Not exact matches
Instead and pressingly, even with wild up and downs, flaws and all, the 2017 Whitney Biennial is the best of its kind in some time for the
multiple ways it reveals how — selected as it is,
without overdetermined political and aesthetic dogma, and curators remaining open to the exigencies of pleasure and the mysterious ways that art mutates but doesn't play catch - up — a show of
artists simply at work, whether making expressionistic paintings, idiosyncratic functional constructions, casting the further shores of socially activist conceptualism, or documenting collapsing ecosystems or family dynamics — that
artists are always addressing and channeling issues of the day.
During the tour UOVO executive vice president Tom Hale said the facility catered to the «post-red brick gallery world,» where galleries buoy themselves with business unrelated to their shows, where art advisors do business in New York
without any physical plant here, where
artists manage their own work through
multiple galleries (and thus may need their own storage space), and where, though he did not say this, art regularly trades back and forth
without it ever leaving its storage facilities.
Essentially these programs, in addition to the
multiple talks offered daily, make up the fair experience for the rest of us: those seeking to stay informed on the contemporary art world or looking for inspiration
without the ability to shell out major money for a piece by a prolific or up - and - coming
artist.