by Chris Sharp and Genevieve Yue
Double Take is a feature of art-agenda in which two authors review the same exhibition. Written independently, the two texts share the same images and are published below.
—by Chris Sharp
The stakes surrounding this Whitney Biennial are, to say the least, high. Indeed, it’s hard to imagine a biennial being under...
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The most streamlined mythology of the past two decades of the Whitney Biennial goes something like this: 1993 represented the Big Bang of art and identity politics, and since then, the curve has bobbed up and down like a sine wave, going above and below the axis of overthought mediocrity...
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Partial, relaxed, and idiosyncratic are not typically positive associations for large survey shows. But these have been multiplying recently, and perhaps that is why that most venerable of panoramas, the Whitney Biennial, finds itself relieved, a little, of its historical pretensions towards completeness. Any survey is just one of an...
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Rearview
In the wing mirror of the passenger side of a vehicle, objects are closer than they appear.
The texts re-published in the Rearview series are those that we wish to draw attention to perhaps because they reveal certain “blind spots” in contemporary art criticism. Each month, these “found” reviews (indeed, quasi-artifacts)...
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