#biennal whitney

[tilbageidanmark]

Art is nothing if you don’t reach every segment of the people

[shreyaajmani]

Ayesha Kamal Khan’s ‘placeholder (sleeping dragon), N 33° 40' 58.1063", E 72° 59' 29.5449’

Born in New York, Ayesha Kamal Khan's work serves as a reflective interplay between tangible and intangible facets of the spaces we inhabit. It enhances the intricate layers of 'placehood', its infinite arrangements, and its incapacity for translation. Based between New York and Islamabad, Pakistan, Khan is a recent fellow of the Whitney Independent Study Program 2022-23. She completed her BFA from the National College of Arts, Pakistan in 2011 and an MFA from Pratt Institute in 2015. Her work has been exhibited internationally including Venice Architecture Biennale 2021, the Cuadro Gallery in Dubai, and the Queens Museum in New York. She also presently teaches at the New York Academy of Art and Pratt Institute.

Excerpt from Ayesha Kamal Khan's profile for Bonhams.

Text by Shreya Ajmani

[fiercerthanyou]

William John Viola Jr (25 January 1951 - 12 July 2024)

Mr Viola is remembered for his contemplative video portraits, experimental soundscapes, and immersive new media installations that grapple with universal human experiences of life, death, and evolving consciousness.

Over the course of his five-decade career, Mr Viola helped cement video as a contemporary artistic means of expression by exploring the possibilities of image and sound technology through single-channel displays, special effects, and closed-circuit sculptural installations.

He often alluded to this experience in his practice, drawing from this memory and spiritual traditions like Zen Buddhism, Islamic Sufism, and Christian mysticism for works like his five-part video series The Reflecting Pool (1977–79), which challenges viewers’ understanding of time and consciousness by focusing on moments of transition, such as day to night or movement to stillness. 

Over the course of his life, Viola was the recipient of numerous awards and honorary degrees and was the focus of major solo museum exhibitions, including the two-year show Bill Viola,' A 25-Years Survey, which originated at the Whitney Museum of American Art in 1997 and traveled to six museums in the United States and Europe. He also represented the US at the 46th Venice Biennale in 1995, where he presented a collection of five installations titled Buried Secrets that included the video work "The Greeting" (1995) — a project inspired by the early 16th-century Italian Mannerist painter Jacopo da Pontormo’s “The Visitation” (1528).

Rest in Power !

"The Deluge" (Going Forth by Day) (video still; 2002), Bill Viola. Courtesy Bill Viola Studio

[items-i-know]

Greene first had the inspiration for the series when she picked up a lipstick dropped by her friend outside the Whitney Biennale and opened it to find something so fascinating that it seemed better than all the art at the exhibition. She realised other people must also have unusually shaped lipstick bullets and she and her friends started to look out for them wherever they went. “You have to ask people ‘show me your lipstick’ – it seems kind of intimate to even say that. And then they have to give up their lipstick and I always say, ‘I’ll buy you a new lipstick if I can have your old one.’ - Why Stacy Greene’s seminal used lipstick photographs still resonate today by Upasana Das full piece in Dazed

[eventtimeltd]

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[importantwomensbirthdays]

Nan Goldin was born in 1953 in Washington, DC. Goldin is a distinguished and controversial photographer whose work focuses on themes of sexuality, addiction, and mortality. She is best known for her series The Ballad of Sexual Dependency, which began as a slideshow depicting Provincetown's gay scene in the 1970s, and eventually grew to over 900 images. It was shown at the 1985 Whitney Biennal, and was turned into a book that has since been reprinted more than 20 times. Goldin also organized the 1989 exhibition Witnesses: Against Our Vanishing, the first exhibit to feature art by those were living with or had died from AIDS. She has won the Hasselbad Award and the Edward MacDowell Medal, and been admitted to the French Legion of Honor.

[mybeingthere]

Whitney Bedford is an American contemporary painter who currently lives and works in Los Angeles, CA. She is teaching as a guest lecturer at the University of California. Bedford received her MFA at the University of California, Los Angeles in 2003. 

