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
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
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!
Alice Neel (US 1900-1984)
Family (James Gruen, Jane Wilson and Julia) 1972
Oil on canvas (153 x 147 cm)
This is one of Neel’s largest paintings and the first work that was included in the Whitney biennial. Capturing three different expressions, the painting suggests the different attitudes to being depicted.