Wednesday, July 31, 2024

Whitney Biennial 2024 " Even Better Than the Real Thing" (Review)

 There are ideas and concepts that were revolutionary for its time. These are the ideas that were counter to the prevailing cultural or political trends. Sometimes exhibitions signal changes that were about to happen. The 1993 Whitney Biennial was one of those moments; a bell weather of the emerging culture wars and the rise of identity politics. The 2024 Whitney Biennial "Even Better Than the Real Thing", is a biennial trying to recreate that moment in time. The curators consisted of Chrissie Iles and Meg Onli with Min Sun Jeon and Beatriz Cifuentes. The performance program is organized by Iles and Onli, with guest curator Taja Cheek. The film program is organized by Iles and Onli, with guest curators Korakrit Arunanondchai, asinnajaq, Greg de Cuir Jr, and Zackary Drucker. From this committee of curation, the 2024 Biennial became the biennial about decline and redefinition of what is real within the context of the current political, cultural, and social climate of this time. Curators sought to recreate the 1993 Biennial for the 21st century. What resulted is an underwhelming exhibition trying to be relevant in an art world that is dominated by race, class, and gender politics. However, despite the uneven and stale curatorial approach, the art is what saves this biennial.  

This year's Whitney Biennial is replete with exceptional art from artists who have a clear sense of the zeitgeist of this age. Maja Ruznic polychromatic paintings, which is one of the best of the biennial, presents a subjective world of emotion and empathy. Ruznic seeks to translate form, color, and composition as a means to heal and recover from the traumatic world around. Eddie Rodolfo Aparicio speaks of objects in encasing them in amber. Aparicio, who is based in Los Angeles and recently had a solo show at the Museum of Contemporary Art, Los Angeles, uses amber and objects as way of creating a material narrative that speaks to both immigrant community and the politics in connection with that community. 

Pippa Garner, a Los Angeles based artist who was also featured in the recent Made in LA Biennial at the Hammer Museum, is also concerned with objects. However, Garner is interested objects in the context of emerging consumerism that arose in the post war late twentieth century. Rebellious and biting in her criticism, Garner mines and exposes the hypocrisies of American culture.  Lotus L. Kang explores the consequences of American greed and disregard for the environment by creating an installation of photographs showing dark and smog filled atmosphere as a result of climate change. Kang photographs are menacing and seeks to immerse the viewer in both the perilous present and an apocalyptic future. 

Some artists address the past as a prologue to the future where indigenous cultures are recreated and disseminated as a futurism and a decolonized present. Eamon Ore-Giron's paintings reimagine ancient Mexican and Peruvian gods and places them in the context of contemporary ideas and society. Clarissa Tossin film, 'Before the Volcano Sings" contemplates the recreation of an indigenous culture and uses modern interpretations of Pre-Columbian architecture as a launching point to address what has been lost as a result of colonization and a way to re-establish lost indigenous societies. 

Some artist focus on the current condition of a society on the verge of being lost. Kiyan Williams’s outdoor sculpture "Ruins of Empire II or The Earth Swallows the Master’s House", one of the most provocative works in the Biennial, places the White House, and democracy as symbols of white supremacy. Holly Hendron and Mat Dryhurst, "xhairymutantx Embedding Study 1", 2024 is an AI generated painting of a woman with red hair and long uncontrollable hair. The work is a product of text to image generation through AI. The painting explores the conflict between human and machine generated creativity. In a AI generated art, the distinctions between human and non-human is complicated. The breakdown of purity is also reflected in the paintings of Santa Monica-based painter Takako Yamaguchi whose works takes form from the recognizable to the abstract using cues from Mexican muralism to Japanese decorative art. Yamaguchi's work is poetic in its beauty and lyricism.   

Isaac Julian's poetic and moving installation "Once Again . . . (Statues Never Die)" is clearly the best of the Whitney Biennial. Focusing on the debate between Alain Locke (1885–1954), philosopher, educator, and cultural critic of the Harlem Renaissance, and Dr. Albert Barnes (1872–1951), the collector who is known for the Barnes Foundation and Collection in Philadelphia. Barnes collected African art and adapted the notion that African art as primitive where modern art used it as a venue of civilizational purity. Locke rejected this idea and that the West's idea of primitive art ignored the complexity and intellectual depth of African Art, which was not "primitive." Walking throughout the installations, the screens, mostly in black and white, portray the intersection of modernism and African Art as way to recontextualize that relationship. In the scenes with Locke and his lover, there is connection between a liberation and reassertion of Black Art and Queer engagement. The screens converge and overlap each over in poetic dialogue of culture, class, race, and the relationship between the Black diaspora and notions of collecting and coloniality. Julian's installation is masterpiece in video installation where engagement leads to an understanding of the past, present and future. 

In order for the Whitney Biennial to have a future, it needs to start by rethinking and reimagining what kind of Biennial it wants to be. Does it want to try to recapture a moment long gone? Or does it want to be relevant and focus on American art? It seems to be confused about what is American art, and afraid of defining he very essence of American art. Why not focus on what is actually happening in the United States? The biennial does not need a committee of 8 curators to create a meaningful biennial. Why not focus on art scenes outside of New York and Los Angeles? The true art scene is neither afraid nor hesitant of what it is. The Whitney Biennial suffers from a lack of vision and imagination. The 2024 Whitney Biennial was a missed opportunity. It now has two years to recover and to go back to the drawing board. Let's hope it can recover.  


