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Whitney Biennial 2004


10.03.04-30.05.04

Whitney Museum
Whitney Museum of American Art
945 Madison Avenue at 75th Street
NY-10021 New York
USA
info@whitney.org
homepage


The 2004 Whitney Biennial

Künstler: Marina Abramovic, Laylah Ali, David Altmejd, Antony and the Johnsons , Cory Arcangel, assume vivid astro focus, Hernan Bas, Dike Blair, Jeremy Blake, Mel Bochner, Andrea Bowers, Slater Bradley, Stan Brakhage, Cecily Brown, Tom Burr, Ernesto Caivano, Maurizio Cattelan, Pip Chodorov, Liz Craft, Santiago Cucullu, Amy Cutler, Taylor Davis, Sue De Beer, Lecia Dole-Recio, Sam Durant, Bradley Eros, Spencer Finch, Rob Fischer, Kim Fisher, Morgan Fisher, Harrell Fletcher, James Fotopoulos, Barnaby Furnas, Sandra Gibson, Jack Goldstein, Katy Grannan, Sam Green & Bill Siegel, Katie Grinnan, Wade Guyton, Mark Handforth, Alex Hay, David Hockney, Jim Hodges, Christian Holstad, Roni Horn, Craigie Horsfield, Peter Hutton, Emily Jacir, Isaac Julien, Miranda July, Glenn Kaino, Mary Kelly, Terence Koh, Yayoi Kusama, Noemie Lafrance, Lee Mingwei, Golan Levin, Sharon Lockhart, Robert Longo, Los Super Elegantes , Robert Mangold, Virgil Marti, Cameron Martin, Anthony McCall, Paul McCarthy, Bruce McClure, Julie Mehretu, Jonas Mekas, Aleksandra Mir, Dave Muller, Julie Murray, Julie Atlas Muz, Andrew Noren, Robyn O´Neil, Jim O´Rourke, Catherine Opie, Laura Owens, Raymond Pettibon, Elizabeth Peyton, Chloe Piene, Jack Pierson, Richard Prince, Luis Recoder, Liisa Roberts, Dario Robleto, Matthew Ronay, Ada Ruilova, Anne-Marie Schleiner, Brody Condon, Joan Leandre, James Siena, Amy Sillman, Simparch, Zak Smith, Yutaka Sone, Alec Soth, Deborah Stratman, Catherine Sullivan, Eve Sussman, Julianne Swartz, Erick Swenson, Fred Tomaselli, Tracy and the Plastics, Wynne Greenwood, Jim Trainor, Tam Van Tran, Banks Violette, Eric Wesley, Olav Westphalen, T.J. Wilcox, Andrea Zittel

Public Art Fund Projects in Central Park
A collaboration with the Whitney Biennial
mit Paul McCarthy, Liz Craft, Olav Westphalen, David Altmejd, Yayoi Kusama, Dave Muller, Assume Vivid Astro Focus
mit 3 Tagen Special Events vom 17.-19.April


Pressetext Public Art Fund:

The 2004 Biennial
Reflecting a reinvigoration of contemporary American art, at a moment of profound change in our cultural landscape, the 2004 Whitney Biennial will explore a number of interwoven aesthetic tendencies in works by an exceptional group of intergenerational artists. Opening on March 11th, the 2004 Biennial is being organized by three Whitney curators: Chrissie Iles, curator of film and video; Shamim M. Momin, branch director and curator of the Whitney Museum of American Art at Altria; and Debra Singer, associate curator of contemporary art. The exhibition will present works by 108 artists and collaborative groups, and will remain on view in its entirety at the Whitney Museum of American Art through May 30, 2004. The list of participating artists follows. The show will also include several site-specific outdoor works, presented in collaboration with the Public Art Fund.

