20 MOST RECENT

• Introduction (critique)

  The tendency in the sixties for both artists and critics to consider art in terms ot movements and theoretical alliances has diminished in the seventies as the activity of making art has become increasingly a matter...

• Foreword (critique)

  Forty-five years ago, the Whitney Museum began a series of exhibitions to survey the current state of American art. Now presented biennially, these exhibitions retain the original intent that they should be invitational and selected by...

• From Cleanness to Power Wang Minan (critique, 2019)

  In 1979, Water-Sprinkling Festival-Extol Life, a mural painting by Chinese artist Yuan Yunsheng, was unveiled at the Beijing Capital International Airport. The well-known work proved to be a milestone in contemporary Chinese art, marking a beginning...

• Foreword by the Curators (critique, 1979)

  The 1979 Biennial Exhibition at the Whitney Museum is an invitational survey of some of the most important and provocative American painting, drawing, sculpture, film, and video produced since 1977 by living artists. In formulating this...

• Preface by the Director (critique, 1979)

  In 1932 Juliana Force organized the first Biennial Exhibition of Contemporary American Painting, presenting the work of 157 artists. Included in this exhibition were several paintings which have since become recognized masterworks of the period, among them...

• Monotony, Gloom, Practice, Progression, Concentration, Tools, Fabrication, Ideals, An Artistic Ensemble Zhang Yingying (critique, 2019)

  Dedicated to the once radical, the now conventional and fashionable modernist manifesto. The relationship between the artist and the actual physical artwork today is different from the dynamic of last era in that artworks are more sentimentally...

• Preface by the Curators (critique, 1981)

  Since their inception in 1932, the Whitney Museum Biennial Exhibitions have been among the most important surveys ol contemporary American art. These exhibitions have continuously assessed the wide spectrum of currenl art; they were originally conceived,...

• Foreword by the Director (critique, 1981)

  The 1981 Biennial is the first exhibition to follow the celebration of the 50th Anniversary of the Whitney Museum of American Art. It reaffirms the dedication of the Museum to a tradition begun by its founder, Gertrude...

• GOODBYE: ArrowFactory Ho Rania, Wang Wei, Yao Pauline J. (miscellaneous, 2019)

  Dearest Artists, Supporters, and Friends: After a remarkable eleven and a half years of running our experimental storefront art space Arrow Factory will close its doors at the end of this month, September 2019. It has been...

• Xia Qingyong: Fresh Paint Wang Chunchen (critique, 2019)

  In the 5th issue of Art Observation this year, there was a discussion on the conceptual comparison between Chinese traditional painting and ink wash painting. The main goal of the discussion was to clarify the similarities...

• Jean Baudrillaurd's Sayings on Exhibit (miscellaneous, 2019)

  Excess of information kills information; excess of meaning killls meaning, etc. But it seems that too much stupidity does not kill stupidity. Stupidity may be said, then, to be the only exponential phenomenon — one whtch...

• Whitney Biennial 2019 (critique, 2019)

  Written by Mario Vasquez Note: This review was written before the 8 artists withdrew their works. Some works mentioned may no longer be on view. Upon exiting the elevator on the 5th floor of the Whitney Museum,...

• 2019 Whitney Biennial (critique, 2019)

  By Alex Jen Curators Rujeko Hockley and Jane Panetta describe the 2019 Whitney Biennial as a “snapshot” of art making in the United States today. But “snapshot” carries particular meaning: not a posed portrait but something informal....

• Initial Thoughts and Highlights from the 2019 Whitney Biennial (critique, 2019)

  Zachary Small The 2019 Whitney Biennial is about the state of American culture and how contemporary artists are responding to the conditions of living in a country with increasingly inequitable social stratifications. Curators Jane Panetta and Rujeko Hockley...

• A Whitney Biennial that speaks in urgent whispers (critique, 2019)

  By Murray Whyte NEW YORK — The once-in-two-years art-world rite that is the Whitney Biennial never fails to disappoint at least someone. Whether too tame, too fractious, too political, too agnostic, too woke, too topical — really,...

• The New Whitney Biennial Made Me See Art History in a New Way (critique, 2019)

  By Jerry Saltz First, massive congratulations to the Whitney. Even with long, flat patches of overly well-behaved work, a strange visual monotony that makes this show predictable (the prior iteration was more optically alive), generally weak painting,...

• 7 Artists Not To Miss At the 2019 Whitney Biennial (critique, 2019)

  From the subtly spectacular to the oddly elegant at the 79th exhibition. The next 79th Whitney Biennial opens on May 17, bringing together 75 artists for an exhibition that has—especially in recent years—inspired controversy. Of course, any...

• Spring Art Preview (critique, 2019)

  By Andrea K. Scott Before moma closes in June, to prepare for its grand reopening, in October, it plants a flag for the future with the exhibition “New Order: Art and Technology in the Twenty-First Century.” Curated...

• Curatorial Statement By Jane Panetta and Rujeko Hockley (critique)

  Often described as a snapshot of art in the United States, the Biennial brings together work by individuals and collectives in a broad array of mediums. Over the past year and a half—an undeniably intense and...

• Ten questions to galleries:Star Gallery (interview)

  Q: So far in 2019, what surprised you the most? A: Star Gallery moved back to 798. Q: What would you do if you have a year long holiday? A: Work in another gallery. Q: What is the biggest operating...