She was the winner of the 2001 UCLA Hammer Museum Drawing Biennale and received a Fulbright Graduate Fellowship from Hoschule der Kuenste, Berlin.

"My mother was a flight attendant, so my brother and I grew up traveling extensively in Europe, Asia, and the United States; all of the art and colour I saw growing up translated into being an artist."

https://whitneybedford.com/

[janjoycesmitz]

Helen Frankenthaler (American, 1928-2011)

❤️❤️❤️❤️❤️⭐⭐⭐⭐⭐👑

Essence MulberryDate:

1977

Color woodcut from four blocks on tan Japanese paper

Image/sheet: 100.7 × 46.5 cm

printed by John Hutcheson and Kenneth Tyler (American, born 1931)

Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow.

 

Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann.

 

Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture.

 

In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland.

 

As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour.

 

Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century.

Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others.

[goldenfiddle]

[maurosouza2024]

Doug Aitken (b. 1968) is an American artist and filmmaker whose work explores every medium, from sculpture, film, and installation to architectural intervention. His work has been featured in exhibitions around the world at institutions including the Whitney Museum of American Art, The Museum of Modern Art, Vienna Secession, the Serpentine Gallery in London, and the Centre Georges Pompidou in Paris. Aitken earned the International Prize at the Venice Biennale in 1999 for his installation, electric earth. He also received the 2012 Nam June Paik Art Center Prize and the 2013 Smithsonian American Ingenuity Award: Visual Arts. He lives and works in Los Angeles, California. https://www.dougaitkenmirage.com/mirage#bio https://www.dougaitkenworkshop.com

[statementvsbackgroundproject]

Lorna Simpson

Guarded Conditions, 1989

Lorna Simpson makes conceptual photographs and collages that explore issues of representation, identity, and history as they relate to the African American female experience. She combines original, found, or archival images with snippets of text, washes of paint, and collaged elements. Simpson often works in series and with gridded formats as she simultaneously generates meaning and mystery; she often shows her subjects from behind or obscured, which further rejects simple narrative resolutions. Simpson has been the subject of solo shows at the Museum of Modern Art, the Brooklyn Museum, the Museum of Contemporary Art Chicago, and the BALTIC Centre for Contemporary Art, among other institutions. She featured at the Venice Biennale in 1990 and 2015, at Documenta in 1987 and 2002, and at the Whitney Biennial in 1993, 1995, and 2002. On the secondary market, Simpson’s work has sold for up to six figures. Her practice has also encompassed film.

[visuallanguagecallumckelly]

Stranger research. Doug Aitken

Station to station is a modern cultural collision moving across the U.S. landscape, Station to Station, organized by artist Doug Aitken, was a three-week train ride from New York to California that connected leading figures and underground creators from the worlds of art, music, food, literature, and film.

Doug Aitken is an American artist and filmmaker. Defying definitions of genre, he explores every medium, from film and installations to architectural interventions.

His work has been featured in numerous exhibitions around the world, in such institutions as the Whitney Museum of American Art, The Museum of Modern Art, the Vienna Secession, the Serpentine Gallery in London and the Centre Georges Pompidou in Paris. He participated in the both the 1997 and 2000 Whitney Biennials, and earned the International Prize at the Venice Biennale in 1999 for the installation “electric earth”. Aitken received the 2012 Nam June Paik Art Center Prize, and the 2013 Smithsonian Magazine American Ingenuity Award: Visual Arts. In 2016 he received the Americans for the Arts National Arts Award: Outstanding Contributions to the Arts. In 2017 Aitken became the inaugural recipient of the Frontier Art Prize, a new contemporary art award that supports an artist to pursue bold projects that challenge the boundaries of knowledge and experience to reimagine the future of humanity.

[carmenvicinanza]

Jenny Holzer e la Word Art

Jenny Holzer, artista annoverata tra le 100 persone più influenti del 2024 per la rivista Time, è una importante esponente dell’arte neo-concettuale e pubblica.

Appartiene al ramo femminista di una generazione di artisti e artiste emersa intorno al 1980, alla ricerca di nuovi modi espressivi e narrativi.

