Whitney Biennial 2022

Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.

Showcasing the work of an exciting group of contemporary artists, this book reflects the trends shaping art in the United States today.

"Friendship, loss and the everyday populate Packer's canvases, full of disquieting detail." -Adrian Searle, The Guardian Through a uniquely textural style of oil painting that evokes the fluidity of watercolors, Jennifer Packer recasts classical genres in a fresh political and contemporary light while keeping them rooted in a deeply personal context. Combining observation, improvisation and memory, Packer's intimate portraits of friends and family members and flower paintings insist on the particularity of the Black lives she depicts. The title of this volume refers to an ecclesiastical description of the insatiable human quest for divine knowledge; with this in mind, Packer's work urges viewers to understand and appreciate the unique dimensions of Black lives beyond just the physical. Richly illustrated, this volume includes texts by fellow painters Dona Nelson and Lynette Yiadom-Boakye, professors Rizvana Bradley and Christina Sharpe, and an interview between the artist and Serpentine Artistic Director Hans Ulrich Obrist. American painter Jennifer Packer(born 1984) grew up in Philadelphia and received her MFA from Yale University in 2012. She was formerly the Artist-in-Residence at the Studio Museum in Harlem (2012-13) and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA (2014-16). She currently works as an assistant professor of painting at the Rhode Island School of Design. Packer is represented by Sikkema Jenkins & Co in New York City, where the artist lives.

Since its inauguration in 1932, the Whitney Biennial has showcased contemporary artistic innovation, becoming a highly anticipated event in the art world. The 2010 Biennial is curated by Francesco Bonami and Gary Carrion-Murayari and features works by approximately 55 artists working in a variety of media and practices. Uniquely, this catalogue serves as both a handsome accompaniment to the 2010 exhibition and an insightful exploration of the significance of this acclaimed and often controversial event throughout its history. In addition to presenting full-color reproductions of the selected artists’ recent work, the curators have prepared a joint essay on the 2010 exhibition, and a group of writers contributed brief entries on the represented artists’ techniques, influences, and recent work. A detailed appendix features a short text on the significance of the museum’s annual and biennial exhibitions in the context of the museum’s history and broader collection, as well as photographs of previous installations, facsimiles of historical reviews, and a chronological list of artists included in past annuals and biennials. Thumbnails of all previous catalogue covers are also included, positioning each Biennial as a snapshot of artistic practice at a particular moment. Participating artists: David Adamo Richard Aldrich Michael Asher Tauba Auerbach Nina Berman Huma Bhabha Josh Brand The Bruce High Quality Foundation James Casebere Edgar Cleijne and Ellen Gallagher Dawn Clements George Condo Sarah Crowner Verne Dawson Julia Fish Roland Flexner Suzan Frecon Maureen Gallace Theaster Gates Kate Gilmore Hannah Greely Jesse Aron Green Robert Grosvenor Sharon Hayes Thomas Houseago Alex Hubbard Jessica Jackson Hutchins Jeffrey Inaba Martin Kersels Jim Lutes Babette Mangolte Curtis Mann Ari Marcopoulos Daniel McDonald Josephine Meckseper Rashaad Newsome Kelly Nipper Lorraine O’Grady R.H. Quaytman Charles Ray Emily Roysdon Aki Sasamoto Aurel Schmidt Scott Short Stephanie Sinclair Ania Soliman Storm Tharp Tam Tran Kerry Tribe Piotr Uklanski Lesley Vance Marianne Vitale Erika Vogt Pae White Robert Williams

Illustrated by over 50 of Edward Hopper's most powerful evocations of New York, Avis Berman's essay explores how Hopper and his work illuminate each other by analyzing what his New York is - and is not. Ever the contrarian, he offers an alternative to what other American artists seized on - the new, the gigantic, the technologically exciting. Hopper stayed away from tourist attractions or landmarks of the city's glamorous skyline. His preference for nondescript vernacular buildings is emblematic of the larger Hopper paradox: he makes emptiness full, silence articulate, banality intense, plainness mysterious, and tawdriness noble.

An unprecedented look at the contemporary collective's theatrical art, charting their performances and exploring their social and creative commitments The first monographic publication on the art collective My Barbarian (Malik Gaines, Jade Gordon, and Alexandro Segade) offers new insights into the work of this singular group of performers. My Barbarian has used performance to theatricalize social issues, adapting narratives from modern plays, historical texts, and mass media; this volume accompanies a major retrospective celebrating the group's twentieth anniversary. An overview essay relates their work's formal qualities to several historical moments over this span: the club era following September 11, 2001; postcolonial theater after the 2008 financial collapse; and political theater responding to the pressing issues of today. Other contributions read the collective's output through a lens of queer and other critical theory, and contextualize it within the twenty-first-century experimental performance scene. A richly illustrated visual chronology features texts on each of My Barbarian's past works written by the artists. Performances and video works are re-created using stills alongside photos, drawings, scripts, and personal materials drawn from the artists' archives, many never previously published.

With over 200 illustrations of iconic works as well as preparatory studies and historic photographs, this book offers fresh insight into Koons’s polarizing and influential career.

"This lavishly illustrated retrospective of Jasper Johns's work offers a new perspective on the artist's work based on his own enduring fascination with mirroring and doubles"--

Published on the occasion of an exhibition held at the Whitney Museum of American Art, New York, Mar. 10-June 5, 2011, the Los Angeles County Museum of Art, Los Angeles, Calif. Oct. 23, 2011-Jan. 22, 2012 and the Modern Art Museum of Fort Worth, Fort Worth, Tex. Feb.-May 2012.

On Canadian artist Brendan Fernandes' acclaimed performance-based installations deconstructing ballet and modern dance In an ambitious new monograph, Kenyan-born, Chicago-based Canadian artist Brendan Fernandes (born 1979) chronicles his two most recent exhibitions, Contract and Release at the Noguchi Museum (2019) and Master and Form commissioned by the Graham Foundation for the 2019 Whitney Biennial. These performance-based installations feature live dancers interacting with Noguchi's colorful, unstable sculptures and a collection of architectural steel cages resembling ballet barres. The objects in both exhibitions act as training devices and physical constraints, both aiding and encumbering the dancers, and encouraging poses that test their endurance in overt displays of physical tension and self-control. The work engages with notions of discipline and mastery, pain and pleasure, and aims to disrupt and consolidate ballet and modern dance traditions. Alongside documentation of the performances, this book includes insight into Fernandes' work with texts by Juliet Bellow, Andrew Campbell, Hendrik Folkerts and Dakin Hart.