Museum's policies.
284:. The Forensic Architecture biennial submission, “Triple-Chaser” (2019), collected evidence, ammunition rounds, and eyewitness testimony that links Warren Kanders to the killings and maiming of Palestinians. It is a collaboration with documentary filmmaker
79:, United States. The event began as an annual exhibition in 1932; the first biennial was in 1973. It is considered the longest-running and most important survey of contemporary art in the United States. The Biennial helped bring artists like
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The fifty-one artists for 2012 were selected by curator
Elisabeth Sussman and freelance curator Jay Sanders. It was open for three months up to 27 May 2012 and presented for the first time "heavy weight" on dance, music and theatre. Those
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As the
Whitney Museum's signature event, the Biennial is a highly anticipated exhibition that often acts as a barometer of trends and ideas percolating in global art communities, as told through an American
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In 2010, for the first time a majority of the 55 artists included in that survey of contemporary American art were women. The 2012 exhibition featured 51 artists, the smallest number in the event's history.
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and should be held individually and collectively accountable for the deaths of 189 Palestinian protesters in Gaza. As such, the 2019 Whitney Biennial was labelled "The Tear Gas Biennial" by
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Reinhard, Scott; Watkins, Derek; DeSANTIS, ALICIA; Taylor, Rumsey; Mitter, Siddhartha (2019-07-05).
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Vartanian, Hrag; Haddad, Hrag Vartanian, Valentina Di Liscia, Natalie (2024-03-14).
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Still referred to as the "political" biennial, the 1993 edition included works like
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The most significant—and longest-running—survey of contemporary American art
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Dickenson, Elanore (2008). "Gender Discrimination in the Art Field".
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released a report stating Israeli security forces may have committed
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variations were open to spectators all day long in a separate floor.
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The 2017 Whitney Biennial featured a controversial painting of
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831:"The Yams, On the Whitney and White Supremacy - artnet News"
807:"HOWDOYOUSAYYAMINAFRICAN? | Whitney Museum of American Art"
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has been awarded to an artist exhibiting at the Biennial.
856:"The Story Behind the Yams' Whitney Biennial Protest"
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the most prestigious American contemporary exhibition
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Bat-Yam International Biennale of Landscape Urbanism
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included a number of non-citizens in their biennial.
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At the Whitney, A Biennial With A Social Conscience
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