Every other year, shortly before the Ides of March and just as precarious an omen, cometh the Whitney Biennial. This year’s model splits the show more or less into three floors, each curated by a different individual, and each thus aligned with a particular sensibility, hierarchy, and vision. Reviews started trickling in after the media preview, among them kudos for Floor 4, helmed by Michelle Grabner, coeditor of The Studio Reader and professor of painting at the School of the Art Institute of Chicago.
Hyperallergic notes the floor as “the most tightly curated and coherent of the three,” and includes a photo essay sampling the work; critic Jerry Saltz, in an otherwise lukewarm review of the show, acknowledges Grabner’s curation as “includ[ing] the show’s visual and material high point: a central gallery crammed with colorful painting, sculpture, and handmade objects as well as ceramics and textiles.”
I am exceedingly comfortable in studios and among the materials of art and art-making. So needless to say, I felt confident visiting artists in their studios and sure-footed during the installing and juxtaposition of artworks in the galleries. I was least comfortable when the process of curating was merely the developing of quantifiable information.
The Whitney Biennial runs through May 25, 2014.
Read more about The Studio Reader here.