#henrytaylor

We are thrilled to announce our collaboration with LA-based artist Henry Taylor. Over the course of his career, Taylor has become indispensable to the contemporary art scene with his acrylic paintings that commonly depict individuals from his immediate community. Friends, celebrities, homeless people — all sorts of factual situations are converted into timeless portraits, empathetically narrating the simple yet complex matter that is human life.

Employing Taylor’s large scale paintings into our collection, N°14 offers West American vibes explored through a palette of primary colors. The collaborative topography between Taylor and Études results in several pieces of clothing — a short- and long-sleeve silk shirt, a suede jacket, a hoodie — and a silk top especially meant for women. Visually announcing sense of mundanity with fragments of day-to-day truths, the creative linkage with the artist automatically reminds us of the strange wonders that rests in all the things governed by the principles of humanity.

What I like most about the  2017 Whitney Biennial is that the young curators, Christopher Y. Lew and Mia Locks, have created an exhibition that follows the grand tradition of what made the Biennial the most important contemporary show in the U.S. The tradition I am mentioning is that the work chosen was  made in the last 2 years, and for the most part, that is what they have done. They have also preferenced emerging artists and almost entirely stayed away from the “mega” names who so prominently have infiltrated the shows for at least the last 20 years. This is the first Biennial in the New Whitney building and the 2 floors it occupies, are well suited for the experience.

Early assessments of the Biennial revolve around how “dark” the show is. If this is not seen as a critique, then I am, for the most part, in agreement with it. Lew and Locks, the 2 thirty something curators, reflect the melting pot that our country is and is based upon. As long as they had their eyes open over the course of the last 2 years, they could not help but create a show that reflects an anxious view of our social and cultural present. Yet much to their credit they did not choose artists or their work that sacrificed quality to assert a particular social, cultural or political end. As such the creativity apparent overall in the exhibition mitigates against the thread of nihilism which can pervade thematic shows.

One of the more prominent artists in the show, Dana Schutz, exemplifies, in her paintings, the balance between painterly aims and social and/or political iconography.

Elevator, 2017 is one of a series of elevator paintings Schutz began a couple of years ago after the reported fight between JZ and Beyonce’s sister in an elevator at the Barkley Center. This version seems more expansive in context smashing together, people, robots and bugs. The structure of the painting seems to recall cubist and dada prototypes from one hundred years ago, when another bout of world nationalism was about to degrade into WW1. Francis Picabia’s Eccliastic from 1913 has a similar chaotic structure to the elevator. In each painting there is a sense of suspended time.

In another of her works, the reference is quite direct and the intent to draw attention to racist violence and its consequences quite clear

The work, entitled, Open Casket, 2016, is based on the tragic, brutal death of Emmett Till in 1955. A fourteen year old African American, Till was accused of flirting with a white woman (apparently considered by his murderers a capitol offense). His mother decided to leave his casket open for the funeral. Schutz’s handling of the subject is humane, compassionate and compelling.

When writing about African American artists, I have commented that I do not see how any artist of color in America could avoid a confrontation with race in his/her work and in times like the present that seems acutely true. Like many of his contemporaries, Kerry James Marshall, Kara Walker, Titus Kaphar and many more, Henry Taylor does not shy away from the subject matter. In his painting, Ancestors of Ghenghis Khan and Black Man on horse, 2015-17

Taylor creates a condensed history painting with expanded implications for the present. Here he seems to be channeling a tradition fostered by the great Robert Colescott.

Knowledge of the past is the key to the future: Some afterthoughts on discovery, 1986.

Just as Schultz can be specific in her references, so can Taylor and each of them has the ability to enlarge the specific into the universal. In The Times They Ain’t a Changing Fast Enough,2016, Taylor references the killing of Philando Castille by a policeman in Minnesota in July of last year.

A helpless figure in a white shirt, surrounded by a yellow light. An anonymous, faceless shooter in black points his weapon…

Francisco Goya, May 3, 1800,1808.

The artist Puppies Puppies sculptural pieces on the 6th floor could almost be missed, save their power. The series called Triggers are of dismantled firing apparatus for guns just an inch or two long.

When Puppies Puppies was 11, their mother was involved in a kidnapping situation at gunpoint that solified an anti gun position for the rest of their life. As I have previously written, the Second Amendment was never intended to condone the abuse and violence fostered by positions of groups like the NRA who because of their deep pockets, control many of our political leaders.

On the 8th floor, Puppies Puppies has the piece Liberte which is a performance of an actor or a mannequin dressed as the Statue of Liberty like is done in Times Square for tourists.

The comment on our authentic democracy and what it does or doesn’t stand for is profound. 

From profound to bologna, 2755 slices each affixed with a black and white photograph of a person on the inside and outside of a large room constructed by Pope.L aka William Pope.L

The numbers have something to do with the number of Jews in New York, sort of, but really symbolize how numbers can be used for nefarious reasons like discrimination or the number of “"fraudulent” votes cast in an election to influence through power. Coincidentally, the rise of anti Semitic hate crimes in New York beginning in November, 2016 has been more than significant.

Finally, anger in America could be said to be at an all time high in all four corners of the society. Jordan Wolfson has created a virtually real video, Real violence, 2016, which reflects that proposition. When you put on the headset, the attendant warns you that the video could be a bit disorienting so you should hold on to the rail at the table

I assumed this was because of the virtual visual effects. No, this is the most disturbing video I have ever seen, and I really needed to hold on because of the content I was viewing.  Days later I still don’t know what to make of my feelings or what I think of it. All I could think of was the Trump statement, “"I could walk down Fifth Avenue and shoot someone in the chest, and I wouldn’t lose one vote or supporter.” For me, this video represented the darkest moment in the Biennial, and I’m sure there will be much discussion about its inclusion. I am not giving more of its content, but if you view it, you are in for unmitigated, rageful violence, and enigmatically it all takes place with a background of Hebrew chanting having to do with Hanukkah prayers.

Part 2 of this review will be published soon.