An Intergenerational Conversation
* Several generations of artists are featured in the exhibition, in a conversation that reflects a number of overlapping trends:
* An engagement with the artmaking, popular culture, and politics of the late 1960s and early 1970s;
* The construction of fantastic worlds, uncanny spaces, and new narrative forms, often incorporating psychedelia, the Gothic, and the apocalyptic;
* A prevalence of abstract and figurative paintings and drawings as well as hand-processed films, frequently involving obsessive working of line, surface, and image.
Ranging from the apocalyptic to the ethereal, the fantastic to the political, and the sensual to the obsessive, many of the works convey an underlying sense of anxiety and uncertainty about the world today. The Biennial artists have drawn from a variety of sources including music, pulp fiction, the occult, recent and past art history, cinema, and current political events. A direct engagement with materials and process, paralleled by an embracing of ornament and surface, is evident throughout the show, which includes strong groupings of painting, drawing, printmaking, sculpture, installation, video, filmmaking, photography, performance, and digital art.

Collaboration with the Public Art Fund
For the second time, the Whitney Museum is partnering with the Public Art Fund, New York’s leading presenter of artists’ projects, new commissions, installations and exhibitions in public spaces. A selection of Biennial artists’ works will be presented in off-site locations, as well as within the museum. In collaboration with the Biennial curators, Tom Eccles, Director and Curator of the Public Art Fund, has co-curated this off-site component of the Biennial, which will be organized by the Public Art Fund and will include a number of newly commissioned projects.

The Bucksbaum Award
The third annual Bucksbaum Award will be presented in conjunction with the 2004 Biennial. In the 2002 Biennial, it was conferred on Irit Batsry for her film These Are Not My Images (neither there nor here). In 2000, Paul Pfeiffer was the first recipient. Endowed by trustee Melva Bucksbaum and her family, The Bucksbaum Award is given by the Whitney to an artist chosen from among those in the Biennial. It includes a grant of $100,000, and an exhibition in the Whitney’s Contemporary Series.
Biennial History
This year’s Biennial is the 72nd in the Whitney’s ongoing surveys of contemporary American art, begun in 1932, shortly after the museum was founded. Varying the approach a number of times throughout its history, the Whitney began by mounting bi-annual exhibitions of painting or sculpture (the latter including prints and drawings) between 1932 and 1936. Starting in 1937, two Annuals were held each year, one devoted to painting and the other to sculpture. This structure remained in effect (with slight modifications) until 1956, when a single Annual was held encompassing all media. Between 1959 and 1972, Annuals once again alternated between sculpture (sometimes together with prints and drawings) and painting. Motivated by the shifting character of American art, increasingly violated margins between traditional media, and the blurring of conventional distinctions, the present all-media Biennial system was initiated in 1973.
Pressetext Whitney

Public Art Fund Projects in Central Park
For the 2004 Biennial Exhibition, the Public Art Fund will expand its previous collaboration with the Whitney Museum of American Art to present nine installations by seven artists throughout the entire length of Central Park, from 60th Street to 110th Street. Building upon the outdoor presentation of Biennial works in 2002, this year's show will include artists' site-specific reactions to the park as well as several sculptural projects that were conceived independently of location. For the first time, the exhibition will include a weekend event of openings and participatory artists' projects in the park. This outdoor component of the 2004 Biennial Exhibition is curated by Public Art Fund director Tom Eccles in collaboration with Whitney Museum curators Chrissie Iles, Shamim M. Momin, and Debra Singer.

The projects will open in two phases. The first group, opening on March 10, includes sculptural works by Paul McCarthy, Olav Westphalen, Liz Craft, and David Altmejd. Ranging from Westphalen's tabloid-inspired sculpture of a life-size tiger to McCarthy's giant pink inflatable Daddies Bighead, the projects collectively showcase the new preeminence of the figure in contemporary art. Although McCarthy, Westphalen, and Craft have each created projects with the Public Art Fund in recent years, this will be the first-ever public artwork made by David Altmejd, whose intricate and often grotesque sculptures of werewolf heads demonstrate a vital and visceral direction in sculpture.

