Shit We Saw at The 2012 Whitney Biennial!

by the-biennial-project 29. October 2012 13:43

Shit We Saw at The 2012 Whitney Biennial

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OK, so we know The Whitney Biennial 2012 closed months ago. And we know we should have told you on our blog about the shit we saw right when we returned from the ‘Special Friends of The Whitney Biennial Preview Party’ that we, The Biennial Project, attended. Well if that bothers you - ‘Eat Us’ (we’ll enjoy it). This can only mean that you have not gone on our Facebook page and joined ‘liked’ The Biennial Project Page because we did report on the exhibit there. So that this doesn’t happen again please like us at:

http://www.facebook.com/pages/The-Biennial-Project/208168052547147

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In presenting ‘The Shit we Saw Whitney Biennial 2012 Edition’ we would like to add the precursor that some of what is written are our own opinions and words and some of the text we used has been lifted directly from other people’s articles. We do not know anymore where most of this came from because we keep terrible track of our footnotes. If we plagiarized you please take this as the compliment that it is meant to be. It means we like your voice - imitation is the sincerest form of flattery, right?

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Anyhow let’s start off by mentioning Tom Thayer’s reddish room of puppets and crane paintings. These make him a modern mythographer by way of William Kentridge and Balinese shadow-plays. Thayer’s work lyrically combines elements frail and feeble in nature, crudely parroting reality, in an effort to reveal the poetry that underlies our own existence. The very kind lady in the wheelchair pictured below told us all of that. She also said his work feels most at home alongside the ostensibly shambolic music of freewheeling experimental Brooklyn groups like the No-Neck Blues Band and Amolvacy. She then asked if we would kiss her pineapple. We liked the portable children's record players so much we bought one on EBay later that week. They turn and make playful music from playful record albums. So much fun!!

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Next let us visit the exhibition of Dawn Casper who set up her studio on the 4th floor of The Whitney for the duration of the show. She made a deep statement about society not supporting artists or something like that, or maybe just the bad economy in general, we’re not entirely sure. She is very smart. What a great way to get free rent and great exposure for a few months. Everybody asks her where she goes to the bathroom. They ask all day, really. The Biennial Project didn't ask her where she goes potty. We simply asked her to sign one of the 'Limited Edition Whitney Biennial 76 Artists Trading Cards' we made of her, to honor her Whitney Biennial Achievement. She almost signed, then read that we listed her old LA address on her card and was like totally freaked out because some of her friends, who according to Dawn, are nice girls, are living there now. I mean we got this address off the Internet. If we wanted to stalk Dawn we know where to find her. She can be found at THE FUCKING WHITNEY MUSEUM OF AMERICAN ART where she works everyday. The stupid little docent even told her not to do anything she didn't “feel comfortable with”. Really! Like we were going to watch her TAKE A DUMP or something. REALLY!!

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Next we thought Fluid Employment by Sam Lewitt was neato!! He directs ferroliquid across a magnetic plane, shaping bubbles on a darkly oiled path.
There is little explanation accompanying the work. This nice Tibetan Monk pictured below told us that the title’s significance, in lieu of Kasper and Frazier’s work, may suggest a quest for direction and connection in a world low on fiscal fuel. We just thought it was really rad because it moved and changed shapes and seemed a little toxic and dangerous. Also The Biennial Project enjoys chemicals, A LOT!!

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The Biennial Project loves a 'What the Fuck Moment'. Kate Levant gave this to us. You all probably remember when in September 2009 Kate set up a Blood Drive at Zach Flreur Gallery in NYC. This was really cool but Biennial Project member Eric felt left out because he still, in the good old US of A can not donate blood because he is a man who 'sleeps' with other men’. All this even though he is HIV negative and isn't nearly as slutty in his 40s as he was in his 20s

Kate Levant scavenged the materials for her 2012 Biennial installation from a burned-down house in inner-city Detroit; an area often associated with economic distress and daunting foreclosure rates. Sheets of foil insulation lining, cardboard, and other materials found in the insect-infested ruins are transformed into a strange, visually powerful sculpture that suggests the eternal oscillation

between life and death. Each element strikes a tenuous balance between cohesion and dispersion, disintegration and growth. Describing these components as “wrecked, still trying to contend,” Levant sees this makeshift sculpture as a reflection of the landscape of Detroit, which amid its crumbling structures and faltering social systems is mutating into something new and unknown.

