2014 biennial

Alex Jovanovich’s 35mm slideshows employ a stark, typically black-and-white palette, a deliberate pace, and poetic language hearkening back to the Old Testament and American Puritanism to explore romantic subjects such as love, spirituality, melancholy, and the cosmos. See his installation at the Biennial through Sunday. 

Alex Jovanovich (b. 1975), Untitled, 2014. 35 mm slideshow; 6 mins., 40 secs. Collection of the artist; courtesy the artist. © Alex Jovanovich

A throwback in honor of our recently announced Laura Owens mid-career retrospective, opening this November. On the left is a work by Owens, now part of our collection, hanging in the 2014 Biennial. Untitled (2014) appropriates a 1970s inspirational poster and reconfigures the image into multiple screenprinted layers, adding thick impasto marks and a wooden grid that cuts through the strata. The background layer, which is sized 3% larger than the foreground, appears to lift off the linen thanks to a trompe-l’oeil shadow, while the upper layer is presented as a gestural scribble. Among some of the unsettling results of this separation are a boy’s fractured face and the jumbled text which reiterates the words “and hang.“

[Installation view of Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7, 2014–May 25, 2014). Photograph by Sheldan C. Collins]


[New purchase écal]

26th International Biennial of Graphic Design, Brno 2014, Graphic design, education and schools : 19.06.-26.10.2014

Brno : Moravská galerie v Brně/The Moravian Gallery in Brno, 2014
270 p. : ill. ; 32 cm

International Exhibition: Student Work
Off-White Paper. On the Brno Biennial and Education
Taking a Line for a Walk. An Exhibition About Assignments in Design Education
From A to B to C

Céline Condorelli: Revisions
The Study Room
Brno Biennial 2012 Grand Prix Winners. Our Art: Mevis & Van Deursen
Personalities in Czech Graphic Design. Rostislav Vaněk
Lada Hubatová-Vacková, Iva Knobloch: From Ornamental Drawing to “Photo-typo” and Illuminated Advertisements
Biennial Talks
OFF Program

Photos: ECAL / Linda Voorwinde

In honor of Martin Luther King, Jr., Keith Mayerson’s Drum Majors (Martin Luther King, Jr., and Family), which was installed at the 2014 Biennial.

Keith Mayerson (b. 1966), Drum Majors (Martin Luther King, Jr., and Family), 2008. Oil on linen, 40 × 30 in. (101.6 × 76.2 cm). Courtesy the artist

With film, it’s hard to locate the artwork: Is it the projected image? The projection beam? The room in which it’s being projected? It’s a constellation of things rather than a singular object. I think that’s a metaphor for how a lot of artists working in a broad range of media function now.
—  Stuart Comer, one of the three curators of the 2014 Biennial. In the second installment of a three-part Q&A in Whitney Stories, Comer, Michelle Grabner, and Anthony Elms discuss their curatorial approaches as each organizes a floor of the exhibition.


Artist Ian Strange’s new installation shows a completely black house that looks as though it is being swallowed up by the concrete pavement. It was commissioned for the 2014 Biennial of Australian Art, which is currently being held at the Art Gallery of South Australia in Adelaide til 11 May. 

Authorship has become very slippery, and the ownership of ideas has become less interesting today than the rapid sharing of them.
—  Michelle Grabner, one of the three curators of the 2014 Biennial, in The New York Times profile of HOWDOYOUSAYYAMINAFRICAN, a global collective whose work will be on view in the exhibition.