On April 17, three locations in the park will be given over to openings and participatory projects with artists assume vivid astro focus, Dave Muller, and Yayoi Kusama. The Skate Circle-the group that runs the seasonal weekly disco skate gatherings mid-park near 72nd Street-will welcome assume vivid astro focus's Garden 10, featuring a special afternoon performance by the Los Angeles-based band Los Super Elegantes. Dave Muller's Three Day Weekend, one of a series of nomadic artist-curated exhibitions he has organized around the world, will be on view in the Arsenal Gallery (through Monday, April 19). Yayoi Kusama's untitled sculptural work will go on view in the Conservatory Waters, just steps away from the Alice in Wonderland statue where she staged a "body festival" happening in 1968 - a coincidence that is especially fitting given the key roles that social interaction and artistic collaboration play in the work of both Muller and assume vivid astro focus. A second press release will follow in the near future with information about the weekend's events.

This ambitious exhibition, sponsored by Bloomberg LP and generously supported by Adam Lindemann, is the result of a major collaborative effort between the Public Art Fund, the Whitney Museum of American Art, and the New York City Department of Parks & Recreation. Brochures with a map of the exhibition sites and schedule of events will be available in Central Park's visitor centers and at the Whitney Museum; information can also be found online at www.publicartfund.org and www.whitney.org or can be requested by calling 212-980-3942.

OPENING MARCH 10:
Paul McCarthy's Daddies Bighead and MJBH, Liz Craft's The Spare, Olav Westphalen's The Weight of Dead Prey, and David Altmejd's Untitled (Swallow) and Untitled (Bluejay).
Paul McCarthy
• Daddies Bighead, 2003
At Lasker Rink and Pool
Enter park at Fifth Avenue and 106th Street
• MJBH, 2002
At Doris C. Freedman Plaza
Fifth Avenue and 60th Street
Anchoring the exhibition at the northern and southern ends of Central Park will be two sculptures by Los Angeles-based artist Paul McCarthy. Over the past three decades, McCarthy has plumbed conceptual art, popular culture, and the human psyche to create a highly personalized and provocative body of work. Daddies Bighead (2003), sited at Lasker Rink in the northern end of the park, is a 50-foot-tall pink inflatable sculpture. Sitting atop a slender, very vertical body, the oversized head that gives the piece its name will be visible from 110th Street and elsewhere within the park. Daddies Bighead is the sculptural result of an ongoing series of mixed-media works that date back to 1983, when McCarthy incorporated an actual bottle of the British product Daddies Ketchup into a performance. The bottle, which bears the face of what McCarthy has called "the quintessential 1950s dad," resurfaced in McCarthy's work in 2001 as a several-story inflatable sculpture. Since then, McCarthy has reworked and abstracted the form, ultimately creating this new inflatable, which bears only the slightest resemblance to its predecessors. With bulging eyes, a carrot-shaped nose, and several protruding irregularities, Daddies Bighead is at once goofy and awful-a roadside attraction gone bizarrely awry. The work was first exhibited outside the Tate Modern in London for McCarthy's recent exhibition there.

McCarthy's MJBH (2002), located at Doris C. Freedman Plaza, is one of a series of recent works by McCarthy based on artist Jeff Koons's famous sculpture, Michael Jackson and Bubbles (1988), which was itself a representation of a publicity photograph of the superstar. Dispensing with the rococo delicacy of Koons's oversized ceramic figurine, McCarthy's sculpture is an abstracted representation of Michael Jackson sitting with his pet monkey. Its title, an abbreviation of "Michael Jackson Big Head," describes both the subject and McCarthy's characteristic figurative exaggeration. With cartoonish feet, large heads with inscrutable features, and relatively small bodies, the two figures merge into one tangled multi-limbed form. Made in 2002, just before the recent avalanche of press coverage on the legendary pop star, McCarthy's sculpture considers the nature of celebrity, re-imagining the familiar image of Jackson and his sidekick in monumental, grotesquely unfamiliar form.