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Kate likes cooking. She likes making soup from scratch, especially stock. She also likes making funky salads. She is quite prolific. "Kate Levant takes audience participation to a new level.” She like breaking things …for the physical act and for the result. Kate likes cleaning things up and packaging things. If she could be anywhere doing anything right now she might be in Houston with her friend Jacques sipping syrup, driving a convertible, and letting off firecrackers. Her junior year Kate dressed up like an Ewok. They’re awesome. A group of little dudes that can’t communicate but are like, “What’s up!”

The psychedelic, avant-garde rock band from Houston, Texas, RED CRAYOLA, performed on April 13th but we and any other visitor were able to talk to them live in The Whitney. They were so COOL!! The band was once paid ten dollars to stop a performance in Berkeley. When we returned in May they were still there, very tired but still speaking to strangers.

 

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We were hoping that Kai Althoff's work would be more homoerotic sexy. We like to be a little turned on when looking at art. A half woody or semi in a museum is sort of pleasurable after all. His piece shown here looked different each time we went. Granted it was cool looking, but we once again were not part of the in crowd who knows when all the dam performances and movies were to take place at this Biennial. We live in Boston and New York is like 4 hours away (3 if Anna drives). They did give us a schedule and posted it online and everything but we can't even get to work on time let alone get to NYC to see thousands of performances.

Anyhow, Kai Althoff neither owns nor rents a studio.

Kai Althoff's paintings, installations, and mise-en-scènes reflect a struggle with complex and dialectical notions of love and hate, sexuality, and interior and exterior worlds. The German artist Kai Althoff is a second-generation Neo-Expressionist storyteller whose works constitute what might be called a scattered surrealist symphony of both youthful anomie and bohemian optimism. He is most notorious for vibrant, vaguely homoerotic scenes that could have been painted by the love child of Edouard Vuillard and Egon Schiele

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We are sure Mayra Davey is a very nice lady and all but these mailed photographs seemed like something we did in art school. WE also can see them anytime we want at Boston’s ICA. We liked what famous Czech painter and sculptor Bo Petran said -"Big fucking deal”.

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Lutz Bacher’s “Pipe Organ” (2009-11) evinces a distrust of modern technology via an aging Yamaha synthesizer organ tinnily played by robotic apparatus. The organ is decked out with huge tin pipes that bring to mind missile shells.

We spotted Lutz outside with her gallerist and we did not take her photo because she does not like her photo taken. Even The Biennial Project can play nice with people who play nice with us. Sometimes.

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Hometown Boston boy Luther Price’s work!! He is neighbors with Anna in Revere, MA and often comes over for green tea and small town gossip, but it is a totally unfounded rumor that they are lovers. Wicked Sick!!

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We spent some time with Werner Herzog’s five-screen digital projection of details from etchings by Hercules Segers; We enjoyed the visuals and cello music performed by Ernst Reijseger enough but we were more happy to rest our tired, dirty, throbbing feet and grab a five minute nap in this chamber of solitude.

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Wu Tsangs installation and movie was our favorite thing at the whole biennial and she/he is not only one of our favorite artists but also one of our favorite personalities and LGBT leaders. We'd love to tell you more about the work but we're tired of writing for tonight and want to watch TV. We'll fill you in later.

