Review: The Whitney Biennial presents the best new artists in the country — and lots of fluff
A work by Marlon Mullen in the Whitney Biennial. By Sebastian Smee Sebastian Smee Art critic Email Bio Follow Art critic May 18 at 8:00 AM NEW YORK — Overall, this year’s Whitney Biennial — the 79th installment of the most prestigious survey of recent art in the United States — is a crapshoot. But if you can set aside the ambient impression of a total lack of aesthetic discrimination, it’s also a lot of fun.
Here, their researchers, relying on computer vision and machine learning technologies, call out Kanders, whose company allegedly made the tear gas used on Central American asylum seekers by U.S. border agents in November. Kanders is quoted in the video saying that, although his museum work and his business have distinct missions, both make important contributions to society.
The unspoken premise that art can be anything — not just any medium or any style but made with any level of prowess, any degree of conviction — is liberating, in one sense. Eisenman burst into view at the 1995 Whitney Biennial. She is best known for intimate and offbeat figure paintings. But her sculptures have become increasingly ambitious in recent years. “Procession” resuscitates centuries-old themes — parades, pity and human folly — explored more recently by artists such as William Kentridge.
It’s a good biennial for sculpture. Moss joins the party with two rows of her translucent hanging sculptures. Strange, shiny and secretive, they’re made from acrylic and polyethylene, and call to mind hanging torsos or wasp nests. Moss samples patterns and textures, some of them clouded and obscured behind glossy surfaces, across which skitter snippets of script.
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