Liz Craft
The Spare, 2003-04
At Doris C. Freedman Plaza
Fifth Avenue and 60th Street
Liz Craft often casts everyday objects in fantastical, unsettling scenarios, resulting in appealing show-stoppers that plant themselves at the busy intersection of pop culture and high art. Working in a variety of materials-including polyurethane, fiberglass, bronze and wood-Craft creates works that are at once wry, flamboyant, and slightly sinister. Like fellow Los Angeles-based artist Paul McCarthy, California native Craft takes inspiration from the familiar cultural landscape, referencing hippies, Hell's Angels, psychedelia, and other vernacular iconography in her meticulously crafted sculptures. At Doris C. Freedman Plaza-adjacent to McCarthy's Michael Jackson Big Head (bronze)-Craft shows three versions of The Spare, a bronze sculpture of a prickly pear cactus growing from a discarded tire. Craft's trio of cacti would be a banal sight in any Southwestern landscape, but in New York they are exotic transplants from a desert junkyard, offering stark counterpoint to Central Park's lush, well-kept expanse and playfully challenging our notions of "high" versus "low" art.

Olav Westphalen
The Weight of Dead Prey, 2004
On Wien Walk near the entrance to the Central Park Zoo
Enter park at Fifth Avenue and 60th Street
Olav Westphalen's artistic practice locates itself between the realms of art and daily life, an approach pioneered by Allan Kaprow (with whom he studied in California) and further explored by Los Angeles performance and conceptual artists including Paul McCarthy. Westphalen views caricature and comics as a way to challenge the "serious" traditions of art derived from Modernism and Minimalism. His art often takes the guise of the one-liner but nevertheless flips immediately into a serious reflection on just what kind of criticality is possible in caricature. Inspired by the spate of recent news coverage of incidents involving domesticated wild animals-tigers in particular-Westphalen's The Weight of Dead Prey is a life-size sculpture of a ferocious tiger, who reclines in a small fenced-in area alongside a path outside the zoo. Near the tiger will be a few large objects, modeled after the toys given to large animals in captivity-balls with appendages that are literally made to approximate "the weight of dead prey." Made of hand-carved and polished fiberglass, the sculpture will look slightly realistic, but also something like a folk art woodcarving. Positioned near the entrance to the Central Park Zoo, The Weight of Dead Prey is a reminder-delivered with Westphalen's characteristic light touch-of our double-edged need to reign in nature's wild kingdom even as we romanticize it.

David Altmejd
Untitled (Swallow) and Untitled (Blue Jay), 2004
At the Andrew Haswell Green Memorial
Enter park at Fifth Avenue and 106th Street
Awkward yet elegant, David Altmejd's werewolf heads are carefully crafted sculptural objects that explore notions of attraction and repulsion. In their frequent appearances in fairy tales, Greek mythology, and Hollywood B-movies, werewolves embody tensions between sympathy and horror. In his gallery installations, Altmejd depicts these creatures-part-human and part-beast-as decaying objects, often installing them within mirrored, modernist sculptural settings in order to tease out comparisons between organic and inorganic materiality. For Central Park, Altmejd will create two oversized werewolf heads, approximately five feet in length, which are encrusted with glitter, pearls, and sparkling rhinestones and crystals. These bejeweled grotesqueries, at once seductive and macabre, are contained in two Plexiglas cases, apparently preserving them in two starkly different stages of decomposition. Installed in a bucolic location in the northern end of Central Park, Altmejd's werewolf works present the viewer with a dramatically visceral, melancholy, and novel example of contemporary sculpture.