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XXOO, The Biennial Project

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Whitney Biennial Campaigns

The Biennial Project Does The 2012 Whitney Biennial

by the-biennial-project 19. June 2012 11:39

Its been 2 months since the opening of The 2012 Whitney Biennial and
only now has The Biennial Project found the time and energy to share with you.whitney2012-473whitney2012-9461-2whitney2012-480
As usual, there were so many old friends to say hi to and many new Biennial
Project admirers
to pay our respects to. In this weeks blog we’d like to
share with you some our experiences of some of the more dynamic people we
partied with at the opening reception of the 2012 Whitney Biennial.
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First off, we want to give a shout out to our main supporter in the press,
Jerry Saltz. Being such a busy evening it was stroke of good fortune that we
bumped into the senior art critic and a columnist for New York Magazine
while leaving the event. It would not seem like a complete biennial without
catching up with our old friend Jerry, who was the sole advisor for the 1995
Whitney Biennial.
In spite of the cold drizzle of late winter NYC we spent
some quality time conferring with Jerry, who is also our favorite judge on
Bravo TV’s ‘Work of Art’
. We learned that he has been praising The Biennial
Project
for being maniacs and then he asked us for our highly regarded
refrigerator magnet. Jerry, who is the senior art critic for the New York
Times
, sees our magnets in all of the most important kitchens in Manhattan
while attending high profile salons. We gave him two and apologized for the
oversight.

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Earlier in the evening we were able to catch up with cutie-putie filmmaker
and Rupaul Drag Race uber-fan Michael Robinson. Mike was there to present
his film ‘These Hammers Don¹t Hurt Us’, footage of Elizabeth Taylor’s 1963
Hollywood epic Cleopatra is seamlessly combined with images of Michael
Jackson’s
mid-1990s Egyptmania, culminating in a mesmerizing phantasmagoria
of hypnotic color strobe.’
Mikey also showed  ‘Line Describing Your Mom’ its
title a cheeky nod to Anthony McCall’s canonical ‘solid-light’ film Line
Describing a Cone (1974)-sets altered footage of amateur liturgical
choreography to the sounds of a woman’s You Tube confessional.
Biennial Project member Eric Hess secretly has a major crush on Michael!
Eric follows him around because he is a handsome, young artist who might be
very well hung. Michael smells fantastic. Eric also watches over Michael because he shares the same twisted perception of pop culture. Eric also believes in predetermined
destiny
. He knows he and Mikey and he will be bonded in this lifetime and
the next. If not eternal afterlife together hopefully they will at least hook up some weekend. Michael, if you are reading this, and we know you are, Eric would love to spend a weekend, or eternal lifetime in bed with you ‘snuggling’ and watching marathons of ‘Rupaul’s Drag Race’. He apologizes for that incident in Toronto last autumn and feels that theBelgium restraining order won’t matter outside of the EU. It could be fresh
new start to a beautiful, creative, adventurous existence together!!!!!!Michael, If you
make this happen Eric promises to take his meds more regularly.whitney2012-027Michael Robinson 4 whitney2012-029
Speaking of spending a weekend in bed, Biennial Project member Anna Salmeron
was quoted as saying that she would love to ‘swim in the lady pond’ with
Nicole Eisenman after first seeing her inspiring painting then gabbing with
her for a bit on the 4th floor dance floor. The Biennial Project, often gets
misquoted. It is the price of fame. Anna never-ever said this. She is very
happy with her current partner, painter Bo Petran!! Anna did in fact say,
that after meeting Nicole and sharing some light hearted, witty banter,
’that if her life had to be different she could see herself living as a
lesbian in Brooklyn and that she would love to take a dip in the
lady
infinity pool
with Ms. Eisenman’
. Everybody knows Anna does not like the
slimy, muddy, creature lined floor of natural outdoor swimming. The Biennial
Project
very much enjoyed spending time with Nicole and her friends and
thought her paintings were one of the highlights of the entire 2012 Whitney
Biennial.
Anna also promises to take her meds everyday as well.

