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2 Reviews
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5.0 out of 5 stars
This was a great show, and this is a beautiful catalog
OK, in full disclosure, I was in this show, and very proud of it, but also, I think it is an important book for your reference shelf. AFter all, everyone has something bad or controversial to say about the biennials, so lets skip that, and focus on the fact that a book like this, or other museum catalogs serve to give the reader a good sense of a particular slice of art...
Published 1 month ago by brainard carey
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7 of 10 people found the following review helpful:
3.0 out of 5 stars
Biennial with an identity problem...
Walking away from the 2002 Whitney Biennial, I had mixed feelings of the state of contemporary art. The Whitney has resigned to classifying it in a catch-all "pluralism" in which there simply is so many voices out there under so many disciplines and influences that it cannot be herded into an umbrella term. Fair enough, but the show is probably an ideal example of how...
Published on April 5, 2002 by dave-o
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5.0 out of 5 stars
This was a great show, and this is a beautiful catalog,
By brainard carey (New York, NY) - See all my reviews
This review is from: Whitney Biennial 2002: 2002 Biennial Exhibition (Hardcover)
OK, in full disclosure, I was in this show, and very proud of it, but also, I think it is an important book for your reference shelf. AFter all, everyone has something bad or controversial to say about the biennials, so lets skip that, and focus on the fact that a book like this, or other museum catalogs serve to give the reader a good sense of a particular slice of art history at any given time. Even if that history is slanted, biased, etc., you still get to see art work that is good.
7 of 10 people found the following review helpful:
3.0 out of 5 stars
Biennial with an identity problem...,
By dave-o (boston) - See all my reviews
This review is from: Whitney Biennial 2002: 2002 Biennial Exhibition (Hardcover)
Walking away from the 2002 Whitney Biennial, I had mixed feelings of the state of contemporary art. The Whitney has resigned to classifying it in a catch-all "pluralism" in which there simply is so many voices out there under so many disciplines and influences that it cannot be herded into an umbrella term. Fair enough, but the show is probably an ideal example of how problematic such resignation can be.The cross-over of disciplines fairly common among artists made for an interesting mix of pieces ranging from collective installations to delicate sculptural pieces to a mix of mainly urban "house-like" soundworks. Indeed the transition from Tracie Morris' stuttering and beautiful soundworks to Chris Ware's highly-detailed agnst-ridden comic panels to Destroy All Monsters' urban, almost adolescent painted tributes to Detroit was a fairly smooth one. The mood of the exhibition, though often felt artifical and sometimes contrived. In an age of an overabundance of market imagery, pondering over the various aspects of mosh-pits and extreme sports had the impact of a cola commercial. Artists as spiritual conduits; spiritual leaders as artists; channeling the spirits of dead artists. This all seems interesting but were they in the appropriate forum? Which leads to the questions has the Biennial outlived its usefulness as a forum? Has contemporary art outgrown museums as a result of market/academic/visual oversaturation? |
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Whitney Biennial 2002: 2002 Biennial Exhibition by Lawrence Rinder (Hardcover - March 1, 2002)
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