Tra le sue opere più suggestive si ricordano la gigantesca scritta luminosa a Times Square Protect Me From What I Want e la scritta monumentale sopra il famoso casino Caesar’s Palace di Las Vegas, Money Creates Taste.

L’obiettivo principale del suo lavoro è la trasmissione di parole e idee negli spazi pubblici.

La sua arte è politica e tratta temi come violenza, oppressione, sessismo, potere, guerra e morte, provando a fare luce su vicende e argomenti che si vogliono silenziare o oscurare.

È stata un’esponente del Colab, Collaborative Projects, gruppo artistico nato alla fine degli anni Settanta, che propugnava una forma di attivismo culturale collettivo.

Le parole sono alla base dei suoi atti creativi. I suoi testi brevi sono presentati su tabelloni elettronici, stampati su poster e magliette, incisi su panchine di pietra, pavimenti di marmo e sarcofagi di granito, fusi in targhe di bronzo o d’argento. Le sue scritte sono state proiettate su facciate di edifici, versanti montuosi e superfici acquee.

Nata a Gallipolis, Ohio, il 29 luglio 1950, ha studiato arte alla Duke University di Durham, poi pittura, incisione e disegno all’Università di Chicago prima di laurearsi alla Ohio University. Trasferitasi a New York nel 1976, si è unita al programma di studi indipendenti del Whitney Museum. Lì ha iniziato a lavorare con le parole e il linguaggio, rendendoli parte delle sue opere.

La sua prima opera narrativa è stata Truism (1977-79), brevi enunciati su quotidianità, potere, guerra, giustizia, rapporti umani, stampati su fogli distribuiti e affissi in forma anonima per la città in un contesto di disordine finanziario e degrado. Gli anni di Reagan che seguirono hanno dato origine a un lavoro critico e analitico rivolto al potere istituzionale.

Ha iniziato a inserire i suoi testi su cartelli elettronici all’inizio degli anni Ottanta, che spesso scorrevano troppo velocemente, creando un sovraccarico sensoriale.

Nel giugno del 1980 ha partecipato, col Colab, al Times Square Show, maestosa mostra collettiva a cielo aperto della durata di un’intero mese. Un vero e proprio forum per lo scambio di idee e un catalizzatore per esplorare nuove direzioni politico-artistiche.

Le sue opere e i suoi progetti sono stati esposti in sedi prestigiose di tutto il mondo come il Guggenheim, il MoMA e il Whitney di New York; il Centre Pompidou di Parigi; l’Oslo Museum of Contemporary Art e la Neue Nationalgalerie di Berlino.

Nel 1990 ha rappresentato gli Stati Uniti alla Biennale di Venezia e vinto il Leone d’Oro per l’installazione Mother and Child.

Tre anni dopo, ha pubblicato la discussa serie Lustmord, per denunciare  stupri e omicidi durante la guerra in Bosnia.

Dal 2010 il suo lavoro si è concentrato sui documenti governativi riguardanti l’Iraq e il Medio Oriente. Una grande opera al LED ha presentato estratti dei verbali degli interrogatori dei soldati americani accusati di aver commesso violazioni dei diritti umani e crimini di guerra durante la guerra in Iraq.

Insignita di numerosi premi internazionali, nel 1996 ha ricevuto il premio Crystal del World Economic Forum, nel 2000 il Berlin Prize Fellowship, il National Art Awards nel 2011 e l’Innovator Awards nel 2022.

Nel 1995 ha realizzato il suo primo progetto interattivo per il web, rendendo modificabili alcuni dei suoi più noti Truism.

L’approdo più recente della sua ricerca artistica è costituito dalle proiezioni allo xeno, presentate per la prima volta a Firenze nel 1996. In queste opere le frasi luminose formano lunghi testi che scorrono sulle superfici urbane, assumendo inediti connotati di grande suggestione visiva.