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Another life we’d like to adopt is the life of Liz Deschenes. Liz is a
photographer who teaches at Bennington College in VT. Anna and Eric both
came forth in the art world originally as photographers and Bennington
College
is one of the coolest little schools we know of. The Biennial
Project
loves, loves, loves The Green Mountains of Vermont. One of the
highlights of last summer, after our appearance at The 54th Venice Biennale,
was a lovely swim in a pond, during sunset, in Bennington VT. This was not
necessarily a ‘lady pond’ and Anna minded the dogs while Eric took the
actual swim but it was still a memorable afternoon. We loved Liz’s
photograms at The Whitney Biennial so much that Anna said that if things
ever went south with Bo or Nicole she would definitely like to assist Liz in
’the Darkroom’ being that Bennington probably has no infinity pool.

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Well, there were so many other people to gossip about that you had better
keep your eyes open for future blog posting on our favorite subject -us at
Biennales.
We’ll tell you the story of how Dawn Casper wouldn’t sign her
trading card because we listed that she lived at one time at 545 Terrill
Avenue in Los Angeles, CA 90042. She doesn’t even live there anymore and
even if we wanted to stalk her we know where to find her -at The Whitney
until the end of May. No ‘lady pond dipping’ with Dawn, not with us anyhow.
We want to tell you about the time we spent with New Hampshire born
international art rock star Tom Este whose work was seen all over The
Whitney
. We can¹t wait to tell you how we did not take Lutz Bacher photo
because she does not want her photo taken. We would have respected her space
even if Peter, from Alex Zachary Peter Curri Gallery didn’t try to prove his
relevance as her gallerina by steppin’ in. We want to show you LaToya Ruby
Frazier
beautiful gown proving that she looks just as good in her cloths as
she does without. Another lady pond candidate for Anna? We can’t wait to
gossip with you about Nick Mausse and is boyfriend and how great Wu Tsang’s
hair looked that night. We also plan on sharing how we took time out from
the festivities and our limited time with our associates to Skype with Red
Crayola
who were in Cali and could not attend the events.

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Whitney Biennial Campaigns

Impressions of the 2012 Whitney Biennial

by the-biennial-project 21. May 2012 12:38

Hey Kids!

This weeks post is a two-for-one value: a mash-up of two ongoing Biennial Project features - All-Things-Whitney and Fan-of the Month.

First off, we would like to introduce you to our friend, collaborator, webmaster, and spectacular photographer Paul Weiner.

Paul performs a fantastic service for both us and our many readers - he writes the software for our award-winning web site and blog!

He is also an amazing photographer who specializes in shooting portraits of artists in their studios -using only a small flashlight to “paint the picture” in a totally dark room. He shoots on film and does no digital manipulation of the images.

Since he is constantly working with artists and observing their processes in detail for his portraits, we thought our readers would enjoy reading his take on the 2012 Whitney Biennial.

BYW, The Whitney Biennial closes this weekend - so get down there to see it now and tell them your friends at The Biennial Project sent you - they'll like that!

 

Paul’s artwork:

  "Night Vision" by Paul Weiner


"Klean" by Paul Weiner

 

Impressions of the 2012 Whitney Biennial

Last weekend I visited the 2012 Whitney Biennial to enjoy the latest in contemporary American art. At the request of my friends at The Biennial Project, I’m sharing my impressions.  The museum was closing in a few hours so I decided to concentrate on viewing the non-video art.

Performance2"Run, Mary, Run" by Rashida Bumbray

The first gallery I saw had an assortment of tightly packed metal frames and wood building materials. Perhaps some construction work was taking place? I would investigate later since I wanted to see “Run, Mary, Run” by the Dance Diaspora Collective. This high-energy, gospel, dance performance was inspirational and it was hard to leave, but I needed to see other parts of the biennial before the Whitney closed. I was thinking that if the artwork were even half as good as the performance, this would be an exciting exhibition.

