In New York, the latest Whitney Biennial stands out as perhaps the most compelling showcase of contemporary art by established artists in over a decade. Despite this, it’s important to note that the bar for such acclaim hasn’t been set particularly high in recent years. This year’s exhibition is packed with noteworthy pieces, yet it also includes its fair share of less impressive works, maintaining a balance that has come to be expected.
The exhibition might not resonate with everyone, especially those who find its overtly progressive themes less appealing. The artwork is accompanied by descriptions that touch on a variety of critical issues, from Indigenous rights and racial justice to climate change and gender identity. While these topics are undeniably significant, their presentation within the art can sometimes feel forced or difficult to decipher without the help of elaborate explanations.
Among the pieces, Carolyn Lazard’s work, which includes medicine cabinets filled with Vaseline, aims to explore daily experiences related to Blackness, disability, and privacy. This is just one example of how the exhibition’s curators, Chrissie Iles and Meg Onli, have curated the show to prompt viewers to see art through a lens of social justice, which might not align with every visitor’s expectations or reasons for attending.
The exhibition, titled “Even Better Than the Real Thing,” features a diverse array of artists, including video artists, painters, and sculptors, whose works occupy two full floors of the museum and extend into additional spaces. These artists engage with their materials in ways that evoke strong, visceral reactions, often steering clear of overtly ideological messages.
Isaac Julien’s multi-screen video installation is a highlight of the biennial, showcasing his unique ability to weave complex narratives across multiple screens. His work, which features notable performances and evocative imagery, delves into themes of modernism, colonialism, and restitution, among others.
Other artists, like Ser Serpas and Torkwase Dyson, create immersive environments and abstract sculptures that challenge viewers’ perceptions and invite physical interaction. Jes Fan, B. Ingrid Olson, and K.R.M. Mooney explore the human body through innovative materials and techniques, while Lotus L. Kang’s installation uses light-sensitive film to create a dynamic, ever-changing space.
The exhibition also celebrates the power of painting, with artists like Mary Lovelace O’Neal and Maja Ruznic presenting works that range from expressive, painterly canvases to more meticulously designed pieces. O’Neal’s paintings, inspired by a whale sighting, burst with energy and color, while Ruznic’s work draws on personal history and memory to create hauntingly beautiful images.
Despite some criticisms regarding the show’s political undertones, the Whitney Biennial offers a rich and diverse array of artworks that merit attention. It serves as a reminder of the potential for art to bring people together, even in times of division, and encourages visitors to engage with the work on their own terms.