Although my engagement with the Whitney Museum’s regular curatorial program can be somewhat intermittent, I find myself consistently drawn to and often deeply appreciative of its celebrated Biennials. These sprawling exhibitions, known for their pulse-taking survey of contemporary American art, frequently offer a compelling snapshot of the current artistic landscape. The 2017 Whitney Biennial, in particular, left a significant impression, standing out as an especially engaging and thought-provoking iteration. While some past Biennials might have leaned heavily into experimental or overtly conceptual territories that occasionally felt inaccessible, this edition struck a different chord. It presented itself as a more grounded and, in many ways, more resonant experience – definitely one of the better ones, at least from my perspective.

Curated by Christopher Y. Lew and Mia Locks, the 2017 Biennial took place amidst a particularly turbulent political and social climate in the United States. While not explicitly didactic, the exhibition subtly, yet powerfully, reflected the anxieties, divisions, and hopes of that moment. Artists often grappled with themes of identity, race, history, and the American dream, presenting works that were both deeply personal and universally resonant. This accessibility, coupled with a keen eye for significant contemporary voices, contributed to its success and its less overtly experimental, yet profoundly impactful, nature. It felt less like a quest for the avant-garde solely for its own sake and more like a sincere engagement with the urgent conversations shaping the nation. This approach made the 2017 Whitney Biennial a vital and widely discussed event in the contemporary art world.

Highlights from the 2017 Whitney Biennial

Among the diverse array of artists and artworks presented, certain pieces resonated particularly strongly, solidifying the 2017 Biennial’s place as a memorable experience. My personal selections represent a fascinating cross-section of artistic approaches, from contemplative photography to powerful narrative painting, each offering unique insights into the American experience and contributing to the exhibition’s reputation as a strong contemporary American art showcase.

John Divola: Capturing Absence and Intervention

One of the works that immediately captivated my attention was Abandoned Painting B, 2007, by the venerable artist John Divola (b. 1949). Divola is renowned for his photographic practice that often blurs the lines between documentation, intervention, and the ephemeral nature of art itself. His iconic series, where he photographs abandoned homes and structures that he has often physically altered with paint, graffiti, or other interventions, challenges traditional notions of landscape and studio photography, establishing him as a significant voice in modern art photography.

Abandoned Painting B is a masterful example of Divola’s unique vision. Executed as an inkjet print, measuring an impressive 44 x 54 inches (111.8 x 137.2 cm), the photograph captures a desolate interior space, likely a long-forgotten building. Within this decaying environment, Divola introduces an element of human intervention – a stark, perhaps even crude, mark or gesture that resembles a “painting” within the abandoned setting. The tension between the found ruin and the deliberate artistic act is palpable. It speaks to themes of decay, memory, the persistence of human mark-making, and the way art can emerge from the most unexpected places. This piece, part of the artist’s own collection and showcased courtesy of Maccarone Gallery, New York and Los Angeles, and Gallery Luisotti, Santa Monica, CA, served as a powerful reminder of how photography can transcend mere documentation to become a complex meditation on presence and absence, making it a compelling inclusion in the Whitney Biennial 2017.

Henry Taylor: Narrative and Social Commentary on Canvas

Equally compelling, and perhaps even more emotionally direct, was The 4th, 2012, by Henry Taylor (b. 1958). Taylor is celebrated for his bold, figurative paintings that often depict friends, family, historical figures, and scenes of everyday life, all rendered with a distinctive, expressive style. His work is known for its candid portrayal of the human condition, often weaving together personal narratives with broader social and political commentaries, particularly concerning the Black experience in America. Taylor’s ability to imbue his subjects with profound depth makes him a pivotal contemporary American artist.

The 4th is a monumental work, an acrylic on canvas diptych that commands attention with its imposing scale. The top panel measures 90 × 74 inches (228.6 × 188 cm), and the bottom panel 66 × 74 inches (167.6 × 188 cm), resulting in an overall height of 156 × 74 inches (396.2 × 188 cm). This grand scale amplifies the painting’s powerful narrative. While the exact subject matter of “The 4th” is open to interpretation, given Taylor’s oeuvre, it very likely alludes to July 4th, America’s Independence Day, and the complex, often fraught, relationship many communities, especially African Americans, have with this national celebration. Taylor’s paintings are known for their raw honesty, eschewing sentimentality in favor of a direct and often unflinching gaze at reality. The figures, rendered with characteristic vitality and a sense of immediacy, draw the viewer into their world, inviting contemplation on themes of freedom, nationhood, and the ongoing struggle for equality. This significant piece, from the artist’s collection and presented by Blum & Poe, Los Angeles/New York/Tokyo, exemplified the Biennial’s commitment to showcasing artists who engage deeply with the fabric of American society through powerful visual storytelling. Its inclusion underscored the exhibition’s focus on compelling figurative painting and its commentary on American identity.

Reflecting on the 2017 Biennial’s Impact

The 2017 Whitney Biennial succeeded in its ambition to present a timely and relevant survey of contemporary American art. It demonstrated a notable shift towards a more accessible, yet still critically incisive, approach compared to some of its more abstract or conceptually challenging predecessors. The selection of artists like John Divola and Henry Taylor underscores this curatorial program’s vision: artists whose work, while distinct in medium and style, both offer profound meditations on the American landscape, its people, and its evolving identity. The Biennial managed to be both a mirror reflecting the nation’s complexities and a window offering new perspectives, making it a truly enriching and memorable art exhibition in New York for visitors like myself. It proved that a Biennial doesn’t need to be overtly experimental to be deeply impactful; sometimes, a clear, thoughtful engagement with the current moment is precisely what’s needed to resonate with a broad audience and contribute significantly to the discourse around contemporary American artists.