Tuazon Oscar Tuazon

The first exhibition room had messy liquids scattered on a plastic sheet across the floor. Hmmm, a work in progress. Another space was filled with boxes, TVs and a bed. With no one there, it looked like a storage area. Around the corner was a small object covered with oatmeal attached near the bottom of a wall. I was beginning to think that this must be a special exhibit, perhaps still being installed, so I asked the guard which floor the biennial exhibition was on. He said that the entire museum, except for parts of the top floor, was the 2012 Biennial.

Sam-LewittSam Lewitt

Normally, I like to interpret my art without reading the artist statements (which is sometimes better than the art and does not always relate to the art!). This is, however, often necessary for conceptual art in which the ideas are as important as the esthetics and emotional impact of the artwork. So, I carefully read the statements.

Dawn-KasperDawn Kasper

It then became clear what I had seen. The “construction” exhibit on the first floor was by Oscar Tuazon. He uses modular parts and building materials to represent spaces we inhabit. The “storage room” was gallery space in which Dawn Kasper had moved her studio and bedroom. She was living there during the exhibition but unfortunately was not there during my visit. The small sculpture on the wall was an oatmeal covered weed trimmer by Michael Smith. Finally, the “messy display” on the floor was an installation in progress by Sam Levitt of ferrofluid material that resists representation.

JuttaKoether - The Seasons "The Seasons" by Jutta Koether

I visited other parts of the Biennial and reinforced my initial impression of a grim, post-apocalyptic world where artists, because of scarcity of funding, made relatively small art with found objects and inexpensive materials. Survival was too difficult to worry much about matters outside of economic crises (photos of LaToya Ruby Frazier) or distractions such as perverse sex (collages and drawings of Richard Hawkins).

Latoya-Ruby-Frazier---Corporate-Exploitation-and-Economic-Inequality!"Corporate Explotation and Economic Inequality" by LaToya Ruby Frazier

The main exception to this post-apocalyptic vision was the work of Forrest Bess. His work was optimistic and peaceful. Art, throughout his life, remained a search for truth and his painting was a means in which “the individual may be come keyed into the Eternal." (2) Many of these paintings were direct renditions of his visions, unfiltered by his conscious mind. It was ironic that an abstract painting I liked very much and thought tranquil was titled “Bodies of Little Dead Children”. Bess had a life of many hardships. He had suffered from mental illness (diagnosed in his later years as paranoid schizophrenia), cancer and alcoholism. Pictures of his self-mutilated genitals were included in the exhibit.

\Richard-Hawkins-- Richard Hawkins

Art that “present perceptual embodiments of important ideas--not only ideas about existential phenomena, such as death, envy, love, and fame, but also conceptions of other-worldly things, such as heaven and hell” (1) were absent from much of the non-video work I looked at. The work was often either devoid of underlying thought (other than the specific intent of the artist) or mostly conceptual.

Bess-Complete-Freedom"Complete Freedom" by Forrest Bess

The dynamic performances and videos did provide a balance, but surely there must be other artists who keep with the intended themes of the curators to balance those in the show and still provide the ambiguity of interpretation in their artwork that is part of great artwork that holds its power across diverse generations.

So, rush to see any remaining performances and the videos. Take the time to read the artist statements and don’t expect to escape the concerns and problems of the outside world.

Paul Weiner
May 22, 2012

References:
1. Michelle Marder, “Art and Cognition: Mimesis vs. the Avant Garde”, Aristos, December 2004.  http://www.aristos.org/aris-03/art&cog.htm

2. Michael Ennis, “His Name Was Forrest Bess”, Texas Monthly, June 1982,
 http://www.forrestbess.org/article04.html

3. Artists mentioned who are featured on The Biennial Project Whitney Biennial artist cards:

Forrest-Besstextlatoyafrazier

dawncaspertextsamlewitt

MikesmithOSCARTATEXT

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Fan of the Month | Report-backs and Reviews | Whitney Biennial Campaigns

Wham! Bam! Thank you, ma'am!

by the-biennial-project 16. March 2012 09:30

Wham! Bam! Thank you, ma'am!