OPENING APRIL 17:
assume vivid astro focus's Garden 10, Dave Muller's Three Day Weekend, and Yayoi Kusama's untitled work for the Conservatory Water.

assume vivid astro focus
Garden 10, 2004
Between the Mall and the Sheep Meadow
Enter park at 72nd Street
April 17- May 4
When he first arrived in New York from his native Brazil, artist assume vivid astro focus was struck by the vibrancy of the many activities that take place in Central Park, particularly that of the Skate Circle-a group that transforms an unused section of pavement into a disco dance roller rink on spring and summer weekends, providing New Yorkers with a favorite hometown spectator sport. Drawing from a wide variety of popular sources-psychedelic album covers, Brazilian pop music stars, coloring books, Op Art, and Peter Max-inspired graphics, to name just a few-assume vivid astro focus will create Garden 10, a spectacular floorscape for the surface of the Skate Circle site. Tinged with nostalgic and utopian appeal, this colorful vinyl sticker will set the stage for the talented roller-skaters, who come from all over the city to show off their exuberant, practiced moves on the roller dance floor. On April 17, the Skate Circle will officially open its season with assume vivid astro focus and special guests, Los Super Elegantes, who will perform at Garden 10.

Yayoi Kusama
Untitled work for the Conservatory Water
Enter park at 72nd Street
April 17 - May 30
Yayoi Kusama, one of the most influential and widely recognized artists of the 1960s, will create a new work for Central Park's Conservatory Water. In the late sixties, Kusama's happenings and nude performances were a regular feature of the city's public landscape and included a "body-festival" at the Alice in Wonderland sculpture in Central Park. Her work for this exhibition, floating mirror balls in a pond, also connects back to her notorious Narcissus Garden for the 1966 Venice Biennale where the artist was censured for selling her 1,500 mirror globes under a sign that read, "Your Narcissism for Sale." Over the past three decades, Kusama has often revisited mirrored forms in her work, exploring notions of infinity, illusion, and repetition in discrete sculptures and room-size installations, as in the recent The Fireflies on the Water (2002). For Kusama, the use of repeated forms is the obsessive public expression of a lifetime of hallucinations, a personal focus that has remained consistent throughout her diverse body of work. For the Conservatory Water-the small pond just steps away from the site of her earlier happening-Kusama will install hundreds of silvered balls within a contained circular area, drawing the viewer into her alluring and unsettling visual world.

Dave Muller
Three Day Weekend, 2004
The Arsenal Gallery (The Arsenal Building, Third Floor, Fifth Avenue and 64th Street)
April 17 - 19
Since 1994, the Los Angeles-based artist Dave Muller has been organizing "Three Day Weekends," a series of roving, intermittent group exhibitions-he describes the ongoing project as an "artist-run, nomadic project space." These shows remain on view for only three days and then disappear as suddenly as they arrived, remaining after the fact as little more than a rumor. Non-hierarchical and inclusive in nature, Muller's "Three Day Weekends" critique art world conventions even as they participate in them: Muller condenses the formal structure of mainstream gallery and museum exhibitions, offering an affable, open-ended alternative that emphasizes the social experience of viewing art. For Muller, who is also a musician and DJ, collaboration and appropriation are recurring strains in his work-he incorporates and pays homage to the works of other artists, just as DJs sample other people's music at the turntable. For Central Park, Muller presents Three Day Weekend, presenting the work of eight artists along with a wall work by Muller.

The Public Art Fund projects in Central Park, presented in collaboration with the Whitney Museum of American Art, are sponsored by Bloomberg and generously supported by Adam Lindemann.

David Altmejd's Untitled (Swallow) and Untitled (Bluejay), and assume vivid astro focus's Garden 10 are all projects of the Public Art Fund program In the Public Realm, which is supported by the National Endowment for the Arts, The New York State Council on the Arts, A State Agency, the City of New York Department of Cultural Affairs, the Office of the Brooklyn Borough President, The Greenwall Foundation, The Silverweed Foundation, The JPMorgan Chase Foundation, and friends of the Public Art Fund.