A companion to the Whitney's signature exhibition, featuring artists who are shaping the conversation about contemporary art in the United States today &nbsp; Since its introduction in 1932, the Whitney Biennial has charted new developments in contemporary art. Amid ongoing upheavals in cultural, social, and political spheres, this catalogue offers an engaging new take on the storied institution of the Biennial while continuing to serve, as all previous editions have, as an invaluable resource about art in the United States today. &nbsp; The curators of the 2024 Whitney Biennial, Chrissie Iles and Meg Onli, are both known for genre-defying, boundary-pushing thematic exhibitions A thematically organized image section reflecting the work of artists in the Biennial will be followed by entries about each artist--an approach that will encourage readers to draw connections between the work of different artists. A collaborative essay by Iles and Onli will present their thinking behind the exhibition, while essays by curators and scholars Eva Hayward and Amber Jamilla Musser will surface specific themes. &nbsp; Distributed for the Whitney Museum of American Art &nbsp; Exhibition Schedule: &nbsp; Whitney Museum of American Art, New York (March 27-August 18, 2024)

Whitney Biennial 2024: Even Better Than the Real Thing

Arts & Photography

Iles, Chrissie

Onli, Meg

History & Criticism

Whitney Museum of American Art

Speech/Acts brings together new and recent works by a generation of artists influenced by black experimental poetry. Recognizing language as a primary method of expressing and maintaining power, these artists use poetry as a tool to manipulate the conceptual and structural elements of language and the social contexts in which language is employed, appropriated and abstracted. Artists Jibade-Khalil Huffman, Steffani Jemison, Tony Lewis, Tiona Nekkia McClodden, Kameelah Janan Rasheed and Martine Syms all use experimental poetry in their work as a means to interrogate the power structures of language, rendering the experience of blackness more physically and affectively exact. In this volume, their work is presented alongside their poetic forerunners (seminal texts by Fred Moten and Harryette Mullen are reprinted), newly commissioned poetry by Morgan Parker and Simone White, and a new essay by curator Meg Onli.

Speech/Acts

Parker, Morgan

Moten, Fred

Mullen, Harryette

White, Simone

Collections, Catalogs & Exhibitions

Institute of Contemporary Art at University of Pennsylvania/Futurepoem

Artworks, essays and poetry explore the racial implications of capitalist temporalities In 2019, the Institute of Contemporary Art at the University of Pennsylvania presented the experimental exhibition Colored People Time. Divided into three chapters--Mundane Futures, Quotidian Pasts, Banal Presents--it used the Black vernacular phrase "Colored People's Time" (CPT) to explore the ways that dominant notions of time have been used to control and condemn Black people. CPT names a political performance by Black people to evade and ridicule the enforcement of punctuality and productivity. Alongside reproductions of historical objects from the Black Panther Party, Sutton E. Griggs, the National Institutes of Health/Getty Images, and the African Collection at the University of Pennsylvania Museum of Archaeology and Anthropology, Colored People Time includes reprints of seminal essays, newly commissioned writing and poetry from Huey Copeland, Eve Ewing, Michael Hanchard, Matthew Angelo Harrison, Amber Rose Johnson, Carolyn Lazard, Jessica Lynne, Tausif Noor, Meg Onli, Gregory Pardlo, M. NourbeSe Philip, Monique Scott, Martine Syms and Michelle M. Wright.Artists include: Aria Dean, Kevin Jerome Everson, Matthew Angelo Harrison, Carolyn Lazard, Dave McKenzie, Cameron Rowland, Sable Elyse Smith and Martine Syms.

Colored People Time

Institute of Contemporary Art, University of Pennsylvania

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