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Renowned practically-British artist (and Director of The Biennial Project Film Institute) Tom Estes agreed to create a documentary with the aim of recording a discrete and tasteful experiment in art making - only to find much more than he bargained for!

Trapped in a no-man's land of depravity and subjected to a relentless cast of "the weird and the pathetic, the ugly, the obscene and the beautiful" this delightfully dubious low budget documentary frequently pushes the limits of the format.

After the glamour of the 2012 Whitney Biennial and the double-whammy of collateral events one might think it was time to go home, put your feet up and have a nice cup a tea... but no!

Boston Socialite, Art World Insider and Windsor- Whitney Biennial curator- Anna Salmeron, pitches herself, body and soul, into the squalid decadence of the New York art scene in an attempt to pep up her flagging art career. But can she escape this secret life she has chosen, or will it destroy her forever?

This short excerpt, offers an instant soft-core art classic - an erotically-charged trip through a virtual alphabet of deviant sexual pleasure, and a who's who of insider art world dealings.


Bonus Features: Also stars one of the the depraved minds behind The Biennial Project and fellow Windsor - Whitney Biennial curator - Eric Hess, who seems to get what he wants by wielding some sort of odd control over his more normal looking co-workers. Hess works his demented way through the back alleys of the big cities to the savage cruelty of the suburbs- gorging himself in an ultra-sleazy, full-frontal journey.


Pre-orders are available now at www.TomEstes.info


WARNING This video clip includes relentless nudity, socio-cultural blathering and interpretive dance that some viewers may find offensive!

the newspaper said what ya doing in bed?

XXOO, Sir Tom Estes,

Director of The Biennial Project Film Institute

 

More on Tom Estes at the 2012 Windsor Whitney Biennial

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Adult Content | Other Campaigns and High-jinks | Whitney Biennial Campaigns

Be a Part of the Windsor Whitney Biennial!

by the-biennial-project 5. January 2012 11:23

The Biennial Project is proud to announce

The 2012 Inaugural Windsor-Whitney Biennial

an Online Survey of American and International Art

andYOU CAN PARTICIPATE!

Wowza, now wouldn't that look good on your resume?

The Biennial Project is honored to have the Renowned Artist and Star of Bravo Television Network's Runaway Hit Show "Work of Art: The Next Great Artist" Morgan The Sucklord Phillips as our Celebrity Guest Juror! (For more about The Sucklord, check out his website: http://www.suckadelic.com/, or this recent article in the Village Voice: http://www.villagevoice.com/2011-09-28/news/sucklord-bravo-work-of-art-bootlegger/)

All work selected for this prestigious Biennial will be displayed in The Biennial Project's Website Gallery and in a dedicated blog posting that reaches an audience of over 2,000 - and will be included in a digital art display at The Biennial Project's Windsor-Whitney New York City Glittering Champagne Opening Reception to be held the night of March 2nd, 2012 at the Art Connects New York /Spattered Columns Gallery in SoHo.

Prizes will include a solo gallery show on our website, and a solo blog posting to an audience of over 2,000 art lovers! In addition, The Grand Prize Golden Saharoli Winner will attend (as a guest of The Biennial Project!) the February 29th VIP Reception of the other notable biennial opening in New York that week - yes, The Whitney Biennial (a $250 Value!).

This is a fantastic chance to get your work seen and admired by a huge audience, including movers and shakers in the art world. But don't delay, opportunities like this don't come along often, and you don't want to be left off of The-Biennial-Project-Direct-Shot-to-Fame-Express!

ENTER NOW!

Email Deadline: 12pm EST February 19th, 2012

BIENNIAL PROJECT ON FACEBOOK

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Whitney Biennial Campaigns

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