whitney biennials

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Race, Finance, And The Afterlife Of Slavery

Justin Leroy presents on the overlapping histories of race and financial innovation, from slave insurance to social entrepreneurship, in conjunction with Cameron Rowland’s project for the 2017 Whitney Biennial. Leroy teaches nineteenth-century U.S. history at the University of California, Davis; his book Freedom’s Limit: Racial Capitalism and the Afterlives of Slavery, is forthcoming from Columbia University Press.  

Janine Antoni
Gnaw, 1992
600 lbs. of lard on marble pedestal gnawed on by the artist, also displayed in the Whitney Biennial with 130 artist-made lipsticks with pigment, beeswax, and chewed lard removed from lard cube
24 x 24 x 24 inches

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my outfit at the whitney biennial reception was made out of random stuff i threw together that day:

-a tiara given in tribute by a loyal supporter in the eastern provinces
-foil streamers that fell on the floor during the party

all magically cohering into goblin prom queen

This morning, we’re getting a first look at the 2017 Biennial. Here’s Raúl de Nieves’s site-specific work on the fifth floor. The artist covered six floor-to-ceiling windows with eighteen “stained-glass” panels he made using paper, wood, glue, tape, beads, and acetate sheets. They create a vivid backdrop for the beaded sculptures, especially in the morning sun!

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