“Don’t necessarily expect to understand much at a glance,” Peter Schjeldahl writes, of this year’s collectively potent Whitney Biennial.
The startlingly coherent and bold Whitney Biennial is a material manifesto of late-pandemic institutional culture. Long on installations and videos and short on painting, conventional sculpture, and straight photography, it is exciting without being especially pleasurable—geared toward thought. The innovative, intimately collaborative curators David Breslin and Adrienne Edwards ignore rather than oppose pressures of the ever-romping art market, which can see to itself.
The Whitney’s sixth floor hosts a warren of black-walled spaces that allow for a viewer’s immersion in gnomic creations, several of which function in service to the show’s most overt embrace of identity politics, keyed to the past and present ordeals of Native Americans in settler society, and to some of their enduring folkways and evolving artistic preoccupations.
The quality of personhood turned inside out sings in a poignant film by the South Korean-born Berkeley graduate Theresa Hak Kyung Cha, which is projected on translucent cloth and includes haunting portraits—eyes closed alternating with eyes open—of the artist and of a sister of hers. In 1982, at the age of thirty-one, Cha, a tremendously erudite linguistic philosopher and novelist as well as artist, was raped and murdered in New York, at the Puck Building, by a security guard.
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