Tag Archives: Whitney Biennial

Left: Miljohn Ruperto and Ulrik Heltoft, Voynich Botanical Studies, Specimen 06r Jaro, 2014, gelatin silver prints. Middle: Miljohn Ruperto and Ulrik Heltoft, Voynich Botanical Studies, Specimen 23r Podzim,, 2014, gelatin silver prints. Right: Miljohn Ruperto and Ulrik Heltoft, Voynich Botanical Studies, Specimen 20v Podzim,, 2014, gelatin silver prints. 

COLLECTION OF THE ARTISTS AND KOENIG & CLINTON, NEW YORK. COURTESY THE ARTISTS AND KOENIG & CLINTON, NEW YORK. PHOTOGRAPHY BY ULRIK HELTOLFT.
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Photography at the Whitney Biennial: Hidden in Plain Sight

Photo-spotting at the museum turns up photo-sculpture, photo-performance, and a view of Madison Avenue like you’ve never seen it Read More

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Profiles

Meet the Artist Who’s Co-Curating the Whitney Biennial

As an artist, Michelle Grabner makes labor-intensive abstractions. As a curator, she runs a gallery in her backyard—and has organized an entire floor of the Whitney’s much anticipated show

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The Bruce High Quality Foundation, Raft of the Medusa, 2004.
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Meet the Bruces: High Quality Comes to Brooklyn Museum

The collaborative tricksters Bruce High Quality Foundation offer love, chicanery, & more Read More

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Profiles

Shahzia Sikander: Maximalist Miniatures

Shahzia Sikander’s hybrid, hypnotic works are inspired by her study of manuscript illuminations in her native Pakistan and elsewhere Read More

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Self-Portrait of the Artist as a Self-Destructing Chocolate Head

Chocolate was the medium of choice for Janine Antoni and Dieter Roth to depict—and deface—their own image Read More

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Profiles

True Lies?

Omer Fast's videos are mind-blowing mergings of artifice and truth, populated by refugees, soldiers, and other characters who may or may not be acting. Read More

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Profiles

Where Pharaohs Meet Mad Max

Raw brutalism and gritty humor underlie Huma Bhabha's antiheroic monuments. Read More

Jockum Nordström’s 2 2 collage The Coachman uses traditional folk-art motifs, such as the tree of life and symmetrical patterns. COURTESY DAVID ZWIRNER, NEW YORK
Features

The New Visionaries

Contemporary artists are picking up where self-taught artists left off—with rough-hewn, unguarded styles some call faux naïve. Read More

Matisse’s first show at MoMA opened its third season, in 1931. ©THE MUSEUM OF MODERN ART, NEW YORK
Features

How Our Critics Spoke

The good, the bad, the splendid, the beautiful, and “a negation of everything under the sun and the sun itself”. Read More