Nel 2018, un estratto dell’opera Inflammatory Essays (1979-1982) è stato stampato su una carta cucita sul retro del vestito che la cantautrice neozelandese Lorde ha indossato ai Grammy. Il testo diceva: “Rallegrati! I nostri tempi sono intollerabili. Coraggio, perché il peggio è un presagio del meglio. Solo circostanze terribili possono accelerare il rovesciamento degli oppressori. I vecchi e i corrotti devono essere distrutti prima che i giusti possano trionfare. La contraddizione sarà accentuata. La resa dei conti sarà accelerata dalla messa in scena dei disordini seminali. L’apocalisse fiorirà”.

Fino alla fine di settembre 2024, al Guggenheim Museum è possibile visitare la sua personale Light Line, rivisitazione della storica opera d’arte del 1989 installata nello stesso museo. L’insegna LED, che lampeggia mentre cambia colore, carattere ed effetti speciali, era stata. ai tempi, la più lunga del mondo (163 metri) ed è considerata un capolavoro della word art.

Nel corso degli anni, il suo linguaggio è cambiato seguendo il corso del tempo e della storia, facendosi più politico, più cupo, più intenso e in altri casi più intimo e personale. Da I Cannot Breath, a Destroy Superabundance fino a I Smell You On My Skin.

La sua arte, provocatoria, di forte impatto e altamente comunicativa, l’ha resa una delle artiste più importanti della post-modernità.

[lanuitlennuie]

B. Ingrid Olson (Print, pas noté le titre)

B. Ingrid Olson, Proto Coda, Index, 2016-22 (un des 30 morceaux)

Le travail de B.Ingrid Olson saisi saisissant discrètement au milieu de la masse bouffante et spectaculaire de la biennale du Whitney Museum. Images-collages composites aux intentions pornographiques empêchées, le sexe escamoté ou machinalement symbolisé, qui accouchent d'objets cliniques, mi-froids mi-chauds, design propre et minimal, pervers, intercalés aux tirages photographiques. Il se dégage de ces images aux perspectives contrariées, la sensation des matériaux et des tentatives, entre bricolages d'atelier et introspection de chambre, celle d'un espace intermédiaire, cabine de vision binoculaire érotisme et histoire de l'art.

[transpondster]

Photos from various concerts I've seen in New York City, not in chronological order. I'm just posting these bc I went back to a previous Photos app library on an external drive and saw a bunch that I haven't seen in a few years. Many / most of these were shot with first- or second-generation iPhone cameras, so they're blurry and hard to really see but I don't mind. From the top:

Patty Schemel, Eric Erlandson, and Melissa Auf Der Maur from Hole, standing outside a theater in the East Village that had just screened Patty's documentary about her life in the band. Not really a 'concert', but I'll allow it

Pavement in Central Park

Quasi, at the Bowery Ballroom

M. Ward show, Central Park

David Byrne, Radio City Music Hall

King Crimson, Madison Square Garden Theater (small venue adjacent to the bigger MSG)

Paul Simon, giving a free talk on songwriting at the Union Square Barnes & Noble

Line of fans along W16th Street to see an early Justin Bieber show at the Highland Ballroom (i did not attend that show but the very long line outside my apartment building surprised me in 2008 to snap that photo)

Foo Fighters at MSG

Waiting for Nick Lowe and Robyn Hitchcock at The Grand Ballroom

Waiting for Aimee Mann at the Town Hall

Outside St. Ann's Warehouse in Brooklyn before the doors opened for a benefit concert featuring Lou Reed, Laurie Anderson, Antony, Blonde Redhead, Scissor Sisters, Norah Jones, and Damien Rice

The Voluptuous Horror of Karen Black, at the Park Avenue Armory during the Whitney Biennale

REM at MSG

Jackson Browne playing at a Borders Bookstore on the UES

Liz Phair at a club attached to the Maritime Hotel in Chelsea

Roxy Music at MSG

[janjoycesmitz]

❤️❤️❤️❤️❤️⭐⭐⭐⭐⭐👑

HELEN FRANKENTHALER (1928-2011)

Cameo

woodcut in colors, on gray-pink TGL handmade paper, 1980

and some details from the print

Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow.

 

Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann.

 

Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture.

 

In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland.

 

As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour.

 

Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century.

Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others.