Dora Budor


Maja Ruznic

Maja Ruznic

Cannupa Hanska Luger

Mary Lovelace O’Neal


Isaac Julien

Takako Yamaguchi

Karyn Olivier

Constantina Zavitsanos

Tourmaline

Eamon Ore-Giron

Eamon Ore-Giron

Lotus L. Kang

Lotus L. Kang

Jes Fan

Dala Nasser

Dala Nasser

Clarissa Tossin


Diane Severin Nguyen 

Kiyan Williams


Kiyan Williams


Eddie Rodolfo Aparicio


Seba Calfuqueo


Nikita Gale


Suzanne Jackson


Suzanne Jackson

ektor garcia

Clarissa Tossin

Holly Herndon and Mat Dryhurst


Eddie Rodolfo Aparicio


Eddie Rodolfo Aparicio


Maja Ruznic


Dora Budor

Isaac Julien

Pippa Garner

Pippa Garner

Pippa Garner

Pippa Garner

Pippa Garner










Wednesday, April 3, 2024

Frieze Los Angeles 2024 (Review)


Frieze Los Angeles 2024 was held again at Santa Monica Airport from February 29, 2024, to March 3, 2024. This year’s Frieze was remarkedly different. First, the fair was smaller than previous years. It was held in one building as opposed to two separate buildings. Last year’s fair was in two buildings where fair goers had to either walk a distance or take a golf cart between the venues. Everything was concentrated in one building. This allowed better accessibility to booths and vendors at Frieze.

This year’s Frieze was strong both in the quality of booths and vendors, and the special curated sections focusing on the local art galleries and spaces. Organized for the first-time by Essence Harden (Visual Arts Curator and Program Manager, California African American Museum), Focus comprised of 12 young US-based galleries showing solo stands by emerging or overlooked talent. Curated by Harden, the featured presentations explore the intimate, environmental and urban dimensions of ecologies. With the majority of participating spaces based in LA, Focus is a celebration of the city’s vibrant and evolving art community. Each booth had strengths in depth and substance of the artists exhibited. However, the best booth of Focus was the ebony glazed ceramic portraits by LA based sculptor, Mustafa Ali Clayton at Dominique Gallery, and the textile works by Akea Brionne at the Lyles & King booth. Working from her archive of family photographs, Brionne uses a digital loom to weave diaristic tapestries that chart her ancestral history, everyday experience and Black identity while Clayton affirms the beauty, heritage, and strength of the Black woman figure.

Among the gallery exhibitors, the best booths displayed art from women and people of color. Jack Shainman Gallery always is strong in its presentation. The Frieze Los Angeles booth was no exception. Works by Jessie Krimes, Lynette Yiadom-Boakye, Odili Donald Odita, Nick Cave and others were a visual delight and exemplified a strong Black visual language. Another booth was the Casey Kaplan exhibit of new works by Jordan Casteel. Casteel’s paintings display the interaction between community, family, and the natural world. Family and intimacy are strong in Casteel’s work. Definitely a great booth. Another noteworthy booth was Gagosian’s “Social Abstraction” with works by the intergenerational group of Black artists Derrick Adams, Theaster Gates, Cy Gavin, Lauren Halsey, and Rick Lowe who try go beyond the abstraction to elevate experiences instead. A truly powerful booth that was one of the best. Gary Tyler’s powerful work of struggle and redemption while in prioson was the recipient of this year’s Frieze Impact Award of $25,000. Tyler’s work In Memoriam of an Ashanti Warrior (2024) was acquired by the Santa Monica Art Bank. This year’s edition is realized in partnership with Endeavor Impact and The Center for Art and Advocacy and its fellowship program, Right of Return, a non-profit dedicated to providing a direct path to sustainability and equity for artists directly impacted by the criminal legal system. Finally, The Pit, one of the best art galleries in Los Angeles, which just opened a new space in Glassell Park, exhibited new works by California-based artist Allison Schulnik, her first presentation in her home state since 2016. An important figure in the LA art scene, Schulnik was born in San Diego, CA in 1978 and lives and works in Sky Valley, CA. The booth was painted in blue-green and yellow with both ceramic works and paintings. Schulnik’s personal approach to art is inviting and engaging. Schulnik reflects and welcomes the viewer into her world. The Pit booth at Frieze Los Angeles was one of the best and definitely stood out. Other booths that stood out were for Pace, Kasmin showing vanessa german, and Gladstone Gallery. 

The 2024 edition of Frieze Los Angeles was a success with reports from galleries of strong sales throughout the week and praise from both local and international fairgoers, attracting 32,000 visitors from 48 countries across the four days of the fair. The fair hosted over 95 galleries spanning 21 countries in a bespoke structure designed by Kulapat Yantrasast’s architectural studio WHY, alongside some of the city’s renowned non-profits, local restaurants and partner activations. The enthusiasm level was greater than past iterations and it was noticeable. With Frieze Los Angeles coming to close, it would be safe to say that Frieze will be back. My only hope is that Frieze would expand in both size and length of days. With more and more of the community wanting to experience and attend the fair, it would be smart to expand the fair to a larger venue and to add a day or two. Los Angeles is hungry for more Frieze and looking forward to 2025.  























































































































Whitney Biennial 2024 " Even Better Than the Real Thing" (Review)

 There are ideas and concepts that were revolutionary for its time. These are the ideas that were counter to the prevailing cultural or poli...